MUSICIANS INSTITUTE MASTER CLASS - The Component Rhythm System by Jeff Bowders Also available on MI Press from Jeff Bowders: Double Bass Drumming Book/CD HL00695723 Double Bass Drumming Workshop DVD HL00695869 Cover photo by Alex Soica ISBN 970-1-4204.2762.9 HALeLEONARD® mC ORPORATION 2008 by HAL LEONARD CORPORATION Inteaioal Copyraht Secured Al ighs Reserved Era ausadrnndhslecnas No par ef this publication may be reproduced in any fom by any me Viet Hal Leonars ‘worwnhalAbout the Author In the 20 years that Jeff Bowders has been playing drums he has been blessed with the opportunity to perform all over the world. Whether itis backing world renown GRAMMY® winning musicians or play- ing as a solo artist at drum festivals and camps, Jeff's enthusiasm for drums and drumming is obvious. ‘An in-demand educator at Musicians Institute, Jeff's highly regarded MI Press Hal Leonard Publications include Double Bass Drumming-The Mirrored Groove System Book/CD and Double Bass Drumming Workshop DVD. Check out the following for all the latest news, info and comedy! wwwjefbowders.com wiw.myspace.com/jeffbowders ‘wiw.youtube. comeffbowders Jeff proudly endorses these amazing companies: Tama Drums, Pedals, and Hardware Sabian Cymbals Vater Drumsticks Evans Drumheads E-Pad! Practice Pads Special Thanks: Mom, Dad, and Logan; Tim Pedersen and all the troops at Ml; Michael Elsner; TJ. Helmerich; Alex Solca; John Massey; Walter Sebring for your inspiring dedication; Ken Oetelein; Jim Tilton; Larry London; Dom Famularo; My Fill Fest students ‘03-07; Pat Gesualdo; Gene Provencio; Paul Gilbert; Ty “Fills That Pay the Bills” Kuske; XM Radio; Phil Collins’ fill in “In the Air Tonight"; and Jesus Christ for proving that absolutes exist. 2+2=4 A humble thank you for your support: ‘Aaron Vishria and Rob Nishida at Tama; Chris Stankee and Bobby Boos at Sabian; Chad Brandolini at Vater; Steve “Lob” Lobmeier at Evans; Ed Eblen at E-Pad!Contents Page 4 13 26 39 53 66 86 112 Introduction About This Book About the CD Practice Suggestions Notation Guide Chapter 1: Motion Concepts Chapter 2: Compound Rhythm Concepts Chapter 3: Hand-Foot Concepts Chapter 4: Drum to Cymbal Concepts Chapter 5: Roll Concepts Chapter 6: Double-Bass Drum Concepts Chapter 7; Grouping Concepts Chapter 8: Play-Along Charts CD Track 1-2 a4 15-22 23-30 31-38 39-52 53-63 64-71Introduction (One of the most popular questions | get asked when teaching privately, performing drum clinics, and instructing classes at Musicians Institute is “How do | develop coo! new fill ideas?” This is the very rea- son | have written Essential Drumset Fills-The Component Rhythm System. Even though our primary function as drummers is to provide a solid foundation for time and groove, an adequate study of fill devel- ‘opment and drumset motion will help us achieve our goal of becoming complete, well-rounded drummers. There are many ways to define what a drum fill is and its function. Fills can be used to cue the band in certain sections of songs. They can function as a setup for a “hit” or accent. Fills can introduce a song following the count-in. In Essential Drumset Fills, we will consider drum fills as any brief departure from the established groove that has a beginning and an end. However, defining what a fil is, isn’t nearly as important as what to play in a fill. One of my favorite things about playing drums is the ability of the player to create and develop a recognizable identity. Drum fills have the ability to distinguish your “voice” from the others. There has always been an aspect of per- sonalization or signature within a drummer's fil vocabulary. All of our favorite drummers have that “some- thing” which separates them from others, thus making them unique to some degree. We all have this potential; understanding this and developing it is where the work comes in...and the rewards! The goal of Essential Drumset Fils is to provide you with an understanding of how to apply various {ill concepts and enhance your ever-growing drum fill vocabulary. This is not an “encyclopedia of every drum fill ever played” per se, but a workbook that allows you to take the concepts and develop your own voice! Most importantly, in this study or anything else that requires focus and dedication, have fun! Practicing can be arduous work, but having an attitude of gratefulness and joy makes the time more ben- eficial; and usually, more inspiring! “Itis not because things are difficult that we do not dare; it is because we do not dare that they are difficult.” SenecaAbout This Book Excluding Chapter 1, each chapter in Essential Drumset Fills will introduce a new fill concept that will be applied to a set series of musical applications. Through this process you will gain a better understand- ing of how to apply the basic components of each concept and develop them into any musical statement. Components Each chapter will begin by introducing the basic rhythm components. These are usually two beats in length and played on the snare, bass, or snare and bass combinations. The short phrases of each com- ponent allow for quicker understanding and the freedom to combine different components (addressed in the next section) Applications This section includes three ways in which the components are applied: * Combinations and Orchestrations + Flams + Fill Durations Component Combinations and Orchestrations This section will give you examples of how to combine the components to create longer fills and orchestrate them. By orchestrating the combined components you will understand how the different voic- es (.e. toms, cymbals) of your kit can completely change the fil's musical identity while still maintaining the same basic rhythm with which you started. The orchestrations that are written out are only there to get you started: | highly encourage you to explore and discover what amazing orchestrations you can create. Flams This next section will help you understand how to effectively “spice” up your fills by applying flams. They will also introduce some altemate stickings that make these flam concepts possible. WARNING: Pay close attention to the orchestrated fill stickings and what voicing is used for the flams—they can get a little ratty! Durations In this final section each example is written as a four-bar groove-to-fill phrase, so that you may become familiar with basic phrasing and song structure. However, the main objective of this section is to apply all these components as practical fils within the context of a groove; to begin and end the fil in dif- ferent places of the bar and even play “over the bar line.” The examples that contain “over the bar’ fills, have small text over the first bar that reads “Play groove first time only.” This means don’t play the fill when you begin the example, just play a groove. Then at the forth bar, where the fill begins, play the fill all the way through the first bar and back to the groove.About the CD On the accompanying CD you will hear demonstrations of selected fills that are identified throughout the book. All the Component demonstrations will be played individually. The Component Combinations and Flams will be played as a five-bar phrase: the first bar will be the “Basic Rhythm’ followed by three bars of groove ending with the “orchestration” in the fifth bar. This way you will be able to hear the fills as. they are applied in a groove context. The four play-along tracks will be played twice: first with drums, and then again without drums so you can play along. The tracks without drums have a two-bar count