233-D-MB Introduction To Linear Drumming PDF [PDF]

Zitiervorschau

Introductıon To

Lınear

Drummıng BY DAVE BLACK & MARK POWERS

EXCERPTED FROM ALFRED’S DRUMSET METHOD, BOOK 2 A

MINIBOOK

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9/11/15 11:07 AM

WE WROTE THE BOOK

ON BEGINNING DRUMSET

After 25 years, we wrote Book 2.

On the heels of the anniversary of Alfred’s Beginning Drumset Method, we are proud to release the highly anticipated Book 2. Co-authored by Dave Black and Mark Powers, this follow-up book covers intermediate rock concepts, accents and ghost notes, linear 12 and Latin styles, brushes, the shuffle, 8 time, and more.

alfred.com/alfredsdrumsetmethod

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9/14/15 2:31 PM

Introduction To Linear Drumming

17 17

INTRODUCING THE LINEAR STYLE 17 INTRODUCING THE LINEAR STYLE inear drumming LINEAR BEATSis a unique style of playing drum grooves and fills using a single stream 17 INTRODUCING THE STYLE notes between your hands feet.drum Because theLINEAR hands feet don’t play at of the same 17 Ltime,of you Linear drumming is a unique style ofand playing grooves and fillsand using a single stream notes LINEAR BEATS willhands not play group of stacked notes. When starting wesame suggest you between your andafeet. Because the hands and feetLINEAR don’t playout, at the time, youplay will the not INTRODUCING THE STYLE 17 Linear drumming is a unique style of playing drum grooves and fillsplay using singleon stream of notes LINEAR BEATS play a group ofhi-hat stacked notes. starting out,those we suggest theathe notes the hi-hat with notes on the with theWhen right hand, and on the you snare with left. Remember, no between your hands and feet. Because the hands and feet don’t play at the same time, you will not INTRODUCING THE LINEAR STYLE the right hand, and those on the snare with the left. Remember, no two notes (or limbs) should be Linear drumming is a unique of playing drum grooves andyou fillsplay using singleon stream of notes two anotes (or should be played simultaneously. LINEAR BEATS play group of limbs) stacked notes.style When starting out, we suggest theanotes the hi-hat with played simultaneously. between your hands and feet. Because the the hands feetLINEAR don’tno play atnotes the same time, should you willbe not INTRODUCING THE STYLE the right hand, and those on the snare with left.and Remember, two (or limbs) Linear drumming is a unique style of playing drum grooves and fills using a single stream of notes LINEAR BEATS

play a group of stacked notes. When starting out, we suggest you play the notes on the hi-hat with played simultaneously. between your hands and feet. Because the the hands feet don’tno play atnotes the same time, should you willbe not the right hand, and on the snare with left.and Remember, (or limbs) Linear drumming is those a unique style of playing drum grooves and fills two using a single stream of notes Œ = 90 LINEAR BEATS play a group of stacked notes. When starting out, we suggest you play the notes on the hi-hat with played simultaneously. L will R RnotR between your Because the hands R and R L feet R Rdon’t R play at the sameRtime,Ryou R R hands R L Rand R feet. R the Œright and on the snare with the left.grooves Remember, no two notes (or limbs) should be Linear drumming is those a unique of playing andyou fills using single stream of notes 90hand, play a=group of stacked notes.style When startingdrum out, we suggest play theanotes on the hi-hat with played simultaneously. R R L R RnotR between your hands and feet. Because the hands and feet don’t play at the same time, you will R R L R R R R R R L R R R Trackthe 51 right hand, and those on the snare Track 52 with the left. Remember, no two notes (or limbs) should be 90 playŒ a=group of stacked notes. When starting out, we suggest you play the notes on the hi-hat with simultaneously. R R L R R R 3 R R L R R R R R R L R R R 2 1 played Track 51 Track 52 the right hand, and those on the snare with the left. Remember, no two notes (or limbs) should be

