Hi Jason, I see you put this up 3 years ago but I had to thank you for taking the time to make these videos. I'm a drummer and your videos have been so helpful. You did a phenomenal job of presenting everything clearly and concisely. Definitely gonna buy that book. Can't thank you enough, man!
Nice video. I play Carnatic percussion (mridangam). FYI, the exact name for this polyrhythm is "chatusra thisram" in Carnatic music. The other names would be "chatusra kandam", "chatusra misram," etc.
Thanks for your comments. Yes, I know some of the terminology used isn't exactly what is used in India. I'm using the terminology from my teacher, who developed a method of using Karnatic theory in a Western context. I think he simplified it this way as a clearer way to explain the relationships between the gatis.
Hi Jason, In India the "3" group is pronouced: Tha ki te (the final te has a short e, it rhymes with the word bet). A lot of confusion happens here, in translation, as english is pronounced differently in different countries but the original Indian sounds in the KANNADA alphabet are always the same. Listen closely to the many Indian konnakol videos and you will hear it. Dave
Yes, exactly, you can use this to accurately figure out metric modulations. I used this concept when I performed Elliot Carter’s duo for flute and clarinet “Esprit Rude/Esprit Doux”
Ben Freidkin thanks for watching. I went to a masterclass with Vijay Iyer a few years ago, just after Accelerando came out. He said he wasn't using any Karnatic concepts directly in the title track, but instead they just learned to do the acceleration by playing with each other. I'm not sure if any of them have any specific training in it, but I'm sure it can be analyzed using Karnatic theory to understand what they're doing. If you have a specific track in mind I can take a listen and see what I can transcribe.
Yuan GAO a polyrhythm has the same underlying beat subdivision (gati- pulse), however grouped in ways to create the feeling of different meters. A polypulse has two different beat subdivisons happening at the same time.
Really cool videos man, thanks for sharing. Regarding the partner exercises: If you are a friendless loser, could you practice them by applying them to, for instance, different hands on the piano or maybe record yourself doing one part and and then the other?
Absolutely wonderful "advanced intro" to Konnakol, thank you! I just wish that the Western habit of naming polyrhythms as 'n' AGAINST 'm' had never developed! Your demonstration shows beautifully how there is no "against" there, but only a "with". We do not speak of 'c' against 'e' or 'g' in a tonal chord, so why should we do so for the corresponding devices in the rhythmic harmonic series, captured so elegantly in Konnakol. See further: journal.frontiersin.org/article/10.3389/fnhum.2014.00454/full
Sorry Jason, I've deleted my comment. You were saying for 3:4 I need to accent 4th note right? I think I don't understand the ratios...This is what I want to practice...I have 4 beats in a bar and I wanna take tisra and do polyrhythm with it. I count triplets in chatusra speed and they don't align on a next bar...I'm confused man :D I need to insert one sixteenth note to make it align on the beats. Sorry for deleting my comment, I thought I got it by re-watching your video but...no, still don't get it
Вячеслав Аркатов 3:4 means three accents in 4 beats, so you take tisra (triplets) and accent every 4th note... so TA-ki-te | ta-KI-te | ta-ki-TE | ta-ki-te. You’re counting chatusra in tisra speed, not the other way around... so TA-ka-di | me-TA-ka | di-me-TA | ka-di-mi
So if I need to do polyrhythm in 4:3 I take chatusra and accent every 3th note? So TA-ka-DI-me | ta-KA-di-me| TA-ka-di-ME | ? Well seems like I don't grasp it at all. I know that gati means subdivision, I understood the names and subdivisions and I understood that I can count/sing gaties in different jathies (which is the same subdivision but counted in a different phrase) is that right? I can count different gaties landing on a beat equally. I'm almost mastered it. Then I wanted to take it further. I watched this second lesson and I'm confused a little. So my time signature is 4/4 and what I need to do to make a polyrhythm, for example with a phrase ta-ke-di-mi-ta-ki-te? It is 28 notes in a whole bar when subdividing into misra aka septuplets...And do I need to count/sing that phrase (ta-ka-di-mi-ta-ki-te) in a pulse of sixteenth notes aka chatusra? I try it and my result was I counted two times ta-ka-di-me-ta-ki-te and I needed to insert ta-ka to land it on beat on the next bar. I missing something...That's what cause my confusion. Thanks for the quick responding btw! And I apologize for my english, I'm from Belarus
Please,make a full tutorial this it.
Thank you very much!
The Book about carnatic rhythm is the best book that happend in my life.
These lessons are gold. I'm a drummer studying music and I've been showing them to the other students and blowing their minds! Thanks a lot!
Matthew Dicker read all the book,it is real gold!
Hi Jason, I see you put this up 3 years ago but I had to thank you for taking the time to make these videos. I'm a drummer and your videos have been so helpful. You did a phenomenal job of presenting everything clearly and concisely. Definitely gonna buy that book. Can't thank you enough, man!
Congrats, Jason !!! Thanks for your job !
This is one of the most amazing classes I´ve ever had. I´m so glad to have discovered your channel friend. Thanks a lot! Regards!
Ohh my God....Amazing. Thank You!It's very great. The best lessons
These lessons are fantastic. Thank you!
Nice video. I play Carnatic percussion (mridangam). FYI, the exact name for this polyrhythm is "chatusra thisram" in Carnatic music. The other names would be "chatusra kandam", "chatusra misram," etc.
