Adam Rudolph-Pure Rhythm PDF [PDF]

Zitiervorschau

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Introd,uction In Yowr Own Mwsic There are as many rhythms in the world as there are stars in the sky. Every culture has dozens, if not thousands of rhyhms related to dance and language. To these pulse beats and patterns, each person and musician brings his or her own sense of timing, breath and imagination. To be human is to embody this rhythmic infinity.

No single book could begin to touch the galaxy of rhythms playing out within and around us. My intention is to present the signal rhythm patterns, both traditional and newly created, through a method I call "Cyclic Verticalism." This book is for the instrumentalist, composer, percussionist, student and music educator who aims to expand his or her understanding of rhythm and overall musicianship. It is an applied guide to the fundamentals of rhythm, presented step-by-step from the simple to the complex. Please approach it as a source for your own creative endeavors. For an improviser, form is one of the most difficult elements to master. In order to understand form you must be able to generate phrasing. In order to phrase you must have a grasp of rhythm. The great improvisers we know - from Bach to Ornette Coleman and beyond have been masters of rhythm. This book offers a repository of rhyhms in a method unfettered by style. The aesthetic is open to you, the artist. Please utilize these ideas freely in your own way, in your own music.

Music is a temporal art, and rhyhm is the world working through time. Thus rhythm is implicit in every musical gesture. Yet rhythm is often neglected in music lessons partly because it is difficult to render on the printed page.

In the case of Western "classical" musicians, this learning gap can limit the student to only being able to read rhythms but not to understand, feel or generate them. In the past few decades these players have had to perform scores demanding an improvisation, and many have also tried to extend their virtuosity into "1azz" and "folk" idioms. I consider the training in this book essential for these arlists, and hope it wil1 provide them with the rhyhm training that will open the door to phrasing. Without the ability to phrase and to express one's ideas in time, even the virluoso is creatively limited. Improvising "jazz" musicians often leam to phrase by relying on chord changes and a "rhythm section" as a temporal guide, commonly wLtlt32$ar or 72-bar forms. \A/hat happens when the improviser moves beyond those structures? \A4rether playing in an orchestra or iazz ban.rd, a musician must be able to generate ideas in real time with a clarity that defines where they are at every moment. Only then will their sonic ideas be heard in a way that inspires. For percussionists today, great oppofiunities for first hand study and sharing of rhythm traditions abound. There are drummers from every paft of the world living in every other part, sharing and sampling techniques. This makes it an exciting time. But how does one expand one's rhythm vocabulary and still maintain one's own musical identity? How does one apply this knowledge to one's own creative evolution? The answer is not only to simply gather and study rhythms, but also to understand rhythm's underlying structure and foundation.

Harmonically, Westem "iazz" ars.d "classical" aftists have selÊconsciously sought to look at modal and interwallic materials in new ways, and replace the systems of the past. This book is an offering to creative musicians who wish to move their rhyhm conception forward. The

!,^,

Introduction

- : --. tr of C.vclic Verlicalism is deliberately neutral so that an arlist of any aesthetic bent may _:-- :- to t}-reir own creative process as theywish. Composers and improvisers w.tlo have a ..-:-.:td of the larger pol;.nnetric cycles can begin to move through rhythms with freedom. . -,..35-beat.yà1"b".o-esabig"oï)e." Itbecomesasingle"breaûl' throughwhichthe

,

j,--_-ït can freely shape ideas, still know where he or she is in time and form, and commuthe end of this book -.:-:: :1ore expressively with other musicians. The larger cycles towards conterl' orchestrated pitch and timbre can be applied in any -' :.'--: ror-1Ls in which ._

-,-

A Note on tlte Notation The Western European system of notating does not :,. :o represent rhyhm from most other music cultures. One reason is that many music , ---:-::es hàve designed their rhythms from another conceptual base. Western notation ..:_t-:1ds that one time signature be dominant. In parts of Africa, howevet, several meters -,---rerfor.med simultaneously without any one of them being dominant. To render that the true --_"s,:al phenomenon through the European notation lens would misinterpret is knowledge when unsuitable almost seems kind r-,;.--:e oithe music. Notation of any :,.-..e1 on though oral tradition. European music rhythm is notated in a system we could.call divi;-,.-; That is, one whole ,.ot.l, divided into two half notes, four quarter notes, eight eighth are additive --.::s and so on. Many Indian, Middle Eastern, and Eastern European rhythms - -.rlts of twos and threes are combined to generate the rhythm cycles' -,-

:jdition, in Western

notation system for this book is as true to the nature of the underlying patterns as any - :ould devise. It is based upon pulses that are accented or left unheard, to create various :rtrthm cycles and polymetèrs. Most of the patterns contained herein can be counted and, :1ore importantlS4 "ielt" in several ways, giving freedom to the individual to find their own -:el, understanding and musical applications. _

rte

Cyclic Verticalisrn Cyclic Verticalism is a system of thinking about rhyhm rlrat can be applied to any musical context. "Cyclic" refers to rhyhm cycles. It is an addirir-e concept of rhythm whereby rhythm cells of twos and threes (even and odd) are added together to build rhyhm cycles of various lengths.

For example, 2 plus 3 yields a 5 beat cycle: Counted division Accented.pulses Total pulses

3 plus 2 plus 2 yields a7 beat cYcle: Counted division Accented .pulses Total .pulses

,,Ver-ticalism" describes the musical element of polyrhythms. This is when two rhythms are

stacked one on top of the other and played simultaneously. A rhythm cell of an even amount (2 or 4) sounding at the same time as a rhythm cell of an odd amount (3) creates polyrhyÀms that generate motion in sound. 3 against 2 is the fundamental polyrhythm: ill Rsvrr,v

Introduction 3 AGArNsr z (6

rorar-

eur-ses)

123456 X

X

X

X X

3 duplet accents of the

.pulse

2 triplet accents of the pulse

Cyclic Verticalism is my attempt to explore some of the possible combinations that arise from the process of combining these cyclic (horizontal) and vertical (polymetric) elements. Additionally, some rhythms that I have been exposed to and feel attracted to are included herein. They are used as inspiration and a stafting point from which I apply the concept of Cyclic Verticalism. The rhythms move from more simple to more complex.

