TABLE OF CONTENTS ETO DUCTIOI oss a ee ee 4 SECTION I — CYMBAL OSTINATO TIME FEELS . SECTION II — JAZZ INDEPENDENCE s‘ECTION III — LINEAR PHRASING Cymbal Ostinato Possibilities ............ Practice Procedures .... Fat-Back Exercises ee Snare Drum/Bass Drum Combinations oes Improvising With Snare Drum/Bass Drum Combinations Alternate Accent Possibilities .. Hi-Hat Exercises Snare Drum/Bass Drum Exercises ....... Hi-Hat Exercises . a Other Types Of Jazz Time How To Work On Broken Time - Two-Voice Harmonic Independence Three-Voice Harmonic Independence (various unisons) . Three-Voice Harmonic Independence (no unisons) Using Linear Phrases To Play Time . Basic Linear Phrases Using Linear Phrases To Play Solos... Extensions of Basic Linear Phrasing Triplet Linear Phrases . Linear Time Feels With sing gle And Do wuble Strokes oeeeocee eooce cecoe eoce eoc5oee Cymbal Ostinato Possibilities All of the exercises in this section are to be worked on using a variety of cymbal ostinatos. The most common cymbal ostinato rhythms are as follows: Ses oy meses pe) However, in recent years, a number of other rhythms have gained popularity. Among these are: ea Jee se 2 i [sa fae Ay It is important to understand that the cymbal rhythm, in and of itself, does not totally define the time. This is more a result of the figures that are played in the other voices (snare drum, bass drum and hi-hat). The more flexibility you have with these voices, the greater your chances will be for performing interesting sounding time feels. If, on the other hand, you only have a few independence/coordination figures that you can play against a given. cymbal ostinato, your choices are obviously going to be very limited and what you are going to wind up with is a fairly static ‘beat’, rather than a time feel. The exercises contained in this section will help in dealing with this problem and should be carefully studied and practiced.Ways Of Playing Cymbal Ostinatos Each of the cymbal ostinatos in the list on the previous page can be played in a number of different ways. For example, using 8th note time: Playing the ostinato on the ride I: | cymbal while playing the hi-hat on 2 et g "and 4. Playing the ostinato on the ride k — | ~~ cymbal while playing quarter notes on the hi-hat. So ae Playing the ostinato on the hi-hat. r 4 (The dots indicate that the notes are a Gees Rete ee ee ees Playing the ostinato on the hi-hat, (Beh eles feat opening it on the ‘and’ of 2 and 4. In other words, the idea is not only to develop a high degree of independence and coordination against each cymbal ostinato rhythm, but also to have many different ways of playing the ostinato itself. As a general rule, I would suggest working on at least four different versions of each cymbal ostinato. Since there are about twelve basic rhythms, this is going to give you a lot of possibilities. Therefore, I suggest you keep some type Of list in a separate music notebook of the various versions you have worked through. Use one page for each cymbal rhythm. On the front, organize your practice routine using an outline similar to the example on the next page.VERSION| FAT-BACK |SNARE DRUM/BASS DRUM] HI-HAT ecg ef WALD + Gre thew} IZING + Needs work ae ee alas -delog \2lao - OW ete. On the back of the page, keep a written record of any specific ideas you come up with. (For example, a certain sequence of figures that sounds good against a particular version of the cymbal rhythm.) After all of the individual cymbal rhythms have been worked through, I would suggest experimenting with various combinations. For example: pL pALELTT) ps Da a There are many possible combinations. Feel free to experiment with any that are of interest to you. NOTATION — The exercises in this section are notated as follows: _ Snare and Bass Drum Hi-Hat Only Snare — Bass — Hi-Hat poy HH 1 ‘The cymbal ostinatos are not written with the exercises. Therefore, you have to listen carefully to what you are playing in order to make sure all of the notes are being performed correctly.evovoce eoeeoe eo5vce eeoe ecoee eeece e Practice