Polyrhythms for the Drumset [ペーパーバック]

I have decided to edit my original reply to explain in a more elegant way what I was previously trying to communicate and to improve on it as well.

My original criticism was simply that the above was a great workbook, especially in conjunction with a good teacher, but that it lacked any deep or practical explanations to assist a student in working through this somewhat foreign aspect of rhythm. A little explanation can turn a very long frustrating experience into an enjoyable one. I would like to say that I recommend this book (and Mr. Magadini's other book "Polyrhythms: The Musician's Guide" which I feel to be the better of the two). This lack of explanation may be common practice in drum books, but it may also cause a new student of polyrhythms to feel like they should just approach the subject "willy nilly" and blame themselves for failure.

So here is a little practical explanation that may be helpful to all of you new students to the world of polyrhythm.

When first working with a polyrhythm involving the numbers A:B, first divide a given amount of time (we will call it the cycle here) by A*B equal beats. If you wish, you may use graph paper to visualize this. In this cycle of A*B beats, one rhythm will sound every A beats and the other will sound every B beats. On one line of the graph paper we can make a mark every A squares, and on the following line we can make a mark every B squares. Each square represents a beat of the cycle. On the third line you can make a mark wherever either of the above two lines is marked (this combines each of the two basic rhythms of steady pulses into the POLYrhythm). Now, looking at this third combined line, write down in a condensed numerical form what is happening. If you see marks like this on the third line:
(x - - - x x - - x - x - x - - x x - - -)
notate this is as (4 1 3 2 2 3 1 4).
Then, looking at the first two lines, assign left hand L to one line and right hand R to the other line and transfer this to the condensed numerical notation:
(4 1 3 2 2 3 1 4)
(T L R L R L R L)
[T here means left and right Together. The L and R order can be reversed of course, and may refer to feet or hands or both]

Let's look at the example just given in more detail. It is actually a 5:4 polyrhythm. We start out with
5:(x - - - - x - - - - x - - - - x - - - - )
4:(x - - - x - - - x - - - x - - - x - - - )
P:(x - - - x x - - x - x - x - - x x - - - )

(4 1 3 2 2 3 1 4)
(T L R L R L R L)
(T R L R L R L R)

Now pay attention, because here is where the logic is...
The individual patterns within this polyrhythm can be combined in groups of 5 or groups of 4. Lets look at both...
in groups of 5 beats: (4 1)(3 2)(2 3)(1 4)
in groups of 4 beats: (4)(1 3)(2 2)(3 1)(4)

When practicing this is what you need to do -> Take these individual groups of 5 or 4, which are various permutations of a 5 or 4 beat cycle, and practice them individually. Start with a slow tempo then work to a very fast tempo. Make sure these little permutations become second nature to you, and you can play them accurately without much thought. Then practice switching between them at will. Once you look back at the whole polyrhythm to practice it, FORGET ABOUT L AND R for a while, and just play the polyrhtyhm as groups of 5, or as groups of 4. Once you have mastered these simple little permutations, you will see that the polyrhythm is nothing but these simple little groups strung together. It becomes quite simple and intuitive and you can then move the tempo from slow to fast in increments. Make sure you master a tempo before moving on. L and R separation can be added in once you get the idea of the basic rhythm. Once you have the L and R feel solidly, start to shift your attention to one or the other while playing the rhythm and note that each is playing a steady pulse. If paying attention to the L, then remove the R for a moment and just note the basic pulse by itself, then add in the R again to here the whole rhythm. Remove the L then, and just listen to the R pulse by itself. Doing this helps ground in the polyrhythmic feel within yourself and assists you when you might be beginning with a steady pulse while improvising to then add in another pulse polyrhythmically.

I will now include here some basic polyrhythms in the simplified numerical notation (make sure you have read the above example and understand what this notation means), to make things a little easier for you. Note the symmetry, and the greater instability towards the outer ends of the rhythm and the greater stability towards the centers. One line one is the polyrhythm A:B. On the following lines are two possible stickings (remember to ignore stickings at first) and two possible groups of the same polyrhtyhm in groups of A and B respectively.

