Mon, 2018-04-16 10:00 to 14:30
Anita Cooke's house
10-11 Ray -- how to write rhythms for melody
- hewing close to genre
- small step away: i.e. use of nylon brushes with taiko
- mimicing the rhythm of the melodic phrase
most of the flute melodies end on "4" (a few on "3"?)
16th-notes in counts 2 and 3
- quickly repeating vs longer phrases
should rhythm loop over the same length as melody? or should it be twice as long?
- what are "somber" rhythms?
low, long tones (mix of tone lengths is compelling)
gagaku "messy" hits
- use of tone groups
- matching the "social" structure of the piece to the "emotional" feel of the melodies
a somber piece can be more ceremonial, with individuals doing "what they're supposed to"
an upbeat piece should let individuals be free and encourage interaction (trading solos, etc)
11-12 Keith -- deciphering odd meters
- using graph paper to notate hits with pauses
- 16th-note, 8th-note, and quarter-note metronomes are increasingly challenging
because in odd-meter, 8th-note and quarter-notes become offset from the start of the odd-meter pattern
- sticking options to explore
main hits only
main hits with 8th-note ghost notes
main hits with 16th-note ghost notes
13-14 Anita, Carol, Jean, Keith -- advanced techniques
- 1eau Drill for "covering all bases"
16 options; tackle one at a time
eventually combine them to find weakest point
very thorough but don't let it turn into a drag. Keep practice fun!
- smash roll
step 1) understanding the physical motion of the technique
step 2) playing it "within the bar": jamming to music and discovering the fun uses