Today we get to Part 3 of our journey into independence with what I’ve been calling the “1E-A2-AND-A” cymbal ostinato. Look at the notation below; that’s what the pattern looks like on paper.
I really like this cymbal rhythm. It’s very different from what most of us are used to playing on the hi-hat or ride. It’s a three beat phrase and that means it stretches over the barline. That’s not something most cymbal patterns do.
In parts 1 and 2, we looked at independence against eighth note rock beats and all of the 15 permutations of the 16th note grid that fall within the 1st or 3rd beats of the measure. You can check those out here: Part 1 and here: Part 2.
Today, we’re going to continue using the methodology that Gary Chaffee uses in his important book, “Time Functioning,” and apply it to the “1e-a2-and-a” cymbal ostinato. Gary organizes his independence work by first exploring all the bass drum patterns that can happen within beats one and three (ie. before the snare drum on two or four–and that is the subject of Part 2 of this series). Then, separately, Gary looks at all of those bass drum patterns that happen after the snare drum on two and four. Those that happen after two and four are the subject of this post.
Here is the PDF for you to download and take into the practice room: The “1e-a2-and-a” Ostinato Part 3
One last thing I want to mention. It might feel weird that there are no bass drum notes being played on beats one and three. If you want to make these exercises feel more natural and less like technical, feel free to add a bass drum note there…
Let me know how it goes. Feel free to give me your thoughts in the comments section.
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