Here's another jazz groove which will work on your coordination. I believe that his type of groove has worked it's way into funk playing, as a beginning to ghost note playing. As you work through this groove, you'll hear what I mean. For those of you who "don't care" about jazz, just use this groove as a challenge. Try and work your way through it and make it sound musical.
Jazz Coordination Let's continue our study of coordination. As you might be able to see and hear, the pattern you are playing between either snare and bass drum or snare and hi hat, is a four note phrase made up of eighth notes. These eighth notes are part of eigth note triplets. ADDENDUM OK OK, due to popular demand, here are the four patterns for you. You'll notice that there are three four note patterns per each two measure phrase. This type of phrasing is typical in a jazz format and also in many other styles of music and drumming. You should really know how these all __sound__ and __feel__. Your next lesson is to create the other three variations of this four note pattern and then play them opposite the jazz ride pattern, with two and four in the HH when performing SD and BD. For example, if you begin the four note pattern with a BD, then three SD notes will follow. Here are the previous two lessons. When writing and performing the rest of your lesson, take your time to make sure everything lines up correctly.
Here is the beginning of a very intense and creative form of drumset coordination. I've used these types of exercises, based on African rhythms, to extend my coordination and enhance my creativity. I will add more musical patterns here in the future, as I've always done. It's up to you to examine the applications of these rhythms and patterns after you work through the coordination, which may take some time! Now, these exercises are difficult. They will definitely stretch your coordination and drumming skills. If you find them too difficult, there are many other lessons on this site than can challenge you. In Exercise 1, I play the HH (top line) with my left hand. The small circle above the staff is where the hi hat needs to open. The F under the staff is where you close the HH with your foot, not your hand. Exercise 2 adds the bass drum on the downbeats. As written, you can see the coordination between your HH foot and BD foot, while your hand (I use my left) plays the relatively syncopated rhythm on the HH. Exercise 3 adds a backbeat on beats 2 and 4. Oops, I just noticed that the small circles denoting the open sound are not there. They should be!
Now we'll continue with the next thing I experimented with regarding this interesting HH pattern. What I have done is add a relatively standard 6.8 Afro Cuban bell pattern opposite the HH, with the open and closed notes in the HH. The bell rhythm is first played as notated, on the Snare.
This alone, the bell pattern opposite the other hand pattern, will give you some serious coordination exercise. Adding the Open and Closed sounds in the HH adds one more layer of coordination.
As you have seen and hopefully heard in previous lessons, I've developed many ideas using the more-or-less across the bar line pattern developed from a bell pattern used in the Abakwa rhythm which I first heard in Cuba. Without going into depth regarding what Abakwa is, (you can do the yourself by searching online!), let's look at some other ideas. Please also remember do do these exercises/grooves with either hand playing the ride pattern.
Here, I've just put the rhythm on a ride surface, let's say HH, and added a very simple BD and SD pattern.
Now, I've added the open sound in the HH, as we've done in previous lessons on my site. Really challenging and sounds good.
Now a shuffle type rhythm in the BD, adding to the coordination work.
Finally, adding the open HH pattern.