Quintuplets |
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Jan 23 2010, 12:28 AM
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I terms of learning quintuplets (or other tuplets), try to make sequences descending or ascending and play them to metronome. 5 & 7 is not so hard, but when You come to 9 and eleven.....
 In the matter of transcribing, I don't really have seen many cases where tuplets have been played in a "thinking" manner - it's rather so that the player had aimed for a certain note, and in order to land on the beat, he just have to play some little faster... but of course there are some exceptions (for instance in tapping sequences).... to transcribe this though, it must be slowed down to a very slow speed... I think a good practice will also be to practice odd meters, eg. 5/4, 7/4 etc. //Staffay --------------------  Guitars: Ibanez AM-200, Ibanez GB-10, Fender Stratocaster Classic Player, Warmouth Custom Built, Suhr Classic Strat, Gibson Les Paul Standard 2003, Ibanez steel-string Amps: Fender Hot Rod Deluxe, Marshall JMP 2103, AER 60 Effects: BOSS DD-20, Danelectro Trans. Overdrive, TC-Electronics G-Major, Dunlop Wah-wah, Original SansAmp, BOSS DD-2 Music by Staffy can be found at: Staffay at MySpace |
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Jan 23 2010, 02:05 AM
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I just count them as irregular groupings, in 5 or 7 groups. However I always counted them when walking, since I was kid, so it came natural in some way
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Jan 25 2010, 12:40 AM
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Thanks for all the tips
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Jan 25 2010, 05:35 PM
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I wholly appreciate the difficulties in getting ones head around note groupings beyond the standard subdivisions. I think mainly because it's so customary to use symmetrical rhythmic patterns and melodies are easier to create with intuitive crotchetts, quavers and triplets thereof..etc What I'm saying is that on some level I think it's a psychological perspective - that odd meter times and groupings don't come naturally.. or do they?? Polyrhythms and odd meters abound in all sorts of tribal beats and native music across the world. IMHO it the accustomisation to popular western music and conventions that makes "odd" rhythms less intuitive.
This point is could be debated I'm sure; it's just my opinion. Anyhow, I think it's all well and good counting an even 5 or 7 or n number of beats but I personally found a much greater understanding by playing around with polyrhythmic patterns. For instance, playing a 5:2 pattern will help you understand where exactly the quintuplet beats reside and where accents could emphasise the pattern, much much more than just playing 5:1 Even though guitar playing is usually monophonically emphasised, leads/riffs etc (generally speaking of course), polyrhythms are best understood by playing against a contrary rhythm, i.e. drum beat, foot tap etc. Interestingly, Steve Vai wrote a little article on the matter. It's on his webpage and it's well written: http://www.vai.com/LittleBlackDots/tempomental.html Hope it helps. |
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Jan 26 2010, 04:04 PM
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Think about word University
Divide it now as a quintuplet U-ni-ver-si-ty 1 2 3 4 5 I find this to be very easy and probably best way to count quintuplet 
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Feb 5 2010, 05:07 PM
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I found this lesson on it
what I do in my head is count: Ta doo ta doo doo - Ta doo ta doo doo -Ta doo ta doo doo -------------------- Visit my:
INSTRUCTOR PROFILE "If a composer could say what he had to say in words he would not bother trying to say it in music." Gustav Mahler Subscribe to my Youtube Channel here |
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Feb 5 2010, 06:08 PM
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Gotta love them drummers.
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