i Sed eee TG ; EEE aa CL es YA | - : | i a ye Fy ra 7 A VE i rane fen iF Albert eet i Sos Pec ae i. oo Mecsas seen ' Will Kennedy UC OU yan cs dead Labo aad,amsterdam iokalceiing © Copyright 1992 by Modern Drummer Publications, Inc. Intemational Copyright Secured Al Rights Reserved Printed in USA, Any unauthorized duplication’ of this book or its contents isc violation of dapyright lows. Adt Dir Scott Gary Bienstock Lori Spagnordi 4 Cover Phigt Ron Spagitbrdt a Published By: Modern Dru i yer Publications, Inc. 870 Pompton Avenue Cedar Grove, New Jersey 07009 U.S.A.Introduction... Developing Your Own Style By Mork Yon Dyck wannne on ‘An Introduction To Funk fy sw Pop ‘An Approach For Paying In Odd Time: Part 1 By Rod Mergent ‘An Approach For Playing In Odd Time: Port 26 Rod Morgen Style & Analysis: Bit! Bruford By Michoel Betine. The Rhythms OF Frank Zoppa By Seb Soylow Ir. Simulated Double Boss 8y Richard Meena ‘The Bonefits Of Let-Hand Ride By Wiliam F, Mile The Shuffle By Randy Martha Beat Shifting 8y Howard Fil... God's Mozambique By M, Rupert Woden. In Pursuit OF Odd Time: Part 1 By Rod Moe Un Pursuit OF Odd Time: Part 2 8 Rod Morgen. In Pursuit OF Odd Time: Part 3 8y Red Morgen. Creating The Drum Part &y Nel Peo. Style & Analysis: Omar Hokim fy Kely Plt... Linear Drurnming 8y Gary Chae nnn Funkadiddles &y Mork Hur... Linear Patterns Mode Easy By Wii F, Mier. Subdividing And Regrouping Time 8 fvathon Hever. Playing In Odd Time Signatures 8 Chad Weck Ghost Strokes: Part } By Rog Morgenteln Ghost Strokes: Part 2 By Rod Morgensein.. Quintuplet Rock By Andy Newt More Effective Drum Fits 8 Wik Keanedy‘The Art OF Seloing By We Peot... Style & Analysis: U2's Larey Mullen By Micheal Btn Style & Analysis: Simon Philips By Micoel Betine Breoking Up The Double-Boss Roll By Je Fre. Double-Bass Concepts 8y Je Fron ‘Thoughts On Practicing By Rod Moigensten. Style & Analysis: Steve Smith By Bradley Branscum Style & Analysis: Neil Peart By Michael Seine Style & Analysis: Style & Analysis: Alan White 8 Michol im Gordon 8 Bradley Bronscum. Phrasing Concepts: Part | By Je Fron... Phrasing Concepts: Port 2 y Joe Franco Style & Analysis: Terry Bozzio By Michael Bete. éth-Note Tiiplets On Double Boss By Joe Frorc.. Ringo Stare: The Early Peri By Keny Aron Ringo Starr: The Middle Period By Kenny Arno. Ringo Storr; The Later Yeors By Keny Aron. Warming Up: Part 1 By Kenny Arnot Warming Up: Pot 2 By Kenny Arnot. Rock Around The Set By bet Bouchrd nn ‘Two-Handed Riding By Honod Fes. “The Ageless Beats OF Rock N’ Roll 8 Kenny Arona. Rock Solos 8y Greg O'Argt... von Applying Double Strokes To The Drumset By Bobby Rok... “The Benefits OF A Four-Plece Kit 8y Andy Newrot on Notes.INTRODUCTION ince we began publishing Modern Drummer 16 years ago, numerous reader surveys have indicated that both rack and jazz drumming remain the primary interests of an overwhelming majority of MD readers. As a result, MD's Rock ‘N‘ Jazz Clinic and Rock Perspectives columns have appeared on a regular basis in the magazine over the years. However, many new readers who missed the importont information offered through both departments have since come on boord. Likewise, mony long-time MD readers may have also simply missed out on certain enlightening material, The purpose of The Best Of Modern Drummer: Rock is to take 50 of the finest articles from Rock ‘N’ Jozz Clinic and Rock Perspectives, and make them all available once again in a single volume for easy reference and review. ‘Though many of the articles included here were authored by successful free-lance drurnmer/writers, an even greater number were written by some of the most proficient rock drummers on today’s music scene. Articles by Rod Morgenstein, Jim Payne, Neil Peart, Gary Chaffee, Jonathan Mover, Chad Wackerman, Andy Newmark, Will Kennedy, Joe Franco, Kenny Aronoft, Albert Bouchard, Bobby Rock, and Greg D'Angelo are all included in this text. ‘Our thanks to all of the players who have contributed their ideas to MD over the years, and whose work is represented in this volume. Without them a compilation of this type would not have been possible. We believe that drummers at all levels can gain considerable benetit from the wide range of material presented here, and hopefully will find themselves referring to The Best Of Modern Drummer: Rock continuolly over the years to come. Ron Spagnardi Editor/Publisher Modern Drummer Publicationsby Mark Van Dyck Developing Your Own Style “The exciting, aggresive world of drums ining is fargus for highly skilled players tthe Jove thelr raft, Added to them are Grommers of every skill level some up- fnd-coming, some content with their ni satus and some on the way down. You may be asking where you fit in this picture and how you go about carving a Fiche for yourself. "Theansweristodevelop your own syle, <0 so will require maturity, patience 1 bard work, I will involve refements styler begin wih tecnncal matey Atleast technical proficiency) on the drum set, There are many options xs 0 what and how you play in any given musial situa tion, You are in bad shape if you play a cea way simpiy because ICs tbe only Say of which you ae capable, You should never have your style determined by a lack ‘of sil, Therefore, you must leatn neo beatgana ll, and you must be abletowen~ trate several different sounds and feel, {tom ihe same beat. Technical mastery of the drumset 1e- quires an ongoing learning program, be- cause the best drummers are themselves continuously developing new skills. Les- sons roma topnotch instructor are always beneficial. However, if you have good jfeiding and wanseription skills you can ‘ominueto grow through study of the best leaching methods and by listening to (and Wanseribing) the best drammers. Before you can develop your own style, itt important 10 be avvare of what is a J t246y going on around you, The areal clas- Seal omposer Johann Sebatilan. Bach seat large amount of time in his forma: tive years simply copying by hand other ‘emposers est materiale In his way, be ‘hovely acauaiated himself with thee tea find matbods. When i cate time to de- felop tis on muse, he did from a lable ensure chen of knowedge, rather than fron a vac, “Thesameprinspl applies today. Copy- fog op performers isa great way (ofan about ssle. You should have fstening ‘bits that cover a road spectrum of mut sTe(de broader he beter) and a8 you l= ten you should pk out the good from the bad in each gee and analyte os best you can what makesthe goed good and he bad iad ‘Once you have achieved the necessary twchaieal ils to give yours pest ot options, and you ate avare of what other Srummeia in the eld ate doing, cbecomes lnmportant to have the proper aitade in ach pavtenar” playing. suaton, We oud be more than. drummers—we Mould be musiclans, erating mood nd fflect. A al times, Ge avare of the «mo tion your drum sounds are cary “Thebes musicians are those who make the players around them sound baer. ‘Their aim syoergietearowork Godiid- tal performances that, when taken t0- Jeter, increase each othe seffectiveness). Tobeliketbe best, you must eject the de. Seto show off, Your ob to help create Aualty music. Sometimes that means you ‘tilnave to piy an inconspicuous role at ‘ther times ou wl have eaery the band tnd play «prominent pat calling for ots Of fash and plzaze. Whatever the situa ion remember that your goa! fo create the bestinuie possible, whether 6¢n0l Jou ‘ine indvidvliy. "To further understand what syle Is al about, you should Keep several baie eee Trent a the back of your mind, Fhe Rest these isthe question of complexity— ow simple or fancy should you playa par tiular song? Ask yourelt i the rong would be beter wih cluttered and busy Sam part or with en open end roomy drum prt Further, ask youre if the tor ‘aly ofthe sone fequires a broad spec. {eumot sound from tbedraon (llof bah SnJtow fone) ralimited range of pitches {poly jon the bas, snare ana hehe. ‘Next i the question of dynamics. You mould be skfll enough 10. perform ‘equally well loud or soft, end you should be able 10 change the volume of one of your multiple ines without changing the bther ines. For example, given any best, fan you change the eyinbal volume up and down without affecting the bass and snare, or vice-versa? spect of style has to do with tothe beat ar itis perceived {by the other players. In theory, the down- ‘beat in point in time with no dimension. I practice, however, it has width, perly lowing performance, some players are “on top ofthe beat” ht is, imieally tiving. atthe beat just ly ahead of the rest of the band) tome ‘players wre “behind the beat Achythwnteally rciving” at the beat Just Slighily bebiad the rest of the band) and Some players ere “on the beat” (chythmt- cally arsiving at the beat somewhere be- tween the “op of the beat” players and the “behind the beat” players). tig crucial that you choose the proper spot In each Tn welahing the overall aspects of syle (and in using both intellect and instinct 10 Secide just what 10 play) itis also neces~ sry toconsider thelimitationsof the genre {in question and whether or not you are g0- Ing ( stick within those bounds. For ex- ample couniry drumming poral cls for simple snare, bass and hi-hat shor fils any), few cymbal crashes, and ‘emphasis on your relation tothe beat. On the other hand, new wave drumming vill ‘often enthusiastically vtllze fast Rd-note ‘eymbal and bess drum lines, and long SE composed. of straight Iéth-note rune ‘crore the toms, So be aware of genre, and ‘veigh Ks limitations. "The Maal aspect of style deals with your approach tothe business of playing. The key words here are dependability and in tegeity. Once you have worked long and hard to develop your own playing sive, be careful not to fet extraneous things Inter- Tere wish your working relatlonships, ‘Drumming s more than an artform Its also m business, and requires proper style fon boih counts. Hard work should allow Yyouto carve niche for yoursll. You cen {ive and receive much enjoyment inthe ex- ching, aggresive world of drumming by developing your own style| ERR RR RRB BRR RR RRR ER ee by sim Payne An Introduction to Funk Rock'n’ rolland funk are closely related. There's no definite line thet separates one ftom the ther. Elements of rack ean be found in funk made between the rwo styles, In rock, the bass drum patterns are generally nd "4", The hi-hat is usually played in th motes andthe tempos vary from quartes ‘Semple Rock Beats: notes and 16th notes. The 16ih-natesyncopations establish an underlying dowbletime fel. “The musiccan be fltin wo ways— pian O @ @ @ 2) Underlying double-tie fee: 123472 5 fr 7or 7 | {nthe doublesime fel, both backbets fall on the count of "3" ‘Ava complesty. In funk, the drummer generally hae more iberty and ad sibing is aceeptble. However, ovely complex patent shouldbe avded. The tat fora rly fanky rhythm isnot how complleated i stat ow hooks up mith the bas, puta another ‘instruments afresh and orga way many ches hiscam be done very simply. 4 by playing an overly complex pattern, the Sruminers yt besornes uneven, hes neplctng the most important prof his Job creating asi groove and steady ven tne fel Frank tempos are usualy slower than rok tempos. They range fom quarter note = 69 (0 quater note = 10. Syncopated th- and 16t-note bass drum patterns area uademar of moda fen, Some ofthe drmmers whe have been nnovativeio ‘he eof syacoraed bass dram beets are Clive Willams/loe Tex; George Bvown/Koo!& he Gang; and Sunes Dienond/The OMe Players Some of the patterns below require a good deal of hand and foot techwlque and cannot be learned overnight. Amare detaled, progressive coordination study wil produce more lasig and Rexible resus, Sample Funk Beas with Syncopated B,D, Paterase ® lie &s 2ekasekaseRa le & a Qehkasehad ee a ® @sold backbeets on “12” and 4" sil doosinate most funk rhythms, But sofervariatfons are played on the snare between the accented rbeate Nat Kendricks, John “Jabbo" Starks, and Clyde Stubblefield drummers who worked with James Brow, were among the fist 8 with Snare Drum Variations: Te@ete&a3e & a 4eha ©, e¢ & a tekedtehade ha to fonk the hichat is usvally played in 81h notes and various combinations of Bis and I6ihs. There isa wide range of creative patterns ha can be used. Listen to Joseph "Zig" Modelist of The Meters. Sample Funk Beats with Hi-Hat Variations: Jo 92-112 ade&adeks lehale& atcha teha R etc. SS == =] F a CTs tr @ Jasra32 @® Jae02 y®ad, By) MOOR f + | Theses sep, of course itt combine bats drum, snare drum god N-a vrltion, The ceatve pombe for new paterns end rife ar endless and thas what maker modern funk and el moder music encag. Lette your own yma ple Funk Beats Combining Variations: Le &a 2e&asekadteha Aa oa a Sy > 4 mm —— ce. 1, Ss SE iF inant ern in tn uationeS SESE EES eeeeeeee | : | An Approach For Playing in Odd Time Part 1 by Rod Morgenstein hea been exehneteed msc, And beyond mus, we valk, land Faniliacty hat 474 time), we can build x foundation from Which we can leap theee steps for Fornow let's conee Play the following Beal: @ By dropping the att Bih note of the measure, we now have she 5) Foltowing beat: Play eis Sguce until it feel comfortable. Count exch beat out st aid then ty playing without counting loud. Reto peed fr of na concern. When you feel comewhal comfortable, try combining the two beats. Thir will help you understand the dilfereace between the ‘even and odd measures, 6 Aan aAnae ey ‘he folowing exerci are combinations of quar note and fun notes forthe bass drum, When 1 oF the fgures wil sound Uhe dram beats we've ll payed before, each 1/8 beat separately over and over, Then combine it with ‘corresponding 4/4 beat just like we did in.Bh ssurnsensuinsionaunan enon EEE EERE BR ERER RB Be 2 @®* ad A. i “The following exercte combines some of the ures from D and E: re samples of just a Fev different note combinations. Each bags drum, But not Doth, It should be apparent thatthe cas designed to emphasize ‘combinations are endless. 