Swiss Triplet Treats MIKE COSGROVE “This month wei going 99 over Swiss pats S55 Iiplets ae one othe {tedamenta arn rudiments ‘and are tyoialy played ore! ‘rps, hough they ean be fe st inversions using eighth them al Ex 1-6, Be sure play tn ‘sceants end pi alention ta your technique, Ex 7taes the sticking from Ex 1 and epolies ‘Rover sivaiahtsisteenterotes, ving 23 ‘always, pley wih a metronome and keep time wih your feet (Once youve comfort playing them around {ide-nd toms, hat and sare orany tt ‘combination youn. Good uc Jit DONOVAN BRR Keblambe is 2 masked dance IY rom the Baga peoste who live f West Ales The be tory be- Find this rt state that gives information about the well-being f ‘the wlage ad forest inhabitants, “These patterns, adapted for crum set, ‘ound itcosting when you mix and maich the ftythms in Ess 73. Starting ery omy, lay tious tompos. ramming 6D, jrdanorarusi pe RUM PARTS cunts apie thing from basements to the are) whilereconding che lie version of setting, thachas evolved inca the nastherenow:"Adlersays.“Aswe | “Ruin,” this monch’s featured | downbeat followed by four struggled ro come up in thescene | drum part. We simply couldit | kicksand then the snare because in Philadelphia, che Trocadero | hear ie. "Several simes there a | [ think it sounds beter. chink vwasthe place where therealbeayy | pare during the section where the | it drives the song a lide bit hhcers vere playing Thats where | verse kicks in and all the guitars | harder eo have the Four instead ‘wewanted o phy theswholetime | come in, where ies kind of a | ofthe thee. swe were there." downbeat followed by a quad, ‘The symboliem speaks vol- | and then a snare immediately a umes. burtlkabour fying bythe | er dl seat of your pants Killadelphis | 33.09 page 119], Because of the night. What chy played is what | downbeat,” he seops eo corsect Says proudly. “There was no fix | Oh brother! Irs barely the ing of guitar solos ot drum pars | slighcesc dynamic variation. | “Bue thats made it moze dif oranything like chat Theres loc | And he has only himself to | cule to hie tha dovenbese with in dete dat’ relly god, and | blame since Ader double ick | my mn foot. So T use one of vwetercaly prudofit butknow: | part was actually simpler on the | those Axis Longboard pedals, jing what we do inside and out | studio version of the song fiom | and Tim able ro whip my fone s0 and going back and watching | Lamb Of God's second album. | that my heel comes down on the some of tha, you can hear some | As the Palaces Burn. “When [| downbeat, and my toes drop ofthe lil Bubs thar happened.” | wrote thae part, it was the | down kind of like a whipping a ike what We had wo ak sis | downbeat followed by three | tion with my oor and hita dou percussive perfectionist o show | kicksand then the snare,"heex- | ble. A lot of the cimes when I us precisely what he flubbed | plains, “Over time in the live CHRIS’ KIT my heel into the pedal, I roa Moin 422916" Basu ‘A 18° Generation XFiterChin | 16° Amun Thin eas 217458" Sno 1B 14" Herat Soundoabertop, G18! jzance Medion Crh 3 10°x9" Tom Byzance Det bottom 1H 24 Signature Pre Masi 4:12 .9"Ton © 8'Canda Bal 137" Snare Gator China 15 16°16" Foor Tom 1D &°Gandia High Bal 4-10" Signature Gaston Grins 6 16116" Fo0rTom 14) SoundeaterMosium Gch Pro-Mark sick, Aquarian oad, Ass pods end 2 Gibraltar rack See EN CAGAE Sh YAS DRUM wnndssnagacinecom vas fesorded in one pas in one | may im plying ofen mise | SOURS like som lone getquiteas much action off of eas if Twas playing help" ‘Tino bars20 an 21 on page 121, and you will understand ‘why we ad co ask him about he fill Is clooey: Thace quarcers of theway through checong, longa ; auiwibakek btw) “That break was odd. It ebody is youget “We partly cid | himsdé“Ksnochal misi,bue| | falling down the stairs.” gobackand ficanything” Ader | itsnotstongenough co regis” | ff J ‘er the hypnotic 12/8 pulse has been set in stone, the etre bend slams to an abrupt hale excepe Adler, who punches you in the stomach with an avalanche of ores that employs ll four lbs Tknoconly smardy bridges che di ference berween 12/8 and 4/4 ime signaeures but alo establish a whole new tempo with au thority If coo We had these gest pars, and wwe just had to have this kind of Bana Aid to ge chem together, Adle remembers "Everybody was Icoking:x mein the rehearsal space like, Why dont you do ltde deur break there? Figure i ot So Thad to come up with some- thing, and thas cersinly not my experize,Soling isnot ay ching, so hat break wae odd. Ie doesnt ou like loses all. esounds ke somebody illing down the lt of sta Burt me it makes sense, and I gues the guy gor used, toitaiera while. Atti it took a -gooecouple weeks fr them to un sdeseand where thar court was and. sshat Iwas doing: So don't beat yourself up if ‘everything docs just fll into place the firs time you cry 10 hammer through the following ‘wanscription of “Ruin,” Even Adler needed to practice the drum partanbile before taking ie to the sage. “Looking atic fom fiont 1 back, i can be rave foverwhelming,” he admits, “I think taking i par By pare you can rely break it down inco very simple sues. The esse might be initially dtfcule to ply, but once that kind of muscle memory Kicks in, ie aly kindof simple thing hae just eps.” m= 4 es iG nieve LASTING UP TO be) Gh elcB UL SPO ETT Dy NHY? Pe Bs HIT HARD TOO. pee ahd SN alee eM ‘STICK IN THE WORLD, VISITYOU DON'T | HAVE TO MOVE TO L.A. Learn To Play Drums Like A Pro At The Gelb Music Teaching Institute (G.MTL's head drum instructor, Mikss Curorro, has 43 years of | teaching experience in the Hay Area, and 47 years of experience playing and recording with Various rock, jazz, funk, fusion, Latin, top 40, and casual 9s clinicians have ined Tox aabts, Marr SoRUM, STEVE ‘Sumi, Wt Keynepy, Roy BURNS, ‘STEVE Gab, Dave Wecxt, DENIS CCrianmens, Perse ERskine, Gaecc Bissowerre, But Costiaw, TERRY Bozzao aNp'ToM BRECITLEIN, imal Mmm 4 af +7] fT] we ea Se onTnneee! af SS fff LET 47) BSr or bre ror0) oo) Doctors AoC OLB herb Creey Since 1981 Dera SON a eg f Es Poseeenl Complete Product Reviews: ao LG J ‘ PeePlug into the Circuit! www.drumcircuit.com ACU CHRIS ADLER Your drum shop on line. 122Djembe Pattern BY JIM DONOVAN Simba is ataditonl piece from Guinea thats performed B] by farmers asa dance of ‘anksaivng Kit players; remember tat yeu can always twanspose these ytamein intresting new way onto your ki For ‘xample, play the dembe bass tones with your ‘ck open tones and slaps wih your ana an Suastttss re cymbal or he Bel Tine limitlessy about the ways you can oxeress these hytoms The signal spayed atthe ery beginning othe pecs, trans into the break and deslgnate the end he pace. Patterns BY MATT BYRNE This month, wee going to focus _] src gainon tne mages world jet rimorts Tristime we're yee! The pars. Tis rime orms the foundation cool yt Thebes have rooming. By switching testking or apping {othe fet andhands, wo ean create some coo! paltloms that don aly appaar tobe Dssea tft prada but nae ceri re UGO DRUM! yr dnuninaseinecomby Chet Doboe ‘of the flam accent. The exciting dialog created by contrasting flams, accents, and non-accents makes the flam accent a “Syn- copation beast” that, when controlled, is a powerful device to build intense rhythmic phrases ‘Applied in the context of 16th notes, the three-note phrasing of T: ‘two-part series of articles focuses on the creative potential Perform all non-accente flams and taps fom a low stick height. Tap quarter no The Flam Accent Challenge, Part2 the flam accent creates a natural syncopation against the four-note scheme of léth notes. Therefore, the following exercises apply the flam accent exercises that were Isid out in Part I in the framework ‘of Iéth notes, {It may be helpful to refer to August's Rudimental Sympesiun for thos es with your Foot iu y TRE RLER CRL RUERL ROR ROR TERE RER ERE RERL These w EE Thi Here's ROR LRE RER CRE RERL ‘The following ideas are built by moving the flam to the s RLRLRE RER second note ofthe flam accent figure. As mentioned last month, this variation js the hybrid drum rudiment called “taal.” 1 He a RLRERLER CRE RER ERLE R ERE RER ERE RER TRE Chet Des Hip PickWU by Rod Mrgenstein bichat Foot ADifferent Slant For The Hi-Hat, Part2 e's pick up where wo left off last time | 7 and 9 ae hi-hat foovtomsnae preceded by a one measure beat ‘creates a different sound and feel from playing the pat tem exclusively with the riding hand, Examples 1 and 2 should be practiced with the goal of having as litle open hi-hat sound as possible Strive fora consistent, closed effect. Examples 3 and 4 add the bass foot pattems. a drum to these riding hand/bi- Example 5 suggests switehis back and forth between tradition al one-handed l6ths with two beats played in the “untraditional” Examples 6 through 9 involve a repeating three-note pattern that ‘works well as a beat or fill The patterns in examples 6 and 8 con Sist of hi-hat fooUi-hat handsnare, while the pattems in examples Examples 10 and 11 are essentially noa-continuows near pat: tems (with the exception of the downbeat of beat din example 10) that integrate the hi-hat foo ot into the syncopation, Also, examples 11 and 12 incorporate the ride cymbal 10 € TE z Se a Example 12 is similar ee TTA ‘ pattem I heard Steve Gadd play some ‘years ago. For contrast (and practice) alternate each measure, first playing the hi-hat closed (1 ‘an open sound). with the foot) and then splashing it (for wooenoeuines sertvsenio7 LEDfirst cme we did three or four demo versions of the song, and by the rime we were done it was how we wanted i.” ‘Their tireless road to refine ‘ment led to the transcription for this month's dram part, ‘Roots In Stereo,” the alums ‘opening track. The final drum, rake was recorded at The Plant in Sausalito, California, just north of San Francisco, "We tused that [drum] track: because the drum sounds were good and the takes were solid, That's all] was looking for” And luckily, that’ all that this funky mid cempo teack required. Penned carly inthe song- ‘writing process from an off-he cuff Way groove, the arange- ment for "Roots In Stereo” coalesced quickly during ajam much intact through erable levels of production, ‘We jus stared jamming, do- ing a hip-hop type of thing with the heavy guitars, and then everybody liked how the song vas sounding, Some of the songs change a time goes fon, but this one prety much stayed the same, DRUMS: Poari Masters 1 20°18" Base Drum 2 12"x0" OCDP Snare (12-y With 8 ply forcement hoop) 12° x6" ODP Snare (20 py) 8'27"Ton 10° x8*Tom 16" 16" Floor Tom /MBALS: Zldian HiHate (Quick Beat op, Now Boat bottom) B_ 16" Oriental China High © 10" K Splash D 19" KDarc Crash E 8'KSpiash F s H 18" KDark Orash "Zt Bel 20" K Hecvy Ride 1 A7KDak Crash K_ 21" Swoot Ride (as crash) 18" ChinaHigh Wur slo usee Vie Firth sick, Remo heads, avi Peat arcvare and pedals DRUMPARTS wov WUV’S KIT While Winv'’s groove swhomps bard from beat /, thanks largely to his signature big, boisterous sounds, you canttmiss a decidedly lid-back lope in his fel, as ihe ie spr. ting the difference between hip-hop and reggae. Ast turns our, i ust comes naturally “We love when a song comes out that way.” Way sys. "We toler kids know thae’ the mu- | sic char inspires us.” Recording toa click, Wi digs deep pockets, adding con- ours this phrases with crushing ghose noces, “Before 1 used co play straighr, but now Tet my hand run wild with the ghost notes,” he explains “Osher people may nar hear it, buvif yout a drummer, you “I know the producers are going to come in and they'll want me to di 5 it down” all never really have that in min Jes naturally che way music comes out of us. Iris such a feel what's going on.” Exercis- ing e-control, he allows only ‘occasional flams and select fills 0 nudge the song through ies changes. "ike ta keep i sol- id. Lots of space fr the guitars and vocals, char the way our band does i I knaw the pro- dlucers are going to come in and they'll want me co damb i down because they dont ‘eant people scepping on the iclodies or whatever hhuge influence on whar we is- ten to and what we lke to play ‘We're huge regene follow 1s, Me and Sonny grew up in a family with a reggae DJ in San Diego. We always try 1 highlight the reggae vibe in our music Even in ou records, we have Fek-A-Mouse or dfferene | reggae people thas wee fans of | YG DRUM! wor arurszcasioncom Bur even this team player likes 1 let loose once in a while, and his bombast hits in bar 19 on page 118, wher the track suddenly veers into a spacey 6/8 section that tame from the bands newest member, guitarist Jason Th by. Here Wav opens up his parts with fils around the ki and some tasty double-bass bursts “les more of an ag- gressive pat,” he says. “On. those kinds of [parts] [like r hit the drums lite harder and go offa little more. It just fel like I should play a litele more there “Tin not 2 buge double- bass player,” he confesses. “Bu I throw ic in whenever I can, “When we put out out first record, I always used to do double bass. On our second and third albums, [laid off iT didn’t make tan issue un til the last record when | brought ie back. 