Today we have great groups like Genesis with Phil Collins and Chester Thompson, the Grateful Dead with Bill Kreutzman and Mickey Hart, The Allman Brothers Band, and Earth, Wind & Fire, with Freddie White and Ralph Johnson. I believe that the two drummer concept is a very workable one and can be done in a very tasteful, musical manner. Maybe one of the reasons we haven’t seen more of this concept is because most people think of two drummers in the same group as twice the noise. (Oops! Just kidding.) Realistically though, many drummers have never really thought through a system of how to do it together. I’m suggesting a way to accomplish the two drummer concept and maybe this will inspire you to develop your own ideas on applying this concept successfully.

Around the same time period that I became exposed to James Brown’s music, I was attending college. With me in the college band percussion section was a man whose playing influenced me a great deal. A favorite concept of his was to take snare drum parts and split them up, each of us playing alternate notes or phrases. Later on it occurred to me that this idea could work well with two drum sets in a rock format. Take for instance one 4/4 bar of sixteenth notes:

Player 1 plays beats 1 and 3. Player 2 plays beats 2 and 4…

or Player 1 plays the “e” and “an” of each beat. Player 2 plays all the eighth notes.

To apply this idea to the drum set let’s begin with a simple pattern:

Now divide it between player and (see numbers in above bars) by first giving every other written note of each voice (H.H., S.D., B.D.) to Player CD and the remainder of notes to player CD. Writing out whatever pattern you’re working with is of tremendous help.

Now put the parts together.

We’ll now move to a more complex pattern:

Divide the parts one voice at a time.

Put all the parts together:

The above material was designed with two drummers in mind, however even if you’re not in a group that uses two drummers, the information imparted here could still benefit you. Take example B for instance; move the right hand over to the bell of your cymbal or any bell type sound, and then add eighth notes with your left foot. The result is very interesting and different.

Additional notes:
—Substitute the accented S.D. notes with tom-toms and play the unaccented S.D. notes on S.D. The same can be done with Player 2 on Ex. B.

—Tom-tom can be substituted for any written B.D. note in either A or B.

—Pay close attention to accents and unaccented notes.

—Listen closely to each other to develop and maintain evenness in your timekeeping.

—The primary consideration in this study is good, solid, expressive, time-keeping. Otherwise, this concept has no real practical value.

—Player 2 can use bells of any type instead of H.H. or, stick across the S.D. rim instead of unaccented notes in S.D. voice. Interchange T.T. with B.D. at random while player IB plays H.H., S.D., and B.D. These roles can be reversed.

—Fills can be split up the same way.

—Two different size drum sets will give a wider variety of sounds.

—Enjoy!

Copyright 1981 John David Garibaldi.