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W ON THE CD i Tracks 34 38

Rhythmic Groupings
Our intrepid seeker of atLthings creative, Shaun
Baxter continues his quest to drum up rhythmic
interest when ptaying in plain old 4/ 4time...

Thrs has two effects F rst, t ONE-BAR FIGURES:


aauses a d {ferenl note to and 5+5+6=16 PROTIP
on the beat each time, wh ch 6+6+4=16etc n i you are nlerested
&&&&
rn
u/ I hold the stenefs interest TWO-BAR FIGURES: aonrpos ng rnusa Lrs ng thrs

Moderate/Advanced for lonqer (an effect known as 5+5+5+5+5+7=32 pr nc pe, it s a qood deatolry

6+6+6+6+4+4=32 programm ng an dea iirst us ng


Will improve your: rhythm c d sp acement). Second,
a music sequen( ng sofl,,vare
the ear now p€rceives five pulses 7 +7 +7 +7 +4=32etc
proqramrne ke Cubase or Logic
7 Rhythm. fLarr in each bar, instead of four As wth our previous ALrdro, soihatyou can erper ment
7 Unpredictability (sorne mus c ar]s referto th s as a examp es, this month's technical !4/ th th ngs thar yoLr cannot

t Spat a awareness in rhythmciluson). study, called Cluster Bornb, has necessariy play yet, a ow nq you
musicalterms Th s prnc p e a lowt a aonstant been aomposed using constant to'audiiion them whrle vou s:l
shlft of rhythr.ic er.phas s, even sixteenth-notes, and each bar is ba.k and slen oble.i vely.
when p ay ng n a stra ghtforward subdivided in various different
LAST [/ONTH, WE ]ooked at ways 4/.l contexl. ways using a variety of melodic of 3, 5, 6, 7 and 9 (bas ca ly,
of creat ng rhythm c nterest by There are rnany ways of note-groupings (often played anyth ng but 2, 4 and 8, be.ause
subdiv d ng the notes with n a subdiv ding the sarne str ng of consecutively). they wou d be the most obv ous
4/4 bar n d fferent ways us ng a notes, L.rs ng a aombination of Everything is ln 4/4, and l've th nqs to usewhen paylng
,/ar ety of melod c note groLrp ngs. d Jferent rne od c group nqs . concentrated mainly on groupings s xteenth-notes).
Th s has the effect of changinq F na ly, remember that it s
the nature of the rhythm c'pu se' rnportant to be able to tap yol]l
(as perce ved by the lstener) foot a onq to the qlrarter note
and, therefore, helps us to avo d (4/4 beat or metronome c ick)
predlctab lty. when p ay nq these grolrp ngs,
Last nronth's mus ca examp e, as t s rnportant fot to become
H p Dysp acia, re ated more to rock rhythmca iy separated from the
rhythrn gu tar and used constant under y ng accompanimeft (in
e qhth note tr p ets. Holvever, ralts ca paT ance, you a ways need
lhrs rnonth we are go nq to ook to knowwhere'l' s) Good luck,
at appylng the same pr nc pies to and keep that foot tapp ng GT
ead quitar w th a nev,,te(hn aa
study, ca led C uster Bomb,
that comprses dL.rp e rhythm c I The late Frank
denorn nat ons (rnu t p es of two, Zappa spr ngs
rather than threel, ke sixteenth to m nd when
notes and erghth-notes studying thls
gpdf- type of prin. ple
When p ay ng .onstant
Perhaps the best placeto start is h6
sixteenth notes n 4/4, the s xteen
infamous B ack Page #1. lt appears
notes n each bar are d v ded nto as a band per{ormed nstrLJmental
four foL.rcnote qroups (4 + 4 + 4 on the alburn Zappa In New York
+ 4 = 16) lf we repeat a four- 11976). Howevel it was oiginaily
note rae od c f qure (a four note used as a rnuchJeared test that
group ng), the same note w Zappa used to give drumrners as an
appear on the downbeat eaah tme aud ton pece. fsfl] of rregLrar
nole-groupings, but s n 4/4
lsee Figure 1\
throughout. Finally, the pdnc ple
However, if u/e p ay a thre-"-
of th nking n ierms of rhythmic
note melodic fiqure (or group ng) group ngs is very conrmon for
to the same coLrnt, we effectve y drummers; so, for some new
sLrper mpose the fo lowinq rhythm concepts and musaal deas, try
3+3+l+3+l+ 1=16 Note lookrnq at nstructona DVD5 by
that there is one note eft over. drumrners keThomas Lang, V nnie
isee Figure 2 )
Colarlrta and Terry Bozz o.

