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09-28-2007, 07:40 AM
| | Banned | | Join Date: Oct 2003 Location: Central Southern Massachusetts | | | I read it, I liked it. I understood it, and accept it in a "that's one way to look at it" sorta way.
He's essentially saying not playing the "one" or accenting the 2 / 3 / 4 is a good way of swinging the groove differently, and by only implying the 1, you "invite" the dancer / listenner to join in the music and fill the "one" for you, and in their minds....
Last edited by Mon Rominee : 09-28-2007 at 07:45 AM.
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09-28-2007, 07:51 AM
| | This space for rent | | Join Date: Sep 2007 Location: Jacksonville, NC | | | Someone should email him and explain the concept of the quarter note rest. |
09-28-2007, 07:56 AM
| | Registered User | | Join Date: Jan 2005 Location: Coaldale PA | | | I thought it made a lot of sense. Nothing really new, but it was atleast a readable article.
Plus I liked the song a lot.
__________________
Steal Your Face Right Off Your Head
Ric club SixtyOne
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09-28-2007, 07:57 AM
| | Banned | | Join Date: Oct 2003 Location: Central Southern Massachusetts | | Quote:
Originally Posted by erochelle77  Someone should email him and explain the concept of the quarter note rest. | Yes, I just thought this was a nice way around explaining that to the layman... |
09-28-2007, 08:00 AM
| | This space for rent | | Join Date: Sep 2007 Location: Jacksonville, NC | | | true |
09-28-2007, 08:00 AM
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09-28-2007, 08:12 AM
| | | | i don't think it's about quarter-note rests actually - it seems to be about longer spaces than that. I think i can see what it's on about. |
09-28-2007, 08:51 AM
|  | Registered User
Endorsing artist: Carvin, Micheal Kelly Guitars | | Join Date: Jul 2006 Location: Austin, Tx. | | | If you play a one-drop riddim in a reggae context nobody plays on one. However the dancers keep anticipating the beat on one, which makes their body move almost involuntarily. It's almost sinister, but very effective. |
09-28-2007, 09:17 AM
|  | Registered User | | Join Date: Jan 2004 Location: Miami, FL | | Quote:
Originally Posted by Panda Licker I thought it made a lot of sense. Nothing really new, but it was atleast a readable article.
Plus I liked the song a lot. |
+1.
I don't see what the controversy is. Great article, and song. |
09-28-2007, 10:39 AM
| | Registered User | | Join Date: Dec 2004 Location: Bos, MA | | calypso music is the same. except cooler. 
__________________ Quote:
Originally Posted by D.M.N. that was like having a gorilla attempt to shove haggis down my ear canal. | |
09-28-2007, 10:56 AM
|  | I took the one less traveled by | | Join Date: Mar 2002 Location: Reims, Champagne, France | | | What he describes is pretty much my approach to all my lines.
They usually start with busy and intricate patterns, then I work to get rid of all the notes that aren't necessary to the mood I want to bring out.
I think Tony Levin must do the same on his lines.
They appear simple yet fresh and surprising. You never know what's coming next. |
09-28-2007, 11:31 AM
| | Dry and Heavy | | Join Date: Oct 2004 Location: Swiss Alps | | | Excellent.
I always think of it as 'playing the spaces'. What you leave out is easily as important as what you put in, and makes it mean more. |
09-28-2007, 11:34 AM
| | Banned | | Join Date: Oct 2003 Location: Central Southern Massachusetts | | | Another reason I love "ghosting" notes so much.... |
10-04-2007, 01:35 PM
|  | The Lowdown Diggler | | Join Date: Apr 2006 Location: Huntington Beach, CA | | | He's talking about the 1 drop. Common in reggae. Also common in funk. It's a heavy emphasis on the 1 due to the absence of bass and or bass drums. It's term he's created for the sensation of beat by the establishment and the subsequent removal of a beat on set count. | | Thread Tools | Search this Thread | | | | 
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