9An Approach For Playing In Odd Time Part 2 by Rod Morgenstein [15) i= = Ee SEI F ie oonig eres combine 6 Bh 48 gu actiyin boi ps De. Tr in both the snare drum and bass drum. For the fist time, we are seingby Michael Betting a: a Style & Analysis i. a Dill Bruford H , Bit Bruford Is certainly one of the most popular drummers in rock. Having played, a one time or another, with most of the progresive rock bands, he has been an influence on many an aspiring young drummer. While p noma for his highly unomthodox sje, His rademarksraniton #28 fom he vila selon “Time TK," fhe ume bw, Within he eon ses a repeating to-bar phrase, _Thetnine ls subdivided into a 45-5-4 grouping ove the ivcad ofthe phrasets picked up into the nest one by 0 6th note see snare of Boor tom, This another gaod example of rhythmic economy 1 ow we'take look at BI most cent work wih King Crimson, The ste anasto retaken from the Discipline albu Example #2 2a pert is worber pase, isis the second ana eal txRe MOF ‘While subi change, it helps a the song an interesting fel. 2vamples #4 and #5 are from "Frame By Frame.” Bil plas the sval cymbal rhythm ona highpiched Ocfoban, This use of toms | caer icon ht neveymbele ives heshythm section a strong, clan feling. Example #4 rm he fst- paced itr section, Here Bill ine cevetngpattn whee he bass rum and acs work tees By emphasing beat 4 of menses two and four, andeatng oot a Sea of measures one abd te, his phase has avery moving felig that plist along from ove measuretothe next. g | = > > > : Ist ume only =A A Sn an fn ay Example 45s taken from the verse, This two-bar /e pattern is underlined by the electronic hi-hat playing a one-measure pattern in 7/4, | 5 . f rr aes romibe mile seal telonethetow" fie abu. Thi naan shew Dishing, stom sever egtand bear Finally, example #61 under the a beat, Measures one, (wo, tree, six and ten are braken up intoa 4-3-5-3 pattern, Meas 4-43 pattern. Messtire five uses @5-3-4-3 pattern. Again, she ride pattern is played on an Octoban.i by Bob Saydiowski, Jr, The Rhythms Of Frank Zappa ets, septuplets, etc—played over standard meters. The best to keep tack of the mumber of notes being ind the space between notes Frank Zappa frequently composes using odd rhythmic groupings—quint ‘way to approach these polychythms is o subdivide each grouping into 2's and 3's, in ord played. When playing these groupings, each unit should be played as evenly s possible, making sure exch not. have equal lengths. ‘Keen in mind that, within a consistent tempo, septuplets ere played faster than quintuplets, quintuplets faster than triplets etc, so that the notes can fit evenly into the given beat. While praclicing these, it is recommended thal you use a metronome to help you keep a steady} pulse, When accents are marked, your best bet is o subdivide atthe accent, causing a stronger beat on the } count of the subdivision, “The Following are examples ofthe shythmie patterns fram several Zappa compositions. The first two are from “*Be-Bop Tango” (Rory, And Elsewhere, Discreet 2DS 22021973, Munchkin Music). Teoreoreraiaa12ieie2o1es12a@ See SS Ie SS ee SSS begins on the fourth beat of the first measure, re@restereaiviegizarevesd 1212128 “The next exampleis from “Manx Needs Woman’ (Zappa In New York, Disereet 2D 22901977, Munchkin Music), Note that the patero 12a 2 212 ot ot 2 t Z ‘ 4 SS i I “The following galetn comes from "Does This Sort OF Life Look Ieretng To You?” (200 Motels, United Ariss UAS 9956 1971 Manchin Music) York ©1977, Munchkin Music): } 358-66 os od = — i } i ST Zappa slo writes melodic pices forthe drumset. Heres therhythenle pattern forthe fist eight bars of “The Black Page" (Zoppe In New 16rod $s 7 I i I a 5 Hece is the same pattern, written melodically for the drumset, Remember, division of polyrhythute groupings should bein 2's and 3's, —s— ea 35 i oe ap —— 5s Allselections composed by Frank Zappa. A catalog of Scores and Parts to Frank Zappa's musicis available from Barfko Swit P 5418, Nort Hollywood, CA 91616-5418. (618) PUMPKIN. 7—— by Richard Meyer Simulated Double Bass Double bass drum techniques have increased the repertoire of drummers, both in playing beats and soloing, Here are some ideas ‘which ean give a player witha single bass drum setup the opport- nity toeffect double bass drum sounds. By alternating between the floor torn and bass drum, a drummer ‘ean play I6it-note patleras such as these: Now, let's incorporate these rhythms ia beats. The following ‘exercises are ta be played with leftshand lead on the hi-hat, andthe Tight hand moving between the floor tom and snare. Make sure that the right hand makes strong accent on beats 2 and 4. (Left- hhanded drummers will reverse the hands.) d=100 > > > = ne Inthe following example, the left hand moves between open and closed hi-hat and nate, while heright hand and [oot play continu ous L6ths. J =120 ‘The next two beats are shulMles. In the Bist, the left hand plays quarter notes on the hichat, while in the second, it moves between the hi-hat and snare. de1s2 0 > = J=a0 > = 18FS cee SF ne Sa Se ee ee ‘The same concept can be applied to soloing, as in this two-bar example, io which the left hand moves between the snare and the high tom. ‘These examples demonstrate that, with a little imagination, drummers with smaller kits can simulate double bass drums, thereby adding additional color and excitement to ther playing,The Benefits Of ‘what do Billy Cobham, Simon Phillips, Kenny Aronoff, Daniel Humais, and Lenny White have in common? They all play ride patterns with her left hand. Lefthand ride refers to the technique ‘Grummers use who play drumset in anormal, right-hand configu Jation, However, these dranimers play ride patterns on the hi-hat land ride cymbal (on the left side) using the left hand (matched grip), With thelist of notable and innovative drummers previously vreationed who employ this technique, clearly it can be used suc cexssfully. ‘Learning to incorporate left-hand ride techniques ean add new dimensions to your playing. Fiest ofall, most right-hand drum- ners have disproportionate strength and coordination in their hangs. No matter how much time a person spends practicing even- nes between hands, the right hand dominates the (wo. Riding with, the lef. band increases the strength of the left hand, Both hands in power and technique. Not only ave power and strength: ‘but an overall finesse and touch come about. ‘Generally, when playing a ide patter on a eyebal, tix drummers hold the stick in the right hand with a thumbs-up (ype ip. The left hetidis either in a traditional grip or a matched grip, Salm-down hand position, Drummers who ride with the left hand Bevelop the thumbs-up gtip in the left hand. Thus, right and eft hands are capable of playing a truly matched, thumbs-up type ar faround the entire kit, Ie s not necessary to switch from one hand postion to another when going from the ride eymbal 103 Bil Cobham is @ good example of a drummer who has developed his hands 40 that he plays with his thumbs up, either when riding oF ‘when playing on the drums. His grip is a timpani-hke (French) rip, which allows him to use the smaller muscles of the hands for Greater speed end control, Leftchand ride also helps (o increase Sour coordination, Most drummers play fills from the left side of the kit to the right (see figure 1), beginning with the right hand. [Lettchand ride gives you the coordination to begin fills with the eft band and move from the right side to the left (see figure 2} Right-hand lead, O Left-hand lead 20 by William FMiller Left-Hand Ride ‘Another sdvantage of Jefi-hand ride s that there: no erossing of sticks or hands in playing the hichat, Most right-handed érum- ‘mers paying rock or funk have to deal with the problem of moving thelr Fight hand out ofthe way so a backbeat can be played by the Jett hand. Riding with the left avoids crossing over (and getting in the way) to play the hihat, Also since there is no crossing, the fight bard can strike the snare drum without being impeded, tllowing youto play the loudest backbeat humanly posible! Many fimes, drummers who also sing have problems crossing over to the Hohl and singing, Left-hand ride allows you to be more open to the audience while singing and playing, and helps your posture for singing. Er drummers move to larger setups, they tend to place the cymbal and hihot further away and higher up, Drommers who he with ther ight have (o reach over racks of toms (and lately ‘ver entra rows of electronic drums too) 0 gett the ride cymbal {faving an arm lifted up aid playing ride eymbal for a period of ine eon become fatigting, Also, drummers who use two Bast {runs have the problem ofthe bi-hat being to far eft, due tothe Stadion of the second bass drum. Even with the various devices ‘which attach the hirbat othe second bass drum, the hi-hat alt Turther out, causing right hand ride drummers ta cra, reach and {orn ther bodies Just to play the hi-hat. Left-hand re solves all of these probiems, The ride cymbal can be as close as necessary, ‘ecause there aren't a8 many thiogs on the lft side to get inthe Way, The chat being placed forthe left poses no problems to the leftehand ee technique Probably the best reason for uilzing left-hand tide techniques {nthe interesting patlers this technique brings about, While play- ing ride peticrne withthe left hand, tha right hand is free to ineor- porate toms and other pereussive instruments located on the right Tie of the hit in ereative and mtleal ways, Algo, with the hishat dnd the tide cymbal on the left side, interesting patterns can be E played between the (wo. (See the end of ths article for examples.) Developing the left-hand ride technique can be dificult, fpe- cially for drummers who have been playing for 8 few years, but Suith a ide work, it can be achieved. Ina way, [tis lke siardog ‘vet. When beginning to work on left-hand ride, Tot can be done } Sven before sitting behind he kit, On a pad, practice Bth notes with | the lft hand and play backbeats with the ight. Start by just con: | tentratingon your hands; don't worry about your fet yet. AL Bs, {teeta very awkward because the left hand isnot used to working Zo nerd continuously. A good way to take your mind offshe awk- | ‘wardness sto play along with cords. Put on a recording that bas | {simple cock or swing feel, and play vey standard beat ‘Ouve the motion of the Tet hand becomes a bit more natural shenmove tothe drums, Onetip: Adjust the hi-hat helght so that it -jeappronimately the same as the snare drum (see photograph).te lay pat. Once that feels comfortable, place the ivity s not as precfse on the hi-hat asi first so give it time, Use study materials that are simple and for beginners. Your progress basiesdown. ’ “The patterns which follow are very basic. These exercises allow you to concentrate on the leftshand pattera, keeping the other limbs simplifed. Practice Wiese with a metronome, starting slowly and working up toa faster speed. As simple as these patters are, be sure 10 ‘Concentrate ov producing an even sound with the left hand, and also make sure the patterns groove. LH, on hi-hat RH. onsnaredrum rand using either the tip or shank of the stick. Begin working on just the hi- i ‘The hi-hat is easier (o start with because touch Za Now play these patterns moving the let hand to the ride eyimbal. Play the hi-hat with foot on 2and 4, onal four, and on Sth notes where applicable. "The following patterns are more advanced, They demonstrate some of the advantages of left-hand ride with a free right hand to play passages on the toms. Rock > 1 7 Leta tl can help brofden your tefaique and your overall playing. More and mare drummers ate combining left and eight- ‘hand techniques to make themselves more versatile. You have two hands, so why not use them? ; 21 = : [ Ox ee | |The Shuffle One might be hard pressed fo find anything more musically exelt- Phar a good drummer setting fire to a band by laying down = Aran araight-ahead shuffle beat, The shuffe isa very dynamic Aihie fee. thas been used ine host of diverse musical idioms, raging from the earliest of the simplistic chythm & Blues drum caeeitg the complex, hard-driving shuffles of heavy metal’s Alex Pe Halen, Though the shuffle is basic in nature, there are a punt: qa dt ways to play a good shu. For the uninitiated, let's fist ein our hat the shes nothing mere than the following yt aie Fel: “The interes lies, however, in the different ways the shullle can be ‘tated and moved around the drumset. Quarter-Time Shute Let's begin with a popular method whereby the shuule felis stated In the left hand on the snare drum, beneath straight avarter nates in the right, The changing bass drum parterns make each beat ‘Quite distinctive from the next. 3 3 by Randy Martin Ride-Time Sholle jad shufles with a standard Note how each subile snare jae pass drum variation sigoiGcancly alters the character of each peat. Be sure to snaintain a strong backbeat feel, and a good bal- nce between eymbal, snare, and bass drum, ® 3 3 3 3touse depends combined I . 23Beat Shifting “The ehythmie potential of a beat is not exhausted once it is mate {ered in its original writen forin. By employing atechnique, which fone might eall “beat shifting," any beat can be transformed into {nteresting variations that are similar to the original yet present their own distinetive favor. A vaiiation is rast easily achieved by {hifting the starting point ofthe beat from the original t0 any of the other downbeats, To Mlustrate, et us first play this basic rock. mes 3 | Now Jet us sift the starsing beat, so thatthe original 2s the new L SS Heat Ib uses the original 3asthenew 1. Beat 2e uses the original 4 as then @ miceffects. ®@ ‘The original 2is used as she new by Howard Fields ‘Any basic Latin beat can be easily varied with interesting rhyth- Clearly, neither best | nor its variations are extcemely rhythini- cally inspiring and ate merely meant to iustrate, It should be pointed out that it takes an interesting starting beat to make the Neat shifting" vechnique effective. ‘Let us now examine a good basi¢,funk beat, fl 4 =e (eat 2a uses the original 2as the new 1. ‘This fusion of funk and Latin. borrowed from St some very tasty variations. Try using a cowbell on these, ® yy ] nn ne Beat 2b uses the original as the new 1 24 ‘The original 2is used as the new| “The viginal 38 used asthe new 1. i | © _ FFA 2e= ‘The original 4s used as the new 1. © =F = | BE ae eee ! i if J {Keep in mind again that the more interesting a beat is, the more. | rewarding ere its variations. Simple 2and 4 backbeats do not bear rch thythmaie fruit, as beat 1 and its variations show. Tt is the mnore sophisticated rock, funk, Latin, and fusion grooves that lend themselves most effectively 1 the "*beal shifting’ tee «ther beats demonstrate, Vou will ind that, once the or { iscanguered, the bard work is over and the ensuing variations are lite oF no problem (o master, Hence, one beat equals four beats. ‘This is the bottom line Howard Fields was the drummer in the late Harry Chopin's band From 1975 10 198.basic patternis: v RAL RRLALLAR CARL sey %S | Thacolumn wil focus ain fel ha Steve tet 6] Gaga become Enown for. This beat iscalled 38 thesrmocambique,” and 1 recenly attended 3 bs: tlic by Sieve where he demonsiraied i, The Hecrenively apptied ita number of ways, suet as with the right tnand on the bell oF the eide ¢ymbal and the lft ‘drum: L RRL ARLALLAR ne on the snare LARL ‘ ARE ARLRLERR aS CARL Fre ‘The following patterns are simple vasiations on the mozain~ bique. Use wo basic approaches when pla right hand on the snare drum with che let hand (he right hand on the bell ofthe ride cymbal wth che left hand on theshare drum, Practice each pattern slowly until becomes auto- tmatie. Then, shill your concentration to the raht hand id you in coming up with your own combinations. t Re ALLALLAL these beats: the fon the hicbat, andl La RL 261's time to ateck odd time he exists in all styles of music, So i's probably not a bad idea to get a solid grasp of what it's all a since chances are you're going 10 meet up with sooner or Tater. [Ler's Took af the following beat: in ueig some tsi informaton, we tte pate ae ee eae ea here tur bea eo he een ete few ane il bao sean. The say aie haaed ah oe _—e, = hi-hat part, we see that it consists of eight 8th counted in the foliowing way: 1b ee ae tie Now we have created an odd-time signature (7/8) by simply removing the last lh aote of our previous exampie, Thet's experiment with this idea further by taking a stondard- setet beat and removing ihe last Bi 1k 2k By removing the last 8b note, it becomes: rm Bes i z =] f t Well, believe it or not, there is another way fo count this very ne bea, if we £0 choose. If each 81h note is given a full count, have eight beats of counts in the measure, with ‘The following examples will give you a few more simple odd eters 10 experiment with, The basic idea of these exercises is t0 Understand the coneept af how a simple common time signature ESSE Gane tne ino a 084 mee iy he sume ste prtengexanpies) is ao wren td Is counted in the following manner: ‘ 5 5 4 en ng 7s ——— lee ise 12 a Amazing? Well, nol What amazing, The polat is, 4/4 and 8/8 are Feauvatent time signatures that sound identical, The only differ- ‘ce is dat in 4/4, we count Buh notes "I de 2 & 3 & 4 &,” and in RSS ‘th notes "12 3.45678." be s see what happens if we leave off the last Sth note of the at thot we've been working with ‘which becomes: 1 2 a asiceeeell k =I r ES = J 7fs equal ta: Which becomes: 12, tt Se is equal to: which becomes: is equal to: 1 2 a SSS which becomes: 1 2 a ‘The focus of this anicle has been creating new time signatures from more “normal” ones by dropping off th notes from exist- ing beats. Try this process with your own favorite beats; it really Werks, Next time we'll continue Our pursuit and attack larger odd- time signatures. 