The chant has a rhythm and blues vibe for sure. Although it is in 11, another way to look at this is as a shape. A Long beat equals 3 pulses and a Short beat equals 2 pulses. All chants and rhythms can be broken into Long and Short beats. It’s a better way to keep track of the shape. We never break down anything into one pulse because that can be infinite. So we only need to limit all rhythms to 2 and 3 pulses. You will understand this as we continue from here on. In this case we have Long, Long, Long, Short as the structure and shape or “LLLS” for short. It is the same as 3, 3, 3, 2. However, it is much easier to retain the letters L and S rather than numbers which always change. This keeps you from counting. It is difficult to count while performing. Instead of counting 11 beats in repetition, visualizing long and short beats is the way to go. This will be useful when performing complex lengthy chants.
This is a slight change of feel from the previous chant Duple Chant in 9 #2 as it alters the complete perception here. The shape is basically the same as before however, the environment morphs into a swing. All chants can be performed and written in duple or triple feel. The understanding of where the notes fall and the ability to develop the natural shift from duple to triple is within the reach of a solid drummer. The same background music accompanying the drum chant is used specifically using the guitar to help shape the triple feel.
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.
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.