5. Eclectic Rhythm Designer

drumlearneBooks

Eclectic Rhythm Designer

by Karl Price

Contents

2 Introduction

3-4 Rhythm Designer - Drum & Bass

5 Rhythm Designer - Dance / House Style

6 Rhythm Designer - Hip-Hop Swing

7-8 Rhythm Designer - Hip-Hop Swing Fill-ins

9 Rhythm Designer - Hip-Hop Funk

10 Rhythm Designer - Funk

11 Rhythm Designer - Syncopated Rock / Metal

12 Rhythm Designer - Samba Variations

13 Rhythm Designer - Kick Drum Workout

14 Rhythm Designer - Open hi-hat Workout

15-17 Rhythm Designer - Fill-ins Mix

18 Rhythm Designer - Paradiddle Combinations

19 Rhythm Designer - Kick Combinations in Triplets

20 Rhythm Designer - Rudiment Beats

21-22 Rhythm Designer - Odd Note Groupings

23 Rhythm Designer - Syncopated Drum & Bass Style

24 Rhythm Designer - Fill-ins Workout

25-29 Rhythm Designer - Double Kick Drums

30-31 Rhythm Designer - Notes around the kit

32-33 Rhythm Designer - Note Groupings with FIVES

34-35 Rhythm Designer - Ostinato Coordination

36 Rhythm Designer - Tom Kick Rhythms

37 Rhythm Designer - Linear Funk

38 Rhythm Designer - Cascara Funk

39 Rhythm Designer - Paradiddle Funk

40 Rhythm Designer - Sixteenth Note Techno

41-54 Rhythm Designer – Clave Coordination

55 Closing Remarks

Drum Learn

Introduction

2


Welcome to the Eclectic Rhythm Designer.

Congratulations for arriving at the fifth and final Drum eBook.

This final eBook is a selection of various ideas I have accumulated through my drumpractice and teaching. The themes or exercises are not set out in any specific order. The reason for this is to give you contrasting ideas to work with, opening up variousrhythmic spaces in which to formulate and write down your own patterns and ideas.I stress writing down your ideas, because it will be very difficult to remember rhythmsthat you create, if you don’t write them down. Also, it will help your music reading skills if you take the time to notate both your own ideas and the ideas of other drummers.It may be a good idea to just open the eBook at a random page and start working on thestyle and exercises that present themselves. If you are not sure of how a particular styleshould sound, then I would suggest that you do some of your own research by seekingout recordings or looking up rhythms on the internet, for instance.

My hope is that by working through this eBook you will find many new ways to expressyourself on the drums, gaining inspiration to create further rhythmic ideas.

Drum Learn

Rhythm Designer 1Eclectic Rhythm Designer

- Drum & Bass Style

3

1 an 2 e an a 3 e an 4 an a

This style of drumming is highly syncopated with a lot of offbeat ghost strokes.

Ex 1

44

1 an 2 e an a 3 e an 4 an a

This style of drumming is highly syncopated with a lot of offbeat ghost strokes.

Ex 1

1 an 2 e an a 3 e an 4 e an a

Ex 2

1 an 2 e an a 3 e an 4 e an a

Ex 2

1 an 2 an a 3 e an 4 an a

Ex 3

44

1 an 2 an a 3 e an 4 an a

Ex 3

1 an 2 an a 3 e an 4 e an a

Ex 4

1 an 2 an a 3 e an 4 e an a

Ex 4

1 an 2 an 3 e an a 4 an

Ex 5

44

1 an 2 an 3 e an a 4 an

Ex 5

1 an 2 e an a 3 e an a 4 an

Ex 6

1 an 2 e an a 3 e an a 4 an

Ex 6

1 an 2 e an a 3 e an 4 an

Ex 7

44


Ex 7



1 an 2 an a 3 an 4 an

Ex 8

44

1 an 2 an a 3 an 4 an

Ex 8

1 an a 2 e an 3 e an a 4 an

1 an a 2 e an 3 e an a 4 an

Copyright © 2009 Drum Learn All Rights Reserved

Drum LearnEclectic Rhythm Designer

- Drum & Bass Style 2 Rhythm Designer 2

4

Ex 1

44

Ex 1 Ex 2

Ex 2

Ex 3

44

Ex 3

Ex 4

44

Ex 4

Ex 5

44

Ex 5

Ex 6

44

Ex 6



Rhythm Designer 3

5

- House / Dance Style

Ex 1

At first, try playing these dance beats as one bar rhythms; then as two bar rhythms by playing across the repeat marks.To form a 4 bar sequence, you could repeat the bar on the left side 3 times, then play the bar on the right side as a fourthbar fill-in. Vary the dynamics and try accenting the snare where you feel it appropriate.

44

Ex 1

At first, try playing these dance beats as one bar rhythms; then as two bar rhythms by playing across the repeat marks.To form a 4 bar sequence, you could repeat the bar on the left side 3 times, then play the bar on the right side as a fourthbar fill-in. Vary the dynamics and try accenting the snare where you feel it appropriate.

Ex 2

Ex 2

Ex 3

44

Ex 3 Ex 4

Ex 4

Ex 5

44

Ex 5 Ex 6

Ex 6

Ex 7

44

Ex 7 Ex 8

Ex 8

Ex 9

44

Ex 9 Ex 10

Ex 10



- Hip-Hop Swing Style Rhythm Designer 4

6

This is quite a difficult style to play well. The feel is usually played between straight and swing eighths, similar to Second-line rhythms.

Ex 1

44

This is quite a difficult style to play well. The feel is usually played between straight and swing eighths, similar to Second-line rhythms.

Ex 1

3 3

Ex 2

3

Ex 2

3

Ex 3

44

Ex 3

3 6

6 3

Ex 4

Ex 4

6 6 6 6

Ex 5

44

Ex 5

6 6 6 6

Ex 6

Ex 6

6 6 6 6

3

Ex 7

44

3

Ex 7

6 6 3 3 3

Ex 8

3 3

Ex 8

6 3

3

Ex 9

44

Ex 9

6 6 6 6 3

Ex 10

3

Ex 10

3



Rhythm Designer 5- Hip-Hop Swing Style Fill-ins

7

L R L

Ex 1

Here we will try some 1 beat swing fill-ins.

44

L R L

Ex 1

Here we will try some 1 beat swing fill-ins.

33 3

R L R 3

Ex 2

3

R L R 3

Ex 2

3

R L R L

Ex 3

44

R L R L

Ex 3

3 6

6 3

R R L R L

Ex 4

R R L R L

Ex 4

6 6 6 6

R L R R L

Ex 5

44

R L R R L

Ex 5

6 6 6 6 L R L R L L

Ex 6

L R L R L L

Ex 6

6 6 6 6

3R L R L L

Ex 7

44

3R L R L L

Ex 7

6 6 6 3 3 L R R L

Ex 8

3 3 L R R L

Ex 8

66

3

L L R R L

Ex 9

44

L L R R L

Ex 9

6 6 6 6 3 R R L R

Ex 10

3 R R L R

Ex 10

36



- Hip-Hop Swing Fill-ins 2 Rhythm Designer 6

8

3

R R L R L R

Here are some 2 beat swing fill-in exercises.

Ex 1

44

3

R R L R L R

Here are some 2 beat swing fill-in exercises.

Ex 1

3 3 3

R L R L R R L R L

Ex 2

3 3

R L R L R R L R L

Ex 2

R R R L R L R R L

Ex 3

44

R R R L R L R R L

Ex 3

3 3 3

R L R L R L R R L

Ex 4

3

R L R L R L R R L

Ex 4

3

L R L R L R L R R L

Ex 5

44

L R L R L R L R R L

Ex 5

3 3

R L R R L R R L R

Ex 6

R L R R L R R L R

Ex 6

3 3

R L L R L R L R R L

Ex 7

44

R L L R L R L R R L

Ex 7

3 3

R L R R L R R R

Ex 8

R L R R L R R R

Ex 8

3 3

F R L R F R L R F R L R

Ex 9

44

F R L R F R L R F R L R

Ex 9

6 6

R R L R R R L R L

Ex 10

R R L R R R L R L

Ex 10

3 3



Rhythm Designer 7

9

- Hip-Hop/Funk Style

Here we have a series of funky hip-hop style beats.

