ADVANCED DRUM IDEAS by Mike Richards Notation used in this book: 3 = 2 = : 4 — 2 * — = * = = = = zt = | snare bass tom tom tom cowbell Foot __J | pI ————— ———————— — hi hat hi hat 2 hi hat WF ride rim click Edited by Catherine Richards= = Rp EE HE FSF fF FS FF FES el CU! This is an exciting and versatile technique which can be used to create some very interesting patterns, fills and solos to expand your musical options in a variety of styles. At its most basic level the Repercussion technique involves the lead hand playing a pattern which is duplicated by the other hand a quarter note later, creating an “echo" effect. As you progress through the Repereussion section you will gradually develop patterns and fills which will improve your control. co-ordination and musicality. See how the technique works by playing the following simple pattern. Try to focus on the "echo" effect produced while playing the same rhythm a quarter note later. The following are a small but effective number of Repereussion ideas which have been useful to me - of course feel free to create your own patterns which will help in the development of your musical voice. * Remember to start every example slowly and aim for a solid and relaxed groove. * Play all unaccented notes as ghost notes. page 4A. Funk and Latin Let's tackle each pattern in this section in three stages:- 1. Learn the basic rhythmic pattern. 2. Move to two hand Repereussion. 3. Add other limbs on different parts of the kit. NO ® track1 my.) PAE — £ — = This beat has a nice Charlie Watts type feel to it- St NO2® trock2 SSake se & & af = ae [aE = Track 3NOS® tracks 7 —— re |BREBEBEHEEHEEHBEEHREEHEEHE i EBHEEREEES SB SS MOB tracks, * —, ee SSS ee z = 3 3 3 _— J Hoa) =% 1 1 _| 2 ee 3 3 > 3 =e > 3 3 No4® track 10 2. 2 | i | a ee oe —— rs 3 3 | J 4 | gf [ps 3 : —s > — >! = a - é : - “ot erae aS SS SF SS Ss ss = 6 The Reperecussion technique can be used to create some unusual solos and fills while developing co-ordination in a musical manner- MOL® tracku ee ee = se 2 2 4 — 7 Here's a melodic fill idea which can also be used as a song intro. It's a little bit tricky so remember to start slowly- page 11a The Repercussion technique is a very versatile one and patterns can be orchestrated on all parts of the drum kit and in different time signatures. Here are two ideas in 3/4 time which sound a little out of the ordinary- NOL® track 14 = a a = a a NMO2® track 15 ys SSS SS bye tt _ _ a — > z > 3 > 3 Here is a jazz idea in 5/4 time- NOB® trackis 3 | fF pfavine ar, | pe 7 = ——s —_ 3x — d a4 d_ < ¥ _| r —F page 12Here is a pattern in 6/4 which works well at a medium tempo- NOF® track 17 = 4 SS Se And, a funk idea in 3/4 - NoS® track is SS eo a SSN oe eg > Finally, when using Repercussion techniques always make sure they fit the musical application you are playing in. Think of Repercussion as a supplement to your regular drum set ideas rather than a replacement. It's very important to tape yourself practicing so that you can listen back and correct any inconsistencies such as errors with timing. Use a metronome or drum machine to develop accurate timing. At the end of the day the whole idea is to experiment as much as possible and create something that has never been played before! page 13ae nenmHe He Fe se & & Focus on Hi hat The hi hat is an important and versatile part of the drum set and its use is often underdeveloped by many drummers, One way of improving your hi hat foot while obtaining a different sound and texture is to play 8th and 16th note patterns with both your lead hand and hi hat foot. This creates a subtle and interesting variation on the standard forms of hi hat work. A. Sth Note Grooves Take the following example of a standard 8th note pattern- NOE® tracki9 ee SSS Ss > By playing the 8th notes between your lead hand (on x-hat or ride) and hi hat foot you can achieve an interesting variation, First become comfortable with the next example, making sure the hi hat played with the foot is clearly audible. NO2® trackz20 Practice Number 2 until you are totally comfortable at slow, medium and fast tempos. In the following pages the technique with 8th, 16th and triplet notes will be further developed. page 14J ReGaBeoateEREEE ESE & HE & Now let's try some syncopated bass drum variations. Remember to start them ina slow and relaxed fashion- NO3® track 21 If NOF® track 22 === NOS© track23 > 2 nit =o 3 MOG® track 24 e—_—_— =e + + MO7Z® track 25 —_—-" x a> im ‘ a a 7 a x! NOB track26 =a — SSS Fa ao == foNO9® track 27 = — x = 3 2 = = = NOLO® trackze NOLEO© track29 To finish off this 8th note section let's try a funky groove in 3/4 time- NOl2® track30 page 16re NOG® track 36 9g —i—¥ a el = — = NO7F® track37 