By dividing parts between the left and right zones, you can create some amazing, pulsating rhythmic

shapes. In this example, the ultimate

aim is to combine groups of ves and sevens, while keeping control of the 1/4 note pulse. This is the challenge. Feeling the pulse is what
will anchor it and make it groove, so dont forget to count.
Of course you can create groupings of your own, including threes and fours, fours and ves etc.
Examples 1 & 2 should be mastered feeling the 4/4 pulse before you try to combine them.
Layering Grooves In Zones
Groups Of Five
Groups Of Seven
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Track 15 / 120 bpm
Track 16 / 180 bpm
Track 13 / 100 bpm
Track 14 / 160 bpm
Now I combine the seven and ve groupings. In the rst four measures I play the sevens in the right zone, and the ves in the left zone.
From measure 5 to 8, I reverse the parts, and play ves in the right zone, and sevens in the left zone. Notice that when I make the
transition, the right hand moves to the x-hat (on my right), and the left hand moves from the piccolo to the main snare.
SEVEN - FIVE (Triplets)
Layering Grooves In Zones - 2
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Track 12
Here is the same combination of seven and ve phrased as sixteenth notes instead of triplets. Changing your thought process from triplets
to sixteenths will inevitably mean you will have to re-learn the feel, even though the patterns remain the same.
For this variation, I have written it without reversing the parts after four measures, instead just playing it through to the end of measure 7,
which is where the seven grouping completes the cycle.
SEVEN - FIVE (Sixteenths)
Layering Grooves In Zones - 3
3 2 DRUMscene Issue 62
Track 11
In the course of developing my skills in executing polyrhythms, I am discovering applications that can groove in fascinating, unconventional
ways. I would like to share one of my favourite ideas, combining 4, 5, 6 and 7 beats and making it groove.
It goes without saying that this requires a good understanding of polyrhythms. Firstly I have isolated its individual parts for clarity, and then
combined them in two variations (Ex. 5 & 6)
I like to apply this using various sound sources. As written, Im using the feet on the main hi-hats, and cable hats, the right hand on an
x-hat, and left hand on snare. For a big powerful sound, the second option is to substitute the bass-drums for the hi-hats, the right oor-tom
in place of the x-hat, and the left hand on the left oor tom.
4 - 5 - 6 - 7 Groove
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ARTICLE
CHAPTER 4 - Creative Single Stroke Development
Learning to play syncopated rhythms with the feet is a challenging and pivotal skill to develop.
The fact that you cant rely on a constant stream of notes as an anchor introduces a signicant independence factor.
However, once we develop this important skill, it can open the doors to creative expression with the double bass drums.
3 Stroke Singles
5 Stroke Singles
5 Stroke Singles in 4/4
EXTRACTS FROM VIRGIL DONATIS
DOUBLE BASS DRUM FREEDOM
34 DRUMscene Issue 62
ARTICLE
CHAPTER 8 - Developing Paradiddles With The Feet
The Paradiddle will further enhance your prociency on the pedals, but apart from the technical benets, unless you are
playing two bass drums with a contrast in pitch, it will not be of any obvious advantage to play paradiddles with the feet.
The approach I have taken to render it an effective pattern, is to insert a beat in between the double of each paradiddle.
I believe this idea generates exciting rhythms, which can be combined in many ways. The basic paradiddle forms should be
practised at rst, before inserting the extra beat.
Single Paradiddle
Double Paradiddle
Single Paradiddle with Insert
Double Paradiddle with Insert
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