Canadian Musician - November/December 2017 - Page 28

PERCUSSION Mike Mann is the drummer for One Ugly Cowboy and owner/operator of Groovewerks, a Toronto-based recording studio specializing in providing live drum tracks online. He has over 35 years of touring, recording, and teaching experience. By Mike Mann Linear Drum Patterns Part 2 I n the May/June 2017 issue, I wrote an introduction to linear drum- ming and gave you examples of some basic linear patterns. Here, I am going to show you some slightly more complex linear patterns, which are designed to help build independence between your limbs. When practiced at faster tempos, these patterns will also increase your strength and your speed on the bass drum. To recap, linear drumming is defined as a style of playing in which no two limbs play a note at the same time. Once mastered, linear patterns are a great way to add creativity to your grooves, fills, and solos. All linear drum patterns can be broken down into two components. The first is the sticking – the order in which your hands and feet play the notes plus any accents or dynamics. The second component is the orchestration, or which drums are played within the sticking pattern. This is especially helpful when learning more complex patterns. Con- centrate first on memorizing the sticking pattern before attempting the orchestration. Also, try breaking down the sticking patterns into smaller sections and repeating them over and over. This will help build your muscle memory and speed. Start off slowly, around 50 bpm. When you can play the pattern smoothly and in time, gradually raise the tempo and experiment with the orchestration. I recommend using a metronome to help improve your timing. For the sextuplet exercises (Exs. 1-3), begin with the written orchestra- tions and maintain a triplet feel by placing an accent on the first and fourth stroke in each group of six notes. 1. Play the floor tom with your right hand and the snare drum with your left hand. 2. Play the closed hi-hat with your right hand and the snare drum with your left hand. 3. Experiment with your own orchestrations around the kit. Also, try making up your own combinations of the individual sextuplet into groups of two and four phrases. Ex. 3: Sextuplets – This is a great exercise for building speed with your bass drum. Try starting the double kick on each different note of the sextuplet. The final three exercises are made up of 16 th and 32 nd notes. The 32 nd notes are played on the rack tom and the floor tom; however, this is just a starting point. I’ Ω”…±ΝΌ…‘‘•Ν½΅”™±…΅Μ™½Θ„±₯ΡΡ±”Ω…Ι₯•Ρ丁Q‘•Ν”Α…Ρѕɹ́ݽɬ)‰•ΝЁ…́™₯±±Μ…Ή…Ι”•α…΅Α±•Μ½˜…‘‘₯Ήœ‘₯™™•Ι•ΉΠΉ½Ρ”Ω…±Υ•ΜΡΌ„±₯Ή•…Θ)Α…ΡΡ•ΙΈΈe½Τ…Έ…±ΝΌ‘ΌΡ‘”Ν…΅”έ₯Ρ Ρ‘”Ν•αΡΥΑ±•Ρ́‰δΝΥ‰ΝΡ₯ΡΥΡ₯Ήœ)Ρ‘Ι•”•₯‘Ρ ΅Ή½Ρ”ΡΙ₯Α±•Ρ́™½Θ„Ι½Υΐ½˜Ν₯ΰΉ½Ρ•ΜΈI•΅•΅‰•Θ°Ρ‘”₯‘•„)₯́Ѽ•αΑ•Ι₯΅•ΉΠΈ)½ΘαΜΈ€Π΄Ψ°Α±…δΡ‘”™±½½ΘΡ½΄έ₯Ρ ε½ΥȁΙ₯‘Ё‘…Ή…ΉΡ‘”ΝΉ…Ι”έ₯Ρ ε½ΥΘ)±•™Π‘…Ή‰ΥЁΑ±…δΡ‘”€ΜȁΉΉ½Ρ•Μ½Έε½Υȁ‘₯ …Ή±½άΡ½΅ΜΈ=Ή”……₯Έ°)έ‘•Έε½Τ‘…Ω”Ρ‘”Α…Ρѕɹ́΅•΅½Ι₯镐…Ή…ΈΑ±…δΡ‘•΄Ν΅½½Ρ‘±δ…Ή)₯ΈΡ₯΅”°•αΑ•Ι₯΅•ΉΠέ₯Ρ ε½Υȁ½έΈ½Ι‘•ΝΡΙ…Ρ₯½ΉΜΈ)ΰΈ€Πθ€Δ؁Ѡ€˜€ΜȁΉ9½Ρ•Μ)ΰΈ€Τθ€Δ؁Ѡ€˜€ΜȁΉ9½Ρ•Μ)ΰΈ€Ψθ€Δ؁Ѡ€˜€ΜȁΉ9½Ρ•Μ)ΰΈ€ΔθM•αΡΥΑ±•ΡΜ)ΰΈ€ΘθM•αΡΥΑ±•ΡΜ(ΘΰƒŠˆ 8$84TL$ $8)½Θ…±°½˜Ρ‘”…‰½Ω”•α…΅Α±•Μ°ΡΙδΙ•Α•…Ρ₯Ήœ•… ₯Ή‘₯Ω₯‘Υ…°Ι½Υΐ½˜Ή½Ρ•Μ)½Ω•Θ…Ή½Ω•ΘΈ½Θ•α…΅Α±”°Ρ…­”Ρ‘”Ω•Ι䁙₯ΙΝЁ͕αΡΥΑ±•ΠΑ‘Ι…Ν”™Ι½΄ΰΈ(ā…ΉΙ•Α•…Ёё½Ν”Ν₯ΰΉ½Ρ•ΜΥΉΡ₯°ε½Τ…ΈΑ±…δΡ‘•΄™…ΝЁ…ΉΝ΅½½Ρ Έ)ΌΡ‘”Ν…΅”έ₯Ρ …±°Ρ‘”₯Ή‘₯Ω₯‘Υ…°Ι½ΥΆ½˜€Δ؁ѠΉ½Ρ•ΜΈ5½ΝЁ½˜Ρ‘•Ν”)™½ΥΘ΄…ΉΝ₯ΰ΅Ή½Ρ”Ι½ΥΑ₯ΉΜέ½Ι¬Ι•…Ё½ΈΡ‘•₯ȁ½έΈ…́™₯±±Μ½Θ…́Ι½½Ω•ΜΈ