ADIVA.

eEID D_ ,UII'I IDEAS, b,y'

Mike Richards

Notation used in this bock:

J It .L J J
s"nare. bass tom tom tom
J J J
)J
hi hat hi hat 2 h. natWF r,ide ] hand

cowbe,1! foot

I

x

rim click

II

I

I I

I

Reper

u5slio

I

This is an exciting and versatlife t,echn1ique which can be used to create some very iinterestj'ng patterns, ftlls B'nd solos to expend your musical options in a variety of' styles. At its mo'st basic level the

Re,perciuss •• n technique involves the lead hand playi'ng a pattern whi,ch is duplicated by the other hand a quarter note later I creating on

- -

"echo" effect. As YOIU 'Progress: through the Repercuss.on section

y,QU will gradually develop po+terns and fills which will imprcve your'

. -

control. co-ordination and musicelitv,

See how the technique works by' 'playin,g the fol'llowing s,imple, pott,ern. Try to' focus on the "echo" effect produced while playing the some rhvthm 0. quarter' note later.

II I

II I

The followilng are Q, smell but effective number of .eperc1ussioln ideas which have been useful to m,e - of course feel free to ereo+e your o'Wn patterns' which wi'll help ln the development of 'your musical voice.

I I I

'lfI;' Remem:ber to start every example siowly ana ,oim for a ,solid and" relaxed gro,ove~

* Play all unaccented no tes ,as l1h:ost notes.

Let's' tackle each pattern in thls section in three, stoges::,L Learn the basic rhythm,ic pa+tern.

2. Move to two hand •• per,eys,sllion.,

a. Add othe,r limbs en different 'parts of the kit,

A. Fun .. '~ and La"*lin

••• 0 Tr-o.ck 1

I I I~ II t\
~" ~ _L
- ,.' . .. - - i&ii - • .' ' ... •
, .~ ,/
::E
P I ll'
J J " J J 'I
~"' ,.,,-
.,. "'iii: • .' ~- ,. - _
, ,., '\ t I
... J I :..1
'r If
> >-
This beat has a, nice Qhar'lie Watts, type feel to lit-
I jll ~
J- J , I'2'l J ,
" ,_I ....
.• ',1 -:.:' • -
_, ....
- -..: -..,' ,.' I ,. IlL - ,.
r P I I " V I >

•• I,(!)

I ..,' ~ I I ~ I
,~. -' . I
. '." _. • .. ,. ..' . ' • -
_, t ' ..
"
J>
J,. .~ , J J :J ! ,J
~.,
--- .. ' - .. - - _' -~-- • 11/ - I. - -
Jr ., , I
I I.,J
~ r
>- >
For a vlery' funky gr',o'o'Ve, pl1ay this' one ct ,a, relaxed tempo-
jl ,~
JI. " J J 1 J J ,
~,.
- .,. i&; _ I. _iIIi •
_, .., 1
, . ' , . • 1
J I V ,I
=-- >-

>

page ,5

I I I

I I l- I .., I I 1-' J ~
, .. -,"- , ,
, .. ~ • • • •
'" r.
- -
J J J J J J J J J j
,--,.. ".
. - . ' • , . ~ -- -- -
'" _JP;,_ I -, ,
-.:
>- >-
This has: ,0 great sounding lati,nlroclk feel-
~ J I ~ j .~ .J I _~ J
~. To
• 'lI:
L Til'
'''"1r: • • __ . - • .' • ~
~ I J I ~ I J I >-

l I I

,,-,

I I II

--'

I

~ I

II

-

•• 4{!) Track 4

- --

I I I i I I
.1O..:lIl,. I
_I_'_t; .' _., .' __ ' -- • -- - • -
'"

J .J J J J J J J J J
_,(,,_li'
-" • -.- -,. __ • , . .. .' • , .
'"
I
>- >-
This pattern is useful for li"oilsilng ttle, in.te,nsity in rock tunes-
J ~ J J J J J J J J
~.
,'j • . ' • .-
J'
.' , I __ --
II I l-J I ~
- >-

>-

:>-

>-

page 6

I II

I I I I

...... ...1. - - ~' --- •
_'_O .-
A_ -""
I I
1
J J ~ :t J ~I JI J J' _J )
. - -- ,
...'::..L. _., ---- ,. .' --- -- ---
L_ I
I 1- -
I > >
I
! J J _:t J ] J J J _J J
..IOo...J.O I I
.' I. III!:_
__'_O --
L_ • --
--=-: , II _J I _l!!l
l J - L III i ~
>

> >-

I
I
l
I
I
I
I'
I
I page 7
I N.ow let's see how versatile the R.per'.lIss~.n Ideo is by taking' ,0 pattern we learnt ecrlier (No3) and uSing it to create

