Welcome to the second lesson in our series on jazz-style triplet fills. This month we’ll continue with the three-over-four triplet concept. For this version of the fill, you’ll play the first three notes of the phrase on the snare and the fourth note on the bass drum.
These new cymbals are distinctly old-world in appearance, featuring flat profiles, unhammered bells, light and wide lathing, hand-hammered bows, and a proprietary aged finish, but they’re built for modern strength and stability. We were sent a set that included 15″ hi-hats, an 18″ crash, a 22″ ride, and a 20″ flat ride. Let’s check them out.
Many of these exercises have a rock ’n’ roll feel and sound. But you can use them in jazz, funk, or fusion settings by experimenting with dynamics, touch, subdivision, and the tuning of your drums. Try playing the phrases on high-pitched drums for use in a bebop setting.
In this lesson we’ll superimpose quintuplets across two beats using a five-over-two polyrhythm and across three beats using a five-over-three polyrhythm.
This lesson is an example of that approach. When I started working on world grooves in my teens, I learned quite a few traditional hand patterns and foot ostinatos from Cuba, Africa, Brazil, and the Caribbean. Until recently, it never occurred to me to treat them as drumset rhythms without a cultural association. Once I made that leap, I started to mix and match to improve my independence on the kit.
Vater is good about balancing its catalog with highly practical products and innovative designs and accessories. This year the company introduced unfinished versions of two of its most popular “rock” models, the 1A and 3A, and added custom designs for Primus’s Tim Alexander and 311’s Chad Sexton. Also new are two sizes of clear muffling gels, the Buzz Kill and Buzz Kill Dry, and a couple of inventive StickMates, which allow you to add shaker or tambourine textures to your grooves via a slim, lightweight plastic grip attachment. It’s all very cool stuff, so let’s take a look.
This month we have another unique drum with some historic mojo: a 4×14 steel snare built from the side panel of a 1962 Volkswagen van. The shell is largely untouched, so it has the original paintwork on the outside and a black under-seal rust-prevention treatment on the inside. The 45-degree edges, which were rolled, are the only parts that have been lacquered, to prevent further corrosion.
In this episode, Mike and Mike catch up after a crazy week of traveling. Dawson is just back from PASIC in San Antonio, Texas, and Johnston is calling in from his hotel in London as he wraps up a European clinic…
In this episode, Mike and Mike discuss different ways to position a bass drum mic, and then they dig deeper into Bill Bachman’s article on quintuplets from the December 2015 issue of Modern Drummer. Next, they give some additional background on jazz drummer Gerry Gibbs, who’s featured in the December issue. In the gear review section, Johnston details the differences between Meinl’s Benny Greb signature Sand ride and his signature Transition ride. The duo concludes with their picks of the week, which include an iPhone accessory and sticks designed especially for practicing.
In this episode, Mike and Mike dig into a few of the stories in the December 2015 issue of Modern Drummer, including Jim Riley’s educational article on ghost notes, the cover story with global drumming ambassador Dom Famularo, and the product review of Zildjian’s new K Custom Dark 19″ and 20″ crashes. The hosts also share some of their thoughts and experiences with different types of drum muffling, and they give their picks of the week, which include a classic play-along book/CD and an online tutorial on drum recording.