(Multimedia)

FREE music lessons from

Berklee College of Music
Mastering the Art of the Brushes
Jon Hazilla
Section One
Concepts
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CD tracks from book.
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FREE music lessons from
Berklee College of Music
Mastering the Art of the Brushes
Jon Hazilla
Section One
Concepts
Click CD icons to listen to
CD tracks from book.
Press ESC to cancel sound.
Check out Berkleeshares.com for more lessons
just like this one.
(Comentario Cuadro de texto 2003 Berklee College of Music licensed to the public

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Section Tw o
Patterns
Brush Strokes Key
Left Hand
On drum
Off drum
Tap with brush on drum
f

F
p
Accent Tap Rhythm with brush off drum

Right Hand
On drum
Off drum
Tap with brush on drum
f

F
p
Accent Tap Rhythm with brush off drum

In cut time count: oeoeoeoe

1+ 2+
Note:  = forte (loud);  = mezzo forte (medium loud);  = piano (soft)
Accents are made by depressing or pushing the brush fully into the snare head as
a
shading/color accent, or by keeping the tips of the brush on the snare head and
giving
the brush a slight tap without lifting the brush off the head. Taps are used mos
tly
within patterns to add a soft pulse at the beginning or end of a stroke.
A clean attack tap rhythm (not part of the stroke itself) is made by lifting the
entire
brush off the drumhead and articulating the rhythm as indicated. The size of the
triangle
corresponds to the dynamic that should be played for each note.
Pay special attention to the rhythm for each pattern. This will help clarify the
difference.

In 4/4 count:
=;oeoeoeoeoeoeoeoeoeoeoe oe1 a 2 a 3 a 4 a 1 a 1 T L
)(
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Section Tw o
Patterns
Drum and Bass Play-Along Tracks
The play-along tracks with drum and bass let you hear the pattern first. This wi
ll help you
capture the phrase markings, accents, and dynamics that appear in the grey box b
elow each
pattern. It will also give you room to experiment with your own shapes to create
the same
sound (Concept 9).
In each track, the drums play the brush pattern in a four-bar phrase(s). The bas
s and drums
play together for the next phrase(s), then the drums drop out, allowing you to p
ractice
keeping the flow and groove in a musical context.
Ballads

(Multimedia)
(Multimedia)
3
4
5
2
Circles

Heart Shape

(Multimedia)
Half Circles

(Multimedia)
Shoulder Stroke

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Section Tw o
Patterns
Section Tw o
Patterns
(Multimedia)
2
Circles

start start
1, 2, 3, 4 1, 2, 3, 4
(push) (push)
oe

Rhythm:
= 40 60
R.H. oeoeoeoe
4
44
{

{
L.H. oeoeoeoe
Instructions:
Starting at twelve o clock, press both brushes fully into the drumhead for a quart
er-note
rhythm.

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Section Tw o
Patterns
(Multimedia)
3
Heart Shape

1, 3 (push) 1, 3 (push)
start
2, 4
(tap)
2, 4
(tap)
start
oe= 40 60
Rhythm I:
R.H.
L.H. 4
44
oe
oe{
>.
>.
oe
oe
oe
oe
>.
>.
oe
oe
{
oe= 40 60
R.H.
L.H.
Rhythm II:
4
44
oe
oej
oe{
>.
>.
-
oe
oe
oe
oe
oe
>.
>.
-
oe
oe
oe
{
Instructions:
On the start, cut both hands in 45-degree angles on beats 1 and 3. On beats 2 an
d 4, give a
slight tap with both hands.

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Note: the shaded rhythm is on the recording.
Section Tw o
Patterns
(Multimedia)
Half Circles
2,4(tap)
1,3start
2,4(tap)
1,3start
4
oe= 40 60
Rhythm I:
R.H.
L.H. 4
44
oe
oe{
>.
>.
oe
oe
oe
oe
>.
>.
oe
oe
{
oe= 40 60
R.H.
L.H.
Rhythm II:
4
44
oe
oej
oe{
>.
>.
-
oe
oe
oe
oe
oe
>.
>.
-
oe
oe
oe
{

Instructions:
There are three hand variations to practice:
1. Right hand over left hand starting position =
2. Left hand over right hand starting position =
1, 2 3, 4
3. Alternating every two beats; right over left, left over right =
Attacks in both hands on beats 1 and 3 should not be heard. Stroke should blend
into the
drumhead at a 45-degree angle. Both hands lift off the drum after completing a h
alf circle
and return to the starting position for beats 3 and 4.

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Section Tw o
Patterns
(Multimedia)
5
Shoulder Stroke

2, 4 (tap)
1, 2, 3, 4(push)
start
start
1, 3
Rhythm I:
>>

= 40 60

oe

oe

oeoe

oe
4
44
{
{
R.H.
L.H. {
oeoeoeoe
>>
>>

oe
Rhythm II:
= 40 60 >>

4
44
oe

>>
oeoeoeoeoeoeoeoe{
{
R.H.
L.H.
oe

Instructions:
The right hand should come in from your left shoulder and blend in at a 45-degre
e angle.
The right hand lifts off the drum after (tap beat 2) and returns to the starting
position for
beat 3.

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As a variation (Rhythm II), the left hand can anticipate beats 1 and 3 by an eig
hth note.