ADVANCED DRUM IDEAS by Mike Richards Notation used in this book: 3 = 2 = : 4 — 2 * — = * = = = = zt = | snare bass tom tom tom cowbell Foot __J | pI ————— ———————— — hi hat hi hat 2 hi hat WF ride rim click Edited by Catherine Richards= = Rp EE HE FSF fF FS FF FES el CU! This is an exciting and versatile technique which can be used to create some very interesting patterns, fills and solos to expand your musical options in a variety of styles. At its most basic level the Repercussion technique involves the lead hand playing a pattern which is duplicated by the other hand a quarter note later, creating an “echo" effect. As you progress through the Repereussion section you will gradually develop patterns and fills which will improve your control. co-ordination and musicality. See how the technique works by playing the following simple pattern. Try to focus on the "echo" effect produced while playing the same rhythm a quarter note later. The following are a small but effective number of Repereussion ideas which have been useful to me - of course feel free to create your own patterns which will help in the development of your musical voice. * Remember to start every example slowly and aim for a solid and relaxed groove. * Play all unaccented notes as ghost notes. page 4A. Funk and Latin Let's tackle each pattern in this section in three stages:- 1. Learn the basic rhythmic pattern. 2. Move to two hand Repereussion. 3. Add other limbs on different parts of the kit. NO ® track1 my.) PAE — £ — = This beat has a nice Charlie Watts type feel to it- St NO2® trock2 SSake se & & af = ae [aE = Track 32s = = rt NOS® tracks Dp — L é 3 + = = aed ae a rot = = page 7Now let's see how versatile the REPereussion idea is by taking a pattern we learnt earlier (No3) and using it to create different rhythms for four types of music- The basic pattern- NOG® tracks Z— iJ | SS ees By adding the bass drum we come up with a pop/rock groove- NO7Z® tracks -_ ee ee eee Le Ss EEF Fr T Heres a funk variation- NOBO tracks aa eo eee a ar > = How about this Latin pattern? NO9® tracks . 2ff if F74 )— = = = = TLS Now for an African sounding tom groove- NOlO® tracksB.Triplet Feels Now let's develop some IR€PEreussion triplet grooves which can be used to great effect in spicing up shuffle, jazz and hip hop music. MOL® track 7, ee eS PE ——————— You are probably already familiar with this progressive rock pattern and it illustrates the Repereussion technique in triplet form- MO2® tracks 3 3 —_ ~ 7 ee — ESE ee es eee so 7 Y ; - y z ——— ——— —— o > SF 3 > 8 This one's great for spicing up a shuffle rhythm- a = —FBREBEBEHEEHEEHBEEHREEHEEHE i EBHEEREEES SB SS MOB tracks, * —, ee SSS ee z = 3 3 3 _— J Hoa) =% 1 1 _| 2 ee 3 3 > 3 =e > 3 3 No4® track 10 2. 2 | i | a ee oe —— rs 3 3 | J 4 | gf [ps 3 : —s > — >! = a - é : - “ot erae aS SS SF SS Ss ss = 6 The Reperecussion technique can be used to create some unusual solos and fills while developing co-ordination in a musical manner- MOL® tracku ee ee = se 2 2 4 — 7 Here's a melodic fill idea which can also be used as a song intro. It's a little bit tricky so remember to start slowly- page 11a The Repercussion technique is a very versatile one and patterns can be orchestrated on all parts of the drum kit and in different time signatures. Here are two ideas in 3/4 time which sound a little out of the ordinary- NOL® track 14 = a a = a a NMO2® track 15 ys SSS SS bye tt _ _ a — > z > 3 > 3 Here is a jazz idea in 5/4 time- NOB® trackis 3 | fF pfavine ar, | pe 7 = ——s —_ 3x — d a4 d_ < ¥ _| r —F page 12Here is a pattern in 6/4 which works well at a medium tempo- NOF® track 17 = 4 SS Se And, a funk idea in 3/4 - NoS® track is SS eo a SSN oe eg > Finally, when using Repercussion techniques always make sure they fit the musical application you are playing in. Think of Repercussion as a supplement to your regular drum set ideas rather than a replacement. It's very important to tape yourself practicing so that you can listen back and correct any inconsistencies such as errors with timing. Use a metronome or drum machine to develop accurate timing. At the end of the day the whole idea is to experiment as much as possible and create something that has never been played before! page 13ae nenmHe He Fe se & & Focus on Hi hat The hi hat is an important and versatile part of the drum set and its use is often underdeveloped by many drummers, One way of improving your hi hat foot while obtaining a different sound and texture is to play 8th and 16th note patterns with both your lead hand and hi hat foot. This creates a subtle and interesting variation on the standard forms of hi hat work. A. Sth Note Grooves Take the following example of a standard 8th note pattern- NOE® tracki9 ee SSS Ss > By playing the 8th notes between your lead hand (on x-hat or ride) and hi hat foot you can achieve an interesting variation, First become comfortable with the next example, making sure the hi hat played with the foot is clearly audible. NO2® trackz20 Practice Number 2 until you are totally comfortable at slow, medium and fast tempos. In the following pages the technique with 8th, 16th and triplet notes will be further developed. page 14J ReGaBeoateEREEE ESE & HE & Now let's try some syncopated bass drum variations. Remember to start them ina slow and relaxed fashion- NO3® track 21 If NOF® track 22 === NOS© track23 > 2 nit =o 3 MOG® track 24 e—_—_— =e + + MO7Z® track 25 —_—-" x a> im ‘ a a 7 a x! NOB track26 =a — SSS Fa ao == foNO9® track 27 = — x = 3 2 = = = NOLO® trackze NOLEO© track29 To finish off this 8th note section let's try a funky groove in 3/4 time- NOl2® track30 page 16re NOG® track 36 9g —i—¥ a el = — = NO7F® track37 2S ee SSS . i oa Here's a variation in 3/4 time- NOB® track 3s === ES * e — = * Now for a 7/8 groove which sounds great at a medium tempo- NO9® trock39 3S = = — % ~—— i Finally, a more syncopated 7/8 pattern- NOLO® track40¢. Triplet feels Now lets take the idea one step further with some triplet patterns- Mol® track a : : oa 5 NO2B® track 42 Z 3 , =: : x = # —s _ =e = SS £ NOB® track43 NOF® track 44 BE m tH Practice this next one at slow to medium tempos as 16th note triplets with the hi hat foot can be tricky! NOS© track 45 3 3 3 3a as a aE EOE OS No6® Track 46 NO9® tock 49 3 Sd, Fa 3 > 3 ———— : This method of playing the hi hat can be easily incorporated into many forms of general timekeeping - You can use the patterns we have already learnt as a framework for your playing or develop your own creativity by applying the technique to whatever type of music you enjoy playing. Why not try it for soloing and fills! page 20