3-2-2-2
These following snippets are a continuation of the previous treble-side-only patterns. I obviously like the 3/8+3/4 meter a lot. I encountered this rhythmic pattern for the first time in a performance of Leonard Bernstein’s “Mass”. Since it’s an odd number of eighth notes per measure the fingering repeats after two measures. It grooves in a very syncopated way.
First the basic pattern, using a two note line on the treble side and a simple bass line on the bass side. Actually the bass line will stay the same throughout this exercise
Single chord puts a simple Eb triad on top and creates a Cm7 with the bass line.
Two alternating chord voicings for first and second measures. First measure creates a Cm7 chord and the second measure Csus(6/9) or Dm/C.
Here we use the single note pattern for a little harmonic progression.
Next we just add a fourth above the single note line on the treble side. Already we’re getting a lot more harmonic content.
Finally we use the dual chord version through the same chord progression. This of course adds plenty of harmonic depth. I like to practice these three-chord progression examples switching from one to the next. It creates nice dynamics and variety.
Here are some more variations on the rhythmic pattern of this section. These are based on the same harmonic principle – only what used to be played on the bass side is now being played on the treble side and vice versa.
We start out with a simple single note pattern.
Next, the treble line is played in stacked fourths rather than single notes. Remember, this used to be our bass line in previous exercises.
Finally we add stacked fourths on the bottom and get a busy, thick chordal rhythm. You can try other chord voicings although fourths are the most convenient to finger on a Stick.
This little variation is very interesting. In the first four measures the notes played by either hand stay out of each other’s way, while in the last four measures there is lots of overlap and the sound becomes quite dense.
I thought Grand Replicator sounds pretty cool. It’s really just a little cadenza using the 3-2-2-2 pattern from lowest to highest strings. Notice how the pattern repeats every four measures. At measure five the bass hand switches up an octave while the melody hand stays in place. At measure nine the melody hand goes up an octave while the bass hand stays put. And so on.
Some more snippets…
- Stick Stuff 2 – Basic Funk Grooves
- Stick Stuff 3 – Both Hands on Treble Side
- Stick Stuff 4 – 3-2-2-2
- Stick Stuff 5 – 3-2-2-2-3-2-2
- Stick Stuff 6 – 5/4 Latin
- Stick Stuff 7 – 5/4 Latin Funk
- Stick Stuff 8 – 6/4 Latin
- Stick Stuff 9 – 9/8 Latin
- Stick Stuff 10 – 7/4 Latin Funk
- Stick Stuff 11 – Partido Weirdo
- Stick Stuff 12 – 9-9-9-8
- Stick Stuff 13 – Different Olenka
- Stick Stuff 14 – Salsa in 10
- Stick Stuff 15 – Stick-O-Lypso
- Stick Stuff 16 – Polychords
- Stick Stuff 17 – Advanced Chord Scales
- Stick Stuff 18 – Interlocking Chord Rhythms
- Stick Stuff 19 – 7/8 Ostinato
- Stick Stuff 20 – Cool Chords
- Stick Stuff 21 – Baiao Progression