'm not scared. an play double bass Best cake his advice There's no reason t0 be scared. Just lower the lights and get into the groove of “Roots In Sters, Iniogaphic byREGALTIP. Ci UNA a sal eat ea}Plug into the Circuit! www.drumcircuit.com ‘TMM Your drum shop on line. Limi Apa IEE So oe eal ea aS pe SoS EECEES \ | key: hed ahdPHOTO LESSON Polyrhythm Practice PPolhythnic dedety and ambidesterty ar two eesontl sist have when play ing modomn rusia. Sing abi o hear complex hyn yur head isa good sta. butts alsa good io practice vanous patoms “against one another. The folowing will enable you to superimpose 2-aganstS or Sageinst'4rhthes wih ease in a ‘rsial zetigg. Staring with Your hand, you canals practice with your eet 02 Here's howto make your conga Imp combination, latest in more complet? Use tis same math to buld ing” and sustains tone for ‘Superimpostions using 55 75, and 9s ‘an gare cool sound effet. ‘ 2 Against 3 ae dn played te purely tant Expose the tip of your Imi finger (or fretinger) andestiten your thumb. ‘Molsien your fingertip and glide itgentiy across the heed. Your fingertip ‘should “gro skip= across Sheed cauanatheheed io Intro To Ostinato hum, Nex. ade acces a each exercise ad play them around your kt. Finally, la the enerclseo together atthe same pulse, The wl ge you tho ably to execute do ‘The purpose of his exercise iso gain independence over bass chum 2 stato whic bulding seythmic vocabulary ret, play xs. 1 and 2 onthe: 7 ple and tiple subcivion kes whi improvsing Youcan also start the head vbeating by hitting it simuttaneous}y withthe fothernance 120 DRUM! ww anunnaonrinecom eeReturn Of Zebola : E snd DD's JIM DONOVAN ‘Tris month, wo" going to dive ait deeper ita acrum se adactation othe Care trl Afcan piece Zatola Laern each messse one aa ie and han begin core ining tha mascures and nes. With ath ie the sounds tersting when you create tworbar four-bar, and evenualy ghar phrases fom the pats be Tow You may fa that hep to frst lean the patoms witha tha accents, Stat (of slowly When yer comforabl wth each pattem, ad the accents, Bam) Ifthe frst and second picture ook awful simiar to matched ‘ri, youre right Primarily use ‘or timpan, this stroke allows for a lighter stack and lois of ‘ebound if your fingers are folxed. ‘The fulcrum is between ‘your Index finger and oie 3 Eta y ith Slamming Syncopations MATT BYRNE ‘sroight four pattem onthe Bel you ge cymbal Ws 3 branes 2 eee a — ee "This arip is played wath {your wrist turned so your thumbs face upward. “The seks rebound on tho upstroke is big and the out fingers are relaxed aay trom en ‘the palm ofthe hand. pat 122 DRUM! srwrsesnmagainecom as ss a | oeThe Precision Test One Sticking, Eighty Different Ways by David Garba [rmnysirianices re te cto sticking 1 all the dramming we do: layered, ‘whore we play multiple sound sources at once, and linear, ‘where no two limbs play together. This month we'lfur- ther develop the material explored ina previous article ‘Building Precision, Accuracy, And Groove,” which appeared in the November 2008 issue of Modem Drummer. The lineae sticking we'll use here is a wist ‘om the one used in that piece. ‘One of my teachers used to say that repetition isthe mother of learning, {you wanta deeper groove, repetition is absolutely necessary, Not to mention that there's a det nite benefit ro musicians. Practicing this material ata var ety of tempos will help you develop the muscle memory that comes only from repetition. “Muscle memory? What's that® Here's a simple detint tion from Wikipedia: "Muscle memory, also known as ‘motor memory, i a form of procedural memory that involves consolidating a specific motor task into memory ‘through repetition, When a movement is repeated over time, a long-term muscle memory is created for that task; eventually allowing ito be performed without conscious concepts found effort, This process decreases the need for attention sximmum efficieney within the motor and ‘memory systems.” ‘That definition isa litte technical, but it basicaly tells us that if wre get to Work, we'll see results! The challenges sn this study are 1. An tunusual sticking pattern using all four limbs 2. The use of two hi-hats 3. The permutation of rhythms 4, Getting a transparent texture on the snare ‘and creates 1 drum through ghost notes 5. Voice substitution Exercise Lis the base idea, and it's followed by fifteen permutations. The notated hi-hat votce is the right hi hich can be placed anywhere that's comfortable on the right side ofthe drumset in order to put your hands in an ‘open position. The left-side hi-hat is notated inside the stafl (Ifyou'te playing. left-handed setup, then all of these instructions are reversed.) Ifyou don't have a second hi-hat, try a cowbell instead. The facus should be on play’ ing with precision, Once you can perform Exercise 1 in its ‘entirety, start working through the permutations. 62 MODERNDAUNMER Nonbr2090ROCK ’N’ JAZZ CLIN Linear Fills Part 3: 32nd Notes byNie Johnston laying tends come and go in deurn ming, Some ideas are easy to execute, ‘and some are difficult. Thankfully, the ‘concept oflinear drumming is about as simple as i'comes, withthe basic rule being that no wo limbs play at the same time. Pretty staighttorward, tight? ‘The great thing about linear drumming is that practicing it teaches you how to have a conversation between your hands and feet. Last month we took things toa new level by changing Jon from 16th notes to 16th-note triplets Now well be stepping things up even further with a new subdivision: 32nd notes. People tend to think of 32nd notes as being fast, tin reality a subdivision is neither fast nor slow until it’s bound to & consistent pulse, (Thirty secondl notes aren't very fast when they're played at 5 beats per minute) you're new to this subdivision, try slowing your ‘metronome down to 50 bpm, and remember that there are cight notes per bear. This will help get your ear and your body used to 32nd notes, Just like in the frst two installments ofthis series, we'll start by playing a linear pattern between the snare and. kick. Then, step by step, we'lladd simple changes such as ‘movement and dynamics 1 vary the sound of the patter, The better you master the first stop, the easier the next four steps will be. PATTERN To begin, play the linear patter hetween the snare and kick drum as written, = OGITILYENHANCED ‘This time, move the right hand co the floor tom to bring Ina new sound. Keep the dynamics the same as they were in Example. 1 ee ee eee RL RL RERL RERL RL RERL RLRL Finally alternate your righthand between the floor tom and the fist rack tom, This last step will help you be able toplay the linear pattern anywhere on your drumset 7c RL RL RERL RLRL RL RERE RLRL PATTERN2 Here's another 32nd-note pattern to work with. Again, srt hy playing the rhythm between the snate and kick drum, 6 ae fanaa deaa_iaa lana aaa] Fiaane_jaa_#ane_ jewel RL ORL RURE RERL RE RERL RERL RL RU RERL RIRL RL RURL RL RL Now move your right hand to the hi-hat. The pattero nang, But the sound does, avaTnsalanetaealanstavah Now move your right hand to the hi-hat. 7 ft ATT ree Sa RL RL RLRL ORLRL RL RERL RRL Next, bring in some accents. This step is eructal for ere ating the texture and feel we're going for. yralnardormhanalaval Fee RERL RE RLRL RLRL RL RE RLRL RERL RE RERE RL RL Bringin the accents to create texture and fel. RLRE RLRL RERL RL RLRL RL RL ExHat “Trips” BY PETER ERSKINE Rice Pers Here ae some let based Some of hese examles 1 lay easly, wile athers ere P3grsarigr3a Tl reer Yul get the most out of tose exereaes byraiyg the tampa. recommend int students maintain practice our keeping tack of tempos Played and how well orhow peat poral tempo foots Do tis both with and Meanie you should vary the dynamics of he Serene voces = tse brings {the notes to ie and turns an ‘xerise nfo music That Said, not earn yout, have the opportunity 0 ‘xamples into your day-o- dey playing Fora more musical approach fo these, You can fu fo John Riley Beyond Bop Drumming However these exercises should prepare you for any Liple-based independence Involving the toe. is. 7-10 expire the soosh sound of the Benak Cmbals when theyre brought toaster and thon splashed apart Ikea air of oneer ymbals Dor forget tolet them rng! Excariment with ths and practice slow. (nce youre comforable th this tech.gue ty te pit youve not seated wel, yoult have balance problems, Remember, he “rum tvone isthe contor ‘nd your four limbs should be ale to move ree, at your command. You can work Snany erorlse here minus ry 16 Bu the ride cymbal. Una, ‘hough the ports to be be to ply tho ride along ‘ith al ofthis other stat {nd make Waving. BI) jop3araarin VAG DRUM! wrcummagsrinecom NRE, a eee a “ajew drum solos capture the spirit ‘of rock music like John Bonham's legendary performance on Led ‘Zeppelin’s “Moby Dick.” Bonzo's con- trolled abandon in this solo practical- 1y grabs you by the throat. But it’s the drummer's level of finesse and sophistication that keeps us {intently Ustening nearly forty years after its release. Bonkam’e lv golo spotlight was miially refered to as “Pat's Delight (named forthe drummer's wile), Typically besining ‘with a eeferenoe tothe foot estinato in Max Roac’s classic solo pioce “Tae Drum Also Waltzes,” in concer, Sanham's solo was ‘uch longer than the 1969 version included on Led Zeppotn I {the one shown here), which was eéited togotner tram tapes of ‘im jamming in the stu The solo begins with Bonham playing, with his bare hands, conga-stye phresinge, mited and open teps/staps, ana pn bends on the snare drum with snare of. He gooe onto intr sperse quick double strokes on the bass drum, rapid-fire “quads” rhythmic modulations, and his wadomark thundoring ‘eplet rolls botween the hands and fost. Bonham plays this colo feee-form and out of tempo, s0 some of the Hicks look more chal longing than they are, Make sure you Isten tothe receding to get fee or the acual phrasing. The last ime Bonham performed "Moby Dick with Led ‘Zeppelin was on July 24, 1977 at Alameda County Coliseum in (alana, California, 118 MODERN DRUMMER + AUGUST 2008[Snares Of] E (With Hands} Z 4 2 4 > = >d>>%5>>5 > >5 >>> >> > Sp> soe 3 3B on 3 ong F MahiriardJOHN BONHAM Slight rtrd = a [back to sticks} + Pare[AUGUST 2008 © MODERN DRUMMER 121BILL STEWART THE FACULTY. THE PROGRAMS. THE CITY. drummersco)!ective A division of The Collective School of Music An Accredited Institutional Member of the National Association of Schools of Music THE WORLD‘S PREMIER DRUM SCHOOL Seu ee 0 eR te ce. Frei fpr Fr] i! . * § —, ae : » Fo Po a er. FER FTE a at zs Se 2 = = i ae ae Se | LEELLERLORLEFELE CELERLLFeLLeriet 4 a ae SE = = TU PELE TEREC On DOPED ELE nan 4 1 “ QLLERLLURLERLL ee ELeQeLeerreerreee | “ = = | j tt Sl | ee Stee b Lek Gy Reet CE : oe Neem urd ar Lad i your world. NeatLinear Fills Part 2: 16th-Note Triplets bye Johnston 38a3&a,4&a4 &a, You're welcome to come up with your own consistent way of counting sextuplets, as ong. as you keep the syllables short. Jus like last month, well statt by playing a linear pat tern between the snare and kick, Then Wwe'lladd simple ‘changes, such as movement and dynamics, to vary the sound ofthe pattern. The better you master the original pattem, the easfer the remaining steps wil be. PATTERN 1 aking a simple linear pattern between the snare and First, play the linear pattern between the snare and kick Kickand thenexpandingicarounddheithasbeena . ‘ . i Spa oy Aa spp fo oar thd als 5 become one ofthe most requested topics when Idoctin- SFepwa-w-w iam ada | ie teeter ce cea ye edn Wecanalldo them, andifwesiveourbody enough time Now move yourrighthandtothehithat-The pattern todevelop muscle memory, wecanallleamtoexecite__doesn'change, bu the sound docs: ii eter lag ac eel ant wut ig, c ¢ pee esc oS ee last month's article and applying them co.a new subelivi- sion. Instead of using L6th notes, we'll be using 16th-note RLRL RERL RL RL RLAL triplets, which are also known as sextuplets Siteenth- ‘Neat, bringin some accents. This step is crucial for cre note triplets have asi-to-one speed relationship with the ating the proper texture and fee {quarter note. This means there will be six hits for every ‘ ‘ ‘ quarter-note pulse. When it comes 1 counting 16th-note ‘uiplets, everyone seems to have his or her own special way. [tend to count them Uke this: 14182, 2&4 2&2, 3 RURL RERL RL RL RURL drummerscollective i Se ar ROUGE AHN Cee AUEU AR ete EST. 1977) eaThis time, move the right hand to the floor tom to bringin new sound. Keep the dynamies the same as they were in Example Heenan Naw alternate your right hand between the Hor tom and the fist tom, This final step will help you figure put how to play linear pattems anywhere on your drumset a RURL RLRL RL RE PATTERN 2 Here's a second linear pattern to explore. Begin by playing it between the snare and kick, 6 7 Here's what ItTooks like with accents, RLRL RL Now mave the right hand tothe floor rom to rin sound. Keep the dynamics the same as they were in Example & Qu) setae any ss RL RERL RL RL Finally, alternate your right hand between the floor tom and the first tam. Once you have that down, work on playing the pattern anywhere on your drumset. ves To cheek outa video of me demonstrating these patterns, og on to moderndrui he mikeenons rhe ors Tike Jobneton in sermnt Cal MOONGEL WoRKOUT PAD® “Lcan honestly say, after 6 months and well over a hundred hours of hard-hitting use, the product looks like | bought it yesterday. There isn'ta mark on it anywhere, The pad works like new, and looks better than my newer RealFeel practice pad.” — sw sockdrummingsystem.com FeTora Distrbuton:dgbangast. com Peierls Jah rata pce Mer Cena cer used ia RT SETPulse And Meter Part 3: Modulations And Polyrhythms byt HumbertoKavee ast month we worked on modulating pulses while ‘maintaining the feel ofa given meter. We did this by breaking down