Fun With Odd Groupings, Part 1

By Ted Warren

n 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 grouping 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.

Now do the same thing as before (stretch out the sixteenths and compress 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).

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.

Another way of approaching nine is to play a half-note triplet, then

tripling each of these notes in turn.

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 difficulty 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.

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 That may seem confusing, but just keep in mind were ultimately looking 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

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41 JANUARY 2010