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Beginning Drumset Beats John Willmarth

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the standardjazz ostinato

applications includeup-tempo jazzand various latin styles

useful invarious latinsettings

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!! !!1 " " " " " " " "R L R L R L R L

" " " " " " " "R L R L R L R L

!! !!2 " " " " " " " "L R L R L R L R

" " " " " " " "L R L R L R L R

!! !!3 " " " " " " " "R R L L R R L L

" " " " " " " "R R L L R R L L

!! !!4 " " " " " " " "R L L R R L L R

" " " " " " " "R L L R R L L R

!! !!5 " " " " " " " "L L R R L L R R

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!! !!6 " " " " " " " "L R R L L R R L

" " " " " " " "L R R L L R R L

!! !!7 " " " " " " " "R L R R L R L L

" " " " " " " "R L R R L R L L

!! !!8 " " " " " " " "R L L R L R R L

" " " " " " " "R L L R L R R L

!! !!9 " " " " " " " "R R L R L L R L

" " " " " " " "R R L R L L R L

!! !!10 " " " " " " " "R L R L L R L R

" " " " " " " "R L R L L R L R

!! !!11 " " " " " " " "R R R L R R R L

" " " " " " " "R R R L R R R L

!! !!12 " " " " " " " "L R R R L R R R

" " " " " " " "L R R R L R R R

!! !!13 " " " " " " " "L L L R L L L R

" " " " " " " "L L L R L L L R

!! !!14 " " " " " " " "R L L L R L L L

" " " " " " " "R L L L R L L L

Stone by John Willmarth

John Willmarth - 2003

!! !!1 3" " " 3" " " 3" " " 3" " "R L R L R L R L R L R L

3" " " 3" " " 3" " " 3" " "R L R L R L R L R L R L

!! !!2 3" " " 3" " " 3" " " 3" " "R R L R R L R R L R R L

3" " " 3" " " 3" " " 3" " "R R L R R L R R L R R L

!! !!3 3" " " 3" " " 3" " " 3" " "L R R L R R L R R L R R

3" " " 3" " " 3" " " 3" " "L R R L R R L R R L R R

!! !!4 3" " " 3" " " 3" " " 3" " "L L R L L R L L R L L R

3" " " 3" " " 3" " " 3" " "L L R L L R L L R L L R

!! !!5 3" " " 3" " " 3" " " 3" " "R L L R L L R L L R L L

3" " " 3" " " 3" " " 3" " "R L L R L L R L L R L L

!! !!6 3" " " 3" " " 3" " " 3" " "R L R R L L R L R R L L

3" " " 3" " " 3" " " 3" " "R L R R L L R L R R L L

!! !!7 3" " " 3" " " 3" " " 3" " "R L R L R R L R L R L L

3" " " 3" " " 3" " " 3" " "R L R L R R L R L R L L

!! !!8 3" " " 3" " " 3" " " 3" " "R R L R L R L L R L R L

3" " " 3" " " 3" " " 3" " "R R L R L R L L R L R L

!! !!9 3" " " 3" " " 3" " " 3" " "R L L R L R L R R L R L

3" " " 3" " " 3" " " 3" " "R L L R L R L R R L R L

!! !!10 3" " " 3" " " 3" " " 3" " "R L R R L R L R L L R L

3" " " 3" " " 3" " " 3" " "R L R R L R L R L L R L

!! !!11 3" " " 3" " " 3" " " 3" " "R L R L L R L R L R R L

3" " " 3" " " 3" " " 3" " "R L R L L R L R L R R L

!! !!12 3" " " 3" " " 3" " " 3" " "R L R L R L L R L R L R

3" " " 3" " " 3" " " 3" " "R L R L R L L R L R L R

!! !!13 3" " " 3" " " 3" " " 3" " "R R R L L L R R R L L L

3" " " 3" " " 3" " " 3" " "R R R L L L R R R L L L

!! !!14 3" " " 3" " " 3" " " 3" " "R L L R R R L R R L L L

3" " " 3" " " 3" " " 3" " "R L L R R R L R R L L L

Triplet Stone by John Willmarth


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PERCUSSIVE NOTES 18 FEBRUARY 2001

Several years ago I had the privilege of traveling to the cityof Recife in Brazil’s Northeast province of Burnambuco.There, while participating in a residency at the

Conservatorio Pernambucano de Musica, I encountered JoséFrancisco Bezerra de Oliveira, a wonderful local drummerknown simply as “Kiko.” He kindly sat down behind thedrumset and proceeded to heat up the already tropical humidair with some amazing grooves.

