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I n l h e p o s t fe w ye o rs, ro ck h o s ceosed to be the illegitim ote offspr ing of t he m o r e s o c i o l l yo cce p to b l efo rmso f music.lt hos becomeqn oulhentichybr id of Blues ,

Jozz, ond more recently,Gospel ond Countrymusic.lt hos emerged unscothedfrom t h e Sh o o - b o p,S h o o -b o pe ro q se por qteond legitim ote music for m, still in its i nfoncy gronted, but nevertheless, on honestform with o new direction. R h y t h m i c o l l y, R o ckh o so d vo n ce dby leopsond bounds.As o r esult,muchem phos i s h o s b e e n p l o c e d o n th e d ru mme r.T hisis one in q ser iesof booksond it deqlswith one of ihe most imporlont ospectsof rock drumming: RHYTHMIC IMPROVISATION. The object of this text is to encourogeond develop the drummer'sqbility to creqie ond develop his own ideos from o bosicformot. Rockmusicis, or shouldbe, o form of personolexpression,Therecqn be no right or wrong woys to ploy. Everythingmustbe reducedto ihe individuol level. Thereshould be very few generol rules.lf something works for on individuol, then for thot porticulor drummer it is right. lf something

works for you, do it!

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tNC.pACtFtC,MO. o 1S72By MEL BAy pUBL|CATIONS, INTERNATIONAI COPYRIGHT SEOUFED.ALL RIGHTSRESERVED. PFINTEDIN U.S.A.

1I

II

TABLEOFCONTENTS

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I

THEROCKFEELING:An explanation of someo{ the different"Jeels"usedin rock.A few exetcises: andtheirrelationship to the overallteelingof a rhythm. showingthreebasichigh hat patterns,

from THEVARIATIONS ANDDEVELOPMENT OFA BASICFIGURE:A methodot obtaining variations a basicfigureby 1) Changing the tonalstructureot a figure2) Changing the rhythmicstructureot a fisure.

rhythmically. lmprovising off RHYTHMIC lI\4PROVISATION; A studyintothe conceptof improvising of a basicrhvthmicstructuremuchin the mannerof melodicimprovisation.

of a basicbeat. CHAPTER ONE: Variations A seriesot eight8 Bar solosbuiltfrom in ChapterOne. the exercises

CHAPTER TWO: Variationsof a basicbeat. A seriesof eightI Barsolosbuilttrom the exercisesin ChaDterTwo,

. I

I VARIATIONS WITHTHERIGHTHAND:A tewexercises demonstrating the technique CYI\4BAL of vary. ing the rhythmot the righthandand integrating it intothe overallrhythm.

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THEROCKFEELING Betoregoinganyturther,an attemptmustbs madeat explaining howto te6l a rock rhythm. Everydrummerhashisownwayof feelinga tigure,but in generaltheyall mustgivea rocksound. Technical is not nearlyas importantas the leelinggenerated execution by the drumm€r.The mostprevalentfeelingin the newertunesis borrow€dtrom the BlackMusicol today.lt is a combinationot threeor four feelscombining togetherto giv€an overalleffect. Tempois of utmostimportance wfen discussing feeling.Thefiguresin thisbookweredesignod to be playedno fusterthan between., : 112to 120.As a generalrul6,it wouldbe advisabla to playev€ry{igureat manydiff€renttemposrangingbetween TRYJ: 60 and 112.ANYTIMESPENT INGTOPLAY THESE FIGURES AT RIDICULOUS TEMPOS ISWASTED!!

(A) Exceptfor th€ obviousdifferencessuch as shufflesand 6,/8 figures there is alwaysan "8 to the bar" feeling.Usuallyit is playedwith the right hand,eitheron the ride cymbalor on a closedhigh hat. On occasionit is not so necessary to playthis figureas it is to IMPLYit. As in alltyposof music, whatthe bandis doingwill governwhatyou,the drummer,will playbehindthsm. Whetheror not you chooseto actuallyplaythe "8 to the bar", that feelingmust alwaysb€ ther€. Sometimesstraight quarter notessuit the arrangementmuch better but they are still felt in €ight. Don't think of iust stra i g h te i g h thnotes i n4/4butota n S / S t im e s ig n a t u r e . T r y c o u n t in g L 2 S 4 S5 T S,i n stsa d o

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Note:Playeacheighthnotewith an upstrokeratherthan a downstroketeeling.This giv€sthe rhythm the 8/8 feel. a lift and emphasizes

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THEROCKFEEIiNG(Coni.) (B)..Superimposed on top of (A) is a cut time or upbeatfeeling.When ptayed,it is most often done by the high hat, or on occasion, on the bassdrum.Usuallythoughit is merelyinsinuated.

