Global Beats Explorer

drumearn
eBooks
Global Beats Explorer
by Karl Price
Contents
2 Introduction
Brazilian
3-4 Beats Explorer - Samba
5 Beats Explorer - Samba Cruzado
6 Beats Explorer - Samba Batucada
7 Beats Explorer - Baiao
8 Beats Explorer - Partido Alto and Bossa Nova
Afro-Cuban
9 Beats Explorer - Clave
10 Beats Explorer - 6/8 Clave
11 Beats Explorer - Nanigo 6/8
12 Beats Explorer - Cascara
13 Beats Explorer - Mambo Bell
14-15 Beats Explorer - Bongo Bell
16 Beats Explorer - Te Songo St!le
17 Beats Explorer - Conga de Com"arsa
18 Beats Explorer - Mozambi#ue
19 Beats Explorer - Ca Ca Ca
20 Beats Explorer - Merengue
21 Beats Explorer - Te Bolero and Beguine
Caribbean
22 Beats Explorer - Cal!"so and Soca
23 Beats Explorer - $eggae %&ne 'ro"( and S)a
African Polyrhythmic Feels
24 Beats Explorer - Ado*a
25 Beats Explorer - +ete Adaban
26 Beats Explorer - A)om
27 Beats Explorer - Bi)utsi
New Orleans
28-30 Beats Explorer - Second-line
31-41 American Jazz
31-41 Beats Explorer - ,azz Coordination and Prasing
42 Closing $emar)s
Drum Learn
Introduction
2
Welcome to the Global Beats Explorer.
In this drum ebook we will take a journey to some different parts of the world to explore certain rhythms
that have helped shape many musical traditions around the globe.
We will start with a trip to Brazil and explore rhythms like the Samba, Samba Batucada, Bossa Nova, and
Baiao.
Next we will visit a style of music I have a great love for, which is Afro-Cuban music. We will start with
the Clave rhythm and then move through several of the main styles of Cuban rhythm and music.
For the next section, we will stay in the region and look at some other rhythms from the Caribbean Islands,
such as Reggae, Calypso, and Soca.
Following this we will take a trip over to Africa to explore the genesis of many world beats. Remember that
the drum kit is a relatively new invention, being just a little over 100 years old. Many of these World Beat
rhythms are percussion parts adapted for the drum set - African rhythms are no exception! The level of drum
set coordination that we will have gained from working through the previous three ebooks will serve us well
when we come to play multi-percussion parts on the drum set. Good coordination is even more necessary
when we come to look at the final section of American Jazz. Here we will work through many coordination
exercises and phrases to help develop a facility and feel for this music.
Brazilian Beats Explorer
We will start by looking at some Samba adaptations for the drum set. It is impossible to play all the parts of
a Samba ensemble on the drum set, so we have to pick and choose which rhythms we are going to play. We
will then move through the Batucada (Street Samba) which is played in Brazils great Carnival. Then we will
move on to the Baiao as well as the smooth tones of the Bossa Nova.
Afro-Cuban Beats Explorer
Clave is first on the list. This is followed by a look at the 6/8 Afro-Cuban Nanigo style and then onto an
exploration of many rhythms that are used in the Mambo or Son Style. Then we will move on to some of
the folkloric styles, such as the Mozambique.

Caribbean Beats Explorer
We will start in Jamaica with a look at Reggae rhythms, specifically the Reggae One Drop. Then we will
move on to explore the Calypso and Soca styles.
African Beats Explorer
Here we will look at African polyrhythmic feels which include styles such as Adowa, Akom, and Bikutsi.
New Orleans Beats Explorer
This is another personal favourite. We will start off with Second-line rhythms and then move these feels
into a more straight ahead funk style.
American Jazz Beats Explorer
This section may well be the most difficult to master of all the Global Beats. To be able to improvise
successfully in this style, we need to be able to call on a solid bedrock of coordination between our hands
and feet. We cant improvise without patterns and rhythms to improvise with! This section will take some
patience to master.
It is essential to listen to all the different styles of music that are presented here, if you want to play these
rhythms with an authentic feel and groove.

Drum Learn Global Beats Explorer
Beats Explorer 1
3
- Samba (Brazilian)
Click Count
1 2
Ex 1

Click Count
1 2
Ex 1
We will start this exploration with the Samba, which is the rhythm of Brazil. Like most rhythms of the world, it has its roots in Africa.There are many
samba schools throughout Brazil that play in the traditional Carnival street festivals of Rio de Janeiro. Samba is a combination of rhythm and dance -
a way of life in Brazil. It is a good idea to keep this in mind when playing Samba.
To start with, try playing the foot patterns. Once you feel comfortable with this, try the hand rhythms. When you can play both patterns fluently, try playing
them together. Play through the rhythm slowly at first, then pick up the tempo as you get comfortable with the coordination between the hands and feet.
We will start this exploration with the Samba, which is the rhythm of Brazil. Like most rhythms of the world, it has its roots in Africa.There are many
samba schools throughout Brazil that play in the traditional Carnival street festivals of Rio de Janeiro. Samba is a combination of rhythm and dance -
a way of life in Brazil. It is a good idea to keep this in mind when playing Samba.
To start with, try playing the foot patterns. Once you feel comfortable with this, try the hand rhythms. When you can play both patterns fluently, try playing
them together. Play through the rhythm slowly at first, then pick up the tempo as you get comfortable with the coordination between the hands and feet.
Click Count
Ex 2

Click Count
Ex 2
Click Count
Ex 3

Click Count
Ex 3
Click Count
Ex 4

Click Count
Ex 4
Click Count
Ex 5

Click Count
Ex 5
Copyright 2009 Drum Learn All Rights Reserved

Beats Explorer 2
- Samba (Brazilian)
4
Click Count
Ex 1
1 2

Click Count
Ex 1
1 2
This second set of samba beats will suit slower to medium tempos. Notice that we are playing a constant flow of eighth notes on the ride cymbal. You can also
play the ride cymbal rhythm on the hi-hat, if you like. This gives the beat more of a tight clinical sound, as opposed to the spread of the the ride cymbal. It may
take some time to get comfortable with the accent placed on beats 2 & 4 played on the ride cymbal. You may want to leave out the stick-across-snare-thythm
until you feel comfortable with the accented ride rhythm. Take your time and work on making the rhythm swing and groove. All the stick-accross-snare rhythms
mirror those in Beats Explorer 1.
This second set of samba beats will suit slower to medium tempos. Notice that we are playing a constant flow of eighth notes on the ride cymbal. You can also
play the ride cymbal rhythm on the hi-hat, if you like. This gives the beat more of a tight clinical sound, as opposed to the spread of the the ride cymbal. It may
take some time to get comfortable with the accent placed on beats 2 & 4 played on the ride cymbal. You may want to leave out the stick-across-snare-thythm
until you feel comfortable with the accented ride rhythm. Take your time and work on making the rhythm swing and groove. All the stick-accross-snare rhythms
mirror those in Beats Explorer 1.
Click Count
Ex 2

Click Count
Ex 2
Click Count
Ex 3

Click Count
Ex 3
Click Count
Ex 4

Click Count
Ex 4
Click Count
Ex 5

Click Count
Ex 5

Beats Explorer 3
- Samba Cruzado (Brazilian)
5
Click Count
Ex 1
1 2

Click Count
Ex 1
1 2
R L R L L R L R L R L L R L R L
The Samba Curzado has a nice melodic tom rhythm which can be played with either the right or left hand. "Cruzado" literally means "playing crossed."
This implies that the left hand will be placed over the right hand to play the tom rhythm. Playing the tom rhythm with the left hand makes it easier to
keep a constant rhythm together with the right hand on the snare. However, you can swap hands over to form an open sticking - right hand on toms;
left hand on snare. In this first exercise the right hand plays around the toms, while the left hand plays in-between snare notes.
R L R L L R L R L R L L R L R L
The Samba Curzado has a nice melodic tom rhythm which can be played with either the right or left hand. "Cruzado" literally means "playing crossed."
This implies that the left hand will be placed over the right hand to play the tom rhythm. Playing the tom rhythm with the left hand makes it easier to
keep a constant rhythm together with the right hand on the snare. However, you can swap hands over to form an open sticking - right hand on toms;
left hand on snare. In this first exercise the right hand plays around the toms, while the left hand plays in-between snare notes.
Click Count

Click Count
Ex 2 - Now we will play a constant eighth note snare rthythm with either your right or left hand.
It is good to play a constant flow of notes with each hand for the development of technique.
Ex 2 - Now we will play a constant eighth note snare rthythm with either your right or left hand.
It is good to play a constant flow of notes with each hand for the development of technique.
Click Count

Click Count
Ex 3 - This time, the hand that is playing the snare rthythm will play an accent on the 'an' of beats 2 & 4 in both bars.
This is not easy and will take some practice to accomplish. The accented note gives voice to the caixa (samba snare) rhythm.
Ex 3 - This time, the hand that is playing the snare rthythm will play an accent on the 'an' of beats 2 & 4 in both bars.
This is not easy and will take some practice to accomplish. The accented note gives voice to the caixa (samba snare) rhythm.
Click Count

Click Count o x o x
Ex 4 - This time we have a open hat variation, which opens on the 'an' of beats 1 & 3.
o x o x
Ex 4 - This time we have a open hat variation, which opens on the 'an' of beats 1 & 3.
o x o x
o x o x
Click Count

Click Count
Ex 5 - To finish with, we will play the cruzado tom pattern with stick-across-snare.
Ex 5 - To finish with, we will play the cruzado tom pattern with stick-across-snare.

