OT: questions answered about the BASIC ONE BEAT SYNCOPATION explanation

["RICK WALKER" <looppool@cruzio.com>]

about the
Basic One Beat Syncopation system:

about this sentence that Rick wrote:
> Audibly, this pattern has a DOUBLE followed by a TRIPLE followed by a
> SINGLE note audible grouping.

Claude Voit asked these question:

"I can follow till here but you did omit some explanations about "DOUBLES"
and TRIPLES" and "SINGLES" ????"

Forgive me, but I actually haven't posted this discussion yet but will 
soon. 
Some of this that I"m going to
post will be me gathering my thoughts.   I decided that I'd test it all 
out 
on you guys
in written form (to get this kind of excellent and intelligent feedback) 
before I ever
codify it into a book.

I have taught this system to roughly 2,500 people, including around 500 
non 
drummers
but I have never written it down.   I'm using you guys as guinea pigs (as 
long as it doesn't bug
anyone) and I really appreciate thorough questions about it.

I know from much experience backing many different musicians from all over 
the earth and
teaching drummers/percussionists/bass players and other musicians  that it 
really works
but the trick is to get it so that it makes very simple sense by just 
reading it.

Claude also said:

"without some more all the minimum 2 beat  justification doesn't make sense
because if I have a strong feel of the beat I have no problem separating N
from N or whatever other combination......................why if I clearly 
know where the beat is ?"

You are correct here, but frequently we encounter improvisational 
situations 
where someone is
playing a very complex rhythm without conveniently adding the downbeats.

Just to get the feel of why I have used two beat groupings rather than 
just 
the one beat rhythms
try playing these two rhythms  back to back    AD    and DA  sound very 
different from one another
even if you do have a quarter note to reference them.

X * * * * * * X * * * * * * * *
A          D          P          P

and

* * * X X * * * * * * * * * * *
D          A          P          P

They sound really different and I have found that beginning to 
intermediate 
musicians have a hard time distinguishing
them unless they practice this system in the two beat syncopation mode.

Also,  the first example plays an 'ON' beat and ends, audibly on an 'OFF' 
beat which leaves it unresolved
in terms of how our nervous systems feel different beats
whereas the second begins on an 'OFF' beat and immediately resolves to an 
'ON' beat.

This is a an important and seminal  discussion that I will also post in a 
chapter at some point.
In a book,  this chapter would precede the BASIC ONE BEAT SYNCOPATION 
chapter.

I apologize that some of these postings are out of order but I'm just 
letting myself do this
loosely and letting it fall together.


Clause wrote:

"PS: I'm asking those details because I was there in Zurich enjoying all 
the
brilliant clapping you made us go thru and I suspect there is a little 
more 
to it :=)"

Most definitely Claude and I"m really glad you asked these questions.  In 
the long run
this whole system has got to hold water if it's going to have universal 
applications
and I really appreciate the scrutiny that you give it.  It's a big help.

There's a lot more to come  but I"m also really hella busy getting ready 
for 
NAMM and some upcoming shows.
I"m accompanying two Japanese shamisen masters in Japantown in San 
Francisco 
in a couple of weeks
and also performing with my new project  nO thiN -g  at the Anno Domini 
Gallery............all this the week before NAMM
so I'm going to be a busy beaver.

Happy New Year,    Rick