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Re: ODD TIME RHYTHM GAMES was Maybe why Avante-garde looping in US...
wonderful lesson ma an thank you!!!!
Luis
>
> "Rick, i was asked one time to explain the rumba
> clave
> in 6/8.............how would you explain it with
> syllables?"
>
>
>
> I love this one because it is a great example of
> "playing odds in the evens"
>
> You can think of the 6/8 Rumba Clave as a
> combination of the phrases 5
> + 7
>
> (Taki)(Takita)(Taki)(Taki)(Takita)
> 1 2 3 4 5 1 2 3 4 5 6 7
>
> This rhythm, it is interesting to know, is almost
> non existent in West
> Africa
> whereas the 6/8 Son Clave is found almost
> everywhere.
>
> You can think of 6/8 Son Clave as 7 + 5
>
> (Taki)(Taki)(Takita)(Taki)(Takita)
> 1 2 1 2 1 2 3 1 2 1 2 3
>
>
> PLAYING ODDS in the EVENS
>
> Here's a great game, by the way.
>
> If the 12 notes of 6/8 can be played as 7 + 5
>
> then two bars can be thought of as 7 + 5 + 7 + 5
>
> Rearrange those phrases and you get 7 + 7 + 5 + 5
>
> By doing this you have now played a phrase of 14
> and a phrase of 10
>
> The first phrase of 14 then crossed the bar line.
>
> In 4/4 with 16th notes you can play 9 + 7 + 9 + 7
> = 9 + 9 + 7 + 7 or
> two exact bars of 4/4
>
> Try this concept as a soloing idea over a typical
> funk groove and tell your
> band mates to hold onto their hats
> (and the groove).
>
> It sounds like you have gone to Mars in your solo
> and yet you land right
> back on good 'ol ONE when you finish the phrase.
>
> In 6/8 I love to play this game by rearranging these
> simple addition phrases
>
> 12 = 3 + 9
> = 5 + 7
>
> So , in two bars you can get a beautiful cascading
> phrase that diminishes
> 9 + 7 + 5 + 3
>
> Try this now in 4/4 (using 16ths again)
>
> 16 = 13 + 3
> = 11 + 5
> = 9 + 7
>
> So, in three bars you can play 13 + 11 + 9 + 7 + 5
> + 3 This diminishes
> nicely (and is easy for an audience to hear though
> difficult to hold the groove underneath
> it...................lol, but it's
> good for your rhythm section to learn how to play
> it)
>
> ************************
>
> This brings me to a concept that I have come up with
> myself about using Odd
> Time combinations.
>
> It's what I call the concept of the BROKEN PULSE.
>
> <A broken pulse is any even pulse that has one note
> added to the last
> pulse>
>
>
> > > >
> If I play a rhythm of 6 notes I can get 3 EVEN
> PULSES Ta ki Ta ki Ta
> ki
>
>
> Sing: 1 * 2 * 3 *
>
>
>
> > > > >
> If I play a rhythm of 8 notes I get 4 EVEN PULSES
> Ta ki Ta ki
> Ta ki Ta ki
>
>
> Sing: 1 * 2 * 3 * 4 *
>
>
>
> > > >
> If I play a rhythm of 7 notes I get what I call 3
> BROKEN PULSES Ta ki
> Ta ki Ta ki ta
>
>
> Sing: 1 * 2 * 3 * *
>
> where the last pulse has one more note in it causing
> a 'skipping' feeling.
>
>
> A really fast way of practising combinations of ODD
> time signature phrases
> is to memorize all the pulses of the common ODD time
> signatures.
>
> 3 = 1 Broken Pulse = 1 * *
> 5 = 2 Broken Pulses = 1 * 2* *
> 7 = 3 Broken Pulses = 1 * 2 * 3 * *
> 9 = 4 Broken Pulses = 1 * 2 * 3 * 4 * *
> 11 = 5 Broken Pulses = 1 * 2 * 3 * 4 * 5 * *
> and so on........
>
> A way to practise these phrases is by singing, (with
> 9 as an example) 1 *
> 2 * 3 * 4 d d (one two three four dih dih)
>
>
> > > > >
>
>
> TakiTakiTakiTakita
>
> If you see what I mean, this is a very fast way of
> memorizing odd time
> groupings: just add up some numbers that get you
> where you want to go
> (remember you don't have to start your rhythmic
> phrase on the
> downbeat..............................start, say on
> the downbeat of 2 in a
> measure of sixteenths. You are now 12 notes away
> from the downbeat of 1.
> Time for a 1 * 2 * 3 d d 1 * 2 d d combination.
>
> This concept was taught to me by the great drummer
> Steve Smith to give
> credit where credit is due.
> Anecdotally, I taught him how to play authentic
> traditional Reggae that
> same weekend, but I think
> I got the much better end of the stick with this
> concept..........lol. I
> use it constantly in soloing.
>
>
www.luis-angulo.com
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