In this lesson we’ll take a look at a song from Camp Duty Update, my most recent book about the history of rudiments and their European roots. The melody of the tune “The Slow Scotch” was used in nineteenth-century military duty calls in the U.S. It was part of the routine to wake up troops and was typically the second song played, after “Three Camps.” I arranged a new drum part for the traditional “Slow Scotch” melody while still referring to the theme of the original song. I use Swiss and French rudimental ideas, as well as some phrases inspired by those styles…
When examining 32nd notes, we see that they’re twice as fast as 16th notes. Similarly, we can take this idea of doubling subdivisions and apply it to any grouping. In this lesson we’re going to explore ten- and fourteen-note subdivisions, which can be viewed as the doubled equivalent of quintuplets and septuplets. When playing ten-note groupings as single strokes, your lead hand will play standard quintuplets while the opposite hand plays between them….
In this lesson we’ll examine a pattern that I get asked about often. I recorded this groove on the song “Rave Against the Machine” with Jan Delay and Disko No. 1 in Germany some time ago, and I encourage you to check it out in the video on moderndrummer.com to hear its phrasing. Although the exercises in this lesson are notated with a straight feel, they should be shuffled with a 16th-note-triplet feel. Let’s break down the groove starting with the cowbell figure….
In this lesson we’ll explore a versatile and great-sounding fill from jazz legend Papa Jo Jones. The basic pattern is notated in Exercise 1. Pay close attention to the sticking—it’s essential to start and end the fill with your lead hand.
In the previous installment of this series, we introduced the reveille stroke (known as the double drag tap in the U.S.) and the reversed reveille stroke. Our first exercise this month introduces another inverted version of the reveille stroke sometimes referred to as a three-stroke-roll combination. A nine-stroke roll is played at the end of the phrase. Drags should be played somewhat softer than the single strokes….
With double grooves, the left hand plays every 8th note using unaccented strokes in between accented backbeats. I refer to these unaccented notes as “taps.” Combining this snare pattern with a standard 8th-note hi-hat figure results in a locomotive groove with a lot of energy….
This month we’re going to vary the basic phrasing of polyrhythms. Typically, both sides of a polyrhythm begin together on the first note of the rhythm. We can vary this by displacing one or both sides of the rhythm. We’ll focus on a two-over-three polyrhythm in 3/4. Dotted quarter notes comprise the two side of the rhythm, and quarter notes comprise the three side.
This month’s groove workshop introduces split patterns. In these phrases, the right hand alternates between two voices, the hi-hat and ride…
In this lesson we’ll use a three-note grouping to create highly effective groove variations. We’re going to incorporate the following hand and foot pattern into our phrases.
During the 1960s, Motown drummers such as Benny Benjamin, Richard “Pistol” Allen, and Uriel Jones introduced the six-stroke roll to the masses with their signature opening fills.
This excerpt is taken from the complete article that appears in the December 2016 issue, which is available here. Rock Perspectives Advanced Overlapping Phrases Superimposing Groupings by Aaron Edgar I’ve always been inspired by phrasing that seems to dance its way around the pulse. Bands such as Meshuggah apply this effect. You can bob your […]
It might initially seem strange using the term “groove??? in conversations about patterns based in odd subdivisions. But examples of these phrases being used in popular music are abundant. A perfect song to demonstrate this concept is Snoop Dogg’s track “Protocol,??? from More Malice, which is clearly phrased in septuplets.
In this lesson we’ll use a three-rule system to create grooves with 16th notes that are broken up between the hi-hat and snare. Generally I feel that the two cornerstones of any groove are the snare accents and bass drum figures. Often when playing with others, the bass player interacts with the kick pattern, and the guitar sometimes accents beats 2 and 4 with the snare.
This month we’ll continue exploring Swiss rudimental drumming with some additional patterns and combinations. We’ll also cover their interpretation to help develop the style’s authentic phrasing. Once again, we’ll use a style of notation developed by late educator Dr. Fritz Berger, as illustrated in this lesson’s key.