One samba pattern he played incorporated an invertedparadiddle sticking. This pattern not only places the handsnicely around the set, but also produces the unique feel and ar-ticulation that gives Brazilian drumming such a great sound. Itis a relatively simple pattern, but a very effective one when asingle drumset player is trying to recreate the full bateriasound of “Samba Batucada”—the big sound of Rio’s “sambaschools” (Escola de Samba).

Presented below is series of graduated steps towards learn-ing Kiko’s basic pattern, and some variations I developed. Ithink you will find it to be a very useful and an effective way ofplaying samba on the drumset.

Before you get started, it is very important to have theparadiddle and its inversions firmly under control. A good wayto achieve this is to play patterns 5 through 8 on page 5 ofGeorge Stone’s Stick Control over the basic samba bass and hi-hat pattern.

DEVELOPING THE BASIC PATTERNThe first example shows Kiko’s basic sticking pattern, which

is an inverted paradiddle with a left-hand lead, played on thesnare drum. This sticking naturally encourages a phrase thatis not perfectly even (as opposed to single strokes). While stay-ing in time and in control, allow the sticking to breathe by“compressing” the double strokes and slightly “reaching” foreach downbeat. This produces the phrasing that is an impor-tant element of the Brazilian sound.

Now add the samba bass and hi-hat pattern.

The inverted paradiddle sticking makes an accent on thefourth eighth-note subdivision (“ah”) of each beat easier. This is

Sound EnhancedHear the music examples marked in theMembers Only section of the PAS Web site atwww.pas.org

Kiko’s SambaBY JAMES DREIER

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a typical accent point for samba patterns and will make yourpattern sound more authentic.

After you are comfortable with the sticking and the accents,move the right hand to the floor tom on the downbeat of beattwo in each measure. This imitates the sound of the low surdodrum, and provides the strong beat-two accent that is critical toa good samba feel.

Now move the right hand up to your rack tom for the firstnote of each measure. This imitates the higher pitched surdosthat balance out the lower and stronger sounding surdos. Thisis the basic pattern that Kiko used so effectively.

VARIATIONSA common characteristic of most Brazilian patterns is the

two-bar phrase. In Example 6, an added left-hand rack-tomstroke in the second measure creates a two-bar phrase.

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PERCUSSIVE NOTES 19 FEBRUARY 2001

Example 7 features an additional right-hand stroke on thefloor tom in measure one that creates an even more complexpattern.

Finally, by changing the sticking slightly and adding morefloor tom strokes, a pattern is created that typifies the interac-tion between the low and high surdos of Samba Batucada.

Once you are comfortable with the basic pattern and all thevariations, practice going from one variation to another, in ran-dom order, concentrating on smooth transitions. You can thenimprovise freely around the kit and come up with countless newvariations. The pattern also works nicely with the right handon the ride-cymbal bell or hi-hat and the left hand on the snaredrum.

Kiko’s samba, like the music and musicians of Brazil, is richin rhythmic heritage, easily adaptable and extremely effectivein producing a great samba groove. Every time I play it, I canfeel the heavy tropical air of Recife and hear the powerfulrhythms that grow there. Kiko’s samba is a little offering fromthis fertile region. Learn it, play it, and turn up the heat.

James Dreier is a performer and educatorliving in Iowa City, Iowa. He teaches per-cussion at Kirkwood College, where he di-rects the Annual Latin DrummingWorkshop, and is the drumset specialist atAugustana College and the University ofIowa. He performs and records with theLatin group Orquesta Alto Maiz. PN

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GROUP INSURANCE PROGRAMS

FOR PAS MEMBERS*• LIFE INSURANCE • MEDICAL INSURANCE

• PRIVATE PRACTICE PROFESSIONAL LIABILITY

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Drumset RudimentsJohn Willmarth

Experiment with different stickings/footings/permutations

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Phone (580) 353-1455 • Fax (580) 353-1456E-mail [email protected]

Web site http://www.pas.org

HOTLICKS

HEAR A MIDI FILE OF THIS EXERCISE AT HOTLICKS ONLINE BY VISITING W W W.PAS.ORG

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DRUMSET WARM-UP

JOHN RILEYJazz Drummer, Vanguard OrchestraDrumset Instructor, Manhattan School of Music

These jazz drumming exercises from are designed to reinforce the swing ride cymbal pattern and develop left-hand indepen-dence. Practice at various tempos (e.g., MM = 70–200) and using various dynamics. Play each exercise softly so that youdon’t lose the focus on the ride cymbal. The bass drum part should also be played very softly.

