Global Beats Explorer

8/13/2019 Global Beats Explorer

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drumearneBooks

Global Beats Explorer

by Karl Price


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Contents

2 Introduction

Brazilian

3-4 BeatsExplorer- Samba

5 BeatsExplorer- Samba Cruzado

6 BeatsExplorer- Samba Batucada

7 BeatsExplorer- Baiao

8 BeatsExplorer- Partido Alto and Bossa Nova

Afro-Cuban

9 BeatsExplorer- Clave

10 BeatsExplorer- 6/8 Clave

11 BeatsExplorer - Nanigo 6/8

12 BeatsExplorer - Cascara

13 BeatsExplorer- Mambo Bell

14-15 BeatsExplorer- Bongo Bell

16 BeatsExplorer- Te Songo St!le

17 BeatsExplorer- Conga de Com"arsa

18 BeatsExplorer- Mozambi#ue

19 BeatsExplorer- Ca Ca Ca

20 BeatsExplorer- Merengue

21 BeatsExplorer- Te Bolero and Beguine

Caribbean

22 BeatsExplorer- Cal!"so and Soca

23 BeatsExplorer- $eggae %&ne 'ro"( and S)a

African Polyrhythmic Feels

24 BeatsExplorer- Ado*a

25 BeatsExplorer- +ete Adaban

26 BeatsExplorer- A)om

27 BeatsExplorer- Bi)utsi

New Orleans

28-30 BeatsExplorer- Second-line

31-41 American Jazz

31-41 BeatsExplorer- ,azz Coordination and Prasing

42 Closing $emar)s


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Drum Learn

Introduction

2

obal Beats Explorer

Welcome to the Global Beats Explorer.

In this drum ebook we will take a journey to some different parts of the world to explore certain rhythmsthat have helped shape many musical traditions around the globe.

We will start with a trip to Brazil and explore rhythms like the Samba, Samba Batucada, Bossa Nova, andBaiao.

Next we will visit a style of music I have a great love for, which is Afro-Cuban music. We will start withthe Clave rhythm and then move through several of the main styles of Cuban rhythm and music.For the next section, we will stay in the region and look at some other rhythms from the Caribbean Islands,such as Reggae, Calypso, and Soca.Following this we will take a trip over to Africa to explore the genesis of many world beats. Remember thatthe drum kit is a relatively new invention, being just a little over 100 years old. Many of these World Beatrhythms are percussion parts adapted for the drum set - African rhythms are no exception! The level of drumset coordination that we will have gained from working through the previous three ebooks will serve us wellwhen we come to play multi-percussion parts on the drum set. Good coordination is even more necessarywhen we come to look at the final section of American Jazz. Here we will work through many coordinationexercises and phrases to help develop a facility and feel for this music.

Brazilian Beats ExplorerWe will start by looking at some Samba adaptations for the drum set. It is impossible to play all the parts ofa Samba ensemble on the drum set, so we have to pick and choose which rhythms we are going to play. Wewill then move through the Batucada (Street Samba) which is played in Brazils great Carnival. Then we willmove on to the Baiao as well as the smooth tones of the Bossa Nova.

Afro-Cuban Beats Explorer

Clave is first on the list. This is followed by a look at the 6/8 Afro-Cuban Nanigo style and then onto anexploration of many rhythms that are used in the Mambo or Son Style. Then we will move on to some ofthe folkloric styles, such as the Mozambique.Caribbean Beats ExplorerWe will start in Jamaica with a look at Reggae rhythms, specifically the Reggae One Drop. Then we willmove on to explore the Calypso and Soca styles.

African Beats ExplorerHere we will look at African polyrhythmic feels which include styles such as Adowa, Akom, and Bikutsi.

New Orleans Beats ExplorerThis is another personal favourite. We will start off with Second-line rhythms and then move these feelsinto a more straight ahead funk style.

American Jazz Beats ExplorerThis section may well be the most difficult to master of all the Global Beats. To be able to improvisesuccessfully in this style, we need to be able to call on a solid bedrock of coordination between our handsand feet. We cant improvise without patterns and rhythms to improvise with! This section will take some

patience to master.

It is essential to listen to all the different styles of music that are presented here, if you want to play theserhythms with an authentic feel and groove.


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Drum Learnobal Beats Explorer

Beats Explorer1

3

- Samba (Brazilian)

Click Count

1 2

Ex 1

Click Count

1 2

Ex 1

We will start this exploration with the Samba, which is the rhythm of Brazil. Like most rhythms of the world, it has its roots in Africa.There are manysamba schools throughout Brazil that play in the traditional Carnival street festivals of Rio de Janeiro. Samba is a combination of rhythm and dance -a way of life in Brazil. It is a good idea to keep this in mind when playing Samba.To start with, try playing the foot patterns. Once you feel comfortable with this, try the hand rhythms. When you can play both patterns fluently, try playingthem together. Play through the rhythm slowly at first, then pick up the tempo as you get comfortable with the coordination between the hands and feet.

We will start this exploration with the Samba, which is the rhythm of Brazil. Like most rhythms of the world, it has its roots in Africa.There are manysamba schools throughout Brazil that play in the traditional Carnival street festivals of Rio de Janeiro. Samba is a combination of rhythm and dance -a way of life in Brazil. It is a good idea to keep this in mind when playing Samba.To start with, try playing the foot patterns. Once you feel comfortable with this, try the hand rhythms. When you can play both patterns fluently, try playingthem together. Play through the rhythm slowly at first, then pick up the tempo as you get comfortable with the coordination between the hands and feet.

Click Count

Ex 2

Click Count

Ex 2

Click Count

Ex 3

Click Count

Ex 3

Click Count

Ex 4

Click Count

Ex 4

Click Count

Ex 5

Click Count

Ex 5

pyright 2009 Drum Learn All Rights Reserved


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Beats Explorer2- Samba (Brazilian)

4

Click Count

Ex 1

1 2

Click Count

Ex 1

1 2

This second set of samba beats will suit slower to medium tempos. Notice that we are playing a constant flow of eighth notes on the ride cymbal. You can alsoplay the ride cymbal rhythm on the hi-hat, if you like. This gives the beat more of a tight clinical sound, as opposed to the spread of the the ride cymbal. It maytake some time to get comfortable with the accent placed on beats 2 & 4 played on the ride cymbal. You may want to leave out the stick-across-snare-thythmuntil you feel comfortable with the accented ride rhythm. Take your time and work on making the rhythm swing and groove. All the stick-accross-snare rhythms

mirror those in Beats Explorer1.

This second set of samba beats will suit slower to medium tempos. Notice that we are playing a constant flow of eighth notes on the ride cymbal. You can alsoplay the ride cymbal rhythm on the hi-hat, if you like. This gives the beat more of a tight clinical sound, as opposed to the spread of the the ride cymbal. It maytake some time to get comfortable with the accent placed on beats 2 & 4 played on the ride cymbal. You may want to leave out the stick-across-snare-thythmuntil you feel comfortable with the accented ride rhythm. Take your time and work on making the rhythm swing and groove. All the stick-accross-snare rhythms

mirror those in Beats Explorer1.

Click Count

Ex 2

Click Count

Ex 2

Click Count

Ex 3

Click Count

Ex 3

Click Count

Ex 4

Click Count

Ex 4

Click Count

Ex 5

Click Count

Ex 5

yright 2009 Drum Learn All Rights Reserved


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Beats Explorer3- Samba Cruzado (Brazilian)

5

Click Count

Ex 1

1 2

Click Count

Ex 1

1 2R L R L L R L R L R L L R L R L

The Samba Curzado has a nice melodic tom rhythm which can be played with either the right or left hand. "Cruzado" literally means "playing crossed."This implies that the left hand will be placed over the right hand to play the tom rhythm. Playing the tom rhythm with the left hand makes it easier tokeep a constant rhythm together with the right hand on the snare. However, you can swap hands over to form an open sticking - right hand on toms;left hand on snare. In this first exercise the right hand plays around the toms, while the left hand plays in-between snare notes.

R L R L L R L R L R L L R L R L

The Samba Curzado has a nice melodic tom rhythm which can be played with either the right or left hand. "Cruzado" literally means "playing crossed."This implies that the left hand will be placed over the right hand to play the tom rhythm. Playing the tom rhythm with the left hand makes it easier tokeep a constant rhythm together with the right hand on the snare. However, you can swap hands over to form an open sticking - right hand on toms;left hand on snare. In this first exercise the right hand plays around the toms, while the left hand plays in-between snare notes.

Click Count

Click Count

Ex 2 -Now we will play a constant eighth note snare rthythm with either your right or left hand. It is good to play a constant flow of notes with each hand for the development of technique.

