/
Text
THE PATTERNS SERIES
The four books contained in the Patterns series have been designed to
help students in developing an awareness of the types of materials
currently being used in contemporary drum performance. Throughout
the books, many, suggestions will be made concerning how these
materials can be applied to the drum set. Students should feel free to
experiment with these possibilities, as well as any other ideas tha t they
may come up with.
It is important to understand that the books are not sequential and
can be worked on in any order. Also, it is not necessary to complete one
book before moving on to the next. The various topics that are presented
can be worked on in whatever order is the most appropriate for the
individual student.
RHYTHM AND METER PATTERNS - Deals with a Comprehensive
examination of rhythmic and metric materials, including such things
as odd-rhythms- oolyrhythxns, mixed meters, metric modulation and
the like.
STICKING PATTERNS - Presents a new approach to stickings with
specific emphasis on their application to drum set performance. Also
includes materials for accented single strokes, as well as exercises
dealing with the use of doubles on the set.
TIME FUNCTIONING PATTERNS - Focuses on time functioning
skills in both the jazz and rock areas. Topics include cymbal ostinatos
andlinear phrasing as well asmelodic and harmonic jazz coordination.
TECHNIQUE PATTERNS - Contains materials that are designed to
help students in developing basic technical skills. Includes- a wide
variety of exercises for the hands, as well as materials for the feet.
Copyright © I960 by GC Music
AB Rights Reserved
Exclusive Worldwide Distribution by CPP Bel win, Inc. Mianj. FL 33C14
Editor. Feldstein
Cover Art. V • .теп Conway
Production Coordu; Jx>r: Sonja Pporman
Originally from upstate New York, Gary was educated at the State
University of New York at Potsdam, (Bachelor of Science, 1966), and
DePaul University m Chicago, (Master of Music, 1968).
From 1968 to 1972 Gary was the percussion instructor at Western
Illinois University. In 1972 he joined the faculty of the Berklee School of
Music in Boston, Massachusetts, and was appointed head of the
Percussion Department in 1973.
During his stay at Berklee, Gary was instrumental in developing many
new and creative programs for the department, as well as a number of
highly successful performance ensembles.
Since lea’tfing Berklee in 1977, Gary has established himself as om of
the finest player/teachers in the Boston area. He has performed with
many top artists, including Dave Samuels, Pat Metheny, Mick Goodrick,
Steve Swallow, Abe Laboriel, Jaco Pastorius, Mike Stern, Bill Fries ell,
John Abercrombie, Harvey Schwartz and Gary Burton.
From, the teaching side, a list of Gary’s students reads like a who’s who
of the contemporary drum scene and includes such people as Vinnie
Colaiuta, Steve Smith, Casey Scheurell, Jonathan Mover, David Beal,
Joey Kramer and many others.
Gary is also Ln great demand as a clinician and has performed
throughout the United States and Europe. His articles and interviews
can be seen in Modern Drummer, Percussioner International, Drum
CAcJtf Rimshot ( Germ. ny), and Rhythm Magazine ’(England).
Those interested in contacting Gary can write to him in care of GC
Music, 16 White Oak Pnad, West Roxbury, MA 02132, telephone: ( 617)
323-1154.
TABLE OF CONTENTS
INTRODUCTION............................................. 4
SECTION I — CYMBAL OSTINATO TIME FEELS .................. 5
Cymbal Ostinato Possibilities ........................ 6
Practice Procedures................................... 9
Fat-Back Exercises....................................11
Snare Drum/Bass Drum Combinations.....................15
Improvising With Snare Drum/Bass Drum Combinations....17
Alternate Accent Possibilities........................18
Hi-Hat Exercises......................................19
SECTION II — JAZZ INDEPENDENCE...........................25
Snare Drum/Bass Drum Exercises .......................26
Hi-Hat Exercises......................................27
Other Types Of Jazz Time..............................28
How To Work On Broken Time............................29
Two-Voice Harmonic Independence ......................30
Three-Voice Harmonic Independence (various unisons)...33
Three-Voice Harmonic Independence (no unisons)........36
SECTION Ш - LINEAR PHRASING ............................40
Using Linear Phrases To Play Time.....................41
Basic Linear Phrases................................. 44
Using Linear Phrases To Play Solos....................48
Extensions of Basic Linear Phrasing ..................49
Triplet Linear Phrases................................50
Linear Time Feels With Single And Double Strokes......51
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nxmLODUCTIOJ?
