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In this section, you can have call and response sessions with experienced skratch djs. They'll skratch the questions, and you skratch the answers. Here, you can try to copy them or just freestyle. Try out the skratches you've learned and put them together in your own way. It's that easy!

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Skratch Lessons: Several Players 2.2

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now we came to the hi-hat section, and
this is really nice I believe.
It shows a way to produce a constant
rhythmic accompaniment by using
scratch techniques.
A part of the main part includes, a
lightly modified break part.
So, the record which you use for playing
is once again the gegbar from DJD styles.
And there's a little high section on it,
and I use for playing now this long high
So, and my goal is to create nice sound
scapes so and.
I idolize my effect section of the mixer
and put an echo effect on it.
[SOUND] Or on my voice.
But it's necessary to match the tempo of
the effect in accordance with the beat, or
in this case with 86 bpn and yeah, define
the effect size.
This is also very important, and
now we got it I will demonstrate the main
So this is it, this is my high hat
And it goes like this.
We start with the 1-8 e-tone.
Like this here.
The 1-8 e-tone for explanation, in my S
notation system
the word note, N-O-T-E, defines a forward
When the spell the word note backward, you
obtain the word e-ton,
which is a synonym for backward motion.
But, of course, you can call it as you
like it.
Once again I start with a 1-8 e-ton.
In my case so in a lower motion intensity.
Like this here, like a backward drag.
And I open the fader.
This is my start.
After this I go into a release note, and I
cut it by the thumb.
So, from this positioning I play basically
the 24 more click in a given time where
you for 1-16.
That means, once again, yeah we play
one e-tone, release note, closing.
Then, 1-8th e-ton, basically consists of
Then 1-16th release.
Yeah, this is it.
and except for the first 1-8th e-ton, all
record motions.
Will be cut by the transformer click.
And the timer will be 1-1-16.
So, I play it over a high hat.
One, two, three, four.
And the last bar, the fourth bar, is my
break section.
So, and I play at this the 1-8 e-ton then
I play the release,
1-16 release which is a closing motion.
And if they once again the 1-8 e-ton
Like this.
So okay.
Now I put the the main part into the break
part together over high hat One,
two, three, four.
So, okay, this is it.
So, okay now, we came to the last voice,
and this is a guy who plays this.
Significant orchestra hit, I think.
This sample has been cut out from the same
sample as the electric piano play.
Use for scratching.
It's at the end so the entire sample goes
And this one.
So due to the fact that now the 4th player
works with the same material as, as
main voice, 3rd player, both voices
correspond and are harmonic to each other.
They have the same pitch.
And yeah, and this is really comfortable
for playing.
So, now, what he do now is he use, or
he works, basically with given
motive or given pattern is a rhythmical
positioning of the orchestra headers.
In this case, very important.
And it goes like this.
We start with.
[SOUND] On the one beat I play always a
That means one, two, three, four.
So the rythmic positioning is the main
Now you have.
Enough space to improve over the
performance of
the electric piano player or the drum
pattern, and, yeah,
you can try different variations, for
example, like.
One, two, three four.
So, now it's up to you.
Practice, improve, pick out some nice
tunes, and let's go over to scratching.