Ex 2 -Now we will play a constant eighth note snare rthythm with either your right or left hand. It is good to play a constant flow of notes with each hand for the development of technique.

Click Count

Click Count

Ex 3 - This time, the hand that is playing the snare rthythm will play an accent on the 'an' of beats 2 & 4 in both bars. This is not easy and will take some practice to accomplish. The accented note gives voice to the caixa (samba snare) rhythm.

Ex 3 - This time, the hand that is playing the snare rthythm will play an accent on the 'an' of beats 2 & 4 in both bars. This is not easy and will take some practice to accomplish. The accented note gives voice to the caixa (samba snare) rhythm.

Click Count

Click Count o x o x

Ex 4 - This time we have a open hat variation, which opens on the 'an' of beats 1 & 3.

o x o x

Ex 4 - This time we have a open hat variation, which opens on the 'an' of beats 1 & 3.

o x o x

o x o x

Click Count

Click Count

Ex 5 - To finish with, we will play the cruzado tom pattern with stick-across-snare.

Ex 5 - To finish with, we will play the cruzado tom pattern with stick-across-snare.



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Beats Explorer4

6

- Samba Batucada (Brazilian)

Click Count

Ex 1

1 2

Click Count

Ex 1

1 2

Right hand plays floor tom; left hand plays snare rhythm.

This is the Carnival street rhythm. Here we have a heavy emphasis on the surdo rhythm. The surdo is a large drum that is hitwith a beater on the 1st and 2nd beat of the rhythm. Remember that Samba is counted and felt in 2, rather than in 4 like theBossa Nova. We have a muffled tone on beat 1 and then an open tone on beat 2. You can immitate this sound on the floor tomwith your right hand.

Right hand plays floor tom; left hand plays snare rhythm.

This is the Carnival street rhythm. Here we have a heavy emphasis on the surdo rhythm. The surdo is a large drum that is hitwith a beater on the 1st and 2nd beat of the rhythm. Remember that Samba is counted and felt in 2, rather than in 4 like theBossa Nova. We have a muffled tone on beat 1 and then an open tone on beat 2. You can immitate this sound on the floor tomwith your right hand.

Click Count

Click Count

Ex 2 - Here is a syncopated variation on the Surdo rhythm.

Ex 2 - Here is a syncopated variation on the Surdo rhythm.

Click Count

Click Count

R L R L R L R L R L R L R L R L

Ex 3 -Now we can try playing the Caixa (snare) rhythm with its customary accents that immitate the kick drum rhythm. We will play a buzz stroke with the left hand on the 'an' of 1 & 3 which give the rhythm its syncopated feel.


Ex 3 -Now we can try playing the Caixa (snare) rhythm with its customary accents that immitate the kick drum rhythm. We will play a buzz stroke with the left hand on the 'an' of 1 & 3 which give the rhythm its syncopated feel.

Click Count

Click Count

ox

R R L R L L R L R L R L R L L R L

Ex 4 - This is a more syncopted feel with a splashed hi-hat foot on beat 3 (or beat 2 if you are counting the rhythm in an authentic 2 feel).

ox

R R L R L L R L R L R L R L L R L

Ex 4 - This is a more syncopted feel with a splashed hi-hat foot on beat 3 (or beat 2 if you are counting the rhythm in an authentic 2 feel).

x o

x o

Click Count

Click Count

x o

R L L R L R L L R L R L R L R L L R L

Ex 5 - The finish we have a variation on the previous syncopated rhythm.

x o

R L L R L R L L R L R L R L R L L R L

Ex 5 - The finish we have a variation on the previous syncopated rhythm.

x o

x o



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Beats Explorer5- Baiao Samba (Brazilian)

7

Click Count

Ex 1

1 2

Click Count

Ex 1

1 2

R L L R L L R L R L L R L L R L

The Baiao is another syncopated rhythm from Brazil. This one is usually played with a slight accentpush on the second kick of each bar (the 'an' of beat 2).To get used to this rhythm, we can play a simplepattern between both hands with the right hand playing on the kick drum notes.

R L L R L L R L R L L R L L R L

The Baiao is another syncopated rhythm from Brazil. This one is usually played with a slight accentpush on the second kick of each bar (the 'an' of beat 2).To get used to this rhythm, we can play a simplepattern between both hands with the right hand playing on the kick drum notes.

Click Count

Click Count o x o x

Ex 2 - With this rhythm we have an open hi hat on beats 1 and 3 which imitatesthe rhythm played on the triangle.

o x o x

Ex 2 - With this rhythm we have an open hi hat on beats 1 and 3 which imitatesthe rhythm played on the triangle.

o x o x

o x o x

Click Count

Click Count

Ex 3 - Here we have a syncopated funky Baiao feel.

Ex 3 - Here we have a syncopated funky Baiao feel.

Click Count

Click Count

Ex 4 - With this one we will leave out the kick drum note on beat 4 of each bar. Right hand plays the ride cymbal.

Ex 4 - With this one we will leave out the kick drum note on beat 4 of each bar. Right hand plays the ride cymbal.

Click Count

Click Count

Ex 5 - To finish, we have a funky feel.

Ex 5 - To finish, we have a funky feel.



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Beats Explorer6 Partido Alto& Bossa Nova

(Brazilian)

8

Click Count

1 2

Ex 1

Click Count

1 2

Ex 1

1 2 1 2

Partido Alto is a type of samba that has a funky feel. It has an unusual offbeat entry note on the 'an' of beat 1.

1 2 1 2

Partido Alto is a type of samba that has a funky feel. It has an unusual offbeat entry note on the 'an' of beat 1.

Click Count

Click Count

Ex 2 - Here we have an open hi-hat variation on the 1st beat of the second bar.

Ex 2 - Here we have an open hi-hat variation on the 1st beat of the second bar.

o x

o x

Click Count

Click Count

Ex 3 - I like to refer to the Bossa Nova as a slow sophisticated samba rhythm. I can't help but think of life on cruise ships when I hear this rhythm. It is a light and gentle rhythm. Antonio Carlos Jobim and his famous 'Girl from Ipanema' is what comes to mind for most people when talking about Bossa Nova.

Ex 3 - I like to refer to the Bossa Nova as a slow sophisticated samba rhythm. I can't help but think of life on cruise ships when I hear this rhythm. It is a light and gentle rhythm. Antonio Carlos Jobim and his famous 'Girl from Ipanema' is what comes to mind for most people when talking about Bossa Nova.

Click Count

Click Count

Ex 4 - This one is played with a lazy swing feel on the ride cymbal.

Ex 4 - This one is played with a lazy swing feel on the ride cymbal.

Click Count

Click Count

Ex 5 - Here is a kind of Bluesy Bossa feel. This sounds nice played with a stick on the ride cymbal and a brush on the snare.

Ex 5 - Here is a kind of Bluesy Bossa feel. This sounds nice played with a stick on the ride cymbal and a brush on the snare.



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Beats Explorer7

9

- Clave (Afro-Cuban)

Click Count

Ex 1

1 2

Click Count

Ex 1

1 2

3-2 Son Clave

In Spanish, Clave means "Key." It is the heart or backbone of Afro-Cuban music and dance. The rhythm is played by striking together two hand-heldwooden blocks called Claves (symbolic female and male counterparts). There are four types of clave rhythm: two for dance styles and two for folkloricfeels. The 'Son' clave is played in the dance styles, like the Mambo, while the 'Rumba clave is played in the folkloric feels like Guanguanco or Mozambique.We will start by looking at the Son Clave. The clave is a two bar rhythm. It has three notes in one bar and two notes in the other, hence the name 3-2 Clave.This means there are three beats in the first bar and two beats in the second. In the Son Clave, the third note in the first bar is played on beat 4.

1 2 1 2

3-2 Son Clave

In Spanish, Clave means "Key." It is the heart or backbone of Afro-Cuban music and dance. The rhythm is played by striking together two hand-heldwooden blocks called Claves (symbolic female and male counterparts). There are four types of clave rhythm: two for dance styles and two for folkloricfeels. The 'Son' clave is played in the dance styles, like the Mambo, while the 'Rumba clave is played in the folkloric feels like Guanguanco or Mozambique.We will start by looking at the Son Clave. The clave is a two bar rhythm. It has three notes in one bar and two notes in the other, hence the name 3-2 Clave.This means there are three beats in the first bar and two beats in the second. In the Son Clave, the third note in the first bar is played on beat 4.

1 2 1 2

Click Count

Click Count 3-2 Rumba Clave1 2 1 2

Ex 2 - Here is the 3-2 Rumba Clave. The third note in the first bar is placed on the 'an' of 4, instead of beat 4.

