Free .PDF transcription of playing examples : http://www.AaronEdgarDrum.com/pdf/metricmod2.pdf
In the first video of this series we spoke in depth about my concept of Metric Modulation both actual and implied. For those who don’t remember or didn’t see that video, yet. In Implied Metric Modulation we’re merely pretending to speed up or slow down by using a different sub division. For example playing a groove based in eighth notes, then playing the same physical pattern within eighth note triplets which would sound as if you sped up. The implied pulse works around our actual quarter note pulse. It’s an illusion. Alternately, when playing an Actual Metric Modulation we really are speeding up or slowing down in a way that is relative to our original tempo. If we use the same example described for implied, our faster beat would represent the new pulse and we would be at a new BPM.
(In all the examples of this video I’m approaching them as implied. You can decide how you want to use these. Any modulation can be applied either way.)
We’re going to touch on how the modulations can relate to polyrhythms in this video as well. Briefly, but it’s there. In the first three examples, they’re all based off the same type of phrasing. These first three all work from a three over two polyrhythm. If you were to play a three over two against the original groove in the video, when I switch over to the modulation, my implied pulse will directly correspond to your “three”.
As you can see, examples one through three are based off the same rhythmic concept using a couple different embellishments. Notice where the pulse notes (kicks on 1 and 3 and snares on 2 and 4) line up within the modulations. You can use this as framework to design your own feels!
The next example deals with a three over four polyrhythm based modulation. Taking a basic sixteenth note groove and applying it within an eighth note triplet subdivision.
Finally, we’ll do the opposite. Starting with a triplet based groove and implying a speed up via four over three in sixteenth notes!
All these concepts within the subdivisions chosen in this video are very simple once you break them down. Don’t take that as a reason to not bother with them, though. Getting these kind of modulations comfortable in your playing will do wonders for your applications when we break into the more challenging versions!
In this video I’m only going to show you basic physical examples of modulations. It’s up to you as the player to decide weather you want them to resolve naturally, or if you want to force them to resolve based on your phrasing. Same with if you want to dress up your transitions with fills or not. This is all stuff we’re going to talk about in future videos. I hinted at it in the original Metric Modulation Vs. Implied Metric Modulation video. If you can’t wait, just go ahead and try it!
Finally, before I sign off here, make absolutely sure you apply YOUR OWN grooves to these concepts! That’s where the real magic comes in! It’s one thing to read these ideas off a screen or a book. It’s entirely more personal when you take your own favourite grooves and slap them into a different subdivision! You’ll get way more mileage out of the concept when you make it your own.
That’s it for me today! Have fun with these and I’ll see you inside the next video!