Re: [Harp-L] Trio Polifonic Harmonica Trio

["Eugene Ryan" <ryan.eugene@xxxxxxxxx>]

On 4/30/08, Ken Deifik <kenneth.d@xxxxxxxxxxxx> wrote:
> it is played so naturally in this setting, and I'm not that good at counting
> in the first place.

It's played at a good tilt.  I recognised it from the signature
short-short-long pattern - 1 2  1 2  1 2 3.  The Romanians and
Bulgarians seem to have loads of odd-time signatures in their folk
music.

> Does anyone know of practice tracks in what are, for American ears, odd time
> signatures?  THAT'D be a great stretch.  If I come up with some myself I'll
> post them.

I don't have a lot of references, but I would say that if you were to
buy any books, make sure they come with a CD!  There's not much point
in trying to play something that's alien to your musical upbringing
without hearing it.  Probably the same could be said for any rhythms
really.  A sequencer/drum machine can really help here - but knowing
what to program it with is itself an issue.

Here are some resources:
1. Creative Rhythmic Concepts for Jazz Improvisation by Ronan
Guilfoyle.  Aimed at the jazz musician, but lots of great stuff in
there.
http://www.jazzwise.com/catalog/product_info.php?products_id=744
2. Aebersold's Odd Times Workout - I don't have it, so I can't comment
3. http://www.amazon.com/Ancient-Traditions-Future-Possibilities-Rhythmic/dp/0937879002
This one goes quite deep into 3 types of highly rhythmic music.  I
didn't get very very far into it - it's pretty interesting from a
musicological point of view - but from a practical aspect of getting
to know 7/8 from 13/16 quickly, I'm not so sure...
4. Any CD that features odd time sigs and comes with an accompanying
booklet or where you can buy the score.  Two that spring to mind are:
    a. The Sultan's Picnic by Rabih Abou Khalil annd has our friend
Howard Levy on it.  The first tune is in 10/16 and Howard plays a
ripper of a solo!
    b. Avashi Cohen

I'm no expert BTW.  I have issues with rhythm myself.  I did decide to
get into more rhythmic music once when I was on a workshop by Jamey
Haddad, the master percussionist.  I was in a drummer's class and I
couldn't do some coordinated clapping and stomping feet exercises.
Jamey took me aside and advised me to work on this aspect of music and
nail it, so I took up frame drums and basic drumkit just to get some
of the stuff under my fingers.

> I was once called in to do a very short bit on a TV soundtrack.  I played a
> Rennaisance that Doug and Bobbie loaned me - I'm not a chromatic player, but
> I play one on TV.  Every bar of this bit was in a different and unaccustomed
> time signature.  Let's just say I didn't nail it on the first take.  Thank
> goodness it was an overdub.

I think you're getting something there - that musicians who are called
to do general work at a professional level are being asked to do
things like this - and playing in unusual time signatures (for us) is
becoming more common and almost expected.


> Just because I can sound like I am pontificating doesn't mean I actually
> know everything.

No-one would accuse you of that, Ken!  I always read your posts with
interest and I often get a laugh from the wry jokes. Thanks for the
information on the Duke - very interesting.

All the best,
Eugene