The materials contained in this text are designed to help students in
developing a high degree of independence and coordination for both -
rock and jazz time. The materials are organized as follows:
Section One — Cymbal Ostinato Time Feels
This first section deals with the most common type of rock time
feel, (i.e. cymbal ostinato). The term ‘cymbal ostinato’ refers to a
repeated rhythm that is played on the hi-hat or ride cymbal. Many
different cymbal rhythms are available and the student needs to
develop a relatively equal amount of facility and control with each.
The exercises contained in this section will help in this process.
Section Two — Jazz Time Functioning
In this section, the various independence and coordination figures
that are available in jazz time are explored in detail.
Section Three — Linear Ideas
In Section Three, the concept of linear phrasing is introduced, both
as a soloing and time functioning device. The use of linear (single
line) ideas to play time, as well as solos, is a relatively new concept
and offers a great deal of potential.
HOW TO USE THIS BOOK
It is important to understand that the various sections of this book
can and should be worked on simultaneously. The reason for this
is the total content in each area is very long. Therefore, rather
than trying to complete one section before moving to the next, I
suggest working on all of them at the same time.
(Note — You may want .to spend a week or two on each section
individually at first, in order to become familiar with the basic
materials that are presented. However, once this has been done;
incorporate all three sections into your daily practice routine.)
Finally, it is extremely important that all of the introductions
and explanations be carefully read and thoroughly understood
This is absolutely necessary if you are to gam full benefit of the
materials that are presented
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SECTION I — CYMBAL OSTINATO TIME FEELS
The exercises contained in this section have been divided into three
groups which are as follows:
Group 1 — Fat-Back Exercises
The Fat-Back exercises deal with situations in which the snare
drum is always playing an accent on two and four. All of the
independence figures are in the bass drum. The first set of examples
outlines the possible figures that the bass drum could play on one and
three. The second set deals with the bass drum on two and four.
'Combinations between figures are then examined in the final
exercises. ".
Group 2 — Snare Drum/Bass Drum Linear Exercises
The Snare Drum/Bass Drum Linear exercises examine the types of
figures that are available when the snare drum is not playing a
constant accent on two and four. Each exercise deals with a different
rhythm and demonstrates the possible ways in which that rhythm
could be played on the snare drum and/or bass drum.
Group 3 — Hi-Hat Exercises
The Hi-Hat exercises continue the same process as above with the
addition of a third voice. First the hi-hat is dealt with separately,
then combinations between it and the snare drum and bass drum
are explored
Cymbal Ostinato Possibilities
All of the exercises in this section, are to he worked on using
a variety of cymbal ostinatos. The most common cymbal ostinato
rhythms are as follows:
id______X
However, in recent years, a number of other rhythms have gained
popularity. Among these are:
id____X
It is important to understand that the cymbal rhythm, in and of
itself, does not totally define the time. This is more a result of the
figures that are played in the other voices (snare drum, bass drum
and bi-hat). The more flexibility you have with these voices, the
greater your chances will be for performing interesting
sounding time feels. If, on the other hand, you only have a few
independence/coordination figures that you can play against a given
cymbal ostinato, your choices are obviously going to be very limited
and what you are going to wind up with is a fairly static beat’, rather
than a time feel.
The exercises contained in tills section will help in dealing with this
problem and should be carefully studied and practiced.
Ways Of Playing Cymbal Ostinatos
Each, of the cymbal ostinatos in the list on the previous page can be
played in a number of different ways. For example, using 8th note
time:
Playing the ostinato on the ride
cymbal while playing the hi-hat on 2
and 4.
Playing the ostinato on the ride
cymbal while playing quarter notes
on the lii-hat.
Playing the ostinato on the hi-hat.
(The dots indicate that the notes are
short.)
Playing the ostinato on the hi-hat,
opening it on the ‘and’ of 2 and 4.