Ex 1

44

Here we have a series of funky hip-hop style beats.

Ex 1 Ex 2

Ex 2

Ex 3

44

Ex 3 Ex 4

Ex 4

Ex 5

44

Ex 5 Ex 6

Ex 6

Ex 7

44

Ex 7

Ex 8

44

Ex 8



- Funk Style Rhythm Designer 8

10

ox

This is a series of funk style beats incorporating triplets and thirty-second notes.

Ex 1

44

ox

This is a series of funk style beats incorporating triplets and thirty-second notes.

Ex 1

ox

Ex 2

ox

Ex 2

Ex 3

44

Ex 3

6

Ex 4

Ex 4

Ex 5

44

Ex 5 Ex 6

Ex 6

Ex 7

44

Ex 7 Ex 8

Ex 8

Ex 9

44

Ex 9 Ex 10

Ex 10



Rhythm Designer 9- Syncopated Rock/Metal

11

These patterns can be used both as rhythms and fill-ins.

Ex 1

44

These patterns can be used both as rhythms and fill-ins.

Ex 1 Ex 2

Ex 2

Ex 3

44

Ex 3 Ex 4

Ex 4

Ex 5

44

Ex 5

ox

Ex 6

ox

Ex 6

Ex 7

44

Ex 7 Ex 8

Ex 8

Ex 9

44

Ex 9 Ex 10

Ex 10



- Samba Variations Rhythm Designer 10

12

Funky Style

The first four examples of these Samba style rhythms could be used in a funk context.

Ex 1

44

Funky Style

The first four examples of these Samba style rhythms could be used in a funk context.

Ex 1 Ex 2

44

Ex 2

o o o ox x x x

Ex 3

44 o o o ox x x x

Ex 3

R R R L L R L L R R L R L

Ex 4

44

R R R L L R L L R R L R L

Ex 4

R L R L L R L L R R L R L

Tom Variations

Ex 5

44 R L R L L R L L R R L R L

Tom Variations

Ex 5 Ex 6

44

Ex 6

Samba using the "Pata Fla Fla" Rudiment

R L R L R L R L R L R L R L R L

Ex 7

44

Samba using the "Pata Fla Fla" Rudiment


Ex 7

Add Samba Kick pattern while playing the "Pata Fla Fla" on the snare drum

Ex 8

44

Add Samba Kick pattern while playing the "Pata Fla Fla" on the snare drum

Ex 8

Add Surdo notes on the 2nd and 3rd Tom played with the right hand

Ex 9

44

Add Surdo notes on the 2nd and 3rd Tom played with the right hand

Ex 9

Add the 1st Tom played with the left hand

Ex 10

44

Add the 1st Tom played with the left hand

Ex 10



- Kick Workout Rhythm Designer 11

13

Here we have a workout for the kick drum. If you play double bass or double bass pedal, you could try playing some of the thirty-second note ideas between the two kick drums.

Ex 1

44

Here we have a workout for the kick drum. If you play double bass or double bass pedal, you could try playing some of the thirty-second note ideas between the two kick drums.

Ex 1 Ex 2

Ex 2

Ex 3

44

Ex 3 Ex 4

Ex 4

Ex 5

44

Ex 5

ox

Ex 6

ox

Ex 6

3 3 3

Ex 7

44

Ex 7 Ex 8

Ex 8

Ex 9

44

Ex 9

3 3 3 3

3 3 3



Rhythm Designer 12

14

- Open Hi-Hat Workout

x o x o x o x o

With the following rhythms, the right hand plays the ride cymbal and the left hand plays both the open hi-hat notes and snare drum.For instance, in the first example we have the ride cymbal played on every downbeat, while the hi-hat is played on every upbeat or offbeat.

Ex 1

44 x o x o x o x o

With the following rhythms, the right hand plays the ride cymbal and the left hand plays both the open hi-hat notes and snare drum.For instance, in the first example we have the ride cymbal played on every downbeat, while the hi-hat is played on every upbeat or offbeat.

Ex 1

o x

Ex 2

o x

Ex 2

ox

Ex 3

44 ox

Ex 3

x o x o

Ex 4

x o x o

Ex 4

o x

Ex 5

44 o x

Ex 5

o x

Ex 6

o x

Ex 6

o x ox

Ex 7

44 o x ox

Ex 7

o x o x

Ex 8

o x o x

Ex 8

o x o x

Ex 9

44 o x o x

Ex 9

x oo x

Ex 10

x oo x

Ex 10



Rhythm Designer 13

15

- Fill-ins Mix 1

R R L R R L R R L R L

Here are some fill-in ideas with sixteenth notes, sixteenth note triplets, and thirty-second notes.

Ex 1

R L L R L L R L L R L

44 R R L R R L R R L R L

Here are some fill-in ideas with sixteenth notes, sixteenth note triplets, and thirty-second notes.

Ex 1

R L L R L L R L L R LR R L R R L R L R L R LR L L R L L R L R L R L

Ex 2

R R L R R L R L R L R LR L L R L L R L R L R L

Ex 2

6

R R L L R R L L R R L L

Ex 3

44 R R L L R R L L R R L L

Ex 3

6 6

R R L L R L R R L L R R L L R L R L R L R L R L R L R L

Ex 4

R R L L R L R R L L R R L L R L R L R L R L R L R L R L

Ex 4

R L R L R L R L R L R LR R L L R L R L R L R L

Ex 5

44 R L R L R L R L R L R LR R L L R L R L R L R L

Ex 5

6

R L R R L R R L R R L R R R L R R L R R L R R L

Ex 6

R L R R L R R L R R L R R R L R R L R R L R R L

Ex 6

R L R R L L R L R R L L R L R LR L R L R R L R L R L L R L R LR L R L R L R L R L R L R L R L

Ex 7

44

R L R R L L R L R R L L R L R LR L R L R R L R L R L L R L R LR L R L R L R L R L R L R L R L

Ex 7

R R L L R R R L L R R R L LR L R L R R L R L R R L R L

Ex 8

R R L L R R R L L R R R L LR L R L R R L R L R R L R L

Ex 8

R L R L R L R L R L R L

Ex 9

44 R L R L R L R L R L R L

Ex 9

6 6F B B F B B F B

Ex 10

F B B F B B F B

Ex 10



-Fill-ins Mix 2 Rhythm Designer 14

16

R R L R L R L R R L R L R LR R L R R L L R R L R R L Lo x o x

Ex 1

The following patterns are a further extension of the previous 'fill-ins' page.This time we have open hi-hat and snare combinations.

44 R R L R L R L R R L R L R LR R L R R L L R R L R R L Lo x o x

Ex 1

The following patterns are a further extension of the previous 'fill-ins' page.This time we have open hi-hat and snare combinations.

R L R L R L R L R L R LR L R R L L R L R R L L

o x o x

Ex 2

R L R L R L R L R L R LR L R R L L R L R R L L

o x o x

Ex 2

R L R L R L R L R L R LR R L R L L R R L R L L

o x o x

Ex 3

44

R L R L R L R L R L R LR R L R L L R R L R L L

o x o x

Ex 3

R L R L R L R L R L R LR R L L R L R R L L R L

x o x o

Ex 4

R L R L R L R L R L R LR R L L R L R R L L R L

x o x o

Ex 4

o x o x o x o x

R R L R R L R R L R R LR L L R L L R L L R L L

Ex 5

44 o x o x o x o x

R R L R R L R R L R R LR L L R L L R L L R L L

Ex 5

x o x o x o x o

R L R R L R R L R R L RR R L R R L R R L R R L

Ex 6

x o x o x o x o

R L R R L R R L R R L RR R L R R L R R L R R L

Ex 6

R L R L R L R L R L R LR L L R L L R L L R L L

o x o x o x o x

Ex 7

44 R L R L R L R L R L R LR L L R L L R L L R L L

o x o x o x o x

Ex 7

6 6

R L R L R L R L R L R LL L R L L R L L R L L R

x o x o x o x o

Ex 8

R L R L R L R L R L R LL L R L L R L L R L L R

x o x o x o x o

Ex 8

6 6

6 6

R L R L L R L R L Lo x o x

Ex 9

44 R L R L L R L R L Lo x o x

Ex 9

6 6

R L R L L R L R L L R R L R L R R L R L

o x o x

Ex 10

R L R L L R L R L L R R L R L R R L R L

o x o x

Ex 10

6 6

3 3



Rhythm Designer 15

17

- '3 3 2' Fill-ins Mix

1 2 3 1 2 3 1 2

R L R L R L R L R L R L R L

Here we have a '3 3 2' eighth note grouping over one bar. We can playsome fill-in variations of this pattern using rudiments and note variations.

Ex 1

44 1 2 3 1 2 3 1 2

R L R L R L R L R L R L R L

Here we have a '3 3 2' eighth note grouping over one bar. We can playsome fill-in variations of this pattern using rudiments and note variations.

Ex 1

R L R L R L R L R L R L R LL R L L R L R L L R L R L L

Ex 2

R L R L R L R L R L R L R LL R L L R L R L L R L R L L

Ex 2

R L R L R R L R L R R L R L

Ex 3

44 R L R L R R L R L R R L R L

Ex 3

R L R L R L R L R L R L R L R L R L R L R L R R L L R R L R R L L R R L R R L L

3

Ex 4

R L R L R L R L R L R L R L R L R L R L R L R R L L R R L R R L L R R L R R L L

3

Ex 4

6 3 6

R F R L F R F R L F R F R L

Ex 5

44 R F R L F R F R L F R F R L

Ex 5

F R L L R F R L L R F R L L

Ex 6

F R L L R F R L L R F R L L

Ex 6

R L R L R L R L R L R L R L R L R L R L R L R R L L R L R L R R L L R L R L R R L L R LR L R R L R L L R L R R L R L L R L R R L L

Ex 7

44 R L R L R L R L R L R L R L R L R L R L R L R R L L R L R L R R L L R L R L R R L L R LR L R R L R L L R L R R L R L L R L R R L L

Ex 7

R L R L F R L R L F R L R LL R L L F L R L L F L R L L

Ex 8

R L R L F R L R L F R L R LL R L L F L R L L F L R L L

Ex 8

R L R L R L R L R L R L R L R L R L L

Ex 9

44 R L R L R L R L R L R L R L R L R L L

Ex 9

3 3 3

R L R L R L L R L R L R L L R L R L L

Ex 10

R L R L R L L R L R L R L L R L R L L

Ex 10



Rhythm Designer 16

18

- Paradiddle Combinations

R L R R L R L R L L R L R R L R L R L L

With these paraddidle combinations, first play through the snare pattern on the left side of the page.Once you feel comfortable with this, try the rhythm played between the hi-hat and snare notated onthe right side of the page.

Ex 1Rhythm played on the snare

44 R L R R L R L R L L R L R R L R L R L L

With these paraddidle combinations, first play through the snare pattern on the left side of the page.Once you feel comfortable with this, try the rhythm played between the hi-hat and snare notated onthe right side of the page.

Ex 1Rhythm played on the snare

6 6


Rhythm played between the hi-hat and snareEx 1a

44


Rhythm played between the hi-hat and snareEx 1a

6 6

R L R L R L R L R L R L R L R L R L R L

Ex 2

44 R L R L R L R L R L R L R L R L R L R L

Ex 2

6 6

R L R L R R L R L L R L R L R R L R L L

Ex 2a

44

R L R L R R L R L L R L R L R R L R L L

Ex 2a

6 6

R L R L R L R R L R L R L R L R L L R L

Ex 3

44 R L R L R L R R L R L R L R L R L L R L

Ex 3

3 3 3 3


Ex 3a

44


Ex 3a

3 3 3 3

R L L R L R R L R L R L L R L R R L R L

Ex 4

44 R L L R L R R L R L R L L R L R R L R L

Ex 4

3 3 3 3

R L L R L R R L R L R L L R L R R L R L

Ex 4a

44 R L L R L R R L R L R L L R L R R L R L

Ex 4a

3 3 3 3

R L R L R L R L R L R L R L R L R L R L R L

Ex 5

44 R L R L R L R L R L R L R L R L R L R L R L

Ex 5

3 6 3 6

R L R L R L R L R R L R L R L R L R L R R L

Ex 5a

44

R L R L R L R L R R L R L R L R L R L R R L

Ex 5a

3 6 3 6



Rhythm Designer 17

19

- Triplet Kick Combinations

R L R L R L F R L F R L R L R L F R L F

Here we have some hand and foot fill-in combinations using sixteenth notes and sixteenth note triplets.

Ex 1

44 R L R L R L F R L F R L R L R L F R L F

Here we have some hand and foot fill-in combinations using sixteenth notes and sixteenth note triplets.

Ex 1

6 6

R L F R L F R L F R L F R L R R L R L L

Ex 2

R L F R L F R L F R L F R L R R L R L L

Ex 2

6 6

3 3

R L R F R L R F R L R F R L R F

Ex 3

44 3 3

R L R F R L R F R L R F R L R F

Ex 3

R L F R L F R L F R L F R L F R L F R L

Ex 4

R L F R L F R L F R L F R L F R L F R L

Ex 4

6 6

3 3

R F R L F R L F R F R L F R L F

Ex 5

44 3 3

R F R L F R L F R F R L F R L F

Ex 5

R L R F R L R F R L F R L F R L R F

Ex 6

R L R F R L R F R L F R L F R L R F

Ex 6

6

R L F R L F R L R R L L R L F R L F R L R R L L

Ex 7

44 R L F R L F R L R R L L R L F R L F R L R R L L

Ex 7

6 6 6 6

R R L L R F R R L L R F R R L L R F

Ex 8

R R L L R F R R L L R F R R L L R F

Ex 8

3 33 3

F R L R R L F R L R R L F R L R R L

Ex 9

44 F R L R R L F R L R R L F R L R R L

Ex 9

3 3 33

R L R L R L R L R R L L R L R R L L

Ex 10

R L R L R L R L R R L L R L R R L L

Ex 10

33

3 3



Rhythm Designer 18- Rudiment Beats

20

L L R R L L R R L x o

Nine Stroke Roll

A selection of beats that employ rudiments as fill-ins or backbeats.

Ex 1

44

L L R R L L R R L x o

Nine Stroke Roll

A selection of beats that employ rudiments as fill-ins or backbeats.

Ex 1

Flam Tap Drag Stroke

Ex 2

R L L LL R

Flam Tap Drag Stroke

Ex 2

R L L LL R

L R L L RLR Lo

Single Paradiddle 4 Stroke Ruff

Ex 3

44

L R L L RLR Lo

Single Paradiddle 4 Stroke Ruff

Ex 3

R L R R L R R L L R R L L RSingle Paradiddle 9 Stroke Roll

Ex 4

R L R R L R R L L R R L L R

Single Paradiddle 9 Stroke Roll

Ex 4

3 L L R R L L R

7 Stroke Roll

Ex 5

44

3 L L R R L L R

7 Stroke Roll

Ex 5

3 RR L R L L RR L R L L

Drag Paradiddle

Ex 6

RR L R L L RR L R L L

Drag Paradiddle

Ex 6

xR L R L L R L R L L R L R

Flam Paradiddle

Ex 7

o

44

xR L R L L R L R L L R L R

Flam Paradiddle

Ex 7

oR L R R L R L L R L R R L L R L R R L L


Ex 8

R L R R L R L L R L R R L L R L R R L L


Ex 8

Double Paradiddle

Ex 9

R L R L R R L R R R R R R L R L R R L

44

Double Paradiddle

Ex 9

R L R L R R L R R R R R R L R L R R L6 6 3 6

3

R R L R L R R R L L R L R

Flam Stroke Flam Tap

Ex 10

R R L R L R R R L L R L R

Flam Stroke Flam Tap

Ex 10



Rhythm Designer 19

21

- Odd Note Groupings

R L R L R L R L R L R L R L R LR L L R L L R L L R L L R L R LL R L R L R L R L R L R L R L RL R R L R R L R R L R R L R L R

Rhythm played on Snare

Ex 1 a

Here we have a series of exercises using 3 sixteenth note groupings. First we will play the note grouping on the snare;then around the kit; between the hi-hat and snare; then finally as a fill-in.

44 R L R L R L R L R L R L R L R LR L L R L L R L L R L L R L R LL R L R L R L R L R L R L R L RL R R L R R L R R L R R L R L R

Rhythm played on Snare

Ex 1 a

Here we have a series of exercises using 3 sixteenth note groupings. First we will play the note grouping on the snare;then around the kit; between the hi-hat and snare; then finally as a fill-in.

R L L R L L R L L R L L R L R L

Rhythm played around the kit

Ex 1 b


Rhythm played around the kit

Ex 1 b


Rhythm played between the hi-hat and snareEx 1 c

44



R L L R L L

Rhythm played as a Fill-inEx 1 d

R L L R L L



Rhythm played on snareEx 2 a

44



Rhythm played around the kitEx 2 b

L R L L R L L R L L R L L R L R





44



L L R L L R L L


L L R L L R L L


R L R L R L R L R L R L R L R L R R L R R L R R L R R L R R L R

Two further examples

Ex 3

44 R L R L R L R L R L R L R L R L R R L R R L R R L R R L R R L R


Ex 3

R L R R L R R L R R L R R L R L

Ex 4

R L R R L R R L R R L R R L R L

Ex 4



Rhythm Designer 20

22

- Odd Note Groupings 2

L R L R R L R L R R L R L R L R L R L R L R L R L R L R L R L R


R L R L L R L R L L R L R L R L R L R L R L R L R L R L R L R L

44 L R L R R L R L R R L R L R L R L R L R L R L R L R L R L R L R


R L R L L R L R L L R L R L R L R L R L R L R L R L R L R L R L R L R L L R L R L L R L R L R L


R L R L L R L R L L R L R L R L




44



R L R L L R L R L L


R L R L L R L R L L


R L R L R L R L R L R L R L R LR L R L R L L R L R L R L R L L

L R L R L R R L R L R L R L R R

Rhythm played on snare

L R L R L R L R L R L R L R L R

Ex 2 a

44

R L R L R L R L R L R L R L R LR L R L R L L R L R L R L R L L

L R L R L R R L R L R L R L R R

Rhythm played on snare

L R L R L R L R L R L R L R L R

Ex 2 a

R L R L R L L R L R L R L R L L






44



L R L R L R L L


L R L R L R L L



R L R L R L R R L R L R L R L LR L R L R L R L R L R L R L R L

Ex 3

44


R L R L R L R R L R L R L R L LR L R L R L R L R L R L R L R L

Ex 3

R L R L R L R R L R L R L R L L

Ex 4

R L R L R L R R L R L R L R L L

Ex 4



Rhythm Designer 21

23

- Syncopated Drum & Bass Style

Here we have some two bar Drum & Bass style beats. Try your own accented snare drum patterns.

Ex 1

44

Here we have some two bar Drum & Bass style beats. Try your own accented snare drum patterns.

Ex 1

Ex 2

44

Ex 2

Ex 3

44

Ex 3

Ex 4

44

Ex 4

Ex 5

44

Ex 5



Rhythm Designer 22

24

- Stick & Kick Fill-ins Workout

R F R F R L R F R F R F R L R F

The following exercises are hand and single kick combinations orchestrated around the kit.

Ex 1

44 R F R F R L R F R F R F R L R F

The following exercises are hand and single kick combinations orchestrated around the kit.

Ex 1

R F R F R F R L R F R F R F R L

Ex 2

R F R F R F R L R F R F R F R L

Ex 2

R F R L R F R L R F R F R F R L

Ex 3

44 R F R L R F R L R F R F R F R L

Ex 3

R F R L R L R F R F R L R L R F

Ex 4

R F R L R L R F R F R L R L R F

Ex 4

R L R F R F R L R L R F R F R L

Ex 5

44 R L R F R F R L R L R F R F R L

Ex 5

R L R F R L R F R F R L R F R L

Ex 6

R L R F R L R F R F R L R F R L

Ex 6

R F R L R F R F R L R F R F R L

Ex 7

44 R F R L R F R F R L R F R F R L

Ex 7

R L R F R F R L R F R F R L R F

Ex 8

R L R F R F R L R F R F R L R F

Ex 8

R F R L R L R F R F R F R F R L

Ex 9

44 R F R L R L R F R F R F R F R L

Ex 9

R L R L R L R F R L R L R F R L

Ex 10

R L R L R L R F R L R L R F R L

Ex 10



Rhythm Designer 23

25

- Double Kick Drums


The use of double kick beats and fill-ins are very popular in modern drumming. With this workout we will concentrate on fill-in ideas using sixteenth notes.

Ex 1

44 R L R L R L R L R L R L R L R L

The use of double kick beats and fill-ins are very popular in modern drumming. With this workout we will concentrate on fill-in ideas using sixteenth notes.

Ex 1


Ex 2


Ex 2


Ex 3


Ex 3


Ex 4


Ex 4


Ex 5


Ex 5


Ex 6


Ex 6


Ex 7


Ex 7


Ex 8


Ex 8


Ex 9


Ex 9


Ex 10


Ex 10



Rhythm Designer 24

26

- Double Kick Drums 2


Here are some starter double kick beats to help you develop hand and foot coordination.

Ex 1


Here are some starter double kick beats to help you develop hand and foot coordination.

Ex 1


Ex 2


Ex 2


Ex 3

44


Ex 3


Ex 4


Ex 4


Ex 5


Ex 5

R L R L R L R L R L

Ex 6

R L R L R L R L R L

Ex 6

R L R L R L R L R R L

Ex 7

44 R L R L R L R L R R L

Ex 7

R L R L L R L L R L R L

Ex 8

R L R L L R L L R L R L

Ex 8


Ex 9


Ex 9

R R L R L R L R L R R L R L R L R L

Ex 10

R R L R L R L R L R R L R L R L R L

Ex 10



Rhythm Designer 25

27

- Double Kick Drums 3


Ex 1

Here we will try some triplet patterns between the hands and feet.Notice that with some of these kick patterns you will be leadingwith the left foot.


Ex 1

Here we will try some triplet patterns between the hands and feet.Notice that with some of these kick patterns you will be leadingwith the left foot.

33

33


Ex 2


Ex 2

33

33


Ex 3


Ex 3

3 3 3 3


Ex 4


Ex 4

33

33


Ex 5


Ex 5

3 33

3


Ex 6


Ex 6

3 3 3 3


Ex 7


Ex 7

3 3 3 3


Ex 8


Ex 8

33 3 3

R L R L R L R L R L R L R L R L R L R L R L R L

Ex 9

44 R L R L R L R L R L R L R L R L R L R L R L R L

Ex 9

3 3 3 3

33 3

3



Rhythm Designer 26- Double Kick Drums 4

28


Here are some more rhythms with triplets to help develop coordination between the hands and feet.

Ex 1


Here are some more rhythms with triplets to help develop coordination between the hands and feet.

Ex 1

3 3 3 3

R R R R R R R R

Ex 2

R R R R R R R R

Ex 2

3 3 3 3

3 3 3 3

R R R R R R

Ex 3

44

R R R R R R

Ex 3

3 3 3 3

3 3 3 3

R R R R R R R

Ex 4

R R R R R R R

Ex 4

3 33 3

3 3 3 3

R L R L R L R LL R L R L R L R

Ex 5

44


Ex 5

3 3 3 3

R R R R R R

Ex 6

R R R R R R

Ex 6

3 3

3 3 3 3

R L B R R L B R

The letter 'B' stands for 'both hands' played together.

Ex 7

44

R L B R R L B R

The letter 'B' stands for 'both hands' played together.

Ex 7

3 3 3 3

3 3 3 3

R L B B R L B B

Ex 8

R L B B R L B B

Ex 8

3 3 3 3

3 3 3 3

R L R R L R L R L R L R L R R L R L R L R L R L

Ex 9

44 R L R R L R L R L R L R L R R L R L R L R L R L

Ex 9

3 3 3 3

Ex 10

Ex 10

3 3 3 3



Rhythm Designer 27- Double Kick Drums 5

29


Here we have some sixteenth note triplet thythms played on the kick drums.

Ex 1


Here we have some sixteenth note triplet thythms played on the kick drums.

Ex 1

6 6R L R L L R L R L R L L R L

Ex 2

R L R L L R L R L R L L R L

Ex 2

3 3 3 3

R L R L L R L R L R L R L R L

Ex 3

44 R L R L L R L R L R L R L R L

Ex 3

3 R L R L L R L R L R L R L R L

Ex 4

R L R L L R L R L R L R L R L

Ex 4

3 3

R L R L L R L R L R L R L

Ex 5

44 R L R L L R L R L R L R L

Ex 5


Ex 6


Ex 6

3 3 3 3

R L R L R L R R R

Ex 7

44

R L R L R L R R R

Ex 7

3 3 3 3R L R L R L R L R L R

Ex 8

R L R L R L R L R L R

Ex 8

3 3 3

R L R L R L R L R L R

Ex 9

44 R L R L R L R L R L R

Ex 9

3R L R R R L R L R

Ex 10

R L R R R L R L R

Ex 10

3



Rhythm Designer 28

30

- Notes Around the Kit


Ex 1 aRhythm played on the snare

This exercise is set out in a three steps. First we will play the rhythm on the snare to learn the pattern. Then we will move this pattern around the kit. Finally we will use this pattern in a two bar exercisetogether with a rock rhythm.


Ex 1 aRhythm played on the snare

This exercise is set out in a three steps. First we will play the rhythm on the snare to learn the pattern. Then we will move this pattern around the kit. Finally we will use this pattern in a two bar exercisetogether with a rock rhythm.

3





3

Ex 1 c

44

Ex 1 c


Rhythm played as a fill-in



3

R L R L R L R L R R L R L R L

Rhythm played on the snareEx 2 a

44 R L R L R L R L R R L R L R L


3 3



44 R L R L R L R L R R L R L R L


3 3

Ex 2 c

44

Ex 2 c





3 3


Two further exercises.

Ex 3


Two further exercises.

Ex 3

3 3 3


Ex 4


Ex 4

6 3 3



Rhythm Designer 29

31

- Notes Around the Kit 2

R L R L R L R L R L R L R L R L R L

Rhythm played on the snare

This time we will explore more tuplet variations using the same format. Try some sticking variations of your own.

Ex 1 a

44 R L R L R L R L R L R L R L R L R L

Rhythm played on the snare

This time we will explore more tuplet variations using the same format. Try some sticking variations of your own.

Ex 1 a

5 6 3

R L R L R L R L L R L R L R L R L R


R L R L R L R L L R L R L R L R L R


5 63

Rhythm played as fill-inEx 1 c

44

Rhythm played as fill-inEx 1 c

R L R L R L R L L R L R L R L R L L

R L R L R L R L L R L R L R L R L L

5 63



44 R L R L R L R L R L R L R L R L R L R L


7 6 5





7 65

Rhythm played as a fill-inEx 2 c

44

Rhythm played as a fill-inEx 2 c

R L R L R L R L L R L R L R L R L R L L

R L R L R L R L L R L R L R L R L R L L

7 65

R L R L R L R L R L R L R L R L R L R L R L

Two further exericses.

Ex 3

44 R L R L R L R L R L R L R L R L R L R L R L

Two further exericses.

Ex 3

3 7

R L R L R L R L R L R L R L R L R L R L R L R L L

Ex 4

R L R L R L R L R L R L R L R L R L R L R L R L L

Ex 4

7 3 7



Rhythm Designer 30- Note Groupings with FIVES

32

R L R L R L R L R L R L R L R L R L R L R R L L R R L L R R L L R R L L R R L L

2 Note Group

Ex 1

Here we have some accented note groupings using "FIVES." With these exercises you couldtry alternating the kick and hi-hat foot on the quarter note pulse, as a timekeeping reference.

44

R L R L R L R L R L R L R L R L R L R L R R L L R R L L R R L L R R L L R R L L

2 Note Group

Ex 1

Here we have some accented note groupings using "FIVES." With these exercises you couldtry alternating the kick and hi-hat foot on the quarter note pulse, as a timekeeping reference.

5 5 5 5

R L L R L L R L L R L L R L L R L L R L

3 Note Group

Ex 2

R R L R R L R R L R R L R R L R R L R L

R L L R L L R L L R L L R L L R L L R L

3 Note Group

Ex 2

R R L R R L R R L R R L R R L R R L R L

5 5 5 5

R L R L R L R L R L R L R L R L R L R LR L R R L R L L R L R R L R L L R L R R R L L R L R R L R L L R L R R L R L L R

4 Note Group

Ex 3

44

R L R L R L R L R L R L R L R L R L R LR L R R L R L L R L R R L R L L R L R R R L L R L R R L R L L R L R R L R L L R

4 Note Group

Ex 3

5 5 5 5

R L R L R L R L L R L R L R L R L R L R

5 Note Group

Ex 4

R L L R L R L L R L R L L R L R L L R LR L R R L R L R R L R L R R L R L R R LR L L R R L R R L L R L L R R L R R L L

R L R L R L R L L R L R L R L R L R L R

5 Note Group

Ex 4

R L L R L R L L R L R L L R L R L L R LR L R R L R L R R L R L R R L R L R R LR L L R R L R R L L R L L R R L R R L L

5 5 5 5

R L R L R R L R L R L L R L R L R R L R R L R R L L R L R R L L R L R R L L R LR L L R R L R L L R R L R L L R R L R L

6 Note Group

Ex 5

44

R L R L R R L R L R L L R L R L R R L R R L R R L L R L R R L L R L R R L L R LR L L R R L R L L R R L R L L R R L R L

6 Note Group

Ex 5

5 5 5 5

7 Note Group

Ex 6

R L R R L R L R L R R L R L R L R R L RR L L R R L L R L L R R L L R L L R R LR L L R L R R L R R L R L L R L L R L R

7 Note Group

Ex 6

R L R R L R L R L R R L R L R L R R L RR L L R R L L R L L R R L L R L L R R LR L L R L R R L R R L R L L R L L R L R

5 5 5 5

R L R L R L R L L R L L R L L R L R L L

2,3 and 5 Note Group

Ex 7

44

R L R L R L R L L R L L R L L R L R L L

2,3 and 5 Note Group

Ex 7

5 5 5 5

R L L R L R R L R R L R R L R R L R L L

3 and 4 Note Group

Ex 8

R L L R L R R L R R L R R L R R L R L L

3 and 4 Note Group

Ex 8

5 5 5 5

R L R R L R L L R L L R L R L L R L R L

5 and 3 Note Group

Ex 9

44

R L R R L R L L R L L R L R L L R L R L

5 and 3 Note Group

Ex 9

5 5 5 5

R L R R L R L L R L L R L L R L L R L L

4 and 3 Note Group

Ex 10

R L R R L R L L R L L R L L R L L R L L

4 and 3 Note Group

Ex 10

5 5 5 5



Rhythm Designer 31

33

- Note Groupings with FIVES 2

R R R R R R R R R R

1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5

5 over 2 note grouping played on snare

Here are a mixture of beats using different note groupings with "FIVES."

Ex 1

44 R R R R R R R R R R

1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5

5 over 2 note grouping played on snare

Here are a mixture of beats using different note groupings with "FIVES."

Ex 1

55

55

5 over 2 note grouping played as a hi-hat rhythm Ex 2

44

5 over 2 note grouping played as a hi-hat rhythm Ex 2

5 5 5 5

3 note grouping played over 3 bars as a hi-hat rhythmEx 3

44

3 note grouping played over 3 bars as a hi-hat rhythmEx 3

5 5 5 5 5 5 5 5

5 5 5 5

4 note grouping over 1 bar played as a hi-hat rhythm Ex 4

44

4 note grouping over 1 bar played as a hi-hat rhythm Ex 4

5 5 5 5

2 and 3 note grouping over 1 bar played as a hi-hat rhythmEx 5

44


5 5 5 5


44


5 5 5 5

2, 3 and 4 note grouping over 1 bar played as a hi-hat rhythmEx 7

44


5 5 5 5



5 5 5 5



Rhythm Designer 32

34

- Ostinato Coordination

Ostinato 1

R R R R R R R R R R R R R R R R

The following exercises are for developing control, coordination and speed between both hands. The right hand will play an ostinato rhythm, while theleft hand will move throught a series of accent patterns. The aim is to improvise the left hand rhythm while the right plays the ostinato accent pattern. Once you have played the ostinatos with the right hand, switch hands and play the ostinatos with the left hand, and coordination exercises with theright. Try playing them at various dynamic levels. You could also try playing an alternating quarter note kick and hi-hat foot pattern with all theostinatos as is notated in Ostinato 1. Also, try playing both hand rhythms on different sound sources, moving around different drums and cymbals.

44

Ostinato 1


The following exercises are for developing control, coordination and speed between both hands. The right hand will play an ostinato rhythm, while theleft hand will move throught a series of accent patterns. The aim is to improvise the left hand rhythm while the right plays the ostinato accent pattern. Once you have played the ostinatos with the right hand, switch hands and play the ostinatos with the left hand, and coordination exercises with theright. Try playing them at various dynamic levels. You could also try playing an alternating quarter note kick and hi-hat foot pattern with all theostinatos as is notated in Ostinato 1. Also, try playing both hand rhythms on different sound sources, moving around different drums and cymbals.


Ostinato 2

44


Ostinato 2

Ostinato 3


44

Ostinato 3


Ostinato 4


44

Ostinato 4


Afro-Cuban 3-2 Son Clave Pattern

L L L L L L L L L L L L L L L L

Coordination Ex 1

44

Afro-Cuban 3-2 Son Clave Pattern


Coordination Ex 1

Afro-Cuban 3-2 Rumba Clave Pattern


Ex 2

Afro-Cuban 3-2 Rumba Clave Pattern


Ex 2

Bossa Nova Brazilian Clave Pattern


Ex 3

44

Bossa Nova Brazilian Clave Pattern


Ex 3

3 Note Grouping

1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 4


Ex 4

3 Note Grouping

1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 4


Ex 4

5 Note Grouping

1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1


Ex 5

44

5 Note Grouping

1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1


Ex 5

7 Note Grouping

1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2


Ex 6

7 Note Grouping

1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2


Ex 6



Rhythm Designer 33- Ostinato Coordination 2

35

Now we can try the same exercise with eighth note triplets.

Ostinato 1

R R R R R R R R R R R R

44

Now we can try the same exercise with eighth note triplets.

Ostinato 1

R R R R R R R R R R R R3 3 3 3

Ostinato 2


44

Ostinato 2


3 3 3 3

Ostinato 3


44

Ostinato 3


3 3 3 3

Ostinato 4


44

Ostinato 4


3 3 3 3

The 'an' of each triplet beat

L L L L L L L L L L L L

Coordination Ex 1

44 The 'an' of each triplet beat


Coordination Ex 1

3 3 3 3

The 'a' of each triplet beat


Ex 2

The 'a' of each triplet beat


Ex 2

3 3 3 3

4 Note Grouping starting from the 1st, 2nd and 3rd triplet beat


Ex 3

44

4 Note Grouping starting from the 1st, 2nd and 3rd triplet beat


Ex 3

3 3 3 3

Afro 6 / 8 Clave Pattern


Ex 4

Afro 6 / 8 Clave Pattern


Ex 4

3 3 3 3

Quarter Note Triplet Accent Pattern


Ex 5

44

Quarter Note Triplet Accent Pattern


Ex 5

3 3 3 3

5 Note Grouping


1 2 3 4 5 1 2 3 4 5 1 2

Ex 6

5 Note Grouping


1 2 3 4 5 1 2 3 4 5 1 2

Ex 6

3 3 3 3



Rhythm Designer 34

36

- Floor Tom Kick Patterns

R R L L R R L L R R L L R R L L

Ex 1

The idea with this is to play kick drum rhythms on the floor tom with the right hand while the left hand plays the hi-hat.You can either continue to play some simple patterns on the kick drum or leave them out. You can also apply the right hand rhythm on the ride cymbal. To start with, we have some simple double stroke exercises.

44


Ex 1

The idea with this is to play kick drum rhythms on the floor tom with the right hand while the left hand plays the hi-hat.You can either continue to play some simple patterns on the kick drum or leave them out. You can also apply the right hand rhythm on the ride cymbal. To start with, we have some simple double stroke exercises.


Ex 2


Ex 2


Ex 3

44


Ex 3

R R L R L L R R L L R R L L

Ex 4

R R L R L L R R L L R R L L

Ex 4

x oR R L R L R R L L R L

Ex 5

44

x oR R L R L R R L L R L

Ex 5

L R L L R L R R L R L L R L R R

Ex 6

L R L L R L R R L R L L R L R R

Ex 6

R R L R R L R R L R R L

Ex 7

44

R R L R R L R R L R R L

Ex 7

3 3 3 3 L L L L L L

R R R R R R R R

Ex 8

L L L L L L

R R R R R R R R

Ex 8

3 3 3 3

R R R R R R R R

L L L L L L L L

Ex 9

44

R R R R R R R R

L L L L L L L L

Ex 9

3 3 3 3

R L R L R R L R L R L R

Ex 10

R L R L R R L R L R L R

Ex 10

3 3 3 3



Rhythm Designer 35- Linear Funk

37

F L R R L R F L R R L R R

Ex 1

"Linear" implies that only one drum or cymbal is hit at any one time. This concept is used a lot in Funk rhythms.Here we have some examples of this style.

44

F L R R L R F L R R L R R

Ex 1

"Linear" implies that only one drum or cymbal is hit at any one time. This concept is used a lot in Funk rhythms.Here we have some examples of this style.

F R R L R L F R R L L R L

Ex 2

F R R L R L F R R L L R L

Ex 2

x oF R R F L R L F R R F L F R

Ex 3

44

x oF R R F L R L F R R F L F R

Ex 3

F L R R L R L R L L F L F R L

Ex 4

F L R R L R L R L L F L F R L

Ex 4

R F F R L F R L R F F R L R L L

Ex 5

44

R F F R L F R L R F F R L R L L

Ex 5 Ex 6

R F R R L R F F R F R R L R F F

Ex 6

R F R R L R F F R F R R L R F F

R F R L F R L L R L R F

Ex 7

44

R F R L F R L L R L R F

Ex 7

3 3 3 3

F F R L F R F F R L F R

Ex 8

F F R L F R F F R L F R

Ex 8

3 3 3 3

F L R L F R F L R L R R

Ex 9

44

F L R L F R F L R L R R

Ex 9

3 3 3 3F R F L F R R F R L R F

Ex 10

F R F L F R R F R L R F

Ex 10

3 3 3 3



- Cascara Funk Rhythm Designer 36

38

R L R R L R L R R L R L R R L R

Ex 1 - Cascara rhythm played on the snare drum.

Here we will look at using the Afro-Cuban Cascara rhythm to create some funk patterns. To do this we will first play the cascara rhythm on the snare. All the left hand strokes are to be played as ghost strokes. Then we will split the rhythm between the hi-hat and snare while playing a constant 'Four-on-the-Floor' kick pattern. Once we can play this comfortably, we can then try different accent patterns on the snare notes to create some syncopatedfunk rhythms.

44 R L R R L R L R R L R L R R L R

Ex 1 - Cascara rhythm played on the snare drum.

Here we will look at using the Afro-Cuban Cascara rhythm to create some funk patterns. To do this we will first play the cascara rhythm on the snare. All the left hand strokes are to be played as ghost strokes. Then we will split the rhythm between the hi-hat and snare while playing a constant 'Four-on-the-Floor' kick pattern. Once we can play this comfortably, we can then try different accent patterns on the snare notes to create some syncopatedfunk rhythms.

Cascara rhythm played between the hi-hat and snare.Ex 2 -

Cascara rhythm played between the hi-hat and snare.Ex 2 -

Ex 3

Snare Drum Accent Patterns

44

Ex 3

Snare Drum Accent Patterns

Ex 4

Ex 4

Ex 5

44

Ex 5 Ex 6

Ex 6

Ex 7

44

Ex 7 Ex 8

Ex 8

Ex 9

44

Ex 9 Ex 10

Ex 10



Rhythm Designer 37- Paradiddle Funk

39

Ex 1

Here are some Funk rhythms using the single paradiddle played between the hi-hat and snare.

44

Ex 1

Here are some Funk rhythms using the single paradiddle played between the hi-hat and snare.

Ex 2

44

Ex 2

Ex 3

44

Ex 3

Ex 4

44

Ex 4

o

o

Ex 5

44

Ex 5



Rhythm Designer 38

40

- Sixteenth Note Techno Mix

Ex 1

Here are some Techno style beats using sixteenth notes.

44

Ex 1

Here are some Techno style beats using sixteenth notes.

Ex 2

44

Ex 2

Ex 3

44

Ex 3

Ex 4

44

Ex 4

Ex 5

44

Ex 5



Rhythm Designer 39- Clave Coordination

41

Ex 1

3:2 Rhumba Clave Ostinato

Clave Rhythm played with Left Foot

Playing a left foot clave pattern has become very popular in modern drumming. It was through listening to the latin drummer, Horacio "El Negro" Hernandez,that I first heard this rhythm played with the left foot on a mounted cowbell. I was fascinated by the level of coordination that he had developed in connection with the clave rhythm. In the following exercises, we will play the clave pattern on the left foot while we play through the melodic exercises with the hands. If you don't have a left foot mounted cowbell, you can play the rhythm on the hi-hat pedal. I would recommend listening to drummers like "El Nego" or AntonioSanchez from the "Pat Metheny Group" to get a good idea of how these rhythms are used.

44

Ex 1



Playing a left foot clave pattern has become very popular in modern drumming. It was through listening to the latin drummer, Horacio "El Negro" Hernandez,that I first heard this rhythm played with the left foot on a mounted cowbell. I was fascinated by the level of coordination that he had developed in connection with the clave rhythm. In the following exercises, we will play the clave pattern on the left foot while we play through the melodic exercises with the hands. If you don't have a left foot mounted cowbell, you can play the rhythm on the hi-hat pedal. I would recommend listening to drummers like "El Nego" or AntonioSanchez from the "Pat Metheny Group" to get a good idea of how these rhythms are used.


3:2 Son Clave Ostinato

44 Clave Rhythm played with Left Foot


Ex 2

R L R LR R L L

Melodic Phrases

44

Ex 2

R L R LR R L L

Melodic Phrases

R L R L R L R L R R L L R R L LR L R R L R L L


Ex 3

R L R L R L R L R L R L R L R LR R L L R R L L R R L L R R L L R L R R L R L L R L R R L R L L

44

Ex 3


Ex 4

R L R R L R R L R R L R L R L L R L L R L L R LR L R L R L R L R L R LR R R R R R R R R R R R L L L L L L L L L L L L

Ex 4


Ex 5

R R L R R L R R L R R LL L R L L R L L R L L R R R R R R R R R R R R R L L L L L L L L L L L L

44

Ex 5


Ex 6

R L L R L L R L L R L LR R L R R L R R L R R LR L R L R L R L R L R L

Ex 6


Ex 7

L R L L R L L R L L R L

44

Ex 7


Ex 8


Ex 8




Rhythm Designer 40- Clave Coordination 2

42

Ex 1


We can now try some syncopated melodic phrases with the hands while we play the clave rhythm with the left foot.

Clave played with Left Foot

44

Ex 1


We can now try some syncopated melodic phrases with the hands while we play the clave rhythm with the left foot.

Clave played with Left Foot Clave played with Left Foot


44 Clave played with Left Foot


Ex 2

Melodic Phrases

44

Ex 2

Melodic Phrases

Ex 3

44

Ex 3 Ex 4

Ex 4

Ex 5

44

Ex 5 Ex 6

Ex 6

Ex 7

44

Ex 7 Ex 8

Ex 8



- Clave Coordination 3 Rhythm Designer 41

43

Ex 1


Now we will add in the tumbao rhythm played on the kick drum. The left foot will continue to play the clave rhythm,while the hands play melodic stickings.

Clave rhythm played with Left Foot / Bass Tumbao played with Kick Drum

44

Ex 1


Now we will add in the tumbao rhythm played on the kick drum. The left foot will continue to play the clave rhythm,while the hands play melodic stickings.



44


Ex 2

R L R LR R L L

Melodic Phrases

44

Ex 2

R L R LR R L L

Melodic Phrases



Ex 3


44

Ex 3


Ex 4


Ex 4


Ex 5


44

Ex 5


Ex 6


Ex 6


Ex 7


44

Ex 7


Ex 8


Ex 8





44

Ex 1



44

Ex 1




44


Ex 2

Here we can play some syncopated melodic rhythms with one hand or both hands. Start by playing the melodic patterns on one drum and then move them around the drum kit.

Melodic Phrases

44

Ex 2

Here we can play some syncopated melodic rhythms with one hand or both hands. Start by playing the melodic patterns on one drum and then move them around the drum kit.

Melodic Phrases

Ex 3

44

Ex 3 Ex 4

Ex 4

Ex 5

44

Ex 5 Ex 6

Ex 6

Ex 7

44

Ex 7 Ex 8

Ex 8




45

Ex 1


Cascara played on ride cymbal / Clave played with hi-hat foot / Bass tumbao played on kick drum

Here we can add to the ostinato the cascara pattern which can be played on the ride cymbal. The feet will continue to play the clave rhythm and tumbao,while the free hand plays some melodic stickings. With the free hand we can play the melodic phrases, first on one drum and then around the kit.

44

Ex 1


Cascara played on ride cymbal / Clave played with hi-hat foot / Bass tumbao played on kick drum

Here we can add to the ostinato the cascara pattern which can be played on the ride cymbal. The feet will continue to play the clave rhythm and tumbao,while the free hand plays some melodic stickings. With the free hand we can play the melodic phrases, first on one drum and then around the kit.

3:2 Son clave Ostinato

44


Ex 2 Melodic Phrases

44

Ex 2 Melodic Phrases

Ex 3

44

Ex 3 Ex 4

Ex 4

Ex 5

44

Ex 5 Ex 6

Ex 6

Ex 7

44

Ex 7 Ex 8

Ex 8




46

Ex 1


This time we will try some syncopated coordination exercises with the free hand, while the other hand plays cascara on the ride cymbaland feet continue to play clave and tumbao.

44

Ex 1


This time we will try some syncopated coordination exercises with the free hand, while the other hand plays cascara on the ride cymbaland feet continue to play clave and tumbao.


44


Ex 2

Melodic Phrases

44

Ex 2

Melodic Phrases

Ex 3

44

Ex 3 Ex 4

Ex 4

Ex 5

44

Ex 5 Ex 6

Ex 6

Ex 7

44

Ex 7 Ex 8

Ex 8




47

Ex 1


Let us now replace the cascara pattern with the Mambo Bell pattern on the ride cymbal. Play the mambo bell pattern without accents at first, to get usedto the feel of the rhythm. Once you are comfortable with the feel and coordination, try playing it with accents. The feet will continue to play the claverhythm and tumbao, while the free hand plays the melodic stickings.

44

Ex 1


Let us now replace the cascara pattern with the Mambo Bell pattern on the ride cymbal. Play the mambo bell pattern without accents at first, to get usedto the feel of the rhythm. Once you are comfortable with the feel and coordination, try playing it with accents. The feet will continue to play the claverhythm and tumbao, while the free hand plays the melodic stickings.


44


Ex 2

Melodic Phrases

44

Ex 2

Melodic Phrases

Ex 3

44

Ex 3 Ex 4

Ex 4

Ex 5

44

Ex 5 Ex 6

Ex 6

Ex 7

44

Ex 7 Ex 8

Ex 8




48

Ex 1


This time we will try some syncopated coordination exercises with the free hand, while the other hand plays mambo bell on the ride cymbaland feet continue to play clave and tumbao.

44

Ex 1


This time we will try some syncopated coordination exercises with the free hand, while the other hand plays mambo bell on the ride cymbaland feet continue to play clave and tumbao.


44


Ex 2

Melodic Phrases

44

Ex 2

Melodic Phrases

Ex 3

44

Ex 3 Ex 4

Ex 4

Ex 5

44

Ex 5 Ex 6

Ex 6

Ex 7

44

Ex 7 Ex 8

Ex 8




49

Ex 1


This time we will play the bongo bell rhythm on the ride cymbal. Accents are not too difficult to play here as they fall on every quarter note downbeat.The feet will continue to play the clave rhythm and tumbao, while the free hand plays the melodic stickings.

44

Ex 1


This time we will play the bongo bell rhythm on the ride cymbal. Accents are not too difficult to play here as they fall on every quarter note downbeat.The feet will continue to play the clave rhythm and tumbao, while the free hand plays the melodic stickings.


44


Ex 2

Melodic Phrases

44

Ex 2

Melodic Phrases

Ex 3

44

Ex 3 Ex 4

Ex 4

Ex 5

44

Ex 5 Ex 6

Ex 6

Ex 7

44

Ex 7 Ex 8

Ex 8




50

Ex 1


This time we will try some syncopated coordination exercises with the free hand, while the other hand plays bongo bell on the ride cymbaland feet continue to play clave and tumbao.

44

Ex 1


This time we will try some syncopated coordination exercises with the free hand, while the other hand plays bongo bell on the ride cymbaland feet continue to play clave and tumbao.


44


Ex 2

Melodic Phrases

44

Ex 2

Melodic Phrases

Ex 3

44

Ex 3 Ex 4

Ex 4

Ex 5

44

Ex 5 Ex 6

Ex 6

Ex 7

44

Ex 7 Ex 8

Ex 8




51

Ex 1


With this next set of exercises we will work on kick drum melodic phrases. For the ostinato we will play the bongo bell and mambo bell rhythm together. You can play this rhythm either on 2 cowbells or a ride cymbal and cowbell. The ostinato rhythms are written as mambo bell on ride cymbal and bongo bellas stick-across-snare. Play the stick-across-snare rhythm on a cowbell. The left foot willcontinue to play the clave rhythm, while the kick drum plays melodicsolo patterns.

44

Ex 1


With this next set of exercises we will work on kick drum melodic phrases. For the ostinato we will play the bongo bell and mambo bell rhythm together. You can play this rhythm either on 2 cowbells or a ride cymbal and cowbell. The ostinato rhythms are written as mambo bell on ride cymbal and bongo bellas stick-across-snare. Play the stick-across-snare rhythm on a cowbell. The left foot willcontinue to play the clave rhythm, while the kick drum plays melodicsolo patterns.


44


Ex 2

Melodic Phrases played with the Kick Drum

44

Ex 2

Melodic Phrases played with the Kick Drum

Ex 3

44

Ex 3 Ex 4

Ex 4

Ex 5

44

Ex 5 Ex 6

Ex 6

Ex 7

44

Ex 7 Ex 8

Ex 8




52

Ex 1


This time we will try some syncopated coordination exercises with the kick drum, while the hands play mambo bell and bongo bell patterns.The left foot continues to play clave.

44

Ex 1


This time we will try some syncopated coordination exercises with the kick drum, while the hands play mambo bell and bongo bell patterns.The left foot continues to play clave.


44


Ex 2

Melodic Phrases played on the Kick Drum

44

Ex 2

Melodic Phrases played on the Kick Drum

Ex 3

44

Ex 3 Ex 4

Ex 4

Ex 5

44

Ex 5 Ex 6

Ex 6

Ex 7

44

Ex 7 Ex 8

Ex 8




53

Ex 1


Now we will work on playing the clave rhythm with one hand while we play melodic phrases with the other hand. It would be good to play the claverhythm (which is written as stick-across-snare) on a cowbell. Once you have mastered the melodic patterns on one drum, try improvising on the kit with them.Remember to play the clave rhythm with both left and right hand lead. To accompany the hand rhythms we will play hi-hat foot on beats 1 and 3, while onthe kick drum we will continue to play the bass tumbao rhythm.

44

Ex 1


Now we will work on playing the clave rhythm with one hand while we play melodic phrases with the other hand. It would be good to play the claverhythm (which is written as stick-across-snare) on a cowbell. Once you have mastered the melodic patterns on one drum, try improvising on the kit with them.Remember to play the clave rhythm with both left and right hand lead. To accompany the hand rhythms we will play hi-hat foot on beats 1 and 3, while onthe kick drum we will continue to play the bass tumbao rhythm.


44


Ex 2

Melodic Phrases

44

Ex 2

Melodic Phrases

Ex 3

44

Ex 3 Ex 4

Ex 4

Ex 5

44

Ex 5 Ex 6

Ex 6

Ex 7

44

Ex 7 Ex 8

Ex 8




54

Ex 1


This time we will try some syncopated coordination exercises with the free hand.

44

Ex 1


This time we will try some syncopated coordination exercises with the free hand.


44


Ex 2

Melodic Phrases

44

Ex 2

Melodic Phrases

Ex 3

44

Ex 3 Ex 4

Ex 4

Ex 5

44

Ex 5 Ex 6

Ex 6

Ex 7

44

Ex 7 Ex 8

Ex 8


Drum Learn

2


Closing Remarks

Congratulations for arriving at the end of the fifth and final drum eBook.

To Sum UpWhat you have worked through and accomplished in the drum eBooks will stand you in good stead tobe able to play in many different contexts, whether that be with a local band, studio work, your own teaching practice, or for your own enjoyment with drum practice at home. I hope you can continue touse the drum eBooks as a reference and practice tool for many years to come.

Further DevelopmentAlthough this is the end of the drum eBooks, it is really your departure point to learn more and developfurther to inspire both yourself and other drummers. The "sky is the limit" as they say. The extent of your enthusiasm for playing drums will be manifest in the kind of creative results that youachieve.

Study the MastersI would encourage you to study the masters of different drumming styles. This will be a long andexpansive learning process as you take on many new ideas of musical expression. Also, try to get intoas many live playing situations as you can. Experience of playing with other musicians is an essentialaspect of musical development. If you can find them, try to play with people who are better musiciansthan you; this way you will learn and enjoy playing music more. There is nothing better for creatingideas than having good musicians who can inspire your own creativity.

Making ContactYou are very welcome to make contact by email. I would appreciate feedback on the drum eBooks andany thoughts you might want to share about your own drumming. Also, if you have any questions aboutthe drum eBooks or any aspect of playing drums then please do get in touch.

Very best wishes,

Karl

Contact:

email: [email protected]

web: www.drumlearn.co.uk

Documents

5. Eclectic Rhythm Designer