rnnie Colusa has been atthe fraant of tho davelopmant of macern trumsot vocabulary sinco fe ist blasted onthe scene wih Fan Zappa 1 197. n fet, Vine epardod by many tobe one ofthe mast versatile Seunare of ating DuFing & career that spans neatly thity year, Vine has:displayed @ arkabl ability oassiniate the appoachos and nuances af may diferent sof musi, from the intense intcacies of Frank Zappa tothe sophisicat 0p of Botte Midler. And on exch gg, he alvays sounds authante, Aaior than focusing an jst ane ares of Vines drumming, wate going to eine a few broad-based concopts that appear in his playing ine vary of ea setinge. iol meter setings, Vins alten grounds the musi by eating long ove Sebarlne phrases tat make tha non-conventional tme Signatur feel nt in "Soint Augustine In Hol,” from Sting’ 199 release, Ten Sunmoners es, Vnno onphaszes quarter notes in i ride cymbal over the song's 78 Fe signature. This typo of phrasing causos tho do tot the afbeat on sot maasire, (097) foi ca_ emma BIE I, PLZ Iva modern jzz context, Vine plays vith a Mud sense of uma. He rpily shifts between wrplets and 16h-note time feels end applies an extnsive Inowledge of polhythns. He alo erates tension within the music By com- tasting danso, choppy sections with passages tht ot less complex It should be oted that Vivi apps these advanced concagts na musical vay that doasn' sound purely technical Example § taken from "S4 Duncan Terrace," of Alan Holdswrt's 1989 teloas, Secrets. (022) On Sting’ 196 album, MorcuyFaling, Vinnie uses a ima idea onthe Sop “IHung My Head" (215) For “Seven Days.” off Ten Summoner’ Tales, Vinnie accentuates every in th nota on his hi-hat wil plying in 5 with his bass and sere (18) JUDD. next example appears in "Packard Goose,” orginally fom Frank a's 1979 recoding, Joe's Garage (now avsabie on Joe's Garage, Acts 1) Ite perfect oxample of Vines efortss eb to pay pony. In sure 5, he Maduats toa ne fee by plying fve-note groupings over the fed quarter note. In mesure 11,he creates « polyhythm within & tim by olying a two-noe grouping wih te sacon es (36) Example 6 appears in “Painng A Wish” from Richard Bona’s 2009 CD Muni: The Toa (38) ‘Vinnie ale corvey his soo ideas fuontyBocause of Mis mastery ofa tivarse musica vocabulary: He also plays with an acute knowiedge of musical form, which makes his sls interesting to more than ust drunnes, Example 7 lon page 60) appears at 1: onthe track “John’s Buos” from Vinnie 188 salts slo sbum. 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As you gradually increase the tempo, la Combinations of four and six work well in 5/4 and 4/4, maintain a relaxed flow and legato sound. ‘Next time we'll explore other uses for these drumset rudiments, ttists as John Scofield, Mike Stern, Woody Herman, and Stan Getz. He has also written the critically acclaimed books The Art Of Bop Drumming and Beyond Bop Drumming, pub- | NIaTLHOaNa WOL saree ahTeh belt Ts | ee229099 | soMNNIG EPO | O96 & woo re haxpaLqpora Pans 44h Sy uBnouN Plafuayooig pg 190IN09 uv9 Mok spay inane uns soy umsp sseq pur sos mor Uo pase SE Lond on! SHeL nea TDS ‘onus 30s sg wos 1 s07n8 ou wo pose luioned g/z1 sup ut 2x00. 