These seven ex­am­ples fea­ture a se­lec­tion of grooves and fills aimed at the more ex­pe­ri­enced player

Rhythm - - FEATURE -

Ex­am­ple 1

The first ex­am­ple here is ac­tu­ally an Afro-Cuban 6/8, or Bembe as it’s some­times called, how­ever here we’ve writ­ten it as eighth-note triplets in 4/4. As you can see, the back­beat lands on beat 3 to give it a half-time feel but no­tice also the lay­ered qual­ity be­tween the ghosted notes on the snare and hi-hats.

Ex­am­ple 2

Ex. 2 is a two-bar 7/8 groove fea­tur­ing an over-rid­ing bro­ken 16th-note rhythm in the right hand. This is a pop­u­lar ap­proach when play­ing odd time sig­na­tures and that can be heard in the play­ing of drum­mers such as Vin­nie Co­laiuta and Gavin Har­ri­son.

Ex­am­ple 3

A one-bar fill fea­tur­ing Herta’s or Cob­ham triplets as they’re some­times known. How­ever, the Cob­ham triplet moniker is some­what de­cep­tive as here the fig­ure is played through 16th notes. This is achiev­able be­cause the Cob­ham triplet is in fact a fig­ure that’s three notes long so will drop into the 16th-note where we can play four of them in the space of three beats.

Ex­am­ple 4

Ex. 4 re­lates to the pre­vi­ous ex­am­ple and fea­tures another ono­matopoeic lick called the Blush-Da. Again this is three-notes long and con­sists of a left-hand flam fol­lowed by a dou­ble-stroke in the right hand. This lick is cred­ited to jazz/fu­sion pi­o­neer Tony Wil­liams but has been used more re­cently by many drum­mers in­clud­ing Vin­nie Co­laiuta and Todd Sucher­man.

Ex­am­ple 5

The fifth ex­am­ple con­tin­ues this three-note idea and this time phrases the same kind of 4-over-3 rhythm us­ing five-stroke rolls.

Ex­am­ple 6

Ex. 6 is our fi­nal 4-over-3 based idea and this time fea­tures a right, left, foot com­bi­na­tion to create a lin­ear fill that moves around the kit. A great chal­lenge for this and all of these ex­am­ples would be to step quar­ter notes with the left foot through­out.

Ex­am­ple 7

Lastly, Ex. 7 fin­ishes how we be­gan, in a triplet rate, with some­thing of­ten re­ferred to as para­triplets. Most of us are fa­mil­iar with sin­gle para­did­dles where we play them as groups of four notes. We play the same stick­ing but through eighth-note triplets and cre­at­ing a two-bar pat­tern, and here with the ac­cented notes on the toms.

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