Timing... - Page:1

key: *= A circle with both hands

L= a circle left hand

R= a circle right hand

-= a musical beat.

Ok I just want to make a list of the main timing variations used in poi spinning, and leave it as a reference (time is the basis of everything, so this is the first prerequesite of poi notation)

Edit - As durbs pointed out, there are two types time, music relative or poi relative. This is an important distinction but shouldn't pose too much hindrance because we already have a name for poi relative 'half time' (split time) and quarter/eighth time don't really crop up in musical terms.

I'm going to write down each one relative to a bar of 4/4, split into semiquavers (16th notes).

All this means is the bar is 4 beats long, is split into quarters (4/4), and then I divide it by 4 again to get the 16ths.

This is because current poi notation is only relative to each other, which is clearly no good for notation. This system will hopefully allow if not greater, then at least more conscious control of timing variations during performances to music.

Most music has what is known as a 'primary pulse', which is the tempo that most people will automatically nod their head to. This is the easiest to pick up on and will usually be 4/4 (if you're having trouble picking it out, listen for the kick & snare drums, they are usually on beats 1 & 3 respectively ie:

Code:

kick pause snare pause

1 2 3 4

or

kick snare kick snare

1 2 3 4

Other timings (such as 3/4 or even better compound such as 6/8 or 12/8) can be useful later on but I won't go into them here.

Starting with the simplest:

Same time - Both poi complete a circle at the same time, irrespective of where they are.

Example - same time butterfly

Code:

* * * *

|---|---|---|---

1 2 3 4

If the music will allow, you can also half time/double time same time moves which will change the visual effect tremendously.

Code:

halftime:

* *

|---|---|---|---

1 2 3 4

doubletime:

* * * * * * * *

|---|---|---|---

1 2 3 4

Simultaneous time:

Same as same time but poi are in the same place aswell. I'm not really sure about this one but I think it may be useful (simultaneous and sametime figure 8 crossovers are completely different for example).

Split time (standard):

Poi complete circles on precisely alternating beats

Example: split time figure 8

Code:

L R L R

|---|---|---|---

1 2 3 4

Split time is usually done in double time, because if you take a same time move (ie same time figure8 crossovers), and put it in split time without slowing down the poi rotation, it will effectively double the number of beats you're making per bar.

Code:

Double time:

L R L R L R L R

|---|---|---|---

1 2 3 4

Quarter/ Eighth/ Sixteenth time (poi relative).

If you take split time (180 degrees between poi) and offset it so they are separated by 90, 45 or 22 degrees (roughly), this is 1/4, 1/8 or 1/16 time respectively. This is relative to the leading hand.

Code:

quarter time:

LR LR LR LR

|---|---|---|---

1 2 3 4

or

L RL RL RL R

|---|---|---|---

1 2 3 4

eighth time:

LR LR LR LR

|-------|-------|-------|-------

1 2 3 4

and so on.

Even though I have increased the number of spaces between beats, this is just to allow a smaller timing division, and does not affect bar length (the 1,2,3,4 are in the same place)

Uneven groupings:

Unfortunately with poi, we are often confronted with moves with 3 or 5 beats in, which can be fit into the music in two ways. One is to overlap bars, ie

(5 bt weave)

Code:

L R L R L

|---|---|---|---|---

1 2 3 4 (1)

- which can be very rhythmically effective if done properly, and if you then add a 3 bt on the end it will finish the new bar (8 total beats).

The other, perhaps more difficult method is to fit the move into an 'uneven grouping'. This just means shortening each poi beat a very small amount to make it fit into the 4 total without overlap. I can't really write that down in the same fashion as the others but here's how it would be notated:

Code:

[ 5:4 split]

|---|---|---|---

1 2 3 4

It can be really useful to know the difference between these two types of fitting in uneven groups, because you might want to slap a particularly fast 5bt weave over say, a snare roll, or you may just want to use it as a transition without interrupting the double time feel of that section. Practicing different timings of the same moves greatly increases versatility for the same repertoire of moves, and can make performances much more interesting visually.

More to follow if anyone finds this interesting smile

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