Category : Odd and Even Meter

The study of all odd and even meter in both duple and triple feel. The chants are first demonstrated with accompanying music. Afterward, the chants are played with various click speeds.

Duple Chant in 9 #2

Weights refers to the specific turning points inside chants. Weights can also be looked at as accents or the overall “skeleton” as I like to call it. Here, the chant is subdivided in 9 by groups of 2/3/3/1 or 2/3/4. The chant neatly fits into the hat and bell-shifting pattern. The weights 2/3/3/1 or 2/3/4 completes the full cycle. The chant begins with a pedaled hat at the top alternating with the bell of the ride cymbal. The top of the chant comes around every two times. Notice how the characteristics change dramatically at only three tempos of 120, 200 and 250 BPM.

Duple Chant in 5 #5

The chant begins with a pedaled hat and kick. The hat and ride keep the pulse on opposite ends. The first snare lands on the “a” of beat 2. Once that is established, everything takes shape. Tempo changes dramatically shift the feel of this particular chant. The slower the tempo results in a funkier feel. The faster tempo results in a robotic feel. It takes two measures to get back to the top of the chant. While improvising, as with all chants, it’s always best to keep the chant going mentally. Physically, by keeping the pedaled hat constant, it’s almost impossible to lose place as long as the ride cymbal is always opposite the hat. Again, Duple Chant in 5 #5 may sound simple, however strong focus and relaxation can help pull this off seamlessly.

Triple Chant in 7 #2

This chant is a triple feel version of Duple Chant in 7 #2. It begins on the pedaled hat alternating with the ride. Although it sounds very simple, the thing to keep in mind is once you become solid playing it, you’ll notice how challenging it is to come back on the top of the chant when improvising inside the shape. I strongly recommend mastering the feel of this without improvising. Then you’ll have to practice improvising and coming back into the chant at the top. As stated in the previous lesson, Western drumming emphasizes returning to the top landing on the kick and cymbals. That is not the case here. You have to get used to coming out of improvising landing with the pedaled hat and snare.

Duple Chant in 7 #2

The top begins with the pedaled hat and snare creating a backwards-like approach. Western music usually begins with a kick and cymbal whether hi hat, ride or crash. I chose to begin with the snare and pedaled hat not only for the unusual factors. Beginning on the snare uses the part of the drum kit that is commonly the answer to the call. The pedaled hat and ride are constant which ties the whole together. Both the hat and ride fall on each beat. This chant gives the typical Western drummer the ability to literally turn everything around culturally while applying strict control of the chant’s shape.