Every rhythm is made of two elements: something odd and something even. 3 (odd) and 2 (even) are the fundamental building blocks from which all existing rhythms are created; from a most simple heartbeat pattern to the most abstract. The Dogon people of Mali call the even (2) element "Tolo" and ascribe to it the female or yin energy. "Nya" is odd (3) or male, yang energy. They say: "Every rhyhm has the two parts often with complex interplay that suggest both a dialogue and union of male and female principles."

Tke Tltree Aspects of Rlcytlcrn Rhythm has three manifestations: Ianguage, dance and mathematics. Language has to do with the relationship of spoken and sung word in a culture to rhythmic phrasing. An example is how the Yoruba language, which is tonal, is "spoken" on the Iya or talking drum. Less obvious, but just as profound examples exist in the relationship of the spoken or sung word and instrumental music phraseology in all music. Language also refers to an actual drum language itself. In North and South Indian drumming, spoken syllables are used to teach the drum language. Every syllable that is spoken corresponds to a particular drum stroke. Some examples of these are found in this book. Dance is the other source of rhythm. All drumming has its origins as a sonic manifestation of physical movement. There is no dance without music or music without dance. They are two art forms that can only be experienced temporally. Creative and cultural movements of humans are determinants of rhythmic phraseology. The meters of 9 and 1 1 beats used in Balkan or Greek music correlate to the steps of the dancers. The abstract sounding drumming that moves against the pulse in Indonesian Jaipong music is the drummer catching the gestures of the dancer.

Neither the language or dance aspects of rhythm can be notated or codified in a book. They must be learned through first hand experience. This book is primarily concerned with the aspect of rhyhm as mathematics. Mathematics allows the student or artist to look at the rhythm in a way that is transcendent of style or culture. Looking at pure elements allows the creative person to personalize and transform them. This is an essence of the creative process. The rhyhms contained herein are presented as neutral elements that the performer or composer can utilize in whatever way they can imagine. They are like the bare bones or structure to which any musical language and aesthetic can be added. However, I urge all interested artists to also go as deeply as possible into whatever rhythm languages and dance forms they relate to. Oral tradition and experience are great educators. Imagination and feeling are indispensable to any creative inquiry

Introduction

SOUNDS AND NOTATION KEY

H L -

= =

High pitched sound. Low Pitched sound. A silent marking of a counted pulse'

D|fill = A low round sound as used in Middle Eastern drumming.

lek = ,-.i = Itah =

A high, sharp sound also used in Middle Eastern drumming. A seéond high sound which lollows Tek' The "aîd" beat following Dwm.

Dhrt = North Indian Tabla Bol (drum

\rt Ditt Titt Ke Ge

= = = = =

syllable)

Tabla BoI Tabla Bol Tabla Bol Tabla Bol Tabla Bo1

Afiican origin' The following sounds are used in many hand drums of s - SlaP: sharP high sound' o = Open; medium resonant sound' M = Muffled sound.

B

-

DeeP

bass.tottd"

playing technique of several The notation denotes approximations of sounds made by the hancl drum traditions.* Simply reversing the high sounds and the low sounds effect and feel of a rhYthm:

will change the psychoacoustic

ot Dum going to H (high) or Tek is tension' H (high) ot Tek going to L (low) or Dum is release'

L (low)

original downbeæ of a pattern Displaced, in the context of this book, means to move the For example' if the variarhe'specified number of pulses later, if not indicatecl otherwise' original pattern' don states "displaced by three pulses" that means the downbeat of the .;çhich had been in the iirst box on the left, has now been moved to start on the third box variation states "displaced from the 1eft, and the entire pattem continues from there. If the but to the left' b1'three pulses earlier" the pattern is rotated in a similar fashion in this book are merely references to the pattem ideas they represent' my intention to present these pattems in any mwsical' There is no pretense of ber.ng"autkentic." h is not along with aII the tnaterials in it*tl or cwltwral conext. ihe extrapoltt'ted' and' simplified patternsToare' learn more about any nnusic tracliihis book, sùn1tty meant to serue as a' source of aftisti inspimttoy

- The "traditional" rlrytkns

wsed.

fiolt'slurgetkeseriousstwdenttoseeleoutateacheroftkattradition'

,rr,

Introdwction

A NOTE ON READING THE NOTATION \À/hen the last boxes on the far right are closed, this indicates the pattern should be repeat-

ed from the beginning without

pd.use.

Examplr, r

X

X

X

ù

ù

ù

12

X

X

X

X

X

'.,X

X

X

X

with an affow this indicates that the pattern should be continued into the next group of boxes below without pause. Continue the pattern to the last closed boxes on the far right. Then repeat the pattern from the beginning

\r\4ren the last boxes on the far right are open

withowt pause. Exannple z

ù X X B

10

11

Grey boxes do not necessarily imply an accent patterns.

but serve as stmctural marks in complex

For countingand feel purposes meters are often written as half-time counts. For example, a meter in 9 is written as 4 112,7 as 3 112, 5 as 2 Il2, and so on. Examele 3

123

eJ

X

X

X

X

X

X

Triplets are counted "One and ah, two and ah" (notated 7 Ù a,2 et a eTc.) 2 e et a etc.) Q3,tarlruplekare counted "One e and ah,two e and ah" (notated T e Ù a, Exannele

4

lera

ù

er

X

X

X

ù

X

X

X

X

ù

ù

Swggestions

for

Use

SUGGEST'ONS FOR USE: RHYTH M TRAINING FOR PERCUSS'ON'STS

AND Att'NSTR UM ENTATISTS Following are exercises which are offered as a step by step aid to learning and mastering the material in this book. Examples of a few rhyhms demonstrate the process; however, the exercises below can be applied to learn and master any of the rhythms in this book. Please remember that the rhythms are to be played as repeating patterns: Repeat each pattern nithout pause at the end of the boxes. Feel free to experiment

with different tempos and with different sounds.

