9 over 7

[tnsolt]

match i dont know if u were asking me or brad so i'll try to explain it. r= right hand (or one voice) l=left hand (or a second voice)
B = both hands together on beat 1
2=r
e of 2=l
3=r
+ of 3=l
4=r
a of 4=l
5=just r

[Klemme]

Wow! thanks alot for those exercises/methods to break em down!

Gonna print em out and take em to my teacher next week! [img]graemlins/thumbs_up.gif[/img] [img]graemlins/beer.gif[/img]

[Henry II]

Originally posted by Vdrummer:
Hey, I redid the lesson. I misread one of the steps and divided one of the three's into nontuplets (nines). Here it is as 9 over 7, rather than 27 over 7. Enjoy!

Brad

http://homepage.mac.com/polyostinato/

<font size="2" face="Verdana, Helvetica, sans-serif">I don't understand what you need the steps for. In the end you have 9 and 7 taking up the exact same time. What do the steps add?

[Vdrummer]

Hey, I redid the lesson. I misread one of the steps and divided one of the three's into nontuplets (nines). Here it is as 9 over 7, rather than 27 over 7. Enjoy!

Brad

http://homepage.mac.com/polyostinato/

[got_a_matchgrip]

2 Cool.

[BTW:] Thx V [awa dbx].
Looking at the notation is def better than having to read it worded out...gotta love that PC music-SW, so nice, neat, clean, concise, even, & easily legible.
I have CWPA9 but, as SM stated, i have yet to explore the possibilities. I "procrastinate" this way; still do it the "old cro-magnon way," on staff paper ;-). But i am prompted here to get off my duff & explore it...

Nice, dbx. Like that you put the sticking in there...

HA ha, cj.

Funny the mention of "Blown Fuse."
That is close to the idea of my changing from the old screenname to the new ;-p
I need to get this recording on merit of your "accomodation" ;-)...interesting moreso, now that you tell the story of how a certain section or motif came about. Any more info [perhaps when you get the chance] on how to get this recordg, Stv? Who is the band [or is it also David Hines]? I think you may have stated in an initial post...I'll do a search.

& thx for your in depth replies, SM. [img]cool.gif[/img]

<font color="#a62a2a" size="1">[ July 06, 2005 01:31 PM: Message edited by: got_a_match_grip? ]</font>

[Vdrummer]

I redid the 5:4 thing. There's a short groove using a simple metric modulation that you may find interesting. Fun with math....

http://homepage.mac.com/polyostinato/

[Michaud]

Thanks Brad (V-Drummer) for transcribing the lesson. You did a great job! Everything is there.

There are two things I would add. If you have the time, maybe you could put this up too?

After the third line (which shows the rests between the 3 over 7 rhythm), I would add a fourth line that has the same rhythm re-notated as 3 quarter notes with brackets that have the following numerical scheme--3:7.

After THAT line I would add another line that has three triplet groupings, each bracketed with the following numerical scheme--3:2. Then I would have ANOTHER bracket over the entire phrase designated with the numerical scheme of 3:7.

In the last line where you have the nine quarters designated with the bracketed number 9, I would change that to 9:7, showing that it is 9 quarters in the time of 7. [Note: the colon ( [img]smile.gif[/img] means "in the space of"]

One might ask, "Why add these steps if you are simply repeating the rhythm?" My answer is that the one mastering this rhythm needs to reorient his internal clock to perceive the 3 over 7 WITHOUT the intervening partials. The reason for this is simple: The last step of subdividing the 3 over 7 into triplets places entirely different subdivisions in between the 3 over 7 pulse than step 2 and 3. Seeing the rhythm as a 3 over 7 without intervening rests will aid the student to free himself from the "shackles" of the bondage of eighth note triplet subdivisions.

A note to everyone: my analogy of this method is that each step is like the scaffolding to a building. Once the scaffolding has served is purpose, it is dropped, leaving you with a beautiful building of 9 over 7.

Another note to "low-roaders" (see earlier post): don't "bury the click" on the sixth note of the 9! ;0)

Have Fun!

Steve Michaud

[Vdrummer]

I had posted an earlier version that wasn't 9 over 7, but was 27 over 7. Like I said it was after 4 am, I'd misread the original post and screwed it up. I thought each of the three's was supposed to be divided into nines rather than threes. I've fixed it now and simplified it a little in version 3.

I'm using Finale for these.

Brad

[Vdrummer]

Henry,

I think Steve was trying to show how to decipher a complex polyrhythm like 9:7 by separating the process into distinct steps, if that's what you're asking.

[Vdrummer]

Hi Steve,

No problem. I amended it and posted it. I'd used the ratio to indicate the "in the space of" on 5 Over 4 lesson, and agree that it helps make everything clearer. Enjoy all,

Brad

http://homepage.mac.com/polyostinato/