rhythms into a series ofTong and short notes that define the structure ofthe meter. (For instance, ‘a meter of seven can be phrased as 2-2-2-1, orlong-lon Iong-short.) Then we substituted larger groupings for the Tong and short notes of those rhythms (threes for twos and, ‘twos for ones, or fives for twos and threes for ones), This opened up a world of possibilities for stretching common rhythms into seemingly irrational combinations that stil convey the basie structure of the original patter. This time well ook at some other ideas, including modulations and polyshythms. FLOATING PULSE Let's start with some subtle pulse modulations made up of different combinations oflong and short notes that can be phrased so they convey the same meter. Here are thtee that work well together (L=long,$= shor) us ISIS 18985 Ifyou use twos for the long notes and ones forthe short notes, you have three different patterns in seven. LUSis2-2-2-1 1 pial age sen 2 el ee Ny 1SS88S is 2-1-1-LLL 2 Foe) ON Ifyou substitute threes forthe tos and twos for the ‘ones, you get patterns in three different meters that still sound lke they're in seven. TLISis3-8-8-2 (eleven pulses) aes 70 MODERNERURWER Oct 2010 aE rane (Once you can hear Examples 4-6 as being detived from. seven, practice alternating herween ther, maintaining the fel of the original meter as the pulse shifts between, leven, twelve, and thirteen, When you float between the three variations, the pulse should adjust slightly (speed. ‘up or slow down) so that the length ofthe measures stays ‘consistent, Use the two/one versions of the rhythms asa guide to help you keep the fee ofthe barsin seven. Try this with other tworone rhythms that add up tothe same pulse perbar, You can also substitute larger groupings, like fives forthe twos and threes forthe ones, to create even denser patterns. ‘THE FAMILIAR BECOMES STRANGE [Nowlet’s work with the twelve-beat rhythm from Example 5 (LSSLS}, which feels like it’s in seven, : ug) Saal ere aly Now play fourlong notes (threes) against I. 8 HogaStrange, huh? Even though we added four evenly spaced beats underneath, the shythm still doesn’t ée/ even. That's because you're hearing the threes asa cross-rhythm against the original 3-2-2-3.2, which is felt in a meter of seven, even though it’s technically in twelve. Ifyou flip the perspective so that you hear the threes as the primary rhythm, then ir will sound lke a common 12/8 rhythm. eo flipping between the two to create a mental modulation from seven to four (12/8) and from four (12/8) to seven. Fy ALL TOGETHER NOW Now let's combine ideas to create a more complex arrange- ment ofthe LSSLS shythm. Keeping the ath note steady, play 2-1-1-2-1 and then 3-2-2. phrased as 5-3-4-5-3 (which is alsoa version of LSSLS} This creates the feling that dhe seven meter is changing speeds on top, even though the pulse remains the same ‘The three rhythms ft perfectly together because the twwofone and three/two versions add up to a total of nine- teen pulses, which s the same as the 5-3-3-5- pattern played underneath, 10 wg 210d FT) 1) TT 1 y (LIE) ele) (ea ees (iu Now fip it so that you're playing the five/three version as, 4 cross rhythm over the (wo/one, three/tvr0 pattern. 2 over abar of 19/8 DDT n whe Hoo i Try this process with other long/short rhythms, playing ‘wo/one and three/two versions of the same long short combination over a five/three version, and then flip i ORCHESTRATION ON THE DRUMSET ere tae ay neg NN ese (Shesaaaaere Absit cae ee Eeeeeeaar att remains 11S on eLtusngdreccfcen nears (22203932, el maariae arpaeeaie A ‘Wel, that's it With what we've covered in these three Pulse And Meter” articles, you should have plen tocalculate and create your own pulse/meter relationships that will take you well beyond what we've demonstrated here. Good luck! | Hew Yorba rammer lot Humberto Ravee hae pljed on mre than Foe irlding Henry Teed cent elese nth tenon a we ay teTa RS RTE COE RT Inside pee eS i a = = te a “a(JAZZ DRUMMERS’ WORKSHOP) Odd Times Part 3: Soloing by John Riloy ; ‘ 5/4 jazz time, and conclude each four-bar phrase with one of the ‘one-bar solo phrases shown in example 1, Work towards making the transition from playing time to soloing and back as seamless as possible. These five-beat phrases are, for the most par, clearly construct ed as.athree-beat phrase plus a two-beat phrase. Maintain your hi- hat continuously on beats 2, 3, and 5 or beats 2 and 5 throughout ‘your time playing and your soloing, This will enhance your flaw, RLRLRLR Bs sine: > Do SS => ae fededdedad aS ae RR L RLRERL RERRLRLLR RRE RL RRL RRL RRL Hane Ae 102 | Modern Druramer | Ossenbor 2008 RLRERL L RLRLRLERLLRERLRL RRLLRLLRRLR RL RUERRLRLLRLRRLRLLRL +4 im athNow let's try two bars of time and two bars of soloing. 2 | Wezzzzz. HERELR DOME e Re Riel en See RRA Finaay tde fous with yourself, Pay four bars of 34 tine followed by a four-messue solo, The slo can consist of ‘combinations of repeated one-bar ideas or four individual ideas 3 BS as paseo} — RURRLRELR RR = 2 Es ous UL} RRL RRL RRL ® z e = z RURERERLLRLRERL R RER RLRLRL R ‘Modern Dranmor | vecenber 2s | 103(DRUM SOLOIST ) Art Blakey “Well You Needn't” Transcribed by Steve DeLuca his months Drum Soloist features the ener- ‘gctic and inventive playing of the legendary Art Blakey. This performance is from ‘Thelonious Monk’s classic recording Monk's recorded in June 1957, when saxophon: ist John Coltrane was part of the pianists repular unit. “Well You Needn',” one of Monk's great thirty-two-bar tunes, features Art soloing over two choruses. This isan incredibly musi cal and fun solo that contains many classic “Blakeyisms," For instance, note the leftchand independence figures played meloci- cally around the drums against a steady jazz ride (measures 1-16), the quirky ideas like the muted snare effect and sticks being struck together (measures 25~30), and the use of the-beat ideas over the 4/4 pulse (measures 43-45), The jaz? ride is kept steady in bury 1-16, and the hi-hat is played ‘on 2 and 4 throughout unless otherwise notated. The solo begins at Og - the 5:5 mark of the tune. (Make sure t listen to this recording, as some ofthe nuances of An's playing are difficult to notate,) oo aera 106 | Modern Drummer | oeconbe 200Modera Drummer am | 107A On Tuning Timpani Qi re zens 2 member of he peeson secon in my | school band. but I have the feeling that I will be in the neat future. That means Tbe playing timpani. [know how to play the drums, but I have @ question about tuning them. My school has three timpani, and I'd like ta know whic pitch drum to tune to which Ben Huber A208 sonatimpnist, Lalas we four timpani. I your school has three, you should tune them to the range best suit ced to each drum’s size. Most manufacturers elim that their drums produce a range of an octave. This may be true, but these full. Detave ranges are not generally acceptable in termi of the quality of the sound. The realistic ranges of my drums, per size, are: You can generally stretch one note in either direction on each drum, bot agsin the tone quality will suffer abit, In an ideal set- ting, you'd add a 20'-21" pedal piceolo drum, which will g You high notes from F to C, Good luck, and rem sound, sound! CAEN mee yy Meredith Music Publications is exclusively distributed by Hal Leonard Corporation www.meredithmusic.com Youn fide Meet Pitta are sires rote US Cnt, cei Abaca Sorc mete fupeypercam Panes MCs. NORTE pene con nee oka. AMORA ASC maleckimass com Stayer Mica. HANDGS TA etigsccon Santas Set Merce Mink Sinisa 28 menchemusiccam Bie Rese Pas YASIA930 sHeeMeghs con Mosca AsCoros. TaN O4 msds com SL uarsNanellTARQGSPONS. stormy een Mie ees es ne start com © Serowelsemisie cont(ROCK ‘N’ JAZZ CLINIC) Creative Grooving Groupings Of by Christian Finger VA care 22 the second part of our series on creative applications of five-note group- ings. In the January '04 issue of MD, we applied five-note groupings to triplets in a jazz setting. In this article we'll explore the same concept applied to a funk/fusion setting. For this concept, we have to deal with 16th notes asa basic pul- sation. By superimposing groupings of five “over” the 16ih nates, = the groove is shifted to some very uncommon places. This stuif is F challenging, but working on ie will I. Increase your independence. ‘on 2 and 4 while playing the 2. Let you explore 4/4 from a new angle, finding new “spots” | with 16th notes on the within 16th notes 3. Give you a lot of fresh, interesting ideas for grooves. Bi 4, Make your item ime much stonger mie ive In Funk/Fusion Time = Step 3 Is ime to apply the concept to a groove, Play the snare aes vies st [eee tee aniara) a= Step 1: Play altemating 16th notes on the hi-hat while the bass drum plays quarter notes I's a good idea to use a metronome with these examples Start with guarernote= 60.) aaa ate Step 2: Now the fun begins. Place an accent on every fifth note, starting on beat 1. (The following examples are two bars long to show how this phrase “overlaps.” Notice how the phrase starts ‘again on count 2 the second bar.) SSS Step 4: Now split up the accents betwoen bass drum and snare ‘drum. This makes the groove more “abstract? 16th notes and practicing with the click will help you stay focused, nat counting the 2) Step 2a: To better understand and hear the rhythmic displace ‘ent that’s happening, it’s a good thing to simply clap the accents with your hands while playing quarter notes on the bass drum (This isa great way to get a grip on any new rhythm.) 2 84 | Medora Drummer | sy ane Step 5: Notice the way the five-note grouping is broken up in a 342 manner as we put an accent on the fifth note, (The hi-hat switches to Sthmotes.) Inthe beginning, the groove sounds lke an Step 6: 8th notes sounds ve } pulses se Step 7: and dls. | or iis pattern.) Step § | Found in| bass dram rate it ar a oe Tope! fils, and tact me_ wonai Step 6: In this example, the right hand stops playing constant Sth notes asin Step 5 and plays in unison with the right foot. (This sounds very good played on the ride eymbal bell while the left foot | pulses 8th notes on che hi-hat.) | Se SSS she snare im, along P Step 7: Here's a fun variation ofthe five-note grouping for solos 5 | and fils. 1 uses a RLLRL sticking played om the snare and toms. bed snare sing focused. b up k hi-hat Slike an (For this example, that sticking is played over a samba bass dram patter) (gg Ree am Me se= Get ware eo the Step 8: Another way of applying five-note groupings can be found in Gary Chaffee’s books. He puts every fifth note on the bass drum. (The following is the basic idea. Go ahead and orches- ‘cate it around the kt or split it up between the snare an hi-hat.) ll hope these ieas inspire yo to come up with exciting grooves, fills, and soos. If you have any questions, please fel free t con- tact me at fingmusic@yahoo.de, or cheek my Web site at www jazeplanet convfngerto. = NEW GENIO Series ~ made of NEW STANDARD CAST BRONZE “The new UFIP Gena rnge of anda cast bronze yerals were deelo- ped fr she amateur drummer looking for pefesional quali cymbal “Tho cymbals perform very wll in sido chou aswel a ive gig. UEIP Genio Cymbale promise «0 be the refrence for the amstour drummer wanting top-end sound quality From his cymbal setup, ata poe every drut a aloe Tel 6144889564 « Fax SA.AR5 5461 » tener @ufipametica.com ergot Movtorn Drummer | ey 2008 | 85tt et quae alec’ thee age = | Modern Drunmer | toy 20 | 891 Part 2: Odd Made Even/Even Made Odd bybliot Humberto Kavee [ee ship between pulse and meter to create new ideas. We ‘began by breaking down common meters into long and short notes, For instance, 7/8 can be played as 2-2-2-1, 0 long-long-long-shor. (Headless notes can be played as rests oras soft ghost notes.) r eg aa ae ey ‘Then we substituted different groupings for the twos and. ‘ones, lke threes for the twos and twos for the ones, which is similar to how you would “tripletize” a straight-8th pattern togive ita swing feel. Here's how those substitutions would ook when used with our original 2-2-2-1 pattern in 7/8, ‘Notice how they retain the basic long-long-long.- short feel of the original 7/8 meter Pulse And Meter gmnnnimmmnnny Ifyou do a reverse substitution and turn the threes and ‘wos in Example 5 into twos and ones, you get apatiem in seven (oF 14/8): 24-1-1-2-2.2-1-1-1 6 > = > = > = er rr ‘Now play Example agin, hearing it two ways: asa tepltized version of Fxampe 6 a bossa novain seven or as the orginal swung bossa novain four (Example). Here's the basic beat for “Pariah,” The bass drum and snare outline the seven, The right hand accents the bossa nova cave ina tripletized seven (as in Example 5). 7 on oie mua las al tal Suc eee eee ‘ODD MADE EVEN ‘You can take that concept further, substituting higher numbers like fives and threes, for the twos and ones. When. ‘the numbers get bigger, you have more options for substitu tions to use while still maintaining dhe feel ofthe original meter. Sevens and fives are an interesting swap for twos and ‘ones, but sevens and fours work too. An even meter like 12/8, can be divided into stcor three without changing the pulse, Dividing 18/8 into long and short groupings (ike 5-5-5-3) lets you imply the fel of meters lke seven) that don't divide evenly into eighteen while keeping the baste pulse the same, EVEN MADE ODD. In the piece “Pariah,” from my upcoming CD Negative, play meter of four as fit were seven. The tune contains a simple piano vamp that's derived from a basic bossa nova clave:3-3-4-3-3 (16/8). 