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Adding Accents
There are several possibilities for creating accents during
the sweeping motion. First off, you can press the brushes
Into the drumhead, The ring and pinkie fingers pull the han
de ofthe brush into the palm, which creates a larger contact
area forthe fan. This results in a thick, lush sound,
The sweep speeds up 2" to
emphasis, The resulting sound is very precise.
prior to the intended point of
‘Acceleration
‘The combination of pressure and acceleration produces
the sharpest and loudest accent and has a more staccato
{shorter} sound,
‘Quarter-Note Accents
To play quarter-note accents, implement one ofthe three
techniques atthe ewelve o'clock orsix o'clock position not
both). You can also combine the different accent types to
‘reate unique-sounding grooves. For example, you could
play the aeconts on beats 1 and 3 using acceleration, while
‘beats 2 and 4 could be accented using pressure and acceler
ation, Once you have that down, add some of your own hi
Jhat and bass drum figures, Using just the simple quarter
note circular sweep, the three accent motions, and various |
foot pattems, you can come up with an endless variety of
pop/hip-hop groaves.
‘th-Note Accents,
‘The next step i to play 8th-note accents within the same
|quarter-note circular motion. To do that, play pressure
accents at the twelve o'clock and six o'clock positions Oren ny
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During the ist chorus of Basie’s piano solo on
“HHoneystuckle Rose,” from the Complete Original American
‘Decea Recordings, jones plays on the closed hi-hat and on the
stand. In those days, hi-hat stands were made of nickel, and.
striking the stand produced a bell-like sound,
5
(On the bridge section ofthe tune, Jones plays the following
{dea on the stand and closed hi-hat.
6
On the last A section, he plays the traditional hi-hat pattern
‘on closed cymbals while suiking beats and 4 with his left
stick on the stand.
7
Foran example of hi-hat phrasing, check out the work of
Ray McKinley on his recording The Class of 49. On the track
“Lullaby in Rhythm,” his light touch and phrasing beneath the
piano solo make for the perfect accompaniment.
‘While you practice playing the hi-hat, listen to the sound,
you're producing as you coordinate your foot, toes, and
Ihands. Try working on these techniques with just a hi-hat and
a metronome, away from the full drumset, so you can focus
your attention more intently on this rie, colorful instrument.
Steve Fk co ads the Tylor FdKg Bd th avanger Mark]
Talo relences with vocal Maureen McGovern aes a me
ber ofthe az stds fcy Temple Univers in Philadephia.
Fy the author af several nstuctional books, is lates 2 and
{ isola tough Aled Pubssing. |
The voice of drumming
an oral-based drumming method
1. I listen
2.1 sing
‘on the web :
“The voice of drumming*|
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pue Auinunuo) :¢ ued FOUR-STROKE RUFFS,
A four-stroke ruff has rebound double in one hand, while
the other hand plays an upstroke into a downstrake (single
stroke). The four-stroke ruff s interesting because you're
actually spliting double strokes between the hands. After
the first note of the first double is played, you play the "up"
‘ofa single stroke withthe other hand. This s followed by
‘the second double of the first hand and then the “down” at
the single stroke with the other hand,
kERE RER
SINGLE RATAMACUE
‘The single ratamacue is created by playing a drag (two
rebound), then a single wrist turn, then the “up” portion of|
single stroke, hen another single wrist turn, and finally
the “down” portion ofthe single stroke
(a eo
Ret kof OR BRE OR OL OR
DOUBLE RATAMACUE
The double ratamacue consists of wwo drags followed by a
single wrist turn, the “up” of single stroke, another single
‘wrist tum, and the “down” of a single stroke.
prey
TR LER ERE BRC RAE R TR
‘TRIPLE RATAMACUE
The triple ratamacue consists of three drags followed by a
single wrist turn, the “up” ofa single stroke, another single
‘wrist tur, and the “down” ofa single strake.
2 ae peek eS
ae aw
TOR LR UR CRC RAL RRL RRL R LR
FLAM ACCENT #2
Ifyou increase the speed of the ruff but slow down the
‘rebound in the hand playing the grace notes, and you time
the downstrake played by the other hand so that it lands
carlier with the second beat of the rebound, you'll have
‘what Spivack described as “ta tum." Ifyou play “ta tum”
from hand to hand, you'll notice that you're stil playing an
upstroke and a downstroke. Release (loosen) on the way up
and squeeze (tighten) on the way down,
aun op un a des ap
Sees a eae
= ==
FLAMTAP.