~ ~

dif'f,erent rhythms fer four types of music-

The basic pcttern- •• 0 Track 6

II

2: I i J !=i J' j ~ J i J J
r F 10 • ,r
J
:> :> By add,i,ng the bass drum we come up with a pep/rock gr,oQve•• ., (~) r r'tiC:lk 6

:>

>-

Heresa funk variation•• 80 TrI'lQc,k6

1-

~ ~ J ~' J ~ ~ I J ~
~. I
,. .' .._ •
f - I
.' - - - - I
I.- .i I ,I ~ t ., I' How about this Loti:" pattern? .' •• 0 Track 6

I I I~

,-

r r

J J J J J 'j( J J J d
-'0-1' •
_II - • - -
f
- --~ --
.' J J ~ J ! Now for an, African sounding tom g,roove•• , •• 0 TI'\Qck6

Ir J ~

r

j ~ ~ J II
F E ,.
,d r F

page 8

Now f,et"s deV'ell,op s'o,me •• pe., •• 'ss8:.n triplle't gr'o,olves which cen be used to :great effect li',n spici'ng up shuffle, Jazz and h,ip hop' music.

1 •• 10 Tra~k1 9

3

.[J

I
II I I _L I I
_t;:]t,o' I':i
_I~' ... _ ,. .. • .., • _"" J.c ~.,c • ~ • ..,
L ~ " " _l_ #
...
S' :I ,3 3
.) , J "I J '1 J '1 J '1 _J ~,
~., ,~
-,, "'::R .., - ... - 'iN _ . _~ . .' 'iii' - ' .... -
L I':iJ I i .s. I .i. I I
~ I
I I I I
s > 3 3 >- J'
Yo,u are probob] - al'r',eady fa;miHar with this Iprogr'es,s,ive rock partern and
._ro __ y
it illusrrctes the •• pe,r.,us,s •• n technique lin, 'triplet fOlrm-
a a 3 3
I J I I
J, , J ~ J , J_ , ., J '''I'
~. r. -
_. .. ,..._ .' I
I L ,.._ ... ~ Jill' ... ' .. • ...
I ' .... -- ,I ,I • .1 ,. I I_-
I I I I I
I 9

>- 3'

1 •• 10 TrackS S'

3'

:> 9

I
I' I I I I I I
, _",-,. I
.I' - I. ,~ - ~I!I!' - • • ~ ... _ _-- ... _ _.,_
J I _I I I' 1
-.
-3 a 9 3
J J ~ J_ , J J J " J , J I
-",- I
•• • _..,_ _., --~ _. 'tI'I_ - ... -- - - ,.,
I , _1_ _L I I I
I O_ I
I
J' > 3 3 >- 3
Thi's I great for SIPlicin.g shuff'le rhythm-
ones UP,Q
a /J a 3 ,
J J , J , 6( J J '., J " J I
-.,'.
-I'· - 1-.1 ,
L I
I ~ 'ILI_ ,- ,. ~ -_ _'lOt .' - .... '
I I I I I I' I ~ I ,
- I , , >- tJ

pag'e 9

::> a

1 •• ~0 Track 9 9

3

a

3'

I

, 1 I
I _l I _I ~-
/.:",. Jr.o I
---.. "t - ~- -- ~ --- ' " •
_1_ .s:
"':It
,3 ,3 :I 3
, J
, ., J J J , J ~ J ., '''I J
'.1 '"
· at - - - --- .. - ,.,
J I
,
,
3' J > ,3 3
This pattern creates tl nice half time feel-
,3 ,3 3 ,3
,
, ..J ~ ~- *1 J " ~ ~ ..J '1 ..J
·
-.
J "', I
--- _e<'_ - _M_ • -' ~ ...
1 J I " I _I I II , 1 ( 3

>- 3

3

'No40 T k10

3 3

-- roc - ,
- I
I I I
I!::-'tt.. ,-
---,'.- --- • ,

:1 3
J J *1 J J _J 'f J
-:""'IL1li
, .' • ~ ---
! J
3 ~ :I ~ I
This works great for those fast hlp hop feels-
3 3
J 1 ,
J ., _J J , JI
•
·
,
_M -
I I I f I I 3

> 3'

I I

I II

The Repercussll:on techlni,que can be used to crecre some unusuall solos and fills while developing, co-ordination in a musical manner-

I I

I"" I ~ I .., ~ I ~ 1 ~
..... I
- ,. • . , - ' . ,_
L ~
...
Hera's ,0 melodlc fill ideo which can also be used as a song intro.
It's a little bit tr'kky so remember to start slowly'-
,
, I~ _]
~ I .,
~'"' I- , I
I. "2' • _j • '. _.'. _.
" " .
. ' . I
I J ~ I J I J ~ I iii
- •• 10 Track 12

