" !!

The left foot clave concept

Welcome to the world of left foot clave. Actually, I should say, welcome to the world of "clave".
This book is really a detailed study of rhythm and phrasing based on the concept of playing with
time line structures. Playing the left foot clave requires a serious commitment to those things.
As does the study of clave in general.

ON my Dvd we have a whole chapter dedicated to Clave. (Chapter 3)

There you will see how it works and what its basic function is in music.
In this book we are going to concentrate Specifically on developing the
skills needed to play with LFC!! (Left foot Clave)

Mental Preparation
Playing left foot clave has become a very popular and thrilling way to play. To get to a point where
you can function with it requires will power, determination, skill, creativity, focus...and most of all,
passion for African descent music. In particular, Afro Cuban music. Since the idea of playing Afro Cuban
clave with the foot basically comes from Cuban players. Eventually you should spill over into African
music itself, since there is of course a deep connection rhythmically. And historically.

! #! %# ## $ #"
" #! %
$ % ' ( % ' % % '
& &
2
I say this because in some cases I have seen players trying to play LFC because they see popular drummers do it.
Ignoring the beauty and musicality of it. Using it just as an impressive ostinato or something to do coordination
exercises over. Playing it will increase your coordination skills. BUT...If you play it without understanding the
vocabulary and the beautiful phrasing that the knowledge of clave can bring, you will be missing out on a ton
of joy.
In my humble opinion, learning this way will give you substantial knowledge and insight into the world of
rhythm itself. Knowledge you can apply across all styles of music.

You might ask yourself...Why should i do this??

Good question. Because your rhythmic knowledge will be exposed. As drummers, rhythm should be our realm,
our sanctuary, our lifeblood, our spiritual path!

Why left foot clave??

Adding accessories to the drumkit has always been popular. If you do a little research you will you see that
accessories have always been a part of the drumset. Look at some vintage photos of Baby Dodds and classic
players from that era. Even before them the kit was basically a collection of different percussion
instruments. Since the advent of the sit down kit, Woodblocks and Cowbells all played important rolls in
drumming. It seems like a natural evolution for drummers to use percussion on all limbs. It adds a tremendous
amount of color to your experience as a drummer, and helps you to see aspects of playing the kit that you may
have never imagined. It will open doors of creativity. It will even open your mind to wondrous things that are
part of the experience of being a human being. The study of clave and the study of rhythm, for the drummer
is almost spiritual. OK I will say it...it is a spiritual journey.

The universe itself is all brimming with rhythm and clave!

Past and Present

In the past, drummers used Left foot clave to add to patterns and ostinatos. Soloing over it perhaps
as an ostinato in addition to other traditional patterns. (Cascara, or bass drum tumbao etc) which is hard
enough to accomplish!

In the last years this concept has been taken to a very high level.

Now, the left foot is totally separated from the rest of the body. Making the clave really sound like someone
else is playing it. Drummers play anything they can dream up over the clave and it sounds wonderful.
The process to get to this is very involved. But the payoff is superbly satisfying.

One small trap!

It might be easy to get caught up in the technical side of things because the process involves many aspects
of drumset technique. With this in mind, here are a few points I would like to make to help your playing
sound as musical as possible at all times. And not like exercises in the end.

! #" % ## $
" ## &
3

%
$ ( % ( % % ( % ( % ( %
& & & &
 3
Meditation on the process

1) The clave shouldnt be thought of as a metronome or click track.

It is a time line structure that provides order. But it provides deep inspiration as well. As you progress in
the method this will be clearer. I like to see the clave is a door, a pathway to different rhythmic dimensions,
to different insight. Into things you may not have related to drumming. It will tie you into the very nature
of the everything. The understanding of how to use clave (the key) will lead you to an understanding of
just how deeply we are dependent on rhythm itself. In every part of our existence.

2) This is a deep intricate study

As the challenges are presented in your playing, it might seem impossible to overcome the independence
required to get to the next levels. But remember that this process will most likely take a few years.
Enjoy the journey as it will most likely become one of the biggest challenges and one of the biggest
joys in your drumming life.

3) Dont rush the process

Even as you master the exercises in the book, it will take a lot of listening to master players and a clear
understanding of improv concepts to make your solos flow and come to life. As with any art form that has
depth and beauty to it, this is a lifetime process. Live through it and let it be your life!

Let´s Begin!

Pa´ Lante!!
5

$ )
 Terms to know
This section will deal with terms and phrases you will need to know in order to work with this method. many of the
terms come directly from Afro cuban music. Others terms are just things that are pretty common in drumming, but I
want to make sure we are on the same page with them. For more terminology and definitions used in afro cuban music
and music in general, I will refer you to sources as we go, so your research can be complete.

Rhythm
What is rhythm? Seems fairly obvious doesn’t it? We can feel it right? I have run this question by thousands of
Musicians across the globe. 95% of them could not give me a clear answer. As musicians, especially as drummers
We need to have a definition of this that we can carry for the rest of our lives. A definition we can live by and
be inspired by. We need to open our minds, combine intellect with emotion. Imagination and introspection, in order
to fully grasp the depth of this ocean. What is rhythm....?

The answer is not so simple. If you are ready to start truly pursuing this question, be ready for your whole life
to change. Although it has a visceral quality for us humans, our perception and comprehension of rhythm is somewhat
limited by our senses. As drummers, we should have this definition very very clear. This will take dedication,
curiosity, research, reflection and introspection. Rhythm is deep. It is vast.

You never really reach an end to what is possible through rhythm.

OK.....NOw...here is a technical, fairly simple explanation of the definition of the word as it is used in music.
1) A subdivision of a space of time into a defined, repeated pattern.
2) The controlled movement of music in time.
3) It could also be defined as the division of music into regular metric portions; the regular pulsation of music.

I also like this, although not directly music related:

1) A regular or harmonious pattern created by lines, forms and colors in painting, sculpture and other visual arts

How does all this inspire and what do you do with it? It can hardly inspire what it needs to when you think of it
in those rather cold terms. We will learn how to apply the tools of rhythm on the kit as we go along in this book.
But first we should have an inspired idea about why we should do this work. Here are some thoughts that work for me.
They keep me in line with my overall goals as a drummer and provide much inspiration, not only in music, but in life.
The concept you have of rhythm, should be something you can talk about for hours, something very personal....almost,
dare i say, spiritual. To me, it is. It is the essense of the instrument that inspires me to live. I do myself a service by
having a deep connection with that essence, and it has helped to define me. Helped me to find my own voice and has
been a portal, a mental doorway to knowledge of other things.
OK... you ready? :-)

! # ! $# ## $
Drum Set # # " $#

" ## !" ## %
$ $ & $ &
Percussion # % %
 2
A most beautiful definition of rhythm comes from the staff at the music conservatory in Arnhem, Netherlands
That is ... ----- Concepts of unity ------
I love that definition. Now here it is in my own words. I encourage you to write down it in your own words.
Rhythm is a force, vehicle, channel, through which you as a drummer can become a microcosm of the entire universe.
We become a super accelerated 3 dimensional almost holographic manifestation of the universe, through which the
elements and protagonists in the theatre of the cosmos can be represented. Our own solar system is tied together
by a string of rhythm so beautiful that it defies any concept of beauty that I know. On an even grander scale, so
is our galaxy.

Using rhythm to its fullest potential can be like a meditation. A journey into the deepest and most ancient forms of
media in history. A device that enables you to travel through time, transcend your physical form, change your beliefs
about yourself, and everything that you might have once held as the absolute truth. You can communicate emotions,
concepts, stories in a way that is utterly impossible with words.
We are all beings at the mercy and in the care of rhythm. Without it, we are lost. We cannot even function on a
very basic level. We cannot walk, let alone run. Walking and running require that we play a rhythmic game with the
earth and its gravitational pull. We cannot talk, eat, breath etc etc... Without rhythm, we expire.
When you confront the question of what Rhythm is...You are humbled by it's sheer beauty and depth. An element
neccesary to human beings, who can sometimes succumb to the most superficial and heartless of things. As a musician,
You need to be humble, so that you can continually grow, keep a fresh perspective and open mind. An open heart.
Rhtyhm will humble you, and at the same time, through the knowledge of it, lift you to a level of unimanigable
peace and inspiration.

Through your study and application of rhythm, it is possible to overcome limited thinking and modes of consciousness.
Intellect and intuition must be combined in order to be an artist of any kind. One without the other leaves a gap in
your playing. And in your life! Your life reflects in your playing. And your playing, in your life. Rhythm is a conduit
through which the two things combine. You reveal your commitment to your music through the language of your drumming.
You reveal yourself, in other words. Your courage, your discipline, your tenacity, your belief in yourself and the joy you
feel in being a musician. Even if you "think" you are projecting your self through licks or patterns or even music itself...it
is rhythm that is at the core of your expression. To not be aware of this is to be "once removed" from the experience of
playing your instrument. And being a musician.

The elements of Rhythm

Cycle
1 - An interval of time during which a characteristic, often regulary repeated event or sequence of events occurs.
Night -day / the seasons / The orbit of a celestial body. etc....
2- A single complete execution of a periodically repeated phenomenon

Rhythmic cycle
The same meaning as " cycle ' (above) but, specifically, as applied to rhythm in music.

! # "# $
# # " # % " % # ##
This is a 2 bar rhythmic cycle -
!
h.t.
$ $
with the afro cuban sn. m.t.
Dr.

" ## $ % $ # $ # # ## %
l.t.
3-2 rumba clave, interpreted in
the 6/8 time signature. " " " " "
! clave
 3
Melodic cycle
An example of a purely melodic cycle could be the "circle of fifths" - For our purposes I would like
to adapt this term for the drumset and use it in a westernized "drum-istic" way.
Our definition - A melody that has the qualities of a rhythmic cycle, or vice versa,. - played on the drumset. -
We will think of this as a way to describe a combination of tones coming from the different instruments
of the drumset. I.E. Toms, snare, Bass drum, cymbals etc.

!# # &# # $ !
# # # $ #% $ & # !
melodic cycle
%
h.t.
Dr. " on the drumset
m.t.

" ## % & % $ #% $ # $ ## % !!
l.t.

# # #
" left foot clave

the nature and evolution of the drumset has lead drumset players to take the parts of many players and to melt
them in one self contained unit. Thats why its very important to understand how rhythmic and melodic cycles can
be applied on the drumset. Playing this way requires a paradigm shift for the westernized player in the sense of
structure and vocabulary. Drummers in other cultures or regions of the world usually interpret their ensemble
compositions on one particular instrument IE Djembe, bongo, timbales, cajon, etc
Drumming ensembles can be made up of many players. Maybe in the west you can relate more to a drum corp ensemble.
ON the drumset...you are ALL OF THEM! So then your knowledge of rhythm is truly exposed for everyone to hear!
What you hear will come out in your playing. If you hear only subdivisions, 8th notes, 16th, 32nd notes etc...then
thats what will come out.
In many ways, cycles are the A B C's of what will become your "Latin vocabulary". In the west, we are not
used to learning like this. We usually just deal with patterns. We are taught independence many times through
the use of patterns and permutations of those patterns. And of course we learn rudiments on the snare, to later
create textures on the drum kit. But not many of us are exposed to deep rhythmic studies. This eventually
leads you to one result. You become a single dimension patterns player. Unless you take further action and start to
get into the nitty gritty of the world of rhythm. (see page 6 = single plane player)

To me...Cycles are the vocabulary of rhythm. They are a great thing to learn because they will open your phrasing and
give you TONS of material to channel towards your creative force .

Here are more links about cycles and related bsubjects that you will find interesting. it will apply to your
drumming in a major way so check it out.

http://ray.tomes.biz/
http://www.cyclesresearchinstitute.org/
http://www.harmonics.com/lucy/
http://www.rhythmweb.com/shed/
How deep are you willing to go into this? If you really go for it, you will see it is neverending. The latest
thing I have been into is fractal geometry, computer generated fractal animations, Works of Benoit Mandelbrot.
Google all that stuff and ...welcome to the world of rhythm.
4

Clave
Since this in essence a study of clave, we need to make absolutely sure that this term is clear in our heads.
we need to function with the phrase conceptually, physically and have an understanding of it's beauty. We need
to discover the secrets that the phrase holds and apply them on the kit. In my travels around the world, based
on what I see and hear from many western drummers, there is confusion about what this term means. One of the
reasons for the confusion is that in spanish, the term can be used in several different ways.

A) The direct translation from spanish would be "a key element" / like the key to solving a mystery
or puzzle. People often use the term in casual conversation. When discusing how to solve problems or simply
talking about life. So you hear the word itself being use as normal part of peoples vocabulary.

B) In musical terms, it is a rhythm or phrase that provides a time line structure. A rhythmic
framework on which music is arranged. Some what like bar lines or measures in western music theory.
The term "clave" has been popularized in western musicians terminology because of the popularity of
afro-cuban music. But, I have also heard the term applied loosely to many phrases that provide rhythmic
structures in different styles of african descent music, or african music itself. Like in brazilian music
for example. Technically there is no "clave" like in Afro cuban music. But some people insist on calling the
partido alto rhythm "brazilian clave" ....well....fine. As long as you know the difference:-)

c) Also, a good thing to know is that the term "clave" is also applied to the instruments that are dedicated to
playing the actual rhythm. If you play a "jam block" for example with your left foot, it would still be called
clave, even though it's a jam block. A little tricky if you don't speak spanish but i think this makes things easier
when playing in a band. People generally refer to whatever instrument is playing the rhythm, as the clave.

D) Being "in clave" can also imply that you are a person that has his act together:-)
And can also be considered - A clear state of mind -

KNowing about how the clave rhythm works, and its function, can lead you to playing possibilities that you may
have never imagined. For the drummer in particular, this is a fascinating and eye opening journey...that basically
never ends.

!# # ## $
3-2 Son Clave
!
Dr. " ! ## # % # % # # %
$
" ## ## %
!
" !

!# ## $
2-3 Son Clave

" #% # # % ## # % #
Dr.
$
" " ## & & ## %
 5

! # "# ## $
3-2 Rumba Clave

Dr. ! # "
#
$ % "
#
$ " " $

! " ## & & ## %

!# $ ## $ ''
2-3 Rumba Clave

! # " " $ "# " $ % "

Dr.
# #
! " ## & ## % ''

Something of interest on this topic. Many people say that technically, there is no 2-3 clave. it is the music that
shifts around the time line pattern. With phrases starting either on the 3 side or 2 side of the clave .
If you check out some traditional rhumba, you will notice that the clave will always start in 3-2. It is the phrasing
of the drums, as in a guaguanco rhtyhm which switches its melody to be in 2-3.

In clave
Your patterns or phrases are in alignment with the musical structure or timeline framework outlined by
the clave rhythm. You are in "harmony".

Out of clave:
Your phrasing or patterns are not lined up with the musical structure or timeline framework outlined by
the clave rhythm. You are in discord.

Cruzado
In spanish this means crossed. As in going against the rhythmic structure of the song.
This means you have mixed up your patterns and are playing the patterns or phrases backwards. In essence
means basically the same as out of clave.
6

Single plane player

A player that only has knowledge and experience with binary phrases. His vocabukary would be typically
rudimentary, by african rhythmic standards

The example below is very simple. These are typically Rudimentary phrases, usually thought of in one or
two bar patterns. Subdivisions can become smaller, creating the illusion of speed, but the phrases remain,
non the less, binary.

! $ $ $
#
$ $ $$ $
# # # # # ########
# # # #
& !
Dr. " ! # # # % !
! !
" ! !

Dimensional player
A player that understands how polyrhythmic or rhythmic structures work and who creates phrases that are layered
based on this understanding. A player that can create vocabulary using binary, ternary or any other dimensions of
rhythm to create figures, motifs, colors, ad infinitum.....

here's a basic example of a dimensional playing.

2 3 1 2 3 1 2 3
3 1
$ $ $ $ $# ## ' #' # # ! ' ' ' #'#
( # !# ' ## ' ' # ' # &
1 2 3 1 2

! $$$
# #! ' ' # ## %
Dr. " ! # ##
! $ $ $ $ $ $ $ $
" !

Ostinato
A short melody or pattern that is constantly repeated, usually in the same part at the same pitch.

A Constant
This is a term we used loosly at P.I.T. - In "drumming language" A "constant" is like
an ostinato. The difference being that a constant is maybe less apparent. (playin the clave through
your solo would be more like an ostinato).
A simple example: if you play a rather complex improvised pattern with snare and bass drum and hi hat, while
playing off beats on the bell of the ride cymbal. Playing the bell of the ride "consistently" within a changing
phrase or pattern would make that ride cymbal part a constant rather than an ostinato.
 7

DRumming language
Depending on context, this will refer to the terms drummers use.
But it could also mean the vocabulary of the drums. The phrases played on drums.

drum-istic
Having to do with druming. Doing or thinking about something as a drummer would.
Specifically, (for our purposes) as a drumset player would.

Orchestration
On the drumset, this would mean how you arrange the individual instruments (snare, toms etc...)
in your patterns or phrasing

Bongocero Timbalero Conguero

BOngo player Timbal player Conga player

Coro bell
Name of bell played during the Choruses of a song. It could be the hand held bell played by the bongocero, but
The coro bell is also found on the drumset and is played by the drummer as well.

Campana
Spanish name for Cowbells, Direct translation is "bells". Maybe like a church bell or any type of bell really.
In music they refer to cowbells. I have heard players call the bell of the ride cymbal "campana" as well :-)
You get the meaning better if you think in general terms like that.

Contra campana
Contra - means against
Campana - Means bell
You might want to think of this term metaphorically... like a football game ...this team "against" that team.
In actuality they are playing the game together. Thats what this means. A bell part played to accompany
another bell part. see the corresponding DVD section for the specific part.

There is a wonderful website that has many names of parts and instruments as well as dances and other
terminolgy that you will find interesting.
http://www.planetsalsa.com/

Dr. ! " "

 Playing "In Clave"
One of the main functions of the clave is to provide a time line reference pattern.
When orchestrating the voices of the kit, you have to keep this in mind as you would
a bar line or a phrase that outlines a certain musical structure. The phrases you play, have to
coincide...or be "in clave " - You must train your ears to adjust to this structure.

Playing "in clave" requires an ability to "Feel structure" naturally.

Am I playing in Clave?
As far as phrasing is concerned, there has been endless debate as to what is "in clave" and what is considered
"out of clave" - there will always be a debate. The simple answer (and one that is agreed on by most great players)
is that "Rhythmic Cycles" and "Melodic cycles" play a part in keeping phrases "in clave".

Losing your place and dropping the melodic or rhythmic cycle will "knock you out of clave."

That said, making our way around the set can be a bit complex, since rhythmic and melodic cycles will be involved
in our phrasing. The only way to insure that you are playing "in Clave" is to...

Research the sources of this vocabulary

That means, you must study where the phrasing comes from. Then, make the connection from the original language
to the modern day language

To play "in clave" ..... It's not a simple question of blabbing out tons of independence exercises.
Did you think it would be that boring! Ha ha ha! :-)

!# $! $
" " #! # $ $ # $ # $ # $ ## ## # $ $ # $ # $ # & $ ##
2-3 2-3 Rumba clave
Clave
% "% % % %
2

! !$ $
! " ## " # "# $ " $ " " $ ## %" ## "# "# $ % "# $ " " $ ## %
3-2 son clave 3-2 Rumba clave

Dr.

How do you determine what phrase is in 2-3 clave and what phrase is in 3-2?

Although it may be obvious when playing patterns (like cascara), in my playing experience and in talking, exchanging
ideas and concepts and studying with many different percussionists through the years, I have found that there is
always the question of what is in 3-2 or 2-3 clave as far as soloing was concerned. The answer.... will vary from
player to player. In my quest to find a more solid answer I even heard rumors that there were tests conducted by
Ethnomusicologists in the music department of a well-known university. Done on computers, using sonic digital
readouts and graphs to determine the nature of the phrasing of 3-2 and 2-3 clave. Results showed
that 2-3 clave phrases might be more syncopated then phrases in 3-2 clave, 3-2 clave phrasing showed more of a
downbeat orientation. This was met with some amount of skepticism by some players but...

The final verdict...? your ear is your ally. In all cases, all the players said you must use your ears
and determine the phrasing of your solo by experience and listening.

Dr. ! &
 Clave phrasing

One of the problems of interpreting the written clave is that it is not played exactly the way it looks on paper.
It has a special feel to it. For many Afro cuban musicians, it is natural for the time to push and pull. It is actually
typical in many styles of african music to stretch and flex phrases.

Example: If you listen to traditional Djembe drumming, you can hear that phrases
are stretched and imbued with a very particular "feel". It sounds truly amazing!

It is only in the most modern afro cuban styles that the clave is played rather metronomically and with a straight
feel, rather than stretched. This makes playing the clave with the left foot a bit of a challenge. In addition, many
factors will tend to influence the feel. - Balance, tempo and just plain old independence are a some of them.

It has been my experience that the exercises in this section have helped many
players get a good feel with the left foot clave.

The following exercises are good for finding a nice spacing for the phrase.

! # ! #R ## $
#! $ % # # # # # #
R l R l l
$ $ $ #&
R R
Drums " SN
Fl. Tom % % %

L.F. Clave " #

#
" !! & # # & ## #&
% $ #% ## %
2
I like these exercises in particular. They involve a good amount of independence.
As you can see, the suggested sticking = alternating singles & double stroke roll.
The bass drum played directly on the pulses helps to "ground the time".

! # # # # # # # # # # # # # # # # ## $
sticking 1) R l R l

#" #
sticking 2) R R l l

Dr. ! SN
" " "
# # $ & ##
BD

# %#%
# # $ ##
L.F. Clave ! " $ %
Now play the bass drum on all 1/4 notes

!# # # # # # # # # # # # # # # # # #$
sticking 1) R l R l

## # # # # # # # #
sticking 2) R R l l

Dr. ! SN

" ##
#$ & # #
BD

L.F. Clave !
$ # # $ ## % % #%

! # #### #### ######## ######## ######## # $

sticking 1) R l R l Same sticking here but we use 16th notes.