In other words, the idea is not only to develop a high degree of
independence and coordination against each cymbal ostinato rhythm,
but also to have many different ways of playing the ostinato itself.
As a general rule, I would suggest working on at least four different
versions of each cymbal ostinato. Since there are about twelve basic
rhythms, this is going to give you a lot of possibilities. Therefore. I
suggest you keep some type of list in a separate music notebook of the
various versions you have worked through. Use one page for each
cymbal rhythm. On the front, organize your practice routine using an
outline similar to the example on the next page.
VERSION FAT-BACK SNARE DRUM/BASS DRUM HI-HAT
• • • • 1211? ' Ok ticui 1ЭЧЯ -R«v;tlV Pljjl • ueek '2l2l • Ok <liw
К К X
• • • — 1313.°" °
X i 1
etc.
On. the back of the page, keep a written record, of any specific ideas
you come up with. (For example, a certain sequence of figures that
sounds good against a particular version of the cymbal rhythm.)
After all of the individual cymbal rhythms have been worked
through, I would suggest experimenting with various combinations.
For example:
There are many possible combinations. Feel free to experiment with
any that are of interest to you
NOTATION — The exercises in this section are notated, as follows:
Snare and Bass Drum Hi-Hat Only Snare — Bass — Hi-Hat
The cymbal ostinatos are not written with the exercises. Therefore,
you have to listen carefully to what you are playing in order to
make sure all of the notes are being performed correctly.
Practice Procedures
There is a definite practice procedure that you should follow when
working on the materials contained in this section. The reason for
this is the nature of the materials themselves. In each group of
exercises, all of the possible figures are dealt with. In the context
being used, there are no other figures available. However, no matter
how well you can play these exercises, you still may not be able to
play interesting sounding time feels because what these exercises do
not cover is the virtually limitless number of ways in which these
individual figures can be combined and mixed and this is really how
you are going to be using them.
The practice routine that follows is designed to help the student in
dealing with this problem and should be carefully st udied
Step 1 — Pick the cymbal rhythm you wish to work on.
(For example, straight eighth notes.)
Step 3 — Decide how and where you want to play the cymbal
rhythm. (For example, playing the straight eighth
notes on a closed hi-hat.)
Step 3 — At a moderate tempo, set up the cymbal rhythm and
then begin working through the exercises.
(Note — All of the exercises are two beats long.
The same figure is to be repeated on the third
and fourth beats.)
Each exercise is to be repeated many times until it feels
comfortable. Once this happens, move directly to the
next exercise with no pause.
Step 4 — Once all of the exercises are done, move directly into an
improvisation using the same materials. However, in
this case, you will be deciding which figures are
played and in what order they are played. As much as
possible, try not to look at the exercises. Bather,
think about the line you want to play.
Basically speaking, the exercises serve as a kind of warm-up routine
for the improvisation. They take your body physically through all of
the types of figures that are available in a particular area and they
give your ears a chance to hear each of these figures. Once this is
done, their Job is complete. It is now up to you to come up with
interesting ideas to play.
There are three final points I would like to make. First of all, when
initially working with a given cymbal ostinato, I would suggest
playmg it in the easiest possible fashion. In other words, choose the
version you can play the best. Then, after working through the
materials a few times with this version, begin to experiment with
other possibilities.
Secondly, when working on a given group of materials, all of the
exercises in that group must be done as a unit. Initially, it may take
you 20 or 30 minutes just to get through the exercises. However, once
you begin to learn them, it should only take 5 or 10 minutes to do a
quick run-through.
Finally, you should be spending at least as much time on the
improvisations as you are on the exercises. A balance between these
two routines is essential for maximum development.
Fat-Back Exercises
Bass Drum On 1 And 3
Bass Drum On 2 And 4
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19
20
21
Combinations Of Bass Drum Figures
Combinations Of Bass Drum Figures (continued)
Snare Drum/Bass Drum Combinations
Snare Drum/Bass Drum Combinations (continued)
12.
Improvising With. Snare Drum/
Bass Drum Combinations
When initially improvising with the linear materials, there is one
particular routine I suggest you experiment with. Basically speaking,
the idea is to pass various phrases back and forth between the two
voices. You can either repeat the same phrase or use two different
phrases.