I I

I I I I
__f.>.~. I I
.t ., .' • _j • _., _" -- --
J

_I II 1
,0;,.,. ~
I,. - .' _ ..
.,. .. --_
.!.W .:: _
I I f 6d I I :d •• ,10 Track 13
I 3 :1 3 3
1 I II I I L _l 1
,,"',0
~' .'. - - --- ;.,'
I J .s:
I 9 3 9 3
I I I t 1 I J_ J I
'. -"'iiI .., _.c - _....._ .. '
.'. - J
J "'" ,_ _M --- ~ -
t I ,
I I I Ji Il J
I 3' 3 3' 3
II page 11
II •

I I I

The Reperllussjlon techmque is a very v,ersatae one and patter'r1Is can be orchestroted on all part.s of the. drum kit end in dliffere,nt fime 51ignatures" He,re are two ~deas in 3/4 time which s'ound a Uttfe o,ut of the ordinary-

•• I '0 'frQc,k 14

I I I I

I ., I I ~
"'-, •• J .i.
. ,." rU" _ . • - - ~ - I
f , I
":II:
J!
J. J J J "1
__ ,' .• _.J
.~.~ ... •
-z ... . ' •• -- ,.
t V r _J J
:>

.',.1,0 Truck 15 s

3

s

I I I I I I I I I

, _
1 1 'I 1 I I I
I ~.' I
,., • .. _ - -_ • _&t_ _.'
,
,3 :1 3
~ , ~ ~ ~ .., ~ ~ ~
_~I. ,
.• 1, • ,.~ -- - I
, I
--_ • ,
I I J I >-

3

>

3

3

Here Ii,s 0, Jazz' idea in 5/4 timeI •• :10 Track 16

9

,3

I r 1 I I J 1
I , • I \
. ~ I'· - ,. • - ---- .' _.
L
3 3
J J J ~ J J J ,_ J I
_' ..
I'. -- .' , I
,/ _Ik ~
'-" i v J_ v
r~ I r' r r I
9

pa,ge, 1,2

Helre is 10 patte!rln in 6/4 whi!ch wlorks' well at 10 medl~um tempo- 1 •• ,.0 Tirade 17

, I~, _b_ bt,
r I 1 I
L""·' .~ I I I .t. Ii
,L ...... , "LI' ,. - ILl - - .' 'w _- '. ---- ""- -
I' ,'" I # _L
..
,
I J> J> b'
J 6b , 00 J "1 J ~oA, ~ 0;
t: -"'.' .'
_' .. , '. .' -
, I.' ... ' ILl -- __!!!f_
.... - .' _I -- -.' .s. --- .. ,
~ I' ~ I ~ 1 II
, >

And, a funk idea in 3/4 - •• ,50 Track 18,

II 1 r- J ~
I'
f.,'. I I "1
"
_.,. .1 .' --- • _- --' .. - '. II
.L
I
0
J J _,J J JI J I ,J 1
/,;,,_ I,
.',. • - - .'
, I I I ,
I . ' • .' I -- -
.. II J il IW; I I! >-

FjlnaUy, when usin,g Repelrcussio,n teclhniq'ues ,always moke sur,! they fit

- -

the mU'siciol olPP,licati,on you ere play'~'ng ln. Think of Repercus',silon as' a

sup:plem,ent to yo,ur' r',egLda,r drum set ideas rcther than Q, repl,Qcemen't. It1s' verY' ~mIPortQt1t' to, taple youlr,s,eJf plractiC:ing S'OI that you can, list,en bock land correct any inc:o',ns,i'st,en,ci'f!s such as e'rr'O'lrs with timing. Use a ,metro,nome or' drum ma,ch.in,e ,t,o dev.e'o,p occurcre tim,ing;,

At 'the end of the day the wh,oh!. idea is to experimlent es much as possible ,and cr:eate s,om,e,thing that has never been p,lay,ed beferel

I

j hac

Tile hi hat is an imporfant and versatile part of the drum set end its use is cften underdeveloped by ma,ny drummers,.

One way of' imp,rovi'ng your hi hat foot 'While obtaini'ng a different sound and texture is' to p"lay 8th and 16th note pctterns with both your lead hand and hi' hat foot. This creates a subtle and int,eresti'ng Y:ariot,ion on, thestanda1rd {c,rms of hi hat work.

A. 8'&h lIoce Gr.owes

I

'Take the fonowing example of a stenderd 8th note pettern•• ' I 0 Track 19

I II

By playing the 8th notes between your Iecd ha,nd (on x-hat or ride) and hi hat foot you can ochieve an intelresting' variation. First become cemfortuble wi'th the next example; ma,king sure the hi! hat pl,ayed with the foot is dearly eudible.

