Tag: syncopation

Multi-Tenor Etude #7: “The Fool in the Mirror”

James Christian

Bit by bit, I am posting videos of the etudes from my book The Art of Multi-Tenor Drumming. This is multi-tenor etude #7 entitled “The Fool in the Mirror.” Its main theme is pretty catchy, and it focuses on developing 16th note patterns around the drums.

Here are the performance notes from the book:

There is nothing in this etude exceptionally flashy from a visual standpoint, but the melody is quite catchy, and this is one of my favorite etudes to play in this book. (Of course, I think all of the etudes are great!) The whole piece gradually moves from playful syncopated rhythms to more intense driving rhythms, but it returns to a light-hearted note at the very end. The first section (mm. 1-5) establishes the playful syncopated main theme. The second section (mm. 6-9) contrasts the first with a slightly less syncopated 8th note double stop quasi-groove pattern. The third section (mm. 10-13) is a more driving segue that reiterates the main ideas of the first section. The fourth section (mm. 14-19) is the longest (with repeats), and it is the most driving; it has very little syncopation, and it focuses on some basic paradiddle patterns mixed with doubles and 16th note singles rhythms. The final section (mm. 20-22) is the shortest, and it caps off everything by quickly highlighting the previous themes.

Enjoy the video!

Drum Set Exercise: Bass Drum 16th Patterns

James Christian1 Comment

drum-set-0001-bd-16thsClick on the image to enlarge or click here to download in PDF format.

This exercise takes a basic rock groove and goes through all 15 possible 16th note-based patterns on the bass drum.  For beginning players, you should play each measure several times in a row until you have it down solidly.  This will help you build a strong sense of 16th note timing on the bass drum.  For more experienced players, this exercise will serve as good practice for changing bass patterns quickly.

The final line serves to give a satisfying conclusion to the exercise.  The final three beats are written with slash notation.  You can either give yourself a rest or create your own fills as you repeat the exercise.

To make this exercise groove, it’s essential to keep steady time.  The final few measures are certainly the most difficult, so it’s important that you do not start the exercise too fast—or your foot will struggle to keep up at the end.  Pay careful attention to keeping every note in alignment.  Ultimately, each measure should groove, and you should have fun with it!