3 gett ieee) altel: ela Rather than play the bossa nova clave straight, 1 wipletized ito give ita swing feel. That turns the rhythm into 5-4-6-5-4 (eave gm mmmmmmy Ifyou divide Example 4 into threes and «wos and accent the clave, you get3-2,2-2,3-3,3-2,2-2, 665, MODERNORUMNER-Sptonber2010 Now let's work with an odd-time meter ike 21/8, Here's ‘one way to group twenty-one using threes and twos:3-2-2- 2-3-2-$-2.2, Ths s the same subdivision Vinnie Colaluta "uses in the second verse of Frank Zappa's "Keep It Greasey," from Joe's Garage. gmonomnmnany you use a reverse substitution where threes become ‘wos and twos become ones, you have 2-1-1 1-1, which puts the shythm in 12/8, 12/8 ean be felt as 4/4 ifyou think of the pulse as triplets, gilli sii th) tly Now go hack to the 21/8 pattern in Example 8 and train {your ears to hear it sa tripletized version ofthe 12/8 pat tem in Example 8. Once you can hear it that way, listen to “Keep It Greasey" and syne with Vinnie's pulse undl you ean ‘hear him play 21/8 as fit were in four. Once you've inter- nalized both of those fees, experiment by applying the pat to the kitin different ways. For example, try splitting the hands between the hi-hat and stare, or play the wrtten notes as accents on the bass drum and ride while filling in the headless notes with soft ghost strokes. Follow the same ‘process with Examples 1-6 as wel. Esee ee, a Linear Fills Part 1: 16th-Note Patterns by Mike ebston seston signed obi sour reo and Deri icc tine Sipe rough righ By wing trp te pater heen ed une do oneri paye one Think bow plying ask ea on ou ha ck, aaa Nowe you i anand ne iovertotefortomItuthe san tan ee andi have change stay Page ha Pi fete oesya ae ae Inte olonng erties ee gang ete sng Inearpater evo shee ack sa a bys wearin an nel dane an bev aoverthe e LINEAR PATTERN 1 ‘To begin, play the following linear pattern between the snare and kick drum, as written, Now move your right hand to the hi-hat. The pattern doesn't change, but the sound does. Here you'll accent the right-hand strokes and ghost (play very softy the left-hand ones. Ths step is crucial for creat ing the texture and fee] we're going for. Sajopetel i Ree otic Next, move the right hand to the floor tom to bring in a new sound, Keep the dynamics the same as they were in the previous example, * ¢DISTALVENMANCED. This time, altemate your right hand between the floor tom, snd your first rack tom. This final step will help you leam to phrase the finesr pattern anywhere on your drumset. LINEAR PATTERN 2 Here's second linear pattern, Staxt by playing it beeween the snare and the bass drum. icone RL RI This time, accent the right-hand part and play soft ghost notes with the left i? = > > LS = iy ein RL RL Move your right hand to the floor tom to bringin a new sound, nau Mica RL R Finally, alternate your right hand between the floor tom ‘and rack tom, To check outa video of me demonstrating these patterns, log on (0 moderndrummer.com. [Bie Sohnston sche ot tamikeslasonscen lyn Sseramenta Clic whee“ se ——— | and establish Train asa |? Teena ine, Drummer Se 1 solid pulse’ “LWish You Would” subj with skillful echnique. | Here's another syncopated beat, again with ghost notes adding Here are some examples. depth tothe feel The album’s opening cut immediately establishes Scott's relaxed fanky groove, with extremely soft ghost notes and a great setup for | “Drops Of Jupiter” | first hit single off the album has a slow hip-hop feel. Scout sit 10 provide a deep pocket, with ghost notes once again play~ | | | | SOUNDS GREAT... CUTS THROUGH... AND LOOKS PHENOMENAL... JUST LIKE ITS DESIGNER.“Roxanne” (from The Police’ Outlandas D'Amour) An overwhelming aspect of reggae's influence on Stewart was the missing downbeat. Check out the bass cum pattern from the verse ff The Police's first single “Hlole In My Life® (Outtandos D’Amour) Stewart could always come up with atenton-grabbing opening fills, The snar-crashes lack with Sting’ “Yeah!” Notiee the left-foot hi-hat placement on beats | and 3, oo = 4 aa =" SSS SS “Can't Stand Losing You” (Qutlandos D'Amour) ‘More snare-crashes followed by missing downbeats, from the end of this cune’s re-iito oS eee —— SS = “Message In A Bottle” (irom The Police's Regatta De Blanc) ‘This single features some great polyrhythmic imlick phrasing. be Re er ee SS (On the final re-intro, another Copeland signature par: a half-time snare pattem over a deiving quarter note bass drum, This makes the song fee lke it's moving in two speeds atthe same time, WA xv | : 2) ee ea E <-Select The eggae shuffle in this tune grooves, Sap eck r Modern Drummer | over ano)! 143“The Beds Too Big Without You” (Regeaita De Blanc) Here’s another pushipull effect: Stewart riding and rimelicking a double-time Feel on the snare over a2 144 bass drum. _ a ee, | 2 Se fee ee coh “No Time This Time” (Reggaita De Blanc) Hand speed time! Check the tempo ofthis fil, from the fade-out of the tune. one ee > pa ee “Don’t Stand So Clase To Me" (froun’The Police's Zenyarta Mondatta) Tis one’s got it all: the rengae half-time intro and verse, the offbeat launch into the ride eymbal chorus, and syncopated hi-hat work ‘over quartcr-note bass inthe second and third verses — > 2. monn a aie Set a Poe ia 4 ie =" + “ui i F or “Man In A Suitease” (Zenyatta Mondatta) Grooves and fills over driving bass drum quarter notes show up in many Police tunes, Here, Stewart reverses it by filing over and around an offbeat bass pattern. 144 Modern Drummer | Novnteran“very Little ‘She Does Is Magic” (from The Police's Ghost I The Machine) Even when Stewart plays a “normal” rock beat, he puts his stamp on the cymbal part. In this song’s chorus, the bell ofthe ride in the Second measure answers the bass pattern in the first. “ O: In : tee t be acy =e aa a cy “Demolition Man” (Ghost in The Machine) Another explosive opening fll, followed by more hi-hat wizardry ibe dew: >2>> > > a Dp im im ie “Murder By Numbers” (Synchronicity) slownbeats on the bass drum inthe chorus, (hat Sat a tee ‘This has to be one of the most unusual grooves ever created for a rock song. Notice how the offbeats on the rim in the verse become Pare ie E- oleae =e “Little Faces” (from Oystethead’s The Grand Pecking Order) Copeland groove, =e ee SS ERLERERRERRLERRLLRLRER Finally, Stewart—2001. This track opens with a lengthy paradiddle improvisation on snare and ride eymbal, followed hy a classic cae i Pe | ‘Moder Drummer | Narr 200) | 145Chops Builders Part 6: Pu-Du-Du wysiteachman this month we're golngto develop, an incredibly useful sticking, pattern called pu-du-du, the name of which is onomatopoeia for the sticking RLL. Weill also invert the ppu-ducd into the du-du-pa (RRL) for contrast, These combinations of three strokes may seem simple at frst, but ‘once you dig nto them you'l find they're quite dificult to play accu. rately and with aloose and musical flow. Taking the time to master these stickings is worth the effort, since they're very expressive and handy ‘when you're playing triplet feels. azz drummers use the stickings alot in ‘comping figures and in sole phrases, ‘The pu-du-duisaright-hand accent followed by two let taps You're essentially playing triplets with aan accent on the first partial. The inversion, du-du-puy is two right- hand taps (ora low right-hand did. dle) followed by a left-hand accent. This puts the accent on the third par- tial ofthe triplet, Using diddlles Instead of single strokes saves energy, and it also gives the triplets a different feel. The pu-du-du should havea lear accent on the frst note, and the ‘wo following taps should be played Jw to the drum with alight touch, The du-du-pu should get the same treatment, with alow and light diddle followed by a hig accent. It's important co have afirm grasp fn the double-stroke roll before ‘working on the pu-du-du, since one hand has to play double strokes. Be sure dhe doubles are played loosely, ‘with the fingers smoothly rebounding the second stroke of the diddie. Ifthe doubles are played as pure bounces ‘with no finger reinforcement, they vill sound weak. On the other hand, if the doubles are played as wo forced ‘wrist strokes, they will sound choked, and you'llalso have limited potential for speed and flow. your finger eon- trols still a workin progress, et on the side of bouncy, since tight playing will never develop into finesse, ‘Once you can perform these exer- cises comfortably and with good technique, you'l find they fend them- selves to very fast playing, Budimentally savvy players may’ notice that when you playa pu-du-du and a du-du-pu back o back, i's actually a surred six-stroke rol, ofan inversion ofthe paradiddle-diddle Get creative and combine these stick Ings in a variety of ways to say what you'd ike to say musically, The com: Dinations are a lot of fun on the kit too. Try moving the accents to ler cent drums and cymbals and even. playing some of the double strokes fon the bass drum instead of the snare. There's a wealth of vocabulary built into these two vital stickings Good luck! 62 MODERN DRUNWIER g2t2010a rR —— SSS RRL LER = E aie LRRLRR R coon ea CRE pS Pe R L R R RR a TR RELR es a L =f RLLERRERRERRE LRRILR RELRLELRRERRL LRRLRALL RLLR 2010 MODERNORINMER 63RRL ERTRELRRL EERE RLLRLLR L RROERLLERLL LLRLRRERR RRLURR L = il Bachmanis on ternational rum an | andafieclanee dre playerin Nase or more ownaton sist ibschman net 64 MODERN DRUM faset2010his month we're going to look ‘at a modem rudiment Inown as the haita. The strange name is onomatopoeia—if you rol the“ with | your tongue, you're singing the rhythm ofthe hairta This rudiment is quite common among drumset players, most notably in fills by drommers like Cartor Reauford, Phil Collins, and Neil Peat. ‘Tomas Haake even plays nartas within grooves with bis fot! ‘Technically speaking, the hairta is a simple rudiment to play. All of the strokes should be played as relaxed full strokes (aka fre or legato strokes) where the sticks rebound back up by themselves, much Uke you're dibbling ‘ baskotball. "ha challonge isto play ‘he stokes perfectly relaxed and with accurate mythic placement and good ‘low, especially when you mave the rudiment to different parts of the beat and when you change leed hands Hairtas can be icky because the two hands play diferent parts: One hand plays double strokes, and the Chops Builders PART 4: HAIRTA by pitt Bachman ther plays consistent single strokes. If ‘you have good control ofthe singlo- ‘and double-streke rol then your hands are trained with the necessary motions to execute the haita. Tho challenge willbe in the coordination and in understanding exactly what each hand should be doing. ‘The following exercises develop the hairta by separating the hands and applying the rudiment in diferent rhythmic locations in both triplot and dduple frameworks, Make sure to play the double strokes consistently from ‘the check potter into tho halrta rudi- ‘ment, When you add the hairta the ‘hand that plays the double stakes ‘should not tighten up or change its rhythm or motion. You'l also want to check thatthe opposite hand is playing smooth and evenly spaced single strokes, The opposite hand's rhythm is syncopated in an unusual way, so ‘make sure i lows and plays evenly spaced notes. Any tension or uneven ness in that hand means you're work- tng too hard and distorting the proper hairta miytnm. I's beneficial to play ‘your right and leit band om different ‘surfaces in order to clearly hear each hand's part ‘Since haitas come in sots of unreo partials, we can place the 24th- or 2nd-note rhythm behing the frst, socond, or third partial. The exercises contained here do this in both triplet and duple orm. I's very important to play these exercises with a metronome ‘while also tapping your foot so that you have a mhythmie point of reference. ‘Without feeling the pulse beneath the complex rhythms ofthe haita, youll be developing only your hands and not || your musical vocabulary. Once you're ‘comfortable playing natas m unusual places rhythmically, ty applying your new vocabulary on the drumset. Ifyou practice aiigently, it won't take long for this new rudiment and its many variations to pop up spontaneously ‘within your playing. That's when all this rdimental training really pays of ‘52 MODERN ORUIBER + JUNE 2010,ian et amare. nda sere er aeLileleh Gian ravage RT (TAPE Functional 5s And 7s F= ODD-NOTE GROUPINGS FOR iy REAL-WORLD APPLICATIONS by Doug tann Ms eho: conse of ert ot way to npr simple antsoven-note groupings in eoores ‘and ils. Lets start off simply with a five-note grouping using 8th notes. This pattern resolves after fve mea- ‘sues, The hi-hat ‘oot, used here to keep time, is key 10 getting the phrase to st in the pocket, so make sure you're not flaming that foot against the other limbs. Try playing the patter as left-1ight-lef-kick- ‘ok, right-eft-ight-kick-kk. flees > nPapa id anee a Hete's a way to phrase the tve-note pattern using 2, T peat ‘The same fve-note grouping can be played in 12/8 for swing and shut feels, Bee = Here's an example of one way to phrase the flves with the snare and kik under a swing ride patter, 4 momo Ion pooom EPSP hte ee Ga ‘You can apply the same concepts to seven-note groupings. Here's a hasie grouping of seven between the hands and feet, Stick this phrase using alternating strokes, leading with either hand. Then try sticking ‘tas afive-stroke roll followed by two bass drum notes: lft-lelt-right-right-letCkick-kick,rght-right-let” left-tight-kick-kiok ss > = eee ‘54 woven omonMER + NE 2010Hore's a way to play sevens between the hands and feet using unigon strokes betwveen the ride and Kick Se by playing the phrase using ltomating strokes. Here's where the sevons fall when played in 12/8, Start ‘Then uy a single accent followed by double stokes (ight-left-Lft-right-rght-lft-let) 8 poe ae em aa sah ¥ Finally, here's an example of one way to phrase the sevens with the snare and kick under a swing ride pattem. Lea eee, 2, tote Wings Symphony Hie aru oa ele Fegan Fe Duy one eared al oan. NED + MODERN ORUMER 55Olea site US) So Polyrhythms PART 6: SUPERIMPOSED SHUFFLES y 200 morgensteia is on wel ake some conison se pats and play them superimposed 5 if four-against-three polyraytiumc grooves, Here ate the four shuffle grooves we'll be dealing with. Examples C and D have a half-time feel ‘Beample 1 applies the shutfle hi-hat pattern from Example A toa four-against-three polychythm, ‘where every &th-note triplet or Sth-noto-triplet res from Example A is converted to an &th note. ek -ss\eiaissppege SBN Fe FBg teaeng SSS = = Example 2 completes the superimposed shuifle by adding the bass drum and snare patterns trom Example A. Make sure to count out loud in order to fully grasp how the shuffle groove feels when super- imposed as a four-against-three pattor, Boke vase ne veces t t T = iF = He = a eee talc aces ee paragt red pe BG [ee errsee ts are ace Te hab te es en cap tenon oer ta the superimposed polyrhythimie hue, Example 4 1s aflve-measure phrase consisting ofa two-measure beat followed by the three-measure superimposed shuitle from Example 3. pe ‘Example 5 completes the superimposed half-time shuffle with the addition of the bass dram ‘and snate patterns from Example C. 3 ‘36 moDen oaUMMRER » JUNEOT0Example 6 add the base dum pattern ftom Example D. J. fre +} Example 7 isa five-measure phrase consisting of a two-me ‘measure superimposed half-time shuttle 7 rae er] 1 , Sere) Example 8 convers the quarter-note/8th-note superimposed shuffle pattem in Example 4 to 8th ‘notes and 16th notes The snare notes are accented to emphasize the feel ofthe superimposed shut Wik (ie eB : oa Example 9 follows the same process by converting the superimposed halt-time sue from Beample 6 to Sth notes and 16th notes. Once you're comfortable playing these exercises uy playing ‘a two-measure Bth-note groave flawed by the superimposed shuffles. 2 fn Bo Ao ra Bi aelmol taal j a a “Examples 10 and 1 superimpose the hand pattems of the shulle and half-time hulle over a continuous double bess 16th-note onslaught. When you practice these grooves, precede them with two measures of a 16th-note double bass beat, with the ride oc hi-hat playing a quater-note or Sth noto pater and the snare iting on the backbeats. 0 CAAT AOE “Tree Although these four-against-three groaves take three measures to play through, i's important to be able to play them for an even number of measures as well. So practice each of the previous examples ‘in musical phrases of two-,four-, and eight-bar lengths, Drum on! Rod orgnssn sv wun rer oe poral se bad Die Dap Favs oa» | nemtr che saree ve rt Be, nore oy he eal an OE ace, oat eres wi We fuss Prop Dea Pes, ae nya Ho crete pet of porsedon a oto Cap OAs. .ane2010 + MODERN DRUMMER 57THE FUNKY BEAT Gadson’s Groove, Part 2 “LET A WOMAN BE A WOMAN, LET A MAN BE A MAN” by David Garibaldi 1 2008, I wrote an article on the playing ofthe creat R&B ‘drummer James Gadson. The piece contained a transcrip~ ion ofthe song "My Sisters And My Brothers,” which origh- nally appeared on the Dyke & the Blazers LP Dyke's Greatest sts; We Got More Soul and was released years later on a now ‘out-of-print compilation CD called $o Sharp! Gadson’s work with Dyke & the Blazers, along with the work of the drummers of James Brown, was a big part of my school- ing during Tower Of Power's early years. These drummers’ playing helped shape the way I approached the instrument. _Byke's Greatest His, in pasticula, isa gold mine of reat drum ming, This LP-which, according to Gadson, was considered “experimental” music~also features Earth, Wind & Fre guitarist ALMeKay. In this article we're looking at Gadson's performance on “Let ‘AWoman Be A Woman, Let A Man Be A Man.” Evory tne 1is- ten to the track Im amazed by how sophisticated the drumming {s, When Gadson made these recordings with Dyke, vey few ‘drummers could play ke that, James vras Inventing a language ‘that all of us sil use today. If you're interested in Gadson’s playing, look up his discogra- phy. Its an amazing body of work. There's also a chapter on James in Jim Payne's tremendous book The Great Drummers Of R&B, Punk & Soul PERFORMANCE NOTES. ‘There's a lot of locseness within the structure of what Gadson played, meaning there's some improvisation, The basic zhyth- ‘mic theme of the tune is found in measures 9 and 10. Transcribing can be an intimidating task, but it gives tremen- ‘dous insight into the mind of the player being studied. At the time ofthis recording, May 10, 1969, there were few drummers playing this way, which makes it even more significant For thase of you who like to transcribe, check out the power- ful sofware called the Amazing Slow Downer {ronimusic. com), ‘hich allows MP3s to be slowed down without chenging tne pitch, Also, the EQ can he adjusted to enhance certain frequen ‘is that make crums easier to hear on old recordings. Slowing the track down and changing the EQ settings allowed me to ‘hear a Jot of detail that’s missing when the track is played at normal speed with fat EQ For fans of Dyke & tho Blazers, there's now a great compila~ tion CD availabe called Dyke & The Blazers, We Got More Sout The Utinave Broadway Funk. This collection contains thirty- theoe tracks along with liner notes listing session dates and players—you gotta have this! ‘Even though I spent several hours going through the record- ing, Imay have misseq some things. I you have questions, comments, or comections, I ean be reached through the Web site towerofpower.com. Enjoy!THE FUNKY BEAT _ +e pe are + oe _ ae 0 o> An Dimon aio a0 ee : “+ Shas a isi cect 2) ee ea Ee a] a sees ( ae = a a ee eee a ; 150 MODERN DRUMMER + JUNE2010| THE FUNKY BEAT drummerscol cy ) lective m a drummer and it’s a good Drum School”. - Steve Gadd 4-Week Summer Intensive programs begin June 2ist. Take your playing to a higher level and enroll online today! EST. 1977 www.thecollective.edu ©. . , | AROUND THE WORLD) The Beat Of Flamenco A Percussive Spanish Art by Dan Britt nt dition.” By its very nature, flamenco intense. And it In the last couple of years, I've been performing with a fla- ‘menco guitarist within a blues/classic-rock capacity. Naturally, this style differs vastly from other stright-ahead rock bands I've been in, Combining drumset with a flamenco guitar is definitely interesting ané often quite challenging. flamenco guitarist sometimes plays a continuous series of rapid finger strokes called rasgueados, often taking the form of five-strok patterns, Intrigued by this style, T sought to learn about some of the basic flamenco patterns, or compases (specific rhythmic Forms). ‘These shythmic patterns convey the mood or unique emotional atmosphere of the piece being performed In this article, we'll work on a few of the rasgueado forms. Begin by practicing the following exercises on a pad or snare drum with a metronome to strengthen your execution of the 4quintuplet. A mixed sticking. is suggested, as it seems to simplify the later application on the drumset, Strive for clean and even strokes, RLCRLERLERCRLLRE 2 5 ‘ RLLRL EERE Rea RCE RD [Now let's examine four common forms of flamenco: farruca, tan- | ‘205, soleares, and alegrias. For each form, we'll present the basic shythm and then a drumset application. The tempos shown are only ‘a general guide, as most forms can Vary greatly in speed as the per- formance progresses. Farruca Mood: dramatic, masculine ‘Tempo: quarter note = 110 Farruca is folk dance in 4/4 witha strong character. It employs Sth notes on beats 1. 3, and 4. The accent is on beat 3. The quin- tuplet (or five-stoke) ison beat 2. it 100 | modern Drummer | sone 2304 lamenco (pronounced “fla-MENG-co”) is a genuine art style that comes from the ‘gypsies of southern Spain, It’s boon described as “an expression of the human con- very rhythmic, vigorous, and emotionally ists in many forms: Cante (“CAHN-tay"], the song; Baile (“BYE- the dance; Palmas, hand clapping; and Toque (“TOH-kay"), guitar playing, Basie rhythm Si 5 = Mood: sol Tempo: Solears Aamenco 0" boca ruca and § tured ove many of twelve be Accent Drumset application This is a basic application, withthe rhythms played mostly on the hi-hat, only coming over to the snare for the accent on beat 3. The’ tnixed sticking allows you to come to the snare drum consistently ihe it an eee pon Sa ieee 4 4 aaah ‘Mood: festive, lively ‘Tempo: quarter note = 130 Also in 44, tangos ("tun-goss”) isa rhythm of Gypsy origin and ‘one of the oldest flamenco forms. In this patter, there are quintu plets on beats 2 and 3, with 8th notes on beats I and 4 Basic rhythm 5 5 s Drumset appli Again, most of the rhythm is played on the hi-hat, except for beats | and 4, which are on the snare drum to match a strong guitar Drum oyon the bat 3. The esistently Soleares Mood: solitary, introspective ‘Tempo: quarter note = 120 oleares (“s0-lay-ARE-ey") is generally considered the oldest Famenco form, and is often referred to 2s “the mother of flamen- <0” because other important forms are derived from it. Unlike far ruca and tangos, soleares is made up of a twelve-best eyele struc: rel over four bars of ¥4 time, Accent pattems are the basis of ‘many of the most important lamenco rhythms. The zecents in this twelve-beat cycle are on beats 3,6, 8, 10, and 12. Accent pattem eh ee eee T 7 73s 67 8 5 0 Here's the accent pattern applied tothe basi rhythm in 34 time. 8 s ces s Fae 71S S05 atone si ECCCCeeeerees RULRURLERERE R TRUERLLRLRL s pues RLEERER LF RELRE RL RLLRERL 0 SSS SS 0 Alegrias, Mood: happy, celebratory ‘Tempo: quarter note = 140-180 One of the purest and most dignified forms, alegrias (“ull- AGREE-us") is a Gypsy dance developed from soleares. I's faster than soleares, but ina similar owelve-beat eyele, Basie yt 10 s eee 5 3 SS —==0 —= eee e eee eee eee eee “REERERLERLRE RECRUIRTLRIRE RELRLRLERERE REERERLERERE i] so ligin and & quintu seept for te eS reais: SS OS REURERTRCECRE Rt REURER 5 ne ‘ ES Faas balay RLURER T So aaa eee] RUURUREERERE RLLRERELRIRE REURLRECRERE Drumset application ‘As you play this, you'll begin to feel the twelve-beat form when ‘coming over to the snare to play the accents 9 5 5 5 3 ee eee ee pasa RUURURITRER i z RLELELRLERER Sa TLS ae Drumset application Here, the snare drum partis more active, as it's played on Doth ‘accented and non-accented 8th notes, You'll begin to feel the 103‘motion of your right and left hands going back and forth between the hi-hat and snare, As you'll se, the last ten beats are played on the snare drum to create a more direct synchronicity. Again, like soleares, you'll fel the twelve-beat form, 5 ‘ cm con midwestpercussion.com (coer rrr ae Bonita ocr eee / a | py Le cy Lane _—S== The percussion instruments traditionally played with this style of uitar are cajons, castanets, handclaps, sticks, and dancing shoes Interestingly, in onder to match the quintupletfecl of these p the dancer often has a thied cleat on the right foot {wo oM the left foot As with every style of music, to really get the true fecl, T would suggest listening to established flamenco attisis. A shortlist would include Paco De Lucia, Paco Pei The previous drumset appli as, and Tony Rivera tions are only a starting point Experiment with applying some of your own ideas to the drumset based on these basic flamenco forms. It's different, it's challeng ing, and it's fun! Dan Britt would ike to thank drummer Stephane Chambertand for his expertise and assistance in writing this article, For more on Flamenco drumming, contact Britt and Chambertand [Networis, Promote anc Sannact to the directly via their Web sites, www.DannyBritt.com and ose Intuertil rofecnioneiainTocayeMucicincuetry || 47 ‘StephaneChamberland com, Bil 20 -Pegrom Dir of Used Cn, | Jim lh VP et ABR, a Reco : Carta Rizo Trine Grey Weeintd Poche aml to7 ole ea eee 104 | atedor Drummer | ne 2204(ROCK CHARTS) Phil Collins “Dance On A Volcano” Transeribed by Joe Bergamini G2722i began 28 one of che premier ae rock [eget] Garces ortne cosy am Shetomine sr rook {PSL | tngsdge progressive rack bonds et the turn of oe = -| decade, nd morphed int a phenomenally succesful pop actin the ‘Ste Ae ie helm for most of this adventure was a tremendously talented section nite he's now known as a Grammyavinning singer/songwriter, Phil's true fans know that his drumming is just as inspirational. ‘Dance On A Voleano,” from Genesis A Trick Of The Tail album — (cleased in 1976), is a great example of Phil's playing. Th sometimes phrasing if 4-3 and sometimes 3-4, He mixes these fons defily while never losing the forward motion of the song demonstrates his ability to trverse dificult arangements and The main verse i particle driving bass drum pulse Are ane cmos and wi incomparable grove, Eventhough wih he snare and hihatacconting the "Bp fists fly early on in his caret, Phil's uptront tom sound ison fill original. Puy attention to tsa ene ph at 6. Now that's nd places his fills, his display here, ith his tasty use of the hi-hat choice of sounds and colors on the kit, and