2.1 Motion Direction
This describes the direction in which the ‘control disk’ is moved, forwards (clockwise) or backwards (anti- clockwise), with each direction resulting in a different sound. Combinations of these two single motions’ can produce complex patterns which we will refer to as ‘integral acoustic motions’ or ‘groupings’.
The above diagrams show how the change in direction of the control disk affects the visual waveform.
When playing the sample, the turntablist can affect the sound by touching the disk with his or her hand, usually on the left side. The purpose is to speed up, slow down or add pauses, thus producing a change in pitch and rhythm. We will refer to this as ‘hand mode’.
Alternatively, he or she can simply let the disk move forward, letting the sample play without manual interference. We will describe this as ‘release mode’ since the turntablist is releasing the disk and letting the turntable play naturally under the power of the motor.
It should be noted that the motor of the Tonspielzeug will usually spin the disk clockwise (forwards). But it can be set in reverse before or even during the performance using the controls of the Tonspielzeug.
For now we will concentrate on these two basic forms. Additional techniques will be described later on. The differences between both techniques are very noticeable and sound different when played, even with the same ‘motion criteria’.
To indicate the direction of the disk we use two symbols for ‘hand mode’ and two more for ‘release mode’. To mark the forward motion in ‘hand mode’ we use a symbol that is similar to classical notation: it consists of a head which faces to the right in an upward fashion with a stem. This shall be referred to as a Note. The backwards motion will be denoted by a mirror image of the symbol (as shown below). This will be referred to as Eton – Note spelt backwards.
The direction of the note head denotes the direction in which the player should move the disk. When a Note or Eton is placed on or above the center line, the stem is placed on the left (Note), or on the right (Eton) of the head and goes down. Conversely,when the symbol is placed under the center line, the stem is placed on the right (Note) of the symbol and goes up! Release Mode is denoted by the same symbols (Note or Eton) but instead of an angular head there is a round head.
Video: Release Note | Release Eton
Depending on whether the control disk is going forwards or backwards, the stem is ether on the left or right side of the head. With Notes on the third line and above, the stems will be point upwards and will be attached on the
right side of the head, for Etons the opposite. The remaining criteria for the techniques are based on the symbol of the ‘hand mode’ but there are no diffculties in transferring these criteria to the ‘release mode’. It even produces a different acoustic result.
2.1 Motion Value
‘Acoustic motions’ can be performed in different time values. To indicate the different duration forms, the same system as classical music notation is used. In a whole Note/Eton, the head is the only component of the symbol. Shorter ‘acoustic motions’ requires a stem, and possible beams or fags.
2.3 Motion Intensity
The intensity of motion is the speed of the control disk while moving it forwards or backwards. Through this parameter the player infuences the pitch of the sound. We call this process “pitching”. There are solid physical properties between the sample tune and the duration of the sample which have to be considered in the transcription method.
As a control disk offers quite a variety of performance and playing options, there is an equal variety of options to modify the original sound material, including a high range of pitch bend. The player can move the disk by hand extremely slowly or really fast, but it is quite diffcult to produce a constant pitch during the practical conversion.
By using the pitch controller,an exact adjustment of the speed for longer periods is possible. In doing so, the player can easily derive fxed values of tone pitch, based on the percentage of speed increase or decrease of the record movement. In the chart below you can see the scale of pitch shifting based on a sample which was recorded originally in a C1 pitch tone.
However, it is much more diffcult to alter the pitch of the sample into another by playing it in ‘hand mode’ as Notes or Etons. A lot of manual training is required to control the movement of the disk accurately as well as a perfect sense of hearing to transpose the base material.
By working with sound material with a ‘pure’ pitch, it is fairly simple to create a notational transcription methodology to recreate them. It is similar to classical music notation in which the position of the symbol (Notes or Etons) on the staff ndicates the pitch.