1 I
IioJii.O X x' )(
,. • III •
., I I.
,.- _v .. - .. I.
I '," > , I >- •• 10 Track 20

I I I I I

Practice Number 2 until y'ou ore totally com,fCl'lrtab~e at slow, medium, and fast tempos. In the f,olloW'lj',ng Ipages the technique with 8th, 16th and trip,let notes will be further developed,

page 1.4

Now let's try somesyn.copated bass dirum vorinticns. Rememher to start them in aSllow end relaxed fashion-

•• 1· 0 Track 2,1

•

"04 C!) Tro.ck :22

I I I

? d= ]JiJ]

I I I

]

fJ]

tld fJ l J] j] J i ] J

I I •• " 0 Track 25

I
II
• I I I
L" • - .1
F -
• " -"-
~ " ;;>- , ;:>' .80 Track 26

2 dJ]JfJ~

page 15

II

~----~-

j J}! J

r

d J

j j

] j ]

K

x

I •• II .0 lirac:k 28

, I
_II I I I I
_~. x X I .~ II
". • --- -- _-
-
L I I
• ... • ' ... ' - -'"
., ">- ~ r ;;;.> " •• ,I I ® Traek 2'9

I
-,." x ~ x' .)I;
Ic.J_ •
./ I
- ,,' . ' • • .s, . ' ... • "
. ,I , ...... " " . d I
'D( 6(,'
.;:;,., .I.
.~., J ,. • il.
.-!". I I If.
• 'v • .. , .. II •
,,,,", ..- ... " 0>' I I

••• 0 Trllck36

~---~,

Here I S a varlialion in 3/4 time-

I •• 80 Track 38

~ J

,~--

. . >-

I I II

I I II

I I I I

Now for Q 7/8 g'roo'Ve which sounds great ot ,Q med,jum tempe••• 0 Trllck 39

.~ 0 J J ] ! J J J a J J J fJ

F'inaUy I a more syncop(l,tled '7/8 pattern•• II 00 Track 40

pa,ge 18

•• II ® Trflc.k 41 :J

3'

J£ :j

J z J

Ii

x

J

•• 1,0 Track 42 3

!J

3

J

I

x

J i J

J i J

I

x

I

x

I •• ,I, o Trdck 43,

3 3

J J J ~J a J

~::

3 3 J 3
~: J ~ J J~ f J j ~ J i l J ]

Practice thli.s next one at s'lo'w to medium tempes as 16th n,ate triplets with. the h~ hat foot can be tni·ckyJ

.105'0 TNI.ck 45
,3 /1 ,3 ,9
J I j ~ ] j J j J t f] -H
~:
X' 1111
.R .> page 19

I

I I

••• 0 Track 46 33

I i I I

•• 80 Tra;ck48

51 J j J) j J J J J J j J j~~~J ""::J j~; J ~ j j J j 1

••• 0 Tr,ack,4'9
3 > 3 3 3' > a 3
J I J ~ J I J ~ j I J ! ~ ~ ,j I j I
.2: :& x x K X :& I
I I

This method of playin,g the hi nat can be easHy incorpcrcted into m,Qlny forms of genera,' timekeepin,g - Yeu cain USe the patterns we nave d,llready

- -

learnt as a framewor'k for your playing or develop your own cr,eativity by

appl'ying the techni'que to wherever type of musk you elnjo'Y pl'aying., Why not try it for soio,i,ng and fillsl

II

page 20

I:

..,

WOlrll,dlR- y~hms

Now 'We are going' to lock at a variety of exc!iting rhythms from different parts of the world.

When yol..l pr,o'gr'e5s thr,oughthis section you will See how I perso[nally learn new r'hythm,s. fills beats and tunes, When, for example. I hear ,0 new pattern such as Q Songo~ I thor,ougklly Ilearn the basic g,roove end then try to create my own example by such means as vary,ilng the stickin,g. orchestrating the groove on different parts of the kit, using dynamics etc ... "" The :gener'allidea is to 1aike some musical outhnes and ideas (such as the ideas, found li,n this' book), and odd +e and develop 'them, using your own idees and style.

fEEL [FREE TO SlCAL IDEAS FROM ANY MU5ICIA,NI THAT YOU HEAR!

I have for many years kept a fillin,g system of groov,es. cherts, exercises Q!nd fcmolJlss'on,g pctterns which has proved an invlllllJloble source of easUy' accessible material for countless numbers of gigs .. irec:ordLngs and clinics,

I I

I began, my filing system baclk in 198,4 when I heard Vinrni,e C.o,laui'ta play the opel1in,g fitlil in Fran,k Zoppo.'snpic::k M.e, I'm. CI'earrt. I said what was that? I mano,ged to transcribe the filii ,and it became Emtr)" No.1 in my fille .. As Q work.ing drllm.merl teacher I have to know hundreds of 'tunes and patterns from Van, Halen to Van Morr'ig,on. ,Haviing' a welill organised filing ,system has become essential.

