Quintuplets Linear Drumming Grooves
Looking for some cool new linear grooves in Quintuplets? Then this is a video for you.
We’ll be playing a short linear phrase consisting of a 3 note grouping and a 7 note grouping while counting Quintuplets. In this case as 3+2 Quints but try them while counting 2+3 as well.
The transcription is down below. First things first, the Preliminary Exercises.
First let’s look at how to count this Quintuplets Linear Drumming pattern. We won’t be using a seemingly neutral five syllable word like Hippopotamus or something similar. Instead you’ll learn the two distinctly different ways of counting (feeling) the 3-2 and 2-3 Quintuplets.
3-2 => 1jtnt2jtnt3jtnt4jtnt (pronounced as wah – yuh – tuh – nuh – tuh)
2-3 => 1tnjt2tnjt3tnjt3tnjt (pronounced as wah-tuh-nuh-yuh-tuh)
I’ll explain why you want to use this way of counting and make a very clear distinction between the two in a video coming in the following weeks or months, along with many other videos on Quintuplet playing.
If you don’t want to wait then just become a member and get the Sub 5 book and access to the accompanying Online Lessons, MIDI and Rudiments in Quintuplets.
The Sticking Pattern
We use a Single Stroke pattern and a Paradiddle-Diddle with a bass drum note in front of it to make it a group of 7. This is a less standard way to use a Paradiddle-Diddle sticking, so I hope you enjoy it.
These are the two Stickings we use in this quintuplets linear drumming pattern:
B = Bass Drum
R = Right Hand
L = Left Hand
Here is the transcription for the YouTube Lesson about Quintuplets Linear Drumming. This is the very brief explanation. If you want a more detailed explanation simply look beneath the transcription.
In a nutshell, this lesson consists of mainly 7 things:
1. Sticking/Grouping – The pattern of 3 + 7
2. Counting it as 3-2 Quints
3. Orchestrating it on toms and cymbals
4. Groove it – Adding the backbeat on 2 (and 4)
5. Dynamics – Playing all soft notes except for the 2 (and 4) on snare
6. Asymmetric Dynamics – RH accented and orchestrated, LH unaccented except for the 2 (and 4) on snare
7. Asymmetric Dynamics – LH accented and orchestrated, RH unaccented
Then I also do some combinations of form so you see what can be done by alternating patterns.
Here’s a more detailed description of the exercises in the transcription of the Quintuplets Linear Drumming 3 + 7 YouTube Lesson.
1. The pattern of 3 + 7
The sticking here is BRL for the group of 3 and BRLRRLL for the group of 7. I strongly suggest you count this as 1jtnt (3-2 Quintuplets).
2. Orchestrating the Right Hand (RH)
RH on Floor Tom, LH on Snare. No dynamics yet.
3. Orchestrating the Left Hand (LH)
RH on Floor Tom, LH on Tom 1 and the backbeat on beat 2 on Snare. No dynamics yet.
4. Orchestrating on Cymbals
RH on Ride Cymbal, LH on hi hat and the backbeat on beat 2 on Snare. No dynamics yet.
5. Dynamics – Backbeat Accent
RH + LH play ghost notes on the snare. The backbeat on beat 2 is accented and played on Snare.
6. Orchestrating RH
RH plays ghost notes on Floor Tom, LH stays on Snare. The backbeat on beat 2 is accented and played on Snare.
7. Orchestrating on Cymbals
RH plays ghost notes on Ride Cymbal, LH plays ghost notes on hi hat. The backbeat on beat 2 is accented and played on Snare.
8. Orchestrating on Cymbal/Snare
RH plays ghost notes on Ride Cymbal, LH plays ghost notes on Snare. The backbeat on beat 2 is accented and played on Snare.
9. Asymmetric Dynamics
RH plays accents on Floor Tom, LH plays ghost notes on Snare. The backbeat on beat 2 is accented and played on Snare.
10. Orchestrating on Hi Hat
RH plays accents on Hi Hat, LH plays ghost notes on Snare. The backbeat on beat 2 is accented and played on Snare.
11. Orchestrating on Toms
RH plays accents in a Counter Clockwise Triangle starting on Floor Tom, Tom 2, Tom 1. LH plays ghost notes on Snare. The backbeat on beat 2 is accented and played on Snare.
12. Asymmetric Dynamics + LH Orchestration
RH plays ghost notes on Floor Tom, LH plays accents on Tom 1. The backbeat on beat 2 is accented and played on Snare.
13. Asymmetric Dynamics + LH Orchestration
RH plays ghost notes on Floor Tom, LH plays accents on Hi Hat. The backbeat on beat 2 is accented and played on Snare.
14. Asymmetric Dynamics + LH Orchestration
RH plays ghost notes on Floor Tom. LH plays accents in a clockwise motion starting on Floor Tom, Snare, Tom 1 and Tom 2. Using this orchestration the backbeat on beat 2 is accented and played on Snare.
Form and structure can really elevate ideas and patterns to become musical ideas. Try combining exercises and play them in forms of 4 bars, or form 2 bar phrases etc.
If you want to learn more about Form or any of the other 24 CORE Principles of Drumming and Rhythm I highly recommend getting Level 1.
Besides Sub 5 of course, because why else would you be reading this? In that case just get the Premium Membership and you’ll be set for life.
I suggest you try playing these along to MIDI as well. If you become a Skillz Free Member you’ll get access to the free MIDI samples. IF the YouTube video gets enough shares and likes, that is, so please share it as often as you can.
The free MIDI samples will include Fireflies both in 3-2 Quintuplets and in 2-3 Quintuplets. But if you don’t like to wait….
Become a Skillz Sub 5 Member
If you want to learn many more cool applications of Quintuplets, I suggest you become a Skillz Sub 5 Member. Sure you’ll spend $47, but you’ll gain an enormous amount of Quintuplet info. Grooves, Fills, Rudiments, more MIDI, it’s all there.
And if you don’t like it, just cancel within 30 days and you’ll get a 100% refund, no questions asked. Plus, you ge to keep the book. That’s how confident I am that you will like it as much as my other students do.
As a Sub 5 Member you also get an option to upgrade to a Lifetime account at a ridiculously low price, both for the Sub 5 Membership and the Premium Membership.
Have some Quintuplet Fun!
Thanks for watching, I hope you get a lot out of this. Fun and progress! If you liked the video and the blog post, I’d like you to take the time to like it and share it among your drummer friends.
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Share your views
So what do you think?
Are quintuplets cool?
Which one do you like better, 3-2 or 2-3 Quints? And try explaining why you like that feel better. That might be quite difficult to put into words..
Will these help your bass drum control? Or do you think they are they complete and utter ….
Let’s exchange shall we?
About the Author
Music and drumming have pretty much dominated my life for the last twenty five years. I enjoy every facet of it, and I intend to keep doing so for many more years to come.
Fan of music since 1981
Drummer since 1989
Teacher since 1993
Professional musician since 1996
Composer since 2002
Owner of Skillz Drum Academy since 2011
Author since 2014
Blogger since 2018