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The following exercises are designed to help you feel a repeated linear pattern of three
sixteenth notes that travel over the bar. By doing this exercise you will be able to feel
syncopatedlinearpatternsinallpossiblesixteenthnotesubdivisions.
Startbyplayingthefollowingfour-barpatternbetweenthehi-hat,snaredrumandbassdrum.
Play all notes at a mezzo-forte dynamic, avoiding accents any notes. Take notice of the
“turnaround”bassdrumdoublebetweenthelastbarofthepattern(the“ah”ofbeat4)andthe
downbeat of bar 1. Youmust subdivide sixteenth notes verbally (out loud) while playing this
pattern.Startat60bpm.
Next, take notice of what voice (hi-hat, snare drum or bass drum) lands on each downbeat.
Switch your counting from sixteenth note subdivision to quarter note subdivision (count out
loudoneverydownbeat:“1-2-3-4”).
“Turnaround”bassdrum
BasicLinearTrainingExercise
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Duringthisexercisetryandfocuson“feeling”thesixteenthnotetemplateandavoid“hearing”
thepattern.Also,notice that thedownbeatvoicesmimic theactual sixteenthnotepatternas
follows:
Repeatedsixteenthnotepattern(bassdrum,hi-hat,snaredrum)
Repeateddownbeatpattern(bassdrum,hi-hat,snaredrum)
Next,accenteverydownbeat.Playtheaccentednotesatfortissimoandtheunaccentednotes
atmezzo-forte.Again,countquarternotesoutloud.
Theexerciseaboveisanexcellentwaytohelpyousolidifyyourlinearandsubdivisionabilities.
Takeyourtime,thisisadifficultexercisebutwithpatienceyouwillgetit.Keepthetemposlow
andonlymovethetempoupwhenyouarecomfortable.Practicingataslowtempo(60bpm)
willonlydeepenyourabilitytoplacenotesintheirproperplace.
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Finally,playthispatternovertwelvebarsbyeliminatingthebar4“turnaround”bassdrumnote.
Inaddition,assignalargernumbertoeverybarasyouplay(andcountoutloud).Thecountingis
displayedabovethenotes:
Youmindfindthatonceyougetthepatterngoingitisdifficulttoexitittoplayafill,etc.Tohelp
addfillsplaythefourbarlinearpatternandaddasnaredrumfillstartingonbeat3ofmeasure
4.Byaddingafillaclearlydefinedfour-barphraseiscreatedasfollows:
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LinearVariations
Oneoftheconceptsbehindwiththissimple linearpattern istopresentawaytodevelopand
enhanceabasicideaintopersonal,creativeexpression.Usingthelinearpatternfromabovewe
willexploresomeeasyvariationsthatwillalterthewaythisideaisperceived.
Variation#1–Onesimplevariation istoreplacethebassdrumnoteswiththehi-hatwiththe
foot.Forexample:
Variation#2–Alternatethemovementbetweenthefeet:
Variation#3–“Paradiddles”betweenthefeet:
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Drummer and educator based in Los Angeles,
California. Currently the Program Chair for Drums at
Musicians Institute in Hollywood, Stewart Jean is a
dedicatedprofessional.
As Program Chair for Drums at MI Stewart steers the
program down a path of success for his students.
Authoring and co-authoring contemporary curriculum,
developing innovative teaching methods and
consistentlyprovidinganurturing learningenvironment
are some of the highlights Stewart has brought to
MusiciansInstitute.
Maintaining a steady drumming career Stewart has
performed or recorded with Raul Midon, Bruce Kulick,
Don Felder, Jimmy Buffett, Betty Wright, Sam Moore,
PrestonSmith,BoDiddley,ChristianZallies,DiegoBertie
andPedroSuarezVertiz.
StewartreceivedaBachelorsDegreeinMusicfromtheUniversityofMiamiasagraduateofthe
StudioMusicandJazzProgram.WhileinMiamiStewartalsoservedasJazzcoordinatorforthe
NationalFoundationforAdvancementintheArts.