Revealing Simultaneous Relationship in Time

[Mark Levine]

Hey Deseipel,

Here is the 6/8 meter file you asked for. See attachment Six Eight meter .

I will answer your other questions in another post. I have to get back to work. I am in the finally editing stages of six ebooks
for rhythmschool.com.

It getting busy around here. To every man an answer. I am doing the best i can, but unfortunately, it is very difficult to answer multiple posts with detailed answers. Some people are mentioning awesome drummers as the definitive source for this and that.

In my opinion, brilliant mastery in an artistic playing performance being heard/seen and felt, does not mean that drumming masters are brilliant, in the artistic notation found in books and pdfs, and i am not referring to the colors used on those files. Here is a musical notation example to consider:

If i was to ask this question to every drummer in the industry who publishes, "in your music do you play Rhythmic Phrases"?
I believe everyone would answer "yes" to that question. In published interviews, the answer is always "yes".
They play phrases and talk about phrases.

Question: Do you ever see a Phrase Mark in any of their books and pdfs, to identify those Phrases being played heard and felt. A Phrase Mark, identifies a sequence of notes as a unified idea, a complete musical expression of shape and form. Without a phrase mark, all we have is a sequence of rambling notes without any shape or form.

In my opinion, the artistic performance of brilliant phrases being played and heard, should have a corresponding notation of those phrases with phrase marks being seen. In the books mentioned (and not mentioned), where are they?

[deseipel]

cool, I never really meant to say it wasn't possible, I just disagree with calling it 5:2. 5 over 6 = yes.

[Mark Levine]

Hey Deseipel.

Thanks for checking it out. I could have put a bracket over the whole thing 5:6:2 - a green colored 2 to show the 5 and 6 are evenly spaced in the time of 2. That would look cool, and also revealing its underlying numerical code.

In my opinion, in calling it 5:6, only makes sense to the ear, if those 6 attacks are heard. If you play 5:6, over 2 pules, and then ask the listener, DID YOU HEAR 5:6 OR 5:2, will they say 6 or 2?
What is heard and revealed determines for me how i notate ratios.

5:2, 5:6, 5:6:2, or 5:30:6:2, or acknowledging the divisions and subdivisions of 5, 6, and 2. All those relationships exist simultaneously and are in the time of each other.

You can divide the "5" into duplets, triplets, quadruplets, or the "6" into duplets, triplets, quads, and play motifs or shorter rhythmic patterns between the hands and feet. Using all kinds of note notations and metric modulations of metronome's pulse.
That concept can be developed within any number ratio in any meter. For the few that are inspired to go there and do it, they will find the practical applications for it. The Experts, the ideologues will argue, but the innovative drumming visionaries of the up and coming generations can hear what i am saying. Think of Mr. Steve Jobs as a drummer.

Back to editing ebooks. All the best.

[DeeP_FRieD]

5:6 contains 5:2 and 5:3 in it.

Everything on these pages is correct. The meter is irrelevant. It's all about the relationship between the imposed rhythm over the pulse. You could pull this type of thing over dotted eigthnotes and still notate it as 5:2.

[matthughen]

[Mark Levine]

Hey DeeP_FRIeD,

Thank you for taking the time to write your post.

Very much appreciated,

Mark

[Mark Levine]

Hey Matt,

Instead of posting that file, How about you composing a 5 stroke roll on straight 8th notes in 4/4 meter. Then explain the simultaneous polymeter, and polyrhythmic speed ratio between the accent and metronome's pulse. By the way, the file you posted doesn't have Phrase Marks.

Lets see this brilliant rhythmic vision with a roll stroke that you have to offer.

[Jim Richman]

Hey Matt,

Instead of posting that file, How about you composing a 5 stroke roll on straight 8th notes in 4/4 meter. Then explain the simultaneous polymeter, and polyrhythmic speed ratio between the accent and metronome's pulse. By the way, the file you posted doesn't have Phrase Marks.

Lets see this brilliant rhythmic vision with a roll stroke that you have to offer.

Hey Mark, Matt's post is funny.... The main issue is that you talk a lot and play zero.

Play this RRLLR--- Count this 1&2&3&4& Then with your feet play 7 over it(or under it) with 11-tuplet subdivsions over 3 of the 7's, resolving in 3 measures. Making a fast 77:21 against the three eighth note 5 stroke rolls.

[matthughen]

Hey Matt,

Instead of posting that file, How about you composing a 5 stroke roll on straight 8th notes in 4/4 meter. Then explain the simultaneous polymeter, and polyrhythmic speed ratio between the accent and metronome's pulse. By the way, the file you posted doesn't have Phrase Marks.

Lets see this brilliant rhythmic vision with a roll stroke that you have to offer.

That's how I count off Stella Starlight!



A sense of humor will go a long way on teh internets!

[Mark Levine]

Hey Jim,

You know nothing about me, but you verbalize assumptions about me.