See rsa aa ~ a Contains: Accented Singles - Creative Doubles aPART 3 — COMPOUND STICKINGS The term ‘compound’ sticking refers to those patterns that contain. both single and double strokes. By using such patterns, a wide variety of phrasings and articulations can be achieved, and we will be examining these possibilities in detail. The materials have been divided into five groups, these being related to the distribution of single and double strokes. At the beginning of each group, some examples will be given representing the basic motion processes involved in the performance of the stickings. Following these examples will be studies in which the stickings are used in different rhythmic and metric situations. (It is important to understand that the stickings are not written out in the pieces. Which stickings are to be used will be determined by the placement of the accents.) ‘The basic premise behind this entire system is based upon the fact that, a sticking is essentially an articulation. As such, it is not necessary to use stickings only in matching rhythmic situations. Any sticking or combination of stickings can be used in any rhythm, as long as the total number of notes is the same. By using this kind of process, it is possible to create many interesting phrases. These ideas can then be used on the set in both soloing and in time functioning situations. The studies contained in each group are designed to show you how this whole process works. The initial studies will normally be in the common rates (16th notes and triplets). These will then be followed by additional studies which incorporate a variety of rhythms. Following the studies there is a section demonstrating some of the ‘ways in which the stickings can be applied to the set. (The main applications are for rock time playing, Latin time playing and soloing in any area.) As you are working your way through the studies, you should feel free to experiment with any ideas that may come up along these lines. All of the studies should first be performed on the snare drum, starting with either hand. They may then be worked on using the same type of set routines that were described for the accented pxkeesthhcbaietestenaCompound Stickings — Group A The stickings of Group A contain one single stroke followed by some numiber of double strokes. Some of the basic possibilities are: < < | ert ee tw Merkle nila oor Floss cas dle esau rsa? Terdive EIT Der ern beer 1 DAT eve TAT 5&7:Study #12. Group A stickings in a four-note rhythm. < < < FA < < <é <<, < < \e |Study “13. Group A stickings in a three-note rhythm. sone e: < < OT), Soh mm 2 Lm int a ts y. ToL oto _ TUT ie? Pi ye LOL im eryStudy #14. Group A stickings in a five-note rhythm.Study #16. Group A stickings in rhythmic mixtures. mu. J =96 z 5 Biagio roe — thame so : ‘ s: Sade s9 is Teter st acsit art Nal ine cece ees! TH area CP ace, pae We: Jad PSYICS Sa KS eB AaC HS mitCompound Stickings — Group B The stickings of Group B contain two single strokes followed by some number of double strokes. < < < erpalay rare loe re lagulal Eero ee laters Lied Aer bs le Gel ley Deve eter pert Die PUreT BT De Teer a hires Meee Te eee It is also possible to accent both of the single strokes. Bal He hy 4 io Io Ia 3 e a % ha 4 a ba a 4 2 na 4 yO En DET uy Tin Db ol Ter (Note — In addition to the three patterns listed above, some larger Group B stickings, ten-note, twelve-note, etc., have also been included in the studies.)Study #17. Group B stickings in a four-note rhythm. (single accent)Stady “19. Group B stickings