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SEXTUPLETS- How to Play, Count, and Write with 16th note Triplets

Hear the Lydian Sextuplet Fanfare: 13:59 Sextuplets, or 16th note triplets, are notes played at a speed of 6 notes per beat. At those speeds, things can become difficult to keep track of for musicians without the aide of some counting techniques. This video explains several ways to count and parse the sextuplets, as well as examine some common variations seen and how they can be used to compose music. Extra info: For counting sextuplets with no "bounce", i.e. 121212, you can also try the Konnakol syllables "Ta Ka Di Mi Ta Ka". In addition, there is a drum rudiment known as a paradiddle-diddle which is a sticking of rlrrll, and has the same feel. For counting 5s, try the indian konnakol syllables Ta Di Gi Na Thom or Ta Ka Ta Ki Ta.

Transcription

Please note, this transcription was computer generated and has not been checked for errors. However, I do hope you find it helpful. Be sure to check out The Ultimate Modal Poster!

As a musician matures, it's only natural for them to grow curious about beets and wonder how many notes can fit inside them.

This is why every parent should talk to their child about practicing safe sex dumplings.

Hey, I'm Jake lizzio. And in this video. What I want to do is explore the world of sextuplets or 16th 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 going to try to write some music just using these rhythmic Concepts and really try to focus on you know, highlighting the sextuple at 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 for 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 eight note triplets are three notes in A Beat and I count those 1 triplet 2 triplet 3 triplet 4 triplet 16th. 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 pen tablet.

Not really a traditional way to do that. But you could just count to five one-two-three-four-five one-two-three-four-five one-two-three-four-five. 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 six, you know at faster tempos. That's just not going to work. We're going to have to find a convenient and quick way to count to 6, so we're going to 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 a bass player now. 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 to and the way you think about it that way you look at it the way you play it really makes a giant difference in the way it sounds and 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. Three one two, three one two three, but 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 diddly diddly sounds silly, but it works really well diddily diddily diddily diddily diddily diddily and you can really speed that up a faster tempos Billy 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 two, three. One, two, three, one, two, three, one two, three, but I think that's silly because you can't do it that fast the Indian alternatives. If you wanted to bring in some clinical practice into your accounting, you could try taka-taka-taka-taka taka-taka-taka-taka taka-taka-taka-taka if you get a little sloppy with that it gets a little faster. It becomes like a doggy the back of the tank attack attack attack attack Tada now as a guitar player, when you try to play this your pic has two directions, it can move it can go down and it can go up and if I try to do a grouping of three and my pics stroke cycle is only a grouping of to the things get a little weird. So like the first three notes one, two, three, that's down up down but then The next grouping of notes is up down.

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 up down down up. One, two, three, four diddily diddily diddily diddily.

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 going to play sex up sextuplets here in just a second and they're going to 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 going to do is I'm gonna have a steady coordinate going on the metronome.

And what we're going to do is we're going to 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 Now I'm doing two dots Abby. I need six note to Me So the plan is to turn every single note that I'm playing into three notes. Once if you want to do what to do, what do they want?

We're playing sextuplets. We're counting sextuplets and you can feel they have a little bit of a bounce in them. That could attack attack attack 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 reinforcements to this idea that it is just two groupings of 16th note triplets. Now, let's look at the same Rhythm just with a different County structure in a different grouping structure.

So instead of thinking one, two, three, one, two, three to add up to 6, let's just think of one two, one two, one two to add up to 6 and that syncs up with my pic 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. We'll see. I'm totally different. This is the exact same sort of duality of or problem that we have when we talk about the difference between 6/8 time signature or three four 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 study quarter note, but instead of counting eighth notes. Let's start by Our triplet and we'll just count one two, three four 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 beef by counting that and I want to double every one of those notes so I get six notes feet, 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 hundred that pulsing will be a sextuplet or a sixteenth note triplet. Let's listen one and two and one three on one and two and three and one and two and three and one and two and that's the same thing as Billy diddily diddily diddily bought one and two and three and one and two and three and one diddily diddily diddily didn't pop one and two and three and one and two so even though I'm playing the same Rhythm by the counting in a different way and by thinking of a different way, it feels a different way doc at the taka-taka-taka-taka taka-taka-taka-taka taka-taka-taka-taka sextuplet is six notes in a beat, but we don't have to play all six notes, right? What if 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 stuck at the Takata now, it's just talking thumb Takata thumb sucking thumb 1 2 3 1 1 1 1 very like militaristic feel right. It's got that energetic bounce to it the kaatham dock at the bottom and you can do it a few different ways. You could think of of it as starting with the triplet and then ending with the eighth note. So like Italy dump it'll become dumb or you could reverse it start with an eighth note. One two, three did before to me. This is like the triplet version of the gallop. So in metal were always Galloping one or two, but you add in that that sextuplet version of instead dump 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 bitterly dumps and diddly bumps.

But let's face. It metal is the place you're going to hear this kind of stuff the most and the iconic example is metallic is one that blast beat section in the middle. There is just straight sextuplets with a single quarter note. So you got bitterly 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 stroke as I wanted before I play that last hour toward and I swear to you. It wasn't until I learned how to count till I was able to consistently play that section correctly diddly diddly, Bop diddly diddly diddly diddly knowing what you're doing is extremely important when it comes to these fast. Times and the best way to really know it is to be able to say it if you can say it. It's going to 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 in the sleeper and the main riff there from that introduces. The first section is just Billy dump diddly diddly Dum diddly Dum diddly Dum diddly diddly Dum diddly Dum stays in for for sounds really nice.

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 Overture 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.

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 it with three notes on every string.

So it makes it very easy to work in sixes. Right since it's three notes per string. I could just do what I've got an easy sextuple like building 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 worked 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 deadly bumps. So three six templates and then a single eighth note that gives me dumb and that's one beat. So I do that once twice three times. Times for three beats and then I wanted to compose and 7/8 because if I chop off that half beat that 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 look.

Now as much as I love seven eight, I also love for for so I decided to do three measures of seven eight and then a single measure of for four 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 at the same way with an extra grouping of sextuplets. So I had diddly Dum diddly bump diddly bump diddly diddly.

So that rhythm is just blasting away on the note E. And since that's just one node. You've got total freedom on what tonality do you want to compose with and I chose E. 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 e lydian 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 Italy takes up three notes per string.

Guess how easily that Be to turn into some nice little Legato licks. I was kind of all over the place kind of stringy 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 approached an F sharp chord because F sharp is the 2 chord in alidium. Now if you've watched my other stuff on Lydia and you'll probably remember that the tritone is a very important part to developing that lydian tonality.

So the very first thing I give the listener Here is just a root another route 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 going to 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, Watch the tritone.

It doesn't sound so scary. You know what? I mean that major third really helps kind of secure that holes area right there in the tritone doesn't sound so crazy. It sounds just more inquisitive and more interesting.

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 going to 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 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 plastic the low E string and then letting the PowerPoint because that's what I heard. I my brain wasn't, you know educated enough and I didn't actually know. Oh, it's six notes every time it's duck ethic at the thumb stuck at the dock at the thumb. I couldn't think that fast and I didn't have proper training. So it's just better than that 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, internalized all this stuff with zero method of counting.

I don't know if it's going to 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. Isshin, 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.

 





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