Autor : cdya Pedidos : cdya@fibertel.com.ar Songbooks , Metodos, Clinicas, Mp3’s , Videos y Softwares Musicales. Todos los Instrumentos. Solicita el listado completoa cdya@fibertel.com.ar Envios a Todo el Pais por ContrareembolsoContains: Linear Playing - Jazz & Rock Styles Melodic & Harmonic Coordination THE PATTERNS SERIES The four books contained in the Patterns series have been designed to help students in developing an awareness of the types of materials currently being used in contemporary drum ‘berformance. Throughout 4 the books, many suggestions will be made concerning how these 4 materials can be.applied to the drum set. Students’ should feel free to experiment with these possibilities, as well as any other ideas that they may come up with. . It is important to understand that the pooks are not. sequential and can be worked on in any order. Also, it is not necessary to complete one pook before moving on tothe next. The various topics that are presented can be worked on in whatever order is the most appropriate for the individual student. - RHYT: AND ME' PATTERNS - Deals with a comprehensive a metric materiais, including such things , mixed meters, metric modulation and CTIONING PATTERNS - Focuses on time functioning, $ in\poth the jgzz and rod! careas. Topics include ¢ al ostinatos phrasiig,as well a: meloditand harmoni¢jaéz coordination. . on / # PATTER - Cont f mateNals t are designed to developing /basit technical skills.) Includes: a wide well as materials for the feet. Leen 9 00007 é “all Rughts Ragerved . & . ae Distibution by OPABelwin, ine, iam, FL S5O1S jon Coordi stor: Sonja PoormanABOUT GARY CHAFFEE i Originally from upstate New York, Gary was educated at the State University of New York at Potsdam, (Bachelor of Science, 1966), and DePaul University in Chicago, (Master of Music, 1968). From 1968 to 1972 Gary was the percussion instructor at Western TUinois University. In 1972 hejoined the faculty of the Berklee School of Music in Boston, Massachusetts, and was appointed head of the Percussion Department in 1973. During his stay at Berklee, Gary was instrumental in developing many new and creative programs for the department, as well as a mumber of highly successful performance ensembles. Since leaving Berklee in 1977, Gary has established himself as one of the finest player/teachers in the Boston area. He has performed with many top artists, inchding Dave Samuels, Pat Metheny, Mick Goodrick, Steve Swallow, Abe Laboriel, Jaco Pastorius, Mike Stern, Bill Frissell, John Abercrombie, Harvey Schwartz and Gary Burton. . From the teaching side, alist of Gary’s students reads like awho's‘who of the contemporary drum scene and includes such people as Vinnie Colaiuta, Steve Smith, Casey Scheurell, Jonathan Mover, David Beal, Joey Kramer and many others. po, Gary is also in great demand as 4 clinician and has performed throughout the United States and Eurspe. His articles and interviews, cane seen in Modern Drummer, Percussioner International, Drum Shot (Germeny), and Rhythwn Magazine ‘@ngland). : Those interested in contacting Gary can write to him in care of GG Music, 16 Whitc Oak Road, West Roxbury, MA 02128, telephone: (317) ° 5 325-1154. .TABLE OF CONTENTS INTRODUCTION «2.2... eee teens 4 SECTION I — CYMBAL OSTINATO TIME FEELS Cymbal Ostinato Possibilities .. Practice Procedures Fat-Back Exercises Snare Drum/Bass Drum Combinations . Improvising With Snare Drum/Bass Drum Combinations . . Alternate Accent Possibilities ........... pete e ence tener eee Hi-Hat Exercises ....... csc se ee eeee ene hereees Leet eee e eens ig SECTION I — JAZZ INDEPENDENCE Snare Drum/Bass Drum Exercises -. Hi-Hat Exercises .......... 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) SECTION ILI — LINEAR PHRASING .. Using Linear Phrases To Play Time . Basic Linear Phrases ...:........ Using Linear Phrases To Play Solos. Extensions of Basic Linear Phrasing . Triplet Linear Phrases..... 