I I I Ii

I I I

When you st'ort your fil,es you wB11 be 5urpris'ed at how q'uickly ,the.y grow. Always keepsome manu.sc,ript and a 'penci'll halndy' for' those inspirational moments in yo'u' piro,ctice r'00I11. t' have found my col!l!ection especially useful when I have needed some out of the o:rdiilnary inf,ormatilon ....

What's t-he pattern for Sting's HSeven Days'''? Can youp/ay II'Take ,Five~'

How doe'S that drum fill fo~r "Chuck E~ in Love" go.' So start your' own: filing ,sy.stem .... ,.Nowi

po:ge 21

I I i i I j

i

Here's one of my favourite, Cuban rhythms; the drumset M,ozambi'que, which is' based Ion the basic M,ozambi,que timbale rhythm. I find thi~s rhythm to be very versotile and it can be used in many different styles-

Here i's, the bask two bar' repeating partern-

•• II (£) Tirac;k 50

I I I ,

I I

By playing Number' 1 with a swilng/tri'plet feel y,ou can have Q :great sounding Ervin Jones I,atinljazz groove, by addi'ng a quaver on the fourth heat of the first bar. Check it out on the CD.,

N,ow let's add some extra spice by pla,y'ii,ng the 2/3 rhumba clave with a lief' foot mounted cowbell (lor' hi-hat f.oot)- this one con be difficult at first so start sl',owly-

•• t 0 1irack 50

Now I',et"s ad'd a bcckbear on, 2, and 4 with a syncopated bass drum, pattern whlic:h works great for lotin/rock feeis as well as Las Veg'Qs type. show tunes-

•• 10 Tr.ac,k 50

Make sure, you ccn IPtay these M.o,zambique, grooves with a relaxed end ccnfident feel before mo,v,ing en, Next we wm be ,lo,ok,j,nQ' at some conte:mp,orary .s,Qundilng Mo.zambique ideas which can be used j'n funk, pop and fusten ptaying.

I

:Now we ere 9,oing to Ioek et some contemporary ideas which I hove devef,oped i!n the manner described o'n page 21~ Re.'member' to play an unaccented notes as' ~gho.st notes and snare accents cs rim, shots .... ,

>- 0

I I I I i

.1,.70 Track 54·

•• 80

I I

A.s you can n,ow see you con rcke the germ of an idea and with some im,Qgination and effort tur'n it into somethli,ng tha,t's special and YOU'lrs~ So ,now yOU! cen crecre some unique MozQimbi,qwre patterns of your own.

page 2,3,

This lis cferm of music and dOlnce, frem the north eostern regl~on[ of' Braz[i!I. The, rhythm of ,Baj[o,Q has jn,f[luenced countless' styles' ind'udin,g j,QZZ, rock andfusio[n. I ,love using this' Irhythm with cceeustic J,azz groups' wher'e I clso combine tit with other Irhythms such as' Sa:mba, t,o' creote hybr,id patterns.

N'ol. and N,02 ereexcmples of traditi'onal Baioe, and should be mestered before moving en-

... I (~ 'Track 56

- - [
J21 (il ic21 ('Xl. J'2l 6(
~,. r..o
- " .. 'J[
" ,,,
.... _. ,. -
I V ~ I
, >

J ,J ,J JI I J: J J ')(1 J ~;_ J J ~I
')('
&. ... ';,
. '_ • • I
, I
• •• ,_ 'I..
I JI ~ I _J 'f Lars ereote some c,ontem,porary soundinQ' Baioo gr,oo,ves by using some $,imp[le ,stilckli!,ng patterlns w'hich we wi'U 'afer org',Qlnis,e around 'ihe kitfoir maximum effect,

IF[i rs+ learn thi:s stk:ldn,g pottern .. ,. 1 •• 110 Tr'ock 5[/'

IR, L

J.I

• J

L R L L R

,~JJ~,~

L R. L

~l J ,~

,R L l R L

~ J-~ ~ J I

-

~---~

- -

-~-,

Now let's go one step further by adding' the !Biaiao feet pettern on the hi hat and bass drum-

•• ,40 Track 518,
.
R L L, R L L R L R L L R L L R t When you erchestrete the sticlking pattern on the, co,wbel'~ end hi' hat you

_ -

have, a ve,ry funky Bai!,Qo groove-

Track,59'

~ _

Rl LRtL IRL RL LR tLR, L

••• 0 Tirack60

RL lRL L RllR,L,LR L LR, L

, ,
,
.. J J J J J J xl JI , J J' J [I'
_':lI.'" .... 1
-~. -- .' ,..
.L -
-. ~- !III . ' •• .~ tW_ --
I J " V I _J I V
;> ::>- >-

1 •• 70 T:rack 6,1

R L L R. L. L R L R L l R L l lR l

, -
,
~ J ~~ 1 J I .J
.. , I
_~""., 1 I
,. • • • - _j • • • • . . --
J _j
__ iO - _\I,; -- ~ , .. - &II _- :>-
[I J I ~ I .~~ -, V , .,.0 Tr,ClCK. 62