#" #
sticking 2) R R l l

Dr. ! SN
" " "
#
#
# #
% #%
BD
# # ## # $
L.F. Clave ! " $ $ % &

! # # ### ### # ## ## #### ## ## # ### #### #### # $

sticking 1) R l R l
And again try it with 1/4 notes on the bass drum

## #
sticking 2) R R l l

Dr. ! SN
# # # # # # #
# # #
BD

# % #%
# # ## # $
"
$ $ % &
L.F. Clave !
Now here is where we run into a bit of trouble. Since triplets do not coincide with 16th notes, you will have to
stretch the phrase. using RTS. Check out the RTS section of my DVD for a review on how to do this. Or for an
in depth study of RTS, check out my book. "latin Soloing for the Drumset."

Again the suggested sticking - Alternating singles & double stroke roll.
3 3

!# ############ ############ ## $
sticking 1) R l R l R l
3 3 3 3 3 3
##
sticking 2) R R l l R R

Dr. ! SN
$ # $ # $ # $
# ## %
BD

#
# # ## # $ #
"
$ $ % & %
L.F. Clave !
 3

16th note triplets present a challenge because of the speed involved at faster tempos.
My suggestion is to practice this one very slow. tempo = 70-90 bpm
3

! # """""""""""""""""""""""" """""""""""""""""""""""" # $
R lR l Rl
3 3 3 3 3 3 3

! #" #
R R l l RR

Dr. # " # " # " #

! " ## % "$ ## %
# " " # "# " #
L.F. Clave $
Eventually you will notice that the clave notes themselves have distinct characteristics. I have even heard
names for each note and even for the pulses. These terms or names are not very commun so it nice to know
about them. Here are some terms that I have heard.

"clave blanca" = Meaning white clave - (like the white keys on a piano.)
This term sometimes refers to pulse.

"Clave negra" = Meaning "Black clave" - (Like the black keys on the piano)
This term sometimes refers to clave notes that are played. In other words
the clave rhythm itself.

The and of 2 in the 2nd measure or 3 part of the clave is sometimes called bombo.
Because the bass drum (el bombo or bass tone) supports this note.

Beat 4 can be called ponce. But I have also heard the and of 4 refered to as ponce.

Dr. ! &
L.F. Clave ! &
 Orchestrating the Voices - part 1
Orchestrations can be used to create phrases and textures in your playing. You can use the voices
of the drum set to enhance your phrasing and build your vocabulary around the clave. When you get
an idea of how phrasing is built around the clave structure, you can begin to create your own phrases.
How do I start?
1) Think of each instrument as a voice. Toms, snare, cymbals, etc...
Be aware that every time you play one, a certain color, tonality, feeling exists.
2) Notice that there will be a recognizable melody in each of the exercises we will explore
in this section. These melodies are melodic or rhythmic cycles.
Having the ability to hear Rhyhtmic and melodic cycles is just
as important as obtaining the independence to play these exercises.
3) remember: Playing "in clave" requires an ability to "Feel structure" naturally.
Losing your place and dropping the melodic or rhythmic cycle will "knock you out of clave."

So..In order to promote a structure in our phrasing it will help to be able to do one very important thing:
4) Identify what voices are the strongest in a phrase.
What are the elements that will help you identify the strongest voice on the drumset?

A) Phrasing B) Orchestration C) Dynamics

In this section we will look at the first 2 elements.
Let's first take a look at Phrasing:
1 2 3 4

!# # # # $
EX 1 r l
#
r l
#
r l r l
# #
" bd l.t. " ! # # # # ## %
h.t.
## ## ##
# $#
Drum Set Sn

" L.F. on clave !" ## ! $

# #$
% #%
# # $ ##
Percussion %
In the example above, you can see that we have 4 voices playing with the clave.
Snare, bass drum, hi tom and low tom. The bass drum is the biggest drum. Is it the lead voice? no.
It's phrase seems to be providing more of a 'constant'** rather than a melody.
Although we have a fairly simple phrase here, we can clearly hear a melody. this melody is contained
within 2 bar phrase that is consistent with the time line structure of the clave. If you listen
closely to this exercise, you will hear that the snare, hi tom and low tom are creating the 2 bar phrase
The numbers and brackets at the top of the line are outlining the melody.
1 2 3 4
2

To me...the leading voice in this phrase is the snare drum. Its obviously starting the phrase but
more than that, it is outlining and dominating the phrase. Another benefit of this is that it provides
a reference point or target so that you can maintain stability when practicing exercises that are
unfamiliar. Especially when exploring rhythmically advanced concepts. The leading voice gives me
a "center" to come back to when practicing and coordinating my limbs. There are many aspects of
phrasing that we will explore in the following chapters, but lets continue on and analyze the next
element that you need to identify the strongest voice....

Orchestration.
This is where you will really see the need for a leading voice concept, to structure your phrases.
In this next example, although we are using the same combinations between the hands
and bass drum, this phrase has a melodic cycle of 3.
Orchestration of the voices will now yield melodic cycles.

EX 2!
1 2 3 1

## " " ""

4

"
""
! "" "" """" ""
Sn h.t.

! ## # " " # "# " # # "

Dr. bd l.t.

Perc. ! " $ $

## $
2 3 1 2 3 1 2 3
"" "" ""
"" %
6
! " " "" """""""" " "
Dr. "" "" "" "" ""
# " " # "# " # # " # " " # "# " # # " ## $
Perc. ! $ $ $ $ %

You will notice that phrase itself begins on the first beat of the exercises and cycles out, or
begins again at the 4rth bar. The instrument that starts the phrase, snare drum, is the lead voice
of this example. In this case i consider the snare the leading voice because it starts the melodic cycle
and outlines the entire phrase. What is nice about this is that you are still using one subdivision or
"rate"- Eight notes.

You're now thinking and playing in different rhythmic dimensions .

How much vocabulary can this "dimensional" thinking yield?
It's endless!!
This is a beautiful way to think about phrasing.
 Simple phrase and orchestration variations: 3

Phrases and orchestration can also be displaced. There are endless combinations you can explore
by using some of these simple ideas.
By moving the phrase over in increments, using subdivisions, we can create entirely new textures.

In this next example, the phrase is moved over by one 8th note.

This melodic cycle has 4 parts. Like in example 1., it is a 2 bar cycle, but the phrasing has a more
syncopated feel because of the displacement.

!# "" ## $
1 2 3 4

#
10
EX 3 ""
" " %
"" #
! "" " " """""
h.t.
Dr. Sn l.t.

! ## $ " " $ "# " $ # ## $%

bd

"
"
Perc. ! L.F. on clave
% % #
Phrases that start on pulses or downbeats (1 + 2 +) are more grounded than phrases that
start on the "e's" (as above)
Phrases that feel "grounded" simply means that they feel less syncopated and are easier to "feel" or
keep track of, because of their placement in time.
Now we move the phrase over by two 8th notes. The basic combination bettween the hands and
the Bass drum is the same, But the feel of this phrase is more "grounded"
for example: This phrase begins on the "and of one" - It feels "Grounded"

!# ## $
1 2 3 4
EX 4
#
13
""
" "" %
"" "" #
! "" "" """"
h.t.
Dr. Sn l.t.

! ## $ " " $ "# " $# ## $%

bd

"
"
Perc. ! L.F. on clave
% % #

And of course you can displace the voices, creating even more textures.

!# " " $
2 4
1 3

# #
#
16

" " " %

Dr. ! "" " " " " " " "" " " #
!" ## $ " " $ " $# " #$
% #%
"#
Perc. ! % #
4

The amount of textures and phrases you can create when you think dimensionally, using
rhythmic and melodic cycles is infinite! Of course, I cannot include every single phrase
possibility in one volume of a book. Once you become familiar with the system, your own
creativity will take over and you'll have a blast! The most important thing, is to be aware
of this way of thinking and playing. When playing with the clave, your deepest knowledge
and feeling for rhythm will be exposed. The difference between a "dimensional" player and
a "single plane" player will be very apparent.

Dynamics
Finally we have the next element - Dynamics. This is a pretty obvious way to create a lead voice.
No matter how you vary voicings, dynamics might over ride any lead voice phrasing you come up with.
For example: In the example below we are playing snare and bass drum PP and the high tom and low
tom FF. You will find that this melody between the toms is the leading voice or melody of the phrase.
In other words the toms become the leading voice.

""
!# # # $
""
#
EX 1

"#
r l
#
19
# #
! # # # # # # % $
h.t.
Dr. Sn
# # # # # #
# %#
bd l.t.

! ## % # # # #$
" & #%
% ##
Perc. ! & $

If any of this sounds confusing right now...my suggestion is the following.

Simply....play the exercises in the section that follows.

Let the drums speak to you.
Listen to the phrases.
Let them become part of you.
You have the power to perceive these concepts.
They are innate in all of us.
Its just a matter of being exposed to the process.
The more you use your ears, the easier it will be.

Get ready to change your playing forever!

 Binary: Simple 2 bar phrases
2 on the hands - 2 on the BD
Featured in on the DVD - chapter 23 /LFC

It's always good to start with some combinations you might

be familiar with. 2 notes on the hands and 2 on the BD.
These combinations work out to be simple 2 bar phrases
that line up naturally with the clave. the stickings you
can use are suggested and, of course you can alternate
them as you wish. 1rst play R.H. to L.H. as written.

! #! # # ## $
#
r l r l r l r l
"
EX 1
# # # # # #
# # # # # # # #
# $#
Drums Sn

" ## ! ## %
bd
$ # # $ ## #
" L.F. on clave
% %

!## $
# # # # # # # # # # # # # # # # ##
r l r l r l r l
here we move EX 2
"
# $#
Dr. the phrase over

" ##
# ##
% %
$ # # $ ##
by one 8th note
2-3 Clave. " %

the phrase over by ex 3 ! ## # # ## $

Once again we move r l r l r l r l
" # # # # # #
# # # # # # # #
# $#
Dr.

" ##
# ##
one 8th note.

% %
The BD starts the phrase. $ # # $ ##
2-3 Clave. " %

!# # # ## $
the final exercise with alternating sticking on snare

##
EX 4 r l r l r l r l
Using the snare as
# # # # # #
# $#
" # # # # # # #
" ##
##
% #%
Dr. the single voice in
exercises is a great $ # # $ ##
2-3 Clave. " place to start. %

ex 5 !
## # # # # # # # # # # # # # # # # ## $
But.....you will need to do these additional stickings to get a real nice flow when improvising.
r r l l r r l l
"
# $#
" ##
# ##
Dr.

% %
$ # # $ ##
2-3 Clave. " %
2

!# " $
# " " " " " " " " " " " " " " " ##
r l l r r l l r
ex 6
!
" ##
" ##
" ##
Dr. here we move

$ %
the phrase over # " " # "#
2-3 Clave. ! by one 8th note $

!# $
# " " " " " " " " " " " " " " " " ##
EX 7 r r l l r r l l
Once again we move
!
" ##
" ##
" #
Dr. the phrase over

$ #%
by one 8th note. # " " # "#
2-3 Clave. ! The BD starts $
the phrase.

EX 8 !
## " " ## $
r r l l r r l l
!
the final exercise
"" "" ""
" "" " " "" "
" ##
" ##
" #
Dr. with double sticking

$ #%
on snare.
# " " # "#
2-3 Clave. ! $

Binary: 2 bar phrases - Adding voices

Now we can begin to orchestrate this phrase around the drumset. Some exercises
have specific stickings...Remember to go through as many stickings as possible so
that you wont be held back by independence issues later. In the first exercise below
i have outlined all the stickings you should try. Apply all variations to all exercises.

Variation 1- r l r l r l r l
Variation 2- r r r r r r r r

!# " " ## $
Variation 3- l l l l l l l l
l

#
r r l l r r l
"" ""
Variation 4-
""
EX 1
!
#
"" "" "" ""
h.t.

" ##
" #
Sn L.T.

$ #%
Dr. bd
# " " # "# " #
2-3 Clave. ! L.F. on clave
$

h.t. ! # " " # $

# #
EX 2 r l r l r l r l
"" "" ""
#
! "" "" "" ""
L.F. on clave ## # " #
$ #%
Sn

"
Dr. bd L.T.
" " # "# "
2-3 Clave. ! $ #
 3

!
Sn L.T. # # # $
"""""" #
ex 3 r lr l r l
r l
" " " "
""""""
" ##
!
h.t.

L.F. on clave ## # " #

$ #%
Dr.
"
bd
" " # "#
2-3 Clave. ! $

h.t. ! # " " # $

# #
r l r l r l r l
""
EX 4
! "" " "
"" "" "" ""
" ##
" ##
" ##
Dr. Sn

$ %
bd L.T.
# " " # "#
2-3 Clave. ! L.F. on clave
$
EX 5 !
## ## $
r l r l r l
""
r l
"" " " ""
#
! "" "" "" ""
" ##
" ##
Dr.
$ %
# " " # "# " #
2-3 Clave. ! $

!# " " # $
# #
r l r l r l r l
""
EX 6
! " " " "
#
"" "" "" ""
" ##
" #
$ #%
Dr.
# " " # "# " #
2-3 Clave. ! $

!# # $
#"""" #
ex 7 r l r l
"" ""
r l r l
! " "
#
"" "" ""
" ##
" ##
Dr.
$ %
# " " # "# " #
2-3 Clave. ! $

!# " " # $
# #
ex 8 r l r l r l r l
"" "" ""
#
! " " " " "" ""
" ##
" ##
Dr.
$ %
# " " # "# " #
2-3 Clave. ! $

!# " " # $
# #
ex 9 r l r l r l
" "
r l
" " ""
#
! "" "" "" ""
" ##
" #
$ #%
Dr.
# " " # "# " #
2-3 Clave. ! $

!# " " # $
# #
ex 10 r l r l r l r l
" "" "
! " "
#
"" "" " " ""
" ## #
" #
Dr.

$ #%
" " # "# "
2-3 Clave. ! $ #
ex 11
 !# " $
# " " " " " " " " " " " " " " ##
4 r l r l r l r l
"
!
" ##
" ##
" ##
Dr.

$ %
# " " # "#
2-3 Clave. ! $

!# " $
# " " " " " " " " " " " " " " " ##
ex 12 r l r l r l r l

" ##
!
" ## #
" #
$ #%
Dr.
" " # "#
2-3 Clave. ! $
EX 13 !
## " " ## $
r l r lr l r l
" " " " " "
#
! " " " " " " " "
" ##
" #
$ #%
Dr.
# " " # "# " #
2-3 Clave. ! $

EX 14 !
## " " ## $
r l r l r l r l
"" " ""
! "" " " " " ""# " "" # " ""
" ## # ## %
Dr.
2-3 Clave. ! # $ # $
!# "" ## $
r l r l

#
r l r l
""
EX 15
"" ""
#
! "" "" "" ""
" ## ## %
Dr.
# " " # "# " # "
2-3 Clave. ! $ $

In this exercise there is a slight sticking variation.

For ease of movement around the set.

!# "" ## $
r l

#
l r l r r l
ex 16
"" "
! "" """""""
# " " # "# " # #
""
# ## %
Dr.
2-3 Clave. ! " # $
"
$
! ## $
Sn h.t. ## "
l r l r r l r l
ex 17
"" " "
"""""""
Now we displace the

" ##
! " " " "
L.F. on clave ## # ## %
Dr. exercises by one

"
" " # "# "
bd L.T.
eight note.
2-3 Clave. ! $ $
 !# " ## $
r l
# """"""
l r l r l r 5
ex 18
" " "" "
!
#
"" ""
" ## # ## %
Dr.
" " # "# " "
2-3 Clave. ! $# $

!# " ## $
# """"""" """"""""
ex 19 l r l r l r l r

!
# " " # "# " # #
" ## ## %
Dr.
"
2-3 Clave. ! $ $

h.t. ! # " ## $
#
l r l l r r l r
""
EX 20
" " " " "
" ##
! " " " " " " " "
" ## # ## %
Dr. Sn
" " # "# "
bd L.T.

2-3 Clave. ! L.F. on clave

$ $

!# " ## $
l r l

# """"""" """""""
r l r l r
EX 21
"
!
" " # "# " # #
Dr.

" ## # ## %
"
2-3 Clave. ! $ $

!# " ## $
# """"""" """""""
l r l r l r l r
EX 22
"
!
" ##
" ## # ## %
Dr.
" " # "# "
2-3 Clave. ! $ $

!# " ## $
# """"""" """"""""
EX 23 l r l r l r l r

!
" ##
" ## ## %
Dr.
# " " # "# "
2-3 Clave. ! $ $

!# ## $
#"""
l r l r l r l r
"" ""
ex 24
! " " """
" ##
"" ""
" ## # ## %
Dr.
" " # "# "
2-3 Clave. ! $ $

!# " ## $
# """"""" """"""""
ex 25 l r l r l r l r

!
" " # "# " # #
" ## # ## %
Dr.
"
2-3 Clave. ! $ $
 !# " ## $
# ""
6 l r l r l r l r
ex 26
"" "" "
! """ """ ""
" ##
" ## ## %
Dr.
# " " # "# "
2-3 Clave. ! $ $

!# " " ## $
# ""
l r l r l r l r
"" ""
ex 27
! " "
"" "" ""
#
" ##
" ##
Dr.

$ %
# " " # "# " #
2-3 Clave. ! $

ex 28 !
## " " " " " " " " " " " " " " " " ## $
l r l r l r l r

!
" ##
" ## ## %
Dr.
# " " # "# "
2-3 Clave. ! $ $

!# " ## $
# """ """ """ """
l r l r l r l r
ex 29
" " "
!
" ##
" ## # ## %
Dr.
" " # "# "
2-3 Clave. ! $ $

EX 30 !
## " " ## $
l r l r l r l r
" " " " " "
! "" "" "" ""
" ##
Dr.

" ## #
" #
$ #%
" " # "#
2-3 Clave. ! $

EX 31 !
## " " " " " " " " " " " " " " " " ## $
r l r l r l r l

!
" ##
Dr.

" ## #
" #
$ #%
" " # "#
2-3 Clave. ! $

EX 32! $
## " " " #
#
l r l r l r l r
"" " " " ""
! "" "" ""
" ##
Dr.

" ##
" ##
$ %
# " " # "#
2-3 Clave. ! $
 7

Again, in this exercise there is a slight sticking variation.

For ease of movement around the set.

!# " $
# " " " " " " " " " " " " " " " ##
ex 33 r l r r l l r l

!
" ##
" ##
" ##
Dr.

$ %
# " " # "#
2-3 Clave. ! $

h.t. ! " " #$

Sn L.T. ## #
EX 34 r l r l r l r l
Again we displace the
"" "" ""
! exercises by one
" ##
"" "" "" ""
L.F. on clave ## # " #
$ #%
Dr.
"
eight note. bd
" " # "#
2-3 Clave. ! $

!# " " ## $
#""
EX 35 r l r l r l r l
"" "" ""
! "" "" ""
h.t.

" ##
Sn

" ##
" #
Dr. bd L.T.

$ #%
# " " # "#
2-3 Clave. ! L.F. on clave
$

!
Sn L.T. ## ## $
ex 36 r lr l r l r l

! "" " " "" " "

"" "" "" ""
##
h.t.

L.F. on clave ## # " ##

Dr.

" $ %
" " "# "
bd
#
2-3 Clave. ! $

h.t. ! # ## $
r l

#""""""
r l r l
" "
EX 37 r l
""
""""
" ##
! ""
" ## ## %
Dr. Sn
bd L.T.
# " " # "# "
2-3 Clave. ! L.F. on clave
$ $
EX 38!
## " " " " " " " " " " " " " " " " ## $
r l r l r l r l

!
" ##
" ##
" ##
Dr.
$ %
# " " # "#
2-3 Clave. ! $

!# " " #$
#"""""""" """""" #
EX 39 r l r l r l r l

!
" ##
" ## #
" #
Dr.

$ #%
" " # "#
2-3 Clave. ! $
8
ex 40 !
## " " " " " " " " " " " " " " " " ## $
r l r l r l r l

" ##
!
" ##
" ##
Dr.
$ %
# " " # "#
2-3 Clave. ! $
!# $
# " " " " " " " " " " " " " " " " ##
r l r l r l r l
ex 41

" ##
!
" ##
" ##
$ %
Dr.
# " " # "#
2-3 Clave. ! $
!# ## $
#""
r l r l r l
" "
ex 42 r l
" " ""
""""""
# " " # "# " # #
! ""
" ## ## %
Dr.
"
2-3 Clave. ! $ $
!# ## $
#"""""""" """"""""
r l r l r l r l
ex 43

" ##
!
" ## ## %
Dr.
# " " # "# "
2-3 Clave. ! $ $
!# ## $
r l

#"""""""" """"""""
ex 44 r l r l r l

" " # "# " # #

!
" #
# ## %
Dr.
# "
2-3 Clave. ! $ $
!# ## $
#"""""""" """"""""
r l r l rl r l

# " " # "# " # #

ex 45
!
" ## ## %
"
Dr.
2-3 Clave. ! $ $
EX 46 !
## ## $
r l r l r l r l
" " "" " " ""
# "# " # #
! " " " "" " "" "" "
" ## ## %
Dr.
#
2-3 Clave. ! $ $
EX 47 !
## " " " " " " " " " " " " " " " " ## $
r l r l r l r l

" ##
!
" ## ## %
Dr.
# " " # "# "
2-3 Clave. ! $ $
!# ## $
r l r l

#""" """" """ """"

r l r l
EX 48
" "
!
" ##
" ## ## %
Dr.
# " " # "# "
2-3 Clave. ! $ $
 9

In this exercise there is a slight sticking variation.

For ease of movement around the set.