0.00... eee Linear Time Feels With Single And Double Strokes .... ® ee ° 8 ° © oo 6 » INTRODUCTION The materials contained in this text are designed to help students in developing a high degree of independence and coordination for both - rock and jazz tire. The materials are organized as follows: Section One — Cymbal Ostinato Time Feels This first section deals with the most common type of rock time feel, (ie. cymbal ostinato). The term ‘cymbal ostinato’ refers to a repeated rhythm that is played on the hi-hat or ride cymbal, Many different cymbal rhythms are available and the student needs to develop a relatively equal amount of facility and control with each. The exercises contained in this section will help in this process. Section Two — Jazz Time Functioning in this section, the various independence and coordination figures that are available in jazz time are explored in detail. Section Three — Linear Ideas ‘In Section Three, the concept of lear phrasing is introduced, both as a soloing and time functioning device. The use of linear (single line) ideas to play time, as well as solos, is 2 relatively new concept and offers a great deal of potential. HOW TO USE THIS BOOK It is important io understahd that the various sections of this book can and should be worked on simultaneously. The reason for this is the total content in each area is very long. Therefore, rather than trying to complete one section before moving to the next, I suggest working on all of them at the same time. (Note — You may want to-spend & week or two on each section individually at first, in order to become familiar with the basic materials that are presented. However, once this has been done; incorporate all three sections into your daily practice routine.) Finally, it is extremely important that all of the introductions and explanations be carefully read and thoroughly undersiood, This is absolutely necessary ifyou are to gain full benefit of the materials that are presented.woe SECTION I — CYMBAL OSTINATO TIME FEELS ‘The exercises contained in this section have been divided into three groups which are as follows: Group 1 — Fat-Back-Exercises The Fat-Back exercises deal with situations in which the snare drum is always playing an accent on two and four. Al of the independence figures are in the bass drum. The first set of examples outlines.the possible figures that the bass drum could play on one and three. The second set deals with the bass drurn on two and four. ‘Combinations between figures are then examined in the final exercises. * Group 2 — Snare Drum/Bass Drum Linéar Exercises The Snare Drurmn/Bass Drum Linear exercises examine the types of x figures that are available when the snare drum is not playing a i constant accent on two and four. Each exercise deals with a different rhythm and demonstrates the possible ways in which that rhythm ; could be played on the snare drum and/or bass drum. ee Group 3 — Hi-Hat Exercises The Hi-Hat exercises continue the same process as above with the addition of a third voice. First the hi-hat is dealt with separately, then combinations between it and the snare drum and bass drum are explored.% & * ® e @ 8 . Cymbal Ostinato Possibilities this section are to be worked on using ‘All of the exercises in most common cymbal ostinato a variety of cymbal ostinatos. The rhythms are as follows: wi MT al number of other rhythms have gained ram) a However, in recent years, & popularity. Among these are: lfm Ho sh “Go fi Ma 38a Tt is important to understand that the cymbal rhythm, inandof 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. Lf, on the other hand, you only nave 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 stati: ‘peat’, rather than a time feel. The exercises contained in this section will he: 1p in dealing with this problem and should be carefully studied and practiced. , eeeeoreeneeee " C&O. 6.0.6 0 @Ways Of Playing Gymbal 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: ti Tr mt 7 Playing the ostinato on the ride + Lok -- _ cymbal while playing the hihat on 2 Oy a eB and 4. 