28In Pursuit Of Odd Time: Part 2 by Rod Morgenstein CEE !9 ny last anicle, we created beats in several different time 5 based on quart ~ a To come up with larger time signatures, like 13/8 or 15/8, El joes are counted 1, 2, 3, 4, 5,6, 7, B. oleae lent time signatures, (2 tn time signotore ine signatures based on 8th notes, &thi which becomes: 1 rT oe ht SSS oo» tee ek mF i t i 1k et S Tt Tt = SSS —= 5 =—ESF sequal _ oe os 3 i » we Tt tT > f a 1 which becomes: 2 ak Sk 1 i = on al ft Lt im . EF i = ———e q “> i a is equal 1 re el * f = yt LT i imple consists of (wo identical juivatent to one measure of 1648. Notice how this last exar plus one measure of #4 1 Equivalent to one measure of | measures of 444 and B/A, Along those samme two identical measures of 8/8. One measure of Tines, one measure of 8/8 plus one measure: is possible. By taking two measures of 2 4/4 beat (or senate ccminds a second meshod for creating new time signalues fe ew time signatures are created. measures of an B/8 beat) and working backwards, an 1 1d vemoving Bib note Bk ee mat =o oo ==—pitr 7 Cf F 30lL Wh a. eh is equal to:In Pursuit Of Odd Time: Part 3 SIA This mont, we will look at another method of crating odd me signatures: This meine 62 00 tet Shallenging "a beatin 4/4 and, just as we di in the first two, Bis srene Sy eany han previous rls ean | 3 | an deraning of ou en ene new ie srs, However, ime, ome up wh Yu Pa tn tons for the additions. have writen out some patiens fo give you some ideas, but don’ jus ‘copy mine; come up with your ownt SSS == is equal to: D 8 re oo LT By adding an &ih note, it becomes: 1 2 a 6 78 4 a) 7 o By adding an 8th note, it becomes: 1 2 Ti e 3 Jo oa Te 5. & Co. Cf 32sequal to: oo iol i Cr to? 5 8 By adding an Bth note, i becomes: 12 ‘sequal to: 8y aiding an th cae, i becomes: “ 8 1h * 8 7, 4 | erect ne Sey 0 = a 33 nee ee Ss ee ee et nat eleRecently, an Ask A Pro question crossed rrr esk that was not easly answerable in Sy words or less, t0 | thoughts “Aha! Here's Grotner excuse for an article.” But here— you'll see what ! mean: “sour ability to play In odd times, play ‘odd accents, and insert your fills in the hon peculiar yet proper—places is Su passed by none Ta follow some of your ore dlifcut music exactly seems (at ey Tove impossibles My question is: White “you are playing, how do you think abeat {5 what you wil play nest? More speci ally do'you thin by numbers? Do you Thea? the upcoming niin your mint DO ou see the ‘hardcopy’ of your emusic in Your mind, or do you just et i low? Can you give, me any advice on a workable Trental rac io use while paying?” past Ancetin ‘Toms River NI Now, aside from adding to my wonder about why I get so many letters from Tams River, New Jersey, and making me Blush feth embarassment, you can see that theres plenty of “food for thought” here. Many drummers’ minds will stat to itl fwhen they think about these things, and | Think alto! Mat’s assertions are, oF can be, we. ‘Bot le’ start atthe beginnings with the numbers. Of course, its never Go early to Team to count, a hil that you'll eed for fever $0 ita sense tht when you ist begin wo dabble in odd sioves, or even earn Torliow well in 4/4 oF 6/8, counting will teach you the “program.” As you become thore fluent in diferent bythe: foundae Mons, you will be able to recall bese “ha teed programs,” to set you ica the eight cadence’ orto let you pick up the “odd” beats 9 different times. Fve written about this belore, #0 T wont give Ht too much tenphesis now, but you learn to subdivide theme signatures into the even-and-odd ‘components, o 19 mubiply them to make a Series of odd bars ald up to one tong, even ne. This isa ick Lhave used many times, ping 4 oe 8, 574 x, Sr olding the rhythen chugging along unui ti the bar lines add p again, and can {ake of somewhere els! ‘Theres another thing, too—a wordless ental “language” that | use to understand fand remember pars. Cerain phrases even frave.a kind of picture symbol; rot nota: tion, or the physical move, but an inner image of the effect of some lite rechnique ta aythovie bist, So in tbat sense, | don't 34 Creating The Drum Part hear the upcoming phrase in my enind $0 mach as see it, This, by Hs very nature, is Unfortunately not communicable wo others T guess that's why we have writen music! Bur let's get into the really deep waters fof this question. All of the above will set {ou up for comfortable improvising, but What if you want to arrange 2 drum part ‘one that will stand forever asthe definitive ay of playing 3 songt (1 know, | Knew.-cdreart on!) Staring from ground izero, you have a honk slale—a new song and 2 dium part 1 creas {or i. $0 you diay devectve, lack for clues, put two and Towed together--aadd conve up sith sever, (Always a good answer!) Butthe clues Perhaps the songwriter will play you 2 rough tape. On i, there will be Tome sncicaton a the fempo, wheaer i's io 3m machin oo fh noes STAC to the music as i's played. Then tl alle dynam ints: Row te song bul Tinere you might want to make the strong: teat saterent, where you can be subtle and Supponive, and where you might add some Fhythmie inverest, What does te song need? Where ace the vocal paris, the fasrumental paris the choruses, the bridgest These are Bil the building blocks, not only of the Song, but also of your part in it ‘Se your mind starts t0 sift possibilities: perhaps a big backbeat on the 3 for the Merced, mayne a quarter-note bass drum with, f6ths- on ie. hichat for the chow, Ind those beidges: Lets try a driving 2 and on the snare, with a quarter note ride, 10 ‘build nro the chorus, and then plane out under the vocals. And think we could do Some clever suffi shat ini 10 the instru- imental: Bring it down and play across the time, with lots of those “ghost notes that Rod Morgensicin Is always talking about. Linen io the song another couple of times, mnectally going over your “map” of the musical train and uying to cement the arrangement details in your head. Again, ppaople use different ways, to accomplish this and aff ace good. I doesn't matter if errigousame guano se the find of “shorthand” that many drummers dol, of you're able to rough it out in your fheze Just from memory. t this case, if works is ight! Ise song, dark and int Verted, or is it light and airy? Do you want Tobe able fo daace to itor ist “ust forthe fors"T Does your band’s common stylistic rnd rum 10 samba, ska, swing, oF speed Fretalt What sors of fills are appropriate, find where are they appropriatet And if were playing speed metal, can you in. Teed sdme teas rom se, samba of 2g thot night make it more interesting This where the fun sats Inevitably, 1 going to be rough the is few times, especally i you and the rest the band are all tying (0 learn the song at fonce. it you can do some experioenting Sra it at home, even if i's just on aga waht a hee one foot serie na algae Bayo sa Simply 8 ase Then they feel com! plac Srey a poste The ST arponct feted aide wai mina enact thy il er per 2a con | war in ee et eae eho si fe eee fa al Feeattere’s much to be said for eithe! pre wor, Thee mus Oe a aseee! Math the rest of the band less, and you'll Come up with a good, conseevatve par. In the second instance, however, you're mort: likely 10 stumble into. something original land unexpected, and if you bave the lus any of working by yourself, is at no one ele’ expanse. This is suppose, the ideal {Sauly, our world doesn’t tend toward the ideal and i others are complaining about Bik the noise you're making, you may nol fnake many fends. And let's face i: thi business, You need frends, and you shoul enainly not alienate the bass playet! $2 benice} “The big word here: LISTEN. As you play the song, take lie out from your explore tions of outer space to listen to what you! Phe bass playes is geting at, and 1 see how the other instruments 7e respond ing 10 your namic inpul. There may be something nice happening that wil trigget father directions for you. One of the wor erful things about working with othet musicians coming up wi something Together, When the whole band gets exc ‘bout something, you just know its gig lo work, because ‘ail be happy, feel part of this holistic experience, play thei fingers of ut these are sill many options open 1 you. Much will depend upon yout own —temperament as a player. What sor of situ Sion makes you moa conforable? Bo you Fike i have your part worked out as much 2 paste 50 yout only concern when lay oF record the song is getting it git Some wise eter once advised an {gonizing wrker: "Don't get it right, got it down!" There's something in that for musi- ans a5 well, though perhaps not what the Tierary advisor meant. if you find you fly lest "by the seat of your pants"—again, if inworks, i's ight. Go wild Thave told the story helore about how 1 ‘moon fan as a beginning wanted 10 do was get in band that would play some Who says so could wai lke he dh. But when | hoally found 3 band that actuatly wanted to play these Sons 1 discovered tomy chagin that didn't ike playing like Keith Moon. i was op cha, and things st were rationally. | wanted 16 play ina fre cel delete way-T0! think about what | played where, and not just “leit happen.” | am driven by a st0g crganizational, perfectionist demon. Of ihe (wo extremes, | must confess | probably prefer the dull and “correct” to the adven lurous foray that doesn’t quite come oll Agsin, thas» peronal thing, and sie Gon hin ea necessary gh Ws fst the way Ia, Soil continve slog i hat weno he atits icone {all-—and ak about organizing» son hy personal approac Is fay loca Hi gfe Stang a ts Begining he fong and. gradually build tot. not Synamially, then tn tems of sii A cyl round he toms in chow one inight double up in chorus two, ad then Syehorastinee come srpsoarng wor Bt nfl lary of bah ate rite bacibeat in verse one can develop ‘Maughan felon she de ey erse two, and le hoe by double: Mine alr “race to he ah ting, therideout then thee ore accens pushes, hishat ches, sudden pauses, fects, Stacie punctuation, Gownbeats om the toms inseat of the snare, leaving the downbeat ov or emphasizing the upbeats onthe ride patern. Thee’ aso someting Theat’ Manu Katche doing wih Peter Galviet and Robbie Robertson: insinuating the rhythm-—playing all around the beat weihowt acisaly playing My But usally there. Ths Bets mote com Gated, ul slo moe fa ad I very ea fying when you pull it off (not only for ‘yourself, ut for the song, the other musie- fans, and, hopefully, te audience). People so ofien seem to forget that an ‘audience doesn't have {0 understand the rust o enjoy i, How many othe mons ‘af people who loved Pink Floyé's "Money" and bought the Dark Side Of The ‘Moon album knew—or cared—that it was in 7/4? Peter Gabyiel's “Solsbury Hill” again is in seven, and is one of the cleverest ‘askings of odd tlme—and just nsppened to be a big hit for him. The time signature just dint mater; the musicians used still land musicality to make it feel good, and that’s what the audience responded ‘That's what “accessibility” fs ealyall abou communicating the thing propery. That's your ultimate responsibility, and your ul imate blame, Sure, there are no black-and- iit absolutes in mii, or sles! none, ut it sometimes happens that a greats fear “lick” with people beens just ‘wasn't put together right. The listeners might ‘not be able to aiticulate the flaw, and neither may the musicians. But iit doesn’t reach the people you would have expected to like it, the song just.dida’t connect. So its up to usto make the connections. 35Style & Analysis: . Omar Hakim 1: as Weather Repo, Gil Evans, Sing, John Scofield, and David Bowie, Ormar rad influential druremers on the contemporary scene. His playlng is @ ‘the elequence and wit characteristic of many “Through his work with such diverse artist Haken has become one of the mast innovative fessom In creativity and taste, The following wranscriptions are examples: cof his recent recordings. . ‘on the john Scofield album Still Warm, The basic pattern Is stated “The fist example is taken from the tune “Techno,” in frat es ensures and then repeated wilh variations, Omar avotds playing a svaight backbeat ‘throughout the rae it ener ension by not plying the stare deur on beet 2 the second ease of ne Paley Ne alsohow f Trang olforesrdmenion empl by he open ni-at"ars” and he veto ol fading ee > ‘of measures three and five. 2 et one vel he sick et the soul (achieve igh acta sowed: Wha Prchig eS OY rons auton othe accented lat notes especialy ensures two and eight and 0 maining 2" e¥=Py consistent bass drum sound. > ° a > > >> > FersenmentencherrMrzeheratrex a if tr aa =a > >> ment ie seres of hand.tochand coordination exercises to be practiced in preparation (or the folowing exeer Play each exercise sy and fepeatedly until they can be executed in 2 relaxed, lowing manner. Remember ‘accented notes should be played loudly, apnecented notes mezzo forte, and “ghosted” notes should be barely audible, RULRLLALERLE > > > ALERLLALLALE REB RURAL ARLE > >, "afer mastering the previous exercises, we move on to (wo related paterns sno te “igh And Mighty.” also from the John Scofteld afhum. The next ist ye Watts om the Domino Theory albuen. Cat plays this paltern very quietly bebi assure five i writen as Téth notes 10 €3se reaabibty, Yo play this pattere accurately, a ew isuge two exompls are jst wralionson the previous exerczes. Once agin, the Wb-hat played ‘withthe tip of the stick at > * > $ > a >t >t at x .‘the nex! exarnple hightights Omar's unique approach to pop music, The song is “Consider Me Gone,” from Sting’s album The Dream ofthe Bive Tames, Troughout ros of the tune, Omar plays avery understated Jazz sulle, leaving much room fr Stings vocals. As evan builds to ils powerfol conclusion, Omar plays a song backiveat and adds a cyrnbal bell patter that makes ths beat sound ve eke a 12/8 Arian groove rather than the siraightaheod shuille he stated with, The wetten sraight-Bh notes shouldbe swung, ym. Bal 3 tially “Shadows tn The Rao," again rom The Dream OF The bve Tuts, isa geat example of oi, hardhrving sll, Omar «eit at auming ond by erly playing he bas rum on best Agel, pay the wren stig tes In 3g fee 3 3 34 2 3 > > > > > > 2? > >, > 2 2 . > ai Op 2000 0b 5p moo8 | ’ >. 