Procedures There is a definite practice procedure that you should follow when working on the materials contained in this section. The reason for this is the nature of the materials themselves. In each group of exercises, all of the possible figures are dealt with. In the context being used, there are no other figures available. However, no matter how well you can play these exercises, you still may not be able to play interesting sounding time feels because what these exercises do not cover is the virtually limitless number of ‘ways in which these individual figures can be combined and mixed and this is really how you are going to be using them. The practice routine that follows is designed to help the student in dealing with this problem and should be carefully studied. Step 1 — Pick the cymbal rhythm you wish to work on. (for example, straight eighth notes.) Step 2 — Decide how and where you want to play the cymbal rhythm. (For example, playing the straight eighth notes on a closed hi-hat.) Step 3 — At a moderate tempo, set up the cymbal rhythm and then begin working through the exercises. (Note — All of the exercises are two beats long. The same figure is to be repeated on the third and fourth beats.) Each exercise is to be repeated many times until it feels comfortable. Once this happens, move directly to the next exercise with no pause. Step 4 — Once all of the exercises are done, move directly into an improvisation using the same materials. However, in this case, you will be deciding which figures are played and in what order they are played. As much as Possible, try not to look at the exercises. Rather, think about the line you want to play.Basically speaking, the exercises serve as a kind of warm-up routine for the improvisation. They take your body physically through all of the types of figures that are available in a particular area and they give your ears a chance to hear each of these figures. Once this is done, their job is complete. It is now up to you to come up with interesting ideas to play. There are three final points I would like to make. First of all, when initially working with a given cymbal ostinato, I would suggest playing it in the easiest possible fashion. In other words, choose the version you can play the best. Then, after working through the materials a few times with this version, begin to experiment with other possibilities. Secondly, when working on a given group of materials, all of the exercises in that group must be done as a unit. Initially, it may take you 20 or 30 minutes just to get through the exercises. However, once you begin to learn them, it should only take 5 or 10 minutes to doa quick run-through. Finally, you should be spending at least as much time on the = improvisations as you are on the exercises. A balance between these two routines is essential for maximum development.Fat-Back Exercises Bass Drum On1And3 uy = 4 ak r— 4 si 7 tht 8. er 4 4 Sry : : af 1 ebyey d4 obyeyy+ 4 10. boy 11. hepa 12, beet wheter A ashe 4 Bass Drum On2And4 16. f:-# A 4 wepe—i dy 19. —T, 17. jt b2 20. apyCombinations Of Bass Drum Figures J 23) rT geet al ph Fi, 24). r J toy JA lhe sefey Ty : ty eh + tr 4 ot try dE ih pe eg ; a (ec ; ; " ta ta sag pers tere Thyra Je Py ct 7 py ryCombinations Of Bass Drum Figures (continued) pepe ty th 33. herr Jie, a deer ey: ery ag L fs ath bey TA ery Ay ore tote 4 coy Tt roy “| 36. |: eer 37. [= terre") rey Heres? 4 a eee ee ss”Snare Drum/Bass Drum Combinations 1 pt 4 apie it terrve | 3. pea peed te ge pjfir fy Bees tp gd, pe op TT pF) 4, Mo 4 Ay opts tts dese rt lat ed capete tele lt op Ss Bg Dy Ey mp FT) pe eg A A A A) oy TySnare Drum/Bass Drum Combinations (continued) we, £3 ATS 4, erat Ty A, Tih Fg Ey Fy Woe oy Fay Ca, PAA, (of: lg Fe ly gy 28. g TOT gy AL, = 5a, Sy Se ey ATT Fy Fe, Py | ian aay a a, 16.coeee ecocee eoccee coeee eccee coeee Improvising With Snare Drum/ Bass Drum Combinations When initially improvising with the linear materials, there is one particular routine I suggest you experiment with. Basically speaking, the idea is to pass