This principle allows a constant shift of the rhythmic emphasis,


even when playing in a straightforward 4l4context
74 Guitar'Iechniques February 2008
ffi
FIGURES r. & 2

lBars -1 and 0] The 32 ! x:e-.nth noiet I Lhere (Ebmal7, DbnrajT afd BnratT) L ke brr! -l and 0, th-" ttnnqs w lh I Lhe same lret Here, th s is done by
f rst two bar! are 5lrbd v ded ns fo ows 5 + 5 + 5 + var ou5 subd vis ons nret.h across both ba6 frett nq the 1li rd !tring wlth the t p of Lhe second
5 + 5 +7 = 32. Thi! f 15: phrate caf be pliyed uslng 6+ 6+ 6+ 6+ 4 +4 =32 When.ountigup f nqer and th!n p ayirg the fole oi the re(ond
lu5t the f rst threE linger5 of the frett ng hand Note the ioter, bear in m nd that one erghth-note has the ttrlng by draw nq the e bov! bnck so thar th-" low-"r
oBb,'i rl 5aare !alue as two ! xt€enth noies: po( on o[ lhe rnme lrn.]er 5 flnlle.ed aqa fsl I
EbDEFA
1 3#451
"
l\\\
a =a +ta
ghth-note
Note thnl, n dolnq !o, the pre5s!re on th-. t p ol thp
ifqer 5hoLr d be re ea5ed so that yo! do not ond Lrp
[Bars 1-21 ln a5t rnofth 5 so o, o]ott of the And a do11ed e has lhe same val!-" as hold ng both 5trlnqs dolvn at once {aim to make only
gro!p ngs were r€peated consecutivey, howevet Ihree rixt-.enth{oles one note soLrnd oLrt at .ny partr.Lrla. tinrel.
here, w€ have . su..es5 on of nrixed grcup ngt A so,
note that they.ompnse e ghih notes, not sixteenttl
\
a.=a \\\+a +a [Bars 5"5] Here, a.ofsecut !e jene5 of 5even not€
groLrp ngs 5 p ayed over th€ duraron ol two ba15
fotps (ln other word!, the same prin.iple is be ng F;ra y, note that the ro te.hfique
barr6 is empLoyed 1+1 +7 +1+ 1=32 A5 menlored earier, make
Lrsed on a b qqers.a€). 7 + 6 + 3 = 16 (€ ghth notes) Lrs n9 the se.ond f nqer in the m dd e of bnr 4 srr-" that yoLr .an tap your foot on the qLrarte. note
lBars 3-41 The me od es ln lh€se two bar! are Remember, th 5 te.hn que lnvo v€s Jslng the same thro!qhout (and noi at the 5tart oi ea.h seven note
derved from thr€e d fierent malor sev€nth .rpeqg 1r5 r q. ,. p. ..o o - o' i'"'" qroup nq)

3t throughout Gmz BtmajT eUc B,

(5 noie va ue gro!pings)
(7'note va ue groupings)
Drmajs

(6-nole valLre grouping)

rl,o Bmajg Fi6 B7mai9

-.10.6 .oluA 9 oup 9. _


\]

February 2008 Glita,lTechniques 75


ffi ONTHECD & Tracks34-38
EXAMPTE CLUSTER BOMB ...CONTINUED ONTHECD
[Bars 7.111 Lots ofthree-note groupings here. ln fact, in bars 9 11 there is an [Bars 13-141 Both bars sla( off with a couple ol sus2 arpeggios, and are
unbroken su(cession of sixteen consecutive lhree-note groupings: rhythmically subdivided as tollows 5 + 5 + 6 = 16 lt may feelstrange to play the
3 x 16 = 48 (th€ numberof sixteenth-notes in three bars) last six noles o{ea.h barjust using the lirsr and thrrd fingels of the {reltlng hand,
Note rhat the v brato used in bars 7 and 8 is qu te sliqht but il wlll help lo keep the hand open n readlness for Lrsinq the fourlh f nqer
[Bar l2l Aqain, in th s bar, il s al dowr to mathcmalics: 9 + 7 = 16 durrng the w de nretches.
Itl lhe odd noie conf gLrrat on lhal he ps th s phrase from sounding predi:tab e IBar 151 More sus2 arpeggios hero Th s pefu t mdte bar is rhythnr ca y
Note the lte oI Bb who € tone 5.a e at the end of th s bar: subdivld€d as follows: 6 + 6 + 4 = 16
EbwhoetoneBb C D E F# Ab
1 23#4+5b7

(3-nole value groupings)

E
B

C6/9 Esus2

(g-note value group ng)


(7-nole value grouping) (5-no1e value grcupings) - - - - ,, (Gnote value grouping)

E
B
G

aanF!'ll-i-!
(s-noie valLre qroupinqs) - - - - - (6-noievaue groupings)_ --- __

76 Guitaxfbdmiques February 2008

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