A Guide to Schillinger's Theory of Rhythm

[@funicon3689]

i can barely wrap my head around this, but these examples are so good Im going to give this a shot

[@FransAbsil]

@funicon3689 Thanks for sharing your experience. If the Schillinger System is new to you it likely is overwhelming. Do not forget that this video was made as a brief overview of my ebook on the subject. There are later videos that demonstrate Schillinger rhythm aspects in more detail. Still, in case you have questions about specific aspects, do not hesitate to ask.

[@FransAbsil]

Over the years viewers have been commenting that this video lacks the introduction of fundamental concepts. My response has been that this is not a real tutorial, but an overview of the subjects and examples discussed in my ebook. However, in April 2022 I uploaded a tutorial entitled 'Schillinger Rhythm: Binary Synchronization Fundamentals'. Watch this video in case you are looking for a better introduction.

[@yungdreamy3617]

Great video! I'm glad to find someone of your expertise providing people with information on the Schillinger System of Musical Composition. Keep up the good work!

[@ManishboyzTV]

2:00 slaps! 🔥 so good omg

[@FransAbsil]

@ManishBoyzTV Had to find time to listen to these examples again myself. I assume your suggestion is that the bass pattern (layer L1) at 2:14 is suitable for slapping technique. In hindsight I think I should have added stronger rhythmic support to underline the regular 4/4 meter.

[@valeriemanners7796]

It was nice to stumble onto your work Frans Absil. I was fortunate to study with Asher Zlotnik in Baltimore Maryland USA for about five years in the early 1980’s. He was an in depth teacher of the Schillinger system and like you he put it into practical terms.

[@FransAbsil]

Thank you for sharing your experiences with learning the Schillinger System of Musical Composition. I looked up the Dr. Asher Zlotnik biography after reading this comment. Probably there are not too many of us that still try to put the immense Schillinger toolbox to practical use. Did you experiment with these techniques yourself?

[@valeriemanners7796]

The experience was life changing. I was able to purchase Volumes 1 and 2 De Capo edition and Mathematical Basis of the Arts. Dr Zlotnik was a great teacher and an authority on the subject. I am constantly studying and applying the techniques and more importantly the general philosophy of being aware of possibilities. The concepts of motion, reduction, growth. One lifetime is too short to absorb the material. It is baffling that Schillinger’s work is pretty much lost in today’s World.

[@FransAbsil]

Thanks for this impressive story. My Da Capo volumes are full of pencil markings and scribbling; however, I never got round to studying the Mathematical Basis of the Arts. I fully agree with the importance of the generalisation of concepts in Schillinger's work.

[@valeriemanners7796]

Dr Zlotnik was a student of Lyle Dowling. Me and many others in the Baltimore area were very fortunate to have such a good teacher.

[@valeriemanners7796]

If you would like to read ‘Mathematical Basis of the Arts’ I would gladly send it to you on loan. A few of the chapters about music are exactly the same as chapters in the System of composition. Much of the other material is based on geometry. Schillinger was particularly attuned to geometric shapes like the spiral.

[@FransAbsil]

This video introduces the Schillinger Theory of Rhythm E-book with a set of audio examples, demonstrating various techniques for creating and varying rhythmical patterns. The document (2015) is a guide to Book 1 from the Joseph Schillinger System of Musical Composition. Go to the website for more information.

[@udomatthiasdrums5322]

still love it!!

[@masterchain3335]

Could you explain the example at 2:14 a little bit more? This one in particular I don't understand. Above, you say the formula is r=3t+t+(2r+2t), but then below you say that abc is (2t+t+t)+(2t'+[t]+t+2t)+([t]+t). I would take this to mean that the (2t+t+t) = a, but then how does that jive with the first formula wherein a = 3t? I assume the bracketed [t] = r? Why the inconsistency in nomenclature? I can make sense of some of it but I don't understand where that first formula is coming from and how it relates to any of the rest.

[@FransAbsil]

Thanks again Master Chain, you are doing a great review of this movie! And indeed you found an inconsistency or two on this slide. Both 3-element attack-duration groups are from the same figure 9.3 in the book, which contains 8 examples. At the last moment I decided to make an audio demo for the 3-element group shown just above the staff. And then I obviously introduced an error (mea maxima culpa). The notation inconsistency is caused by mixing Finale staff expressions with slide text; indeed [t]=r, although that is incomplete in itself. Both note attacks a and rests r have time durations nt. My approach is that by showing examples in both quasi-mathematical and staff notation I reduce the complexity, so that the reader will be able to understand the potential of the rhythm techniques. The original Schillinger volumes are infamous for their mathematical notation, and I hopefully managed to make things slightly more clear and consistent. But your comments are right on target!

