I felt that a lot of us had come beyond the bare rudiments stuff and were maybe looking for something a bit more challenging and, more importantly, something to get the creative juices flowing. A method for the brain more than the muscles in our limbs. So what is a Rhythmic Illusion? Have you ever been listening to the radio, changed stations and tuned into a song that sounded as if it had a fantastically unusual rhythm, only to discover moments later, in reality, you had simply misinterpreted something quite straightforward? Chances are, you were rhythmically illuded.
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First, the musical ground would gradually, or suddenly, slide from beneath my feet. Since then the delicious feeling has cropped up in my jazz and ethnic music listening but I never really understood, until Gavin Harrison came along, the nuts and bolts of Displacement and Modulation first met Gavin through his fascinating and mind bending series of articles for the U.
He has managed to distil the essence of, and codified the laws of, what I think is generally considered the next big development in kit drumming, namely the ability to move at will through several meters, whose relation to the basic pulse may be Displaced,or Modulated.
It all sounds more painful than it really is. Bill Bruford. However, do feel that a basic understanding of the relationship between rhythm and maths is an invaluable asset to the creative musician, and it will be necessary at times, for the sake of study, to delve into some maths at certain points during the book. Yes, it happens to all of us sooner or later. Thope this book will help to ease you out of that rut, and maybe inspire you to explore some new rhythmic compositions by using these concepts and methods as a launch pad for your own creativity.
Chances are, you were rhythmically illuded, Years of exposure to radio, television and pop music, conditions people into an acceptance of what rhythm is and a perception of where they hear a downbeat. Asa generalisation, people assume that a bass drum is going to fall on the downbeat and that there will be some kind of accompanying offbeat or backbeat usually a snare drum or hand claps ete.
You naturally come to expect these things as standard. I came up with the idea of having two different states of mind to mentally view and understand both sides of an illusion, ASTATUS This is where your mind should be when playing an illusion.
The subdivision indicates to the drummer what kind of feel the music is going to have. Displacement can often sound as if your pattern has lost or gained an extra beat. And, in fact, this is exactly how it should sound to the listener [3 the B Status , but to successfully complete the illusion, I would recommend that your mind stay in the A Status and simply make the adjustment to play the pattern out of place. So Modulation is like taking a rhythm that is in a different tempo and superimposing it over the tempo you are currently playing in.
Once imposed the pattern must be adhered to rigidly, even though it may go across the bar lines and against the grain of the rhythm. They should become much more obvious when you begin working with the exercises and listening to the CD. Furthermore, this method also becomes good training for anyone who wants to do recording sessions.
If not as a session drummer maybe a tape operator! It will still be the same pattem in terms of note order and structure, but it will be moved to a different starting place in the bar. Note how the metronome clicks appear to be in a different place now. E [Ex. Try this one at about 80 bpm.
Practice these and then take some of your own pattems and try displacing them. Note; even though there are two versions of the A Status shown here. SAQ t se aad leh va ere Ex. It may appear to sound like a tempo change see Related Tempo but itis in fact just a different way of grouping the subdivisions.
Box so. Note; On the CD you will occasionally find these examples repeated, s 7 a chanc: context, I felt this helped keep your head in the A Status as well as givin hear them in more interesti 3 Bes ee ee ae ee Ex. The same as the opening of the CD. Once imposed the pattem must be adhered to rigidly, even though it may g0 : across the bar lines and against the grain of the rhythm.
Here are a few of my hi-hat formulae. You should try the same thing t It will also make your bass player happier! This next example may seem a little strange but what the illuded listener will actually hear is a very simple, downbeavbackbeat rhythm, only slower g 2 eo. Continuity Note; You can hear EX. For instance, Example 42 which is basically bar one of Example 41 and Example 43 bars six and seven of Example It does, however, illustrate that by using these methods and thearies you can really kick open a few creative doors.
Sometimes you will see swing written like EX. Play the Master Teraplate continuously and then just add the bass drum patterns from tbe following exercises.
This is to try to make it stand out a little more. Which one do you feel the strongest leaning towards? They should also seek professional medical help immediately! Which is a big difference from the Displacement Type 1 Chapter Remember Exampl: 81 are, of course, derivatives of Example 73, but with each one beginning Interestingly enough, each new displacement gives us a new sounding pattern which, in context, would be quite hard to recognise as simply a displaced version of Example Because Example 73 is not a regular patter, its powers of illusion are not as potent when it appears at a new place in the bar Personally, found all this very useful fo rhythm, For instance, would probably never have thought of playing Example 78 had I rot worked my way through these displacements first, Because of the way the snare drum backbeats divide up the bar so differently in each displacement, I feel each example as a expanding my vocabulary of this type of comple For anyone sufficiently curious, here isa list of the amount of displacement applied to each of the above e: EX.
Having two different tom tom voicings, some 32nd notes and open hi-hats, this is a little more involved than the last rhythm - and it all adds up to some tricky manoeuvring when we start displacing. Th are similar in that they can both be connected A Status to B Status via a specific subdivision When playing a pattern in a certain tempo, it is possible to move up or down dare I say modulate?
The B Status becomes the new tempo. Set the ever faithful click to bpm just for a count in and then turn it off. Because the hi-hat is already playing 6th notes you are only going to have to change the bass drum and snare drum spacing.
Bar7 to bar 8: the small 16th notes in bar 7 are the same as the 8th note triplets in bar 8 Bar 8 to bar 9: the hi-hat line stays atthe same speed, If you tum the metronome back on atthe end of the exercise, the tempo should be exactly the same as the beginning!
Well, have a few runs through both and everything should become clearer. Note that in Example 93 you will occasionally see some dotted lines running through the middle of a bar. This is simply 10 illustrate a new pattern beginning at a place other than the start of a bar. J asin this next example. They are often overlooked and some of the more odd subdivisions 5, 7, 10, 11, etc. Example 95 s the most basic scale subdivisions over one. As a practice suggestion, try playing each bar several times until you feel completely comfortable with it.
They both produce the same sound of course, but one is 7 over 4 EX. Try it at your next gig. Christmas Day Funny the effect Christmas can have on you some years. Notice where the click 7 moves to when we view it in the B Status, In Example10SB the click is clearly marking out 3 over 5. It shows us that in one way or another, all the concepts in this bbook are strangely interlinked.
There are two reasons for this: 1 because it was the quickest way to resolve the illusion in the smallest amount of bars without using time signature changes, and 2 because it was the easiest way to show how the B Status relates bar to bar to the A Status, re uw i Of course, a much more realistic way of hearing Example in the B Status would be thi ] Ex.
Enter herds of angry drummers demanding a refund on a B Status technicality! Master Ex. In other words, the sticking becomes inverted s oa Se Note; you may want to try voicing the exercises between a hand and a foot or between both feet if you are a doublebass drum player. Experiment with the pattems and sec what you can come up with. We have here a list of Patterns Types recognisable grooves and a list of subdivisions, The Pattern Types are made up of two equal groupings of notes.
There is a bass drum downbeat at the beginning of each first group, and a snare dram backbeat atthe start of teach second group. They are only meant to b groupings. So far so good. Next, without stopping, play the 8 Pattem Type still singing the triplet subdivision to yourself.
Rhythmic Illusions [With CD]
The author makes the transition from mathematics. Download Gavin Harrison Rhythmic Illusions with disk for free without registration A formula is a illusoins made up of a series of notes and rests that is applied to any subdivision. Refresh and try again. A method for the brain more than the muscles in our limbs. Account Options Sign in. Chapter3 Displacement Type 1. To see what your friends thought of this book, please sign up.
Gavin Harrison - Rhythmic Illusions
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