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 is the triple version of Duple Chant in 3 #1. This chant has a swing triplet feel. Written in two measures, it’s a simple yet serious pocket. Driven by the hats on every beat, the real meat of this chant is in the repeating snare and kick drum over and over. I highly recommend grooving on this chant up to 20 minutes with a metronome set at 110 bpm. This is one of the most basic approaches to developing a relaxed pocket in the unusual feel of a triple 3.
This chant revisits the previous Rock Chant in 3 with more detail. The hats are on all three beats. The bass drum pattern repeats the dotted eighth note tied to the sixteenth figure and adds a pickup sixteenth note at the very end of the chant in measure 4 which lands on the “a” of 3. The snare holds a constant stroke on the “and” of beat 2. This is one of my fundamental warm up chants as well.
I always try to find an excuse to write music within the triplet feel. Some people call it a six or twelve. I like to refer to it as the triplet feel because that’s the basis for the general rhythms everywhere in this particular style of music. I performed all the backing tracks that are just bass and guitar. It’s good to be familiar with another musician’s playing that is relaxed and not pushing or dragging. I have the luxury of demonstrating this repeatedly and I hope it serves the purpose of everything sounding relaxed.