off before the downbeat. The cowbell will continue throughout the song. Each track has been written for spe- cific drum fill concepts that should be applied when playing the track. Use some of the fils from the book, but more importantly start to apply your own fils; this way you can really start to develop your identity in a musical setting! Jeff Bowders: drums Michael Elsner: guitar, bass (track 3) John Massey: bass David Das: organ Drums recorded by T.J. Helmerich at Tommy Tedesco Studios, Hollywood, CA Guitar and bass recorded and mixed by the Enigma at Rubix Studio, Encino, CA Practice Suggestions + Once you become comfortable with a fil, try to play three bars of groove and incorporate the fill in the fourth bar. Repeat/Loop. + Play all exercises to a click or metronome. One of the biggest challenges as drummers is to play consistent time between grooves and fills. * Count out loud. This will help control the natural tendency to speed up your fills. + Try to incorporate these fill concepts as soon as possible with other musicians. Practicing alone is a means to an end; being able to execute these ideas while playing with others is the goal. + When you become comfortable with a “basic rhythm,” memorize the fill then orchestrate it as many ways as possible. Use the Motion Exercises to get you started. + Utilize the worksheets to create and notate your own fills and orchestrations. What voice do you want to have?! “Ifyou direct your whole thought to work itself, none of the things which invade the eyes or ears will invade the min -Quintilian Notation Guide At —- = ——————— = Right Left Snare Drum Tom | Tom2 Tom 3 Hi-HaURide Crash Cymbal Bass Drum Bass DrumChapter One Motion Concepts The drumset is one of the most physically demanding instruments to play. The ability to move from one side of your kit to the other without disrupting the flow of the music can be very challenging. Grooves are usually played on the same few voices (snare, bass, and hi-hat/ride), where drum fills require a heightened awareness of the rest of your kit (toms and cymbals). By familiarizing yourself with some basic drumset motion concepts, playing ideas that require “extra muscle” will come much easier. In this chapter you will explore three basic motion concepts and one geometric concept. Clockwise Motion This basic concept involves moving from drum to drum in a clockwise direction. Example: begin on the snare then proceed to tom 1, then tom 2, tom 3, and back to the snare. Repeat. Counter-Clockwise Motion Just as we did with clockwise motion we will now reverse it. Example: begin on tom 3, then tom 2, tom 1, snare, and back to tom 3. Repeat. Home-Base Motion This concept has many variations, but the same principle is applied to each. Rather than moving from drum to drum in a linear fashion (i., clockwise and counter-clockwise motion), we will assign one drum with which to always begin each motion. Example of snare as home base: begin on snare then proceed to tom 1 and then back to the snare, proceed to tom 2 then back to the snare. Finally, proceed to tom 3, and then return to the snare. Repeat. Triangle Motion This final motion concept applies the use of triangles to explore alternate motion and/or voicing options. By using triangles to outline specific areas of the kit we can discover new motion techniques that, may have been overlooked. All four triangle possibilities are presented both clockwise and counter- clockwise. Practice Tips Play all exercises at various dynamic levels: pp through ff (very soft through very loud). + Play all exercises at various tempos: bpm 60-200. + Make sure your right and left hand are equal in dynamic and touch. + Repeat, repeat, repeat! “Imagination is more important than knowledge.” -Albert EinsteinQuarter and Eighth Notes @ ciockwise Motion Tockt t _—_ qe * = —— — R R R R R R R R R R RR L L L L Ta Ceili eea e Counter-Clockwise Motion Home-Base Motion “Snare” ; vem a = ae —— SSS ee ee Rs) oo re Re oe R R R R R R R R R R RR ee ee ee eee ere Home-Base Motion “Tom 1” qe qa ee tite tt ce Home-Base Motion “Tom 2” —— = J o-2- RR oR R RR RR RRRR RR nea ae ee a Cea at ib ae Home-Base Motion “Tom 3” R oR R R RR R RR RRR RRRRRR i aCe Cen eet Cee CaChapter 1 Sixteenth Notes Clockwise Motion (Alternating Sticking) four notes per drum ee = = Rel Ro Ry eRe LOR OL two notes per drum —— — ————— Se SS Ro LR LE R LOR LOR LOR LOR L RL Counter-Clockwise Motion (Alternating Sticking) four notes per drum 7 z i 7 a ” ea " = ” 7 two notes per drum ‘one note per drum —Home-Base Motion “Snare” (Alternating Sticking) Tack? SS part 1 to notes per drum SS —— Veh? Spee Oe eo gg ee pat 2 RLELRLERLERERLERLRERERERERERLE “Home-Base Motion “Tom 1” (Alternating Sticking) four notes per drum =—= — = — —— pe es ees RLRLRERLERERERERLERERERERLE ‘ovo notes per drum ———— ee = = = = IE a= == = = = ° RLERLERLRLERLERERERERERERERLE Home-Base Motion “Tom 2” (Alternating Sticking) our notes per drum = —— a eee 5 Se ee RERLRLERERERERERERERERERLE ‘wo notes per drum SS oS = oo oe RLRERERERERERERERERERLERLE Home-Base Motion “Tom 3” (Alternating Sticking) four notes per drum eee OS i fee oo oe ee rr RLRUERERERLERERLERERERERERL two notes per drum —— ee OI See = — es eee —s wee eee - a= ee Ree ee EOE Re EEE PER Ne 10Chapter 1 Triangle Motion Clockwise = Snare -Tom 1 Tom 3 Snare --Tom 1, et. Counter-clockwise = Tom 3 -»Tom 1 Snare —>Tom 3+ Tom 1, ete. Clockwise = Tom 1 -»Tom 2 -+Tom 3+ Tom 1 Tom 2, etc. Counter-clockwise = Tom 3» Tom 2» Tom 1 -»Tom 3 -»Tom 2, etc. Clockwise = Snare -»Tom 2 -+Tom 3 Snare -Tom 2, ete. Counter-clockwise = Tom 3 Tom 2-+ Snare ->Tom 3+ Tom 2, ete. Clockwise = Snare -»Tom 1 -»Tom 2-»Snare Tom 1, eto. Counter-clockwise = Tom 2 -»Tom 1 -»Snare Tom 2 --Tom 1, ete. "12 1. Clockwise 1. Counter-Clockwise 2. Counter-Clockwise —-_ — = Sp 3, Counter-Clockwise 4, Clockwise 4, Counter-Clockwise Experiment by playing three, six, or eight notes per drum.Chapter Two Compound Rhythm Concepts Having a strong understanding of basic rhythms, their related note values, and their respective vari- ations is imperative to any drummer's repertoire. In this chapter we will explore the basic components of quarter notes, eighth notes, eighth-note triplets, sixteenth notes, sixteenth-note triplets, and thiry-second notes. Understanding the relationship between these rhythms and their specific counts (values) will become your basic tools for building any rhythmic masterpiece! Rhythm is a never-ending study. There are so many great educational resources that contribute to the study of what rhythm is, how it functions, and how to apply it. | highly encourage you to take advan- tage of these great works as much as possible, Practice Tips + Become familiar with the count of each component before playing it * Count out loud the notes and the rests; this will help internalize the time. + Whether playing eighth-note triplets or thity-second notes, all notes should be evenly subdivided. * Explore and create your own orchestration. * Repeat, repeat, repeat! “If we don't discipline ourselves the world will do it for us.” -William Feather Basic Rhythm Components On CD tracks 3 and 4, the bass drum plays on each quarter-note pulse Quarter Note and 8th Note Components 13@ 16th Note Components Track 4 Q Track § | eel — meee SsAPPLICATIONS Eighth-Note Component Combinations Basic Rhythm Orchestration Chapter 2 15Sixteenth-Note Component Combinations Basic Rhythm Orchestration 16Chapter 2 Thirty-Second-Note Component Combinations Basic Rhythm Orchestration 2 EES= ESS SS SS a oo a_i petro cocee