FIRST EXERCISE

When there are 2 rows of boxes. one row can be the left hand and the other row can be right hand: Exannpre

t I

Fundamental polyrhythm: 3 against 2 (6 pulses)

-

CD1, track 2

Right hand Left hand

Start slowly. When you have both hands playing the pattern comfortably: Stop the lefihand (in 2) only - without stopping or dropping abeat in the right hand. Continue to play the right hand (in 3) alone for a few cycles. Bring the left hand back in on the dornrnbeat (beat'one' where both hands come together)

içithout stopping or dropping a beat. Continue playing for a few cycles. Do not speed up. \orv stop Tlne right hand (in 3) without stopping or dropping a beat in the left hand. (This night be a bit more challenging - keep trying and focus on the feel of the left hand before -.'ou stop the right hand) Plav the left hand (in 2) alone for a few cycles. Sring the right hand back in on the downbeat (beat'one' where both hands come together) i';ithout stopping or dropping abeat. err, without stopping: aiffinge hands taitkout dropping a beat. lrorv the left hand is playing the 3 and the right hand is playing tlne 2. lr

Exnmple z

Right hand Left hand

,r^, *"rrY,ll

Sugestions Jor

Use

When you have both hands playing the pattern comfortably: Stop the righthand (in 2) only - without stopping or dropping a beat in the left hand. Continue to play the left hand (in 3) alone for a few cycles. Bring the right hand back in on the dornmbeat (beat'one' where both hands come together) without stopping or dropping a beat. Continue playing for a few cycles. Do not speed up. Now stop tLle left hand (in 3) without stopping or dropping a beat in the right hand. (This might be a bit more challenging - keep trying and focus on the feel of the right hand before you stop the left hand) Play the right hand (in 2) alone for a few cycles. Bring the left hand back in on the downbeat (beat'one' where both hands come together) without stopping or dropping a beat. Next, without stopping: Change hand.s without dropping a beat. Now you are back where you stafted: the right hand is playing the 3 and the left hand is playing rlne 2.

until you can do it smoothly and effortlessly, rushing or dropping any beats. without each hand playing consistently Go through this entire process step by step

Stopping and starting each hand like this is essential

to

feeling botk

sid.es of the polyrhythm.

Playing slowly is actually more challenging and more helpful. This exerci5e"introduces the musician to feeling and understanding both 'sides' of the basic polyrhythm. It is also basic independence training for percussionists.

SECOND EXERCISE

It is impoftant to be able to switch from one side of the polyrhythm to another. In this example, a 15 beat cycle is created by playing 3 sets of 5 in the duplet pulse (counted and accented as2l/Z) against 5 sets of triplets:

3I

Exnmpre

75 beat cycle: three sets of 5

12ù1

(2 1/z) against 5 triplets

2er1 X

.,.,X

X

X X

X

X

X

-

CD2, track 38

2ù X

X

X

X

X

Right hand

Left hand

12345 Start slowly. When you have both hands playing the pattern comfortably:

Without stopping, at the beginning of the cycle (beat one, where both hands come together), switch the left hand from playing the 5 triplets to playing the accents of the 2 1lz (example a). Exnmpre

4I

15 beat cycle: three sets of 5

X

yJl:*",*,

a,ccents on

X

X

X X

X

first beat of each 2 1/2

2A

2ù1

12ù1 ,,:tXll

(2 t /2) with

X

X,

X

X

X

Right hand Left hand

Sugestions

for

Use

:,::prng the right hand the same, without stopping or dropping abeat, the left hand is now :-:',-irrg the first beat of each of 3 sets of 2 112. ',','r:en ,vou have both hands playing the pattern comfortably: stopping, at the beginning of the cycle (beat 'one' where both hands come "-rrhout . -:ether), switch the left hand back to playing the 5 triplets (example 3). l'-:cpr 51,vl16hing the left hand back and forth (between example 3 and example 4) until it is : - lfortable and you can feel and count both sides. tryr the same thing where the left hand plays the 2 112 (the top line in example 3) and nght hand switches between the 5 triplets and accenting the 2 112. - s:rg the process of this exercise will help you master any of the polyrhythmic cycles in

1, ---,'r

-:.

-:,:,. book.

THIRD EXERCISE irnporlant to learn these rhythms in your body, not just your mind. Sometimes it can ,:fficult for the hands to play the rhythms we might understand, especially if one is not ' :,:lardy a percussionist. Walking in place (standing or even sitting) and using the voice is : =rÊar method to help anyone get a grasp of playing the rhythms in this book. -

- :s

.

i

beat cycle is created by playing 3 sets of 7 in the duple pulse (counted and .---:rrred as 3112) against 7 sets of triplets. -

:r-


xill Puar Ravran

Sugestions

for

Use

Exnmele 4

8, .ii.X...

X

X

X

I

2'l beat cycle: 5 + 7 + 9 (2 t /2 + 3 /2 + 41 /2) against seven triplets - CD2, track 47 1

23

1

X

lXl

X

X

Exenctse

4|

erl X

X

X

234 X

l::il:xl

QJ

X

X

X

X

X

X

Triple diminished patternx a.pplied to the 2'l beat cycle against seven triplets.

F,e r

a

bù 4-'

ê ---/

è.

