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Polyrhythmic Metronome Studies


The Polyrhythmic Metronome studies were created on a sequencer designed by David Wessel using MaxMSP.
The sounds used in the sequencer are from sampled
African log drums and Englehart bells.

1. Study in 12/8 with Polyrhythmic Metronome
2.
Study in 12/8 with Polyrhythmic Metronome and drums
3. Study in 12/8 with Polyrhythmic Metronome and guitars
4. Study in 12/8 with Polyrhythmic Metronome,
drums, and guitars

5. Study in 12/8 with drums and guitars only
6. Study in 12/8 with guitars only 
7.
Study in 10/8 with Basic Metronome
8. Study in 10/8  with Polyrhythmic Metronome and guitars
9. Study in 10/8  with guitars only


These rhythm cyles are designed to be used like a metronome
with polyrhythms implied within the cycles.
Any of the 12 pulses in a 12/8 cycle can be perceived as
the downbeat. The different down beats can be supported by
melodic/rhythmic patterns played over the cycle. The same
is true for any of the many different time signatures
in the Polyrhythmic Metronome series.

The examples here demonstrate a single down beat
in 12/8 and 10/8 respectively. In each time signature
the guitars bring out three different rhythms which are hidden within the examples.

These three different rhythms have different starting points
and occupy three different areas within the cycles, thus
allowing for an uncluttered polyrhythmic event to take place.

Julian Lage is the guitarist on the 12/8 and 10/8 examples, the and on the 12/8 track I supplied the drumset.
The Polyrhythmic Metronome can be used by drummers and
players of melodic instruments (drums can be melodic too).

To further understand this just listen to the examples above.

 
 

 

The rhythms below are derived from the hexagrams that
are part of the ancient
Chinese philosophical system, the
I Ching, or Book of Changes. The headless notes are in
perfect
balance with the headed notes and the measures can be played
in many different ways. Consider each measure a study in
itself and use it as a template for further invention.

 

 

To download and print four pages of the
I Ching Rhythm Study
click below.


I Ching Rhythm Study 12/8 No.2
(headless, logical order)  page 1


I Ching Rhythm Study
12/8 No.2
(headless, logical order)  page 2

I Ching Rhythm Study
12/8 No.2
(headless, logical order)  page 3


I Ching Rhythm Study
12/8 No.2
(headless, logical order)  page 4

 
 
 
ADOWA

The rhythms below are based on a bell rhythm from the piece Adowa
West African (as taught to me by Kwaku Dadey).
This marvelous rhythm, written here in 6/4 time,
(see measure 11 below),
has the vocal sound: Kré Kré Ki-té, Kré Ki-té.



Measure 11

The following rhythms were written by subtracting-from and adding-to this primary rhythm. One way to use the flow sheet is to practice each rhythm separately and then combine
them for more complexity.

For example:
Start with the 6/4 rhythm until you are completely comfortable with it and then combine it with the 3/8 rhythm to create a
new rhythm:

6/4+3/8 = 7.5/4 or (15/8).

Eventually play all of the rhythms with the
3/8 attached at the end.
Then experiment using the 3/8 rhythm in the middle of two rhythms:

6/4+3/8+4.5/4. And so on...



rhythm sheet
 
drawing of treesdrawing of treesdrawing of trees  
Trees by Lucy Marsh  



E-mail address: marshdrummusic@
sbcglobal.net

 

 
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