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DRUMmagazine.com

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9/11/15 11:09 AM

INTRODUCTION TO LINEAR DRUMMING

Linear Fills

18 18 18 18 LINEAR laying inFILLS a linear style allows you to create some interesting fills. With each of the fills below, LINEAR FILLS 18 LINEAR FILLS 18 firstin Playing a linear you to some fills. With of fills below, first play threestyle barsallows of time, theinteresting one-bar fill. playing time Playing in a linear style allows youfollowed to create create by some interesting fills.When With each each of the the fillsbefore below,each first play play LINEAR FILLS 18 Playing in aoflinear style allows you to create some interesting fills. before With each ofrock theyou fills below, first play three bars time, followed by the one-bar fill. When playing time each fill, may choose one fill, you may choose one of the linear beats or eighthor sixteenth-note beats featured in three bars of time, followed by the one-bar fill. When playing time before each fill, you may choose one LINEAR FILLS 18 Playing in a linear style allows you to create some interesting fills. With each of the fills below, first play

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three time, from followed by the one-bar fill.any When playing time each fill, rock you may one of the the bars linearofFILLS beats the previous previous page, or or of the the eighthorbefore sixteenth-note beatschoose that have have LINEAR of linear beats from the page, any of eighthor sixteenth-note rock beats that Alfred’s Method, Book or make up your own beats. Once familiar with each fill, play Playing inDrumset aofFILLS linear style allows you to create some interesting fills. With each offill, the fillsstudy, below, firsthave play three bars time, followed by the 2, one-bar fill. When playing time each you may choose one LINEAR of thecovered linear beats from the familiar previous page, or any of the eighthorbefore sixteenth-note rock beats that been so far. Once with each fill, play the entire page as a continuous moving been covered so far. Once familiar with each fill, play the entire page as a continuous study, moving Playing in aof linear style allows topage, create some interesting fills. With each of the fillsmay below, firsthave play LINEAR FILLS three bars time, followed by you the one-bar fill. When playing time before fill, you choose one of linear beats from the previous or any of the eighthorto sixteenth-note rock beats that thethe entire page as anext continuous study, moving from line the next without stopping. been covered sothe far. Once familiar with each fill, play theone entire page aseach aeach continuous study, moving from one line to without stopping. Playing in a linear style allows you to create some interesting fills. With of the fills below, first play from line to next without stopping. three bars ofbeats time, followed by the one-bar fill.fill, When playing time fill, rock you study, may choose one of theone linear from the previous page, or any of the orbefore sixteenth-note beats that been covered sothe far. Once familiar with each play theeighthentire page aseach aeach continuous moving Playing inline aoflinear style allows you to create some interesting fills. With offill, theyou fillsmay below, firsthave play from one to the next without stopping. three bars time, followed by the one-bar fill. When playing time before each choose one of theone linear beats from the previous page, or fill, anyplay of the or sixteenth-note rock study, beats moving that have been covered sothe far. Once familiar with each theeighthentire page as aeach continuous from line to next without stopping. three bars ofbeats time, followed by the one-bar fill.any When playing time before fill, rock you may choose one of the linear from the previous page, or of the eighthor sixteenth-note beats that have been covered so far. Once familiar with each fill, play the entire page as a continuous study, moving = 90 linebeats from one to next without stopping. L R L L L R L L L of the linear from the previous page, or fill, anyplay of the or sixteenth-note beats thatR ŒŒ = 90 been covered sothe far. Once familiar with each theeighthentire moving L R L Lpage Las R Ra continuous L Lrock R study, L L R have L from one line to the next without stopping. 90 Track 56 Œ =(3 R Lpage Las Ra continuous L L R study, L L R L covered sothe far.next Once familiar with each fill, play the Lentire moving Trackbeen 56 (390bars bars time) from one linetime) to without stopping. Track 56 Œ =(3 L R L L R L L R L L R L from onebars linetime) to the next without stopping. 