Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
|
|
12-beat Polyrhythm
|
You are logged in as Guest
|
Users viewing this topic: none
|
|
Login | |
|
Ricardo
Posts: 14845
Joined: Dec. 14 2004
From: Washington DC
|
RE: 12-beat Polyrhythm (in reply to Skai)
|
|
|
Of course the guitar can move around all over the place w/ synchopation, and the pattern you keep writing is 12 x's long, but in bulerias, you can often have only 6 x's. But the palmas have a different thing to do, and palmas and guitar don't accent the same way. Poly rhythms happen simultaneously, but what you are describing w/ your x's are different feels happening one after the other. You can represent the change of feel by changing your time signature. If you understood compound meter better (3/4, 6/8, 12/8) you could see how all your different patterns you wrote, are interchangeable in any kind of music. The first pattern you wrote XxxXxx XxXxXx is two bars long, or 6/8, followed by 3/4. The second you wrote XxxXxx XxxXxx is either two bars of 6/8 or a bar of 12/8. The third pattern you wrote XxXxXx XxXxXx, is two bars of 3/4 or a bar of 6/4. The thing you are probably not understanding is that, bulerias does not have to be 12 x's long. The guitar actually moves through phrases of 6, and they are allowed to be odd, though if there are 2 phrases back to back, it may appear as though it is a 12 beat phrase. Notice how I space the accent patterns into two halves. One half is the fundamental. Poly rhythm occurs if the two halves of different accent patterns happen on top of each other, filling in any gaps or doubling up on accents. Palmas + guitar creates polyrhythm. Ricardo
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Jan. 2 2005 20:08:09
|
|
Ricardo
Posts: 14845
Joined: Dec. 14 2004
From: Washington DC
|
RE: 12-beat Polyrhythm (in reply to Skai)
|
|
|
Using the clock is a good tool for learning, but is misleading for bulerias. You would have to think of it as 6 on top AND on the bottom. So 3 o'clock and 9 o'clock are the same, it doesn't matter which side you are on. I guess the 12 hour clock works fine for Solea most of the time. Siguiriyas works mathematically, but again you are mislead interms of phrasing, depending on how you use the clock. Alegrias, Solea por Bulerias, and Guajiras would work w/ the clock as well, but they all have different palmas than Bulerias. Also the guitar plays and moves chords a little differently in bulerias than the others. I say learn how to play some fundamental compas and simple falsetas first, worry about counting later. Also, if the guitar is changing accents/feel, the palmas don't have to change, the rhythm keeps moving. Likewise if there are two palmeros doubling up and doing counter time or straight 16th notes (taka taka taka...) the guitar does not have to do anything special. That is the freedom of improvisation in flamenco. But when there is a remate everyone should feel it and stop. Poly rhythm can apply to any rhythmic music, but bulerias makes a special use of it by constantly changing feels and juxtaposing accents. The first example on the page you linked to, is as the text describes, a pulgar/index excercise (not picado). The "Picado" header is a bit misleading, but all the excercises after that first one are deffinantly picado excercises. Ricardo
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Jan. 6 2005 8:22:26
|
|
Ron.M
Posts: 7051
Joined: Jul. 7 2003
From: Scotland
|
RE: 12-beat Polyrhythm (in reply to Skai)
|
|
|
Hi Skai, The 12 beat "compás clock" doesn't actually exist, in the same way that atoms aren't really little balls orbiting a bigger ball with smaller balls inside. Thats only a lot of balls ( ), but does give an initial visualization of what's going on. Although it's not accurate, it can act as a learning aid up to a point, thereafter the model will not hold and eventually become a hindrance to further understanding. My advice would be to not get too analytical about it at this stage. Remember, your goal is to be able to play the rhythm, not necessarily be able to give a discourse on it! If using the standard 12 beat clock helps you get to a higher level, then fine. It's just that it won't answer all the "irregularities" that you will come across. I don't know of any single method or "formula" that does. In one of Don Pohren's books, he mentions explaining to a Gitano guitarist that Soleares had 12 beats and the guy was amazed, playing all the Soleares falsetas he knew and counting them out and being highly amused and entertained that they had 12 or a multiple of 12 beats! Up until then he'd simply just played and accompanied unaware of that "useful" fact. So there you go! cheers Ron
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Jan. 6 2005 8:39:06
|
|
New Messages |
No New Messages |
Hot Topic w/ New Messages |
Hot Topic w/o New Messages |
Locked w/ New Messages |
Locked w/o New Messages |
|
Post New Thread
Reply to Message
Post New Poll
Submit Vote
Delete My Own Post
Delete My Own Thread
Rate Posts
|
|
|
Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET |
6.445313E-02 secs.
|