Rock 'n' Jazz Clinic
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The Benefits Of Left-Hand Ride
What do Billy Cobham, Simon Phillips, Kenny Aronoff, Daniel Humair, and Lenny White have in common? They all play ride patterns with their left hand. Left-hand ride refers to the technique drummers use who play drumset in a normal, right-hand…
Simulated Double Bass
Double bass drum techniques have increased the repertoire of drummers, both in playing beats and soloing. Here are some ideas which can give a player with a single bass drum setup the opportunity to effect double bass drum sounds. By…
Adding Variety To Simple Grooves
A popular remark among drummers has always been that “simple is better.” Many drummers, especially beginners, tend to over-play, failing to realize that in most situations the drummer’s role is to lay down a foundation—a background for other musicians to…
Funk With 32nd Notes
In this study I’ve applied single and double strokes in 32nd-note value to the funk style. Because the rock/funk feel is based on straight 8th notes, the 32nd notes work very well. The tempo is slow (quarter note = 72-80…
Great Grooves — Part 2
Here’s another selection of grooves for you to try. Concentrate on developing your coordination, along with the fluidity and smoothness of performance that will put these patterns “in the pocket.” The key is to be clean and precise, yet comfortable…
Great Grooves, Part 1
From a general viewpoint, the word “groove” suggests a certain rhythmic precision in group playing, not unlike the word “tight” or the phrase “in the pocket.” From a drummer’s perspective, groove can also indicate a particular rhythmic motif, which, when…
Percussion Colors, Part 2
Last time we discussed how the use of hand-percussion instruments can add color and spice to the music you create. We outlined a few of the items that make up the percussionist’s “pallet,” including cowbell, tambourine, and the afuche. This…
Percussion Colors- Part 1
You’ve been cooking on the traps in the studio and you’re listening to the playback now. It’s great, but there still might be room for improvement—more color, more spice. How? With the addition of a layer or two of hand-percussion…
An Approach For Playing In Odd Time – Part 3
In the previous two articles, we’ve concentrated on executing written exercises which have been designed to facilitate the playing of odd time. Another effective approach to learning is through listening and transcription. The following songs have one thing in common:…
Don’t Disturb the Groove! Part 2: Hi-Hat Substitutions
In this article we’ll discuss substitutions where we’re basically using the hi-hat foot to replace either a hand or a bass drum note. The idea is to look at the hi-hat as not just an instrument that plays quarter notes…
Five-Note Phrasing - Part 2: Adding More Tension and Release
In this lesson we’ll continue exploring five-note phrases within a 16th-note subdivision. To become fluent with these groupings, you need to internalize where the five-note phrase begins and ends. To review, let’s reinforce the ability to hear the starting point…
Exploring The New Frontier — Moving Beyond Pattern-Based Thinking
Practice materials laid out in any given method book are often validated by the possibilities for musical application that await those who work through the pages patiently of diligently. This article is designed to give you a glimpse of the…
Don’t Disturb the Groove! Part 1: Broken Doubles and Paradiddles
“Don’t disturb the groove.” Whether we’re playing to an audience that’s pumping their fists, moshing, or simply dancing, as drummers we never want to be the one held responsible for clearing the floor. But what happens when someone yells, “Give…
