The purpose of this article is to give you a clear understanding of the formula for figuring out the five most basic polyrhythms applied to 4/4 time.
As drummers we play most often in 4/4 so it behooves us to learn how to integrate and articulate polyrhythms into our playing so as to become more interesting and diverse players.
A polyrhythm is simply using a recurring evenly spaced rhythm over the quarter note pulse, which I will explain further below.
My intention is to show how to understand and apply polyrhythms in an easy to understand way because, in my opinion, much of what I have seen on the market isn't particularly practical for most people's playing situations.
A couple of ways to play these polyrhythms to get the theory down is to play them purely, that is without filler notes (in which case I still count but only play the accented notes over the quarter note).
The second way is to play the filler notes in between quietly as ghost notes and accent the accented notes on toms or cymbals.
All rhythms will start on beat 1 of the first measure to show the basics.
Displacements can occur with any of the polyrhythms, which are thoroughly explained on the DVD.
The first of the polyrhythms I will explain is the 2 over 3, or dotted quarter note.
The formula: If you divide the quarter note by 2's evenly you get eighth notes, then starting on beat 1 accent every third eighth note.
So the pure polyrhythm would be on beat one and then the 'and' of 2.
However, this polyrhythm naturally occurs in 3/4 time so we want to apply it to 4/4 time.
To do that all you do is keep the accents going and it will take you 3 measures of 4/4 to resolve back to beat 1.
If you begin on beat 1 then the accents would be as follows: First measure would be 1, 'and' of 2, and 4; second measure would be the 'and' of 1, 3, and the 'and' of 4; third measure would be 2 and the 'and' of 3.
The second polyrhythm is the 3 over 2, or the quarter note triplet.
The formula: If you divide the quarter note evenly by 3's you get eighth note triplets.
Then all you do is accent every second triplet.
Usually we accent every third which would give us even triplets on the quarter note.
I count triplets 1 tah tah, 2 tah tah, etc.
, so the accents would land on the 1, the second tah of 1, and the first tah of 2 then repeated over beats 3 and 4.
This polyrhythm resolves naturally in 2/4 time so it isn't a stretch to add another quarter note triplet to make 4/4.
The third most basic polyrhythm is the 3 over 4 or also known as the half note triplet.
This resolves naturally in 4/4 time.
Again, divide the quarter evenly by 3's and you get eighth note triplets.
Now accent every fourth triplet.
The accents would land on the 1, the first tah of 2 and the second tah of 3 (nothing on 4 except filler/ghost notes if you choose to use them).
The fourth one (and my personal favorite!) is the 4 over 3, also referred to as the dotted eighth note.
The formula: Divide the quarter note evenly by 4's and you get sixteenth notes, then accent every third sixteenth.
This will bring the accent to alternating hands.
If you start with the right hand then the next accent will be with the left and so on.
This polyrhythm naturally resolves in 3/4 time so we want to apply it to 4/4, which will bring it over the barline and take 3 measures of 4/4 to resolve back to 1.
I count sixteenths as 1 e and duh, 2 e and duh, etc.
, so in 3/4 the accents starting on 1 are: 1, the duh of 1, the 'and' of 2, and the 'e' of 3.
Extrapolate to apply it to 4/4.
The fifth and final polyrhythm of this article is the 4 over 5.
If you divide the quarter note by 4's you get sixteenth notes.
Then accent every fifth sixteenth note.
What you end up with are accents on the 1, the 'e' of 2, the 'and' of 3, and the duh of 4 (with nothing on 5 unless you use the filler notes).
The accents alternate hands so if you begin on 1 with a right hand, the 'e' of 2 will be with a left hand, etc.
Well there you have it.
I hope this information has been useful for your drumming situation.
It is my utmost intention to give you the foundation for your creativity and technique to go to the next level of mastery.
Jeff Saari