ee Contains: Odd Rhythms, Mixed Meters Metric Modulation, PolyrhythmsContains: Odd Rhythms, Mixed Meters by Gary Chaffee Metric Modulation, Polyrhythms THE PATTERNS SERIES The four books contained in the Patterns series have been designed to help students in developing an awareness of the types of materials currently being used in contemporary drum performance. Throughout the books, many suggestions will be made concerning how these materials can be applied to the drum set. Students should feel free to experiment with these possibilities, as well as any other ideas that they May come up with, it is important to understand that the books are not sequential and can be worked on in any order. Also, it is not necessary to complete one book:before moving on to the next. The various topics that are presented can be worked on in whatever order is the most appropriate for the individual student. RHYTHM AND METER PATTERNS - Deals with a comprehensive examination of rhythmic and metric materials, including such things as odd-thythms, polyrhythms, mixed meters, metric modulation and the like. STICKING PATTERNS - Presents a new approach to stickings with specific emphasis on their application to drum set performance. Also includes materials for accented single strokes, as well as exercises dealing with the use of doubles on the set. TIME FUNCTIONING PATTERNS - Focuses on time functioning skills in both the jazz and rock areas. Topics include cymbal ostinatos and linear phrasing, as well as melodic and harmonicjazz coordination. TECHNIQUE PATTERNS - Contains materials that are designed to help students in developing basic technical skills. Includes a wide variety of exercises for the hands, as well as materials for the feet. Conrigtt: © 207A by GO nso ALRIghts Reserved Bxchintve Worldwide Distribution by CPP/Balorin, Ino, Mtarnt, FLGEOLA Biltor: Sandy Feldstein ores Ast: Warren Coney reduction Choninator: Sonja PeormanTABLE OF CONTENTS TWERODUGTION etc .k cs sc ce icac etre rie Cat ens. nae eres 4 GENERAL CONSIDERATIONS Hand Position... 5 Motion Principles . vy Dynamic Considerations 8 PRELIMINARY EXERCISES Exercise on SbicksHeignts 5). sai) an ciciern/cna)(onwanieunns e 32-4 —32—-4 ee ee ee erese —54— ppd yt Ao Soy ) EE eo 84 — 640 5d Bio AE Te I Jia Taro 32 ae hee dE. PR mp mf mp P aaStudy Involving Metric Modulation The term metric modulation refers to a process that can be used to alter the relationships between various rhythms and meters. For example: 325 325 pL) on So oo 395 The j= 4 notation between the first two measures indicates that the speed of the eighth notes in the triplet will become the new speed for the sixteenth notes in the second measure. In like fashion, the speed of the eighth note triplet in the second measure becomes the new speed for the sixteenth notes in the third measure. Thorefore, cach measure, although identical in notation, will move at a. slower speed. You can also have situations in which the speed of events ‘will increase. 325 i25 deh ate A 325 325 225 a faa {oc ee eo By mixing these procedures, a wide variety of shifts and changes in the rhythmic flow can bs created. 325 fe 32 (aon) alee ) eee) ae 1d ee ee | 325 ee 325 —32— 210) Jee dy The study that follows deals with some of these possibilities. 