DRUMMING CONCEPTS & EXERCISES
Exercise #5: Four to Three: keeping the pattern while changing the subdivision.
One of the great things about be-bop was it’s use of asymmetrical phrases. Lots of 3/4 phrases within the 4/4 structure can be found in the music of Charlie Parker (think of “Billie’s Bounce”) or Monk (“Straight, no chaser”). In fact, in his solos, Max Roach often phrased two bars of 4/4 as two 3/4 phrases followed by one 2/4 phrase. As jazz modernized, this practice has been explored even more.
I adapted the material from my previous blog (exercise #4: “The Double Time Fill” ) to prepare these exercises. Here I take four note groupings of sixteenths and place them over a series of triplets. The resulting asymmetry is really interesting.
You can experiment with this idea further by simply taking any four note motif and superimposing it over a series of triplets -The concept of “paratriplets” (if you’re familiar with those) uses the same principle. Or you can go the other way and take what was ordinarily a three note motif and place it over a four note grouping. The possibilities are endless, so I’ll probably write some more stuff along these lines for future blogs.
In the meantime, Have fun!
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