music and great drummers, but what interests me the most is a drum- mer’s utilization of space. Space can be used to help us define our style and ‘make us sound unique or more recognizable. ‘ong with te, fee, and sound choles (tuning selection, ete, ste wihat happens berween the main notes that makes us individuals, Things such es ghost notes can mak @ Dest more fun and more developed, and they provide an oppor- ‘unity for uniqueness. ust keep in mind that when we use devices tke ghost nates, t doesn't mean wo'o disregarding the effective use of space or simpli. [ike to play mall axags or busses within some mts. In jazz, this kind of embellishment happens all tho time. Infact, you almost never hear jaz time playing without snare drum comp- rngnterpley In this article, we're going to apply that azz montaty within staight th- and 16:h-note patterns. Hore are the basic stokes and sickings 1) The 16th note-triplet half mal 2)The a2nd-note half drag 2A 43) The buzz stroke [multiple bounces close togetne. Use the same sticking as the pravious examples, 3A Tere are the three drag types within abasic groove. Count the inplet cove like this: & 2 &th4a* The 16th-note groove should be; "I e & 2,2 @ & a with two lefts being played on last "a" Make sure te count the rhythms, These emblstinents| e, which makes them easily sound similar and are close in a rmisplayed Ae oe ss ‘As with most new concep, there are some technical consid- rations. With the drags, we want o koep them lower in volum= than the backbeats. So a drop/aqueeao or drop/pul technique right work wel For the buzz stokes, [recommend moving the sick more to the edge of the drum, where the hoad is tightor. Then push the stick nto the head lightly, Keeping the bounces close together ‘and controled. Tae dzags ae only two notes, andthe buzzes are multiple bounoos. I's important to not ust drop the stick ana hope forthe best. ‘Buzz-sroke lengths can vary devending on tempo and the note value they are placed on. Somoumes buzz strokes sound best when played with a German-style pelms-down technique, 0 mat tne thumb, forefinger, and middle finger can press the stick inte the bead, ‘One last ip: Tempo is very important. A fast tempos it can be lsicut to hea the eat difference between 16th-note triplets ‘and S2nd notes, So concontate on slow to upper-mid tempos of te three drag typos Here are some grooves that usec = SS” | 112 MODERN DRUMMER + DECEMBER 2008, Bie x ] a ad At tiie ‘ f 4Pepe's a half-time shuffle and 9 12/8 groove containing triplet rags. goo ey WD ea pam eeeTeL ee ee ee Horo are two more advanced grooves that incorporate left-hand rags. Have fun! PS 14 = or i eo SS = - Buz srkes also work wall in smba-ype n00v3 15 ‘aacanl a 7p STOP PLAYING WITH YOURSELF. Get These Music Minus Drums Play-along Cd's And Play With Us. Available at drumshops everywhere or online — www.DRUMFUN.com Devt Neaep eer Turn it Up & Lay it Down ‘ThisReriieerecommented er es ==La Wa sp exp But fay pue yet am te Bupeot ob 21 ta Sunpe9, wou sy Banjos sap YeeH 2oNON “MME MNT sued puny ou, e.euRe0 any ax 640 ‘any ut Buns 5,910 ‘ssenyd amsvou-onsy s ppprpesed am cous 1 1894 0 3984 anosox on Z9Boy om w es Mea (TT ‘TY ‘Sungns sm ‘oeuRs0 any at Zeno jpprpered & Amd Hey = € ong robe Bc ene i ears 1p ie pescnen rere a uonemproeo waxomTp ewcarsAo o} axet TLNOK pe aarp Ta por eu ‘sBusyons quoz0mTP ppe noK sy wor Jooy om Uo PUBL TB tn deo. spueU oun Uodenod fx¥TH s=x0ns oxqnop Se4d MOM Cora n Cy --$remqeoon, Eye LT oor senaona aaned 2q ang ‘eats, 01 punos ou yoru sys, waned 241 Bumpeat puEY YBa eu YK "o} oo ow uo YB om puPaxous oxy uo xn Mua ‘eyeWNTE spuet et, 89) ata 19no spuet ain Burge eam axdaens 00g 1080 puvH x1 wo Buneaaouo9 osteoma ‘um om BuTAOI Wo moog TEU ue xo tn sean uxoned 00) ara @ 1 axuexa asx STU e691» Buk 95,nOK rey seeuay nos diay ueD YoIUN ‘soapt EU aIoM awa nok djay pa stuaunasu auarajqp uo soeuso asaun Berg Aoreredos 5129} 8d Yowe wor or oNTANe Axa OsTe IN SIBNNO 20 un soo qu woes Mou foe} PUE Ua 0 yunoETE ssa-zonnaBn wom yo ne Bune axa Senprrpm sted ay Ret 01 sr un quevodan sour o¢p ‘sured psoreape fmiserd