RLtR LL R L,RLLRl. L R,L

,
6(, - ~ .I J_ ~ I J j~
~,. _. I 1
_I" ,. • - • ... - • • •
_L_ ... -- "
_ _.o • at - _.._. -.' .., _-- I
I ,J I V l ~ ,f V ;> Here is anolther ,interestiing sticking variati,on whkh fUirther develps the contemporary Saiao :gr,oove- once again learn the new sticking potrern and aim for precision in your play,ing.u

.io.0 Track 63

R. R L,R R L R l f< R L R

J ~ .~ ,~ J J J 0 J, ~ ~ J

,R l R L

J J J 3 I

Once again let's add the Ba,jao, feet' whi'le playi'ng stlron,g accents ...

, ••• 00 irack64

f< R, L R R L R L R R L R R L R L

Here we orchestrate the strck,i,ng between the cowbellend snare drum. ,Make sure the ghost notes are p,layed softl:y while the accents are, played as strong rim shots-

•• 10 Track 65

R R L R R L iR L R R, L IR R L R L

_
I I
, I
.J .J ~ .J .J I .J .J 1 ..1_ J
",. I
. ,- _- _.. • •
- " ' ,
I~ [ _I I ~ I [' J t D
II I

FinaUy in, this Boi,ao, sec+len we add ride cymbal and tom toms ... •• [I 2, e Track 66

R, R L R IR L R L

IR, L R R, L R l.

I i I

c. Cascara

.Cascar,a refers to stick patterns in tradrti,onal music from Cuba, The bask Cascara pattern is ....

I

"010 TrCllck 67
J J r- J l: J !to J 1
9: I " If By rpl1aying' the Cascara pattern (i,n the form of cccen+s), in a group of' 16th notes we have a, very useful drum fill/break ...

... 2 GTrack 61 & 68(1)

I I I I

In the 'f,ollowlilng CaSCQlra examples the lead hand plays the Casoara pattern while the other ha,nd plays a v.ariety of rhythms on the snare rim. let' ssrcrt wah the ,2-3 and 3-2 clove rhythms: the dave is the bose for all Afiro/Cuban music and whether played or not; it is implied throughout the music ...

Here the 2-3 clave lis played on the, snare rim and the cascorc pattern on the cowbell., .

•• ;10 Track. 69'
,: ; ~ i ~ ~I f. ~ ~ ~~ ~ ~
~
J The 3-2 clave is inow played.ot'il the snore rim and as the dave di'rection has changed we must' now turn eround the Cascara pattern on the cowbefl.. .

... 4 G) Truck 70

I

~.

J

II

.I f,ove to combine the ,CascQlra and dave pcrterns (in. this case the 2-3 clave we have ,air,eady learned), with Q tumbao bass drum pottern- this i.s a groovetnat definitel'y makes you want to donee ...

IN05 o Tra:ck7l ~

By combining the ccsccra pattern 'with the tumbao bass drum pattern Qlnd ,Q strong backbeot on 2and 4; you nave an unusual' soundilng pop beat ....

I I

It can, be great fun, to mix rhythms from around the world to crente a fusio,n or hybrid pott,ern. The next three exomples have Samba rhythms, on the snare drum which in effect fuses elements of Cuban and tS'lrazi,n,an musk ...

•• 70 Track 7.3:

Let I S add a standa.rd Samba feet petrem to end thi's coscerc section ... ••• 0 TrQck73

50ngo is no,t a drum, rhythm per se but a srvle of music invented by the cuban band "Los Van Vanlll; who,se drummer percussionist was Jose Luis 'Quintana, (a,ka Cha,nguifo)., It is' wOlrth noting that 5oOFil9'0 rhythms wer'e 'first created on the drum set as opposed to hand percussion instruments.

Here are some basic two bar repeating g'rooves in the 50n90 styI1e ...

- -

•• I G Track 74

2: I ~ ~ J ] n b I ~ I I ] j J
x , x x x 2: j I I ] n b J I I ] fJ ;,
x x '1 x I x x , •• 1,8 Track 74
;}: Q ~ Q xb I I I I ] j J
'1 ,f' , x x •• 40 Trock74

page :29

Here, ore some 50'lngo, fusion vQ,riaf'mons in the styi,e. of J (l'Ed R:o,se,nblatt" H,or,ad'Q He!r,nandez and Dave W'eckl which sound ,0 littfe mO'lr,e (],ggressive ... , •• ,5 (~) Track re

j I - J I 1 J r
--
-".. r~ - I I I
,'., ..... • .' _. .' , . - I
_, r.. ~ • I
... ._ ... I. ',,, . ' - ..... ._ , ,
r J r I' r _J l[~ 1
1 J. • ~ I •
-z:,. ,. •
-... .. , • _.
, • --,
'V 0, ,. ..... ' - --"'JI_~ .' '""
-r -:J r I ,r J f' I
I
1 •• 70 Traek77