From THE ART O F BO P DRUMMIN G by John Riley.C opyright © 1994 Warner Bros. Publications. Used by permission.

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1—DS

Latin DrumsetTechniques

byEd Uribe

© Ed Uribe 1997/All Rights Reserved

What we refer to as American music is really asynthesis of styles and influences from a variety ofother cultures that have come together as a result ofour historical development and evolution as a coun-try. No matter what we may think of as being intrinsi-cally American music—jazz, rock, funk, soul, pop,whatever—it all really developed through the meet-ing of various cultures. In our case the most preva-lent influences have been the European (mostspecifically the Spanish, Portuguese, aud French,as well as some northern European protestantcultures), various African cultures, and various Latin-American and Caribbean cultures (and I’m usingthese terms very generically). In reality everycountry’s or culture’s music pretty much developedthe same way as ours—through a merging of vari-ous cultures—and though most countries are mucholder than ours, and many of these developmentstook place long ago, many still continue today.

Throughout our relatively brief musical history therehave been periods of tremendous popularity of avariety of styles from abroad. There was a period inthe twenties and thirties where the Danzas and theCuban Danzón was very popular with the uptown“elegant set.” There was a Mambo craze in thefifties, a Cha-Cha craze later took over, a BossaNova craze in the late fifties and early sixties, theCuBop thing in the fifties, and Salsa took over theLatin music industry in the seventies. For a whileeverybody seemed nuts about Samba and Brazil-ian music, and other styles such as Reggae, Ca-lypso, and various South African styles have seentheir heyday of popularity here. Today and in veryrecent years, the Cuban thing has come to theforefront and everybody and their mother—frommajor recording artists to local club acts—seem tobe doing something Latin.

With this in mind the focus of this presentation willbe on three of the most popular styles encounteredby drummers beginning to play Latin music. Theseare the Cha-Cha, the Mambo, and the Songo. Ithink that with a solid control of these three stylesone can cover quite a bit of ground because manystyles—especially when played in non-traditionalsettings, as most of you will probably play them—have a a tremendous similarity to one of thesethree styles. You could, in a very general way,create three broad categories into which you wouldplace a number of rhythms and songstyles thatwould each share the rhythmic vocabulary of oneof these three styles. Consequently, if you cancover and understand these, you won’t find manyothers to be that drastically different.

Of course I’m speaking very broadly and everystyle has specific characteristics that make it whatit is. Sometimes a seemingly insignificant detail iswhat actually defines a style as such, but this levelof understanding requires a much deeper level ofstudy and commitment. For most players not run-ning around in the “heavy latin circles,” simplybeing able to capture the basic character of a stylewill more than suffice.

For those of you who are inclined to study LatinAmerican and Caribbean music in an in-depth wayI’ll take this opportunity to shamelessly plug mybooks which are available here on a show specialat the Warner Bros. booth. You can of course buythem from your local retailer. The titles:

The Essence of Brazilian Percussion and Drum Set(comes with one CD)

The Essence of Afro-Cuban Percussion and DrumSet (comes with two CD’s)

2—DS

CHA-CHA

One of the most important factors to consider whenplaying Latin rhythms on the drum set is whetherthere is other percussion present and if so what itis. This factor alone will largely determine what youplay because in pretty much all Latin styles, whenyou perform them on drum set, you are playing therole of one or more of the percussion parts.

At right are four basic patterns for this style. Thefirst two would be used if there is a conga playerpresent. The third and fourth would be used if thereis no conga player present. Notice that these lasttwo patterns contain the basic conga patternsplayed on the toms.

I mentioned in the introduction that other stylescould be played with the same or very similarpatterns. Of course you have to account for tempo,harmonic vocabulary, lyric content, and slightdifferences in certain patterns, but you could alsoplay Guajira, Bolero (certain parts of the piece),and the ending vamp section of a Danzón withthese patterns. You could also use them for anytype of generic Latin ballad style or slower quarter-note pulsed style.

1.

2.

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byEd Uribe


3—DS

MAMBO

Here we look at various patterns for the Mambo style.Other styles that could be played with these or verysimilar patterns would be the Son-Montuno,Guaracha, or what some generally refer to as a Salsastyle, although this is really not correct terminology. ASalsa band can be compared to an R&B band. AnR&B band might play a funk ballad, a funk shuffle, ablues shuffle, a rock style thing, a New Orleans stylething, etc. Similarly a Salsa band would probably, inthe course of a show, play a Guaracha, a Bolero,some Merengue pieces, a mambo, etc. So saying“let’s play a Salsa thing” doesn’t really say verymuch—except that you don’t know a lot about thismusic. But still, people do say this, and if you knowwhat they mean you’re all set.

Patterns 1 and 2 present a pattern commonlyreferred to as cáscara. On the drum set this wouldbe played on the hihat or on some wood sound(side or rim of floor tom). These first two patternshave both hands playing the cascara. On thetimbales this would be played on the shells (alsocalled “playing paila”). This pattern is commonlyused in the low dynamic sections of a piece.

Patterns 3 and 4 are also cáscara patterns but theyare now played with one hand (on the hihat or awood sound) while the other hand either plays abasic comping pattern on the rim of the snare andthe high tom, or the clave pattern. These patternsare used in the low dynamic sections of a pieceand function exactly as the patterns above. Youcan also play these patterns on cowbells or cym-bals if you were playing a jazz mambo style.

Note: If there is a conga player do not play twostrokes on the tom. Play only one on the beat.

1.

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byEd Uribe


4—DS

The pattern at right is used for the high dynamicsections—choruses, solos, etc. The pattern isplayed on the mambo bell. This pattern is writtenout to include the conga drummer’s parts on thetoms. If a conga drummer were present you wouldnot play this. You would simply play beats two andfour (on the rim of the snare and the high tomrespectively) or the clave.

MAMBO COWBELL VARIATIONS

Once you have all of the previous patterns together try substituting the following cowbell variations forthe main cowbell pattern in the example above. Practice these at a variety of tempos and dynamics, andon a variety of sound sources (cowbell, cymbal, side of floor tom).

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byEd Uribe


5—DS

SONGO

The Songo has become the one of the most popular Afro-Cuban styles these days, but in spite of itspopularity it is really one of the most misunderstood styles. I encounter many students and players whothink that the Songo is just a beat or a pattern. Often drummers learn one combination and are under theimpression that this is knowing the Songo. This couldn’t be further from the true essence of the style.

Songo is really more of a concept or approach than simply a series of patterns. It is truly an improvisa-tional style incorporating elements of the Rumba and the Son traditions, as well as influences of jazz, funkand fusion styles that Cuba has assimilated from our musical exploits. The combinations that are mostoften referred to as Songo patterns are merely simple rhythmfic structures upon which to build (arrange orimprovise) more complex parts.

Think of the Songo patterns like you would the so-called jazz patterns. In jazz you have a basic ride cym-bal pattern that is commonly referred to as the jazz ride. You might play beats 2 and 4 on the hihat alongwith this ride pattern. It is also common in some jazz styles to feather quarter notes on the bass drum andplay rhythmic variations with the other hand on the snare. But this is not playing jazz. You don’t play anytype of jazz by merely executing this pattern. This is just the basic underlying structure, a framework tobuild on. Such is the case with the Songo. The patterns are just a takeoff point. Everything else that youdo with them are what really makes it a Songo.

We begin with a basic pattern. Play this on the hihat, rim of snare, and bass drum. Once you’re comfort-able with it move your hands to other sound sources. Add 2 and 4 on the hihat.


byEd Uribe


COWBELL/RIDE VARIATIONS

When you’re comfortable with the pattern above try substituting the following variations for the cowbell

6—DS


byEd Uribe


Workout 2

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Workout 1

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LEFT HAND WORKOUTS

The first objective will be to get your left hand freed up so you can improvise freely around the set with it.You eventually want to be able to play whatever you want and whatever the music is telling you to play.(Reverse this if you are left handed.)

15.

7—DS

MORE DEVELOPED PATTERNS AND LEFT HAND PHRASING AND IMPROVISATION

Having completed these workouts you should now feel pretty warmed up and pretty limber in this groove.The next step is to practice improvising phrases with the left hand while still keeping the other three limbsconstant. In addition to free improvisation you should also try to come up with recurring phrases that couldevolve into identifiable patterns and grooves. These would then be added to your repertoire of Songomaterial. Now you’re starting to build a vocabulary in the style. Following are a couple of two and four barexamples of phrases based on left hand variations around the set along with the three basic ostinatos inthe other limbs.


byEd Uribe


8—DS

BASS DRUM VARIATIONS

Another issue that surfaces quite often in the learning of the Songo is the lack of emphasis on variations inthe bass drum. While the bass drum does mostly play the basic ostinato written on the previous page asits fundamental timekeeping pattern, it can and should also be used as part of the rhythmic variation. Thiscan be done in a couple of ways. The first would be to play a different bass drum pattern as the ostinatofor a particular groove. The second approach would be to have the bass drum be part of the varyingrhythmic line along with the left hand. This would result in a dialogue between the left hand and bass drumsimilar to what often takes place in certain types of jazz drumming. Following are some bass drum varia-tions. Practice these while keeping the basic patterns in the two hands and the left foot.


byEd Uribe


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9—DS

I shouldn’t do any presentation on Afro-Latin music without a thorough discussion of the clave, but thetime allotted for this session does not allow this. I will only mention that you must become completelyfamiliar with the clave rhythms and all of their workings. Without this you will not be able to play this musicthe way it should be played. The clave is a very confusing issue for many. This is not surprising because itis often presented and explained in a very confusing fashion. At the risk of coming off like a badinfomercial I will once again direct you to my books because there is a thorough and clear presentation ofall of this music there and I believe it one of the few you will find. At the very minimum, try to memorize thepatterns presented here in relation to their corresponding clave and clave position. This will at least be astart in the right direction.

Working through these approaches in a methodical and concentrated way will give you a lot of facility withthese grooves and help you begin to develop a stylistic vocabulary. You must supplement these studieswith a lot of listening and analysis of the key players and ensembles of this tradition. This is critical forultimately developing the right sound and feel. Learning any musical style is like learning a language andthe only way to learn a new language correctly is by listening to those who really speak it well and thencopying how they speak it. You must also seek out other players who are studying these same things andpractice with them. There is much to be gained by practicing with someone else. You rarely play this musicalone except when you solo, and even then you are often being accompanied. Practice with as manyother instrumentalists or ensembles as possible.

Farewell for now and, in the words of a famous Jedi, may the clave be with you but more importantly, mayyou be with the clave.

Portions of this article include materials contained in The Essence of Afro-Cuban Percussion and Drum Set (© 1996 Warner BrothersPublications) and are reprinted by permission of the publisher. All rights reserved


byEd Uribe


PERCUSSIVE NOTES 20 OCTOBER 1998

In just a few short years, his solo drum performances havebecome legendary, as Terry Bozzio maintains ostinato pat-terns with different combinations of limbs while playing both

composed and improvised melodies with whatever limbs areleft, all on a gargantuan drumset. Drummers frequently shaketheir heads at the seeming impossibility of Bozzio’s technicalaccomplishments. But if the chops don’t get you, the musicalitywill, as Bozzio’s drum solos have tremendous compositionallogic and memorable melodies. Contrary to popular wisdom, theaudience can walk away humming the drum solo.

To Bozzio, the idea of using ostinatos was logical. “If you’veever learned to maintain the standard jazz ride-cymbal patternwhile playing independently on the snare and bass drums, likein the Chapin book, then you’ve worked with an ostinato,”Bozzio points out. “Playing straight eighth notes on a ride cym-bal is an ostinato, and so is playing quarter notes with the hi-hat pedal. But why limit it to that? A lot of drummers thesedays can play a samba ostinato with their feet, and drummerslike Horacio Hernandez can keep the clave pattern going withthe left foot while they solo over it. And people around theworld have given me tapes on which they are doing all kinds ofinteresting things with ostinatos, so it will be interesting to seewhere this all goes in the future.”

For the present, though, Bozzio’s use of ostinatos remains atthe cutting edge, and he invariably emerges with new patternsand compositions each time he embarks on a tour. For hisPASIC ’98 performance, he will be drawing from his new CD ofsolo drumming, Drawing the Circle.

