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Ths adds a special it tothe groove 5 + = + ove being able to open the hat just a bit before it closes with as it sounds), or maybe it's the foot, fora litle bit of “pea soup just alittle “pst” sound. oo Ss Ss y z =I Notice that none of the hits before the foot hits are open, I's easier to play them open, but it’s great to learn to control the hc ‘uch the hat is open in these situations. Get detailed and subtle control over this, and your grooves will get deeper and deeper a top of all this, uy some of these with different bass drum ppaltems, Try some pattems with more than just 1 and 3 00 the bass mple idea for a change in the bass drum, ff open or closed. Work on heing able to choose just how drum. Here's a very ro ern fe = aa ll Once you “own” these suggested patterns, you'll probably start ght seem hard to mas: ‘coming up with your own possibilities. In ler these concepts at First, But eventually you'll receive balance on the kit. Both of your feet will be involved grooves you play (and that adds up to more mechanist your entire body will be involved in the groove. That will make it easier for you to lock in your tempos. Good luck! Billy Wird is «suocessfel session and touring drummer who has worked with Carly Simon, Robbie Robertson, Richard Mars, Ace Frehley, John Patitucc, Bill Champlin, and loan Osborne. Billy can be reached at his Web site, www.billyward.com. a DT lg Deceit newest album. DRUM PEDALS Awp accessonics VISIT US ON THE WEB Reece eer Riot eee eee ole me eae as —— — Cee oa Modern Drummer | ooh 29ony mop 2m | sowuNIg WEPON | 9g SS Suraupas doo4 pur yon] poop Potut0-wumuswoUr pu -oxoaus 5,1 ‘powuou-Kpojaw Aqeayoads 2.ust af asneoq OM SuyditoD ayy, “ors ames -sasmand aunsaLL sie ur yng 300s Aue Zurdus ya sumseour anoy ws, aM see lwonduosuen oy Jo samsvour axon yt} ain Suuéoyd An. 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InoysaoND saga) 24 ‘uRUP seq au YiLA sqUIOG soy sdoup 24 «now pur “wnup a1rus aq vo suopedcouks aydans spp 20 "IY-IY 2 UO pur Z pur (Fz PUP gT SomNsvaMt UL porou se adooxa) wowed pequuds spinar aun sAoyd ay :xaqdusoo Aiax 1nq aqqeATsOp AINA wHp SAeyd -sip Surkojd s,20f “Zou Sporaut ay sAejd Kuvos “ pur ‘Bunso8ip Jo ssaoord aM UL AME pur CID 1p o1 seo patter] 28,006 ado ueqo44 Sst SEY ees tuo paged saU0f 20f Stud 4 S005 seG-mog x 1ea¥8 am payoo] 24 “AW 70, -PqUD29«I eJ/8IN04, 20f lel) 2fouu ase Aw ‘Aa wor Aq WNJUsWOW) PUY aA00I9 jo Buly aul (d0HSUOM .SUSIAIAINUG ZZue aor Alli WIAA Guidwiog\s id Se Cs INTRODUCES BREAKTHROU TECHNOLOGY Fea gt career includes work with such artsts as John Scofleld, Mike Stern Woody Herman, and sien Getz. He has also written }'o critically acclaimed books, The Act Of Bop Drum mming and Beyond Bop Drumming, published by Manhattan Musie = = Modem Drummer | usren2002 | 87oxen | omuMIa OPO |Z Sayer ng Sos aH | Januoo yy Simanuos s.24ec 3024 we> nos “891009 SH UL SHRP donee noe ung pe aynoxo # MH SUBWAY anal carup SU “Suva S08 jo sovouroun do Suu tuano ‘240018 2M 10 ap, oy 20108 4, 98404 a} 0} ISENK- pur s mo vou aed siq1 naan ] S900 snowes uy yy 2m “aqur a soe pure di sig S224 reaid una paw "wong 'Sayweag, au | 20m a4) yu sy] aoueuOH Oe tc sane nt Aor sey 08 SIL.) jdasexa Paptod ‘Sayge 5,49 UU) Sfoac aug any sitios 2519 310c0 jo} pub pro29s 01 SUAS 310 “guy Jo uonre19028 20 ypyos am soso 28 2p 5 qu 5. | kaso yo my # ps paced age Sst 25 eon