STICKING Zura ae = Accented EMaies * = Doubles P oe @ ¢ @ ¢€ re Ce c —— ay c c 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 Tmotion 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 single strokes.Compound Stickings — Group A The stickings of Group A contain one single stroke followed by some number of double strokes. Some of the basic possibilities are: Sez: 5&7:Study #12. Group A stickings in a fournote rhythm. exile here < < < a < < < ; fil, fn Gn in oe ‘ < < < y 4 < < < < < AA < < < << < < < < eleStudy #15. Group A stickings in a three-note rhythm. duininin, ct of a oa eae 21 Lu, mm int aa a yw I aim Wim ihya 2 SUT i Tim . TT Cee fee ye TL am iimyStudy #14. Group A stickings in a fivenote rhythm.Study #16. Group A stickings in rhythmic mixtures. mM. J=96 Z ae mesa gen Tot — “4 me VE SHICStrSA A oy BSS eS EN IT t : | u ee aCompound Stickings — Group B The stickings of Group B contain two single strokes followed by some number of double strokes. < « < i) re es Is lo le Is 14 Io Is i) re 14 Ia a eplega) lee ea ey ete 1 Ube liar tare ile blerer ge tetera blh 4 ee Woot oe It is also possible to accent both of the single strokes. ec Bal Ae BH Bs 4 Ie io 1a ic Ia Ie IFoo ee Dear gl sess i err we pte a ne Ha Tr 1 pig DAs BE SALA UA RUE Db DE La LUE (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)Study #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) rim imm, momStudy #22. Group B stickings in a three-note rhythm. (Single and double accent possibilities are mixed in this study.) nici timo << << < < ye TL TT, LT LT yf NTT, Mom. (2 q MOU, motion 3 ee ac ae lpsStudy #25. Group B stickings in a five-note rhythm.Study #24. Group B stickings in rhythmic mixtures. ue. J=108 Ter = uot < s&s Wet { 4 x meiner ee ae 64 6.49 64 rarest ted a Ce hizo estaCompound Stickings — Group C The stickings of Group C contain three single strokes followed by some number of double strokes. a 4 Tar eae F LES, bee ree ees Siti rior ik Sy a oe le eee ELE fh Begs DE Tee Esd Detou Tit Other accent possibilities are: << ec . 4B-8D4B8D e. 5A-7E-4B-8B . 7CPC-5A-BA £ 5C-7E-4B-8B 4. 70-7C-5C-5C 6. 5A-7A4B-8D e. VE-VESASA h.5C-7A4B8D f. 7E-VE-5C-8C i 5A-7C4B8D j.5C-7C-4B-8D k BA-VE4B-8D 1 5C7E4B-8D Four Measures Of Triplets (48 notes) La. TA-TA-TATA-7A-7A-BA-3A 3a, 8B-3A-8B-SA-8B-SA-8B-3A-4B b.PC7CPC-7CVC-CSASA D. 8D-3A-8D-3A-8D-3A-8D-3A-4B ¢, TE-7E-7E-7E-VE-7E-GA-GA. 4a. SA-GB-3A-6B-3A-6B-3A-6B-3A-6B-3A. 2a, 6B-4B-6B4B-6B4B-6B4B-8B b. SA-6D-3A-6D-BA-6D-3A-GD-3A-6D-3A b. 6D4B-6D-4B-6D-4B-6D-4B-8B c. 6B4B-6B-4B-6B-4B-6B-4B-8D d. 6D-4B-6D-4B-6D-4B-6D-4B-8D One Measure Of Sixteenths (16 notes) la. 5A-BA-3A-3A 4a, 7A-5A-4B b. 5C-5C-3A-3A b. 7A-5C-4B c. 7C-5A-4B 2a. TA-BA-SA-3A da 7C-5C4B b. 7C-SA-3A-3A ©. 7E-BA4B £. 7E-5C-4B 3a. 6B-6B4B b. 6D-6D-4BTwo Measures Of Sixteenths (32 notes) la. 7A-7A-7A-7A-4B 4a. 8B-GB-8B-6B-4B b. 7C-70-7C-7C-4B b. 8B-6D-8B-6D-4B C. 7E-7E-7E-7E-4B, ¢. 8D-6B-8D-6B-4B d. 8D-6D-8D-6D4B Ra. SA-BA-BA-BA-BA-GA-BA-3A. ‘b. 5C-5C-5C-5C-3A-3A-3A-3A, 8a. 8B-5A-3A-ZA-5A-8B 7 b. 8B-5C-3A-3A-5C-8B, Sa, TA-BA-BA-BA-BA-BA ¢. 8D-5A-3A-3A-5A-8D b. 7A-BC-5C-5C-5C-5C d. 8D-5C-3A-3A-5C-8D ¢. 7C-5A-BA-BA-BA-5A d. '7C-5C-5C-5C-5C-8C e. 7E-SA-BA-BA-BA-BA f. 7H-5C-SC-5C-5C-8C_ 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. 8B-8B-7A-BA-7A-5A-7A-5A-VA-5A. ‘b. 8B-8B-7A-5C-7A-5C-7A-50-7A-5C c. 8B-8B-7C-5A-7C-5A-7C-5A-7C-5A d. 8B-8B-7C-5C-7C-5C-7C-5C-70-5C ©. 8B-8B-7E-5A-7E-5A-7E-5A-7E-5A. f. 8B-8B-7E-5C-7E-5C-7E-5C-7E-5C 8. 8D-6D-7A-5A-7A-5A-7A-5A-7A-BA h. 8D-8D-7A-5C-7A-5C-7A-5C-7A-5C i. 8D-8D-7C-5A-7C-8A-7C0-5A-7C-5A. Jj. 8D-8D-7C-5C-7C-5C-70-5C-70-50 &. 8D-8D-7E-5A-7E-BA-7E-5A-7E-5A, 1 8D-8D-7E-50-7E-5C-7E-5C-7E-5C 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 basic 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.4. This pattern uses the stickings 5C-5C-5A followed by one single stroke. TSC Sa S84 ose sea s§—an 5. This pattern uses the stickings 5A-5A-5A followed by one single stroke. TSA Te SAIrSE—In SA SA shag 6. This pattern uses the stickings 7.A-7A followed by two single strokes. ‘7. This pattern uses the stickings 6B-6B-3A followed by one single stroke. 687 68 So esaan $8 7 6B a ew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: SA SA GS Cee Cael ae In these examples, two five-note stickings were used to complete the measure. Similar possibilities would exist for other odd-meters. th gle eed 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: p3o 39 oe37 Baa piermisreae3tsar3o riz ooacsart4 rboctartac3sa variation { 4 Such patterns can be combined and mixed in a number 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. r3Srd> -tare3a neh C. Latin Time Feels (rio Set ate Boe es 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.) 2 a Er 1 — 1 ——n 11 —— A alts, Continue experimenting with other possibilities.