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 On Phasing and Polymetric Groups 
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Post On Phasing and Polymetric Groups
Alright, I want to start by saying don't mind the fancy title, I love fancy descriptive titles. Really, it just means that the focus of this little study is playing different numbers of notes in each hand at the same time and repeating the patterns until they line up again. Steve Adelson taught me about phasing back in my first year of playing, and it's a musical concept that works outside of the Stick just as well as on it. The idea is that you take 2 different patterns of notes, each with a different total, and lay them over each other and repeat them until both patterns line back up at the start.

Anyway, check the video out, and as always there are tabs and a performance breakdown at http://www.patreon.com/jgoldbergmusic. Enjoy!


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Mon Oct 23, 2017 6:25 pm
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Post Re: On Phasing and Polymetric Groups
Good stuff! I love this sort of thing, nice peice of music!

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Mon Oct 23, 2017 6:35 pm
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Post Re: On Phasing and Polymetric Groups
Just a quick little dip into a fun and challenging concept.

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Mon Oct 23, 2017 6:40 pm
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Post Re: On Phasing and Polymetric Groups
That was pretty awesome

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Mon Oct 23, 2017 6:51 pm
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Post Re: On Phasing and Polymetric Groups
Thanks!

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Mon Oct 23, 2017 8:57 pm
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Post Re: On Phasing and Polymetric Groups
Good stuff Josh, thanks for posting!

Even separating the hands makes for some good single hand practice.
As a (mostly) 3 finger technician in the right hand,
I've noticed that simple 4 note arpeggios (1-3-5-Octave for example)
can often start and end on the same finger,
making subsequent repeats awkward as the initial finger jumps back to its start position.
I've tried various solutions, but adding the 4th finger is really the only one. (Comments anyone??)

So watching you flow easily between 2/3/4/and 5 notes patterns was enlightening.
And of course, the whole thing is wonderfully King-Crimsony.

The title's a bit of a mouthful though!!

So since its very much a Crimsony Ostinato.
I think the technique should be called "Crimsonato" (for the music theorists to add to the dictionary)
And for the rest of us including "Neal and Jack and me"(!), I suggest "Fripping".
Whaddya think?!

Keep up the good work!!
All the best from the UK

Steve

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Tue Oct 24, 2017 8:12 am
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Post Re: On Phasing and Polymetric Groups
I’m familiar with that but didn’t know there was an actual name for that technique. I first heard of it years back when Justin Levis posted a Trey Gunn vid where he was doing that Each hand had a different time signature too.

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Tue Oct 24, 2017 9:32 am
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Post Re: On Phasing and Polymetric Groups
Josh, I've been enjoying your videos, and this is one of my faves so far. You play these things way better than I do.

I know these as "meter stacks," aka superimposed meters, meaning two or more meters played at once in the same tempo. I gather phasing is a synonym for this (hadn't heard it before).

A polymeter is more than one tempo at a time, such as in a triplet. For example, in a polymeter of 3 over 4, the two meters take up the same amount of time and space, so their downbeats align at each measure.

In a meter stack, the two patterns chase each other and align only every multiple of the two (or more) meters.

I've superimposed as many as three meters at once using both polyrhythms and stacks. They are no fun to record. I sometimes mute the parts I'm not playing just to keep track of where I am.


Tue Oct 24, 2017 10:11 am
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Post Re: On Phasing and Polymetric Groups
Quote:
making subsequent repeats awkward as the initial finger jumps back to its start position.
I've tried various solutions, but adding the 4th finger is really the only one. (Comments anyone??)


Yep that ostinato bass note figure is something I still struggle with. Mostly it's smooth endurance I lack. It'll be a while before I'm playing the bass part to "What is Hip". But there's only one way I'll ever play it strong and that's with alternating index and middle fingers. Other than that particular kind of figure tho I'm a 4 finger guy.
Coming from 50 years of guitar where I always used 4 fretting fingers and seemed to have a strong pinkie, I naturally approached Stick (both sides) with 4 fingers. Been at Stick for about 4 years now and that seems to be the most expedient path for me. I greatly respect Greg and his E.C. based methodology seems deeply considered, thought out and who can find fault with his or Emmett's 3 finger playing technique and artistry? Not I. And Greg's video explaining the inverted 5ths bass side and how to conceptualize and navigate it was so clear and complete I pretty much absorbed it in one viewing.

But for me playing with 3 fingers (especially right hand) when I can easily use 4 seems a bit like maneuvering around all day like a 3 legged dog when I should be sprinting and cornering like a cat. Dividing the work up 4 ways instead of 3 makes all the difference. But that's just me. What I found amazingly helpful to study and integrate into my personal technique was this video by Bob C. - also about right hand polymetric scale motifs, butter-smooth pull-offs and sliding from position to position using all 4 fingers w/prominent pinkie use. No other single piece of instructional material concerning right hand technique has been more helpful to me in reinforcing my own instincts and accessing right hand musical ideas smoothly with minimal effort. Others may differ of course. Didn't mean to hijack Josh's perfectly good thread. Just trying to further the conversation.


Tue Oct 24, 2017 10:11 am
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Post Re: On Phasing and Polymetric Groups
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Oh, PHASING, my bad...

Good stuff Josh, as usual.

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Tue Oct 24, 2017 10:49 am
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