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Contains: Accented Singles - Creative Doubles
aPART 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
pxkeesthhcbaietestenaCompound 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:
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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.
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\e |Study “13. Group A stickings in a three-note rhythm.
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OT), Soh mm
2 Lm
int a ts
y. ToL oto
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ye LOL im eryStudy #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 mitCompound Stickings — Group B
The stickings of Group B contain two single strokes followed by
some number of double strokes.
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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
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hy
4
io
Io
Ia
3
e
a
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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)
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Study #21. Group B stickings in a three-note rhythm. (double accent)
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F :Study #22. Group B stickings in a three-note rhythm. (Single and
double accent possibilities are mixed in this study.)
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wom, moim
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fez C3 LW
12
g
2.
g
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q
MOU, adioi im:
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Lie ae <& <<
onStudy “23. Group B stickings in a five-note rhythm.Study #84. Group B stickings in rhythmic mixtures.
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rharbtaees A yet haa oh2q
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24) Oe bz
yy ULL CA A. A
< a i Ze act ee otCompound Stickings — Group C
The stickings of Group C contain three single strokes followed by
some number of double strokes.
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[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
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BH
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Is
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Io
10
Is
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ia
Ic
Io
Is
Is
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Ba
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ach of these motions should be carefully practiced before working
on the studies.
ieStudy #285. Five-note Group C sticking in a five-note rhythm.
Fe se ee ee ec
9 ATT, ATTLTT
16
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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 8DC. 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-4BTwo 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 anThis 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.