Polyrythms tolerance, and why your unique way is right

We tend to fight when others don’t walk our path.

When listening to following track, first you can’t make sense of the drums,
but as you listen to the women you see that those are 16 beats.

Now please take the time to go through each voice one by one
  1. row: * = drums; += claps : 4 +5 +7 beat cycles
  2. row: v= low woman’s voice >= middle note, ^=high note : 7+9 cycles
  3. row: #= rough men : only half-notes (every second beat only counts) : 2+3+3 cycles
  4. row: `= low woman’s choir °= high (half) note ´= middle note : 2×4 rhythm

1
*
+
2

3

4

1
*
+
2

3

4

5

1
*
+
2

3

4

5

6

7

+
1
v
2
v
3
v
4
v
5
v
6
>
7
^
1
>
2
>
3
>
4
>
5
>
6
^
7
>
8
^
9
>
1
#
2
#
1
#
2
#
3
#
1
#
2
#
3
#
1
`
2
`
3
`
4
°
1
´
2
´
3
´
4
°

Conclusion:
Everyone has to walk a very own different path (swadharma), but if one stays on it;
together it makes sense again.

That’s why tolerance works better than condemnation and you not being a mainstreamer doesn’t make you wrong in the least – vice versa – you add the color of polyrythm to society.

Here is another one, which you have to feel:

If you feel the Jazz-swing, it’s like seeing the Escher doves above,
and around 3:20 you get into the fishes of a doubletime-rhythm
to only snap out of it a short time later again.

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