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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 2.3

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So okay, finally.
We came to the player who plays the main
voice, the significant electro piano
sample, or organ sample, and this sound is
on the Drunken Master Break from DJ Die$$.
I use the same record for the base and
saxophone part at tutorial one.
And it sounds like this here.
So, and as you heard, it's really long.
Many different tones, inside the sample.
So, and
my aim is now to improve, but under the
requirement of a given motive.
To do this, I differentiate at first and
this connection in two parts.
The first main part that means,
I mean the pattern on the cross and on the
record part goes as follows.
That means we start [SOUND] On the one
[SOUND] With the unison of the sample.
And we play it in the shape of quarter
note, and
we cut this quarter note, four times.
So in a given time with one sixteen, like
this here.
[SOUND] So after this, we make a one eight
in which I move the record, silently back
to the starting point.
So and then I play a little back scrape.
And then once again, the quarter note
divided, in four parts by the cross fader.
It goes like this here.
Over high hat, one, two, three, four.
and I think this is really, really simple.
And finally I close the entire sequence.
After another one eight rest by producing
some of the E tones, which
source which brings the record back to the
ignition of the sample, I mean, this here.
And you can create also.
Different pitches.
To, modify this entire pattern in
interesting way.
So and yeah, this is the base, for
further improvisation now we play only the
discussed motive, but
we can alternate absolutely the cue
of the whole samples through which we
obtain different acoustic results.
I will demonstrate.
Some little possibilities right now.
[SOUND] One, two, three, four.
Or this positioning.
Okay, and as you heard, there are lots of
possibility, possible.
Try it.
The definition of the cue point is very
At first, and yeah what I try to say is
when you have a nice pattern or really
simple pattern on the cross and
on the record, you can transfer this to
different sound samples.
So and now I play.
The same pattern,
the same sequence
on the cross and
on the record,
with another type
of sound sample
So okay, this is it, I have used another
type of sound metria that means when you
get a pattern down it's possible
to create a harmonic sound characteristic
by using different samples.
Many turntablists also very firm, famous
Especially if beat juggling play over the
one and the same performance,
so change only the samples to became
another acoustical result.
So finally we came to the break part.
It's basically comparable to the so
called baby steps performance that means a
player's main pattern.
Once again.
And then.
To arrive the next
initial point from our new cue point.
And like I said it's basically like baby
That means.
[SOUND] You play.
A one eight note [SOUND] Then a one
sixteen e tone With a lower motion
Do not arrive at the neutral point once
And then, we came to start point.
So okay, now the [SOUND] Whole sequence
over high hat [SOUND]
One, two, three, four
Also, to build up interesting performance,
you can modify the main pattern a little
Or in correspondence with the break
That means I have also demonstrated this
in the entire performance.
When you play it like this here.
So, there are lots of possibilities
When you got it down, your main pattern,
try to play it from another cue points,.
Try to play it with from, with another
sound metria.