eer © sean si “anon Toque wn tp 4a 240 fe Suro Se See ater mmmectl| sanyo saonoos appr pie snow 24, | WH ‘pat anoord urew aq -wowuaRuene ap yo ved A290 s9oueH> Pr og in soum dod woi8 a1 pino au Furmoys “Hosp dn paaout aancl WUL janous afuns8 ayy Jo Wist7CusTULUL OW jo ssouiyan 21p Hursueyo Sq Bua cds nancy 1099 days-on 24s TE sang, Nou 01 uonueHe 28019 SP st sou 200 ON, Ho oe MINED ag ‘sued umup wus pue “Gynb “any guros quae dn aura 2M ug, 38y aug a 30 st99m% IB patnyaq Yoeq tam Sade enc ‘b aoj srs Suruyapar pe sz. ove orp uy sqetied | poup HUEARIN WHve Toop jeuAl pu Ste jojdin diver wt Burddosp aN : Fe “age 3 +h ll eT) (hr, EBcera ! _- Lo | 1 ag Ste Toe (eo | (oe ee ee TE SS a "ss | SR i abe. 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This may seem obvious, but it’s deceptively difficult I recommend reconding ‘yourself to check that you're spacing the quintuplets correctly. 8 # = [Now plrase the ride pattern in quintuplets, while keeping the hi hat on 2 and 4 Ss Afier you've mastered that, ty playing the hishat along with the shythm of the ride, But beware. This might not be the best musical choice, as you can easly lose your band with this type of patter. ‘And I don't want to hear about any of you getting fired from a gig. because of me, ‘You can also play the hi-hat in quintuplets. First, play it along ‘with the snare, then take the snare out so that the hi-hat is played alone with the tide eymba. 12 foe a+ ub pre] In Part 3, we'll check out some ways to use quintuplets in a ‘groove context. ‘Ari Hoenig is a top New York jazz drummer. He currently works ‘with Kenny Werner, Wayne Krantz, Jean-Michel Pilc, Chris Potter. ‘and Kurt Rosenvinkel, Ari also leads his own band on Monday nights at New York City jaz club Smalls. \ “To hear Ari domonstrato the examples, inthis article goto (MODERNDRUMMER <= & Drummar | Jone20i8 | 145,Snr eau ouMMIg UepOW | ff etd 235) -Sasoda Sure» soos sy 2418 my, Suse pu yonoy us suoeueasprasp I Saukyl Rom a te Mia 2H00 0 «pean ammuoys,, | J0 mn ‘umdo|s.2p npojut jo sso yf tag een seal: Cosine sip 0 snow asydems mm a4 uno oof | ieox8 v pue sdoyp once} Oey Sof hoes Ie STEAL usnyoea yworsn, RUVINGVDOA O10S NaS MT suouzeuC ea Moe 1 UL Pose axe sdaou0> BuNse\d-Mly 5.90450 210) OH Suosues shryd 90p ,"suneg MoNASN,, pu suniC] 0py 1 2s94 UMOpIUNOD,, 9844 OY, 2H suonDaIes FS aI UO, “insvaul ayedas any ox uae uoy poossopun Sista auow pg = Saher Col in sath 4 poGcrd pur ¢-¢-2-2-z paseand nq “hye Uist zieAN 43BEH V6, La tt 1 f are 8 JP non 51846 28 H poorsi3pun KYse9 KOU st yy O16 wor) uo fe ur siaidiay SAL FA wt St uoNDas opos utes, optoyt ante 8/6 = EATACHL UO posng 1 anoUH? ap YN]. ET ¥ Opto antg, Ret I a 2] 9 Bao ko uo eS AGM | aooge nec pw ,SaUPP, A) mo {sO pUepa19n {a smsra om oon fo sanerou ona 20 spusta | sBuos apo a Jo swouamy te sd oer ak ce ves is sativa om po pe Jo amnrou ons aasaisg | daa qi aun auias piemopu ys poker, vey Pes oma sent Avery 0, smu, ads og sity en UO vp sn anovdas a aoe oa ‘o.oo ppo | 18 siomno wan Isnorolta suomi snow pox w pus saeaua, ae ase mam 21 m0 pagool en sem o pos 01 | aa ppo za el pawides mu oan an aan fotrsdoxddesosououyy sfudnost ppo aq pods stan | NUVI EWE AGI NHO[ Aa ISAIVNY 79 JIALSaes ‘ed solo. On it he displays his phenomenal left-hand technique, melodie inventiveness, and fast right foot If you'd like to further explore Joe's drum solo work, the book Off The Record includes complete transeriptions of several of his great solos. 