Archive for September, 2011

– Free Choonz –

Though people might appreciate some music 😉 There’s a few here that ought to get the blood pumping and the feet a’snappin’.


– Maintaining momentum –

I suck at keeping momentum with my training (well, actually, most things…). =_= I’ve had a bit of a hiatus with my popping. Well, I still get down when I can, but I haven’t been TRAINING. Yesterday, after a good few weeks, I had a crack at doing some more intensive training. It was going well until I got distracted. I can only blame myself for that.

I have, however, been watching a lot of videos and reading up on info. I read this interesting post from Jrock. It talked about splitting up your dance into 3 sections:

1 – Sitting in the beat.
2 – Riding the beat.
3 – Freaking the beat.

From what I understand, “sitting in the beat” refers to just keeping to the beat. Basically, for a 4/4 beat,  hitting the 2s and 4s of the beat; or the snares. For example:

# # # # # # #


** ** ** ** | ** ** ** **

# = a crotchet/full beat
* = a quaver/half beat
| = end of bar.

The red #/* are the (half)beats you’d hit.

“Riding the beat” is just grooving along to the rhythm of the song. Here’s an example:

We can hear the snares on the 2s and 4s, right? Well, to “ride” this beat, we’d be filling in more beats in-between. So instead of hitting just the 2s and 4s you’ll be hitting some of the half beats too.
For example:

* * * * * * * | * * * * * * * *


# # * * # | * * * * * #


“Freaking the beat” is playing around with all the little sounds and tying them all together. Literally. I can’t think of a better example than Slim Boogie at 0:51 – 1:06

So there you have it. When I think about it, I believe I can learn a lot from this. It embodies everything. At least, I think so. Sitting in the beat acts as the foundation. It’s the most important for feeling the music and setting the mood. Riding the beat is where the musicality comes in, and also serves as building up the tension. Finally, freaking the beat is where the eye candy comes out and the tension is at its peak. I believe if you capture all three kinds of musicality you are able to convey the get down and throw down theory that Slick Dogg talks about. You provide the highs, lows and middle levels of the performance. The complete package.

I don’t know if everyone will agree with me, or if my definitions are 100% right, but at least it’s food for thought. Right?