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(C) Nexlis_lhee\/erpresent "4lo the bar" feeling.lt is mosteffectivewhenplayedby the highhat with the left toot, leavingthe rightfootandtoth handsfreeto ptaythe re$ df tie figirre.onie agai rt rsnt so necessary to playit as it is to IMPLYit.

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(D) Lastbut not least,is the steadysixteenthnotefigurethat rideson top o{ everythingelse.lt isn,t n€cessarilyusedin everyarrangement. somethingssound better with an eighti notJ ride and not th€ sixteenthfigure. lt can be playedby the tambourineor whenthe tempoand the arrangementwill allow,it can be playedby the right hand.lt is mostetfectivewhen playedon a closedhigf, hat.

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r (Cont.) THEROCKFEELING Note: Whenpracticing the right handcymbalrhythmalone,countingin 8/9, (1 2 3 4 5 6 7 g) can be o{ greathelpin lindingthe intended upstrokefeeling.However, to be realistic,most rocktunes arewrittenin 4/4 but playedwith the upstroke feeling.Theyare not as a rulewrittenin an 8,/8time signature. Therefore to avoidconfusion, Jromthis pointon, all figuresshouldbe countedin 4/4 (t & 2&3 &4 &). Thefollowingsimpleexercises shouldhelpclarifywhatis meantby an "upbeat"teeling. Playa steadyeighthnotepatternon the ride cymbalwith the right hand.Thenalongwith that pla yth e h ig h hat(w i thani c eti ght" c h ic k " s o u n d ) o n t h e o f f b e a t e ig h t h n o t es.( l &2 &3 &4 &) Notethat the high hat patterngivesalmosta cut time etfect.

Usingthesetwo cymbalpatternsas a basis, H.F.#

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Try playingsomesimple4/4 snareandbassdrumfiguresagainstthem.

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Repeat theaboveexamples, usingthe samesnare,bass,andhighhat patterns, onlythis timechange the ridecymbalfigurefrom eighthnotesto steadysixteenth notes,This givesthe examples an entirely newsoundand feeling.lt cannotbe stressed enoughthateveryexercise andfigurein thistext be playedagainstbotha steadyeighthnoteandsixteenth noteride rhythm.

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THEROGK FEELTNG (Cont.) patternplayedby the H.Hat,.whether it be "2 and4, L 2 3 4, or 1 & 2 & 3 g 4 g, is essen. .. . . The t9 tf." overalrfeeling_.of the rhvthm. A.change in the H. Hai f"tt"in causea markedditfer. 1'91 in the pulse ence of the figurebeingplayedon the drums. "un Example #l hasan upbeatJeeling.

Example#2 has a more straightahead ''4 to the bar" feel.

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Thereare threebasicpatternsthat canbe playedon the H.Hat.Thev are:

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feetinsto the rhythm.Theieerssenerated by thesedifferent H.

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Note:lr ls IMPERATTVE THATEAcx oNEoF THEABovETHREE HrcHHATPATTERNS BEpLAyED IN CONJUNCTION WITHEVERY EXERCISE COMAINEO IN CiN}iiii Or'rENNOrWO.

THEVARIATIONS ANDDEVELOPMENT OFA BASICFIGURE The developing of variations lrom a simplebasicbeatis the Jirstand mostimportantstepto improvising rhythmically. Betorestartingto changethe figureat all,first try experimenting withthetonalityof theoriginal pattern.Thatsimplymeanstryingallthedifferentpossible handandtootcombinations withoutchanging the.original figure.Notethat bv changing the handandfoot combinations of the sameritf, the soundis changed, thus in effect,ffi FOREXAMPLE: Figure#1 is the basicbeat.