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SII} SEI PUR SINOT s3Bq e}Gnop Aprons ast -AOyS SoumL] UT pue IoMIAS 24 spe jr aeyndod uaa ‘paods uo siseyduia jo 10] » sind Burumummsp (eaur “sep asouy, “sum 20} rxoIMOD smOFAGO ISoUT ay $f sSNA [eI3}q tC ee eee ters COE SCC a err ree et meena} SO OUR ae er enees eee eens Ue Cee eee ent Hinreeains Cen eee Cea ites Sorc ot ee. itt eee nen Pee ey BSAliSadsusq y30uGET YOUR GROOVE ON A FUTZ panes Paoli Mejias “Light, Convenient & Practical!” Now it's time for the ultimate blast beat—simultaneous 16th sn bass drams, hi-hat, and snare. This one is incredibly dif hese beats because they to beat the tar out of the Most drummers have trouble pla the drums too hard. There's no 2s, WI og live, the ic oft alittle bit. And stay relaxed. I's Dc em se, and if you're not careful you'll Cae adil wrist problem like carpal tunnel Syn- jcks as you play. If you want to keep @ ny Iength of time, you'll need to ea Ua rt cp hine.gun blast beat g — pte sticks about two inches from the drumbead. fon have it. You're now equipped with the basic Nils to survive in today’s Uber-fast drumming i = SSE And thes weds sid, Good luck, and I'l see you atthe next WED event! yl Craft of who convert Bronze to Music ... 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This gives the pattern an even funkier foo, ial Nel ony J kh dy 3 portly) dy eT Next wt a6 yet enter rote on he hase a, 4 eet ty bd) A Le ee bret “Teo Te os eee The following example combines the pr 1 the frst measure, This gives us a nice f dy ty jth. ty vo examples, omitting the bass damm on beat patter, 5 freely id Now lo stat moving the basic imba-go pattem around the set, Moving the sticking pattern ‘ound the itn diferent ways creates new and intocoting eounds thet wl usually ew the resto the porcusion pats. Here's one example, You can also try any base dram pattorn that Works n counterpoint to clave, 6 wert l,i) bi dy J pb Br Se ee. oe 2 a oT an mother orchestration of ho pattern around the set a pa tay HF 'USTOM KIT Utmost in Sound and Energy0 INVHOD THE "SLANOSSIEL 9mm “ANDI wag “SESH SINE “DDS dave "caw ants “Sung AO ACANN THA HUIS ASUS "NOHOS LIVIN “SHVTTIEAL AND PapNEUL MAB SUPE $. 412) ‘shi any Aeq 4S mp 0 spe, renee pub fp don uae “woIsNy uny “eae ou Stouws ip Buypiovex pur ‘Supe aouatiadx Jo 996 Lue ‘gay Avg. ayy ur 2ouounds2 Bumoe=) "yo sk ch SEY “OLIOND BN, ‘so}onnsuy usp pea4 STL, aymysuy Guyyseay ISMN GI99 AULIY Old ¥ ay] suing Aejd OL weeT W101 JAOW OL AAVH L.NOG NOA Meee eer ad Ee Ney ree) | FEU Se LU AML | Ee cere recs | Fee Ne Le Bone eT Euee crise) | Soe | »SNOIVOIA., Ree gees Fer ie yell ceseaet meee)RINGO STARR, Solo Artist Ringo Starr Autograph Model ‘Americus Hickory, FXDAL, Wood=tip DAVE LOMBARDO Slayer Dave Lomberta Autograph Model ‘American Hickory, TX2BX, Nylon-tip MARK O'CONNELL Taking Back Sunday ‘America Hickory, ARIE" Natural? WoodDRUM PARTS pam carey The last pair of sticks you'll ever buy. (Qwiaa tat were we thinking?) in the world. They are Pecos world. And no one else offer them. 