The S-clef symbol is used to indicate that the traditional staff system is being used to describe the ‘acoustic motions’. It is placed at the beginning of the staff and all symbols which represent the disk movement have to be written down in this staff. The letter S (sample) represents motion and symbolizes the main parameter of the ‘acoustic motion’. In this way the staff system describes the movement of the record to be executed on the Tonspielzeug. This system requires an understanding of two principles: the classical ‘tonal principle’, which details the use of the S-clef and the ‘variable principle’ which will be explained later on.
2.3.1 Tonal Principle
As you can see in the above diagram, the F-S-Clef has a small black circle either on the top or bottom of the S symbol which serves as a reference point to denote where the F note is. This is just like the normal F-Clef where the line denoting the note F runs between the two dots of the symbol. In the same way, for the G-S Clef the black circle at the bottom of the S symbol shows the position of the pitch G1 (on a piano keyboard this would be the note G in the first octave),the same pitch as a traditional G-clef. The key differences between the S-clef and the traditional clef is (1) the S-clef describes recorded sounds as opposed to single ‘unrecorded’ notes as in traditional music notation, and (2) a Note on the S-clef can describe a complex phrase (spoken word or drum break) whereas traditional notation it always indicates a single note. To ensure communication with traditional musicians, most of the rules of modern notation apply for S-notation, for example: bars, time signature, pauses, accidental etc… Using the symbol for Eton it is possible to write a counter movement for every sample. To name Etons based on the pitch, the minus sign is used, as shown in the chromatic scale.
As such, it is now possible to create chords on the Tonspielzeug by using the Eton instead of a Note. To gain an understanding of this statement you can see some variations of the C-major triad in the following notation. More variations can be seen in this video.
To play these types of motion chords a special keyboard is needed. In the picture below you can see the concept of the -motion keyboard- which allows to play Notes and Etons at the same time.
However, the turntablist has at his or her disposal many more types of samples than only simple sounds with recognisable pitches. Noises, human and animal voices, beat fragments or whole musical phrases with an unidentifable pitch are all within scope of the instrument. So how can we notate the sound envelope or pitch range and how can we subdivide the lines and distances of this S-Notation system to indicate the ‘motion intensity’ applied to the disk, based on the position of Notes or Etons?
The solution is very simple. We subdivide the line system based on predetermined levels of ‘motion intensity’ or pitch ranges. The reference point for this is always the original speed of the sound material (100%) which is represented by the middle line of the staff. Based on this, it is possible to derive an increase or decrease of the ‘motion intensity’ due to the position of the symbols above or below the center line of the system.
2.3.2 Variable Principle
Because any kind of sample can be used, a universal system of notation is impossible. Instead, we must adjust the notation to the character of the individual sample. The way the turntablist plays the instrument depends on the character of the sound material and what kind of result is desired. By trial and error the player can fgure out what sounds the best.
Using this method we can create an individual scale depending on the composition (this is what is meant by the ‘variable principle’). To ensure suffcient scope for all possible degrees of pitch (there are seven degrees in the diatonic scale) three line systems are provided as you can see in the image. The whole tonal scope of the ‘variable principle’ is subdivided into 24 degrees (each denoting a change of 10%) labelled with characters from the alphabet. Etons are indicated by a minus sign.
Our demonstration sample has an original time value of 0.8 seconds (100% speed) which is a quarternote in a tempo of 75 bpm. In the image below you can see the increase and decrease in the time value of the sound. This can be prevented by using a time-stretch effect if the turntablist‘s equipment allows for it. In the chapter entitled ‘Anatonie’ a simple notational methodology is presented which takes this into account when the piece is played.
2.4 Motion Characteristic
Different movements of the disk produce different pitches. In S-Notation these movements are divided into two fundamental forms: ‘linear motion characteristic’ and ‘non-linear characteristic’.
2.4.1 Linear Characteristic
The ‘linear characteristic’ defnes a constant level of speed, irregardless of whether the disk is played in ‘release’ or ‘hand mode’. To indicate this ‘type of motion’ we need no additional sign in the transcription. The pure symbol for a Note or Eton indicates this type of ‘motion characteristic’ and always defnes a constant level of speed. So a Note or Eton always indicates a ‘linear characteristic’ of the ‘acoustic motion’.
