This is a public version of the members-only Hip-Hop Scratch with DJ Qbert, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Hip-Hop Scratch with DJ Qbert.
Join Now

Skratching
 ≡ 
Battles
 ≡ 
Digital Applications
 ≡ 
Training Dojo

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!

When you get better, you can post your own call and response "sessions" for the training dojo so that others can skratch along with you too!

 ≡ 
Beat Juggling
 ≡ 
Setup & Gear
 ≡ 
Helpful Hints
 ≡ 
Guest Professors
 ≡ 
30 Day Challenge
 ≡ 
+Music
 ≡ 
Video Exchange Archive
 ≡ 
«Prev of Next»

Skratch Lessons: Skratch Techniques 5.1

Video Exchanges () Submit a Video Lesson Resources () This lesson calls for a video submission
Study Materials Music Theory
Lesson Specific Downloads
Play Along Tracks
 
Tools for All Lessons +
Metronome
Collaborations for
Submit a video for   

This video lesson is available only to members of
Hip-Hop Scratch with DJ Qbert.

Join Now

Information
 ≡ 
Course Description
 ≡ 

This page contains a transcription of a video lesson from Hip-Hop Scratch with DJ Qbert. This is only a preview of what you get when you take Skratch Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
X
Log In
X
[MUSIC]
So Hi there, this is Alex.
Welcome to my sixth tutorial related to
the power of scratch techniques.
I will demonstrate now some further ways
of playing scratch technique.
That's a whole phrase.
Yes, a whole phrase like one bar or two
bars.
So kinda like a your scratch techniques.
Because you know it very well that
scratching is basically most
of the time freestyle and improvisation.
And now we will try to build up a
structure to enhance our performance
by playing some clear motives or to create
something like a routine.
Because it's, it's comparable to a
traditional
musician who plays metal dial order of
give me tones and pitches.
And now we will transfer this method into
our scratch performance.
Maybe it's helpful for you.
For me its helpful because I can advance
my performance.
I can create some of the frames.
Something like that, by scratching and
yeah.
[MUSIC]
This is generated by the so-called dicing
sequence, or so named as transformative
performance, and it goes like this here.
[MUSIC]
So sounds like a refrain.
I give motif And
I will explain first that's record motion
only without using the cross fader.
We move the record forward at first.
We has the possibility to let the record
play as you release or [SOUND] By hand.
So after this [SOUND] Two steps backwards.
Yeah?
Logic this is a one forward,
two backward tear.
And [SOUND]
Yeah, that's for the basic.
Now we incorporate the cross fader
performance.
And cut every record motion with the
transformer clicker, yeah?
To obtain the dicing sequence.
Goes like this.
Tapping for the forward.
[SOUND] And then.
[SOUND] Two taps backward.
So when you have the possibility [SOUND]
To play the backward motion like this.
And you cut it.
[SOUND] Yeah?
Like a tear or you can play the record
motion backwards [SOUND] As one.
So when you cut it twice.
[SOUND] Okay.
So for repeating [SOUND]
So
another possibility is that you play it in
different pitches.
[SOUND]
So then you can alternating.
[SOUND]
So now.
In order to build up a phrase,
we must play the dicing sequence in a
certain order.
And involve kinda rhythmic trademark.
Which is significant for our other frame.
So here are my succession.
We play the dicing sequence now two times.
And subsequently, an additional note
follows.
Until we have repeated the dicing sequence
two times once again.
[SOUND] That means dicing two times.
[SOUND]
Then follow the note.
{SOUND].
And then we play the dicing once again two
times.
[NOISE].
So subsequently.
[MUSIC]
Over beat.
[MUSIC]
So, one, two, three, four.
[MUSIC]
So, okay.
And now we create a closing off for this
performance and this is a simple drag.
This is
[MUSIC]
The closing off of our frame and
now the entire pattern goes like this.
[MUSIC]
So, this is it basically, this is our
refrain.
So to make a small variation of the
playing style,
try to modulate single complements of the
whole sequence.
That means, for example, you can change
the cross fader performance.
[SOUND] So, instead of playing [SOUND]
Transformer clicker,
you play the two clicker.
[SOUND]
Yeah.
So, and another very interesting way to
create a variation
is to play this refrain on diff, different
positions inside the bar.
Yeah?
That means the common way is when
we start,
[MUSIC]
One, two, three, four.
[MUSIC]
So, then you can, for example, start
playing at the one and, And
after this, you start playing at the one,
and then on one and.
So, that you combine the different
positions.
Okay.
This is interesting.
[MUSIC]
So it means, one, two, three, four.
[MUSIC]
So, okay, this is it basically,
I think we're gonna start now a little Q
and A for you.
I play this pattern two times through the
whole sequence, and then it's your turn.
[MUSIC]
One, two, three, four.
[MUSIC]