METRIC Sontracting and Expanding Time Within Form BY ARI HOENIG & JOHANNES WEIDENMUELLER Wiintroduction xplanation of Terms .. Practice Tips 114 Time... 314 Time... Eighth Note Groupings in 4/4... Triplet Groupings in 4/4 Other Modulations... Displacing the Harmonic Rhythm Chord Progressions. Core Gro0¥es nn About the Authors... AS 19 2 25 21 28Welcome to Volume Two of Metric Modulations: Contracting and Expanding Time within Form. ‘The material covered in this volume is an extension of the basic rhythms presented in our fist book Intro to Polyrhythms. Here we would like to further explore some of our concepts and ideas about expanding and con- tracting time within form. Where the material presented in Iniro to Polyrhythms deals mostly with eighth notes and tripleis in groupings of three and four, this second volume covers groupings of eighth notes and triplets in five and seven. We also present you with ways of practicing and applying metric modulation over 5/4 and 7/4 time as well as some other modulations such as five over four, The text and book examples should be referred to if necessary, only after listening to and trying to absorb the musical examples by car. The idea is that these musical examples should be leamed primarily aurally, in an organic way. This will aid you in making musical decisions that are dictated by emotion and not mathematics. ind JohannesHere is a quick explanation of some of the terms we are using Metrie Modulation In technical terms, metric modulation signifies changing the tempo of a piece so that the new tempo has some kind of mathematical relation tothe original tempo. This is achieved by making a note value from the first tempo equivalent to a note value in the second. For example, if you take a half note in your original tempo and make that half note equal to the quarter note in the new tempo you end up with a modulation to halftime Superimposed Metric Modulation On this DVD we ate applying all the modulations over a form, in which the original harmonic structure and time feel stay intact, Therefore we are actually superimposing one time fee! or pulse over another. Polyrhythms are a good example of this, The superimposed or layered pulse, or what we call core rhythm and core groove, create the illusion of the tempo momentarily shifting when in fact iis not. So, technically speaking, most ofthe examples on this DVD are superimposed metric modulations, but for the sake of simplicity we will stick with the term “metric modulation.” Core Rhythms ‘Subdivisions such as eighth notes, triplets and sixteenth notes can be grouped to form what we call a core rhythm. For instance, a dotted quarter note is a core rhythm; itis based on the subdivision of eighth notes in groupings of three. The basic core rhythms that we are exploring in Volume 2 are: eighth notes grouped in five ‘and seven, triplets grouped in four, five and seven, half notes, dotted quarter notes in 5/4 and 7/4 time, and quit tuplets. Core rhythms ate the basic building blocks for what we call core grooves, Core Grooves Core grooves are a more musical application of core rhythms. To create a core groove, first we take a core rhythm and play it in groupings of two, three, four, or five etc... Examples of core grooves include a basic swing, samba or bossa that is superimposed over a different time feel. Forms ‘There are a few reasons why we think itis more beneficial to apply these exercises over a form rather than just over a particular pulse. Fist of all, one of the purposes of superimposing one groove or time feel over anoth- er is to create tension. Rhythmic superimposition creates two sets of pulses competing for your attention and therefore two sets of competing musical expectations, A form— any cyclical set of bars, with or without har- monic movement provides an opportunity to raise the intensity of your expectations for resolution. Without a form over which to apply the new groove, you won't achieve the same amount of tension nor the effect of any subsequent release. Second of all, in order for musicians to communicate with one another, we must have some kind of a framework or road map as a basis of communication. A form can be that framework. The ultimate pur- pose of the exercises in this book is to help you navigate chord progressions and form in a musical way. Rhythmic Displacements ‘Athythmic displacement is any rhythm or musical phrase that begins on a different part of the beat than its original starting point, This DVD covers rhythmic displacement extensively as well as polyriythms and metric ‘modulation.practice tips General Practice Tips Before you start playing any of these exercises on your instrument you should be able to clap, speak or sing them first. This helps you isolate the exercises and eliminates factors that could interfere, such as note choices or other technical aspects of your instrument, ete ‘There are many different ways to practice these exercises. Keep in mind that no matter