The purpose of this routine is to make sure you have good control in
each of the separate voices.
After working through this routine, you can spend some time
improvising in a more traditional time functioning fashion.
Normally, when cymbal ostinato time feels are played, a combination
of Fat-Back and Snare Drum/Bass Drum Linear materials are used.
In other words, there is a basic two and four accent happening,
but there is also other activity (unaccented notes) in the snare
drum part.
The main technical problem here is getting good balance between
the accented and unaccented notes. Basically speaking, the
unaccented notes in the snare drum should be at the same level as
the cymbal notes. Having the correct balance between these two
voices is essential jf the time is to have the right feel.
Alternate Accent Possibilities
There are many accent patterns other than two and four which are
used in rock-time feels. One of the more common, types of situations
involves substituting either the ‘ah’ before the ‘e’ after a normal
accent point.
Another common substitution is the ‘and’ of two or four.
There are many different linear figures that can be used to develop
such accent lines. Some of these (as in the examples above) have
the accents on single strokes. However, other figures may have an
accent on a double or triple stroke.
Accenting the first note of a double or triple stroke is no problem,
but putting accents on the second or third note is technically
more difficult and will have to be carefully practiced.
Hi-Hat Exercises
Hi-Hat Only
2-
4.^"**---5^-^---&
Combinations
Hi-Hat Exercises (continued)
Hi-Hat Exercises (continued)
Hi-Hai Exercises (continued)
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SECTION И — JAZZ INDEPENDENCE
The materials in this section deal with various types of
independence and coordination in relationship to the basic jazz
ride cymbal rhythm.
The materials are organized into four parts:
Part 1 — Linear Independence
Part 2 — Two-Voice Harmonic Independence
Part 3 — Three-Voice Harmonic Independence (with unisons)
Part 4 — Three-Voice Harmonic Independence (without unisons)
The exercises contained in these parts are divided into various
groups, each of which deals with a certain type of independence-
coordination situation When working on a given group of exercises,
follow the same general practice procedure as described for the
qymbal ostinato time feels (i.e. practice each exercise separately at
first, then move directly into an improvisation using the same
materials).
In playing exercises that do not involve the hi-hat, I suggest using
it in the traditional manner (on 2 and 4). Therefore, you will be
playing ostinatos in two limbs:
In exercises involving the hi-hat, only the ride cymbal will be
performing an ostinato.
Written as:L
All of the exercises are one beat long. However, when practicing
them, they should be played on all four beats.
As in the previous exercises, the ostinato parts are not written with
the exercises.
Snare Drum/Bass Drum
Exercises
Snare Drum Only
Bass Drum Only
Combinations
Hi-Hat Exercises
Hi-Hat Only
X
X
X
Snare Drum and. Hi-Hai
Bass Drum And Hi-Hai
174
Three-Voice Mixtures
Other Types Of Jazz Time
There are basically four different ways jazz time can be performed.
They are as follows:
Straight Time - Bide cymbal playing the traditional cymbal
pattern with hi-hat on 2 and 4. (This was the
form used in the preceding snare drum-bass
drum exercises.)
Semi-Straight Time -
Semi-Broken Time -
Broken Time -
Bide cymbal playing the traditional cymbal
pattern. Snare drum, bass drum and hi-hat all
have free parts. (This was the form used in
the hi-hat exercises.)
In semi-broken time, the hi-hat is again
playing the 2 and 4 pattern, but the
ride cymbal is varied.
In broken time, there are no ostinatos. The
ride cymbal is varied and the other three
voices all have free parts.
In a general sense, these four versions outline the basic historical
progression that has taken place in jazz time functioning.
Traditionally, the ride cymbal and hi-hat were always kept constant.
The snare drum and bass drum were the only voices available to
perform other figures. However, by the beginning of the sixties, a lot к
of people were starting to experiment with using the hi-hat as an
additional voice, rather than a time keeper. During this same period,
the concept of breaking up the ride cymbal rhythm began to gain
popularity and these same trends are continuing today.
Basically speaking, the direction has been toward a looser, more
flexible type of time playing. In other words, rather than developing
the time through the use of repeated ostinatos in certain voices,
it is the result of a mixture of ideas which are constantly changing.
