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Re: Rhythm Intensive and Rhythmic Programming

I'm a lucky owner of a hand written manuscript of this course, dating
2003 pre Skype. :-)  And I noticed when checking out Rick's group
master classes in 2004 and 2008 that my paper was only a fragment of
the full treat. One thing I learned from it is that there are
different ways to learn a non 4/4 rhythm by heart; breaking down a bar
into a number of sub patterns that you can follow by instinct without
having to count. Incredibly helpful.

Greetings from Sweden

Per Boysen

On Tue, Feb 5, 2013 at 12:42 AM, Rick Walker <looppool@cruzio.com> wrote:
> I was responding to the thread on realistic drum programming and
> forgot to mention something that might be of interest to people here.
>  I teach a course (through Skype) called the 'Rhythm Intensive' that is 
> 4-8
> hours
> of private instruction on how to understand the universal principles of
> global rhythm so that one can program drums realistically, arrange songs,
> compose or improvise
> in real time with any style of music (regardless of whether you've heard 
> it
> before) based ONLY
> on rhythmic principles.  It is designed specifically to aid people in 
> how to
> program, rhythmically.
> I started teaching this course 25 years ago because I realized there was 
> a
> serious gap in Rhythmic Instruction in both books (in English) and in
> educational institutions.
> Since I was blessed to be able to play, tour and record with some 
> incredible
> master musicians from many different cultures,  I got to test out my
> theories about rhythm and began working on this system that I"ve now 
> taught
> to literally thousands of people.
> The genesis of this program came,years ago,when I was playing a lot of
> rhythms on drumset that I had arranged from acoustic hand and finger
> drumming experiences with ethnic drumming traditions,
> I became frustrated by the fact that a lot of really good bass players 
> (pros
> with great technique
> and lots of musical knowledge) just couldn't seem to find the groove with
> these new rhythms
> despite how accomplished they were in other styles.
> This fascinated me and I began a really intense analysis of every single
> rhythm I could get my hands on
> from other cultures to see if I could ascertain an approach that might 
> work
> for creating bass lines
> to drum beats that would feel stylistically appropriate.
> The more rhythms I analyzed (and I'm now in the research of the fourth
> volume of my
> Global Beats and World Pop Styles encyclopedia,  having only published
> volume one in hand
> written form) the more I began to see really simple emergent qualities of
> the ways that guitars, basses, drums, percussion and keyboards worked if
> they were in the 'rhythm section'
> I started teaching what I called the Bass Rhythm Intensive.
> After teaching about 50 bassists this approach, they kept coming up to me
> and saying,  'if only my guitarist or drummer understood this approach it
> would be so great for our band."    So I widened it
> and started teaching other instrumentalists.     By now all these years
> later,  I've taught it
> to Bassists, Guitarists, Keyboardists, Bowed String Players, Horn 
> players,
> Producers, Arrangers,
> Choreographers, Dancers and Vocalists).
> It's just a map of how to do things and we all know that 'the map is not 
> the
> territory' but as my intellecuaal mentor, Gregory Bateson once said, 
> "there
> is, however, such a thing as a better map."
> From the feedback I've gotten back from professional and non-professional
> musicians is
> that it's a pretty strong approach that always yields musical results.
> If anyone is interested, contact me off list and I can tell you more 
> about
> it.