Sea rs @ ——, Accented Singles » Creative Doubles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 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: < < Fete eal (Ele Der del oy dood od Tiir her orto el Bl BI el al eI el BI el al al aI fl Sample Combinations rege eer era er ral er eet er 6 o » Sererpiexyreia) eed 5 Iie v gE o » Flirrirriirrtrriiett sete SRE relMlar inp Uplerels ered prened 1 Mer idr ? Wririinal gridit ten) p iederg? Geer ere ere pees oer E a »Study #12. Group A stickings in a fournote rhythm. cece Aer < < i | < < < < < ; fi, AA oa nod 4 < < 4 q < cane < < pan a ee ee ice 2 be TA A ry < < 4 qStudy #18. Group A stickings in a threenote rhythm. < < = We t Situ, moh % ,lloimonina mm & iyi iningdim miming % » TTT fo him fo s < < < < < < Henne pig 6 eT aL es $Study #14. Group A stickings in a fivenote rhythm.Study #16. Group A stickings in rhythmic mixtures. MM. J=96 Ciaae le cet rd me Tessas ety ESAS Ses EktaCompound Stickings — Group B The stickings of Group B contain two single strokes followed by some number of double strokes. < < < Fete gaia cat bo atest ae rae Sa tere Liesl ervpel a0 bs Le oil else Dupe wey wet Dee ete? op « Pvistiw plu isc) ery oy) tere) pee dee hgite ten lers Ueblewrek bhi eon sth ht) D 8 ee ee er er eee eae It is also possible to accent both of the single strokes. << Io Ins Is Ie ba 13 Ic Ie Io Is Ie 13 Ic 4 le eee Ua ahs os DE 3 TOUT (ote — 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.) 4c ee s ee “c << = < ss ‘Study #20. Group B stickings in a three-note rhythm. (single accent) ¢ 4 < < [12 " < < < < g < < < 2 < 2 < < 2 . @ + eisStudy #22. Group B stickings in a three-note rhythm. (Single and double accent possibilities are mixed in this study.) 12. 6 yom, iam $ yA TU, oom om. 12 & 12 g (2 @ y MMi, oti i g OSStudy #25. Group B stickings in a five-note rhythm.Study #24. Group B stickings in rhythmic mixtures. MM. J=108 Seige rowCompound Stickings — Group C The stickings of Group C contain three single strokes followed by some number of double strokes. ene ei bite 2 < In | cs esi a Vy stl Tere gr fr eee ie ee ee ee EREQQ Feat vetat 7 eter ret ota Other accent possibilities are: ee ee ec ety IF SE era brid? Lod roe 2d ror) ee pouty DRITUDTYRRIDYEY tH rd> -34-35 BI es IB A 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 ee a 1 91g a ts Continue experimenting with other possibilities.