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More on Konokol, simple exercises

In Theorie on March 5, 2014 at 9:32 am

Regarding improving your rhythm, the following is the Konokol method for practicing music without playing an instrument. One can practice thinking and coordinating rhythmic subdivisions in music.

Try this:
First you need to keep time. Here’s a 4/4 that has a common 4 times quarter note count:
1. For beat 1, simply clap
2. For beat 2, clap with the little finger of your right-hand (if you are right-handed) against your opposite palm
3. For beat 3, clap with your ring finger of the same hand
4. For beat four, clap in the same manner with your middle finger.

Pick a steady tempo, and as you clap each beat say ‘Da’ (or ‘1’). i.e:
Da
Da
Da
Da

To sub-divide into quavers (sub-dividing into halves) say Ta-ka (or ‘2’). Here as you clap, say ‘ta’, then in the exact middle of the space before the next beat say ‘ka’. You have 4 taka’s in one 4/4 bar. i.e:
Ta-ka
Ta-ka
Ta-ka
Ta-ka

To sub-divide into triplet quavers (sub-dividing the quarter note count into thirds or 12ths of one bar) say ‘Ta-ki-ta’. Here as you clap, say ‘ta’, then in two equal spaces before the next beat say ‘ki-ta’. You have 4 takita’s in one 4/4 bar. i.e:
Ta-ki-ta
Ta-ki-ta
Ta-ki-ta
Ta-ki-ta

For semi-quavers (sub-dividing the quarter note count into fourths or 16ths of one bar) say ‘Ta-ka-dim-i’. Here as you clap, say ‘ta’, then in three equal spaces before the next beat say ‘ka-dim-i’. You have 4 takadimi’s in one 4/4 bar. i.e:
Ta-ka-dim-i
Ta-ka-dim-i
Ta-ka-dim-i
Ta-ka-dim-i

To achieve triplet sixteenth note (sub-dividing the quarter note count into sixths or 24ths of one bar) say ‘Ta-ka-dim-i, Ta-ka-Jun-a’. Here as you clap, say ‘ta’,then in five equal spaces before the next beat say ‘ka-dim-i’, plus a further ‘ta-ka’, start the next cycle of six accenting ‘Jun-a’ adding a further ‘Ta-ka-dim-i’, carrying on noting the six counts against the 8’s of the Ta-k-dim-i Ta-k-Jun-a’ cycle. You have 3 takadimi takajuna’s in one 4/4 bar. i.e:

Ta- ka -dim -i Ta -ka
Jun-a Ta -ka -dim -i
Ta -ka -Jun -a Ta -ka
dim -i ta -ka jun-a

To achieve Thirty-second notes (sub-dividing the quarter note count into eighths or 32nds of one bar) say ‘Ta-ka-dim-i Ta-ka-Jun-a’. Here as you clap, say ‘ta’,then in seven equal spaces before the next beat say ‘ki-dim-i Ta-ka-Jun-a’. You have 4 takadimi takajuna’s in one 4/4 bar. i.e:

Ta-ka-dim-i Ta-ka-Jun-a
Ta-ka-dim-i Ta-ka-Jun-a
Ta-ka-dim-i Ta-ka-Jun-a
Ta-ka-dim-i Ta-ka-Jun-a

Count as you play and you can hear the rhythms go off in your head.

for more, see: The Gateway of Rhythm Ex 2 Ch 02 Angle 1 – YouTube
Konokol method: Rhythm, Counting & Syncopation

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Konokol (Konnakol)

In Theorie on February 27, 2014 at 6:14 pm

Konokol is a method for vocalizing rhythm. It is an essential part of the Carnatic or South Indian Classical tradition. Many Western artists have adopted and adapted this approach into their compositional, improvisa-tional, and general musical processes.

This method of vocalizing rhythm allows one to practice anywhere. Complex rhythms can be mastered easily and applied to many situations.

Lesson 1 – The Five Basic Rhythm Words

5 Basic rhythm words:

Da Taka Takita Taka Dimi Da Di Gi Na Dum1
1 2 3 4 5

Taka Juna, a variation of 4, can be used with Taka Dimi when consecutive 4’s are counted or when there are two 4’s in a larger pattern.

