SEXTUPLETS- How to Play, Count, and Write with 16th note Triplets [RHYTHM LESSON - COMPOSITION]

as a musician with tours it's only natural for them to grow curious about beats and wonder how many nodes can fit inside them this is why every parent should talk to their child about practicing safe sex tablets hey I'm Jake Lizzy oh and in this video what I want to do is explore the world of sextuplets or sixteenth note triplets that's six notes in a single beat so we'll be doing here is exploring different ways to actually play this on our instrument and in turn also learning how to vocalize it and keep track of it with our mind and with our voice then we'll also be exploring different places where we've heard and seen this rhythm in some popular recordings and then lastly I'm gonna try to write some music just using these rhythmic concepts and really try to focus on you know highlighting the sextuple it all on its own so to get started I want to do a quick little recap here on what a beat is and how many notes we traditionally fit into it and how we traditionally count that a quarter note is one beat and if I just count quarter notes it's like this we normally count them to four right so it would be one two three four and if I want to count two notes of beat I just count eighth notes like this one and two and three and four and eighth note triplets are three notes in a beat and I count those one triplet two triplet three triplet four triplet sixteenth notes are four notes in a beat and the traditional way to count that is one E and a two E and A three E and a four E and a-- if I want to do five notes of beat we call that a quintuplet or a pent up lip not really a traditional way to do that but you could just count to 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 last we're talking about sextuplets 6 notes of beat so that's 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 now you might notice that is not a convenient or efficient method to quickly counting to 6 you know at faster tempos that's just not going to work we're gonna have to find a convenient and quick way to count to 6 so we're gonna learn to count these rhythms and play these rhythms at the same time I'm doing this on a guitar but you'll understand how this concept could easily apply as a drummer or a piano player or a bass player but I've taken my quarter note and I've divided it into six notes and when you divide something into 6 the two most common ways to see it are two little groupings of three or three little groupings of two and the way you think about it the way you look at it the way you play it really makes a giant difference in the way it's nouns and the effects you can get out of that so let's start with this top one of two little groupings of three so one two three one two three one two three one two three that is actually a simple way to count a sextuplet if this is my quarter note just like this you could just count one two three one two three one two three one two three one two three one two three one two three one two three I still feel like it's a little bit of a tongue twister the way I like to count that rhythm instead is just by counting Biddle e diddly it sounds silly but it works really well Italy diddily diddily diddily diddily diddily and you can really speed that up the faster tempos bitly diddily diddily diddily diddily diddily diddily diddily and helps you know exactly how many actual syllables how many counts are supposed to occur in those beats if that's a little too silly for you you could just do one if you want to do 1 2 3 1 2 3 but I think that's silly because you can't do it that fast the Indian alternative to this if you wanted to bring in some Co nichole practice into your you're counting you could try Paquita Taketa na kita tacky tacky tacky tacky tacky tacky tacky pad if you get a little sloppy with that it gets a little faster it becomes like a dougie that I'm not gonna think of it that go to that gonna tack it but that gonna die now as a guitar player when you try to play this your pick has two directions it can move it can go down and it can go up and if I try to do with grouping of three and my pick stroke cycle is only a grouping of two the things get a little weird so like the first 3 notes 1 2 3 that's down up down but then the next grouping of notes is up down up so you have to think of not down up down up down up you have to think down up down up down up down up down up down up down up down up down two-three-four diddily diddily diddily diddily diddily diddily bin so you can hear we're playing a sextuplet but we're really thinking of it as two groupings of three this is very important because we're gonna play sex up sextuplets here in just a second and they're gonna feel totally different because we're thinking of them in a different grouping so now I want to practice actually playing sextuplets on my guitar and what I'm gonna do is I'm gonna have a steady quarter note going on the metronome and what we're gonna do is we're gonna count the eighth notes one two three four is my quarter note and my eighth notes one and two and three and four and what I want to do is just keep track of that pulsing bum bum bum bum bum bum bum bum and I need to know that for every one of those notes I need to stick in three right because right now I'm doing two notes a beat I need six note city so the plan is to turn every single note that I'm playing into three notes [Music] so we're playing sextuplets we're counting sextuplets and you can feel they have a little bit of a bouncing and duck it's a duck at the duck at the duck at the thumb right that little three the two groupings of three are kind of split down the middle we often see them written this way and it kind of adds some reinforcement to this idea that it is just two groupings of sixteenth note triplets now let's look at the same rhythm