5 AND 7 STICK­ING COM­BI­NA­TIONS

Us­ing five and seven stick­ing com­bi­na­tions within grooves

Rhythm - - THE RHYTHM INTERVIEW - Toby Drum­mond is an ACM Drum Tu­tor wh ohas per­formed with artists such as The Sea horses, Shaun Ry­der, Rus­sell Wat­son, Ray Davies, Celia Im­rie and Cliff Richard. Toby Drum­mond

Stick­ing com­bi­na­tions can be ar­tic­u­lated in a va­ri­ety of dif­fer­ent ways ie: solo­ing, phras­ing within a sec­tion, grooves, break­ing dou­bles etc. Within this month’s ar­ti­cle we will be look­ing at five and seven stick­ing pat­terns and how these can be ap­plied to cre­ate some lovely groove ideas. By us­ing sim­ple stick­ing com­bi­na­tions, for ex­am­ple; three, five, six and seven within grooves, we can de­velop ef­fec­tive pat­terns to sup­port im­pro­vised con­ver­sa­tions. David Garibaldi plays a great ex­am­ple of these key el­e­ments on the Tower Of Power al­bum Soul Vac­ci­na­tion Live, re­leased in 1999.

In the ex­am­ples be­low I’ve in­cluded a bar of 16th-note fives us­ing the stick­ing R-L-L-R-R L-R-R-L-L and a bar of 16th-note sev­ens us­ing the stick­ing R-L-L-R-R-L-L, which we will be us­ing firstly as a warm up (odd group­ing) and then ap­ply­ing those stick­ing com­bi­na­tions to the 16th-note groove ex­am­ples.

In the groove ex­am­ples the stick­ing pat­terns will not change and I’ve made bar 1 of the five stick­ing groove and seven stick­ing groove the same with re­gards to the bass drum place­ment to help bed these in.You will no­tice, how­ever, that as you move through these bars I have var­ied the bass drum pat­tern place­ments to re­ally work on com­bin­ing the stick­ing com­bi­na­tions and bass drum in­de­pen­dence. Once com­fort­able with these try al­ter­nat­ing the com­bi­na­tions, ie: one bar of five stick­ing groove fol­lowed by one bar of seven stick­ing groove and you’ll re­ally feel the flow of these stick­ing com­bi­na­tions.

All of the con­cepts/tech­niques we’ve looked at to date are sim­ply an in­tro­duc­tion to help build your mu­si­cal vo­cab­u­lary/palette and to cre­ate ap­pro­pri­ate choices. A huge part of im­pro­vi­sa­tion is lis­ten­ing, spon­tane­ity, feel and es­sen­tially prac­tise but also hav­ing a ba­sic un­der­stand­ing of var­ied tech­niques/ con­cepts can only sup­port your mu­si­cal de­ci­sions and ap­pli­ca­tion to the kit.

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