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Duple Chant in 5 #4 & Duple Chant in 3 #3

This time we look at a chant in alternate ways. In 5, the chant makes most sense. The accompanying music is arranged in a flow that goes against the chant however it comes around at points. When seeing this in 3 the sound of the chant does not change however, the percussive perception alters. The bar line changes as the note values stay the same in 5 and 3.

Trickster at Harlem Jazz Museum NYC June 23, 2016

Trickster’s performance at Harlem’s Jazz Museum features the music of guitarist Miles Okazaki. Each song selection has a distinct drum chant accompanying and setting the structures from which all the parts hang. Each instrumental part builds during the compositions creating a setting for extensive improvisation. Miles Okazaki-guitar, Anthony Tidd-bass, Paul Cornish-piano, Sean Rickman-drums. Screen Shot 2017-02-01 at 12.48.42 AM

Duple Chant in 4 #1

The most common duple feel of 4 can be felt and played in so many ways other than the most popular Westernized ways. You can look at this hi hat part as duple or in groups of 3. The kick beats are 3 beats long as well. The snare lays a long backbeat while landing on a long 2 and 4. Although this chant is identifiable when broken into individual limbs, the sum is quite unique. The best way to learn this chant is simply by hearing and feeling the hi hats against the kick and snare.

Triple Chant in 5 #2

The snare/kick pattern loops for three measures with an extra kick in the last measure. The tricky thing is the ride cymbal which can also be played on cowbell. Then there are the pedaled hats beginning on beat 2. It pedals every other beat (2, 4, 1, 3, 5). Nothing lands together except the ride and snare on beat 5 in every measure. Five tempos are demonstrated: 100 BPM, 120 BPM, 140 BPM, 160 BPM, and 180 BPM. I highly recommend performing the chant at each click speed for at least 5 minutes per tempo.