Rock drumming has a tendency toward being colorless at times. This, I believe, is due to the constant use of H.H., S.D., and B.D. in playing time. The addition of other sound sources in the proper context can be quite useful in today’s music. The following concept will show one of the many ways a more musical approach can be achieved.


Future Sounds 1


(omit when pattern repeats)


In Pattern 2 the L.H. and the R.H. move to different sound sources but each plays the same rhythms as in Pattern 1 . The only difference between 1 and 2 are the surfaces struck by each hand. Moving on with this concept, let’s change Pattern Q] from sixteenth notes to eighth note triplets.

Future Sounds 2

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(EX. 3) Now switch sound sources as was done in Pattern 2.

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The point is to get your mind to where it’s not confused when a new sound source (other than the traditional R.H./H.H. — L.H./S.D.) is introduced into any rhythmic phrase. Because of the possible polyrhythmic effects produced by the use of many rhythm being played. Once this is “locked in,” you can concentrate on the placement of more sound sources. Let’s use Pattern [4] as an example.

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*The T.T. voice here could be played on the B.D.

This variation utilizes two sound sources in each hand which now takes two full bars to complete. It’s the same rhythm with changing sound sources. The two bells are for example only and, if used, should be placed on the left side of the drum kit. Two cymbal sounds would work as well. Another variation of this is three sound sources in the L.H., and one sound source in the R.H.

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As you can see, any number and type of sound sources can be utilized. Remember, the rhythm played stays the same. The only variation is in the number of surfaces played on.

Oh, I almost forgot the feet! Try these!

Future Sounds 7