ê ----/

----/

ô'

n2l

u ù || || l) lt | rI II r) / || || || || r)/ n2l

a

/

/

/

Metronome

I

n>

tl-

e

-tùe

u - || |1 t) / || || || t) / || |I || || r)/

-_-

/

-=-.--

-'--/

-

I t) | I | | | I | |

n

in the bottom line as a metronome count. In bar 2 the last C is held for 7 counts of the triplets. In bar 3 the pattern begins again this time stafting on Cfl: donm a fourth, up a half step, up a half step. Go through all twelve keys. The pattern following bar 6 will start on Df . Use the triplets

- Tri le dincircished concept giuen to the author by Yusef Lateef ror a complete explanation please see Dr. Lateef's "Repository of Musical Scales and Patterqs" published by Fana Mwsic and dktribwted by aduance mwsic. XIV Purc Ruvrnu

/

Sugestions

for

Use

SUGGESTIONS FOR CTASSROOM USE l-- -:-:n

can be taught to children of any age group. Start slow and use body movements can clap or sing some of the seemingly complex in this book if they are walking on the "ortTer" side (often triplets) of the rhythm.

- ,, '-,:ng in place or in a circle. Students *'-,-:--:ni

l":---; -":rr also pat the patterns on their knees.

;'::r:.s

can be assigned to the'x'in the boxes, with vowel sounds such as: ooh, ee, aak, ,i,",;- l-Iusical instruments can be used to make the sound where there is an'x' in the box.

-:i",:: -,';:th the fundamental polyrhythm of 3 against 2 (CDL, track 2):

1,23456

1,2

ixe

m.crse

r

I

Divide the class into two groups. Have each group clap the accented ,pulses. and start, vary tempo and dynamics

Sto.p

3456 Group

1

Group 2

l,l:",-ement can be added whereby the children can clap or sing in 3 and walk in 2:

'23 Handclaps Walhing

---.'içel

sounds can now be added to the movement and handclaps:

G;-oup

1

XV Puar Ruvtuu

Swgestions

for

use

z I Using vowel sounds with a 4 against 3 .pattern (aay on G, ee on D) - CD1, track '16 1ùa2era3?ra4era

Exencrse

aay

aay

aay

ee

aay ee

ee

leera2eQta3eQta

aay

aaJ

ExencrsE

gI

12/g pattern

-

aay

aay

lntermediate Classroom A.pplication CD2, track

'16

123456789101112 X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

3 quadruplets

X

X

6 duplets 4 triplets

X

X

Ewe bell .pattern

2

X

sextu.plets

Start by teaching everyone the Ewe (pronounced "eh-vey") bell pattern. Then divide the class into 2 groups. While one group claps the Ewe bell pattern, have the other group clap the 6 duplets. When they are confident with that, have them switch to the 4 triplets then to 3 quadruplets and then to 2 sextuplets, all while the first group is staying constant on the bell pattern. When the students become more confident split them into more groups until all 5 parts are being played simultaneously. Use percussion instruments. Have them walk in place on the 2 sextuplets while playing percussion on the other pafts. Start very slow. Try different tempos. Try stopping and starting on cue.

Exencrse 115

4 | Advanced

Classroom Application

beat cycle: Five triplets against three

sets

of 5 (2

t

/2) -

CD2, track 38

12345

',,X

12er1 XVI Pup.t Ruvruu

X

X

X X

x

X X

2ù1

X .,f,

X

2ù

Sugestions

for

use

Divide the class into two groups. Have one group sing and clap the five groups of 3. Have the other group sing the held notes of three groups of 5. Add percussion instruments. Try different tempos. Try stopping and starting on cue. Pitches applied to the 15 beat cycle:

G

D.:

E

D

G

D

E

G

E

D

D

G

aay

ee

E

A

A (held)

G (held)

D (held)

G

I

t

a aay

ee

1

ah

a aay

a ee

ah

aay

a ee

ah

2

3

ee

oh

ah

aay

ee

oh

--r-/

aay

Singing and handclaps together (here the "x"-noteheads denote half notes): Group'1

XVII Punr Rnvrnu

Pure Rhythrn Yow rnust respect tke silence to respect tke sownd. Don Cherry

| [Y:'1",,".

Three & Two Fwndarnental Cycles 2

3

PLUS 3

12

1

X

2

3

2

1

I J

Fwn d arm e nt al P oly rky 3 AGATNST 2 (3 duplets against 2 triplets)

12 X

X

X

tkm counted:

lrace z

12

123 X

X

PLUS 2

X

X

X

X

X

X

X X

1

^-À,, 2"VAqAUOq:

'lst Variation:

X X

Tracks

123

123

X

X

X

X

X

X

X

3€r4

X

X

X

X

4th Variation:

3'd Variation:

Tracks

546

123456 X

X X

X

X

H

L

X

X

Starting one ,pulse earlier:

To.p

H

L

H

L

H

row displaced by three .pulses: Tracks

748

L

H

H

L

H

L

H

H

H L

H

L

L

H

Tkree

E

Two

QZraq abA Gno*a/Morocco) Track 9

X

X X

X

'lst Variation: lrdcl?s

2nd Variation:

123

10&11

X

X

H

X

X

H L

3'd Variation: Track 12

L

L

H

H

lrack

Grid of five variations made by displacing the downbeat by one pulse: 1J

Count:

Original

123456 H

One pulse

L

H

displaced

L

L

H

L

L

H

H

Two

L

Three

H

L

Four

L

H

L

L

H

Five

H

H

L H

H

L

Muswbajulo

(ruandtngo

- tke Gambia)

Track 14

L

H

H L

H

Kutiriba drum

L

Kutirindingo drum

L

Three

Abalewa type Rlcytkwz

&

Two

Guba) '10

11

12 Track 1 5

H

L

H

L

L L

H

L

H

H

Variation:

12345678

10

H

L

H

L

H

L

11

H

L

H

L

Variation with bell qattern:

X L

L

X

X

X

H

L

H

X

X

X

H

L

L

X

X H

H

12

Four & Three Fwn d arn e nt aI PoIy rky thrn 4 AGArNsr g (4 triplets against 3 quadruplets)

123456789 I

racQ

lo

X

10

X

X

X

X

X

X

Another way to count:

12 X

X

X

X

X

X

X

Counted from the four tri'plets:

2er X

X

X

X

X

X

X

Counted from the three quadruplets:

X

X

X

X

X

X

X

e)

4

I

1't Variation: Track

1

7

L

H

L

L

L H

H

11

12

Four & Three 2nd Variation:

H

H

L

H

H

L

L

3'd Variation:

H

H

L

L

H

H

L

L

eJ

ù

L

L

4th Variation:

1er H

H

H

L

H

H

ù H

H

Track

1

I

H

L

L

-+1" , , 5'" Va.nauon:

1ù H

2Zr H

L

ù

H

H

L

L

H

8J

H L

H

H

L

L

1

6th Variation: Tracle 19 1

H

L

H

H

L

H

H

H

L

L

H

L

H

H

L H

7th Variation: H H

L

H

H

L H

H

H

1e Bth Variation:

H H

L

H

H

H

H

L

H

L

H

H

H

H

H

L

H

q

Purc Rnvrnu

tour ts l nfee 9th Variation:

L

H

L

H

L

H

L

L

L

L

Variation of two cycles: 1

2

3

4

1

Z

3

4

L

L

L

L

L

L

L

L

L

H

L

H

L

H

H

a J

2

1

H

L

L

H

H

H

H

3

2

1

L

2nd Variation of two cycles: 1

2

3

4

1

2

3

4

L

L

L

L

L

L

L

L

H

L

L

H

L

H

H

H

L

23

H

H

L

L

H

5

2

1

H

3rd Variation of two cycles: 1

2

3

4

1

2

3

4

L

L

L

L

L

L

L

L

L 1

H

L 2

H

H

L J

H

H

L 1

H

H

L 2

H

H

L 3

H

H

Fiae, Ten and, Twenty

Beat Cycles Catwrhakcl, necitala

,{&. r'7 ;àn

of Skarngadeua (India) Countedot2l/z:

j2345

Track 20

12ù

X

X

X

I

X

X

X

Pajdwstrtko @otkon) and atso Cn,ccari

@ecitala)

12345 X

X

Counted backwards (3 + 2):

Another way to count:

12

123

123

12

X

X

X

X

Kankala Viskarnd,

Decitala of skarngadeua (India)

12345 X

X

Berber

X

(Morocco) Tracle 21

12345 Tek

Dum

Tek

Tek

Dum

Variation:

For two hands:

H

H L

H

H L

L

H L

H

L

,r^, *nrr"l I

Fiue, Ten E Twenty Beat Cycles

B erb

erfl aj o wle a

(M

oro cco )

4ù5 Track 22

Tek

Dum

Tek

Tek

Dum

Variation:

4er5

1Qr2er3 teR

Ke

Howwafd, Tracle 23

Ke

Tek

Tek

Dum

(Morocco)

4er5

123 Tek

Dum

Dum

Dum

Tek

Variation:

4Qr5

12 Dum

Tek

Dum

Tek

Hamackd, (Morocco) Tracle 24

L

H

H

Against five du.plets:

12ù L

H

X

X

H

ù

8r5

L

H

X

X

X

H

4

Another variation:

12ù L

H

X

X

H

X

ù

ù

8r

L

H

H

X

X

Fiae, Ten

& Twenty Beat

Cycles

Grid of five variations made by dis,placing the downbeat by one pulse: Count:

Original

12345 H

L

One ,pulse

H

L

Two

H

Three

H

H

H H

L

H

Four

H

L

H

L

Four (bottom line) variation:

Track 26

L

H

L

Co^nerNnrtoNts Original and one.pulse shift

One,pulse and two pulses shift

(1't and 2na lines):.

(2nd and 3'a lines):

L

L

H

H

H

H

L

H

L

Two ,pulses and three pulses shift

Thr.ee .pulses and

(3'd and 4th |ines):

(4th and 5tn lines):

H

H

L

L

H

H

H

H

four

L

H

.pulses shift

L

Harnacka

Track 27

X

X

X

Variation of the same .pattern

Hamacha and variation together:

displaced by one .pulse:

12345

12345 X

X

X

X

X

X

X X

X

,ro,

I

Fiue, Ten E TwentY Beat CYcles 3'd Variation:

2nd Variation:

123

123

H

H

H

L

L

L

L

L

L

H

H

H

Variation showingthe two implied downbeats:

12345 H

H

L,

H

H

The same two patterns counted from "the other side:"

1234s Track 28

X

X

X

X

X

Four pulses disPlaced

X

Original

3rd Variation:

2nd Variation:

123

123 H

H

H

H

L

L

L

L

L

H

Variation showing the two implied downbeats:

12345 H

H H

tracK zv

L, H

Qr1

12 Counted in five:

er

QJ

X

X

X

X

X

X

X

X

X X

X

L

H

Fiue, Ten

& Twenty Beat

Cycles

With one.pulse displaced earlier:

1er2Qr3

eJ

X

X

X

X

X

X

X

X

X

X

X

With two pulses displaced earlier:

12er3e, X

X

X

X

QJ

X

X

X

X

X

X

X

',,, With three pulses displaced earlier:

18123 X X

eJ

8J

X

X

X

X

X

X

X

X

X

X

X

X

X

r,,

.ræ'1' Track 30

With four pulses displaced earlier:

1QrzQr3ù X

Jkaptal 12 Din

X

X

X

Na

X

X

X

(Nortk Indian) 2 + 3 + 2 + 3

1

2

3

Din

Din

Na

123

12 Tin

ITACR J1

Na

Din

Din

Na

Backwards(3+z+3+2):