various phrases back and forth between the two voices. You can either repeat the same phrase or use two different phrases. pe : 4 iJ ete. The purpose of this routine is to make sure you have good control in each of the separate voices. After working through this routine, you can spend some time improvising in a more traditional time functioning fashion. Normally, when cymbal ostinato time feels are played, a combination. of Fat-Back and Snare Drum/Bass Drum Linear materials are used. In other words, there is a basic two and four accent happening, but there is also other activity (unaccented notes) in the snare drum part. > ~ a > The main technical problem here is getting good balance between. the accented and unaccented notes. Basically speaking, the unaccented notes in the snare drum should be at the same level as the cymbal notes. Having the correct balance between these two voices is essential if the time is to have the right feel.eecoeee eoece ° eoee eecoe eoee eoecee ee Alternate Accent Possibilities There are many accent patterns other than two and four which are used in rock-time feels. One of the more common types of situations involves substituting either the ‘ah’ before the ‘e’ after a normal accent point. > Fh Another common substitution is the AB ‘and’ of two or four. Cf i re A There are many different linear figures that can be used to develop such accent lines. Some of these (as in the examples above) have the accents on single strokes. However, other figures may have an. accent on a double or triple stroke. > SHEA py > Ea FT, Accenting the first note of a double or triple stroke is no problem, but putting accents on the second or third note is technically more difficult and will have to be carefully practiced.Hi-Hat Exercises Hi-Hat Only J —1 —4 afb bq spb. y afpe—h+—by sf 4 off aT ak Aly Fly of Gy Fy 10} Fs Fy an. pS y 2} FOLAG is} FAA 14, LSS FRY 1s,.-55oFRRY: Combinations Lea A. fas fi aA af Fi. 4 Oy yo » i. SeHi-Hat Exercises (continued) apy, ¥ le ge Bee Bay x4 iD gigs Fs Pye 4 ha] afi Fis laa 5 ’ Pal x1 | 4 ; aaa HHo A8a. 9a. f= pf AT g FTF 3 #4 HHH OO p BY Hu Bo 1 BBE ee f I * ' | I / 4 PaesHi-Hat Exercises (continued) 9d. £. WaerrasrrHi-Hat Exercises (continued) ATE y FA qT Ty | FTES TTeocee cooee eccece eeooe coeee eecoe SECTION II — JAZZ INDEPENDENCE The materials in this section deal with various types of independence and coordination in relationship to the basic jazz ride cymbal rhythm. e . PUG GI | The materials are organized into four parts: Part 1 — Linear Independence Part 2 — Two-Voice Harmonic Independence Part 3 — Three-Voice Harmonic Independence (with unisons) Part 4 — Three-Voice Harmonic Independence (without unisons) The exercises contained in these parts are divided into various groups, each of which deals with a certain type of independence- coordination situation. When working on a given group of exercises, follow the same general practice procedure as described for the cymbal ostinato time feels (i.e. practice each exercise separately at first, then move directly into an improvisation using the same materials). In playing exercises that do not involve the hi-hat, I suggest using it in the traditional manner (on 2 and 4). Therefore, you will be Playing ostinatos in two limbs: HL In exercises involving the hi-hat, only the ride cymbal will be performing an ostinato. All of the exercises are one beat long. However, when practicing them, they should be played on all four beats. 2 2 | Written asx) sprayed as: = As in the previous exercises, the ostinato parts are not written with the exercises.Snare Drum/Bass Drum Exercises Snare Drum Only up 4 2h by 3h; Seley aft 4 apy we ey Bass Drum Only ay.) J Oe by | 10.» Pf 1p)» 4 rey) 134-1 Jy 144 TJ Combinations np l Legg icy play lps ly. Cy mpg Mg, mpg Ty lDyHi-Hat Exercises Hi-Hat Only Lp pod Af pad of aa SRS eS SS Snare Drum and Hi-Hat ple gl] gee np JT) gS g ST, Bass Drum And Hi-Hat sp Og LY wp Ty Ty Ty Three-Voice Mixtures 17.