Monday, November 20, 2017

Chaffee linear phrases: adding 2s / triplets in 3/4

Another item we did some months ago: Gary Chaffee style linear phrases including a two-note pattern, this time in a triplet rhythm in 3/4. As you are no doubt familiar with by now, Chaffee wrote a system of linear drumming based on combinations of three-to-eight note patterns with an alternating sticking, ending with one or two bass drum notes. Sometimes when practicing his materials, the omission of a two-note pattern seems kind of glaring, so I wrote these pages.

I'm in danger of writing too much stuff on this subject, and I'm posting this mainly for the upcoming 2017 book of the blog. If anyone gets around to practicing it, and finds it useful, it'll be good to have more than one page that includes the two note pattern. But you can consider all of my pages based on this system to be nearly identical; there's a lot of overlap, and the more you practice any one of them, the less you need to practice the others. Or, the more you practice any one page, the smaller/more subtle the thing you gain from practicing the other pages becomes.

The most likely context for practicing this will be a jazz waltz, so you could alternate between playing the linear patterns and waltz time. You may want to add your favorite waltz hihat rhythm with your foot. At moderate tempos, you could play the complete linear pattern with your LH/BD while playing waltz time with the cymbal hihat, of course. Improvise moving your hands around the drums, and vary your dynamics— I don't think there's anything much to be gained by staying on the snare drum or maintaining a static volume.

Where there are several 2-note patterns in a row, feel free to vary the sticking; you could play the first pattern R-L-R-RL, or R-L-L-RL, or R-R-L-RL. You could also play the right hand note as a right or left handed flam.

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Sunday, November 19, 2017

Page o' coordination: triplet pattern with cymbal variations - 02

Part 2 of something we did way back in January (where the hell did the year go, actually?), changing cymbal rhythms against a steady left hand and bass drum pattern. Here we're just inverting the LH/BD from last time, starting with the bass instead of the snare. This is a fairly low-commitment page, opening up some flexibility with that very common basic pattern.

Add 2 and 4 on the hihat with your left foot, or play quarter notes with it. Also play the entire page substituting the hihat for the bass drum. If you burn through this very quickly, you may want to try playing the bass drum part with both feet in unison. Doing our stock left hand moves is optional— there's no need to bog down in this page running every possibility.

If you're already using some form of this idea in your practicing or playing, you could do all you need to do with this in three or four practice sessions. If you can play the page straight through without repeats at a moderate tempo— say, quarter note = 120— you're done.

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Friday, November 17, 2017

Anti-book review

What's it even called? Guitar Center
Lessons Drums Book 1? 
Anti-review, not anti-book. I like the book: Drums Book 1, put out by Guitar Center. It's a very good basic rock book a student brought in to a lesson, which I spent about two minutes skimming. It's an anti-review because how can you review something you just skimmed for a second?

Well, this impressed me. I'm instantly skeptical of all new drum books I see, because so few of them are any good— by which I mean I either can't use them in teaching, or I can't/won't/don't practice out of them. I had more reason than usual to be skeptical of this book, mainly because it was branded by Guitar Center, apparently for use in lessons in their stores. I guessed it was probably slapped together by some hack, but it had about ten people listed in its writing credits, including Rod Morgenstein and Joe Morello, and I forget who else. Probably Rick Mattingly— I suspect the book was edited by him. On flipping through it, and saw that it was all solid functional rock stuff, with snare drum reading examples similar to what I always use and teach from Syncopation, as well as rudiments, and information on setting up a drumset. It includes (online?) access to audio examples, which I never use. I like that it's not overwritten. I really like that I didn't see anything stupid— nothing Metal-related, nothing pointlessly difficult for a beginner or adult amateur. No weird formatting. Nothing Drumeo-like.

There aren't many good beginning-intermediate rock books. Joel Rothman's Mini-Monster book is one. The Drumset Musician by Rod Morgenstein and Rick Mattingly is another. A Funky Primer by Charles Dowd is almost one, and the Burns/Farris studio funk book is also almost one— those are for slightly more mature players. Everything else I've seen is tied for suckingest. Of those four good books, this one is the cleanest and most concise, and likely the most suited to the most students.

The only problem is, I don't see it available online anywhere, either on the Guitar Center site or on the publisher Hal Leonard's site. Probably you have to go into a GC, or call to order it. I'll definitely be picking up a few copies to start using with beginning-to-intermediate students. Well done, Guitar Center and Hal Leonard.

Batucada drill for drumset

We probably did something similar to this way back in '12 or '13, when I was writing a lot of stuff on samba. My writing and my knowledge of the style has improved a lot since then, so I guess we're about due for an update. This is based on a drill I improvised in my own practicing.

Batucada is a form of samba, played in the street by often very large percussion ensembles, called baterias. It's different than how samba is typically played on the drumset in a US jazz setting, but it's good to have it inform your playing, and there are opportunities to use it.

Practice exercises 1-18, then improvise combinations of the 2/4 patterns, thinking in two or four bar phrases, playing busier/more syncopated at the ends of phrases. See this post for some examples of how these longer phrases are constructed in Brazilian music. Learn exercises 1-18 with each of the tom moves, and experiment with the optional snare drum articulations.

See also my older pieces on feel in samba for tips on acquiring the particular kind of swing associated with this style of music. In most of the situations where you'll actually use this style, you'll play the rhythm a little straighter than is suggested by those posts, but that (and a lot of listening) will get you working in the right direction. It would be a great idea to spend at least part of your practice time playing with recordings.

