I’ve been writing a lot about independence lately. That’s because I’ve been thinking about groove and pocket and how to make stuff feel really good. I’ve also been thinking, as I often do, about how to sound different from other drummers. To combine these two thoughts, working on independence with unusual cymbal patterns began to make sense to me. And when I started experimenting with “weird” cymbal ostinatos like the “1e-a2-and-a” pattern that I’ve been writing about, I began to realize that there are many cymbal ostinatos that you pretty much never hear any drummers play, and that might actually sound good.
By the way, here are links to the articles on the “1e-a2-and-a” pattern if you’re interested:
“The ‘1e-a2-and-a’ Cymbal Ostinato, Part 1,”
“Part 2,”
“Part 3” and
“A New Kind of Rock Drumming Independence, Part 1”
I see the fact that no one is using these patterns as an opportunity to sound unique. I understand that sounding unique at the expense of sounding good or tasteful is a mistake, so I have to trust myself (and I do, after many years of playing) to use my ears and use “good taste.” But so far, my exploration into this world of unique cymbal patterns has yielded good results.
One that I’ve only started with is playing the last three notes of a group of 16th notes as an ostinato. I think it has a lot of possible playing applications. When I shed this, I seem to naturally accent the last note (the “a”). I really like the way it sounds.
So, to get started, I offer you part 1, which begins the process of independence by working on eighth note ideas and grooves with your snare and bass drum. The right hand simply plays the following:
Here is the PDF with the first 22 exercises to begin developing this independence: “E-And-A” Independence Part 1.
Download it, print it out, and take it to your practice room.
Let me know what you think by commenting on this post.
He first gained attention as one of the winners of Modern Drummer magazine's very first drum solo contest, judged by Rush's Neil Peart.
He's played with Oz Noy, Will Lee, Alison Krauss, Curtis Stigers, Emily Remler, Joel Hoekstra, GE Smith, Andy York, Marshall Crenshaw, Tony Shanahan, The Drifters, The Marvelettes, Big Brother and The Holding Company, and many other artists.
For more info: onlinesessiondrummer.com
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Mark: Due to my neck injury, I “played” these in my head. I can see how the obstinato builds independence, but is it worth my limited practice time? Meaning for me will it have practical application for my playing? You know I trust your judgment and am so pleased to see how much you have developed since I first met you.
Hi Lisa –
Unfortunately, I can’t really judge this….you’ll have to work on it a bit and get an idea of how it sounds. If you decide you like the way it sounds you should explore it more deeply. Whether or not it is useful or not depends on the type of playing situations you are involved in. For me, since I have my own band, I know that I have a situation in which I can try out anything I want…. However, if you can make this particular cymbal pattern sound just as good and grooving as your go to patterns, and play it with ease, I’m pretty sure that you could find appropriate and musical ways to apply it without sounding like an over-playing jerk. Use your good judgement….
Warmly,
Mark F