Quintuplets Lesson Part 2

In the previous lesson. I shared some exercises to master quintuplets.

Quintuplets Lesson I

Here’s the first part of a series of lessons on sixteenth-note quintuplets, a group of five notes in the space of a quarter note. We start with a…

In this second lesson, I show you a system to play and interpret the exercises of Ted Reed’s Syncopation (pages 38 to 45) using quintuplets with an alternate sticking (RLRLR | LRLRL).

What we’ll do is to read the pages of Reed’s Syncopation playing the accents on the sixteenth-note quintuplets, similarly when you play in 16th notes or in eight-note triplets. Being these pages based on eight notes, the possible combinations will be two: on the downbeat (first note of the quintuplet) or on the upbeat (fourth note). A good exercise is to play all the combinations of accents: downbeat, upbeat, and both, as shown below.

Quintuplets Syncopation.jpg

Once that you are comfortable (don’t forget the bass drum or the hi-hat on the quarter notes), go to page 38, before you start, be sure to know how to read Ted Reed’s Syncopation in 16th notes and in 8th-note triplets.

Table of accents(8th note, eight note triplets, 16th note)

Then start with the first four bars of the page and after go to the other measures. Here’s how the exercise must be played.

Quintuplets exercise -  Ted Reed's Syncopation Interpretation.jpg


In modern drumming 16th-note quintuplets are often incorporated in the context of accompaniment and also in a solo situation, becoming part of the vocabulary of drummers like Matt Halpern, George Kollias, Anika Nilles, Jeff Hamilton, Greg Hutchinson, and many others, so take your time, quintuplets need a constant work to be mastered, remember to start slowly and to apply all the concepts of this and the previous lesson on the drumset (toms, cymbals) and in a musical context.

See you for part three, cheers!


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