Revealing the Numerical Code of a Vinnie type rhythm

[deseipel]

do it on noteflight.com


I got this far and then listened to it.

http://www.noteflight.com/scores/view/c ... eb5a5e25f7

[Clint Hopkins]

I got this:

http://www.noteflight.com/scores/view/3 ... 0f47caa692

Let me know if it doesn't show.

[matthughen]

That cleared up everything!

[Josiah]

You should really get the book 'Illusions in Rhythm for Drumset' by Osami Mizuno and VInnie Colaiuta, also 'The UnReel Drum Book' by Mark Atkison. Both are directly designed to explain how and what Vinnie does with his uncanny ability to manipulate time.

It's all laid out in very easy to understand concepts and exercises. This whole 'numerical code' thing is ridiculously over complicated and contrived, it makes some very simple concepts overly complicated and will make moving to the actually complicated levels of time manipulation nearly impossible.

[Rhythmatist]

You should really get the book 'Illusions in Rhythm for Drumset' by Osami Mizuno and VInnie Colaiuta, also 'The UnReel Drum Book' by Mark Atkison. Both are directly designed to explain how and what Vinnie does with his uncanny ability to manipulate time.

It's all laid out in very easy to understand concepts and exercises. This whole 'numerical code' thing is ridiculously over complicated and contrived, it makes some very simple concepts overly complicated and will make moving to the actually complicated levels of time manipulation nearly impossible.

Agreed. I was listening to Jing Chi live on the way to a gig yesterday and it struck me that he's simply hearing this stuff in his head (esp. listen to "Going Nowhere")...it's feel (and lot's of talent and experience).

I suppose it doesn't matter what method someone uses to analyze as long as one understands it. I just think it needs to be simple. It's also very important when looking at "manipulated" time that the pulse remain prevalent. I got into a lot of trouble in college working with the Magadini approach to polyrhythms because I didn't understand the importance of simply being able to feel the pulse and where the polyrhythm sits on top of it. Looking at the type of rhythmic figures in question require the same...simply (easier said than done) feeling it over the pulse. Analysis of these things can only be effective as a learning tool if it can be applied to concepts and exercises as Josiah mentioned above and to have a musical end result.

[Mark Levine]

The other post has kept me so busy, i have not had the time to respond to comments made over here.

The delay in hearing from me is not intentional, or meant as disrespect to what other's say.

[Jim Richman]

This whole 'numerical code' thing is ridiculously over complicated and contrived, it makes some very simple concepts overly complicated and will make moving to the actually complicated levels of time manipulation nearly impossible.

Yes, it's a case of being too technical. There is a time to play music that people understand, just like public speaking. How far out do you want to go? No one understands, and no one cares. Play some music, that is all I ask and want. Playing 6 over five is no big deal. Orchestra's do this all the time. It's called NOTES. You have a melodic phrase of 6 beats/notes that you need to squeeze in 5 notes space. Just do it. You do not need to play a rate of 30 beats and rest some out. Just do it. If you are transcribing sounds from nature like birds or popping popcorn, sure, it will be very complicated. But just making stuff up based on equations is not music. Show a musical example. Pull out a Stravinski riff.

[matthughen]

Paradiddle cat gets it!