In this lesson we look at artificial rhythms.
This subject is often referred to as time inside time, but at the
end of the day they are just very advanced polyrhythms. If you don't
know what a polyrhythm is or how they "work" - check out the
With most polyrhythms there is usually a common subdivision between the 2 rhythms that you can subdivide and count as you play, in order to execute both rhythms. With artificial rhythms there usually ISN'T a common subdivision between the 2 rhythms, therefore they are much harder to count and feel, much less execute.
Let's start with a basic artificial rhythm. Many artificial rhythms are born out of the secondary pulse. That is, the recurring rhythm over the top of the original rhythm that forms the polyrhythm in the first place.
Let's start with the original rhythm (the "primary pulse") being the quarter note of 3/4, played on the hihat. On top of that the bass drum will play a dotted quarter note rhythm (this is the "secondary pulse")
We can play some basic snare rhythms to begin, that easily subdivide into both rhythms, such as 8th notes..
Or 16th notes..
But if we start to play unusual groupings to the secondary pulse (the bass drum), then they don't add up (in a subdivision we're used to hearing or counting in) to the primary pulse (hihat). Let's take 4 for instance..
You can see that the 4 fits perfectly to the
2nd pulse, and must be executed as such, but not to the primary
pulse, in any subdivision we are used to counting.
From here you can experiment with other unusual phrasings to the 2nd pulse, such as 5's, 7's, 8's, 9's etc. Then you can start adding accents, flams or rests to take it to a whole new level.
|Linear Beats 1||Layered Beats 1||Expanding Rhythms - Swung|
|Linear Beats 2||Layered Beats 2||Expanding Rhythms - Straight|
|Swinging A Linear Beat||Metric Modulations||Meter Shifting Using 7's|
|Artificial Rhythms - Time Inside Time||Parallel Time Signatures||Awesome Independence Exercise|