in a four-note rhythm. (Single and double accent possibilities are mixed in this study.)Study *20. Group B stickings in a three-note rhythm. (single accent) 1 TLL, oo Study #21. Group B stickings in a three-note rhythm. (double accent) ec ze << << pe JIT TT), 7 ST. LT % F :Study #22. Group B stickings in a three-note rhythm. (Single and double accent possibilities are mixed in this study.) wT LM TTT. wom, moim g fez C3 LW 12 g 2. g (2 q MOU, adioi im: g Lie ae <& << onStudy “23. Group B stickings in a five-note rhythm.Study #84. Group B stickings in rhythmic mixtures. mu, d= 108 ren ial oo mod < < < SHAS 4a st a 324 06H AM 64 < < T«¢ rharbtaees A yet haa oh2q % rs 24) Oe bz yy ULL CA A. A < a i Ze act ee otCompound Stickings — Group C The stickings of Group C contain three single strokes followed by some number of double strokes. id Tim [el = m Li? Lie ces bee diet fa te Sle eee le Sed) ry a eo Er Da em Dealt 7 emery Geeta Ba 4 Ba 4 or) “ my ve BH i Io i= Is Ie Io 10 Is 1a Ic ia Ic Io Is Is Is Ic Ia Ba a A A My BA 4H ne ben Ha RH 4 ERE Er eo SD) Ia uTUEDD ach of these motions should be carefully practiced before working on the studies. ieStudy #285. Five-note Group C sticking in a five-note rhythm. Fe se ee ee ec 9 ATT, ATTLTT 16 | iT ese 4 tee t + z + Singles on. cymbals Singles on cymbals Moving doubles Broken doubles Other sticking versions that could be mixed are: — 7Aand 7C and 7E — 5A and 5C — 8Band 8DC. Mixing Stickings In A Constant Rhythm A variety of stickings may be mixed within a given phrase. For example, two measures of triplets could be articulated as follows: Sample Combinations PRB CHACHAA CHAT Ch EW eF:ta py. ZI cy Right hand moves Broken doubles in right hand Both hands move Qa HBB cyi29 cV2Z> Broken doubles in both hands This type of phrasing procedure can be modified in two basic ways. First of all, you could change the order of the stickings: Original Alternates P77 3 CSP TE ST Another possibility would be to substitute other versions of a given. grouping. For the example above, you could replace the 7A sticking with a 7C or 7E sticking.The following list indicates some of the basic sticking combinations that can be used to articulate various phrase lengths in triplets and sixteenth notes. Each pattern should be applied to the drum set. in a variety of ways. Practice starting with either hand. ‘Two Measures Of Triplets (24 notes) la, 5A-SA-SASA4B 3a. 4B-6B-4B-6B-4B 5a. BA-7A-4B-8B b. BC-5C-5SC-5C-4B b. 4B6D-4B-6D-4B b. BC-7A4B 8B : c. BA-7C-4B-8B 2a. TATA-BABA 42. 4B8B-4B-8B a. 5C-7C-4B8B D. 7A-7A-5C-5C b.4B-8D-4B-8D 6. BA7E4B-8B c. 7C-7C BABA. £8C-7E-4B-8B a. 70-7C-50-8C . 5A-VA-4B-8D °. TEVESABA h. 3C-7A-4B-8D £. 7E-VE-SC-BC i BA-7C4BSD j.5C-7C-4B-8D x. BAYE4B-8D 1 5C-7E4B8D Four Measures Of Triplets (48 notes) la. TA-PA-TA-TA-TA-TA-BA-GA 3a. 8B-3A-8B-3A-8B-SA-8B-3A-4B b. 7C-7C-7C-7C-70-7C-3A-3A, b. 8D-BA-8D-SA-8D-SA-BD-BA4B ¢. TE-7E-7E-7E-VE-7E-SA-GA. 4a. 5A-6B-3A-6B-3A-6B-3A-6B-3A-6B-3A_ 2a, 6B-4B-6B-4B-6B-4B-6B4B-8B b. 3A-6D-3A-6D-34-6D-3A-6D-3A-6D-3A ’b. G(D4B-6D-4B-6D-4B-6D4B-8B c, 6B-4B-6B-4B-6B-4B-6B4B-8D d 6D-4B-6D-4B-6D-4B-6D4B-8D One Measure Of Sixteenths (16 notes) la, 5A-5A-GA-3A_ 4a. TA-SA4B Db, 5C-5C-3A-3A b. 7A-5C-4B c. 7C-5A4B 2a. TA-SA-GAGA d. 7C-5C4B D. 7C-3A-GA-SA e. 7E-5SA4B f. 7E-5C4B 3a. 6B-6B4B b. 6D-6D-4BTwo Measures Of Sixteenths (32 notes) da. 7A-7A-VA-7A-4B 4a. 8B-GB-SB-6GB-4B b. 7C-70-7C-7C-4B b. 8B-6D-8B-6D-4B C. 7E-7E-VE-7E-4B ¢. 