coleman

SILVER Member since Aug 2002

big and good and broken

Location: lunn dunn, yoo kay, United Kin...

Total posts: 7330

SILVER Member since Aug 2002

big and good and broken

Location: lunn dunn, yoo kay, United Kin...

Total posts: 7330

Posted:this one has not been easy to write up but hopefully some of it makes sense to some of you that are kind enough to read it.

please ask for clarification if its required anywhere - i'm happy to talk more crap or come back and edit the main text to make it clearer if it needs it.

there's a few (hastily filmed) video exapmles dotted around and about - you'll find a clip wherever you see one of these: *

please try and download the videos (right click, save as...) rather than streaming them or my website will stop working

and so...

**polyrhythm poi**

===========

don't let the funny word in the title scare you - this is simply*spinning your *** Poi** at different speeds.

first of all, you need to know what this is all about so you should understand at least what 'polyrhythm' means and how to tap the most simple polyrhythms out (e.g 3:2).

if that is complete gibberish or you just want to know a bit more about polyrhythms, click here to see a thread that will fill you in

i've tried giving workshops on this over the last year and found it near impossible to teach due to the base concepts being alien to most people (and possibly because i didn't have a full idea then of the best way to teach it, but we'll ignore that for now ).

this thread is the first part of my revised workshop, followed by a description of the notation that i use to describe these patterns and work out new ones.

the aim is to get people to have a go at spinning their** Poi** at different speeds and then to give us a way of describing what we are doing so that we (hopefully) have a better chance of sharing, both here and in the real world

**okay, let's begin...**

everyone's always banging on about learning the basics before the advanced stuff and blah, blah, blah...

funny enough, i think that lesson is especially important when dealing with this area of** Poi**.

there are two major techniques you can employ to vary the speed of your poi:

*variable radius* and *variable speed*

variable radius involves moving from say wrist circles to elbow or to full arm circles, thereby moving the** Poi** head further away from the centre of rotation.

variable speed involves adding and taking away speed from the** Poi** head by changing the amount of force you apply to keep the ** Poi** spinning (this is by far the harder of the two techniques but allows for far more variation).

for the geeks: the the first technique changes the linear velocity (while keeping angular velocity constant) and the second technique changes the angular velocity - big up the geek massive, seen?

here are two basic exercises to illustrate these concepts:

*exercise one | variable radius - side circles with 2:1 poi* *

spin parallel wrist circles in wheel plane.

now make one of those circles into a long arm circle but try to keep the (linear) speed of the** Poi** constant.

because the long arm** Poi** is spinning in a bigger circle (and therefore travelling along a longer path), you should find that just spinning a larger circle adjusts the speeds, so that the ** Poi** spinning wrist circles does two beats for every one beat of the full arm circle.

remember how it feels to tap out a 2:1 rhythm with your hands and concentrate on getting the simultaneous beats (the big circle beat and every other small circle beat) to hit at the same time.

try it on both sides i.e. try the big (slow) circle with your other arm.

things to watch out for:

- don't let the arm spinning the big circle speed up.

- don't put an extra beat in at the top of your big circle (your hand will probably want to do this by itself, especially if you've been playing with flowers a lot).

*exercise two | variable speed - side circles with 2:1 poi* *

this is most definitely the harder of the two techniques.

to begin with, don't worry about speed ratios and getting the rhythm right.

start by spinning parallel wrist circles in wheel plane again and just play around with speeding up and slowing down one** Poi** whilst keeping the other one at a constant speed.

when you start to feel some control over the independent speed of your** Poi** try this:

spin parallel wrist circles in wheel plane.

just after a beat hits (i.e. just after your** Poi** pass the lowest point on their circles), speed up one of your ** Poi** to twice its original speed, and into hitting the beats on a 2:1 rhythm.

you should eventually be able to make this speed adjustment within the time it takes the slower** Poi** to do one beat.

describing that beat by beat:

begin with both** Poi** at the same speed (both hit beats at the same time)

immediately following a beat, increase the speed up one of your** Poi** (hence it does an extra beat on its own).

on the next beat both** Poi** should hit at the same time again and from there on, you should be hitting a 2:1 rhythm

try slowing the faster** Poi** back down so that you slow straight into a normal (1:1) speed ratio - really aim to hit those beats.

mastering this technique of speeding up and slowing down** Poi** to change and obtain specific speed ratios over the space of one beat (that's the beats of the slower speed ** Poi**, otherwise referred to as the 'base beat') is vital if you really want to play with polyrhythm ** Poi**.

