Description
This exercise consists of 6 parts, to be played with both hands (R-L or L-R) on the snare and combining this with the bass drum and HiHat. When not read in the exercise the HiHat is always on quarter notes. Bar 1 – Right hand and left hand read quarter note triplets. Bar 2 – Right hand and bass drum read quarter note triplets. Bar 3 – Left hand and bass drum read quarter note triplets. Bar 4 – Right hand and HiHat read quarter note triplets. Bar 5 – Left hand and HiHat read quarter note triplets. Bar 6 – Bass drum and HiHat read quarter note triplets.
Commentary:
Reading quarter note triplets and having the beat sound clearly is not that easy. I have already mentioned the importance of reciting the figures and this is particularly important here. Recite eighth note triplets to control their location in the beat and the bar and place your strokes accurately (with confidence), and listen constantly to the metronome so that you do not lose the beat.
Play Back (Rod Morgenstein) Displacement – 1716 – E
Here you’ve got some musical backgrounds based on patterns of the great drummer Rod Morgenstein. As you may well have noticed, this pattern was conceived for the use of a double bass drum. Commentary:
4/4 Polyrhythm – 1736 – E
I prepared this base for a demonstration years ago, and the idea was to develop ternary concepts on this binary sequence. This effect usually reminds me of African music. Do not forget Africa!! For us, it’s almost a motherland. Commentary:
19/4 Amalgam – 1712 – E
Up to this section, we have been working at 4/4. From now on, we shall go on to other measures. There is a method of Bob Moses’s which I have found extremely useful for an understanding of this kind of measures: Bob Moses called it “reference point
