Curse

Guardian of the Light · Mar 08, 2006, 02:41 AM // 02:41

Mercury Angel

hmmm I wonder when I copied that?

KlayMan641 · Mar 08, 2006, 03:16 AM // 03:16

Boo you stink.

Ju_Smurph · Mar 08, 2006, 05:48 AM // 05:48

Boo you stink.

Savio · Mar 08, 2006, 09:03 AM // 09:03

jbwDzHqZ9V

...

I need to change that password soon.

Rilder · Mar 08, 2006, 09:09 AM // 09:09

http://www.crithitcomics.com/healbot04.gif

i dunno why thats in clip board

Rukmedes · Mar 08, 2006, 05:54 PM // 17:54

<[iGi]Natures> beo sex me

LOL.

Fungus Amongus · Mar 09, 2006, 02:26 AM // 02:26

Vai.com Home > Little Black Dots > Tempo Mental
Tempo Mental

by Steve Vai

Written in 1983 for a music magazine, but never published.

It was the summer of 1978. I had just turned 18 years old and had sent some transcriptions to Frank Zappa. He responded by putting me on salary to transcribe tons of music, everything from lead sheets to orchestral scores. The bulk of the work was guitar solos, some with their accompanying drum parts. Frank played all the guitars and Vinnie Colaiuta was the drummer. These guys used to take it out to lunch, experimenting a lot with rhythms and odd phrases. My task was to transcribe the stuff the best way I thought possible.

The tracks were recorded in several different manners. On some occasions, the band played together live. Sometimes FZ overdubbed his solos in the studio. One interesting thing that Frank did at times was to take a drum track from a certain time and place and then take a guitar solo from yet another time and place and lay them on top of each other. Frank released a book of some of these guitar solos and drum parts. It's called "The Frank Zappa Guitar Song Book".

While transcribing the material, I was often confronted with situations that led me to reach into the intuitional areas of my imagination to come up with various notational devices and constructions that I had never seen before. I soon discovered that many contemporary composers were then (and are still) using these notations.

In this article, I would like to show and explain some of these concepts and devices. Besides being of great educational value, this will also help to clarify the ambiguity behind some of the notation in the transcriptions found in "The Frank Zappa Guitar Song Book".

A polyrhythm is just what it says. Two rhythms, or "feels", happening at the same time. Most people reading this have a good understanding of the basic triplet. This, in essence, is a polyrhythm. It's three 8th notes being played against two 8th notes. Some more basic examples follow...

These rhythms could be played rubato (fluidly) or non-rubato (very strictly and evenly). Both ways have their own advantageous effects.

SUBDIVIDING OVER TWO OR MORE BEATS

The concept of putting an odd number of attacks in the space of one beat holds true for putting an odd number of attacks over two beats.
The first number (5) shows the number of beats to be superimposed over the space provided. The second number (2) designates the number of beats upon which the first number is to be superimposed. The note value that follws shows the type of note value for the previous number. So what this actually says is "five notes in the space of two quarter notes".

To see where the beat falls mathematically, you would have to subdivide as follows:

Here's a rhythm of five notes on two beats. We know where the first beat falls, but we want to find out where the second one does, too. We need a common denominator for the two.

Double the 8th notes to 16th notes. You need even amounts of beats on both sides of the beat.

By subdividing and putting five units of measurement on both sides of the beat, you can now see that the second beat will fall on the upstroke of the third 8th note of the quintuplet. The same thing will hold true when you divide any odd number of attacks over two beats.
There's a similar concept involved in dividing a polyrhythm of an odd number of attacks on three beats evenly. First, you need a common denominator between the two. Then you need even amounts of units on each beat.

What this example is saying is: seven in the space of three quarter-notes evenly.

We know where the first beat falls. The common denominator between seven and three is twenty-one.

By writing out twenty-one units and grouping them in sevens, you can see where the beats fall. By dividing the units into seven groups of three, you make a triplet out of each of the seven attacks.

Argh, too much copy and paste...here's the link:
http://www.vai.com/LittleBlackDots/tempomental.html

Surprisingly, that was actually on my clipboard to send to a freind....

Two April Mornings · Mar 09, 2006, 02:35 AM // 02:35

Ahmad Muslim

haha to the paste above mine

Diet_pepsi_machine · Mar 09, 2006, 02:56 AM // 02:56

http://serban17.tripod.com/album/retard.jpg

Malice Black · Mar 09, 2006, 03:35 AM // 03:35

I wish there was godly armor which cost say 5 million a set and weapons which had fixed stats and had no rubbish version which were very rare. Then players who work hard can appear godly and not blend in. <<

Rukmedes · Mar 09, 2006, 04:28 AM // 04:28

14(»× 7i 4G7 i 14×«)-( 14,10N14,1atures, 0H14,1ulk, 0T14,1aste, 0C14,1ustodian, 0T14,1error, 0D14,1igi, 0,1T14,1hree, 0d14,1aemon, 0V14,1aresh, 0K14,1estrel, 0A14,1uto, 0M14,1agic14,1 )-( 0,1N14,1ews: * 14,1)

<_< Don't steal my leet design

Ultimate Warrior · Mar 14, 2006, 02:01 AM // 02:01

1. Christian Ethics 10
2. English Language Arts A10
3. English Language Arts B10
4. Math 10
5. Math 20
6. Science 10
7. Chemistry 20
8. History 10
9. Wellness 10B
10. Practical Arts A10

course selections for grade 10