Quintuplets Lesson – Part three

In this third and last article about sixteenth-note quintuplets, I’ll show you how to apply the concepts and ideas of the previous lessons in a groove context. The first pattern consists to play the sixteenth-note quintuplets on the hi-hat (only with the right hand, without accents) playing the bass drum on the first and on the third beat, and the snare on 2 & 4.

Groove 1.jpg

For this pattern, I suggest different hi-hat accentuations, as shown in the figure below.

Quintuplets Lesson - Part three - Accents.jpg

At a certain tempo range playing sixteenth-note quintuplets with one hand is very challenge, then we’ll play the previous pattern alternating the right hand and the left hand. The snare will fall on beats 2 & 4 with the left hand.

Groove 2.jpg

In the following video, I show you the previous two patterns and an additional groove, based on ghost notes and on a “swung” hi-hat, using a different sticking.

Now the final step is to read the pages of Reed’s Syncopation playing the melody of the exercises on the bass drum. The main thing is to maintain a steady groove, playing the sixteenth-note quintuplets on the hi-hat with the snare on 2 & 4, while the bass drum “swung”. Here are the first four bars of exercise one, pg.38. The tempo range suggested is 50 to 96 bpm, good work!

Quintuplets exercise - Progressive steps to syncopation by Ted Reed

Here’s the PDF of the lesson.


If you are interested and want to know more about quintuplets, here are the previous lessons.

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