3-2 Rumba Clave1 2 1 2

Ex 2 - Here is the 3-2 Rumba Clave. The third note in the first bar is placed on the 'an' of 4, instead of beat 4.

Click Count

Click Count

2-3 Son Clave

1 2 1 2

Ex 3 -Next up is the 2-3 Son Clave. This time we start with the 2-side of the clave. The third note on the second bar is placed on beat 4.

2-3 Son Clave

1 2 1 2

Ex 3 -Next up is the 2-3 Son Clave. This time we start with the 2-side of the clave. The third note on the second bar is placed on beat 4.

Click Count

Click Count

2-3 Rumba Clave

1 2 1 2

Ex 4 - Here we move back to the Rumba Clave played in a 2-3 format.

2-3 Rumba Clave

1 2 1 2

Ex 4 - Here we move back to the Rumba Clave played in a 2-3 format.

Click Count

Click Count

Ex 5 - To finish, we have a 3-2 Son Clave played between the hi-hat and snare. The right hand plays the hi-hat, while the left plays the snare. Play the left hand snare as ghost strokes so that the clave rthythm on the hi-hat can be clearly heard.

Ex 5 - To finish, we have a 3-2 Son Clave played between the hi-hat and snare. The right hand plays the hi-hat, while the left plays the snare. Play the left hand snare as ghost strokes so that the clave rthythm on the hi-hat can be clearly heard.



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Beats Explorer8- 6/8 Clave (Afro-Cuban)

10

Click Count

1 2 3 4 5 6

Ex 1

68

Click Count

1 2 3 4 5 6

Ex 1

3-2 Son Clave

1 2 3 4 5 6 1 2 3 4 5 6

Here we will look at the 6/8 Clave. This is the basis of the Son and Rumba Clave.The first example is the Son style clave with the third note in bar one placed on beat 5.At first, play through slowly, counting the six beats per bar.

3-2 Son Clave

1 2 3 4 5 6 1 2 3 4 5 6

Here we will look at the 6/8 Clave. This is the basis of the Son and Rumba Clave.The first example is the Son style clave with the third note in bar one placed on beat 5.At first, play through slowly, counting the six beats per bar.

Click Count1 2 3 4 5 6

68

Click Count1 2 3 4 5 6

3-2 Rumba Clave1 2 3 4 5 6 1 2 3 4 5 6

Ex 2 -Next we will move the third note in bar one to the sixth beat of the bar.

3-2 Rumba Clave1 2 3 4 5 6 1 2 3 4 5 6

Ex 2 -Next we will move the third note in bar one to the sixth beat of the bar.

Click Count

1 2 3 4 5 6

68

Click Count

1 2 3 4 5 6

3-2 Rumba Clave

1 2 3 4 5 6 1 2 3 4 5 6

Ex 3 - Here we will add in some extra notes which will give us a continuous loop feel to the clave.

3-2 Rumba Clave

1 2 3 4 5 6 1 2 3 4 5 6

Ex 3 - Here we will add in some extra notes which will give us a continuous loop feel to the clave.

Click Count

1 2 3 4 5 6

68

Click Count

1 2 3 4 5 6

3-2 Son Clave

1 2 3 4 5 6 1 2 3 4 5 6

Ex 4 - This time we have some extra notes with the 'Son' feel.

3-2 Son Clave

1 2 3 4 5 6 1 2 3 4 5 6

Ex 4 - This time we have some extra notes with the 'Son' feel.

Click Count

1 2 3 4 5 6

68

Click Count

1 2 3 4 5 6

3-2 Rumba Clave

1 2 3 4 5 6 1 2 3 4 5 6

Ex 5 - Here we will add a few notes to the Rumba Clave.

3-2 Rumba Clave

1 2 3 4 5 6 1 2 3 4 5 6

Ex 5 - Here we will add a few notes to the Rumba Clave.



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Beats Explorer9 - Nanigo 6/8(Afro-Cuban)

11

Click Count

1 2 3 4 5 6

Ex 1

68

Click Count

1 2 3 4 5 6

Ex 1

3-2 Son Clave1 2 3 4 5 6 1 2 3 4 5 6

Following on from the 6/8 clave, we can now try some drum set patterns. The syncopated clave rhythms will now by played on the ride cymbal, while thestick-across-snare and toms will be used for additional patterns traditionally played by the conguero (Conga player) in an Afro-Cuban percussion section.Played alternately on beats 1 and 4 of each bar, the kick and hi-hat foot maintain a strong dotted quarter note pulse throughout.

3-2 Son Clave1 2 3 4 5 6 1 2 3 4 5 6

Following on from the 6/8 clave, we can now try some drum set patterns. The syncopated clave rhythms will now by played on the ride cymbal, while thestick-across-snare and toms will be used for additional patterns traditionally played by the conguero (Conga player) in an Afro-Cuban percussion section.Played alternately on beats 1 and 4 of each bar, the kick and hi-hat foot maintain a strong dotted quarter note pulse throughout.

Click Count

1 2 3 4 5 6

Ex 2

68 Click Count

1 2 3 4 5 6

Ex 2

3-2 Rumba Clave

1 2 3 4 5 6 1 2 3 4 5 6

3-2 Rumba Clave

1 2 3 4 5 6 1 2 3 4 5 6

Click Count

1 2 3 4 5 6

68 Click Count

1 2 3 4 5 6

3-2 Rumba Clave

1 2 3 4 5 6 1 2 3 4 5 6

Ex 3 - In the last three examples the kick and hi hat foot play together on beats 1 and 4.

3-2 Rumba Clave

1 2 3 4 5 6 1 2 3 4 5 6

Ex 3 - In the last three examples the kick and hi hat foot play together on beats 1 and 4.

Click Count

1 2 3 4 5 6

Ex 4

68 Click Count

1 2 3 4 5 6

Ex 4

3-2 Rumba Clave

1 2 3 4 5 6 1 2 3 4 5 6

3-2 Rumba Clave

1 2 3 4 5 6 1 2 3 4 5 6

Click Count

1 2 3 4 5 6

Ex 5

68

Click Count

1 2 3 4 5 6

Ex 5

3-2 Rumba Clave

1 2 3 4 5 6 1 2 3 4 5 6

3-2 Rumba Clave

1 2 3 4 5 6 1 2 3 4 5 6



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Beats Explorer10

12

- Mambo Rhythms

Cascara

(Afro-Cuban)

Click Count

1 2

Ex 1

Click Count

1 2

Ex 1

3-2 Cascara

Cascara (meaning shell) is traditionally played by the timbalero (timbale player) on the side of the timbales. This rhythm is played in the verse and bridgesections of latin music. On the drum set, the rhythm can be played on the side of a floor tom, on the rim of any drum, on the ride cymbal, hi-hat, or onJam blocks or Clave blocks. It is a highly syncopated rhythm, but is not too difficult to play after some practice. Start by trying the 3-2 version.

3-2 Cascara

Cascara (meaning shell) is traditionally played by the timbalero (timbale player) on the side of the timbales. This rhythm is played in the verse and bridgesections of latin music. On the drum set, the rhythm can be played on the side of a floor tom, on the rim of any drum, on the ride cymbal, hi-hat, or onJam blocks or Clave blocks. It is a highly syncopated rhythm, but is not too difficult to play after some practice. Start by trying the 3-2 version.

Click Count

1 2

Click Count

1 2

2-3 Cascara

Ex 2 - Here is the 2-3 version.

2-3 Cascara

Ex 2 - Here is the 2-3 version.

Click Count

1 2

Click Count

1 2

3-2 Cascara with Son Clave

Ex 3 -Next we will add in the 3-2 Clave pattern with the stick-across-snare.

3-2 Cascara with Son Clave

Ex 3 -Next we will add in the 3-2 Clave pattern with the stick-across-snare.

Click Count

1 2

Click Count

1 2

3-2 Cascara with Rumba Clave

Ex 4 - Here is a 3-2 Rumba Clave

3-2 Cascara with Rumba Clave

Ex 4 - Here is a 3-2 Rumba Clave

Click Count

1 2

Click Count

1 2

3-2 Cascara with Rumba Clave and Tumbao

Ex 5 - To finish, we will add the Bass Tumbao rhythm which is played on the kick drum. This immitates the bass player's rhythmic punctuations in latin music.

3-2 Cascara with Rumba Clave and Tumbao

Ex 5 - To finish, we will add the Bass Tumbao rhythm which is played on the kick drum. This immitates the bass player's rhythmic punctuations in latin music.