Da Di Gi Na Dum can transform into 6 and 7. The dash is used for the felt but not counted divisions.

6          Da Di – Gi Na Dum or Da – Di Gi Na Dum

7          Da – Di – Gi Na Dum

1

2

3

4

5

6

7

1

Da

Da

2

Taka

Ta

Ka

3

Takita

Ta

ki

ta

4

Taka Dimi

Ta

ka

Di

mi

5

Taka Juna

Ta

ka

Ju

Na

6

Da Di Gi Na Dum

Da

Di

Gi

Na

Dum

7

Da Di Gi Na Dum

Da

Di

Gi

Na

Dum

8

Da Di Gi Na Dum

Da

Di

Gi

Na

Dum

9

Da Di Gi Na Dum

Da

Di

Gi

Na

Dum

exercises

  1. Practice counting each word repeatedly. (taka taka taka …)

a. Make sure each syllable is evenly spaced in time.

b. Maintain even tempo & eventually go for speed & accuracy.

2. Try combining words to form larger numbers.

examples

5          2 + 3 – taka takita 3 + 2 – takita taka

7          3 + 4 – takita taka dimi 4 + 3 – taka dimi takita

11        4 + 3 + 4 – taka dimi takita taka dimi, or, taka dimi takita taka juna

List of Berklee College of Music free online courses/MOOCs

In Events, Technics, Theorie on November 15, 2013 at 5:48 pm

… better to go and check directly here:

Berklee College Music MOOC

enjoy 🙂

berkleemooc

MOOC Spring 2014 Jazz Appreciation Class Open For Registration on EdX.org

In Events, Theorie on November 15, 2013 at 5:41 pm

Students around the globe now have the opportunity to register a dynamic new Jazz Appreciation course, called a MOOC (massive open online course), offered by Professor Jeff Hellmer and The University of Texas at Austin, which starts on January 21, 2014. Over 1000 students have already registered for the course, however, there’s room for plenty more!

More information about the course can be found at

 https://www.edx.org/course/utaustin/ut-8-01x/jazz-appreciation/1149.

EdX is an online nonprofit learning initiative founded by Harvard University and the Massachusetts Institute of Technology (MIT) in May 2012. In October 2012, the University of Texas System became the fourth partner in the edX consortium of leading colleges, universities and university systems. Other members include Harvard, MIT, the University of California at Berkeley, Wellesley College and Georgetown University.

more on Jazz Studies

jazzstudies

Jazz Web site links

In Fun, Media, Scales, Technics on November 7, 2013 at 12:35 pm

from the SMOOTH JAZZ RIDE!  and from the Jazz resource

 Here are some other smooth jazz sites/links you may find informative, helpful, and/or enjoyable. 

Grouptones.com This is a awesome new site to find musicians to jam with as well as gigs and other events. 
Thesmoothjazzride.com Covering all your smooth and contemporary jazz needs. Smooth jazz cd reviews and more. 
musicarrangers.com This is a great site with loads of information on basic music theory. Click on the 3 buttons on the left that say pitch, chords, and time. 
APassion4Jazz.net This is a website full of information about jazz history and jazz education. 
Circle-of-fifths.net If you want to get serious about learning everything about the circle of fifths, this website is for you! 
allaboutjazz.com This is one of the biggest jazz websites on the internet. It has loads of information regarding album reviews as well as a wonderful forum to ask all your jazz questions (but don’t be afraid to ask me first on my contact page!) 
www.jazzorg.com This is a jazz community website 
www.good-ear.com This is a very handy website that has really improved my ear over the years 
www.pandora.com This is a great site to listen to music for free! Basically you enter an artist you like and Pandora will create a customized station with similar artists for you to discover.

 
Media/Websites/Promotion Services/Publicists:

A Passion for Jazz! – Music history and education.

Beyond One Entertainment – Artist & Event Management

Café Jazz Radio (& JazzLynx) – Canada’s Smooth Jazz Connection

Coool Classic Artists Today – The Best Songs
Today…From Yesterday’s Top Artists

Dick Felix Music – Sophisticated Music For Your Special Occasion

GHP Radio – Your Independent Music Source

Jazz Quotations –The #1 Resource on the Web For
Quotes and Sayings About Jazz!