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KID cosye sar 29yo 01 sat ay sapMEgNSOd 21p a1OKex> AqysnouoMp pe etal 10 paps yeotsMAT 340 24101 St 2224 LO HLL IIA oF HEH {v0 Wonepune) foxSNUT UK| B MOA sa413 Son re “que yo unio} awios asea] 48 Jo ‘axon veyon ‘soded jo a20rd pana e oydunso—a! posson6 nok —pue ‘swinap ovoul auwos fed ae ety owoue ojduunso "eunsp owos Aejd ‘dod jo a2oud w oxduinso os ot osmaud | seer tomo euoH sigs “Cuueow oseuikd oy2 on jie af ‘a a00do4 uoua pu ostud © Ae wer gg ueot suga a0uyn “woprsadwes Jo 3004 otf S| uoRnades aes auBrova een ond Esumusuae aney nok soqeulssO 32200 YUM uoeurpuoog Aem-4nes FL wed UOIqeUIpsoog INIFZEISD ETREABESIINND 220tif your F paper, bu have Hi-Hat/Ride Cymbal Ostinato: 14 : 2 2 =| Here are the melodies to play withthe ostinato. 15 il us Star Drum oho Percussion enter : e Sound Center + * Zildjian Showcase Dealer + Brand Names! Tama,Peart.DW Sear) Cera mnetd se as rh es Next month we'll expand on this idea by investigating melodies based on quarter note triplets rummer, He currently works Wayne Krantz, Jean-Michel Ari Hoenig is a top New York with Joshua Redman, Kenny W Pilc, Seamus Blake, and Dave Kikoski #‘one fey | soma HARON | ZO L TROT AT ADM ToT RATAN RAT TT a ra ta ee pl SOO TO TRA oe x MR RENT aT yo a PRT ATRL TA TRAE yrnAL Ty he ee d ca 1@ TTT RTT x TTA re TR Lyra rnd = Vv = aEeeY Bra eves EC. 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Notice how the sound changes by using the paradiddle Triples: LGLRS ne GEE RT Re , So ae nee e Quintuplets: TT RERRLRLLRERRLRELRERR ES a TRELRERRERLERERRERLE ‘These fills will strengthen your sense of time while adding excitement 10 your playing. Be sure to experiment and have fn with them. Good luck! = = ‘Modern Drarumer Fetrony ze | 113sour ees | OMG HPO | OLL oy vou opps ap wo sos Jo—aueooe ue yes wou UTS P j eee 4 nye sg Royo omy 1895 a SASH SDE Beep (pt ate | rman ae seme senor ye men satel (alas soyp ax 001 unos amnoas | va Zutaow asou » ye9q anos onc pnoys snus a 405 pea Sipe sys 2x) 305 ONS tf 50 sop 2 usm. ST | ee ee een a a Soe mak demo pur aaa 2p specs eps ams | oaop v Soyard doa ames oye 6 EY sand |) Fe estan sare sy poe Zo 1 Ba | oun op vo nh ov ono TLS SNELL MNS | i aap oy ve 0 2A. “pu kA AU LOMA suo 80] 8 122 enoasy wnsg sseqt -sany Aupomoy amp wi¥s SoIEUTSO SHO Pe [sea —. Sg PZ aos z00y 40 “294409 W TeqUIK PHY # BO soraqujo oup ef osyp ue nog) “Teg amp to swwaqye oun eid pee seamko apts ay) 01 pucy 34Fu axp nou! ‘ayGUIEx 1xOU 2H 40 ed 2% soa aga #5. nde 304 cuir pur ass sup uo Supt spans een pte BH0s jo woneugia ann ssn aos pood we 24219 I + eed oy sponta sods “Sununu 0 PUP Z rag Jo ey tf wo Wadd! papper Ue surEWIO> oTRUTSO 1x8 SLL _gumpafys e 31 st 4g oui a1 5] eaeeq © 4 SI gonoosB fe sf sem ‘eouegsul J04 “peuyop pue UMOP wOxOIG) fyedea eae ang aisnu ul pasn usayo ove sulioa Busy < poouog ary Aq a 30790q Puy ‘1929+ ‘eAGO4E) uno, Bujaouduy | ja] Ug aaneg aulog 3Nd |' i E a “Ea woeoea Se ' laps | [Soro oo bs drum patterns. In doing so, you'll increase your coordination = 3a white improving your fee. e PH Sel eet Geo BERR LLERE LARGER? ——— ee pence ee rae mets oa is uti in rel dea 0 4 oor Hse an do geo puto ae 3e ———————— 3] | Atbe Bonacci has recorded for television, radio, and fila, and with ! a Moder Drummer | Fetruary2ne | 1117Here are some ideas to explore from the world of Mr. Jones, Traditional ride cymbal phrasing 1 Elvin's ride cymbal phrasing = Ce Sete ge ee la While playing the hi-tat on 2 and 4 and Keeping a consistent ride patter, practice the following | jana comping ideas (which stess the middle tiplet note) as both one-ruezsure ancl four-measure phrases. A | pare ‘good fempo to start at is quarter note = 60 | ce 3 prem grietein te Choco: —aattaaty | in si bite | Elvin varie his touch on the sare cium by doubling or buzzing the middle triplet note. Practice the play following ideas as one-bar phrases, then combine them into a four-bar phrase. Make sure that your snare drum phrasing is accurate; don’t play the doubled midale triplet note as the “e-&” of straight 1th notes, eae saat esa ee | policy t ty Here's the same idea ina three-beat eyce: Eat Beige an is ea gs i toda IG Pit Pinata eee all At eaiaeas P His {SS pa frum Elvin maximized his “one instrument" concept by completely integrating his hi-hat into the comp- | ing scheme. By playing the bass drum or hi-hat on the middle note of the triplet, he generated more Be for variety, which resulted in an even more “topsy-turvy” feel. (Play the hi-hat as written. ) Bis - 6 ee perreets Ace bere omen Beco. eri jae) Fae eS et oper eae of the i. = ore Ein erste Ton pases by incorporating ned tre-beat motives, sin the following example, ne the BB careful to keep your ride pattem steady. mt the feat . fee soca eon in Eos A ES 3 Boek . ee Fenty bereby ‘The ideas above represent “concentrated” excerpts of Elvin-like phrases. After you're comfortable Secs with item and have worked throogh their intnsic coordination obstacle, experiment with allowing {Your ride cymbal patern to accommodate—ic., follow—the flow ofthe other thre limbs. This looser ‘ide approach will help complete the “one instrument” vibe Medern Drummer | oscterz08 | 77ttl : Stick Contrizzle veal inpant pasa nc onl anon are sel. se fm ness © 4, he folowing eee ape played oe gh wel Te main go mina sion YS consistoncy 35 yt srye om eng srkes tothe othe king Varo ' Soreroaee : RLRTRURUR : Maeva as RRLLRALURALERRLERRL| TR RERER Flami Am \) cur tnat examples sor exert writon by ftw member fe Cason rum corps percussion taf, ria. oan Mpc rented in etning te extend ves, you can id #8 it ‘book Groen fonts 06-07, or you ce download it at weve tepspane cm “pis excerpi sa nice hoping fam pattors ine st out PA, compounded by same meaty combinations of a cpm pare 9-3-1 highly recommend that you lar is PASSE 6k ST speeds 99 you can foeus on Mythic train and i race note nigh acommon mistake 10 © PY siioutt rudiments, ike lam érags, to fst erie. Tae you tine an you'l have much batter reauts in te 10N9 Tn. pen’ me cet y tb aan int wen een he RNSANY AT coat aoe aca ant sent reps youcosansue 20 nat ne PSS? fee good, youll have 9 { ae nu prcmng these iat prs ve \ [h ema pe roo Ro vee um enh a a een dome Pe ee ress Son wag wt 126 RON a SPS | sce en So leper od near ae me | ‘ert iz | oe ‘nucust 2007 = MODERN DRUMMER 119 |ee ee a | 447 wut MP MIUT way 14 1AdMd y 1waa 1 ata Tad i oe Aap | MMU WEEN | 96 i= SS 1 Ta MINTY Tada yi fas os = (OL Eezeererrey creer creer tt qa7 MAIN 1 IMI ¥IyIy IA 14M d W414 7 waa a aH a ae, eT SS eet eo a w1u1 u1ude 1 udad yi q41 vw 4444 1 MINT ade a MTuTUtwIy Tate yaa | uopeyoudion 8 Jo fe Susy st £0 oy ues stu DOK vo 403 ss dn autoa wea nox vey 998 0) 2uns 2 95 8 ape soqdunexe oy Ho) atenpaidin 38 | ‘umop apisda 1 um Suwoyo) aa wo axain9 ofos axe UE SHO A a mi nok 2ou0 ‘waned jdnp-tdin ain sojsniyaesod ane | wo a9 ap Jo say asnf seoMoys SOfdurexD UDEDHS SuIMOTIO} HL, -eua auaya pue aay squazve Guippe ‘sejdwexe Bulmojo: *enoou6 Buimoly 30h Buiniup © 922049 ued sojdnp-zo]disa je4ones soy30603 Bi ssyagL oma pue a01diN3 930U-yagL @ Jo UOIeUIqUIOD e Se powojied ae YryeN ‘sa]Buys ayouas-enl