The Course

Every content is based on a specific aproach, from specific cultures, chosen by how close they are to each content:

• Pulse:

Sources: Yoga (India). Feldenkrais (Ucraine).

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• Subdivision and accents:    Sources: Charlie Wilcoxon (USA). Emile Jacqes Dalcroze (Suiza).

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Connection between rhythm and musical harmony. Contrast between tension and rest. Physical sensations of each rhythmic tension. Analogic Writings. Sticking.

Interaction of both limbs and the generation of new Sinapsis.

Vertical and Side axis.

Weight distribution

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• Syncopation:

Sources: Forrô (Traditional Brasil) + Simone Sou (Brasil + Netherlands)

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Irregular distribution of weight in physical space.

Limbs coordination. Melodic distribution. Analogic Writing: Heights. Rhythmical deplacemets.  

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• Cycles:

Sources: Konnakkol (India)

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Rhythmic Solfege from Southern India. The Raga (Rhythmic structures defined by ammount of elements and the way they are grouped).

Alternative Writing Method (By Jonatan Szer). Cultural Context. Deplacements. Cycles Extention and Reduction.

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• Clave Patterns:

Sources: Candombe (Uruguay). Bembé (Africa).

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¨ Matrix ¨ identity and structural function.

Relation with the ¨ Pulse ¨ System. Alternative notation: Morse Code.

Rotative Rhythm.

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• Metric Addition:

Source: Traditional anonimous notation system (Turkey, Armenia)

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Alternative Notation: ¨ Sticks and Triangles ¨. Irregular Patterns. Accents and irregular cycle sensation. Reversible Systems. Vertical compatibility (Counterpoint). Horizontal Compatibility (Combined cycles).

Enlargement and reduction (Subdivision and base value duplication).