Figure+2 is rhythmically the sameas tigurefI but with a differenttona, structure,therebymakingit a slighily differentbeat.

After experimenting with the tonality,the next step wouldbe to vary the rhythmic structure slightly.Always takecareto makesurethatthe figure,afteranychanges made,will still maintain the samepulseand generalrhythmas the originalbeat.THE VARIATION MUSTCOMPLIMENT THE OR I G INAL !! FOREXAMPLE: Figure#l is the basicbeat.

Figure#3 hasa slightlydifterent rhythmicstructure,but still maintains the samepulseas figure#1. lt compliments insteadof duplicating the original.

II

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I

(Cont.) VARIATIoNS ANDDEVELOPMENT

I i

the tonalstructureof the basicbeatcan also It mustbe notedthat the principleof changing off of anygivenfigureverynearly Tnusmakingthe nuirbir of variations be appliedto the variation. infinite. FOREXAIV]PLE:

Figure+4 is rhythmically the same as figure#3, but the tonalityhas andthus anothernew beenchanged, variationhasbeenobtained.

obtained Figure#3 is thevariation on the previouspageby varyingthe rhythmicstructureof figure+1.

TONALITY The principleof changingthe tonalstructureis basicallya very simpleone. However,a brief ex planationis in order.

As was previously stated,the tonality,as referredto in this text, is limitedto the diJleren pos the combinations obtainable bythe drummer.To be morespecific, handand foot combinations canalsobe utilized the snareand bassdrums.The high hat, cymbals,andtom-toms siblebetween but at presenttonalitywill be confinedto the snareand bassdrums. with someof the handand foot com into sections, Belowis a one bar figure,separated EXAN4PLE: binations demonstrated.

(Cont.) TONALITY

3

By combininga variationfrom eachsectaon, a newone bar figureis formed.Forexample: Try combining(1)a with (2)b and (3)c. Nowcombine(1)b with (2)b and (3)c, then (1)a with (2)a and (3)c and so on. lt's easyto seethat thereare manypossible combinations. The lollowingare just a few examples.

It mustbe notedhowever, that not everycombination of tonalandrhythmicvariations areappli. cablein everyinstance. Eachmusica Note:Seethe first sectionot ChapterTwofor moreexamples o{ changing the tonalstructureof a riff.

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VARIATION #2

lf playedalongsidethe example,variation#1 would soundforcedand feel very uncomfort. able, whereasvariation#2 has a tendencyto roll with and compliment the originalpattern.

11

(Cont.) RHYTHMIC IMPROVISATION A closeexamination of the newerrocktuneswouldrevealthat the basicrhythmpatternsused in mostof them couldbe tracedbackto a handtulof simplefigures.The lollowingpagesare an extensive studyinto the variations and development of two ot the most widelyusedfigures.Most played the of beatsbeing bytoday'sdrummers arevariations of thesepatterns. Eachof thesetigurescan be usedseparatelyas a basicbeat,or they can be connectedtogether to form longermoreflowingrhythmiclines.It the basiconeor two bar figureis constantly repeat. ed withoutany variation, "boxed the elfectwouldbe a very rigid, in" feeling.By varyingthe basic beatslightlyduringa phrase,the rhythmhasmuchmoreroomto comealiveand really"cook".An excellentideawouldbe to followthe bassplayer,and to usethe variations to playofl ot his ideas. The professional doesn'tneedto be told, but a good generalrule for the studentwould be to ..ALWAYS LISTEN TO THEBASSPLAYER''. The followingis an exampleof howto connectsomeof the variations togetherto lorm a longer moreflowingphrase,givinga morelineareffectwhileall the whilemaintaining the samerhythmic pulseas generated by the originalbeat.

BASIC BEAT:

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Note:Oncethe conceptitselfis thoroughly understood, the individual drummerwillfind it veryeasy to develophis ownvariations andto moldthemto his own oarticularstyle.That beingthe primary objective.

