You're just kidding yourself if you thought I could resist the chance to add a bit of percussion to this wonderful song by Osckilo & Launched. I used Paiste Sound Discs to create a 3vs.4 polyrhythm against the delightful underlying 4/4 Spanish…
You're just kidding yourself if you thought I could resist the chance to add a bit of percussion to this wonderful song by Osckilo & Launched. I used Paiste Sound Discs to create a 3vs.4 polyrhythm against the delightful underlying 4/4 Spanish…
You're just kidding yourself if you thought I could resist the chance to add a bit of percussion to this wonderful song by Osckilo & Launched. I used Paiste Sound Discs to create a 3vs.4 polyrhythm against the delightful underlying 4/4 Spanish…
Norm, you are the freakin' coolest! This tune meant a lot to me and now it's on a pedestal. T is gonna love this when he hears it!
Thanks, bro - Perfectly done.
You're just kidding yourself if you thought I could resist the chance to add a bit of percussion to this wonderful song by Osckilo & Launched. I used Paiste Sound Discs to create a 3vs.4 polyrhythm against the delightful underlying 4/4 Spanish…
You're just kidding yourself if you thought I could resist the chance to add a bit of percussion to this wonderful song by Osckilo & Launched. I used Paiste Sound Discs to create a 3vs.4 polyrhythm against the delightful underlying 4/4 Spanish…
Abakua refers to a secret, Afro-Cuban, male society of percussionists - as I understand it, one had to be initiated into this society before they would be taught how to play percussion in their style. One of their hallmarks is to impose what I…
Abakua refers to a secret, Afro-Cuban, male society of percussionists - as I understand it, one had to be initiated into this society before they would be taught how to play percussion in their style. One of their hallmarks is to impose what I…
Improvisation on congas and very fragile, clay Moroccan bongos (which my brother found for me from an African display at some zoo!). These bongos are basically clay pots with permanent, very thin goat skins stretched over the top - they can not…
Abakua refers to a secret, Afro-Cuban, male society of percussionists - as I understand it, one had to be initiated into this society before they would be taught how to play percussion in their style. One of their hallmarks is to impose what I…
Abakua refers to a secret, Afro-Cuban, male society of percussionists - as I understand it, one had to be initiated into this society before they would be taught how to play percussion in their style. One of their hallmarks is to impose what I…
Abakua refers to a secret, Afro-Cuban, male society of percussionists - as I understand it, one had to be initiated into this society before they would be taught how to play percussion in their style. One of their hallmarks is to impose what I…
Abakua refers to a secret, Afro-Cuban, male society of percussionists - as I understand it, one had to be initiated into this society before they would be taught how to play percussion in their style. One of their hallmarks is to impose what I…
Abakua refers to a secret, Afro-Cuban, male society of percussionists - as I understand it, one had to be initiated into this society before they would be taught how to play percussion in their style. One of their hallmarks is to impose what I…
Good point, Gumbo! That is the nature of "cross-over" patterns: they involve 2 rhythms with *different meters* which are played at the same *tempo*. So, regardless of listening to this pattern through the lens of 4/4 (8 beats/bar) or 3/16 (12 beats/bar), both patterns are played at the same tempo, i.e. 180bpm in this case. These patterns have measures that start at the same point, but do not end at the same point until cycling through 24 beats each - at which point they "cross-over"; a point that is illustrated by the clave in this example.
Abakua refers to a secret, Afro-Cuban, male society of percussionists - as I understand it, one had to be initiated into this society before they would be taught how to play percussion in their style. One of their hallmarks is to impose what I…
Abakua refers to a secret, Afro-Cuban, male society of percussionists - as I understand it, one had to be initiated into this society before they would be taught how to play percussion in their style. One of their hallmarks is to impose what I…
Abakua refers to a secret, Afro-Cuban, male society of percussionists - as I understand it, one had to be initiated into this society before they would be taught how to play percussion in their style. One of their hallmarks is to impose what I…
Abakua refers to a secret, Afro-Cuban, male society of percussionists - as I understand it, one had to be initiated into this society before they would be taught how to play percussion in their style. One of their hallmarks is to impose what I…
Abakua refers to a secret, Afro-Cuban, male society of percussionists - as I understand it, one had to be initiated into this society before they would be taught how to play percussion in their style. One of their hallmarks is to impose what I…
Abakua refers to a secret, Afro-Cuban, male society of percussionists - as I understand it, one had to be initiated into this society before they would be taught how to play percussion in their style. One of their hallmarks is to impose what I…
lovely - my only connection to this kind of polyrhythm is thru the Grateful Dead whose two drummers used to explore and experiment thusly.
I like that you can say it has 4 beats AND 6 beats to the measure and then say that it has 180 bpm ;-)
Abakua refers to a secret, Afro-Cuban, male society of percussionists - as I understand it, one had to be initiated into this society before they would be taught how to play percussion in their style. One of their hallmarks is to impose what I…
from "the Hardest Blow" featuring vocals from Tess Savigear and solo guitar from Kavin Allenson
It’s name is sadly the same as me, without me
It cannot follow through doorways, the same way
Just saw the rainbow fall over
It’s game remembers…
from the album "the Hardest Blow" featuring vocals from Dana Detrick-Clark
I can't see your sorrow, innocent and blind
Better luck tomorrow, leave this all behind
I think I'm feeling something, but I'm not sure what it is
Maybe you could…
I asked CaptGene for something funky, trusting that a fishing guide from Babsom Park would know exactly what I was talking about. He did. The Captain knows funk.
