In this article I will briefly explain how to grasp the basic theory around fives, how to identify them - and also how to play them. Being a drum teacher, I explain from a drummers perspective - but the theory can easily be adapted for guitarists (up- and downstrokes) or bassists (index and middle finger). You get the basic idea.
It's a good thing to start with quintuplets (for reference, famous examples of quintuplets appear in Chopin's sonata in C minor and Wagner's Tristan und Isolde), which is 5 hits per beat. For a drummer there are many ways of using stickings when playing quintuplets, but let's go with left-right-left-right-left right-left-right-left-right. I recommend that you use a metronome for practice, and it is alkso a great idea to use your voice to really understand this. Try saying DA LA PI KO LA when practicing fives.
Let us move on to 5 against 2 as soon as you feel comfortable with quintuplets. Use the same rlrlr lrlrl etc. and start to accent every other hit: RlRlR lRlRl So, all the hits with the right hand are accented! There you have the fundamental five-against-two sound. And as soon as you are comfortable doing this, just play the accents and, there you have it!
5 against 4 is a bit more hard and takes a bit longer to learn. Let's go back to the quintuplets again and use the same rlrlr lrlrl rlrlr lrlrl. The difference this time is that we accent every alternate hit with the right hand: RIGHT-left-right-left-RIGHT left-right-left-RIGHT-left right-left-RIGHT-left-right left-right-left-RIGHT-left. That's 5 against 4! This can be hard to hear in slow tempos. When fluent in this, play only the accents.
Now have a great time with those polyrhythms, and by all means - go surprise your drummer!
It's a good thing to start with quintuplets (for reference, famous examples of quintuplets appear in Chopin's sonata in C minor and Wagner's Tristan und Isolde), which is 5 hits per beat. For a drummer there are many ways of using stickings when playing quintuplets, but let's go with left-right-left-right-left right-left-right-left-right. I recommend that you use a metronome for practice, and it is alkso a great idea to use your voice to really understand this. Try saying DA LA PI KO LA when practicing fives.
Let us move on to 5 against 2 as soon as you feel comfortable with quintuplets. Use the same rlrlr lrlrl etc. and start to accent every other hit: RlRlR lRlRl So, all the hits with the right hand are accented! There you have the fundamental five-against-two sound. And as soon as you are comfortable doing this, just play the accents and, there you have it!
5 against 4 is a bit more hard and takes a bit longer to learn. Let's go back to the quintuplets again and use the same rlrlr lrlrl rlrlr lrlrl. The difference this time is that we accent every alternate hit with the right hand: RIGHT-left-right-left-RIGHT left-right-left-RIGHT-left right-left-RIGHT-left-right left-right-left-RIGHT-left. That's 5 against 4! This can be hard to hear in slow tempos. When fluent in this, play only the accents.
Now have a great time with those polyrhythms, and by all means - go surprise your drummer!
About the Author:
Looking to find the best deal on polyrhythmic drum loops, then visit www.oddgrooves.com to find the best advice on polyrhythms for you.
No comments:
Post a Comment