2S ee SSS . i oa Here's a variation in 3/4 time- NOB® track 3s === ES * e — = * Now for a 7/8 groove which sounds great at a medium tempo- NO9® trock39 3S = = — % ~—— i Finally, a more syncopated 7/8 pattern- NOLO® track40¢. Triplet feels Now lets take the idea one step further with some triplet patterns- Mol® track a : : oa 5 NO2B® track 42 Z 3 , =: : x = # —s _ =e = SS £ NOB® track43 NOF® track 44 BE m tH Practice this next one at slow to medium tempos as 16th note triplets with the hi hat foot can be tricky! NOS© track 45 3 3 3 3— — a SS ) lc A.The Mozambique Here's one of my favourite Cuban rhythms, the drumset Mozambique, which is based on the basic Mozambique timbale rhythm. I find this rhythm to be very versatile and it can be used in many different styles- Here is the basic two bar repeating pattern- MOL® track50 . dd a rdd iid Td 2 4 = = = ror fe By playing Number 1 with a swing/triplet feel you can have a great sounding Elvin Jones latin/ jazz groove, by adding a quaver on the fourth beat of the first bar. Check it out on the CD. Now let's add some extra spice by playing the 2/3 rhumba clave with a left foot mounted cowbell (or hi-hat foot)- this one can be difficult at first so start slowly- NO2® track 50 Jip DOO = = == — = mF Ft FH t Now let's add a backbeat on 2 and 4 with a syncopated bass drum pattern which works great for latin/rock feels as well as Las Vegas type show tunes- NOBO track 50 > = = > a re d Fl. dr Ja Ta 2 = —— a aa Make sure you can play these Mozambique grooves with a relaxed and confident feel before moving on. Next we will be looking at some contemporary sounding Mozambique ideas which can be used in funk, pop and fusion playing. page 22Came HEHE ET He ES Ee Now we are going to look at some contemporary ideas which I have developed in the manner described on page 21- Remember to play all unaccented notes as ghost notes and snare accents as rim shots... NOF® track51 > 0 NOS© _tracks2 a a >_o NOGO® tracks3 > NO7® trock54 As you can now see you can take the germ of an idea and with some imagination and effort turn it into something that's special and yours! So now you can create some unique Mozambique patterns of your own. page 23This is a form of music and dance from the north eastern region of Brazil. The rhythm of Baiao has influenced countless styles including jazz, rock and fusion, I love using this rhythm with accoustic jazz groups where I also combine it with other rhythms such as Samba to create hybrid patterns. Noi and No2 are examples of traditional Baiao and should be mastered before moving on- NOL® track 56 MO2® track 56 Tr ost Let's create some contemporary sounding Baiao grooves by using some simple sticking patterns which we will later organise around the kit for maximum effect. First learn this sticking pattern... NOBO® treck57 RL LELRLELL RERLLRLELEREL Qa ee Ss Now let's go one step further by adding the Baiao feet pattern on the hi hat and bass drum- NOFO trock58 RtLELRL LR ERLE LRLELERE Rane DAWhen you orchestrate the sticking pattern on the cowbell and hi hat you have a very funky Baiao groove- NOS©® track59 RLLRLELLRLERLELLRLEUOR EL = a SS NOG trock6o t= id Tt — ™ NOZ® tracker RLLRLELLRLELRLELL RELELeReE z 1 ee 3 2 a hE NOBO trocko2 RLLR LLRLERLELLRLELUe,L page 25Here is another interesting sticking variation which further develps the contemporary Baiao groove- once again learn the new sticking pattern and aim for precision in your playing... NO9® track 63 RRLR RLERLERRLERRLERE Once again let's add the Baiao feet while playing strong accents... NOLO® trocko4 RR LCR RLRLERRLELE RRLERE Here we orchestrate the sticking between the cowbell and snare drum. Make sure the ghost notes are played softly while the accents are played as strong rim shots- NOLES trackos ROR LRRLERL RR LE RREREL Finally in this Baiao section we add ride cymbal and tom toms... NOL2® trock 66Cascara refers to stick patterns in traditional music from Cuba. The basic Cascara pattern is... NOE® track67 By playing the Cascara pattern (in the form of accents), in a group of 16th notes we have a very useful drum fill/break... Track 67 & 68(?) —— —— ee : = In the following Cascara examples the lead hand plays the Cascara pattern while the other hand plays a variety of rhythms on the snare. rim. Let's start with the 2-3 and 3-2 clave rhythms: the clave is the base for all Afro/Cuban music and whether played or not, it is implied throughout the music... Here the 2-3 clave is played on the snare rim and the cascara pattern on the cowbell... NOB track es = eet = The 3-2 clave is now played on the snare rim and as the clave direction has changed we must now turn around the Cascara pattern on theT love to combine the Cascara