#1
I'm doing a lot of experimentation with rhythm and phrasing, and gradually getting back into more challenging playing (hand injuries), and been having a lot of fun playing lines using 5 notes in the same space as a 1/4 note, and mixing that with 6 against 1/4 and 3 against 1/4.  I especially like the sort of "lazy" feel that 5 produces in a rock context, at moderate speeds.  Especially by keeping those 5 evenly spaced, without playing it as a group of 3 and 2 etc.

I originally couldn't accurately perceive the time division for 5 in my head, so I'm using software to build these phrases, and practice against it.  Once the brain experiences it, it's easy to do, but before that, it felt horribly hard.  Now I'm really getting into it.

Anyone else into this sort of thing? 
Last edited by jerrykramskoy at Apr 8, 2017,
#2
jerrykramskoy

Study the Charles Mingus tune "Good Bye Pork Pie Hat" an excellent study in melodic, harmonic and rhythmic variation .. you can use it as a spring board for your quest as it has several bars with quarter note triplets..which are a good opening to convert them to 16th note passages and varied triplet feel lines - 9/4 etc as it has a slow tempo it gives you time to experiment with the kind of stuff your exploring..and the harmonic progression is a super treat to solo over..
.
John McLaughlin does a version on his album..My Goals Beyond
play well

wolf
Last edited by wolflen at Apr 8, 2017,
#3
I've tried to develop an ear/feel for some polyrhythms lately. I have this friend who has this method of counting polyrhythms that apparently works really well as he can just start tapping crazy rhythms like 16 over 12 or whatever without even thinking but I don't really understand how he does that. I can barely tap 5 over 3  
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#4
wolflenThanks.  I know that tune well.  Very nice.  Have you heard Jeff Beck's version (either on "Blow by blow" or "wired", I can't remember which) .  

Triplets are easy enough to "get right", I guess through familiarity?  That said, for me, it depends on tempo, so for a slow tempo, as simple as in 4/4, using half-note tripets, gets more challenging the longer the duration of the bar.  

But it's the lesser used subdivisions where I have problems initially.
#5
Worth persevering, I think.  The problem at its core is just accurately some time duration into equal duration subdivisions, so if you can hear the duration of the 3 events, you can then ignore those 3, and focus on chopping that duration.  Of course, the big problem is not getting distracted by the 3 individual events.

A friend of mine appears to have one brain per limb (drummer) ... but he has been playing for years and years, so that's his meat and drink.
#6
[quote="jerrykramskoy].....using 5 notes in the same space as a 1/4 note, and mixing that with 6 against 1/4 and 3 against 1/4.  ......


hey jerrykramskoy 

I'm a bit confused what you mean here. It sounds like you are talking about normal quintuplets. 5 notes in the space of a quarter is that.
Or are you saying 5 over 4 as in the titles , but 5 notes for every of the 5 quarter notes in the space of 4?