Developing grooves in 12/8

The 12/8 time signature

Following on from our previous article about the basics of constructing a groove in a triplet time feel, this article takes the idea a step further and suggests some ways to play grooves in the 12/8 time signature.

12/8 is an example of what is known as ‘compound time’. For the purposes of understanding compound time and how to use it, it is easiest to learn to play in a compound time signature like 12/8 by building up from what you already know about triplets.

Revisit Playing Grooves Using Triplets for an introduction to the concept.

Getting started

Triplets are groups of 3 notes. These 3 notes make up one ‘pulse’.  There are 4 pulses in one bar. This means there are 12 notes in total in one bar (3 x 4 = 12).

Using the grid system to map out one bar, it allows us to visualise exactly which part falls on which note.

Below is the same thing, written in drum notation (in 12/8 time signature).

This is going to form a “template” for us to build upon and create groove variations.

This shift to musical notation is sometimes confusing to new drummers, so it is certainly well worth spending time getting used to the triplet feel. Gradually introduce the drums one at a time until you have got the whole pattern.

The difference between triplets and compound time essentially boils down to how you count a bar, and therefore where you choose to place strong beats. Counting triplets as shown above lends itself well to allowing the numbers to be the strong (emphasised) notes on beats One, Two, Three, Four.

If you are counting the exact same sequence of notes but in 12/8 time signature, you would give each note in the sequence its own number – counting all the way to 12 in this case. Like this:

1 2 3 4 5 6 7 8 9 10 11 12

If you emphasise the same notes in the bar as you emphasised when counting in triplets, you’ll notice how you’re now saying different numbers where there is an emphasised note.

So, why?

It is easier to count (and think) in compound time rather than using the triplet counting method in certain situations. Whilst the overall sound is essentially the same, it’s to do with how you’re counting and feeling it.

Try it with the groove variations below. When you change where the bass drums (emphasised notes) land in the bar it is almost certainly going to be clearer and easier to be sure of your exact note placement when you count in compound time. For example, it is easier to say “on the 6th note of the bar” than it is to say “on the third partial of the triplet of beat two” (!)

Groove development

These examples involve adding to your existing “template”. If in doubt, count it out.

Variation 1

Suggested listening: “Feeling Good” by Muse

Follow the bass guitar player in the recording and the “heartbeat” pattern is a strong theme throughout most of the song.

Variation 2

This time, instead of a pure “heartbeat” bass drum pattern, replace the bass drum on the final note of the bar with a stroke on the snare drum, played with the left hand.

 Variation 3

Building on what we’ve got in variation 2, now add a bass drum on the 9th note of the bar:

Create your own

The process we’ve started here is a great way of exploring grooves. All of the groove variations are based on the original “template” groove. To create your own, go back to the template groove and add a bass drum or snare drum in a position of your choice in the bar. Build up 2 or 3 layers of additional notes to create more challenging grooves.