ID THIGPnI: BiocrraDhv

Considered by mlsicians and critics alike to be one of the finest dnfiilE Sand pelcussionists i\ jazz, ldl]rnld Thigpen vas Lorn in Chicago Decglber 28,1930. He iias raised in I-os Angeles, i!*!ere he attended ThcnEs Jefferson HtghSchcoL. there, under the instruction of SarTuel Brorne, he gained his firslpractical jazz experience playing with the school's s,!.,ing band.

He was the first and only dnnllr€r to win the high schcoL's Music Aqalil. Aftelgraduation, he studied at l-os Angeles City Coltege as a sociology nEjor but,; - i , r i h d ^ ^ : - : r r D r i n m , c i ^ l a F f : r i a r ^ h a v p : r H p I i v a l f o r- - - a year l - l

St- louis, I'Lissor.r-ri witi his father, Ben Thigpen, well-].J1o!,m as the aL!1irn]erof the Andy K.irk Bend in the 1930s and 40s.

In 1951, Ed joined t]re Cootie wiuianrs Band at tie Sa\.'oy Ba1lio<tr in 1'1ev7 York,and t-raveu-ed AnErica with many liell-knorn rhythrL-and-bfues singers and \,ocalg.].oups,

Serving in the Arrny from 1952 to 1954, Ed becane an instructor on d.runs rvithtne sixtn AnTry Band Ttaining unit at Port ord, california. later he served inKorea irith the Ei.ghtl:r Lmry Band.

i'rom 1954 tiiough 1958, he uorked successively with Dina-h washinqiton, JohnnyHoC,ges' Band, ci1 MeLfe, Hutta Hipp, Toshiko Akiyoshi, and finally the BiILyTayLor Trio. His professlonal activities now included concetts, clubs, record-'rgs, t-]le educational Iv series, " The Subject Is Jazz", and \dork as a clinician"or the Ludrig Dnnn ccfirpany.

In 1959 Ed joined t}le Osca! Peterson Trio. This group, consisting oi thigpen'bassist Ray Brc(,m, and the gtreat Canadian pianist, appeared in nightclubs allover the lior1d and in concetts with Nonran Granz' Jazz at the PhiltlafiDnic ' ltmade an extensive series of recordings that are stil1 considered classics byjazz collector:s. In 1959 Ed and Efvin Jones shared a tie New Star Award in theDown Beat Critics' Po11.

Ed left ttle trio to settle in Canada, br.1t after six fiDnths r{as cafled to go onttre road with Ella Fitzger:rld, In 1967 he settled in los Angeles to \^,ork as afree-lance Itusicj.an in recordings, jjnqles, and 1\/ and nDvie sound-tlacks.Drring tnat period he liorked r.rith Jobrmy l4athis, Pat Boone, Andy willialrrs, Pe99'yl,ee, oliver Nelson, and Gerald wilson, aIIDng others. Tcward the end of 1968 he-F j^ : 16. l F l : c i .?dorald re r -errnanent nEmber of her Lr-Lo. He stayed !^ ' i Lh her

until Septqrdre!, 1972, vihen he (oved to Copenhagen, Demark.

Since then, Ed has used CopenlEgen as a base for !.,orking throughout ELrrope. He!^orks frequently \rith Kenny Dreit, 1llad Jones, Ernle l^/ikins, Clark Terry, TeddYwilson, and rnany other Anerican and Eurooean artisrs.

For the last eight years, Ed has been deeply involved in music education, teach-ing Jazz oriented Percussion Studies at the Music conserwatory and Jazz Tnstitut€in f4alno, Si./eden. He has his own percrrssion studio in Copentlagen.

Ed has written ard published four books: Ed ThigPn Talking D-!Mt Be our Guest,with P.ay Bro!''1_r; Rhytlnn Analysis and Basic Co_ordination; and llDst recently TheSound of Brushes.

Says Max Roach: "Thanks to Ed thigpen for giving us a book with a definiteapproach tcerards developing the creative aspect of todern di.mring- "

The use of ni-re blushes is not new, I have been told that as ear]w Fc l-ha1920's the brushes \,,7ere beccfiring an integral part.f dl. a-r,r*i"'"qri#-t.

It would be jnpossible for a,.ry of trs to develope lrltiout tie jnffuence ofothers. f nould IiJ<e to ackno\41edge soTe of tie rnen who have had the dreel-_est inf]uence on nv approach to playing brushes. My t"ti,.i n""- ff1igp"i,

-J.