CHAPTERSONE AND TWO MUST BE STUDIEDSIMULTANEOUSLYII In orderto obtainmaximumben€fit{romthis toxt, chapters oneandtwomustbestudiedsim, pages ultaneously. or two at a time from each chapter wouldachiev€by lar, the bost Practicing one results.Thistext is nota technical exercise andit is not necessary to finishchapteronebeforestartpurposewouldbeservedby studyingthemseparately. ing chaptertwo.Noconstructive

IS PLAYED TWICE EIGHTH IT IS IMPERATIVE THATEVERY VARIATION ! ONCEWITHA STEADY NOTEPATTERN SIXTEENTH NOTEPATTERN ONTHERIGHTHAND,THENAGAINWITHA STEADY ONTHERIGHT HAND. FOREXAMPLE: lST X

2NDX

13

CHAPTERI BASICFIGURE:

stated,the primaryobjective of thistext is to showthe development andsome _. Aswas.previolsly ot the variationsof two ot the mostusedfiguresin rock drumming.chapterone is i stuayinto wrrai couldpossiblybe the oldest"fat-back"beatin rock. Whenrockfinallybrokeawayfrom the originaldrum beatol

it evolvedinto a Datternthat

couldbedescribedas the basistor the majorityof drum beatsbeingplayedby the rock drummersof today.

This basicpatternquickly

pro€ressed. ontothe more variationsdescribedin this text. ln the newerarrangements thrs tigure is seldomused.sophisticated in its basicforri. However,its variationsare amongthe mostpray;dbeats in rock.

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CHAPTERI PARTII in practice,the theory of The followingare a lew eight bar solosdesignedto demonstrate, in partsone and two. the variations shown the figures used are Mostof improvising rhythmically. two bar figure can be Theyare connected togetherin solosin an effort to show how a one or turnedintoa longerphrase,

. 8 BARSOLOS . BASIC BEAT:

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CH APTERI I

BASICFIGURE:

in ChapterTwo is perhapsa little more up to date than the tigure in Thefigurerepresented ChapterOne.lt is usedquitetrequentlyin modernrockarrangements.

Thevariations shownhereare by no meansthe onlyones.Theyare merelysampleschosenat possible random. Thenumberof variations troma basicpatternarealmostintinite.Thestudentmust to develophis ownvariations. be encouraged

ALL FIGURES ARETO BE PLAYEDAGAINSTAN EIGHTHNOTEAND A SIXTEENTHNOTERIDE!

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CH A P TE RII P AR TIII RHYTHMIC IMPROVISATION

to demonstrate, in practice,the theoryol The followingarc a lew eight bar solosdesigned shownin partsone and two. improvisingrhythmically.Most of the figuresusedare the variations They are connectedtogether in solosin an effort to snownow a one or two bar ligure can be turned into a longerphrase.4, 8, 12 bars,etc.

However, The solosas theyare,are playable. in an actualmusicalsituation,the soloswould probablybe playedmuchlooserandwouldnot stickquiteas closeto the basicbeat.Howcloseto largelyon the musicalsituation. the basicfigurethe drummerstaysdepends

BE EIMPHASIZED! ANDTASTEIV]UST ABOVEALL ELSE,MUSICIANSHIP TO MUSICIANSHIP. IS ALWAYS SECONDARY TECHNIQUE

that all the solosmustbe playedwith bothan eighthnote Note:Onceagainit mustbe emphasized noteridegivesan entirelydifferentleeling anda sixteenth noterideon he righthand.Thesixteenth and soundthan doesthe eighthnoteride. Forthis reasonthey both must be used.

. 8 BARSOLOS BEAT: - BASIC

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WITHTHE RIGHTHAND CYMBALVARIATIONS is to changethe soundof the ride patternwithoutactually Thetirst stepto cymbalvariations the rhythmiciigure.Thisappliesmainlyto whenthe righthandis beingplayedon a closed changing in rockdrumming. that is usedquitefrequently highhat,a practice quitesimplyby openingthe highhatcymbalsslightly the soundcan be accomplished Changing for a shoritiire and then closingthem again.Whenthe high hat cymbalsare struckin a slightly openpositionthey ring a little,;nd in contrastto the normalstaccatoeJtectof a closedH.Hat, the durationof the notes. theytendto givea muchbroadersound,almostchanging O denotesan openH. Hat.