3 3 > >> 2 3 > 37Linear Drumming {n addition, there are alsa three odd groupings —The 3 (two noter TERT There ave basically three ways of creating time feels in rock drumming. The most common way is though the use of cymbal ostnaios. The term ostcnto” means “a Fepeated thyhm/* so with hythms the most common would be quar- ters, ais, or 16th notes This method has been ‘round for a long time, and the majority of time feels today are sl based on cymbal estinaos- When you play a cymbal ostinato using 6th notes, a lt of the notes are being played by mare than one Voice. About half of the fotes in the following example are played together. This happens in all cymbal ostinalos, because one voice is always playing. ‘When to voices site atte sare time, we cali yering. > > | Se Linear Phrases ‘There are two newer ways of playing time besides layering. ‘These are called linear phrases and sticking phrases. “Linear” neans “resembling a line.” When you play linear time, you're playing a single line of notes broken up between various pars of the drumset. There are no poinis where two voices strike at the same time, fn linear phiasing there ate basically six types: The frst is The 8 {six ootes in the hands, (wo with the foot): a tt ata ===> ¥ Transcribed by Lyman Mulkey Inthe hands, one with the foot: A L —= ee. ‘The 5 tfour notes in the hands, one withthe foot: Ak Rt ee ‘and The 7 (six notes in the hands, ane with the foot): ‘Now that we have looked atthe basic patterns e's concentrate fon The B, The fist thing we can do Is make a time feel out of iby ‘moving the right hand to the hi-hat, ——! Rock feels generally contain accents. We'll put accents into the sticking by placing a teft hand accent on the “ah” of beats | and 3. > > “There is also The 6 (four notes in the hands, two withthe foot: e = == Ne we want a mote common 2 and 4 accent, we must bring the right hand over to the snare drum. > > and The 4 (two notes i the hands, two with the foot): = SSS ==] All ofthe above examples are similar in that they're all even, they ‘ll end with two bass deur notes, and they all use single sticking, 3 ‘Once you get the basie accent line down, there are 2 few thing ‘you ean do 10 color the phrases and make them more interesting Gne thing would be to divide aay of the notes Into 32nds, Her they are on the frst and third beats ofthe phrase. > > es eeAnother one of the exciting things happening today is the play- > > ing of more time ee ‘using the full set eluding ‘ome pond to eymbals onl. inear drumming works very well for | FEES FE re re | cet \ > | i [SFR = 2 Ss : = a ~ {ou ean also open the hi-hat to achieve a longer sound, Here's a fourbar example using 32nd notes, accents, and open hi- When you work on linear lines, don't be 5% doing them one way. Vary them to develop flexibility around the sel, and make music with the phrases. fied with just i Sticking Phrases ‘Another way of playing time is with varied stickings. One of the ‘most common is a variation of the paradiddle. Ao Lt ‘Again, play the right hand 61 the hi-hat and the left hand on the snare deur, 1's also good to work on bass drum phrasing along with the new linear sticking pattern. 1 E I Linear phrasing doesn’t always work well for fast time playing. Yes bete for medium wo slaw tempos. As you can see, the phrases Bate more syncopated, s0 they're good fot funk time playing, I you want fo use them in a 10ck gloove, you'll need to play shorter Yersons, fess of them, and unix thein into the groove. Here's an example: > > Now, add accents, open hi-hat, and toms. 39“This sa sixcnote sticking (RLRRLE) with one bass drum added, ALAALL > poe Ee: ‘Another thing you can try Is playing the stickings in different ‘ways the set The next example has the same sticking pattern TRLUR LRRL), with the right hand on the ride cymbal bel. aE tot Now, keeping the # i Pedkeented letchand notes onthe Riba > re ht hand on the cymbal bell, put all of the | CSisiuta, Sieve Gadd, Omar Hi Clearly hear this exciting approach in action. € > oe ‘There are many ways to apply ti ing situations. Listen closely to Sticking vatiations can also be used for speciat feels like the halftimefdouble-time (eel. Here's a 32nd-note pattern using @ RLRR LURR sticking, RLRALLARS 6 > poe > e 2 a = > > a Se 40 inear concepis in time function- layers like Steve Smith, Vinnie Jeff Porcaro, and others, to‘One of the most interesting aspects of funkvrock drumming is experimenting with basic rudimental stickings around the drumset to achieve complex- sounding patterns that groove. Possibly the most adaptable rudiment of alls the simple single para- didle (RLRR LRUL, “The right hand should be played on the bell of the cymbal in all ofthe following examples, or on «a mutled cowbell, For starters, the left hand plays on the snare dum only in patterns 1 through S. Be sure to mainiain a strong ccenton 2 and 4, and keep all unaccented left-hand notes much toler. Note how the five bass drum variations give each beat a fiferent character. Stan slowly building to top speed gradually RURRLRLLALAALALL > psa Funkadiddles _ rrr 10 oP Patterns 11 through 15 involve further let hand movement. tn addition to the hi-hat bark, move back to a closed hi-hat for the last two notes of the second and fourth paradiddtes, Don’t lose Sight of the Imponance of mainiining a srong snare drum accent on 2 and 4, AULA ALALLALARLALL 2 > co > cn Inpatterns 6 through 10, the left hand now pl “bark” on the “e” ofthe fist and thed paradiddl the hand coordination first before attempting the bass drum lations. ALAALALLALARLALL 4‘The last set is another variation on the previous patlerns. Here, the “A” and “ah” of the second and fourth paradiddles are played ‘on a small tom, Note the counterclockwise motion of the left Rand, Adding the bass drum can present a coordination challenge, so take your lime. Avoid increasing the speed until you're comfort bie with the coordination and can play each pattern with 2 solid and relaxed groove, ALAR LALLERLRALREE s 2 2 > 16 ‘This is just 2 small sample of what can be done with a simple single patadiddle. Use this as a springboard fo create your own Ideas. For inspitation, listen to Steve Gadd, Dave Weckl, Steve ‘smith, and Vinnie Colaiuta—players who have mastered the crea- ive uve of rudimental stickings in contemporary deurnming 42don’t know how many of you read Gary Chaffee’s ‘excellent column on linear drumming in the De- ‘cember '86 issue of MD, but if you didn’t, you i want to go back and take a look at i. Gary es a thorough explanation of the sub ec, As far 35 the level of difficulty, though, Gary's cofumn jumped right into the deep end. This prompled me to come up with a few exercises that might (28e you into the whole idea of linear drumming. just for review, linear deumming has to do with playing time on the drumset, but PIR | satious pans of the set—no iwo voices sounding at the same time. This fist set of exercises consists of simple linear funW/rock patie that are fun to play and, more Importantly, sound more ‘ficult than they actually fe, You'll notice that no voice, be it bassdrum, hi-hat, or snare drum, plays more than one 16th note at atime. Your right hand plays all of the hi-hat noles and your lett and plays all of the snare drum notes. Start out slowly, and pay the accented backbeats loud, All of the other snare drum notes should be ghosed tbarely heard), One ather piece of advice about "these patterns: Concentrate on playing the bass drum part and the ‘snare dcum backbeals. All ofthe ether notes just fit in between, > > > = doing s0 by playing a single fine of notes broken up between" | Linear Patterns Made Easy | by William F, Miller ll ‘The next examples are slg ly more difficult in that the vight hand on the hi-hat occasionally plays wo Téth notes ina rove ‘Again, star out slowly, and lay into the backbe: 1 12 >For a good independence exercise, play al of these palerrs «with your right hand on the snare drum h hichat. If you want © ‘of the unaccented some playing some of the hi-hat notes on the: and your leith ‘make these even more challenging, play snare drum notes on your ‘bell of your ride cymbal: ayn imainalion, thse pater can veal start sound aa Ing complex AASubdividing And Regrouping Time CUETELTEN tn this, my (st article for Modern Drummer, | would like to talk about and demonstate a few diferent idea concerning the subdivision and regrouping of time based on a common rate. These equivalent ehythms are merely patil subdivisions of a larger shyllwnie group. 4 ‘tn any time-keeping situation, there Is a certain number of notes being played in a measure. In the following few Q examples we'll look at how (0 subdivide op eegroupthexe particular oles, (The numerals written above the nole jroupingsteler tothe numberof notes within the group, and should note mistaken as a rhythmic notation) Ter’ start by taking 2 look a the main ine feel dal we will be working off of Fr his example, I've chosen a two- Ene phVaGS of 68 time with a Teth-note feel, The foal number of 16th notes being played in this phrase is 2, a8 shown below. In tre lollowing example we have the main 6/8 time fe! set up as four sts of sx-note groupings. | a oe oe SS Now lets take these 24 16th notes, and without changing the rate, regroup them into Hee sets of ef \ \ ain te rvs xa corel wit eng he nie vot ine wl ghee comely ne el wih B acually changing the original time. Here are afew other hea: | Subdividing and regrouping into six sets of fow-nole groupings. Sabdividing and regrouping into four sets of fve-note groupinys and one four-note grouping. 5 5 3 5 4 } Sviding and egrouning using various ses of note grounions. if 8 ‘ ‘ ‘| Playing In Odd Time Signatures 1 recently ftshed a maser class tour for Drum Workshop, and during the tour { was ofien asked fhow to approach playing odd time signatures, 2 subject there seems toe sore apprehension about arsong deummmers. The fst thibg you must completely undestand before playing Odd tie signatures is whata tive signatute actually sigh ives you information desebing how each measure of music is @ be Eounted. Te top numer tells you how many counts ave in une Areasute, When | say "counts," Fm talking about numerical counts (12345,5.2.¢te). The botlom number ina time signature tell, [you what type of note receives one count. Bottom numbers a1@ owmally 2,4, 8, 16, of 32, relating lo, respectively, hall notes, quarer notes, Bib cles, V6th notes, and 32nd notes. iM you see a time signature of 3/4, it means thal you have thice counts in one measure, and a quarter note receives one count. In ther words, here are three quarternote counls to a measure, and HI they are counted *1, 2, 3.” If you see a measure of 5/8, then an 8th ole receives one count, and there will be five &th notes per tease, tra time signature of 15/16, it would mean that a t6th hose recess one couat, and there are 15 Téh notes per measure ‘When you look at any odd time signature, you should fst try 0 decipher witere the subdivisions fall Every odd time signature ‘vided into sublivsions containing two or thvee counts, Fur instance, a patten played in 5/8 could be counted: ATEI2S CUSAT 2 A pater in 7/8 could be counted: PAT2T 2125 12 12 wes or Br a3n212 1212312 ‘When you play In a quarter note time signature such as 5/4 or 7/4, iis fairly casy 10 play your patterns withio the subclivisions ven in the music, becouse the counts don't go by too quickly. However, if your tempo isa fairly brisk one and your meter is in, say, 5/8 oF 7116, you need to find a way to play all the correct Subdivisions quickly so that you can look further on to the more syncopated figures in the music, ‘When | first practiced these Bth-note or 16Ih-note odd meters, 1 decided ta correspond my stickings to the subdivisions of the odd meter. As I sald earlier, every add time signature will break down Jnlg a group of twa counts oF a group of theee counts. If you make Lp a slicking to play for every 2 court, and a slicking to fit in the 3 ‘counis, and then sting them together conesponding to your sub- divisions, you will be playing the correct groupings. For example, 7/8 can be subdivided inio a grouping of 2+243, or 1,2, 1, 2,1, 2, 3 Ty thinking of every two-note subdivision as 2 RL (righL-le slicking, and every three-note subdivision as a RRL Sicking, What you end up with ig 24243: Now try these different groupings in 7/8: 24342 1 12 123 12 34242 47[Av this point | suggest moving your right hand to the hi-hat and ‘your leit hand to the snare, Your bass drum should be hitting the Peginning of every subdivision on all of the 4 counts. Make all of the notes even, and ty 10 play your lefl hand very quietly. With these guidelines In mind, try these Fonger time signatutes: 15/8 (34342424342) Now try some odd time signatures using a different sticking for any subdivision of three ootes. Try these: RLL and RLR. In 58: 23 48 ‘You should be able to understand by now the method that I'm using, if you know what your subdivisions ate (2s and 3's, the Simply apply a three-note slicking Io the 3°, wo notes to the 244 ‘Sd add the bass drum to the frst count of egch subdivision, 1 wil work out correctly no mater how large the time signature. ‘Once you start to feel and hear how these patterns sour ‘experiment with accents of your own, First try playing all the frand snare dium beals softly, then try making certain hits loude} than others. Heaewhal a difference it makes if you only accent Tast note of these patterns; try the third note accented of @ 3 cou then the second nole af a3 Count, etc. The most important thing, to be able to play in any ime signature with steady time and wit ‘a good relaxed feel. #aly placed between the spaces proved by an existing beat et am atherwise “normal’-sounding beat into one that is Mgue. Basically, wo “ess up" the nora beat by filling im the roles with these ghost "Take, for example, the fllowving Dest: In this beat, the right hand plays continuous 61 notes on the i= eae Re the lelt hand plays the snare drum on 2 and 4. To fill in the holes swith ghost strokes, let's begin by playing continuous Teh notes on the snare using al the rights and play dhe les as quietly 3s possible. Surely you've eard the verm “less is more.” and in this case the quieter the lft hand tap, the more effective it will be. i i om * hand to play the hishat and hit the snare on the hackbeats Chat 1s. fon and 1. |Add the bass drum on 1 and 3, and we have the original beat dressed up with ghost strakes, In the interest of clarity, s esos utcaing the ghost stokes have heen removed (0+ the folowing sa phiers, However, be sute 10 pay the lefrhand: sare drum notes very sy t k i L Ghost Strokes: Part Have you ever heard a really cool beat, rushed to your drumset to figure i out, and pretty much trailed it down-—excep! for one litle extia part that you couldn't quite put your finger oni And, ‘of course, that one extra thing is what makes the peat so cool, Well, there's a chance that this tlusive partis a ghost stroke. A ghost stroke is 3 ery sol tap on the snare dium that, when stea~ oe nate rigit-let sticking, Accent ] > atin the vight hand, and all of the “e's” and “ab’s" on the bass | ‘and Bth notes played on the bass drum will sound simultaneously ; ‘drum should match up with the left hand ghost strokes. ° > >, > > Now, leaving the left hand to ghost on the snare, use the right ALALRLALAL REAL RE > > > > SL “Ly the following beats. Keeping in mind that all quarter notes Ghost strokes can work wonders shuttles, In preparation for playing ghost strokes with « shuille, Aaginath the following exercise. Note that the ghost sirokes fall pei middle of each lnplet and are played with the let bend RL ARLAR REA ALR tm the next exercise, the sight hand shoffles on the hi the leh allemates between ghosting and playing the backbeat, ih shuffles and halftime hat while RALRBR 333 49‘The following pattems consist of various bass drum patterns played aver the same hand pattern, Again, the parentheses have Path removed, bul be sure 10 play the unaccented left-hand snare drum notes as ghost notes. 