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!)

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1. Metric Modulation 101
   Metric modulation, put simply, is implying a change in tempo within an established pulse. The “new tempo” and original pulse can be linked by either a subdivision of the original pulse or an unrelated subdivision. The following exercises are modulations based on 8th-note triplets in the base tempo. That is, 8th-note triplets in the base pulse become duple 16th notes in the modulation—or quarter notes in the base become dotted 8ths in the modulation. A modulation can occur as a transitory embellishment or it can be a segue to a “permanent” tempo change. In the case of the latter, symbols such as this are used and are helpful in visualizing the relationship between the two tempos:

   

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

   

2. Developing Independence
   In order to enhance the effect of this particular modulation, the pulse of the left foot on the hi-hat remains constant. Therefore, it is necessary to develop independence against the dotted 8th, which was the quarter note in the original tempo.

   Using the “alphabet”—fifteen 16th-note permutations—apply the following formats:

   • Format 1: Right Foot = alphabet; Left 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

   

3. Developing a Groove
   1. 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 first, clapping the permutations.

      

      Eventually, play through the permutations in this format:

      [A]: RH = shuffle pattern; LH = 2, 4; RF = permutations; LF = quarter notes
      [B]: RH = 8ths; LH = 3; RF = permutations; LF = dotted 8ths

      For example, the 7th permutation:

      

   2. Construct a bass drum “melody” for a two-bar 4/4 triplet groove, keeping the shuffle ride pattern and snare backbeats on 2 and 4. Then, 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.

      

4. Developing Fill / Solo Independence
   Using the snare and bass “melody” from the above groove, articulate the shape of the phrase.

   

5. Transitioning
   A fill leading into a modulation can allude to the new feel.

   

6. Other Approaches
   1. Jazz

      

   2. Bill Bruford’s “Triplicity”
      This is the main groove in “Triplicty” on the Bill Bruford’s Earthworks album The Sound of Surprise.

      

      “Triplicity” (Bill Bruford & Steve Hamilton)
      Personnel:	Alex Gordeev – alto sax April Thomas – piano Jake Bartfield – bass Patrick Sanders – drums & perc.
      Notes:	Recorded live @ Berklee College of Music 12.02.04

   3. Modulations in Other Subdivisions
      Any subdivision may be used to create a modulation, though some are obviously more practical than others!