**playtime**

right, once you have those basics down, have a go at putting them to use:

play lots with spinning two static circles anywhere and dropping into and out of 2:1 rhythms over the space of one base beat - remember to try it with both hands.

try the same thing but use the variable radius technique to vary the speed ratios.

try the two basic exercises above with** Poi** 3:2.

spin side circles** Poi** 2:1, and try turning 180 degrees, ensuring that you keep the speed ratio before, during and after the turn.

*reels, *** Poi** 2:1 *

don't freak out about spinning a pattern!

spinning** Poi** 2:1 reels isn't much harder than ** Poi** 2:1 side circles:

spin the** Poi** 2:1 side circles, turn 90 degrees, crossover planes for every base beat

try turning with this pattern too.

*reels, *** Poi** 3:2 *

don't freak out that you're trying a 3:2 pattern!

again, this is easier than it sounds, especially if you do it like this:

for the** Poi** spinning 3 circles, spin one beat in front at the hip, one behind at the shoulder and one behind at hip - the other ** Poi** just does normal hip reel circles, one in front at hip, one behind at hip.

spin this so that the beats coincide when the faster** Poi** is doing the front hip circle (the other ** Poi** should be hitting the rear hip circle).

for those that like flowers and and fancy a bit of a challenge, try spinning some flowers with 2:1** Poi**.

don't forget to count your beats at the centre (as the** Poi** passes your arm).

the** Poi** spinning at the faster speed should do twice the number of petals as the other arm does - there are some lovely new flower patterns in there

so, you may have noticed that everything so far feels distinctly one-sided - these patterns have all been asymmetric.

that was always going to happen if we describe what we are doing by saying** Poi** 'a' is going at twice the speed of ** Poi** 'b' - to get a symmetrical pattern, we would obviously have to swap the speeds of ** Poi** 'a' and ** Poi** 'b' at some point.

well, hopefully you've been trying some of these variable speed patterns using your weak hand as well as your dominant one because here's an example of a simple symmetrical polyrhythm pattern...

*my first symmetrical polyrhythm *** Poi** pattern - *video of ttn variations (described below) here* *

spin a forwards butterfly or better, a forwards thread the needle.

now spin one of the** Poi** in a long arm circle, thereby slowing it down so the other ** Poi** does two circles in the same time as one longarm circle is completed.

you may find it easier to spin as 3:1.

its fun to see see how high you can get that ratio - spin those wrist circles as fast as you can!

just for a laugh, try and spin it the other way too i.e. spin long arm circles with the slow** Poi**

when you have this pattern solid on both sides, try switching which hand does the big circle on every long arm beat.

this is a 2:1 thread the needle

the pattern should end up as:

2:1 ttn - right** Poi** spins long arm circle while left spins two wrist circles, when the long arm hand passes the other hand (through the normal ttn hand position) and the beats coincide, switch so that left ** Poi** spins long arm circle while right spins two beats. repeat.

so, now we have an idea of what techniques we have to create these patterns, we can finally get on to how to best describe them...

**here comes the sciencey bit...**

first off, feel free to skip this bit for now if you're not interested

i have found three methods to describe polyrhythm (x:y) patterns that cover just about all the patterns i can spin (and suggest loads more that should be possible).

i'll quickly summarise them here so we can use them to easily describe the patterns we come up with

*poi x:y* *

the x:y ratio refers to the beat ratio of one** Poi** to the other.

e.g.** Poi** 2:1 means one ** Poi** does twice the number of beats that the other does, all of the time.