1 Track 56 (3 bars time) Œ = 90 1 L R L L R L L R L L R L 1 90 L R L L R L L R L L R L Track 56 Œ =(3 time) 1 56 Œ =(390bars L R L L R L L R L L R L Track bars time) Œ = 90 Track 56 L L L L R L R R L R R L R R L R (3 bars time) 1 R R L R R L R R L R R L Track 56 57 1 (3 bars time) R R L R R L R R L R R L Track 57 (3 bars time) 1 57 Track R R L R R L R R L R R L (3 bars time) 2 1 Track (3 bars time) 2 57 R R L R R L R R L R R L 2 R R L R R L R R L R R L Track 57 (3 bars time) 2 57 R R L R R L R R L R R L Track (3 bars time) Track R R L R R L R R L R R L 2 57 (3 bars time) R L L R L L R L L R L L R L L R L L R L L R L L Track 2 57 (3 bars time) time) (3 R L L R L L R L L R L L (3 bars bars time) 2 R L L R L L R L L R L L (3 bars time) 23 3 (3 bars time) R L L R L L R L L R L L 3 R L L R L L R L L R L L (3 bars time) 3 R L L R L L R L L R L L (3 bars time) R L R L R L R L R L R L R L R L 3 (3 bars time) R L R R L R R L R R L R 3 (3 bars time) R L R R L R R L R R L R (3 bars time) 3 R L R R L R R L R R L R (3 bars time) 3 4 (3 bars time) 4 R L R R L R R L R R L R 4 R L R R L R R L R R L R (3 bars time) 4 R L R R L R R L R R L R (3 bars time) R L R L R L R L R L R L R L R L (3 bars time) 4 L R L R R L R L L R R L 4 Track 58 (3 bars time) L R L R R L R L L R R L Track 58 (3 bars time) 4 58 Track L R L R R L R L L R R L (3 bars time) 4 5 Track (3 bars time) 5 58 L R L R R L R L L R R L 5 L R L R R L R L L R R L Track 58 (3 bars time) 5 58 L R L R R L R L L R R L Track (3 bars time) Track L R L R R L R L R L R L R L (3 bars time) 5 58 L R R L L R L R L R R L L R R L L R Track 5 58 (3 bars time) (3 L R R L L R R L L R (3 bars bars time) time) 5 L R R L L R R L L R (3 bars time) 5 6 (3 bars time) 6 L R R L L R R L L R 6 L R R L L R R L L R (3 bars time) 6 L R R L L R R L L R (3 bars time) RR L LL R R R L L RL R (3 bars time) R L RL L 6 R R L R L R 6 (3 bars time) R L R L R L R (3 bars time) 6 R L R L R L R (3 bars time) 6 7 (3 bars time) 7 R L R L R L R 7 R L R L R L R (3 bars time) 7 R L R L R L R (3 bars time) R L R L (3 bars time) 7 R R L L R L RL LR R R R L L R L L R R R 7 59 (3 bars time) Track R L L R (3 R L R R L Track (3 bars bars time) time) 7 59 Track 59 Rœjj L Lœjj R R L R R L (3 bars time) 7 59 œj œj 8 Track (3 bars time) 8 Rœ L Lœ R R L R R L j j 8 Rœ L Lœ R R L R R L Track 59 (3 bars time) 8 59 R L j j R L R L R R L Track (3 bars time) œ œ R jL L jR Track R L R R L (3 bars time) 8 59 œj œj Track 8 59 Practice (3 bars time) The following practice loop contains three bars of time, followed œj by œj bar Practice loop: loop: The following practice loop contains three bars of time, followed by one one bar of of rest. rest. 8 œ bydon’t œ rush loop: The following practice loop contains three bars of time, followed one bar of rest. Track 60 Practice is repeated several times. The concept of the practice loop is to make sure you or slow Track 8 60 It It is repeated several times. The concept of the practice loop is to make sure you don’t rush orrest. slow loop: The following practice loop contains three bars one rush bar of Track 60 Practice It is repeated several times. The concept ofback the practice loop is of to time, makefollowed sure youbydon’t or slow down during the bar of the fill before going to playing time. down during the bar of the fill before going back to playing time. Track 60 Practice loop: The practice loop contains three bars one rush bar of It is repeated several concept ofback the practice loop is of to time, makefollowed sure youbydon’t orrest. slow down during the bar following oftimes. the fillThe before going to playing time. loop: The practice loop contains three bars one rush bar of Track 60 Practice It is repeated several concept ofback the practice loop is of to time, makefollowed sure youby don’t orrest. slow down during the bar following oftimes. the fillThe before going to playing time. loop: The following practice loop contains three bars of time, followed by one bar of rest. Track 60 Practice It is repeated several concept ofback the practice loop is to make sure you don’t rush or slow during the bar following oftimes. the fillThe before going to playing time. Practice loop: The practice loop contains three bars of time, followed bydon’t one rush bar of rest. Track 60 down DRUM! DRUMmagazine.com It is repeated several times. The concept of the practice loop is to make sure you or slow down during the bar of the fill before going back to playing time. Track 60 It is repeated several times. The concept of the practice loop is to make sure you don’t rush or slow down during the bar of the fill before going back to playing time. down during the bar of the fill before going back to playing time.

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Advanced Linear Beats

19

19 ADVANCED LINEAR BEATS ow let’s combine some ofideas the ideas from our linear basic beats linearwith beats with any variation of your 19 Now let’s combine some of the from our basic any variation of your choice. This ADVANCED LINEAR BEATS choice.expand This will expand the rhythmic available within linear style. will greatly thegreatly rhythmic possibilities availablepossibilities within the linear style. You canthe also experiment 19 Now let’s combine some of rightthe ideas our basic linear beatsthem with from any variation oforyour choice. This ADVANCED LINEAR BEATS with can re-voicing some of the and from left-hand strokes, moving the hi-hat snare to the You also experiment with revoicing some of the rightand left-hand strokes, moving them will greatly expand theofrhythmic possibilities available within the linear style. You can also experiment toms and other parts the drumset. Now let’s combine some of the ideas from our basic linear beats with any variation of your choice. This 19 from the hi-hat or snare the and toms and other partsmoving of the them drumset. ADVANCED LINEAR BEATS with re-voicing some of theto rightleft-hand strokes, from the hi-hat or snare to the

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will greatly expand the rhythmic possibilities available within the linear style. You can also experiment toms and combine other parts of the drumset. Now let’s some of rightthe ideas our basic linear beatsthem with from any variation choice. with re-voicing some of the and from left-hand strokes, moving the hi-hatoforyour snare to theThis 19 ADVANCED LINEAR BEATS will greatly expand the rhythmic possibilities available within the linear style. You can also experiment Œ = 90 toms and other parts of the drumset. Now let’sRcombine ofLrightthe ideas linear with any your R R Lsome Rof Rthe Rand R from L ourR basic R moving R beats R L R from R Lvariation R Rofor R choice. L toRthe LThis with re-voicing some left-hand strokes, them the hi-hat snare ADVANCED LINEAR BEATS will expand theofrhythmic possibilities available within the linear style. You can also experiment Œgreatly =and 90 other toms parts the drumset. R R Lsome Rof Rthe Rand R from L ourR basic R moving R beats R L R from R Lvariation R Rofor R choice. L toRthe LThis with re-voicing some left-hand strokes, them the hi-hat snare Now let’sRcombine ofLrightthe ideas linear with any your Œ = 90 tomsgreatly and other parts ofrhythmic the drumset. will possibilities within theLlinear R expand R R L the R R L R R L available R R R R R Rstyle. L You R can R alsoRexperiment L R L 1 withŒ re-voicing some of the right- and left-hand strokes, moving them from the hi-hat or snare to the = 90 1 toms andRother R Rparts L RofRtheL drumset. R R L R R R R L R R L R R R L R L