2 >a 3 > t Tt t ss 8 2 3 2 93 2 32 € tht woo > 3 = 3 Next time we'll check out some other feels to apply sucked wo, and tke things a step fartnet See ya 2 3 23 ee 7 ‘The next example i the hand pattern for a hal-time shulfe. The: feft hand ghosts ia the middle of the first, second, and fourth triplets, and accenis the snare on beat 3. As in the regular shuffle, the right hand shulfles on the hi-hat. ALA ARLAB RAL 3 a > 3 3 aoe ee “Ty the following hal-time shuffle beats. Remember, parenthe- ses indicating ghost strokes have been omitted in the patterns with ‘bass drum parts fr the sake of larity 3 3 s o3 2) 50MUSIC KEY In our previous meeting we talked about the effec- tiveness of ghost strokes in a straight-Bth rock feel, 2 shuffle, and a halftime shuffle, Ghost strokes ‘1s0 work very well when playing 2 “rock march.” The hands follow an allecnating rightleft pattern as follows: Ae Ak ALR La Now have the right hand play the hishat and the let hand play the snare. (Ail ghost stakes are played by the ft hand.) RL ALALALRERE > > pF, Tay the following bass drum patterns with the previous has pat. tern SSS “Pret ‘A very popular technique in drumming is the apptication of rudiments (and derivations of rudiments) 10 the drumset. In addi ‘ion, “ghosting” some of the notes ofthese rudiments can enhance the sound a great deal. Take, for example, a double paradiddle: ALR Le LRA Now, play the right hand on the eymbal and left hand on the . by Rod Morgenstein Ghost Strokes: Part 2. - snare, As in the “march” feel, all ghost strokes are played with the felt hand. > ‘Again, try the following bass drum patterns with the previous hand, ppatierh ‘An inverted patadiddle also works great when applied to the drumset, The sticking is as follows: ALR LAL AL Latest ‘The right hand plays the cymbal while the left hand ghosts and plays the backbeat on the snare as follows: > > Try the Gollowing bass drum patterns: === 51BLESS eB BEBE SEB eB eee Ss Se “The inverted paradiddle can take on a very different flavor ifthe emphasis on the snare is switched from the backbeat to the last Toth note of beats 2 and 4. : ALL AL ARL RULE AL ARLE > > Now add these different bass drum patterns. stroke/accent patterns ALL RL ARLE RLLRERRL 5. > SSS Sows ‘The next example combines the two inverted paradiddle ghost 52 “There are countess applications of ghost strokes in conte rary cranuming, be tt rock, fusion, Latin, or jazz. The key s fnigsieal and utilize them atthe right time and inthe eight plaoe be PASTRY Fo% the past couple of years. ve been working on laqroove where ihe quarter nole Is subdivided into jive Teth voles instead of the usual four. | started practicing it ust 25 an experiment; ! wanted 10 see TL alter doing it for 3 while, it would star to feel 28 olural as playing ordinary V6th notes. Having done it fora considerable amount of time, 1’ Convinced that it can feel pretty good, within the context of being slightly “out there The ist examples are to get the feel of dividing the quarter into five Teihs instead of inta four, but keeping the idea that t few 47. you poll ul the hi-hat, you will have a basic 4/4 rock Fee Mhich you want to feel at all times. I's no! meant to be nought of as 20/16. by Andy Newmark : 5 5 : —_ eee I The hha came played by one hand a2 slove tempo, 35 shown above, or if i's [ase it can be played hy allernating hands, with ROIS fila mon over to te anave dru forthe bakes RURUALALALALALALALAL 2 5 5 5 I In the naxt proup of exercises, [0 develop a litle bit of freedom within this proove, we'll keep the hi-hat and snare drum the same bad play some variations with the bass drum. # derived these beats bby aking standard beats that we play in 474 when it's four Téths to the quarter Note, and these ate Sort of ranslations ofthat. yOu ‘want to play an entire tune i this feel with your band, these bass ium sorignons nuke jood shythae patterns forthe bass player rouse: ‘Once you gel familiar with these developmental patteros, where the second hal of the bar isthe same asthe fist, it would be good to min and match them, Also, alhough all of these examples are Notnted with the snarefhichat part fom the first example, you Should algo practice these bass drum variations with the alternat- ing saaefi-hat pattern, It 4 important not to lose sight of the fact that you are playing 4/4 Guttras big backbeat, without which this could easily become ery fusionesque and technical, and sound very awhoward. For that Nealon: there are not many snare drum variations, because you ‘don’t want to get t00 busy andlor lose that backbeat. 5 3 5 s 53‘one way o sietch out on tis and tll Keep the backbea! iy aa atrnentaiype stall, For example, you can £0 alternating Jolst dates wil he enra note played by the ass drm: a sme ee pa This next exercise also uses the idea of paradiddtes, with & seats Sha Son te ass drum and 2 solid 2 and ¢ on Ve sate, Bone | aac ose beats th a right-hand (RRR) parade s > co ‘You can make up variations by simply shiting the paraluldie over Yecago sian siting the paral, co matter Shere YOM 9 setae to work tut so thal theres big backbea) 67° ‘and 4 Pere 2s ean get yoo fr ou, Again, you need that backbeat to anchor (his type of playing. Fae ee cannot pay ths (eel over 2 band te et of fe aera saight tins. But the tempo fay aUick Yoo band's Ps ea for one- of tworbeat ils. Unless vou Pave ca ae nadvance withthe other band members, You hove sear pouting tsa 2 slow tempo, because hey tos alc you ae suthing, Buta fast temo, where the es Of the just ink Yong of ofthe quarternate pulse, you can thaw | 2 Oat Tie witnout messing up the otber players. That Che be ufo are playing 4 tempo tha s too fast 0 pay suai cee of x in your fil, but you want ¥o give the empression move activi ofe 9etY poriant to practice these fils with a metronome, rea nave 1g be vey caelul rot t slow down of speed oP ae ge is, even i you play i pete in the DOCKEY Yor the Pu Sing indicted for ~groove busting.” Balm eas ar eep the quarternte pulse going consstethy and He Te yo eee dou have the chance of being found “not guy” {Good luck oe stat wih a pattern on te rd beat of regula 76 Fn Fees Stil end wath the big backbeat onthe 4 (0 heey the rack yroove happening. Con the last example, the first note should be thought of 2 ¢ On re Backbeat, peas wi a iat in her wort ine Sr ee sac hea flowed by a four-ote fill. this pacicular Quintuplel, use a LRLRL stickiog. “ava fast tempo, you could get by wih playing all over the tied Aa an beats You should Keep four going with the bass det Seat fev evamples to get you started subdviing he eee eee sre interchange all of the ideas inthis acl, ped hen come up with your own varations. Be 54by Will Kennedy ‘One of the most challenging expects of being « musician is keeping an open mind to all styles fof musié, Limiting your playing to 8 comfort zone of favorite music styles will lessen your chanees of success in a very diverse industry. Taxing at least @ basic approach to 48 many ‘music styles as possible will prove to be a great advantage, because it will improve your overall playing and also allow you to be better-prepared for multiple sysical situation “Taking on this attitude as a drummer also made me aware of ny approach 10 fills, For clarification, fils are spontaneous or feincumes contrived phirates that are used to signal the (rs fon [ram one scetion to another within a song, (There are Countless other uses for fills, and 1 wil comment on 2 few of them later in the article.) Tt is diff personal and delieate element of music-making, but fine live steps that will possibly help make your fills more effective, puna Step One Step one would be to try to match your fills with the charac~ ter of the song you are performing, It is appropriate for the drummer, who is most responsible forthe fee} within a song, (0 play lil that complement the characteristics of the song. In other words, fills that work well in a funk-oriented cong may hot Wark a¢ well in a traditional jazz song, Again, there are no specific rules, but traditional jazz-oriented fills are most effee~ tive when performing traditional jazz songs. What is 2 traditional joz2 {12 Generally, it's « phrase or pattern made up of rudiments that (all-under the feeling of zz, which mostly involves swing-valued notes as opposed to straight-valued notes. For example: 2 3 In this example, the fist measure isthe standard jare beat, and the following measure is typical javz fil, The fill is made tp of 8thenote triplets and fits within the framework ofthe jar feel, Now, this fill would not be as effective ia a song with samba feel. Again, keep in mind that anything can be played ‘shen it comes to spontaneous creativity, but the drummer thoutd have a understanding of what pes of fills are more More Effective Drum Fills effective in different music styles. Step Two Step two in playing more effective fills is being aware of the ‘cement of jour fills. You are defeating the purpose of play- Jag the fill if you place it in a spot that disrupts the flow of the tutie, even if it ise great fill that fits the character of the song. ‘One element that will help you place your fills i effective spots is knowing or at least having an idea of—the musical struc- ture of the song you are perforining, Knowing where the differ~ ‘ent sections occur within the song gives you an immedinte Understanding of where your fills could be most effective. For example: INTRO — VERSE — CHORUS 4 8 16 “This is a portion of a pica song structure with the number of bars listed below exch seetion. Approaching this example ‘sing the basie definition of fils, whieh isto signal the tcansi= tion from one section o another, the drummer knows he or she ‘Can place fill inthe last ber of each section, which are bars 4 of the ints, 8 ofthe verse, and 16 ofthe chorus, Here is where {Jou can set the tone ofthe song and even enhance the graceful hes or aggressiveness of the song’s entrance. in many cases iti appropriate to place's il in the middle of a section, For instance, the sample verse is eight bars long. ‘ehich means that bar four of the verse could possibly contain a Til; but fils ofthis type should be approached with caution, ‘Melody, tempo, and overall musical environment are some important points to consider when placing fils in the middle of ‘tection, In most atgles of musie, the melody is the most iaportant element of the song, because its the one thing that dil the ether parts are supporting and enhancing. Ifthe phras- ing of the melody leaves room for a fil in bar 4 of the verse, then it might be effective to place a fil there. But if the phras~ ing ofthe melody goes thraugh the fourth bar, than staying out of the way of the inelody and continuing the flow of the song, imight be more effective. "Fempo i another axpect to consider when placing fills in the riddle of 8 section. In sos situations (not ail), your appresch {o playing should be inore to the point when performing fast bright tempor—unlees, of course, you are performing in 4 more improvisational situation. This doesn't mean youshoulda't pay any Gilg at all, ut placing fils at the primary transitions of {he song isan effective approach to star with when the song is bright in tempo. “Fhe last point in.comsidering fills fn the middle of «section ia the overall musical ensizonment, What's going on around yout What kind of parts are the other musicians playing? Are The parts relatively busy ones? A good drummer is alway! tening to the other musicians he or she is performing with. 55BBS Se eB eee Beno performing as group, and the common goal 10 perionn st Pereraet together, not separately. Playing fille that are most Hfective to the music is part of achieving that gos! Step Three “The use of accents isthe third step in helping make yous fils mime atfective, Accents can change the eharacter of 2 {il dras- Teally by adding expression and attitude to what you are play ing. For example: foneeerKerricre™ an > > oS = In this example, the first measure is a very basie baign bent (similar to sono), and the second meacure is 4 general Gi) GGAMML atin fee), Hoth ineasures ineulve acceuts, and if those Wat dts were removed, it would completely change the attitude ath Tock Accents ere very important for every sie of musi epecially a style that i as expressive as Latin and other of etliic descent. flow docs the drummer know where to place the accents withon 6 fill of beat? For druinmers, one of the largest sources fof accent placement Ha recordings. here are count seeecordings available in all styles of music that feature a petforming with expression and attitude with the saat gecente. ‘There are also books and videotapes available That tovels on the subject of accents. Ask around, do a Tittle re- teefehs and more importantly, start developing your car to be~ sear nore sensitive 10 expression within all the music you hear and perform, Step Four Enhancing melody end solos i the fourth step in playing mean Steet fill. | mentioned earlier that the band should MRoform and interact together. Tio is one of the most en} Eble aspects of playing Ine. : Meas ind yoursel ina situation where the melody or solo conden Mhynie pattern thet 5 fale to moat of the ster in he band. This sight be an opportunity for the cers icr to duplicate or enhance the pattern in some wey, Thin ic an example of rausieal interaction between fellow band srembere and, in most cases, can 2d for ant excitement aaeretindlor solo. Keep in mind that this type of interacting Menor be appropsiae for every song or style, which lends us Teac ast swp in playing more effective fills: risketsking, Step Five How do you know when any of the previous steps are appro priate forthe music you ae playing? Just go for ! You" Gnd Peres in Bie, Une more experience you have, the better you Getome. In the mean time, take some chances and (Y) some different approaches and ideas. : 56ay aswel admit he obvious tam, in jf? a peaciniones and parson ofthat Sh maligned and oft-persecuted muse Ei‘ferm, that thudling, plodding, tor- tate tedium, that daaling dapiay of Mission and viawosly—ihe drum solo. Tech ‘covtempr has been rained. dove pon ha sne-honored inalon By Bi et and by many drusnmers. Why? nso t know, but Ie been ing vot donate | “he concept of Jrum solo is ke ony Jiner form of self-expression in one re Jipec. 1 can be very good, and it can be ‘ery bad. One can dismiss the sell-right- and ob-s0-lired accusations of “self rlugence” and “ego-tripping’™ in the ‘of 0 much obsious appreciation from hudiences for even a simple or mediocre rum assault. It certainly is nor only the ayer who Feceives pleasure [rom this Mego tip." a's faceit. Most people do like to hear eum solos. Theresa definite primal fas ration which the rhythmic thrashing of invlike objecis has on those who ha rent yet glossed aver their essential nature k: 00 mich self-conscious hipness. tis unfortunate that the crue obligatory jum slo has become a kind of de rigueur ideshow in the artillery of most every rock pind. An uninspired and uninteresting lo cam certainly be very dull. Anything fa can be done ell can easily be cheap ‘and bastardized, but it has always feemed to me that a concise, well-paced ola aincays elicits positive audience re- nse. Can this really be self-indulgent? ethaps just atte little bit! Notali drummers should take sotos. I've ten and heard drummers who had excel- ent timekeeping, and a Nair for spicing up Y song with adventurous fills and inventive aythmas, But hen cameo the solo spot, was usta meandering and featureless di- ression. The opposite is also true. | know + musician who for many years was better performing sales than at playing songs. hiss not very good either. ‘The eal point off allis iat somedrum- mers do like performing solos. Who tows? Maybe the others are telling the uth when they claim they don’t like to. ie drummers defintely do justice 10 the radition, and many listeners enjoy them many levels of uaderstanding and in- The Art Of Soloing stinet. And your fellow band members ‘sually don't object 1o @ short breather at your expense. ‘And now, 2 few words aboot my own approach, I'like to think dat my Solo is ‘constructed like a song or a story, in that It hhas a beginning, a middie, and an end. ‘Over ihe years, Ihave developed a chang Ing arrangement of rhythnale and dynamic steps, much as a writer must do, Thus the bridges and cnsiionl sections ate orga: ined and fixed, whibe the individual sec i themselves axe loosely structured with some repeating passages. However, basically the pasts are off the top of any hhead. There is always improvisation, and always room to stretch out when I feel par ticularly strong of rambunctious.. ‘The drum solo certainly serves me well ‘asa field of researcli and development in ‘which can explore and refine new areas of approach, 1 like to know how a thing Works before [ venture it in a song with possible disastrous consequences. Many Ideas find their way out of my solo and into new songs that we night be working on. Some ideas Gnd thelr way out of my solo and into the garbage. “Thereis also a kind of autobiographical scrapbook that I keep in my solo. Certain patterns which Ispentalongtimelearning, ‘or those few that I consider relatively o nal, give me the most satisfaction. There are some things that have been in my solo for ten years. OF course, where are things that have only been there for ten days, and. 