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Here, the “8” and ‘ah of the second and fourth paradiddles are played fn a small tom. Note the counterclockwise motion of the left vand. Adding the bass drum can present a coordination challenge, s0 take your time. Avoid increasing the speed until you te comfort. able with the coordination and can play each pattem with a solid and relaxed groove. RLARURLLALAALALL eao Sea SS ; FST. 65 EARS me THE INTERNATIONAL DRUM CLUB 1 PR. OF OFFICIAL G.0.C. DRUM STICKS #1 OFFICIAL G.D.C. TOUR STICKER * 1G.D.C, PRODUCT CATALOG EXCLUSIVE DISCOUNTS 1-800-HOT LINE # EXTENDED LIMITED WARRANTIES 24 HOUR SPEED SERVICE WRITE OR CALL Now! GRANT’S DRUM CITY 426 EAST IRVING BLVD. ® IRVING, TX 75060 1-214-438-1581 “YOUR ONE STOP DRUM SHOP This is just a small sample of what can be done with a simple | single paradiddle. Use this as a springboard to create your own | ideas. For inspiration, listen to Steve Gadd, Dave Weckl, Steve Smith, and Vinnie Colaiuta players who have mastered the cr tive use of rudimental stickings in contemporary drumming 2 MODERN DRUMMER. SEND $10.00 FOR 1 YEAR MEMBERSHIP & RECEIVE4005/0 1OH-1H 90a HO se1ous/m a [ wo, ——_zzng audus, twee att pUS-S501) HO Sa1DUS/m ‘aius aupug = kay wrsg wa a a SSE vse af snguags roan syenys pods “uno ad jo open sos pio ds 209 on Aa shee se ua], 005 {yp tp pas sone woe pe equams 34 Sed Aa one uo ok “ny 30591 UY 200} yp tp ul sane Hos PUP equi Z-¢ 2x Buying A woreaspions dopssp 0 snoyeds os $1 seq ao sp Bude yy 1 99u109 3p Dn = EY “E PE ‘2a suo ay 9] sued UP se, susp davon we nog (31 ued Bua Saunap aye “prog Sane) jo yp med Nok _ssozey 19014009 24840 ESP. 10 14 Trym opi 20 yaquo> a wo Pury 1 ys apg fy anoo.8 sp dre uo m0 (emseour aay og stow yauaanAS pana) LIP sug 29) 9 (eLopequma suo) 093109 2) juapoe 02 2uns qe spury ovo a4 w>9!eDA pind ase equana Zp yp sty NO conn pode ae USS38 1PI ‘fos sasp a La auios pag 20 auma 0 aed © 0j ams) npayp P=deAD 0 280 UES NK IC “UMD 2p2uq 30 of Hoysnond 30 uu e uF ‘ym pon nas fda 20 260 0 EH od sips ust quomuchs urs nok pur a 08 2aonu8 yw san [1H] ours regi yp pb oq AEE) NONE eA qu dn au | pay ests, gouenfens suvssQ MON 24,1, spony G9 B04 40 190) PION YP wang or poees soy aay puny marude we sung ac oom my smeyng 0 onl rari N24 0 ayd aaens soupy nares sim urnus fs 3¥00W NOLNVLS ae aRICHIE GAJATE-GARCIA THE LATIN PERCUSSIONIST Richie Gjace Garcia has ‘played with Diana Ros, Hirshioa and jobn Dene, recorded movie soundtracks for Eraser, George ofthe Jungle and Judgment Night, toughest Musicians Insitute for ten years and performs clinics sworlderide. He bas abo released to incre ional videos and two simple libraries and is ‘uarnthy on tu with Pil Collin Conga Trio In my previous conga lewons we lutned pat- tems that are played on wo conga drums This time we will begin ra divide two pat ‘erns among three congas Before we begin, lees look at few things — the serup, the sizes and the tuning ofeach drum, ‘When you play with thre congas, some players, myself included, ser their main deura bbeoween thei legs with the rumba at thi fight and another conga to che efi, IF you ‘were to look a che setup From above, the drums woul form the shape ofa wide leer ¥, Other players who primarily work mov ing ther sight hand will ee tie drums by holding the main conga then another conga foeward, and puta cumba to the right of ‘Most players use evo congas with one rumba, thers use one quinto, one conga and. ‘one tumba — call depeads on the style of Salsa in 3/2 clave with three tumbadoras > fears eae music you play and your personal preference As far as cuning, you should try to gee an inerval oF fourth beeen your main dram and camba, while your thitd drum shoal be tne! at second or thied from the main drum Lets look at ro ways of playing a salsa on three sumbadoras (che proper nar fora ‘group of deur) seeee ee oS Salsa in 2/3 clave with three tumbadoras ex =O 70 r= 990000 | RoR SER aRee ee ene Feary Semen tated Deg Paneeka) Saree iP See e as qoxnd “iy pursspun ps nos deg nod way, suds sous tp sao 01 Proyoq 9 suyuys sep pu Saray 3, AySsa9 WYN Hug S| au2o0u 36 1 4 yy 30 Atpaysod Np suai pjton si teqnon pei amd sip snp 3s 0 sus sa 495 2329 pid “prsuoa st a3pypa agp wats Sumo ox usa wuq ondyp