‘This stroke consists of a grace note followed by throwing for
Udiee notes (rebounds) and another fam. The eycle repeats
from hand to hand. In the lam tap, the third note of the
three rebounds isa grace note.
wp denn up down mp dom op down
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y= =
kek
See | a
SWISS TRIPLET
you allow the hand playing the downstroke in flan accent
#210 rebound once, you'll be playing a Swiss triplet.
FLAM ACCENT #1
For flam accent, play aflam accent #2 and then play an
‘upstroke in the opposite hand so that you play “ta dum-up.”
Now you're in position to play the same thing starting with
‘the opposite hand.
FLAMACUE
‘The flamacue begins witha flam where the grace note is
also the “up” portion of single stroke, followed by a wrist
‘tum and a set of doubles in which the second noteis the
‘grace note ofthe inal flam, bom'oa9 =
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Brian Wilson, “S Wonderful,” Reimagines Gershwin
The second example from this release shows Sucherman playing a Latin groove in 6/4
{implies a cross between an Afro-Cuban bembe and a Brazilian bossa nova pattern
Sucherman's left hand plays the main rimelick accents, while his right hand plays light
‘8th notes on top of his left stick, His left foot altemately splashes and closes the hi-hat.
tare ae =
“Carnival Samba Solo,” Methods and Mechanics companion book/CD
‘Here's a challenging pattern that transports tothe drumset the vibe of a Brazilian
samba schoo! parading down the street. You ean add a hint of swing to give the groove
abit more swagger,
Reggae excerpt, Methods and Meckanics DVD
Here's an excerpt from the Methods and Mechanics double DVD where Todd discusses
‘Aumerous ways o play the hi-hat, This one-crop reggce groove and fil ary in feel from.
faint straight to very swung. Check out the nice litle bt leading into the last bar,
‘oloing on a Motif,” Methods and Mechanics companion book/CD
This solo uses three snare drums to establish the motif. Farly on, Sucherman plays the
following sextuplet groove that uses hi-hat closures and bass drum notes to maintain
‘constant flow. The groove is incredibly funky and is reminiscent of wo of Tod's
influences—Vinnie Colaiuta and Steve Gadd.
RLL RRURREL ALL RRLRRLL RLL RRLARLL RLL RRLR
Grooving excerpt, Methods and Mechanics DVD
1 this passage, notice how Sucherman plays light ghost notes under his hi-hat to create an
Interesting texture and then offers a simple fil using five-sttoke rlls phrased in groups of
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1. QUARTERS
ARTIST Toto
“TRACKC“SL. George And Te Dragon”
ALBUM Hyde
YEAR 1979
DRUMMER Jef Porcaro
In this example froma somewhat
‘obscure Tota song, le Porearo
strkes the mouth ofthe cowbell to
‘rive ome a herce quarter-note,
contrasting nicely with ofbeat
bass drum and keyboard chythms,
2.EIGHTHS
‘ARTIST Led Zeppelin
TRACK “Moby Dick”
ALBUM Led Zeppelin
YEAR 969
DRUMIUER John Bonham
The ol rom "Moby Dick" is often
focal point but the groove
Portion i what really sets the
‘mood. Simultaneous eighth-notes
onthe cowsell and ft foot hi-hat
chicks are the perfect backdrop
for funky bass deur and snare, a
3, BROKEN
[ARTIST Kings Of Leon
"TRACK “IWant You"
ALBUM Only BY The Night
ean 2008
DRUMMER Nathan Follow
Broken shythms ae defined here
as combinations of quarters, eighths,
and sxteenths (including rests)
Depending onthe arangement of
these notes, syncopaton i also
possible. Nathan Folewill contrasts
4, FUNK
ARTIST James Brown
TRACK “The Spank”
‘ALBUM Jom 1960s
YEAR O78
DRUMMER Tony Cook
‘A tmo-pitched medic pattern
{startingon the & of) layered
vith four-on-the-fooe drum
set groove, syncopated guitar
and bass, punchy horns, and
James Brown's characteristic
voiee. Check outhow wel these
<ésparato parts allesh together
deus
6:00
Notice thatthe coubellis integrated
into the drum part, not done as
studio overdub
ALSO "And Through The Wire”
by Peter Gabrie! (erry Marotta),
“Pigs (Three Dillerent Ones)” by
deos
O03
John Bonham improviss over and
round 2 syncopated guitar if
fonham proves that eighth-notes
‘are the hardest driving rythm in
the cowbell universe,
[ALSO “Heartbeat” by Buddy
Holly (erry Alison), “Black Magic
the lows ofthe bass drum on Tand
the (2) & with the highs of cowbell
‘onthe (1) and 3. Each artfully
crafted measure finishes with
tambourine and hi-hat
‘ALSO “Susie Q” by Dale Hawkins
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Wild cherry (an Bete), “Wake Tic
Way" by Aeresmith ioe Kramer),
"aficane” by Earth, Wind & Fire
(Ralph iohnson and Fed Whit),
Pink Floyd (Nick Mason), "Stone
Free’ by Jimi Hendrix Experience
(Witch titel), “Witch Hunt
by Rush Nil Peart), "We're Not
Gonna Take it" by Tusted Sit
{1 Pero}, and "Hair Of The Dog”
by Nazareth (Darrell Sweet)
Wersan/Gypsy Queen” by Santana
(Wtichsel Shreve & Jose Chepits
‘Areas), "Me And Mary Jan” by
Black Stone Cherry (John Fred
Young), and "LeftHand Free” by
Al-J (hom Green).
