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Re: POLYRHYTHMIC COUNTERPOINT
Im not completely sure that I GET when something is 7;4 for example, if there is a click click click on every beat. My mind makes it 4:4 cos I LIKE that, Im comfortable with it. Fabios clicking video seems very clever to me, and Im very impressed with the head patting tummy stroking aspect of it, but IS 7 beats against 5 a pleasant "musical" sound, if you remove the er... 16ths.. well not 16ths... but you know what I mean?
I love the way "peaks" reoccur and interact as they move in and out of synch, the "phasing" that Reich does so well.
I do this mostly by multiplying out a tiny but silent loop to say 17, then on a different machine (or track in Mobius) doing the same out to 18. then SUS SUB into each in tiny snips... the gaps in the music become the interesting part, and this is somthing Ive been working with ever I since I had a VERY DEEP LISTENING experience to crickets in Thailand 25 years ago I was so focused on the sound of the crickets, really trying to hear Steve Reichian phasing effects when all of a sudden I was listening the WRONG way round, listening to the GAPS and not the clicks. There are pictures that do this relatively easily, (the famous two faces hidden in a vase pic) but its amazing when it happens in music...
On Tue, Sep 7, 2010 at 9:47 AM, andy butler <firstname.lastname@example.org>
Rick Walker wrote:
I am always available to this list to answer questions about this and any other aspect of rhythmic theory, time permitting. Please ask.
ok then ;-)
(and any other contributors of course)
It seems to me that all the examples quoted here
involve the explicit playing of the underlying sub-division
...all the time.
Are there any examples where this is not the case?
(for me that would make it *much* more interesting/enjoyable