Jo Bulys!suos usoaaed jnjosn pue ung © st ojdnp-s9]d149 oY, aoqog 3949 Aq SpueH 4NOA Voy 1917 30H W ajdnq-rajdiy ay (WNISOdAS TWININGSole Exercise Chet Doboe isan acknowledged master of rudimen NEW GENIO Series ) ~ made of NEW STANDARD CAST BRONZE Thenew efor the amateve drummer Ioaing for polssional quay cymbals he eymbalsprfsn very wll insu UEP Ge ‘Conbals promis foe the relereace for the pend sound quality from his cymbal set-up 2 price every drome can ator UEIP Amerze “el 514.488 9564 « Fax 4S. « abreanier@ulpameria com nw cen 1 drumming. He leads the successful percussion group Hip Pickles RLRL RLR (oi YOU NEED MY CATALOG! Manufacturers Love Us & Our Customers Love Us een OT tore et dad CMTE nnn ea aL a fa iirorscisor Wee rid Guaranteed Lowest Prices & Packed With Info www.ajpropercussion.com CALL FOR FREE CATALOG 1-800-545-7668 Fey a et ee ad Tampa, Florida 33614 yee eke ace skeen Modern Drummer | Jy ant | 9—— Ss “unpAtsiod axy amqeusony sora no diay 02 300g 01 oer pooroud oq prnous g pur + sojduresa '¢ atdarery woH aAODIB mm Aiasiod ain Aq peMmoroy Yeeq a.0u-tauenb winseoni-on ¥ seme} s orduTEx 1 aydurexg mou 0x00 run Atastod ax hy pamonoy st pue wed aiou-rouenb s09q-eun-uo-mo} emsvaut-oMy © ‘um sutboq p etduexy ‘eno018 ommuyxod oy pue wowed 4/> aeG © Uaamraq TRIO} UE syonq Sujaom eonoerd 1 wevodun say suusted Bunseyd yuu ofqeuoyuID SuDeR OL, z = mers = G not opt otpo A2aaa uo saeUrey UMP SIBUS pure NIP Seq BNL, cunpahod em oxut (apt: pe ‘azeus ‘9p uo) squmy eos seyesodioour apceuex, dooudo ot daesB Ary weo nok 08 adua moqs iannelase We WEIS PE "Z "14 S10 sourenb own inf men uot, 282 pe BEE R07 3S Ta :9}0U TROT AzoK9 JUNC say phot no yunaa ‘spUBY yHoA MN padeEd Burod uA stp J26} OF ZOpIO Uy “YOU. etno Aroao Bungnop areus amy uns “ape aun wo paseyd st aaAASod aan "| oydamex ‘ga ayy our aU ppuo9os » ajeiodaout pup sayy days @ sun aye Sjoq oN -p pe Z uo Saellf ‘am pafd sap areus 2tn aye “ump sseq ang 10 equa apy etn rere oF unAAAIOd ‘ext aureBe-moy» payidde aM (g0, aquaAON) sotos sun yo eR parE oy mraisuaBioyy pou Aq SNHALWd J3YHL-LSNIVOY -UNOd SINIT-OML “7 LVd sunpAyshjog PEI TPR EE LEE Bales) peace as ‘qaOMVHNEATTI 3 io er» wane wisoON Z@ youdsou AN oma)". PETIT Te SPT OIE REE PERS BOO Ee Cea Errgerined BA | oaikego ERLE CEL ECIUELUIt takes three measures to make one complote pass through our 16th-note-based four- ‘gainst-three polyrhythm. Most music, however, consists of phrases of even numbers of ‘measures. $0 i's also important to practioe these pattems in two- or four-measure, ‘groups. Example 6 consists of two-measure versions ofthe polyzhythms in Examples 2 ‘and 3, played back to back. Make sure to count out loud when practicing this exercise. - Ss Jn Example 7. the polyrhythm is played with one limb (on the rie) fortwo measures, ‘hen two limbs (sd and snare) fortwo measures, then three limbs (kick, rido, ana snare) fortwo measures, J dead) (oo ph Fe) ee eh SSS Example 8 has the nde/snare polyrhythm playing over constant 16th notes on the fap etal tah dab, oe Example 9 starts with tw by just the ride playing the fo altemate the polyrhytam, 8 of a standard backboat grcove. This i followed jainst-three pattem, and then the rde and snare ‘ext time we'l explore half-time feels and shuffles. [ Re terse aang me of he rrtrahng sn dea pas) ae arent tt reste Swe Mae i wth pop tour ih nn ae rte etoaNsaesen Pah es rat Pan | tm. tn Monessen apap dae tnt | AS