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I internalized subdivision back in my djent days by listening to Meshuggah. It's like if you take three or four pieces of heavy industrial equipment and turn them all on at the same time....in a good way.
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10-15-2023 09:26 PM
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Originally Posted by Christian Miller
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Originally Posted by nevershouldhavesoldit
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Originally Posted by Jimmy Smith
What I said was that speed is meaningless in and by itself. In the right context it can be fantastic.
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Originally Posted by Jimmy Smith
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Originally Posted by pamosmusic
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Originally Posted by Jimmy Smith
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Originally Posted by Bop Head
Jeremy Jeremy Corbyn Jeremy Jeremy Corbyn
Jeremy Jeremy Jeremy Jeremy, Jeremy Jeremy Corbyn
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Originally Posted by m_d
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Originally Posted by pamosmusic
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Originally Posted by Christian Miller
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Originally Posted by m_d
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Not a Rush fan, btw, I just looked up subdivisions and found that amazing child doing a drum cover of their song, which was far more interesting to me than the examples of mathematical breakdowns (8ths, 16ths, triplets etc) that I saw. I can't imagine learning to play that way. Is it a thing?
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Re - the intimidation thing
I’m much more likely to get that from someone amazing on my local scene rather than some internationally renowned virtuosos who I regard as being in their own rarified sphere of marvellousness.
I can barely bear to watch Tom Ollendorff videos for instance haha. Or Nick Linnick, continuing the Holdsworth legacy in his own voice. These players are out there out there in my endz, half my age and playing ridiculously. … It does tend to make me question what I’ve done with my life. But I think even those in what we regard as musical Olympus feel that way!
mostly now I see music is it’s about finding something that’s true, and doing something that’s right for you. You are making art not engaging in some intergalactic pissing contest.
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Originally Posted by Christian Miller
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Yea... I gotta say, my best gigs are when I help the music, I work with other players and raise the level of performance. And subdividing also works in larger or longer sections of time. When accent patterns line up and extrapolate or we reach or create another level of Feel.
And part of that feel comes from using musical organization... like having a simple rhythmic pattern, then developing elements of that simple rhythmic pattern, both rhythmically and harmonically.
It's like having a 8 bar phrase with a simple harmonic rhythm, a pattern that can repeat. Then you create different variations of that 8 bars that also have a pattern. The pattern is the organization of variations of that 8 bar pattern.
Now through variations of the basic 8 bar phrase, using subdivisions, and standard harmonic, melodic, rhythmic and articulations of that basic 8 bar phrase... the 8 bar phrase becomes an 32 bar rhythmic pattern with musical organization.... Your raising the level of performance... It's not just A A B A... or A B A C .
So you can use subdivision to raise the level of feel which will naturally feel like your locked in a expandable pocket that has no end. Then you need to actually make this feel implied, almost camouflaged... alive and support the melody or improve. It becomes a style of playing.. organization of longer sections of time that reflect the shorter sections.
yea this can also be lots of BS... You can also just notate it out. LOL
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Originally Posted by m_d
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Originally Posted by Reg
RIP Nick Gravenites
Today, 05:48 PM in The Players