Rhythmic Scale

JUST as melodies are based around scales, rhythm has its own concept of scale. There are several ways of using this page. To start, I would recommend setting a metronome to about 60 BPM and practicing on a pad until you can flow through the “a” lines, which are single strokes. (above the line is your dominant hand, below is your non-dominant). Remember, all odd-numbered groupings will alternate from hand-tohand every beat. When you feel the lay of the rhythm, progress to the “b” line, which consist ofdouble strokes.
= 60-80

the hand pattern that occurs on downbeats (the 1st note of each grouping) will be as follows (assuming you are starting on the Right hand) 1st Right. 1st Left. Over the threes and sevens.2 Rhythmic Scale continued Each rhythmic grouping has a distinct “personality. 2nd Left. One thing you should pay attention to in the odd-numbered groupings is the sequence in which the stickings occur. 2nd Right. In further expansions of scale this pattern ©DrumLessonsOnline 2 .” Learn how each sounds over the quarter note using first the singles then getting a feel for the doubles.

1st Left. • 8th notes in a rock pattern • 8th Note triplets in a blues pattern • Sixteenth notes in a funk pattern • Quintuplets ©DrumLessonsOnline 3 . All beats are in 4/4 time unless otherwise noted. Drumset Variations Here are the rhythms in some very basic beats. 2nd Left. In further expansions of scale the fives pattern will apply to 9’s and 13’s.3 will apply to 11’s and 15’s. 2nd Right. Over groupings of five the pattern is this: 1st Right.

being that I wanted the challenge I decided to transcribe it and pass it on to you! Let’s examine: • • • • • Notice the 5 groupings of 16th note brackets over the notes. I made a mistake in an edit. :] (. It turned out to be a really cool little intro thing in 5/8 time with a 32nd note triplet at the end! So.4 However complicated the groupings of 6.“1 da E da & da AH da 2 da E da & da AH da 3 da E “ (or “3 trip-let”.” But definitely NAIL that last note! The sticking is this: [: F . & 8 sound. When I was editing ©DrumLessonsOnline 4 . LRRL RLLL R. = a 32nd rest and remember the triplet at the end!!) A count I like to use on this is: Ex. RR L RR . they are actually quite easy.RLRRLRR LRRLRRL And here is the slower version of that example. (Each 8th note contains 2 16th notes) The triplet at the end is more “felt” than “played. Look at the stickings of the following: • Sextuplets. .RLRRLR BLRRLR • Septuplets.) The octuplet example here has a very interesting beginning. sound files for the creation of this.7.

I’m sure you’ll find it equally as expanding. Now that I’ve said that in your interest. sampled. You will notice a boost in creativity. Just remember. So that being said. Make a copy for your practice session.5 Take note of how the PRIMARY 16th note count in the above illustration relates to the extended count example above. • Conclusion All in all these are great ways to expand your horizons and develop your sense of time in a more keen and acute manner. My written permission is required for any musical alterations or augmentations. I assume NO responsibility for any loss you suffer by playing groups of 7 over the guitar solo. They are not to be duplicated. let me speak on My behalf.These rhythmic devices are Dangerous.com ©DrumLessonsOnline 5 . They can make your gig go away. Other Possibilities • Mixing these rhythms is also a great thing too! If this is something you’re into then look for the rhythmic relations lesson. Give it to your guitar player so he can figure it out and get comfortable with the concept. • Here’s Octuplets.learn how to play it yourself and it will be that much more gratifying. or copied in any way other than their sole intended purpose. The sounds and MP3 files are the sole property of Bill Ray and DrumLessonsOnline.RLRRLRRR LRRLRRLL And here’s the slow version of the above example. I must caution you though.drumlessonsonline. Enjoy it.com. Use the rhythms in a double-bass pattern. www. All the sound files can be downloaded Here.

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