!#"" ## $
r l

#
l r l r r l
ex 49
"" "" " "
! "" "" "" ""
" ##
" ## #
" #
Dr.

$ #%
" " # "#
2-3 Clave. ! $
!# "" " " #$
#" " #
r l r l r l r l
Now we displace the ex 50
"" " "
!
" ##
Sn h.t.
"" " " ""
" ## #
" #
Dr.
$ #%
exercises by one
" " # "#
bd L.T.
eight note.
2-3 Clave. ! L.F. on clave
$
!# "" " " ## $
r l r l

#"
r l r l
ex 51
"" ""
#
! "" " " "" "
#
#
" #
$ #%
Dr.
" # " " # "# " #
2-3 Clave. ! $
!# "" ## $
#"
ex 52 r l r l r l r l
""
! """"" " """""
# " " # "# " # #
" ## ## %
Dr.
"
2-3 Clave. ! $ $
!# "" ## $
#"
r l r l r l r l
""
EX 53
""
! """""
# " " # "# " # #
"" " "
" ## ## %
Dr.
"
2-3 Clave. ! $ $
!# "" ## $
r l

#"
r l r l r l
" "
EX 54
! "" " """"""""
" " # "# " # #
" ## # ## %
Dr.
"
2-3 Clave. ! $ $
!# "" ## $
#"
r l r l r l r l
""
EX 55
""
""""" "
#
! "" "
" ## # ## %
Dr.
" " # "# " "
2-3 Clave. ! $ # $
 !# ## $
#"""""
10 r l r l
"" ""
ex 56 r l r l
! " " " " "" "
# # ## %
Dr.

" # # " " # "# " # "

2-3 Clave. ! $ $

!# "" ## $
#"
r l r l r l r l
"" ""
ex 57
""
! "" " " "" "
" ##
" ## ## %
Dr.
# " " # "# "
2-3 Clave. ! $ $

!# "" ## $
#"
r l r l r l
ex 58
"" r l
""
! " """""
#
"" "
" ## # ## %
Dr.
" " # "# " "
2-3 Clave. ! $# $

!# "" ## $
#"
r l r l r l r l
"" ""
ex 59
! ""
#
"" " " "" "
" ## ## %
Dr.
# " " # "# " # "
2-3 Clave. ! $ $
ex 60 !
## " " ## $
r l r l r l r l
"" " " ""
! " "" " " "" "
# " " # "# " # #
" ## ## %
Dr.
"
2-3 Clave. ! $ $
!# ## $
#"""""""" """"""""
r l r l r l r l
ex 61
!
# " " # "# " # #
" ## ## %
Dr.
"
2-3 Clave. ! $ $
EX 62 !
## " " ## $
r l r l r l r l

! "" " " ""

" "" " " "" "
# # ## %
Dr.

2-3 Clave. ! " # # " " # "# "

$
# "
$

EX 63 !
## " " ## $
r l r l r l r l
"" " ""
! " "" ""
#
" "" "
" ## # ## %
Dr.
" " # "# " "
2-3 Clave. ! $ # $
 EX 64!
## " " " ## $
r l r l r l r l 11
" "" " "
#
! " "" " " "" "
" ##
" ##
Dr.
$ %
# " " # "# " #
2-3 Clave. ! $

Again, in this exercise there is a slight sticking variation.

For ease of movement around the set.

!# "" ## $
r l

#"
l r l r r l
""
ex 65
"
! " " """"""
" " # "# " # #
""
#
# ## %
Dr.
" # "
2-3 Clave. ! $ $
 Basics
Many people ask me what I am using here on the pedal. It's a
jam block with a Regal tip specialty Bass drum pedal beater
The basics in this case cover two main areas.
"Downbeats and Upbeats" And you will see,
although we are playing basic subdivisions,
things are not so easy. In the world of clave,
with Downbeats and Upbeats we can create an
incredible amount of vocabulary. What i did was
to just take it slow and practice everything in
an organized manner so that the amount of work
was not overwhelming. You will see that we have
3 lines in each exercise. Practice the top line with
one clave variation at a time. I have divided the
exercises into two parts. "Downbeats" and "Upbeats"
and further divided this the section into 2-3 and
3-2 clave. Lets first start with
downbeats in 2-3 clave.

Part 1 = Downbeats

!# # # !$ # ex 2 # # $
2-3 clave

# #
1-rh

# # # # # # # #
ex 1
$ $ $ $ $ $ $ $
2-lh
" Sn !

" 2-3 clave ## !

$ # # $ ## # $ # ## ## $ # # $ ## # $ # ##
Drum Set

% %
" 2-3claverumba " ## !
$ # # $ ## # $ & # ## ## $ # # $ ## # $ & # ##
L.F. Clave % % "% % % %

!# # !$ # ex 4 ## $
## # $ $ $ $ # # $ $ $ $
ex 3
Dr. " # # # # # #
## $ # # $ ## #% $ # ## ## $ # # $ ## #% $ # ##
bd

"
" ##
$ # # $ ## # $ & # ## ## $ # # $ ## # $ & # ##
Perc.
Perc. " % % "% % % %

! # # # # # # # # # # !$ # ex 6 ## $
# # ## # # # # # # #
ex 5
Dr. " Sn

## $ # # $ ## #% $ # ## ## $ # # $ ## #% $ # ##
bd

"
" ## $
# # $ ## # $ & # # # $ # # $ ## # $ & # ## %
% # "% #
Perc.
Perc. " % % %
2

!# " " # !$ # ex 8 " " " ## $

# " " " " # # "
ex 7
Dr. ! Sn
" " " " " "
## # " " # "# "$ # " ## ## # " " # "# "$ # " ##
bd

Perc. !
" ##
# " " # "# " # % " ## ## # " " # "# " # % " ##
Perc. ! $ $ %" $ $ %

!# " " " ## !$ ## " " " ## $

ex 10

# " " " " " "

ex 9
Dr. ! Sn
bd " " " "
! ## # " " # "# "$ # " ## ## # " " # "# " # " #
$ #
" ## ## "% ## # " " # "# " # % " ##
Perc.

$ %
# " " # "# " # % "
Perc. ! $ $ $

!# " " " " # !$ #ex 12 " " " # $

# " " " # # " " " #
ex 11
Dr. ! Sn
bd " " "
! ## # " " # "# "$ # " ## ## # " " # "# "$ # " ##
" ## #
" " # "# " # % " # # # " " # "# " # % " #
$ # "% # $ #%
Perc.
Perc. ! $ $

!# " " ## !$ ## " " ## $

#
ex 14

!
ex 13
" " " "
Dr. Sn
" " " " " " " "
## # " " # "# "$ # " ## ## # " " # "# "$ # " ##
bd

!
" ## #
" " # "# " # % " # # # " " # "# " # % " #
$ # %" # $ #%
Perc.
Perc. ! $ $

!# !$ $
# " " " " " " " " ## ## " " " " " " " " ##
ex 16
ex 15
Dr. ! Sn

## # " " # "# "$ # " ## ## # " " # "# "$ # " ##
bd

!
" ## #
" " # "# " # % " # # # " " # "# " # % " #
$ # "% # $ #%
Perc.
Perc. ! $ $
 3

Upbeats
Make sure you take things slow at first
and aim for a relaxed feel.

!# # # # # # # # # #$
#" $ " $ " $ " $ " $ " $ " $ " $ #
ex 17
!
## % # # % # % # ##
Dr. Sn
bd
##
# % " # ##
! $#
"# $ %
Perc.
% # # % ##
Perc. ! $
!# $
# " # " # " # " # " # " # " # " # ##
ex 18
Dr. !
$ $ $ $ ## $ $# $ # $
## % # # % ##
bd
%
! $
" ## %
#% " # #
$ #%
Perc.
# # % ##
Perc. ! $
ex 19!
! ## " # " # " # " " # " # " # " ## $
$ $ $ #$ $ $ $ #$
Dr. Sn

## % # # % # % # ##
bd
##
! $
" ##
#% " # #
$ #%
Perc.
% # # % ##
Perc. ! $
ex 20!
## " #& " #& " # " #& " # " ## $
& & &
Dr. ! Sn # " #& " #
## % # # % ##
bd
$ ## #% #
! $
" ## ## %
Perc.
% # # % ## #% " #
Perc. ! $ $
ex 21!
## " #& " " #& " #& " # " # " # " # ## $
& & &
Dr. ! Sn
# $
## % ##
bd
# $ # % ## #% #
! $
" ## ## %
Perc.
% # # % ## #% " #
Perc. ! $ $
4

ex 22!
## " " #% " #% " #% " " # " # " # ## $
% % %
Dr. ! Sn
# #$
## & ##
bd
$# # ## # & #
&
! $
" ## ## %
Perc.
& # # & ## #& " #
Perc. ! $ $
ex 23 !
# ## $
%
# " #" #" #" #% #
Dr. ! Sn " #" #" #"
$ $ $ $ $ $
## & ##
bd
# # & ## #& #
! $
" ## & ## %
Perc.
# # & ## # & " #
Perc. ! $ $
ex 24 !
## " " " #% " " " ## $
%
#
Dr. ! Sn
# # # #$ #$ " " #$
## ##
bd
$ #$ # $ ## #& #
! & & $
## & # # & ## ## %
Perc.
"
#& " #
Perc. ! $ $
!# %
## $
# #
ex 24
#% #"
Dr. ! Sn " " " #" # " #" #$ " #$
$ $ $ $
## & # # & ## ##
bd
#& #
! $
" ## ## %
Perc.
& # # & ## #& " #
Perc. ! $ $
ex 25 !
## " #% " " " " # " ## $
%
Dr. ! Sn
# # # #$ " #$ " #$
$ $ $
## & # # & ## ##
bd
#& #
! $#
" ## ## %
& # # & ## " #$
Perc.
&
Perc. ! $
ex 26
! ## " #% " #% " " " # "
% %
#" ## $
Dr. ! Sn
# # #$ " #$
bd
$ $
! ## & # # & ## #& #
$ ##
## & # # & ## ## %
Perc.
"
#& " #
Perc. ! $ $
 5

ex 27 !
## " # " " " # " # " ## $
$ $ $ $
! " " #
Dr. Sn
#% #% #% #%
## & # # & ##
bd
## #& #
! %
" ## ## %
Perc.
& # # & ## #& " #
Perc. ! % %
!# $ $ $ $
## $
#
ex 28
Dr. ! Sn " #" #" #" # " #" #" #" #
% % % %
## ##
bd
& # # & ## #& #
" ## ## %
! ## %# & " #
& # # &
Perc.
Perc. ! % %

ex 29 !
## " # " #$ " #$ " # " # " ## $
$ $
Dr. ! Sn #" #" #
% ##% %
## & ##
bd
%# # #& #
&
! %
" #
# ## %
Perc.
& # # & ## #& " #
Perc. ! % %
! # #$ #$ $ $
## $
#
ex 30
" " " " " # " #"
Dr. ! Sn
# # #% " #%
% %
## ##
bd
& # # & ## #& #
! %
" ## ## %
Perc.
& # # & ## #& " #
Perc. ! % %
ex 31 !
# ## $
$ $
#" #" " #" #$ #$ # #
Dr. ! Sn " #" " #"
bd
% % % %
## & # # & ## # & # ##
" ## ## %
! %
& # # & ## #& " #
Perc.
Perc. ! % %
ex 32 !
# ## $
$ $
#" " #" " # " " #" " #
# $ # $ # #
Dr. ! Sn
% %
## ##
bd
# % # % ## # #
! & & % &
" ## ## %
# # ## #& " #
Perc.
& &
Perc. ! % %
6

! # #$ #$ #$ #$ ## $
#" " " "
ex 33
Dr. ! Sn " #" #" #" #
% % % %
## & ##
bd
# # & ## #& #
! %
" ## ## %
Perc.
& # # & ## # & " #
Perc. ! % %

So...Should you practice both directions of clave? Since all you

really have to do is turn the order of the bars around, it stands
to reason that it would be a simple matter of practicing one
direction of clave. But...!!! At first it is good to physically take on
the task of playing in both directions, When the clave is a natural
part of your playing it will easier to turn the structure of your
phrases around on your own.

! # # & # & # & # & # !$ # ex& 2 # & # & # & # # $

Downbeats 3-2 clave

# # # #
ex 1
! Sn

## ## #% & # & # # & ## ## ## #% & # & # # & ##

Dr.

!
" ##
## # & " # & # # & # # ## # & " # & # # & #
# %" # #%
Perc.
Perc. ! % % % %

!# & ## !$ ## & ## $
##
ex 4
& & & & & &
ex 3
Dr. ! bd # # # # # # #
! ## ## #% & # & # # & ## ## ## #% & # & # # & ##
" ##
## # & " # & # # & # # ## # & " # & # # & #
# "% # #%
Perc.
Perc. ! % % % %

! # # # # # # # # # # !$ # ex 6 $
# # # # # # # # # # # ##
ex 5
Dr. ! Sn

## ## #% & # & # # & ## ## ## #% & # & # # & ##

bd

!
" ##
## # & " # & # # & # # ## # & " # & # # & #
# "% # #%
Perc.
Perc. ! % % % %
 7

!# " !$ ex 8 $
# " " " " " " " ## ## " " " " " " " " ##
ex 7
Dr. ! Sn
bd

! ## "# "# $ " $ " " $ ## ## "# "# $ " $ " " $ ##
" ##
"# " $ % " $ " " $ # # "# " $ % " $ " " $ #
Perc.

Perc. ! # # # "% # # # #%

!# " " " # !$ # " " # $

ex 10

# " " " # # " " " " #

ex 9
Dr. ! Sn
bd " " " "
! ## "# "# $ " $ " " $ ## ## "# "# $ " $ " " $ ##
" ##
"# " $ % " $ " " $ ## ## "# " $ % " $ " " $ ##
Perc.
Perc. ! # # "% # # %

!# " !$ ex 12 $
# " " " " " " " ## ## " " " " " " " " ##
ex 11
Dr. ! Sn
bd

! ## "# "# $ " $ " " $ ## ## "# "# $ " $ " " $ ##
" ##
"# " $ % " $ " " $ ## ## "# " $ % " $ " " $ ##
Perc.
Perc. ! # # "% # # %

!# " " ## !$ ## " " ## $

#
ex 14

!
ex 13
" " " "
Dr. Sn
bd " " " " " " " "
! ## "# "# $ " $ " " $ ## ## "# "# $ " $ " " $ ##
#
# "# " $ % " $ " " $ ## ## "# " $ % " $ " " $ ##
Perc.
Perc. ! " # # "% # # %

!# !$ $
# " " " " " " " " ## ## " " " " " " " " ##
ex 16
ex 15
Dr. ! Sn

## "# "# $ " $ " " $ ## ## "# "# $ " $ " " $ ##
bd

!
" ##
"# " $ % " $ " " $ # # "# " $ % " $ " " $ #
# %" # #%
Perc.
Perc. ! # # # #
8

Upbeats:
Here we have the upbeat exercises with 3-2 clave.
As I mentioned before, you will have to use your
ears when you finally apply these exercises in music.
But the independence gained here will truly be of
great help when approaching the music.

!# # # # # # # # # #$
#" $ " $ " $ " $ " $ " $ " $ " $ #
ex 17
! Sn

## ## # % # % # # % ##
Dr. bd
! $
" #
#
## #% " # % # # % #
#%
Perc.
Perc. ! $ $

!# # $
#" #" # # # # # # # #
ex 18
Dr. ! " " " " " "
bd
$ $ $ $ $ $ $ $
! ## ## #% # % # # % #
$ #
" ##
# % " # % # # % ##
Perc.
%
##
Perc. ! $ $

ex 19!
! ## " # " # " # " # " # " # " # " # ## $
$ $ $ $ $ $ $ $
Dr. Sn

## ## #% # % # # % #
bd

! $ #
" ##
#% "# % # # % #
#%
Perc.
##
Perc. ! $ $

ex 20! & #& #& & #& # $

## " #& " #& " # " " " #" #
Dr. ! Sn
#"
## ## #%$ # % # # % #
bd

! $ #
" ##
#% " # % # # % #
#%
Perc.
##
Perc. ! $ $
 9

ex 21! $ $ $
! ## " #$ " #
" " " " # " " # ##
$ #$ #$ #
#
Dr. Sn
%
## ## # & #
bd
%#
#
# #
! %& &
" ##
#& " # & # # & #
#%
Perc.
##
Perc. ! % %
ex 22 !
## " " #$ " #$ " #$ " " # " # " # ## $
$ $ $
Dr. ! Sn
# #%
## ## #% & # & # # & ##
bd
%
!
" ##
## # & " # & # # & #
Perc.

Perc. ! % % #%
ex 23 !
## " " #$ " " " " # ## $
$
Dr. ! Sn
# # #" " #% #% #%
## ## & # # & ##
bd
% %# % #
&
! %
" ##
# & " # & # # & ##
Perc.
%
##
Perc. ! % %
ex 24 ! $
## " # " #
$
#
#$ #
Dr. ! Sn
# " " " "
# #% #% " " #%
## ## & # & # # & ##
bd
% %# %
! %
" ##
# & " # & # # & ##
Perc.
%
##
Perc. ! % %
!# #$ " # " # " # " # " # " # ## $
$
#" #"
ex 24
Dr. ! Sn
bd
% % % % % %
! ## ## #& # & # # & #
% #
" ##
#& " # & # # & #
#%
##
Perc.
Perc. ! % %
ex 25 !
## " #$ " # " " " ## $
$
Dr. ! Sn "
# # #" " #% #% #%
## ## & # # & ##
bd
%# % # %
! %&
" ##
#& " # & # # & #
#%
##
Perc.
Perc. ! % %
10

ex 26
! ## " #$ " #$ "" " # " # " " ## $
$ $
Dr. ! Sn
# # #% #%
bd
% %
! ## ## # & # & # # & ##
%
" ##
# & " # & # # & ##
%
##
Perc.
Perc. ! % %
ex 27 !
## " # " # " # " " " # ## $
$ $ $ $
! Sn "
#% #% " #% #%
## ## # & # & # # & ##
Dr. bd

! %
" ##
#& " # & # # & #
#%
Perc.
##
Perc. ! % %
!# $ $ $
" # ##
$ $
# # #
ex 28
! " " " # " # " " " #
Dr. Sn
% %# # #
% #% #
## & ##
bd
## & # &
! %
" #
#
## # & " # & # # & #
#%
Perc.
Perc. ! % %
ex 29 !
## " # " #$ " #$ " # " # " # " # " # ## $
$ $
Dr. ! Sn
% %
## ## #& #% & # # & #
bd
%
! % #
" ##
#& " # & # # & #
#%
Perc.
##
Perc. ! % %
! # " #$ " # " # " " ## $
$ $
# #$ "
ex 30
Dr. ! Sn "
# # " #% #%
% %
## ## #& # & # # & #
bd

! % #
" ##
#& " # & # # & #
#%
Perc.
##
Perc. ! % %
ex 31 !
## " # " #$ " # " #$ " # " # " # " # ## $
$ $
Dr. ! Sn
% #&% # &% # #% &
## ##
bd
##
! %
" ##
## # & " # & # # & #
#%
Perc.
Perc. ! % %
 11

! # #$ $ $
## $
#" "
ex 32
#$ # #
Dr. ! Sn
# " " # " " #% " " #%
%
## ## & # & # # & ##
bd
%#
! %
" ##
#& " # & # # & #
#%
Perc.
##
Perc. ! % %
! # #$ #$ " #$ " #$ " # " # " # " # ## $
#" "
ex 33
Dr. ! Sn
% % % %
## ## # & # & # # & ##
bd

! %
" ##
#& " # & # # & #
#%
Perc.
##
Perc. ! % %
 Basics / Long Phrases
Upbeats
Syncopation level = medium
Working only with upbeats we can create a multitude
of phrasing possibilities. This exercise can eventually
lead to your own phrasing ideas. I am sure you can
come up with many other phrases that are longer or
have different voicings. This just gives you an idea of
the infinite nature of this type of phrasing

In the following exercises you will notice our chosen

theme. Our voices, The Snare drum and bass drum are
grouped together in 3 note combinations - These
phrases are going to cycle out at 6 bars. which means
that they simply start over after 6 bars.

What we are doing is basically displacing the "melody" of each phrase. Moving it until each phrases permutations
are complete. We start with the snare leading the phrase (Ex 1-3) and then the bass drum (Ex 4-6)

! # #$ #$ #$ $ $ $ $ $ $
!# " " " " # " # " # " "
# # # # #"#"#
ex 1
Sn " " #" #" # " "
bd
% % % % % % %
!" ## &
# # & ## # & " # & # # & ## #& "#
L.F. Clave % % % %

## $
$ $ $
! " #" #" " #
# #
" " #" #" # ' '
% % % % %
L.F. Clave !
& # # & ## #& " #
% % ## % ' '
! # #$ #$ $ $ $ $ $ $
!# " " " # " # " # " " # "
# # " " " "# "#" #" "
ex 2
Sn
# # # # #
bd
% % % % % % % %
!" ## &
# # & ## # & " # & # # & ## #& "#
L.F. Clave % % % %

## $
$ $ $ $
Sn ! " # " # " # " # " "
# # #" " # ' '
% % % %
## %
bd
& # # & ## #& " #
L.F. Clave ! % % ' '
2

ex 3 !
Sn ! ##
$ $ $ $ $ #$ #$
" " #" #" # " " # " # "
# #
#% " #" #" " # " " #" #" #
bd
% % % % % % % %
!" ##
& # # & ## # & " # & # # & ## #& " #
% % % %
$ $ $
L.F. Clave

Sn !
$ $ $
" #" #" #" # " #" # " # " # ## ' '
% % %
" #% ## %
bd
& # # & ## # &
L.F. Clave ! % ' '
! # " " " " #$ " #$ " $ $ $ $ $
!# # # # # " #" # " #" # " # " # " #" #" #" #
ex 4
Sn
bd
% % % % % % % % %
L.F. Clave "!#
# & # # & ## # & " # & # # & ## # & " #
% % % %

" # " # " # " # " # " # " # " # ## $

$ $ $ $ $
! ' '
% % %
# & " # ##
% %
& # # & ##
L.F. Clave ! % ' '
ex 5 !
##
$ $ $ $ $ $ $ $
Sn
bd !
" #" #" # " # " # " #" #" # " # " # " # " # " #" #" # " #
% % % % % % % %
!" ## & # # & ## # # # # & ## #% & " #%
L.F. Clave %& "% &
# " # " # ## $
$ $ $ $
! " # " " "
# # # " # " ' '
% % % %
#& " # #
% #%
# # & ##
! & % ' '
!
L.F. Clave

!##
$ $ $ $ $ $ $ $ $
" #" # " # " # " #" #" #" # " # " # " #" # " #" # " # " #
ex 6
Sn
bd
% % % % % % %
!" ##
& # # & ## # & " # & # # & ## # & " #
% % % %
$
L.F. Clave

" # " # " # " # " # " # " # " # ##

$ $ $
! ' '
% % % % %
% & " % ## %
& # # & ## # #
L.F. Clave ! ' '
 3
Cycles and Upbeats
Syncopation level = Intense !!
Using only upbeats, you can also create phrases using
melodic cycles of 3. Going over the barline to create
an infinite amount of phrasing. This is phrasing that i
have heard many timbaleros do. Interplay between the
**low drum and the high drum** is an essential skill for
soloing on timbales.

What you do on the kit is split up the interplay of the

drums with different voices on the kit. The bass drum
and snare are perphaps the most obvious choices for this.
But you can really just think like a timbalero and play
these phrases on the snare and low tom, or hi tom and
mid tom. As you like. The reason I like to use the bass
drum is that once the phrasing is embedded into your
ears, you can create things like displaced funky grooves.
Lots of fun and very exciting!

**By the way - The high and low timbale drums are sometimes refered to as macho y hembra. (male and Female)
It seems that the small drum is the male because it fits into the larger one when you pack them up. :-)

! # #$ $ $ $ $ $
# " " #" #" " #" #" " # " #" " #" # " " #" #"
# # # # #
ex 10
! Sn
% % % %# %# % # # % % ## %# % #
" ##
bd
& # # & ## & & & &
L.F. Clave ! % "% % "%
$
" # " # " " # " # " " # " # ##
$ $
! # # '
% ## % # % %#
& " ##
% #% #
% %
& &
L.F. Clave ! % '
ex 11 !
Sn ! ##
$ $ $ $ $
# #
" #" #" " # " #" " #" # " " #" #" # # #
" #" #" " #
% % % ##% # % %# % % % % %
!" ##
bd
& # # & & " & # # & ## # & "#
L.F. Clave % % % %
$ $
" # " " # " # " " # " # " ##
$ $
! # # # '

% & " % ## %
% % % ## %# % #
L.F. Clave ! & # # & '
4

ex 12 !
#
% % % % %
! Sn # " #" " #" # " " #" #" " #" #" " # " #" " #" #
# # # # #
bd
$ $ $ $ $ $ $ $ $ $ $
" ## &
# # & ## # # # # ## # #
L.F. Clave ! $& "$ & & $ & "$
% % %
# $
! " # " # #" " # " # #" " # " # # '
$ $
# #$ & ## $ # & " $# #
L.F. Clave ! & $ $ #% '
ex 13 !
## " # " # " # " # " # " # " # " # " # " # " # " #
% % % % % % % % % % %
! Sn " # " # " #" #
$ $ $ $ $
" ## &
bd
# # & ## # # # # ## # & " #
L.F. Clave ! $ & "$ & & $ $
$
" # " " # " # ##
% % % % %
! #
" " #" " # # # ' '
$ $ $
& " # ##
$ %
& # # & ## #
L.F. Clave ! $ ' '
ex 14 !
#
% % % % % % % % % % %
! Sn # " " # " " " # " " " # " " " #"
# # # # # # # # " " #" " #
# #
$ $
" ##
bd
# $# ## # $# # # ## $# & " #
& & & "$ & &
L.F. Clave ! $ $ $
" # " # " # " # ## $
% % % % %
! " # " # " #" # ' '
& $ # # & $ # & $ " # ##
$ %
##
L.F. Clave ! $ ' '
ex 15 !
#
% % % % % % % % % %
! bd # # " # " #
Sn " " # " # " # " #" # " # " # " # " # " #" # " # " #
$ $ $ $ $ $
" ## &
# # & ## # & " # & # # & ## # & " #
L.F. Clave ! $ $ $ $
% % $
" " # " " # ##
% % % %
#
! " " " #" # # # # ' '
$ $
#& " # #
$ #%
& # # & ##
L.F. Clave ! $ ' '
 5

Alter the phrases by using different voices and your melodic cycles
will yield an endless amount of vocabulary. The melodies might really
pull on you and throw you off clave. So my suggestion is to first
make sure you have practiced the previous sections.

ex 16 !
## " # " " " # " " " # " " " # " " " # " " " #
$ #$ $ #$ $ #$ $ #$ $ #$ $
! Sn
# # # # #
bd
% % % % %
" ##
& # # & ## # & # & # # & ## # & #
L.F. Clave ! % "% % "%

" # " # " " # ## $

#$ $ #$ $ #$
! " " #" #" ' '
% % %
& " # ##
% %
& # # & ## #
L.F. Clave ! % ' '

Ht Mt ! ## " " " # " " " # " " " # " " " # " " " # "
ex 17
#$ $ #$ $ #$ $ #$ $ #$ $ #$
# # # # #
!
% % % # # % ## # % #
bd

" ##
& # # & ## # & # & & &
L.F. Clave ! % "% % "%

# " ## $
$ #$ $ #$ $
" # " " " # " " " ' '
! # # #
% % %
& " # ##
% %
& # # & ## #
L.F. Clave ! % ' '

Ht Mt ! ## " # " " " # " " " # " " " # " " " # " " " #
$ $ #$ $ $ #$ $ $ #$ $ $ #$ $ $ #$ $
ex 18
! lt # # # # #

" ## &
# # & ## # & " # & # # & ## # & " #
L.F. Clave ! % % % %
$ $
#$ #$ $ #$ #$ $ " #$ " # ##
! " " "#" " " # ' ' '
# #
% #%
# # & ## #& "
L.F. Clave ! & % ' ' '
6
8 bar Phrases
The next step is to expand on these phrases and create 8 bar segments.
Why do you need to do this? The answer is that many times, songs are structured
in phrases of 8 or 16 bars. Like many songs in American music. So you need to be
able to jump in and out of a phrase at any point in a timeline., and maintain a song
structure. A good natural feel for 8 bars needs to be developed. This willof course
help you splill over into even longer phrases eventually.

Creating 8 bar melodies and phrases.

Here are some exercises to get you going. As you can see there are many
possibilities here. But these will give you a taste and help to develop
your own phasing. We are basically using the phrasing explored so far in the
upbeats section. There are many more posibilities to create 8 bar phases.
Remember that all these exercises are tools to help build an internal
sense of structure.

! # #$ #$ $ $ $ $ $ $ $ $ $
! # # # # # # # # "#"#"#
ex 8
" " " #% " " " " " "
#% #% " " " #% "
%
! " ##
& # # & ## # & " # & # # & ## # & " #
L.F. Clave % % % %

$ $ $ $ $ $ $ $ $
# $
! " # " #% " # " # " #% " # " # " #% " # " # " #% " # " #% " # " "
#% #% #

& # # & ## # & " # & # # & ## # & " # ##

L.F. Clave ! % % % % %

!# $ $ $ $ $ $
! # # # # # # # "#
ex 9
" " " "
# # " " " "
# # # # " " " "
# # " " # "
% % % % % % % % % %
! " ##
& # # & ## # & " # & # # & ## # & " #
L.F. Clave % % % %

## $
$ $ $ $ $ $ $ $ $ $ $
" " " # " # " " # " # " # " # " # " " # " # # #
! # # # # # " "
"
% % % % %
L.F. Clave ! &
# # & ## # & " # & # # & ## # & " #
% % % % ## %
 7

! # #$ #$ #$ $ $ $ $ $ $
# " " " " # " #" #" " " " #" #" # " " # " # " #
# # # #
ex 10
! Snbd
% % % % % % %
" ## &
# # & ## # & " # & # # & ## # & " #
L.F. Clave ! % % % %
$ $ $ $ $ $ $ $ $
# $
! # #" " " # " # " # " "
# # # " " # " # " #% " # " # " # " # " #% #
% % % % %
& # # & ## # & " # & # # & ## # & " # ##
L.F. Clave ! % % % % %

Ht Mt ! ## " # " # " " # " # " " # " # " " # " # "
ex 11 $ $ $ $ $ $ $ $ #$ $ #$
#
! bd # # # # " " " #"
% % % % %
" ##
& # # & ## # & " # & # # & ## # & " #
L.F. Clave ! % % % %

## $
$ #$ $ #$ $ $ $ $ $ $
# # #
! " " #" " " #" " " # " #" " #" # " " # " # " #
# #
% % % % % %
L.F. Clave ! &
# # & ## # & " # & # # & ## # & " #
% % % % ## %

ex 5 !
## "#"#"# "# " # "#"#"# "# "# "# "#
$ $ $ $ $ $ $ $ $ $ $ $
Sn ! " #"#"# "# "# "#"#"# " # "# "# "#
bd
%% %%% % %% %%% %
! " ##
& # # & ## #& "# & # # & ## #& "# & # # & ## # & "#
L.F. Clave % % % % % %

## $
$ $ $ $ $ $
" #" #" # " # " # " #" #" # " #" # " #" # " # " #" #" #
ex 5
Sn !
bd
% % % % % % % % % %
L.F. Clave !
& # # & ## # & " # & # # & ## # & " #
% % % % ## %
8

This can go on forever. Its a wonderful motif and widely used by all musicians
in Afro cuban music.

! "
L.F. Clave ! "
 binary phrases - ternary effects - 6 bar figures

As you can imagine, many types of phrases can be played by simply

altering the orchestration of phrases on the kit. In these examples
I will outline phrases that are built using subdivisions in "2" (or binary).
But that are creating "Ternary effects" meaning that the orchestrations
give the illusion of a melody in "3".

A Binary phrase: Phrases that are based in subdivisions of "2". Such as: 8th notes, 16th notes etc...
Ternary effect: a phrases that gives the illusion of a cycle of "3"

The term "6 bar figure‘" simply means that the phrase cycles out after 6 bars.

NOw....Things to keep in mind!! First and foremost!

These are exercises!! In order to get to a point where you can be musical and free to express whatever you would
like, certain technical steps need to be taken.
Here there are 2 major things we are working on.
1) expanding your independence from the clave.
2) Working your ears so that they become accustomed to cyclic structures.
When you play these exercises, it will all be little clearer :-)

! #! # # # #
#
ex 1
" ## ##
## # # # # ## # ## # ##
#
" #!
Drum Set
Percussion " $ $ %$ &%

"
## ## ## ## ## ## ## ## ## $
## %
Dr. ## # # # # ## # ## # ## ## # # # # ## # ## # ##
Perc. " $ $ % $ & % $ $ % $ &%

!# ##
#
##
ex 2
## # #
"
#
## # # # # ## # ## # ##
"#
Dr.
Perc. " $ $ % $ &%

" ########
## ## # #
## ## ## $
## ## ## ## ######
## %
Dr.
# # $ ## # $ & # $ # # $ ## # $ & #
Perc. " $ % % % %
2

!# ""
# ""
ex 3
""
! "" "" """" ""
" ## #
Dr.
" " # "# " "
Perc. ! $# %$

"" "" "" "" "" ## $

! """""" "" "" """" "" """"""
## %
Dr.
" " # "# " # % " # " " # "# " # % "
Perc. ! # $ $ $ $

! # " ""
# " "" "" """"""""
ex 4
!
" ##
Dr.
# " " # "# " # % "
Perc. ! $ $

!
"" "" " " "" "" " " "" "" ## $
## %
Dr. "" " " " " "# " "" " "" "" " " " " "# " "" ""
# # # % # # # %"
Perc. ! $ $ $ $
!# "
# " """"""
"" "
ex 5
! " " " ""
" ## #
Dr.
" " # "# " # % "
Perc. ! $ $

! """"
""
"
" "" ""
"
" "" "" ## $
"" "" "" "" "" "" ""
## %
Dr.
" " "# " " " " "# " "
Perc. ! # # $# %$ # # $# %$
!# "
# " """"""
"" "
ex 6
! "" " ""
" ##
Dr.
# " " # "# " # % "
Perc. ! $ $

! " " ""

""
"" "
"
"" " " ""
""
"" "
"
"" " " ""
""
"" ## $
## %
Dr.
" " "# " " " " "# " "
Perc. ! # # $# %$ # # $# %$
 3

!#
# """"""""
""
ex 7
! """"""
" ##
Dr.
# " " # "# " # % "
Perc. ! $ $

! """"
""
" " "" ""
" " "" "" ## $
## %
"" "" "" "" "" "" ""
# " " # "# " # % " # " " # "# " # % "
Dr.
Perc. ! $ $ $ $

!# "
# " """""" """"""""
ex 8

" ##
!
# " " # "# " # % "
Dr.
Perc. ! $ $

" " " " "

! """"" "" " """""" " """ "" """"" "" ## $
## %
Dr.
" " # "# " # % " # " " # "# " # % "
Perc. ! # $ $ $ $

!#
# """""""" """"""""
ex 9
!
" ##
# " " # "# " # % "
Dr.
Perc. ! $ $

! """"
""
" " "" ""
" " "" "" ## $
" " "# " "# " "" # "% "" # "" " " "# " "# " "" # "% "" ## %
Dr.
Perc. ! # $ $ $ $

!# ""
#
"" ""
ex 10
! ""
#
"" " " " " "# " "" " ""
"#
Dr.
# # # %$
Perc. ! $

!
"" "" "" "" "" "" "" "" ## $
## %
Dr. "" " " " " "# " "" " "" "" " " " " "# " "" " ""
Perc. ! # # $ # % $ # # $ # %$
4

Here of course the exercises are displaced

by one eight note. Although many of the
exercises sound the same, the displacement
gives the phrases a whole new character.
I believe that the slower you take things
and the more you permutate phrasing, the
better your control and command of
phrasing will be. I know this might sound
like basic common sense to some but, often
times students have ask me why they need
to do so many variations. Well, that's why:-)

!# "
# """"""" """"""""
ex 1
!
" ## #
Dr.
" " # "# " # % "
Perc. ! $ $

"
! ""
""
"" " " ""
""
""
" "
"" " " ""
" "
""
""
""" ## $
## %
Dr.
# " " # "# " # % " # " " # "# " # % "
Perc. ! $ $ $ $

!# "
# """"""" """
""
ex 2
! "
" "
" ##
Dr.
# " " # "# " # % "
Perc. ! $ $

"
! "" " " " " "" " " "" " " " " " ## $
"" "" "" "" "" "" ""
## %
Dr.
# " " # "# " # % " # " " # "# " # % "
Perc. ! $ $ $ $

!# "
# """"""" """"""""
ex 3
!
" ## #
Dr.
" " # "# " # % "
Perc. ! $ $
 5

"
! """"""" """
"" "" " " " ## !
""" """ "" """"""
## "
Dr.
# " " # "# " # % " # " " # "# " # % "
Perc. ! $ $ $ $

$# "
# ""
"" "
ex 4
! " " " "
"" "" ""
% ##
Dr.
# " " # "# " # % "$
Perc. ! $

"" " " " "" " " " " " " "" ## !
! "" "" "" "" "" "" "" """
## "
Dr.
# " " # "# " # % " # " " # "# " # % "
Perc. ! $ $ $ $

$# "
# """"""" """"""""
ex 5
!
% ##
Dr.
# " " # "# " # % "
Perc. ! $ $

! """
"" " " "" " " " " " " "" ## !
"" "" "" "" "" "" """
## "
Dr.
# " " # "# " # % " # " " # "# " # % "
Perc. ! $ $ $ $

$# "
# """"""" """"""""
ex 6
!
% ##
Dr.
# " " # "# " # % "
Perc. ! $ $

! """
"" " " " " "" ## !
""" """""" """ """ """ """
## "
Dr.
" " # "# " # % " # " " # "# " # % "
Perc. ! # $ $ $ $
6

!#
# """""""
" "
ex 7
"
! """"""
" ##
Dr.
# " " # "# " # % "
Perc. ! $ $

" "" " " "" " " " " " " "" ## $
! "" "" "" "" "" "" "" """
## %
Dr.
# " " # "# " # % " # " " # "# " # % "
Perc. ! $ $ $ $
!# "
# """"""" """ """
" "
ex 8
!
" ##
Dr.
# " " # "# " # % "
Perc. ! $ $
" " " " "
! """" """ """"""" """ """ """" """ ## $
## %
Dr.
# " " # "# " # % " # " " # "# " # % "
Perc. ! $ $ $ $

!#
# """""""
" "
ex 9
"
! """"""
" ## #
Dr.
" " # "# " # % "
Perc. ! $ $

" ""
" " "" " "
" " " " "" ## $
! "" "" "" "" "" "" "" """
## %
Dr.
" " # "# " # % " # " " # "# " # % "
Perc. ! # $ $ $ $
!# "
# ""
"" "" "
ex 10
" "
! "" "" ""
" ##
Dr.
# " " # "# " # % "$
Perc. ! $

! ""
"""
""
" "
""
""
""
" "
""
""
""
" "
""
""
""
" ## $
## %
Dr.
" " # "# " # % " # " " # "# " # % "
Perc. ! # $ $ $ $
 7

Here we have the phrase displaced again, by an 8th note.

!#
# """""""" """"""""
ex 1
!
" ##
Dr.
# " " # "# " # % "
Perc. ! $ $

! "" " " " " "" " " " " "" "" "" ## $
" " " " " " " " " " " " " "
## %
Dr.
" " # "# " # % " # " " # "# " # % "
Perc. ! # $ $ $ $
!#
# """""""" ""
""
ex 2
""
! ""
#
"#
Dr.
# " " # "# " # % "
Perc. ! $ $

! """"""
""
""
""
"" " " ""
""
""
""
"" " " ""
"" ## $
## %
Dr.
# " " # "# " # % " # " " # "# " # % "
Perc. ! $ $ $ $

!#
#""
"" ""
ex 3
! " " ""
"" "" ""
" ##
Dr.
# " " # "# " # % "
Perc. ! $ $

! """""""" ""
""
" " "" "" "" ## $
"" "" "" """"""
## %
Dr.
" " # "# " # % " # " " # "# " # % "
Perc. ! # $ $ $ $
8

!#
# ""
"" ""
ex 4
! "" " "
#
"#
" "" " # ""#" " "# " % "
Dr.
Perc. ! # $ $

! ""
""
"""" ""
""
""
""
""""""
""
""
""
"""" ## $
## %
Dr.
# " " # "# " # % " # " " # "# " # % "
Perc. ! $ $ $ $

!#
# """ """" """ """
" " "
ex 5
!
" ##
Dr.
# " " # "# " # % "
Perc. ! $ $

" " " "

! """"""" """ """" """ """ """""""
" ## $
## %
Dr.
# " " # "# " # % " # " " # "# " # % "
Perc. ! $ $ $ $

!#
# """""""" """"""""
ex 6
!
" ##
Dr.
# " " # "# " # % "
Perc. ! $ $
" #$
#
"" " "" " ""
! "" "" " "" " " "" "" " "" " " "" "" "
# " " # "# " # % " # " " # "# " # % " ##
Dr.
Perc. ! $ $ $ $ %

!#
# """"""
""
ex 7
! """"""
" ## #
Dr. " "
" " # "# " # % "
Perc. ! $ $

! ""
""
" " " " " "
""
" "
""
" " " " " "
""
" "
""
" " "" ## $
## %
Dr.
" " # "# " # % " # " " # "# " # % "
Perc. ! # $ $ $ $
 9

!#
# """""""" """"""""
ex 8
!
" ##
Dr.
# " " # "# " # % "
Perc. ! $ $

"" " " "" " " "" " ## $

! "" """ """ "" """ """ "" """
## %
Dr.
" " # "# " # % " # " " # "# " # % "
Perc. ! # $ $ $ $

!#
# """"""
""
ex 9
! " " ""
Dr. "" ""
" ## #
" " # "# " # % "
Perc. ! $ $

Dr. ! ""
""
"""" ""
""
""
""
""""""
""
""
""
"""" ## $

Perc. !
# " " # "# " # % " # " " # "# " # % "
$ $ $ $ ## %

!#
# ""
"" "" ""
ex 10
""
Dr. ! "" "" ""
" ##
# " " # "# " # % "
Perc. ! $ $

"" "" "" "" "" "" "" " " ## $

Dr. ! "" "" "" "" "" "" "" ""
"# " # % " ##
$ %
# " " # "# " # % " # " " #
Perc. ! $ $ $
10

Of course you can create more variations by displacing the phrases.

Here we have the phrase displaced again, by an 8th note.

! ""
! ## "
"" ""
ex 1
"" "" "" "" ""
"" " " "" " " "" " " "" "
! " ##
Dr.
# " " # "# " # %" # " " # "# " # %"
Perc. $ $ $ $

! " " " " "

" "
" "
" "
" " " " " ## $ & &
## %
Dr.
" " # "# " # % "
Perc. ! # $ $ & &

ex 2!
! ## " " " " " " " " "
"" "" "" ""
"" " " " " "" " " """""
! " ##
Dr.
# " " # "# " # % " # " " # "# " # % "
Perc. $ $ $ $

# $
#
" " " " " " & &
! " " " " " " " " " "
% "$ ## %
Dr.
" " "# " #
Perc. ! # # $ & &

!# ""
! #"
"" ""
ex 3
" " "" " " ""
"" " " "" " " "" " " """""
! " ## #
Dr.
" " # "# " # % " # " " # "# " # % "
Perc. $ $ $ $

! " " " " "

" " " " ## $ & &
" " " " " " "
## %
Dr.
# " " # "# " # % "
Perc. ! $ $ & &
 11

! ""
! ## "
ex 4
"" "" "" "" ""
"" " " " " "" " " "" " " " " "" "
! " ##
Dr.
# " " # "# " "
# % # " " # "# " # %"
Perc. $ $ $ $

! " " " " "

" " " " ## $ & &
" " " " " " "
## %
Dr.
" " "# " # % "
Perc. ! # # $ $ & &
!# ""
! #"
" "" " ""
ex 5
"" " "" " ""
"" " " "" " " "" " " "" "
#
#
Dr.
!"
# " " # "# " # % " # " " # "# " # % "
Perc. $ $ $ $

"
! " " " "
" " " " " ## $ & &
" " " " " "
## %
Dr.
# " " # "# " # % "
Perc. ! $ $ & &
!
! ## " " " " "
"" " "" " ""
ex 6
" " " "" " " " " "" " " " " " "" "
! " ##
Dr.
# " " # "# " # %$" # " " # "# " # % "$
Perc. $ $

"
! " " " " " " " "
" "
" " "
"
" ## $ & &
## %
Dr.
" " "# " "
Perc. ! # # $ # % $ & &

!
! ## " " " " "
"" "" ""
ex 7
" " "" " " ""
Dr. " " "" " " "" " " "" "
! " ## #
" " # "# " # % " # " " # "# " # % "
Perc. $ $ $ $

! " " " " "

" "
" "
" "
" " " " " ## $ & &
## %
Dr.
# " " # "# " # % "
Perc. ! $ $ & &
12

!#
! # """""
"" " "" " ""
ex 8
" "" """"" " """ " """"" "
! " ## #
Dr.
" " # "# " # % " # " " # "# " # % "
Perc. $ $ $ $
"
! " " " " " " " "
" " "
" " " " ## $ & &
## %
Dr.
# " " # "# " # % "
Perc. ! $ $ & &
!
! ## " " " " "
"" "" ""
ex 9
" " "" " " ""
" " "" " " "" " " "" "
! " ## #
Dr.
" " # "# " # % " # " " # "# " # % "
Perc. $ $ $ $

! " " " " "

" " " " ## $ & &
" " " " " " "
## %
Dr.
# " " # "# " # % "
Perc. ! $ $ & &
!# ""
! #"
"" "" "" ""
ex 10
"" "" ""
"" " " "" " " "" " " "" "
! " ##
Dr.
# " " # "# " # % " # " " # "# " # % "
Perc. $ $ $ $

! "
" " " " " " " " ## $ & &
" " " " " " "
## %
Dr.
# " " # "# " # % "
Perc. ! $ $ & &
 Binary Motifs / Odd groupings
Featured on DVD: Chapter 23 LFC
Using the same binary motifs as before (8th notes),
we can create more phrasing by simply using odd grouping
combinations between the hands and bass drum.

For example: The combination is now 3 on the hands

and 2 on the BD.
Of course, there will be the tendency to think in groups of 5.
And at first you might want to try it like this,
to make it easier on yourself. I have outlined the phrases
created by this new orchestration.

The brackets indicate where the phrase begins and end.

But your overall goal should be to hear long phrases. The structural relation to the clave will change according
to your orchestration of the voices. In other words melodies and phrases will extend the lenght of the phrase or
shorten it.
You will note that we have the clave outlining the entire structure of the exercises.
You must cycle out at 10 measures to complete the phrase. This will help in developing
your sense of structurein relation to the clave.

!# """
Ex. 1 r l r

#
r l r etc...

! """ """ "

"" "" ""
# " " # "# " # # "
DR

2-3 Clave ! " # # $ $

! """""""" """""""" """""""" """"""""

# " " # "# " # # " # " " # "# " # # "
Dr.

2-3 Clave ! $ $ $ $

! """""""" """""""" """""""" """""""" ## $

# " " # "# " # # " # " " # "# " # # " ## %
Dr.

2-3 Clave ! $ $ $ $
2

In this example, to stay in clave, they must be practiced

in 20 measure exercises.
This will create ternary effect phrases, melodies and
rhythmic cycles.

The phrases will go over the barline. You will note that
we have the clave outlining the entire structure of the
exercises. You must cycle out at 20 measures to complete
the phrase. Again, this will help in developing your sense
of structure in relation to the clave.

1 2 3 1
This exercise should be taken as a "hearing exercise" -

Ex. 2 !
This and all of the following examples are exercises

##
r l r etc...
and nothing more.
""" """ "
"""""""
# " " # "# "$ # # "$
! ""
" ##
Dr.
2-3 Clave !
2 3 1 2 3 1

""" """
! """" " " " " " "" " " " "" "" """"""""
# " " # "# " # # " # " " # "# " # # "
Dr.

2-3 Clave ! $ $ $ $
2 3 1 2 3 1

""" " "" """ """ "" " """

! ""
# " " # "# " # # " # " " # "# " # # "
Dr. "" "" " " "" "" ""
2-3 Clave ! $ $ $ $
2 3 1 2 3 1 2

""" """ " "" """ ""

! " " " " " "
# ## "
Dr. "" "" "" "" " " ""
# " " # "# " # " # " " # "# "
2-3 Clave ! $ $ $ $
 3

3 1 2 3 1 2

" " " " """ " " " """

! "" " " " "" "" "" " " " "" "" "
# " " # "! " # ! " # " " # "! " # ! "
Dr.

2-3 Clave ! $ $ $ $
3 1 2 3 1 2 3

""" """
! """""""" """ "" " " " ""
"""
"" """
# " " # "! " # ! " # " " # "! " # ! "
Dr.

2-3 Clave ! $ $ $ $
1 2 3 1 2 3

""" """
! """""""" " """" """""""" """""
# " " # "! " # ! " # " " # "! " # ! "
Dr.

2-3 Clave ! $ $ $ $
1 2 3 1 2 3

! """""""
" "" """ " " " "" " """ !! "
" " # "! " # ! " # " " # "! " # ! "
"" " " "" "" ""
!! #
Dr.

2-3 Clave ! # $ $ $ $
4

If we break down this cycle in cut time it would look like this. And it cycles out over five measures.
If you double its lenght you have 10 measures and that makes the cycle fall into place with the
time line structure of clave.

! # " $ % "& $ $ " $ # "& ' " $ % "& $ $ " $ # "& ' ## $
Dr. ! ## # # # # # # # # #
2-3 Clave ! " ## ( ( ( ( ( ## %

Of course, these phrases can be displaced. The phrase is now moved over by one eight note

Practice tip: It may be difficult

to keep the clave going due to these
combinations. In this first example ,
I have outlined the cycle created by
this orchestration. At first you might
want to ignore the cycle (if you can)
and concentrate strictly on coordinating
your limbs.

!# ""
#
Ex. 2 r l r l r etc...
""" """ ""
" " $ "# " $ #
! "" " " ""
" ## $
Dr.
"
2-3 Clave ! ) )

! """""""" """""""" """""""" """"""""

" " $ "# " $ # " $ " " $ "# " $ # "
Dr.
2-3 Clave ! $ ) ) ) )

! """""""" """""""" """""""" """""""" ## $

" " $ "# " $ # " $ " " $ "# " $ # " ## %
Dr.
2-3 Clave ! $ ) ) ) )

Ex. 3 !
## "
Again we move the phrase by one eight note.. r r l r r l r etc...
""" """ """
! " "" " " " "# "" "# "
" ## $
Dr.
2-3 Clave ! $ )$ )
 5

! """""""" """""""" """""""" """"""""

# " " # "! " # ! " # " " # "! " # ! "
Dr.
2-3 Clave ! $ $ $ $

! "
! " " " "" " " " "" " " " "" " " " "" " " " " " " " " "" " "!
! ! "!
Dr.

$! #
# " " # "! " # " # " " # "! " #
2-3 Clave ! $ $ $

Move the phrase once again and the BD starts.

At this point you might start to notice a redundancy
in the phrasing. Yes...some of the phrases are repeating
themselves in relation to the clave. But don't get to
excited about not having to go through more combinations.
It's best to be able to start cycles from any point or
rhythmic perspective. This will insure that the cycles and
your independence are really absorbed.

Trust me :-) when you start to add many variations and jump from one to the next, the value of
going through all of combinations will be very clear. You will need to be able to hear where you are
in the time line instantly and clearly. Going through all these combinations not only works your
independence , but also your ears! Which in the end, is the most important thing.

Ex. 4$
!!
r l r etc...

! """ " "" """

!
"" "" "" "
% !!
Dr.
# " " # "! " # "
2-3 Clave ! $ $

! """""""" """""""" """""""" """"""""

# " " # "! " # ! " # " " # "! " # ! "
Dr.
2-3 Clave ! $ $ $ $
6

! """""""" """""""" """""""" """""""" ## !

" " # "# " # # " # " " # "# " # # " ## "
Dr.

2-3 Clave ! # $ $ $ $

Ex. 5$
Again we move the phrase by one eight note. and

## "
we have the last combination.
! using the snare drum "" "" " """
" "" "" ""
" ##
Dr.

% ##
" " # "# "
as the single voice.
#
2-3 Clave ! $ $

! """""""" """""""" """""""" """"""""

# " " # "# " # # " # " " # "# " # # "
Dr.

2-3 Clave ! $ $ $ $

Dr. ! """""""" """""""" """""""" """""""" ## !

# " " # "# " # # " # " " # "# " # # " ## "
2-3 Clave ! $ $ $ $
 7

using voices with binary motifs/odd groupings

We can increase the ternary effect of phrases by adding voices to each group.

!# """ """
# """ "
Ex. 6

#
! "" "" ""
" ## #
Dr.
" " # "# " "
2-3 Clave ! $# $

""" "" " """

! """""""" " """"" """""
# " " # "# " # # " # " " # "# " # # "
Dr. " " " "
2-3 Clave ! $ $ $ $

! ""
""" " "" """ """ "" " """ ## $
# #
"" "" " " "" "" ""
## %
Dr.
" " "# " " " " "# " "
2-3 Clave ! # # $# $ # # $# $
8

To change the textures, Again we move the phrase

by one eight note.

! # "" """
# """ ""
Ex. 7
!
## "
"" " " ""
" ##
Dr.
# " " # "# "
2-3 Clave ! $ $
""" """ """
! """""""" " ""
# " " # "# " # # " # " " # "# " # # "
Dr. "" "" " " " "" "" "
2-3 Clave ! $ $ $ $

""" "" " """ """ """

"""""""" ## $
# " " # "# " # # " # " " # "# " # # "
! " "" "" "" ""
## %
Dr.
2-3 Clave ! $ $ $ $

!#"
# """"""" """"""""
Ex. 8

" ##
!
" ##
Dr.
# " " # "# "
2-3 Clave ! $ $
" " " " "" """ " " " " " " """
! "" "" "" " " "" "" ""
" " # "# " # # " # " " # "# " # # "
Dr.

2-3 Clave ! # $ $ $ $
" " " """ " " " " " " """ " " " " " ## $
! "" "" "" "" " " ""
" " # "# " # # " # " " # "# " # # " #
Dr.

2-3 Clave ! # $ $ $ $ #%
 9

Ex. 9 !
! ## """ " "" """
"" "" "" "
# " " # "# " # # "
Dr.

2-3 Clave ! " ## $ $

""" """ "

! """""""" """ """"" ""
"""
# " " # "# " # # " # " " # "# " # # "
Dr. "" ""
2-3 Clave ! $ $ $ $

!
"" """ " " " "" " """ """ """ ## $
"" " " "" "" "" ""
" " # "# " # # " # " " # "# " # # " ## %
Dr.

2-3 Clave ! # $ $ $ $

!# """
#"
"" "
Ex. 10
! """
"" "" ""
# " " # "# " # # "
" ##
Dr.

2-3 Clave ! $ $

""" " "" ""

! """""""" "" "" "" " " " " " " " " ""
# " " # "# " # # " # " " # "# " # # "
Dr.

2-3 Clave ! $ $ $ $

# $
#
" """ " " " """ " ""
! "" "" " " " "" "" "" "" " " " "
" " # "# " # # " # " " # "# " # # " #
Dr.

2-3 Clave ! # $ $ $ $#%

10

And by isolating the voice groupings and changing the voices within a group we can create more!

Ex. 11 !
## " " "
r l r r l r etc....
""" """ "
" " # "# " # # "
! "" "" ""
" ## #
Dr.
2-3 Clave ! $ $
" " " " " " "
! """" "" "" """" """" """ " """" "
# " " # "# " # # " # " " # "# " # # "
Dr.
2-3 Clave ! $ $ $ $
" " " " " "
! """ """" """" "" "" """" """" """ ## $
" " # "# " # # " # " " # "# " # # " ## %
Dr.
2-3 Clave ! # $ $ $ $

Ex. 12!
! ## " " " " " " " " " " " " " " " " " " " " " " " " "
l r r l r r etc....
" " " " " " "
# " " # "# " # # " # " " # "# " # # "
! " ##
Dr.
2-3 Clave $ $ $ $
" " " " " " " " " " " " "
! " " "
" ##
Dr. " " " " " " " "
# " " # "# " # " " #
2-3 Clave ! $ $
" "
""
"
""
"
""
"
""
""" ## $ %
"# " # # " # " " # "# " # #
! "" " " "" ""
## %
Dr.
"
2-3 Clave ! $ $ $ $ %
 11

Ex. 13 !
## " " " " " " " " " " " " " " " "
r r l r r l etc....

!
" " # "# " # # "
Dr.

2-3 Clave ! " ## # $ $

"" "" "" " " "" "" ""

! """ " "" """ """ "" " """
# " " # "# " # # " # " " # "# " # # "
Dr.

2-3 Clave ! $ $ $ $

""
! """ """
"" """
""
""
" "" """
" " """
"" "" ## $
# " " # "# " # # " # " " # "# " # # "
Dr.

2-3 Clave ! $ $ $ $ ## %

!# """
#
r r l r r l etc....
""" """ "
Ex. 14
! "" "" ""
# " " # "# " # # "
Dr.

2-3 Clave ! " ## $ $

"" """ """ "" " """ """ """

! "" " " "" "" "" ""
" # # " # " " # "# " ##
Dr.
" " # "# "
2-3 Clave ! # $ $ $ $

! ""
""" " "" """ """ "" " """ ## $
Dr. "" "" " " "" "" ""
" " # "# " # # " # " " # "# " # # " #
2-3 Clave ! # $ $ $ $ #%
12

Ex. 15 !
## " " "
r l r r l r etc....

! """ """ "

"" "" ""
" " # "# " # #
Dr.

" ## #
"
2-3 Clave ! $ $

" " " " " " "

! " """" " """ """" """" "" "" """"
# " " # "# " # # " # " " # "# " # # "
Dr.

2-3 Clave ! $ $ $ $

! """"" " "" """ """ "" " ## $

"""
"" "" " " "" "" ""
"# " # # "# " # # " #
Dr.

$ #%
" " # " # " " #
2-3 Clave ! # $ $ $

!# """
#
Ex. 16 r l r r l r etc....
""" """ "
!
" " # "# " # # "
"" "" ""
" ## #
Dr.

2-3 Clave ! $ $

"" """ """ "" " """ """ """

! "" " " "" "" "" ""
# " " # "# " # # " # " " # "# " # # "
Dr.

2-3 Clave ! $ $ $ $

# $
#
""" " "" """ """ "" " """
! "" "" "" " " "" "" ""
"# " # # "# " # # " #
Dr.

$ #%
" " # " # " " #
2-3 Clave ! # $ $ $
 13

!# ""
#
r l r r l r etc....
" "
"""" " """ """"
Ex. 17

# " " # "# " # # "

!
" ##
Dr.
2-3 Clave ! $ $
" " " " " " " " " " " " "
" " " " " " "
" " # "# " # # " # " " # "# " # # "
Dr. ! "" " " "" "" "" ""
2-3 Clave ! # $ $ $ $
""
! "" """
" "" """
"" " "
""" "" " """
"" "" "" ## $
# # ## %
Dr.
# " " # "# " # " # " " # "# " # "
2-3 Clave ! $ $ $ $

And of course we can take the isolated phrase and

change the voices of the groups.

In this particular example the voices are really outlining

a 10 measure phrase.

!# ""
Ex. 18

#
r l r r l r etc....
"
! """""" """ """"
# " " # "# " # # "
#
Dr.
2-3 Clave ! " # $ $

" " """ " " " "" " " " " """
"""""
# " " # "# " # # " # " " # "# " # # "
Dr. ! "" " " "" "" ""
2-3 Clave ! $ $ $ $
" " "
! " " "" "" " " " ""#" " "" "# " "" " " "" " "" " " ""#" " "" "#" " "" ## $
## %
Dr.
# # # # # #
2-3 Clave ! $ $ $ $
14

!# """ """
#
Ex. 19 r l r r l r r r l r
"""
! "" "" """
# " " # "# " # # "
Dr.

2-3 Clave ! " ## $ $

l etc....
r
""" "" " """
! """" " "
"""
"" ""
"""
"" ""
"""
# " " # "# " # # " # " " # "# " # # "
Dr.

2-3 Clave ! $ $ $ $

! ""
""" " "" """ """ "" " ## $
"""
"" "" " " "" "" ""
"# " # # "# " # # " #
Dr.

$ #%
" " # " # " " #
2-3 Clave ! # $ $ $

!# """
#
r l r l r l etc....
""" """ "
Ex. 20
! "" "" ""
" " # "# " # # "
Dr.

2-3 Clave ! " ## # $ $

"" """ """ "" " """ """ """

! "" " " "" "" "" ""
" # # " # " " # "# " ##
Dr.
# " " # "# "
2-3 Clave ! $ $ $ $

! ""
""" " "" """ """ "" " ## $
"""
"" "" " " "" "" ""
"# " # # "# " # # " #
Dr.

$ #%
" " # " # " " #
2-3 Clave ! # $ $ $
 15

Con Alma!!!

Dr. ! "
2-3 Clave ! "
 The magic of cycles

In this section we get more specific with the use of cycles in your vocabulary.
Once again, this is an endless source of creativity for the drummer. The study and discovery of cycles will lead
you to wells of inspiration that you might have never taken into consideration. Some of these things for me have
been, Astronomy, Fractal Geometry, Fractal architecture, study and concepts of time itself, the study of light,
colors and their wavelengths etc etc. - All of it has to do with rhythm. And when you start to see rhythm every
where, in everything, in every living being, in every element of the universe, the world itself becomes a different
place.

It’s easy to see why drums and drumming have been used in our most ancient and mystical ceremonies through
out history. What you communicate through drumming is a raw representation of all of nature. Almost like a matrix.
A substructure of everything. Voice and drumming...Both the most ancient of instruments, are a powerful source
of emotion and communication.

Cycles are the ABC´s of your rhythmic vocabulary. When you hear drummers that use them it is very apparent that
something special is there. I know when I first heard this stuff, I couldn’t make heads or tails of it. Had a hard
time finding "1”. And in general became pretty frustrated when trying to "copy" what guys were playing on recordings.
In short, you cannot copy it. You have to understand the sources. Break down the relationships. In this case, of clave,
pulse and cycle.
For the western player, the process of absorbing and applying cycles is one that must suit the ways we have become
accustomed to learning. With western musical notation. I found this to be the most effective way for us.
It puts everything into an organized system that’s easy to reference.

Drums " ! #
Percussion " ! #
2

The knowledge and use of cycles is a journey into the deepest realms of rhythm.

lets touch base with the meaning of cycle again.

Cycle
1 - An interval of time during which a characteristic, often regulary repeated event or sequence of events occurs.
Night -day / the seasons / The orbit of a celestial body. etc....
2- A single complete execution of a periodically repeated phenomenon

We continue now expanding our vocabulary and rhythmic knowledge by applying cycles to your vocabulary.
This particular phrase is one of my favorites.

The 3 bar cycle

I call this the 3 bar cycle because the way we are perceiving it here, covers a span of 3 bars. There are several ways
you can start to work with it. It might be easier to learn if you take things step by step.

Step 1- The raw cycle = Pulse and phrase

Exercises 1:
Play a consistent pulse with your hi hat foot either on the hi hat or clave pedal. Then on the snare, play

!# & $
the phrase. This gives you a chance to hear the "melody" of the phrase over a simple pulse.

" $ &
& & & & & " $ ##
&
# # #
# " $# " $
!
" ## ## %
Dr. sidestick
% % % % % %
HH or
clave pedal ! HH or clave pedal
 3

!# ## $
Now try it with the bass drum.

Dr. ! # "# " $ " % " $ "# " $ " % "# $

# # #
" ## ## %
BD
& & & & & &
HH or
clave pedal ! HH or clave
pedal

Now lets try it with the clave. In order to train yourself to play with clave, again it is always best
to keep in mind it's structure. In this case we will now need to play the phrase for 6 measures. That
way the phrase cycles out and lines up with the 2 measure phrase of the clave.

!# # $
# #
Cycle permutation 1
Dr. ! BD "# "$ " % "$ "# " $"% "$ "#"$" % "$ "# " $ " % "$
# # # # # # # #
or clave # $ " "$ "# " $ %" $"" $ "#"$% " $ "" $ "# "$ % " #
HH or
clave pedal ! HHpedal "# # # # # # # #%

Permutations and Measure shuffling

The next logical step is to permutate this phrase. Of course you will notice a redundancy in the time line.
No matter where you start it.

What this means is that if you start it on the "e" of 1 instead of the downbeat of 1, the measures simply
change place. What I call measure shuffling occurs. Think like a deck of cards.

Take the first cycle exercise as a base,

Now we move the cycle over by one 8th note. Notice in this example the last 2 measures become the first 2.
And the first two of the previous example become the second two measures. And so on.

!# # $
# % "$ "# " $ " % "$ "# "$ " % "$ "# " #
Cycle permutation 2
Dr. ! $"% "#$ "#"$"
BD
# # # # # # #
! HHpedalor clave " ##
"#"$% " #
# # #%
$ "" $ "# "$ % " $ " "$ "# "$ %" $"" $
HH or
clave pedal # # # #

!# $
# $"% "$ "#"$" % "$ "# " $ " %"$ "# "$ " % "$ "# " ##
Cycle permutation 3
Dr. !
# # # # # # # #
" ##
$"" $ "#"$% " $ "" $ "# "$ %" $ " "$ "# "$ %" ##
HH or
clave pedal ! HH or clave
pedal # # # # # # %
4

Step 2- Outlining the phrase

Now lets take that idea and expand on it.
1) Play the basic cycle on the ride cymbal. Play all the notes of the cycle along with your bass drum.
$
2) With the left hand, play all the notes in between the melody of the phrase.

!# # # # # # # # # # #
$% & $% &
"# " " " " "
Dr. ! ## # # # # #
" ## %
BD

# # % ## #% & #
HH or
clave pedal ! HH or clave pedal
' '
% " & "$ % "# "$ % " & "$ % "# "$ % " & "$ % $
Dr. ! # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # ##
% # # % ## # % & # % # # % ## # % & # ##
HH or
clave pedal ! ' ' ' ' %

Step 3- Expanding the phrase

We can now expand on the phrase using

the cycles and clave on the left foot to
create some very nice vocabulary. Here we
are filling in the spaces in between the
"melody" with the snare.

! # #r #l #r
## # # # # # # ### ###
r l r Etc...

Dr. ! sn
# # # # #
" ##
BD

% # # % ## # % & #'
HH or
clave pedal ! '

# $
Dr. ! ### ###
# #
###
#
### ###
# #
## # ###
# # #
### ### ###
# #
### #
# # % ## #% & # % # # % ## # % & # #
HH or
clave pedal ! % ' ' ' ' #%
 5

adding voices to the phrase.

Here we are simply adding the high tom
with the hands. Snare will start and
high tom will answer. It's tons of fun!!

! # ""
# " ""
r l r
"""
r l r
"" " """ """ """ """ """
Etc...

Dr. ! sn
BD " " " " " "

" ## #
" " # "# "# % "$ # " " #
HH or
clave pedal ! $

Dr. ! " """ "

""" "" " """ """ """ """ """
" " " " " " ## $

HH or !
"# " # % " # " " # "#
$ $
" # % "
$ $ ## %
clave pedal

Expanding on the voice variations.

Lets start adding all the toms in the phrase. middle tom will start.

! # "r "l r "r "l r "Etc..."

Dr. ! sn
BD
# " "" "" " " """ " """ " """ " """ " """

" ## #
" " # "# "# % " # " " #
HH or
clave pedal ! $ $

Dr. ! "
"""
"
"""
"
"" " """ """ """ """ """
" " " " " ## $

HH or !
"# "#
$ % "$ # " " # "# " # % "
$ $ ## %
clave pedal
6

Creating textures with voices.

The voices of the set can also create cyclic textures.
Move the hands around the toms to create "Melodies"
inside the cycle.

Please remember!!!
It is essential that you develop a sense of
"time line structure" so that you dont get
lost while playing.

In the following exercise we will use all three toms to create a phrase. If you use this particular tom
melody, you will notice it has a "counter cycle effect" - In other words, it plays against the bass drum phrase.
Like a call and answer type of effect. You will need to play this exercise for 18 bars in order to maintain the
structure with the clave. Thinking in long phrases like this one, will give you the freedom to begin the phrase
at any point in the timeline and not have to rely on the actual "Lick" to create your phrases.

! # ""
# " " """ " """"""""" """"""""""" " """"""""""
" """
r l r r l r Etc...

Dr. ! sn ht mt
BD lt

HH or ! " #
# # " " # "# "# % " # " " # "# "# % "
$ $ $ $
clave pedal

""" """ """ """ "" " """ """

Dr. ! " " """ " " """ " """ " " " " " " "
" " # "# " # % " # " " # "# "$ # % "$
HH or
clave pedal ! # $ $
""" """ """ """ """ """
Dr. ! " " """ " " """ " " """"" """" """"
# " " # "# "# % " # " " # "# " # % "
HH or
clave pedal ! $ $ $ $
""" """ """ """ """ """ """ ""
Dr. ! " """ " " "" " " """ " " " " " " "
# " " # "#
"# % " # " " # "# "# % "
HH or ! $ $ $ $
$
clave pedal

Dr.
" """
! " " " " " "
""" """
" " " " " #
# & &
" # % " #
$ #%
" " # "#
HH or
clave pedal ! # $ & &
 7

Staying focused
There is a reason i layout these exercises in this way. I have found that practicing like this will
help you develop a time line "sense" much quicker than playing the exercise for 8 bars for example.
And then simply ending it without completing the tom melody. Of course, it is a good idea to practice
the phrase starting from different places. for example...

! # """ """
# "" " " """" """" """"" """ " """"" "
""" """ """
Dr. !

" ## #
" " # "# " # % " # " " # "# "# % "
! $ $ $ $
" " " " " " " " " " " " " " " " " ## $
HH or
clave pedal
Dr. ! " " " " "
" # % " ##
$ %
# " " # "#
HH or
clave pedal ! $
! # """
#
""" """ """ ""
Dr. ! " " " " " " " "

" ## #
" " # "# "# % "$
HH or
clave pedal ! $
""" # $
" " "#
""" """ """ """ """ "" "
Dr. ! "" " " """ " " """
" " " """
# " " # "# " # % " # " " # "# " # % " ##
HH or
clave pedal ! $ $ $ $ %
8

expanding the phrases

Since we can hear the cycle now, we can play with
the placement of the phrase and create an incredible
amount of new vocabulary. This phrase is one of my
favorites. You will first notice that the whole phrase
is played in triplets. And the accent pattern of the
phrase is outlining the cycle. Since it is in triplets,
the phrase is a little tricky. My advice is to start out
playing the phrase with a half note pulse on the hi hat
foot, so that you can get an idea of how it sounds. If
you close your eyes and just listen to the accents as
you play this, you will hear the displaced 3 bar cycle

3 3 3 3 3 3
3
! # "& """"& " """" ## $
3
3
% % 3
%& %& %& 3
%& %& %&
Dr. ! BDSn. # "$ $""$
" """"
$""$
" """ "
$""$ $"
# ## ## ## #
HH or half note #
! pulse w/ Foot " #
' ' ' ' ' ' ## %
clave pedal

Now of course the time to add the left foot clave is here. My suggested practice routine is to play one
measure at a time. Slow enough to ensure that all the parts are landing in the right place.
Here we have it in it's "pure" form. As a six measure phrase.
( ) = optional 3 3 3 3
! # "& """"&
3 3
% % 3
%& %& %&
Dr. ! Sn. # "$ $ " " $
" """"
$ " "$
" """
(#) ##
(#
##
BD

" ##
( " " ( "# " "
HH or
clave pedal ! 2-3 clave
# #
3 3 3 3 3 3 3 3 3
3

" """" ## $
3
%& %& %& %& %& %& %& %& %& %& %&
3 3

Dr. ! " $""$" """" $" " $" """"

$""$
" """" " """ "
$""$ $""$ $"
"# " ( # " ( " " ( "# " ( # " ##
## # # ## ## ## #
# %
( " " (
HH or
clave pedal ! # # #
 9

You can also move the phrase around on the toms. It sounds particularly nice if you have
a mini timbal or timbalesand throw one or two hits in on them. Gives that "burst" of energy
and color that is so nice in this music.

3 3 3
%& 3 %& 3 3
!#
3
%& %& %&
( ) = optional 3

#" $ " """" " """" " """

Dr. ! Sn.
$ ""$ $ ""$
(#)
#
BD
## ##
" ## (
" " ( "# " ( "
HH or
clave pedal ! '
2-3 clave
# #

3 3 3 3 3 3 3 3
3 3

" """" ## $
%& %& %
3
%& %& %& %& %& %& %& %&
3 3

" & " """" " """" " """ "

! $""$" """" $" " $
Dr.
# $""$ $""$ $""#$ $ "#
## # ## ## #
"# " ( # " ( " " ( "# " ( # " #
# #%
" " (
HH or
clave pedal ! ( # # #
In general once you get a feel for the melody it will be easy to start the phrase from any point
in the timeline and keep your place!
10

Expanding the phrases with Paradiddle diddle

First a few exercises to get the juices flowing! if you are not familiar with the paradiddle-diddle
you have to play it slow to get it into your hands. my suggestion is that you start slow, in a time signature
that lends itself to an easier flow for this rudiment. 3/4. - Then play it like it's written below, with the
bass drum and a crash cymbal.

!# ## $ !!
r
#$
#
l r r l l

" $ $ $ $ $
$
" ## ## % !!
Dr.
3/4
HH or " % % %
clave pedal
If you have it down already, now we can begin to apply the phrase to the 3 measure cycle.
1) Play the basic cycle on the ride cymbal. Play all the notes of the cycle along with your bass drum.
2) Use the cycle as a rhythmic phrase, play a paradiddle-diddle to create a faster sounding texture
inside the cycle.

Note! You might want to try using a simple pulse on 1 & 2 - The phrase might be easier to hear.
& & & &
! #! l r r l l # l r r l l #l. r r l l #l r r l l $
r r r r r

$$ $ $$$$ $$$$$ $$$$$ ##

r r r
##$$$
r r l l #l r r l l #l r r l l #l r r l l ##
#! $$ $$$$$ $$$ $$ $$$$$ $$$
l
Dr. " sn
BD $ $ $ $ $ $ $ $

" ## ! ' ' ' ## %

! ' ' '
clave pedalHH or "clave
HH or

pedal
Here we are finally with the full phrase, and the clave..
&
! # ##$l $r $r $l $l # $l $r $r $l $l # $l $r $r $l $l # $l $r $r $l $l ##$l $r $r $l $l # $l
r
& r r r
& r r

Dr. " sn #$ $ $ $ $ $
"HH or clave pedal " ##
BD

% $ $ % $# $ % ) $(
HH or (
clave pedal r r
& r r
& r
r r l l # l r r l l # l r r l l ## l r r l l # l r r l l # l r r
Dr. " $$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$
$
$ $ $# $ % ) $(
HH or
clave pedal " % % (
&
$
& &l r r l l
#
r r r r
l l # l r r l l ## l r r l l # l r r l l # l #
$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ #
r r l l
Dr. " $ $ $ $ $
HH or "
% $ $ % $# $ %
( ) $( ## %
clave pedal
 11

Phrases within phrases

This phrase can lead to an incredible amount of Vocabulary. How? It is very nice to think of melodic phrasing
inside the cycle. You can put the accents on the toms but... One idea i like very much - Using different crashes.

Here is a basic example of how to approach this.

Simply use the cycle to create a melody on top of it. in this case, a 3 note melody. Each cymbal
is represented by the numbers 1 2 or 3. Play the melody until the phrase cycles out over the correct position
of the clave. This type of phrasing is very beautiful and can lead to extreme creativity!! This is multi-dimensional
phrasing. Truly an endless source of inspiration.

Again keep in mind that this is an exercise. Meant to strenghten your sense of how time line structures work.
I dont reccomend playing it for this long in your solos. Just enough to create the phrase you want.
In time you will be able to play this phrase from any point in the time line and end it where it you want, not
loosing the structure of clave

1 2 3 1 2 3

$
!#
r
$ r r r
$ r r
"##l #r #r #l #l " #l #r #r #l #l " #l #r #r #l #l " #l #r #r #l #l "##l #r #r #l #l " #l
Dr. ! sn
BD
# # # # # # #

! HH or clave pedal " ##

% # # % ## # % ' #&
HH or
clave pedal &

1 2 3 1 2

r
$ r r r
$ r
r r l l " l r r l l " l r r l l "# l r r l l " l r r l l " l r r
Dr. ! ############### ################
#
% # # % ## # % ' #&
HH or
clave pedal ! &
3 1 2 3 1

$
l l " l r r l l "#l r r l l " l r r l l " l r r l l " l r r l l $
$ r r
$
! # # # # # ### # ### # # # # #### # ## # ## # # #### ##
r r r
Etc etc....
Dr. (

HH or !
% # # % ## # %
& ' #& ## % (
clave pedal
12

Dr. ! "
HH or
clave pedal ! "
 Ternary Motifs
Chapter 24 on the DVD

Now we can explore the vocabulary of 6/8 - You should be

familiar with the theory of RTS and how it works by watching
the "secret language section on the DVD. Personally I have
seen that thinking this way rather than thinking in triplets
gives players a much more solid grasp on the time and feel
of this phrasing. Also thinking in six will further expand
your hearing and ability to play within the time line reference.
When you apply RTS to this phrasing, your melodic cycles
make the jump to the next dimensional level -

! #! ## !$ ## ## $
#
ht mt
#" $$
$$
$$ $$
$$ $$
$ $$ $$ $
$$ $ $ $$
" ##" ## "% ## ## %
Drum Set lt sn
! % $& % $# $ $' $ % $& % $# $ $' $
bd

Percussion # & & & &

!# ## !$ ## ## $
# # $$
$$ $$
$$ $$
$$
$$ $ $ $$
$ $$ $$ $
" ## ## "% ## ## %
Drums
$
%&% $# $ $' $ $
%&% $# $ $' $
LF Clave # & & & &
!# ## !$ ## ## $
#
$$ $$ $ $$ $
# $$ $$$$$$ $
$$ $ $ $$ $
" ## ## "% ## ## %
Drums

LF Clave # % $& % $# $ $' $

& & % $& % $# $ $' $
& &
!# ## !$ ## ## $
#
$$ $$ $$ $$ $ $
# $$ $$ $$ $ $$ $$$$$
" ## ## "% ## ## %
Drums
$
%&% $# $ $' $ % $& % $# $ $' $
LF Clave # & & & &
!# ## !$ ## ## $
# # $$ $$
$$ $$$$$$
$ $$
$$ $ $$$$$
$
" ## ## "% ## ## %
Drums

LF Clave # % $& % $# $ $' $

& & % $& % $# $ $' $
& &
!# ## !$ ## ## $
# $ $ $$ $ $ $ $
# $$ $$ $$$$ $ $$ $$$$$
" ## ## "% ## ## %
Drums

LF Clave # % $& % $# $ $' $

& & % $& % $# $ $' $
& &
2

!# ## !$ ## ## $
! # """""" """""" " " "
"" " " """ " "
" ## ## "% ## ## %
Drums

LF Clave ! # "$ # "# " "% "

$ $ # "$ # "# " "% "
$ $

!# ## !$ ## ## $
! # "
"" ""
" " " ""
"" " " " " ""
" "" "" "
" ## ## "% ## ## %
Drums
"
#$# "# " "% " "
#$# "# " "% "
LF Clave ! $ $ $ $

!# ## !$ ## ## $
#
"" ""
! """""" "" "" """""" " """
" ## ## "% ## ## %
Drums

LF Clave ! # "$ # "# " "% "

$ $ # "$ # "# " "% "
$ $

!# ## !$ ## ## $
! # "
"" """ "" ""
"" " "
" ""
" " ""
"" "
" ## ## "% ## ## %
Drums
"
#$# "# " "% " "
#$# "# " "% "
LF Clave ! $ $ $ $

!# ## !$ ## ## $
! # "" "" """" " "" " "
"" " "# " "" " " " " "
" ## ## "% ## ## %
" " " "
# "$ # "# " "% "
Drums

LF Clave ! $ $ #$# $% $

!# ## !$ ## ## $
! # ""
"" ""
"" ""
""
"" " " ""
" "" "" "
" ## ## "% ## ## %
Drums
"
#$# "# " "% " "
#$# "# " "% "
LF Clave ! $ $ $ $

!# ## !$ ## ## $
! # """""" """""" """""" """"""
" ## ## "% ## ## %
Drums

LF Clave ! # "$ # "# " "% "

$ $ # "$ # "# " "% "
$ $

!# ## !$ ## ## $
! # "" ""
"" "" ""
""
"" " " ""
" "" "" "
" ## ## "% ## ## %
Drums

LF Clave ! # "$ # "# " "% "

$ $ # "$ # "# " "% "
$ $
 3

Here we have a new rate - 16th notes. You should be familiar with how all the phrases are built
around the clave so...lets get started. We are using a smaller subdivision so of course keep the
tempos in the 80-100 bpm zone to start.

! # "" "" "" "" "" "" ## $

Drums ! # "" "" "" "" "" ""
" ## # $ #
" #
$ #%
" "# " " %
LF Clave ! $

! # "" "" "" $

Drums ! # " " " " " " " " " " " " " " " " " " ##
" ## # $ #
" #
$ #%
" "# " " %
LF Clave ! $

! # "" "" "" $

Drums ! # " " " " " " " " " " " " " " " " " " ##
" ## # $ #
" #
$ #%
" "# " " %
LF Clave ! $

! # " "" "" " " "" "" " # $

Drums ! # "" "" "" "" "" "" #
" ## # $ #
" ##
$ %
" "# " " %
LF Clave ! $

Our next combination is 3 on the hands and 2 on the bass drum. this phrase is very exciting and has a very nice texture to it.
If you checked out the "Binary phrases trinary effects" section you will get a good feel for this phrasing. This phrase also
cycles out at 10 measures. And again by altering the voicings you can create in a whole lot of vocabulary!:-)
Of course... practice this slow and gradually increase the tempo.

! # """ """ "" " """ """ """ """ " "" """ """
! #
RL R L R L

Drums "" "" "" "" " " "" "" "" ""
! " ## # $ #
" "# " " % " # " # "# " " % "
LF Clave $ $ $ $ $
4

Drums ! """"""" """"" """""""""""" """""""""""" """"""""""""

" "! " " % " # " # "! " " % "
LF Clave ! # $ # $ $ $ $ $

! "
Drums ! " " " " " " " " " " " " " " " " " " " " " " " " !
LF Clave
"
! # $ #
"! " " %
$
"
$ !! #

Here we have the same subdivision but with a different combination. 4 on the hands and 2 on the bass drum.
This creates a simple 2 measure phrase and is lots of fun to play!

$! """" !! "
! ! """""""" """"""""""""
% !! # $ # !! #
Drums
" "! " " % "
LF Clave ! $ $

$! """ !! "
! ! ""
""""
""
" """
""
""""
""
"
% !! # $ # !! #
Drums
" "! " " % "
LF Clave ! $ $

$! "" !! "
! ! ""
"""" "" ""
"" ""
""""
""
""

% !! # $ # !! #
Drums
" "! " " % "
LF Clave ! $ $

$! """" !! "
! !" """"""" """"""""""""
% !! # $ # !! #
Drums
" "! " " % "
LF Clave ! $ $
 5

You can continue on and on creating combinations between the hands and bass drum. Even mixing them up and changing
the voices. The most important thing to remember in your practice, is to keep in mind the time line structure so that
your phrases will always be "in clave".

!# """" ## $
! # ""
""""
"" """"""
""""
""
" ## # $ # ## %
Drums
" "# " " % "
LF Clave ! $ $

!# """ ## $
! # ""
""""
"" " " " " "" " " " " ""
"

" ## # $ # ## %
Drums
" "# " " % "
LF Clave ! $ $

!# "" ## $
! # ""
""""
"""" """"
""""
""
""

" ## # $ # ## %
Drums
" "# " " % "
LF Clave ! $ $
!# """" ## $
! #" ""
""""
" """""""
""""
"
" ## # $ # ## %
Drums
" "# " " % "
LF Clave ! $ $
!# """" ## $
! # ""
""""
""
""""
""
""""
""
" ## # $ # ## %
Drums
" "# " " % "
LF Clave ! $ $
!# """ ## $
#
" " "
! """"" """ "" """"" """
" ## # $ # ## %
Drums
" "# " " % "
LF Clave ! $ $
!# """ ## $
#
"
! """"""""" "" """""""""
" ## # $ # ## %
Drums
" "# " " % "
LF Clave ! $ $
6

!# $
# " " " " " " " " " " " " " " " " " " " " ##
"" ""
!
" ## # $ #
" ##
Drums

$ %
" "# " " %
LF Clave ! $
! # """" """" """" """" # $
! # " " " " " " " " #
" ## # $ #
" ##
$ %
Drums
" "# " " %
LF Clave ! $
! # """" """" """" """" # $
! # "" "" "" "" #
" ## # $ #
" ##
$ %
Drums
" "# " " %
LF Clave ! $
 Cascara Pattern on Drums
Remember that these parts have been adapted to the drumset. So it's a good idea to know what they sound
like when played on the original instruments. On drumset, it is very common to play the cascara pattern on the
shell of the floor tom. But I don't like to scratch up the finish on my drums, so I will usually have a mini timbale set
up right above the floor tom. Plus this makes it sound a little more like the real timbal part. I also use a remote hat.
these days you can get a nice remote hat set up for a good price. If you ask me, I will say its worth it if you plan on
doing lots of afro cuban gigs. The remote hats can also serve as regular hats, so they add a little more "spice" to
your set up.
It's very important to get the right feel. This pattern is the one of the main "Time generators" of this music.
On paper it is impossible to convey the "feel" of this pattern. It must be learned by listening and watching
the right players.
here are some suggestions as to where you should play the cascara pattern.
1) Verse sections
2) Occasionally on sections where the dynamics are softer. Piano solos etc....
I have heard some players play this pattern on the ride cymbal. Specifically on the bell or towards the middle
of the cymbal. It's not uncommon but, you have to make sure you know exactly where to use it. If used in the wrong
sections it can be considered to be unmusical. i have found that the best thing to do is arrange your parts with the
other percussionists before hand, to avoid any confusion. For more tips on this, check out the cascara section of my DVD.

! ! # $ $% $ $ &$ $ $ $% $ & $ &$ $ # $

' ' '
#! # $ # # $# #
Remote hats or shell
"
open tone or hi tom
Drum Kit Closed tone or sidestick

" ## !
$# $ # & $ #
bd

" " ( #%
# $ $ #
Percussion
2-3 rumba clave / Left foot
(

! ! # $ $% $ & $ &$ $ $ $% $ $ $ $ # $
' ' & '
## $ # # #
Remote hats or shell
Dr. " open tone or hi tom
Closed tone or sidestick
$#
3-2 rumba clave/ left foot ## $# $ # & $ # $ $ # ##
bd

Perc. " " " ( ( %

! ! # $# $% $# $ $ $ $# $% $ & $ &$ $ # $
& ' ' '
# #
Remote hats or shell
" $ #
open tone
Dr. Closed tone or sidestick

2-3 son clave/ left foot ## # $ $ $# $ # $ ##

" " " %
#
Perc. (

! ! # $# $% $ & $ &$ $ $# $% $# $ $ $ # $
' ' & '
# #
Remote hats or shell
Dr. " open tone
Closed tone or sidestick
$ #
3-2 son clave/ left foot ## $# # $ $ # ## %
" " "
$ # $
Perc. (
2
Of course it's very nice to have some independence with the patterns so that you can "comp" or play any
accents or variations that might come up. Here is the independence section for the cascara pattern. Again i
have divided the exercises into sections based on subdivisions, for ease of practice and assimilation. Left
foot plays clave and the left hand plays all the variations of the exercises.

Downbeats

! !# " " " " $ " " " " $ "% $ "% $
%
# " # " # " # " # ##
Remote hats or shell
! sn

" ##
"# " # $ " ##
Dr.

" ! & %
# " " #
bd

Perc. &

! !# " " " " $ " " " " $ " $ " #$
% % %
Dr. ! #" # " # " # " # #
Perc. " ! " #
# # " " # "# " # $ " ##
& & %

!
! # "# "" "# " $" " "# "" " $# " $" " $
! " " " " $ " " " " $ "% $ "% $
% % % %
Dr. ! #
## ## #
# " # " # " # " #
## " " #
Perc. " ! " #
"# " # $ "
& & ## "% ## # " " # "# " # $ " #
& & #%

! ! # " " " " "" "" " $" " $" " ## !$ ## ## $
% % % %
" " " " $ " " " " " $ " " " " $ "% $ "%
Dr. ! # " " " " " " " "
## " " #
Perc. " ! " #
"# " # $ "
& & ## "% ## # " " # "# " # $ "
& & ## %

!
! # " "" "" " $" " " "" " $" " $" " $
! ## $
% % % $ "% " " " $ "% $ "%
Dr. ! # "
## ## " " " "
" " " " " "
" " "
## " " #
Perc. " ! " #
"# " # $ "
& & ## "% ## # " " # "# " # $ "
& & ## %

!
! # "" "" " " $" " "" "" " $ " $" " $
! ## $
% % % %
" " " " $ " " " " $ "% $ "%
Dr. ! # " " ## ## " " " " " " " "
## " " #
Perc. " ! " #
"# " # $ "
& & ## "% ## # " " # "# " # $ "
& & ## %
 3

! ! # " " " " #" " $

! ## $
$ $
" " " # "$ # "$ " " " " # " " " " # "$ # "$
Dr. ! # " " "
" ## ## " "
" " " " " " " " "
#% " " %
Perc. " ! " #
"# " % # "
& & ## "% ## % " " % "# " % # "
& & ## %

! !# " $
! ## $
$ $
" " " # "$ # "$ " " " # "$ # "$
## ## " " " " " " " "
" " " " # " " " " " # "
Dr. ! # " " " " " " "
#% " " %
Perc. " ! " #
"# " % # "
& & ## "% ## % " " % "# " % # "
& & ## %

! ! # " "" " " #" " $

! ## $
$ $
" " " # "$ # "$ " " " " # " " " " # "$ # "$
Dr. ! # " " " " " " ## ## " " " " " " " "
#% " " %
Perc. " ! " #
"# " % # "
& & ## "% ## % " " % "# " % # "
& & ## %

! ! # "" "" " " # " $

! ## $
$ $
" " " # "$ # "$ " " " " # " " " " # "$ # "$
Dr. ! # " " " " " " ## ## " " " " " " " "
#% " " %
Perc. " ! " #
"# " % # "
& & ## "% ## % " " % "# " % # "
& & ## %

! ! $
! ## $
$ $
" " " " # " " " " # "$ # "$ " " " # "$ # "$
! ## ## ## " "
" " " " # "
" " " " " "
Dr. " " " " " " " "
#
Perc. " ! " #
% " " % "# " % # "
& & ## "% ## % " " % "# " % # "
& & ## %

! !# $
! ## $
$ $
" " " " # " " " " # "$ # "$ " " " " # " " " " # "$ # "$
Dr. ! # " " " " " " " " ## ## " " " " " " " "

" ! " ## ## "% ## % " " % ## %

% " " % "# " %# "& "# " % # "
Perc. & & &

! !# " " " $

! ## $
$ $
" " " # "$ # "$ " " " # "$ # "$
## ## " " " " " " " "
" " " " # " " " " " # "
Dr. ! # " " " " "
#% " " %
Perc. " ! " #
"# " % # "
& & ## "% ## % " " % "# " % # "
& & ## %
4
!
! # "" " " " # " "" "" " #" " # " $
! ## $
$ $ $ $
" " " " # " " " " # "$ # "$
Dr. ! # " " " " ## ## " " " " " " " "
#% " " %
Perc. " ! " #
"# " % # "
& & ## "% ## % " " % "# " % # "
& & ## %
Obviously there can be many more combinations, but with these you should be fine. In the next section
we have the next challenge.

upbeats
! ! # " " " " " "" # ## $
$
" " " " # "$ # "$
! ## & # & # & # " # "# "# "#
& & & &
"
&
" ## % ## %
Dr.

" !
" " % "# "% # "
Perc. & &
! !# ## $
$
" " " " # " " " " # "$ # "$
Dr. ! ## "# "# "# " # "# "# "# "
& & & & & & & &
" ! " ## ## %
% " " % "# "% # "
Perc. & &
! !# " ## $
$
" " " " # " " " " # "$ # "$
Dr. ! # # & % # "& % # "% # "%
& &
" ##
" ##
" ! & %
% " " % "# "% #
Perc. &
! !# " " " " # " " " " # " # "$ $
$ $
! ## "% # "% ##
Dr. # "& % # "& %
" ##
& " "& " ##
" ! & %
% % "# "% #
Perc. &
! ! # " " " " " # "" " " "" # " # ""$ # $
$ $
! #% # & % # & % # & % # & #
" ##
" #
Dr.

Perc. " ! & #%

% " " % "# " % #
&
! !# "$ $
$
" " " # "$ #
" ##
" " " " # "
Dr. ! #% # "% # " % # "% #
& & & &
" ##
" ##
" ! & %
% " " % "# "% #
Perc. &
 5

combining upbeats and downbeats

Combining these subdivisions is necessary in order to play the many grooves required while using the cascara
pattern. In the first exercises we are using 8th notes on the left hand and on the bass drum so don't play
the exercises to fast. remember, speed means very little if the if the grooves sound uncomfortable.

! ! # "" " "" " "" "" #" "" "" " "" "" #" "" #" "" ## $
$ $ $
Dr. ! #
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6

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 7
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8

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 9
Mixing the voices: Different situations require different approaches to the cascara pattern. The cascara pattern
is typically played with a steady ostinato on the feet. But lately, in latin jazz especially there has been
a tendency to play any phrase over the cascara to interact with soloist. again...these exercises can be never
ending. You can permutate and vary the voicings forever.

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# # # " #% " #%
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10

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## # # # $ #& $ ##&
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# ##
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Dr.
% % % %
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Perc. %
 11

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%
Dr. ! #"$# "## "$# " # #
$
$
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## # & " # #
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Perc. $

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%
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# & # # & ## # & " # ##
$ $ %

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12

! ! # " " " " " " " " "" "" # "" #" "" ## $
# $ $ $
" " " " "
Dr. ! #" " " "
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% " " % "# " % # "
Perc. & &

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# $ $ $
" " " " "
Dr. ! # " " " "
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Perc. & &

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# $ $ $
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Dr. ! # " " " "
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Perc. & &

! ! # "" " "" "" "" #" " "" " "" " #" "" # "" ## $
$ $ $
Dr. ! # " " " "
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Perc. & &

! ! # "" " " "" "" # " "" " " " #" "" # " ## $
$ $ $
Dr. ! # "" "" "" ""
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Perc. & &

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# $ # "$ # "$
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Perc. & &

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$
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Dr. ! # "" "" "" ""
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Perc. & &
 13

! ! # " " "" " "" #" " ## $

$
" " " # "$ # "$
Dr. ! #" "" " """""" ""
" ! " ## % ## %
" " % "# " % # "
Perc. & &

! ! # "" " "" "" " #" " ## $

$
" " " # "$ # "$
Dr. ! # " " " """"""""

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% " " % "# " % # "
Perc. & &

! ! # " " "" "" " #" " " " "" " # "" #" "" ## $
$ $ $
Dr. ! #" " " " " ""
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" " % "# " % # "
Perc. & &

! ! # "" "" "" " #" " " " "" " # "" #" "" ## $
$ $ $
Dr. ! # " " " " " ""
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" " % "# " % # "
Perc. & &

! ! # "" " "" " "" " #" " "" "" " # "" #" "" ## $
$ $ $
Dr. ! # " " " ""
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Perc. & &

! ! # "" " "" " "" " #" " " " "" " # "" # " ## $
$ $ $
Dr. ! # " " " "" ""
" ! " ## % ## %
" " % "# " % # "
Perc. & &

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# $ $ $
" " " " "
Dr. ! # " " "
" ! " ## ## %
% " " % "# " % # "
Perc. & &
14

! ! # " "" " "" #" " ## $

$
" " " # "$ # "$
Dr. ! # "" "" " "
""" " "
" "
" ! " ## ## %
% " " % "# " % # "
Perc. & &

! !# " """ ## $
$
" " " " # " "" " " " #" ""$ #" ""$
Dr. ! #" " "" ""
" ! " ## ## %
% " " % "# "% # "
Perc. & &

Again, these types of variations can go on forever. these should be enough to get you through any situation.
Play them slow and with patience you will get a good result. lets move on!

Groove like patterns:

Now we will put some rests and backbeats into the exercises, to give a groove type feel to the phrases.
Some you will find useful in music, some not. The point is again to work that independence muscle so that
you reach the point of being able to improvise and play any thing that comes to mind.

! !# " " "" " # " " " " #" "$ # "$ # $
$
Dr. ! #" " " " " " " " #
" ## %
"# " % # " #
" ! & #%
" " %
Perc. &

! ! # " " "" " # ## $

$
" " " " # "$ # "$
Dr. ! ## "# " "# " # "& # " " " # "
& & & & &
" ! " ## % ## %
" " % "# "% # "
Perc. & &

! ! # " " "" " #% " " " " #" " #% " # $
$ $ $
Dr. ! #" # " " # " #
& &
" ##
" % # " ##
" ! & %
% " " % "#
Perc. &
 15

! ! # " "# "" " ## " " " " #" " #% "& $
& &
Dr. ! #" " " % # " " ##
$
# " " % $ "# $" % # " #
" ! "# $ #%
%
Perc. $

! !# ## $
&
" " " " # " " " " # "& # "&
Dr. ! # " " # " " # "$ " # " " # "
$
$ $
" ! " ## % ## %
" " % "# "% # "
Perc. $ $

! !# ## $
& # "& #
" " " " # " " " " ""&
Dr. ! # " " # " " # "$ " " # " " # $
$ $
" ! " ## ## %
% " " % "# "% # "
Perc. $ $

! ! # " " "" " # " " " " #" " # ## $
& & "&
Dr. ! #""# " "# " " # " "# "
$ $ $ $
" ! " ## % ## %
" " % "# "% # "
Perc. $ $

! !# "" " ## $
& # "& #
" " " " # " " " " ""&
Dr. ! #" " # " """"" #
$ $
" ! " ## ## %
% " " % "# " % # "
Perc. $ $

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&
"" " " " #" "& # ""&
Dr. ! #" " "# $ " " "# $
" ! " ## % ## %
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Perc. $ $

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&
" " "" "" " # "" " " " #" "& # "&
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$ " " "$ " # "
$
" ! " ## ## %
% " " % "# " % # "
Perc. $ $
16

! ! # " " "" " # " " " " #" " # ## $
$ $ "$
Dr. ! #" " " " # " # "
% %
" ! " ## ## %
& " " & "# " & # "
Perc. % %
! ! # " " "" " # "" " " " # " # ## $
$ $ ""$
Dr. ! ## "# " #
% " # "& # %
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% "% " %"
" !
& & "# & # "
Perc. % %
! ! # " " "" " ## "" " " " #& " ## ## $
$ $ "$
Dr. ! # ""# " % " # "%
"
%
%
" ! " ## ## %
& " " & "# " & # "
Perc. % %

Spacing and phrasing

The following exercises will help you find the spacing and phrasing of the clave. Playing the clave with the
left foot can be difficult because of balance issues. The syncopation of the phrasing we are studying can make
things even harder. Playing the downbeats with the bass drum will give your phrasing a more grounded feel.
And give you a chance to feel the downbeat.

! ! # "" "" "" " #" " "" "" " #" " #" "$ $
$ $
! #" ##
Dr. " " "
" ##
" #
" ! % #%
& " " & "# " & #
Perc. %

! ! # " " "# " " "" ## "" " " "# "" # "" ## "$ $
$ $
! #" " ##
Dr. % " % " % " %
" ## &
" #
" ! % #%
" " & "# "& #
Perc. %

! !# "$ $
$
" " # " " " " # "$ #
##
" "
Dr. ! # ""&
"
""&
"
""& ""&
" "
" ##
" #
" ! & " % #%
" & "# "& #
Perc. %
 17

! ! # " " "" " "" #" " " " "" " # "" #" "$ $
$ $
Dr. ! #" " " " ##

" ## %
" #
" ! & #%
" " % "# "% #
Perc. &
! ! # " "" " " " #" "" " "" "" # " #" "$ $
$ $
Dr. ! #" " " " " ##

" ##
" #
" ! & #%
% " " % "# " % #
Perc. &
! ! # "" " " "" " # "" "" " "" #" " # ""$ # $
$ $
Dr. ! #" # & " # & " # & " # & #
Perc. " ! " #
# % " " % "# " % #
&
" #
& #%
! !# " " " "$ # $
$
" " " " # " "" "" "" # "$ #
Dr. ! #" " % " " % #
" ## %
" #
" ! & #%
" " % "# " % #
Perc. &
! !# "" " "$ # $
$
" " " " # " "" " " "" # "$ #
Dr. ! #" # & " % " # & " % #

" ##
" ##
" ! & %
% " " % "# "% #
Perc. &
! ! # " "" " " "" #% " " "" "" # "" #% "$ $
$ $
Dr. ! #" " " " ##

" ##
" ##
" ! & %
% " " % "# " % #
Perc. &
! !# "$ $
$
" " " # "$ #
" ##
" " " " # "
Dr. ! # " % "" " # "& " % "" " # &
" ##
" #
" ! & #%
% " " % "# " % #
Perc. &
! !# # " " " "$ $
$
" " " # "$ #
##
" " " " # "
! #" & " "" "
" # & "
" ## %
" #
Dr.

" ! & #%
" " % "# " % #
Perc. &
18

Once again, you can increase the difficulty of these exercises by expanding on them. This can lead to an infinite
amount of exercises. I like to think about musicality as much as possible when approaching this type of thing. And I
think you will be able to cover any independence issue that may come up by using the exercises explored here.
There may be no need to go any further. except maybe the "drumistic" need. My advice is to save some energy for
the rest of the issues of this music.

! ! # " " "# " "" " #% " ## $

&
" " " # "& # "&
Dr. ! #" $" " " # "$ "" %
" ! " ## % ## %
" " % "# " % # "
Perc. $ $
! ! # "" " " " "" " # " ## $
&
"" " " "" #" "& # "&
Dr. ! #" #$" % " #$" %
" ! " ## ## %
% " " % "# " % # "
Perc. $ $
! ! # " " "" "" " #% " ## $
&
" " " # "& # "&
Dr. ! #" " "
"" " %
"
" ! " ## ## %
% " " % "# " % # "
Perc. $ $
! !# "" ""% ## $
&
" " " " # " " " " # "& # "&
Dr. ! #" " "
"" ""%
"
" ! " ## ## %
% " " % "# " % # "
Perc. $ $
! ! # " "% " "" #" "" ## $
&
" " " # "& # "&
Dr. ! #" " " % """"
" ! " ## ## %
% " " % "# " % # "
Perc. $ $
! ! # " " "" " " "" #" "" " " "" "" # "" #" "" ## $
& & &
Dr. ! #" " " "
" ! " ## % ## %
" " % "# " % # "
Perc. $ $
! ! # " " " " " " " " "" " "" "" #" "" #" "" ## $
# & & &
" " " " "
Dr. ! #" " " "
" ! " ## % ## %
" " % "# " % # "
Perc. $ $
 Contra Campana on drumset
Chapter 6 on DVD

This is the basic pattern adapted on the drumset. Again, one of

The main problem in notating patterns is conveying the feel.
This feel can be developed by watching the DVD closely and
listening to your favorite players. There is no way to write
this feel. It must be developed by using your ears :-) Of course
things do get easier when you understand the RTS concept.

! !# & & & & & & & &' & & & %& & $
#! # $ % #
%
# $ ##
contra campana or ride cymbal
" %#
hi tom
Drum Kit side stick
bd

" ## ! #
%# % #
" " #%
% % # %#
Percussion
2-3 son clave
(

! # & $& & & %& &

& &' & & & %& & $
! ##
##
3

# $
contra campana or ride cymbal
" %# %#
hi tom
Dr. side stick
bd

" ## #
% # & % ##
" " ( %
% % # %#
Perc.
2-3 rumba clave
(

! ! # & $& & & %& & & $& & & %& & # $
& '
## #
5
contra campana or ride cymbal
" %# # %#
hi tom
Dr. side stick
bd

" " " ## # % % # ## %

%# %# %
Perc.
3-2 son clave
(

& &' & & & & & & & & & & &
! !# % #$
# #
7
contra campana or ride cymbal
$ % $
" # %# # %#
hi tom
Dr. side stick
bd

" " " ## ## %

%# %# & % # % % #
Perc.
3-2 rumba clave
( (
 2

The next exercises combine our traditional contra campana patterns with funk. The influence of funk or western styles
has been very prominant in cuban music lately. So there is a whole new way to play these patterns. This Independence
will help get you started into contemporary Afro-cuban styles. Lets first look at 2-3 Rumba clave. I am sure you will
find the format or these exercises familiar. Just play 2 & 4 on the snare while the Bass drum does all possible variations
in a funk style.

! !# & & & & & & &

% & & & & &
## $
$
# " # "" #
9

! "
Dr. sn
" # " #
" ## #
" # $ " #
bd

" ! & #%
" " # "#
Perc. &

! !# & & & & & & $ &% & & & & &
## " " " ## $
11

! "
Dr. # " "
" ## #
" # $ " ##
bd

" ! & %
" " # "#
Perc. &

! ! # & & "& & & & $ & & & "& & & # $
%
#" " " " " " " " #
13

Dr. !
" ## #
" # $ " #
" ! & #%
" " # "#
Perc. &

! !# & & & & & & $ &% & & & & &
$
# $ " $ " " " $ " $ " $ " " " $ " ##
15

Dr. !
& & & & & &
" ## #
"# $ " #
" ! & #%
" " # "#
Perc. &
 3

! # & & "& & & &

# &$ & & & & &
! $
# " " " " " " " " " " " " "" " " " ##
17

Dr. !

" ## %
"% # " #
" ! & #%
" " % "#
Perc. &

! !# & & & & & & # &$ & & & & &
# " " % "" " % ## $
19

! "
Dr. ""% ""%

" ## %
# " ##
" ! & %
" " % "# "%
Perc. &

! # & & "& & & &

# &$ & & & & &
! $
# # " " " " # " " " " " ##
21

Dr. !
& &
Perc. " ! " #
# % " " % "# "% # " #
& & #%

! # & & "& & & &

# &$ & & & & & $
! #
#% "" " "" #
23

! "
Dr. "" % "
" ## %
"% # " #
" ! & #%
" " % "#
Perc. &

! !# & & & & & & # &$ & & & & & $
#
#" # " " # "& " # " " # " #
25

Dr. ! " "

& & &
" ## %
" % # " ##
" ! & %
" " % "#
Perc. &
There are many more possibilities as you can imagine. But these are the most usefull ones.
 Coro bell on drumset
Chapter 7 on DVD

These are basic coro bell patterns.

During certain sections of songs, this bell
drives the time. so make sure that you check
out the feel of this pattern and that you
support it with the proper energy.

! # & $& & & %& & & &$ & & %& & # $
0 = Mouth o + + o + + o + + o + +

#! # #
+ = Body coro bell
" % # # % #
hi tom
side stick

" ## ! # ## %
bd

% % # %# % # %
" 2-3 son clave
&

! # & $& & & %& & & $& & & %& & # $
o + + o + + o + + o + +

## #
coro bell
" % # # % #
hi tom
side stick

" ## #
% # ' % ##
bd

& %
% % # %#
" 2-3 rumba clave
&

! # & $& & & %& & & $& & & %& & # $
o + + o + + o + + o + +

## #
coro bell
" % # # % #
hi tom
side stick

" ## ## %
bd

%# % # % # % % #
" 3-2 son clave
&

! # & &$ & & &% & & &$ & & &% & # $
o + + o + + o + + o + +

## #
coro bell
" % # # % #
hi tom
side stick
bd

3-2 rumba clave ## %# ## %

"
% # ' % # % % #
" & &
2

Here the coro bell pattern follows the clave. It's very common for the coro bell to be played this way.
But, it is also common for the bell to be played with a continuos pattern, like in the examples above.
The important thing is to "know" that these patterns can be played either way. It's a matter of taste

! # & &# & $& & & #& & & &$ & # $
and arrangments of the songs. o + o + + o + + o + +

! #" $ " " $ " #

" ## " ## %
$ $ " $# $ " $
! 2-3 son clave
%
! # & &# & $& & & #& & & &$ & # $
o + o + + o + + o + +

! #" $ " " $ " #

" ## "
$ " & $ #
% #%
$ $ " $#
! 2-3 rumba clave
%
! # & #& & & $& & & #& & $& & # $
o + + o + + o + o + +

! #" $ " " $ " #

" ## ## %
$# $ " $ " $ $ "
! 3-2 son clave
%
! # & &# & & $& & & #& & &$ & # $
o + + o + + o + o + +

! #" $ " " $ " #

" ## ## %
$# $ " & $ $ $ "
! % %
3-2 rumba clave

Coro bell independence

All the following exercises are in 2-3 rumba clave.

! # $& & & &$ & & $& & & $& & & # !$ # & $& & & $& & & &$ & & $& & ## $
o + + o + + o + + o + + o + + o + + o + + o + +

# &$ " $% " # # " $ "

coro bell
! " $"
hi tom
snare
% &
" ## "
$ $ " $# $ " & $ ## ## " $ $ " $# $ " & $ ## %
bd

! % % "% % %
! # $& $& & $& $& & $& $& & $& &$ & # !$ # & $ & $& & $ & &$ & $ & $& & $ & $& ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # $ $ # # & % & $& % & % & % & $% & % & %

%
! " ## " % " & % ## "% ## "
$" & $ #
% #%
$ $ " $# $ $ $ $ " $#
%
 3

! # "& " & & "& " %& & "& " & & "& " %& & # $! # %& "& "& %& "& "& &% "& "& %& "& "& ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # # "$ # "$ # # " "

! " ## %
" " % "# " % # " # # % " " % "# " % # " ## %
$ $ # %" # $ $
! # & " "& & & " "& & & " "& & & " "& & # !$ # "& & &" &" & "& "& & "& "& & "& # $
o + + o + + o + + o + + o + + o + + o + + o + +

! # # $ "# $ # $ "# $ # # #" #$ #" #$ #

$ $
! " #
# % " " % "# "
$ % # " #
#
$ "% #
# % " " % "# "% # " #
$ $ #%
! # & " "& "& & " &" "& & " "& "& & " "& "& # !$ # &" " "& & "& " "& & "& " "& & "& " "& & ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # # $ "# $ # $ "# $ # # " "

" ## %
" " % "# " % # " ## ## % " " % "# " % # " ## %
! $ $ "% $ $
! # &" " "& "& &" " "& "& "& " "& "& "& " "& "& ## !$ ## &" " & "& "& " & "& "& " & "& "& " & &" ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " " #" #$ #" #$

$ $
! " ## % ## "% ## % " " % "# "$ % # "$ ## %
" " % "# " % # "
$ $
! # &" " & "& & " & "& "& " & "& & " & "& ## !$ ## & " "& & "& " & "& & " "& & "& " & &" ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # # "# $ # $ # "# $ # $ #$ " #$ #$ " #$

$ $
! " ## % ## "% ## % " " % "# "$ % # "$ ## %
" " % "# " % # "
$ $
! # & " "& & "& " "& & & " &" & "& " "& & # !$ # & " "& & & " "& "& & " &" & & " "& &" ## $
o + + o + + o + + o + + o + + o + + o + + o + +

!# # $ " $# #$ " $ ## # # $ " # $ # $ "# $

!" ## %
" " % "# " % # "# # % " " % "# " % # " ## %
$ $ # "% # $ $
! # &" " &" & &" " & &" &" " &" & &" " & & & &&& && & &&& && $
## !$ ## " " "" #
o + + o + + o + + o + + o + + o + + o + + o + +

! # " #$ " #
"
$
"" " "
"# $ $ # "# $ $ # #

! " ## % ## "% ## % " " % "# "$ % # "$ ## %

" " % "# " % # "
$ $
4

! # &" & & & " & & & & "& & & & & &&& && & &&& && $
## !$ ## " " #
o + + o + + o + + o + + o + + o + + o + + o + +

! # # "# $ % % # "% % # $ # % # $ % # " % #

" "
$ $ $ $
! " ## % ## "% ## % "% # " #
$ #%
" " % "# "% # " " " % "#
$ $ $

! # & "& & & & & "& & & & " & & # !$ # "& " & & & " "& & & & "& "& & & # $
o + + o + + o + + o + + o + + o + + o + + o + +

!#% "% % # "# $ % # # # "# $ % # " % #

$ $ $
!" ## %
" " % "# " % # " # # % " " % "# " % # " #
$ $ # "% # $ $ #%

! # & " "& & & & "& "& & & & & & !$ & & & & & & & & && &&
## $
" " " % ## ## % " "" % % " " #
o + + o + + o + + o + + o + + o + + o + + o + +

! ## $ "% # $ # " # "$ "

$ $
!" #
# % " " % "# " % # " ## ## % " " % "#
$ $ "%
"% # "
$ $ ## %

! # &" & & "& " & & & " "& & & & "& # !$ # "& " &" & & " & "& & " & "& & " &" & ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # #" % # $ "% # $# # $##$#$ #$# "$ # $

$
! " ## %
" " % "# " % # " # # % " " % "# ## %
$ # "% #
"% # "
$ $ $

The next step is to free up the bass drum and integrate it into your phrasing.
All the following exercises are combinations between the snare and base, and we continue in 2-3 rumba clave.

! # "& & & & & & "& & & & & & # !$ # & & & &" & & & & & "& & & # $
o + + o + + o + + o + + o + + o + + o + + o + +

# % " % % " % # #" % % #

coro bell
! snare
% " %
#
#
" " % "# " % # " # # % " " % "# " % # " #
$ # "% # $ #%
bd

! L.F. Clave
" % $ $

! # &" "& & &" "& & "& &" & "& "& & # !$ # & & & & & & & & & & & & # $
o + + o + + o + + o + + o + + o + + o + + o + +

! # # #" " " " " " " " #

! " ## %
"# " % # " # # % " " % "# " % # " #
$ # "% # $ #%
" " %
$ $
 5

! # &" & & &" & & "& & & "& & & # !$ # & "& & & "& & & &" & & &" & # $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " " " " # #" " " " #

! " ## #
"# " # % " # # # " " # "# " # % " #
$ # "% # $ #%
" " #
$ $
! # &" "& & & & & "& &" & & & & # !$ # & & & "& "& & & & & "& &" & # $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " " " " # #" " " " #

! " ## #
"# " # % " ## ## # " " # "# " # % " ##
$ "% $ %
" " #
$ $
! # &" & & &" "& & & &" & & & & # !$ # & "& & & & & "& & & "& &" & # $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " " " " # #" " " " #

! " ## #
"# " # % " # # # " " # "# " # % " #
$ # %" # $ #%
" " #
$ $
! # &" "& & &" & & "& &" & "& & & # !$ # & & & & "& & & & & & &" & # $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " " # #" " " " " " #

! " ## #
"# " # % " ## ## # " " # "# " # % " ##
$ "% $ %
" " #
$ $
! # &" "& & & "& & "& &" & & "& & # !$ # & & & "& & & & & & "& & & # $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " " # #" " " " " " #

! " ## #
"# " # % " # # # " " # "# " # % " #
$ # "% # $ #%
" " #
$ $
! # &" & & &" "& & "& & & "& "& & # !$ # & "& & & & & & &" & & & & # $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " " # #" " " " " " #

! " ## #
"# " # % " # # # " " # "# " # % " #
$ # %" # $ #%
" " #
$ $
! # & "& & "& "& & & "& & &" "& &# !$ # & &" & & & & & "& & & & & # $
o + + o + + o + + o + + o + + o + + o + + o + +

! #" " # #" " " " " " #

!" #
# # " " # "# " # % "# # # " " #
$ #
$ "% #
"# " # % " #
$ $ #%
! # &" "& & &" "& & & & & & & & # !$ # & & & & & & "& &" & "& &" & # $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " " " " # #" " " " #

! " ## #
"# " # % " # # # " " # "# " # % " #
$ # "% # $ #%
" " #
$ $
6

! # &" & & & "& & "& & & & "& & # !$ # & "& & "& & & & &" & "& & & # $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " " " " # #" " " " #

! " ## #
"# " # % " ## ## # " " # "# " # % " ##
$ %" $ %
" " #
$ $

! # &" "& & &" & & & & & & "& & # !$ # &" & & & & & & & & & &" & # $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " " " " # # " " " " " " #
! " ## #
"# " # % " ## ## # " " # "# " # % " ##
$ %" $ %
" " #
$ $

! # & "& & &" "& & "& &" & "& & & # !$ # & & & & "& & "& &" & "& & & # $
o + + o + + o + + o + + o + + o + + o + + o + +

! #" " # #" " " " #

! " ## #
"# " # % " ## ## # " " # "# " # % " ##
$ %" $ %
" " #
$ $

! # &" "& & & & & & & & "& "& & # !$ # & "& & & & & & &" & & &" & # $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " " " " # #" " " " " #

! " ## #
"# " # % " ## ## # " " # "# " # % " ##
$ "% $ %
" " #
$ $

Etc etc and more etc....this type of thing can go on and on. I think with this amount of quarter note combinations
you will do just fine! Now lets look at upbeats!

Upbeats
Again, try to aim for a relexed feel and good time. Take it slow and build your speed gradually.

! # & " & &" & " & "& & " & &" & " & "& ## $
o + + o + + o + + o + +

! #% $ % $ % $ % $ % $ % $ % $ % $
" ## # ## %
" " # "# " # % "$
! $

!# & & & & & & & & & & & & ## $
o + + o + + o + + o + +

! #% " % " % " % " % " % " % " % "

$ $ $ $ $ $ $ $
" ## # ## %
" " "# " "
! # $ # % $
 7

! # &" # "& #& &" # "& #& & & & & & & ## !$ ##
& &&& && & &&& &&
## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # $ $ $ $ " #" #" #" # " #" #" #" #

" #$ " #$ " # " # $ $ $ $
$ $ $ $ $ $
! " ## % ## "% ## % ## %
# # % ## #% " # # # % ## #$ % " #$
$ $

! # &" # & & & & & "& # & & & & & # !$ # &" # "& #& & & & "& # "& #& & & & ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # $ " #" #" # $ " #" #" # # # $ $ " #" # $ $ " #" #
$ $ $ $ $ $ $ $ $ $
! " ## % $ % " $ ## %" ## % ## %
# # ## # # # # ## # #
% % $% "$

! # & # & #& & # & & & # & #& & # & & ## !$ ## &" # "& #& "& # & & & & & & &" &# ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! #"$"$"$"# "$"$"$"# $ $ $ " #$ " #$ " #$ " #$ $

$ $
! " ## % ## "% ## % # # % ## #$ % " #$ ## %
# # % ## # " #
$% $

! # &" # "& #& &" # & & & & & "& # "& #& & &&& && & &&& &&
## !$ ## " # " # " # ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # $ $ $ " # " #" # $ $ " # "

$ $ $ $ $ $ $ $ # " # " # "#
$ $ $
! " ## % ## "% ## % # # % ## #$ % " #$ ## %
# # % ## # % " #
$ $

! # & & #& & # & #& & # & & & & & # !$ # & & & & # & #& & # & #& & & & ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " #" $ " $ " $ " $ " #" #" # # # " #" #" $ " $ " $ " $ " #" #
$ $ $ $ $ $ $ $
!" #
# % # # % ## #
$ % " #
#
$ "%
# #
# % # # % ## #
$ % " #
$ ## %

! # & & & & & #& & # & & & & & # !$ # & & #& & & #& & # & & & & & ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " # " # " # " $ " $ " # " # " ## # " # " $ " # " $ " $ " # " # " #
# # # ## %
$ #$ #$ $# $ " $# $ # #$ $# $ " $#
!" # % $ # %" # %
% ## ##
$% % $% $

! # & # & & & # & #& & & #& & & #& & &&& && & &&& &&
## !$ ## " # " # # " # " # # # # ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " $ " #" $ " $ " #" $ " #" $ $ $"$ $ $"$"$"$
# ## "% ## % # # % ## #$ % " #$ ## %
$# $ # $"#
!" # %
# % ##
$% $
8

! # & & & & # & #& & & #& & # & & ## !$ ## & "& #& & "& #& & "& #& "& # &" &# ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " #" #" $ " $ " #" $ " $ " # " #$ $ " #$ $ " #$ $ $ $
$ $ $ $
! " ## % ## "% ## % # # % ## #$ % " #$ ## %
# # % ## # % " #
$ $

! # &" # "& #& & "& &# &" # & & "& # "& &# & &&& && & &&& &&
## !$ ## " # ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # $ $"# $ $"# $ $ # " #" # # # # #

$ $ $ $ "$"$"$"$
"
$ $
! " ## % ## "% ## % # # % ## #$ % " #$ ## %
# # % ## # % " #
$ $

! # & "& #& & & & "& # & & "& # "& #& & &&& && & &&& &&
## !$ ## " # " # # " # # # # # ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " # $ " #" # $ " # $ $ $ $"$ $ "$"$"$"$

! " ## % ## "% ## % # # % % # # % ## %
$ # # $ $ ## $# #
% $% "$
 9

Combining upbeats and downbeats

Now we will combine both subdivsions. This exercises are essential in order to create the many grooves you will
encounter while using the coro bell.

! # &" " & & &" " & & "& " & & "& " & & & &&& && & &&& &&
## !$ ## " " " " " " " " " " " " " " " " ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # "" "" "" ""

! " ## # ## "% ## # " " # "# "$ # % "$ ## %
" " # "# " # % "
$ $

! # & "& "& & "& "& & "& "& & "& "& & &&& && & &&& &&
## !$ ## " " ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # "" "" "" "" " ""

""
" "
""
""
""
"
! " ## # ## "% ## # " " # "# "$ # % "$ ## %
" " # "# " # % "
$ $

! # &" " "& & &" " "& & "& " "& & "& " "& & & &&& && & &&& &&
## !$ ## " " " " " " " " " " " " ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " " " " " " " "

!" #
# # " " # "# " # % "
$ $ ## "% ## # " " # "# "$ # % "$ ## %

! # &" "& "& &" "& "& "& "& "& "& "& "& & &&& && & &&& &&
## !$ ## " " " " " " " " " " " " ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " " " " " " " "

! " ## # ## "% ## # " " # "# "$ # % "$ ## %

" " # "# " # % "
$ $
Be sure to take these following exercises a little slower. Since they have many repetitive
strokes on the bass drum and left hand

! # &" " "& "& &" " "& "& "& " "& "& "& " "& "& # $! # & & & & & & & & & & & & # $
o + + o + + o + + o + + o + + o + + o + + o + +

! # # # """""""" """""""" #

! " ## #
"# % " # # # " " # "# % " #
$ # "% # $ #%
" " # "# "#
$ $
10

! # &" " "& "& & & & "& " "& "& & & & & &&& && & &&& &&
## !$ ## " " " " " " " " " " " " " " " " ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # """" """"
! " ## # ## "% ## # " " # "# "$ # % "$ ## %
" " # "# " # % "
$ $

! # &" "& "& & " & & "& "& "& & " & & & &&& && & &&& &&
## !$ ## " " " " " " " " " " " " " " " " ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " " "" " " ""

! " ## # ## "% ## # " " # "# "$ # % "$ ## %
" " # "# " # % "
$ $

! # &" " & "& & "& & "& " & "& & "& & # $! # & " & "& "& "& "& & " & "& "& &" &" # $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " "" " " "" " # # " " " " " " #

!" #
# # " " # "# "# % " # # # " " #
$ $ # "% #
"# "# % " #
$ $ #%

! # &" "& & &" " & "& & " "& & & " "& & # $! # & " "& & & " & & "& & "& & " &" & # $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " " " " "" "# #" "" "" "" " "#

! " ## #
" # % " ## ## # " " # " # % " ##
$ "% $ %
" " # "# "#
$ $

! # & " & & &" "& & & " & & "& & "& & &&& && & &&& &&
## !$ ## " " " " ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " "" " " " "" "" "

" "" " "
"" " " " "
! " ## # ## "% ## # " " # "# "$ # % "$ ## %
" " # "# " # % "
$ $

! # &" " "& & & " & & "& & "& & "& & ## !$ ## "
& &&& && & &&& &&
## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # "" "" "" "" "

" " " """"
""" " " " " "
! " ## # ## "% ## # " " # "# "$ # % "$ ## %
" " # "# " # % "
$ $
 11

! # & "& & & " "& & "& & "& & "& & # $! # & "& & "& "& & "& "& & "& & &" # $
o + + o + + o + + o + + o + + o + + o + + o + +

! # "" "" " "" "" " # # "" " " " " " "" #

! " ## #
"# % " # # # " " # "# % " #
$ # %" # $ #%
" " # "# "#
$ $
As you mave have guessed by now, these combinations can go on and on. Try to combine as many of them as you can
and come up with your own variations.

Over the barline

The following exercises have phrases that if played out to their conclusion, will go over the bar line.
But in the interest of building your independence, first we will keep a 2 measure phrase happening. this will make
things easier as we start to strecth the phrase out to its natural conclusion. Some of the exercises have 3 strokes
in a row on the same hand or on the bass drum, so keep the tempos at a comfortable place

! # & " "& & &" " & "& "& "& "& & " "& & & &&& && & &&& &&
## !$ ## " " " " " " " " " " " " " " " " ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! #" " " " " "

! " ## # ## "% ## # " " # "# "$ # % "$ ## %
" " # "# " # % "
$ $

! # &" " & "& &" "& "& & " "& & "& " & "& ## !$ ## & "& & & " & & "& & "& & &" & ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " " " " " "" "" "" "" "" "
! " ## # ## "% ## # " " # "# "$ # % "$ ## %
" " # "# " # % "
$ $

! # & " & & &" & "& & "& & & " & & ## !$ ## &" & "& & "& & & " & & "& & &" ## $
o + + o + + o + + o + + o + + o + + o + + o + +

! # " "" "" "" "" "" "" "" " " "" ""
! " ## # ## "% ## # " " # "# "$ # % "$ ## %
" " # "# " # % "
$ $
12

Now we have the phrases played out to their conclusion. The result being a six measure phrase. As you will see,
these phrases come in very handy when you are soloing or supporting a soloist and the situation calls for a
more open approach to the phrasing.

! # $ " $" $ $" " $ "$ "$ "$ "$ $ " "$ $
o + + o + + o + + o + +

! #" " " " " "

" ## #
" " # "# " # % "
! $ $
$ " $ "$ "$ "$ "$ $ " "$ $ "$ " $ "$ $" $" "$ $ " $" $ "$ " $ $" "$ "$ $" ## %
o + + o + + o + + o + + o + + o + + o + + o + +

! "
" " " " " " " " " "
! #
" " # "# " # % " # " " # "# " # % "
$ $ $ $ ## &

! # "$ " $ "$ $" "$ "$ $ " "$ $ "$ " $ "$
o + + o + + o + + o + +

! # " " " " "

" ## #
" " # "# "# % "
! $ $

$ "$ "$ $ " "$ $ "$ " $ "$ "$ "$ "$ $ " $" $ $" " $ "$ "$ "$ $" $ " "$ $ # %
o + + o + + o + + o + + o + + o + + o + + o + +

"#
"
! " " " " " " " " " "

! #
" " # "# "#
$ % "$ # " " # "# "#
$ % "$ ## &

! # "$ "$ "$ $ " "$ $ "$ " $ "$ "$ "$ "$
o + + o + + o + + o + +

! # " " " " "

" ## #
" " # "# "# % "$
! $

$ " "$ $ "$ " $ "$ "$ "$ "$ $ " "$ $ $" " $ "$ $" $" "$ $ " "$ $ "$ " $ $" # %
o + + o + + o + + o + + o + + o + + o + + o + +

! " " " " " " " " " " " #
% " ##
$ &
" " # "# "# %" # " " # "# "#
! # $ $ $
 13
Improvising
Here are some ideas you can use for improvising or soloing. Basically it is a summary of all our exercises up to now, but
used in a more of a groove setting. The best way to think about this now, would be to imply a backbeat on beat "2".
This will be more eefective if we play most of the snare notes as ghost notes. Then accent the backbeats where you see fit.
Have fun!

! # $ " $" $ "$ " $ $" "$ $ "$ "$ $ "$ $ " $ $" "$ $ "$ $" $ "$ $ " "$ $
o + + o + + o + + o + + o + + o + + o + + o + +

! #" " " "" "" " " "" "" " "
" ## #
" " # "# " # % " # " " # "# " # % "
! $ $ $ $
$ $$$ $$ $ $$$ $$ $ $$$ $$ $ $$$ $$
o + + o + + o + + o + + o + + o + + o + + o + +

! """""""" """""""" """""""" """"""""

" " "# "# %" # " " "# "# %"
! # # $ $ # $ $
$ $$$ $$ $ $$$ $$ $ $$$ $$ $ $$$ $$
o + + o + + o + + o + + o + + o + + o + + o + +

! """""""" """""""" """""""" """"""""

# " " # "# " # % " # " " # "# " # % "
! $ $ $ $
$ " $ $" $ " $ $ "$ $ "$ $ " "$ $ $ " $" $ $ " "$ $ $ " "$ $ $ " "$ $
o + + o + + o + + o + + o + + o + + o + + o + +

! " " " "" "" " " " "" " " "" "
" " # "# " # % " # " " # "# " # % "
! # $ $ $ $

$ " $ $" $" $ "$ "$ $ "$ $ " "$ $ $ " $" $ $" $ "$ "$ "$ $ $ " "$ $
o + + o + + o + + o + + o + + o + + o + + o + +

! " " "" "" " " " " "" " "" "
" " # "# " # % " # " " # "# " # % "
! # $ $ $ $

$ $$$ $$ $ $$$ $$ $ $$$ $$ $ $$$ $$

## %
o + + o + + o + + o + + o + + o + + o + + o + +

! """"""" """""""" """""""" """"""""

"

! #
" " # "# " # % " # " " # "# " # % "
$ $ $ $ ## &
14

! "
! "