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http://www.drummersdo minio n.co m/lesso ns/metric-mo dulatio n-101

Metric Modulation 101

What follows is a period of instruction I gave to Berklee faculty members (including
none other than Dave DiCenso and Mike Mangini) as part of my final proficiency
exam. (FYI, I got an A!)
I.

Metric Modulation 101

Such markings can be called modulation symbols or note value equivalents. T hese
symbols also make f or much easier reading in most cases. Below is a modulated
groove written without a note value equivalent:

II.

Developing Independence
In order to enhance the ef f ect of this particular modulation, the pulse of the lef t f oot on the hi-hat
remains constant. T heref ore, it is necessary to develop independence against the dotted 8th, which
was the quarter note in the original tempo.
Using the alphabetf if teen 16th-note permutationsapply the f ollowing f ormats:
Format 1: Right Foot = alphabet; Lef t Foot = dotted 8ths
Format 2: Hands in unison = alphabet; LF = dotted 8ths
Format 3: Hands = constant 16ths with alphabet as accents (overlay); LF = dotted 8ths
Format 4: Hands = 16ths; RF = alphabet; LF = dotted 8ths
Format 5: Hands = paradiddles; RF = alphabet; LF = dotted 8ths

III.

Developing a Groove
A. Using the nine 8th-note triplet permutations below, develop counting through a modulation. As
the count shows, the 8th-note triplet becomes the 16th note in the modulated tempo. Develop
this strictly as a counting exercise at f irst, clapping the permutations.

Eventually, play through the permutations in this f ormat:

[A]: RH = shuf f le pattern; LH = 2, 4; RF = permutations; LF = quarter notes
[B]: RH = 8ths; LH = 3; RF = permutations; LF = dotted 8ths
For example, the 7th permutation:

B. Construct a bass drum melody f or a two-bar 4/4 triplet groove, keeping the shuf f le ride
pattern and snare backbeats on 2 and 4. T hen, maintaining the position of the bass drum
melody, modulate the pattern into a 6/4 16th-note groove with backbeats on 2, 4, and 6. As an
option, incorporate the backbeats of the 4/4 groove into the bass drum melody of the
modulated 6/4 groove.

IV.

Developing Fill / Solo Independence

Using the snare and bass melody f rom the above groove, articulate the shape of the phrase.

V.

Transitioning
A f ill leading into a modulation can allude to the new f eel.

VI.

Other Approaches
A. Jazz

B. Bill Brufords Triplicity

T his is the main groove in Triplicty on the Bill Bruf ords Earthworks album The Sound of
Surprise.

Triplicity
(Bill Bruf ord & Steve Hamilton)
Personnel: Alex Gordeev alto sax
April T homas piano
Jake Bartf ield bass
Patrick Sanders drums & perc.
Notes:

Recorded live @ Berklee College of Music 12.02.04

C. Modulations in Other Subdivisions

Any subdivision may be used to create a modulation, though some are obviously more
practical than others!