Polyrhythms in Prog Music
(2024)
author(s): Erik Stein
published in: Codarts
My research takes place in the domain of drumming focusing on the world of polyrhythms; looking at how to integrate them in my own compositions but also how to use them in any kind of genre or situation.
As for my experience, polyrhythms and groupings are extremely effective tools to sound more musical and more interesting; expanding the realm of popular patterns without losing the essence of the role of a drummer in today's western music.
Motivated by curiosity, this research covers a 360 angle view of how to use them, focusing on grooves & rhythms - fills & Improvisation - multilayering rhythms and phrasing.
Documentation and annotation will serve AV demonstrations for practical use and the involvement of carefully selected experts and peers will provide necessary feedback to stay on track.
On a broader spectrum my findings can be translated to other players, inspire band members and open up doors for an alternative approach. Polyrhythms infused with dynamics and the right amount of dosing can sound easy and complex at the same time. This is what makes this subject not only part of a niche but can also be introduced to a wider audience. Researching mainly in the progressive rock domain, analyzing players such as Danny Carey, Gavin Harrison and Thomas Haake, my conclusions will be AV recordings and can be summarized in a ‘methodical’ overview.
Poly-rhythmic structures as frameworks for improvisation.
(2015)
author(s): Giovanni Bermudez Cardenas
published in: KC Research Portal
Name: Giovanni Bermudez
Main Subject: Jazz Double Bass
Research Coach: Jarmo Hoogendijk
Title of Research: Poly-rhythmic Structures as Frameworks for Improvisation
Research Question:
How can poly-rhythmic structures be used as generators of form when composing for
improvisation?
Summary of Results:
When thinking about the relationship between composition and improvisation, a
composition can be seen as a set of predetermined musical structures that function as a
sort of "map" for the improvisers to navigate, while at the same time providing a cohesive
character or "vibe" for the musical performance. The improvisation then occurs in
relation to these structures.
I want to know how can rhythm be used as the guiding element in the construction of
these structures. Particularly how poly-rhythms can provide structures that have a clear
contour, alternating between moments of tension and release.
For that, I have defined the following research question:
How can poly-rhythmic structures be used as generators of form when composing for
improvisation?
In order to answer that question I have looked into the musical traditions of West Africa
and Cuba, as well as the work of the saxophonist Steve Coleman.
The final product of this research is a series of four compositions for small jazz ensemble
in which I try to apply, in my own way, the ideas and concepts compiled during this
process.
Biography:
Giovanni Bermudez is a jazz bass player born and raised in Quito, Ecuador.
Initially a self-taught rock musician, he eventually became attracted to the possibilities of
improvisation and the rich tradition of Jazz. While studying in Quito, he worked as an
independent bass player performing with numerous bands and soloists in jazz, Latin, and
pop/rock music.
In 2009, looking to develop further skills on the double bass and to challenge himself in a
more competitive musical environment, he moved to the Netherlands to pursue studies at
the Royal Conservatory of The Hague. The international environment of the Netherlands
gave him the opportunity to perform all over Europe.