From Philip Sherburne Sent Wed, Jul 8th 1998, 01:14
From Philip Sherburne Sent Wed, Jul 8th 1998, 01:14
> >About the closest to it > >that I've read is Charles Keil's work on "participatory discrepancies" > >(PDs)--the micro-placement of notes before or after beats, > > Which is how I usually think of it, although maybe not micro. Where the > syncopated beat falls not *on* the beat, nor does it fall *exactly in > between* the beats, but rather just before or after the beat. And I'm not > talking about random un-quantization for humanization effect, but rather the > calculated employment of "missing" a beat slighlty to create tiny instants > of tension and satisfaction. > > > >I just know that when the second layer of > >drums comes in in We's "in time," I'm powerless to resist. It's some > >mysterious combination of micro-nuances in rhythm and the timbres of the > >drum sounds, but I can't quantify any of it. > Along the same lines as the above, I would recommend Mike Ink's (recording as M:I:5) album/12" "Mabstab" on Profan--his layering of off-kilter loops and breaks creates an intense polyrhythmic effect, shifting and lurching within the confines of the beat. Really stunning. philip sherburne xxx@xxxxxx.xxx