# Groups of 3 and 2

You have already played hits between the beats and counted 1 & 2 &. Patterns with several of those hits are hard to remember that way. This lesson teaches the trick musicians use: stop counting one long count to eight, count in short groups of 3 and 2 instead, and play a hit on the first count of each group.

> Lesson 5 of 12.
>
> - You learn: To count a pattern in short groups of 3 and 2 (1 2 3, 1 2 3, 1 2) instead of one long count to eight, and to play a hit on the start of each group.
> - Why now: The off-beat hits in lesson 3 are hard to remember as "beat 1, the & of 2, beat 4". Counting in groups gives the same hits a simple chant. Lesson 6 and lesson 8 are both built from that chant.
> - You need: Lessons 2 and 3: counting eighths and hitting between the beats.

## The problem

Take the pattern in the next section. Counted the way you learned, its three hits fall on beat 1, the & of 2, and beat 4. Those are three awkward places to memorise, and a longer pattern would have many more.

## The trick: count in groups

Chop the eight eighth notes into a group of 3, a group of 3 and a group of 2. Then count each group from 1: 1 2 3, 1 2 3, 1 2. The hits are simply on every 1. Same three hits, but now it is a chant you can remember.

How to read it: in this grid the numbers along the top are the chant. Each bold 1 starts a group, and that is where the hits are. The blocks under the grid show the same thing: each block is one group, and the number in it is how many counts it lasts.

**Tresillo (3-3-2)**

    hits     x . . x . . x .

In notation: the 3-3-2 shows up as the note lengths. Two dotted quarters (three eighths each) and then a plain quarter (two eighths). The gaps under the grid and the lengths written here are the same numbers.

1. Press play and listen to the three hits. The gaps between them are long, long, short.
2. Tap the count 1 2 3 4 with your foot, and say the chant out loud: 1 2 3, 1 2 3, 1 2. The chant runs at the speed of the eighth notes from lesson 2, so it fits two numbers to every foot tap.
3. Clap only on each 1.
4. Stop saying the chant and keep clapping. You are playing the tresillo.

## Same chant, one more hit

Keep exactly the same chant and add one more hit, on the 2 of the second group. That is the habanera. Nothing else changed, which is why it sounds like a close relative of the tresillo.

**Habanera**

    hits     x . . x x . x .

## A busier cousin

Not every pattern is built from 3s and 2s. The cinquillo plays five hits in the same eight eighths, with gaps of 2, 1, 2, 1 and 2. Say long, short, long, short, long and clap each one. It keeps the tresillo's limp and fills it in.

**Cinquillo**

    hits     x . x x . x x .

## Longer groupings

The same trick works on longer patterns. Chop sixteen eighths as 3-3-3-3-2-2 and the bar sounds like 6/8 until the two twos pull it back. Chop ten as 3-3-2-2 and you have a bar of 5/4. Chop nine as 2-2-2-3 and you have a Turkish limp: aksak.

**Double tresillo**

    hits     x . . x . . x . . x . . x . x .

**5/4 clave**

    hits     x . . x . . x . x .

**Aksak 9/8**

    hits     x . x . x . x . .

## Self-check

- Say 1 2 3, 1 2 3, 1 2 and clap on every 1 with the grid hidden
- Tell the tresillo from the habanera by ear
- Say 2-2-2-3 and clap an aksak without losing the nine
- Explain why 3-3-2 is not a triplet

## Play it on your instrument

- Drums: The tresillo on the kit, one voice for each group. (Tresillo, the 3-3-2 cell)
- Madal: Tresillo and habanera-family grooves on the madal. (World beats)
- Tabla: Tresillo and habanera-family grooves on the tabla. (World beats)

All instruments: apply.html