3:2
(2 1 1 2)
(T L R L)
(T R L R)
(2 1)(1 2)
(2)(1 1)(2)

4:3
(3 1 2 2 1 3)
(T L R L R L)
(T R L R L R)
(3 1)(2 2)(1 3)
(3)(1 2)(2 1)(3)

5:2
(2 2 1 1 2 2)
(T L L R L L)
(T R R L R R)
(2 2 1)(1 2 2)
(2)(2)(1 1)(2)(2)

5:4
(4 1 3 2 2 3 1 4)
(T L R L R L R L)
(T R L R L R L R)
(4 1)(3 2)(2 3)(1 4)
(4)(1 3)(2 2)(3 1)(4)

6:5
(5 1 4 2 3 3 2 4 1 5)
(T L R L R L R L R L)
(T R L R L R L R L R)
(5 1)(4 2)(3 3)(2 4)(1 5)
(5)(1 4)(2 3)(3 2)(4 1)(5)

7:2
(2 2 2 1 1 2 2 2)
(T L L L R L L L)
(T R R R L R R R)
(2 2 2 1)(1 2 2 2)
(2)(2)(2)(1 1)(2)(2)(2)

7:3
(3 3 1 2 3 2 1 3 3)
(T L L R L L R L L)
(T R R L R R L R R)
(3 3 1)(2 3 2)(1 3 3)
(3)(3)(1 2)(3)(2 1)(3)(3)

7:4
(4 3 1 4 2 2 4 1 3 4)
(T L R L L R L L R L)
(T R L R R L R R L R)
(4 3)(1 4 2)(2 4 1)(3 4)
(4)(3 1)(4)(2 2)(4)(1 3)(4)

7:5
(5 2 3 4 1 5 1 4 3 2 5)
(T L R L R L L R L R L)
(T R L R L R R L R L R)
(5 2)(3 4)(1 5 1)(4 3)(2 5)
(5)(2 3)(4 1)(5)(1 4)(3 2)(5)

7:6
(6 1 5 2 4 3 3 4 2 5 1 6)
(T L R L R L R L R L R L)
(T R L R L R L R L R L R)
(6 1)(5 2)(4 3)(3 4)(2 5)(1 6)
(6)(1 5)(2 4)(3 3)(4 2)(5 1)(6)

8:3
(3 3 2 1 3 3 1 2 3 3)
(T L L R L L L R L L)
(T R R L R R R L R R)
(3 3 2)(1 3 3 1)(2 3 3)
(3)(3)(2 1)(3)(3)(1 2)(3)(3)

8:5
(5 3 2 5 1 4 4 1 5 2 3 5)
(T L R L L R L R L L R L)
(T R L R R L R L R R L R)
(5 3)(2 5 1)(4 4)(1 5 2)(3 5)
(5)(3 2)(5)(1 4)(4 1)(5)(2 3)(5)

8:7
(7 1 6 2 5 3 4 4 3 5 2 6 1 7)
(T L R L R L R L R L R L R L)
(T R L R L R L R L R L R L R)
(7 1 6 2 5 3 4 4 3 5 2 6 1 7)
(7 1)(6 2)(5 3)(4 4)(3 5)(2 6)(1 7)
(7)(1 6)(2 5)(3 4)(4 3)(5 2)(6 1)(7)

9:2
(2 2 2 2 1 1 2 2 2 2)
(T L L L L R L L L L)
(T R R R R L R R R R)
(2 2 2 2 1)(1 2 2 2 2)
(2)(2)(2)(2)(1 1)(2)(2)(2)(2)

9:4
(4 4 1 3 4 2 2 4 3 1 4 4)
(T L L R L L R L L R L L)
(T R R L R R L R R L R R)
(4 4 1)(3 4 2)(2 4 3)(1 4 4)
(4)(4)(1 3)(4)(2 2)(4)(3 1)(4)(4)

9:5
(5 4 1 5 3 2 5 2 3 5 1 4 5)
(T L R L L R L L R L L R L)
(T R L R R L R R L R R L R)
(5 4)(1 5 3 )(2 5 2)(3 5 1)(4 5)
(5)(4 1)(5)(3 2)(5)(2 3)(5)(1 4)(5)

9:7
(7 2 5 4 3 6 1 7 1 6 3 4 5 2 7)
(T L R L R L R L L R L R L R L)
(T R L R L R L R R L R L R L R)
(7 2)(5 4)(3 6)(1 7 1)(6 3)(4 5)(2 7)
(7)(2 5)(4 3)(6 1)(7)(1 6)(3 4)(5 2)(7)

9:8
(8 1 7 2 6 3 5 4 4 5 3 6 2 7 1 8)
(T L R L R L R L R L R L R L R L)
(T R L R L R L R L R L R L R L R)
(8 1)(7 2)(6 3)(5 4)(4 5)(3 6)(2 7)(1 8)
(8)(1 7)(2 6)(3 5)(4 4)(5 3)(6 2)(7 1)(8)

When working with polyrhythms there are a number of basic practices that one may find useful. These basic practices were hinted at above.

1. When you are dealing with a polyrhythm involving the number N, you will want to step away from the polyrhythm itself for a moment and get used to dividing a given amount of time by N equal beats and using various permutations of this given time as we saw above. For instance if a particular polyrhtyhm involves the number 5, then we imagine that a given amount of time is divided equally into 5 beats and treat it is a 5 beat cycle. Then get used to playing various permutations of beats within this cycle of 5 beats - playing all of the rhythms (5), (1,4), (4,1), (2,3), (3,2) individually*. Then practicing switching between them at will. Move from slower to faster tempos. These permutations form the basic patterns that you will find consistently when using these numbers in a polyrhythm.
*(5) means play a note on the first beat that lasts 5 beats long (x - - - -):|, (2,3) means play a beat that lasts two beats long followed by a beat that lasts three beats long (x - x - -):|

2. Using a metronome or a steady pulse with your kick, become familiar with dividing a beat not just by powers of two, but by all numbers 1 through 9. This means that, for example, between two pulses of the metronome (or kick) play 5 pulses with your sticks. A slow tempo can be used at first, then the tempo can be increased by small increments. Get used to the feel of each of these, as some of them are probably foreign to you. Practice switching between them at will. You may use whatever basic sticking rudiments you know with these divisions as well. Also note that just because you get used to the feel of each of these played alone, attempting to combine them (say a 5 and a 7) accurately may seem extremely difficult if not impossible at first. This is normal, my explanation below will address this.

Once you have mastered the basic polyrhythms, you can start making polyrhythms by combining two more complex rhythmic cycles instead of just two steady pulses. Try new sticking and improvise moving this sticking around to different drums within the cycle. Practice improvising in polyrhythms in general. If you would like to understand a bit more about polyrhythms from a compositional perspective I would recommend reading the rhythm secion of New Music Resources by Henry Cowell - which explains the harmonic ratios of polyrhythms as consonance and dissonance according to the harmonic series. Also of interest would be the Book I of the Schillinger System of Musical Composition by Joseph Schillinger which explains interference patterns (complete or incomplete) as the basis of all rhythms in existence, and he expounds upon this throughout the System in great detail. Both of these books are rare and probably out of print, but at least provide a provocative theoretical framework.

Oh, and don't forget: "It don't mean a thing if it ain't got that swing."

-Eric

This book is abrilliant piece of work from Peter Magadini. Peter has considered all levels of professionals starting from the novice to the expert who can go on a roll on the drumset. A handy piece of talent is in there with enough tunes to practise making the user a familiar drummer in all the various kinds of music that he can be exposed to. With sufficient pracise to these tunes the drumset player can blend himself into various kinds of music or even practise for fusion of Indian & Western classical. In short "A GOOD BUY WORTH EVERY CENT"

This is an excellent book for anyone wanting to get more advanced in rhythmic studies. This book has been reprinted, and I believed compiled from a couple of other books written by Magadini. This is not an easy book to breeze through, but it will absolutely enhance anyone's drumming, even if jazz isn't their main style of playing.