| 18. Ty tT, 19. JT] flee eee eoee ° ® ° ° eevee Other Types Of Jazz Time There are basically four different ways jazz time can be performed. They are as follows: Straight Time - Ride cymbal playing the traditional cymbal pattern with hi-hat on 2 and 4. (This was the form used in the preceding snare drum-bass drum exercises.) Semi-Straight Time - Ride cymbal playing the traditional cymbal pattern. Snare drum, bass drum and hi-hat all hhave free parts. (This was the form used in the hi-hat exercises.) Semi-Broken Time - In semi-broken time, the hi-hat is again playing the 2 and 4 pattern, but the ride cymbal is varied. Broken Time - In broken time, there are no ostinatos. The ride cymbal is varied and the other three voices all have free parts. In a general sense, these four versions outline the basic historical progression that has taken place in jazz time functioning. Traditionally, the ride cymbal and hi-hat were always kept constant. The snare drum and bass drum were the only voices available to perform other figures. However, by the beginning of the sixties, a lot . of people were starting to experiment with using the hi-hat as an additional voice, rather than a time keeper. During this same period, the concept of breaking up the ride cymbal rhythm began to gain. Popularity and these same trends are continuing today. Basically speaking, the direction has been toward a looser, more flexible type of time playing. In other words, rather than developing the time through the use of repeated ostinatos in certain voices, it is the result of a mixture of ideas which are constantly changing. I want to make it clear that this in no way implies any quality judgment on a certain type of time. Broken time is not better than straight time or vice versa. They are simply different. Besides that, you will undoubtedly play in situations where different types of time are called for, so the more flexibility you have in this regard, the better off you are going to be. Finally, it should be understood that there are many gradations between completely straight and completely broken time. Most drummers these days actually use a mix of materials from both areas and this is probably what you will find yourself doing. ceoe eoceeecce eecoe eccecee eecce eoeoe eoeee How To Work On Broken Time All of the preceding exercises (as well as those that follow) deal with the two types of straight time. Broken time must be worked on from a different standpoint. I would suggest using the following approach: 1. Experiment with semi-broken time at first. The hi-hat will be playing a 2 — 4 ostinato, but the cymbal rhythm will be broken. Four different figures can be derived from the basic ride cymbal pattern: z. 3 ceed Repose © Mee owenh The idea is to keep changing the order of these patterns to get a constantly varied cymbal line. 3 2 2 3 3 BLY G {dt flys z ote g g z cf ee Once this begins to feel comfortable, start adding the bass drum* and snare drum, using the same types of figures you would in straight time. However, in this case, since the cymbal rhythm is changing, the relationships between the various limbs will also change. ®. Gradually, you can move into broken time, eliminating the hi-hat ostinato and using it instead as another free part. More than likely, there will be a lot of connections between which cymbal rhythm you are playing and which figures you play against it. In other words, rather than being independent, the various voices are working in coordination with one another. (Hypothetically, you could have independence with constantly changing figures in all of the voices, but this is extremely difficult to do and is a very long range goal.) These methods should be incorporated into your daily practice routine. The idea is to be working regularly with both straight and broken types of time. Eventually, they will begin to blend together and this is probably how you are going to be using them.Two-Voice Harmonic Independence Snare Drum And Bass Drum Unisons pay tp ty Speedy L ep op EE Combinations + $ “Ee aH tty oo} t bg lene ccd dons Eel Ek % 33 = i? ee é, Hp Bs HiSnare Drum And Hi-Hat Unisons ppoey tpg Spo “Hee ply op ee, Combinations