This chant is felt like triplets in 5 meaning every beat gets a triplet. Using the metronome at 84 bpm gives you a moderately slower tempo to get used to the odd triplet feel this chant is built upon. This chant became one of my anchors in understanding playing a triple 5 feel. This chant has a marker which is the last bass drum on the 3rd of the triplet on beat 5. It gives an end to the chant and a pickup to the beginning of the chant. Loop this chant repetitively until it becomes second nature. As with every chant on this site, I encourage doing everything slowly before moving on to faster tempos. It’s the old learn to walk before you run lesson applied here. Once 84 bpm feels relaxed, build up to looping this at around 160 bpm. It’s quite a difference. The key is being relaxed no matter what the tempo. This chant opens up a world of odd meter in an uncommon framework. As an added lesson bonus, you get my vocal grunts.
In this chant the pedaled hi hat lands on every other beat. The hats land on beats 2 and 4 in measure 1. In measure 2 they land on beats 1, 3 and 5. There are also landmarks in certain places. In the first measure, the first open hat lands with the snare. In the second measure the open hat lands with the kick drum. That’s one way to understand this demonstration. It’s best to play this chant very slowly as usual to notice every nuance. This chant is also great for developing left hand ghost note technique and control.
This chant is inspired by the music and rhythms of James Brown, Sly Stone, and a little bit of T Rex’s “Bang A Gong”. With the hats on every beat, you can clearly see the simplicity of the phrasing between the kick and snare. The separation of the two is something to take note of. The chant is essentially one phrase with an added eighth note kick at the end leading back to the top. Midway through the lesson I show you how I keep my place creating accents in certain places.
This week we focus on playing in two meters at once. A five beat chant is played on the ride cymbal over a drum chant in six. I break the full chant down by demonstrating both parts separately. The first beat of any chant is referred to as the “top” rather than commonly referring to it as “beat one”. This allows you to hear the phrase without counting focusing on the phrase’s feel and space. In this case of five over six, both parts meet on the 9th phrase in five and on the 6th phrase in six.