Tag: split

Bass Drum Splitting Exercise: 12 Bucks

James Christian
Click on the image to enlarge…
…or click here to download in PDF format.

 

This fun bass exercise can be played with the snare and tenor exercises posted yesterday, or it can stand alone as a good splitting workout for five players.  As the title indicates, there are 12 sections, and each has a specific focus:

  • Sections 1-2:  Unison one-handed accented 8th notes.  Focus on maintaining a clear distinction between accents and taps.  Keep your taps controlled and close to the drum.  Make sure your accents are strong, not wimpy.  Matching stick heights and angles will help in staying together.
  • Sections 3-4:  Unison alternating accented 16th notes.  This should follow the exact same technique as sections 1-2, except the opposite hand is now “filling in” the 16th notes.  All taps should be consistently at the same height and volume.  Keep the accents strong and the taps consistently softer.
  • Sections 5-6:  Split 8th note patterns.  Focus on precise note placing.  Mentally subdividing the beat is essential.
  • Sections 7-8:  Split 16th note patterns.  Make sure the 16th notes are placed exactly in time, so that the transitions from player to player are smooth.
  • Sections 9-10:  Split 16th note triplet patterns.  Once again, take care to maintain precise note spacing.  Be careful not to “crush” or “stretch” the triplets.
  • Sections 11-12:  Split 32nd note patterns.  As the note speed increases, technique becomes even more important.  Maintain control without becoming rigid.  Stay relaxed without becoming sloppy.  Take care to achieve clarity on every single note.

Happy splitting!

Bass Drum Splitting Exercise: Triplet Split Patterns

James Christian
5 players
To view the exercise, click on the image to enlarge or click here to download in PDF format.
4 players
To view the exercise, click on the image to enlarge or click here to download in PDF format.
3 players
To view the exercise, click on the image to enlarge or click here to download in PDF format.
2 players
To view the exercise, click on the image to enlarge or click here to download in PDF format.

This exercise has been tailored for different bass line sizes—2 players, 3 players, 4 players, or 5 players.  (If you have a larger bass line, simply take the version for 5 players and have two players double one of the parts.)

It covers numerous combinations of sixteenth note triplet split patterns, a skill all bass lines must master.  The constantly shifting patterns will keep everyone on their toes.  I would recommend practicing each two-measure pattern (indicated by the double bar lines) separately at first.  Play each two-measure pattern over and over until your whole section has it down.  Once you have each pattern down smoothly, practice the entire exercise from start to finish.

When practicing, be careful to maintain correct note spacing.  Usually players tend to err on the side of spacing the triplets too tightly (crushing them), and extra care must be taken to space each note evenly.  Sometimes players overcompensate and spread the notes too widely, so be careful to avoid the opposite error as well.  Use a metronome to help with pulse control.  If possible, get someone with good timing to listen to the exercise and give feedback.  If your line works it up, feel free to post a video and link to it in the comments section below.

Happy splitting!

Bass Drum Splitting Exercise: Shifting Paradiddles

James Christian

bass-0001-shifting-pima-paradiddlesTo view the exercise, click on the image to enlarge or click here to download in PDF format.

So far this week, we have had exercises for snare drum and keyboard percussion.  They have all been variations on the “Shifting (P.I.M.A.) Paradiddles” exercise.  Today we come to the bass drum variation.  (It can be played by as few as two people or expanded to work for any size line.)  The acronym in the title—P.I.M.A.—stands for:

Paradiddle — Inverted paradiddle — Mill — Alternating quad

Of course, a standard paradiddle has the sticking RLRR LRLL.  An inverted paradiddle is like starting on the second note of a paradiddle: LRRL RLLR. A mill (think “single flammed mill” without the flams) is like starting on the third note:  RRLR LLRL.  Finally, an alternating quad is like starting on the fourth note:  RLRL LRLR.  (Of course, this final set is like a quadruple grouping of singles, simply alternating the starting note.  Hence its name.)

In this variation, two players go back and forth between a basic 16th note check pattern and then split these different P.I.M.A. patterns.  The first time through is all on the right hand.  On the repeat, it should be played off the left hand.  The best way to practice is with a metronome.  Take it slowly, carefully subdivide the 16th notes, and focus on playing the rhythms smoothly with an absolutely steady pulse.

Tomorrow we will feature a variation on this exercise for timpani!