Beats Explorer 4
6
- Samba Batucada (Brazilian)
Click Count
Ex 1
1 2
, ,

Click Count
Ex 1
1 2
Right hand plays floor tom; left hand plays snare rhythm.
This is the Carnival street rhythm. Here we have a heavy emphasis on the surdo rhythm. The surdo is a large drum that is hit
with a beater on the 1st and 2nd beat of the rhythm. Remember that Samba is counted and felt in 2, rather than in 4 like the
Bossa Nova. We have a muffled tone on beat 1 and then an open tone on beat 2. You can immitate this sound on the floor tom
with your right hand.
Right hand plays floor tom; left hand plays snare rhythm.
This is the Carnival street rhythm. Here we have a heavy emphasis on the surdo rhythm. The surdo is a large drum that is hit
with a beater on the 1st and 2nd beat of the rhythm. Remember that Samba is counted and felt in 2, rather than in 4 like the
Bossa Nova. We have a muffled tone on beat 1 and then an open tone on beat 2. You can immitate this sound on the floor tom
with your right hand.
Click Count
, ,

Click Count
Ex 2 - Here is a syncopated variation on the Surdo rhythm.
Ex 2 - Here is a syncopated variation on the Surdo rhythm.
Click Count

, ,

Click Count

R L R L R L R L R L R L R L R L
Ex 3 - Now we can try playing the Caixa (snare) rhythm with its customary accents that immitate the kick drum rhythm.
We will play a buzz stroke with the left hand on the 'an' of 1 & 3 which give the rhythm its syncopated feel.
Ex 3 - Now we can try playing the Caixa (snare) rhythm with its customary accents that immitate the kick drum rhythm.
We will play a buzz stroke with the left hand on the 'an' of 1 & 3 which give the rhythm its syncopated feel.
Click Count

, ,

Click Count

o x
R R L R L L R L R L R L R L L R L
Ex 4 - This is a more syncopted feel with a splashed hi-hat foot on beat 3 (or beat 2 if you are counting the rhythm in an authentic 2 feel).
o x
R R L R L L R L R L R L R L L R L
Ex 4 - This is a more syncopted feel with a splashed hi-hat foot on beat 3 (or beat 2 if you are counting the rhythm in an authentic 2 feel).
x o
x o
Click Count

, ,

Click Count

x o
R L L R L R L L R L R L R L R L L R L
Ex 5 - The finish we have a variation on the previous syncopated rhythm.
x o
R L L R L R L L R L R L R L R L L R L
Ex 5 - The finish we have a variation on the previous syncopated rhythm.
x o
x o
Beats Explorer 5
- Baiao Samba (Brazilian)
7
Click Count
Ex 1
1 2
,,

Click Count
Ex 1
1 2
R L L R L L R L R L L R L L R L
The Baiao is another syncopated rhythm from Brazil. This one is usually played with a slight accent
push on the second kick of each bar (the 'an' of beat 2).To get used to this rhythm, we can play a simple
pattern between both hands with the right hand playing on the kick drum notes.

R L L R L L R L R L L R L L R L
The Baiao is another syncopated rhythm from Brazil. This one is usually played with a slight accent
push on the second kick of each bar (the 'an' of beat 2).To get used to this rhythm, we can play a simple
pattern between both hands with the right hand playing on the kick drum notes.
Click Count
,,

Click Count o x o x
Ex 2 - With this rhythm we have an open hi hat on beats 1 and 3 which imitatesthe rhythm played on the triangle.
o x o x
Ex 2 - With this rhythm we have an open hi hat on beats 1 and 3 which imitatesthe rhythm played on the triangle.
o x o x
o x o x
Click Count

,,

Click Count
Ex 3 - Here we have a syncopated funky Baiao feel.

Ex 3 - Here we have a syncopated funky Baiao feel.
Click Count

,,

Click Count
Ex 4 - With this one we will leave out the kick drum note on beat 4 of each bar. Right hand plays the ride cymbal.
.

Ex 4 - With this one we will leave out the kick drum note on beat 4 of each bar. Right hand plays the ride cymbal.
Click Count

,,

Click Count

Ex 5 - To finish, we have a funky feel.

Ex 5 - To finish, we have a funky feel.

Beats Explorer 6
Partido Alto
& Bossa Nova
(Brazilian)
8
Click Count
1 2
Ex 1
, ,

Click Count
1 2
Ex 1
1 2 1 2
Partido Alto is a type of samba that has a funky feel. It has an unusual offbeat entry note on the 'an' of beat 1.
1 2 1 2
Partido Alto is a type of samba that has a funky feel. It has an unusual offbeat entry note on the 'an' of beat 1.
Click Count
, ,

Click Count
Ex 2 - Here we have an open hi-hat variation on the 1st beat of the second bar.
Ex 2 - Here we have an open hi-hat variation on the 1st beat of the second bar.
o x
o x
Click Count

, ,

Click Count

Ex 3 - I like to refer to the Bossa Nova as a slow sophisticated samba rhythm. I can't help but think of
life on cruise ships when I hear this rhythm. It is a light and gentle rhythm. Antonio Carlos Jobim
and his famous 'Girl from Ipanema' is what comes to mind for most people when talking about
Bossa Nova.
Ex 3 - I like to refer to the Bossa Nova as a slow sophisticated samba rhythm. I can't help but think of
life on cruise ships when I hear this rhythm. It is a light and gentle rhythm. Antonio Carlos Jobim
and his famous 'Girl from Ipanema' is what comes to mind for most people when talking about
Bossa Nova.
Click Count

, ,

Click Count

Ex 4 - This one is played with a lazy swing feel on the ride cymbal.
Ex 4 - This one is played with a lazy swing feel on the ride cymbal.
Click Count
, ,

Click Count
Ex 5 - Here is a kind of Bluesy Bossa feel. This sounds nice played with a stick on the ride cymbal and a brush on the snare.
Ex 5 - Here is a kind of Bluesy Bossa feel. This sounds nice played with a stick on the ride cymbal and a brush on the snare.

Beats Explorer 7
9
- Clave (Afro-Cuban)
Click Count
Ex 1
1 2
, ,

Click Count
Ex 1
1 2
3-2 Son Clave
In Spanish, Clave means "Key." It is the heart or backbone of Afro-Cuban music and dance. The rhythm is played by striking together two hand-held
wooden blocks called Claves (symbolic female and male counterparts). There are four types of clave rhythm: two for dance styles and two for folkloric
feels. The 'Son' clave is played in the dance styles, like the Mambo, while the 'Rumba clave is played in the folkloric feels like Guanguanco or Mozambique.
We will start by looking at the Son Clave. The clave is a two bar rhythm. It has three notes in one bar and two notes in the other, hence the name 3-2 Clave.
This means there are three beats in the first bar and two beats in the second. In the Son Clave, the third note in the first bar is played on beat 4.
1 2 1 2

3-2 Son Clave
In Spanish, Clave means "Key." It is the heart or backbone of Afro-Cuban music and dance. The rhythm is played by striking together two hand-held
wooden blocks called Claves (symbolic female and male counterparts). There are four types of clave rhythm: two for dance styles and two for folkloric
feels. The 'Son' clave is played in the dance styles, like the Mambo, while the 'Rumba clave is played in the folkloric feels like Guanguanco or Mozambique.
We will start by looking at the Son Clave. The clave is a two bar rhythm. It has three notes in one bar and two notes in the other, hence the name 3-2 Clave.
This means there are three beats in the first bar and two beats in the second. In the Son Clave, the third note in the first bar is played on beat 4.
1 2 1 2
Click Count
, ,

Click Count
3-2 Rumba Clave
1 2 1 2
Ex 2 - Here is the 3-2 Rumba Clave. The third note in the first bar is placed on the 'an' of 4, instead of beat 4.
3-2 Rumba Clave

1 2 1 2
Ex 2 - Here is the 3-2 Rumba Clave. The third note in the first bar is placed on the 'an' of 4, instead of beat 4.
Click Count

, ,

Click Count

2-3 Son Clave
1 2 1 2
Ex 3 - Next up is the 2-3 Son Clave. This time we start with the 2-side of the clave.
The third note on the second bar is placed on beat 4.

2-3 Son Clave
1 2 1 2
Ex 3 - Next up is the 2-3 Son Clave. This time we start with the 2-side of the clave.
The third note on the second bar is placed on beat 4.
Click Count

, ,

Click Count

2-3 Rumba Clave
1 2 1 2
Ex 4 - Here we move back to the Rumba Clave played in a 2-3 format.

2-3 Rumba Clave
1 2 1 2
Ex 4 - Here we move back to the Rumba Clave played in a 2-3 format.
Click Count

, ,

Click Count
Ex 5 - To finish, we have a 3-2 Son Clave played between the hi-hat and snare. The right hand plays the hi-hat, while the left plays the snare.
Play the left hand snare as ghost strokes so that the clave rthythm on the hi-hat can be clearly heard.
Ex 5 - To finish, we have a 3-2 Son Clave played between the hi-hat and snare. The right hand plays the hi-hat, while the left plays the snare.
Play the left hand snare as ghost strokes so that the clave rthythm on the hi-hat can be clearly heard.


Beats Explorer 8
- 6/8 Clave (Afro-Cuban)
10
Click Count
1 2 3 4 5 6
Ex 1
6
8

Click Count
1 2 3 4 5 6
Ex 1
3-2 Son Clave
1 2 3 4 5 6 1 2 3 4 5 6
Here we will look at the 6/8 Clave. This is the basis of the Son and Rumba Clave.
The first example is the Son style clave with the third note in bar one placed on beat 5.
At first, play through slowly, counting the six beats per bar.

3-2 Son Clave
1 2 3 4 5 6 1 2 3 4 5 6
Here we will look at the 6/8 Clave. This is the basis of the Son and Rumba Clave.
The first example is the Son style clave with the third note in bar one placed on beat 5.
At first, play through slowly, counting the six beats per bar.
Click Count
1 2 3 4 5 6
6
8

Click Count
1 2 3 4 5 6
3-2 Rumba Clave
1 2 3 4 5 6 1 2 3 4 5 6
Ex 2 - Next we will move the third note in bar one to the sixth beat of the bar.
3-2 Rumba Clave

1 2 3 4 5 6 1 2 3 4 5 6
Ex 2 - Next we will move the third note in bar one to the sixth beat of the bar.
Click Count
1 2 3 4 5 6
6
8

Click Count
1 2 3 4 5 6
3-2 Rumba Clave
1 2 3 4 5 6 1 2 3 4 5 6
Ex 3 - Here we will add in some extra notes which will give us a continuous loop feel to the clave.