wayyy 001d Aa 901d 199} 21 1 oyeunso ajou-any 9 saxo Aremngooos oA nok wounBuans or sfem sues erensuowep sostiore Buuconoy eu, seadat 1 e0p s} wuawambas uo ay, ase 2eG-2a) ® se Hu0| se 20 yuourpar ce uous se Bunpowee Jo eteueo Woo owuEC UY -‘woneuGeu umo moh hq po yu Aquo st seapr reotsnar oyu wom Gummy wroned Suyeadar v yo saBuayeup reomusa; om ssevdims Aqjnyssonons nok 20u9 “svopt Jo prion ssoprumy e oonpoxd wea orsnu Jo sajAs quaraymp Woy “soyeunso, 430 ‘suxoyed paywodor Sururquio| ‘ssranea wea00W PLL= | ‘Move Things Around ‘Once you're familiar with how these patterns feel and sound, the next step isto move the hands around the kt to develop melo ideas Detuwen the cymbals and toms. in the following examples, we'l move | tho right and nom the ride to the mounted tom, then back to the nde, ‘and then tothe floor tom. This is just one ofthe many shapes you can we to buld a melody. This particular musical passage wil ake alts longer to resolve, but i's pretty easy fo remember hecause you're play- | ing diferent sounds on the kit eS ms ae ae oa Sj ‘You can do the same thing using doubles, Listen to how everything ‘sounds es you move the right hand around the kt, and fous on the tmnalvidual parts as wel 7 ay = ic Sea, So Sees Rep iconpeed ir oem ees see | neal — Hore's the cascara pattern over the fve inthe feet This phase wll ‘ake ten measures to resolve back to best 1. Lkept this example in 4/4 time to colncide withthe ride pattern, Notice how the fet permutate ‘and move against the cascara The fot pattern has been modified to ‘start with the lef foot: LARLA) | y Ra ee eer ‘Once you have the double strokes under contol, try moving the pars idle and five-note stickngs around the kt. Example 8 shows you one ‘way to move the fve-noto sticking between the toms and ride cymbal.hythmic ilusionist Ari Hoenig has made a name for himself on the jazz scene as an incredibly creative drummer. constantly developing uunique ideas that take the drums to now sonic realms. This article wil take a look at the first two choruses of Ari's solo on the track “I Mean You," from the drummer's appropriately named record The Painter. “This performance can aso be viewed! on the DVD Kinetic Hues, which was recorded live in 2002 at Greenwich Village jazz club at Ca, where A held a steady Monday night gig with his band. Hoenig’s amar ing solo ea lesson in the history of drumming, while als stretching towards the futur, Ari has digested the playing of Max Roach, Philly foe Jones, Foy Haynes, and countless others, med i up, and transformed it into his own sound. Toenig has blazingly fast hands and oxtrome rhythms precision. Each of dear, musical way. Although he uses many patterns (or "ick" throughout, they all have the specie purpose of connecting together thematic material. Ari's use of mythic llusions, beat displacements, od groupings and extreme dynamic sults makes for on exciting musical journey. ‘rl makes clear use ofa theme as he constructs his solo, which adheres strictly tothe songs thirty-two-bar |AABA form. Hi et statement ofthe theme is @ tnree-note phrase, which starts on beat 3 of measure 6. 1 doas flows into the next ina aa ‘Ar often starts the theme on diferent beats ofthe measure toad contrast and variety. Htice now the same rhythmic pattem takes on an entiely diferent personality when it played at diforont rates ana wen It’s sifted to diferent pars ofthe measure. ere are three examples from the solo. 2 Race Jean tklebete Pu, the pianist in An's and, adds emphasis to theséthematle references by accenting the third note ofthe phrase, Ite a game that tho two musicians play with ono anothor. Pc always knows within split second where the thd note is going to fll Ie a grat exercise to manipulate A's material ito something new and unique. Try starting a thematic ‘hrape of your own on diferent heat, changing the rhythmic duration af the phase (play i faster or slow), applying the pirase tothe drumset in adilleent way, etc. There are plenty of flo "ks" throaghout A's solo that you ean use to come up with new Ideas. To check out the solo, go to modemérummer om. 176 