TEDYouth 2013
Clayton Cameron: A-rhythm-etic. The math behind the beats
Clayton Cameron: Rhyth-matik -- Die Mathematik hinter dem Beat
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Seid ihr bereit, auf euren Sitzplätzen zu tanzen? Der Schlagzeuger Clayton Cameron schlüsselt verschiedene Musikrichtungen -- von R&B über Latin bis hin zu Pop -- durch ihren Rhythmus auf. Eine Darbietung, die beweist, dass Hip Hop und Jazz nicht cooler als Mathe sind, denn sie basieren darauf.
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.
Wie viele von euch lieben Rhythmus?
00:12
How many of you love rhythm?
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00:16
Oh yeah, oh yeah. Oh yeah. (Cheers)
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Oh yeah, oh yeah. Oh yeah. (Jubel)
00:18
(Drumming)
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(trommelt)
00:27
I mean, I love all kinds of rhythm.
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Ich liebe alle möglichen Rhythmen.
00:31
I like to play jazz,
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Ich spiele gern Jazz,
00:33
a little funk,
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ein bisschen Funk
00:36
and hip hop,
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und Hip Hop,
00:40
a little pop, a little R&B,
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ein bisschen Pop, ein bisschen R&B,
00:47
a little Latin,
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ein bisschen Latin,
00:54
African.
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afrikanische Musik.
01:05
And this groove right here,
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Und dieser Rhythmus hier
01:13
comes from the Crescent City,
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stammt aus der Crescent City
(New Orleans),
(New Orleans),
01:16
the old second line.
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der alte "Second Line"-Rhythmus.
01:18
(Cheers)
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(Jubel)
01:25
Now, one thing all those rhythms have in common
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All diese Rhythmen haben eines gemeinsam:
01:31
is math,
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Mathe.
01:32
and I call it a-rhythm-etic.
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Ich nenne es "Rhyth-matik".
01:35
Can you repeat after me? A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
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Könnt ihr es nachsprechen? Rhyth-matik.
Publikum: Rhyth-matik.
Publikum: Rhyth-matik.
01:40
Clayton Cameron: A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
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Clayton Cameron: Rhyth-matik.
Publikum: Rhyth-matik.
Publikum: Rhyth-matik.
01:42
CC: A-rhythm a-rhythm.
Audience: A-rhythm a-rhythm.
Audience: A-rhythm a-rhythm.
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CC: Rhyth-ma, Rhyth-ma.
Publikum: Rhyth-ma, Rhyth-ma.
Publikum: Rhyth-ma, Rhyth-ma.
01:44
CC: A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
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CC: Rhyth-matik.
Publikum: Ryth-matik.
Publikum: Ryth-matik.
01:46
CC: Yeah.
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CC: Yeah.
01:50
Now all those styles of rhythm
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Bei all diesen Rhythmusstilen
01:55
are all counted in four
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zählt man 4 Schläge,
01:59
and then subdivided by three.
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die dann in 3 unterteilt werden.
02:02
What?
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Was?
02:04
Yeah. Three is a magic number.
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Yeah. 3 ist eine magische Zahl.
02:08
Three is a groovin' number.
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3 ist eine groovende Zahl.
02:10
Three is a hip-hop kind of number.
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3 ist eine Art Hip-Hop-Zahl.
02:14
But what does subdividing by three mean?
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Aber was bedeutet
das Unterteilen in drei?
das Unterteilen in drei?
02:17
And counting off by four?
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Und das Abzählen von vier?
02:19
Well, look, think of it this way.
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Stellt es euch einfach so vor.
02:21
A measure of music as a dollar.
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Ein Takt als einen Dollar.
02:25
Now a dollar has four quarters, right?
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Ein Dollar besteht
aus 4 Vierteldollarmünzen. Stimmt's?
aus 4 Vierteldollarmünzen. Stimmt's?
02:31
And so does a 4/4 measure of music.
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Und so ist es bei einem 4/4-Takt.
02:34
It has four quarter notes.
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Da gibt es 4 Viertelnoten.
02:38
Now, how do you subdivide?
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Wie unterteilt man das jetzt?
02:40
Now let's envision this:
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Stellt es euch so vor:
02:45
three dollars' worth of quarters.
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Vierteldollarmünzen im Wert von 3 Dollar.
02:48
You would have three groups of four,
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Ihr hättet 3 Vierergruppen,
02:52
and you would count it,
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und ihr würdet sie zählen:
02:54
a-one-two-three-four, one-two-three-four,
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1 - 2 - 3 - 4,
1 - 2 - 3 - 4,
1 - 2 - 3 - 4,
02:56
one-two-three-four. Together.
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1 - 2 - 3 - 4.
Alle zusammen.
Alle zusammen.
CC und das Publikum: 1 - 2 - 3 - 4,
1 - 2 - 3 - 4, 1 - 2 - 3 - 4.
1 - 2 - 3 - 4, 1 - 2 - 3 - 4.
02:58
All: A-one-two-three-four,
one-two-three-four, one-two-three-four.
one-two-three-four, one-two-three-four.
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03:01
CC: Okay, now you feel that?
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CC: Okay, klingt das gut?
03:04
Now let's take those three groups of four
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Jetzt nehmen wir diese 3 Vierergruppen
03:09
and make them four groups of three.
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und machen daraus 4 Dreiergruppen.
03:13
And listen to this.
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Hört euch das an.
03:15
A-one-two-three-four, one-two-three-four,
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1 - 2 - 3 - 4,
1 - 2 - 3 - 4,
1 - 2 - 3 - 4,
03:17
one-two-three-four, with me.
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1 - 2 - 3 - 4, sprecht es mir nach.
03:19
One-two-three-four, one-two-three, come on, y'all!
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1 - 2 - 3 - 4,
1 - 2 - 3, kommt schon!
1 - 2 - 3, kommt schon!
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.
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Alle: 1 - 2 - 3 - 4,
1 - 2 - 3 - 4, 1 - 2 - 3 - 4.
1 - 2 - 3 - 4, 1 - 2 - 3 - 4.
03:27
CC: There you go.
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CC: Jetzt habt ihr es!
03:28
All right, second line.
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Okay, Second Line.
03:34
One-two-three-four, one-two-three.
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1 - 2 - 3 - 4,
1 - 2 - 3.
1 - 2 - 3.
03:38
One-two-three-four, one-two-three.
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1 - 2 - 3 - 4,
1 - 2 - 3.
1 - 2 - 3.
03:41
One-two-three-four, one-two-three.
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1 - 2 - 3 - 4,
1 - 2 - 3.
1 - 2 - 3.
03:44
One-two-three-four, one-two-three. Yeah.
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1 - 2 - 3 - 4,
1 - 2 - 3. Yeah.
1 - 2 - 3. Yeah.
03:48
Now, that's what I call a-rhythm-etic.
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Das nenne ich Rhyth-matik.
03:51
Can you say it? A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
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Könnt ihr es sagen? Rhyth-matik.
Publikum: Rhyth-matik.
Publikum: Rhyth-matik.
03:53
CC: A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
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CC: Rhyth-matik.
Publikum: Rhyth-matik.
Publikum: Rhyth-matik.
03:55
CC: A-rhythm a-rhythm.
Audience: A-rhythm a-rhythm.
Audience: A-rhythm a-rhythm.
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CC: Rhyth-ma, Rhyth-ma.
Publikum: Rhyth-ma, Rhyth-ma.
Publikum: Rhyth-ma, Rhyth-ma.
03:57
CC: A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
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CC: Rhyth-matik.
Publikum: Rhyth-matik.
Publikum: Rhyth-matik.
03:59
CC: Yeah. Now pick the swing
beat, and do the same thing.
beat, and do the same thing.
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CC: Yeah. Jetzt nehmen wir den Swing
Beat und machen das Gleiche.
Beat und machen das Gleiche.
04:02
One, two, one, two, a-one-two-three-four.
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1 - 2, 1 -2, 1 - 2 - 3 - 4.
04:12
Yeah. Mm.
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Yeah. Hm.
04:16
One-two-three, one-two-three,
one-two-three, one-two-three. Whoo.
one-two-three, one-two-three. Whoo.
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1 - 2 - 3, 1 - 2 - 3,
1 - 2 - 3, 1 - 2 - 3. Whoo!
1 - 2 - 3, 1 - 2 - 3. Whoo!
04:21
So I want to take the second line beat
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Jetzt möchte ich den Second-Line-Rhythmus
04:25
and the swing beat and put them together,
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und den Swing Beat zusammenfügen,
04:27
and it sounds something like this.
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und das klingt ungefähr so.
04:43
Aha.
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Aha.
04:44
A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
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Rhyth-matik.
Publikum: Rhyth-matik.
Publikum: Rhyth-matik.
04:46
CC: A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
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CC: Rhyth-matik.
Publikum: Rhyth-matik.
Publikum: Rhyth-matik.
04:48
CC: A-rhythm a-rhythm.
Audience: A-rhythm a-rhythm.
Audience: A-rhythm a-rhythm.
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CC: Rhyth-ma, Rhyth-ma.
Publikum: Rhyth-ma, Rhyth-ma.
Publikum: Rhyth-ma, Rhyth-ma.
04:50
CC: A-rhythm-etic.
Audience: A-rhythm-etic.
Audience: A-rhythm-etic.
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CC: Rhyth-matik.
Publikum: Rhyth-matik.
Publikum: Rhyth-matik.
04:52
CC: Yeah. Hip-hop.
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CC: Yeah. Hip Hop.
04:56
Now it's using a faster group of three
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Hier wird eine schnellere Dreiergruppe
verwendet,
verwendet,
04:59
we call a triplet.
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die wir Triole nennen.
05:01
Triplet-triplet. Say it with me.
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Triole-Triole. Sprecht es mit.
05:03
All: Triplet-triplet.
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Alle: Triole-Triole.
05:06
CC: Triplet-triplet. Triplet-triplet.
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CC: Triole-Triole. Triole-Triole.
05:12
CC: So I'll take all the rhythms
that you heard earlier,
that you heard earlier,
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CC: Ich nehme also all die Rhythmen,
die ihr zuvor gehört habt,
die ihr zuvor gehört habt,
05:16
we'll put them together, and they sound like this.
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füge sie zusammen,
und das klingt dann so.
und das klingt dann so.
05:43
A-rhythm-etic.
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Rhyth-matik.
05:45
(Applause)
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(Beifall)
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