Ari Hoenig - Systems, Book 1 Drumming Technique and Melodic Jazz Independence (Arrastrado)

 

 

•SYSTEMS• Book 1: Drumming Technique And Melodic Jazz Independence

LIBRO 1: T CNICA DE BATER A E INDEPENDENCIA DEL JAZZ MELÓDICO

by Ari Hoenig edited by Michael Dawson

   

 

SYSTEMS

Book 1: Drumming Technique and Melodic Jazz Independence

LI LIBR BRO O 1: T CN CNIC ICA A DE BA BATE TER RAE INDEPENDENCIA DEL JAZZ MELÓDICO

por Hoeing by Ari Ari Hoenig

editado por Michael Dawson edited y bydiseño Michael Dawson maquetación de Gerald Vitale layout and design by Gerald Vitale carátula de Rebecca Hoenig cover artwork by Rebecca Hoenig fotos de Katie Appleton y Jimmy Katz Descargas MP3 grabadas por Katz photos by Katie Appleton and Jimmy Jimmy Katz mezcladasrecorded por Chris MP3ydownloads by Cuzme Jimmy Katz and mixed by Chris Cuzme Copyright © 2011 by Ari Hoenig Exclusively distributed by Alfred Music Publishing Co., Inc.  All rights reserved. No part part of this book may be reproduced reproduced in any form or by by electronic or

Reservados todos los derechos. Ninguna parte de este libro puede

mechanical means, including information and retrieval systems, without permission in reproducirse de ninguna forma o storage por medios electrónicos o mecánicos, incluidos

los sistemas de almacenamiento y recuperación de author. información, sin el permiso por escrito del autor. writing from the  Audio examples of all all the thiseste book are están are available for download for at:descargar en: Los ejemplos de audio de todos los systems sistemasinde libro disponibles para www.arihoenig.com

Traducción: Traducción: David González Gutiérrez-Solana

     

 

CONTENTS

CONTENIDOS

 Acknowledgements  Acknowledgem  Agradecimientos  Agradecimient osents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Chapter 1: 1: Introducción Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Capítulo Capítulo Chapter 2: 2:Cómo How Tusar o Useste e Thilibro s Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Chapter 3: 3:Sistemas Hand Wapara rm-Ucalentamiento p Systems . .de . . manos .....................................6 Capítulo Capítulo Chapter 4: 4: Calentamientos Flam Warm-upsde. .Flam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

FIntroducción our-Way Co Coaorla dicoordinación nation In Intro. de . . .las . . 4. .extremidades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Chapter 5: 5:Requisitos Swing Preprevios requisitpara es . .el. .Swing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Capítulo Capítulo Chapter6:6:Despl Displazamiento acing Quade rternegras Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Capítulo Chapter 77:: FFill ill-Ien n Eighth Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Capítulo Chapter 8: 8: Off Off-Beats beat SSystems ystems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Capítulo 9:: T Tresillos Chapter 9 riplet PaParciales rtials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Capítulo Tresillos Chapter 10: 10: T 10 riplet Pa PaParciales rtials Be Betwentre een Tdos wo extremidades Limbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Capítulo 11: Chapter 1 1: Fill Fill-en In Ttresillos riplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Chapter 112: 2: Tresillos Quarter-Nde oteNegra Triplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Capítulo Capítulo Tresillos Chapter 113: 3: H alf-Notede TriBlanca plets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

C hapter 114: 4: M elodicmelódicas Line Betwesobre en Twdos o Liextremidades mbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Capítulo Líneas C hapter 15 115: 5: QTresillos uarter-Nde oteNegra Tripletsobre s Be Betwdos eenextremidades Two Li Limbs . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Capítulo CCapítulo hapter 116: 6: M elodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Melodías

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ACKNOWLEDGEMENTS

AGRADECIMIENTOS

Thanks teachers Carl Carl Mottola, Rob Zollman, Ralph Peterson, John Riley,John and Ed   toamy Gracias mis maestros Mottola, Rob Zollman, Ralph Peterson, Riley y Ed Soph all the inspiration they gave me;me Katie Appleton for the photos; por Jimmy Sophfor por toda la inspiración que dieron; Katie Appleton lasKatz fotos; Jimmy

Katz las and fotos y por diseñar el suplemento de grabación; Tambores for the por photos for engineering the recordin recording g supplement; Yamaha drums, Yamaha Zildjian Yamaha, platillos Zildjian, baquetas Vater y parches Evans por suRiley, apoyo; Johnand Riley, cymbals, Vater sticks, and Evans heads for their support; John Ed Soph Jim Ed Soph y Jim Jacobus por su tiempo y sugerencias; Jerad Lippi y Ben Bynum por su Jacobus for their time and suggestions; Lippi andque Benterminaron Bynum for their creative aportación creativa; todos mis otrosJerad estudiantes enseñándome tanto input; all of my other students who have ended up teaching me as much as I have como yo les he enseñado a ellos; Gerald Vitale por el diseño; y, sobre todo, a Mike taught them; Gerald Vitale for the layout; and, most of all, Mike Dawson for his Dawson por su compromiso y trabajo indispensable en este proyecto. commitment and indispensable work on this project.

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Traducción: David González Gutiérrez-Solana

 

 

INTR ODUCCI N   INTRODUCTION

Capítulo CHAPTER 1 1

M

any students are overwhelmed with the realiza-

tion of what they cannot do. They have many   Muchos estudiantes se sienten abrumados alsodarse cuenta de lo things que nothey pueden hacer. Tienenthat tantas want to accomplish theycosas end up que quieren lograr que terminan dedicando muy poco spending toohabilidades little time onmás the most importantEsta skills. This de tiempo a las importantes. serie libros, Systems, está diseñada para ayudarlo a lograr el

series of books, Systems, is set up to help you attain mastery

dominio deskills. habilidades específicas. Proporcionará muchas formas diferentes de practicar una idea.to(Cada of specific It will provide many different ways pracsistema de este libro se considera una idea). El efecto tice one (Each system in these is thought of as será una idea. capacidad mejorada para books improvisar con fluidez alrededor tema, agregará ability una profundidad one idea.)de Theun effect willlobeque an enhanced to improvise melódica mucho mayor a su interpretación. fluidly around a theme, which will add much greater melodic depth to your playing. This book is divided into two main parts. Chapters 3–15