pasosniun uv atau j] adwwo> euonspes soy sey ye sensi ads 03 posn of 921 oj sure aredaid ot posn stun te Boas8 taupe ayy ay 9fdoad Suspery xp Fuoury “eur ayy yey Jo ands __ imu spuseyy aye 02 POSE aq > sua sy sBeanoo pur spans yo some Dannosew ap jo uonmegaf vs, 2p ‘geo Suouis a, ean suet ppp -xqumumcy pores syndy yo dure oy 51Lepay nok on aeoe yyy oy sap wey 2248 40 wadop pur wpeasq al Jo Pr __ ww ans 03 Sung arr nok sag “puon a uoyeds 94 pron sep Suypdue sod & | pypo> aeyp s2[ deen oa 4o ‘woI84 © sure “eat 10) Saino ou 2oy spoupods sup susiea sus ur}e> pear prods pue syndy roe yo possi = aude -vonmoa poe uaye zed gods una ue ua Jo spb seregoy> ae up x auf JON 23 Jo sao sunogTasls A Pou oj jo ued peso uP st ns uote sete sal uryp 2108) 1Sm/yPERY HO, an uoweogdde ayaa» seq wags aoe Apogsaang soy unparpy y sBuapuos pun srg Bua io page 2 wen Sharon apni sien ay Huge) rpanaegeg pur Beas nS Cary gram ryan 4 gory eg suyBoq wnyiAys ex2ym ajooiput sesoyjuoiod ul sojony Pupy soyio yim podoyd jog = x >PUS/m ayous (ssaud) pony = W >PuS/M ax0.5 UadE Buipunogay = O ‘Ay oqnung % ungBung ‘uexuay, 2u9y do suo vedo) ‘Kay aquiMODES Te tc TTT CS) available ina Variety of ColorsTOM BRECHTLEIN Tom Brechlein bas played ith Robben Ford & the Blue Line, Chick Core, Joe Fare Shorter. Al DiMeoa, Jean-Luc Poy Jobnson. He is curtniy touring wit Naa Cl iy K Ex To aaa Fill This! ks ve gor some more sell to show 4s a mar of fact, theyre more fill ‘They go more with the flaw of the groove, hich is whae 3 fils supposed to do (uh). Aayvay, with tha in mind, maybe you ca use thes in your drumming vacab- ih lary, Thank for listening, = ee Riese a! Dinaey ee f2 > ie = = 1 = Restimt k ie Reig Rea eRe Te 3 ae = a R URL Reading Rte Tuan a SUBSCRIBE 2 DRUM! ONLINE OR CA TOLL-FREE eee Snare Snare Tom! Tom 2 Ghost Floor Tom Saat eeel tt 0g Tent SSN SaadYP ers ara categorized ax eo-wave. | can see the thinking — now wave was 20 years 800, ld wave wouldn't sell te teenagers, $0 neo-wava was a go, Regardless, they're a commercish, Yadio-, and MTVetiendly. bond that’s equal parts The Smiths and Dasis with @ large dose of The Cure. Ronnie Vannes slams the skins and crafts some pretty cool pans for this Las Vegas-based anil, We chose to write out “Jenny Was A Friend Of Mine” sin ly because t's a good song with tasty chum part, Vannucers open | ing cymbal ol leads us inte ® cool | ile fll 1 set up the intr. Thee lunky rock groove uses 2 couple | sitoomth hitatnotos t lead ints beat 4. The litle figure he plays ae ithe nd of fou-tor eycles really Srabs yout cor. He hits the snare on — 4 @ 910 croate an interesting syne opation and answers it with thee # of beat 1 on his bass drum, it's the sort of litle drum fig igure thet Fis a ot of shytimic interest to he fel ofthis eatchy song, Brad Schlueter of worms. That makes it even Heroes. Growing up IF someone his something impor offs f ig bands, Erte cual ew way thats some who could na cove J tale now is important. Ym sill. ee particul you know? in Vegas ~ the land id top-flight musicians "5 gave Vannucci his lat set of influences as. his ‘They were sm ‘um, and still kickin ing lke crazy. I nov but ofcous niling, chewing t lose my love for that, as T gor older, | dlassic rocks, Steware Copeland, My parents played ‘me Hendlis, and else fin Vegas] was listen ing to Mitch Mitchel, Thar guy is one of the best drummers on the Planet. He was — and suill is — amazing. Hendrix was playing blues, you know, which had a lot of emotion. In order to move thar music, you necd to be able to articulate, Micchell that was juse unlike anythi before. He swung the hell our of comedian, “oa, Hat nected it, needed wo swing. 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