'm sure there have been many accidental improvisations that lave only occurced remember my drum teacher (elling me that the two most dilficult things 1 would have to learn would be independence, and at flashy exercise in coordination known as the "*double-hand crossover."” OF course I'm still working on the limitless universe of the former, but how well {re- member that hot suminer day in ray pat cents! garage when | finally learned the trick of the latier, In reirospect, it really couldn't have been all rhar dieu, but Wwhata shot of confidence and pride it gave ime, Those few seconds of nostalgia will probably remain in my solo forever. In comparing my two secorded solos from All The World's A Stage (1976) and me (o trace those ideas th maintained, those that have developed fur- ther, and those which have been replaced bby new ventures. With some Tack of humil- ity, Esiacerely hope that niy drum solo at least represents five years of working (0- ‘wards improvement. ‘Even the preseii version of my soto dit- fers quite significantly fe ‘corded one, alihavgh the arrangement re- ns substantially the same. do, Here's what 1 me a solo on any instrument should combine emotion and technique to varying degrees. It should possess smiaoth comiinuity and exciting dynamtes, ead toa definite climax, and z of colors and Cextures. I think a touch of subtle lnumor is good. 1 am fond of my lite tle collection of semi-nelodic cowbetls, with their various, tumeless "elumks” and “clanks."" They have an innate kind of ootiness whicl lends a nice break to an intense percussive onslaught. With a title cave and senshivity, drums can be a very ‘emative and expressive solo instrument, ‘So, why should the whims of fashion rele- jae them tothe backup role from which so many afeat drummers fought so hard 10 cexrieate thent? Brouglet down to basic principles, if you ‘enjoy soloing, if your fellow band mem- bers agree, and if (he audience responds to it, who eaa possibly have cause to criticize the wuth and beauty of that long Go wildt 57Style and Analysis: U2's Larry Mullen Feaes 8h Larry Mullen plays drume with the very popular three-piece bang, U2, Larry and bassist Adam Clayton lay down a solid foun Ballon forthe guitar. U2 isa prime example of a drummer and bass player working together asa unit. The bass drum and bass gultar Often play the same rhythmic patterns. While they may be simple uarter- or Sthenote patterns, the rhythms are always driving. Lntro 3 time by Michael Bettine “The fist four examples are tsken from the bit album War. On. the frst example, “Sunday Bloody Sunday,” Larry plays a 16tb- were hi-hat rhyshin with accents on (he snare. This is underscored byasteady quarier-note bass drum, The feling heres driving, yet Paaned, The rhythm is allowed to “breathe,” as opposed to being played sity a ee Te ef “Transcription #2 is taken (rom "Seconds." The bass drunt is sot hailed. This open sound, along with a loose, fat sounding snares fives a fullness tothe drums. “This nent one is from the hit single “New Years Day. +-This isa driving song where the bass drum and bass guitar work together, Number 436 "Drowning Mar ‘while the bass plays a two-bar phrase in 6. 4 Bruner 2 80. 58 ppg Tp pe pa + Larty plays an open bass drum and brushes on the snare, ray error ooo three-bar phrase in 4/4, He plays a repetii‘The next three example shows all cree instrumer Goer 1 On “With A Shout,” the beat is played on the toms and again les are from the October album. *Fire™” works well wich the bass guitar. ints working (ogether rhythmieally. so. 3 Bo. ee‘The name Simon Phillips has been popping up steadily over the ‘past few years on records from such diverse artists as jazz-rockers ‘Btanley Clarke and Jeff Beck, to heavy metal acts like Judas Priest and Michael Schenker, As a talented and versatile drummer, he is always in demand for sessions and tours, ‘While Simon isan amazing techniclan, bis playing s not an end Jess barrage of rolls and fils, Insiead, mast of ii very simple and sreight ahead, The folowing two transcriptions are taken from Pete Townsend's album, Eaypty Glass, The Bist [s from “Let My Love Open The Door" and the second is from **And | Moved. ‘While both examples are basfe beats, Simon puts a lot of energy and feeling behind them, Style & Analysis: Simon Phillips by Michde! Bettine > >, > China Crm ne, sD. BD. a ‘The following example shows a progression of three beats from ‘The Pump." As the song goes along, Simon helps build it to 8 climax. The effeei he creales is one of dynamic tension. While he's playing very simply, you know that at any moment he can explode Into a knockout fll. This is the same type of effect you get by com- pressing a spring. You know that when you let it go the spring wil go flying. ome i a Bp. ‘The next three tra ‘And Back, The first is taken {rom “*Too Much To Lose,’ ‘Spain Simon Keeps his playing simple, but tight and driving. ° : vu Af TR enher en ‘The nest four examples are from the ttle song of the album, Crises, by Mike Oldfield (of Tubular Bells fame). This long piece bbs and flows, with Simon changing throughout, The fist passage is anoiher example of eveating tension. Simon plays this very slowly and deliherately. You can sense the drum part building to. 3D. climactic part of the song. BD. ‘The second passage his a simple ride/snare pattern on top of @ driving double bass rhythm. You get a sense of urgency from the jon from the ride/snare figure tha China Cy. Se ve E f In the following shree-bar phrase from “El Becko,"" Simon kicks the band with heavy accents, 60je shows the advantage of Simon's left- ‘The following pass herightis, handed technique, While the left hand plays the bi-h free to play the snare and toms. Bredz S562 [= oS Shown below Is a four-bar phrase played on the floor tom. The feeents are on the share with a rising small-tom fil leading into a tymbal crash at the beginning of the fourth bar. L 4 cv. 1 a th 3 ‘The next three examples are from Simon's work with English singer/actress Toysh Wilcox, Her music is very modem and enet~ igeic, with the drums often being the heast of the song. The first thro passages come from the live album, Warrior Rock, The first is From "Good Morning Universe," a fast song kept moving by the off-beat hi-hat. oF a+ 0 oF ot a he ‘The second is from “Castaways.” This s also a fast song on waich Simon plays a more complex ebythm, using the toms for accents, o* = Sea ‘The following exaraple is from a song titled “Stand Proud,"" on the EP, Four More From Toyah, and agaln shows Simon's lef- handed technique, The tight hand gives a melodic quality to the ‘wo-bae phrase by using the snare and toms. = 61Breaking Up The Double-Bass Roll Vittage of New York City, in the “Fittmore days, ener period. tn 1982, he toured Canada with Chiliock, noting Double Bass Drumming, a book based vou rvanco began he profesional carer paying wth rock bandsin the East Foe re rerdng sx atbuns end fouring conta Ove the Coed Fa pecnivoed th seon mtn ihe em York iy are a we Since 1983 oben concept, soe of which he presents hl are ane ae Seas dr rsmning, he bass drum chy thats ty lajed is tne single-stoe rol. Various thythine I en er he uingetroke rll simply by removing | can be deviate ollowing cxarple lustrates the tote dour ble bass all: I Bass Drom Cod B.D. 1 > Main Bass Drum B.D. 2 # Second Bass Deum (o > + M@easer+a@ & TE+AQE+ASE+AGERA ow, consider the concept of paying ony 16th note ehh by om come taney on xD. 1 an O.0. 2a hey were part of the 16th-note ‘double-bass roll, led by B.D.I. tn other 4 ae ie ener 28348) on 5.0.1, anda thes $ and A'gon 8.02. Me+azse+a@ + “Here's a practical application ofthis concept: In the following pattern, the roa bass drum (B.D. 1) plays.an Bib-note ehythm, r+ m+3 + @+ Oe paHo es By inserting B.D.2 between the notes of B.D, (on fs and A Tiernute double-bass rhythms can be formed, asin the following yy L f Y patterns. Note that B.D, remains constant 1 e+ AG t+ A3E+ AG +a 62 ee‘The following example illusiates the &th-notetriplet rot fon double bass drums: 3 3 PPL 2-@TL I TL4 TL By taking notes out ofthe above single-stroke rol, the bass ‘This example is from the stand second verses of “Just The Same "in which the bass drum plays an important role in the 's overall feeling. o : : ‘The next example, City Of The Angels,” shows The change in tinve signature atthe song's end. @= = >> >= > “These tworpatterns are 1aken from *Lovin’ You ts Easy." They show how a particular rhythm is elaborated upon, and how the hi- hat and ride cymbal play an important part in the groove. ‘On Ball 68 Escape has been an extremely successful albur, ple illustrates the energetic quality of Steve Smith: met, The following is aken from "Stone In Love. “The hit single “Don't Stop Believin"” mixes the snare with the Hoos tom, and the accents on the cymbal provide for an interesting com- bination.‘This pattern from ‘‘Hopelessly In Love (The Party's Over)” is found on the Captured album. In this example, the 32nd notes are played as an open roll. © EL “Chain Rexetion’*is from Frontiers, and is an excellent exainple ‘of how the hi-hat, bass, and snare shyshms coodinate well with the 69‘Mention the name Nell Peart, cnd most fans picture someone furi- ously playing away behiad a Targe dramkit. While Nei has a Qashy Image, a closer look will reveal a gifted and creative musician. He hhas the ability co play efforilessly through time changes and still the keep the beat rocking. ‘One of Rush's most popular records is Moving Pictures, from 1981. Example | is the opening section of "YYZ" from that LP. “The hythin is based on the Morse Code for the letters Y, Y, and Z. Within this wsorbar pattern, Neil shifts the feel Between the bass and snare drums. This is Neil at his best. by Michael Bettine ‘Style & Analysis: = Neil Peart SS choked Crash Fromthe same LP, Example 2iooks: rt chis, Neil lays down a heavy beat In 4/4, ps the last 8th note, shifting the beat to 7/8. Thisis a effective change. J = 86Moving on (o the Signats LP, Exar ‘Taken from the break alter the first ver three phrases show Nell "building up’ rm. Star timshot and hishat, he adds bass drum, and then snare drum ay Example 4, “Chemistry,” is also from the Signats album. This shows Neil catching the accents with his crash cymbals. Even with the crashes and Gills, he keeps the beat right on target. j=125 ©. ASD 7WEeesae BERBER BERBER EB BE “The last two examples are from the Grace Under Pressure LP. ‘Example 5 is the beat from ‘The Body Electric."" The two-bar phiase is rst stated on the toms and snare. He then shiftsitto the Tide pattern, The offbeat accents help make this simple beat very Example 6s from "Distant Early Warning.” how Nei builds up a rhythm. Verses one and (wo bass drum, Verses three and four add the snare drum accents, Ist Verse, © at S times AST aa = 3 times S times = > = = 2 times Se 72Jinn Gordon: by Bradley Branscum Style & Analysis From his early days with the Everly Brothers and Gary Puckett & ‘The Union Gap to his monumental drumming with Derek & The Dominos, Jim Gordon has been at the top of his profession, Dur- {ng the late "60s and throughout the "70s, he was che studio drum- mer for rock'n'roll, His Auldty and uncanny sense of feel put hi fon the road with such acts ss Joe Cocker's Mad Dogs & Englishmen, Delaney & Bonnie & Friends, and Jackson Browne. ‘The frst example comes from Joe Cocker and the Mad Dogs & Englishmen tour. This highly publicized tour resulted in a live Album featuring Gordon and Jim Keltner on drums. Ax expected, these to heavyweights combined created some great druniming, ‘This piece is from the Rolling Stones’ "Honky Tonk Women,” whereby Gordon adds some favoring of his own, @} ‘The next two examples of Jim's work come from the Delaney & Bonnie tour. The album ig entitled Delaney and Bonnie and Friends, and the first example is taken from 4 6/8 blues piece called “Thav's What My Man Is For.” @ I-64 = al Chorus ‘The following example is the introduction to the song "Where ‘There's A Will, There's A Way."” Here, Jim is playing the usual bi- hat pattern on the snare, providing a unique Lati @® | =160 > > > ‘This transcription is taken from George Harrison's All Things ‘Must Pass album, These patteras are variations of « single pattern that Jim plays throughout the course of the song “Out Of The Blue.” @ I-82 SS 73SS BBE BEEBE EE BE BB Be eS Se ‘The next example it the result of Jim's playing with the immensely popular band, Derek & The Dominos. The song is enti- sled Layla,” and heres the drum part through the verses with an ‘extimple of how Jim approaches its in this piece, © tens em ‘Tae next two transcriptions come from the album The Low ‘Spark Of High- Heeled Boys by the band Traffic. Jim's drumming ‘on tis record is pheriomenal; few drummers today can play with such feeling and Keep such ramaculate time. This example shows a ‘variation of a particular pattern near the end of the song “Hidden Treasure.” Free-playing throughout song ‘This example comes from the album Calabasas by B.W. Stev son, The song lt "Please Come To Botton,” and the transcript Covers the chorus and the bridge. This isa good exemple of Jin ability (o play for a rong, that is, to play a drum part that beautifully as if no other drum part could work. ig ‘The title track, ‘The Low Spark Of High-Heeled Boys," fear tures approximately 12 minutes of incredible drumming. The drum paris are so tight, yet one can picture Jim playing with rela- tiveease. 74I l I I i I I ! “The album by the Souther, Hillman & Furay Band offers some ‘drumming, The song "Border Towa" is an adventurous intion Features the slo introduction. im’s work with Joan Baez displays his versatiiny as a druinmer, ‘This example starts where the drums kick in, and highlights his bess drum work on the chorus of "Ob, Brother."