Na

Din

Din

Na

12

123

12

123

Tin

Na

Din

Din

Na

Din

11

Fiae, Ten

& Twenty Beat

Kirti

Cycles

(Decital of Shamgadeua)

910 X

X

X

2

J

X

X

X

X

X

X

X

Againstfive duplets: 1

2

X

X

3

4

X

X

5

Kanleala Kkanda

1

4

5

X

@ecital of skarngadeua)

910 X

X

X

X

'lst Variation:

910

123 H

H

L

L

2nd Variation:

1ù2

4 Tek

Dum Dum Dum

^"À,, VAqAUOq:

'',^

1Qr2

ICR

Ka

4 Tek

Dum

Sarua'i Thaqil 1TACK

(Mid,d,te East, rufieey)

JJ

910 Dum

Tek

Dum Dum

Tek

l

Fiue, Ten

& Twenty Beat

Cycles

I

Aqsaq Sama'i

ftwileey)

910 Track 34

Dum

Tek

Dum

Ka

Tek

Tek

Variation:

910

12 Tek

Dum Dum

Dum

Tek

Dum

Ballean, lra(R t5

Misra lati Jampa TaIa

6outk Ind.ia) (7 + r + 2) trace 5ô

4?r5

Variation:

4er5

1

H

L

L

L

H

L

2'd Variation:

12ù L

4ù L

H

,rr,

Fiue, Ten

& Twenty Beat

Cycles

Twenty Beat Pattern 9 plus 't1 lracR

5

/

çl t /z plus s 1/z)

3487 X

X

ù

1

X

X

Xl

X

X

X

X

X

With ten duplets:

ù

er1

23

xl

X

X

X

X

X

X

X

X

X

Xl

X

X

X

X

X

X

10

6

W ith fiv e q uadr

Track 38

u.p I ets :

er1

234

x,

X

X

X

X

EJ

X

X

X

X

X

X

H

H

X

X

X

X

X

X

X

X

X

2

Variation:

23

Variation with a Samba type feel: Track 39

4ù1 Ll

H

H L

L

H

H L

L

H

H

H

L

L

H L

L

L

L

Twenty Beat Pattern 11 Track 40

plus9(5t/z+41/2)

234 x

X

X

X

X

Q,

1

X

Xl

X

X

X

X

Fiae, Ten

& Twenty Beat Qtcles

Variation with five quadru,plets:

34s

7 .plus 13

(3 1/z plus 6 1/z) against a pulse of five quadru.plets:

1234

3ù

Track 41

Variation:

23Qr1 H

HH

L

QJ

L

H

L

H

H

L

H

H

L

L

H

H

L

L

H

L

H

Sarna'i Tkaqil .played twice against e

2/t

triplets: Track 42

QJ

played once against 6 2/

j

tri.plets:

IJ Pup.t Rnvtuu

Fiue, Ten

& Twenty Beat

'ffi ffiï

Cycles

lhaptal Jhaptal played once against 6

2/j

triplets:

Track 43

Din

X

Na

Din

Din

X

Na

Tin

Din

X

X

X

Na

Din

Na

X

X

ù Tehai pattern played against Jhaptal played twice (this .pattern is not re.peated and ends

on beat 1): 2

Tehai .pattern played against Jha.ptal once:

5 against 4

cownted

in 5

ù X X

X

X

X

X

X

X

X

Seaen

A Fourteen Beat Cycles

TrityA

Decitala of Sharngadeua (India) Track 45

X

X

X

2nd Variation:

1st Variation:

123

123 X

X

X

X

X

X

X

X

Countedot3l/z:

ù

12 X

X

X

X

Rwclt enicA Batkan)

12

12

123

X

X

X

'l'l Variation: L

2nd Variation:

H

H

H

L

L

H

L

4th Variation:

3'd Variation:

H

Track 46

L

H

L

17 Puat Rnvtgu

Seaen

& Fourteen Beat Cltcles -+h,, 5"',VanaUon:

6th Variation:

Rucn Track 47

eH

lca

co

H

H

L

L

unted

b

ackwards

L

:

123

12

12

X

X

X

Ctrtetaorno

H

@alkan)

123

12

12

X

X

X

CAtswtald, pecttala of Sharngadeaa (India) Track 48

X

X

X

X

X

X

X

Countedot3l/z:

12 X

'lst Variation:

H

2nd Variation:

L

L

L

H

H

H

L

H

L

4tn Variation:

3rd Variation:

L

L

H

L

H

H

Seuen & Fout"teen Beat Cycles

Lesnoto

@atlean)

123

12

12

X

X

X

X

'lst Variation:

L

2'd Variation:

H

L

H

H

H

L

L

Rwpak Tal ê + 2 + 2) (North Indian) Tin

Tin

12

12

123 Na

Din

Track 50

Na

Din

Na

Backwards:

Na

123

12

12 Din

Berber

Na

Din

Na

Tin

Tin

(Morocco) Track 51

12345 Dum Dum

Tek Dum

Berber

(Morocco)

Tek

Track 52

12345 Tek

Tek Dum

Tek Dum

'lst Variation: 1

Tek

Ka

teR

Dum

Ka

Tek

Dum

19 Puxt Ruvratut

Seuen

& Fourteen Beat Cycles 2nd Variation:

12

6

Dum

lek

Dum

Tek

Tek

Dum

Tek

Tek

3rd Variation:

12 Dum

Ka

Tek

Ka

Berber (Morocco) lracR 53

234567 Dum

Dum

Tek

Tek

Displaced by two .pulses:

Displaced by one pulse:

123456

1234s67 Tek Dum

Tek Dum

Dum

Tek

Variation:

1234567 Dum

Tek

Dum

Tek

Hand, Claps lracR 54

@erber/Morocco)

34567 X

X

X

X

Dis,placed by one ,pulse:

1234567 X

X

X

X

Tek

Dum

Seuen €t Fourteen Beat Cltcles

I

Combined: Count:

Original One pulse displaced

123 X X

X X

X

X

X

X

'lst Variation:

2nd Variation:

123

4567

H

H

L

tracQ 55

H

H L

L

Track 56

1234567 L

L

H

H

L

L

H

L

H

Variation showing the two im.plied downbeats: lracK

1234567 H

,,],L,,,'

H

L

H

H

H

X

X

dts.placed

Original

tracq 56

1234567

Six pulses

X

X

X X

X X

'lst Variation:

2'd

123

567

H L

H

H L

L

Variation:

1234567 H L

L

H

L

L

H

H

L

H

Variation showing the two implied downbeats:

1234567 H

L

H H

/

H

The same two patterns counted from the "other" side: Count:

5

H

H

L H

21 Punr Rnvtuu

Seaen

E Fourteen Beat Cycles

Dawr Hindi or Nea,ln Nokhat

(Mid.dte East)

1234567 Track 59

Dum

Tek

Ka

Dum

Tek

Ka

Dum

Dum

Variation:

12 Dum

Tek

Displaced by two .pulses:

Dis.placed by six .pulses:

12345

12345 Ka

Tek

Dum

Dum

Tek

Dum

Tek

Tek

Ka

Dum

Fiae plws Nine Z 1/2 plus 4 1/2 against seven du.plets: Track 60

ù

12ù1 i

,

X

X .:txil

X

X

X

X

X

X

X

X

X

X

First Variation:

H,

L

L

L

L

L

L

L

L

L

L

L

L

L

Second Variation:

H

L

H

L

H

H

H

L

:t:tuit::::t:::::t

ll:rlrl:::li.

L1 I

H

H

L

H

L

H

Seuen & Fourteen Beat Cttcles

Variation: eJ

1

X

X

X

X

X

X

X

X

Z 1/2 plus 4 1/2 against Rupak

X

X

X

X

X X

X

Tal:

ù

12QtI X

X

X

X

Tinl

Tin

Na

Din

Na

Din

Na

1

2

3

1

2

1

2

Against Rupak

X

X

X

',X

Tal played twrce:

ù

12ù1 I:în

X

X

,,X Tin

Na

Din

Na' Din

12

12

123

Na

Tin

Tin

Na I

tzJ

Din

Na

Track 61

X

X

X

X

X

Din

12

12

X

X

Na

Rupak Tal playedtwice against a count of seven:

1234 Tin

X

X

X Tin

Na

Din

Na

Din

Na

Tin

Tin

Na

Din

Na

Din

Na

12

12

123

12

12

123

X

X

Nine plws Fiue + 1/2.plus 2 1/2 against seven duplets:

Track 62

ù .X

X

X

X

X

X

X

X

X

X

.lH

L

L

L

L

,.,,H.

L

L

L

L

8J

X

X

X

X

X

12 Variation:

H

L

L

H

L

Or^,

I

Seuen

E Fowrteen Beat Qtcles

Seaen plws Seuen 3 /2 plus 3 1

1

/2

against seven duplets:

Track 63

ù

EJ

X

X

X

X

X

X

:

X

X

X

X

X

X

X

X

X

X

X

X

X

Lesnoto (Balkan, page 19) .played twice against seven duplets:

12345671234 -l

X

X

X

X

t::

X

X

X

14 Beat Cycle: Dawr Rawan Track 64

1 2 Dum

3 4 Tek

Mawlawi

(waate East)

5 6 7 8 9 1011 12 13 teR

Dum Dum Dum

Tek

14

leR

9 10 11 12 ',13 14

14 Beat Cycle: Mwkaiiar Arabi I

racrc o5

4

5 6 7

(Middte East)

8 9 10 11 12 13

14

Seaen €y Fourteen Beat Cycles

Nine plws Fiue 9 plus 5 ç+

t

/z plus 2 1/21 played

three times against fourteen tri.plets:

Variation with triplets phrased 4 + 4 + 4 + 2:

25 Puee Rnvrnu

'[Jniuersal Mother Rhythrn" with the right This pattern can be felt in both four and in three when played ,'roui.d,, feel. It is found throughout the world in various forms, interpretations and tempos:

t f.rl Track 67

uniu

ers

al tWother

triplet and (Tkis ùytkm cannot be notated becawse tke feel is in between a qwadlwplet.)

Second Line I

RhYtlorn

(New orleans)

racR 06

Kekarwa Tal a

lzJ Dha

Ge

X

Debki

Na

North Indian)

12

123 Tin

X

&ebanon)

Na

Ke

Din

X

Na

Uniu ersal

Mother Rhythm

Counted in 8:

'ào

123

Track 69

X

X

X

7

X

X

Pattern re.peated three times against 4 sextuplets:

2 3 4

s 6 7 Bl1

5

Rhytkrnic Modwlation: a feel to 5 feel Countin2ftfeel)

X

X

Track 70

X

X

Basic pattern

X

X

Same .pattern

'.X

,'X'l

X

X

felt in 5

Accents in 5

(This modulation is more about feel than numbers. The "round" quality of the pattern allows it to be felt in both 4 and 5.)

Cwban "Claue" or "Keystone" Rhythrn: X

X

X

Track

X

X

eJ

4

X

X

Same rhythm against four counted in 4:

a2 X X

X

X X

X

X

27 Puar Ravrau

71

Uniuercal Mother Rhythm Rel ated

Yo r ub

a (Ap

al

a)

p

atter

n:

123 X

X

X

X

X

X

X

X

X

Same rhythm against four counted in 4:

ù

a2QI X

X

X

X

X

X

X

X

X

Same rhythm in a tri.plet feel (see Ewe pattern on .page 43 in "Twelve Beat Cycles"):

1a28ra3Ù4a X X

X

X X

X

X X

X X

X

Itine & Eighteen Beat (-qrrl ec Ya,/\, \-! ta./

Gajalila @ecital of sharngadeua - India) also D elt

etorlea

@attean)

1234567 X

X

X

X

Another way to count:

12

12

12

À^a

X

X

X

X

12

12

12

123

X

X

X

X

IZJ

Variation:

Counted in 4

'l

X

/->.

1

2

X

X

e)

X

X

X

Against three triplets:

12 X

X

eJ

X

X X

X

X

X

29 Pune Rcvrr,r,

Nine E Eighteen Beat Cycles Variation:

12 X

X X

X

X

X

X

X

X

X X

ù Vari ati on

Dum

Tek

Dum

ICR

Tek

I et?

L

H

H

L

2nd Variation:

with syllables:

Tek

H

L

H

H

Dum

Dum

Dum

H

H

H

L

Tek

Tek

Tek

H

L

H

L

H

ICR

Tek

H

4th Variation:

3''d Variation:

Dum

Tek

Tek

H

H

H

Variation with one pulse dis'placed:

1ù28r3ù Dum

Tek

Dum

Tek

Tek

Dum

Tek

1234 With three tri.plets:

1er2Qr Dum

X

X

X

With two

,pulses dis'placed and three tri.plets:

1234 Dum

Tek

Tek

X

X

X

Dum

1

'lst Variation:

2nd Variation:

1Qr2

2ù3 Dum Dum

X 1

X

Tek

Dum

X

Dum

Tek

X

Dum

X

Tek

Dum

X

Tek

Nine E Eighteen Beat Cycles With two pulses displaced and added downbeat: Dum

Dum

Dum

Tek

X

X

Tek

X

'lst Variation: Dum

Tek

H

L

Dum

H

L

Tek

leR

Dum

Tek

H

L

H

L

Tek

H

L

Dum

H

Tek

Ka

Tek

teR

Dum

L

H

L

H

L

-+L., 5'," Vanatton:

Dum

Tek

L

L

H

Ka

H

L

Dum

Tek

H

L

Tek

Tek

Tek

H

H

H

L

6th Variation: Dum

Tek

Dum

H

H

H

Tek

Tek

H

L

Tek

4th Variation:

3'd Variation: Dum

Dum

L

Tek

L

H

H

7th Variation: Dum

Tek

H

L

Tek

H

Agtr Aqsaq Dum

H

L

Tek

L

(Middle East) Track 4

Ka

Dum

Tek

Tek

Variation:

tracQ 5

12345 Dum

Tek

Dum

Tek

Dum

Punr Rnvrnu

Nine E Eighteen Beat CYcles Agir Aqsaq backwards:

1234s Dum Mah

teR

Tek

Dum

Tek

Grid of nine variations made by moving the second beat to the left by one pulse thus making it the new downbeat: Count:

12345 Ka

One pulse

Tek

Ka

Dum

Dum

Two

Tek

Ka

Three

Ka

Dum

Four

Dum

5ix

Tek

Eight

lek Dum

F iv

e p I ay

Tek

ed b acLzw ards

Dum Tek

Dum

Ka

Tek

Ka

Dum

I er?

Ka

Dum

Tek

Ka

Dum

Ka

Dum

Tek

Dum

Tek

Tek

Dum

Dum

Dum

Dum

Tek

Tek

Tek Dum

Tek

Seven

Tek

Tek

Tek

Five

Tek

Tek

Tek

Tek

Tek

teR

Tek

Tek

Dum

Tek

Original Dum

Tek

:

1234 Dum

Tek

Ka

i

Meuhm

Bamileke

- Cameroon)

56789

l{ine & Eighteen Beat

Cycles

Counted another way:

Variation: 1

2

3

4

a

X

X

X

X

X

X

X

X

X

X

ù

X

Kotedjuga BeIl Pattern X

X

X

X

X

X

X

X

X

@amana/Malinke

X

X

X

ù

el

8r

?J

X

1ù2arQr4 X 8J

- Mali/Gwinea)

X

Counted another way:

12

ù X

X

X

X

X

Kotedjuga bell combined with other patterns:

23456789

123456789 X

X

X

X

L

L

H

H

X

X

X

L

L

H

X

X

X

X

I

L

H

H

X

X

X

X

L

L

H

L

X

X

X

L

L

H

X

X

X

Bell pattern

\nnohn ô--' --"

X

2nd bell

Kenheni

*r,

Nine & Eighteen Beat CYcles

MODULATION OF PULSE 4 1/2

du.plets against 3 triPlets:

X

X

X

X

X

X

X

X

4 1/2 against 3 triplets with the triplets modulating to quadruplets:

:{ g

ù

e,

a

e

J

a

/t

duolets

3 triplets

X

t'.,2.,

4

4'l

X

X

X

X

X

3 quadruPlets

d

and adding 4 /2 against 3 triplets with the triplets modulating to quadru'plets pattern (page 43): 1

,X

X I

et

X

X

2

o

4'l

X

X

X

X

X

QJ

ù X

X

X X

duolets

3 triplets

3,'

a

/t

Ewe bell

a

3 quadruplets

X

Lwe bell

and adding 4 /2 against 3 tri,ptets with the triplets modulating to quadruplets gattern moving against 4 triPlets: 1

X

X. 1J.,1 e

L

X

X

X

X

X

X

QJ

d

21" H

H

X

QJ

4

H

H

X

4 /Z duplets 1

3 triplets EJ

5

H

X

a

3 quadruPlets

H

Ewe Dell

4 tri.plets

Ewe bell

Nine & Eighteen Beat Cycles

i

Non-metric (feel) rhythmic modulation from 3 sets of tri.plets (nine beat cycle) to 3 sets of quintuplets (fifteen beat cycle). The L (low) to H (high) shifts feel slightly to accommodate the metric shift from three to five: Track

2

1

Count

3

L'r

H,

L

H

L

H

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