3-2 Rumba Clave
1 2 3 4 5 6 1 2 3 4 5 6
Ex 3 - Here we will add in some extra notes which will give us a continuous loop feel to the clave.
Click Count
1 2 3 4 5 6
6
8

Click Count
1 2 3 4 5 6
3-2 Son Clave
1 2 3 4 5 6 1 2 3 4 5 6
Ex 4 - This time we have some extra notes with the 'Son' feel.

3-2 Son Clave
1 2 3 4 5 6 1 2 3 4 5 6
Ex 4 - This time we have some extra notes with the 'Son' feel.

Click Count
1 2 3 4 5 6
6
8

Click Count
1 2 3 4 5 6
3-2 Rumba Clave
1 2 3 4 5 6 1 2 3 4 5 6
Ex 5 - Here we will add a few notes to the Rumba Clave.

3-2 Rumba Clave
1 2 3 4 5 6 1 2 3 4 5 6
Ex 5 - Here we will add a few notes to the Rumba Clave.

Beats Explorer 9
- Nanigo 6/8
(Afro-Cuban)
11
Click Count
1 2 3 4 5 6
Ex 1
6
8

Click Count
1 2 3 4 5 6
Ex 1
3-2 Son Clave
1 2 3 4 5 6 1 2 3 4 5 6
Following on from the 6/8 clave, we can now try some drum set patterns. The syncopated clave rhythms will now by played on the ride cymbal, while the
stick-across-snare and toms will be used for additional patterns traditionally played by the conguero (Conga player) in an Afro-Cuban percussion section.
Played alternately on beats 1 and 4 of each bar, the kick and hi-hat foot maintain a strong dotted quarter note pulse throughout.
3-2 Son Clave

1 2 3 4 5 6 1 2 3 4 5 6
Following on from the 6/8 clave, we can now try some drum set patterns. The syncopated clave rhythms will now by played on the ride cymbal, while the
stick-across-snare and toms will be used for additional patterns traditionally played by the conguero (Conga player) in an Afro-Cuban percussion section.
Played alternately on beats 1 and 4 of each bar, the kick and hi-hat foot maintain a strong dotted quarter note pulse throughout.
Click Count
1 2 3 4 5 6
Ex 2
6
8

Click Count
1 2 3 4 5 6
Ex 2
3-2 Rumba Clave
1 2 3 4 5 6 1 2 3 4 5 6
3-2 Rumba Clave

1 2 3 4 5 6 1 2 3 4 5 6
Click Count
1 2 3 4 5 6

6
8

Click Count
1 2 3 4 5 6

3-2 Rumba Clave
1 2 3 4 5 6 1 2 3 4 5 6
Ex 3 - In the last three examples the kick and hi hat foot play together on beats 1 and 4.
3-2 Rumba Clave

1 2 3 4 5 6 1 2 3 4 5 6
Ex 3 - In the last three examples the kick and hi hat foot play together on beats 1 and 4.
Click Count
1 2 3 4 5 6
Ex 4
6
8

Click Count
1 2 3 4 5 6
Ex 4
3-2 Rumba Clave
1 2 3 4 5 6 1 2 3 4 5 6

3-2 Rumba Clave
1 2 3 4 5 6 1 2 3 4 5 6
Click Count
1 2 3 4 5 6
Ex 5
6
8

Click Count
1 2 3 4 5 6
Ex 5
3-2 Rumba Clave
1 2 3 4 5 6 1 2 3 4 5 6
3-2 Rumba Clave

1 2 3 4 5 6 1 2 3 4 5 6

Beats Explorer 10
12
- Mambo Rhythms
Cascara
(Afro-Cuban)
Click Count
1 2
Ex 1
, ,

Click Count
1 2
Ex 1
3-2 Cascara
Cascara (meaning shell) is traditionally played by the timbalero (timbale player) on the side of the timbales. This rhythm is played in the verse and bridge
sections of latin music. On the drum set, the rhythm can be played on the side of a floor tom, on the rim of any drum, on the ride cymbal, hi-hat, or on
Jam blocks or Clave blocks. It is a highly syncopated rhythm, but is not too difficult to play after some practice. Start by trying the 3-2 version.
3-2 Cascara
Cascara (meaning shell) is traditionally played by the timbalero (timbale player) on the side of the timbales. This rhythm is played in the verse and bridge
sections of latin music. On the drum set, the rhythm can be played on the side of a floor tom, on the rim of any drum, on the ride cymbal, hi-hat, or on
Jam blocks or Clave blocks. It is a highly syncopated rhythm, but is not too difficult to play after some practice. Start by trying the 3-2 version.

Click Count
1 2
, ,

Click Count
1 2
2-3 Cascara
Ex 2 - Here is the 2-3 version.
2-3 Cascara
Ex 2 - Here is the 2-3 version.

Click Count
1 2

, ,

Click Count
1 2

3-2 Cascara with Son Clave
Ex 3 - Next we will add in the 3-2 Clave pattern with the stick-across-snare.

3-2 Cascara with Son Clave
Ex 3 - Next we will add in the 3-2 Clave pattern with the stick-across-snare.
Click Count
1 2

, ,

Click Count
1 2

3-2 Cascara with Rumba Clave
Ex 4 - Here is a 3-2 Rumba Clave
3-2 Cascara with Rumba Clave

Ex 4 - Here is a 3-2 Rumba Clave
Click Count
1 2

, ,

Click Count
1 2

3-2 Cascara with Rumba Clave and Tumbao
Ex 5 - To finish, we will add the Bass Tumbao rhythm which is played on the kick drum.
This immitates the bass player's rhythmic punctuations in latin music.
3-2 Cascara with Rumba Clave and Tumbao

Ex 5 - To finish, we will add the Bass Tumbao rhythm which is played on the kick drum.
This immitates the bass player's rhythmic punctuations in latin music.

Beats Explorer 11
13
Mambo Rhythms
- Mambo Bell
(Afro-Cuban)
Click Count
1 2
Ex 1
, ,

Click Count
1 2
Ex 1
2-3 Mambo Bell
The Mambo Bell or Contra Compana (against the Bell) is another rhythm traditionally played by the timbalero. It is played during B sections or the Chorus
of latin tunes. The accents are important for defining certain points in the syncopated rhythm. Ride cymbal or cowbell are used to play this pattern. If played
on a cowbell, the accented notes are played on the mouth of the bell and the unaccented notes are played on the neck. If played on a ride cymbal, the accented
notes can be played on the bell and the unaccented notes at the taper or body of the cymbal. The following exercises are written using the ride cymbal.
2-3 Mambo Bell

The Mambo Bell or Contra Compana (against the Bell) is another rhythm traditionally played by the timbalero. It is played during B sections or the Chorus
of latin tunes. The accents are important for defining certain points in the syncopated rhythm. Ride cymbal or cowbell are used to play this pattern. If played
on a cowbell, the accented notes are played on the mouth of the bell and the unaccented notes are played on the neck. If played on a ride cymbal, the accented
notes can be played on the bell and the unaccented notes at the taper or body of the cymbal. The following exercises are written using the ride cymbal.
Click Count
, ,

Click Count
3-2 Mambo Bell
Ex 2 - As there is a rest on beat 1, starting on the 3-side of the clave can be tricky to start with.

3-2 Mambo Bell
Ex 2 - As there is a rest on beat 1, starting on the 3-side of the clave can be tricky to start with.
Click Count
, ,

Click Count
2-3 Mambo Bell Kit Pattern
Ex 3 - Now we will add in some other drum set sounds including the stick-across-snare and first tom.
The kick drum plays the Bombo note on the 'an' of beat 2.

Ex 3 - Now we will add in some other drum set sounds including the stick-across-snare and first tom.
The kick drum plays the Bombo note on the 'an' of beat 2.
Click Count
, ,

Click Count
Ex 4 - Changing the clave pattern to 3-2.

Ex 4 - Changing the clave pattern to 3-2.
Click Count
, ,

Click Count
3-2 Mambo Bell with Conga Tom Pattern
Ex 5 - To finish, we will add in more patterns from the conga drums and play them on the toms.
3-2 Mambo Bell with Conga Tom Pattern

Ex 5 - To finish, we will add in more patterns from the conga drums and play them on the toms.

Beats Explorer 12
- Mambo Rhythms
Bongo Bell
(Afro-Cuban)
14
Click Count
Ex 1
1 2

Click Count
Ex 1
1 2
2-3 Bongo Bell
The Bongo Bell or Coro (Chorus) Bell is usually played by the Bongosero (Bongo player) in a percussion section. As the name implies, it is played in the
Chorus of latin tunes. On the dum set it is played on the cowbell; usually a Bongo Cowbell. Again, the accents are played on the mouth and the unaccented
notes are played on the neck. The examples are written using the ride cymbal. We will start by playing a 2-3 Bongo Bell.

2-3 Bongo Bell
The Bongo Bell or Coro (Chorus) Bell is usually played by the Bongosero (Bongo player) in a percussion section. As the name implies, it is played in the
Chorus of latin tunes. On the dum set it is played on the cowbell; usually a Bongo Cowbell. Again, the accents are played on the mouth and the unaccented
notes are played on the neck. The examples are written using the ride cymbal. We will start by playing a 2-3 Bongo Bell.
Click Count
1 2

Click Count
1 2
3-2 Bongo Bell
Ex 2 - Next is the 3-2 version.