Este libro se divide en dos partes principales. Los capítulos 3are a 15 los sistemas de coordinación. capítulo 16 theson coordination systems. Chapter 16 isEl a collection o f es of una colección de melodías para practicar con los sistemas. melodiesdiferentes to be practiced with the systems. Practicing differPracticar variaciones melódicas con los sistemas evitará que tevariations aburras with mientras te involucras en you el proceso ent melodic the systems will keep from repetitivo necesario para mejorar tu coordinación. getting bored while you engage in the repetitive process needed to improve your coordination

Valores notas Note  de Values Some of the systems focus on note values, which can be

 Algunos de los sistemas se centran en los valores de las thoughtque of aspueden short (eighth notes) and long (quarters or longer). notas, considerarse cortos (corcheas) y largos (negras o más largos). Las notas vinculadas se  Any tied notes will be played as long notes. For the warm-up reproducirán como notas largas. Para las secciones de calentamiento (Capítulos 3 any y 4),rests los are silencios agregan sections (Chapters 3 and 4), added se to the beat al valor de tiempo de la nota que lo precede. Por lo tanto, thecorchea note which precedes it. So, if there an eighthse sivalue hay of una seguida de un silencio de iscorchea, trata unabynota larga.rest, it is treated as a long note. notecomo followed an eighth La segunda nota o tresillo The Second Note of the Triplet In jazz or other triplet-based music, mus ic, melodies which are

En el jazz u otra notes música en tresillos, written as eighth arebasada often swung (played las withmelodías triplet que se escriben como corcheas a menudo se balancean subdivisions). interpretation,de the tresillos). melody can En fall only (tocadas conIn this subdivisiones esta interpretación, la melodía puede caer solo en el primer on the first or third triplet, but never on the second. After a o tercer tresillo, pero nunca en el segundo. Después de un while, this approach canpuede create crear a limitation your idea en of su tiempo, este enfoque una inlimitación idea de swing. Hubo un tiempo en que la segunda nota del swing. There was a time when w hen the second note of the triplet tresillo rara vez se tocaba en el jazz. Recientemente, sin embargo, ha convertido en una parte , más was rarelyse played in jazz. Recently, however however, it hascomún becomedel lenguaje y la puede usarse delanguage maneraand efectiva para generar a more en common part of the can be effectively tensión música. used to build tension in the music. A large part of this book

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Gran parte de este libro se concentra en escuchar la segunda nota del tresillo y comprender su ubicación correcta.

concentrates on hearing the second note of the triplet and understanding its correct placement.

Creatividad e Individualidad Creativity and Individuality  The exercises are laid out in a structured and methodical

Los ejercicios se presentan de forma estructurada y way. Mastering them will give you more theladrummetódica. Dominarlos te dará más choices opcionesonen batería, lo que te permitirá la máxima libertad creativa set, which will allow for maximum creative freedom while mientras improvisas. Practicar de forma estructurada le ayudará en improvising. Practicing in a structuredde way will ultimately última instancia a desempeñarse forma creativa.help you perform in a creative way.

No es necesario dominar cada uno de los sistemas de este libro. su lugar, piense entheestos ejemplos como It’s not En necessary to master each of systems in this herramientas de referencia para diferentes posibilidades. La book. of these examples reference tools ideaInstead, es quethink te enfoques en ciertosassistemas que te for inspiran. Solo asegúrese de comprometerse a dominar los sistemas different possibilities. The idea is for you to focus on certain uno a uno. También les animo a que creen sus propios systems thatpara inspire you. Justuna make sure you en commit to sistemas desarrollar voz única el instrumento. mastering the systems one at a time. I also encourage you to come up with your own systems in order to develop a unique voice on the instrument.

   

USTO ARUSE ESTHIS TE LBOOK IBRO   HOW

C M CHAPTER 2 O

Capítulo 2

elody pages 1–4, in Chapter 16, consist of fairly traditional

ones. This is similar sim ilar to learning a new language, where w here it’s it’s more

rhythms that don’t use the second note of the triplet. These

  Esto similar a aprender un nuevo idioma, es más important toes learn words, from which you can createdonde your own

M   Las páginas de melodía 1-4, en el capítulo 16, consisten en ritmos bastante tradicionales que no usan la segunda nota

importante aprender palabras, a partir de las cuales puede crear

pages are notated as eighthestán notesanotadas and can be played with ay se del tresillo. Estas páginas como corcheas

sentences, rather than just en memorizing phrases. The best sus propias oraciones, lugar deentire simplemente memorizar

puedenortocar sensación recta o swing, según el straight swingcon feel,una depending on the system being used.

way to practice the systems is to begin bar ofluego the comenzar repitiendo un compas de by la repeating melodía aone la vez,

sistema que se utilice. Las páginas de melodía 5-8 incluyen ritmos que utilizan la segunda nota del the tresillo. Nonote todas Melody pages 5–8 include rhythms using second of las the páginas deben reproducirse conplayed cada sistema, por triplet. allmelodías of theen melody pages are to be with each lo queNot hede indicado el texto descriptivo antes de cada sist sistema ema qué páginas de melodías deben usarse.

system, sys tem, so I’ve indicated in the descriptive text before each system which melody pages should be used.

frases enteras. La mejor manera de practicar los sistemas es

dos y atluego cuatro. No and recomiendo lasrecommend páginas de la melody a time, then two, then four.tocar I don’t melodía de principio a from fin a beginning menos que quieras practicar lectura a primera vista. playing the melody pages to end unless you wantla to practice sightreading. It’s also important to be aware of how you’re playing the sys-

del texto descriptivo, incluido un ejemplo    After Después the descriptive the descriptive text, I’ve text, included he included a notated no tated example example of the the anotado del sistema combinado con los primeros compases de la melodía correspondiente la bars página 1. Estopage le mostrará system combined with the firstafew of melody 1. This cómo encajan el sistema y la melodía. Aquí están los dos will show you how the and de melody fit together. together . Here are primeros compases desystem la melodía la página 1.

  También es importante saber cómo está tocando con los tems. Ask yourself, “Is my time Are constante? the dynamics¿Las of sistemas. Pregúntese: “¿Miconsistent? tempo es dinámicas de los diferentes componentes de la batería son the different components of the drumset equal with each other iguales entre sí? " La práctica repetitiva te hará consciente de las inconsistencias en tu interpretación que no antes. and with themselves?” Repetitive practice willhabías make notado you aware of  A continuación, continuación, puede aislar estos problemas y mejo mejorarlos. rarlos.

the first two measures of melody page 1.

inconsistencies in your playing that you hadn’t noticed before. You can then isolate these problems and improve on them.  As you’re working on these systems, always use a metronome

  If theSisystem el sistema a utilizar conofcualquiera de las5–8, p ginas is to se be va used with any melody pages there de melodía 5-8, habrá un segundo ejemplo anotado del sistema will be a second of the system combined withde the combinado connotated los dosexample primeros compases de la página melodía 5. first two bars of melody page 5.

  Mientras trabaja en estos sistemas, utilice siempre un ormetrónomo play along to your favorite recordings. Also, keep a record of un o toque sus grabaciones favoritas. Además, lleve registro de su tempo máximo para cada sistema. Su velocidad your maximum tempo for each system. Your top speed will vary máxima variará de una página a otra y, en algunos casos, de un from page ato otro. page Anotar and, in sometempos cases, from bar to bar. Noting un compás le sugerencia ayudará a de realizar seguimiento de su mejorasus y le dará una con qué

tempo comenzar durante su próxima sesión de práctica. and your tempos will help you keep track of your improvement give you a suggestion of what tempo to begin with during your next practice session. When you start working on a new system, begin extremely slowly, and then work your way up in increments of four beats per

Preceding the eighth note and triplet melody pages, I’ve includ-

  Antes de las páginas de melodía de corchea y tresillo, he ed what I call “partial pages.” These two pagesEstas contain incluido lo que llamo "páginas parciales". dossystematic páginas contienen agrupaciones sistemáticas de dos, tres y cuatro groupings two, three, and parcial four notes. first con partial page is y notas. Laofprimera página está The escrita corcheas corresponde a las páginas 1–4 de la melodía. La segunda written using eighth notes and corresponds to melody pages 1–4. página parcial utiliza tresillos y se corresponde con las páginas de second melodíapartial 5-8. Estas dos páginas contienen los bloques The page uses triplets and corresponds with de construcción rítmicos básicos que se utilizan en las melodías

  Cuando comience a trabajar en unpage nuevo sistema, comience minute. Once you’ve mastered a melody with one system, extremadamente lento y luego aumente en incrementos de

move on to thepor next page using the que same system. Different cuatro BPM minuto. Una vez haya dominado una meapágina

de melodía con un sistema, pase a la página siguiente usando el

sures of the melodySerá pages will needtrabajar to be worked on at de different mismo sistema. necesario las páginas melodía

en diferentes tempos, dependiendo de cuán técnicamente desafiantes sean. Empiece a 52 BPM y vaya subiendo. No se desanime si minute, ha estado con up. dosDon’t compases de una at 52 beats per andtrabajando work your way be discourmelodía a 100 BPM pero solo puede tocar los dos compases tempos, depending on how technically challenging they are. Start

melody pages 5–8. These two pages contain rhythmic siguientes. practique laslaspáginas parciales con sistemas. (SiPrimero un sistema solo usa páginasthe debasic melodía 1 alos 4, building blocks used in the la subsequent melodies. Practice the parno es necesario practicar segunda página parcial con él).

aged if you’vea been working with twose bars of a melody at 100 siguientes 70 BPM. Así es como supone que funciona. BPM but can only play the next two bars at 70 BPM. That’s how

tial pages with the systems first. (If a system only uses melody

it’s supposed to work.

pages 1–4, there’s no need to practice the second partial page

MUSIC KEY

  En gener general, al, obten obtendr dr m s beneficios beneficios si domina domina ideas breves with it.) en lugar de memorizar frases largas. Esto le permitirá mejorar nuevas ideas juntando frases cortas para crear otras In general, más largas. you’ll get more benefit by mastering short ideas instead of memorizing long phrases. This will allow you to improvise new ideas by piecing together short phrases to create longer

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Traducción: David González Gutiérrez-Solana Traducción:

 

 

  DE CALENTAMIENTO DE MANOS CHAPTERSISTEMAS 3

 HAND WARM-UP SYSTEMS

Capítulo 3

A 

good way to warm-up your hands and improve technique is to accent the rhythm of a melodic line while playing different subdivisions and stickings. More than one possible sticking exists for some of these systems, so explore different different options to find what works best for you. You can orchestrate each of these examples in a few different ways: 1) Play all accented and non-accented notes on the snare. 2) Play the accented notes on the toms (playing whichever tom fits best within the sticking) and the non-accented notes on the snare. 3) Play the accented notes with a cymbal and the bass drum together, together, while the non-accented notes remain on the snare. Play 2 and 4 on the hi-hat for each of these warm-ups. Hand Warm-up 1  Alternate eighth notes while while accenting the line (melody pages 1–4).

Hand Warm-up 2  Alternate triplets while accenting the line (melody (melody pages 1–8).

Hand Warm-up 3  Alternate sixteenth notes while while accenting the line line (melody pages 1–4).

Hand Warm-up 4 Play the melody with the right hand and bass drum, while filling in triplets on the snare. The left hand will do the bulk of the fill-ins, with the right hand being used only when more than two fill-in notes are to be played. It may be helpful to write out several sticking options for this example in order to avoid playing more than two consecutive notes with one hand. Repeat this system start-

ing with the left hand. The first four bars of melody pages 1 and 5 are used as an example here (melody pages 1–8).

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Hand   Warm-up 5 Play the eighth notes of the melody as two alternating sixteenths (RL or LR) and the quarter notes as paradiddles. paradiddle s. Anything longer than quarter notes should be played as single strokes with a double at the end. Accent the melodic line. All rests should be added to the notes preceding them (melody pages 1–4).

Hand Warm-up 6 Play alternating eighth-note triplets. Accent the melody while playing the non-accented notes as double double strokes (melody pages 1–8).

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 Hand Warm-up 7 Play 32nd notes. Eighth notes in the melodic line are played as single strokes (RLRL or LRLR), while longer notes are singles with a double at the end. Remember, any rests are added to the beat value of the note that precedes it. So, if there is an eighth note followed by an eighth rest, treat that note as if it were a quarter note (melody pages 1–4).

Hand Warm-up 8 Eighth notes in the melody are to be played as 32nd-note paradiddles, while longer notes become singles followed by as many doubles as necessary to complete the note value (melody pages 1–4).

Hand Warm-up 9 Eighth notes in the melody become 32nd-note double strokes (RRLL or LLRR), while longer notes are

played as doubles ending with two singles. When applying drumset orchestration variations 2 and 3, which were explained at the beginning of this chapter, chapter, you would play the note directly after the accented note on the same tom or cymbal as the accented note (melody pages 1–4).

**For Warm-ups 10 and 11, the melody can be phrased with straight eighth notes or with a swing feel. **For Here the melody is notated using a swing feel, so the accents fall on the first and third triplet partials. Hand Warm-up 10 Play continuous sixteenth-note triplets. Melody notes are played as singles ending with a double (melody pages 1–4).

Hand Warm-up 11  Again, play continuous sixteenth-note sixteenth-note triplets. Melody Melody notes are played played as doubles (RR or LL) followed followed by as many singles as necessary to complete the note value (melody pages 1–4).

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  Hand Warm-up 12 Play all eighth notes of the melody on the small tom and all longer notes on the floor tom. Fill in triplets on the snare with an appropriate sticking (no crossovers). It may be helpful to write out some sticking patterns for this one. The first four bars of melody pages 1 and 5 are used as an example here (melody pages 1–8).

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CHAPTER 4

   FLAM WARM-UPS

Flam Warm-up 1 While playing continuous sixteenth notes, eighth notes in the melody become flam taps (lRR or rLL). Quarter notes, or notes of longer values, are given the same sticking followed by single strokes. When playing with melody pages 5–8, the system changes a little in that each eighth-note triplet is played as LRR, while quarter notes or longer are given the same sticking followed by single strokes (melody pages 1–8).

Flam Warm-up 2 While playing 32nd notes, play eighth notes in the melody as flammed mills (lRRLR or rLLRL). Quarter notes, or notes of longer values, are given the same sticking followed by single strokes (melody pages 1–4).

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Flam   Warm-up 3 Within sixteenth-note triplets, play the eighth notes of the melody as Swiss-Army triplets (lRRL or rLLR). Quarter notes, or notes of a longer value, are given the same sticking followed by single strokes (melody pages 1–4).

Flam Warm-up 4 Play each note of the melodic line as a flam, while filling-in with unaccented triplets. This system will use the following stickings, depending on how many notes are played between the flams: 1 note: lR, rL (reverse flams) 2 notes: lRR, rLL (flam tap)

3 notes: lRRL, rLLR (Swiss-Army triplets) 4 notes: lRRLR, rLLRL (single flammed mill) 5 notes: lRRLRL, rLLRLR Use melody pages 1–8 with this system.

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FOUR-WAY COORDINATION INTRO   e are now in the four-way coordination section, which makes up the bulk of this book. The following systems involve playing an ostinato in one or more limbs, while playing a melodic line with the remaining limb(s). In order to keep the written notation of this section from looking overly busy busy,, I’ve broken each system into two parts: the ostinato and the melody orchestration. The ostinatos should be memorized and internalized before beginning to explore the melodic material. This process will help you differentiate between rhythms that are part of the repeated ostinato from ones that are part of the melody. For clarity, the ostinato is written in grey, while the melody is notated in black. Note that whenever the bass drum is not included in the system, it should be feathered (played very softly) on all quarter notes. Likewise, the hi-hat should be played on 2 and 4 throughout, unless it’s part of the system.

W

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Hi-Hat Melody 

Some of these systems have the hi-hat playing the melody. You may need to slow down the tempo in order to practice these systems because it is especially difficult to play consecutive notes on the hi-hat with the foot. Just relax and think about keeping the time in the pocket. You’ll know when you’re ready to increase the tempo on your metronome.  Application and Orchestration Orchestration

For these systems, the limbs are marked one way way,, but the sound sources are ultimately left up to you. For example, if you’re practicing a system where the left hand plays the melody, you can use the snare, small tom, rim click, or any other sound source. The right hand doesn’t always have to play the ride cymbal either. It’s also free to play any other sound source. There will be specific sounds selected in my two-bar examples. But these are only suggestions. This book is written from a right-handed perspective. If you play the ride cymbal with your left hand, simply reverse the stickings.

 

 

CHAPTER 5

 SWING PREREQUISITES

he following eleven systems are designed to build basic jazz independence. independence. For all of these, the ride cym 

melody.. All of the Tbal plays a standard swing pattern while the other limbs either play an ostinato or the melody

prerequisite systems can also be practiced with a straight eighth-note feel. When practicing that way prerequisite way,, play the hi-hat on all four beats instead of on 2 and 4, and change the ride cymbal rhythm to straight eighths. Here’s Here’ s the basic ostinato that will be used with the Swing Prerequisite systems. The bass drum is left out of the systems where it should be feathered in order to keep the notation from looking too busy.

Basic Prerequisite ostinato

Prerequisite 1 Prerequisite Play the melody line on the snare (melody pages 1–8).

Prerequisite Prerequisit e2

Play the melody on the bass drum (melody pages 1–8).

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Prerequisit e 3 Prerequisite Play the melody between the snare and bass drum, with short (eighth) notes on the snare and quarter notes (or longer) on the bass drum (melody pages 1–4).

Prerequisite 4 Prerequisite Play the melody between the snare and bass drum, with quarter notes (or longer) on the snare and eighth notes on the bass drum (melody pages 1–4).

Prerequisite Prerequisit e5

Play the melody on the hi-hat (melody pages 1, 2, 5, and 6).

Prerequisite 6 Prerequisite Phrase the melody between the snare and hi-hat. Eighth notes are on the snare and quarter notes (or longer) are on the hi-hat (melody pages 1–4).

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Prerequisit e 7 Prerequisite Play the melody between the feet, with eighth notes on the bass drum and quarter notes (or longer) on the hi-hat (melody pages 1–4).

Prerequisite 8 Prerequisite Play the melody between the snare and hi-hat, with quarter notes (or longer) on the snare and eighth notes on the hi-hat (melody pages 1–4).

Prerequisite Prerequisit e 9 of the melody  Alternate notes melody between the feet, starting starting with the bass drum (melody (melody pages 1–8).

Prerequisite Prerequisit e 10  Alternate notes of the melody melody between the snare and bass drum, beginning beginning with the snare (melody pages 1–8).

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  Prerequisite Prerequisit e 11

 Alternate the notes of the melody melody between the snare snare and hi-hat, beginning beginning with the snare (melody pages 1–8).

16 

SYSTEMS

 

 

 DISPLACING  QUARTER NOTES

CHAPTER 6

For the next group of systems, we’re shifting a quarter-note ostinato to each part of the triplet.

THIRD NOTE OF THE TRIPLET ON THE SNARE / SWING RIDE PATTERN

System 1 Play the melodic line on the bass drum and play the hi-hat on 2 and 4 (melody pages 1–8).

System 2 Play the melody on the hi-hat (melody pages 1, 2, 5, and 6).

18 

SYSTEMS

 

System   3 Play the melody with the feet, eighth notes on the bass drum, and quarter notes (or longer) on the hi-hat (melody pages 1–4).

System 4 Play the melody with the feet, quarter notes (or longer) on the bass drum, and eighth notes on the hi-hat (melody pages 1–4).

System 5 Starting with the bass drum, alternate notes of the melody between the feet (melody pages 1–8).

SYSTEMS

19

   

THIRD NOTE OF THE TRIPLET ON THE BASS DRUM / SWING RIDE PATTERN

System 6  Play the melody on the snare, while palying the 3rd note of the triplet on the bass drum. The hi-hat plays on 2 and 4 (melody pages 1–8).

System 7 Play the melody on the hi-hat (melody pages 1, 2, 5, and 6).

System 8 Play the melody on the snare and hi-hat—long notes on the snare and short notes on the hi-hat (melody pages 1–4).

System 9 Reverse the orchestration—long notes on the hi-hat and short notes on the snare (melody pages 1–4).

20 

SYSTEMS

   

System   10  Alternate the notes of the melody melody between the snare snare and hi-hat (melody pages pages 1–8).

THIRD NOTE OF THE TRIPLET IN THE HI-HAT / SWING RIDE PATTERN

System 11 Play the melody on the snare (melody pages 1–8).

System 12 Play the melody on the bass drum (melody pages 1, 2, 5, and 6).

SYSTEMS

21

 

   System 13 Play the melody between the snare (eighth notes) and bass drum (quarter notes and longer). (melody pages 1–4)

System 14 Reverse the orchestration—quarter orchestration—quarter notes on the snare and eighth notes on the bass drum (melody pages 1–4).

System 15  Alternate the notes of the melody melody between the snare snare and bass drum (melody (melody pages 1–8).

SECOND NOTE OF THE TRIPLET ON THE SNARE / SWING RIDE PATTERN

System 16 Play the melody on the bass drum, and 2 and 4 on the hi-hat (melody pages 1–8).

22 

SYSTEMS

 

System 17

Play  the melody on the hi-hat (melody pages 1, 2, 5, and 6).

System 18 Play the notes of the melody between the feet—eighth notes on the bass drum and quarter notes or longer on the hi-hat (melody pages 1–4).

System 19 Reverse the orchestration (quarter notes or longer on the bass drum and eighth notes on the hi-hat). (melody pages 1–4)

SYSTEMS

23

 

System 20     with the bass drum, alternate the notes of the melody between the feet (melody pages 1–8). Beginning

SECOND NOTE OF THE TRIPLET ON THE BASS DRUM/ SWING RIDE PATTERN

System 21 Play the melody on the snare, and 2 and 4 on the hi-hat (melody pages 1–8).

System 22 Play the melody on the hi-hat (melody pages 1, 2, 5, and 6).

24 

SYSTEMS

 

System  23 Play the melody between the snare (long notes) and hi-hat (eighth notes). (melody pages 1–4)

System 24 Reverse the orchestration (short notes on the snare and long notes on the hi-hat). (melody pages 1–4)

System 25  Alternate the notes of the melody melody between the snare snare and hi-hat (melody pages pages 1–8).

SYSTEMS

25

   

SECOND NOTE OF THE TRIPLET ON THE HI-HAT/SWING RIDE PATTERN

System Play  the 26 melody on the snare (melody pages 1–8).

System 27 Play the melody on the bass drum (melody pages 1–8).

System 28 Play the melody between the snare (eighth notes) and the bass drum (long notes). (melody pages 1–4)

26 

SYSTEMS

 

System  29 Play the melody between the snare (long notes) and the bass drum (eighth notes). (melody pages 1–4)

System 30  Alternate notes of the melody melody between the snare and bass drum (melody (melody pages 1–8).

SYSTEMS

27

 

CHAPTER 7

 FILL-IN  EIGHTH NOTES

In this section we’re going to fill in any eighth notes that aren’t played in the melodic line. The melody is notated here as swung eighth notes but can be played straight as well. System 1 Play the melody with both hands in unison, while filling in the remaining eighth notes with the bass drum. The hi-hat plays on 2 and 4 (melody pages 1–4).

System 2 Play the melody on the ride cymbal and bass drum in unison, while filling in eighth notes with the snare. The hi-hat plays quarter notes (melody pages 1–4).

System 3 Play the melody on the crash cymbal and bass drum in unison, while filling in eighth notes with the right hand on the floor tom. The hi-hat plays quarter notes (melody pages 1–4).

System 4 Play the melody on the bass drum, while filling in eighth notes with the snare. The hi-hat plays on 2 and 4, and the ride cymbal plays a swing pattern (melody pages 1–4).

System 5 Play the melody on the snare, while filling in with the bass drum. The hi-hat plays on 2 and 4, and the ride cymbal plays a swing pattern (melody pages 1–4).

28 

SYSTEMS

 

 

System 6 Play the melody on the bass drum, while filling in eighth notes with the snare. Play the hi-hat on the offbeats. The ride cymbal plays a swing pattern (melody pages 1–4).

System 7 Play the melody on the snare, while filling in eighth notes with the bass drum. Again, play offbeats on the hi-hat and a swing pattern on the ride cymbal (melody pages 1–4).

System 8  Alternate the notes of the melodic melodic line between between the snare and the hi-hat. hi-hat. Fill in eighth notes with the bass drum, while playing a swing pattern on the ride cymbal (melody pages 1–4).

System 9  Alternate the notes of the melody melody between the feet, while while filling in eighth notes with with the snare. The ride cymbal plays a swing pattern (melody pages 1–4).

SYSTEMS

29

 

 OFF-BEAT SYSTEMS

  8 CHAPTER

This chapter involves ostinatos with one limb playing the “&” of beats 1 and 3 or 2 and 4. These systems are great for playing faster tempos, and can be phrased using straight eighths or with a swing feel. System 1 Play the melody on the bass drum. The hi-hat plays quarter notes, and the ride cymbal plays a swing pattern. The snare plays on the “&” of beats 1 and 3 (melody pages 1–4).

System 2 Play the melody on the snare. The hi-hat plays quarter notes, and the ride cymbal plays a swing pattern. The bass drum plays on the “&” of beats 1 and 3 (melody pages 1–4).

System 3 Play the melody on the snare. The ride cymbal plays a swing pattern, and the hi-hat plays on the “&” of beats 1 and 3 (melody pages 1 and 2).

System 4 Play the eighth notes of the melody on the snare, and quarter notes (or longer) on the bass drum. The ride cymbal plays a swing pattern, and the hi-hat plays on the “&” of beats 1 and 3 (melody pages 1–4).

30 

SYSTEMS

 

  System 5 Play the eighth notes of the melody on the bass drum and quarter notes (or longer) on the hi-hat. The ride cymbal plays a swing pattern, and the left hand plays on the “&” of beats 1 and 3 (melody pages 1–4).

System 6 Play the melody on the bass drum. The hi-hat plays quarter notes, and the ride cymbal plays a swing pattern. The snare plays on the “&” of beats 2 and 4 (melody pages 1–4).

System 7

Play the melody on the snare. The hi-hat plays quarter notes, and the ride cymbal plays a swing pattern. The bass drum plays on the “&” of beats 2 and 4 (melody pages 1–4).

System 8 Play the melody on the snare. The ride cymbal plays a swing pattern, and the hi-hat plays on the “&” of beats 2 and 4 (melody pages 1–4).

System 9 Play eighth notes of the melody on the snare, and quarters (or longer) on the bass drum. The ride cymbal plays a swing pattern, and the hi-hat plays on the “&” of beats 2 and 4 (melody pages 1 and 2).

SYSTEMS

31

 

System 10 Play eighth notes of the melody on the bass drum, and quarters (or longer) on the hi-hat. The ride cymbal   plays a swing pattern, and the snare plays on the “&” of beats 2 and 4 (melody pages 1–4).

32 

SYSTEMS

 

 

  9 CHAPTER

 TRIPLET PARTIALS

In this section, we’re using the different triplet partials as ostinatos on the snare and bass drum. The ride cymbal plays a swing pattern. This creates a shuffle groove.

System 1 Play the melody on the bass drum, and 2 and 4 on the hi-hat (melody pages 1–8).

System 2  Alternate the notes of the melodic melodic line between between the feet, beginning with the the bass drum (melody pages pages 1–8).

System 3 Play the melody between the bass drum (long notes) and the hi-hat (eighths). (melody pages 1–4)

34 

SYSTEMS

 

System 4   Play the melody on the snare, and play 2 and 4 on the hi-hat (melody pages 1–8).

System 5  Alternate the notes of the melody melody between rim clicks clicks and the hi-hat, starting with the rim click (melody pages 1–8).

System 6 Play the melody between rim clicks (eighths) and the hi-hat (long notes). (melody pages 1–4)

SYSTEMS

35

 

System 7  Play the melody on the bass drum, and play 2 and 4 on the hi-hat (melody pages 1–8).

System 8  Alternate the notes of the melody melody between the feet, beginning beginning with the bass drum drum (melody pages 1–8).

System 9 Play the melody on the bass drum (long notes) and hi-hat (eighths). (melody pages 1–4)

36 

SYSTEMS

 

 

4

  System 10 Play the melody on the snare, and play 2 and 4 on the hi-hat (melody pages 1–8).

System 11  Alternate the notes of the melody melody between the snare snare and hi-hat, beginning beginning with the snare (melody pages 1–8).

System 12 Play the melody on the snare (eighths) and hi-hat (long notes). (melody pages 1–4)

SYSTEMS

37

 

System 13   Play the melody on the bass drum, and play 2 and 4 on the hi-hat (melody pages 1–8).

System 14  Alternate the melody notes notes between the feet, beginning beginning with the bass drum (melody (melody pages 1–8).

System 15 Play the melody on the bass drum (long notes) and the hi-hat (eighths). (melody pages 1–4)

38 

SYSTEMS

 

System 16  

Play the melody on the snare, and play 2 and 4 on the hi-hat (melody pages 1–8).

System 17  Alternate the melody between between the snare and hi-hat (melody pages pages 1–8).

System 18 Play the melody on the snare (eighths) and the hi-hat (long notes). (melody pages 1–4)

SYSTEMS

39

 

  10 CHAPTER

  TRIPL TRIPLEE T PARTI PARTIALS ALS BET BETWEEN WEEN TWO LIMBS LIMBS

In this chapter we’re going to break the triplet-partial ostinatos between two limbs, while playing the melody with the other.

System 1 Orchestrate triplets between the snare (2nd note of the triplet) and the hi-hat (3rd note of the triplet). Play the melody on the bass drum (melody pages 1–8).

System 2 Reverse the ostinato so the snare is playing the 3rd parallel, and the hi-hat is playing the 2nd partial. Play the melody on the bass drum (melody pages 1–8).

40 

SYSTEMS

 

System 3  

Orchestrate triplets between the bass drum (2nd partial) and the hi-hat (3rd partial). Play the melody on the snare (melody pages 1–8).

System 4 Reverse the partial orchestration so the bass drum plays the third partial and the hi-hat plays the second. Continue to play the melody on the snare (melody pages 1–8).

SYSTEMS

41

 

System 5  

Orchestrate triplets1, between the hat (melody pages 2, 5, and 6).snare (2nd partial) and the bass drum (3rd partial). Play the melody on the hi-

System 6 Reverse the partial orchestration so the snare plays the third partial and the bass drum plays the 2nd. Continue to play the melody on the hi-hat (melody pages 1, 2, 5, and 6).

42 

SYSTEMS

 

 FILL-IN  TRIPLETS

CHAPTER 11

This section involves filling in triplets that aren’t played in the melody. melody. System 1 Play the melody with both hands while filling in the remaining triplets on the bass drum. The hi-hat plays on 2 and 4 (melody pages 1–8).

System 2 Play the melody on the ride cymbal and bass drum while filling in the remaining triplets on the snare.

The hi-hat plays on 2 and 4 (melody pages 1–8).

System 3 Play the melody on the crash cymbal and bass drum while filling in the remaining triplets on the floor tom. The hi-hat plays on 2 and 4 (melody pages 1–8).

44 

SYSTEMS

 

  System 4 Play the melody on the bass drum, and fill-in triplets on the snare. Play a swing pattern on the ride cymbal, and 2 and 4 on the hi-hat (melody pages 1–8).

System 5 Play the melody on the snare while filling in triplets on the bass drum. Play a swing pattern on the ride cymbal, and 2 and 4 on the hi-hat (melody pages 1–8).

System 6 Play the melody on the hi-hat, and fill-in triplets on the snare. Play a swing pattern on the ride r ide cymbal (melody pages 1, 2, 5, and 6).

SYSTEMS

45

 

System   7 Play the melody on the hi-hat, and fill-in triplets on the bass drum. Play a swing pattern on the ride cymbal (melody pages 1, 2, 5, and 6).

System 8 Play the melody notes between the bass drum (long notes) and hi-hat (eighth notes). Fill-in triplets on the snare and play a swing-ride pattern (melody pages 1–4).

System 9  Alternate the melodic line line between the feet feet (starting with the bass drum), drum), while filling in triplets on the the snare. Play a swing pattern on the ride cymbal (melody pages 1–8).

46 

SYSTEMS

 

  System 10 Play the melody between the snare (eighth notes) and hi-hat (long notes). Fill in the triplets on the bass drum, and play a swing pattern on the ride cymbal (melody pages 1–4).

System 11  Alternate the melody notes notes between the snare and and hi-hat. Fill in with the bass bass drum, and play a swing-ride swing-ride pattern (melody pages 1–8).

System 12 Play the melody on the toms, orchestrating eighth notes on the small tom and long notes on the floor tom. The snare drum and bass drum alternate fill-ins, beginning with the bass drum. (The bass drum always plays the triplet fill-in immediately after the melody notes.) Play 2 and 4 on the hi-hat. You may need to write out your own stickings for this one (melody pages 1–4).

SYSTEMS

47

 

CHAPTER 12

 QUARTER-NOTE  TRIPLETS

This section focuses on quarter-note triplet ostinatos, both on and off the t he beat.

System 1 The snare plays the melody melody,, while the bass drum plays quarter-note triplets. Play a swing-ride pattern, and 2 and 4 on the hi-hat (melody pages 1–8).

System 2 The hi-hat plays the melody, while the bass drum plays quarter-note triplets. The ride cymbal plays a swing pattern (melody pages 1, 2, 5, and 6).

48 

SYSTEMS

 

  System 3 The bass drum plays the melody. Play quarter-note quarter-note triplets with rim clicks. The ride cymbal plays a swing pattern, and the hi-hat plays on 2 and 4 (melody pages 1–8).

System 4 Play quarter-note triplets with rim clicks while the hi-hat plays the melody. The ride cymbal plays a swingride pattern. Even though it’s not written, remember to feather the bass drum on all four beats (melody pages 1, 2, 5, and 6).

System 5 The snare plays the melody while the hi-hat plays quarter-n quarter-note ote triplets. The ride cymbal plays a swing pattern (melody pages 1–8).

SYSTEMS

49

 

  6 System The bass drum plays the melody while the hi-hat plays quarter-note triplets. The ride cymbal plays a swing pattern (melody pages 1–8).

System 7 Play the melody on the snare and off-beat quarter-note triplets on the bass drum. The ride cymbal plays a swing pattern, and the hi-hat plays on 2 and 4 (melody pages 1–8).

50 

SYSTEMS

 

  System 8 Play the melody on the hi-hat, and off-beat quarter-note quarter-note triplets on the bass drum. The ride cymbal plays a swing pattern (melody pages 1, 2, 5, and 6).

System 9 Play the melody on the bass drum and off-beat quarter-note quarter-note triplets with rim clicks. The ride cymbal plays a swing pattern, and the hi-hat plays on 2 and 4 (melody pages 1–8).

System Play the 10 melody on the hi-hat and off-beat quarter-note quarter-note triplets with rim clicks. The ride cymbal plays a swing pattern (melody pages 1, 2, 5, and 6).

SYSTEMS

51

 

  System 11 Play the melody on the snare, and off-beat quarter-note triplets on the hi-hat. The ride cymbal plays a swing pattern (melody pages 1–8).

System 12 Play the melody on the bass drum, and off-beat quarter-note quarter-note triplets on the hi-hat. The ride cymbal plays a swing pattern (melody pages 1–8).

52 

SYSTEMS

 

System 13   Play the melody on the snare while filling in triplets with the bass drum. Play off-beat quarter-note quarter-note triplets on the hi-hat and a swing pattern on the ride cymbal (melody pages 1–8).

System 14 Play the melody on the ride cymbal while filling in triplets on the snare. Play quarters on the hi-hat and off-beat quarter-note quarter-note triplets on the bass drum. Try some different stickings, similar to what you did for System 4 in Chapter 3 (melody pages 1–8).

SYSTEMS

53

 

 HALF-NOTE  TRIPLETS

CHAPTER 13

The next dozen systems include half-note triplets, both on and off the beat.

System 1 The snare plays the melody melody,, and the bass drum plays half-note triplets. The ride cymbal plays a swing-ride pattern, and the hi-hat plays on 2 and 4 (melody pages 1–8).

System 2 The hi-hat plays the melody, and the bass drum plays half-note triplets. The ride cymbal plays a swing pattern (melody pages 1, 2, 5, and 6).

54 

SYSTEMS

 

  System 3 The bass drum plays the melody, and the snare plays half-note triplets. The ride cymbal plays a swing pattern, and the hi-hat plays on 2 and 4 (melody pages 1–8).

System 4 The hi-hat plays the melody, and the snare plays half-note triplets (as rim clicks). The ride cymbal plays a swing pattern (melody pages 1, 2, 5, and 6).

System 5 The snare plays the melody, melody, and the hi-hat plays half-note triplets. The ride cymbal plays a swing pattern (melody pages 1–8).

SYSTEMS

55

 

 

System 6 The bass drum plays the melody, and the hi-hat plays half-note triplets. The ride cymbal plays a swing pattern (melody pages 1–8).

**There are three different possibilities for playing half-note triplets off the beat. For the remaining systems in this **There chapter,, we will displace the rhythm so it starts on the the second note of the triplet. chapter

System 7 The snare plays the melody melody,, and the bass drum plays offbeat half-note triplets. The ride cymbal plays a swing pattern, and the hi-hat plays on 2 and 4 (melody pages 1–8).

56

SYSTEMS

56 

SYSTEMS

 

  System 8 The hi-hat plays the melody melody,, and the bass drum plays offbeat half-note triplets. The ride cymbal plays a swing pattern (melody pages 1, 2, 5, and 6).

System 9 The bass drum plays the melody, and the snare plays offbeat half-note triplets. The ride cymbal plays a swing pattern, and the hi-hat plays on 2 and 4 (melody pages 1–8).

System 10 The hi-hat plays the melody melody,, and the snare plays offbeat half-note triplets. The ride cymbal plays a swing pattern (melody pages 1, 2, 5, and 6).

SYSTEMS

 

 

System 11 The snare plays the melody melody,, and the hi-hat plays offbeat half-note triplets. The ride r ide cymbal plays a swing pattern (melody pages 1–8).

System 12 The bass drum plays the melody, and the hi-hat plays offbeat half-note triplets. The ride cymbal plays a swing pattern (melody pages 1–8).

System 13 Play the melody on the bass drum, while filling in triplets with the hands in unison. Play half-note triplets on (as shown) or off the beat on the hi-hat. This is a combination of a system from Chapter 11 (Filling In Triplets) and this chapter on quarter-n quarter-note ote triplets (melody pages 1–8).

57

58 

SYSTEMS

   

SYSTEMS

 

 

CHAPTER  14

 MELODIC LINE BETWEEN TWO LIMBS

QUARTER-NOTE TRIPLETS ON THE SNARE QUARTER-NOTE Use the following ostinato while orchestrating the melody pages as explained.

System 1 Play the melody on the bass drum (long notes) and hi-hat (eighths). (melody pages 1–4)

System 1  Alternate the notes of the melody melody between the feet, beginning beginning with the bass drum drum (melody pages 1–8).

QUARTER-NOTE TRIPLETS QUARTER-NOTE   ON THE BASS DRUM Now put quarter-note triplets in the bass drum to create a new ostinato.

59

60 

 

SYSTEMS

 

  System 3 Play the melody on the snare (eighth notes) and the hi-hat (long notes). (melody pages 1–4)

System 4  Alternate the notes of the melody melody between the snare snare and the hi-hat, beginning beginning with the snare (melody pages 1–8).

QUARTER-NOTE TRIPLETS ON THE HI-HAT

System 5 Play the melody on the snare (eighths) and the bass drum (long notes). (melody pages 1–4)

SYSTEMS

 

  System 6  Alternate the notes of the melody melody between the snare snare and bass drum, beginning beginning with the snare (melody pages 1–8).

For the remaining systems in this chapter, the melodic line will be played between the two limbs l imbs that aren’t part of the ostinato. System 7 Since this ostinato contains the snare, practice it with the same melodic orchestration from Systems 1 and 2 of

this chapter.

System 8 Combine this ostinato with the same melodic orchestration from Systems 3 and 4.

System 9 Combine this ostinato with the same melodic orchestration from Systems 5 and 6.

System 10 Combine this ostinato with the same melodic orchestration from Systems 1 and 2.

61

62 

SYSTEMS

 

System 11 Combine this ostinato with the same melodic orchestration from Systems 3 and 4.

System 12 Combine this ostinato with the same melodic orchestration from Systems 5 and 6.

System 13 Combine this ostinato with the same melodic orchestration from Systems 1 and 2.

System 14 Combine this ostinato with the same melodic orchestration from Systems 3 and 4.

System 15 Combine this ostinato with the same melodic orchestration from Systems 5 and 6.

SYSTEMS

 

 QUARTER-NOTE TRIPLETS BETWEEN TWO LIMBS

  15 CHAPTER

The systems in this chapter involve quarter-note triplets—both on and off the beat— played between two limbs. System 1 Play the melody on the snare, while alternating quarter-note triplets between the bass drum and hi-hat. The ride cymbal plays a swing pattern (melody pages 1–8).

System 2 Play the melody on the snare, while alternating off-beat quarter-note triplets between the bass drum and hi-hat. The ride cymbal plays a swing pattern (melody pages 1–8).

System 3 Play the melody on the bass drum, while alternating quarter-note triplets triplets between the snare and hi-hat. The ride cymbal plays a swing pattern (melody pages 1–8).

63

64 

SYSTEMS

 

System  4 Play the melody on the bass drum, while alternating off-beat quarter-note triplets between the snare

and hi-hat. The ride cymbal plays a swing pattern (melody pages 1–8).

System 5 Play the melody on the snare, while alternating quarter-note triplets between the ride cymbal and bass drum. Play 2 and 4 on the hi-hat (melody pages 1–8).

System 6 Play the melody on the snare, while alternating off-beat quarter-note triplets between the ride cymbal and bass drum. Play 2 and 4 on the hi-hat (melody pages 1–8).

SYSTEMS

 

  MELODIES

  CHAPTER 16

Eighth-Note Partials

65

66 

SYSTEMS

 

Melody  1

SYSTEMS

 

Melody   2

67

68 

SYSTEMS

 

Melody 3  

SYSTEMS

 

Melody   4

69

70 

SYSTEMS

 

Triplet   Partials

SYSTEMS

 

 

71

72 

SYSTEMS

 

Melody 5  

SYSTEMS

 

  6 Melody

73

74 

SYSTEMS

 

  7 Melody

SYSTEMS

 

Melody  8

75

76 

SYSTEMS

   

 

ARI HOENIG was born in 1973 in Philade Philadelphia, lphia,  ARI HOENG nació nació en 1973 en Filadelfia, Pensilvania. Pennsylvania. HaHe trabajado has worked extensamente extensively inenbands bandas dirigido por Shirley Scott, Jean Michel Pilc, Kenny led by Shirley Scott, Jean Michel Pilc, K ennyRedman, Kenny Werner, Werner, Chris Potter, Par Martino, Joshua Wayne Krantz, Richard Bona, Mike Stern, Kurt Chris Potter, Pat Martino, Joshua Redman,Project. Wayne Rosenwinkel, Bojan Z y Jazz Mandolin Krantz, Richard Bona, Mike Stern, Kurt Rosenwinkel, Bojan Z, and Jazz Mandolin Project. Since 2002, Ari has led his own groups including Punk Bop, Hoenig Pilc Project, and the Ari Hoenig Trio. All of Ari’s groups are based in New York City and play regularly on Monday nights at Smalls Smal ls jazz club, where Ari has held residency since 2004. As a leader, Ari has recorded six CDs and a live DVD, and is currently a Dreyfus recording artist. He is also on more than ninety recordings as a sideman. Como educador, Ari enseña en la Universidad

Desde 2002, Ari ha dirigido sus propios grupos, incluidos Punk Bop, Hoenig Pilc Project y Ari Hoenig Trio. Todos los grupos de Ari tienen su sede en la ciudad de Nueva York y tocan regularmente los lunes por la noche en el club de jazz Smalls, donde Ari ha tenido su residencia desde 2004. Como líder, Ari ha grabado seis CD y un DVD en vivo, y actualmente es un artista de grabación de Dreyfus.T Dreyfus.También ambién está en más de noventa grabaciones como acompañante acompañante.

de Nueva York York y en la Nueva Escuela de Investigación Social en Manhattan, Nueva York. Da clínicas y conferencias en escuelas de música y universidades de todo el mundo. Puede obtener más información sobre Ari visitando.

As an educator, Ari teaches teache s at New York University and the New School for Social Research Re search in Manhattan, New York. He gives clinics and lectures at music schools and universities worldwide. worldwide . You can find out more about Ari by visiting www.arihoenig.com www.arihoenig.com.

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