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Beats Explorer11

13

Mambo Rhythms

- Mambo Bell

(Afro-Cuban)

Click Count

1 2

Ex 1

Click Count

1 2

Ex 1

2-3 Mambo Bell

The Mambo Bell or Contra Compana (against the Bell) is another rhythm traditionally played by the timbalero. It is played during B sections or the Chorusof latin tunes. The accents are important for defining certain points in the syncopated rhythm. Ride cymbal or cowbell are used to play this pattern. If playedon a cowbell, the accented notes are played on the mouth of the bell and the unaccented notes are played on the neck. If played on a ride cymbal, the accentednotes can be played on the bell and the unaccented notes at the taper or body of the cymbal. The following exercises are written using the ride cymbal.

2-3 Mambo Bell

The Mambo Bell or Contra Compana (against the Bell) is another rhythm traditionally played by the timbalero. It is played during B sections or the Chorusof latin tunes. The accents are important for defining certain points in the syncopated rhythm. Ride cymbal or cowbell are used to play this pattern. If playedon a cowbell, the accented notes are played on the mouth of the bell and the unaccented notes are played on the neck. If played on a ride cymbal, the accentednotes can be played on the bell and the unaccented notes at the taper or body of the cymbal. The following exercises are written using the ride cymbal.

Click Count

Click Count 3-2 Mambo Bell

Ex 2 - As there is a rest on beat 1, starting on the 3-side of the clave can be tricky to start with.

3-2 Mambo Bell

Ex 2 - As there is a rest on beat 1, starting on the 3-side of the clave can be tricky to start with.

Click Count

Click Count2-3 Mambo Bell Kit Pattern

Ex 3 -Now we will add in some other drum set sounds including the stick-across-snare and first tom. The kick drum plays the Bombo note on the 'an' of beat 2.

2-3 Mambo Bell Kit Pattern

Ex 3 -Now we will add in some other drum set sounds including the stick-across-snare and first tom. The kick drum plays the Bombo note on the 'an' of beat 2.

Click Count

Click Count3-2 Mambo Bell Kit Pattern

Ex 4 - Changing the clave pattern to 3-2.

3-2 Mambo Bell Kit Pattern

Ex 4 - Changing the clave pattern to 3-2.

Click Count

Click Count

3-2 Mambo Bell with Conga Tom Pattern

Ex 5 - To finish, we will add in more patterns from the conga drums and play them on the toms.

3-2 Mambo Bell with Conga Tom Pattern

Ex 5 - To finish, we will add in more patterns from the conga drums and play them on the toms.



15/43


16/43


Beats Explorer13

15

- Mambo Rhythms

Bongo Bell 2

(Afro-Cuban)

Click Count

1 2

Click Count

1 2

2-3 Bongo Bell Kit Rhythm

o x o x x

Ex 1 - Here we have a bongo bell pattern played with a basic conga rhythm adaptation for drum set. Again, the Bombo note is played on the kick drum.

2-3 Bongo Bell Kit Rhythm

o x o x x

Ex 1 - Here we have a bongo bell pattern played with a basic conga rhythm adaptation for drum set. Again, the Bombo note is played on the kick drum.

o x x o x x

o x x o x x

Click Count1 2

Click Count1 2

o x o x x2-3 Bongo Bell

Ex 2 -Now we can try a 2-3 bongo bell pattern with a kit variation.

o x o x x2-3 Bongo Bell

Ex 2 -Now we can try a 2-3 bongo bell pattern with a kit variation.

o x x o x x

o x x o x x

Click Count

1 2

Click Count

1 2

2-3 Bongo Bell

o x o x x

Ex 3 - Another drumset variation played with the bongo bell.

2-3 Bongo Bell

o x o x x

Ex 3 - Another drumset variation played with the bongo bell.

o x x o x x

o x x o x x

Click Count

1 2

Click Count

1 2

2-3 Bongo Bell

o x o x x

Ex 4 - The last two patterns are further drum set variations.

2-3 Bongo Bell

o x o x x

Ex 4 - The last two patterns are further drum set variations.

o x o x xx

o x o x xx

Click Count

1 2

Ex 5

Click Count

1 2

Ex 5

2-3 Bongo Bell

o x o x x

2-3 Bongo Bell

o x o x x o x x o x x

o x x o x x



17/43


18/43


Beats Explorer15

17

- Conga de Comparsa

(Afro-Cuban)

Click Count

1 2

Ex 1

Click Count

1 2

Ex 1

21

This is another rhythm that has its roots in Africa. It is a rhythm played on the congas that is adapted for the drum set.The accented notes are very important for the feel of the rhythm.

R L R L L R L R L R L L R L

21

This is another rhythm that has its roots in Africa. It is a rhythm played on the congas that is adapted for the drum set.The accented notes are very important for the feel of the rhythm.

R L R L L R L R L R L L R L

21

21

Click Count1 2

Click Count1 2

R L R L L R L R L R R L R L

Ex 2 - Here is a tom variation.

R L R L L R L R L R R L R L

Ex 2 - Here is a tom variation.

Click Count

1 2

Click Count

1 2

R L R R L R R L R R L R

Ex 3 - This is an example using stick-across-snare with the left hand.

R L R R L R R L R R L R

Ex 3 - This is an example using stick-across-snare with the left hand.

Click Count

1 2

Click Count

1 2

R L R R L R L R L R R L R L

Ex 4 - Stick-across-snare with a tom variation.

R L R R L R L R L R R L R L

Ex 4 - Stick-across-snare with a tom variation.

Click Count

1 2

Click Count

1 2

R L R R L R R R L R R L R L

Ex 5 - To finish, a further tom variation.

R L R R L R R R L R R L R L

Ex 5 - To finish, a further tom variation.



19/43

Drum Learnobal BeatsExplorer

BeatsExplorer16 - Mozambique(Afro-Cuban)

18

Click Count

1 2

Ex 1

Click Count

1 2

Ex 1

This rhythm was made famous by the great Steve Gadd. It has similarities with the Conga de Comparsa.It was created by Pedro Izquierdo in the 1960s and is a combination of many African and Cuban rhythms.The first two versions of the rhythm are New York style adaptations which were made popular by theCuban pianist, Eddie Palmieri.

This rhythm was made famous by the great Steve Gadd. It has similarities with the Conga de Comparsa.It was created by Pedro Izquierdo in the 1960s and is a combination of many African and Cuban rhythms.The first two versions of the rhythm are New York style adaptations which were made popular by theCuban pianist, Eddie Palmieri.

Click Count

Click Count

Ex 2 - In this variation we substitute the kick drum for the snare on beat 1.

Ex 2 - In this variation we substitute the kick drum for the snare on beat 1.

Click Count

Click Count

o x o x o

Ex 3 - Here is a more traditional cowbell pattern played with a 2-3 Rumba clave on the stick-across-snare.

o x o x o

Ex 3 - Here is a more traditional cowbell pattern played with a 2-3 Rumba clave on the stick-across-snare.

x x o x xx

x x o x xx

Click Count

Click Count

o o x x o

Ex 4 - Another traditional syncopated bell pattern.

o o x x o

Ex 4 - Another traditional syncopated bell pattern.

o o x x

o o x x

Click Count

Click Count

Ex 5 - To finish, we have the pattern that Steve Gadd played on Paul Simon'sLate in the Evening.The right hand plays the rim of the floor tom, while the left hand plays a syncopated tom rhythm.

Ex 5 - To finish, we have the pattern that Steve Gadd played on Paul Simon'sLate in the Evening.The right hand plays the rim of the floor tom, while the left hand plays a syncopated tom rhythm.



20/43


- Cha Cha Cha

(Afro-Cuban)

19

Beats Explorer17

Click Count

1 2 3 4

Ex 1

44

Click Count

1 2 3 4

Ex 1

o x o x

The "Cha Cha Cha" is a medium tempo dance style. Enrique Jorrin founded this style in 1951. He named it "Cha Cha Cha" because of the sound thedancers feet made as they moved in a 3-step pattern. The rhythm is played on the Cha Cha bell, which is a smaller and higher pitched bell than themambo or bongo bell. The rhythm has a distinctive driving quarter note feel throughout, with stick-across-snare and tom imitating the conga rhythm.In the first example the hi-hat foot is splashed on beats1 and 3. This imitates the rhythm played on the guiro (a hand-held percussion instrument).

o x o x

The "Cha Cha Cha" is a medium tempo dance style. Enrique Jorrin founded this style in 1951. He named it "Cha Cha Cha" because of the sound thedancers feet made as they moved in a 3-step pattern. The rhythm is played on the Cha Cha bell, which is a smaller and higher pitched bell than themambo or bongo bell. The rhythm has a distinctive driving quarter note feel throughout, with stick-across-snare and tom imitating the conga rhythm.In the first example the hi-hat foot is splashed on beats1 and 3. This imitates the rhythm played on the guiro (a hand-held percussion instrument).

o x o x

o x o x

Click Count

44

Click Count

Ex 2 - In this second example we will add in some extra cowbell notes.

