Unified Field Theory of Tresillo

luka

luka

Well-known member
Barty said that article was rubbish and misunderstood fundamental musical tenets when I showed it to him years ago. Said it obviously wasn't written by an acomplished musician.
 
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sadmanbarty

Well-known member
luka said:
This whole thread is really just an extended love letter to droid.
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this is a very important point actually.

it was when having discussions with droid that i first came up with it (i didn't even know what the word for 'tresillo' rhythms was, i had to wikipedia it while talking with droid).

he was very generous and really, genuinely engaged with my nerdery and pedanticness.

it seems like i'll be getting published soon, in part due to this theory.

so i very much do owe droid a huge thanks.
 
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sadmanbarty

Well-known member
this one starts with just the clave kick, then adds the back beat snare after 20 seconds. so perfectly illustrates what he's saying

 
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muser

Well-known member
sadmanbarty said:
what he's talking about there is the clave+back beat.

so clave kicks plus back beat snares.
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Ok I gotcha it's interesting because in the Giggs example you swap that snare and kick and it would be the same type of rhythm your talking about but has a very different feel even though the underlying 'beat? (metre?) is essentially the same.
 
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sadmanbarty

Well-known member
muser said:
Ok I gotcha it's interesting because in the Giggs example you swap that snare and kick and it would be the same type of rhythm your talking about but has a very different feel even though the underlying 'beat? (metre?) is essentially the same.
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the back beat is very much the sound of resolution. it's balanced. whereas tresillo is sideways and suspenseful.

in punnani the snare come on an off beat so it's got an up feeling. in jungle and drill the second snare's usually on an off beat too which likewise gives this feeling of going up and being suspended.
 
pattycakes_

pattycakes_

Can turn naughty
Just wanna throw this in the mix: there was an interview with Son House on the wtf podcast a while back where he was talking about the African origins of the blues. He said that 3 over 4 never resolves itself, creating this subtle tension which was perfect for long journeys across deserts etc. a permanent sense of movement.

Also, to connect it to the yearning for the algorithmic thread, throwing in little flourishes and embellishments here and there you could keep the caravan entertained for hours.
 
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mvuent

Void Dweller
I have nothing to add here, just wanted to say that this is a very helpful thread. Sort of helps me understand the pulse of this music better as someone who probably grew up w/ very different cultural/musical references than a lot of these producers.
 
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