just with a different counting structure in a different grouping structure so instead of thinking one two three one two three to add up to six let's just think of one two one two one two to add up to six and that syncs up with my pick strokes a little bit better when I think one two one two one two well that's just down up down up down up one two three four five six and this feels different than 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 right those feel totally different this is the exact same sort of duality or problem that we have when we talk about the difference between 6/8 time signature or 3/4 time signature and you'll also start noticing a little bit of that hemiola effect start creeping in here if you've watched my video on hemiola you'll understand that when you start dealing with threes and twos and combinations of those you start getting these weird kind of little polyrhythmic three to two ratios happening and we'll see a little bit of that applying here so to practice this with our new feel what I want to do is again start our steady quarter note but instead of counting eighth notes let's start by counting our triplet and we'll just count one two three four our triplet so one two three one two three one two three one two three one two three one two three now I'm doing three notes of beat by counting that and I want to double every one of those notes so I get six notes of each right so if I count eighth notes with that same tempo one two three one two three one and two and three and one and two and three and one two three one two three one and two and three and one and two and three on that pulsing will be a sextuplet or a sixteenth note triplet let's listen one two and three and one and two that's the same thing as Italy diddily diddily diddily but one absolutely unwanted 201 Italy diddily diddily diddily pop one and two three and one so even though I'm playing the same rhythm by the counting in a different way and by thinking of it a different way it feels a different way duck it's a duck at that duck at the duck at the Tukka Tukka Tukka Tukka Tukka Tukka so a sextuplet is six notes in a beat but we don't have to play all six notes right what if we just did like some of those notes and then we filled in the rest with an eighth note so here's a quarter note and you can fill it in with six sextuplets what if we just play three of those and then that's half of the beat right and then the other half of the beat will just play at eighth note so this still adds up to one beat but instead of duck at the takata now let's just talk at the thumb duck at the dumb duck at the dump one two three one very like militaristic feel right it's got that energetic bounce to it duck is a dumb duck at the thumb and you can do it a few different ways you could think of it as starting with the triplet and then ending with eighth note so like diddly dum de dum or you could reverse it start with an eighth note one two three business before to me this is like the triplet version of the gallop so in metal we're always galloping one two three four but you add in that that sextuplet version of instead don't get a really really cool I don't know majestic Viking metal sound to it now it definitely shows up outside of the metal world the first example I'm going to give you is from Maurice Ravel's Bolero it's in 3/4 but we hear that little kind of militaristic snare sample on those Biddle e dumps and diddly bumps [Music] but let's face it metal is the place you're gonna hear this kind of stuff the most and the iconic example is Metallica's one that blasts beat section in the middle there is just straight sextuplets with a single quarter note so you got Biddle e diddly dum diddly diddly dum I can fondly remember just not knowing at all how to actually play that section and just going for it and giving it as many pick strokes as I wanted before I play that and I swear dia it wasn't until I learned how to count till I was able to consistently play that section correctly diddly diddly diddly diddly knowing what you're doing is extremely important when it comes to these fast rhythms and the best way to really know it is to be able to say it if you can say it it's gonna make it a lot easier to play it I want to give you one more example of these sextuplets being used in the prog rock genre this is from Dream Theater they have a song called metropolis part 1 the miracle and the sleeper and the main riff they're from the introduced of the first section is just Biddle II dump Biddle II diddly diddly dum diddly dum diddly diddly dum diddly dum stays in 4/4 sounds really nice [Music] and what's cool is later on in another album called metropolis part 2 they bring that rhythm back as a reference in the beginning of their song over to 1928 so here's that same rhythm just on the note D instead of the note e and later on in the album there's yet another reference to that exact same rhythm it's very subtle but it's played on the high hats during the song home [Music] [Music] so I think it's cool there in those Dream Theater examples you've got one rhythm that sounded really good in one song and they were able to kind of stretch it out and make it a motif make it a very fundamental part of like the genetic structure of two other songs and in my opinion it doesn't feel like monotonous it doesn't feel overplayed it feels like a nice reference to an earlier use of that rhythm so what are we supposed to do with this stuff as musicians well as a guitar player I know that I can set up my major scales and the modes of major to be three notes per string so like here's a major and I'm playing in two three notes on every stream so it makes it very easy to work in sixes right since it's three notes per string I could just do five six one and now I've got an EZ sextuplet like right easy kind of thing to keep up with because I know