Ex 2 - In this second example we will add in some extra cowbell notes.

Click Count

44

Click Count

o x o x

Ex 3 - With this one we have a shorter open hi-hat foot rhythm. The cowbell is played in straight quarter notes.

o x o x

Ex 3 - With this one we have a shorter open hi-hat foot rhythm. The cowbell is played in straight quarter notes.

o x o x

o x o x

Click Count

44

Click Count

Ex 4 - In the second bar we will play more of the conga rhythm on the toms.

Ex 4 - In the second bar we will play more of the conga rhythm on the toms.

Click Count

44

Click Count

Ex 5 - To finish, we will look at the Abanico, which is a timbale rudiment. Abanico means "fan" in English. It is given the name "fan" because when played it sounds like someone opening a hand-held fan. The Abanico is a rim shot followed by a roll and then another rim shot. The roll can be of different length durations. In this exercise we have one bar of the Cha Cha Cha followed by the Abanico; then back into the Cha Cha Cha rhythm.

Ex 5 - To finish, we will look at the Abanico, which is a timbale rudiment. Abanico means "fan" in English. It is given the name "fan" because when played it sounds like someone opening a hand-held fan. The Abanico is a rim shot followed by a roll and then another rim shot. The roll can be of different length durations. In this exercise we have one bar of the Cha Cha Cha followed by the Abanico; then back into the Cha Cha Cha rhythm.

R R L L R R L L R

Abanico

R R L L R R L L R

Abanico



21/43


- Merengue

(Afro-Cuban)

20

Beats Explorer18

Click Count

Ex 1

1 2

Click Count

Ex 1

1 2o x o x o x o xR R L R R L R R L R R L

The Merengue is a rhythm from the Dominican Repubulic. It is a driving uptempo fiery dance.The first rhythm we will look at is a basic open and closed hi-hat pattern played with the hands.You can simplify this further by omitting the open hi-hat.

o x o x o x o xR R L R R L R R L R R L

The Merengue is a rhythm from the Dominican Repubulic. It is a driving uptempo fiery dance.The first rhythm we will look at is a basic open and closed hi-hat pattern played with the hands.You can simplify this further by omitting the open hi-hat.

Click Count

1 2

Click Count

1 2

x o

Ex 2 - Moving to the rim of the snare and stick-across-snare with this one. The hi-hat foot plays an open splash on beat 3 of each bar.

R R L R R L R R L R R L

x o

Ex 2 - Moving to the rim of the snare and stick-across-snare with this one. The hi-hat foot plays an open splash on beat 3 of each bar.

R R L R R L R R L R R L

x o

x o

Click Count

1 2

Click Count

1 2

Ex 3 - Here is a simple but effective rhythm. We play a tom roll starting on the 3rd beat of the second bar and ending on the 1st beat of the first bar.

R R L R L R L R L R L

Ex 3 - Here is a simple but effective rhythm. We play a tom roll starting on the 3rd beat of the second bar and ending on the 1st beat of the first bar.

R R L R L R L R L R L

Click Count1 2

Click Count1 2

Ex 4 - The last two rhythms are further combinations of stick-across-snare and toms.

R R R L R R L R R L R R

Ex 4 - The last two rhythms are further combinations of stick-across-snare and toms.

R R R L R R L R R L R R

Click Count

1 2

Ex 5

Click Count

1 2

Ex 5

R R L R L R L R R

R R L R L R L R R



22/43


21

Beats Explorer19 - The Bolero & Beguine(Afro-Cuban)

Click Count

1 2 3 4

Ex 1

44

Click Count

1 2 3 4

Ex 1

R R R L R R R R R R

The Bolero is a romantic dance which is traditionally played with castanets. The Beguine was made famous in 1938 throughArtie Shaw's "Begin the Beguine." They are similar rhythms in style and feel. The first three example are of the Bolero.

R R R L R R R R R R

The Bolero is a romantic dance which is traditionally played with castanets. The Beguine was made famous in 1938 throughArtie Shaw's "Begin the Beguine." They are similar rhythms in style and feel. The first three example are of the Bolero.

3

3

Click Count

Ex 2

44

Click Count

Ex 2

3

3

Click Count

Ex 3

44

Click Count

Ex 3

R R R L R L R L R R R R R L R L R L R R

R R R L R L R L R R R R R L R L R L R R

3

3

Click Count

44

Click CountR R L R L R L R L

Ex 4 - Here is an example of the Beguine. This first example is a simple pattern played between the ride cymbal and snare.

R R L R L R L R L

Ex 4 - Here is an example of the Beguine. This first example is a simple pattern played between the ride cymbal and snare.

Click Count

44

Click CountR L R L R L R L R L

Ex 5 - Here the left hand plays stick-across-snare and first tom.

R L R L R L R L R L

Ex 5 - Here the left hand plays stick-across-snare and first tom.

3

3



23/43


22

- Calypso & Soca

(Caribbean)

Beats Explorer20

Click Count

1 2 3 4

Ex 1 a

44

Click Count

1 2 3 4

Ex 1 a

x o x o x o x o

Calypso and Soca are rhythms from Trinidad in the Caribbean. Again, like most other world beats, they have African roots.These two styles have a bright and colourful quality. The rhythms are not too difficult to play, which allows you to concentrateon making them swing. The first two examples are of Calypso beats.

x o x o x o x o

Calypso and Soca are rhythms from Trinidad in the Caribbean. Again, like most other world beats, they have African roots.These two styles have a bright and colourful quality. The rhythms are not too difficult to play, which allows you to concentrateon making them swing. The first two examples are of Calypso beats.

Ex 1 b

44

Ex 1 b

Click Count

Ex 2

44

Click Count

Ex 2

R L L R R L R L R R L R L R L L R R L R L L

R L L R R L R L R R L R L R L L R R L R L L

Click Count

Ex 3 a

44

Click Count

Ex 3 a

x o x o x o x o

The next five examples are of Soca rhythms. The open hi-hat rhythm is mostly played on offbeats, bar the last example.

x o x o x o x o

The next five examples are of Soca rhythms. The open hi-hat rhythm is mostly played on offbeats, bar the last example.

x o x o x o x o

Ex 3 b

44

x o x o x o x o

Ex 3 b

Click Count

Ex 4 a

44

Click Count

Ex 4 a

x o x o x o x o

x o x o x o x o x o x o x o x o

Ex 4 b

44

x o x o x o x o

Ex 4 b

Click Count

Ex 5

44

Click Count

Ex 5

o x o x o x o x

o x o x o x o x o x o x o x o x

o x o x o x o x



24/43


23

Beats Explorer21 - Reggae "One Drop" & Ska(Caribbean)

Click Count

1 2 3 4

Ex 1

44

Click Count

1 2 3 4

Ex 1

Reggae is the rhythm of Jamaica. The pattern we will look at is given the name, "One Drop." This is due to the simultaneoussound of the kick and stick-across-snare played on beat 3 of each bar. The hi-hat rhythm is often played between a straightand swing feel, in similar vein to Second-line rhythms. The accent played on beats 2 and 4 imitates the guitar riff.

Reggae is the rhythm of Jamaica. The pattern we will look at is given the name, "One Drop." This is due to the simultaneoussound of the kick and stick-across-snare played on beat 3 of each bar. The hi-hat rhythm is often played between a straightand swing feel, in similar vein to Second-line rhythms. The accent played on beats 2 and 4 imitates the guitar riff.

Click Count

44

Click Count

1 a 2 a 3 an a 4 a 1 an a 2 a 3 an a 4 a

Ex 2 - Here is a triplet hi-hat variation.

1 a 2 a 3 an a 4 a 1 an a 2 a 3 an a 4 a

Ex 2 - Here is a triplet hi-hat variation.

3 3 3 3

3 33 3

Click Count

44

Click Count1 2 an 3 4 an 1 an 2 an 3 4 an

Ex 3 - Here we will leave more space by playing the hi-hat on beats 2 and 4.

1 2 an 3 4 an 1 an 2 an 3 4 an

Ex 3 - Here we will leave more space by playing the hi-hat on beats 2 and 4.

Click Count

44

Click Count

Ex 4 - Ska has a driving kick drum feel. The stick-across-snare is played on the third beat of each bar.

Ex 4 - Ska has a driving kick drum feel. The stick-across-snare is played on the third beat of each bar.

Click Count

44

Click Count

Ex 5 - Here is a syncopated hi-hat feel played over 2 bars.

Ex 5 - Here is a syncopated hi-hat feel played over 2 bars.