Jazz Smugglers – For jazz enthusiasts; includes The Bluffer’s Guide For
Playing Jazz

Jazz Trax

Jazzbeat — A site for self-publishers of jazz books, jazz education
material, 
jazz lessons, etc.

Jazzhouse — An official website of the Jazz Journalists Association: 
Promoting the interests of journalists covering jazz 

Jazznlight and FatJamzFree MP3s, CDs, and MP3 Albums.
Visit the Listening Room for Smooth Jazz, Ambient, Acid Jazz,
Instrumental Pop, Instrumental Rock, Techno, New Age, Electronica…

Jazzreview* – Your complete guide to jazz music on the web

Smooth & Soul – A comprehensive smooth jazz website
in Germany, offering reviews, news, and more

Smooth Jazz & More, Internet Radio on Live365 – This is the Place!

Smooth Jazz Art – Photos by Sherry Fisher

Smooth Jazz Therapy  The very best from the world
of smooth jazz and classic soul

Smooth Jazz Spot   An awesome network to discuss
Smooth Jazz, as well as the Smooth Jazz cruises that so
many of our members absolutely love.

Smoothjazzvibes* – The place to go if you are a fan of 
contemporary jazz or smooth jazz

SoulTracks — Tracking the Greatest Soul Music

Sparkxradio

Talking Smooth Jazz

The Indie Bible – Valuable information Source for Indie Artists

The Jazz Discography – Everything you need to know about
virtually any jazz record ever released.

The Jazz Resource – Everything from info on Best Jazz
Albums to Tutorials on ear training, etc.

The Source: Smooth Jazz and More – The Best Smooth
Jazz on the Internet

*TSJR’s Ronald Jackson is also a contributing writer/editor with these fine sites.

Transposing Instruments

In Theorie on June 2, 2012 at 9:36 pm

from Catherine Schmidt-Jones

transposing instruments

A pianist, a cellist, a trombonist, and a autist all see a C written in their parts. They may play the C in different octaves, but they will all play a note that the others recognize as a C. This may seem obvious, but a clarinetist who sees a C on the page will play a note that does not sound like a C to the other players.
This is because the clarinet is a transposing instrument. The music for transposing instruments is not written or read at concert pitch. The clarinetist, for example, seeing a C on the page, will play a note that sounds like a Bb. The clarinet is therefore called a Bb instrument. A French horn player, seeing a C on his “horn in F” or “F horn” part, will play a note that sounds like an F. Obviously, not just the C but all the notes are different. For a Bb instrument, for example, not just the C sounds a whole step lower, but every note sounds a whole step lower than written. In order to be read correctly by most players, music for transposing instruments must be properly transposed. ….

Les gammes pentatoniques

In Scales, Theorie on March 24, 2011 at 1:51 pm

Back to theory…

fm Jacques de Lignières

Toute gamme de 5 notes est une pentatonique, il en existe un grand nombre. Nous aborderons seulement les plus couramment utilisées dans les musiques actuelles.

Une gamme majeure pentatonique est une gamme majeure dont on aurait ôté la quarte et la septième :

On peut extraire 3 gammes majeures pentatoniques de cette forme à partir d’une gamme majeure (du degré I, du degré IV et du degré V) :

Et, réciproquement, une gamme majeure pentatonique appartient à 3 gammes majeures. Ex : Do majeur pentatonique appartient aux gammes majeures de Fa, Do et Sol (Fa et Sol sont voisines qui entourent Do dans le cycle des quartes ) :

Les 5 modes de la gamme pentatonique de Do

Si on utilise le 5ème mode de la pentatonique majeure de Do, on l’appellera La mineur pentatonique et si on rajoute augmentée de La on obtient la gamme blues de La

Pour une cadence II V I Majeure, la pentatonique du degré V sonne bien, elle est riche et ne comporte pas de note à éviter Ex en Do : la pentatonique de sol

