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Q you made my day ( I think ). My argument to friends was metric modulation keeps a steady pulse and the modulation occurs when subdivisions change. The opposing argument was: it is when the time signature changes. The Brubeck song ( Three to get Ready ) is not metric modulation it is just a time signature change. Remember the old drill where you had MM 60 and you played 1/4 1/8 triplet 1/16 5s 6s 7s all staying with the metronome. To me that is metric modulation. . If I am wrong then set me straight. I am pretty sure that the video just proved my point. As always, Thank you and Happy Easter.
Couldn't grasp what the hell you were on about when I first saw this video on my feed and quickly moved on, but I'm glad I saved it for later and man what a thorough lesson and breakdown this was. Excellent video as always, appreciate it!
That was a blast! The examples made this stuff so clear, sounding great. I've been tossing this idea around for a few years about how humans maybe unconsciously use these concepts when we talk to each other, setting a pulse when we start sentences and modulating to change the impact of our words. That push-pull thing, heh. Thanks Quincy!
Great way to break it down! Even for an old dude like me it gives me a fresh conceptual take and new point of reference to expand on this idea. Thank you!
Wow...thank you! I've been drumming for 32 years & no one has mentioned to think of the ride cymbal for jazz as a diddle-diddle & I've never realized it. Probably why I've just stuck to metal & rock all these years. lol
Always amazed of your exceptional capacity of transmitting the real roots of music : practice never without a feeling and an artistic purpose. It’s incredible how clear are explanations and how deep is the benefit. Still haven’t found any other teacher or channel like QD. Many many thanks!
Man, I need to up my ghost notes game. The left hand comping in the intro was super good. I need to really learn how to effectively use my left hand traditional grip and study up on intermediate level independence exercises. It's like you were brushing the snare...doesn't get more "ghostly" than that. You are one of the best drum teachers on YT, sir. I also really love the way you tune your kit. So great for jazz. If there's a video of Quincy's that anyone can recommend regarding left hand comping that I somehow missed, please do reply here! Bless up.
I appreciate that very much! I have a few videos you may find helpful for the left hand: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-cg1hoMybKKw.html, ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-MLhD0xg_RBg.html, ru-vid.comIyuqLETiJSk.
In the past couple years I've heard Vinnie Coliuta do some fills or solos that I can't mathematically wrap my brain around. I'm familiar with metric modulations but he has taken it to another realm.
Quincy I love your lessons, and I am benefiting from them tremendously-- I think what you trying to say is you are changing from straight to swung feel keeping the same grid and the same same rudiment.... Understanding the difference between straight and swung feel is probably the most important thing a drummer can learn.....
here is the most important thing a musician can learn (at least according to Mozart I always wonder at Mozart’s skill at rhythm. I just found this in one of his letters, which proves beyond any shadow of doubt that he was in the church of the groove! “. . . the most necessary, and the hardest, and the most important thing in music, is steady tempo.” Mozart
I don’t really think of it as straight versus swing. It’s just playing off of different grids but I’m still trying to convey a “swing” feel. I could have been clear with that. Thanks for the comment!
Great Quincy! I'm a jazz pianist and have felt these metric mods a lot (sneaky dinner music). Your explanation has really clarified whats going on. Thank You
hey quincy! hows it goin? i just recently checked out this metric modulation and all i can say is WOW!!!!! ive been playing drums for 33 yrs and studying tabla for 7 years and this concept is amazing. very challenging and wonderful. thanks so much for breaking things down for us. cheers man
Great teaching, man! Freddie Gruber hipped me to this and much more back in the 70s. Listened to a lot of Tony Williams, Jack Dejohnette, and Elvin Jones. All metric modulation masters! (Steve Gadd too)
Hey man beautiful groove and phrasing...... Yeah this touches on a really broad topic of grouping notes within subdivisions outside of the grouping of notes inherent to any given subdivision, like grouping 16ths in groups other than four, which are inherent to the 16th note subdivision, and instead grouping in 3, 5, 6, 7 and 9 for instances. Creating rhythmic structures based on what can be called an "alternative" grouping is how rhythmic modulation can be created. But what is really cool in this instance which I have come across this sticking before as a way of getting into swing, is that within this group of 6 notes phrased as the "paradidledidle" we have the swing rhythm expressed. So this is not just about creating a modulation based on playing a group of six notes across 8th notes or 16ths note, but the fact that the "swing" rhythm is inherent in the "paradidledidle" phrasing, therefore can be used to modulate a whole rhythmic jazz tradition expressed through the "swing" rhythm. Quincy it would be really great and useful if you demonstrated with the walking bass going back and forth between the traditional triplet swing rhythm and the 8th and 16th note modulations of the swing rhythm and playing different length phrases within the modulation, shorter ones especially, just two or one bar lengths would be really bent. A great drummer friend of mine Greg Sheehan from Australia had this modulation he would do for swing using the 20th note subdivision or quintuplets using this sticking for the quins: RLRRL RLRRL RLRRL RLRRL as a one bar length keeping the hi hat on two and four moving from the traditional triplet swing and then just throwing one or two bars of this version of the swing in quintuplets, obviously with the right hand playing the ride cymbal. It is the same concept you just demonstrated, using a diferrent sticking and a different subdivision, but creating the same result. Actually it would be interesting to use that sticking grouped in fives and try it across 8th and 16th notes as a modulation of swing. I have to make a note of it as something to explore. Thanks man, I've subscribed, so maybe will see a notification of you exploring this modulation. Given your first name Quincy is so close to using "Quins" as a nickname for quintuplets, maybe it is wholly appropriate for you to release such a video......lol
Thanks for your in depth comment my man. Perhaps a future more in depth metric modulation video is in the works. And you're right about my name. Maybe I should do a Quinc-tuplets video:)
Cool Quincy looking forward to it. OK so now getting deep into this. This morning I started writing out that sticking pattern in subdivisions up to 36th notes (8th, 12th, 16th, 20th, 24th, 28th, 32nd and 36th note subdivisions respectively). Now two considerations became immediately obvious, after writing this out. The first question is where is the starting point of the actual swing groove, from which subdivision are we starting with? In your video using this 6 note sticking you are referring to it or counting it as 8th note triplets. But in the real world sort to speak, that does not work because if we interpret that sticking over triplets to create the starting point swing, because in relation to the quarter note pulse the hi hat traditionally is played on 2 & 4 to express the swing rhythm, now would need to play on the dotted eight note of beat 1 and 3. So really the sticking functions as more of a hack to get us to the modulation in 8th and 16th notes, in relation to swing being expressed traditionally using quarter notes as the pulse with dotted eights added in beat 2 & 4 and the hi hat plays on the 2 & 4 quarter note pulse. As soon as I started writing this out the immediate question arose where to play the hi hat when modulating and what is the subdivision the original swing groove is created from? I went back to the beginning of your video where you play along with the bass and it is obvious the swing is based on the quarter note subdivision with the two eight notes added, specifically because you are playing the hi hat on the 2 & 4 quarter notes backbeat, which you would not get if writing that six note sticking over 8th note triplets which I already mentioned. So then the second question arises where to put the hi hat during the modulation, and off course checking your video with the bass playing along, you modulate the hi hat as well to keep the aesthetic of the swing rhythm during the modulation. But I think there is a strong argument for keeping the hi hat on the quarter note pulses of 2 & 4 while modulating in any given subdivision. Which when I look at my transcription of the sticking written over those various subdivision, is going to displace the hi hat dramatically relative to the modulated swing groove played on the ride. Obviously it is possible to do both relative to where to play the hi hat. Keeping the hi hat on the quarter note pulse of 2 & 4 will keep that back beat in the original unmodulated time being kept by the bass player, and I imagine will make the modulation itself more extreme. So the real core consideration about all this is, how does it affect the musicality in relation to the band, the actual music, not just as a conceptual music theory exercise in relation to drum kit playing. Therefore it feels like both possibilities need to be explored to see how it impacts the actual music, and especially in a jazz context see how the other players in the ensemble will respond. This is a whole musical consideration which I think is important for the art form. I think this is right up your alley because I feel how strongly jazz features in your musicality and repertoire as a musician, at least that is what I intuit from seeing three of your videos thus far. When I interviewed John Riley while he toured Australia in 2016 as part of my Master's degree and the research I was undertaking on a variety of issues, he put forward a point of view that many jazz musicians felt that harmonically the frontiers of jazz had reached their exploratory limit, and that the only real frontier left within the art form to really explore was rhythmically. Maybe we could discuss this further? Thanks for taking the time.
Yes this is great stuff. I love your playful teaching style. Took some lessons with Ari Hoenig years ago. He takes this stuff pretty far. Your voice and drums are so well balanced. Do you mind telling me what headset you are using?
Trying to understand the concept: sounds like alternating 8th/16th triplets and straight 8th/16th notes (hands), first by keeping the feet in quarters (12/8 --> 8/8); then finally changing the meter of the feet (8/8 quarter notes to 33%? slower 12/8 quarter notes --> changing tempo/pulse, which seems to me the most difficult part to alternate). Thanks for the lesson!
This has been ridiculously helpful as you’ve made it fun . Yes I knew the paradiddle- diddle on the ride😂. But counting the other meters was wonderful . Thanks . Btw is your link to the 15? Bebop Phases still up . I find the parts 1 to etc , Max . Sorry I’ll try when I get home . Away at the moment. In 2 days the practice room home . ❤ 😊
Yep...damn hard! Started working like this on some of Ari Hoeing's stuff years ago and it still kicks my ass if I don't practice it. It's great because it's purely a mind fkuc and doesn't require blowing chops all over the place.
AAAaaarrrrggggghhhh ! Quincy, Master of taste and time from tangle brained Ned in Spain. This was a lulu of a lesson. I thought I had it all under control until the last variation. I'm gonna have to re-watch a whole lot and practice too before it makes sense. At 17:14 the section where we were counting did you do a quick skip at the end of the 8th bar to bring the dbl pd back to 1 again ? Loved this one and helps make the MM easier to understand. Keep cool Q.
This is a great lesson thanks.. I've never heard it explained this way.Great!!! My question is why the parradiddle diddle? that plays the jazz patter backwards.. Shouldn't sticking be RLLRLR?
Glad you enjoyed it. Start paradiddle on beat 2 and that will pay nicely with the ride rhythm: 1 RLR RLL RLR | RLL RLR RLL RLR | Hope that makes sense!
Fantastic lesson. Quincy! Quincy Need a little help with Elvins stuffing 3 or more ideas In a short trading 4 Mini solo. How do you train your Brain to execute all those different ideas In such a short time ?
Well today I went through this lesson again. The hardest part for me was counting out loud while playing the double paradiddles. I wound up messing up my paradiddle grove or my 4 count. The part I did not understand was in the last step, ( the fantasy time) on what beat were you playing the hi hat Q? Was it still on two and four but just a made up time? I'll get this though, just need some time in the shed! :)
Dear Quincy! Wouldn't it make more sense to base the whole concept on the paradiddlediddle started in the middle - RLLRLR, RLLRLR ? Because then we have the regular jazz ride pattern in the RH and for me this makes it a lot less confusing when using it in a jazz situation. Otherwise a great lesson on an important topic!
That’s a very good point👍🏾. I guess I just wanted to relate it directly to a rudiment for this lesson since mostly everyone probably already knows how to play a paradiddle-diddle.
This is something I haven’t worked out enough yet. Definitely gonna spend some more time wood shedding this concept. Tony Williams was a master at this….and everything else. Stay well, FP
PHew! Q! That lesson was the epitome of "LET'S GOOOOOOOOOOOOOOOOO!" Does the play along track have a variety of perhaps slower tempos? y'know for like a friend.
...feel free to get in touch for some German chat to stay in shape ;-) ...and I'm convinced it is the portfolio of interests and abilities beyond drumming that have an impact on ones artistic expression ! But really once (and over and over) again: An outstanding lesson ! I'm really a kind of method freak but how you have presented this is really a treasure and not the "standard" explantation...Sehr gute Arbeit, Herr Davis ! @@drumqtips
@@drumqtips You earned my subscription! Looking forward to more videos covering even the simplest to most complex of topics. I love everything drumming related!
@@drumqtips Working on it! I've messed around with this stuff before and my teacher taught me this when I was younger but I really needed a refresher course. Question: what about using the "jazz parafiddle"?
Ok thank you, Quincy, it was in fact your lesson on the ‘displacement’ of the Para diddle diddle pattern, within which the Jazz Ride cymbal pattern is embedded within, amazing. I love how rhythms evolved! I keep an eye out. Josie
@@drumqtips Polymeter is, at least originally, literally two or more meters happening simultaneously and at the same tempo. In Western music, I think it was originally found in orchestral music, where some instruments are playing in, say, 4/4, and others are in 3/4, with the same quarter note tempo. (The first time I saw it was while reading the score of Wagner's Götterdämmerung.) Nowadays, people also use it to describe the effect, for example a repeating three-quarter-note phrase in 4/4. I like John Riley's description of metric modulation as being like "shifting gears." In fact, I prefer to describe it in terms of changing note values - playing the ride with a quarter note triplet pulse instead of a quarter note pulse, etc. Mentioning meter runs the risk of someone expecting to see a time signature change or something like that.
