- Sat Apr 16, 2016 11:30 am
#36700
Hi guys !
Though I guess some of you are already aware about it, I have noticed a certain vagueness about the different ways of ternarizing, and of course also about the different ways of playing "between ternary and binary" (very risky term in my opinion).
The best is to take a few examples :
1. The "quaternary passport"
1 e & a 2 e & a
s . . s s . t t
can be ternarized in two ways :
a. "4 → 3" : every beat of 4 pulses (quaternary beat) is turned into a beat of 3 pulses (ternary beat), by removing the second one (every "e" disappears in the counting)
1 & a 2 & a
s . s s t t
By this way, rhythms of Djansa family (16/8) can possibly be turned into a rhythm of Djaa family.
Notice that the number of beats doesn't change.
b. "2 → 3" : every quaternary beat, now regarded as two binary beats, is turned into two beats of 3 pulses (second version below) :
1 - e & - a 2 - e & - a
s . . . . s s . . t . t
1 . . 2 . . 3 . . 4 . .
s . . . . s s . . t . t
You can e.g. find it in some versions of woloso.
Notice that the number of beats is doubled.
2. Moribayassa
On the same model, we can change the djembé pattern of Moribayassa :
1 e & a 2 e & a
b . t t b . s .
By the first way, we get the djembé acc for "Soli des Manians" :
1 & a 2 & a
b t t b s .
The second way would have generated the following :
1 . . 2 . . 3 . . 4 . .
b . . t . t b . . s . .
3. Let's apply this to the third djembé in Makru (special dedication to Jürgen for his terrific work about Yankadi and Makru) :
1 e & a 2 e & a 3 e & a 4 e & a
t . . s . . . t t . s . s . . t
Applying the second way of ternarizing, you obtain :
1 . . 2 . . 3 . . 4 . .|1 . . 2 . . 3 . . 4 . .
t . . . . s . . . . . t t . . s . . s . . . . t
By adding one slap, and regarding it as a dununba/kensereni part, you now have :
1 . . 2 . . 3 . . 4 . .|1 . . 2 . . 3 . . 4 . .
t . . s . s . . . . . t t . . s . . s . . . . t, or
1 . . 2 . . 3 . . 4 . .|1 . . 2 . . 3 . . 4 . .
x .(x)x . x(x). x(x). x x .(x)x .(x)x . x(x). x
D . . K . K . . . . . D D . . K . . K . . . . D
And by adding the right Sangban part, you'll obtain one of the multiple versions of Yankadi :
1 . . 2 . . 3 . . 4 . .|1 . . 2 . . 3 . . 4 . .
x .(x)x . x(x). x(x). x x .(x)x .(x)x . x(x). x
D . . K . K . . . . . D D . . K . . K . . . . D
x .(x)x . x(x). x x .(x)x .(x)x . x(x). x x .(x)
M . . . . . . . S S . .|M . . . . . . . S S . .
(For more clarity, I present below the "quaternary version" of the same. You've just to read it "swing" to see and feel the whole thing :
1 e & a 2 e & a 3 e & a 4 e & a
x . x x . x . x x . x . x x . x
D . K K . . . D D . K . K . . D
x . x x . x x . x . x x . x x .
M . . . . S S . M . . . . S S .)
Now I will show what happens if you play the 3rd acc of Makru applying the other way of ternarizing :
1 e & a 2 e & a 3 e & a 4 e & a
t . . s . . . t t . s . s . . t
becomes :
1 & a 2 & a 3 & a 4 & a
t . s . . t t s . s . t
What happens to other parts of Makru ?
The b . . s . t t . b . s . . t t . can't be ternarized this way, for every first "t" is on a "e" of the counting...
But the b t . t b . s . b . t . b . s . can be changed into :
Ƀ . t b s . b t . b s ., where Ƀ is a b-t flam.
Playing it with a set of dununs (without bell) : D . D D S . D D . D S . can be remarkably groovy (if well played !)
That's all for today...
Vincent.