Note;X denotesa closedH.Hat. FOR EXAI\4PLE:

HEARD AS:

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are played twoeighthnotesof the bar(2 & ) in the aboveexample, Noticethatwhenthesecond quarter note heldinto a they were slightlyopenit soundsalmostas though withthe H.Hatcymbals the third beatof the bar. this practicecan be very use{ulin "re'enforcing"acBecause ofthe broadersoundproduced, centsplayedon eitherthe snareor the bassdrum.Forexample,i{ the H.Hatis openedslightlyon the secondandlorfourlhbeatsof the bar,alongwiththe usualsnareaccenta much"heavier",more to usethis deviceon everyaccent(EG:Every lt wouldnot be advisable definitefeelingis obtained. and with tasteit whenusedoccasionally 2nd and 4th beatof the bar for the entiretune)however, can be quitee{fective.

H. H

-t 75

CYMBALVARIATIONS WITHTHERIGHTHAND(Cont.)

By keeping the H.Hatcymbals-open for onlyoneinstead of two eighthnotes,a shorter,muchdifpractice ferenteffectis achieved. This is mosteffective whenplayedon the off.beateighthnotes(1& 2 & 3 & 4 &). Definitely not all of thesenotes,but onlywhenthey are in a positionso as to make somekind of musicalsense. Theseshorterlittleaccentshavea tendency to leadinto something else,therebymakingthem veryhandyto useat the end of a phrase.(1 bar,2 bar,4, 8, etc.)

FOREXAMPLE: By placingoneof thesecymballiguresat the end of a two bar phraseit tendsto givethe eftectof tinishingoff the onephraseandeitherleadingintoa newoneor intoa repeatof the oloon e .

Theyalsocomein quitehandyin settingup accents, suchas the usualoneson the 2ndand4th beatsof the bar.Onceagain,if usedto excesstheywill losetheir effectiveness. EG:

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WITHTHERIGHTHAND(CONt.) CYMBALVARIATIONS PAGES CANBEANDSHOULD ON THEPREVIOUS DESCRIBED THEFEWHIGHHATACCENTS TEXT. IN THIS CONTAINED AND FIGURES TOALLTHEEXERCISES BEAPPLIED By merelyvaryingthe soundof the highhat slightly'the {eelingand soundof a figurecan be This can add a little variety,and much musicalcolourand flavouringto cfrangedsubsiantiilly. effect,theseaccentsshouldbe appliedwith taste yourdrumming.For the bestpossible

The {ollowingare a few figurestaken jrom Chaptersone and Two, with the high hat accents addedto them. Note: For the followingexercisesthe cymbalrhythm,unlessmarkedwith an O, will be playedon a closedhigh hat. Onlythe notes so markedare to be playedon an openH.Hat.lf the note immediatelylollowingan open noteis markedwith an X it must be playedclosed. oo

EG: Bolhnotesp,uy"oop"n. *l

Secondnote playedclosed.

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77

WITHTHERIGHTHAND(Cont') VARIATIONS CYMBAL

HAND(Cont.) WITHTHERIGHT VARIATIONS CYMBAL rhythmpatternswiththe righthand,to ensure l\4uch caremustbe taken,whenusingchanging Moreso thanwithanyotherdevice rhythm is not disturbed. pulse original and feelingoJthe that,the place rhythm. care shouldbe takento make the ride {or changing in this text, thereis a time and surethe rhythmdoesn'tget too busy.

the of someof the figuresthat can be obtainedby changing Thelollowingare a {ewexamples played RIDE either the be on rhythmicstructureof the right hand.Most ol theseligures9an HIGHHAT.It a figureis moresuitable ORTHECLOSED THEBELLOFTHERIDECYMBAL, CYN4BAL, will besidethe figure' etc it be indicated ride cymbal, ol the , to a closedhighhat thanthe bell

Note: lvlostof the figuresare markedto be playedon the H.Hat(o'x ), Playthemon the H.Hat,then on the ridecymbaland on the bell. eliminatethe o and x markingsand repeatthe exercises

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CYMBALVARIATIONS WITHTHERIGHTHAND(Cont.)

* T hes e ex er c is c s o rc e s p e c i o l l y e ffe c ti v e w hen pl oyed on the hi gh hor

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Drum Coolcboolr byJohnPickering

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