In Part I (April ’82 MD), I defined linear coordination and demonstrated its importance as a drumming concept through systematic pattern combinations applied to the entire drumset. Linear coordination is a tasteful learning concept and the groundwork for dexterous coordination and good counter-rhythm playing. Continuing the pattern combinations introduced in Part I, two sixteenth notes are now systematically eliminated from a grouping of four notes providing for uniformly displaced sound and thematic playing, that is, keeping the basic pattern in mind from drum to drum and cymbal to cymbal, while playing the patterns. Combinations: The following pattern combinations have been written with the preceding basic pattern in mind, yet, provide for four-way coordination around the drums. Series A eliminates the last two sixteenth notes from each grouping, series B, the second and third sixteenth notes, series C, the first and second, series D, the first and last. For each series […]

May 1982 Issue