55 -Study “17. The starting (and ending) tempo for this study is: d=8t oS Dad 325 325 325325 P si i 54 F ; 3 wpe LE Lai 1 mf —_———_ 924 -Aa A ee 2p —ae— aa? & wi 64part 2 — Figures Based Upon A Dotted Quarter Note : ‘The kinds of rhythmic figures that were dealt with in terms of a quarter note can de constructed using other note values. The graph. that follows indicates some of the possible notations for such figures in relationship to a dotted quarter note. Group A Group B Group G a on py 1 or rm ad 2 || 56. For the two, four, five and eight note groupings, a number of notational possibilities exist. In Group A, these figures are written using smaller dotted note values, thereby eliminating in most cases the need for brackets. In Group B, the reference is made ahead to the next natural grouping of notes. (For example, in the 2:3 figure, the three refers to a grouping of three eighth notes.) With Group G, the reference is made back to the last natural grouping of notes, as was the case with quarter note based figures.38 ‘There are two main reasons why these elternate notational possibilities need to be dealt with. The first has to do with the fact that all are presently in use by composers. No single aystem has yet predominated, so the student should be familiar with each of them, especially from a reading standpoint. Secondly, all of these alternate notations can be used as a means of developing certain rhythmic structures over larger spans of time. (This point will become more evident in Section II of this text.) The set of studies that follows will give the student some preliminary practice in dealing with rhythmic figures based upon & dotted quarter note. Study #18. In this study, the two, four, five and eight note groupings are written using dotted note values. 4 gj fdddad dodo d Dd I ET So mp 1:6— —s54— 5:4—— f pe Jnaa a eae) eee Td ATT sy a P ——54— j PR ——= nf =——_ ? —_—= nf —76— | | |Study #19. Dotted quarter note based figures with rests. Group B notations are used in this study. d.288 ee ee onan, Aa 56 —1— 56. 58. Veco err | rer Mowers rerun —76— 4 P mp mf40 study #20. Group C notations are used in this study. Jan 58 —4— 53 43848 I 8 48 18 ATI, CTT dy yp Sia ee FTL ya ——f io er a F234 —43— 48 4 fe ee ea 43 — 43 43 et oie ee —13— -— 48 (nnn aes yd pee nf —— mp ——Study *21. Dotted quarter note based figures employing partial subdivision. d.=80 8:29 927924 7 3II32> y Tals Lye egal LA 5 99 Teg B2r828I4 ——_r SBCRBANIA—P BBD ag MID aa LT —nf—p nf Wp dda. : ae PR mp ———— pp 4 _42 Study “28. Dotted quarter note based figures with metric modulation. The starting (and ending) tempo for this study is: J.=80 581385 4 iO ero ee rt65 ted 23 8 ibe etane oes 4 # rl | —— 2 : a, SS es ylgdddd Jd gad de Te ay 15 nf p ——= mf p ——= nf ——— pf ——_ a. # 2 é i zea Z 7 ‘+ LIT i oe 46 ee SS SS, meno ea, Ge f —_ FF ee we, Bayt peg “heh 8:6 ——1—— 86>.Part 5 — Meter Studies The studies that follow deal with some additional metric possibilities and should be carefully practiced. Meters In ‘One’ Certain meter signatures will sometimes be used in ‘one’, meaning that they are to be thought of with one beat unit per measure. (This is most common with odd numerical meters, such as three, five and seven.) By using such a process, it is possible to create some interesting shapes. As an example of this, consider the following: MM. d-= 76 54— 32-5 - oe Pee ea) tiie ‘The four sixteenth notes in the first two measures are replaced respectively by five sixteenth notes and an eighth note triplet in the third and fourth measures, and each of these figures exists over only two-thirds of a beat unit. Studies #23-25 deal with this type of situation. flao Study #25. 3/6 in ‘one’. A dotted quarter note is the beat unit. d= 84 eanni Pa Z 7 ae dd ty Os. a (el eee ae ee ee ee if ——$_——_ ? Sean eed i ios —= fe 54——1. 84 —1 ape ee 1 | t rf ——— i 32 Sem aera eee th 4d a pL «ff mf mp P PPStudy #24. 