*planar x:y* *

the x:y ratio here refers to the beat ratio between two (or more) planes.

e.g. planar 2:1 [back wallplane:front wallplane] means that a** Poi** in the rear wallplane will spin twice the number of beats as one in the front wallplane.

or, to say it another way, when a** Poi** is behind you, it spins at twice the speed as in front of you.

*positional x:y* *

the x:y ratio here refers to the beat ratio of a certain position(s) in a pattern relative to the remainder of the pattern.

e.g. 3bt weave with positional 2:1 [whenever a hand is crossed over on top of the other arm] means that when a hand crosses over the body on top of the other arm it should be spin at twice the 'normal' speed (or 'double the base beat' if that makes more sense to you).

this results in a symmetrical, 4bt pattern with 3bt arm movements - we like that.

some things to note about these methods of description are:

they are not deterministic by any means i.e. they don't tell you what is and isn't possible, they just describe what's there already quite well.

there are a few patterns that can be described just as well using one of these methods as another.

still, as the moves get more complex, usually one of the methods will yield a far more concise description than the others.

often, attempting to use a method to describe a pattern that it can't adequately describe will lead to a nice variation instead

there are a few (complex) polyrhythm patterns that require the beat ratio to be split across particular sections of a plane to describe them completely - this method of description is like a mix of positional x:y and planar x:y but it is far from ideal.

there are a few moves that do not fit neatly into one of these three description methods at all and seem in fact to defy any concise description.

i'm hoping that means i'm missing a more general way of describing these patterns.

i have a good feeling that true polyrhythm** Poi** is closely interlocked with advanced crossover theory.

and maybe that will reveal itself at some point in the future when we have delved deeper...

right, that's it

most important with all this stuff - don't forget to smile now and then

cole. x

please ask for clarification if its required anywhere - i'm happy to talk more crap or come back and edit the main text to make it clearer if it needs it.

there's a few (hastily filmed) video exapmles dotted around and about - you'll find a clip wherever you see one of these: *

please try and download the videos (right click, save as...) rather than streaming them or my website will stop working

and so...

===========

don't let the funny word in the title scare you - this is simply

first of all, you need to know what this is all about so you should understand at least what 'polyrhythm' means and how to tap the most simple polyrhythms out (e.g 3:2).

if that is complete gibberish or you just want to know a bit more about polyrhythms, click here to see a thread that will fill you in

i've tried giving workshops on this over the last year and found it near impossible to teach due to the base concepts being alien to most people (and possibly because i didn't have a full idea then of the best way to teach it, but we'll ignore that for now ).

this thread is the first part of my revised workshop, followed by a description of the notation that i use to describe these patterns and work out new ones.

the aim is to get people to have a go at spinning their

everyone's always banging on about learning the basics before the advanced stuff and blah, blah, blah...

funny enough, i think that lesson is especially important when dealing with this area of

there are two major techniques you can employ to vary the speed of your poi:

variable radius involves moving from say wrist circles to elbow or to full arm circles, thereby moving the

variable speed involves adding and taking away speed from the

for the geeks: the the first technique changes the linear velocity (while keeping angular velocity constant) and the second technique changes the angular velocity - big up the geek massive, seen?

here are two basic exercises to illustrate these concepts:

spin parallel wrist circles in wheel plane.

now make one of those circles into a long arm circle but try to keep the (linear) speed of the

because the long arm

remember how it feels to tap out a 2:1 rhythm with your hands and concentrate on getting the simultaneous beats (the big circle beat and every other small circle beat) to hit at the same time.

try it on both sides i.e. try the big (slow) circle with your other arm.

things to watch out for:

- don't let the arm spinning the big circle speed up.