how be builds the intenst Most ofthis song is in 78, bu Pil plays various feels within the ty with more ghost notes and hicke phasing as the song develops, x 2 292 ; Ls Coo An =p SSeS = 106 | modern Brummer | June :x01 :0 ss J ipo ft ip | ea [= Eh ee Po) Gr pe ee oak ‘Moder Drummer | June ot | 107 an 2 } 2 oom. Wm. J. lal apr ath sit.Phil Collins CRE Pe] Adios nd ee = ae ae=) © Phit collinsPhil Collins ANJON3dI0NI<1N93M JAVG ae eg fear This transcription is fom Joe Bergamin’s book, MD Cassie Tracks, The Worl’ Greatest Drummers Note For Note, published by Modern Drummer Publication, For more infor i * Classic Tracks, visit the Books section at wwv.moderdrummercom 8SERIE jhe syncopated Brazilian rhythm. ‘known as samba de partido alto, sometimes referred to as “funk samba,” is ono of many samba varia- tions. As with other samba styles, the partido alto rhythm is in 2/2 (cut time) and is a two- bar phrase, The zhythm is often played during a sec- tion of a bossa nova or samba song (the intro or bridge, for example). In this erie, we'll buld variations onthe partido alto using ‘ide eymbal or hi-hat ostinatos and two-barkic/sare phrases. ‘Examples 1=1 aze the hi-hat and ride estinatos, and Examples [A-P are the partido alto myths. Hi-Hat Ostinatos Brazilian Rhythms For Drumset Partido Alto Rhythms ‘Te following patio ato variations can be played on the sare drum ora rime i a ) Foi ih BesCCpan es ok Sona Toun Foci owoocigt Fmt Clig is Pastas le Va Satin, D Here's how t play hal-not on rr eer? DISTRIBUTION peer m rem ecreter EeroROCK ’N’ JAZZ CLINIC Advanced Hi-Hat Patterns FOUR-LIMB GROOVES INCORPORATING THE LEFT FOOT by Andy Shoniker Je drummers tend to overlook our hi-hat foot. The exercises in tis article are designed not only ‘0 improve your hi-hat foot in torms of contol, spocd, and endurance, but also to act asa great four-imb independence exercise. ‘The concept is simple, Start by taking a common pattern that you'd play on the hi-hat or ride cymbal, Joke &th notes, and then add your hi-hat foot undemneata, playing all ofthe positions of the 16th note ere are those 16th-note fragments. (on top of those patterns, play varius kick and snare combinations, Here are seven possible thythms, Notice that they get more involved and syncopated as they go along. you go elong, Example 7 consists of a 3/16 pattem between the ride and hi-hat, which creates a four- Hore are some groove examples that weave all the elements together. The hi-hat foot hecames busier as covor-throe polymhythm. It's a great independence warkout that also makes fo a cool-sounding groove, {66 MODERN onUeMER + 1H 2010‘Vintage sound made modern sdLATIN SYMPOSIUM The Clave In 5 ODD-METER GROOVES BASED ON THE LATIN TRADITION by Conor Guilfoyle po clave is the comerstone of Afto-Ciban music. There ' I Tr. cwo clave ptm, runbe and son. Cae pares hhave two sides, one containing three strokes, the other two, Each clave takes four pulses to complete. In this article ‘we'll be working with rumba clave. To stress the concept of four pulses per clave, I hove wiitten the clave as one bar of 4/2 ‘instead of the usual two bars of 4/4. Here's tho basic rumba clave, siesta meal len NES ovr embellish the pattern with extra snare and bass drum hotes. The snare strokes in brackets are to be played very softly, while the accented strokes should be loud. hy 1 pods 2 nu WAESSoAy = $= = =sfaeedteces Spe oe ae i Now tts extend the rumba dave o 8/2. ve added an extra stroke, 50 now we have fou lave strokes over te fist three pals and to over helt two pls. ra sok a & Once you're familiar with the five clave, you can take any clave-based rhythm and adapt ito fit the new clave. For the rest example, use a shiythm called cascara. The cascara pa tem is played on the floor tom shell withthe ride hand (playing st on the hi-hat or ree cymbal will work too), while the other hhand states the clave, The bass drum plays on the beats often referred to as bombo, while the hi-hat keeps the five pulse Here's an adaptation ofa standard conga pattern often usec ‘with cascera, known as tombao. The conga slap sound is copied with a rimclick, and apen tones are played on the toms, oth are played against the cascara a Let's get funky! Well spit the clave between the bass drum ‘and the snaro, while tho hi-het plays an adaptation of a pat~ tem known as bongo bell, which is usually played on the ‘cowbell. Teall his mythm mambo funk 4 {68 oDenn anuwAER + Na’ 2910, Staying in the funk zone, let's adapt the songo. This popular rythm is very exible. Athough i's based on clave, songo ‘noorporates many influences, trom foldoric to funk. Here are a ‘couple of possibilities. Again, play the unacoented stokes very softly and the acoented strokes loud. Another option would be to play the hi-hat parton the cymbal and to move the left-hand part around the toms. Use your imagination, Finally, here's a version of the guaguanco, which is a rhythm that's part ofthe rumba family. The right hand keeps the clave, ‘hile the left hand imitates the conga shythms commonly ass0~ ‘ated with quaguanco, The strokes in brackets are optional and are used to embellish the basic pattem, 248 VES emae ye SS el [hope yop've enjoyed this unusual take on the Cuban trad tion, With a ite imagination, many ofthe tried a trusted rhythms can be used in very creative ways, allowing you to produce fresh yet natural-saunding odd-meter patterns. Good luck! cone aye sarod wt Bad s,m erro Ky eer an iy eer arts tose, Ct Cle nea bse y Roane is Forme ntti, vi egutoacon, oeMITCH MITCHELL “Little Wing” ‘This is one of Hendin’s most-loved ballads, ter Jims breathtak- ‘ng guitar into, Mitenel’s entrance flea true cassc, as important to the track asthe guitar work. (0:32) ‘The Al leading into the second verse is just as powerful. Michel's strategically placed double strokes create @ wonderfl siding eect. n04) On this song by Experionce bassist Noo! Redding, Michell comes | sp with another memorable beat A few years late. Keith Moon | would we a similar concept~plating a recuring fl inside ofa beat for several Who tunes, hough his pattera usualy featued a triplet rofl Mitchel’ isn straight 16ths, (0:11) 5 on pes As, ES. chet’ hi-hat patorn for te intro and verses ofthis tune Fomains es one ofrock’s most recognizable drum parts. His jazz inf ‘ences take aver in the chorus as he leads through the chord change with an improvisational approach, bluring the ines between beats and fils. (0:34) 6 feajh. 1 “Little Miss Lover” Hondris lets Mitch's strong func boat star this track for several ‘measures. The two offoat snare hits are slightly delayed to enhance | the aoptn of tno groove, (0:00) oe EL Eo, “Bold As Love” Mitchel rouses his chomis beat fom "Spaniah Castle Magic! on the ‘choruses ofthe albums closer. However, this time the tempo i slow rand the felis swung, I's another example of Mite bringing his Jazzy approach to Hendri’s Duesy rock style, a magical combination that sounds as competing today as it dia forty years ago. (0.29) 10 > “Castles Made Of Sand” ‘Though remembered asa chops-teeyy player, Mitchell was also ‘very tastfil and musical, the verses ofthis song, his pattern is straightforward (measure |). Then during the non-vocal interlude between verses, Mitch pals out a cool I6th-note snare patlara (meas lures 3 and 4 to Keep the interest up forthe two-bar sequence. (0:24) 112 MooeeN pRunenER + JuLy 2007 ‘a Brecenfld con be eased trough is Web Si, yt etre.74 MODERN DRUMMER - Tomas Haake’s BZ veg ehaaelere emer Coley a ges cd IREerrea | (pata cers ent Jcrumming, Tomas Haake’s work ‘with math-metal wizards Meshuggah is one of the most fascinating and dit- foal to grasp. Insoad of simply designing odd-time beats to match od ‘ime rts, or playing eteightforward 4/4 beats under complex time changes Haake pull off both atthe same time. To under= stand what he's doing, let's take a look at some of his grooves ftom Meshuggah’s new album, o “Electric Rea” our fst example i from the outro ofthis track. Bass and pttars ane playing a synoopsted nif in 9/8, which Haake ‘matches note-for-noto with his kek drum. He's paying quartet notes with ogpasional extra accents on hi crash, wich causes the eymbal pater to switch between dovnbeats and otfoets from measure to measure. Tomas also plants a snare hit on every fourth cymbal note. This causes the snare to move fr= sive measure. The rom isa one beat in each succes repeating eight-measure cycle. ‘You can also lok st the previous patter in 4/4. Example 2 of S/8, I takes nine measures of 4/4 to sures of 9/8. 1m 4/4, the cymbal and snare play on the downboats, while ‘he synoopated kick patter is delayed one 6th note in each reasure in ofderto match up with tho nine-best gular rif. As a result Heake i playing in two time signatures at onco—nis hands are in 4/4, while his feet are in 9/8 same section asin Example 1, only writen in 4/4 instewa atch the eight mea- Aes ordi May 2000 ‘move sain, Tom with is best pate te dove Hore’ le bas 16t opens allt plete 1 aee "The verse ofthis tack contains a nineten-bestqutarybass nf, noo gain Tomas tatnes his hick pater othe sf wile playing in 4/4 with bis hands. To make it easier o follow, we've dived the nineto=n- beat pattem into gravpings of 7/8, 8/8, and 7/8 This pase takes six ‘eases (fice tough the inetcen-beat rif] forthe eymbal to ekarn to downbeat at the stat ofthe pattem. The snare takes many more eases to rtum to its enginal poston. (0:26) “obzen” “This wack features a seventeen-beat repeating nif, wich Tomas again misrors on his kick drums under 2 4/4 snare and cymbal pattern. In the sxteen-bar soquence in Example 6, notice how the bass drum pattern repaats one bea later in each four-bar phrase (-00] 6 4 emd as Se Fore's the same sequence {with a couple of entra notes) writen in 4/4, Notice how fica eto pick out tho repeating ick pattern ‘hen its writen this way. (Tae patter starts over every nineteen 8th | notes), The artows indeate where the bass drum pater repeats. (ee fate eee 4 tod od == cir Ne Wesel gues oaeece ele aon Seer “Lethargica” He's another intlcate polyzytin, this time featuring ashy dow ble bass work, The patter i a cluster of two 32nd notes and tw 16th notes, which takes up the space of three 16th notes. Haale ‘opens this tong by repeating this riff on his double Kicks against a hal-tme hand pattern. I takes three measures forthe patter to com- plete its ele (0:00) Here's an example of Tomas using a more conventional approach to ‘e40-tine playing, Tis tne opens witha twenty-tnree-note guitar rif waton ve aided into 5/8, 6/8, and 7/8 Haake picks up tho socents in the nif with snate/erashes as he drives the groove with is double kick partera. Though not ox complex as the previous examples, the enanging ascents in this groove make the track sound very com- pling. 0:00]Practice Suggestions Step 1: Analyze each indivicual part inthe full transcription. Check out haw each voce relates to the clave and how it was adapted in the summarized version. ‘Step 2: Clap and sing each part. Clap 26/8 clave and verbalize each drum patter using the ‘ylaboe provided n the ful tanseription. ‘Step 2: Clap and sing again. This tine, clap « 6/8 clave and sing the entire sunmarznd version. Memori® this pattem. Then clap a 4/4 cave lin a 6/8 fee) and repeat steps 1-3. ‘Tui-Tui On Drumset (Basic Melodic Idea) | ‘i we feared in Part 1, developing a suid 6/8 fees essential before tying to aply bata bythms_| to he drumset In the next example, notice that a 6/& lav oxnaté splayed with toe ght hana so ‘you can clearly heath poyehythmic beta phrase against Practice this pattem very lowly a is. —< = re = = Lee) fae ey ) < Ss oa Tui-Tui On The Drumset (Final Groove) Here's @ more developed version ofthe previous groove. Notice the use of accents, These help create ‘fuller end more mytnmie sound, which gives th iusion that there are three bata drummers playing The hi-hat functions lke shel to adda it of high-ene tonality to the groove. i also helps keep everything in syne ‘Tai-Tui Variation Below is a variation of tul-tu for drumset. Notice thatthe 6/8 clave ostinato as beon replaced by nother octinao, Tals 6/8 clave variation is known as absiva. There's a rhythmic usin of a duple rset inthe pattem, but the 6/8 fel should remain constant ‘You should apprcach this patter by thinking of its melodic roferonce points, Remember to think of 1s one long phrase. One you have the patter internalized and memorized, you won't havo to think about barnes, whlch wil give you a smoother and more Nuid sound, | Get These Music | Minus Drums z i pol joule ma By Play-Along Cd's. a s ee And Play With Us, Select Discography es also importa to lst tofolkeicAo-Caban bata mise n order to deveepthe nghtfeal.Tme ‘This Berklee racommended Bi yo inte tina nat aman vey, Remee ai yal” | satis fe proudly endoreEd vit the nuances in each one Below i st of eenrlngs I consider to be the most rtf inthe rudy of Atro-cuban Data drumming. by educators and worldwide. of thirteen CDs) Sazaro Ross: Orisha Ay Seoriiona: Tamper roruna (Volumes 1 & 2) “onjunto Nacional de Cuba: usioa Yoruba Papo Angarica: Fundamento Yoruba 1 & 2 and Osun Lazun dia Cabrera: Havana & Matanzas (eld recordings) WWW.DRUMFUN.COMGroove Making Basic Coordination Challenges by David Ganibala Poa !his month's big questions: How can I play grooves like the ones I hear on my eH favorite recordings? The drumming I love is so creative and cool. Can I do £0 | that too? Well first the good news: Yes, you absolutely can. The “bad” news? e2@ | You