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: Music Theory 4.2

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 here we see the same group but
in reverse now.
So the left notation indication is one
basically, and the right is the correct
one, so as a practical conversion [SOUND]
Logically we start now,
we play the whole time E tone, that means
at first the one, eight [SOUND] Then two,
one, 16 [SOUND] And another [SOUND] One,
eight.
Okay?
Once again.
[SOUND]
So, and one hit or one high more,
besides the correct beaming, also the
distance between
the notation symbols, is very important
for correct reading.
That means for instance that the distance
between the steam of a semi quaver,
to the next one is much larger than other
side, two in one,
16 due to the time waves.
Yeah, this chronological proportion
applies for
all forms of time values, and like in the
classical music notation,
it's essential for reading free of
unnecessary anticipation.
So, okay, let's go to the next notation
indication.
So we see on the screen now, a mix of
notes and E tones.
So this type of pattern must be played as
follows.
[SOUND] That means we see now, at first, a
one, eighth note.
[SOUND] Play it like this, then follows
two, one, 16.
[SOUND]
So when we play this, at the same pitch,
this is important.
[SOUND] Once again one, eighth note to
tone and then [SOUND]
Yeah, try to play it at the same pitch,
and remove the record two steps back, and
due to the fact that two, one, 16s.
I have the same time value as one, eight,
we are now at the same start point.
So once again one, eight, [SOUND] Note
then.
[SOUND] One, 16, two E tones and then
follows.
[SOUND] And as a one eight note.
So it's the same [SOUND] Uh,for the
respective reverse iteration,
we start at first with the one, eight E
tone.
[SOUND] Then follows two, one, 16.
[SOUND] And another [SOUND] One eight eton
Okay?
Try to play it subsequently.
[SOUND]
So, and this is it.
Okay, now the same pattern follows, but
all record motions are played in different
pitches You can see this
due to the fact that all symbols have
different position inside the staff.
So and the beam of the record motion
group, chases the path of the pitching.
It must be therefore drawn slightly
diagonally downwards.
Okay?
Can see this in the notational indication.
And [SOUND]
It goes like this, you play it a one,
eighth note.
[SOUND] Then follows two, one 16,
but in a slower pitch, the first one in a
slower.
[SOUND] And the following also in a much
slower.
[SOUND] And from this positioning, follows
also in a slower motion intensity.
[SOUND] A one, eght note.
[SOUND] Okay?
once again, one, eight note [SOUND] Then
one, 16 E tone [SOUND] Slower.
[SOUND] And.
[SOUND] So, okay.
As we have seen in all previous notation
indication, there is a symbol that
links the record motion, it's called the
slur.
And this symbol is absolutely essential,
because indicate that this groups of
record motions,
are played subsequently and in
chronological order.
So because when there's no,
slur it indicated that we're scratching
from the same start point.
Here, for better understanding, we compare
now different possibility and
explain the practical conversion below.
So at first we see on the screen now, four
different notation indications.
So, step by step I gonna explain now these
single ones.
So, the first one, here we play four, one,
16 notes from the same start point like
this here [SOUND] Yeah?
Once again, [SOUND]
When we play it over a beat, one, 16th.
[MUSIC]
One, 16 notes.
So, this technique requires moving the
record back
to the start point after each note.
Yeah?
This is logically because we
play [SOUND] The one sixteenth note, and
then after this we must move the record
really quick back.
So and we won't need the cross fader, to
make that step silent.
Yeah?
This is requirement, but the cross fader
motion requires also a symbol, but this
will be the content of the next tutorial.
Yeah?
Because you see on the screen no symbol,
for the cross fader performance or.
And for now the essential point there, or
here is to understand only the function of
the slur.
So, and that will describe scratchpad and
it's the reason why we see no symbol for
the cross fader in this indication.
Yeah?
And part of this, when we see four notes,
or notes which are beamed together, and
there's no slur,
we must play this note [SOUND]
from
the same start point, the same method
applies to the E tones.
It means, you see now on the screen, for E
tones there is no slur and
we must play it like this.
[SOUND] Yeah, only [SOUND] E tones
subsequently.
So, okay now we see this notation
have a slur, and here.
This, slur is both the record motions,
which implies to move the record now,
subsequently forward in four steps.
Yeah?
Here every record motion was in one, 16
note.
So, and what that means subsequently four
steps forward [SOUND] Yeah,.
[SOUND]
Like this, da, da, da,
in chronological order.
[SOUND] Due to the fact that we see a slur
now about the notes, the same applies for
the E tone, that means there is a slur, we
see four E tones which are beamed in one,
16 and [SOUND]
So,
due to the fact that there are round heads
now in this picture,
we must play every single note as a
release.
Basically, it's the same type of notation
indication, but now,
the round note heads indicate that we play
this as a release.
So in this type of practical conversion,
in turntablism is called bubble taps,
it means release mode and [SOUND] Yeah.
[MUSIC]
One 16,one, 16.
[SOUND]
Yeah,
this is a clear differentiation between
the hand movement
[SOUND]
So
okay, we see now above the note has two
slurs.
Yeah?
So and here the record motion,
is divided into four cut by the
cross-fader, but like I said,
the respective symbol is still missing and
appears in the next lesson.
But we move the record, only in one
stroke, so it means.
This indication means basically [SOUND]
Remove the record and one stroke back.
We set the cut points,
because we must [SOUND]
Execute this cut point
in the cross fader [SOUND]
yeah?
For the E tone now.
[SOUND]
So it means one stroke backed,
we divide it in four cut points.
[SOUND] This is or
this type of indication is necessary to
describe chronological parts of
the record motion divided by different
[INAUDIBLE] cross fader techniques.
So and I will explain this in another
tutorial,
this is a really important, transcription
methodology.
Yeah, and I hope this is clear.
[MUSIC]