lls g Os, opted gS) oo OD, HH Epis 5 rT pT wT f Diy Cy Gd ny) vd 412. pr 13 > bd ppl geld geld ues Thy fT “Eyles ee pyre 19. erg dt gered, 20., d+ Sgt af a apeBass Drum And Hi-Hat Unisons ee 5. i i co Ue Combinations 1A oe apy e ¢ [- & % + 3 3Bependence Three-Voice Harmonic Ind (various unisons) Drum Unisons bie bap heap tana Lpprr deeper pepe dete dp dg deegg sibpetega dpe tlps tip tty She tlt the Pet ay nies sesh nfs aH nfs faa fha Apa Es Fis Fiery ap oaSnare Drum — Hi-Hat Unisons wipsogupegpedrediislin ssepeeetpeeponapetieedy ipeupenpepeehBass Drum — Hi-Hat Unisons ste laa fie 1 can + i? ngs fae fy ape mp ipa RL ep TS “ep pa a eye deae elie "eeepnedenay ia ei aniThree-Voice Harmonic Independence (no unisons) Two raea eee Two iInSn: qld yp eed Seana | ce jb 2 fe td Hs y io mee = kee tg eae fu Cf TwoIn Bass Drum rey | ct ae cs if ch “Ee re i hee © Pit Ie EE [E Ee Kt u ct he [f IE ae iS Two In Hi-Hat Ch | Lf ne tee . “ea th nea Ey tt * +h | a4 ch [—Two-One Ratios Two One In Hi-Hat AAT ey i f “be He : One In Bass Drum fissile. eH sf OneIn Snare dap atedapeiene wisps ate eedi eas duped ap edadThree — Two—One Ratios sae ee “aes Be a asaseee Deh Three In Bass Drum Pan ihipadny p An a 8 PS 3 Fy 8 4 ey A ttt tits HHP “eet Sep MEd aa, Papa pe ip ¢ e In Hi-Hat iso p | “on BE AH he sep Hh med : Thal Hap 4 HaOTHER RATIOS Two-Two-—Two Ratios “hE 2. edd 4ooo ses 5 evesee eevee eoeeeed ese2eed SECTION III — LINEAR PHRASING The term ‘linear phrasing’ refers to the idea of developing musical phrases through the use of single line figures. In other words, all of the notes are played individually. The phrasing is the result of which voice is playing which notes as well as where these notes are being played. ‘The first set of linear groupings we will be examining consists of single strokes in the hands, with either one or two notes in the foot. . Seige 9: eoeeae 7 eel) kL RE RLALEI 4 es. Sees: ee) 2). RL LB & RLBLRL In the figures above, it can be seen that the odd groupings contain one note in the bass drum, while the even groupings have two. It is important to understand that these groupings are not rhythms, but simply groups of notes. What we ‘will be doing is taking these groupings and finding ways they can be used in various rhythmic schemes. . For example, a group of eight sixteenth notes could be played with a matching linear group, either two fours or one eight: pee Ce However, the same eight notes could also be played using a combination of the three and five note linear figures: A FT pele wie Nala at This is the basic premise behind linear phrasing. By expanding on this concept, you will be developing a wide variety of ways of phrasing the 16th notes and this same technique can be used with other rhythms as well.ees eee woes ee : eos osee eee ese ee esos Using Linear Phrases To Play Time Using the method that we have been describing, there are about forty phrases that can be made from these basic linear figures. In this section, we will be examining how these phrases can be made into time feels. The process that is used to do this consists of.a number of steps. For purposes of demonstration, I will use the linear 8-note figure. Step #1. Play the pattern as it lays, using the right hand on the hi- hat, left hand on the snare. SEES Ea ESL RLRLRL RLRLRL Step #2. Accents. Since most rock time feels have accents, we need to get some into these phrases. You should try to have a few different ones for each phrase. For example: a. Accenting on the ‘ah’ of one. RLRLRL RLRLBL b. Accenting on two. (Right hand comes over from hi-hat) EEO 6 RLRERL RLRLRL Step #3. Embellishments. Once the basic accents are in place, there are a number of different things you can do to embellish the phrases to make them more interesting. One of these is to double up on some of the notes and play them as 32nds. (When doing this, the sticking does not change. You simply replace the 16th note single stroke with a 32nd note double stroke.)a. Doubling the first note. > > To Sao po { RRLRLRL RRLRLBRL b. Doubling the second and third notes. Fs RLLRRLRL RLLRRLRL