COURSE SYLLABUS/OUTLINE: POLYRHYTHMS 1 with MIKE MANGINI

Required Book: Rhythm & Meter (Chaffee)
Optional Book: Rhythm Knowledge Volume 2 (Mangini)

Weeks 1-3:

Polyrhythms are described (in terms of X:Y) and demonstrated. The most important aspect of the course is the use of the voice as it applies to keeping track of the subdivided notes and the pulses. The metronome is key to ironing out the time wrinkles, and speed is necessary so the out loud counting reduces to under the breath whispering.

Learn to count subdivisions in binary using the "Not Quite Doubled" counting system from Rhythm Knowledge Volume 2. Alternate between any 2 limbs of choice, start with 10 NQD = 19 Tuplet, and work down all the odd subdivisions to 2NQD =3.

11 in NQD language is: 1+2+3+4+5+61+2+3+4+5+61+2+3+...... (no + "and" between 6 and 1 because doubling 6 would yield a 12 note grouping)

Test this with Page 19 From R&Meter along with practicing subdivisions 2-8 (from the table of time in Drum Lab 1) in a back to back format.

Students that "add in " to class can catch up by having to learn page 19 only. Students that are there from day 1 can expand the 19-3 odd subdivisions by working with stickings RL & RLL yielding 19:2 to 3:2 and 19:3, 17:3 ... to 3:3 polyrhythms on a basic level. The point is, 19 is too big a subdivsion to play fast, or to just "feel" and this makes you see, hear and feel ...... and count :)

Weeks 4-6:

Groove and inprovisation with the odd numbers from 19-3 is demonstrated and introduced as "homework that is fun." The students get to play around with these odd groupings at a slow rate. This slow rate is described as a "slow tuplet that sounds like a time signature."

Tighten up "table of time" subdivisions on pages 21-27. In class, I play the whole subdivsions as the students read the pieces. Since the pieces have subdivisions with missing notes, hearning me playing all the notes serves as a timing template.

Work with page 20 to ensure that basic table of time approach is better.

Weeks 7, Midterm:

Work with pages 28 and beyond to begin to perfect the usages of subdivisions 2-8.

The Midterm is to play page 19. Since it was the 1st to Work on, it must be learned and perfected for the test. The student chooses the pusle BPM and performs it with a metronome in class. They can use their own or mine. Grading is based on perfection with the following criteria: Timine with click, eveness of subdivisions, dynamics, overall sound and control (based on confidence.) The chosen tempo is a small factor so that a lack of speed doesn't hurt the grade much. However, performing the piece WELL at the marked tempo of 96 BPM does play a part in receiving a higher grade. The speed is an issue as it is the speed with which one can play the 19-3 subdivisions that will result in 'feeling' them at one point. As an example, playing 7:3 at a slow speed requires one to subdivide at a fast rate. Playing 7:3 as a 'feel' (demonstrated in class) demands seeing and listening of a different nature.

Make no mistake, it is nearly impossible to perfectly land every "1" on the click.

Weeks 9-12

These weeks require a lot of repetition. Polyrhythms where the "tabel of time" subdivisions (2,3,4,5,6,7,8) are placed against 2 and 3, as separate exersices, are tediously gone over and required for homework. Using the stickings with 19-3 at faster rates is the key. Once the removal of the left hand takes place, the student is left with the right hand playing the 'accented' or 'phrased' X and the feet play Y producing polyrhythms.

Pieces in the 30's pages of Rhythm and Meter are introduced although pages 21-27 are still gone over and added to the practice procedure as speed exercises.

Weeks 13-15:

All review. No new material is introduced. The final exam contains the performing of a piece of choice from those discussed in class. Also included is the demonstration of 'stuff' against 2 & 3 polyrhythms. That component is limited to 8 to 2 against 3, and 8 to 2 against 2.