TEDYouth 2013
Clayton Cameron: A-rhythm-etic. The math behind the beats
Clayton Cameron: A-rythm-etique. Les maths du rythme.
Filmed:
Readability: 4.2
1,035,486 views
Prêt à danser sur vos sièges ? Le batteur Clayton Cameron classifie les genres de musiques selon leur rythme : de la R&B à la pop, en passant par le latino. Une démonstration magistrale qui prouve que le hip hop ou le jazz ne sont pas plus cool que les maths : ils sont juste basés sur eux.
Clayton Cameron - Drummer
A pioneer in brush technique, drummer Clayton Cameron has toured with Sammy Davis Jr., Tony Bennett and jazz legend Kenny Burrell. Full bio
A pioneer in brush technique, drummer Clayton Cameron has toured with Sammy Davis Jr., Tony Bennett and jazz legend Kenny Burrell. Full bio
Double-click the English transcript below to play the video.
00:12
How many of you love rhythm?
0
704
3532
Combien parmi vous aiment le rythme ?
00:16
Oh yeah, oh yeah. Oh yeah. (Cheers)
1
4236
2392
Oui, oui, oui.
(Acclamations)
(Acclamations)
00:18
(Drumming)
2
6628
4953
(Batterie)
00:27
I mean, I love all kinds of rhythm.
3
15595
3943
Moi, j'aime tous les rythmes.
00:31
I like to play jazz,
4
19538
2335
j'aime jouer du jazz,
00:33
a little funk,
5
21873
2398
un peu de funk,
00:36
and hip hop,
6
24271
3739
et de hip hop.
00:40
a little pop, a little R&B,
7
28010
7424
Un peu de pop,
Un peu de R&B.
00:47
a little Latin,
8
35434
5046
Un peu de latino.
00:54
African.
9
42236
3300
Musique africaine.
01:05
And this groove right here,
10
53800
4504
Et ce rythme-ci
01:13
comes from the Crescent City,
11
61584
2429
vient de Crescent City,
01:16
the old second line.
12
64013
2447
la deuxième ligne du cortège.
01:18
(Cheers)
13
66460
5510
(Acclamations)
01:25
Now, one thing all those rhythms have in common
14
73942
5371
Tous ces rythmes ont une chose en commun:
01:31
is math,
15
79313
1685
les maths.
01:32
and I call it a-rhythm-etic.
16
80998
2702
J'appelle cela "l'a-rythm-étique".
01:35
Can you repeat after me? A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
17
83700
4907
Répétez après-moi ? A-a-a-rythm-étique.
Audience: A-rythm-étique.
Audience: A-rythm-étique.
01:40
Clayton Cameron: A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
18
88607
2173
Clayton Cameron: A-rythm-étique.
Audience: A-rythm-étique.
Audience: A-rythm-étique.
01:42
CC: A-rhythm a-rhythm.
Audience: A-rhythm a-rhythm.
Audience: A-rhythm a-rhythm.
19
90780
1815
CC: A-rythm, a-rythm
Audience: A-rythm, a-rythm
Audience: A-rythm, a-rythm
01:44
CC: A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
20
92595
1548
CC: A-rythm-étique.
Audience: A-rythm-étique.
Audience: A-rythm-étique.
01:46
CC: Yeah.
21
94143
1437
CC: Ouais.
01:50
Now all those styles of rhythm
22
98687
5242
Tous ces styles de rythmes
01:55
are all counted in four
23
103929
3167
se comptent par quatre,
01:59
and then subdivided by three.
24
107096
3887
et puis sont subdivisés par trois.
02:02
What?
25
110983
1853
Pardon?
02:04
Yeah. Three is a magic number.
26
112836
3597
Oui. Trois est un nombre magique.
02:08
Three is a groovin' number.
27
116433
2490
Trois est un nombre musical.
02:10
Three is a hip-hop kind of number.
28
118923
3852
C'est un nombre un peu hip hop.
02:14
But what does subdividing by three mean?
29
122775
2429
Mais ça veut dire quoi exactement:
subdiviser par trois?
subdiviser par trois?
02:17
And counting off by four?
30
125204
1817
Et compter par quatre?
02:19
Well, look, think of it this way.
31
127021
2347
Bon. On peut présenter les choses ainsi:
02:21
A measure of music as a dollar.
32
129368
3737
Une mesure de musique
équivaut à un dollar.
équivaut à un dollar.
02:25
Now a dollar has four quarters, right?
33
133105
5962
Dans un dollar il y a 4 quarts, Correct?
C'est la même chose
pour une mesure 4/4 de musique.
pour une mesure 4/4 de musique.
02:31
And so does a 4/4 measure of music.
34
139067
3856
02:34
It has four quarter notes.
35
142923
3643
Elle comprend 4 temps.
02:38
Now, how do you subdivide?
36
146566
2236
Bon. Et comment est-ce
qu'on subdivise ?
qu'on subdivise ?
02:40
Now let's envision this:
37
148802
4392
Visualisons cela:
02:45
three dollars' worth of quarters.
38
153194
3753
la valeur de trois quarts de dollars.
02:48
You would have three groups of four,
39
156947
4020
On a 3 groupes de 4.
02:52
and you would count it,
40
160967
1577
et on les compte:
02:54
a-one-two-three-four, one-two-three-four,
41
162544
2012
Un-deux-trois-quatre,
Un-deux-trois-quatre,
Un-deux-trois-quatre,
02:56
one-two-three-four. Together.
42
164556
2027
Un-deux-trois-quatre.
Ensemble:
Ensemble:
02:58
All: A-one-two-three-four,
one-two-three-four, one-two-three-four.
one-two-three-four, one-two-three-four.
43
166583
3384
Tous: Un-deux-trois-quatre.
Un-deux-trois-quatre.
Un-deux-trois-quatre.
Un-deux-trois-quatre.
03:01
CC: Okay, now you feel that?
44
169967
2257
CC: OK.
Vous sentez les mesures?
Vous sentez les mesures?
03:04
Now let's take those three groups of four
45
172224
4960
Maintenant prenons
les 3 groupes de 4,
03:09
and make them four groups of three.
46
177184
4419
pour en faire 4 groupes de 3.
03:13
And listen to this.
47
181603
1833
Ecoutez bien.
Un-deux-trois-quatre.
Un-deux-trois-quatre.
Un-deux-trois-quatre.
03:15
A-one-two-three-four, one-two-three-four,
48
183436
2055
Un-deux-trois-quatre.
Avec moi!
Avec moi!
03:17
one-two-three-four, with me.
49
185491
2142
Un-deux-trois-quatre. Un-deux-trois.
Allez-y! Aaah!
Allez-y! Aaah!
03:19
One-two-three-four, one-two-three, come on, y'all!
50
187633
2682
03:22
All: One-two-three-four,
one-two-three-four, one-two-three-four, ah.
one-two-three-four, one-two-three-four, ah.
51
190315
4922
Tous: Un-deux-trois-quatre.
Un-deux-trois-quatre.
Un-deux-trois-quatre.
Un-deux-trois-quatre. Aaah!
03:27
CC: There you go.
52
195237
1645
CC: C'est parti.
03:28
All right, second line.
53
196882
4329
La deuxième ligne maintenant.
03:34
One-two-three-four, one-two-three.
54
202712
2188
Un-deux-trois-quatre. Un-deux-trois.
03:38
One-two-three-four, one-two-three.
55
206111
2220
Un-deux-trois-quatre. Un-deux-trois.
03:41
One-two-three-four, one-two-three.
56
209467
2803
Un-deux-trois-quatre. Un-deux-trois.
03:44
One-two-three-four, one-two-three. Yeah.
57
212917
4000
Un-deux-trois-quatre. Un-deux-trois.
03:48
Now, that's what I call a-rhythm-etic.
58
216917
2522
Voilà ce que j'appelle l'a-rythm-étique.
03:51
Can you say it? A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
59
219439
2425
Pouvez vous le dire ? a-rythm-étique.
Audience: a-rythm-étique.
Audience: a-rythm-étique.
03:53
CC: A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
60
221864
1771
CC: a-rythm-étique.
Audience: a-rythm-étique.
Audience: a-rythm-étique.
03:55
CC: A-rhythm a-rhythm.
Audience: A-rhythm a-rhythm.
Audience: A-rhythm a-rhythm.
61
223635
2175
CC: a-rythm, a-rythm
Audience: a-rythm, a-rythm.
Audience: a-rythm, a-rythm.
03:57
CC: A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
62
225810
1713
CC: a-rythm-étique.
Audience: a-rythm-étique.
Audience: a-rythm-étique.
03:59
CC: Yeah. Now pick the swing
beat, and do the same thing.
beat, and do the same thing.
63
227523
2692
CC: Ok. Maintenant, on prend un swing
et on fait la même chose.
et on fait la même chose.
04:02
One, two, one, two, a-one-two-three-four.
64
230215
4641
Un-deux. Un-deux. Un-deux-trois-quatre.
04:12
Yeah. Mm.
65
240701
2723
Ouais. Ummm!
1-2-3. 1-2-3, 1-2-3. 1-2-3. Wouuu!
04:16
One-two-three, one-two-three,
one-two-three, one-two-three. Whoo.
one-two-three, one-two-three. Whoo.
66
244056
3538
04:21
So I want to take the second line beat
67
249764
3815
Je prends la deuxième ligne rythmique,
04:25
and the swing beat and put them together,
68
253579
2061
et je l'ajoute au swing.
04:27
and it sounds something like this.
69
255640
2591
Et ça donne ceci.
04:43
Aha.
70
271380
1501
Ahaa.
04:44
A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
71
272881
2085
A-rythm-étique.
Audience: a-rythm-étique.
Audience: a-rythm-étique.
CC: a-rythm-étique.
Audience: a-rythm-étique.
Audience: a-rythm-étique.
04:46
CC: A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
72
274966
1931
04:48
CC: A-rhythm a-rhythm.
Audience: A-rhythm a-rhythm.
Audience: A-rhythm a-rhythm.
73
276897
1846
CC: a-rythm, a-rythm
Audience: a-rythm, a-rythm
Audience: a-rythm, a-rythm
04:50
CC: A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
74
278743
1463
CC: a-rythm-étique.
Audience: a-rythm-étique.
Audience: a-rythm-étique.
04:52
CC: Yeah. Hip-hop.
75
280206
3057
CC. Ouai, Hip hop.
04:56
Now it's using a faster group of three
76
284963
2424
Maintenant on utilise un
groupe de 3 plus rapide.
groupe de 3 plus rapide.
04:59
we call a triplet.
77
287387
2319
qu'on appelle un triolet.
Triolet-triolet. Ensemble.
05:01
Triplet-triplet. Say it with me.
78
289706
1929
05:03
All: Triplet-triplet.
79
291635
2525
Tous: Triolet, triolet. Ouais!
CC: Triolet, triolet. Umm.
05:06
CC: Triplet-triplet. Triplet-triplet.
80
294160
4432
Triolet, triolet. Umm-umm.
05:12
CC: So I'll take all the rhythms
that you heard earlier,
that you heard earlier,
81
300883
3225
CC: Je reprends tous les rythmes
que nous avons entendus,
que nous avons entendus,
05:16
we'll put them together, and they sound like this.
82
304108
3816
je les assemble, et cela donne ceci:
05:43
A-rhythm-etic.
83
331112
2363
A-rythm-étique.
(Applaudissements)
05:45
(Applause)
84
333475
4000
ABOUT THE SPEAKER
Clayton Cameron - DrummerA pioneer in brush technique, drummer Clayton Cameron has toured with Sammy Davis Jr., Tony Bennett and jazz legend Kenny Burrell.
Why you should listen
Clayton Cameron holds a unique title: Brush Master. That's because this percussionist prefers brushes to sticks, and has spent his career perfecting the art of brush technique. Cameron grew up in Los Angeles and started drumming at a young age on empty oatmeal boxes. After college, he moved to Las Vegas, where he was hired as the drummer for Sammy Davis Jr.'s big band. "It would be Sammy's tap dancing night after night that would inspire my brush playing," says Cameron.
During his tenure with Sammy Davis Jr., Cameron played with Dean Martin and Frank Sinatra. And, after moving to New York, he struck up a longterm friendship with Tony Bennett, and spent 15 years touring with the master. Cameron recorded 15 albums with Bennett, including his Grammy-winning Tony Bennett Unplugged.
Cameron has also worked with jazz legend Kenny Burrell, who encouraged him to teach at UCLA's Herb Alpert School of Music. In addition, Cameron released his debut album in 2012, Here's to the Messengers: Tribute to Art Blakey, and formed his own group, Jazz eXplosion. Cameron has also released several DVDs over the years as well as a book, Brushworks.
Clayton Cameron | Speaker | TED.com