MODERN DRUMMHER + DECEMBER 2008,duo Chom Chorus 2118 moveeN peunuER + a drummer in rock/pop Aan ae ve been asked to play quieter, unmiked, or to use some kind of volume-reducing stick, such as brushes or multi-rods, more times than I can remember. Vm sure this is a situation that you can relate to as well. After all, the drums are a pretty loud instrument. ‘Thankfully. the percussion industry has responded with all sorts (of gadgets and special implements to help us pay a traditional <érumect more quity. Meoughout soveral yeas of playing duos ‘with singer/songuaiters, I've been encouraged to use a percus sion-only setup ineuding bongos, congas, and shakers, or only a hL-at and snare drum. Each time I tried this setup felt uncom fortabie wit the emptiness in the sound, lus, not using my feet seemed lke a waste, sine ' spent years working on my four- ‘way ooordination and independence n response, Tame up with ‘What [all my *peroussion kit." The kt inches a bass dram played with a normal bass drum pedal hi-hat, one conga drum, ‘and assorted shakers, tambounines, and small percussion instru- ‘The Big Idea ‘The basic purpoeo of the poreussion hit i to provide soli, drumset-ike accompaniment that doesn't step on the other player for ereate too auch volume, 1 avoid using crash cymbals for this 1eason, though Iwill occasionally use a very dry izle ey in larger tooms, Otherwise create allo my “caati"eflets by spleshing the hi-hat with my foot and letting the cymbals site ‘together fl tako some practice tobe abl to produce 2 foot sizzle ‘with marimum docay, butt can be used to great effect in many ferent musical situations. So spand time working on your le {oot conto Sometimes when Tuse arid cymbal, also playtime with a stiok ora mult-fed on the h-hat But I generally avoid this Deoause of the tendency to play the cymbals parally op dynamics bud, which crates too much wah. Aso, hocause I sing backup vocals on mest of the gigs on which T use this setup, not using wasty cymbals helps me hear my monitor without hat ‘ng to crank it to loud. Can I Get A Ride? Father than cymbals, use either a shaker ora tambourine to fll the roe of the ride” instrument. [also use a jingle ring on the hi-hat to ad color to Backbeats or upbeats you play te ti-nat hesl-davn, ts possible to not activate the jingle sing ana ett roduoe achat “chiek” Then you ean se a heel-up technique to ‘incorporate the jingle ring and the “chick together. 117m playing tambourine with my lft hand, I sometimes just play bacleeats against my lft high during t ‘switch toa 16th-note pater for the choruses. alwaye ty to vary ‘my pattems between the different sections ofthe songs inorder to create texture changes like you would by switching between ‘loged hichats and the ride cymbel on a normal drumkit ere are two examples of how I play the tambourine within @ pop/rock groove, Aen = iia a ioe = i ‘More With Loss Besides providing soft and “dry* accompaniment, my goal with ‘he percussion kat sto play drumsetoniented grooves, rater than ‘waditional percussion parts. Because most of the music I play with this set-up is contemporary tock, pop, o folk, use closed slaps on a conga for backbeats and open or muted tones for more typical conga shythms. One advantage ofa hybrid sotup like this is that Hox mia"havea ase sand covered no lek wel a placed an me esse of my sup, which eps my lambourin, hater hd conga arene lve aon ting gs. {7 } ri : zeler yo can pl of atheni pop, rock, fl, and Latin eins wits he = = ~ One cial piece of equipment for thls setup sa Sof uber conga = a “teei* ese allow the conga toto ew inches ofthe Mor, so at | 7 vero it torr inthe = 2 cure of feet, your lege and TE yey Your tovn that noone else fs filing. a ‘The following examples are several grooves that IK to use ox my ‘poreusion i, Good luck, and happy damming! SO Ra ee ee ee drummersco ecive A division of The Collective School of Music ‘An Accredited Institutional Member of the National Association of Schools of Music a 581 Avenue of the Americas, New York, NY 10011 T- (212) 7410091 F- (212) 604.0760 _www.drummerscollective.com