Melodic Jazz Independence

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•SYSTEMS•

Book 1: Drumming Technique

And Melodic Jazz Independence

by Ari Hoenig

edited by Michael Dawson

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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

Exclusively distributed by Alfred Music Publishing Co., Inc.

writing from the author.

Audio examples of all the systems in this book are available for download at:

www.arihoenig.com

SYSTEMS

Book 1: Drumming Technique

and Melodic Jazz Independence

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2 SYSTEMS

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

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SYSTEMS 3

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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4 SYSTEMS

CHAPTER 1 INTRODUCTION

M

any students are overwhelmed with the realiza-tion 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 prac-tice 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 differ-ent 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). 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 value of the note which precedes it. So, if there is an eighth note followed by an eighth rest, it is treated as a long note.

The Second Note of the Triplet

In jazz or other triplet-based music, melodies which are written as eighth notes are often swung (played with triplet subdivisions). In this interpretation, the melody can fall only on the first or third triplet, but never on the second. After a while, this approach can create a limitation in your idea of swing. There was a time when the second note of the triplet was rarely played in jazz. Recently, however, it has become a more common part of the language and can be effectively used to build tension in the music. A large part of this book

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

Creativity and Individuality

The exercises are laid out in a structured and methodical way. Mastering them will give you more choices on the drum-set, which will allow for maximum creative freedom while improvising. Practicing in a structured way will ultimately help you perform in a creative way.

It’s not necessary to master each of the systems in this book. Instead, think of these examples as reference tools for different possibilities. The idea is for you to focus on certain systems that inspire you. Just make sure you commit to 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.

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SYSTEMS 5

CHAPTER 2 HOW TO USE THIS BOOK

M

elody pages 1–4, in Chapter 16, consist of fairly traditional rhythms that don’t use the second note of the triplet. These pages are notated as eighth notes and can be played with a straight or swing feel, depending on the system being used. Melody pages 5–8 include rhythms using the second note of the triplet. Not all of the melody pages are to be played with each sys tem, so I’ve indicated in the descriptive text before each sys-tem which melody pages should be used.

After the descriptive text, I’ve included a notated example of the system combined with the first few bars of melody page 1. This will show you how the system and melody fit together. Here are the first two measures of melody page 1.

If the system is to be used with any of melody pages 5–8, there will be a second notated example of the system combined with the first two bars of melody page 5.

Preceding the eighth note and triplet melody pages, I’ve includ-ed what I call “partial pages.” These two pages contain systematic groupings of two, three, and four notes. The first partial page is written using eighth notes and corresponds to melody pages 1–4. The second partial page uses triplets and corresponds with melody pages 5–8. These two pages contain the basic rhythmic building blocks used in the subsequent melodies. Practice the par-tial pages with the systems first. (If a system only uses melody pages 1–4, there’s no need to practice the second partial page with it.)

In general, you’ll get more benefit by mastering short ideas instead of memorizing long phrases. This will allow you to impro-vise new ideas by piecing together short phrases to create longer

ones. This is similar to learning a new language, where it’s more important to learn words, from which you can create your own sentences, rather than just memorizing entire phrases. The best way to practice the systems is to begin by repeating one bar of the melody at a time, then two, and then four. I don’t recommend playing the melody pages from beginning to end unless you want to practice sightreading.

It’s also important to be aware of how you’re playing the sys-tems. Ask yourself, “Is my time consistent? Are the dynamics of the different components of the drumset equal with each other and with themselves?” Repetitive practice will make you aware of 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 your maximum tempo for each system. Your top speed will vary from page to page and, in some cases, from bar to bar. Noting 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 slow-ly, and then work your way up in increments of four beats per minute. Once you’ve mastered a melody page with one system, move on to the next page using the same system. Different mea-sures of the melody pages will need to be worked on at different tempos, depending on how technically challenging they are. Start at 52 beats per minute, and work your way up. Don’t be discour-aged if you’ve been working with two bars of a melody at 100 BPM but can only play the next two bars at 70 BPM. That’s how it’s supposed to work.

