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OT: questions answered about the BASIC ONE BEAT SYNCOPATION explanation
Basic One Beat Syncopation system:
about this sentence that Rick wrote:
> Audibly, this pattern has a DOUBLE followed by a TRIPLE followed by a
> SINGLE note audible grouping.
Claude Voit asked these question:
"I can follow till here but you did omit some explanations about "DOUBLES"
and TRIPLES" and "SINGLES" ????"
Forgive me, but I actually haven't posted this discussion yet but will
Some of this that I"m going to
post will be me gathering my thoughts. I decided that I'd test it all
on you guys
in written form (to get this kind of excellent and intelligent feedback)
before I ever
codify it into a book.
I have taught this system to roughly 2,500 people, including around 500
but I have never written it down. I'm using you guys as guinea pigs (as
long as it doesn't bug
anyone) and I really appreciate thorough questions about it.
I know from much experience backing many different musicians from all over
the earth and
teaching drummers/percussionists/bass players and other musicians that it
but the trick is to get it so that it makes very simple sense by just
Claude also said:
"without some more all the minimum 2 beat justification doesn't make sense
because if I have a strong feel of the beat I have no problem separating N
from N or whatever other combination......................why if I clearly
know where the beat is ?"
You are correct here, but frequently we encounter improvisational
where someone is
playing a very complex rhythm without conveniently adding the downbeats.
Just to get the feel of why I have used two beat groupings rather than
the one beat rhythms
try playing these two rhythms back to back AD and DA sound very
different from one another
even if you do have a quarter note to reference them.
X * * * * * * X * * * * * * * *
A D P P
* * * X X * * * * * * * * * * *
D A P P
They sound really different and I have found that beginning to
musicians have a hard time distinguishing
them unless they practice this system in the two beat syncopation mode.
Also, the first example plays an 'ON' beat and ends, audibly on an 'OFF'
beat which leaves it unresolved
in terms of how our nervous systems feel different beats
whereas the second begins on an 'OFF' beat and immediately resolves to an
This is a an important and seminal discussion that I will also post in a
chapter at some point.
In a book, this chapter would precede the BASIC ONE BEAT SYNCOPATION
I apologize that some of these postings are out of order but I'm just
letting myself do this
loosely and letting it fall together.
"PS: I'm asking those details because I was there in Zurich enjoying all
brilliant clapping you made us go thru and I suspect there is a little
to it :=)"
Most definitely Claude and I"m really glad you asked these questions. In
the long run
this whole system has got to hold water if it's going to have universal
and I really appreciate the scrutiny that you give it. It's a big help.
There's a lot more to come but I"m also really hella busy getting ready
NAMM and some upcoming shows.
I"m accompanying two Japanese shamisen masters in Japantown in San
in a couple of weeks
and also performing with my new project nO thiN -g at the Anno Domini
Gallery............all this the week before NAMM
so I'm going to be a busy beaver.
Happy New Year, Rick