percussive notes 40 JAnuArY 2010
in this article we will look at playing odd groupings
effectively. By odd grouping, I mean a string of equidistant
consecutive notes that are not two, three, or four notes long.
Groupings such as quintuplets, septuplets etc. are used extensively
in fusion, jazz, and world music.
Working with odd groupings will enable one to stretch the time
while hearing normal time playing in a deeper and more accurate
way. So, lets get started! We will start with the quintuplet
because it is the shortest odd group-ing we will encounter. I
started working on this by taking a familiar rhythm that is close
to a grouping of five equidistant notes. In this case, an
eighth-note triplet and two eighth notes. In a bar of 4/4, this
would be played two times. To get the other limbs involved and to
help us hear how the groupings work in relation to the quarter
note, well keep time with the bass drum on all four beats and the
hi-hat on 2 and 4. Play this at a medium tempo (mm=100120). In all
these examples, playing with a metronome is a must.
After you get used to playing the example accurately, try to
slow the triplet down and speed the 8ths up slightly, until all
notes in the bar are the same distance apart.
In your bar of 4/4, beats 1 and 3 will line up with the
grouping. Also notice that I have written alternate strokes for
this example. This means that your second group of five will start
on your left hand if you begin beat 1 with your right. You can also
accent each group of five at the beginning to help keep your place.
Dont be concerned if you have diffi-culty keeping the time
accurately at first. A big part of this is being able to hear the
grouping more than playing it. Lets do the same thing with seven.
In this case the introductory rhythm will be four sixteenths and
one eighth-note triplet.
fun With Odd groupings, Part 1By Ted Warren
Now do the same thing as before (stretch out the sixteenths and
com-press the triplet) to make all the notes evenly spaced. Now
were playing septuplets!
Now lets look at groupings of nine. There are two ways we can
start this. One is by playing one of our newly learned quintuplets
and four eighth notes (for the purposes of tempo we are now going
to play only one grouping per bar).
Another way of approaching nine is to play a half-note triplet,
then tripling each of these notes in turn.
percussive notes 41 JAnuArY 2010
That may seem confusing, but just keep in mind were ultimately
look-ing for nine equal notes in the bar.
In the March issue of Notes we will look at ways of applying the
odd groupings we worked on this time.
Ted Warren is a composer, bandleader, and drummer in Canadas
jazz scene. He teaches at Humber and Mohawk College in their Jazz
Studies programs and fronts his own quartet, Teds Warren
Commission, who released their second CD, Songs For Doug (Doctors
Orders) in 2008. He is also a member of the Mike Murley, Mike
Downes, Kieran Overs, and Ted Quinlan groups. He was the drummer
for the Boss Brass and can be heard on six of their CDs. Ted
studied music at McGill and received a certificate in Jazz Studies
from St. Francis Xavier University. He has worked with Slide
Hampton, Bob Newhart, Maynard Ferguson, Lew Soloff, Chuck Mangione,
Jeff Healey, Norma Winstone, Sheila Jordan, Howard Johnson, Nick
Brignola, Kenny Wheeler, and Gerry Bergonzi. He has written
articles for Modern Drummer, Canadian Musician, and Percussive
Notes. PN
PAS members are invited to submit formal printed percussion
solo and ensemble programs for inclusion in program
listings.
Please include:
venue (i.e., the name of the school)
Date of performance
state
country
name of performer or ensemble (including director & any
guest artists)
composition title
composers First and Last name
Arranger name
Send hardcopy programs to: Wilber england
3813 Laura WayBloomington, in 47401
e-mail: [email protected]
Submit programs online: www.pas.org/publications/programs
Submitting ProgrAmS
