Polyrhythm in Jazz Language
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The idea of sharing and passing on my experience with rhythm and polyrhythm was birthed from a matured awareness of more than 10 years of didactic and concert activity with insufficient mastery of rhythm and polyrhythms on the part of young people, but also some musicians who had already had good experience behind them. The causes, in my opinion, in the first place come from the insufficient attention on the part of teachers of the basic school and confronting the subject especially from the point of view of everyday practice. In the second place, the lack of courses, also in the private sector, who could deal with the subject in a sufficiently detailed manner.

This study, in the form of workshops tries to fill the gaps, confronting at various levels the questions put forward, as if it were an element of contrast that exalts rhythmic insufficiency bringing it to consciousness. It can be said that only a constant and meticulous daily study brings about a true and deep mastery of rhythm and polyrhythm. The workshop begins with the general observation of all rhythmic elements which are tightly connected, that is: time, motion, meter, sound, construction of a rhythmic phrase, etc, etc. After clarifying the above said elements the technical and historical explanation of polyrhythms in contemporary music are explored and especially in Jazz, which is an obligatory step in the “road to music”. The last century is the most important in the aspect of rhythm, from which comes that extraordinary experience called Jazz. This music, like none other, is based on its essence and its destiny, on rhythm. From J.R. Morton to C. Parker and through J. Coltrane, up to the American and European “New Experience”, rhythm is the main inspiration, the nucleus of an atom that today is in great fermentation. The second step consists of technical explanation – polyrhythmic theory, illustrating the movement. The third step is the hands on practice and song of polyrhythm, seeing a single movement with the aid of a song or some phrases played on the drums or piano, becoming the main experience in the vision of its own limits. Not forgetting the examples recorded on albums, with tunes written by composers prevalently jazz such as T. Monk, S. Rollins, D. Ellington, C. Parker, etc.

The final experience of the workshop consists of the song and melodic sound in a polyrhythmic construction for a collective orchestra: vocal – instrumental.

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