I used to have a link to his original version here, but that is no longer available…
This is for today's Improvfriday. Being all a first pass improvisation against a drum beat - there are mistakes. I did go back and spiced up the drums just a bit. everything but the drums is my Roland GR-20
this is from last week's improvfriday and was performed on an AXiS 49 driving Kontakt's sax ensemble and jazz drum kit. The deep reverberation is on purpose.
This is an improvisation on a theme I play all the time when I sit at the keys. Sort of a warm up I've been playing for a very long time. It is very simple and I may have used it here already. My apologies.
Long drum solos aren't for everyone - I get it. Just do what many at Grateful Dead concerts did and look at it as an opportunity to go get another beer. On the other hand, if you are the sort of person who cheers at the fireworks show, I hope…
@Sis: LOL!
Sir Bedevere: There are ways of telling whether she is a witch.
---Are there? Oh well, tell us.
Sir Bedevere: Tell me. What do you do with witches?
--Burn them.
Sir Bedevere: And what do you burn, apart from witches?
--More witches.
--Wood.
Sir Bedevere: Good. Now, why do witches burn?
--...because they're made of... wood?
Sir Bedevere: Good. So how do you tell whether she is made of wood?
--Build a bridge out of her.
Sir Bedevere: But can you not also build bridges out of stone?
--Oh yeah.
Sir Bedevere: Does wood sink in water?
--No, no, it floats!... It floats! Throw her into the pond!
Sir Bedevere: No, no. What else floats in water?
--Bread.
--Apples.
--Very small rocks.
--Cider.
--Gravy.
--Cherries.
--Mud.
--Churches.
--Lead! Lead!
--A Duck.
Sir Bedevere: ...Exactly. So, logically...
--If she weighed the same as a duck... she's made of wood.
Sir Bedevere: And therefore...
...A witch!
Black Cat
Words and Music by Tharek Mokbul ( OsCKilO )
My heart will miss a beat
Each time
I see your pain
I know this is the end
But I
Will fight this tide
The battle is complete
Both sides
Have won this time
I will remember you
So proud…
Comments on Norm's stuff
Okay, so this is awesome fellas - you're like some explosive cocktail of cool. Kicking major butt, three times!
Each of you kick ass. Together you three are magical! Excellent work fellas. JR
Norm, you are the freakin' coolest! This tune meant a lot to me and now it's on a pedestal. T is gonna love this when he hears it! Thanks, bro - Perfectly done.
wow, what a cool collab. the 3 musicians and instrument sounds mix well. I would crash into this late night show any day of the week
excellent!! I really like this collab! The voice perhaps could be a touch louder other than that this is excellent!
Damn that's a tough count. Super job man. Super.
This is fantastic Norm. Keep bringing me the lessons. I love it. Gotta go try this one now!!!!
I like all your tracks, so excellent sounding.
This is fantastic, seriously.
complex pattern and really good timing. Great percussion track S to F
Hey..call me at st. john Lutheran. we need to talk! I love this sound!
that's sooooo voodoo! technique's great yes, but the vibe is simply excellent! and your timing is just getting better and better O_o
Good point, Gumbo! That is the nature of "cross-over" patterns: they involve 2 rhythms with *different meters* which are played at the same *tempo*. So, regardless of listening to this pattern through the lens of 4/4 (8 beats/bar) or 3/16 (12 beats/bar), both patterns are played at the same tempo, i.e. 180bpm in this case. These patterns have measures that start at the same point, but do not end at the same point until cycling through 24 beats each - at which point they "cross-over"; a point that is illustrated by the clave in this example.
LOVE IT!
Excellent!!
Crazy great.
Oh my, sublime, El Norm! Would you be terribly offended if I had a play around with this?
thanks for explaining the count btw - that helps a lot
lovely - my only connection to this kind of polyrhythm is thru the Grateful Dead whose two drummers used to explore and experiment thusly. I like that you can say it has 4 beats AND 6 beats to the measure and then say that it has 180 bpm ;-)
I don't know how you keep time like this, but it's incredible!
Comments made by Norm
Nice work guys! I love it.
Very strong.
Ecumenically enchanting.
Thanks Sis. Although I'm not suprised, I didn't realize that - I have now updated the credits.
Nice keys!
Brilliant!
Excellent! I don't believe that I have ever been mashed before! Many thanks!
Smooth. Love the bass.
Good one! Very nice improv.
tastey riff...
Awesome!
@Sis: LOL! Sir Bedevere: There are ways of telling whether she is a witch. ---Are there? Oh well, tell us. Sir Bedevere: Tell me. What do you do with witches? --Burn them. Sir Bedevere: And what do you burn, apart from witches? --More witches. --Wood. Sir Bedevere: Good. Now, why do witches burn? --...because they're made of... wood? Sir Bedevere: Good. So how do you tell whether she is made of wood? --Build a bridge out of her. Sir Bedevere: But can you not also build bridges out of stone? --Oh yeah. Sir Bedevere: Does wood sink in water? --No, no, it floats!... It floats! Throw her into the pond! Sir Bedevere: No, no. What else floats in water? --Bread. --Apples. --Very small rocks. --Cider. --Gravy. --Cherries. --Mud. --Churches. --Lead! Lead! --A Duck. Sir Bedevere: ...Exactly. So, logically... --If she weighed the same as a duck... she's made of wood. Sir Bedevere: And therefore... ...A witch!
Clever. Great cover.
Tight!
Love it!
Excellent.
Simply awesome.
Sweet!
Excellent! Now I don't need to run out and buy one of those Halloween CDs to play for my trick-or-treaters.
Beautiful. And appropriately titled: "Breath of Air" for a breath of fresh air...