and clave patterns (in this case the 2-3 clave we have already learned), with a tumbao bass drum pattern- this is @ groove that definitely makes you want to dance... NOS© traci By combining the cascara pattern with the tumbao bass drum pattern and a strong backbeat on Zand 4, you have an unusual sounding pop beat.. MOGO trock72 d J x 3 x 2 x 3 , = : = —| SF It can be great fun to mix rhythms from around the world to create a fusion or hybrid pattern. The next three examples have Samba rhythms on the snare drum which in effect fuses elements of Cuban and Brazilian music... NOZ® track73 sa 2S =e MOBO trock7s + a +r T Let's add a standard Samba feet pattern to end this cascara section... MO9® trock73 4 P44 T= E SS a Page 28Songo is not a drum rhythm per se but a style of music invented by the cuban band "Los Van Van", whose drummer percussionist was Jose Luis Quintana, (aka Changuito). It is worth noting that Songo rhythms were first created on the drum set as opposed to hand percussion instruments. Here are some basic two bar repeating grooves in the Songo style... MOE® trock74 NOB® track 74 Z NoF® track 74Here are some Songo fusion variations in the style of Joel Rosenblatt, Horacio Hernandez and Dave Weckl which sound a little more aggressive... MOS©® track75 This next example applies the Repercussion technique to songo! NO9® track 79One very popular way of spicing up the Songo further still is to add clave rhythms with the hi hat foot (or left foot Cowbell), which creates some very challenging and exciting patterns, Three masters of this are Walfreydo Reyes Snr, Akira Jimbo and Horacio Hernandez. Once again these patterns are not easy, so start slowly after first becoming comfortable with the clave being played by the foot. (A good warm up exercise for this can be found on page 35). In the next three examples the hi hat foot plays the 2-3 rhumba clave... Nol@® trackso 3 wea ae = eq = x > = fT — as To conclude this Songo section we will play a variation which sounds good in rock and pop because it has a Strong backbeat on 2 and 4... a 8 A fel ] ' NOE2® trocksz page 31Soca originated in Trinidad and Tobago and combines soul with calypso. In recent years Soca has been combined with many styles including jazz, funk and latin. As in previous sections we will take the basic pattern and develop it through several stages. Here is the basic Soca rhythm... MOTO track as No2©® — O FF 7 = z F TT F r NO3B® trockss fia to | > MOF! trocks3 RLLRLELER RL LRLLR, NOS© track a3 LRRLRRLRLRRLRRLEROstinato Ideas Ostinatos are a Constantly repeating rhythm and I enjoy using them for warm ups, solos and for creating very percussive, full sounding patterns. The following Pages have some exercises which are great for developing soloing ideas as well as independent co-ordination practice, T would suggest practicing No1 with various ryhthmic figures on the snare drum, starting with whole notes, half notes, quarter notes etc. The next step I undertake is to create musical phrases (not necessarily difficult), around the kit as in the rest of the examples. As detailed earlier in the book, when I discover an idea I like I write it down on some manuscript and file it away: the following exercises for example, are drawn from my files from 1996... First practice this hi hat bass drum ostinato- NOL® tracks4 aE ] Dp = Sj et Se ee NO2® trackss > > > po OS ep NOB® trocks6 = = SS al page 33MOF® trocks7 > Soe 24S SS SSS NOS® track ss p—s 2 FI MOBO Track ss => = _— ¥ = + = 5 SSS NO7Z® track90 . J co me: = {So = . — Sa MOBS tracksIn this section we are going to look at a basic triplet ostinato which is fun to solo over in jazz and shuffle music, But remember my patterns should only be the beginning- create your own examples... Here is the basic pattern... NO9® tracko2 SSS oo NO1O® tracks3 2S : = See ea NOLES tracko4 Ca * z 3 3 Serer ne| — rE | ———— Ss ee eS ee 3 3 3 3 NO12© track95 > 3 = > No13© Tree 36 2 = ee cia 3 page 35 a eee ee r=This page has my favourite warm up/co-ordination exercise which involves playing the 2/3 clave and tumbao bass drum pattern with the feet while playing various simple figures with the hands. I have written five very basic examples but why not aim to play anything you can imagine over the top! NOE4O track 97 | 3 = Z = = = SSS . 4 NOIS©® tracko7 — — SS “SOS fr + NOIGO trock97 2S SS = 2 0 EE NOEZ® track97 3S —— — —s co NOIBO trcx97 Ss aay _ = Of fF Once you become familiar with the above patterns try some more difficult ones such as those heard on the following demonstration, but remember this type of ostinato is hard, so take your time to develop your technique and before too long you could be a clave monster! MO19® tracks8 Clave Demo page 36