5/16 in ‘one’, Note carefully the triplet subdivisions beginning in measure 21. Lb-e {on Bom yonD aml Vem oe GN TEN 32 824 32-325 32 3:25 ee 7 |Study #25.'7/16 in ‘one’, Note carefully the distribution between, measures 15 and 14. Les DES So 325 325. ()_ fanaa eee La a 329325 824-325 yd TTd Aaa Pee ea 32903247824 32 8240924325 eS OeMeter Subdivision — Meter Combination Up to this point, all of the metric situations have involved an even (constant) beat structure. In many instances, meters can be used. to develop an uneven beat structure. For example: 825, gedit GPT TD gaa TD TI 325-325 In the 5/8 example, the raythms have been organized in terms of a dotted quarter note-quarter note beat structure. In the 7/8 example, the implied beat structure is quarter note-quarter note-dotted quarter note. This is what is meant by ‘meter subdivision’. Another way of achieving an uneven beat structure is to mix various meters as in the following example: The group of studies that follows deals with these two processes and should be carefully studied and practiced. aroD Study #26. 5/8 in a subdivision of three-to-two. One measure of gd = 4 3:25 ql oo, mf —s64— (Me oe ears Jy faa d : a ap Ss aL 8:25 —64— Goo, (fn, So Ladd doa i oh 4 7G FO) Fe So dim, Sit vol, fades La ] Pp —$—==_ 1f=———_ pp af—— 3:2 3241-32 qi LE. od pod mf P mli | | Stady #27. 7/8 in a subdivision of two-two-three. One measure of gid dy = 324 325 a2 -3Z4 Seo pate ——54——. et) —32— -—82— 3.2 Eo ee ee St Tf —32— pene oe ME Jorgen ae FE dim. poco a poco 32 821-921-324 ee ee ee ——54— —32— ee es ese eaed ease S| eee heh Joa) 14d 2a meee ae agStudy #28. 11/16 in a subdivision of four-four-three. One measure of fed dy. 0 4d —_d Fr TE a ee mf Se ip ee Oe ee epee ogee ere 56 5d 325 i eo Pp nf BR mf ee ee ee ee mf———_ Pp a Se ee mfstudy #29. In this study, quarter note and dotted quarter note beat units have been mixed. The opening tempo is: J2132 LL ip nf ——_ p ——— vg TaD aang TUT ig Sores TTT eA LTT verte ler lesrel Srrre7beecrztcrrerie —— nf nea oes Zech pa LT =f 51@ Study #51. A variety of meters are used in this study. The opening tempo is: J=100 G ree yA AI ES fore PB ape mf: eee + i€ P ie an oes sy 7 1a ——64—~ -——_ 64 —_, | re ra dy yd Ata Fy 40 a eee le, aed rae Fay e \ io, 4, gS TET a pe eee a "Romp mh é faa 19 dddddddda yal a fall aS SS PD a se 7 % # jStudy *52. The final study in this section is ‘ammetric’, meaning that no meter indications have been given. The opening tempo is: 4280 a ee al qo, Pelee ; 32 -824-—32—4 8247-32 32, 2a eee ee dim Ppp cresc 5 925 5:4— St ane es ee. 4 ra = e rs f aa. A ———— roSHCTION II — RHYTHMIC FIGURES OVER LARGER SPANS OF TIME Part 1 — Figures Based Upon A Quarter Note Beat Unit The kinds of rhythmic figures that were introduced in Section I can be used as a means of creating similar structures over larger Spans of time. Basically, this is accomplished by playing only certain, Partials of a given group. This process will be referred to as ‘partial elimination’. As an example of this, by sounding every other note in a Serles of eighth note triplets, ¢ quarter note triplet is created. eee ie 92 325 He Re 82 324 32 32 on J wp LT TTT) 2 yp dy fy In like fashion, by Sounding only every fourth note in the Series, a half note triplet is formed. SBS 325 ee ee —— 2 FELIS opt tee te gh This kind of approach offers a fairly simple means of initially : Jearning how to play the larger rhythmic structures, However, it : should not be thought of as a final process. There are two important Teasons for this: 1. At extremely fast tempos, it would obviously bo impossible to think of (count) all of the smaller Partials within a given rhythmic structure, and 8. Even in those tempo ranges where it would be possible, the continued use of such a counting procedure would tend to make tho time feel extremely rigid, having little, ifany, shape or direction. 1 Mont \ na th