Here we have a se­lec­tion of ideas fea­tur­ing fills, grooves and em­bel­lish­ments that will make a mu­si­cal ad­di­tion to any drum­mer’s vo­cab­u­lary

Rhythm - - FEATURE -

Ex­am­ple 1

The first ex­am­ple fea­tures a 16th-note triplet fig­ure played on the hi-hats which uses aR-R-L-R stick­ing. This al­lows the right hand to land on the beat (beat 3) and main­tain the flow of time.

Ex­am­ple 2

This is another triplet-based fig­ure, this time us­ing sin­gle-strokes and with a de­scend­ing qual­ity as it moves snare, rack, floor, kick. This is a fre­quently used ‘lick’ but one which is also of­ten mis-played, with the bass drum in­cor­rectly pre­ced­ing the floor tom, so be sure to play the four notes in the cor­rect order.

Ex­am­ple 3

Ex. 3 is a two-beat 16th-note based fill idea which fea­tures both move­ment around the kit but also a crash in the left hand on the fi­nal 16th-note of the bar. This is another pop­u­lar sound and one worth pur­su­ing, es­pe­cially to en­cour­age crash­ing with the left hand.

Ex­am­ple 4

Here is another widely-used 16th-note triplet lick, this time be­tween the bass drum and floor tom. This fig­ure re­quires two fast notes to be played on the bass drum be­fore the right hand hits the floor tom, fol­lowed by the snare on beat 4.

Ex­am­ple 5

This ex­am­ple looks at the idea of adding dy­nam­ics to eighth notes played on the ride cym­bal by mov­ing be­tween the bell and the body of the cym­bal. The no­ta­tion shows this with the bell played on the quar­ter-notes but this can also be played the other way around with the bell on the up­beat eighth note.

Ex­am­ple 6

Here we have a sin­gle para­did­dle played be­tween the kick, snare and hi-hats to con­vey a funky 16th-note groove. How­ever there’s an ad­di­tional co­or­di­na­tion chal­lenge in the se­cond half of the bar as the bass drum plays the ‘&’ of ‘3’ re­quir­ing a de­gree of in­de­pen­dence be­tween the right hand and foot.

Ex­am­ple 7

Fi­nally we have another two-beat fill, this time us­ing a stick­ing in­stead of sin­gle-strokes. Here the ac­cented notes are played on the toms while left hand notes on the snare are played as quiet ghost notes.

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