* @ i-102 ‘The last transcription is taken from Steely Dan's Pretzel Logie, ‘The First example is from the verses, while the second one is from. the chorus of the song ‘Rikki Don't Lose That Number." Once ‘again, it seems that Jim is effortlessly creating some fantastic cumming. @ Jeus = = 75“WEB BB RB RB RB eB ee ee ee |= = = by Michael Bettine Style & Analysis: . Alan White ‘Aan White hasbeen the percusive force behind Yersice 1972 Hisnteligent musical, an powerful approach orack drum mans helped aa eae eas rine tp bands ofthe "0s, Wich the band's tromphant return in 1984, Alaa has become a drummes forthe Os aya sgn areall taken fcom 90125, Yer's long-awaited return altum. Alan's paying on $0125 is briliant. andl helper te eae ies ional loyal followers for himget and the band, The examples selected reveal Alan’stasteul and well-executed laying syle. "The frst exainple is taken fromthe introductory section of "*Changes. tight, aerating 7/8, 10/8 pattern, This pattern sounds complex, yet ‘Grumnfil, the band reenters at measure 17 with the acoustic guitar playing in sic, At measure 25, the band dramatically joins the guitar in 4/4. Ist time only 4 Picking up right after the drums enter, we find the band playing fs simple to onderstand when written out. After the break and 14/4 over the odd-meter patiern. The effet is quite polyrhyth- Ist time only @ xz 1/4, 9/4 pattern. The feel is ke Example 2is rom “Our Song,” Siaring four bars before the first verse, the bead plays a ‘drum, This is a good example ‘even by Alan playing the odd-bar grouping asa 16/4 pliase, with a heavy backbeat effect on the sn taking an odd meter and traking it feel even, j=us7 TEL. J C == 76coe os Example 3s the verse and chorus pattern from the tune '“Cinemna."* Here, Alan plays a march-ike feel over the odd-bar grouping. He breaks up the [6th-note roll on the snare drum with ai-hat note om the “e"” of the pattern, >SoHata BEEBE EEE EE HERB RBS Phrasing Concepts: Part 1 Three-Note Groupings Here's a concept that can help you with your fils and solos. It involves organieing your musical pluases In « mathematical way. ‘Fostart with, check out the following accent pattern: SS Oe yaoi iis dasa eaeead by Joe Franco By dividing the four-note grouping (RLRL) into two two-note sroupings (RL, Ri), the following ten phresings are formed: SEE y RLLALALERUERLLRL To 3-3-3 -3 - 4 [Notice that the accents are spaced every three notes. Being that rere dealing with Toth notes and three doesn’t divice evenly into 16, there are our three-nate groups and one four-note grouping. ‘Now, consider the concept of assigning stickings for the differ- cent groupings and then switching them around in every possible position. inthisease, with four te roupingsand one fours pote prouping, there are ive combinations: 3-3-3-3-4, 3-33-43, Tags, 3433-3, and 43-3-3-3, REL i the thre-ote grouping and RLRL fr the fout-notearouping, the ‘are formed: following fe pra Oe ae vw wend l ALERLLEREE REE RERY 3-3-3 3 a 3-3-3 - 3-2-3 -3- 3-2-3-2-3-3 BLE ALE RE RULE RLERE y- 3-2-3 -3- BLE REG RE REG REALL Bo. 3+ 2+ 3-+2-3 RLERLLRLERERLERE 3-3 - 3 2 7-3: RLALALERLE RESALE 4-3-3 - 3-3 78 REALLALERLELRLERE 7-3-3 - 3 - 3-2Phrasing Concepts: Part 2 Five -Note Groupings Last issue's Rock Perspectives presented different ways of phras- Ing thyee-note groupings of {61h notes. Thecencept that wasintro- duced! was to arrange the groupings in a measure, assign stickings to them, and then switch the groupings around in every possible position. This article pele the same concept to five-notegrOUp- ings. By taking wo five-note groupings and adding a six-note group ing, a measure of 16th notes can be formed. This measure can be plirased in three ways: 5-5-0, 5-6-5, and 6-5-5. hy using RLRLL for {he five-note grouping and RLRRLL (parauiddte-diddle) for the siwnote grouping, the following three phrasings are f by Joe Franco RLURULGRERUERERLY 3-3 COSCO ALURULRUURLEEREALL BEEREREL AC EEER CS rr ae “RLAALCALALURLALL fesse . é : By using the same fve-note grouping (RLRLL) and dividing the sixenote grouping into two three-note groupings (RLL.RLL), the ALCULALAGUERERLERLY RSet Try using the following combinations of five- and three-n groupings in the previous phrasings: following si phasing are forme == —= 9 5) _ TERCTURUACURCOPCL —SS= nd 3-3 = == Da aes 1 =i ee S| | (SS ions 5 7 3 - 5 7 3 RR oR L RRL ALALULALOALUEALRES So. ose 8 OS 80 ALA LAL RURee ee Rot RAL ARE L RL AL BD a. 8D To further devetop a feel far playing five-note groupings of 16th oles, try repeating a fve-note grouping aver two measures. Since ths re 32 en note noe nate you can ay eerie $1084 ith two notes left aver. Here's wlat this looks like thing RERLL for he fivesnote grouping and RI forthe twornote srouping: Se CRUURLURCURCRLOS s . 5 - 5S - 2 Now try placing the rvo-note grouping inthe other sh posible SS$2ISS, S52SSSS, S255 Bylnow, I’m sure you have an understanding of this concept and hhow youcan expand it. The mathematics might seem abit seve at first, But once you develop a feel for playing these odd-note group- ings, you'll stop thinking about numbers, As 1 suggested in lest mouth's article, when practicing these phrasings, play them with quarter notes on the bass drum. This will help develop a sense of where each grouping falls within the measure. Try applying these ‘Bhrasings in your fills and solos. By voicing and accenting them in different ways on the drums, you'll develop patterns that are bot polyshythmic and melodic. 8 srStyle G Analysis: Terry “Through his work with Frank Zappa, UK, and his own band, Miss raons, Terry Bozzio has built up a reputation as 8 hard hit- ting drummer and dynamic showman. While most of the attention seems to be focused on Terry's speed and technique, itis important toremember that 90% of the time he isa supporting musician, He ‘may do some awesome fils and solos, but it js his job (o support land drive the band, and this is something Terry does well. This ‘Column will take a look at some of the diferent and interesting ‘things Terry plays, while laying down the time and supporting the song. “The frst exampleis taken from the ttle cut of the Danger Money album, by the group UK. The verse features wo simple but driving hytkmsin 15/8. Each measure ends witha simple il that carries it Jntodhe next, The odd meter and changing snare/bass patterns add {othe shifting mood of the song. Bozzio by Michael Bettine ‘The next example is from “As Long As You Want Me Here, from the live UK album, Night After Night. Itshiows Terry moving away from raight-ahead patterns. The thythm is broken up between the snare drum, cowbell, end hi-hat chokes. The feeling is very precise, yet moving. @ ‘The last two examples are from the Missing Persons album ‘Spring Session M. The excerpt below is from the intro to" Walking In LA." The Chinese (or double cyinbal) and bast drum play the accented figures withthe band, @ =225 “The last example is from "No Way Out."* This two-bar phras “The following example is taken from the verse of "Caesars Pat. ‘ace Blues,” from the Danger Money albuin. This section really mmavesalong. The 9/9 meter almost has a4/4 feel 0 i, with te ast three &h notes rushing into the next measure, giving a definite downbeat. ® ° ete, froin the crores has the aecents on Chinese cymbal, cymbal bel, and snare drum. They ate underscored by a steady quarter nate played on the bass drum. The end of the phrase again uses a tom pickup into the next measure. . ® 82» 46th-Note Triplets , On Double Bass PTSEMMCTSA 0 this articte, we'll apply 16th-note triplets to two bass drums, and form various rhythm and hand-foot combination patierns. First of al, ‘consider how much space is taken up by a 16 note triplet. In one bar of 4/4, « 16th-note trip- lee taket upone-half of a beat, which isthe same amount of space as one 8th note or two 16th notes, This is showa in the following three p terns, These patterns are identical, except the bass drum(s) changes ‘on the & of 3. Inthe frst pattern, the bass drum plays an 81h note onthe of 3. Inthe next patiern, the bass drum plays two 16th notes staiting on co ‘The following patterns break up continuous 16ih-note riplets ids and both feet. Pracilce them with both hands en try breaking up the hands on the different the& of 3. mom Cy oo By playinga 16th-notesriplet beginning on the & of 3 with two bass drums, the following pattern is formed: “morn m =o 3 ‘This is one way of applying the 16th-note triplet to double bass. drums. The triplet formsa four-stroke ruff with the snare beat that follows it. Here ae some other paiterns that use this concept, 4 m these slowly at first. Keep in mind that, when playing ci Urn tries with an Buenote ride, ili played foreach note of the ride. ‘om ores SSS ay ‘Try applying these patterns as one-bar fils. Practice playing these together with the beats from patterns 1 through 8. Once ‘you're Familiar with ehe fills, ry cornbining them to form eight-bar solos. Experiment with {6th-note triplets to form your own patterns. Keep in mind that the three notes of the triplet are three evenly spaced notes that take up one-half of a beat in a measure of 4/4“The Beatles! Ringo Starr! When L was ten years Ola, | saw the movie A Hard Day's Night and Gras overwhelmed with the desice to be a drum Taer ina band fike the Beatles. The Beatles’ Thue, their appearance, and personalities were B magical forruba that never had happeved before and would never happen again. at age ten, didn’t appreciate Ringo Siare’s creative abilities. He didn’t play with lots of technique er Mashy Cope, which was my basis for Judging a drummer, t actually sneer thinking that L could play beiter than Ringo, and | ‘Sined that I were the Beatles! drummer. 1 did't understand that ished ore han just technique to be a great drummer of & mis ween dnt realize that musicality, strle, and personarity were SEY important qualities of a great drummer, and that rechniaue ‘was only a too! to express those qualities. Spee nen: my opinion anid Feelings about Ringo have changed greatly, Teonsider im one of the great ionovators of ro ee Middle of second verse > > >, se ‘Toreally understand tis ills, you have to Tisten to him on recor d= nga began ts note shyitim as meh ast Ringo's phrasing rae onc other exsioples "Ticket To Ride.” He pays. sionple ashe lloor foi two times, ten he plays the same fll on the Ajram, ad filly he plays a variation of chat lon snare end ply musical, always playing the right stuf. Here are two fills Ringo played in the song "You Really Got A Hold Ou Me” after a chorus. ‘Ringo war great with cexturing songs by changing {rom it splashy ride cymbal to hs Nehats and wice versa, Listen 10, "'e Freee Long.” A the beginning of every verse, he plays hi-hals but then goes to his ride eymbal, ‘Minny tunes, he would leave the cymbals altogether, and play thé fngor torn or nothing at all He did this in “Money.” >> >He also did this in “She Loves You." Ringo came up with beats for intros, bridges, and solo sections jn songs that were so simple but musically perfect. These parts, ‘many times, became memorable, like a hook line or melody in a ‘As s00n as you would hear one of these particular beats, fou'd know it was Ringo and the Beatles. ‘What You're Doing!"—intro “Tell Me Why"*—intro “Ticket To Ride” i “Please Mr. Postman"’—intro (rand eae 4 qe SS Ringo's beats were basic rock beats played with lots of expres: sion, but then he'd play & shuMe, like on “All My Loving” 3 3, 3 a ‘ruse brushes, likeon “A Taste Of Honey" and ““Pve Just Seen A Face." He even played a Latin/rock beat on "I Feel Fine,” Ringo alto played songs with a 12/8 fel, and "You Really Got A Hold On Me."" a ‘There are so many great exemples of Ringo’s playing that lean ‘only show a few im this article, but if I were 10 pick a beat that tepresented this Early Period, it would be thi Baby's in Black”, > > Ringo played this beat on It Won't Be Long" using the ride eym- bbal most of he time, exeept at the beginning of the verses where he played closed hi-hats, This was a commen thing for Ringo to do, and it was very musical. Here are some other examples of whe Ringo used this beat: (1) “AllT've Got To Do," (2) “Little Child,’ (2) "Please Mr, Postman," (4) "Roll Over Beethoven," (5)*'Devit Her Heas “Not A Second Time," (7)'1'llGet You," (8) }oys," (5) Chains,” (10) “Please Please Me," (H1)**Twist And, ‘Shout,"” and (12) "Money." Here are a few other beats Ringo used inthis Early Period. seats [He atso used the splashy ride cymbal when he played this beat, It really added a nice, colorful background to a song while he would ppound out the beat with his snare and bass drum. Some examples of this beat can be heard on these songs: (1) “A Hard Day's Night,"*@) "You Can'« Do That," @) "I Call Your Name,” (4) “Dizzy Miss Lizzy,” and (8) "When | Get Home,” The sound of the splashy ride eymbal combined with solid snare and bass drum became Ringo's distinctive mark ‘Beats that Ringo played, which were more unique, were heard ‘ona song called “Anna” and on a song called "It’s Only Love.” ‘These beats were not very cock 'n' roll, but they were very creative and made the songs sound unique and special. Anna’ ‘Arthur Alexander wrote and recorded" Anna” before the Beatles recorded it. Heisa drummer. “sony Lave" b Lr tenga e hvu ay Ripe oe beats. They made the songs swing. He used a vatiation of this beat on a song called “All I've Got To Do." > Ringo has influenced drummers more than they will ever realize ‘or admit. Whether he created these beats or heard thers somewhere doesn't matter. What mattersis that we heard him play these beats when rock was starting (0 influence the entire music scene all over the worid. These beats are still the foundation of basic rock 'n" roll. Ringo laid down fundamental rock beats that drummers ‘oday are playing, and they probably don’t realize it. ‘Alot of changes came about after this Early Period, but i's the Ringo on “A Hard Day's Night" and on the Ed Sullivan Show that made me and other kids want (o be drummers and to be a Beate, 85Ringo Starr: The Middle Period ‘What will they do next?” That was the big question the Beatles had everyoneasking, From December 1965 to Novernber 1967, the Besiles released four very significant, but very differ- ‘ent, albums that reshaped the direction of pop- ular music, and set new artistic standards, Dre 18 these few magical years, it seemed th anything was possible. ‘Rubber Soul (Dee, 1963), Revolver (Aug. 1966), Set. Pepper's Lonely Hearts Club Band (Sune 1967), and Magical Mystery Tour (Nov. 1967): Each of these albums was stylistically unique. Rubber ‘Sout was basically a folk-rock album with Bob Dyian influences, ‘both musleally and lyrically. Revolver demonstrated four musi- clans al the peak of their creailve powers with each member expeti= ‘renting in bis own Individual way. Sql. Pepper was, and sill is, 8 brilliant studio album. No one had used the studio as the Beatles had at this polnt, Magical Mystery Tour was a heavily Drchestrated album like Sgr. Pepper, and il was an extension of the paychedelie style that occurred in 1967, ‘The Beatles also released some incredible singles in between album releases, once again demonstrating new changes in theit style, sound, and musical concept. “Rain” /"Paperback Writer” ‘was released between Rubber Soul and Revolver, “Penny Lane"'/ “Strawberry Fields Forever" was released between Revolver and Sei. Pepper. “All You Need 1s Love"'/"Baby You're A Rich Man," and ‘Hello Goodbye'"/" Am The Walrus” were released between Ser. Pepperand Magical Mystery Tour. Finally oend his period, the Beatles released "Lady Madonna’'/**The inner Light” after Mogicat Mystery Tour. Capitol Records, U.S.A. released a fifth Beatles album called Yesterday And Today in Tune 1966, but it was a compilation album that had songs from the British albuins Revolver, Help, and Rubber Soul, and two songs from asingle with “Day Tripper" and "We Can Work It Out" on it. In this middle period, the Beatles redefined and reinvented pop ‘music. Rock music became an art form—something to lister 10 land something capable of making a serious statement. An album became a viable art form and not just a collection of songs. Sz Pepper was a perfect example of how the entire album made 8 Statement and each song Was a small part of this statement. You almost have to listen to the entire album (rom beginning to end to fully appreciate and understand Sgr. Pepper. In fact, the Beatles ‘chose not (o release a single from this album. "Ringo went through as many chatiges as the Beatles music did during this period, He had to adapt to all the diferent styles and ‘musical transitions that they went through from album to album, ‘On Rubber Sout, Ringo's splashy ride and hi-hat sound fom the carly peried occurred less often, and percussion paris, expecially tambourine and maracas, began {0 dominate. All the Beatles got involved with the percussion parts. For example, on ‘*Think For! Yourself,” Ringo used maracas and tambourine with a basic’ drumbeat in the verses. (A) In the choruses, he blended the ride ‘eymbal with the percussion parts, but the percussion parts stil ‘dominated.