What can I say? I’m a sucker for odd times and odd note groupings. Anika has done such a great job in the past few years educating the world on how to apply quintuplets and septuplets to music.

Before going too deep, I want to define some terms. Odd times/groupings – time signatures or groups of notes that are based on odd numbers (3, 5, 7). Quintuplets – a group of 5 notes, and specifically for our purposes, fitting 5 notes into one quarter note. Septuplet – a group of 7 notes, and specifically for our purposes, fitting a group of 7 notes into one quarter note. Now – onward.

Here’s the thing, septuplets (and other “odd” groupings) get a bad reputation. So many people say that this stuff is too showy, over the top, not groovy – and I think it is time to take back odd groupings. Here is why I think that groups of 5 and 7 aren’t all that odd – because 3 isn’t. We all accept groupings of 3, whether it is in a 6/8 tune or a triplet fill, 3 doesn’t scare us. So why is it that when someone says quintuplet or septuplet, most scoff and say that isn’t “musical”? Lack of exposure.

In Western music, we are used to songs and rhythms being based on groups of 2 or 4 notes (‘even’ groupings for those keeping score at home). If we ever hear a departure from these ‘even’ groupings in Western music, it is typically groups of 3 or 6 with very little syncopation. Because we are somewhat-regularly exposed to triplets we don’t consider it an especially “odd” grouping. But make no mistake, 3 is just as “odd” as 5 and 7. All three numbers are prime numbers. And all 3 numbers don’t fall on a ‘grid’ when played against 2 or 4. 5 and 7 only seem ‘more odd’ than 3 because we aren’t exposed to those groupings as often.

This is why I applaud someone like Anika, because she is starting to explore how to apply quintuplets and septuplets (groups of 5 and 7) in ways that are musical and appealing. Vinnie Colaiuta and Dennis Chambers have been playing 5 and 7 note groupings for years, they just do it in a musical way that doesn’t call attention to it. And that is the key – playing these groupings where they support the music, musicians, and song instead of calling attention to the drummer – as if to say, “look at how smart and complex my drumming is!”

So, be encouraged, we can all play quintuplets and septuplets. We just have to reprogram exactly what is ‘odd’ to our ears. And all that takes is practice, and the septuplet fills Anika is playing in this video are the perfect thing to practice.

Along with Anika’s septuplet fills video at the top of the page, I’ve included two other transcription videos of Anika’s playing below. If you would like to download the sheet music for all three of these transcriptions, just fill out your email below to get an instant download!

Now go learn some of these new tuplet ideas. If you are feeling brave, write a comment below updating everyone on your progress to total tuplet mastery!