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Monday, November 13, 2017

Billy Higgins trading 4s

This is from the same tune as the recent post Comping The Billy Way— Things Ain't What They Used To Be, with Hank Jones and Ray Drummond, from the album The Essence. Here Higgins is trading 4s with Jones, starting after 3:48 in the recording. I've transcribed just Higgins's solos.

There's also a stealth groove o' the day in here— on the fourth line he plays a hip, easy Afro 6 type of groove that you can lift directly.

Billy's dynamics are extremely subdued here— accents and crescendos are subtle, overall volume is low, and the vibe is relaxed. The quarter notes on the bass drum are played very softly. Single drags (on lines 2 and 3) are played open; long rolls (lines 1 and 3) are played closed. On line 3 there are some ruffs with the main note played as a stick shot— hitting the other stick while the bead is pressed into the head.

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Wednesday, November 08, 2017

Rock in 5/8 - 01

5/8 and 5/4 are good meters to practice to if you want to improve your concentration, and disrupt playing habits. Five-note patterns in general, too. For many years my playing was extremely 3 oriented; whatever meter I was playing in, I would have a strong tendency to go into 3/4 (with a strong dotted quarter note pull) when improvising. That's a legit creative thing, but it was also a habit. If you lean too much on that Elvin-type thing, or if you have the opposite problem and are too rhythmically squared-off in the way you play in 4, practicing in 5 can help open things up for other things to happen, while improving your awareness of what you're playing.

To that end— and for actually playing in 5— here we have some basic rock patterns in 5/8, and the same pattern played twice metered in 5/4, with a quarter note pulse:

The accents are for the hihat; play the snare drum basically at an even volume. Try counting out loud when playing the pattern in 5/4— numbers only: “1 2 3 4 5”

Since our end goal is to have this affect the way we play in 4/4 as well as 5, see also this page— it will help you integrate these ideas into 4. Also hit the 5/4 label at the bottom of the post to get much more in 5. My old series Cracking 5/4 will be especially helpful if you're new to this subject.

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Monday, October 30, 2017

5/8 accents in a triplet feel

I've worked on triplets and */8 feels a lot in my 35+ years playing the drums, and played a lot of music in the style, and still there's a certain type of shuffle or 12/8 feel that is just easy to mess up. I don't know what's up with that, but I'm working on it quite a bit lately. This is page contains a couple of things that came up when I was improvising along with Stanley Clarke's Lopsy Lu— an example of the style I'm talking about... also an example of the ease of messing it up, because if you listen to Tony Williams's performance on the original recording... it's slightly rough.

These are a couple of 5-note accent patterns broken down and metered in a variety of ways, with the main goal of putting them into 12/8 or a triplet feel in 4. I don't really care about developing this as a 5/8-within-12/8 lick; I'm more just interested in fluency.

Practicing this page is pretty straightforward. Maintain the same 8th note speed through the various meter changes. All of the patterns have an alternating sticking, so you're going to be playing the cymbals accents with both the right and left hand. Snare drum notes can also be played as drags— as double strokes. Moving around the drums is a little weird, but you can attempt that if you want.

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Thursday, October 19, 2017

Stone on drumset: sixtuplet exercise

We're doing quite a bit with the book Stick Control on the drumset these days. There are a lot of things I don't like about the book— mainly that it's based on abstract sequences of Rs and Ls over a single rhythm, and there's no musical reference for that. But real players do use it, and it's such a familiar book that it's good to try to connect it with other things we do. And I think playing it on the drumset also helps make it more valuable as a snare drum book— a drumset orchestration gives those Rs and Ls some actual musical meaning.

This is a little thing you can do with the triplet portion of the book— exercises 1-12 on page 8, and all of page 9. We're playing in cut time, with two beats per measure.

On the 8th notes portion we're using the same orchestration as on my recent Stone drumset exercises: play the RH on any cymbal, with bass drum in unison, play the LH on any drum. On the triplet portion we'll plug in a standard triplet lick, RLB. So ex. 1 from p.8 of Stick Control:

Would be played:

For the LH-leading exercises you could do the same triplet lick reversed— LRB— but I like to do LBR. So for exercise 2 from Stone:

 I play:

So any time the triplet portion begins with the right I play RLB, and anytime it begins with the left I play LBR. So exercise 5:

Would be played:

Of course, you can plug in anything you want on the triplet portion. For example:

Whatever you like. Keep your hands moving around the drums and cymbals. Get this thoroughly together in the half note = 60-90 range before worrying about getting it faster.  

Monday, October 16, 2017

Comping the Billy way

Here's a fresh lesson on simplicity in comping in jazz— file this along with the post about the “Kenny” note from a few years ago. I've transcribed some ideas from Billy Higgins's playing on  Things Ain't What They Used To Be with Hank Jones and Ray Drummond, from their trio album The Essence. They form an easy progression, and it's almost the order in which Billy played them on the recording.

You'll note that like Kenny Clarke in the earlier post, Higgins plays a lot of & of 1/& of 3 on the snare drum. He especially seems to be centered around the 1, and his ideas are very contained within each measure of 4— that's my feeling upon listening and not really analyzing, anyhow.

Swing the 8th notes. If you listen to the record, Higgins's phrasing is very legato, and timingwise he's playing behind the beat. People claim to love Billy's playing, but it would be a real challenge for most of them to play, sound, and be as alertly relaxed as he is here.

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