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6 SYSTEMS

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 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).

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 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.

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SYSTEMS 7

Hand Warm-up 6

Play alternating eighth-note triplets. Accent the melody while playing the non-accented notes as dou ble strokes (melody pages 1–8).

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).

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8 SYSTEMS

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, 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. 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 triplets. Melody notes are played as doubles (RR or LL) followed by as many singles as necessary to complete the note value. (melody pages 1–4)

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Hand Warm-up 7

Hand Warm-up 8

Hand Warm-up 9

Hand Warm-up 10

Hand Warm-up 11

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Hand Warm-up 7

Hand Warm-up 8

Hand Warm-up 9

Hand Warm-up 10

Hand Warm-up 11

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Hand Warm-up 7

Hand Warm-up 8

Hand Warm-up 9

Hand Warm-up 10

Hand Warm-up 11

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Hand Warm-up 7

Hand Warm-up 8

Hand Warm-up 9

Hand Warm-up 10

Hand Warm-up 11

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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 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, 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. 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 triplets. Melody notes are played as doubles (RR or LL) followed by as many singles as necessary to complete the note value (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).

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SYSTEMS 9

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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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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10 SYSTEMS

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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SYSTEMS 11

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

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12 SYSTEMS

FOUR-WAY COORDINATION INTRO

W

e are now in the four-way coordination section, which makes up the bulk of this book. The fol-lowing 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.

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.

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SYSTEMS 13

Basic Prerequisite ostinato

Prerequisite 2

CHAPTER 5 SWING PREREQUISITES

T

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

Prerequisite 2

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

Prerequisite 1

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14 SYSTEMS

Prerequisite 3

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

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 5

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

Prerequisite 6

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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Prerequisite 3

Prerequisite 4

Prerequisite 5

Prerequisite 6

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Prerequisite 3

Prerequisite 4

Prerequisite 5

Prerequisite 6

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Prerequisite 3

Prerequisite 4

Prerequisite 5

Prerequisite 6

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Prerequisite 3

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

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 5

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

Prerequisite 6

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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SYSTEMS 15

Prerequisite 7

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

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 9

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

Prerequisite 10

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

SYSTEMS 15

Prerequisite 7

Prerequisite 8

Prerequisite 9

Prerequisite 10

SYSTEMS 15

Prerequisite 7

Prerequisite 8

Prerequisite 9

Prerequisite 10

SYSTEMS 15

Prerequisite 7

Prerequisite 8

Prerequisite 9

Prerequisite 10

SYSTEMS 15

Prerequisite 7

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

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 9

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

Prerequisite 10

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

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16 SYSTEMS

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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18 SYSTEMS

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

CHAPTER 6 DISPLACING QUARTER NOTES

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

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

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SYSTEMS 19

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

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20 SYSTEMS

System 6

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

System 7

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)

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

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System 6

System 7

System 8

System 9

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

System 6

System 7

System 8

System 9

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

System 6

System 7

System 8

System 9

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

System 6

System 7

System 8

System 9

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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

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

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SYSTEMS 21

System 10

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

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)

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

System 10

System 11

System 12

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

System 10

System 11

System 12

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

System 10

System 11

System 12

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

System 10

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

System 11

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

System 12

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22 SYSTEMS

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 notes on the snare and eighth notes on the bass drum). (melody pages 1–4)

System 15

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

System 16

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

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

System 13

System 14

System 15

System 16

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

System 13

System 14

System 15

System 16

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

System 13

System 14

System 15

System 16

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

System 13

System 14

System 15

System 16

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

System 13

System 14

Reverse the 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 between the snare and bass drum (melody pages 1–8).