25/43


24

Beats Explorer22 - African Polyrhymic feelsADOWA

Click Count

1 2 3 4

Ex 1

Here we will look at some polyrhythmic feels that are found in African rhythms and music. This first feel is a rhythm from Ghana called 'Adowa'. It is atriplet feel played in 12/8 time. With this feel we will incorporate the 3 over 2 polyrhythm: firstly, as a hand pattern to get used to the feel and then as a hi-hatfoot pattern. This will then enable us to play the melodic tom rhythm that is played by the donno drum in an African drum ensemble. In exercise 1 we willstart by playing the Bell pattern on the ride cymbal. In Exercise 2 we will add the tom rhythm. Now we have the basic feel of the Adowa rhythm. In the otherexercises we will look at applying the second bell pattern (Dawuro) which creates the 3 over 2 polyrhythm.

128

Click Count

1 2 3 4

Ex 1

Here we will look at some polyrhythmic feels that are found in African rhythms and music. This first feel is a rhythm from Ghana called 'Adowa'. It is atriplet feel played in 12/8 time. With this feel we will incorporate the 3 over 2 polyrhythm: firstly, as a hand pattern to get used to the feel and then as a hi-hatfoot pattern. This will then enable us to play the melodic tom rhythm that is played by the donno drum in an African drum ensemble. In exercise 1 we willstart by playing the Bell pattern on the ride cymbal. In Exercise 2 we will add the tom rhythm. Now we have the basic feel of the Adowa rhythm. In the otherexercises we will look at applying the second bell pattern (Dawuro) which creates the 3 over 2 polyrhythm.

1 2 3 4 5 6 7 8 9 10 11 12

Dawuro - Iron Bell pattern played on the ride cymbal

1 2 3 4 5 6 7 8 9 10 11 12

Dawuro - Iron Bell pattern played on the ride cymbal

Click Count

Ex 2

128 Click Count

Ex 2

Donno rhythm played on toms

1 2 3 4 5 6 7 8 9 10 11 12

Donno rhythm played on toms

1 2 3 4 5 6 7 8 9 10 11 12

Ex 3 - 2nd dawuro rhythm played on stick-across-snare over the dotted quarter note pulse on the kick drum. This is a 3 over 2 polyrhythm.

1 2 3 4 5 6 7 8 9 10 11 12

128

Ex 3 - 2nd dawuro rhythm played on stick-across-snare over the dotted quarter note pulse on the kick drum. This is a 3 over 2 polyrhythm.

1 2 3 4 5 6 7 8 9 10 11 12

Ex 4 - 2nd dawuro rhythm played with hi-hat foot.

1 2 3 4 5 6 7 8 9 10 11 12

Ex 4 - 2nd dawuro rhythm played with hi-hat foot.

1 2 3 4 5 6 7 8 9 10 11 12

Ex 5 - Full rhythm with toms

1 2 3 4 5 6 7 8 9 10 11 12

128

Ex 5 - Full rhythm with toms

1 2 3 4 5 6 7 8 9 10 11 12

Ex 6 - We will now move the stick-across-snare rhythm that was played in exericse 3 to start on the second eighth note of the bar.

1 2 3 4 5 6 7 8 9 10 11 12

Ex 6 - We will now move the stick-across-snare rhythm that was played in exericse 3 to start on the second eighth note of the bar.

1 2 3 4 5 6 7 8 9 10 11 12

Click Count

Ex 7 - We will now play this stick-across-snarepermutation with the hi-hat foot.

128

Click Count

Ex 7 - We will now play this stick-across-snarepermutation with the hi-hat foot.

Ex 8 - Finally, we will add the tom rhythm.

Ex 8 - Finally, we will add the tom rhythm.



26/43


25

Beats Explorer23 - African Polyrhymic feelsKete Adaban

Click Count

1 2 3 4

Ex 1

This next feel is another rhythm from Ghana called 'Kete Adaban." It is a 2 beat or minim triplet feelplayed in 12/8 time. Here we will look at the 3 over 2 polyrhythm in the same way as the previous one.

128

Click Count

1 2 3 4

Ex 1

This next feel is another rhythm from Ghana called 'Kete Adaban." It is a 2 beat or minim triplet feelplayed in 12/8 time. Here we will look at the 3 over 2 polyrhythm in the same way as the previous one.

1 2 3 4 5 6 7 8 9 10 11 12

3 over 4 polyrhythm played between the snare and kick drum

1 2 3 4 5 6 7 8 9 10 11 12


Click Count

Ex 2

128 Click Count

Ex 2

1 2 3 4 5 6 7 8 9 10 11 12

3 over 4 polyrhythm played between the hi-hat foot and kick drum

1 2 3 4 5 6 7 8 9 10 11 12

3 over 4 polyrhythm played between the hi-hat foot and kick drum

Ex 3 - Kete Adaban 3 beat feel played on thehi-hat foot together with Dawuro patterns

1 2 3 4 5 6 7 8 9 10 11 12

128

Ex 3 - Kete Adaban 3 beat feel played on thehi-hat foot together with Dawuro patterns

1 2 3 4 5 6 7 8 9 10 11 12

Ex 4 - Kete Adaban 3 beat feel played on the kick drum together with Dawuro patterns.

1 2 3 4 5 6 7 8 9 10 11 12

Ex 4 - Kete Adaban 3 beat feel played on the kick drum together with Dawuro patterns.

1 2 3 4 5 6 7 8 9 10 11 12

Ex 5 - Dawuro Bell pattern with 3 note rhythm on the hi-hat foot.

128

Ex 5 - Dawuro Bell pattern with 3 note rhythm on the hi-hat foot. Ex 6 - Dawuro Bell pattern with 3 note rhythm on the kick drum.

Ex 6 - Dawuro Bell pattern with 3 note rhythm on the kick drum.

L R L R L R L R L R L R

Ex 5 - Here is the Dawuro Bell pattern played on the snare and tom with the right hand filling in the missing notes on the ride cymbal. The 3 note patttern is played on the hi-hat foot.

128

L R L R L R L R L R L R

Ex 5 - Here is the Dawuro Bell pattern played on the snare and tom with the right hand filling in the missing notes on the ride cymbal. The 3 note patttern is played on the hi-hat foot.

Ex 8 - The 3 note pattern is played on the kick drum.

Ex 8 - The 3 note pattern is played on the kick drum.



27/43


26

- African Polyrhythmic feels

Akom

Beats Explorer24

Click Count

1 2 3

Ex 1

This is an uptempo feel from Ghana called ''Akom." It can be played in 3/4 or 6/8 time.The two main polyrhythms of this rhythm are 2 over 3 and 3 over 6 feel. The first twoexercises are examples of them.

34

Click Count

1 2 3

Ex 1

This is an uptempo feel from Ghana called ''Akom." It can be played in 3/4 or 6/8 time.The two main polyrhythms of this rhythm are 2 over 3 and 3 over 6 feel. The first twoexercises are examples of them.

1 2 3 1 2 3

1 2 3 1 2 3

1 2 1 2


1 2 1 2


Click Count

Ex 2

34 Click Count

Ex 2

1 2 3 4 5 6

1 2 3 4 5 6

1 2 3

3 over 6 polyrhythm played between the snare and kick drum.

1 2 3

3 over 6 polyrhythm played between the snare and kick drum.

Ex 3 - Here we will play the dawuro rhythms on the ride cymbal and toms. We can play the 3 over 6 pattern (agyegyewa rhythm) on the kick drum.

34

Ex 3 - Here we will play the dawuro rhythms on the ride cymbal and toms. We can play the 3 over 6 pattern (agyegyewa rhythm) on the kick drum.


1 an 2 an 3 an 1 an 2 an 3

34


1 an 2 an 3 an 1 an 2 an 3

Ex 5 - With this last rhythm we will put together the Akom ensemble. We have dawuro 1 played on the ride cymbal; dawuro 2 played on the hi-hat foot;agyegyewa played on the kick drum and the apentemma played between the toms. This is difficult coordination to master, so I would learn the foot

and hand rhythms separately to begin with. Once they feel comfortable, try playing them together.

34

Ex 5 - With this last rhythm we will put together the Akom ensemble. We have dawuro 1 played on the ride cymbal; dawuro 2 played on the hi-hat foot;agyegyewa played on the kick drum and the apentemma played between the toms. This is difficult coordination to master, so I would learn the foot

and hand rhythms separately to begin with. Once they feel comfortable, try playing them together.



28/43


27

- African Polyrhythmic feels

Bikutsi

Beats Explorer25

Click Count

1 2 3 4

44

Click Count

1 2 3 41 an a 2 an a 3 an a 4 an a

Ex 1 - The basic ployrhythm is 3 beats played on the snare over 4 beats played on the kick drum.

Bikutsi has a polyrhythmic feel of 3 over 4 beats. We have four quarter beats on the kick drum and a 3 note andrest triplet pattern played on the hi-hat. In the first exercise we will play the hand pattern on the snare to get afeel for the polyrhythm. Then we will move the pattern to the hi-hat and play quarter notes on stick-across-snare.The other patterns are variatons on the basic theme.

1 an a 2 an a 3 an a 4 an a

Ex 1 - The basic ployrhythm is 3 beats played on the snare over 4 beats played on the kick drum.

Bikutsi has a polyrhythmic feel of 3 over 4 beats. We have four quarter beats on the kick drum and a 3 note andrest triplet pattern played on the hi-hat. In the first exercise we will play the hand pattern on the snare to get afeel for the polyrhythm. Then we will move the pattern to the hi-hat and play quarter notes on stick-across-snare.The other patterns are variatons on the basic theme.

3

Ex 2 - Here we have the 3 over 4 polyrhythmic snare rhythm.


44

Ex 2 - Here we have the 3 over 4 polyrhythmic snare rhythm.


33

3 3

Click Count

44

Click Count

Ex 3 - Stick-across-snare played on the first note of each group.

Ex 3 - Stick-across-snare played on the first note of each group.

33

3 3

Ex 4 - Stick-across-snare is played on each quarter note beat.

44

Ex 4 - Stick-across-snare is played on each quarter note beat.

3 3 3 3

Click Count

44

Click Count

o o o

Ex 5 - The hi-hat is opened on the last note of each triplet grouping.

o o o

Ex 5 - The hi-hat is opened on the last note of each triplet grouping.

3 33 3

Ex 6 - Here is a stick-across-snare variation.

44

Ex 6 - Here is a stick-across-snare variation.

3 3 3 3

Click Count

Ex 7 - With this one we start with the third beat of the polyrhythmic figure.

44

Click Count

Ex 7 - With this one we start with the third beat of the polyrhythmic figure.

33 3

3

Ex 8 - A stick-across-snare variation.

44

Ex 8 - A stick-across-snare variation.

3 3 3 3

Click Count

Ex 9 - To finish, we have a two bar pattern with some stick-across-snare variations. These patterns can also be played as single bar rhythms.

44

Click Count

Ex 9 - To finish, we have a two bar pattern with some stick-across-snare variations. These patterns can also be played as single bar rhythms.

3 3 3 3

3 3 3 3



29/43


30/43


- Second-line 2

(New Orleans)

29

Beats Explorer27

Click Count

Ex 1

1 2 3 4

44

Click Count

Ex 1

1 2 3 4

In Second-line part 2 we will fill in some of the holes with triplets.

R L R L R L R R L R L R L R R L R L

In Second-line part 2 we will fill in some of the holes with triplets.

R L R L R L R R L R L R L R R L R L3

3

Click Count

Ex 2

44

Click Count

Ex 2

R L R L R L R R L R L R R L R L R L

R L R L R L R R L R L R R L R L R L3

3

Click Count

Ex 3

44

Click Count

Ex 3

R L R L R L R L R L R L R R L R L


3

Click Count

Ex 4

44

Click Count

Ex 4



3

Click Count

Ex 5

44

Click Count

Ex 5





31/43


30

- Second-line 3

(New Orleans)

Beats Explorer28

Click Count

1 2 3 4

Ex 1

44

Click Count

1 2 3 4

Ex 1

In Part 3 we will play some straighter funky style beats using a hi-hat, snareand kick combination.This is a way of adapting Second-line to funk rhythms.

In Part 3 we will play some straighter funky style beats using a hi-hat, snareand kick combination.This is a way of adapting Second-line to funk rhythms.

44

Click Count

Ex 2

44

Click Count

Ex 2

44

Click Count

Ex 3

44

Click Count

Ex 3

ox

44

ox

Click Count

Ex 4

44

Click Count

Ex 4

ox

ox

44

6

6

Click Count

Ex 5

44

Click Count

Ex 5

6

44



32/43


- American Jazz 1

31

Beats Explorer29

Ride Cymbal 1

1 2 3 4

44

Ride Cymbal 1

1 2 3 4

Ride Cymbal 2

1 2 an a 3 4 an a

In order to develop the facility to play different forms of Jazz with the improvisation that is necessary for this music, we will need to work on specificcoordination exercises. This will take some time and patience. Above all, the feel and time of the ride cymbal rhythm should be your main focus."It don't mean a thing, if it ain't got that swing," is a saying that would be good for you to remember when working through this section. We will startoff by playing the ride cymbal and hi-hat foot rhythm. Get a good feel for this rhythm before atempting to play the left hand snare rhythms.

44

Ride Cymbal 2

1 2 an a 3 4 an a

In order to develop the facility to play different forms of Jazz with the improvisation that is necessary for this music, we will need to work on specificcoordination exercises. This will take some time and patience. Above all, the feel and time of the ride cymbal rhythm should be your main focus."It don't mean a thing, if it ain't got that swing," is a saying that would be good for you to remember when working through this section. We will startoff by playing the ride cymbal and hi-hat foot rhythm. Get a good feel for this rhythm before atempting to play the left hand snare rhythms.

3 3

1 2 3 4

Left hand snare patterns

Ex 1

44

1 2 3 4

Left hand snare patterns

Ex 1


Ex 2


Ex 2

3 3 3 3


Ex 3

44


Ex 3

3 3 3 31 an a 2 an a 3 an a 4 an a

Ex 4


Ex 4

3 3 3 3


Ex 5

44


Ex 5

3 3 3 3


Ex 6


Ex 6

3 3 3 3


Ex 7

44


Ex 7

3 3 3 31 an a 2 an a 3 an a 4 an a

Ex 8


Ex 8

33

3 3



33/43


32

Beats Explorer30- American Jazz 2

1 2 3 4

Ride Cymbal 1

44

1 2 3 4

Ride Cymbal 1

1 2 an a 3 4 an a

Ride Cymbal 2

We can now try the ride cymbal pattern with some coordination exercises with the kick and snare.

44

1 2 an a 3 4 an a

Ride Cymbal 2

We can now try the ride cymbal pattern with some coordination exercises with the kick and snare.

3 3


Ex 1 - Single Strokes between kick and snare.

Kick and Snare Combinations

44


Ex 1 - Single Strokes between kick and snare.


3 3 3 3



3 3 3 3


Ex 2 - Double Strokes between kick and snare.

44


Ex 2 - Double Strokes between kick and snare.

3 33 3



3 33 3


Ex 3 - Double and single strokes played together.

44


Ex 3 - Double and single strokes played together.

3 3 3 3



3 3 3 3


Ex 4 - Shuffle rhythm played on the snare.

44


Ex 4 - Shuffle rhythm played on the snare.

3 3 3 31 an a 2 an a 3 an a 4 an a

Ex 5 - Double Paradiddle.


Ex 5 - Double Paradiddle.

3 3 33



34/43


- American Jazz 3

33

Beats Explorer31

1 2 3 4

Ride Cymbal 1

44

1 2 3 4

Ride Cymbal 1

Here are some combinations of singles and doubles between the kick and snare.

1 2 an a 3 4 an a

Ride Cymbal 2

44

Here are some combinations of singles and doubles between the kick and snare.

1 2 an a 3 4 an a

Ride Cymbal 2

3 3



Ex 1 - Single Paradiddle

44



Ex 1 - Single Paradiddle

3 33


1 an a 2 an a 3 an a 4 an a3 3 3

3


Ex 2 - Paradiddle Diddle

44


Ex 2 - Paradiddle Diddle

3 3 3 3


1 an a 2 an a 3 an a 4 an a3

33

3


Ex 3 - 4 note grouping (3 against 4)

1

44


Ex 3 - 4 note grouping (3 against 4)

1

3 3 3 3


2


2

3 3 3 3


3

44


3

3 3 3 3


4


4

3 3 3 3



35/43


- American Jazz 4

34

Beats Explorer32

1 2 3 4

Ride Cymbal 1

44

1 2 3 4

Ride Cymbal 1

1 2 an a 3 4 an a

Ride Cymbal 2

The following are coordination exercises using quarter note triplet between the kick and snare.

44

1 2 an a 3 4 an a

Ride Cymbal 2

The following are coordination exercises using quarter note triplet between the kick and snare.