2.4.2 Non-Linear Characteristic
All forms of ‘non-linear motion characteristics’ require additional symbols which have to be applied to the respective Note or Eton heads. Due to the large number of possibilities, we will tackle just the most fundamental characteristics. The frst form is the ‘linear increase’ and the ‘linear decrease’ which defnes a constant level of increasing or decreasing of the speed of the record motion.
Video: Linear decreasing | Linear increasing
The position of the symbol (Note or Eton) within the staff defnes the degree of ‘motion intensity’ (M = 100%) of the disk from the start. The additional symbol which is attached to the head of the Note or Eton denotes the fnal ‘motion intensity’ which is indicated by the little ‘motion point’. This shows the ‘linear decrease’ from (M) 100% to (S) 60% and ‘linear increase’ from from (M) 100% to (S) 160%.
As you can see from the image, the graphical waveform of the sample is stretched from 0.8s to 0.9s by including a linear decrease ‘motion characteristic’. The result is a cut of 0.1s of the sound material by playing aNoteorEtoninatimevalueofaquarter(ie.thesampleisplayedmoreslowlythusstretchingit out – but since it remains a quarternote a small part is cut). Conversely, with a linear increase ‘motion characteristic’ the sound material is contracting from 0.8s to 0.61s and that means playing a quarter note (or Eton) in this type of ‘non-linear characteristic’ contains a pause of 0.19s after the acoustic was heard (ie. the sample is played more quickly therefore fnishes early and leaves a pause).
This is an example which shows that the time value of the disk motion is not necessarily linked with the sound produced.
Other forms of ‘non-linear motion characteristic’ are the ‘exponential’ and ‘logarithmic increase’ or ‘decrease’. As seen, we have to use additional symbols which are attached to the heads of the Note or Eton to denote these types of motion. The graphical shape of these lines gives some indication about the course of the disk motion and the speed at the beginning and end.
Video: Logarithmic decreasing | Logarithmic increasing | Exponential decreasing | Exponential increasing
These variations cover the basic ‘motion characteristics’ and demonstrate how S-Notation works. In a way, attempting to apply music theory to the fexibility of the ‘control disk’ is like nailing jello to the wall. But with the knowledge we have obtained so far, we are a considerable step closer to achieving this. By carefully breaking things down it is possible to defne and represent even the most complicated pattern.
2.5 Grouping
A fundamental element of S-Notation is the classifcation and notation of ‘acoustic motions’ (disk movements). It is the arrangement of ‘acoustic motions’ using a turntable that creates a musical pattern, exemplifed by techniques such as ‘babies’ or ‘tears’.
Because the musical output does not ft an ordinary scale, we need to think differently about the term ‘melody’. We need an underlying principle to provide the basis of a universal method of composition, which works irregardless of the characteristics of the sound material. This principle should help the player to capture the different turntablism techniques which otherwise could not be defned in the context of a classical, tune-based music. With a regular instrument, such as a piano or trumpet, every sound starts at the beginning of the waveform (ie the transient). However, a musician using the Tonspielzeug can play the sample from any point within that sample – in other words from any chronological position. Furthermore, he or she can also play it in several stages. This kind of a combination is called ‘grouping’.
Let’s say we start from the beginning of the sample and move the record forward three times by pausing between the movements. This method produces three sounds instead of one – in turntablism this method is called ‘tearing’ and means nothing more than grouping more than one ‘acoustic motion’ into a musical pattern.
On a traditional instrument you can group a sound by repeating it several times, but the chronological position (always from the beginning) is still the same. The turntablist also has the option of playing this way by silencing the backward motion of the disk using the crossfader.
To denote the ‘grouping’ of more than one ‘acoustic motion’ through ‘tearing’ the sound, we use the ‘anatonic curvature’ or ‘slur’ which connects the respective symbols as shown in the image. The traditional method, in which we play the sound from the beginning or from the same chronological position, requires no additional sign.
Video: Traditional | Group
The demonstration video and the image of the waveform shows us how this happens in practice and the sound produced. The traditional method is like pushing the button on a sampler in a time value of 1/16. By imitating this playing style, the turntablist has to use the crossfader to silence the backward motion, which is necessary to get back to the initial point and repeat the pattern and requires lots of practice.