J ~ .~ J · 'II'
-".. l •
.'. • .' .' • •
_, • .... ...
"i'. .' .. ~ • .. 0; - ',L , .., II
r' J f' r"' _J r J I j ~ I •
1:., .• I _. I .'
•• . ' - • c • •
j' -'" ...
''11.",111 • ..._.. ,. ...... _' ..... .~ -
r II r' J r-' ~ [ j This next excrnple applies' the R.p •••• ss ••• techni'que to 50ngol 11 •• 0 Track 79

j .t .. ~ 1., 1iii
,,.,. • I -.-.
•• • • -r-.
J • --g
'. - 'V' _- .... '. --- ~V . ' II •
r ,J r I r ~I [' J
I page, 30

Dine ve!ry' plopullnr way ef spicin,g Up' the Songo fur+ber ,sti U is to lod'd dave rhythms' wit'h the hi hat feet (or h~~,ft foot COlwbeU), whic.h creates some verry' cnaUe,nging land exc~tin,9 patterns. Three masters of this' Q,rle, WaI1fr'e,ydo IReyes Snr'" ,A kriro, Jimbo Q,nd Hor1Qciio Hernendez, Once again these patlerlns ere nOlt easy, so sta,rt s,lowlly cf'rer filrst beco:tnlilng comforf'ab~e with the., dlQve be1i'ng played by the foot. (A good 'WQ,rlm up exercise for this can be found on pag1e 35).

In the next thr,ee. eXQm,p~les' the hi he:t 'floolt [plloys the, 2 - 3; rlh,umba Idave ...

... • 00 Tirack 8'0

I
.J ,II ~ I ,_ ~
_ I
"I .iF..IiI I
,. "":E -- ~- • -.
, ,., ~ -
... at .. , • _;& ,_ ...... , . • 'all!!!! .. _
I P I r_ J I ~' :>

~ I I _ ~. I
J
,,",0
_'O -_ -- - • • I., • •
,
,-., ... . ' ... • .. - at I_I ..
, [ r [ 1& I I r
lliii, To conclude this~ So,ng'o,sectio'n we wiU play Q varliatlion wh~'ch siounds good in rock and PlOP because it has D, strong backbeat on 2 and ,4 .. ,.

I I

Saca originated lin Trinidad end Tobago and combines soull with calypso. In recent year's Soca has been combined with many styles including Jazzl funk Qlnd latin. As in previous sections we win take the basic pattern and develop it through severall stages'.

Here is' the basic. Soca rhythm ....

•• I e Track 83,

11:1= r f E

r

r"

r

MIOI, 0 T~o;ck 83 o

a

o

o

-
J J J J J I J
:>: )(
.........
•• • •• • •
I ! I i •• 10 Trac.kB3

••• ~) TrackB3

R L L R L L R

R L L IR L L R

I
~ J .J .J .J .J J .J .,) J
::II. •
~ .. • ..
I I
.s: ... ...
I I I II .~ •• 50 IMck83

L iR R L R R l R L R R L R R L R

I
J .~ .J ~~ ~ .J .~ . ..I. ,J II ,J
_....._" I . g
.. '. • _. , - II.
I .... :>- - .... II •
- - - - , ::II
j ! ~ I pa.ge 32

Ostli'lnatos are a c,o,nsta,ntiy repeating' rhyt'h:m Q,nd I enjo,y' using them fOlr wOlrm ups, So los ,and for creating very percussive, fuU soundi',ng pcttems, The 'foUo'W'in,g pages have so'm,e, exercises which ,ar,e gr,eal" for develop,ing s,o'o,ing ideas as wen as' inde'pende,nt co-ordlnctlcn prcctice.

I would S:u9ges,1' p'racti,cing' Nol with V'ar\ious ryhthmk fli'gures o,h th.e snore drum, ,startin,g 'With w'holle notes, half notes, quar't,er notes etc. The next step I undert,ake, lis to create mU'si'caf phrases (n,olt necessQlrHy difficult), creund the kit es ;'n the rest of the eXQ,mpl'es. As detai,led e.a,rHer inl the bock, when I discover an idea I' hke I, write a down on some manuscript end fHe lit away': the foUowilng' exercises for exomple, are drawn fro,m my flUes from 199'6.u

Track 84

c' r l~ • r' c b r L ~' r I
c Trac,k 8:5 e-

>"

I " ~
.::: ~,., .1 I
.'_ .' ~ .~ .. 1
L - 1 I
' ..... ' - - ..... _ - I • • . ' --.::i , . -
r I' -r I r r I ••• 0 Track 86