have to practice! It's that extra effort that will get you where you want to go. Personal Experience Developing drumming skis is abroad topic. {started developing coordination fom trying to copy my favorite beats. Love the drummers of James Brown, eo thats a continuing influence in my drumming-even today, ‘The era grew up in was at th time thet JB's muste was emerging as outing-edge funk. The JB drum- ‘mors—as well as Zigaboo with The Meters, Bernard Purdie, Gregg Bric, and James Gadson—were of the (ground floor ofthis rhythmic revolution. These men became my heroes, and (stl ook to them for inspiration, ‘Two things stood out as Istrted to listen to dese player: their se o! tho Dasa drum, and the gost note. Coneeprually, mst of their beats wore based on BUh-note hi-het pattems with «conversation between the Dass drum and snare. {also heard two distinct sound levels in their hands: acooated notes, and non-accented “ohost” notes ‘il of the drummers I mentioned played this way- But to my ears, Bernard Purdie had the most polished sound. He played with alot of finesse, and his chost notes were softer and more contcled than most other drummers. Through my listening, [discovered that the ghasted snare drum note Was one ofthe mos mpor- ‘ant components of a funky beat. also noticed that the more I developed my hands the more transparent the host notes beoame. ‘istened to my favorite drummers for hows, tying to analyze thei individual tyes and mhytnmie vocab Jary.T wanted to have the same fel as they hac. Just coming close was not going to stify me—I wanted it all particular liked the aggressive edge that thoy had in their groove. Bu also loved the sophistication of az, so my playing relocs that element as wel ‘Tho Breakdown, ‘There are sixteen 16th notes in one measure of 4/4 time—and there are infinite ways to combine the hi hat, snare drum, and bass drum using those sixteen notes. Experimenting with thoge combinations nover gets ld. And i you work on developing your vito, there's no danger of you sounding ke anyone else. Fach of ay favonte drummers has something a litle diferent from the others, So there are many ways to develep soordination, and it's a very personal journey, with the biggest lacor being: How do you want to sound? Gottin’ Busy With mos stents who are unfamiliar with funk drumming, give them a ust of recordings to stat sten- ‘ng to. You have to develop a frame of reference. Then bogin with the folowing exercise for starters. set ‘your metronome between 88 and 96 bom.) 4 100 MODERN DRUMMER + JUNE 2007‘How many songe requ a simple beat ie that? Basic timekeeping always comes fist, In Example 1, the bi-hat part introduces the ide of two sound levels: accent and non-accent. The accent emphasize the cquazter-note pls. “Tho more you fee! me quarter-note pulse, the stronger your groove will be. A greet way to explore this is | te ay the folowing tend patterns while reading selected pages of Louis Helson's Modern Reading Text | ares your base drum. use pegs 4-1, 1-25, and 22-2, very sprint 9 count acu as you pay ‘these exereises. Counting wil stengthen your awareness ofthe quarter note tae Jett, a SS eee) ar ‘Make it Funky _After building your has cooramation, ry the flowing groove, which s sma to what heard the JB drummers do, Hete's where we stat developing the ablityo play ghost notes on the snare drum, From coor ination standpoint the ight and plays an Bth-note ostinato, wile the bass drum and snare drum engage in “convertion” with one another ‘ou can develop the coordination te play this type of groove pretty quicky. But that's ony pat ofthe story. Ad the two-sound levels component tothe beat, and things become more challenging as well a5 ‘very musical ‘The two-scund levels concept is well documented in many of my artes, A detaled look at this Mea oan bo found in my book Futue Sounds. The dynamic relationships between the hi-hat, snare drum, and bass drum aze very important. In pat groove is evenness of time and evenness of sound. ‘Examples 7-10 ae bass drain and snare drum varitiona, which appear on the following pages. They are to be combine vith the hi-hat varatons in examples A-P. (You should also ty reversing tho hands for ‘added practice) | —S Hore’s another hand patter, this time using 16ths in the right hand. When playing continuous 16th notes con the hi-hat, the accents are more like sulle, sghtly heavier notes, They create an tt-note pulse within JUNE 2007 * MODERN DRUMMER 101‘There are infinite ways to build upon these ideas. Once you have the basic coordination down, then you can star to personalie the grooves with your ov unique vocab: ‘us l6th-note grecves with complete fvedom by evordinating your limbs in as many ways as posible, I's very individualized, But after you develop some basic coordination sks and you get the concep of sound lovels in place, ‘the beat-making process becomes musi-driv= Weil evi this topic soon, See you nex time Exjoy! EE x The goals toe able to play contmu- Dovid Gariete is no ‘ach egenaay tuk bond Tan Of Powe~ WORKSHOP intricate phrasoe ike tis: Declaration _ Of Independence self-evident: Seven Truths With Musical Proof We hold those drumming truths to be aa 1) All four imbs are not created equal. Need poo? Try one of | ‘Tony Wiliams’ favorito coordination assignmonts, 2) The whole is greater than the ‘sum of its pats. For example, tty this Antonio Sanches phrase. 3) The more skills you have, the more interesting your music an be. Evin Jones crested a beauty owing plese ms 61 Music compete listen to Ba Ba 7) Masic comes trom a doop tad | You can‘ hide inthe music, and humble. Independence an towards a greater range of You to play because it upits the spirit. jus: 7 ition. which insists on humility because music keeps you honest i tochnique are simply a means 4) The most etfective practicing Is that which crestes more S11" you playing you, not te technique playing you. Exhibit Bu Stew, 104 moDeRN DutmER + June 2007 playing opportunities, not fewer. Ty tls Al Poster pase eas SSSCoordination E [oP acts, wor gotng to tank ‘about the mental and physical process of developing independence. ‘No matter what style of music you play, your hands and feet need to, learn to work separately from each other in order to create a time feel. i Creating independence is a Lnitess endeavor. One way to ‘ovolop si through ostinatos, An ostinato i a repeating patera that’s played with one or mers limps. Thay‘ common in every | ‘gente of musc. The challenge is iguring out ways to break apart ‘he figures and arrange them onthe kt One ofthe ways I started developing independence with my hen, Ditinger Pocape Pan, was by playing a simple pattern between the lft and and the right fot, Then would aocont the uitrs pats with my right hand on a China or aciash. ‘o begin, repeat Example 1A many times, until you're comiort- able encugh to start incorporating the night hand agains it. Now ada the China on the devwnbeat and. tise. This creates a syncopated pattern. scape Plan Developing Independence With Ostinatos And Polyrhythms by Chtis Pennie InBxample 28, the Chin plays afve-note pattem over the Jet hhand and right foot to create a five-over-our polyrhythm, Sid ia a OA = = SS SS ‘Those ae some basic independence ideas F've used with Dillinger i the pas. Now Jet's work an some four-limb inde pendence exercises. 1h the folowing examples, woe playing multiple ostinats across the kit with al four imbs. We'll work on the Limbs eopa- rately, and then put them togete. Example 38 isa ride-cymbal ctinato that outlines a four fo. = Jono an one ow add a tree-note snare pattern. We'l play this against the ‘ide, creating 2 four-over-three fel inthe hands 3: 1B | aS Ja Bample LC, ve created a longer phrase with moro agcents tn the China, Remember fo keep the volume betwoen the Ie | hand and right oot consistent = - = i Ic ‘The next step iso apply some polyrhythms to the ostinato. | ‘The cymbal part in Example 2A is phrased an every third nota to rome aihee-orereurpayytnm. 3c aN eral == =E=s 1m Example 36, ve added double stokes in the fet. Nove we nave a fou-Limb pater that resalves ater three measures Seay Aap, Soo 110 mooeRN DRUMMER = JUNE 2007fo a Sea a in Bxample 3B Here's another exercise bul on the hand “This ume we're playing parades with th aoe Se reir SESS ee SAS ample 4A apples similar three-imb ostnat in 5/6 een presser ~ Ct to oc iow aid the Tet hanel. Te fining snare patter outines a fve-note grouping over the cstnato's16t-note fel 4B WER EEE ‘Thogo types of 1de0s are enaoss, You can arrange these same pat terns on different limb, which wil create totally diferent fees. Then ‘you can move the same patter onto different voices toms, cymbals, ‘etc to create some other intresting eas, Fool ree to experiment ‘Te most important part of practicing these idoas is to deal with each lim part by part. That way youl gota fee for how each one locks in wlth the others ‘Some great books on coordination and independence include Gary Cchestar’s New Breed Jand Mf, end Maree Minnemann's Extreme Interdependence, a wel as several Modem Drummer publications. ‘hrs Pennie Fe ofunrer ond co ound ef hoo r2 bord Dilingr sxe Plan, 3 ON ea ea ad 1en the strongest feet a workout! UNE 2007 + MODERN ORUMMER 111RU Bree SN hg le: Mae Mixing Match-Ups With 16th Notes And Triplets by Ed Breckenfeld = Sr ‘ore's a series of three- and __Each example focuses on one bass and snare pat- wt | Fe ay coowtnatin carca- tem tomato on avn af how each ono ts 14g — | esthat focus on shifting between toa steady ride pattern. oy 16th notes and 16th-note triplets. ‘Though these ideas were designed es coordination challenges, jee eon aee a |.° sounding beats, fils, or solo ideas. Start slowly at frst tobe cer - tain thatthe kick and snare connect solidly with each hi-hat ty ‘ote, Also be careful aot to let the change from 16th notes 19 Examples 9-11 incorporate paadidles and double parades, ‘epletsaffot the steadiness of your hi-hat patter, Setting your ‘etronome to an Sth-note pulse will help keep the rhythm even. / Examples 1-4 explore three-note groupings. 1 ietwn 1.Re 5 aes 1 FATA = : | fim ; Bites ees fa | oe iH = at aa j nce you'te locked into each pattern, try applying different eee cymbal combinations to each exortso, Examplos A-I move the FAV | ight hand to the ride cymbal, so you can add pattems fora four-way coordination workout | Examples 5 and 6 involve Cs hi-hat pattems going at the same me, i's very important 10 ‘ake sure that your limbs are lined up corer. | So sireabils Mikal x ee Sa a meee ae peAges epee el poy } a al Bisley [Now ty the folowing double-stcke ideas, f | 112 moDERN DRUMMER + JUNE 20074 a i THE*PERCUSSION Fore heavier sound, play th ride aymbal pattems on a flor tom, (Or try the let-foot hi-hat pate ‘ona second bs drum, And if you realy Want to get wid, uy the bass and snare combinations on Gitferem drums or cymbal, ot wae differant ibs to play them, Let your imagination run wild. And have fant eter Ohcoo ow dene on i Sumner cine eas EB rans ste wn oe aie RMT tae CR ee education and the contacts WWW.MI.EDU UT Rr a Bette PEAT EA ter a cee at) ert el Ul} www.rayluzier.com NUNC Cee ac Pa Raa ae cra) CLE MUR CMe Tad PTW UU CR er ead CUR UCC aC JUNE 2007 + MODERN DRUMMER 113The new solo album "Arrival": a conceptual Journey with rhythm, Featuring, ten new songs, with an all-star ensemble, ‘some of which includes, Dayid Garfield, Eric Marienthal, John Pena and Frank Gambale. Includese Rhythmic Conversations" With the biggest superstars of drumming: Steve Smith, Steve Gadd, Akira Jimbo, Rick Marotta, Zoro, Luis Conte, Richie Garcia, Pate Lockett, Worfgang Hafner, Johny Rabie = Jeff Hamilton and JR Robinson! ve Avaliabl on the web at ROCK PERSPECTIVES wrote the pattern in 3/4 te to allow the groove to restive a ‘Two-Sided Fills You can also crete fils using the same concept. To do this, eke one of the left-side Keys and combine It with one of the right-side fils. Here's our frst key (Example 1) combined with our frst fi (Example 5) TR your tine and always use a cick. You should keep the tempo down unt you're really comfonaple with each pat of BS a a=} Endless Variations You can create longer, over-the-barine fils by combining diferent keys ‘and fis. Example 14 isa two-bar phrase that starts witha combination of Examples 2 and § {measure 1), and ends wit a combination of Examples Tand § (beat 2 of measure 2. 