re: THE RHYTHM INTENSIVE reposting of ONE BEAT SYNCOPATIONS and with important correction

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

Chris Cohn alerted me to a mistake I made in typing this up.

I wrote: "  (audible groups arranged in parenthesises) "      This is 
incorrect!
if should have said

(Audible groupings surrounded by Quoatation Marks)
This refers, only , to the groups   "ONES",  "TWOS TOGETHER",  "TWOS 
APART" 
etc.
Parenthesized notes are non-audible notes

below I've reposted it in it's correct form:

**********************************************************
**********************************************************
Here is the system of 16 notes and triple eight notes I talked about in
earlier posts.  Again, with all of these things, If you ever teach this to 
anyone would you
please  credit me for coming up with these systems of thinking about 
rhythm.


THE BASIC ONE BEAT SYNCOPATIONS   c 1978 Rick Walker
(Audible groupings surrounded by Quotation Marks)

BASIC 16th NOTE SYNCOS:
(with the basic one beat ride rhythms to the right in quotations)

"ONES"
A) X * * *                   "Quarter Notes"
     1 (e + a )

B) * X * *
   (1) e (+ a )

C) * * X *                 "Offbeat 8th Notes"
   (1 e) + (a)

D) * * * X
   (1 e +) a


"TWOS TOGETHER"
E) X X * *                "Downbeat 16ths"
     1 e (+ a )

F) * X X *
   (1) e + (a)

G) * * X X             "Upbeat or Offbeat 16ths"
   (1 e) + a


"TWOS APART"
H) X * X *            "8th Notes or 'straight'  8th Notes"
    1 (e) + (a)

I) X * * X
   1(e) + (a)

J) * X * X
(1) e (+) a


"THREES TOGETHER"
K) X X X *        "ride popular in Reggae/Caribbean rhythms without a name"
1 e + (a)

L) * X X X
(1) e + a


"THREES APART"
M) X * X X         "Galloping Horse Ride"
     1 (e) + a

N) X X * X
     1 e (+) a


"FOUR"
O) X X X X        "Sixteenth Notes"
     1  e  +  a


"NONE"
P) * * * *
   (1 e + a)


BASIC TRIPLET 8th NOTE SYNCOS:

"ONES"
Q) X * *          "Quarter Note"
     1 (+ a)

R) * X *
  (1) + (a)

S) * * X        "The Shuffle Note"
   (1 +) a

"TWOS TOGETHER"
T) X X *        "Downbeat Triplets"
    1 + (a)

U) * X X        "Upbeat Triplets"
   (1) + a

"TWO APART"
V) X * X        "Shuffles"
    1 (+) a

"THREE"

W) X X X       "Triplets"
      1  + a

"NONE"

Q) * * *
   (1 + a)

NOTE: A) and P) are the same written rhythms as Q) and X)
(respectively quarter notes and quarter rests both)
But A) and P) are counted as 16th notes whereas
Q) and X) are counted as 8th note triplets.

This is the reason for this redundancy in the system.

*****************************************************************
Each one of these figures has a distinctive rhythm personality and affects
the nervous system differently (more on that later)

However, it is not enough to memorize these 24 different rhythmic figures
for this salient reason:

Let's take Syncopation N = X X * X as an example

If you heard this rhythm combined with a quarter rest (Syncopation P)

It would sound like a double hit and a single hit, where the double begins
on the downbeat and the single occurs
right before the next downbeat, like this:

N P
X X * X * * * *
1 e (+) a (2 e + a)

If , however, you were to play syncopation N two times in a row,
it produces an entirely different rhythmic pattern (or audible grouping)
to your ears:

N N
X X * X X X * X
1 e (+) a 2 e (+) a

Audibly, this pattern has a DOUBLE followed by a TRIPLE followed by a 
SINGLE
note audible grouping.

If you were to hear a string player play this particular rhythm, your brain
doesn't come in and say
"That's not a TRIPLE, That's a DOUBLE on the last beats of 1 and a SINGLE 
on
the first beat of 2

Because the brain won't differentiate
this means that in order to master all of these rhythmic possibilities,
we need to play all of them in TWO BEAT combinations. I add two beats of
rest (P followed by P)
just so we can hear the figures clearly.

So, you would practice this system this way to master all the possibilities
(then it becomes modular for
all rhythms using Quarter notes, 8th notes, 16th notes or triplet 8th 
notes)

your exercises would begin like this:

A A P P
A B P P
A C P P
A D / /
A E / /

all the way to
A P P P

Then you would start on
B A P P
B B P P
B C P P
etc., etc.

This will produce 24 pages of rhythms............ Does this make sense?

The next time you take on any technique...............try playing that
technique (interspersed
with non-accented strokes on all rests) by utilizing this system.

Do it every day, all the way through all 320 exercises and in a month ,
watch what happens to both
your technique and to your drumming. It's pretty powerful

ENJOY!

Rick Walker


to take this four week course but it's a new age and it's time we took
advantage of all of this technology.
Let me know if you are interested by emailing me offlist at
rickwalker@looppool.info