3-2 Bongo Bell
Ex 2 - Next is the 3-2 version.
Click Count

1 2

Click Count

1 2
2-3 Bongo Bell with Clave
Ex 3 - Now we will add the Clave on stick-across-snare and the Bass
Tumbao on the kick drum. Hi-hat foot plays on beats 2 and 4.
2-3 Bongo Bell with Clave

Ex 3 - Now we will add the Clave on stick-across-snare and the Bass
Tumbao on the kick drum. Hi-hat foot plays on beats 2 and 4.
Click Count

1 2

Click Count

1 2
2-3 Bongo Bell with Mambo Bell (Contra Compana)
Ex 4 - Here is an example of both the Mambo and Bongo Bell patterns played together.
The Mambo bell is written on the ride cymbal, while the Bongo bell is written as
stick-across-snare.
2-3 Bongo Bell with Mambo Bell (Contra Compana)

Ex 4 - Here is an example of both the Mambo and Bongo Bell patterns played together.
The Mambo bell is written on the ride cymbal, while the Bongo bell is written as
stick-across-snare.
Click Count

1 2

Click Count

1 2
2-3 Bongo Bell variation with Mambo Bell (Contra Compana)
Ex 5 - In this last example the Bongo bell plays straight quarter notes or half notes as written.
2-3 Bongo Bell variation with Mambo Bell (Contra Compana)

Ex 5 - In this last example the Bongo bell plays straight quarter notes or half notes as written.

Beats Explorer 13
15
- Mambo Rhythms
Bongo Bell 2
(Afro-Cuban)
Click Count
1 2

Click Count
1 2
2-3 Bongo Bell Kit Rhythm
o x o
x x
Ex 1 - Here we have a bongo bell pattern played with a basic conga rhythm adaptation
for drum set. Again, the Bombo note is played on the kick drum.
2-3 Bongo Bell Kit Rhythm

o x o
x x
Ex 1 - Here we have a bongo bell pattern played with a basic conga rhythm adaptation
for drum set. Again, the Bombo note is played on the kick drum.
o
x x o x x
o
x x o x x
Click Count
1 2

Click Count
1 2
o x o x x
2-3 Bongo Bell
Ex 2 - Now we can try a 2-3 bongo bell pattern with a kit variation.
o x o x x
2-3 Bongo Bell
Ex 2 - Now we can try a 2-3 bongo bell pattern with a kit variation.
o x x o x x
o x x o x x
Click Count
1 2

Click Count
1 2

2-3 Bongo Bell
o x o x x
Ex 3 - Another drumset variation played with the bongo bell.
2-3 Bongo Bell

o x o x x
Ex 3 - Another drumset variation played with the bongo bell.
o x x o x x
o x x o x x
Click Count
1 2

Click Count
1 2

2-3 Bongo Bell
o x o x x
Ex 4 - The last two patterns are further drum set variations.
2-3 Bongo Bell

o x o x x
Ex 4 - The last two patterns are further drum set variations.
o x o
x x x
o x o
x x x
Click Count
1 2
Ex 5

Click Count
1 2
Ex 5
2-3 Bongo Bell
o x o x x
2-3 Bongo Bell

o x o x x o x x o x x
o x x o x x
Drum Learn
Beats Explorer 14
- The Songo Style
(Afro-Cuban)
16
Click Count
1 2
Ex 1
, ,

Click Count
1 2
Ex 1
1
2
The Songo is a rhythm that was created for the drum set by Jose Changuito Quintana and Juan Formell of the Cuban group, Los Van Van. This rhythm is a
blend of many different styles or feels including Funk, Calypso, Mambo, Mozambique, Guaguanco etc. It has a strong quarter note pulse which is played
on the cowbell. The left hand plays some syncopated punctuations with stick-across-snare. The bass tumbao is played on the kick drum, while the hi-hat
foot plays with the cowbell rhythm.
1
2
The Songo is a rhythm that was created for the drum set by Jose Changuito Quintana and Juan Formell of the Cuban group, Los Van Van. This rhythm is a
blend of many different styles or feels including Funk, Calypso, Mambo, Mozambique, Guaguanco etc. It has a strong quarter note pulse which is played
on the cowbell. The left hand plays some syncopated punctuations with stick-across-snare. The bass tumbao is played on the kick drum, while the hi-hat
foot plays with the cowbell rhythm.
1 2
.
1 2
Click Count
1 2
, ,

Click Count
1 2
Ex 2 - Here is a left hand tom variation.
Ex 2 - Here is a left hand tom variation.

.
Click Count
1 2
, ,

Click Count
1 2
o x o x x x
Ex 3 - Here we will add some offbeat notes to the cowbell rhythm which gives us a stronger driving feel.

.
o x o x x x
Ex 3 - Here we will add some offbeat notes to the cowbell rhythm which gives us a stronger driving feel.
o x x o x x
.
o x x o x x
Click Count
1 2
, ,

Click Count
1 2
o o
Ex 4 - With this one we will splash the hi-hat foot together with the quarter note cowbell rhythm.

o o
Ex 4 - With this one we will splash the hi-hat foot together with the quarter note cowbell rhythm.
o o
.
o o
Click Count
1 2
, ,

Click Count
1 2
o
x o x
Ex 5 - To finish, we have a double stroke pattern played on the cowbell.
.
o
x o x
Ex 5 - To finish, we have a double stroke pattern played on the cowbell.
o x o x
.
o x o x
Beats Explorer 15
17
- Conga de Comparsa
(Afro-Cuban)
Click Count
1 2
Ex 1

Click Count
1 2
Ex 1
2 1
This is another rhythm that has its roots in Africa. It is a rhythm played on the congas that is adapted for the drum set.
The accented notes are very important for the feel of the rhythm.
R L R L L R L R L R L L R L
2 1
This is another rhythm that has its roots in Africa. It is a rhythm played on the congas that is adapted for the drum set.
The accented notes are very important for the feel of the rhythm.
R L R L L R L R L R L L R L
2 1
2 1
Click Count
1 2

Click Count
1 2
R L R L L R L R L R R L R L
Ex 2 - Here is a tom variation.
R L R L L R L R L R R L R L
Ex 2 - Here is a tom variation.
Click Count
1 2

Click Count
1 2
R L R R L R R L R R L R
Ex 3 - This is an example using stick-across-snare with the left hand.
R L R R L R R L R R L R
Ex 3 - This is an example using stick-across-snare with the left hand.
Click Count
1 2

Click Count
1 2
R L R R L R L R L R R L R L
Ex 4 - Stick-across-snare with a tom variation.

R L R R L R L R L R R L R L
Ex 4 - Stick-across-snare with a tom variation.
Click Count
1 2

Click Count
1 2
R L R R L R R R L R R L R L
Ex 5 - To finish, a further tom variation.

R L R R L R R R L R R L R L
Ex 5 - To finish, a further tom variation.

Beats Explorer 16
- Mozambique
(Afro-Cuban)
18
Click Count
1 2
Ex 1
, ,

Click Count
1 2
Ex 1
This rhythm was made famous by the great Steve Gadd. It has similarities with the Conga de Comparsa.
It was created by Pedro Izquierdo in the 1960s and is a combination of many African and Cuban rhythms.
The first two versions of the rhythm are New York style adaptations which were made popular by the
Cuban pianist, Eddie Palmieri.
This rhythm was made famous by the great Steve Gadd. It has similarities with the Conga de Comparsa.
It was created by Pedro Izquierdo in the 1960s and is a combination of many African and Cuban rhythms.
The first two versions of the rhythm are New York style adaptations which were made popular by the
Cuban pianist, Eddie Palmieri.
. .
Click Count
, ,

Click Count
Ex 2 - In this variation we substitute the kick drum for the snare on beat 1.
Ex 2 - In this variation we substitute the kick drum for the snare on beat 1.
. .
Click Count
, ,

Click Count
o x o x o
Ex 3 - Here is a more traditional cowbell pattern played with a 2-3 Rumba clave on the stick-across-snare.
.
o x o x o
Ex 3 - Here is a more traditional cowbell pattern played with a 2-3 Rumba clave on the stick-across-snare.
x x o x x x
. .
x x o x x x
Click Count
, ,

Click Count
o o x x o
Ex 4 - Another traditional syncopated bell pattern.
.
o o x x o
Ex 4 - Another traditional syncopated bell pattern.
o o x x
. .
o o x x
Click Count
, ,

Click Count
Ex 5 - To finish, we have the pattern that Steve Gadd played on Paul Simon's Late in the Evening.
The right hand plays the rim of the floor tom, while the left hand plays a syncopated tom rhythm.

Ex 5 - To finish, we have the pattern that Steve Gadd played on Paul Simon's Late in the Evening.
The right hand plays the rim of the floor tom, while the left hand plays a syncopated tom rhythm.

- Cha Cha Cha
(Afro-Cuban)
19
Beats Explorer 17
Click Count
1 2 3 4
Ex 1
,.
.

Click Count
1 2 3 4
Ex 1
o x o x
The "Cha Cha Cha" is a medium tempo dance style. Enrique Jorrin founded this style in 1951. He named it "Cha Cha Cha" because of the sound the
dancers feet made as they moved in a 3-step pattern. The rhythm is played on the Cha Cha bell, which is a smaller and higher pitched bell than the
mambo or bongo bell. The rhythm has a distinctive driving quarter note feel throughout, with stick-across-snare and tom imitating the conga rhythm.
In the first example the hi-hat foot is splashed on beats1 and 3. This imitates the rhythm played on the guiro (a hand-held percussion instrument).
o x o x
The "Cha Cha Cha" is a medium tempo dance style. Enrique Jorrin founded this style in 1951. He named it "Cha Cha Cha" because of the sound the
dancers feet made as they moved in a 3-step pattern. The rhythm is played on the Cha Cha bell, which is a smaller and higher pitched bell than the
mambo or bongo bell. The rhythm has a distinctive driving quarter note feel throughout, with stick-across-snare and tom imitating the conga rhythm.
In the first example the hi-hat foot is splashed on beats1 and 3. This imitates the rhythm played on the guiro (a hand-held percussion instrument).
o x o x
.
o x o x
Click Count
,.
.

Click Count
Ex 2 - In this second example we will add in some extra cowbell notes.
.
.
. .
Ex 2 - In this second example we will add in some extra cowbell notes.
.
.
.
. .
Click Count
,.
.

Click Count
o x o x
Ex 3 - With this one we have a shorter open hi-hat foot rhythm. The cowbell is played in straight quarter notes.
.

.
o x o x
Ex 3 - With this one we have a shorter open hi-hat foot rhythm. The cowbell is played in straight quarter notes.
o x o x
.

.
o x o x
Click Count
,.
.

Click Count
Ex 4 - In the second bar we will play more of the conga rhythm on the toms.
Ex 4 - In the second bar we will play more of the conga rhythm on the toms.
.
Click Count
,.
.

Click Count
Ex 5 - To finish, we will look at the Abanico, which is a timbale rudiment. Abanico means "fan" in English. It is given the name "fan" because when played
it sounds like someone opening a hand-held fan. The Abanico is a rim shot followed by a roll and then another rim shot. The roll can be of different
length durations. In this exercise we have one bar of the Cha Cha Cha followed by the Abanico; then back into the Cha Cha Cha rhythm.
.
Ex 5 - To finish, we will look at the Abanico, which is a timbale rudiment. Abanico means "fan" in English. It is given the name "fan" because when played
it sounds like someone opening a hand-held fan. The Abanico is a rim shot followed by a roll and then another rim shot. The roll can be of different
length durations. In this exercise we have one bar of the Cha Cha Cha followed by the Abanico; then back into the Cha Cha Cha rhythm.
R R L L R R L L R
Abanico
. .

R R L L R R L L R
Abanico
.
.
.

- Merengue
(Afro-Cuban)
20
Beats Explorer 18
Click Count
Ex 1
1 2

Click Count
Ex 1
1 2
o x o x o x o x
R R L R R L R R L R R L
The Merengue is a rhythm from the Dominican Repubulic. It is a driving uptempo fiery dance.
The first rhythm we will look at is a basic open and closed hi-hat pattern played with the hands.
You can simplify this further by omitting the open hi-hat.
o x o x o x o x
The Merengue is a rhythm from the Dominican Repubulic. It is a driving uptempo fiery dance.
The first rhythm we will look at is a basic open and closed hi-hat pattern played with the hands.
You can simplify this further by omitting the open hi-hat.
Click Count
1 2

Click Count
1 2
x o
Ex 2 - Moving to the rim of the snare and stick-across-snare with this one.
The hi-hat foot plays an open splash on beat 3 of each bar.

x o
Ex 2 - Moving to the rim of the snare and stick-across-snare with this one.
The hi-hat foot plays an open splash on beat 3 of each bar.
x o
x o
Click Count
1 2

Click Count
1 2
Ex 3 - Here is a simple but effective rhythm. We play a tom roll starting on the
3rd beat of the second bar and ending on the 1st beat of the first bar.
R R L R L R L R L R L
Ex 3 - Here is a simple but effective rhythm. We play a tom roll starting on the
3rd beat of the second bar and ending on the 1st beat of the first bar.
R R L R L R L R L R L
Click Count
1 2

Click Count
1 2
Ex 4 - The last two rhythms are further combinations of stick-across-snare and toms.
R R R L R R L R R L R R

Ex 4 - The last two rhythms are further combinations of stick-across-snare and toms.
R R R L R R L R R L R R
Click Count
1 2
Ex 5

Click Count
1 2
Ex 5
R R L R L R L R R
R R L R L R L R R

21
Beats Explorer 19
- The Bolero & Beguine
(Afro-Cuban)
Click Count
1 2 3 4
Ex 1
4
4

Click Count
1 2 3 4
Ex 1
R R R L R R R R R R
The Bolero is a romantic dance which is traditionally played with castanets. The Beguine was made famous in 1938 through
Artie Shaw's "Begin the Beguine." They are similar rhythms in style and feel. The first three example are of the Bolero.
R R R L R R R R R R
The Bolero is a romantic dance which is traditionally played with castanets. The Beguine was made famous in 1938 through
Artie Shaw's "Begin the Beguine." They are similar rhythms in style and feel. The first three example are of the Bolero.
3
3
Click Count
Ex 2
4
4

Click Count
Ex 2
3
Click Count
Ex 3
4
4

Click Count
Ex 3
R R R L R L R L R R R R R L R L R L R R
R R R L R L R L R R R R R L R L R L R R
3
3
Click Count
4
4

Click Count
R R L R L R L R L
Ex 4 - Here is an example of the Beguine. This first example is a simple pattern played between the ride cymbal and snare.

R R L R L R L R L
Ex 4 - Here is an example of the Beguine. This first example is a simple pattern played between the ride cymbal and snare.
Click Count
4
4

Click Count
R L R L R L R L R L
Ex 5 - Here the left hand plays stick-across-snare and first tom.
R L R L R L R L R L
Ex 5 - Here the left hand plays stick-across-snare and first tom.
3
3
22
- Calypso & Soca
(Caribbean)
Beats Explorer 20
Click Count
1 2 3 4
Ex 1 a
4
4

Click Count
1 2 3 4
Ex 1 a
x o x o x o x o
Calypso and Soca are rhythms from Trinidad in the Caribbean. Again, like most other world beats, they have African roots.
These two styles have a bright and colourful quality. The rhythms are not too difficult to play, which allows you to concentrate
on making them swing. The first two examples are of Calypso beats.
x o x o x o x o
Calypso and Soca are rhythms from Trinidad in the Caribbean. Again, like most other world beats, they have African roots.
These two styles have a bright and colourful quality. The rhythms are not too difficult to play, which allows you to concentrate
on making them swing. The first two examples are of Calypso beats.
Ex 1 b
4
4
Ex 1 b
Click Count
Ex 2
4
4

Click Count
Ex 2
R L L R R L R L R R L R L R L L R R L R L L

R L L R R L R L R R L R L R L L R R L R L L
Click Count
Ex 3 a
4
4

Click Count
Ex 3 a
x o x o x o x o
The next five examples are of Soca rhythms. The open hi-hat rhythm is mostly played on offbeats, bar the last example.
x o x o x o x o
The next five examples are of Soca rhythms. The open hi-hat rhythm is mostly played on offbeats, bar the last example.
x o x o x o x o
Ex 3 b
4
4
x o x o x o x o
Ex 3 b
Click Count
Ex 4 a
4
4

Click Count
Ex 4 a
x o x o x o x o
x o x o x o x o x o x o x o x o
Ex 4 b
4
4
x o x o x o x o
Ex 4 b
Click Count
Ex 5
4
4

Click Count
Ex 5
o x o x o x o x
o x o x o x o x o x o x o x o x
o x o x o x o x
23
Beats Explorer 21
- Reggae "One Drop" & Ska
(Caribbean)
Click Count
1 2 3 4
Ex 1
, .
.

Click Count
1 2 3 4
Ex 1
Reggae is the rhythm of Jamaica. The pattern we will look at is given the name, "One Drop." This is due to the simultaneous
sound of the kick and stick-across-snare played on beat 3 of each bar. The hi-hat rhythm is often played between a straight
and swing feel, in similar vein to Second-line rhythms. The accent played on beats 2 and 4 imitates the guitar riff.
Reggae is the rhythm of Jamaica. The pattern we will look at is given the name, "One Drop." This is due to the simultaneous
sound of the kick and stick-across-snare played on beat 3 of each bar. The hi-hat rhythm is often played between a straight
and swing feel, in similar vein to Second-line rhythms. The accent played on beats 2 and 4 imitates the guitar riff.
Click Count
, .
.

Click Count
1 a 2 a 3 an a 4 a 1 an a 2 a 3 an a 4 a
Ex 2 - Here is a triplet hi-hat variation.
1 a 2 a 3 an a 4 a 1 an a 2 a 3 an a 4 a
Ex 2 - Here is a triplet hi-hat variation.
3 3
3
3
3
3
3
3
Click Count
, .
.

Click Count
1 2 an 3 4 an 1 an 2 an 3 4 an
Ex 3 - Here we will leave more space by playing the hi-hat on beats 2 and 4.
1 2 an 3 4 an 1 an 2 an 3 4 an
Ex 3 - Here we will leave more space by playing the hi-hat on beats 2 and 4.
Click Count
, .
.

Click Count
Ex 4 - Ska has a driving kick drum feel. The stick-across-snare is played on the third beat of each bar.
Ex 4 - Ska has a driving kick drum feel. The stick-across-snare is played on the third beat of each bar.
Click Count
, .
.

Click Count
Ex 5 - Here is a syncopated hi-hat feel played over 2 bars.
Ex 5 - Here is a syncopated hi-hat feel played over 2 bars.

24
Beats Explorer 22
- African Polyrhymic feels
ADOWA
Click Count
1 2 3 4
Ex 1
Here we will look at some polyrhythmic feels that are found in African rhythms and music. This first feel is a rhythm from Ghana called 'Adowa'. It is a
triplet feel played in 12/8 time. With this feel we will incorporate the 3 over 2 polyrhythm: firstly, as a hand pattern to get used to the feel and then as a hi-hat
foot pattern. This will then enable us to play the melodic tom rhythm that is played by the donno drum in an African drum ensemble. In exercise 1 we will
start by playing the Bell pattern on the ride cymbal. In Exercise 2 we will add the tom rhythm. Now we have the basic feel of the Adowa rhythm. In the other
exercises we will look at applying the second bell pattern (Dawuro) which creates the 3 over 2 polyrhythm.
12
8

Click Count
1 2 3 4
Ex 1
Here we will look at some polyrhythmic feels that are found in African rhythms and music. This first feel is a rhythm from Ghana called 'Adowa'. It is a
triplet feel played in 12/8 time. With this feel we will incorporate the 3 over 2 polyrhythm: firstly, as a hand pattern to get used to the feel and then as a hi-hat
foot pattern. This will then enable us to play the melodic tom rhythm that is played by the donno drum in an African drum ensemble. In exercise 1 we will
start by playing the Bell pattern on the ride cymbal. In Exercise 2 we will add the tom rhythm. Now we have the basic feel of the Adowa rhythm. In the other
exercises we will look at applying the second bell pattern (Dawuro) which creates the 3 over 2 polyrhythm.
1 2 3 4 5 6 7 8 9 10 11 12
Dawuro - Iron Bell pattern played on the ride cymbal
1 2 3 4 5 6 7 8 9 10 11 12
Dawuro - Iron Bell pattern played on the ride cymbal
Click Count
Ex 2
12
8

Click Count
Ex 2
Donno rhythm played on toms
1 2 3 4 5 6 7 8 9 10 11 12
Donno rhythm played on toms

1 2 3 4 5 6 7 8 9 10 11 12
Ex 3 - 2nd dawuro rhythm played on stick-across-snare over
the dotted quarter note pulse on the kick drum.
This is a 3 over 2 polyrhythm.

1 2 3 4 5 6 7 8 9 10 11 12
12
8

Ex 3 - 2nd dawuro rhythm played on stick-across-snare over

the dotted quarter note pulse on the kick drum.
This is a 3 over 2 polyrhythm.

1 2 3 4 5 6 7 8 9 10 11 12
Ex 4 - 2nd dawuro rhythm played with hi-hat foot.
1 2 3 4 5 6 7 8 9 10 11 12
Ex 4 - 2nd dawuro rhythm played with hi-hat foot.

1 2 3 4 5 6 7 8 9 10 11 12
Ex 5 - Full rhythm with toms
1 2 3 4 5 6 7 8 9 10 11 12
12
8
Ex 5 - Full rhythm with toms

1 2 3 4 5 6 7 8 9 10 11 12
Ex 6 - We will now move the stick-across-snare rhythm that was played
in exericse 3 to start on the second eighth note of the bar.
1 2 3 4 5 6 7 8 9 10 11 12
Ex 6 - We will now move the stick-across-snare rhythm that was played

in exericse 3 to start on the second eighth note of the bar.
1 2 3 4 5 6 7 8 9 10 11 12
Click Count
Ex 7 - We will now play this stick-across-snare
permutation with the hi-hat foot.
12
8
Click Count
Ex 7 - We will now play this stick-across-snare
permutation with the hi-hat foot.
Ex 8 - Finally, we will add the tom rhythm.
Ex 8 - Finally, we will add the tom rhythm.

25
Beats Explorer 23
- African Polyrhymic feels
Kete Adaban
Click Count
1 2 3 4
Ex 1
This next feel is another rhythm from Ghana called 'Kete Adaban." It is a 2 beat or minim triplet feel
played in 12/8 time. Here we will look at the 3 over 2 polyrhythm in the same way as the previous one.
, .
.

Click Count
1 2 3 4
Ex 1
This next feel is another rhythm from Ghana called 'Kete Adaban." It is a 2 beat or minim triplet feel
played in 12/8 time. Here we will look at the 3 over 2 polyrhythm in the same way as the previous one.
1 2 3 4 5 6 7 8 9 10 11 12
3 over 4 polyrhythm played between the snare and kick drum
1 2 3 4 5 6 7 8 9 10 11 12
Click Count
Ex 2
, .
.

Click Count
Ex 2
1 2 3 4 5 6 7 8 9 10 11 12
3 over 4 polyrhythm played between the hi-hat foot and kick drum
1 2 3 4 5 6 7 8 9 10 11 12
3 over 4 polyrhythm played between the hi-hat foot and kick drum
Ex 3 - Kete Adaban 3 beat feel played on the
hi-hat foot together with Dawuro patterns
1 2 3 4 5 6 7 8 9 10 11 12
, .
.


hi-hat foot together with Dawuro patterns
1 2 3 4 5 6 7 8 9 10 11 12
kick drum together with Dawuro patterns.
1 2 3 4 5 6 7 8 9 10 11 12

kick drum together with Dawuro patterns.
1 2 3 4 5 6 7 8 9 10 11 12
Ex 5 - Dawuro Bell pattern with 3 note rhythm on the hi-hat foot.
, .
.

Ex 5 - Dawuro Bell pattern with 3 note rhythm on the hi-hat foot. Ex 6 - Dawuro Bell pattern with 3 note rhythm on the kick drum.
Ex 6 - Dawuro Bell pattern with 3 note rhythm on the kick drum.

L R L R L R L R L R L R
Ex 5 - Here is the Dawuro Bell pattern played on the snare and tom with the
right hand filling in the missing notes on the ride cymbal. The 3 note
patttern is played on the hi-hat foot.

, .
.

L R L R L R L R L R L R
Ex 5 - Here is the Dawuro Bell pattern played on the snare and tom with the
right hand filling in the missing notes on the ride cymbal. The 3 note
patttern is played on the hi-hat foot.
Ex 8 - The 3 note pattern is played on the kick drum.
Ex 8 - The 3 note pattern is played on the kick drum.

26
- African Polyrhythmic feels
Akom
Beats Explorer 24
Click Count
1 2 3
Ex 1
This is an uptempo feel from Ghana called ''Akom." It can be played in 3/4 or 6/8 time.
The two main polyrhythms of this rhythm are 2 over 3 and 3 over 6 feel. The first two
exercises are examples of them.
3
4

Click Count
1 2 3
Ex 1
This is an uptempo feel from Ghana called ''Akom." It can be played in 3/4 or 6/8 time.
The two main polyrhythms of this rhythm are 2 over 3 and 3 over 6 feel. The first two
exercises are examples of them.
1 2 3 1 2 3
1 2 3 1 2 3
1 2 1 2
1 2 1 2
Click Count
Ex 2
3
4

Click Count
Ex 2
1 2 3 4 5 6

1 2 3 4 5 6
1 2 3
3 over 6 polyrhythm played between the snare and kick drum.
1 2 3
3 over 6 polyrhythm played between the snare and kick drum.
Ex 3 - Here we will play the dawuro rhythms on the ride cymbal and toms.
We can play the 3 over 6 pattern (agyegyewa rhythm) on the kick drum.
3
4

Ex 3 - Here we will play the dawuro rhythms on the ride cymbal and toms.
We can play the 3 over 6 pattern (agyegyewa rhythm) on the kick drum.

1 an 2 an 3 an 1 an 2 an 3
3
4


1 an 2 an 3 an 1 an 2 an 3
Ex 5 - With this last rhythm we will put together the Akom ensemble. We have dawuro 1 played on the ride cymbal; dawuro 2 played on the hi-hat foot;
agyegyewa played on the kick drum and the apentemma played between the toms. This is difficult coordination to master, so I would learn the foot
and hand rhythms separately to begin with. Once they feel comfortable, try playing them together.
3
4

Ex 5 - With this last rhythm we will put together the Akom ensemble. We have dawuro 1 played on the ride cymbal; dawuro 2 played on the hi-hat foot;
agyegyewa played on the kick drum and the apentemma played between the toms. This is difficult coordination to master, so I would learn the foot
and hand rhythms separately to begin with. Once they feel comfortable, try playing them together.

27
- African Polyrhythmic feels
Bikutsi
Beats Explorer 25
Click Count
1 2 3 4
4
4

Click Count
1 2 3 4
1 an a 2 an a 3 an a 4 an a
Ex 1 - The basic ployrhythm is 3 beats played on the
snare over 4 beats played on the kick drum.
Bikutsi has a polyrhythmic feel of 3 over 4 beats. We have four quarter beats on the kick drum and a 3 note and
rest triplet pattern played on the hi-hat. In the first exercise we will play the hand pattern on the snare to get a
feel for the polyrhythm. Then we will move the pattern to the hi-hat and play quarter notes on stick-across-snare.
The other patterns are variatons on the basic theme.
Ex 1 - The basic ployrhythm is 3 beats played on the
snare over 4 beats played on the kick drum.
Bikutsi has a polyrhythmic feel of 3 over 4 beats. We have four quarter beats on the kick drum and a 3 note and
rest triplet pattern played on the hi-hat. In the first exercise we will play the hand pattern on the snare to get a
feel for the polyrhythm. Then we will move the pattern to the hi-hat and play quarter notes on stick-across-snare.
The other patterns are variatons on the basic theme.
3
Ex 2 - Here we have the 3 over 4 polyrhythmic snare rhythm.
4
4

Ex 2 - Here we have the 3 over 4 polyrhythmic snare rhythm.

3
3
3
3
Click Count
4
4

Click Count
Ex 3 - Stick-across-snare played on the first note of each group.
Ex 3 - Stick-across-snare played on the first note of each group.

3
3
3
3
Ex 4 - Stick-across-snare is played
on each quarter note beat.
4
4

Ex 4 - Stick-across-snare is played
on each quarter note beat.
3 3
3
3
Click Count

4
4

Click Count

o
o
o
Ex 5 - The hi-hat is opened on the last note of each triplet grouping.
o
o
o
Ex 5 - The hi-hat is opened on the last note of each triplet grouping.
3 3
3
3
Ex 6 - Here is a stick-across-snare variation.
4
4

Ex 6 - Here is a stick-across-snare variation.

3 3 3 3
Click Count
Ex 7 - With this one we start with the third beat of the polyrhythmic figure.
4
4

Click Count
Ex 7 - With this one we start with the third beat of the polyrhythmic figure.
3
3 3
3
Ex 8 - A stick-across-snare variation.
4
4
Ex 8 - A stick-across-snare variation.
3
3 3
3
Click Count
Ex 9 - To finish, we have a two bar pattern with some stick-across-snare variations.
These patterns can also be played as single bar rhythms.
4
4

Click Count
Ex 9 - To finish, we have a two bar pattern with some stick-across-snare variations.
These patterns can also be played as single bar rhythms.

3 3 3 3
3 3 3 3
28
- Second-line
(New Orleans)
Beats Explorer 26
Click Count
1 2 3 4
Ex 1
4
4

Click Count
1 2 3 4
Ex 1
"Second-line" was the name given to the band and dancers who would join in behind the families of the funeral parades of New Orleans.
In this section we will look at the funky rhythms rather than the rhythm known as the "dirge", which is a slow march. These rhythms are
played with a 2-3 clave feel. The snare and kick rhythm is played between straight and swing eighths - it is known as a "greasy feel."
At the end of the second bar of some of the rhythms we play a buzz or press roll by pressing the stick into the snare head.
"Second-line" was the name given to the band and dancers who would join in behind the families of the funeral parades of New Orleans.
In this section we will look at the funky rhythms rather than the rhythm known as the "dirge", which is a slow march. These rhythms are
played with a 2-3 clave feel. The snare and kick rhythm is played between straight and swing eighths - it is known as a "greasy feel."
At the end of the second bar of some of the rhythms we play a buzz or press roll by pressing the stick into the snare head.
Click Count
Ex 2
4
4

Click Count
Ex 2
Click Count
Ex 3
4
4

Click Count
Ex 3
Click Count
Ex 4
4
4

Click Count
Ex 4
Click Count
Ex 5
4
4

Click Count
Ex 5


- Second-line 2
(New Orleans)
29
Beats Explorer 27
Click Count
Ex 1
1 2 3 4
4
4

Click Count
Ex 1
1 2 3 4
In Second-line part 2 we will fill in some of the holes with triplets.
R L R L R L R R L R L R L R R L R L

In Second-line part 2 we will fill in some of the holes with triplets.
R L R L R L R R L R L R L R R L R L
3
3
Click Count
Ex 2
4
4

Click Count
Ex 2
R L R L R L R R L R L R R L R L R L

R L R L R L R R L R L R R L R L R L
3
3
Click Count
Ex 3
4
4

Click Count
Ex 3
R L R L R L R L R L R L R R L R L
3
Click Count
Ex 4
4
4

Click Count
Ex 4

3
Click Count
Ex 5
4
4

Click Count
Ex 5

30
- Second-line 3
(New Orleans)
Beats Explorer 28
Click Count
1 2 3 4
Ex 1
, .
.

Click Count
1 2 3 4
Ex 1
In Part 3 we will play some straighter funky style beats using a hi-hat, snare
and kick combination.This is a way of adapting Second-line to funk rhythms.
In Part 3 we will play some straighter funky style beats using a hi-hat, snare
and kick combination.This is a way of adapting Second-line to funk rhythms.
, .
.
Click Count
Ex 2
, .
.

Click Count
Ex 2
, .
.
Click Count
Ex 3
, .
.

Click Count
Ex 3
o x
, .
.
o x
Click Count
Ex 4
, .
.

Click Count
Ex 4
o
x
o
x
, .
.
6
6
Click Count
Ex 5
, .
.

Click Count
Ex 5
6
, .
.

- American Jazz 1
31
Beats Explorer 29
Ride Cymbal 1
1 2 3 4
4
4
Ride Cymbal 1
1 2 3 4
Ride Cymbal 2
1 2 an a 3 4 an a
In order to develop the facility to play different forms of Jazz with the improvisation that is necessary for this music, we will need to work on specific
coordination exercises. This will take some time and patience. Above all, the feel and time of the ride cymbal rhythm should be your main focus.
"It don't mean a thing, if it ain't got that swing," is a saying that would be good for you to remember when working through this section. We will start
off by playing the ride cymbal and hi-hat foot rhythm. Get a good feel for this rhythm before atempting to play the left hand snare rhythms.
4
4
Ride Cymbal 2
1 2 an a 3 4 an a
In order to develop the facility to play different forms of Jazz with the improvisation that is necessary for this music, we will need to work on specific
coordination exercises. This will take some time and patience. Above all, the feel and time of the ride cymbal rhythm should be your main focus.
"It don't mean a thing, if it ain't got that swing," is a saying that would be good for you to remember when working through this section. We will start
off by playing the ride cymbal and hi-hat foot rhythm. Get a good feel for this rhythm before atempting to play the left hand snare rhythms.
3 3
1 2 3 4
Left hand snare patterns
Ex 1
4
4

1 2 3 4
Left hand snare patterns
Ex 1
Ex 2
Ex 2
3 3 3 3
Ex 3
4
4

Ex 3
3
3 3 3
Ex 4
Ex 4
3 3 3 3
Ex 5
4
4

Ex 5
3 3 3 3
Ex 6
Ex 6
3 3 3 3
Ex 7
4
4

Ex 7
3 3 3 3
Ex 8

Ex 8
3
3
3
3
32
Beats Explorer 30
- American Jazz 2
1 2 3 4
Ride Cymbal 1
4
4
1 2 3 4
Ride Cymbal 1
1 2 an a 3 4 an a
Ride Cymbal 2
We can now try the ride cymbal pattern with some coordination exercises with the kick and snare.
4
4
1 2 an a 3 4 an a
Ride Cymbal 2
We can now try the ride cymbal pattern with some coordination exercises with the kick and snare.
3 3
Ex 1 - Single Strokes between kick and snare.
Kick and Snare Combinations
4
4

Ex 1 - Single Strokes between kick and snare.
3 3 3 3
3 3 3 3
Ex 2 - Double Strokes between kick and snare.
4
4

Ex 2 - Double Strokes between kick and snare.
3 3
3 3

3 3
3 3
Ex 3 - Double and single strokes played together.
4
4

Ex 3 - Double and single strokes played together.
3 3 3 3
3 3 3 3
Ex 4 - Shuffle rhythm played on the snare.
4
4

Ex 4 - Shuffle rhythm played on the snare.
3 3 3 3
Ex 5 - Double Paradiddle.
Ex 5 - Double Paradiddle.
3 3 3
3
- American Jazz 3
33
Beats Explorer 31
1 2 3 4
Ride Cymbal 1
4
4
1 2 3 4
Ride Cymbal 1
Here are some combinations of singles and doubles between the kick and snare.
1 2 an a 3 4 an a
Ride Cymbal 2
4
4
Here are some combinations of singles and doubles between the kick and snare.
1 2 an a 3 4 an a
Ride Cymbal 2
3 3
Ex 1 - Single Paradiddle
4
4

Ex 1 - Single Paradiddle
3 3
3
3
3 3 3
3
Ex 2 - Paradiddle Diddle
4
4

Ex 2 - Paradiddle Diddle
3 3 3 3
3
3
3
3
Ex 3 - 4 note grouping (3 against 4)
1
4
4

Ex 3 - 4 note grouping (3 against 4)
1
3 3 3 3
2
2
3 3 3 3
3
4
4

3
3 3 3 3
4
4
3 3 3 3
- American Jazz 4
34
Beats Explorer 32
1 2 3 4
Ride Cymbal 1
4
4
1 2 3 4
Ride Cymbal 1
1 2 an a 3 4 an a
Ride Cymbal 2
The following are coordination exercises using quarter note triplet between the kick and snare.
4
4
1 2 an a 3 4 an a
Ride Cymbal 2
The following are coordination exercises using quarter note triplet between the kick and snare.
3 3
Ex 1 - Single Strokes
4
4

Ex 1 - Single Strokes
3
3
3
3
Ex 2 - Double Strokes
4
4

Ex 2 - Double Strokes
3 3

3 3
Ex 3 - 3 note grouping
4
4

Ex 3 - 3 note grouping
3
3
Ex 4 - Single and Double strokes
Ex 4 - Single and Double strokes
3 3
4
4

3 3
Ex 5 - Double Paradiddle

Ex 5 - Double Paradiddle
3
3
1 an a 2 an a 3 an a 4 an a 1 an a 2 an a 3 an a 4 an a
3
3
- American Jazz 5
35
Beats Explorer 33
1 2 3 4
Ride Cymbal 1
4
4
1 2 3 4
Ride Cymbal 1
1 2 an a 3 4 an a
Ride Cymbal 2
Here we will mix together quarter note and eighth note triplets between the kick and snare.
4
4
1 2 an a 3 4 an a
Ride Cymbal 2
Here we will mix together quarter note and eighth note triplets between the kick and snare.
3 3
Ex 1
4
4

Ex 1
3
3
Ex 2
Ex 2
3 3
Ex 3
4
4

Ex 3
3 3
Ex 4

Ex 4
3
3
Ex 5
4
4

Ex 5
3
3
Ex 6
Ex 6
3 3
Ex 7
4
4

Ex 7
3 3
Ex 8

Ex 8
3
3
Ex 9
Ex 9
3
3
- American Jazz 6
36
Beats Explorer 34
1 2 3 4
Ride Cymbal 1
4
4
1 2 3 4
Ride Cymbal 1
1 2 an a 3 4 an a
Ride Cymbal 2
This time we can mix together eighth and sixteenth note triplets between the kick and snare.
4
4
1 2 an a 3 4 an a
Ride Cymbal 2
This time we can mix together eighth and sixteenth note triplets between the kick and snare.
3 3
Ex 1
4
4

Ex 1
3 3 3 3
Ex 2
Ex 2
3 3 3 3
Ex 3
4
4

Ex 3
3 3 3
3
Ex 4
Ex 4
3 3
3
3
Ex 5
4
4

Ex 5
3 3 3 3
Ex 6
Ex 6
3
3
3
3
Ex 7
4
4

Ex 7
3 3 3 3
Ex 8

Ex 8
3
3
3
3
- American Jazz 7
37
Beats Explorer 35
1 2 3 4
Ride Cymbal 1
4
4
1 2 3 4
Ride Cymbal 1
1 2 an a 3 4 an a
Here we have some syncopated snare phrases played with the left hand. The right hand plays the Jazz ride cymbal pattern.
Ride Cymbal 2
4
4
1 2 an a 3 4 an a
Here we have some syncopated snare phrases played with the left hand. The right hand plays the Jazz ride cymbal pattern.
Ride Cymbal 2
3 3
1 an a 2 an a 3 4
Snare Drum Phrases
Ex 1
4
4

1 an a 2 an a 3 4
Snare Drum Phrases
Ex 1
3
1 an a 2 an a 3 4
Ex 2
1 an a 2 an a 3 4
Ex 2
3
3
1 an a 2 an a 3 an a 4
Ex 3
4
4

Ex 3
3
3
Ex 4
Ex 4
3 3
Ex 5
4
4

Ex 5
3 3
Ex 6
Ex 6
3 3
3
3
Ex 7
4
4

Ex 7
3
3
Ex 8
Ex 8
3
3
3
3
Drum Learn
- American Jazz 8
38
Beats Explorer 36
1 2 3 4
Ride Cymbal 1
4
4
1 2 3 4
Ride Cymbal 1
1 2 an a 3 4 an a
Here we have some syncopated kick and snare combination phrases.
Ride Cymbal 2
4
4
1 2 an a 3 4 an a
Here we have some syncopated kick and snare combination phrases.
Ride Cymbal 2
3 3
1 an a 2 an a 3 4
Kick and Snare Phrases
Ex 1
4
4

1 an a 2 an a 3 4
Kick and Snare Phrases
Ex 1
3
1 an a 2 an a 3 4
Ex 2
1 an a 2 an a 3 4
Ex 2
3
3
Ex 3
4
4

Ex 3
3 3
Ex 4
Ex 4
3 3
Ex 5
4
4

Ex 5
3 3
Ex 6
Ex 6
3 3 3
3
Ex 7
4
4

Ex 7
3
3
Ex 8
Ex 8
3
3
3
3
- American Jazz 9
39
Beats Explorer 37
1 2 a 3 4 a
Ride Cymbal Pattern
4
4
1 2 a 3 4 a
Ride Cymbal Pattern
3 3
1 2 a 3 4 a
In these next examples we will look at 3 and 2 note phrasing ideas. The improvisational Jazz style has evolved
using these note groupings. Here we will look at a phrase of 3 3 2 over 2 bars. You can vary the ride cymbal
pattern as you get more comfortable with the phrasing.
1 2 a 3 4 a
In these next examples we will look at 3 and 2 note phrasing ideas. The improvisational Jazz style has evolved
using these note groupings. Here we will look at a phrase of 3 3 2 over 2 bars. You can vary the ride cymbal
pattern as you get more comfortable with the phrasing.
3 3
1 2 3 1 2 3 1 2
Note Grouping Count
Kick and Snare patterns in a 3 3 2 note grouping
Ex 1
4
4

1 2 3 1 2 3 1 2
Note Grouping Count
Kick and Snare patterns in a 3 3 2 note grouping
Ex 1

1 an a 2 an a 3 an a 4 an a 1 an a 2 3 4
1 2 3 1 2 3 1 2
Ex 2
4
4

1 an a 2 an a 3 an a 4 an a 1 an a 2 3 4
1 2 3 1 2 3 1 2
Ex 2
3
3
3

3
1 an a 2 an a 3 4 an a 1 an a 2 3 an a 4
1 2 3 1 2 3 1 2
Ex 3
4
4

1 2 3 1 2 3 1 2
Ex 3
3
3
3
3
3
1 an a 2 an a 3 an a 4 an a 1 an a 2 an a 3 an a 4
1 2 3 1 2 3 1 2
Ex 4
4
4

1 2 3 1 2 3 1 2
Ex 4
3
3
3
3

3
3
3
- American Jazz 10
40
Beats Explorer 38
1 a 2 a 3 a 4 a 1 a 2 a 3 a 4 a
1 2 3 1 2 3 1 2
Ex 1
4
4

1 a 2 a 3 a 4 a 1 a 2 a 3 a 4 a
1 2 3 1 2 3 1 2
Ex 1
3
3
3
3
Stick and Kick 3 3 2 note grouping ideas cont...

Stick and Kick 3 3 2 note grouping ideas cont...

3
3
3
3
1 2 3 1 2 3 1 2
Ex 2
4
4

1 2 3 1 2 3 1 2
Ex 2
3 3 3 3

3 3 3
1 2 3 1 2 3 1 2
Ex 3
4
4

1 2 3 1 2 3 1 2
Ex 3
3
3
3 3
3
3 3
1 2 3 1 2 3 1 2
Ex 4
4
4

1 2 3 1 2 3 1 2
Ex 4
3
3
3
3
3
1 2 3 1 2 3 1 2
Ex 5
4
4

1 2 3 1 2 3 1 2
Ex 5
3
3
3
3
3
3
3
Drum Learn
- American Jazz 11
41
Beats Explorer 39
1 2 3 1 2 3 1 2
Ex 1
4
4

1 2 3 1 2 3 1 2
Ex 1
3
3 3
3
Here we have some 3 3 2 ideas between the ride and snare. When you have mastered the hand rthythm, try playing the kick
drum on some of the ride cymbalnotes. You can also try this exercise playing the hi hat foot on beats 2 and 4. Another way
to play these patterns is by moving your left hand around the toms, while keeping your right hand on the ride cymbal.

Here we have some 3 3 2 ideas between the ride and snare. When you have mastered the hand rthythm, try playing the kick
drum on some of the ride cymbalnotes. You can also try this exercise playing the hi hat foot on beats 2 and 4. Another way
to play these patterns is by moving your left hand around the toms, while keeping your right hand on the ride cymbal.
3 3
3
3
1 2 3 1 2 3 1 2
Ex 2
4
4

1 2 3 1 2 3 1 2
Ex 2
3
3
3 3
3
3 3
3
1 2 3 1 2 3 1 2
Ex 3
4
4

1 2 3 1 2 3 1 2
Ex 3
3 3
3
3
3
3
3
3
1 2 3 1 2 3 1 2
Ex 4
4
4

1 2 3 1 2 3 1 2
Ex 4
3 3
3
3
3
3
3
3
1 2 3 1 2 3 1 2
Ex 5
4
4

1 2 3 1 2 3 1 2
Ex 5
3
3 3
3

3 3
3
3
Drum Learn
Closing Remarks
42
Congratulations for reaching the end of the Global Beats Explorer.
You now have a good understanding of many World Beat Rhythms and how to play them
with an authentic groove and feel. Also, you now have a good understanding of many different
styles of music that you may not have considered studying or listening to.
The Eclectic Rhythm Designer (Drum eBook No. 5) will guide you yet further in your drum
studies, with an exploration of many diverse rhythmic ideas. We will explore rhythms ranging
from Double Kick drums, to Cascara Funk, to Odd Note Groupings.
The goal with this final ebook is to inspire you to create your own rhythms. This way you will
be able to inspire other drummers with new ideas and fresh perspectives. The goal is to continue
to develop the art of drumming for the benefit of all those who love to play the instrument.

Global Beats Explorer

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Copyright 2009 Drum Learn All Rights Reserved

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Ex 2 - Here is a syncopated variation on the Surdo rhythm.

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Copyright 2009 Drum Learn All Rights Reserved

3-2 Rumba Clave

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3-2 Rumba Clave

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3-2 Son Clave

3-2 Rumba Clave

3-2 Rumba Clave

3-2 Rumba Clave

Copyright 2009 Drum Learn All Rights Reserved

3-2 Cascara with Rumba Clave

3-2 Cascara with Rumba Clave and Tumbao

Copyright 2009 Drum Learn All Rights Reserved

2-3 Mambo Bell

2-3 Mambo Bell Kit Pattern

3-2 Mambo Bell Kit Pattern

3-2 Mambo Bell with Conga Tom Pattern

Copyright 2009 Drum Learn All Rights Reserved

2-3 Bongo Bell with Clave

2-3 Bongo Bell with Mambo Bell (Contra Compana)

2-3 Bongo Bell variation with Mambo Bell (Contra Compana)

Copyright 2009 Drum Learn All Rights Reserved

2-3 Bongo Bell Kit Rhythm

2-3 Bongo Bell

2-3 Bongo Bell

2-3 Bongo Bell

Ex 2 - Here is a left hand tom variation.

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Copyright 2009 Drum Learn All Rights Reserved

Copyright 2009 Drum Learn All Rights Reserved

Ex 5 - Here is a syncopated hi-hat feel played over 2 bars.

Copyright 2009 Drum Learn All Rights Reserved

Donno rhythm played on toms

Ex 3 - 2nd dawuro rhythm played on stick-across-snare over

Ex 4 - 2nd dawuro rhythm played with hi-hat foot.

Ex 5 - Full rhythm with toms

Ex 6 - We will now move the stick-across-snare rhythm that was played

Ex 8 - Finally, we will add the tom rhythm.

Ex 3 - Kete Adaban 3 beat feel played on the

Ex 4 - Kete Adaban 3 beat feel played on the

Ex 6 - Dawuro Bell pattern with 3 note rhythm on the kick drum.

Ex 8 - The 3 note pattern is played on the kick drum.

Ex 4 - Dawuro Bell pattern with 3 note rhythm on the hi-hat foot.

Ex 4 - Dawuro Bell pattern with 3 note rhythm on the hi-hat foot.

Copyright 2009 Drum Learn All Rights Reserved

Ex 2 - Here we have the 3 over 4 polyrhythmic snare rhythm.

Ex 3 - Stick-across-snare played on the first note of each group.

Ex 6 - Here is a stick-across-snare variation.

Copyright 2009 Drum Learn All Rights Reserved

Copyright 2009 Drum Learn All Rights Reserved

Copyright 2009 Drum Learn All Rights Reserved

Stick and Kick 3 3 2 note grouping ideas cont...

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