In this article I will briefly explain how to grasp the basic theory around fives, how to identify them - and also how to play them. Being a drum teacher, I explain from a drummers perspective - but the theory can easily be adapted for guitarists (up- and downstrokes) or bassists (index and middle finger). You get the basic idea.
Starting with quintuplets (which can be heard in Tchaikovsky's 6th Symphony and Wagner's Tristan und Isolde) is a good idea - count five hits per beat. Drummers have many alternative stickings for quintuplets, but let's settle for left-right-left-right-left right-left-right-left-right. Using a metronome is a always good idea when practicing polyrhythms, and also use your voice to really get your head around the system. In Sweden we use the phrase "DA LA PI KO LA" when practicing fives.
Let us move on to 5 against 2 as soon as you feel comfortable with quintuplets. Use the same rlrlr lrlrl etc. and start to accent every other hit: RlRlR lRlRl So, all the hits with the right hand are accented! There you have the fundamental five-against-two sound. And as soon as you are comfortable doing this, just play the accents and, there you have it!
Five over four is a little trickier than five against two, and thus takes a little more time to learn. Let's go back to the quintuplets again and use the same rlrlr lrlrl rlrlr lrlrl. The difference this time is that we now accent every alternate hit with the right hand: RIGHT-left-right-left-RIGHT left-right-left-RIGHT-left right-left-RIGHT-left-right left-right-left-RIGHT-left. That's 5 against 4! This can be hard to hear in slow tempos. When fluent in this, play only the accents.
I sincerely hope you'll have a good time with those polyrhythms, and why not catch your drummer by surprise at your next rehearsal session by throwing some 5 against 2 at him?
Starting with quintuplets (which can be heard in Tchaikovsky's 6th Symphony and Wagner's Tristan und Isolde) is a good idea - count five hits per beat. Drummers have many alternative stickings for quintuplets, but let's settle for left-right-left-right-left right-left-right-left-right. Using a metronome is a always good idea when practicing polyrhythms, and also use your voice to really get your head around the system. In Sweden we use the phrase "DA LA PI KO LA" when practicing fives.
Let us move on to 5 against 2 as soon as you feel comfortable with quintuplets. Use the same rlrlr lrlrl etc. and start to accent every other hit: RlRlR lRlRl So, all the hits with the right hand are accented! There you have the fundamental five-against-two sound. And as soon as you are comfortable doing this, just play the accents and, there you have it!
Five over four is a little trickier than five against two, and thus takes a little more time to learn. Let's go back to the quintuplets again and use the same rlrlr lrlrl rlrlr lrlrl. The difference this time is that we now accent every alternate hit with the right hand: RIGHT-left-right-left-RIGHT left-right-left-RIGHT-left right-left-RIGHT-left-right left-right-left-RIGHT-left. That's 5 against 4! This can be hard to hear in slow tempos. When fluent in this, play only the accents.
I sincerely hope you'll have a good time with those polyrhythms, and why not catch your drummer by surprise at your next rehearsal session by throwing some 5 against 2 at him?
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Want to find out more about polyrhythmic drum loops, then visit OddGrooves, where you can watch video tutorials on polyrhythms.
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