(Ror Lens), Wel aight" by
Blind Faith (Ginger Baker), “Pink
Houses’ by John Mellencamp,
(Kenny Aroncf. “Touch Of Grey
by GratefulDead (Mickey Hart i
Xreutzmann), and “Second Chance”
by Peter jon [Horne Cob).
ffl fF A
Wars Of Armageddon” and "Super
tpi" by Furkadlc [Thi Fulwood),
and "Sprung Monkey" by Stanton
Moore (A Meder Approach fo New
Orleans ramming OVD}
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9, BACKBEAT
‘Games Without Frontiers
Peter Gabriel
1980
Jewry Marat
Jerry Marotta seedted with drum
and percussion on this trac, though
W's key thathe coltborated with
Peter Gabriel in designing the part.
Conbellis used on 2 and, with
10. CLAVE
link-182
Feeling Wis
lnk 182
avis Barker
Travis Barer came up with this
chorus groove on ala (March/April
2004 of DRUM! and lucy or us,
hisbandmates lovedit He lays the
hichatandsnare with hieright hand,
which fees up his et hand to play
the conbe [positoned to theleftot
hishi-hat) The cowbell tythm is
COWBELL'S GREATEST HITS
1-96
das
F-ck providing syncopaton Stuck n The Middle With You"
For clarity’s sake, shaker and by Stealers Wheel Rod Combes)
underlying electronic drums acelet“Calng Dr. Love” by Kiss (Peter
outof the ranerption, (rss) and "Gol Dat Warman” by
Feetwood Mac (Mick Fleetwood),
ara often playedasa “On Fire" by Michel Camilo
Fim-cickin bossa nova, (Horacio Hernandes YouTube),
Dance The Night Away’ by Van
"Jungle Jaze” by Kool & The Halen (Alex Van Halen}, and
Gang (George Brown), “Lay Lady “Escape From Oaktand-Drum
Lay"by Bob Dylan (Kenny Buttrey), Solo" by David Garibaldi (Tower
he Adventures Raindance Of Groove DVD}
‘Moggle” by Red Hot Chil Peppers,
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13, INTRO
ARTIS Def Leppard
‘TRACK *Rock OF Ages?
‘ALBUM Pyromania
YEAR 1989
DRUMMER Rick Alen
Though this is one ofthe most
recoghizable intros in rock history,
the cowbell can't take the credit:
W's ofthe rypicalquarer-note
variety, Listen for Rick Aln’s producer, Robert "Mutt" Lange, An Ametican Band” by Grand Funk
backbeat displacements the Ralroad (Don Brewer).and “Good
second and third measures andthe ALSO “Mississippi Queen" by ‘Tes Bad Timer’ by Led Zeppelin
powerful drum scund captured by (lob Bohan).
14. MeLopic ae
ARTSY Rage inst he actne in Si
TRACK "tiling n The Nore” My ab
ALBUM Roge Agana Te Mechine
Yeast
DRUMMER rik
Punishing funk is about toensue. “Love Rollercoaster" by Ohio
‘Trough only si notes lang (12, Players James Wiliams), “The
ifyouinclude thegrace notes), ALSO “Take ThePower Back” by Reflex’ by Duran Duran (Roger
Brad Wilks displaced triplet lick Rage Against Tha Machine (Brsd__‘Taylor, and “Blurred Lines" by
isthe perfect companion tothe wil). “Working Man" and"¥Y2" Robin Thicke (ames Ga).
bassline. We know that some by Rush (Neil Peart-Live Solos),
15, RUDIMENTAL,
[ALSO Captain Beefheart And The
Magic Band
TRAGK“Sun Zoom spark”
ALBUM Clear Spot
veaR1972
DRUMMER Arthur Dyer Tripp at igh tom, and/snare, contrasts _ALSO“You Foo! No One” by Deep
nicely wth four-on-the-foor Purple (an Paice), “Weekepaug
A single paradidle between bass drumand wacky guitar Groova-Part1" by Phish (Jon
cowbell and snare, along witha and bass, Fishman—YouTube), and "Power
| seven-stroke rll using cowbel, Fall” by Procol Harum (Bs Wilson)
16, ANGULAR.