I want to make it clear that this in no way implies any Quality
judgment on a certain type of time. Broken time is not better
than straight time or vice versa. They are simply different. Besides
that, you will undoubtedly play in situations where different types of
tune are called for, so the more flexibility you have in this regard,
the better off you are gomg to be.
Finally, it should be understood that there are many gradations
between completely straight and completely broken time. Most
drummers these days actually use a mix of materials from both areas
and this is probably w hat у ou will find yourself doing.
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How То Work On Broken Time
АЛ of the preceding exercises (as well as those that follow) deal
with the two types of straight time. Broken time must be worked on
from a different standpoint. I would suggest using the following
approach:
1. Experiment with semi-broken time at first. The hi-hat will be
playing a 2 — 4 ostinato, but the cymbal rhythm will be broken.
Four different figures can be derived from the basic ride
cymbal pattern:
The idea is to keep changing the order of these patterns to
get a constantly varied cymbal line.
Once this begins to feel comfortable, start adding the bass drum
and snare drum, using the same types of figures you would in
straight time. However, in this case, since the cymbal
rhythm is changing, the relationships between the various
limbs will also change.
2. Gradually, you can move into broken time, eliminating the
hi-hat ostinato and using it instead as another free part.
More than likely, there will be a lot of connections between which
cymbal rhythm you are playing and wliich figures you play against it.
In other words, rattier than being independent, the various voices
are working in coordination with one another. (Hypothetically, you
could have independence with constantly changing figures in all
of the voices, but this is extremely difficult to do and is a very long
range goal.)
These methods should be incorporated into your daily practice
routine. The idea is to be working regularly with both straight and
broken types of time. Eventually, they will begin to blend together
and this is probably how you are going to be using them.
Tvro-Voice Harmonic Independence
Snare Drum And Bass Drum
Unisons
Combinations
Snare Drum And Hi-Hat
Unisons
Combinations
Bass Drum And Hi-Hat
Unisons
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Three-Voice Harmonic Independence
(various unisons)
Three-Voice Unisons
Snare Drum — Bass Drum Unisons
Snare Drum — Hi-Hat Unisons
Bass Drum — Hi-Hat Unisons
Three-Voice Harmonic Independence
(no unisons)
Two — One - One Ratios
Two In Snare
Two In Bass Brum
Two In Hi-Hat
Two — Two — One Ratios
One In Hi-Hat
One In Snare
Three — Two — One Ratios
Three In Snare
Three In Ki-Hat
OTHER RATIOS
Two — Two — Two Ratios
Three — One — One Ratios
Three ~ Two — Two Ratios
SECTION III - LINEAR PHRASING
The term linear phrasing’ refers to the idea of developing musical
phrases through the use of single Ime figures. In other words, all
of the notes are played individually. The phrasing is the result of
which voice is playing which notes as well as where these notes are
being played.
The first set of linear groupings we will be examining consists of
single strokes in the hands, with either one or two notes in the foot.
BL RLRL
In the figures above, it can be seen that the odd groupings contain
one note in the bass drum, while the even groupings have two. It
is important to understand that these groupings are not rhythms, but
simply groups of notes. What we will be doing is taking these
groupings and finding ways they can be used in various rhythmic
schemes.
For example, a group of eight sixteenth notes could be played with a
matching linear group, either two fours or one eight:
—---5
However, the same eight notes could also be played using a
combination of the three and five note linear figures:
This is the basic premise behind linear phrasing. By expanding on
this concept, you will be developing a wide variety of ways of
phrasing the 16th notes and this same technique can be used with
other rhythms as well.
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Using Linear Phrases То Play Time
Using the method that we have been describing, there are about
forty phrases that can be made from these basic linear figures. In this
section, we will be examining how these phrases can be made into
time feels.
The process that is used to co this consists of a number of steps. For
purposes of demonstration, I will use the linear 8-note figure.
Step *1. Play the pattern as it lays, using the right hand on the hi-
hat, left hand on the snare.
