Here’s a new spin on independence. ┬á The idea is to develop the same type of facility against a steady eighth note cymbal pattern that a jazz drummer has playing with the ride cymbal’s jazz pattern. Jazz drummers create conversations between their left hand and feet while playing the “classic” jazz cymbal pattern. I want to be able to do the same thing in a pop and rock context (ie eighth notes).
It’s a modern take on independence. The classic books on modern pop and rock independence, even the revered classic “The New Breed,” all focus on the left hand playing backbeats. In today’s ever progressing world of music, it’s my feeling that backbeats are not enough. Sure, you must have the ability to play them with freedom while you layer various bass drum ideas below or around them, but the freedom to create more complex ideas while maintaining eighth notes with the cymbal hand will give you even more possibilities for expression.
I’ve been pondering this a lot and experimenting with it. This worksheet begins the foundation of interplay between the hands and feet in the context of 16th notes.
These should start to grease the wheels and give you some facility in this area.
Some thought on practicing: try the eighth note pattern with 1) no accents, 2) accents on the downbeats and 3) accents on the upbeats.
Think of these like a jazz drummer would; there’s no need to crush the snare drum notes. Playing the snare drum softly and smoothly will help you stay loose.
If you feel like it, experiment with double bass drums. I have found that playing two notes in a row using double bass allows me to go much faster and achieve a very even sound on each of the two bass drum notes.
This is the beginning of a new era in independence and I’m excited to delve into it further. I hope you’ll join me.
Here’s the PDF of the worksheet for you to take into the practice room: The New Indpendence Sixteenths hand foot combos part one
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