Canadian Musician - May / June 2018 - Page 28

PERCUSSION Stephane Chamberland is a drummer, clinician, educator, and author. He is an independent solo artist that has been playing and recording with countless musicians, performing hundreds of live shows around the world. He is endorsed by Mapex Drums, Sabian Cymbals, Promark Sticks, Shure Microphones, Gon Bops Percussion, and Evans Drumheads. For more information, visit www.stephanechamberland.com. By Stephane Chamberland Applying Rudiments to Open-Handed Groove Concepts R udiments are at the core of our language as drummers. We often call them the ABCs of drumming. They are the “what” we play while technique is the “how.” To be comfortable playing the following exercises, I would recommend that you also get more information about the three levels of technique, which are finger techniques (Billy Gladstone), arm techniques (Sanford A. Moeller), and wrist techniques (George Law- rence Stone). Make sure to understand the primary strokes: upstrokes and downstrokes played in both the formal version and informal version as well. These are the secrets for playing at any tempo and any dynamic. Check out Dom Famularo’s book It’s Your Move, Jojo Mayer’s DVD Secret Weapons for the Modern Drummer, Volume 1, and Claus Hessler’s DVD Drumming Kairo. Also, get the Percussive Art Society Rudiments sheet that you can find online and get a teacher to help you learn ev- erything properly to start the best way possible. Part 1 Step One Let’s create with a combination of four half paradiddles, two half double paradiddles, and one more half single paradiddle in 16 th notes. The full paradiddle rudiment is RLRR LRLL, so I will only use half of it and start with the left hand LRLL. For this one, we will be using two-bar phrasing to create more space for possibilities. I will also put accents where I think they sound best but you can find many more options. For now, let’s put a bass drum note every time we play a hi-hat note. Ex. 1 is the first combination. EX. 1 Step Two In Ex. 2, I’m moving the ghost notes around the toms. I am using a single rack tom and a floor tom only, but it’s up to you if you’d like to use more. EX. 2 In Practice I have come up with many different exercises that combine rudiments to create amazing phrases that we can then bring directly onto the drumset. Let’s break this down into steps to follow so you can then create your own grooves using this concept. I will be using the open handed position, which means I will not be crossing my arms. My left hand will lead on the hi-hat and my right hand will be playing the snare drum. I put my hi-hat just one to two inches above my snare to keep a very relaxed position. I will start the pa ѕɹ́ݥѠ䁱ЁͥQ́)ͥѥ́́ѼхЁ٥ѡɥ)ɽչѡյ́ɕє饹)ѕɹ̸( 8$84TL$ $8)MѕQɕ)฀́́ѡѽՍ̸1ӊéɕٔͽ́մѕ͔́ѡ́մ́ѡ)Ёٽ)`)%ЁݼЁՔݗeЁɅͥѥɅ͕́ɽ٥ͅѥ