3

The following exercises are designed to help you feel a repeated linear pattern of three

sixteenth notes that travel over the bar. By doing this exercise you will be able to feel

syncopatedlinearpatternsinallpossiblesixteenthnotesubdivisions.

Startbyplayingthefollowingfour-barpatternbetweenthehi-hat,snaredrumandbassdrum.

Play all notes at a mezzo-forte dynamic, avoiding accents any notes. Take notice of the

“turnaround”bassdrumdoublebetweenthelastbarofthepattern(the“ah”ofbeat4)andthe

downbeat of bar 1. Youmust subdivide sixteenth notes verbally (out loud) while playing this

pattern.Startat60bpm.

Next, take notice of what voice (hi-hat, snare drum or bass drum) lands on each downbeat.

Switch your counting from sixteenth note subdivision to quarter note subdivision (count out

loudoneverydownbeat:“1-2-3-4”).

“Turnaround”bassdrum

BasicLinearTrainingExercise

4

Duringthisexercisetryandfocuson“feeling”thesixteenthnotetemplateandavoid“hearing”

thepattern.Also,notice that thedownbeatvoicesmimic theactual sixteenthnotepatternas

follows:

Repeatedsixteenthnotepattern(bassdrum,hi-hat,snaredrum)

Repeateddownbeatpattern(bassdrum,hi-hat,snaredrum)

Next,accenteverydownbeat.Playtheaccentednotesatfortissimoandtheunaccentednotes

atmezzo-forte.Again,countquarternotesoutloud.

Theexerciseaboveisanexcellentwaytohelpyousolidifyyourlinearandsubdivisionabilities.

Takeyourtime,thisisadifficultexercisebutwithpatienceyouwillgetit.Keepthetemposlow

andonlymovethetempoupwhenyouarecomfortable.Practicingataslowtempo(60bpm)

willonlydeepenyourabilitytoplacenotesintheirproperplace.

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Finally,playthispatternovertwelvebarsbyeliminatingthebar4“turnaround”bassdrumnote.

Inaddition,assignalargernumbertoeverybarasyouplay(andcountoutloud).Thecountingis

displayedabovethenotes:

Youmindfindthatonceyougetthepatterngoingitisdifficulttoexitittoplayafill,etc.Tohelp

addfillsplaythefourbarlinearpatternandaddasnaredrumfillstartingonbeat3ofmeasure

4.Byaddingafillaclearlydefinedfour-barphraseiscreatedasfollows:

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LinearVariations

Oneoftheconceptsbehindwiththissimple linearpattern istopresentawaytodevelopand

enhanceabasicideaintopersonal,creativeexpression.Usingthelinearpatternfromabovewe

willexploresomeeasyvariationsthatwillalterthewaythisideaisperceived.

Variation#1–Onesimplevariation istoreplacethebassdrumnoteswiththehi-hatwiththe

foot.Forexample:

Variation#2–Alternatethemovementbetweenthefeet:

Variation#3–“Paradiddles”betweenthefeet:

7

Drummer and educator based in Los Angeles,

California. Currently the Program Chair for Drums at

Musicians Institute in Hollywood, Stewart Jean is a

dedicatedprofessional.

As Program Chair for Drums at MI Stewart steers the

program down a path of success for his students.

Authoring and co-authoring contemporary curriculum,

developing innovative teaching methods and

consistentlyprovidinganurturing learningenvironment

are some of the highlights Stewart has brought to

MusiciansInstitute.

Maintaining a steady drumming career Stewart has

performed or recorded with Raul Midon, Bruce Kulick,

Don Felder, Jimmy Buffett, Betty Wright, Sam Moore,

PrestonSmith,BoDiddley,ChristianZallies,DiegoBertie

andPedroSuarezVertiz.

StewartreceivedaBachelorsDegreeinMusicfromtheUniversityofMiamiasagraduateofthe

StudioMusicandJazzProgram.WhileinMiamiStewartalsoservedasJazzcoordinatorforthe

NationalFoundationforAdvancementintheArts.