-
.. I ~ I J
""~. I I l .' ,.'
- ,. '. .' ., • , . ,. , II.'
f ,I.
;L_ • -- ,.,.; _r ,. Li ,. • "-,,. , , - ~.
''''' r r r
I I
, page ,33:

.I, •• {~) TrQ.ck 67

:> ::>

2:1 ~ J S:( J § P ~ em EJ 1

•• 50 ira.ck 68
>- :> ~
__ i~ ~
r , 1 ~ _. __. .
-;~. , I I ~W _W·
• ~ _.' • I •
- .. .,.1 _-
L -
, >.L _- ~ ~ [' I J
(~ ~ r' _~ ['
I I ,

>

• 1
r I _j_ .. ,r:_
_-
. .".. - ..00II :!II . •
-- ..,. _ .
"'"I. I • 'J --
J ...,_ 'I;,L --- --- j _ .... [ I J
_ '>.L ~ _W [' ~
C I j r'

>-

~ •
b r-
I •• 1
-- '.
.,.. • • -- 1.1
•• !II .... __.; I • • •
I .. _m •
L _.' .~ --_ -_ _""'- [ ,~
~" - - W ,f'
r w .. I J
I
I: I In this' sectlen we are goilng to look at Q besic trlplet o,st~,nQto which is fu,n ,to so,h, over in jazz and shuffle music, ,BuT' remember my patter'ns should ,only' be the beginning·- create you.r ,Dwn exomples .....

Here ts the besic pnttern.,

•• '.0 Track '9'2

:2: I. L I r l [:' r L C r
3 3 3 a

~ J I
'::;","- , __.
. _ _L. - ~ --- i~ at i .... -
I • t , I _j
- • '-" . • - .... c • ._ v . .:
" f , r~ [
I
I - , ,3

9'

•• 11• 0 T~ack94

>-

> 3

.3

I L I I r _I
,
. 'Ii." -, _, I
... at 1Il0l' ,- ~ - '" .' '1>1 '- at _.
-' _I •
'-.i .' .' "". • • J • -_ -; i. --
f~ 1 r" [. r III
I \
1 3

.9

,3

.9

•• ' I :1: ® Track 95 3

>a

::;::.s

>

,3'

>-

,
_l l ,\1 1 J
_ ...... - _- , 1 _I • I
. ., ., , , .., - , .. ~ iii
., { •• - I •
·V . ' - .... • -- J - '. 'OJ' •
t> ~ f' I [" f'
II I 9'

•• I 10 Trac,l<. '96 9'

3

>- 8'

,.._ , ~ J " I
. "'''.- 1 _ . -- • 11.1
-I"· • • • .... • • -- ... . Jt ..
, , t l ,'. , ,. .JlI
....... - - ...... • . ' -" • - ."" _. _I ...
C II r r~ r'
1 J

3

This page has' m,y fav'ourite, war'm U'p/,co~ordinQtl!o,n exercise which i'nvol\fes playing' the 2/3 daveo,nd tumbao bass drum, 'pattern 'with the, feet w~d'lle IPlllDying vQ,rioU's, simp,'e figur,es with the hands. 'I have wlritte,n five ve,ry basic ,examplles, but why not ailm to pfay anything y,o,u ,can im,o!gin,e, ever the top,f

lIo,'4{v Trcack 9'7

l J I I
':::.',0 -..:.,
' .. '2' ,. .' _ i_
f "'-
"'I at '," ' • c - .... • J_' ~ ~ --
I r r (" ~ I ~
I .i
" .01 15 (!)Tro,ck 91'

I I -I II 1 _l I II
, t:::,.. , I
,., -- -_- - - -- .' -- -
,
' .... .. " - ' .... • '.J • - w • ,
1 r III r~ pc; I ~
_. ~I ,
! ~ I _l 1
~. "I I I , ,
- .. .' -'_ - -- ., -- - --- _ -- -
_, ~
.. ..... .' '., • ..... .- -'v - -I
f C j' r~ .... , ~ I D
I
_!III ,
J j
~ .. '1_ , !
•• - .' - - - •
,-
1iJ v - v --
1 C r L 1 I
- - - - ~ -.r
..... '. -- _,_1If_ ~'-
r' _rl' .f •• I 80 Track 97

,
I 1 1 -' I
,. T , I I , Ii , ..
.. , ,. - - - - .' -- • -- .' -- J .._ _. .' -. -u
, I'.
&I' .... , . .... .' ,L_O' , . Ik ,-- ,I.
I f' r -" ~, f D
~ Once y,QU become famHi'or with the, above patt,ern1s try some mlore difflcu't ones such esrhese hea:rd ,on the, foUowli,ng demonstrQ,tion~ but remember ,this 'type of Q,stlilnat',Q Is hOlrd, So t;ake your time to devel'op your technique land be-fo're tao long you c'Quld be Q dlQ've ImonsterJ

•• ' ,II 90 Track. '98 Clave Demo Ipa!9,e,36