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x x x œ> x x œ x x œ> x x x x œ> x x œ x x œ> œ> œ> œ> . 4 ã4 œ x x x >x x œ x x œ > x œ x x x > x x œ x x œ > > > > . ã Œ44 =œ90 x x x œ x x œ œ x x œ œ x œ x x x œ x x œ œ x x œ œ> œ> œ> œ> .. ã 44 œ xR RxR xR L>œL> xR RxR œLL œ xRR xR Rœ œL> L>xR R œ R xR xR xR RœL> xRL> xRR œLR œ L xR xR œR œR> œL>L œR> œL> .. > > > > ã Œ444 =œ90 xR xRxR xR œL>œL xR xRxR œLœL œ xRxR xR xRœ œL œL>xR xR œ xR xR xR xR xRœL xRœL> xRxR œLxR œ œL xR xR œxR œR> œL>œL œR> œL> ... R L R L R R L R R R L R R L R L 4 ãã 44 œœ x >œ> x œ œœ x xœ œ> > x œ x œ xœ> > x œx œ œ œx œ>œ œ>> œ> œ> .. 4 ã 4 œ x xRx x œLœ x xRx œœL œ xxR x xR œ œL x xR xR x œx x xRœ xœL xxR œxR œL x œ x xR œœ œœL> œ œ .... ãã 44 œ R R R œL>L R R R œLLœ R RL Rœ R LœL> RR œLR R R R œL>L R RR œLœL L RœR L œL> R L . œ x >> x œ x x œ > x x œ x > x x œ x œ > R> L> R R L R R L R L R L> R L R R L R L L R L ã 444 œ xR xR xR œLœL> xRxR xR œLœL œxR xRœL xR xRœ œL>œL xRxR œLxR œ xR xR xR œLœL> xR œRxR œLœL œ L RxR œœL œL> œR œL ... œ œ > >>. 4 ãã 4 œ x œ x œ>> x x œ x œ x >œ> œ x œ R x R œL Rx R œL œR xœL x Rœ œL xR œLx œœ xR œx xR œ>œL> œx œRx œLœ œœœL œRx œœœL> œ> œR> œL> ... 4 ã 44 œ x œ x œ x x œ x œ x œ œ x œxœx œ œ œ ãã 44 œœ R Rœ LR RœL> R R RœL œR œL Rœ LRœ œL> œ R œL R œœR R Lœ RR RœœL> œ œR œRLœ œœœL œR RœœLœL> œ œR> œL> ... > > x x >x x x x x œœ >x > x > ã 444 œ xR xRœ œL>xR xRœL xR xR xRœL xR œL xRœ œLxR œL œ xR œL xR œxR xR œL>œ xRxR xRœL> œ R xRL œ œL œR xRœ œLœL> œR> œL> ... œ œ R L R R R L R R L R R R R L > 4 ãã 4 œœ xœ > xœ> œ xœ œ œ xœ œ>œ œ œ œ x œx >œ x xœ> œœ x œœ œœ œ xœ >œ œ> œ> .. > 4 ã 4 œ x xR œL>x xRœ xœ x xRœ œx œ xR œL>x œ œ x œ œ xR xR x œL xRx xRœ œ œ œxR œ œœ œ xR œL>œ œ œ .... ãã 44 œ L RRœ œLR RL R R R L RRœ RœL> L Rœ R R œRL œL>Rœ RR LR Rœ R R œ L R RRœ œL>L R . œ x >x œ x œ œ x œ œ x x x x œ x œ œ x œ > > > ã 444 œ œL xRxR œLxR xRœL œRœ œR xR œ œœL xRxR xRœL> œL> œR R œ xR xRœL œLxR xRxR œLxR œRœ œR xR œ œLœ xR xRxR œL>œL> œR ... ãã 444 œœ L xR œ>xR L> Rœ R œ œœ œL xR xRœ> L> œœR œR œœ œ L œ>xR xR L> Rœ R œ œœ Lœ xR xR œ>L> œ œœR .. œ œ œœ ã 44 œ œL xxR œxR xœL> œR œR xœ œ œL xxR xRœ œL> œR œR œ x œ xœL œxR xxR œL>x œR œR œx œ œL xR xxR œœL> œ œR .... ãã 44 œ œL RR RR LœL> RRœLR R œ œL RR R L œL> œœRR œR œ œœ œ œ œ RœL RxR L>xR œRL> RLœ RR œ œœR œLœR xR L>xR RœL> œRœœR L .. œœ > > > 4 œ xRx xRx L>œ> xRœ Lœ xR œ xRx x L>œ> œR> œ ã 44 œ L xR xR œ>L R œR œ œ L xR xR œ>L Rœ> R œ œ xRœL xRxR œL>xR œxRL> RL RxR œ œxR œLxR xR œL>xR RœL> œœR œR œL ... œ œ œ œ ãã 444 œœ œœ xR xR L>œ> xR L xRœ œœ œœ xR œ L œ> œR œ œœ œœ xRœ xR L> œxR> L xR œœ œxR œxR L> œR>œ> œR>œ L> .. > œ> ã 44 œ œ xRx xRx œLœ xRœ œLœ xR œ œœ xRx œx œL œ œR œ œ œ xRœ xRx œLx œxR œœL œxR œ xR œxR x œLx œR>œ œR>œ œL> .... 4 ãã 4 œ R R œL> R œL Rœ œ R œL> R> œ œ R R œL> R œL R œ œR R œL> œR> œœR> œL> .. œœxx x xœœxœ œ œ x x x x œ x x > > œ> > œ 4 > œ œ ã 4 œ œ xR xR L xR L xR œ œ xR œ L R œ œ xR xR œL xR œL xR œ xR xR œL œR> œR> œL> .. œ> œ> œ> œ> .. œ> œ œ œ œ œ> œ> œ œ œ> œ œ ã 44 œ œ x x x x x x x x x x x œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ .. ã 44 œ œ