Step Accents. Since most rock time feels have accents, we need to
get some into these phrases. You should tiy to have a few different
ones for each phrase. For example:
a. Accenting on the ‘ah’ of one.
b. Accenting on two. (Right hand comes over from hi-hat)
Step *3. Embellishments. Once the basic accents are in place, there
are a number of different things you can do to embellish the phrases
to make them more interesting. One of these is to double up on some
of the notes and play them as 32nds. (When doing this, the sticking
does not change. You simply replace the 16th note single stroke with
a 32nd note double stroke.)
a. Doubling the first note.
RRLRLRL RRLRLRL
b. Doubling the second and third notes.
RLLRRLRL RLLRRLRL
Another type of embellishment is to open the hi-hat for a longer
sound.
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These embellishments can then be combined and mixed to make a
This is the basic process that should be used on all of the linear
phrases. Simply put, you figure out a few basic accents for each
phrase and then add some embellishments to make it more
interesting. What this means is that you will have a number of
different ways of playing any given linear phrase, so that when you
use it in performance, you will be able to adjust it to specifically meet
that particular situation.
It is important to remember that when initially working on these
linear phrases, the sticking should always remain the same (i.e. all
figures start with the right and use singles). This will make it easier
to work with the phrases.
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Other Possibilities
As you work your way through these phrases, there are some
additional possibilities that you may want to experiment with. One of
these involves stepping the hi-hat in place of the bass drum notes,
which can result in some interesting lines. Another option would be
to move some of the hand notes to other drums and cymbals, as
opposed to always keeping them on the snare and hi-hat. Feel free to
experiment with these as well as other possibilities.
Basic Linear Phrases
A. Two-beat Figures (repeated to make one measure phrase)
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8/8/3
8/3//8
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8/8/3
8/3/8
е.
3/8/8
3/8/8
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4/4/3/8
4/4/Б/З
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4/8/4/3
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4/3/8/4
Ila. ______T/6/3______
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Using Linear Phrases To Play Solos
The linear phrases that we have been working on for time
functioning can also be used, to develop solo ideas. What follows are
some basic suggestions as to how this can be done.
Each of the linear phrases should be worked on separately at first.
This should be done in the context of some time scheme. For openers,
I would suggest using one of the following:
Play 3 measures of time — followed by — one measure fill
Play 2 measures of time — followed by — two measure fill
Flay 4 measures of time — followed by — four measure fill
In the fill measure(s), you are going to be working on various ways
in which the figure can be played on the set. The goal is to develop
as much flexibility as possible with the figure. It is very much like a
horn player learning a chord scale. The point is not simply to learn
the notes of the scale in a specific order, but rather to develop enough
flexibility with those notes so that they can be played in any way.
In our case, we are not rearranging the order of the notes, but where
those notes are played This in turn has a lot to do with what the
musical idea actually sounds like.
In working with a given pattern, there are a few general ideas
I would bear in mind First of all, most drummers tend to begin
all their ideas from the snare drum. When working with these
phrases, you should definitely make it a point to start some of the
ideas in other places.
Another problem has to do with motion. The type of circular,
parallel motion that most drummers use in moving around the set
can definitely be inhibiting in many respects. Therefore, I suggest
spending some time specifically on playing ideas that involve other
types of motions; either contrary (where the hands are moving in
opposite directions) or oblique (one hand stationary, one hand
moving). The use of such motions can definitely aid in the
development of a more musical style of soloing.
In initial stages of practice, I would suggest working at a moderate
tempo and using a medium level dynamic (around mf).
Concentrate primarily on getting good balance between the
instruments that are being played (Additional musical
considerations will be dealt with at a later time.)
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Extensions Of Basic Linear Phrases
The basic linear phrases that have been presented can be modified
and expanded in a variety of ways. The following are some
suggestions concerning these possibilities.
1. Various phrases can be combined and mixed to develop longer
ideas. This can be done by using different versions of
the same phrase or by using entirely different phrases.
Experiment with both types of situations.
2. Dynamics can play a very important part in helping to shape
musical events. Having the control to use a wide variety of
dynamics is an invaluable aid in drum set performance and
should be carefully worked on. (A number of dynamic exercises
are included in the first part of the book, RHYTHM 6? METER
PATTERNS These exercises will help develop the technical
skills necessary for good dynamic control.)
