Independence with the samba foot ostinato
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]