Melodic Jazz Independence

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

by Ari Hoenig edited by Michael Dawson

SYSTEMS Book 1: Drumming Technique

and Melodic Jazz Independence by Ari Hoenig

edited by Michael Dawson layout and design by Gerald Vitale cover artwork by Rebecca Hoenig photos by Katie Appleton and Jimmy Katz MP3 downloads recorded by 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 of this book may be reproduced in any form or by electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the author. Audio examples of all the systems in this book are available for download at: www.arihoenig.com

CONTENTS Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Chapter 1: Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Chapter 2: How To Use This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Chapter 3: Hand Warm-Up Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Chapter 4: Flam Warm-ups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Four-Way Coordination Intro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Chapter 5: Swing Prerequisites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Chapter 6: Displacing Quarter Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Chapter 7: Fill-In Eighth Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Chapter 8: Off-beat Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Chapter 9: Triplet Partials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Chapter 10: Triplet Partials Between Two Limbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Chapter 11: Fill-In Triplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Chapter 12: Quarter-Note Triplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Chapter 13: Half-Note Triplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Chapter 14: Melodic Line Between Two Limbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Chapter 15: Quarter-Note Triplets Between Two Limbs . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Chapter 16: Melodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

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ACKNOWLEDGEMENTS Thanks to my teachers Carl Mottola, Rob Zollman, Ralph Peterson, John Riley, and Ed Soph for all the inspiration they gave me; Katie Appleton for the photos; Jimmy Katz for the photos and for engineering the recording supplement; Yamaha drums, Zildjian cymbals, Vater sticks, and Evans heads for their support; John Riley, Ed Soph and Jim Jacobus for their time and suggestions; Jerad Lippi and Ben Bynum for their creative input; all of my other students who have ended up teaching me as much as I have taught them; Gerald Vitale for the layout; and, most of all, Mike Dawson for his commitment and indispensable work on this project.

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CHAPTER 1

INTRODUCTION

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any students are overwhelmed with the realization of what they cannot do. They have so many things they want to accomplish that they end up

spending too little time on the most important skills. This series of books, Systems, is set up to help you attain mastery of specific skills. It will provide many different ways to practice one idea. (Each system in these books is thought of as one idea.) The effect will be an enhanced ability to improvise 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 are the coordination systems. Chapter 16 is a collection of melodies to be practiced with the systems. Practicing different melodic variations with the systems will keep you from getting bored while you engage in the repetitive process needed to improve your coordination

Note Values Some of the systems focus on note values, which can be thought of as short (eighth notes) and long (quarters or longer).

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

Any tied notes will be played as long notes. For the warm-up sections (Chapters 3 and 4), any rests are added to the beat

Creativity and Individuality

value of the note which precedes it. So, if there is an eighth

The exercises are laid out in a structured and methodical

note followed by an eighth rest, it is treated as a long note.

way. Mastering them will give you more choices on the drumset, which will allow for maximum creative freedom while

The Second Note of the Triplet In jazz or other triplet-based music, melodies which are

you perform in a creative way.

written as eighth notes are often swung (played with triplet

It’s not necessary to master each of the systems in this

subdivisions). In this interpretation, the melody can fall only

book. Instead, think of these examples as reference tools for

on the first or third triplet, but never on the second. After a

different possibilities. The idea is for you to focus on certain

while, this approach can create a limitation in your idea of

systems that inspire you. Just make sure you commit to

swing. There was a time when the second note of the triplet

mastering the systems one at a time. I also encourage you to

was rarely played in jazz. Recently, however, it has become

come up with your own systems in order to develop a unique

a more common part of the language and can be effectively

voice on the instrument.

used to build tension in the music. A large part of this book

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improvising. Practicing in a structured way will ultimately help

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CHAPTER 2

HOW TO USE THIS BOOK

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

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

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

important to learn words, from which you can create your own

pages are notated as eighth notes and can be played with a

sentences, rather than just memorizing entire phrases. The best

straight or swing feel, depending on the system being used.

way to practice the systems is to begin by repeating one bar of the

Melody pages 5–8 include rhythms using the second note of the

melody at a time, then two, and then four. I don’t recommend

triplet. Not all of the melody pages are to be played with each

playing the melody pages from beginning to end unless you want

system, so I’ve indicated in the descriptive text before each sys-

to practice sightreading.

tem which melody pages should be used. After the descriptive text, I’ve included a notated example of the

It’s also important to be aware of how you’re playing the systems. Ask yourself, “Is my time consistent? Are the dynamics of

system combined with the first few bars of melody page 1. This

the different components of the drumset equal with each other

will show you how the system and melody fit together. Here are

and with themselves?” Repetitive practice will make you aware of

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 or play along to your favorite recordings. Also, keep a record of

If the system is to be used with any of melody pages 5–8, there

your maximum tempo for each system. Your top speed will vary

will be a second notated example of the system combined with the

from page to page and, in some cases, from bar to bar. Noting

first two bars of melody page 5.

your tempos will help you keep track of your improvement and 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-

minute. Once you’ve mastered a melody page with one system,

ed what I call “partial pages.” These two pages contain systematic

move on to the next page using the same system. Different mea-

groupings of two, three, and four notes. The first partial page is

sures of the melody pages will need to be worked on at different

written using eighth notes and corresponds to melody pages 1–4.

tempos, depending on how technically challenging they are. Start

The second partial page uses triplets and corresponds with

at 52 beats per minute, and work your way up. Don’t be discour-

melody pages 5–8. These two pages contain the basic rhythmic

aged if you’ve been working with two bars of a melody at 100

building blocks used in the subsequent melodies. Practice the par-

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

with it.) In general, 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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CHAPTER 3

HAND WARM-UP SYSTEMS

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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 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, 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 accenting the line (melody pages 1–4).

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

Hand Warm-up 3 Alternate sixteenth notes while accenting the 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 starting 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. 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 strokes (melody pages 1–8).

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Hand Warm-up 7 Hand Hand Hand Hand HandWarm-up Warm-up Warm-up Warm-up Warm-up 77777 Play 32nd notes. Eighth notes in the melodic are as played asstrokes single (RLRL or while LRLR), while longer Play Play Play Play Play32nd 32nd 32nd 32nd 32ndnotes. notes. notes. notes. notes.Eighth Eighth Eighth Eighth Eighthnotes notes notes notes notesin in in in in the the the the themelodic melodic melodic melodic melodic line line line line lineare are are are areline played played played played played as as as assingle single single single single strokes strokes strokes strokesstrokes (RLRL (RLRL (RLRL (RLRL (RLRLor or or or orLRLR), LRLR), LRLR), LRLR), LRLR), while while while whilelonger longer longer longer longer notes are singles with a double at the end. Remember, any rests are added to the beat value of the note notes notes notes notes notesare are are are aresingles singles singles singles singleswith with with with withaaaaadouble double double double doubleat at at at atthe the the the theend. end. end. end. end.Remember, Remember, Remember, Remember, Remember,any any any any anyrests rests rests rests restsare are are are areadded added added added addedto to to to tothe the the the thebeat beat beat beat beatvalue value value value valueof of of of ofthe the the the thenote note note note note that precedes it. So, if there is an eighth note followed by an eighth rest, treat that note as if it were a that that that that thatprecedes precedes precedes precedes precedesit. it. it. it.So, So, So, So,ififififthere there there thereis is is isan an an aneighth eighth eighth eighthnote note note notefollowed followed followed followed followedby by by by byan an an an aneighth eighth eighth eighth eighthrest, rest, rest, rest, rest,treat treat treat treat treatthat that that that thatnote note note note noteas as as as asifififififitititititwere were were were wereaaaaa quarter note (melody pages 1–4). quarter quarter quarter quarter quarternote. note. note. note. note.(melody (melody (melody (melody (melodypages pages pages pages pages1–4) 1–4) 1–4) 1–4) 1–4)

Hand Warm-up 8 Hand Hand Hand Hand HandWarm-up Warm-up Warm-up Warm-up Warm-up 88888 Eighth notes in the are to be as played as 32nd-note paradiddles, whilenotes longer notes become Eighth Eighth Eighth Eighth Eighthnotes notes notes notes notesin in in in inthe the the the themelody melody melody melody melodymelody are are are are areto to to to tobe be be be beplayed played played played played as as as as32nd-note 32nd-note 32nd-note 32nd-note 32nd-note paradiddles, paradiddles, paradiddles, paradiddles, paradiddles, while while while while whilelonger longer longer longer longer notes notes notes notesbecome become become become become singles singles singles singles singlessingles followed by as many doubles as necessary to complete the note value (melody pages 1–4). followed followed followed followed followedby by by by byas as as as asmany many many many manydoubles doubles doubles doubles doublesas as as as asnecessary necessary necessary necessary necessaryto to to to tocomplete complete complete complete completethe the the the thenote note note note notevalue. value. value. value. value.(melody (melody (melody (melody (melodypages pages pages pages pages1–4) 1–4) 1–4) 1–4) 1–4)

Hand Warm-up 9 Hand Hand Hand Hand HandWarm-up Warm-up Warm-up Warm-up Warm-up 99999 Eighth notes in the become 32nd-note double (RRLL or while LLRR), whilenotes longer notes are Eighth Eighth Eighth Eighth Eighthnotes notes notes notes notesin in in in inthe the the the themelody melody melody melody melodymelody become become become become become 32nd-note 32nd-note 32nd-note 32nd-note 32nd-note double double double double doublestrokes strokes strokes strokes strokesstrokes (RRLL (RRLL (RRLL (RRLL (RRLLor or or or orLLRR), LLRR), LLRR), LLRR), LLRR), while while while whilelonger longer longer longer longer notes notes notes notesare are are are are played as doubles ending with two singles. When applying drumset orchestration variations 2 and 3, which played played played played playedas as as as asdoubles doubles doubles doubles doublesending ending ending ending endingwith with with with withtwo two two two twosingles. singles. singles. singles. singles.When When When When Whenapplying applying applying applying applyingdrumset drumset drumset drumset drumsetorchestration orchestration orchestration orchestration orchestrationvariations variations variations variations variations22222and and and and and3, 3, 3, 3, 3,which which which which which were explained at the beginning of this chapter, you would play the note directly after the accented note on were were were were wereexplained explained explained explained explainedat at at at atthe the the the thebeginning beginning beginning beginning beginningof of of of ofthis this this this thischapter, chapter, chapter, chapter, chapter,you you you you youwould would would would wouldplay play play play playthe the the the thenote note note note notedirectly directly directly directly directlyafter after after after afterthe the the the theaccented accented accented accented accentednote note note note noteon on on on on the same tom or cymbal as the accented note (melody pages 1–4). the the the the thesame same same same sametom tom tom tom tomor or or or orcymbal cymbal cymbal cymbal cymbalas as as as asthe the the the theaccented accented accented accented accentednote. note. note. note. note.(melody (melody (melody (melody (melodypages pages pages pages pages1–4) 1–4) 1–4) 1–4) 1–4)

**For Warm-ups 10 and 11, the melody can be phrased with straight eighth notes with afeel. swing **For **For **For **For **ForWarm-ups Warm-ups Warm-ups Warm-ups Warm-ups 10 10 10 10 10and and and and and11, 11, 11, 11, 11, the the the the themelody melody melody melody melody can can can can canbe be be be bephrased phrased phrased phrased phrased with with with with withstraight straight straight straight straight eighth eighth eighth eighth eighthnotes notes notes notes notesor or or or or with with with with withaor aaaaswing swing swing swing swing feel. feel. feel. feel. feel. Here theis melody isusing notated usingfeel, afeel, swing feel, so thefall accents fall onand the first third triplet partials. Here Here Here Here Herethe the the the themelody melody melody melody melody is is is isnotated notated notated notated notated using using using usingaaaaaswing swing swing swing swing feel, feel, feel, so so so so sothe the the the the accents accents accents accents accents fall fall fall fallon on on on onthe the the the the first first first first first and and and andthird third third third thirdand triplet triplet triplet triplet triplet partials. partials. partials. partials. partials. Hand Warm-up 10 Hand Hand Hand Hand HandWarm-up Warm-up Warm-up Warm-up Warm-up 10 10 10 10 10 Play continuous sixteenth-note triplets. Melody notes played as singles ending with a double (melody Play Play Play Play Playcontinuous continuous continuous continuous continuoussixteenth-note sixteenth-note sixteenth-note sixteenth-note sixteenth-notetriplets. triplets. triplets. triplets. triplets.Melody Melody Melody Melody Melody notes notes notes notes notes are are are areplayed played played playedare as as as assingles singles singles singlesending ending ending ending with with with with aaaadouble. double. double. double. (melody (melody (melody (melody pages pages pages pages 1–4) 1–4) 1–4) 1–4) 1–4)pages 1–4).

Hand Warm-up 11 Hand Hand Hand Hand HandWarm-up Warm-up Warm-up Warm-up Warm-up 11 11 11 11 11 Again, play continuous sixteenth-note triplets. notes are as played as doubles (RR or LL) followed by Again, Again, Again, Again, Again,play play play play playcontinuous continuous continuous continuous continuous sixteenth-note sixteenth-note sixteenth-note sixteenth-note sixteenth-note triplets. triplets. triplets. triplets. triplets. Melody Melody Melody Melody MelodyMelody notes notes notes notes notesare are are are are played played played played played as as as asdoubles doubles doubles doubles doubles (RR (RR (RR (RR (RRor or or or orLL) LL) LL) LL) LL)followed followed followed followed followed by by by by by assingles many as singles as necessary to complete the note(melody value (melody pages as as as as asmany many many many many singles singles singles singles as as as asnecessary necessary necessary necessary necessary to to to to tocomplete complete complete complete complete the the the the thenote note note note note value. value. value. value. value. (melody (melody (melody (melody pages pages pages pages pages1–4) 1–4) 1–4) 1–4) 1–4) 1–4).

88888 SYSTEMS SYSTEMS SYSTEMS SYSTEMS SYSTEMS

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

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, 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.

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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 For these systems, the limbs are marked one 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

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he following eleven systems are designed to build basic jazz independence. For all of these, the ride cymbal plays a standard swing pattern while the other limbs either play an ostinato or the melody. All of the prerequisite systems can also be practiced with a straight eighth-note feel. When practicing that 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 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 Play the melody line on the snare (melody pages 1–8).

Prerequisite 2 Prerequisite 2 Play the melody on the bass drum (melody pages 1–8).

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Prerequisite Prerequisite Prerequisite Prerequisite 3333 3 Prerequisite Play Play Play Play the the the the melody melody melody melody between between between between the the the the snare snare snare snare and and and and bass bass bass bass drum, drum, drum, drum, with with with with short short short short (eighth) (eighth) (eighth) (eighth) notes notes notes notes on on on onthe the the the snare snare snare snare and and and and quarter quarter quarter quarter Play the melody between the snare and bass drum, with short (eighth) notes on the snare and quarter notes notes notes notes (or (or (or (or(or longer) longer) longer) longer) on on on onthe the the the bass bass bass bass drum. drum. drum. drum. (melody (melody (melody (melody pages pages pages pages 1–4) 1–4) 1–4) 1–4) notes longer) on the bass drum (melody pages 1–4).

Prerequisite Prerequisite Prerequisite Prerequisite Prerequisite 4444 4 Play the melody between the snare and bass drum, with quarter notes longer) on the snare and Play Play Play Playthe the the themelody melody melody melodybetween between between between the the the the snare snare snare snare and and and and bass bass bass bass drum, drum, drum, drum, with with with with quarter quarter quarter quarter notes notes notes notes (or (or (or (or(or longer) longer) longer) longer) on on on onthe the the the snare snare snare snare and and and and eighth notes on the bass drum (melody pages 1–4). eighth eighth eighth eighthnotes notes notes noteson on on onthe the the thebass bass bass bassdrum. drum. drum. drum.(melody (melody (melody (melodypages pages pages pages1–4) 1–4) 1–4) 1–4)

Prerequisite Prerequisite Prerequisite Prerequisite 5555 5 Prerequisite Play Play Play Play the the the the melody melody melody melody with with with with the the the hi-hat. hi-hat. hi-hat. (melody (melodypages pages pages1, 1, 1,2, 2, 2,5, 5, 5,and and and6) 6) 6) 6) Play the melody onthe thehi-hat. hi-hat(melody (melody pages 1, 2, 5, and 6).

Prerequisite Prerequisite Prerequisite Prerequisite Prerequisite 6666 6 Phrase the melody between snare and hi-hat. Eighth notes are the snare and quarter notes Phrase Phrase Phrase Phrase the the the the melody melody melody melody between between between the the thethe snare snare snare and and and hi-hat. hi-hat. hi-hat. hi-hat. Eighth Eighth Eighth Eighth notes notes notes notes are are are are on on on onon the the the the snare snare snare snare and and and and quarter quarter quarter quarter notes notes notes notes (or (or (or (or(or longer) are on the hi-hat (melody pages 1–4). longer) longer) longer) longer) are are are are on on on onthe the the the hi-hat. hi-hat. hi-hat. hi-hat. (melody (melody (melody (melody pages pages pages pages 1–4) 1–4) 1–4) 1–4)

14SYSTEMS SYSTEMS 14 14 14 14 SYSTEMS SYSTEMS SYSTEMS

Prerequisite 7 Prerequisite Prerequisite Prerequisite 77 7between the feet, with eighth notes on the bass drum and quarter notes (or longer) on Play the melody Play the melody between the feet, with eighth notes the bass drum and quarter notes longer) Play Play the the melody melody between between the feet, feet, with with eighth eighth notes notes on onon the the bass bass drum drum and and quarter quarter notes notes (or (or(or longer) longer) on onon the hi-hat. (melody pagesthe 1–4) the hi-hat (melody pages 1–4). the the hi-hat. hi-hat. (melody (melody pages pages 1–4) 1–4)

Prerequisite 8 Prerequisite Prerequisite Prerequisite 88 8between the snare and hi-hat, with quarter notes (or longer) on the snare and eighth Play the melody Play the melody between the snare and hi-hat, with quarter notes longer) the snare and eighth Play Play the the melody melody between between the the snare snare and and hi-hat, hi-hat, with with quarter quarter notes notes (or (or(or longer) longer) on onon the the snare snare and and eighth eighth notes on the hi-hat. (melody pages 1–4) notes the hi-hat (melody pages 1–4). notes notes on onon the the hi-hat. hi-hat. (melody (melody pages pages 1–4) 1–4)

Prerequisite 9 Prerequisite Prerequisite Prerequisite 99 9of the melody between the feet, starting with the bass drum. (melody pages 1–8) Alternate notes Alternate notes ofthe the melody between the feet, starting with the bass drum (melody pages 1–8). Alternate Alternate notes notes ofofthe melody melody between between the the feet, feet, starting starting with with the the bass bass drum. drum. (melody (melody pages pages 1–8) 1–8)

Prerequisite 10 Prerequisite Prerequisite 10 1010 Prerequisite Alternate notes of the melody between the snare and bass drum, beginning with the snare. Alternate Alternate notes notes ofofthe melody melody between between the the snare snare and and bass bass drum, drum, beginning beginning with with the the snare. snare. Alternate notes ofthe the melody between the snare and bass drum, beginning with the snare (melody pages 1–8) (melody (melody pages pages 1–8) 1–8) (melody pages 1–8).

SYSTEMS 15 SYSTEMS 15 15 SYSTEMS SYSTEMS 15

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

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CHAPTER 6

DISPLACING QUARTER NOTES

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).

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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).

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19

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

System 6 System System 6 6 on the snare, while playing the 3rd note of the triplet on the bass drum. The hi-hat plays on 2 System Play the 6melody Play the melody onthe the snare, while playing the 3rd note ofthe the triplet onthe the bass drum. The hi-hat plays Play the melody snare, while palying 3rd note triplet bass drum. The hi-hat plays Play the melody onon the snare, while playing thethe 3rd note of of the triplet onon the bass drum. The hi-hat plays onon 2on2 2 and 4. (melody pages 1–8) and 4. (melody pages 1–8) and (melody pages 1–8). and 4. 4(melody pages 1–8)

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

System 88 System System 8 System 8melody Play thethe onon thethe snare and hi-hat (long notes on on thethe snare andand short notes on on thethe hi-hat). Play melody snare and hi-hat—long notes snare short notes hi-hat Play the melody on the snare hi-hat (long notes on the snare short notes on the hi-hat). Play the melody on the snare andand hi-hat (long notes on the snare andand short notes on the hi-hat). (melody pages 1–4) (melody pages 1–4). (melody pages (melody pages 1–4)1–4)

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

20 SYSTEMS SYSTEMS 20 20 SYSTEMS 20 SYSTEMS

System System System 1010 10 System 10 Alternate the notes the melody between the snare and hi-hat (melody pages 1–8). Alternate Alternate the the notes notes ofof of the the melody melody between between the the snare snare and and hi-hat. hi-hat. hi-hat. (melody (melody (melody pages pages pages 1–8) 1–8) 1–8) Alternate the notes of the melody between the snare and hi-hat. (melody pages 1–8)

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

System System System 1111 11 System 11 System 11 Play Play Play the the the melody melody melody onon on the the the snare. snare. snare. (melody (melody (melody pages pages pages 1–8) 1–8) 1–8) Play Play the the melody melody on on the the snare snare.(melody (melodypages pages1–8). 1–8)

System System 1212 12 System System 12 Play Play the the melody melody onon on the the bass bass drum. drum. drum. (melody (melody (melody pages pages pages 1,1, 1, 1, 2,2, 2, 2, 5,5, 5, 5, and and and 6)6). 6) 6) Play the melody the bass drum (melody pages and Play the melody on the bass drum. (melody pages 1, 2, 5, and 6)

SYSTEMS 21 21 SYSTEMS SYSTEMS SYSTEMS2121 SYSTEMS 21

System 13 System System 13 1313 System System 13 Play the melody between the snare (eighth notes) and bass drum (quarter notes and longer). (melody pages 1–4) System 13 Play Play the the melody melody between the snare (eighth notes) notes) and and bass bass drum drum (quarter (quarter notes notes and and longer). longer). (melody (melody pages pages 1–4) 1–4) Play Play the the melody melody between between the the snare snare (eighth (eighth notes) notes) and and bass bass drum drum (quarter (quarter notes notes and and longer). longer). (melody (melody pages pages 1–4) 1–4) Play the melody between the snare (eighth notes) and bass drum (quarter notes and longer). (melody pages 1–4)

System 14 System System 14 1414 System System 14 eighth notes on the bass drum). Reverse the orchestration (quarter notes on the snare and System 14the eighth eighth notes notes on onon the the bass bass drum). drum). Reverse Reverse the the orchestration orchestration (quarter (quarter notes notes on onon the the snare snare and and eighth eighth notes notes on the the bass bass drum). drum). Reverse Reverse the orchestration orchestration (quarter (quarter notes notes on the the snare snare and and (melody pages 1–4) Reverse the orchestration—quarter notes on the snare and eighth notes on the bass drum (melody pages 1–4). (melody (melody pages pages 1–4) 1–4) (melody (melody pages pages 1–4) 1–4)

System 15 System System 15 1515 System System 15 Alternate the notes of the melody between the snare and bass drum. (melody pages 1–8) System 15 Alternate Alternate the the notes notes of ofof the the melody melody between between the the snare snare and and bass bass drum. drum. (melody (melody pages pages 1–8) 1–8) Alternate Alternate the the notes notes of the the melody melody between between the the snare snare and and bass bass drum. drum. (melody (melody pages pages 1–8) 1–8) Alternate the notes of the melody between the snare and bass drum (melody pages 1–8).

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

System 16 System System 16 1616 System System 16 Play the melody on the bass drum, and and on the hi-hat. (melody pages 1–8) System 16melody Play Play the the melody melody on onon the the bass bass drum, drum, and and 2and and and 4on on onon the the hi-hat. hi-hat. (melody (melody pages pages 1–8) 1–8) Play Play the the melody on the the bass bass drum, drum, and and 222 2 and 444 4 the the hi-hat. hi-hat. (melody (melody pages pages 1–8) 1–8) Play the melody on the bass drum, and 2 and 4 on the hi-hat (melody pages 1–8).

22 SYSTEMS 22 2222SYSTEMS SYSTEMS SYSTEMS 22 SYSTEMS 22 SYSTEMS

System 17 System System 17 Play the 17 melody on the hi-hat. (melody pages 1, 2, 5, and 6) Play Playthe themelody melodyon onthe thehi-hat. hi-hat (melody pages 1, 2, 5, and 6) 6).

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

System 19 System System19 19 orchestration (quarter notes or longer on the bass drum and eighth notes on the hi-hat). Reverse the Reverse the (quarter Reversepages theorchestration orchestration (quarternotes notesor orlonger longeron onthe thebass bassdrum drumand andeighth eighthnotes noteson onthe thehi-hat). hi-hat). (melody 1–4) (melody (melodypages pages1–4) 1–4)

SYSTEMS SYSTEMS SYSTEMS

23 23 23

System2020 System System 2020 Beginning withthe thebass bassdrum, drum,alternate alternatethe thenotes notesofofthe themelody melodybetween betweenthe thefeet. feet.(melody (melodypages pages1–8) 1–8) System Beginning with Beginning with thethe bass drum, alternate thethe notes of of thethe melody between thethe feet. Beginning with bass drum, alternate notes melody between feet(melody (melodypages pages1–8) 1–8).

SECONDNOTE NOTEOFOFTHE THETRIPLET TRIPLETON ONTHE THEBASS BASSDRUM/ DRUM/SWING SWINGRIDE RIDEPATTERN PATTERN SECOND SECOND NOTE OF THE TRIPLET ON THE BASS DRUM/ SWING RIDE PATTERN

System2121 System System 21 Playthe the melodyononthe thesnare, snare,and and2 2and and4 4ononthe thehi-hat. hi-hat.(melody (melodypages pages1–8) 1–8) System 21 Play melody Play the melody onon thethe snare, and 2 and 4 on the hi-hat. Play the melody snare, and 2 and 4 on the hi-hat(melody (melodypages pages1–8) 1–8).

System2222 System System 22 System 22 Playthe the melodywith withthe thehi-hat. hi-hat.(melody (melodypages pages1,1,2,2,5,5,and and6)6) Play melody Play the melody with 6) Play the melody on the the hi-hat. hi-hat (melody pages 1, 2, 5, and 6).

SYSTEMS 2424 SYSTEMS 24 24SYSTEMS SYSTEMS

System 23 System System 23 System 23 Play the 23 melody between the snare (long notes) and hi-hat (eighth notes). (melody pages 1–4) Play the Play the melody between the snare (long notes) and hi-hat (eighth notes). (melody pages 1–4) Play themelody melodybetween betweenthe thesnare snare(long (longnotes) notes)and andhi-hat hi-hat(eighth (eighthnotes). notes).(melody (melodypages pages1–4) 1–4)

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

System 25 System System 25 System25 25 Alternate the notes of the melody between the snare and hi-hat. (melody pages 1–8) Alternate Alternate the notes of the melody between the snare and hi-hat. (melody pages pages 1–8) 1–8) Alternatethe thenotes notesof ofthe themelody melodybetween betweenthe thesnare snareand andhi-hat. hi-hat (melody 1–8).

SYSTEMS SYSTEMS 25 SYSTEMS SYSTEMS

25 25 25

SECOND NOTE OF THE TRIPLET ON THE HI-HAT/SWING RIDE PATTERN SECOND SECONDNOTE NOTEOFOFTHE THETRIPLET TRIPLETONONTHE THEHI-HAT/SWING HI-HAT/SWINGRIDE RIDEPATTERN PATTERN

System 26 System System 26 System 26 Play the26 melody on the snare. (melody pages 1–8) Play the (melody pages 1–8) Play melody ononthe the snare. snare. (melody (melody pages pages 1–8) 1–8) Playthe themelody melodyon thesnare. snare (melody pages 1–8).

System 27 System System 27 System 27 Play the27 melody on the bass drum. (melody pages 1–8) Play the (melody pages 1–8) Playthe themelody melodyon thebass bassdrum. drum (melody pages 1–8). Play melody ononthe the bass drum. drum. (melody (melody pages pages 1–8) 1–8)

System 28 System System 28 System 28 Play the28 melody between the snare (eighth notes) and the bass drum (long notes). (melody pages 1–4) Play the Playthe themelody melodybetween betweenthe thesnare snare(eighth (eighthnotes) notes)and andthe thebass bassdrum drum(long (longnotes). notes).(melody (melodypages pages1–4) 1–4) Play melody between the snare (eighth notes) and the bass drum (long notes). (melody pages 1–4)

26 SYSTEMS 26 SYSTEMS 26 26 SYSTEMS 26SYSTEMS SYSTEMS

System System 29 29 Play the melody between Play the melody between the the snare snare (long (long notes) notes) and and the the bass bass drum drum (eighth (eighth notes). notes). (melody (melody pages pages 1–4) 1–4) System System29 29 Play Playthe themelody melodybetween betweenthe thesnare snare(long (longnotes) notes)and andthe thebass bassdrum drum(eighth (eighthnotes). notes).(melody (melodypages pages1–4) 1–4)

System 30 Alternate notes of the melody between the snare and bass drum. (melody pages 1–8) System 30 System System30 30 Alternate notes the melody between the snare and bass drum (melody pages 1–8). Alternate Alternatenotes notesofof ofthe themelody melodybetween betweenthe thesnare snareand andbass bassdrum. drum.(melody (melodypages pages1–8) 1–8)

SYSTEMS

27

SYSTEMS 27 SYSTEMS SYSTEMS 2727

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).

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

SYSTEMS

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CHAPTER 8

OFF-BEAT SYSTEMS

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).

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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).

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System 10 System Play eighth10notes of the melody on the bass drum, and quarters (or longer) with the hi-hat. The ride cymbal Play of the on plays the bass drum, quarters (or 4. longer) on pages the hi-hat. System 10 notes plays aeighth swing pattern, andmelody the snare on the “&”and of beats 2 and (melody 1–4)The ride cymbal plays a swing pattern, and the snare plays on the “&” of beats 2 and 4 (melody pages 1–4). Play eighth notes of the melody on the bass drum, and quarters (or longer) with 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)

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32 SYSTEMS SYSTEMS 32

CHAPTER 9

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 line between the feet, beginning with the bass drum (melody 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 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 between rim 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)

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35

System System 7 System 77 System System 77 with Play Play the the melody melody with on the the bass bass drum, drum, and and play play 2 and and 4 on the the hi-hat. hi-hat. (melody (melody pages pages 1–8) 1–8) Play the melody with onon the bass drum, and play 22 and 44 onon the hi-hat. (melody pages 1–8) Play the melodyon with thedrum, bass drum, and2play 4 on the hi-hat. (melody Play the melody theon bass and play and 24 and on the hi-hat (melody pages pages 1–8). 1–8)

System System 8 System 88 System 8notes System 8the Alternate Alternate the notes of the the melody melody between between the the feet, feet, beginning beginning with with the the bass bass drum. drum. (melody (melody pages pages 1–8) 1–8) Alternate the notes ofof the melody between the feet, beginning with the bass drum. (melody pages 1–8) Alternatethe thenotes notesofofthe themelody melodybetween betweenthe thefeet, feet,beginning beginningwith withthe thebass bassdrum drum. (melody pages 1–8) Alternate (melody pages 1–8).

System System 9 System 99 System 9 with Play Play the the melody melody with the the bass bass drum drum (long (long notes) notes) and and hi-hat hi-hat (eighths). (eighths). (melody (melody pages pages 1–4) 1–4) Play the melody with the bass drum (long notes) and hi-hat (eighths). (melody pages 1–4) System 9 Play the melody with the bass drum (long notes) and hi-hat (eighths). (melody pages 1–4) Play the melody on the bass drum (long notes) and hi-hat (eighths). (melody pages 1–4)

36 36SYSTEMS SYSTEMS 3636 SYSTEMS SYSTEMS 36 SYSTEMS

444 4

System 1010 System 10 System Play the melody onon the snare, and play the hi-hat. (melody pages 1–8) Play System thethe melody 10 on the snare, and play 22and 44on the hi-hat. (melody pages 1–8) System 10 Play melody the snare, and play 2and and 4onon the hi-hat. (melody pages 1–8) Play Playthe themelody melodyon onthe thesnare, snare,and andplay play22and and44on onthe thehi-hat. hi-hat (melody (melody pages pages 1–8) 1–8).

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

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

SYSTEMS 37 SYSTEMS 3737 SYSTEMS SYSTEMS 37

System 13 System System System System 1313 13 13 Play the melody on the bass drum, and play 22 and 44 on the hi-hat. (melody pages 1–8) Play the melody bass drum, and play 222and 444on hi-hat (melody pages 1–8). Play Play Play thethe the melody melody melody onon on the onthe the the bass bass bass drum, drum, drum, and and and play play play and and and on on the onthe the the hi-hat. hi-hat. hi-hat. (melody (melody (melody pages pages pages 1–8) 1–8) 1–8)

System 14 System System System 1414 14 14 System Alternate the melody notes between the feet, beginning with the bass drum. (melody pages 1–8) Alternate Alternate Alternate thethe the the melody melody melody notes notes notes between between between thethe the the feet, feet, feet, beginning beginning beginning with with with thethe the the bass bass bass drum. drum. drum. (melody (melody (melody pages pages pages 1–8) 1–8) 1–8) Alternate melody notes between feet, beginning with bass drum (melody pages 1–8).

System 15 System System System 1515 15 15 System Play the melody on the bass drum (long notes) and the hi-hat (eighths). (melody pages 1–4) Play Play Play thethe the the melody melody melody onon on the onthe the the bass bass bass drum drum drum (long (long (long notes) notes) notes) and and and thethe the the hi-hat hi-hat hi-hat (eighths). (eighths). (eighths). (melody (melody (melody pages pages pages 1–4) 1–4) 1–4) Play melody bass drum (long notes) and hi-hat (eighths). (melody pages 1–4)

38 SYSTEMS SYSTEMS 38 38 38 SYSTEMS SYSTEMS SYSTEMS

System 16 System 16 System 16 System System 16 16 Play the melody on the snare, and play and on the hi-hat. (melody pages 1–8) Play the melody on the snare, and play and on the hi-hat. (melody pages 1–8) Play the melody on the snare, and play and on the hi-hat (melody pages 1–8). Play Play the the melody melody on on the the snare, snare, and and play play 2222and 2 and 4444on 4 on the the hi-hat. hi-hat. (melody (melody pages pages 1–8) 1–8)

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

System 1818 System 18 System System 18 System 18 Play the melody onon the snare (eighths) and the hi-hat (long notes). (melody pages 1–4) Play the melody on the snare (eighths) and the hi-hat (long notes). (melody pages 1–4) Play Play the the melody melody on the snare snare (eighths) (eighths) and and the the hi-hat hi-hat (long (long notes). notes). (melody (melody pages pages 1–4) 1–4) Play the melody onthe the snare (eighths) and the hi-hat (long notes). (melody pages 1–4)

SYSTEMS 3939 SYSTEMS 39 39 SYSTEMS SYSTEMS SYSTEMS39

CHAPTER 10

TRIPLET PARTIALS BETWEEN TWO 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

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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 System 5 5triplets System Orchestrate System 55 between the snare (2nd partial) and the bass drum (3rd partial). Play the melody on the hiSystem Orchestrate triplets between the6) snare (2nd partial) andand the bass drum (3rd(3rd partial). Play the melody on on the hiOrchestrate triplets between the snare (2nd partial) and the bass drum (3rd partial). Play the melody on the hihat.Orchestrate (melody Orchestrate pages triplets 1, 2, between 5, and the snare (2nd partial) and the bass drum (3rd partial). Play the melody on the triplets between the snare (2nd partial) the bass drum partial). Play the melody the hi-hihat.hat (melody pages 1, 2, 5, and 6) hat. (melody pages 1, 2, 5, and 6) hat. (melody pages and (melody pages 1, 1, 2, 2, 5, 5, and 6).6)

System 6 System 6the partial System Reverse System 66 orchestration so the snare plays the third partial and the bass drum plays the 2nd. System 6partial Reverse the orchestration the playsplays the third partial and 6) the drumdrum playsplays the 2nd. Reverse thepartial partial orchestration sosnare the(melody snare plays the1, third partial andbass thebass bass drum plays the2nd. 2nd. Continue Reverse to play the the melody orchestration withso theso hi-hat. so the snare pages the third 2,partial 5, partial and and the the Reverse the partial orchestration the snare plays the third and the bass drum plays the 2nd. Continue to play the melody with the hi-hat. (melody pages 1, 2, 5, and 6) Continue to play the melody with the hi-hat. (melody pages 1, 2, 5, and 6) Continuetotoplay playthe themelody melodyonwith hi-hat. (melody pages 5, and Continue the the hi-hat (melody pages 1, 2,1,5,2,and 6). 6)

42 SYSTEMS 42 42SYSTEMS 42 SYSTEMS SYSTEMS 42 SYSTEMS

CHAPTER 11

FILL-IN TRIPLETS

This section involves filling in triplets that aren’t played in the 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).

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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 cymbal (melody pages 1, 2, 5, and 6).

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System System 77 System Play the melody hi-hat, and fill-in triplets bass drum. Play a swing pattern ride cymbal Play the 7melody onon thethe hi-hat, and fill-in triplets onon thethe bass drum. Play a swing pattern onon thethe ride cymbal. 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). (melody pages 1, 2, 5, and 6) (melody pages 1, 2, 5, and 6)

System 8 System Play the 8melody notes between the bass drum (long notes) and hi-hat (eighth notes). Fill-in triplets on the snare, System 8 Play the melody between the bass drum1–4) (long notes) and hi-hat (eighth notes). Fill-in triplets on the snare, and play swingnotes ride pattern. (melody pages Play thea 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) and play a swing-ride pattern (melody pages 1–4).

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

46 SYSTEMS 46 46 SYSTEMS SYSTEMS

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

System 11 Alternate the melody notes between the snare and hi-hat. Fill in with the bass drum, and play a swing-ride System 1111 System pattern. (melody pages 1–8) Alternate thethe melody notes between thethe snare and hi-hat. FillFill in in with thethe bass drum, and play a swing-ride Alternate melody notes between snare and hi-hat. with bass drum, and play a swing-ride pattern. pattern(melody (melodypages pages1–8) 1–8).

System 12 Play the melody on the toms, orchestrating eighth notes on the small tom and long notes on the floor tom. System 1212 System The snare drum and bass drum alternate fill-ins, beginning with the bass drum. (The bass drum always Play thethe melody onon thethe toms, orchestrating eighth notes onon thethe small tom and long notes onon thethe floor tom. Play melody toms, orchestrating eighth notes small tom and long notes floor tom. plays the triplet fill-in immediately after the melody notes.) Play 2 and 4 on the hi-hat. You may need to The snare drum and bass drum alternate fill-ins, beginning with thethe bass drum. (The bass drum always The snare drum and bass drum alternate fill-ins, beginning with bass drum. (The bass drum always write out your own stickings for this one. (melody pages 1–4) plays thethe triplet fill-in immediately after thethe melody notes.) Play 2 and 4 on thethe hi-hat. You may need toto plays triplet fill-in immediately after melody notes.) Play 2 and 4 on hi-hat. You may need write out your own stickings forfor this one. write out your own stickings this one(melody (melodypages pages1–4) 1–4).

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SYSTEMS 47 SYSTEMS 47

CHAPTER 12

QUARTER-NOTE TRIPLETS

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

System 1 The snare plays the 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).

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System 3 The bass drum plays the melody. Play 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-note triplets. The ride cymbal plays a swing pattern (melody pages 1–8).

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System 6 66 System System TheThe bass drum plays thethe melody while thethe hi-hat plays quarter-note triplets. TheThe rideride cymbal plays a swing drum plays melody while hi-hat plays quarter-note triplets. cymbal plays aa swing The bass bass drum plays the melody while the hi-hat plays quarter-note triplets. The ride cymbal plays swing pattern. (melody pages 1–8) pattern.(melody (melodypages pages1–8). 1–8) pattern

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

SYSTEMS 5050 50SYSTEMS SYSTEMS

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

System99 System Playthe themelody melodyon onthe thebass bassdrum drumand andoff-beat off-beatquarter-note quarter-notetriplets tripletswith withrim rimclicks. clicks. Play The ride cymbal plays a swing pattern, and the hi-hat plays on 2 and 4 (melody pages 1–8) 1–8). The ride cymbal plays a swing pattern, and the hi-hat plays on 2 and 4.

System10 10 System Play the melodyon onthe thehi-hat hi-hatand andoff-beat off-beatquarter-note quarter-notetriplets tripletswith withrim rimclicks. clicks. Play the melody The ride cymbal plays a swing pattern (melody pages 1, 2, 5, and 6). The ride cymbal plays a swing pattern. (melody pages 1, 2, 5, and 6)

SYSTEMS 51 SYSTEMS 51

System 11 System 11 System Play the 11 melody on the snare, and off-beat quarter-note triplets with the hi-hat. The ride cymbal plays a Playthe themelody melodyon onthe thesnare, snare, andoff-beat off-beatquarter-note quarter-note triplets triplets with on the Play thehi-hat. hi-hat.The Theride ridecymbal cymbalplays playsaa swing pattern. (melody pages and 1–8) swing pattern (melody pages 1–8). swing pattern. (melody pages 1–8)

System 12 System Play the 12 melody on the bass drum, and off-beat quarter-note triplets with the hi-hat. The ride cymbal System 12 Play the melody on the bass drum, and1–8) off-beat quarter-note triplets with the hi-hat. The ride cymbal plays a swing pattern. pages Play the melody on the(melody bass drum, and off-beat quarter-note triplets on the hi-hat. The ride cymbal plays a swing pattern. (melody pages 1–8) plays a swing pattern (melody pages 1–8).

52

52 SYSTEMS 52 SYSTEMS SYSTEMS

System 13 System 13 System Play the13 melody on the snare while filling in triplets with the bass drum. Play off-beat quarter-note triplets on Play the melody on the snare while filling in triplets with the bass drum. Play off-beat quarter-note triplets on Play melody the snare while filling in cymbal triplets with the bass the the hi-hat and aon swing pattern on the ride (melody pagesdrum. 1–8). Play off-beat quarter-note triplets on the hi-hat and a swing pattern on the ride cymbal. (melody pages 1–8) the hi-hat and a swing pattern on the ride cymbal. (melody pages 1–8)

System 14 System System14 14 Play the melody on the ride cymbal while filling in triplets on the snare. Play quarters with the hi-hat and Play the hi-hat hi-hat and and Playthe themelody melodyon onthe theride ridecymbal cymbalwhile whilefilling fillinginintriplets tripletson onthe thesnare. snare.Play Playquarters quarterswith on the off-beat quarter-note triplets on the bass drum. Try some different stickings, similar to what you did for System off-beat off-beatquarter-note quarter-notetriplets tripletson onthe thebass bassdrum. drum.Try Trysome somedifferent differentstickings, stickings,similar similarto towhat whatyou youdid didfor forSystem System 4 in Chapter 3. (melody pages 1–8) 44ininChapter Chapter3.3(melody (melodypages pages1–8) 1–8).

SYSTEMS SYSTEMS 53 SYSTEMS

53 53

CHAPTER 13

HALF-NOTE TRIPLETS

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

System 1 The snare plays the 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).

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

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System 6 System 6 The bass drum plays the melody, and the hi-hat plays half-note triplets. The ride cymbal plays a swing pattern. System 6 drum plays the melody, and the hi-hat plays half-note triplets. The ride cymbal plays a swing pattern. System 6 The bass (melody pages 1–8) The bassdrum drumplays playsthe themelody, melody,and andthe thehi-hat hi-hatplays playshalf-note half-notetriplets. triplets.The Theride ridecymbal cymbalplays playsa aswing swingpattern. pattern The bass (melody pages 1–8) (melody pages 1–8). (melody pages 1–8)

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

System 7 System The snare 7plays the melody, and the bass drum plays offbeat half-note triplets. The ride cymbal plays a swing System 7 7 plays The snare the melody, the 4. bass drumpages plays offbeat pattern, and the hi-hat plays onand 2 and (melody 1–8) half-note triplets. The ride cymbal plays a swing System The snare plays the melody, and bass offbeat pattern, and the hi-hat plays onthe 2the and 4. drum (melody pages 1–8)half-note The snare plays the melody, and bass drumplays plays offbeat half-notetriplets. triplets.The Theride ridecymbal cymbalplays playsa aswing swing pattern, and the hi-hat plays on 2 and 4. (melody pages 1–8) pattern, and the hi-hat plays on 2 and 4 (melody pages 1–8).

56 SYSTEMS 5656 SYSTEMS SYSTEMS 56 SYSTEMS

System 8 System 88 plays the melody, and the bass drum plays offbeat half-note triplets. The ride cymbal plays a System System 8 The hi-hat The hi-hat plays the melody, The The hi-hat hi-hat plays plays the the melody, melody, and and the the bass bass6)drum drum drum plays plays plays offbeat offbeat offbeat half-note half-note half-note triplets. triplets. triplets. The The The ride ride ride cymbal cymbal cymbal plays plays plays aaa swing pattern. (melody pagesand 1, 2,the 5, bass and swing pattern (melody pages 1, 2, 5, and 6). swing swing pattern. pattern. (melody (melody pages pages 1, 1, 2, 2, 5, 5, and and 6) 6)

System 9 System System The bass99drum plays the melody, and the snare plays offbeat half-note triplets. The ride cymbal plays a snare plays triplets. The The bass drum drumand plays plays the melody, melody, and the snare plays offbeat offbeat half-note triplets. The The ride ride cymbal cymbal plays plays aa swingbass pattern, thethe hi-hat playsand on 2the and 4. (melody pages half-note 1–8) 4 swing swing pattern, pattern, and and the the hi-hat hi-hat plays plays on on 22 and and 4. 4.(melody (melody (melodypages pages pages1–8). 1–8) 1–8)

System 10 System System 10 10plays the melody, and the snare plays offbeat half-note triplets. The ride cymbal plays a swing The hi-hat The The hi-hat hi-hat plays plays pages the the melody, melody, and the snare plays plays offbeat offbeat half-note half-note triplets. triplets. The The ride ride cymbal cymbal plays plays aa swing swing and the pattern. (Melody 1, 2, 5, and 6) snare pattern. pattern.(melody (Melody (Melodypages pages pages1, 1, 1,2, 2, 2,5, 5, 5,and and and6). 6) 6) pattern

SYSTEMS 57 SYSTEMS 57 57 SYSTEMS SYSTEMS 57

System 11 System 11 System 11plays the melody, and the hi-hat plays offbeat half-note triplets. The ride cymbal plays a swing The snare The snare plays melody, The snare playsthe the melody, andthe thehi-hat hi-hatplays playsoffbeat offbeathalf-note half-notetriplets. triplets.The Theride ridecymbal cymbalplays playsa aswing swing pattern. (melody pages 1–8)and System(melody 11 pattern. pages 1–8) pattern. (melody pages 1–8) The snare plays the melody, and the hi-hat plays offbeat half-note triplets. The ride cymbal plays a swing pattern (melody pages 1–8).

System 12 System 12 System 12 The bass drum plays the melody, and the hi-hat plays offbeat half-note triplets. The ride cymbal plays a System 12 The bass drum melody, and The bass drumplays playsthe the melody, andthe thehi-hat hi-hatplays playsoffbeat offbeathalf-note half-notetriplets. triplets.The Theride ridecymbal cymbalplays playsa a swing pattern. (melody pages 1–8) 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) swing pattern. (melody pages 1–8) swing pattern (melody pages 1–8).

System 13 System System 13 System 13 Play the13 melody with the bass drum, while filling in triplets with the hands in unison. Play half-note Play the melody with the bass drum, while filling inin triplets with the hands inin unison. Play half-note Play the melody on the drum, filling in triplets the hands in unison. Play half-note Play theon melody with the bass drum, while filling triplets with the hands unison. Play half-note triplets (as shown) orbass off the beatwhile with the hi-hat. This with is a combination of a system from triplets on (as shown) or off the beat with the hi-hat. This is a combination of a system from triplets on (as shown) or off the beat on the hi-hat. This is a combination of a system from triplets on shown) or off the beat the hi-hat. This is a combination of a system from Chapter 11(as (Filling In Triplets) and thiswith chapter on quarter-note triplets. (melody pages 1–8) Chapter Chapter 11 (Filling Triplets) and this chapter on quarter-note triplets (melody pages 1–8). Chapter11 11(Filling (FillingInIn InTriplets) Triplets)and andthis thischapter chapteron onquarter-note quarter-notetriplets. triplets.(melody (melodypages pages1–8) 1–8)

58 SYSTEMS 5858 SYSTEMS SYSTEMS 58 SYSTEMS

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CHAPTER 14

MELODIC LINE BETWEEN TWO LIMBS

QUARTER-NOTE TRIPLETS ON THE SNARE 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 between the feet, beginning with the bass drum (melody pages 1–8).

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

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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 between the snare and the hi-hat, 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)

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System System System System 6 666 Alternate notes the melody between the snare and bass drum, beginning with the snare. System 6the Alternate Alternate Alternate the the the notes notes notes ofof of of the the the melody melody melody between between between the the the snare snare snare and and and bass bass bass drum, drum, drum, beginning beginning beginning with with with the the the snare. snare. snare. (melody pages 1–8) Alternate the notes of the melody between the snare and bass drum, beginning with the snare (melody (melody (melody pages pages pages 1–8) 1–8) 1–8) (melody pages 1–8).

For the remaining systems chapter, the melodic line will be played between the two limbs that aren’t part For For For the the the remaining remaining remaining systems systems systems ininin this inthis this this chapter, chapter, chapter, the the melodic melodic line line will will be be played played between between the the two two limbs limbs that that aren’t aren’t part part the melodic line will be played between the two limbs that aren’t part of the ostinato. of of of thethe the ostinato. ostinato. ostinato. System System System System 7 777 Since this ostinato contains the snare, practice the same melodic orchestration from Systems Since Since Since this this this ostinato ostinato ostinato contains contains contains the the the snare, snare, snare, practice practice practice it itwith ititwith with with the the the same same same melodic melodic melodic orchestration orchestration orchestration from from from Systems Systems Systems 1 1and 11and and and 2 2of 22of of of this chapter. this this this chapter. chapter. chapter.

System System System System 8 888 Combine this ostinato with the same melodic orchestration from Systems Combine Combine Combine this this this ostinato ostinato ostinato with with with the the the same same same melodic melodic melodic orchestration orchestration orchestration from from from Systems Systems Systems 3 3and 33and and and 4.4. 4. 4.

System System System System 9 999 Combine this ostinato with the same melodic orchestration from Systems Combine Combine Combine this this this ostinato ostinato ostinato with with with the the the same same same melodic melodic melodic orchestration orchestration orchestration from from from Systems Systems Systems 5 5and 55and and and 6.6. 6. 6.

System 10 System System System 10 10 10 Combine this ostinato with the same melodic orchestration from Systems Combine Combine Combine this this this ostinato ostinato ostinato with with with the the the same same same melodic melodic melodic orchestration orchestration orchestration from from from Systems Systems Systems 1 1and 11and and and 2.2. 2. 2.

62 SYSTEMS 62 SYSTEMS 62 62 62SYSTEMS SYSTEMS SYSTEMS

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

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

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

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

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

SYSTEMS SYSTEMS SYSTEMS

63 63 63

CHAPTER 15

QUARTER-NOTE TRIPLETS BETWEEN TWO LIMBS

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

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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).

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CHAPTER 16

MELODIES

Eighth-Note Partials

66

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Melody 1

SYSTEMS

67

Melody Melody 2 2

SYSTEMS 68 68 SYSTEMS

Melody Melody 3 3

SYSTEMS 69 SYSTEMS 69

Melody4 4 Melody

SYSTEMS 7070 SYSTEMS

Triplet Partials Triplet Partials

SYSTEMS 71 SYSTEMS 71

SYSTEMS 72 72 SYSTEMS

Melody 5 Melody 5

SYSTEMS 73 SYSTEMS 73

Melody Melody6 6

SYSTEMS 7474 SYSTEMS

Melody 77 Melody

SYSTEMS 75 SYSTEMS 75

Melody88 Melody

76 SYSTEMS SYSTEMS 76

Exclusively distributed by:

ISBN-10: 0-7390-8015-6 ISBN-13: 978-0-7390-8015-3

y(7IA7D9*KSKLPN(

alfred.com

Systems, Book 1 • Hoenig

ARI HOENIG was born in 1973 in Philadelphia, Pennsylvania. He has worked extensively in bands led by Shirley Scott, Jean Michel Pilc, Kenny Werner, Chris Potter, Pat Martino, Joshua Redman, Wayne 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 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. As an educator, Ari teaches at New York University and the New School for Social Research in Manhattan, New York. He gives clinics and lectures at music schools and universities worldwide. You can find out more about Ari by visiting www.arihoenig.com.