Another type of embellishment is to open the hi-hat for a longer sound. + + oo Sie RLRLRL RLRLRL These embellishments can then be combined and mixed to make a longer phrase. RLRBLRL RLRLRL RLLRRLRL RLRLRL This is the basic process that should be used on all of the linear phrases. Simply put, you figure out a few basic accents for each. phrase and then add some embellishments to make it more interesting. What this means is that you will have a number of different ways of playing any given linear phrase, so that when you use it in performance, you will be able to adjust it to specifically meet that particular situation. It is important to remember that when initially working on. these linear phrases, the sticking should always remain the same (ie. all finrres start with the right and use singles). This will make it easiereeeeeoo eereee eeseee ese es o86 eeeree Other Possibilities As you work your way through these phrases, there are some additional possibilities that you Tay want to experiment with. One of these involves stepping the hi-hat in place of the bass drum notes, which can result in some interesting lines. Another option would be to move some of the hand notes to other drums and cymbals, as opposed to always keeping them on the snare and hi-hat. Feel free to experiment with these as well as other possibilities.Basic Linear Phrases A. Two-beat Figures (repeated to make one measure phrase) b. 5/3 S/BN Re Poa ey B. One Measure Mixtures Of Above 4a. b. Ba. ee eae __4/s/4 er ePa/8be > 3/3/8/B _8/8/3/3 SS Poon, foe a poo Aor Ao ay6a. b. c. a. e. £. Ya. 8/8/38 8/3//8 5/8/s 8/3/8 3/8/58 3/8/8 4/4/3/8 4/4/8/5 4/3/4/8 _4/s/a/3 ___4/3/8/4 4/8/3/4 poo SE A ay LL Se ay Po SE oS, jroo i,zg —__3/4/4/8 h. 5/4/4/3 4 S8/A/B/ a 5. SIS C. Other Measure Phrases 8a. B/G IES 3 b. 6/416 c. 4/6/6 9a. eeb/ S/n: bey a O/B 6/5/8 pone AA A Sy po Ao To Sy pe SLT Ty ie iy ao Po AP Ty10a. ee a. £. lla. CUS fagr es ass _S/7/4% i BIASES 4/7/85 4/8/7 7/6/8 eis eee. fee sees O/S LCE: ___s/tle ee SS/O ene poof oo, pon Ay panna, poo A a, Oooo, pra aaT ly were reer Eee ae 4 pao fo Sey oe ey pon Ana ~ooA Ao oy,® ee. eu ee eoe. eee. o 8 Us: Linear Phrases To Play Solos ‘The linear phrases that we have been working on for time functioning can also be used to develop solo ideas. What follows are some basic suggestions as to how this can be done. Each of the linear phrases should be worked on separately at first. This should be done in the context of some time scheme. For openers, I would suggest using one of the following: Play 5 measures of time — followed by — one measure fill Play 2 measures of time — followed by — two measure fill Play 4 measures of time — followed by — four measure fill In the fill measure(s), you are going to be working on various ways in which the figure can be played on the set. The goal is to develop as much flexibility as possible with the figure. It is very much like a horn player learning a chord scale. The point is not simply to learn the notes of the scale in a specific order, but rather to develop enough flexibility with those notes so that they can be played in any way. In our case, we are not rearranging the order of the notes, but where those notes are played. This in turn has a, lot to do with what the musical idea actually sounds like. In working with a given pattern, there are a few general ideas I would bear in mind. First of all, most drummers tend to begin. all their ideas from the snare drum. When working with these phrases, you should definitely make it a point to start some of the ideas in other places Another problem has to do with motion. The type of circular, parallel motion that most drummers use in moving around the set can definitely be inhibiting in many respects. Therefore, I suggest spending some time specifically on playing ideas that involve other types of motions; either contrary (where the hands are moving in opposite directions) or oblique (one hand stationary, one hand moving). The use of such motions can definitely aid in the development of a more musical style of soloing. In initial stages of practice, I would suggest working at a moderate tempo and using a medium level dynamic (around mf). Concentrate primarily on getting good balance between the instruments that are being played. (Additional musical considerations will be dealt with at a later time.)eovece eoccee 20206 eoee vere e2oe eves Extensions Of Basic Linear Phrases The basic linear phrases that have been presented can be modified and expanded in a variety of ways. The following are some suggestions concerning these possibilities. 