“One of the pieces I’ll be playing is called “Djon Don,” whichis based on a drumbeat from Mali,” Bozzio says. “It starts witha Gregorian Chant-type melody on the high piccolo toms, whichis antiphonally answered by thunderous African-sounding drumfills. Technically, it’s like flammed ruffs between my hands andfeet, and it sounds like six people playing. Then I start theostinato, which introduces the ‘Djon Don’ theme. I improvise be-tween the snare—with snares off—and floor tom, and then Imodulate to different shell toms, which is like a chord change.There is a dynamic drop into a melodic cymbal solo, and then Ibring it back up and go into pentatonic and modal piccolo tommelodies with the right hand, while my left hand sets upcounterlines by playing fill-in and ghost notes, changing drumseach bar in a three-drum pattern. There is a recapitulation intothe ‘Djon Don’ theme, and then a coda that has two Indianmethods of composition: one is a South Indian reduction sys-tem, with five threes, five twos and five ones, and then a Tehaiof three fives.”

And that’s just one of the pieces he will play.But for all the obvious thought that goes into one of Bozzio’s

solo works, the end effect is one of complete freedom behind thedrumkit. Granted, the sheer number of drums and cymbalsgives Bozzio more melodic options than he would have on a

BY RICK MATTINGLY

standard kit, but he’s not playing all of the kit all of the time.In the course of a concert, there are always spots in whichBozzio concentrates on just a few select elements of hisdrumkit, at which point his sheer rhythmic mastery and inde-pendence dominate.

Even after working with ostinatos for well over a decade,Bozzio still approaches each new one with the same routine hehas always used. “The first ostinato I ever worked on was justquarter notes with my feet on bass drum and hi-hat, with myleft hand playing the second and third notes of each eighth-notetriplet on a tom-tom,” he says. “That gave me a rolling tripletrhythm.”

“Then, I worked out all of the permutations of eighth-notetriplets with my right hand on another tom, learning how eachpattern fit with the ostinato. (See Example 1.) The secondostinato I learned was the same thing with my feet, but withmy left hand playing the last three sixteenth notes of each beaton the tom.

“Again, I worked out all of the permutations of sixteenthnotes, learning how the right hand fit with or against what Iwas doing in the left. (See Example 2.) When working out boththe triplets and the sixteenths, I would tell myself the pattern Iwas playing. With each subdivision of the beat, you could havea right, a left, both hands together, or a rest in both hands. So,for example, to learn the right-hand pattern that had the firstthree sixteenths of the beat, along with the left-hand ostinatothat had the last three sixteenths, the pattern would be right-together-together-left.

“I would play that until I could feel it, and then move to thenext one. After a while, you can hear how these rhythms fall to-gether, and you can listen to your left hand playing the ostinatoas though it were a sequencer or another musician, and you canimprovise freely with your right hand against it.”

Some of Bozzio’s ostinatos feature double bass patterns, such

/ 44 ..3‰ œ œ 3‰ œ œ 3‰ œ œ 3‰ œ œœ¿ œ¿ œ¿ œ¿

/ 44 ..! œ œ œ ! œ œ œ ! œ œ œ ! œ œ œœ¿ œ¿ œ¿ œ¿

Terry BozzioOstinato Power

• Thursday, November 5 • 3 P.M. • Drumset Clinic •


as a Swiss triplet:

or a 7/16 pattern between the bass drums:

“With a pattern like that, I use the same approach,” Bozziosays. “I write out all the permutations of seven notes and restsand practice each one.”

Lately, Bozzio has been exploring more melodic ostinatos,such as on his piece “Jazz for One,” in which he maintains a“walking” bass line on his low toms while soloing on the rest ofthe kit. “I try to keep a Ron Carter or Jimmy Garrison-style

/ 167 ..œ œ œ œ œ œ œ

/ 44 .. .. .. .. .. .. ..Sixteenth-note permutations

œ œ œ œ ! .jœ ! .jœ ! .jœ ! .jœ ‰ jœ ‰ jœ ‰ jœ ‰ jœ ‰ . rœ ‰ . rœ ‰ . rœ ‰ . rœ

/ .. .. .. .. .. ..œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ ! œ œ ! œ œ ! œ œ ! œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ

/ .. .. .. .. .. .. .. ...œ œ .œ œ .œ œ .œ œ œ œ œ œ œ œ œ œ ! œ œ !œ œ ! œ œ !œ œ œ œ œ œ œ œ œ œ œ œ œ œ

/ .. .. .. .. .. ..œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ! œ œ œ ! œ œ œ ! œ œ œ ! œ œ œ

/ 44 .. .. .. .. .. .. ..Triplet permutations

œ œ œ œ 3

‰ jœ ‰3

‰ jœ ‰3

‰ jœ ‰3

‰ jœ ‰3

Œ jœ3

Œ jœ3

Œ jœ3

Œ jœ3œ œ ‰

3œ œ ‰3œ œ ‰

3œ œ ‰

/ .. .. .. .. .. .. .. ..3œ ‰ œ 3œ ‰œ 3œ ‰ œ 3œ ‰œ

3

‰ œ œ3

‰ œ œ3

‰ œ œ3

‰œ œ 3œ ‰œ3

‰ jœ ‰ 3œ ‰ œ3

‰ jœ ‰3

‰ jœ ‰ 3œ ‰œ3

‰ jœ ‰ 3œ ‰œ

bass line with one hand,” Bozzio explains, “while playing likeTony Williams or Elvin Jones with the rest of my body.”

Bozzio has also been applying ostinatos to compositions forstring quartet and drumset, and woodwind quintet anddrumset. “People were always telling me that my drummingsounded orchestral,” Bozzio says. “So one day I wrote out anoverhead chart of my drumset with the pitches of my drumsand the relative pitches of the cymbals. Then I started assign-ing things I play to different instruments. A tom melody mightgo to the violin, an ostinato might go to the cello. But then Ialso wrote counter melodies and did a lot more with harmony.

“With the heavy use of ostinatos, the pieces sound kind ofPhillip Glass-ish or Steve Reich-ish, and there is definitely aminimalist aspect. There is also a Stravinsky influence, as wellas some Varese and, of course, some Zappa,” Bozzio says, refer-ring to one of his former employers.

Bozzio has recorded some of these pieces on a CD titledChamber Works, in which the string and woodwind parts werecreated through samplers and sequencers. “My dream is to playthis music with real musicians,” he says, “but in the meantime,this is sort of a demo of what can be done, and I’m very proud ofit.” PN

/ 44 ..jœ3

œ œ œ jœ3

œ œ œ jœ3

œ œ œ jœ3

œ œ œ

Example 1

Example 2

C ourtesy ofPercussive Arts Society

701 NW Ferris Ave.Lawton, O K 73507-5442

Phone (580) 353-1455 • Fax (580) 353-1456E-mail [email protected]

Web site http://www.pas.org

HOTLICKS

HEAR A MIDI FILE OF THIS EXERCISE AT HOTLICKS ONLINE BY VISITING W W W.PAS.ORG

/ c ..Hi-HatBass DrumSnareRide Cym.

3¿¿‰œ3¿œ‰¿œ

3¿œ‰œ3¿¿‰¿œ

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3¿¿ ‰œ3¿œ‰¿œ

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/ .. ..3¿œ‰ ¿

3¿œ ‰ ¿œ3¿œ‰ ¿

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3¿œ‰ ¿œ3¿œ ‰œ

3¿œ‰ ¿¿3¿œ ‰œ

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3¿œ‰ ¿¿

/ .. ..3¿œ‰ œ

3¿œ ‰ ¿œ3¿œ‰ ¿

3¿œ ‰ ¿œ3¿œ ‰œ

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/ .. ..3¿œ‰¿

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3¿œ‰ ¿¿3¿œ ‰œ

3¿¿ ‰ ¿œ

THREE-VOICE WARM-UPS

JOHN RILEYJazz Drummer, Vanguard Jazz OrchestraDrumset Instructor, Manhattan School of Music

This is a jazz drumming independence exercise using three voices (snare, bass drum, hi-hat) set against a static jazz ride-cymbal pattern. Practice the exercises to develop a more open and interesting rhythmic time flow.

From Beyond Bop Drumming by John RileyC opyright © 1997 Manhattan Music , Inc.All Rights C ontrolled and Administered by Warner Bros. Publications, Inc.All Rights Reserved International C opyright SecuredUsed by Permission

beginning drumset beats - dr. brad meyer€¦ · 1 quarter-note rock # $ $# % # $ $# # $ $# # $ $#!...

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