Elvin’s Sextuplets


The Sextuplet Effect

I’m working on a post showing how Elvin Jones, Roy Haynes, and Art Blakey all use triplets differently, each in their own signature way. Elvin happens to have a rather large signature.

I was listening to a standard, “Dear John C” and one fill stood out to me. Elvin laces a tight grouping of notes together to propel his brother, Hank Jones, into a piano solo. If Elvin’s fill is full of spice, Hank’s laid back entry into a solo extinguishes Elvin’s spice in a refreshing way. It’s a small moment, but one to savor.

Elvin’s fill uses sextuplets as opposed to his signature triplets. The sextuplet fill has the same swing style of phrasing (obviously, it’s jazz). But, the amount of notes Elvin fits into two measures with such dexterity and feel is worth noting. Without picking it out, you might miss it.
Here’s the 4 bar phrase. Elvin comps for 2 bars and then fills for 2 bars

Here’s the transcription. I recommend playing this at 80, super slow, before going up to warp speed at the true tempo – 195.


Elvin’s average fill is still jam packed with wisdom.

Questions, comments, or critique on the transcription – let me know on Twitter


When you hang out with audio engineers, it’s easy to think of audio engineering as a bottomless pit. Some fell in it and are further down in their fall. Some are near the top. But no one is hitting the bottom. I’m near the top.

I’ve been doing remote studio work for a band on the east coast. I had a blast demoing tracks, transcribing programmed drums, programming more drums and working with the man himself – Chris Sugiura.

We laid down a track in an “improvised” setting – my rehearsal spot. Here’s the drum porn.

Tracksville, USA with the homie @csugiura The man has a tuned in set of 👂🏼s. #makestuff #drums #ludwig #agop

A photo posted by Kyle Kelly-Yahner (@kylekellyyahner) on Apr 11, 2016 at 10:15am PDT