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NOTATION

INTRODUCTION TO LINEAR DRUMMING

DRUM KEY

ãx

Hi-Hat with Foot

Snare Drum Bass Drum

œ

œ

œ

Floor Tom

Cross-Stick on the Snare Drum

e X Snare Drum “Ghost Note”

Ride Cymbal (or Hi-Hat)

œ Small Tom

x

˜

x

ˆ

Closed Hi-Hat

x

Open Hi-Hat

About the Authors Percussionist/composer Dave Black received his Bachelor of Music in percussion performance from California State University, Northridge. He has traveled around the world, performing and recording with a wide variety of well-known entertainers and shows. A prolific composer and arranger, Black has had more than 60 of his compositions and arrangements published by most of the major music publishers, and many of those have been recorded. He has been the recipient of numerous awards and commissions, including 26 consecutive ASCAP Popular Composer Awards, two Grammy participation/nomination certificates, the Percussive Arts Society President’s Industry Award, a Modern Drummer Reader’s Poll award (best educational book), two DRUM! Magazine Drummie! Awards (best educational book), and a certified Gold Record award for the sale of more than 500,000 copies of Alfred’s Drum Method, Book 1. In addition, many of his compositions have been used as source/background music on numerous TV shows and movies, including the film Drumline. As one of the highest-selling percussion authors in the world, Black is the author and/or coauthor of over 25 books, including Alfred’s Drum Method (the world’s current bestseller) and the Sound Innovations For Concert Band series. He currently serves as Vice President and Editor-in-Chief, School, Church & Pop Publications, for Alfred Music. Mark Powers studied drumset performance at McNally Smith College of Music (formerly Music Tech) and has traveled to research, perform, and teach a variety of percussion styles all over the world. In addition to educating through the group, rhythm-based workshops that he facilitates in schools, businesses, and other organizations, he is a private instructor and clinician on both drumset and hand percussion instruments. He is coauthor of the book The 2-in-1 Drummer, author of Solo in Style, and contributor to Modern Drummer, Percussive Notes, and other percussion publications.

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Shop for these Alfred Music Authors at our Drum VIP Retailers DANIEL MULLOWNEY

DRUMMER WANTED: A REFERENCE GUIDE TO PREPARE DRUMMERS FOR REAL-WORLD GIGS

DAVE BLACK

ALFRED’S MUSIC PLAYING CARDS: INTERNATIONAL DRUM RUDIMENTS

DENNY SEIWELL

WHAT NOT TO PLAY!: A DRUMMER’S GUIDE TO CRAFTING A DRUM PART

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