cccccccceceEighth-Note Triplet Component Combinations Basic Rhythm Orchestration ‘Track 10 plays the basic rhythm fill followed by three mee fill Q Tack 10 18Chapter 2 ‘teenth-Note Triplet Component Combinations Basic Rhythm Orchestration Various Component CombinationsTrack 12 plays the basic rhythm fill followed by three measures of a groove, and then the orchestrated fil, @ Basic Rhythm Orchestration nn SS SSS 20Chapter 2 Flams Basic Rhythm Orchestration 1 —_ h sf) —- RL ORL RL RL L RL RL RL RL L RL R LRL R LRE R LR RL RL oR R LRE R LRE RL RLRLRERLRERLRERLRLRL = a RL RL RL RL. RL RL RL RL RL RL RL RLRERLRERERERERLERL ee RL RL RL RL RL RL RLRL RLRL —~ SES = qe ee ee RLOR LR LRE RL RLR 241Basic Rhythm Orchestration és ee ‘ ae SS SO RLRLRLERLRLRLRLRL RLRLRL RLRLRLRLERLRERLRL RLRLRL Ute ee ee RL RLRLRERLRL RLRLRL RLRLRLRLRL, RLRLRLRERLRL RLRLRL RLRLRLRLRL == SE == = eee eee eee RLRLRERL RLRL RL RLRL RERLRLR RL 13 RLRLRLRL RLRL RLRLRL RERLRLR RL. 5 ene) pee ee ee ee RL RLRLRLRLRERLRLRLRL RL RLRLRLRE RLRLRLRL RLRLRRLRLRRLRLRRERLRRERLRL, RLRLR RE RERRL RLR RL RLRRERLRL Track 13 plays the basic rhythm fill followed by three measures of a groove, and then the orchestrated fill. ®@ Track 13 RL RLRL RLRERLRERERERERERL RLRL RL RLRL RL R LRE OL 22 RLRL RL RLRL RE R LRL OLChapter 2 ee = Se d.__ __ ak 14 _* eee Play Bass Drum first time only24 RLRLRL RRL 1 [7 = = = RL R RL R LRLRLRL In exercises 11-16, play the full groove on the first time (start with the groove as in the previous exercis- es, and don't play the bracketed notes until the second time). These notes represent a continuation of the fill from the last measure. LRLRLR RL RLR RLR RLLRL RLChapter 2 Worksheet Use this page to explore, create, and discover your signature fils!Chapter Three Hand-Foot Concepts The ability to combine rhythms between your hands and feet will add a second dimension to your ever-growing fill vocabulary. In this chapter we will cover all the basic hand-foot combinations within six- teenth notes and eighth-note triplets. These concepts will also give us a better sense of balance. By incor- porating our feet we can no longer rely on them for balance. We will have to balance ourselves from our seats (drum thrones), which is from where all balance should always come. You can incorporate these concepts to create the craziest or the tamest fills, but the most important thing is that they're your fills! From John Bonham to Vinnie Colaiuta, all drummers understand the cre- ative power they can express in their fills by combining the hands and feet Practice Tips + Allnotes, whether played with the hands or feet, should be evenly subdivided— no weak limbs! * Combine one component with all the others individually to discover new and exciting possibilities. + Leam the stickings before attempting the flam orchestrations. * Challenge yourself to come up with the craziest and tamest fil. * Repeat, repeat, repeat! “Courage is the first of the human qualities because it is the quality which guarantees all others.” -Sir Winston Churchill Basic Sixteenth-Note ComponentsChapter 3 “Broken” Sixteenth-Note Components 27APPLICATIONS Sixteenth-Note Component Combinations Basic Rhythm Orchestration creo! = @ Track 17 plays the basic rhythm fill followed by three measures of a groove, and then the orchestrated fill Tatk17 9 28Basic Rhythm = —— ==] =. —=—S pe eee See ge Se a = = IRLRER IRLRER IRLRL IRLRLR IRLRLR IRLRL| = Basic Rhythm Orchestration — oe SS Wee vessel RL RL ORL IRLRLR RL 30Chapter 3 Sixteenth-Note Fill Durations RLR RL RL RL In exercises 11-16, play the full groove on the first time (start with the groove as in the previous exer- cises, and don't play the bracketed notes until the second time). These notes represent a continuation of the fill from the last measure. 