3. Space is another musical element that can be used to expand
the basic linear concept. In other words, rather than having a
constant stream of events, the ideas are played in a more
broken fashion.
When using space in this manner, the individual phrases tend
to get broken up into smaller units. Although this may take
some time to get under control, the musical potential makes
it well worth the effort.
4, Finally, it should be understood that in most playing situations,
the idea is not to use linear materials exclusively, but rather
to mix them in with all of the other types of things you do.
As you become more familiar with these materials, you will
begin to notice this happening and tins is really the main goal.
The following list represents the basic phrasing possibilities for
triplets. The individual figures have not been written out, since they
are the same as they were for 16ths.
These phrases can be used for soloing in Jazz time. Many of them
will also work well for setting up regular or half-time shuffle feels.
Experiment with these as well as other possibilities.
A. Two-Beat Figures
D. Two Measure Mixtures
1.3/3
2. 6
B. Four-Beat Mixtures Of Above
3a. 3/3/6
b. 3/6/3
c. 6/3/3
C. Other Oue Measure Phrases
4.4/4/4 7a. 5/4/3
5a. 8/4 b. 5/3/4
b. 4/8 c. 4/5/3
6a. 7/5 d. 4/3/5
b. 5/7 e. 3/4/5
f. 3/5/4
8a. 8/B/4/4 10a. 8/7/Б/4
b 4/4/8/8 b. 8/7/4/Б
с. 4/8/8/4 с. 7/8/Б/4
d. 8/4/4/8 d. 7/8/4/Б
9a. 7/7/Б/5 e. Б/4/8/7
b. Б/5/7/7 f. 4/Б/8/7
с. Б/7/7/5 g. Б/4/7/8
d 7/5/S/7 h. 4/S/7/8
i. 8/Б/7/4
j. 7/4/8/Б
k. S/8/7/4
1.4/7/8/Б
m. 8/Б/4/7
n. 7/4/S/8
о. Б/8/4/7
p. 4/7/Б/8
E. Other Two Measure Phrases
1 la. 7/7/7/3
b. 7/7/3/7
с. 7/3/7/7
d 3/7/7/7
12a. 5/5/5/Б/4
b. 5/5/Б/4/5
с. 5/5/4/5/S
d. 5/4/5/Б/5
e. 4/5/5/Б/5
9.
Examples Of Linear Time Feels With. Singles And Doubles
The preceding figures can be combined and mixed in many ways
to develop various time feels. The examples that follow indicate
some of the basic possiblilites.
#1 — The actual phrasing of this line is 4-3-4-3-2.
*2 — The phrasing is 3-3-2-4-4. (Notice the open hi-hat on beats 3 v
and 4.)
*3 — The phrasing is 4-4-3-3-2.
After working on these examples, begin to develop your own ideas.
As a general rule, I would suggest starting with the cymbal
rhythm. In other words, decide what the cymbal rhythm is going to
be for the entire phrase and then fill in the other voices. (The
exercises are a.ntna.llv based on various r.vrnbal rbvt.bms sn tbis
Linear Time Feels With. Single And
Double Strokes
Tiie following exercises represent another type of linear phrasing.
In this case, double as well as single strokes are used in all three
voices. All of the cymbal notes are played with the right hand The
left hand plays the snare drum notes.
Each pattern should be repeated many times until it feels
comfortable. Then move directly to the next, with no pause.
(Additional suggestions will follow the exercises.)
(no cym)
Examples Of Linear Time Eeels With Singles And. Doubles
The preceding figures can be combined and mixed in many ways
to develop various time feels. The examples that follow indicate some
of the basic possibilities.
#1 — The actual phrasing of this line is 4-3-4-3-2.
#2 — The phrasing is 3-3-2-4-4. (Notice the open hi-hat on beats 3
and 4.)
#3 — The phrasing is 4r4-3-3-2.
After working on these examples, begin to develop your own ideas.
Asa general rule, 1 would suggest starting with the cymbal
rhythm. In other words, decide what the cymbal rhythm is going to
be for the entire phrase and then fill m the otb er voices. (The
exercises are actually based on various cymbal rhythms, so this
should be fairly easy to do.)