I'm working three notes per string if you're interested in the three notes per string shapes check out my video on mixolydian I've got a bunch of different charts and diagrams in there and I talked about harmonizing and using legato with three notes per string mainly working with sextuplets in that section of that video so keeping in mind the three notes per string is easy as a guitar player and it works out perfectly for sextuplets I decided to write like a one-minute little fanfare to demonstrate some sextuplet variations and kind of putting it all together into one little demonstration the main rhythm is just a grouping of those diddly bumps so three six templates and then a single eighth note that gives me down and that's one beat so I do that once twice three times for three beats and then I wanted to compose in 7/8 because if I chop off that half beat then what I'm left with is these little sextuplets that run right into another grouping of sextuplets and it kind of becomes hard to distinguish that that's really where the beat begins well just take a listen [Music] now as much as I love 7/8 I also love 4/4 so I decided to do three measures of 7/8 and then a single measure of 4/4 at the end hopefully give it a little bit of some driving you know for for grew during that last measure and I just notated it the same way with an extra grouping of sextuplets so I had bitterly dumped diddly bump diddly bump diddly diddly so that rhythm is just blasting away on the note II and since that's just one note you've got total freedom on what tonality do you want to compose with and I chose a Lydian I really like the Lydian tonality it's Spacey it's disconnected it's kind of inspirational and bright so what I did is I set up my ile ideon scale three notes per string I made some licks up that kind of fit into some of the shapes I already know but here's an easy Lydian shape it only takes up three notes per string guess how easily that would be to turn into some nice little legato licks I was kind of all over the place kind of stringing things together but what I got is like this ascending Lydian lick that finally reaches a peak and then kind of you know subsides a little bit and then we do it again to finally approach an f-sharp court because F sharp is the two chord in alidium now if you've watched my other stuff on Lydian you'll probably remember that the tritone is a very important part to developing that lidium tonality so the very first thing I give the listener here is just a root another root and then a tritone right there so immediately you're presented with this tritone but at the same time I have a major 3rd in the background a G sharp that's kind of kind of support that Lydian tonality so normally if you just serve up a tritone to your listener it's gonna give them this like kind of alarming effect the reason we're avoiding that alarming effect in the intro to my piece here is because immediately you're given the comfort of the major third surrounding it and when you have an E major triad plus the tritone it doesn't sound so scary you know what I mean that major third really helped kind of secure that whole area right there and the tritone doesn't sound so crazy it sounds just more inquisitive and more interesting [Music] [Music] [Music] I can't stress this enough if you do not have a good method of counting fast rhythms or complex rhythms you are making things very difficult for yourself you've been using your voice way longer than you've been using your instrument so if you can say it it's gonna be a lot easier to play it but if you can't even understand the rhythm to vocalize it do you really think you're gonna be able to do it on your drum set or on your piano or on your guitar the answer is no all right rhythms are more of an understanding thing than they are a performance thing they're actually fairly easy to play once you understand them and I think to me the perfect example is one by Metallica so many years in high school I played that song just by you know hyper mega blast equal low B string and then letting the power work because that's what I heard my brain wasn't you know educated enough and I didn't actually know oh it's six notes every time it's duck at that duck at the thumb duck get the duck at that thumb I couldn't think that fast and I didn't have proper training so I was just and that's what a lot of bands do in high school and that's what a lot of uneducated musicians will do until they learn about vocalizing and counting so I don't know I feel this is extremely important stuff much more so when you get into these faster cycles like this because if you ask me to just you know internalize all this stuff with zero method of counting I don't know if it's gonna work out that well for me so long story short practice you're counting more I don't care if it sounds silly it will help you out a lot it'll help you transcribe things when you hear them it'll help you write things easier to help you stay in time with your band and overall just make you a better musician if you like this video you can thank my wonderful patreon supporters for sponsoring these videos and making them possible if you really like this video you can consider joining them there are links in the description thanks for watching [Music] you [Music]

Channel: Signals Music Studio

Views: 119,059

Keywords: jake lizzio, free lesson, guitar lesson, cool guitar, play solos, how to play guitar, rhythm guitar lesson, sextuplets, sextuplet, triplets, 16th note triplets, music sextuplets, how to play sextuplets, how to count sextuplets, metal sextuplets, metal galloping, metal rhythms, prog rhythms, progressive rhythms, counting lesson, counting on guitar, how to count rhythms, fast palm mutes, palm mute triplets, quintuplets, dream theater

Id: 3CjeZDUQUwM

Length: 16min 57sec (1017 seconds)

Published: Fri Apr 26 2019