As drummers, we’re often taught the importance of warm-up exercises. These drills are typically designed to help loosen the muscle groups of your wrists, forearms, and fingers. A good warm-up routine develops your reflexes and helps you produce an articulate drum and cymbal sound…..
The traditional nine-stroke roll consists of four alternating double strokes followed by a single stroke. It can be played open (clearly articulated) or closed (buzzed). This is a popular rudiment in marching and concert percussion idioms, and I’ve found a practical way to apply it to the drumset.
This month we’re going to look at three unusual rudiments: one-sided hairtas, grandmas, and grandpas. These three closely related rudiments are especially useful for drumset fills when playing the accents on toms or cymbals and the unaccented notes on the snare. The unusual accent patterns can easily throw you off, so use a metronome, tap your foot, and count quarter notes out loud so that your pulse is grounded.
Last month we explored the endless rhythmic and textural ideas hiding inside a measure of 16th notes, including clave and cascara patterns, partido alto phrases, and more. This time we’re looking for hidden groupings within our measure of 16th notes. Most often a bar of 16th notes in 4/4 is felt as four groupings of four notes. However, it doesn’t have to be felt that way. The subdivision can remain intact while you accent other groupings. We have sixteen total notes to group however we’d like. For example, you can play two groups of three notes and two groups of five notes in any order, and they will always take up the space of sixteen 16th notes. The same is true for any combination of four groups of three and one group of four. Let’s try it out.
To take our beat displacement prowess to a higher level, we’ll learn how to shift the pulse by smaller increments. Let’s focus on displacing grooves by a 16th note….
Welcome to the third and final lesson in our series on jazz-style triplet fills. This lesson continues with the three-over-four triplet concept and incorporates buzz rolls, double strokes, and paradiddles. In our first example, we’ll play the accents using the bass drum and ride cymbal while using buzz rolls on the snare drum….
This month we’re going to play hand-to-hand flams consecutively and in groups of two, three, and four. These exercises look simple on paper, and they are simple when played slowly. But when sped up they become challenging and test each hand’s technique. To play the exercises quickly, each hand needs to negotiate accents and taps using modified Moeller techniques. In addition to the main exercise, we’ve included some exercises for the individual hands….
The concept of discovering hidden rhythms within common subdivisions reminds me of the first time I removed the back of my boom box when I was about twelve years old. I knew that this simple device must have something fascinating inside it to reproduce radio waves and play cassette tapes, but it wasn’t until I popped off the back that I discovered the wealth of technology hiding in there….
This excerpt is taken from the complete article that appears in the February 2016 issue, which is available here. Around The World Diddling the Baião Gary Novak on Chick Corea’s “Discovery” Over the years, Chick Corea’s bands have featured a…
Has a song ever caught your ear in just the right kind of wrong way, leaving the music feeling twisted? You knew the musicians were playing together correctly, and you might have even been familar with the song, but what you felt as beat 1 was somehow wrong. We can create this effect using beat displacement….