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- Polyrhythms Part 1LEVEL 6We will learn to play some polyrhythms. Basically 4 against 3, 4 against 5 and 2 against 3.
- Hybrid Picking PolyrhythmsLEVEL 4Introduction to playing two different rhythmic patterns simultaneously.
- 4 Part Harmony Drop 2 Voicings - Part 2LEVEL 4Part 2 focuses on some sort of 3rd in the lowest note. String sets 6543,5432 and 4321 used.
- Tapping Texture Part 2LEVEL 6In this second lesson we will focus on 16th note tapping arpeggios. No pick used here!
- Kuffner - Sonatina, Part 2LEVEL 4A polyphonic piece with two melodies, one played with thumb, and another played with index-middle combination. This lesson is most useful for the mobility and strength of the thumb.
- Applying Modes - Part 2LEVEL 5Learn to apply modes to the most common progressions.
- Santana: Europa - Part 2LEVEL 3Classic Santana filled with bends, hammer-ons, and slides.
- 4 Part Harmony Drop 2 Voicings - Part 3LEVEL 34 Part Harmony Drop 2 Voicings - 2nd inversion. Chords have 5th in the bass and 7th on top. G major scale harmonized using ascending and descending diatonic 2nds.
- 4 Part Harmony Drop 2 Voicings - Part 4LEVEL 34 Part Harmony Drop 2 Voicings Part 4 harmonizes G major scale chords using 3rd inversion (7th in the bass, root on top).
Feedback
Alexiaden9318th June 2009Beautiful !
Emir Hot17th June 2009yes, another great one
Stephane Lucarelli12th June 2009Another great lesson Ramiro!
Pedja Simovic12th June 2009Very nice lesson Ramiro !
Ramiro Delforte11th June 2009Thank you Bodgan!
Bogdan Radovic11th June 2009Excellent series Ramiro!
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- Lesson
- My notes
Hi GMC'ers! Welcome to the second lesson about polyrhythms. Here we will see the same polyrhythms of the previous lesson (4 against 3, 4 against 5 and 4 against 6) but with the subdivision of each member into 8th notes. That would be: if the polyrhythm was 4 against 5 the 5 quarters are divided into 8th notes leaving ten 8th notes over 4 quarters but remember that those ten 8th notes are into a rhythm of 5 quarters that goes against the normal 4 quarter pulse.
In the case of 4 against 3 and 4 against 6 it's almost the same but the internal accents are what it's important here. When you divide the half note triplet into quarters you have the same polyrhythm as 4 against 6 and the 8th notes are the same amount of that last one that I've mentioned. So the important thing would be the accent. In the 4 against 6 the 8th notes are accented every two 8th notes but in the 4 against 3 are accented every four 8th notes.
I hope you enjoy the lesson :)From this course:
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