(The tambourine is written on che top line, top staf, by Kenny Aronoft (A) Verses (B) Choruses sn songs tike The Word” and **Walt," the maracas and tam- bourne were a big part of the basic beat. The parts changedin each, section, giving the Songs more dynamics and musical effects, “The Word” Verse Chorus (with two maraca parts, written on the second and thied lines of the top stall) yale” First half of Verse (tanibaurine on top staff, cymbal bel on bot- tom) land the maraca part is written on the second line, top stat.) (B) 86‘Second half of Verse “Drive My Car” ‘An opening fil Ringo played became s signature fo hls song. > > > Ee “This is the two-measure fill thet appears before each chorus. He hanged the second measure ofthe hill each time he played it > > a> > >> > “Think For Yourself" “The Beatles experimented a lot in the studio. In the song "I'm — Looking Through, You,"" Ringo played a basic drumbeat, but Haee ae playing his hichat, he or soineone else overdubbed 2 Mevaoue part by slapping outa beat on islegs. (This part isnotated Bit’ diamond-shaped notcheads in the second staf. wane sound and rhytme effect. There was aiso & tambourine ‘and out throughout the song. rm ‘Another example of how the Beatles experiment sion was demonstrated in “You Won't See Ms effect of percussion instrument. Verse and Chorus > Ringo began to develop his fils more on Rubber Soul, They ‘ecame more intricate and bigger, but still always seemed appro priate for the song, Here are ome examples. W had | This example tmplies six against four, “Rain?/““Paperback Welter” was released after Rubber Soul, Ringo really broke into another style on “Rain.” He played Ringo veshority and aggression. The drume themselves wete rae 2a louder. Ringo played real free and experimented a lot, Frais different from his carly period style. t's one of his best recorded performances. Sa Revolver, whe Beatles! individual styles were peaking, but sil served the purpose of a band and the songs. While Lennon got sue Gbstract (yries and his acid rock guitar style, McCartney Expanded and refined his pop writing craft, and Harrison g0t very Parstved with authentic Indian music and Indian instruments, {Riogo. meanwhile, had the challenge of adapting to everyone's cd with percus- | style He always played what was called for. If he had been a rigid 1° Ringo over- | grorimer et in his ways, the Beatles would have Been in ows, ae tera part uriten on thetop sta, whichhedthe | He played thesonguriter version of he thie ikea eB 7 ry less drummer. ‘Listen 1o Revolver, and Keep in mind how diverse and different ‘each song is. Here are some examples. roxas’ Injroand Verse beat SSS ij Fills (all on snare—they became a theme)them, especially “Tomorrow Never Knows." They are bbeals-—hook lines to the song. “Doetor Robert” (macaca part written on second line, top staff) “Tomorraw Never Kaows" (tambourine part written on tep line, top staf) i “Yellow Submarine” Intro and Verse Chorus “Good Day Sunshine” (oor tom, snare drum, and crash eymbal ‘written on (op sta, snare drum and hi-hat/tambourine written on. bottom staff) Chorusand Intro 88 ‘This isan example of how the Beatles expanded and rally trled different ideas on Revolver. Compare this beat (9 “I Want To Hold Your Hand."* "She Said She Said" has so many incredible pats. You have to listen to the record. Its filled with wild fills, odd-tirme signatures, intense beet, and e double-iime feel atthe end. It's defntey an example of ene of Ringo's most creative moments. “Strawberry Fields Forever" and “Penny Lane'* once agai Inuoduced a change forthe Beatles. These songs focused on heavy orchestration, utilizing strings, brass, and percussion, Ringo’ parts became very basic and supportive in this new style. ‘Sgt. Pepper was 2 unique album for its time and stil is consid ered one of the greatest albums ever recorded. On Revolver, the Beatles split apart as individuals, end you could hear the individual personalities, while on Sgt, Pepper, they unified and focused on fone idea-~onie concept. The album became a song in tel. Ringo's playing on Ser, Pepper was simple and basic. He layed like a percussionist in an orchestra, accentuating and highlighting ‘heimportan sections of each song. The drums tock ona new rl now. They didn't dominate or drive the musi tke they had inthe past. Ail che justcument parts became simplified, but were care fully composed and becane small pieces of a farge puzzle, Ringo rum sound improved significantly on this album. The Beatle made use of the tudo more, and hisaffected the sound of even ‘The next two singles after Sgt. Pepper were on the Magical Mys {ery Tour album. “All You Need Is Love"”/"Baby You're A Rich Man" was one release, while "Hello Geodtye'"/""! Am The Wal- rus" was the other, These singles and the resl of Magical Mystery Tour were an extension of what the Bealles had already started on Sai. Pepper. They continued to use heavy orchestration in thel ruse, ullzing strings, brass, woodwinds, and percussion instr iments, The Beatles continued io enperiment ine studio, and use itto create different soonds and sound effects. They recorded back wards tathing telephones ringing, laughter, weird talking parts sound effects, ete, They creatively introduced these effects im thel arrangements, Ringo still played his roe ike percussionist in 2 ‘orchestra. The more complex the arrangements, the simpler an more basic Ringo played, but his isnot to undermine or take any thing away from his abilities, because once again, he served the music. For example, in‘“I Am The Walrus," he played this basic beat rq ry ‘This beat kept the song tight and solid. There were a fot of instru iments and effects added to this rong. So Ringo's part was perfec ‘The arrangement was involved, tillzing cellos, horns, telephones laughter, percussion, ete. Ringo also played basic, but very solid and strong, on the song “Magical Mystery Tour."" The song had four diferent musical sec tions, and Ringo bridged thens together, so that it ended up being fasamooth as glass. He always had a gift of being very musical with the Beatles music. ‘The Beatles finally released “Lady Madonna''/“The Tone ight” aller Magical Mystery Tour, Once again, everything ain. They let che psychedelic era, and this time, the thels roots with “'Lady Madonna.” tt was basically Fats Domino, of4-style rock ’a" rol song. This is an indication 0 what was next. They had pushed thelr experimenting tothe limit is {his period, and it was time to look back totheir roots.During the final period of the Beatles’ career, the group released four albums: The Beaves tknown as “The White Album"), November 1968; Yellow Submarine, January 1969; Abbey Road, October 1969; and Let It Be, May 1970. Each album was very different from the others. The Beatles had a lot in common with Revolver, in that each member of the group ‘experimented in his own way, producing a very diverse collection ‘or songs. Some of the styles represented on this album included county & western (“Rocky Raccoon’” and ‘Don’t Pass Me By" folk ("Bleckbird,” “"T Will," and “Dear Prudence"), old-time rock *n" roll ("Back $n The USSR"), English blues rock (“Yer Blues"), hard rock ("Birthday"" and “Everybody's Got Some- thing To Hide", Indian (Long, Long, Long”), acid rock (*Hel- ter Skeher"), musie-hall vaudevilie ("Honey Pie"), "40s Holl Sood ("Good Night"), jazz big band (“Savoy TruMe™), avantgarde electronic ("Revolution 9"), and quast reggae ("Ob- Txbi, Ob-LaDa"}, This double album was like a pindte fled ‘with different musical prizes. It's amazing that this album was recorded only one year after Sgt. Pepper, but it was so different. “Taroughout the album, Ringe adapted to the different writing ttyles of Lennon, MeCartney, and Harcison. His playing was vety basie but very supportive, For example, on the song '‘I'm So ‘Tred,"” he used four simple beats, but used them in a way that ‘made the song build, PES cao Pa He created a similar effect on “Rocky Raccoon.” First, he played only the hi-hat on beats 2and 4. Next, he played 2and 408 the snare drum with brushes. Finally, he played a doublestine beat ‘with bass drum and brushes on snare, and he added fills 0 create more energy and excitement, "A few songs on the alburn went back and forth from straight ime to hal fe, Not only did the tempo do thst on “Happiness fx ‘A Warm Gun,” but in the choruses, the rest of the band went into 374 while Ringo continued playing in 4/4. Listen to the bass ‘against the drums in that section to hear the different time signa tes. The Later Years by Kenny Aronoff : mom ‘He then played a breakdown that set up the bridge. Tt was very basie, but it was perfeet for the song and worked well with the song's basic beat. > > > > For the eat. ‘Three months after ‘“The White Album,’” the Beatles released Yellow Submarine, This was a movie soundtrack, and it only had four new songs onit. The rest of the album consisted of two songs from a previous single ("Yellow Submarine” and "All You Need Is Love’) and several instrumentals by Beatles producer George Martin. ‘The next album that the Beatles recorded was Let fi Be, The Reatles were altemmpting to get back to their roots and record in & ive fashion, but they had (ost much of the live sound and attitude vom their early years, There were also & lot of bad feelings ‘between various members ef the group at that point, and so Let It iBe ended up being very disappointing. The group members were ‘pox happy with it, s0 it was not released until after the group had actually broken up. ‘One of Ringo's most distintive beats on Let [t Be was on the song "Get Back.” As usual, it was a simple pattern, butt gave the song a unique feel and personality. > > ¢, be used just the first bar of the original two-bar ‘After the disappointing sessions for Let Jt ‘wanted to make a great album again, so they went they did best. They returned to the studio with producer George 89Martin and recorded Abbey Rood. As on Saf, Pepper, the Beatles experimented with sounds and studio techniques, and the band Seemed 10 be riore Unified than it had been on some of the other projects 1 ‘One of the new things on this album was a drum solo! Ringo had never played one on a Beatles album, but the time was right. He Kept steady 8th notes on the bass drum while he played tomtom, Bilson top. The sparse phrases going up and down the toms made the tolo very musical, ‘An interesting beat on this album was the one Ringo played on. "You Never Give Me Your Money,” which featured an open hl- haton2and4. ra In the B section, he changed the beat to th ry {In the bridge seetion, he used a combination of the verse and release beats . ‘One af Ringo's most unique approaches to 2 song was demon- surated on “Come Together.” The beat he played on the intro became like a hook line to the song. >> 8 6 in the verse beats, Ringo played straight Shs on the floor tom Instead of the hishat, aud accented all four beats with his snert drum, ‘These three artictes have given just a few examples of Ringo Starc's drumming with the Beatles. Thelr music and Ringo’s crew tive input are well worth listening to. In very short period of time, "The Beatles gave the world a tremendous amount of muticto enjo and be influenced by. Ringo approached the songs more ike ‘Songwriter than a drummer. He always served the music. "I want to thank Glenn Gass for his help and enthusiasm white. ‘was writing these articles on Ringo Starr and The Beatles. Glenn k fan Associate Professor at Indiana University Sehoo! Of Music where he teaches a class on Rock History. &1'e been on tour with John Cougar Mellencamp since late October. Obviously, | can't practice the way | ike to when Var on ihe road. When you're going from city Yo city, there isnt enough time or-accessible places to practice. Aer 3 (pnesand-a-hall-hour soundcheck and a two-and-a-hal-hour show, nat to mention my own warmup, I's sometimes fore important fo let my body get ces belween shows than to squeeze in more practice. Ten tough | may nol practice every day on the road, the mos important thing for me to do is ta warm up before | go onstage, Being warmed up makes me feel confident and excled to play. Not being warmed up makes playing a stuggle Saad ttestrating: Trying to get warmed up during a performance can be harm's ke being an athlete, They warm up | ie'prevent injury, and we need to do the same. | developed a routine of warm-up exercises for mysel that | use before tach soundcheck and before tech show. These exercises help coordinate me and watm up my hands and feet. They help prevent {eosion siliness, and injuries, and basically Keep my technique up where it should be. Tete many diferent types of warm-up exercises tat | use, each of then for ciferent reasons, This ist group of exercises is designed tolely you gevelop balance and conirl Ustwreen your four limbs. Speed is not impertant for these exercises, You should sive for eae meson yout fovt Kenbs, both rhythmically and dynacnically, Play these exercises as steadily a¢ possible Be sure (0 alernate Seer 8) a well a5 your feat, Use wo bass drums ora bats drum: hat combination, Also, be aware of he transitions 3 the Poe neh mageures Al that port inthe exercise, there are four 16th eotes played ina tow, exer with the hands or the feet, Make them aaa anand even: Finally, practice this exercise with your hands playing only the snare drum. Once you fel comfortable this way, move your hands around the kit ' 4 : RURAL Now let's ade a new hand pattern tothe last exercise, Play the 32nd:-note figure with your hands, and keep your feet the same (16th ries, Again, aliemate your hands and feet 2 Ee = sal pe] [Aer you have mastered thls exercise, uy combining exercise 1 with exercise 2, playing them back and forth continuously. Exercise 3 isa variation of exercise 1, except that now 2 6/8 or triple feel is implied. 3 1 2 3 4 4 2 39 4 4 2 03 4 ‘once you fet comfonable playing exercise 3. ry combining exercise 1 with exerelse 3, going back and forth between the wo, For ‘example: 4 Practice all ofthese exercises until ou can go from one 1o the olher smoothly and evenly, hilting any drum or eymbal you desire, eae et ou combinalons oF varatons wo thee exercises The fea Is 0 ue he exercleso warm vp gradually, sg co na eh as pombe, You can se the drum, pas, or even vt your hands on your legs and your feet onthe so an en en Tm an ne bus Aol hese dite way wok 8 a