System 16

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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)

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System 17

System 18

System 19

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System 17

System 18

System 19

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System 17

System 18

System 19

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System 17

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

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System 20

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

System 21

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

System 22

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

System 20

System 21

System 22

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

System 20

System 21

System 22

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

System 20

System 21

System 22

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

System 20

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

System 21

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

System 22

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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

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System 23

System 24

System 25

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System 23

System 24

System 25

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System 23

System 24

System 25

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System 23

System 24

System 25

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System 23

System 24

System 25

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System 23

System 24

System 25

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System 26

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)

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

System 26

System 27

System 28

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

System 26

System 27

System 28

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

System 26

System 27

System 28

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

System 26

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

System 27

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

System 28

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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 between the snare and bass drum. (melody pages 1–8)

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System 29

System 30

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System 29

System 30

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System 29

System 30

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28 SYSTEMS

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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SYSTEMS 29

System 6

Play the melody on the bass drum, while filling in eighth notes with the snare. Play the hi-hat on the off-beats. 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).

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30 SYSTEMS

CHAPTER 8 OFF-BEAT SYSTEMS

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).

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.

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SYSTEMS 31

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 pat-tern. 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 cym-bal 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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32 SYSTEMS

System 10

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)

SYSTEMS

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System 10

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)

SYSTEMS

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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).

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34 SYSTEMS SYSTEMS

CHAPTER 9 TRIPLET PARTIALS

System 1

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

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 2

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

System 3

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SYSTEMS 35

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

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36 SYSTEMS

System 7

Play the melody with 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 between the feet, beginning with the bass drum. (melody pages 1–8)

System 9

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

SYSTEMS

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System 7

System 8

System 9

SYSTEMS

36

System 7

System 8

System 9

SYSTEMS

36

System 7

System 8

System 9

SYSTEMS

36

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

System 9

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SYSTEMS 37

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 between the snare and hi-hat, 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

4

System 10

System 11

System 12

SYSTEMS 37

4

System 10

System 11

System 12

SYSTEMS 37

4

System 10

System 11

System 12

SYSTEMS 37

4

System 10

System 11

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

System 12

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38 SYSTEMS

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

System 15

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

SYSTEMS

38

System 13

System 14

System 15

SYSTEMS

38

System 13

System 14

System 15

SYSTEMS

38

System 13

System 14

System 15

SYSTEMS

38

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

System 15

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SYSTEMS 39

System 16

System 17

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

System 18

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

SYSTEMS 39

System 16

System 17

System 18

SYSTEMS 39

System 16

System 17

System 18

SYSTEMS 39

System 16

System 17

System 18

SYSTEMS 39

System 16

System 17

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

System 18

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40 SYSTEMS

CHAPTER 10 TRIPLET PARTIALS BETWEEN TWO LIMBS

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).

In this chapter we’re going to break the triplet-partial ostinatos between two limbs,

while playing the melody with the other.

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).

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SYSTEMS 41

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).

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42 SYSTEMS

System 5

Orchestrate triplets between the snare (2nd partial) and the bass drum (3rd partial). Play the melody on the hi-hat. (melody pages 1, 2, 5, and 6)

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

SYSTEMS

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System 5

System 6

SYSTEMS

42

System 5

System 6

SYSTEMS

42

System 5

System 6

SYSTEMS

42

System 5

Orchestrate triplets between the snare (2nd partial) and the bass drum (3rd partial). Play the melody on the hi-hat (melody pages 1, 2, 5, and 6).

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).

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Melodic Jazz Independence

•SYSTEMS•

Book 1: Drumming Technique

And Melodic Jazz Independence

by Ari Hoenig

edited by Michael Dawson

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

SYSTEMS

Book 1: Drumming Technique

and Melodic Jazz Independence

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

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.

CHAPTER 1

INTRODUCTION

M

CHAPTER 2

HOW TO USE THIS BOOK

M

A

FOUR-WAY COORDINATION INTRO

W

Basic Prerequisite ostinato

CHAPTER 5

SWING PREREQUISITES

T

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

CHAPTER 6

DISPLACING QUARTER NOTES

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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