what core rhythm or _groove you are displacing or superimposing, the original time (eighth note, quarter note or half note) has to stay ‘your reference point. At the beginning you may find it necessary to maintain an extemal reference point for the original time such as a metronome, a recording that you play along with or a fellow musician who is willing to keep time for you. As you get more comfortable, your dependence on an external time keeper will diminish and you will be able to rely more and more on your internal metronome. Here are some suggestions for practicing the exercises away from your instrument: 1. When you're walking, think of your steps as half notes or quarter notes. While doing-this, elap your hands or sing the core rhythm. Keep eight-bar phrases or think of a song form in your head, 2. Take a song you know well and sing the melody while clapping the core rhythm (make sure that you don’t alter the rhythm of the melody to fit the core rhythm.) 3. Use the metronome while singing the melody: 4) Clap the core rhythm while keeping the metronome on all quarter notes, bb) Clap the core rhythm while keeping the metronome on beat one of every bar. ©) Clap the core rhythm while hearing the metronome on half notes, 1 4 4) Clap the core rhythm while hearing the metronome on displaced half notes (14243444) or (14243444), Advanced practice tips: for straight eighth-note based core rhythms. While singing the metody: baad ) Clap the core rhythm while hearing the metronome on off beats (1+243+4#), £) Clap the core rhythm while hearing the metronome on dotted quarter notes. (This works especially well for34time); 4 4 4 4 4 (42344) (142+3H4e0t0) Advanced practice tips for triplet-based (swung) rhythms, While singing the melody er £2) Clap the core rythm while hearing the metronome on the third triplet of every beat, 72, 771) 1h) Clap the core rhythm while hearing the metronome on the second triplet of every beat. (73 72) i) Clap the core rhythm while hearing the metronome on quarter note triplets. } Im) 5) Clap the core rhythm while hearing the metronome on displaced quarter no Wiis. “Ut 74) For 34 time, clap the core hythm while hearing the metronome on displaced dotted quarter notes (see chapters 40 and 42 in Vol. 1). Replace the metronome with tapping your foot and repeat the above exercises a-j For 5/4 time, clap the core rhythm while tapping your foot on the basic 5/4 clave (ex. 1, p. 13). For 7/4 time, clap the core rythm while tapping your foot on the basic 7/4 clave (ex. 1, pg. 9). Hearing the subdivisions in your head is crucial. Be sure you're practicing this at a wide variety of tempos. Challenge yourself by pushing the tempo to just under where you can hear the subdivisions accurately. 8The groupings of five and seven, Core Grooves D, E, F and G sound very much like the normal six-note sawing pattern (Core Groove A). They are not exactly the same, but are made to emulate this pattern, orizing a sticking pattern can help you learn and be more comfortable with these rhythms, ghosted notes are writ- ‘em in the spaces where there could be rests. You should try treating the ghosted notes as rests as well. ‘While leaning the examples of this book, it is helpful to keep the quarter note pulse with either the hi-hat or bass drum. This is good for coordination as well as rhythmic understanding. Be creative. Improvise within the sore rhythm. Try playing the quarter note pulse with two limbs while playing the core rhythm with the other two imbs. Try alternating these patterns between each pair of limbs. Then try playing quarter notes with one limb while the other three play the core rhythm or an idea around the core rhythm. Practicing these rhythms along to ‘ecords is very helpful for hearing how they work within the form of a song. Drum Key cymbal hichat bass drum snare —_—_ghosted_~—_crossstick small tom floor tom with Foot sare E = S—=— - 2 We found that there is a tendency to play shorter notes when they are anticipated or delayed, particularly when it comes (0 the core rhythm of walking bass. In order to create the illusion of the time shifting temporari- y, itis important that you play the full note values. [As a bass player, you must not only superimpose a core rhythm over a form - which is challenging enough - ut atthe same time you must displace the harmonic rhythm. Expressing the harmonic structure of a piece when. the bass notes don't fall on beats one or three is not easy. If you find that you are having trouble with this, see if he following suggestions help. First, play the core rhythm or groove against a metronomic pulse making sure that you are completely secure ‘vith that. Then add the form but stay on one pitch and don't worry about expressing the harmony yet. Check 10 ‘ake sure you are hearing the form in your head, Finally add the harmonies. If you are unsure about where the shords fall in the new harmonic rhythm, write out a few choruses and consult the examples later in the book.