The tear variation (group) consists in this example of three 1/16 Notes which are connected by a slur. This transcription method gives an indication that we have to play all Notes of the sound consecutively as a group (short pauses between all these steps gives the impression that we produce three tones). Due to the entire length of the sample (1/4) we play about 75% of the sound as you can see in the image of the waveform. In this video you can see another variation of this type of pattern.
We can now deduce one important fact: ‘acoustic motions’ connected by a slur indicate a ‘group’ and we have to play this like a ‘tear’ pattern. Two ‘anatonic slurs’ together indicates a legato playing style, so we move the record in one motion without any steps, rather than tearing the sound.
This type of notation is necessary to describe different parts of the record motion divided by crossfader techniques and is also discussed in the chapter ‘Dynamic Motions’. Next we learn more simple underlying principles of S-Notation which are required to give some order to the many groups of ‘acoustic motions’.
2.5.1 Double Grouping
Perhaps the most recognised sonic trademark of scratching is the “wiggy wiggy“ sound, known as the “baby scratch” technique in turntablism. This playing style is a combination of Note and Eton, or Eton and Note (“reverse baby scratch”) as a group of two ‘single motions’ with the same pitch and duration.
In S-Notation we defne this as an ‘integral motion’ which has its own symbol. These motions are called NOTETON (Note + Eton) and ETONOTE (Eton + Note). To simplify the notation, each symbol (Noteton and Etonote) is different.
The head of a Noteton is exactly the same as a Note (pointing to the right and upwards). This symbol is a replacement for the stem. Playing an Etonote is symbolised by the same head as an Eton, but the placement of the stem is different. As shown in the image, a 1/8th Noteton or Etonote consists of two ‘single acoustic motions’ with a 1/16th duration each. A basic prerequisite for this is that the two individual movements have identical criteria (duration and volume) and the same ‘anatonic start’ and ‘ – end point’. The notation shows the identical ‘motion criteria’ of the sum of individual movements.
All ‘groups’ are numbered with ‘motion code’ to defne the type of group. The frst number of this code is the number of all ‘acoustic motions’ in the entire pattern. The subsequent numbers ONLY denote counter-motions (ie. disk movements that run in the opposite direction to the original). If subsequent movements are in the same direction as the original movement then they will not be specifed in the ‘motion code’).
For example, if we start a two-note sequence with a Note, the number ‘2’ must be written and if we start with an Eton we have to add a minus sign in front. The second number identifes an ‘acoustic motion’ (ie disk movement) which is played in the opposing direction (2-2 or -2-2). When we play a group of two ‘acoustic motions’ which all have the same direction, we only write the frst number (2 or -2), because there is no counter motion inside the sequence.
The diagram shows selected examples of 2-2 or -2-2 groups with different criteria. But there is one constant applied to all notational indications — the use of slurs to form a group. In the last example (right side) you can detect two slurs which indicate that all ‘acoustic motions’ have to be played in legato.
2.5.2 Triple Grouping
Here are some examples of groups which consist of three ‘acoustic motions’, played subsequently as one comprehensive pattern. Note especially that the ‘motion code’ below identifes the arrangement of the ‘acoustic motions’ of the pattern.
In the ‘3-2-3 group’, you can see that the stem of the last ‘acoustic motion’ is drawn substantially thicker than the other ones. This is a special transcription method which indicates the initial point of the frst ‘acoustic motion’, after we have fnished the last motion on the record. That allows us to repeat the whole sequence from the beginning.
As you can see in the notation there are lots of conventional signs (eg. accentuation, triplet) taken from classical music notation which can also be applied or used in S-notation.
In this section we have seen that the musical output of turntablism is primarily based on generating ‘groups of motions’ on the record or on the fader. These are the building blocks for composition and this system gives order to the playing techniques. This will be even clearer when we transfer this method to other parameters of the instrument. Here we only deal with ‘acoustic – ‘ and ‘dynamic motion’. All the other parameters will be explained later.