Drumming cycles on the edge of the extreme

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Drumming cycles on the edge of the extreme

Postby MSL567 » Tue Nov 01, 2011 11:37 pm

I believe the scales and arpeggios of drumming should be connected to the actual components of music: as musical motifs (or shorter rhythmic patterns), within longer phrases (phrase marks), crossing barlines, and all related to different note notations of pulse. (speed relationships).

I hear, (in one mans opinion), this is what actually occurs when awesome brilliant drummers are on fire, inspired, and improvising, and using for example a motif, a roll stroke.

The notation of the cycles is with single and double stroke rolls, and meant to be played with your hands, but the cycles also can be played with your feet.

All cycles can be played to different note notations of pulse. You will always know where the metronome pulse is in relation to the rhythm you are playing. Cycles that have two or more note notations of pulse, means you can practice metric modulations, and alter the speed of the rhythm your playing from different points in time.

The rhythmic patterns are not written as hand to foot coordination, but using your creativity, you can voice the cycles around a drum kit.

Any right or left hand can be played by your right or left foot, including unisons, for example: a right or left hand cymbal crash and your right foot together, or a pedal hi hat struck with a left or right hand while opened, and in unison with your kick drum, your right foot. Your foot can play on a pulse that’s lands between two notes, in the middle of a rhythm, a time division such as a triplet or quintuplet.

You can substitute your own sticking if you choose.

The upper case R and L is the first/primary attack (of the double stroke). The lower case r and l are the rebounds/secondary attack. These notes are not to be played softer than primary attacks. All doubles should be played evenly, with the same quality of attack.

The purpose of these files is not to play them for hours trying to memorize them. Ideas such as these come from an inspired musical context. A moment in time, which causes a spontaneous reaction to what is being heard and felt. I am amazed at the ability and depth of understanding, great artists have in hearing and feeling at such a scary level.

If you are interested . . . . .

https://sites.google.com/site/polyrhythmschoolcom/ .

I synthesize number groupings with speed relationships and relate it all to pulse. I am a code writer.
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Drumming cycles on the edge of the extreme

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