Here’s a straightforward page o’ coordination for learning bass drum variations along with a basic triplet texture with the hands, in a jazz feel. The hands are doing a simple linear sticking pattern— a paradiddle-diddle […]
Category: Reed interpretations
Reed interpretations: special voicing – 01
This came out of the groove part of my recent Country Rock thing. It’s a kind of subtractive method for voicing the snare drum and bass drum. Not unlike my John Riley-inspired “that with interruptions” […]
Half time country rock with Reed
This swingy country, folky, gospel type of half time feel groove is all over the music of the late 60s/early 70s. You Can’t Always Get What You Want, The Night They Drove Old Dixie Down, for […]
Three practice rhythms inverted
This is a page I wanted when I was practicing yesterday— whatever I was doing was hard enough that I wanted to see these written out, all together. They’re simple, so they’re good starting independence […]
Marking up Reed
You know, I think we should all own multiple copies of Syncopation— first because they tend to get destroyed through use, second so we can pencil in our own changes without turning the book into […]
Reed interpretation: alternating triplets, no left on cymbals
Interesting, unusual little tweak streamlining a standard Reed triplet method, that should be good for fills, and for creating an easy, open triplet texture with a strong foundation in the bass drum. Probably helpful for […]
Dejohnette-like method
The cosmos gave me a couple of instances of Jack Dejohnette yesterday— I got to work on that Jack Dejohnette transcription, and also happened to also catch him on the radio (KMHD.org, The Afternoon Bridge, […]
Syncopation exercise: p. 38 with ties added
One minor gap in the rhythms covered in Syncopation— that’s a drumming book, hahaha omg— is that there aren’t so many syncopated long notes on the “weak” beats, 2 and 4. There are relatively few ties […]
EZ ECM feel – 01 – unisons
This is the first part of a little method I used in a lesson recently, for introducing what has become known as an ECM-type feel— a modern, non-repetitive, quasi-linear, straight 8th jazz feel. See Jon […]
Reed tweak: four beats per drum, cycling
Here’s an easy way to modernize your melodic phrasing when playing an ordinary thing using Syncopation— everyone knows about playing the melody parts from the book on the snare drum and bass drum, along with […]