8D-6B-8D-6B-4B d. 8D-6D-8D-6D-4B. 2a. BA-BA-5A-5A-GA-GA-3A-3A, b. 5C-5C-5C-5C-3A-BA-BA-3A. 5a. 8B-5A-GA-3A-5A-8B 2 b. 8B-BC-3A-3A-5C-8B Sa. 7A-5A-BA-5A-5A-5A c. 8D-BA-GA-3A-5A-8D b. 7A-5C-5C-5C-5C-6C d. 8D-5C-3A-3A-5C-8D c, 7C-BA-BA-BA-BA-5A d. 7C-5C-5C-5C-8C-5C @. TE-SA-SA-5A-5A-5A £. 7E-5C-5C-5C-5C-5C Four Measures Of Sixteenths (64 notes) la. 4B-6B-4B-6B-4B-6B-4B-6B-4B-6B-4B-6B-4B b. 4B-6D-4B-6D-4B-6D-4B-6D-4B-6D-4B-6D-4B 2a. BB-8B-7A-5A-7A-BA-7A-5A-TA-5A ‘b. 8B-8B-74-5C-7.A-5C-7A-5C-7.A-5C 0. 8B-8B-7C-5A-7C-5A-7C-5A-7C-5A d. 8B-8B-70-5C-70-5C-7C-8C-7C-5C e, 8B-8B-7E-5A-7E-5A-7E-5A-7E-BA f£. 8B-8B-7E-5C-7E-8C-7E-5C-7E-5C §. 8D-8D-7A-5A-7A-BA-7A-BA-TA-5A h. 8D-8D-7.A-5C-7A-5C-7.A-5C-7A-5C, i. 8D-8D-7C-5A-7C-5A-7C-5A-70-5A, j. 8D-8D-7C-5C-70-50-7C-5C-7C-5C_ k, 8D-8D-7E-5A-7E-5A-7E-5A-TE-5A. 1, 8D-8D-7E-5C-7E-5C-7E-5C-7E-50 Continue experimenting with other possibilities. Also work on. situations involving different rhythmic constants.Using Compound Stickings To Play Time Compound stickings can be used to generate a variety of time feels. The examples that follow indicate some of the basis possibilities. A. Rock Time Feels — For the following examples, all accents should be executed by striking the head and rim of the snare drum at the same time. All of the previous compound sticking materials have used accents exclusively on single strokes. In these examples, some of the accents will be on the first or second note of double strokes. All cymbal notes are played with the right hand, all snare drum notes with the left hand. (The cymbal line may also be played on the hi-hat.) Each of these patterns is actually a hand ostinato. Therefore, after working through a given pattern with the indicated bass drum line, experiment with using other bass drum rhythms. 1. This pattern uses a constant four-note sticking (rlrr-Irll) beginning on the fourth sixteenth of the first beat. 3. This pattern uses the 5C and 3A stickings. TSCA BAIT SE— $6 —ae3ha Bam $6 —4. This pattern uses the stickings 5C-5C-5A followed by one single stroke. Maes Cre Cae SCaa Ce elit Tete eter ie eal 8. This pattern uses the stickings 5A-BA-BA followed by one single stroke. 6. This pattern uses the stickings 7A-7A followed by two single strokes. 7. This pattern uses the stickings 6B-6B-3A followed by one single stroke. 6h 68 SAAN Te Ee gilleen irc anThis same type of process can be applied to odd-meter situations. One interesting way of doing this is to use stickings that symmetrically divide the meter. For example: eSteglian 87 ee In these examples, two five-note stickings were used to complete the measure. Similar possibilities would exist for other odd-meters. 18 Jr 1A ST Continue experimenting with other possibilities. B. Jazz Time Feels The standard jazz ride cymbal pattern and its variations can be filled in using various sticking procedures. For example: r35 039 353-4 ai Ese oval i Relat(Ces Sea = si wom ptt EEE Fe it nt i oe | mb oetartae3a | variation yolblblhl, rere Such patterns can be combined and mixed in a mumber of different ‘ways. In such situations, the notes in the left hand can be played on a variety of sound sources. Additionally, at certain points, a foot can be substituted for a given note or group of notes. Poke GOs ieee Gre ie et ls Sit pe rath mary eS 22s 2 ~ o=¢: oe. {| C. Latin Time Feels Latin time feels can also be generated using various stickings. ‘The two examples that follow indicate some basic possibilities for a samba. (Note - In both of these examples, the snare drum notes should be played with the stick laid across the rim.) a Vea 16 oy 16 a 9g ay a = (A A Giete] Safa Continue experimenting with other possibilities.