Though I guess some of you are already aware about it, I have noticed a certain vagueness about the different ways of ternarizing, and of course also about the different ways of playing "between ternary and binary" (very risky term in my opinion).
The best is to take a few examples :
1. The "quaternary passport"
1 e & a 2 e & a
s . . s s . t t
can be ternarized in two ways :
a. "4 → 3" : every beat of 4 pulses (quaternary beat) is turned into a beat of 3 pulses (ternary beat), by removing the second one (every "e" disappears in the counting)
1 & a 2 & a
s . s s t t
By this way, rhythms of Djansa family (16/8) can possibly be turned into a rhythm of Djaa family.
Notice that the number of beats doesn't change.
b. "2 → 3" : every quaternary beat, now regarded as two binary beats, is turned into two beats of 3 pulses (second version below) :
1 - e & - a 2 - e & - a
s . . . . s s . . t . t
1 . . 2 . . 3 . . 4 . .
s . . . . s s . . t . t
You can e.g. find it in some versions of woloso.
Notice that the number of beats is doubled.
2. Moribayassa
On the same model, we can change the djembé pattern of Moribayassa :
1 e & a 2 e & a
b . t t b . s .
By the first way, we get the djembé acc for "Soli des Manians" :
1 & a 2 & a
b t t b s .
The second way would have generated the following :
1 . . 2 . . 3 . . 4 . .
b . . t . t b . . s . .
3. Let's apply this to the third djembé in Makru (special dedication to Jürgen for his terrific work about Yankadi and Makru) :
1 e & a 2 e & a 3 e & a 4 e & a
t . . s . . . t t . s . s . . t
Applying the second way of ternarizing, you obtain :
1 . . 2 . . 3 . . 4 . .|1 . . 2 . . 3 . . 4 . .
t . . . . s . . . . . t t . . s . . s . . . . t
By adding one slap, and regarding it as a dununba/kensereni part, you now have :
1 . . 2 . . 3 . . 4 . .|1 . . 2 . . 3 . . 4 . .
t . . s . s . . . . . t t . . s . . s . . . . t, or
1 . . 2 . . 3 . . 4 . .|1 . . 2 . . 3 . . 4 . .
x .(x)x . x(x). x(x). x x .(x)x .(x)x . x(x). x
D . . K . K . . . . . D D . . K . . K . . . . D
And by adding the right Sangban part, you'll obtain one of the multiple versions of Yankadi :
1 . . 2 . . 3 . . 4 . .|1 . . 2 . . 3 . . 4 . .
x .(x)x . x(x). x(x). x x .(x)x .(x)x . x(x). x
D . . K . K . . . . . D D . . K . . K . . . . D
x .(x)x . x(x). x x .(x)x .(x)x . x(x). x x .(x)
M . . . . . . . S S . .|M . . . . . . . S S . .
(For more clarity, I present below the "quaternary version" of the same. You've just to read it "swing" to see and feel the whole thing :
1 e & a 2 e & a 3 e & a 4 e & a
x . x x . x . x x . x . x x . x
D . K K . . . D D . K . K . . D
x . x x . x x . x . x x . x x .
M . . . . S S . M . . . . S S .)
Now I will show what happens if you play the 3rd acc of Makru applying the other way of ternarizing :
1 e & a 2 e & a 3 e & a 4 e & a
t . . s . . . t t . s . s . . t
becomes :
1 & a 2 & a 3 & a 4 & a
t . s . . t t s . s . t
What happens to other parts of Makru ?
The b . . s . t t . b . s . . t t . can't be ternarized this way, for every first "t" is on a "e" of the counting...
But the b t . t b . s . b . t . b . s . can be changed into :
Ƀ . t b s . b t . b s ., where Ƀ is a b-t flam.
Playing it with a set of dununs (without bell) : D . D D S . D D . D S . can be remarkably groovy (if well played !)
That's all for today...
Vincent.
I may be wrong and you may be right, and by an effort, we may get nearer to the truth. (Popper)