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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 6.1

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[MUSIC]
Hey
guys this is Alex with the new tutorial
related to the part several players.
Today I wanna give you some tips
concerning vert cuts and how to play it.
The content of this tutorial will help you
to enhance
your scratch performance by playing some
hooks with syllables and words.
So and I think this is it's, it's a big
deal so and yeah.
After we have created some basic patterns,
you can transfer this knowledge
into your favorite work cut templates or
in my tutorial.
I use the famous phrase cut like a
guillotine.
So, and I hope you like it.
Bye, bye.
So okay, some basics at a glance.
I'm gonna scratch now over a really slow
beat, which is comfortable for training.
We can hear a little excerpt.
[MUSIC]
So.
[MUSIC]
Yeah really dope.
So in this track here is taken from the
Olso Flow looper,
which in my opinion a masterpiece or beats
master it Lonewolf from the UK and
as always you can download some of these
beats if you like.
So here would also allow myself a master
it promotion for
the respective album of this guy's.
And the album is named as They Done Found
The Flow.
It's a grace, great experience of a new
type of scratch mu, music.
Listen to this.
So, for demonstration purposes I work with
the famous cut like a guillotine
like I said in the beginning.
[MUSIC]
Yeah, but
keep in mind no matter what type of sample
you gonna use for
scratching, the tempo must be always in
sync with the beat.
[MUSIC]
So this is too fast, and.
[MUSIC]
Yeah, this is like a rap, and
this must be in accordance with the tempo
of the beat.
So it's the reason why I have slowed down
the tempo.
So, okay.
Okay, the first method I would like to
present is so-called doubling.
This is one of the basics to create an
interesting work cut pattern.
So, this is a basic exercise, so it's done
by playing a one-eighth note.
[SOUND] Which reveals two slidables of
ascendance.
[MUSIC]
This would be like cut-like.
Okay?
Two slidables and
the tempo used is one eighth.
[MUSIC]
So, and
try to play this as in the release mode in
double eight.
Like this here.
[MUSIC]
[SOUND]
Subsequently by open close the fade-out.
Okay, I try it over the beat.
[MUSIC]
So this is the first basic exercise, okay?
It's not so easy because the backwards
stroke must be executed very really fast.
[MUSIC]
So,
and don't move the hand too much away from
the record.
It's not comfortable to execute this.
So, okay.
And when you got it down, try to cut every
syllable with the transformer clicker.
Yeah?
Like this here.
[MUSIC]
Over a beat.
[MUSIC]
Okay, and then when you got it on,
try to add it in between to transformer
clicker and the open-close motion.
It's, there's a acoustical difference,
okay?
So the next tip as you saw in my little
performance, is to change
the syllables in direct succession and go
through the whole sentence.
[SOUND] It looped like this.
[SOUND]
Yeah?
[SOUND]
And
then you must stay in time of the
sentence.
It means [SOUND]
,.
yeah?
Come like a guillotine.
So, over a beat.
[MUSIC]