1" rT J sa SE - =a 3132APPLICATIONS Eighth-Note Triplet Component Combinations Basic Rhythm Orchestration Chapter 3 33Basic Rhythm Orchestration 34RR LR RL RL L RL R LR RL ‘Track 21 plays the basie rhythm fil followed by three measures of a groove, and then the orchestrated fill. 35Eighth-Note Triplet Fill Durations Play Bass Drum first time only 1 | Track 22 Play Bass Drum frst time only 36In exer @8 11-16, play the full groove on the first time (start with the groove as in the previous exercis- es, and don't play the bracketed notes until the second time). These notes represent a continuation of the fill from the last measure. 37Worksheet Use this page to explore, create, and discover your signature fills!Chapter Four Drum to Cymbal Concepts Typically, drum fils are played on drums. But the ability to incorporate cymbals within fills can add a whole new color to one’s drum-fil palette. In this chapter we will explore various combinations of drum and cym- bal fill possibilities. Piggybacking on the components from the previous Hand-Foot chapter, we are going to play a cymbal(s) along with all of the bass drum notes. The more comfortable we become with these concepts the more prepared we will be for songs that have “hits” or accents, which are usually supported with cymbals. The ability to “set up” a hit with a fill is a very important responsibility for the drummer. This is why understanding drum-to-cymbal concepts is neces- sary for all drummers, Practice Tips + When playing the bass drum and cymbal(s) at the same time there should be no flaming—unison notes only! ‘Begin practicing the Component Combinations very slowly. Don't increase the tempo prematurely—perfect practice makes perfect. ‘+ Eighth-note triplets will alternate your “cymbal” hands more than sixteenth notes. + Repeat, repeat, repeat! “Some people regard discipline as a chore. For me it is a kind of order that sets me free to fly.” Julie Andrews Basic Sixteenth-Note Components Q4 SSS = == rack 23 *~ * | * o a —_— = SS SS aa | lat ate | ott PrPaer?! = 39“Broken” Sixteenth-Note Components Track 24 40Chapter 4 APPLICATIONS Sixteenth-Note Component Combinations Basic Rhythm Orchestration aBasic Rhythm Orchestration = =— SS ee ee ae oe ES S=— SS — — == ~=—= aa [oft || fot | lot at | af ob a] ie 2. ae a a cae =e 4 = = —= = eee es See 7a Sa = Sa S| FE SS SS SS = = aa fon [ot [wt tot awa [at aa (4d xd a = —— oo —- —- —— qe a ee SS s = = ot ot = oe SS a se aoe aE = = — =| = == 16 = = = a oo F [= Pes a ft 1 ata alate ah SSS Se SSS == oe ae ==" 42Sixteenth-Note flams Chapter 4 Track 26 plays the basic rhythm fil followed by three measures of a groove, and then the orchestrated fill. Basic Rhythm Orchestration Se = —_— - =— = a4 lo 4 BI a» lt |x| of +4 Weck 26 Se ee 9S SS eee RLR RL RL RLRLERLR RLR RL RLERLRERLR EE ee ee | RLRLERERLERLRL RL RL RLRLRLRLRLRL RLR LRRR L 5 7 —_— tot 4|) oe 3 dE ee RLRLRERL RL RL OLRL RLRLRLERL RL OR OLRLDurations Play Bass Drum frst time only (al SS == eT — Play Bass Drum first time only —_— = RLR RLRLRLRLRLL ——_— = —- ae RL RLRLRLx 2 Fi ft — SSS" RLRL RL RLRLR In exercises 11-16, play the full groove on the first time (start with the groove as in the previous exercis- es, and don't play the bracketed notes until the second time), These notes represent a continuation of the fill from the last measure. = " 3 SS ee RLRL RL ROL 45a Track 27 “Broken” Eighth-Note Triplet Components Track 28Chapter 4 APPLICATIONS Eighth-Note Triplet Component Combinations Basic Rhythm Orchestration 1 ce pee Ee ee ee Track 29 plays the basic rhythm fill followed by three measures of a shuffle groove, and then the orches- trated fil. d > a — i B + a «| a af a a = —-Basic Rhythm OrchestrationEighth-Note Triplet Flams Basic Rhythm Orchestration Chapter 4 49