[@masterchain3335]

Thanks so much for your reply, Frans. I just started with Schillinger a couple days ago and am mostly through the Rhythm book at the moment. Your videos have been really helpful in contextualizing some of the material with practical applications. You need not be sorry for the mistake - I can only imagine how much work goes into making these videos and errors are bound to happen ;) I look forward to checking out your other videos as I get into the other books!

[@Boldstrummer]

You don't explain what the terms mean? Delta Ta?? etc. Can't go any further if I don't know what I'm looking at.

[@FransAbsil]

Unfortunately I did not make it sufficiently clear that this video is an overview of the content in my e-book. I tried to demonstrate the principles and application of the Schillinger rhythm techniques in various styles. My website has a limited free version of the book, explaining symbols and notation. Time allowing, there may be more in depth videos about the creation of rhythm.

[@Hugglebuns]

Hello, I've been loving your content. I even bought your textbook on Schillinger Rhythm But one part that's bothering me in chapters 7-8 is the concept of synchronization and recurrence. The equations and explanation seems a little convoluted until I figured out that concepts like Npa is literally just the LCM(Na, Np). With recurrence being LCM(N1, N2, ... Nm) of all the various parts we're using Is there a reason for this? Am I just wrong? Or am I just misunderstanding?

[@FransAbsil]

@Sean Gilbert The interpretation in terms of Least Common Multiple is very elegant. It is a nice mathematical equivalent of the synchronization process in order to achieve recurrence. I.e., the return to the starting position of either the inner 'instrument loop' (N1) based on LCM(p,Ni), where p is the number of elements in rp. And the outer 'rhythm pattern' loop (N2 occurrences), involving LCM(NIp,Na). Essential for Schillinger overall rhythm overlay is to use the attack-duration series after the inner (instrumentation) loop has been completed (then followed by the grouping by time signature). Does this clarify the process in Chapter 8 from the book?

[@Hugglebuns]

@@FransAbsil Thank you, I believe I got it By the way, does any use of modular arithmetic get used? I can imagine 2 ways to use it. One being for altering attack series and another to generate durations Ex. attack series 2t is known = [0 2 4 6 ...] but considering 2t is congruent to mod 2, we have room to offset such that 2t+1 = [1 3 5 7 ...] This can be used to provide variation to a simple attack series t(3:2) = [0 2 3 4 6] t(3:2+1) = [1 3 5 6 7] (Tr will have a little overlap into the next part, but its still Tr=ab) Durations can be made that will be short then get progressively longer and short again while the generator goes through all possible permutations (/offsets) before ending at 0. I use this as a duration as it wouldn't make sense as an attack series r3mod11 = [0 3 6 9 1 4 7 10 2 5 8 0] So something like this will always start & end in zeros before periodicity. I suppose removing them from the set would make it usable as a duration set Really fun to play with this stuff

[@FransAbsil]

@Sean Gilbert Sorry for the late reply. Modular arithmetic is an abvious technique in the pitch domain, for creating scales and interval calculations. In the rhythm and time domain Schillinger uses the concept of continuity and simultaneity (Chapter 9), but these are based on (circular) permutation of a duration series, splitting (Ch. 11), or distributive powers (Ch. 12). So I think that the idea of modular arithmetic is a welcome addition. After all, the newly created attack-duration series are familiar to the original (see your attack series example), or display a certain degree of internal symmetry (your r3mod11 duration example). Maybe some expert will chime in and tell us that this type of calculation is part of the unpublished Schillinger techniques. Thanks for your creative contribution.

[@masterchain3335]

The examples are really good however, I'd offer a suggestion. Some of the examples are so involved and actually show multiple things, with the focus not always being obvious. For example at 0:18, it's certainly clear that the rhythm of the bass line is what is being indicated in the rhythm figure, but the drums also appear to be doing something else (the kick is following the bass line, but are the other hits being governed by some other generator? Are the pitch changes in the bass line determined by some other distribution or grouping, or are they just chosen artistically? This is less obvious.) What I would suggest is maybe breaking down the examples in layers, so for instance I'd play just the bass line at single pitches to show the rhythm, then at the different pitches to show how those were arrived at, adding in the drums, etc. I think you get my meaning here. I love the music but I wish some of them were broken down into more steps so we can make sense of it better.