4 7 Playing the ostinato on the ride __ cymbal while playing quarter notes + ‘ on the hi-hat. . Playing the ostinato on the hi-hat. po yay (The dots indicate that the notes are ” Les Le short.) eee a Playing the ostinato on the hi-hat, OY “Al 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 @ 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.Cymbal Rhythm — [] xX VHERSION| FATBACK [SNARE DRUM/BASS DRUM| HLEHAT Co | AZLED + Ob tte JRLIG - Neede work wala - ok reee | tae “Revel stew CI LT | Qia¥ -perey \alao - OK wu ete, On the back of the page, keep a written record of any specific ideas you come up with. (For example, & 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: 1\.au Reo 0, fii ahh There are many possible combinations. Feel free to experiment with any that are of interest to you. WOTATION — The exercises in this section are notated as follows: Snare and Bass Drum Hi-Hat Only Snare — Bass — Hi-Hat pil 4 i 4 — \ 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. SER eG egagees e e eo 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 hot 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 lL — 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. 4 closed hithat.) Step 3 — At a moderate tempo, set uD 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.) Bach 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 spsaking, the exercises serve as a kind of warm-up routine for the improvisation. They take your body physically through ali 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 cyrmbal 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 jus get through the exercises. However, once you begin to learn them, it should only take 5 or 10 mizmutes to do & 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.oe ae ow oe ‘at-Back Exercises Bass Drum On i And S Oi Ly 2 Near ty Sore ay aye Be pg tl 6. Ve wl may Ly | ect ay 8 heels hes A Siege ° one ag Ht a | / a 0 tag LL. ye tt et 4 | , 18. fe aye te hoot ue : Bazs Drum On 2 And 4 a 1.Combinations Of Bass Drum Figures 23. sal at: ry “FT 28. dey An i pes EL, \endeeeececeocoecereneeeeeAN Combinations of Bass Drum Figures (continued)oe ue oe Snare Drum/Bass Drum Combinations mio - f aH. = pal 4 tap ap olay ee wlth GLelaLy 10 yh eh an why. ris fly of, mf, tat Ay16 Snare Drum/Bass Drum Combinations (continued) pi Oy. ey Fully, FA, LT,® u 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. sung \ . 4 parr! 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. . ' . ‘ 6 < < Hoyt * LTT Ty as a The main technical problem here is getting good balance between the accented and unaccented notes. Basically speaking, the uunaccented notes in the snare drum should be at the same level as the cyinbal notes. Having the correct balance between these two voices is essential if the time is to have the right feel.* & Alternate Accent Possibilities There are many accent patterns other than two and four which are cused in rock-time feels. One ©: involves substituting either the accent point. £ < “ é Bae ty Hlth 6 mmion. substitution is the ‘and’ of two or four. ‘ah’ before the ‘e’ after a normal Another co; ‘ « 4 < ji * o eer * « ts b 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 havg an accent on a double or triple stroke. « « Le “ é ‘Accenting the first note of a double or triple stroke is no problem, ‘put putting accents on the second or third note 15 technically, mnove difficult and will have to be carefully practiced. " There are many a {the more common types of situations ~ ROAR ACEEC EEL LERCEC EEE CHEESE SS| Wi-Hat Exercises (continued) C64 C466 8666444 OOdp bey tee te ATU yA Ay A FELT ALA FEL iHi-Hat Exercises (continued) COO OCEEECECEEOC CECE COEE CE CECE 10a, AV x x x * » IL _ 1 | FX RX x XK Re ! co | © atts 5 3 4 test tes ete re tata at : * x ¥ * x * a ‘ z * % x KO * * e. ftmo oo rm oo i, Fd Fa * er ek x TT) | ro prs) °. A CO Ty (Laselere iit ev leet ies ade (dai ese Tare * 4 + | eo co on a4 Ser ad Po Cl Cy ry Ce ET ORR RR KE KEK RRR . K XKHi-Hat Exercises (continued) COOCOCECEEEE “7 - « « - - + o ¢ « « o eceeregcrececece cs ‘e.e.e.€. 6 ,s ECTION II — JAZZ INDEPENDENCE The materials in this section deal with various types of ingependence and coordination in relationship to the basic jazz “ride gymbal rhythm. : a That Fhe materials are organized into four parts: Part 1 — Linear Independence Part 2 — Twe-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 feeis (Le. 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: ran re. \ vl 4 fol y . a In exercises invo}ving 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 ail four beats. res 24 wt} T mt mW Written as: tat Played as: {et r : 5 * fo 4 4 As in the previous exercises, the ostinato parts are not written with the exercises.4 ee ee oo eee e ee PP PIIIIIIS IID > ae ee Snare Drum/Bass Drum Exercises Snare Drum Only eee vuse © “eu PIIIIIFIFIFILII335353: athe 8. * co: Combinations& Other Types Of Jazz Time There are basically sour different ways jazz time can be performed. ‘They are as follows: Straight Tim<- Ride cymbal playing the traditional cymbal pattern with hihat on gand 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 alt have 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. Ina 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 omy voices available to perform other figures. However, by the beginning of the sixties, alot 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 psen toward @ 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. Twant 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 | andé this is probably what you wil find yourself doing.6 at Exercises L ee 2 fe fy * afd 4 Snare Drum And Hi tat _ Bass Drum And Hi-Hat Soe Teap pbo p pee hy 6 og ge Tg yea hg Ey Three-Voice Mixtures CECCCEECCECCEECEC EL ELE CEELELL LEE i8. Aa E@EKGEEKC EEC ECT TIC ECT CE erue a4 eo eo How To Work On Broken Time Al of the preceding exercises (as well as those that follow) deal ‘with the two types of straight time. Broken time must be worked on trom a different standpoint. I would suggest using the folowing approach: 1. Experiment with semi-broken time at first. The hi-hat will be Playing a 2 — 4 ostinato, but the cymbal rhythm wil be broken. Four different figures can be derived from the basic ride cymbal pattern: maa rho cho The idea is to Keep changing the order of these patterns to get a constantiy varied cymbal line. aes 2a naa tr cin \ Gh Tt to. wii bye Gi Gls Once this begins to feel cornfortable, 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. ae 8. Gragually, 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 £028.) ‘These methods should be incorporated into your daily practice routine. The idea is to be working regularly with both straight and broken types of tims. Eventually, they will begin to blend together and this is probably how you are going to be using them.PHSOSDS IDS DDS DHHS TS SHOUT TID PIIS IDI HID IIDD. ep | it c cl t Combinations ci Lie Ct 2 aa Oa, 7 (3 1 fee 8 bid 8 pea 4 pee Two-Voice Harmonic Indep eeu oe 2 ° ° ° ° ° eee e ee9090933 33335333438 3359999 ores fe (1 20 ae aa a ~ ae Vode a rr a ce Ss ™ F e ab y aE oO a “ Spo fo i 3 = = 4 E ¢ o 5 1 ope 8 ue it ci 2 a Oe a 6 4 6 3 3° © e ee ee Three-Voice Harmonic Independence (various unisons) Three-Voice Unisons 4 * Snare Drum — Bass Drym Unisons at da ey CTsSnare Drum — Hi-Hat Unisons eo | tus - eur 2 pad pia po atte et We os Pe 5. 4 2 ie aS ee eee et ge ag 7. | tie TT aie ToL,> iy © AY [s | Pb a : * Z oa 2 ot Lis ah + ; be alld d egeeeo eeee eeee Three-Voice Harmonic Independence (no unisons) Iwo — One — One Ratios ‘Two In Snare tudo Tadd ld etl a4 fl 3, wee Se fad Le. ts * ebb iee ot a ae eee Two In Bass Dram 4 Cray 3 it htt ty peat 4 resdasdpaisd 4 bietpecest ahs ECELRKT EET CRETE EEETwo — Two — One Ratios One In Hi-Hat 1 pi a te eT 7¥T % ue a 14 : {hee i; ee le ee ee A % \ 4Three — Two — One Ratios Three In Snare Three In Bass Drum audda a boa ta S14 i,t aad! wad FEO REECE ECE CE CEE EEOC OEEEECEEEOL EOE AAA an: