Samba In­de­pen­dence

In­de­pen­dence with the samba foot os­ti­nato

Rhythm - - DRUM LESSONS -

Last is­sue we looked at play­ing a va­ri­ety of hand pat­terns over the top of a samba foot os­ti­nato. The ac­cents in those pat­terns were all based around a dot­ted quar­ter-note or two-over-three fig­ure and here we con­tinue that theme, only now with some more de­mand­ing ideas.

Ex­am­ple 1 be­gins with a fig­ure com­monly known as a ‘Herta’ or Cob­ham triplet, a fig­ure fre­quently used by fu­sion pioneer Billy Cob­ham. Only here the four-note fig­ure isn’t played in its usual triplet con­text but rather mov­ing through eighth notes to gen­er­ate the afore­men­tioned two-over-three rhythm. Ex­am­ple 2 is essen­tially the same fig­ure only dis­placed by one note and which if started in the right hand will mean the three-stroke ruff part of the fig­ure will now have to be played in the left hand cre­at­ing quite a de­mand­ing fig­ure.

Our at­ten­tion next turns to flam­ming the ac­cent in Ex­am­ple 3 and us­ing what would ap­pear to be a Swiss triplet. How­ever, the di­rec­tion of the flam is dif­fer­ent with the right hand fall­ing be­fore the left to cre­ate a left-hand flam. In Ex­am­ple 4 we then dou­ble the right hand note as it moves from the floor tom to snare to cre­ate a fig­ure com­monly known as a ‘blush-da’ and cred­ited to vir­tu­oso Tony Wil­liams.

Fi­nally, Ex­am­ple 5 changes the rate of the hands to eighth-note triplets and uses a six-stroke roll based stick­ing to con­vey the two-over-three rhythm.

All of the ex­am­ples are writ­ten over six beats as that’s how long they take to re­solve; be sure – once com­fort­able – to try mov­ing be­tween the dif­fer­ent ideas in 4/4. You will ul­ti­mately feel a new de­gree of free­dom over the os­ti­nato along with some use­ful phras­ing

vo­cab­u­lary to move around the kit.

your tu­tor Pete ri­ley p.ri­[email protected]

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