[@FransAbsil]

Hi Master Chain, thanks for the feedback. I admit that there is no detailed explanation of the examples. This video was made in 2015 and intended as an overview of the content of my e-book with the guide to the Schillinger Theory of Rhythm (KZbin publicity, in addition to my website). It was made with slide presentation software (computer typesetting LaTeX), Finale music notation, and iMovie. So in just under 5 minutes I run through the chapters of the book, illustrating the aspects in the main chapters with examples in various musical styles. So lack of focus and detailed explanation is a justified remark. My later videos are longer, made with ScreenFlow, and through more sophisticated annotation and a voiceover I try and take the viewer by the hand. So please accept my sincere apologies for the clumsiness of a KZbin beginner. The example starting at 0:18 indeed has other elements besides the bass, that is playing the rhythm from the attack-duration series, as is the electric piano. The other pitches plus the drums and percussion provide a groove, that should make the position of the meter downbeat clear. In my experience, these Schillinger rhythms often need additional regular beat support. Later in the video there is an example without such background, and I myself have to mentally count the beats. I might add a click track, but instead chose to use more complex groove support, in the style of the example. And sorry for the late response; I had to rewatch the movie in order to investigate your comments and come up with a proper answer.

[@masterchain3335]

I suspected as much regarding the additional pitches / beats in those examples! As I mention in my other reply to you above, I am pretty new to this, but I have already had the same realization that you refer to when you say that these rhythms often need some sort of regular beat as a clarifying agent. Not only does it help orient the listener but it can even help make the rhythm itself more interesting as it introduces syncopation, which of course is a big part of the subject of "grouping" in the Schillinger system, as I am learning. Again, your videos are excellent and the music you've produced with this system is very interesting! I am finding that my own music has employed little bits of these techniques over the years without having any knowledge of Schillinger, but now that I am delving into it, the possibilities are so vast! On the one hand it can give one a sense of control in their compositional strategy or work flow. On the other hand the possibilities are so vast, I can see that once one becomes familiar enough with it, one must still bring a kind of inspiration or aesthetic taste to the table or you will be paralyzed by the potential approaches!

[@christopherpaul1810]

I've been a Schillinger student since 2010, I take correspondence courses. My question to you Frans is who did you study with? Or did you learn straight from the books? Very nice video I really enjoyed this, especially the musical examples. If you're not already a member may I invite you to the Schillinger Society. (www.schillingersociety.com)

[@FransAbsil]

+Christopher Paul - Thanks for the comment. I absorbed all 1600+ pages from the 1978 Da Capo Press edition. The books are now full of pencil annotations, most score examples were entered into an old Atari Midi sequencer. After investing hundreds of hours I must have mastered the majority of techniques from the Schillinger System. I like sharing this wonderful experience through the internet.

[@Boldstrummer]

correspondence courses with WHO?

[@FransAbsil]

Several institutions and individuals provide online training in the Schillinger System (SSoMC). I don't know where the respondent took his courses. Students have approached me for SSoMC guidance and lessons.

[@christopherpaul1810]

I study with Philip DiTullio, he is teaching me the system.

[@BazzTriton]

The content is good, but the video , as piece of information is not effective

[@FransAbsil]

Thanks for the comment. In contrast to the later and longer videos with voiceover and educational character, this early video was meant as publicity for the Schillinger Rhythm Theory book that I had just finished. It gives an overview of the subjects covered in the book and the potential of these Schillinger techniques. If you would like to see an episode or need additional information about a specific subject, beyond what's in the document, please let me know.

[@jrbcd]

Schillinger is just formalistic offal!

[@FransAbsil]

While offal is totally avoided in regular meat consumption, it is considered a culinary tradition worthwhile preserving by the slow food movement. One may identify formalistic elements as well in dodecaphony, serialism, Palestrina counterpoint, Fux' Gradus ad Parnassum and PC Set theory. Recent research rejects the innate neurological-physical hypothesis behind the Pythagorean approach. Which adds a formalistic flavour to tonal harmony. Studying such systems is likely to raise awareness of musical qualities, and develops compositional skills. A non-detrimental diet to the creative community. Anyway, thanks for the challenging remark. I am still digesting it ;-)

[@gustavoturm]

What is PC Set Theory?

[@grandmasterblowhole4245]

It is a set of tools to be used in a creative way just like knowing what a triad or counterpoint is allows you use it creatively in a composition (or not). The rules don't replace invention. Gershwin used many Schillinger techniques in "Porgy and Bess"- hardly "formalistic offal" and neither is Glenn Miller's "Moonlight Serenade", for that matter.

[@grandmasterblowhole4245]

Pitch Class Set Theory

[@SpaghettiToaster]

@@gustavoturm en.wikipedia.org/wiki/Set_theory_(music)