An abstract and visually engaging representation of metric modulation in music, showing rhythmic subdivisions and transitions.

Exploring Metric Modulation

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For many musicians, rhythm is the heart of musical expression, the pulse that connects us to the music and to one another. Yet, rhythm is also a playground for innovation and complexity. One of the most intriguing rhythmic concepts in contemporary music is metric modulation. This technique, championed by percussionists, composers, and guitarists alike, allows a seamless transition between tempos and grooves while maintaining an internal mathematical logic. Let’s explore the concept of metric modulation, using Horacio “El Negro” Hernández’s track, We Got the Fu*k, as a prime example.

What is Metric Modulation?

Metric modulation is a rhythmic technique where the perceived tempo or pulse changes based on a relationship between subdivisions or groupings of beats. The resulting effect is a shift in tempo or groove that feels entirely natural and connected to what came before. This can be achieved without altering the overall meter or time signature, making it a highly versatile tool for composers and performers.

At its core, metric modulation relies on a mathematical relationship between the original tempo and the new one. For example, a grouping of eighth-note triplets in one section can become the new quarter-note pulse in another section. This type of modulation creates a seamless and logical shift that feels musically satisfying.

The Case of We Got the Fu*k

In Horacio “El Negro” Hernández’s track We Got the Fu*k, metric modulation is used to toggle between two distinct grooves: a funk feel at approximately 98 BPM and a blues shuffle at about 131 BPM. The magic lies in the subdivision connection between these two sections.

Analyzing the Transition:

  • Funk Groove: In the funk section, the rhythm is subdivided into 16th notes, counted as “1 e & a 2 e & a 3 e & a 4 e & a.” The quarter-note pulse is steady, giving the groove a tight and syncopated feel.
  • Blues Shuffle: When the music shifts to the shuffle, the subdivision changes to triplets: “1 & a 2 & a 3 & a 4 & a.” However, the pace of these triplet subdivisions matches the 16th-note subdivisions of the funk section, allowing the two grooves to connect seamlessly.
  • Result: The triplets in the funk groove become the new quarter-note pulse in the shuffle, creating an illusion of acceleration without an abrupt tempo change.

This type of rhythmic interplay is a hallmark of Hernández’s work, showcasing his deep understanding of Afro-Cuban rhythms, jazz, and funk. For guitarists, analyzing this track offers valuable insights into how rhythm can drive musical transitions and add excitement to a performance.

Why Metric Modulation Matters for Guitarists

While metric modulation is often associated with drummers and percussionists, it’s equally relevant for guitarists. Here’s why:

  1. Rhythmic Creativity: Metric modulation allows guitarists to explore different feels and tempos within a single piece, expanding their rhythmic vocabulary.
  2. Seamless Transitions: For those who play in bands or jam sessions, understanding metric modulation can make transitions between sections or grooves more fluid and engaging.
  3. Improvisation: In genres like jazz and fusion, metric modulation provides a framework for improvising over changing rhythmic landscapes.
  4. Compositional Depth: Incorporating metric modulation into compositions adds complexity and sophistication, making the music more dynamic and memorable.

Other Examples of Metric Modulation

To fully grasp the potential of metric modulation, let’s examine additional examples across various genres:

1. Dream Theater – “Dance of Eternity”

Progressive metal band Dream Theater frequently employs metric modulation to create their signature intricate sound. In “Dance of Eternity,” the band shifts between time signatures and tempos using subdivision-based modulations. For instance, eighth-note triplets in one section might become the new quarter-note pulse in the next, creating a sense of continuity amidst complex rhythmic changes.

2. Elliott Carter’s Classical Works

Elliott Carter, a 20th-century composer, is known for his pioneering use of metric modulation in classical music. In his String Quartets, Carter uses metric modulation to transition between contrasting sections, creating a sense of rhythmic tension and release. His approach is highly mathematical, yet it results in music that feels organic and fluid.

3. Dennis Winge – “Back-Cycling Modulator”

Our head teacher did his own take on Peter Magadini’s “The Modulator,” which he called “The Back-Cycling Modulator” not only because the song modulates to different tempos, but also because it changes keys with each modulation.  Basically what happens is, when the shuffle groove gets to bar 9, it goes to an Afro-Cuban 6/8 feel over the 4/4, and the new 6/8 pulse becomes the new 4/4 tempo in the next cycle, thus achieving metric modulation.

The tune climbs in tempo by 33.33% percent for a while, and then the reverse happens.  In the second half, bar 9 adopts a 6/8 feel where three eighth notes are superimposed over each half-note of 4/4, creating a triplet subdivision. When the next cycle begins, the slower pulse established by this 6/8 feel is reinterpreted as the new quarter-note pulse in 4/4, resulting in a slower overall tempo.

As for the harmony, bar 9 is typically a II chord in the jazzed-up 12-bar blues that this song is structured on, but in this tune the II continues through bars 9 to 12, and on bar 1, what would have been the V chord of the old key now becomes the I of the new key.  Listen to the song here.

How to Practice Metric Modulation on Guitar

For guitarists looking to incorporate metric modulation into their playing, here are some practical steps:

1. Understand Subdivisions

  • Start by mastering common subdivisions: eighth notes, triplets, 16th notes, and their dotted equivalents.
  • Practice transitioning between these subdivisions while maintaining a steady pulse. For example, play eighth notes and then switch to triplets, ensuring the triplets align with the eighth-note pulse.

2. Use a Metronome

  • Set your metronome to a slow tempo and experiment with metric modulation. For instance, play 16th notes at 60 BPM and transition to triplets where the 16th-note pace becomes the triplet pulse.

3. Apply to Familiar Songs

  • Take a simple chord progression or riff and experiment with metric modulation. For example, shift a funk groove into a shuffle or a swing feel, maintaining a mathematical connection between subdivisions.

4. Analyze Tracks

  • Study tracks like We Got the Fuk* to identify where and how metric modulation occurs. Transcribe the rhythm and experiment with replicating it on guitar.

5. Compose with Metric Modulation

  • Write a piece that incorporates metric modulation. Start with a simple groove and plan a transition to a new tempo or feel using subdivision relationships.

Bringing It All Together

Metric modulation is more than just a technical concept; it’s a gateway to greater rhythmic freedom and creativity. By studying examples like We Got the Fuk* and practicing subdivision transitions, guitarists can unlock new possibilities in their playing and composition.

Whether you’re jamming with friends, performing on stage, or crafting your next masterpiece, metric modulation can elevate your music to new heights. So, grab your guitar, set your metronome, and start exploring the exciting world of rhythmic modulation today!

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