In this edition of the Metric Modulation series we’re going to further some of our study with five new illusions! First of which we’re taking a sixteenth based funk pattern and implying slowing down by modulating it into eighth note triplets. The nasty part of this one is we can’t use our left foot to anchor the quarter note as we’re opening and closing the hihat!
Now in reverse we can take the same kind of idea and use a triplet based shuffle groove, implying speeding up using sixteenth notes. Be sure that you perceive this correctly. Enjoy how your implied groove falls around the actual quarter note pulse. It’s a fantastically syncopated feel. My personal favourite note is the bass drum on beat six in the sixteenth note version.
Some double bass fun? I think so! Let’s imply slowing down from a 200 bpm triplet double bass groove into eighth notes!
Now lets get a little more abstract, let’s take a bar of 6/4 based in triplets (similar to how you would feel a 6/8 with triplets on every eighth note). Then speed it up into sixteenth notes! I can’t stress enough how enjoyable the implied pulse lining up AROUND the actual pulse is in this example. It’s a fantastic feeling once you actually get it right!
Finally, let’s keep with the abstract and take a syncopated, funky sixteenth groove and apply Jeff Porcarro‘s famous shuffle from Toto’s Rosanna as sixteenth notes for a fill! To make matters more out there, lets not accent into our out of it. Just take our stream of sixteenth notes and place our accents accordingly! Enjoy 😉
Keep hittin’ things!