ARTIST Gov't Mule
‘TRACK “Thorazine Shufe”
ALBUM Doze
YEAR 1998
DRM at ie OOG0,) Ga onn
Aogubrcontelinytns suchas SESS
‘the mambo pattern payed by the
‘imbalerain Cuban mas, provide
‘momentum. In this example
“Thorazne Shuffle” is organized in ALSO Rock Steady" by Aretha Mann's Earth and (Chris Sade),
phrases often and twelve beats. Franklin (Bernard Purdie), "Gotta and "Tumba by Chick Corea Tio
The conbell(accompanying the GiveItUp" by Marvin Gaye (Bugsy (Vinnie Colaiuta—YouTube)
bassline} meanders, whileim- Wilcox and ack Ashford), "Every
ive us something tohold Other Freckle” by Alt) (thom
Green), “Times Right” by Manfred
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uepuoy orang 3149221 Nine-Note Cross R
Beli
hythms
‘THIS MONTH willbe the final
lesson in our series on near
‘ross-thythms nthese four
‘examples, we mil explore the
hine-note cross hythm,
ove among the snare, toms, and even
the i-hat and the bell ofthe ride cymbal to
discover the many musical possiblities in these
pattems. These exercises work to develop some
‘excelent fildeas between the hands and the
feet. Enoy!
seen nena
.
Tele
Get Your Threes
On! Part 2
IMMY LASTLESSON gave a9
invoducton to three-not
groupings over aseteenth-note
fee, Playing these patterns
helps to build greater rhythmic desterty and
improvisational skis onthe kit
Lots expand on this idea, Te bas drum
plays on every third sixteenth-note under a
basi hishat/snarerock pattern, This helps
to internalize the three-note groupings or
dotted-eighth feel (Ex. 1) The next two
{roove pattems (Es. 2 and 3) use the same
idea with sixteerth-notes on the bi- at
"Wetrc modulation,” in which a diferent
tempo and felis conveyed, s achieved by
playing the sare with every ether bass drum
beat (Ex 4). The herta covered previous in
this column) can be applied to this concept. Ex.
ST ebn ners: RELERLRRLLRERRLL RERRLLRERRLLRERL
fed TENDERING Es ERLERLRERRIREREL RERLRRLRLRLLRLRL
uses dovble parades and paraded
Some typical deube bass hand/fot combinations EX. 7
abe played using this fel 6.7). 8
DRUMMagazine.com November 205 DRUM! 107 Sai ;
Happy Latin
Rhythms:
Calypso And Soca
LEY CALYPSOIS Astle of Aro
Caribbean musi that origi
nated in Trinidad and Tobago,
MP tssister style, known 36,
+0¢a, combines the melodie concepts of
calypso with theinsistent dance-like quali-
ties of electronic music, These are another
{wo styles that working drummers should be
‘recy familiar with. [have found myself play
ing these chythms at weddings, corporate
astherings, and summer festivals. (Beware
the cruise ship gig) For drummers playing
ather styles of music, realize that no man is
anisland and thatall styles relate. Lesin ev
ery style you can. Be versatile. Learnt play
these grooves with conviction and authority
and you willbe able to break them out atthe
‘most appropriate musical time.
Learn to play the basic grooves atalltem-
os and dynamic levels, Do some research and
Play along wth popular artists in the genre to
ficiently internalize the authentic feel ofthe
‘music, Thenight-hand part can be played on,
rims, as accents on closed hi-hats, 25 an open
hi-hat sound, on cowbell othe side of 2
Moor tom (palit styl). Experiment with voic~
ing the efthand around the drumsin melodic
phrases. Remember this music supposed to
be played witha lighthearted attack and ina
buoyant bubble of happiness,
‘dinciansxcurdtis omen Nasi eben
ae
‘Adding Toms ~ Play Previous 4 Bell Patterns With These
Bu?
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|Bachmanis an international
‘rum clnvelon anda resanee rum
Seay in shi For more
|ermasion inekdng how tan
ptoranlie lesson trough Skype,
vEititscnnet =
142071 + MODERN ORUMNER | 71 117
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