3 3



Ex 1 - Single Strokes

44



Ex 1 - Single Strokes

33



33


Ex 2 - Double Strokes

44 1 an a 2 an a 3 an a 4 an a

Ex 2 - Double Strokes



3 3


Ex 3 - 3 note grouping

44


Ex 3 - 3 note grouping

3 3


Ex 4 - Single and Double strokes


Ex 4 - Single and Double strokes

3 3


44


3 3

Ex 5 - Double Paradiddle

Ex 5 - Double Paradiddle

3 3

1 an a 2 an a 3 an a 4 an a 1 an a 2 an a 3 an a 4 an a

1 an a 2 an a 3 an a 4 an a 1 an a 2 an a 3 an a 4 an a

3 3



36/43


37/43


- American Jazz 6

36

Beats Explorer34

1 2 3 4

Ride Cymbal 1

44

1 2 3 4

Ride Cymbal 1

1 2 an a 3 4 an aRide Cymbal 2

This time we can mix together eighth and sixteenth note triplets between the kick and snare.

44

1 2 an a 3 4 an aRide Cymbal 2

This time we can mix together eighth and sixteenth note triplets between the kick and snare.

3 3



Ex 1

44



Ex 1

3 3 3 3


Ex 2


Ex 2

3 3 3 3


Ex 3


Ex 3

3 3 3 3 1 an a 2 an a 3 an a 4 an a

Ex 4


Ex 4

3 3 3 3


Ex 5

44


Ex 5

3 3 3 3


Ex 6


Ex 6

33

33


Ex 7

44


Ex 7

3 3 3 3


Ex 8


Ex 8

3 3 3 3



38/43


- American Jazz 7

37

Beats Explorer35

1 2 3 4Ride Cymbal 1

44

1 2 3 4Ride Cymbal 1

1 2 an a 3 4 an a

Here we have some syncopated snare phrases played with the left hand. The right hand plays the Jazz ride cymbal pattern.

Ride Cymbal 2

44

1 2 an a 3 4 an a

Here we have some syncopated snare phrases played with the left hand. The right hand plays the Jazz ride cymbal pattern.

Ride Cymbal 2

3 3

1 an a 2 an a 3 4

Snare Drum Phrases

Ex 1

44

1 an a 2 an a 3 4

Snare Drum Phrases

Ex 1

3

1 an a 2 an a 3 4

Ex 2

1 an a 2 an a 3 4

Ex 2

3 3

1 an a 2 an a 3 an a 4

Ex 3

44


Ex 3

3 31 an a 2 an a 3 an a 4

Ex 4


Ex 4

3 3


Ex 5

44


Ex 5

33


Ex 6


Ex 6

3 3 3 3


Ex 7

44


Ex 7

3 3


Ex 8


Ex 8

3 3 3 3



39/43


- American Jazz 8

38

Beats Explorer36

1 2 3 4

Ride Cymbal 1

44

1 2 3 4

Ride Cymbal 11 2 an a 3 4 an a

Here we have some syncopated kick and snare combination phrases.

Ride Cymbal 2

44

1 2 an a 3 4 an a

Here we have some syncopated kick and snare combination phrases.

Ride Cymbal 2

3 3

1 an a 2 an a 3 4

Kick and Snare Phrases

Ex 1

44

1 an a 2 an a 3 4

Kick and Snare Phrases

Ex 1

3

1 an a 2 an a 3 4

Ex 2

1 an a 2 an a 3 4

Ex 2

3 3


Ex 3

44


Ex 3

3 31 an a 2 an a 3 an a 4

Ex 4


Ex 4

3 3


Ex 5

44


Ex 5

3 3


Ex 6


Ex 6

3 3 3 3


Ex 7

44


Ex 7

3 3


Ex 8


Ex 8

33

3 3



40/43


- American Jazz 9

39

Beats Explorer37

1 2 a 3 4 aRide Cymbal Pattern

44

1 2 a 3 4 aRide Cymbal Pattern

3 3

1 2 a 3 4 a

In these next examples we will look at 3 and 2 note phrasing ideas. The improvisational Jazz style has evolvedusing these note groupings. Here we will look at a phrase of 3 3 2 over 2 bars. You can vary the ride cymbalpattern as you get more comfortable with the phrasing.

1 2 a 3 4 a

In these next examples we will look at 3 and 2 note phrasing ideas. The improvisational Jazz style has evolvedusing these note groupings. Here we will look at a phrase of 3 3 2 over 2 bars. You can vary the ride cymbalpattern as you get more comfortable with the phrasing.

3 3

1 2 3 1 2 3 1 2

Note Grouping Count

Kick and Snare patterns in a 3 3 2 note grouping

Ex 1

44

1 2 3 1 2 3 1 2

Note Grouping Count

Kick and Snare patterns in a 3 3 2 note grouping

Ex 1

1 an a 2 an a 3 an a 4 an a 1 an a 2 3 4

1 2 3 1 2 3 1 2

Ex 2

44

1 an a 2 an a 3 an a 4 an a 1 an a 2 3 4

1 2 3 1 2 3 1 2

Ex 2

33

3

3

1 an a 2 an a 3 4 an a 1 an a 2 3 an a 4

1 2 3 1 2 3 1 2

Ex 3

44


1 2 3 1 2 3 1 2

Ex 3

3 3 3

3 3

1 an a 2 an a 3 an a 4 an a 1 an a 2 an a 3 an a 4

1 2 3 1 2 3 1 2

Ex 4

44


1 2 3 1 2 3 1 2

Ex 4

3

3 33

3 3

3



41/43

Drum Learnlobal Beats Explorer

- American Jazz 10

40

Beats Explorer38

1 a 2 a 3 a 4 a 1 a 2 a 3 a 4 a

1 2 3 1 2 3 1 2

Ex 1

44

1 a 2 a 3 a 4 a 1 a 2 a 3 a 4 a

1 2 3 1 2 3 1 2

Ex 1

33 3

3

Stick and Kick 3 3 2 note grouping ideas cont...

Stick and Kick 3 3 2 note grouping ideas cont...

3 33

3


1 2 3 1 2 3 1 2

Ex 2

44


1 2 3 1 2 3 1 2

Ex 2

3 3 3 3

3 3 3


1 2 3 1 2 3 1 2

Ex 3

44


1 2 3 1 2 3 1 2

Ex 3

3 3 3 3

3 3 3


1 2 3 1 2 3 1 2

Ex 4

44


1 2 3 1 2 3 1 2

Ex 4

33

3

3

3

1 2 3 1 2 3 1 2


Ex 5

44 1 2 3 1 2 3 1 2


Ex 5

33 3

3

3 3

3



42/43

Drum Learnlobal Beats Explorer

- American Jazz 11

41

Beats Explorer39

1 2 3 1 2 3 1 2

Ex 1

44

1 2 3 1 2 3 1 2

Ex 1

3 3 3 3

Here we have some 3 3 2 ideas between the ride and snare. When you have mastered the hand rthythm, try playing the kickdrum on some of the ride cymbalnotes. You can also try this exercise playing the hi hat foot on beats 2 and 4. Another wayto play these patterns is by moving your left hand around the toms, while keeping your right hand on the ride cymbal.

Here we have some 3 3 2 ideas between the ride and snare. When you have mastered the hand rthythm, try playing the kickdrum on some of the ride cymbalnotes. You can also try this exercise playing the hi hat foot on beats 2 and 4. Another wayto play these patterns is by moving your left hand around the toms, while keeping your right hand on the ride cymbal.

3 3 3 3

1 2 3 1 2 3 1 2

Ex 2

44

1 2 3 1 2 3 1 2

Ex 2

3 3 3 3

3 3 3 3

1 2 3 1 2 3 1 2

Ex 3

44

1 2 3 1 2 3 1 2

Ex 3

3 3 3 3

3 3 3 3

1 2 3 1 2 3 1 2

Ex 4

44

1 2 3 1 2 3 1 2

Ex 4

3 3 3 3

3 3 3 3

1 2 3 1 2 3 1 2

Ex 5

44 1 2 3 1 2 3 1 2

Ex 5

3 3 3 3

3 3 3 3



43/43

Drum Learn

Closing Remarks

obal Beats Explorer

Congratulations for reaching the end of the Global Beats Explorer.

You now have a good understanding of many World Beat Rhythms and how to play themwith an authentic groove and feel. Also, you now have a good understanding of many differentstyles of music that you may not have considered studying or listening to.

The Eclectic Rhythm Designer(Drum eBook No. 5) will guide you yet further in your drumstudies, with an exploration of many diverse rhythmic ideas. We will explore rhythms rangingfrom Double Kick drums, to Cascara Funk, to Odd Note Groupings.

The goal with this final ebook is to inspire you to create your own rhythms. This way you willbe able to inspire other drummers with new ideas and fresh perspectives. The goal is to continue

to develop the art of drumming for the benefit of all those who love to play the instrument.

Documents

Global Beats Explorer