1. Various phrases can be combined and mixed to develop longer ideas. This can be done by using different versions of the same phrase or by using entirely different phrases. Experiment with both types of situations. 2. Dynamics can play a very important part in helping to shape musical events. Having the control to use a wide variety of dynamics is an invaluable aid in drum set performance and should be carefully worked on. (A number of dynamic exercises are included in the first part of the book, RHYTHM & METER PATTERNS. These exercises will help develop the technical skills necessary for good dynamic control.) 3. Space is another musical element that can be used to expand the basic linear concept. In other words, rather than having a constant stream of events, the ideas are played in a more broken fashion. ee Te When using space in this manner, the individual phrases tend to get broken up into smaller units. Although this may take some time to get under control, the musical potential makes it well worth the effort. 4. Finally, it should be understood that in most playing situations, the idea is not to use linear materials exclusively, but rather to mix them in with all of the other types of things you do. As you become more familiar with these materials, you will begin to notice this happening and this is really the main goal.ereves oe 208 Triplet Linear Phrases The following list represents the basic phrasing possibilities for triplets. The individual figures have not been written out, since they are the same as they were for 16ths. A. Ywo-Beat Figures 1.3/3 2.6 B. Four-Beat Mixtures Of Above 3a. 3/3/6 vb. 3/6/3 ¢. 6/3/83 C. Other One Measure Phrases 4,4/4/4 Ya. 5/4/3 Ba. 8/4 b.5/3/4 b. 4/8 c. 4/5/35 6a. 7/5 4. 4/3/85 v. 8/7 6. 3/4/5 £.3/5/4 He These phrases can be used for soloing in jazz time. Many of them i also work well for setting up regular or half-time shuffle feels. “xperiment with these as well as other possibilities. D. Two Measure Mixtures 8a. 8/8/4/4 b.4/4/8/8 0. 4/8/8/4 a 8/4/4/8 9a. 7/7/8/8 b.8/8/7/7 0. 8/7/7/8 4. 7/5/8/7 10a. 8/7/5/4 v. 8/7/4/5 c. 7/8/5/4 a 7/8/4/5 e. 5/4/8/7 £.4/8/8/7 6.5/4/7/8 h. 4/5/7/8 1.8/5/7/4 5. 7/4/8/8 k 5/8/7/4 1.4/7/8/5 m. 8/5/4/7 n. 7/4/5/8 0. 8/8/4/7 p. 4/7/5/8 E. Other Two Measure Phrases lla. 7/7/7/3 bv. 2/7/3/7 0. 7/3/7/7 4. 3/7/7/% 12a. 5/5/5/5/4 b. 8/8/5/4/5 c. 8/8/4/8/5 a. 8/4/5/8/5 e. 4/5/5/5/5op ly 4 op Tg Tis Examples Of Li ax Time Feels With Singles And Doubles The preceding figures can be combined and mixed in many ways to develop various time feels. The examples that follow indicate some of the basic possiblilites. #)— The actual phrasing of this line is 4-3-4-3-2, > = = a LoL oa, #2 —The phrasing is 3-3-2-4-4. (Notice the open hi-hatonbeats3 . and 4.) > After working on these examples, begin to develop your own ideas. Asa general rule, I would suggest starting with the cymbal rhythm. In other words, decide what the cymbal rhythm is going to be for the entire phrase and then fill in the other voices. (The exercises are actually hased on varians evmhal rhuthme enthicLinear Time Feels With Single And Double Strokes The following exercises represent another type of linear phrasing. In this case, double as well as single strokes are used in allthree voices. All of the cymbal notes are played with the right hand. The left hand plays the snare drum notes. Each pattern should be repeated many times until it feels comfortable. Then move directly to the next, with no pause. (Additional suggestions will follow the exercises.) (mo cym) apy 3 WT 1 4 5.| a 6 8: