÷

3

>

Ex 1

3

>

3

>

3

>

4

>

R

L

R

L

R

L

R

L

R

L

L

÷

5

>

Ex 2

>

5

>

>

6

>

>

R

L

R

L

R

L

R

L

R

L

R

L

L

÷

5

>

Ex 3

>

5

>

>

3

>

3

>

R

L

R

L

R

L

R

L

R

L

R

L

÷

5

>

Ex 4

>

3

>

3

>

5

>

>

R

L

R

L

R

L

R

L

R

L

R

L

79

DRUM LESSONS

WWW.MUSICRADAR.COM/RHYTHM

JUNE 2016

|

PETE RILEY

[e-mail]

YOUR TUTOR

I

n recent lessons we’ve been looking at

creating phrases out of combinations of

fives and threes with these groupings

being played using different concepts and

subdivisions as well as presenting varying

levels of difficulty. On this latter point, this

time we’ve eased off on the complexity to

offer the same phrases, though this time

featuring a 16th-note

LINEAR

approach

where the bass drum plays the last note of

each group.

Example 1 shows the basic groups of

three consisting of right, left, foot. The idea

is that the right is played accented, perhaps

around the toms as we’ve shown here, while

the left is ghosted on the snare. We’ve ended

this phrase with a group of four that’s also

worth gaining some familiarity with.

Example 2 shows the five grouping which

is essentially four single-strokes followed by

the bass drum though again the lefts should

be unaccented. Here we play two fives and

one six-note grouping which again is a useful

figure in itself.

Examples 3 and 4 show the two 5/5/3/3

and 5/3/3/5 combinations seen previously

and which hint at two Latin rhythms, the

Mozambique and Cascara respectively.

Finally be sure to try all of these examples

stepping quarter-notes with the left foot.

Creating phrases using linear fgures

LINEAR

COMBINATIONS

IMPROVE YOUR SOLOING WITH…

HEADS UP!

LINEAR

Drumming where no two notes fall

simultaneously, with drummers such as

Mike Clark, Steve Gadd and Terry Bozzio

being early pioneers, while drummer/

author Gary Chaffee was the first to

really document it in his excellent

Patterns books.

This month’s exercises

feature a 16th-note

linear approach