14 FE ey ‘As you see, here's no end tothe ways that you can combine various patterns between the two sides of your body. ve only given you a hand ful to get you started, but Ym sure you'l be able to create @ wile lat 116 MoveeN pRUMMER + JuNe2007 nore. Happy practicing! # ‘naturally. But bocause ofthe snare accents the ister will near itn 4/4 A Ey | |» YOU NEED TO KNOW wedding bands feature very talented musi ‘ual oy bossa nova) and “Latin (which trarlatesf "you figoreit TWO-BEAT Thiscommon groove’ prectricaly simple nd couldn't be more widely used, t's played loa warety fader dance styles, BALLAD Ballads are usualy easy and are payein ether 4/4 or 2/8, j SWING You ned decent az sil to adequately cover swing tunes Bk in The Mod” and Frank Sata thinks wth, Jazz Walte c r re re tL ae as ce ela lal Cee ‘The 13th Annual International etn ccs ati) ems ge August 3, at Castieton State, Pe oT To Cee Rect)————$__—$——————— ‘ange laps, and our toms become congas, There ae alt of grooves here, but they're al requted fortis sort of work. Don't hesitate to learn variations ofthese patens, These ‘ate someof the rckiest grooves youll need to know. Vou | 2o op oa ha sore eke Cocecocn ‘erty ols Sp, Joy —— el a j “Two-Handed Samba Palace Pea) a aE — Bf Hees a me. Atm Gaba Hi iret us 2 Te fa =e DISCO Th fou-on-the-flor Disco grooves may be me fn for bass plays, but fact playing ta -handed sivtenty-nete lowes, peat grooves, an fe & 268 cymbal variations nected, 2 mare modem bakes tl, Wd when fuse k your RB pay SS ‘drummagazine com July 2008 DRUM! 93THE FACULTY. THE PROGRAMS. THE CITY. drummersco!lective A division of The Collective School of Music ‘An Accredited Institutional Member ofthe National Association of Schools of Music a aa ea EST 1977 ea BU CME ment) SUCRE eyPRACTICE PAD ‘new instructional book on the subject ~ the ‘atl titled Groove Alchemy — can atest. ‘And nowhere does Moore channel the ‘Stark Stubblefield vibe more clearly than on his latest tri album, Emphosis! (On Parenthesis), where the subject of our cur= reat focus, the album's ninth trac, "Thanks! (Again) has him saying just that to Mr. Funky Drummer” himself, Clyde Stubblefield "That song is kind of my interpretation of some of wt I've been influenced on with Clyde," Moore says. "But | wanted todoitin my own way, Imean,lcoulda’t copy Clyde even if red, Sol'm just kind cof taking some of his things, some of his chatter nates, and incorporating them into iy playing. Maybe doing a couple of things like those three chatter nates a row that maybe | havent done before.” MOORE'S SETUP ‘uns Geach Gey ss ter eras Bosphons Staton 295 LidwigSuprphonic Ai Hts stare(Chrane) 3 20°Trsncash 3 Ursa Recto 22 Witide 47416 For Tom 20° Paging V42 DRUM! July 2008 deummagaci DRUM PARTS Those deliberately executed “chatter notes ~ aterm Moore gleaned fren im Payne's book, Give The Drummers Some, which he refers to earnestly as “The ible” make their entrance right off the bat. The lean articulation ofthis Stubblefield signa ture does more than make this aparticuarly legible Moore transcription - as opposed to, the greasy fis and second.-line-style press rolls that are his normal tock-in-trade~ it evokes the good ol days of white-kruckle, ‘one=take recording sessions where Brown ‘might just dock your pay for each wrong rote (rat least let loose with a particularly pained * YEEEAAACOODOWWWHH"). Moore, ofcourse, doesntrun that kind of ‘operation And “Thank! (Again),” as clean as it sis just im playing around. "That song it ‘a just a mond | was in," he says. “started playing a beat, and Robert Water [organ] started playing something tot andit was, justlike, Cool, man, that’s kind of neat.” For Emphasis, Moore, Walter, and guitarist Wil Berard blazed through I finished tracks in Four days atthe end of November and the beginning of December ata studio in Maurice, Louisiana, three-and-2-halfhours outside ‘of New Orleans in the heart of the bayou. The sencueson LP F ESS Conbel album has all he spit ofa fevered, crawfish fueled, backwoods bash, but with Moore and Co.'s typically professional approach “The way we did it was Robert and I went in and hashed out maybe four or five songs, and then we had, maybe one day before we went in recorded those four or five songs onto a hand-held tape recorder. Once we gotin the studo, sometimes we'd work on 8 tune for about an hour sometimes we'd ‘work oni from seratch; sometimes we'd lis ten tothe litle tape we'd worked up, maybe viking outa chartit TAILS Mee yu just knock tout intwo orthree takes, and move on ta the Surprisingly. con sidering how well this album breathes, Moore opted to fl: Jawa click rack on neatly every song, something he's ‘grown even more PRRROMERIAE accustomed to with his other main outit, Galactic, where the licks key to syne up with a huge roster of Cs. "I've learned how to make it organic, but stay locke into the clic,” he says, "The cighth-notes can lock into the cick and the Sixtenth-notes can mova, or swim around between straight and swung. like rocking ‘the eighth nates. just makes it relentless. ‘And while it may seem counterintuitive, this being classic funk number and a by sticking closer toa sttight-eighth feelin “Thanks! (Again)” Macre actually keeps the vibe mare authentically “stubble.” "Cyde would definitely play ite bt more on the strait end ofthe spectrum,” he says. One of the ways youcan tell who's on the kt listen- ing back co James Brown, infact, is to sten for the degree of swing fitswings hard i's Starks, with few exceplions. You'd have to check out the last song on the album, "(Here Come} The Brown Police,” for some of Moore's Stars-stye groove ‘alchemy, which sees him blending some of that with litle Stewart Copeland hi-hat action. But this song ie all about that tub: blefelé sound, which he dialed in even fur ther with is trusty '67 Ludwig Supraphonic snare, the go-to for that classic, cranked-up funky fee. But even if you dont have a Supraphoni, or Moore's uncanny command ofthe staight/swung scale, for that matter, don't sweat it. Just crank the head on what ever snare you do have, get those eighth ‘notes raling on the cick, and prepare to get funky, whatever way you know how. Seta erdeummagezine.com July 2008 DRUM! 143' YOU DON’T HAVE TO We TOMAS | Learn To Play Drums Like A ‘Sum, Wine Kenveny, Rov BuRns, ‘STEVE GaDp, Dave Weck, DENNIS Channeas, Perm ERSENE, Gricc Bissoverre, BIL Contiaal, Tatey om Isic £2726 Braun, Redwood ity, CA (50) 205-0875 DRUM: DRUMDIGITAL.COM 144 RUM! uiy 2008 deummagazine.com — " - DRUM PARTSPvt) Bateria con los profesionales ety Pere ey ee ae) G Mar tell’ omreses nr Poe 30 premios Internacionales ae ae ea ie ee ak cs cs Boe ed ruagsaine.com July 2008 DROME TAS México GityPRACTICE PAD Polyrhythms are’used quite oftenin many genres of misc They create an unresolved feeling by tricking the steers pereption ef he song's meter. The folowing examples wil fama you wih some ofthese rhythms while strengthening your rhythmic vocab lary Now that we have an understanding of what polythyth are e's lok tthe fest example Ex 11.3 four-over three polyythm between the WORKSHOP try tapping the bass drum line with your foot. Then tap the snare drum rhythms with your hands. Beginning on the down beat, the snate plays every third sixteenth-note while the bass drum plays every fourth. When you're able to hear and fee! those two rhythms together try adding in the hi-hat By inverting the groupings and the instrumentation in Ex. 2, we now have a three-over four polyshythm. This time the snare plays every fourth sixteenth and the kick plays every third. Notice the difference in the Dap I RES f | I | a You can also apply polychythms to rudl= PERRY ore ndtasscrum, fect the atten. Ex 3 demonstrates mens bx a even he due. Ieee, | with eigth-rotesonthe ferent way to pres the plyhytn, soe l(t) wih scans on every Foretgetie| Nhat Whiecouningthstime youre laying snterthnotes thrd note yu put it over quarter GERI heimptedsixeent=besneen the snare and kick whe heh notes onthe bos cram, ouave sure notes (Ie 2e8a 3e80) hat outlines the three-note grouping ‘over-three polyrhythm. Ex. 5 is a four-over-five polyrhyttim. the same principle is apaied here. Count tea 2eda 3080 4eda Se80 and tap each line individually, then together. The bass drum is playing every fourth sixteenth-note, and the snare is playing every ith, Ade the hi-hat when you're comfortable. By inverting the snare and bass drum pattern from Ex. 5 we have the five-over-four polychythm that's shown in Ex. 6. Now the Snare plays every fourth sixteenth and the kick plays every fifth ES ps VAG pau Mt iy 2008 drummagazine.comPRACTICE PAD tEssons ROOV Bel New Orleans Grooves THE GROOVES OF New Oeans arebased on several diferent wadtons Here are afewiisa- 3 soe 5 2 ae ‘SSS frequently use that are based on afferent aspects ofthe culture and how they are connected. Here we have a modecnstreet- beat groove, the famaus poc sway groove, and an uptown funk greove which should be played in between the racks (orin between strcight-eignth rhythms are embeledin albtof each ofthese grooves, you can merino seirg mie and swung) to give it thatreal___-New Orleans music. By using the start tosee how these different sreasy New Orleans flava, Clave three-beatsde of the 3-2son feels from differnt sides ofthe pattems and other Afro Cuban daveas the kick drum patternin _cutureare very much connected. Swampyse separa @ Hat Strokes ‘AS ARUDIMENT, double-strokes are mere closely associated with marching bands and snare rum readings, but there are plenty of ways to apply them to-some cao! beats 35 well, We start out with some double- stroke stuff between the snare land kick drum to get us going The accents make this reading telly shine, We then move into some beats that combine straight single siteenth-notes fon the hi-hat and some double five-stroke roll, The five stroke is written as athrty- second-note. As an alternative to the double sticking of the five-stroke, you can also play it with 3 single-stroke sticking fora diferent sound, ‘Add the open/close hi-hats as you become comfortable Gihicietttesue) Seeatesicteama ndlick pater re ety Mitgnuetesasinerea! Ssigutonard hereto VB aU 1/2006 siummogacnecomOdd Meters THERE'S MORE THAN one way ae toskinacat, just like there's ‘moe than one way to subd. Vide an odd-metered measur. Play these lcky 13 examples as follows: with your hands on your thighs, o sticks on the smare drum fr starters. And then orchestrate the rhythms on the ki, beginning with the accented nates played on the tide cymbal and bass drum (and the unaccented notes played onthe sare drum), and «0 on Such accent schemes will chal- lenge your brain while bringing this time signature to life. These ‘can be swung or played straight. Note Ex. 12 equals seven + seven + six (eighth-notes) taking place ‘over two measures of 5/4 (pot Stes tee it ey eon (rhs nd ah nh ako ‘nee fendi ie a by New Orleans secone-l «drumming and Brazilian samba [mash these influences poly rhythmical and put my own swing feel nto it.The bass drum ostinato pattern sa triple figure that crosses over the bat line and comes around every, thre bars. While the bass drum is cycing in three, yur hi- HERE IS SOMETHING musical, polyrhythmic, and with Aft ‘American cultural roots. I's 2 thythmic combination that challenges and adds to your ‘musical vocabulary, and gets people up and dancing, Crescent ity samba isa groove inspired hat foot is cycling in two. The rhythm on top can be played ‘on cymbal, cowbell, or snare drum, and is 2four-beat phrase borrowed from the Brazilian batucada beats | grew up lis- tening to. Beware not to get intellectually attached to the "mathematics" on the paper. les more important to feel tin your heart, hands, and feet! The Fda is to make it your awn by trying diferent sticking, "voic~ ig he pts, and gigi your Scares ye a yah ers ‘drummagazine.com July 2008 DRUM 149[2utteto stow you some edvanced olynythms tat vou ean work on when you're sway from the drumset. | often practice these exercises while Im waiting for a plane or when I siting on {bus and have alot of spare time ‘Example 1 consists of five-note groupings of 16th notes played lover quarter notes and dotted ath notes, Begin by singing the fi ote pattern (top line} while tapping quartor notes on your | {bottom ling). Once you can do that, continue to the second bar, where you're singing fives and tanping dotted &ths, Once you've factored both measures individually, try playing them as a two- Dar exercise Example 2 is a similar exercise, except that you're singing groups of seven bth notes. Once you feel comfortable tapping out ‘the quarter notes, move on to bar two. Then string the measures into two-bar exercise. ANCED Pc OLYRAYTHMS es Now, I know what you're thinking: “What does al ofthis achieve besides giving me a big headache?” Ike to think ofthese types fexercises as a workout for the brain. We spend thousands of hoy ‘working on our musclag, bt oftan forget to work on what's ins Gur stutls Ultimately, fs your brain that will produce ideas fo ‘you not your bulging biceps. "You can also transfer these ideas over to the drumset. Example 5 ig. simple rhythm in 5. Start our with 16th notes on the Hie Then change ta 8th notes, quarter notes, and finally dotted notes Example 6 isa tle more dificult Ws a 748 rhythm with a five: pote grouping on the ride. 6s 4 The previous two exercises dealt with the syncopations of five agzinst four, five against three, seven against four, and soven {against three, In Example 3, lot's take Its step further andl sing the five-note grouping while tapping groups of seven. In order to com plete an entire ber, you have to sing seven groups af five while tapping five groups of seven. 3 SSM HE ae = Now let's reverse the pattern and sing groups of seven while tapping groups of five. Once you're comfortable with Examples 3 fond &, try putting them together as a two-bar exercise, Ty ‘You can see me playing all these examples, and a whole lot more, on my new DVD, Rhythmic Horizons, which is avaiable fom my Wb site, avew.ceumset.demon.co.uk 1 could play 2 by Jett Po clude on Rl eff streteh ate.” When sill ova, Ip ould have emery of hi ng t0 a key sry Sanctus 1 was read val play a ot zero diffi neans is he + asiest thi ‘hing in the 1 think thas layed me 2 and said, “L ke the fee sing-a-din: aid, “Liste would play match the é People js would say's And T ioe in 0 it” 4 ‘Weren't v9 playing?” Si Td done = the conta nd say & move to MD: How when you part? Gavin: 1 for the fi myself ag mechanics my left f ‘with my § room I cos Think able with that [can the drums stand be yourself p Tt took 9 ‘thinking