- don't put an extra beat in at the top of your big circle (your hand will probably want to do this by itself, especially if you've been playing with flowers a lot).

this is most definitely the harder of the two techniques.

to begin with, don't worry about speed ratios and getting the rhythm right.

start by spinning parallel wrist circles in wheel plane again and just play around with speeding up and slowing down one

when you start to feel some control over the independent speed of your

spin parallel wrist circles in wheel plane.

just after a beat hits (i.e. just after your

you should eventually be able to make this speed adjustment within the time it takes the slower

describing that beat by beat:

begin with both

immediately following a beat, increase the speed up one of your

on the next beat both

try slowing the faster

mastering this technique of speeding up and slowing down

right, once you have those basics down, have a go at putting them to use:

play lots with spinning two static circles anywhere and dropping into and out of 2:1 rhythms over the space of one base beat - remember to try it with both hands.

try the same thing but use the variable radius technique to vary the speed ratios.

try the two basic exercises above with

spin side circles

don't freak out about spinning a pattern!

spinning

spin the

try turning with this pattern too.

don't freak out that you're trying a 3:2 pattern!

again, this is easier than it sounds, especially if you do it like this:

for the

spin this so that the beats coincide when the faster

for those that like flowers and and fancy a bit of a challenge, try spinning some flowers with 2:1

don't forget to count your beats at the centre (as the

the

so, you may have noticed that everything so far feels distinctly one-sided - these patterns have all been asymmetric.

that was always going to happen if we describe what we are doing by saying

well, hopefully you've been trying some of these variable speed patterns using your weak hand as well as your dominant one because here's an example of a simple symmetrical polyrhythm pattern...

spin a forwards butterfly or better, a forwards thread the needle.

now spin one of the

you may find it easier to spin as 3:1.

its fun to see see how high you can get that ratio - spin those wrist circles as fast as you can!

just for a laugh, try and spin it the other way too i.e. spin long arm circles with the slow

when you have this pattern solid on both sides, try switching which hand does the big circle on every long arm beat.

this is a 2:1 thread the needle

the pattern should end up as:

2:1 ttn - right

so, now we have an idea of what techniques we have to create these patterns, we can finally get on to how to best describe them...

first off, feel free to skip this bit for now if you're not interested

i have found three methods to describe polyrhythm (x:y) patterns that cover just about all the patterns i can spin (and suggest loads more that should be possible).

i'll quickly summarise them here so we can use them to easily describe the patterns we come up with

the x:y ratio refers to the beat ratio of one

e.g.

the x:y ratio here refers to the beat ratio between two (or more) planes.

e.g. planar 2:1 [back wallplane:front wallplane] means that a

or, to say it another way, when a

the x:y ratio here refers to the beat ratio of a certain position(s) in a pattern relative to the remainder of the pattern.

e.g. 3bt weave with positional 2:1 [whenever a hand is crossed over on top of the other arm] means that when a hand crosses over the body on top of the other arm it should be spin at twice the 'normal' speed (or 'double the base beat' if that makes more sense to you).

this results in a symmetrical, 4bt pattern with 3bt arm movements - we like that.

some things to note about these methods of description are:

they are not deterministic by any means i.e. they don't tell you what is and isn't possible, they just describe what's there already quite well.

there are a few patterns that can be described just as well using one of these methods as another.

still, as the moves get more complex, usually one of the methods will yield a far more concise description than the others.

often, attempting to use a method to describe a pattern that it can't adequately describe will lead to a nice variation instead

there are a few (complex) polyrhythm patterns that require the beat ratio to be split across particular sections of a plane to describe them completely - this method of description is like a mix of positional x:y and planar x:y but it is far from ideal.

there are a few moves that do not fit neatly into one of these three description methods at all and seem in fact to defy any concise description.

i'm hoping that means i'm missing a more general way of describing these patterns.

i have a good feeling that true polyrhythm

and maybe that will reveal itself at some point in the future when we have delved deeper...

right, that's it

most important with all this stuff - don't forget to smile now and then

cole. x

"i see you at 'dis cafe.

i come to 'dis cafe quite a lot myself.

they do porridge."

- tim westwood

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