If you play one drum with two sticks, and you don't hit the head simultaneously

with both sticks, then you're linear drumming: each note is struck seperately. Carrying
this idea to a drum kit - with the potential to hit four voices simultaneously - the
concept of linear drumming can be an interesting exercise for fluidity, timing,
independence, and groove.

In most kit drumming - rock, jazz, folk, ballade, country - the drummer sets up
an ostinato on the cymbals and plays the rhythm pattern on the rest of the kit against
this ostinato. The cymbal voice remains steady, so subsequent notes on the kick and
snare are played simultaneously with the ostinato.

Another method of playing time is linear phrasing: playing each voice seperately.
Our previous example, played in a linear fashion with no ostinato, looks like this.
Basically, any pattern that can be played as an ostinato can be played as a linear
pattern. Examples follow.

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 Some examples of linear drumming. Practice them slowly, building speed as
you become comfortable. Steadiness and feel are of primary immportance: chops will
naturally follow.

This pattern is similar to Linear Pattern #1 above. It's not "symmetrical" in the
traditional manner most rock drummers are used to. You'll find you won't slip into
this groove as quickly. This pattern can be used to great effect as a fill, playing
different voices than the ones pictured here: toms, cymbals, percussion...

This pattern basically doubles the above pattern - using eighth notes - but throws
in a little curve at the end.

This pattern begins to develop some different rhythmic structures. It shows the
potential power of the linear pattern as applied to various grooves.

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 Continuing the development of the previous pattern, this exercise is a bit
"heavier".

Here are some additional patterns to try out:

Exercise #6

Exercise #7

Exercise #8

Exercise #9

Exercise #10

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 Exercise #11

Exercise #12

Exercise #13

Exercise #14

I will be placing other examples on this page as I develop them. Try to come up
with your own: take any traditional ostinato pattern you've been playing and strip the
ostinato. For greater independence and fluidity, try playing them ambidexerously: for
more information, see Ambidexterity.
Let me know what patterns you've developed.

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