Thanks for your comments. Yes, I know some of the terminology used isn't exactly what is used in India. I'm using the terminology from my teacher, who developed a method of using Karnatic theory in a Western context. I think he simplified it this way as a clearer way to explain the relationships between the gatis.
Amazing lesson! Wow. Thank you
This is too good. Love from India
That's a lot of work. Wooo... Thank you.
Thank you very much Jason that is great, i looove that!Could you give me please a tip to combine any good rhythm with a conacol
Very very useful.Thanks a lot
An interesting method - thanks!
Hi Jason, In India the "3" group is pronouced: Tha ki te (the final te has a short e, it rhymes with the word bet). A lot of confusion happens here, in translation, as english is pronounced differently in different countries but the original Indian sounds in the KANNADA alphabet are always the same. Listen closely to the many Indian konnakol videos and you will hear it. Dave
Excelent lesson. I'm gonna share this whit my m8s
this is perfectly explained. thank you !
This is just fantastic !!!!!
Sooo fantastic! thankyou very very much!
thank you for an amazing video
Very very nice video
Hi great lesson, with respect to harmony, is there a sort of more complex chordal organization that of jazz in carnatic music?
🙏🙏🙏
Yeah man - you're doin' it..
Nice Eric Dolphy LP in the back
Awesome! Great lessons! A question I have in mind is if that concept explains the rhythmic modulation in western music?
Yes, exactly, you can use this to accurately figure out metric modulations. I used this concept when I performed Elliot Carter’s duo for flute and clarinet “Esprit Rude/Esprit Doux”
Can you briefly give a small example of how this can happen?
great lesson!!!! i hope you'll get into some vijay iyer music. his drummer marcus gilmore is amazing and im dying to understand what he does there!
Ben Freidkin thanks for watching. I went to a masterclass with Vijay Iyer a few years ago, just after Accelerando came out. He said he wasn't using any Karnatic concepts directly in the title track, but instead they just learned to do the acceleration by playing with each other. I'm not sure if any of them have any specific training in it, but I'm sure it can be analyzed using Karnatic theory to understand what they're doing. If you have a specific track in mind I can take a listen and see what I can transcribe.
Hi, what’s the difference between polyrhythm and polypulse? It looks same to me.
Yuan GAO a polyrhythm has the same underlying beat subdivision (gati- pulse), however grouped in ways to create the feeling of different meters. A polypulse has two different beat subdivisons happening at the same time.
Jason Alder thanks.
THIS IS AWESOMEE THANKSSSS
super sir
Really cool videos man, thanks for sharing.
Regarding the partner exercises: If you are a friendless loser, could you practice them by applying them to, for instance, different hands on the piano or maybe record yourself doing one part and and then the other?
Absolutely wonderful "advanced intro" to Konnakol, thank you! I just wish that the Western habit of naming polyrhythms as 'n' AGAINST 'm' had never developed! Your demonstration shows beautifully how there is no "against" there, but only a "with". We do not speak of 'c' against 'e' or 'g' in a tonal chord, so why should we do so for the corresponding devices in the rhythmic harmonic series, captured so elegantly in Konnakol. See further:
journal.frontiersin.org/article/10.3389/fnhum.2014.00454/full
Meshuggah, eat your heart out.
Sorry Jason, I've deleted my comment. You were saying for 3:4 I need to accent 4th note right? I think I don't understand the ratios...This is what I want to practice...I have 4 beats in a bar and I wanna take tisra and do polyrhythm with it. I count triplets in chatusra speed and they don't align on a next bar...I'm confused man :D I need to insert one sixteenth note to make it align on the beats. Sorry for deleting my comment, I thought I got it by re-watching your video but...no, still don't get it
Вячеслав Аркатов 3:4 means three accents in 4 beats, so you take tisra (triplets) and accent every 4th note... so TA-ki-te | ta-KI-te | ta-ki-TE | ta-ki-te. You’re counting chatusra in tisra speed, not the other way around... so TA-ka-di | me-TA-ka | di-me-TA | ka-di-mi
So if I need to do polyrhythm in 4:3 I take chatusra and accent every 3th note? So TA-ka-DI-me | ta-KA-di-me| TA-ka-di-ME | ?
Well seems like I don't grasp it at all.
I know that gati means subdivision, I understood the names and subdivisions and I understood that I can count/sing gaties in different jathies (which is the same subdivision but counted in a different phrase) is that right? I can count different gaties landing on a beat equally. I'm almost mastered it. Then I wanted to take it further. I watched this second lesson and I'm confused a little. So my time signature is 4/4 and what I need to do to make a polyrhythm, for example with a phrase ta-ke-di-mi-ta-ki-te? It is 28 notes in a whole bar when subdividing into misra aka septuplets...And do I need to count/sing that phrase (ta-ka-di-mi-ta-ki-te) in a pulse of sixteenth notes aka chatusra? I try it and my result was I counted two times ta-ka-di-me-ta-ki-te and I needed to insert ta-ka to land it on beat on the next bar. I missing something...That's what cause my confusion. Thanks for the quick responding btw! And I apologize for my english, I'm from Belarus
Вячеслав Аркатов you shifted your 4:3 by one matra, that’s why it didn’t line up... TA-ka-di-ME | ta-ka-DI-me | ta-KA-di-me
Вячеслав Аркатов your 7:4 would be TA-ka-di-me-TA-ki-te | ta-KA-di-me-ta-KI-te | ta-ka-DI-me-ta-ki-TE | ta-ka-di-ME-ta-ki-te
thank you very much I will work on that! Cheers
Its from another galaxy sounds