*On peut bien sûr choisir une pentatonique + ou – intérieure par accord c’est l’oreille qui apprécie le résultat ! Définition : intérieure = contient + de notes de l’accord extérieure = contient – de notes de l’accord

Quelques exemples des pentatoniques Maj les plus intérieures* sur les accords basiques (exemple en C)

Type d’accord                                                              Penta Maj

x7,x9,x13                                                                   (degré) I

Utilisation simple sur un blues maj. en C

Document pour impression Gammes pentatoniques

Voir également Har Gammes blues

A propos de la gamme Blues

In Scales, Theorie on March 1, 2011 at 2:31 pm

Fm Jacques de Lignières

Le Blues est le résultat de la rencontre des cultures musicales africaines (approche orale de la mélodie et du rythme) et de la tradition tonale européenne aux Etats-Unis. Cette confrontation a suscité un conflit sur certains degrés de la gamme majeure diatonique et des pentatoniques africaines non tempérées. Les “Blue notes” sont issues d’un compromis !

Ce sont les #9, #11 ou (b5) et b7.

Il existe plusieurs gammes blues. La plus commune a la forme suivante :

Fondamentale / Tierce mineure / Quarte / Quarte augmentée / Quinte / Septième mineure

Ex : Gamme de C Blues *

Ce sont les notes de la pentatonique mineure de C aux quelles est rajoutée la #11, ici F#

C’est une gamme qui permet de jouer de façon modale notamment sur le Blues

Sur un Blues majeur en C on peut utiliser C Blues*, l’utilisation de la tierce mineure sur un accord majeur est une des caractéristiques du Blues.

Mais on peut aussi utiliser la gamme Blues du relatif mineur, ici A Blues**

Gamme de A Blues **

Sur un Blues mineur en C on utilisera C Blues *

Il est aussi possible d’utiliser plusieurs gammes Blues relatives aux principaux degrés du Blues ( I – IV – V )

N.B. : Bien sûr d’autres options existent, notamment le mode myxolydien sur les accords x7 dans des Blues majeurs et le mode dorien sur les accords xm7 dans les Blues mineurs…

Le Blues a évolué de la forme la plus basique vers des formes plus sophistiquées

(par exemple le blues suédois sur lequel l’approche tonale est préférable)

Une forme basique du blues :

I I I I7
IV7 IV7 I (VI7)
II V I I
Exemple en C:

C C C C7
F7 F7 C (A7)
Dm7 G7 C C

Pratique de la gamme de Blues en D: Pratique de la Gamme Blues (D)

Pour impression Har Gamme Blues

Music and the Brain: The World in Six Songs: How the Musical

In Theorie on December 19, 2010 at 4:59 pm

Director of McGill University’s Laboratory for Musical Perception, Cognition and Expertise and best-selling author of “This is Your Brain on Music,” Daniel Levitin blends cutting-edge scientific findings with his own experiences as a former record producer and still-active musician.

The Music and the Brain Lecture Series is a cycle of lectures and special presentations that highlight an explosion of new research in the rapidly expanding field of “neuromusic.” Programming is sponsored by the Library’s Music Division and its Science, Technology and Business Division, in cooperation with the Dana Foundation.

Daniel Levitin is a cognitive psychologist, neuroscientist, record producer, musician, and writer. He is currently James McGill Professor of Psychology and Behavioral Neuroscience at McGill University in Montreal. He has published scientific articles on absolute pitch, music cognition and neuroscience and is more widely known as the author of two best-selling books, “This Is Your Brain On Music: The Science of a Human Obsession” and “The World in Six Songs: How the Musical Brain Created Human Nature.” He worked as a producer and sound designer on albums by Blue Oyster Cult, Chris Isaak, and Joe Satriani; as a consultant to Steely Dan and Stevie Wonder; and as a recording engineer for Santana and The Grateful Dead.

from the Library of Congress

Tous les Arpèges

In Technics, Theorie on October 18, 2010 at 1:37 pm

Travailles tes arpèges, dans tous les sens, de haut en bas et de gauche à droite! Voici donc la recommendation de la semaine.

les Arpèges des gammes Majeures (partition)

et l’accompagnement mp3

 

 

en attendant, bonne semaine!