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.
When you are comfortable with this we move on to the 5 against 2. Use the same pattern as above, but now accent every alternate note RlRlR lRlRl All right-hand hits are now accented. There you have the fundamental five-against-two sound. Play only the accents as soon as you are comportable with this - 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.
Now have a great time with those polyrhythms, and by all means - go surprise your drummer!
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.
When you are comfortable with this we move on to the 5 against 2. Use the same pattern as above, but now accent every alternate note RlRlR lRlRl All right-hand hits are now accented. There you have the fundamental five-against-two sound. Play only the accents as soon as you are comportable with this - 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.
Now have a great time with those polyrhythms, and by all means - go surprise your drummer!
About the Author:
Learn more about polyrhythms and drum loops. Stop by Magnus Brandell's site where you can find out all about polyrhythms and what you can do with them.