Jones, -Denzil Best, Art Blakely. Buddy Rich, t4ax Roach, SheUy lvlame andElvin Jones. One cannot help bul be influenced by great arcisis.

Sance.tie efiErgence of "Rock }tusic', which for the nDst palt reguired heal.l'drumling, the btushes were set aside or fot mcst of the young pf.yur" *nobegan playing during this period, have never Lreen used ai afi.'

In 1965 I \rrote a book tltled "Ed thigpen Talking Dnfts,, in which was 1n-9S"9 ? t.y_ *_o"s of didqranrned brush strokes. it was sugqested that f doa book total ly devored to brush LechniquF.

this book is tlle result, Atl of the strokes incfudeal herein I use. deDen.li naupon tie irnrsicaf situation- Tt is my sincere hope that ;ft" a;;'.;-;;;;;"\^'i11 help you in developing effective wire bmsi technique.

z/r+f*-All rights reserved, which include the right to reproduce this book orport-ions Lhereof ^n anv foIln wl^Jrsoever. For it for]nali on addiessr,J Inlqpen/Act lon PeacLron, Bagerslraede 3, 2nd. L.h.

--_?V Copenhaqen. Denna.rk

RECOMMENDEDSTUDY AND PRACTICE PROCEDURE

IT HAS BEEN MY EXPERIENCE IN THE PAST, THAT MANY STUDENTS, ADVTTCED

AS WELL AS BEGINNERS, DO NOT READ THOROUGHI,Y TI{E WIITTEN TEXT IN-

CLUDED IN MOST ]NSTRUCTION BOOKS. fHERXFORE, I ASK YOU TO PLEASE

READ THE TEXT IN THIS BOOK SAREFULIY. TIIE SAME APPLIES TO TI{E RE-

CORDED INSTRUCT]ONS AND SOUNDS OF IHE VARIOUS BRUSI{ STROKES ON THE

CASSETTE. LISTEN THROUGH EACH EXI,MPLE AT ],EAST ONCE WITHOUT TRYING

TO P],AY ALONO WITH IT. LOOK AT I'HE ILLUSTRATED DIASR.AI'I AND TRY TO

FOLLOW IT VISUALLY FIRST. NEXT TRACE THE DIAGRAI4 WITH YOUR FINGEE

TIPS ONLY. THIS WILL ALLOW YOU TO GET THE FEELINE OF THE STROKE IN

YOUR HANDS FIRST. THT IDEA IS TO TRANSMIT TH]S FEELING FROM YOUR

HANDS THROUG}I THE BRUSH. REI4E},IBER, THE BRUSH LIKE THE STICK, SHOUIJD

BE TELT AS AN EXTENTION OF TH8 HAND AI.ID NOT AS A FOREIGN OBJECT.

]T IS A],SO RECOMMENDED THAT YOU PRACTICE A],t OF THE STROKES ACCOM-

PANYING YOURSEI,F WITH A ST]IADY PULSE ON THE BASS DRUM A]ID HI-HAT.

TINALLY ?RY PTAYING WITH SOME OF YOUR RECORDS OR TAPES TO SEE AND

HEAR IIOW THE STROKES MIGHT FIT VARIOUS MUSICAL SI?UATIONS.

TABIE OF CONTENTS

PageT h e B r u s h . . . . . . . 2B r u s h T e c h n i q u e - - - G r i l s f o r P l a y i n g B r u s h e s . . . . . . . . . . . . . . . . . . 3R a u r n r r J r 4 u ' . . . ' . . ! . . . . . . . . . . . . . +

N o t a t i o n , S y / e e p , L i f t a n d T a p M a r k i n 9 6 . . . . , . . . . . . . . . . . . . . . . . . , ,Brush St rokes fo r P lay ing T ime- - -Bas j -c Le f t Hand St roke . . . . . . . 5P h r a s i n g i n T i n e ( T e m p o ) . . . . . . . 7R i g h t H a n d P u n c t u a t i o n . . . . . . . . . 8R igh l Hand Pu[c tua t ion w i th Le f t Hand Ba6 ic Sweep. . . . . . . . . . . . . 9L e f t H a n d F u l t u a t i - o [ , . . . , , . . . . . 1 0L e f l H a n d P u n t u a t i " o n w i t h R i g h t H a n d R i d e P a t t e r n . . . . . . . . . . . . 1 1

Accented r r le t count r r o f f i r6 t beat , us ing bo th R igh l andL e f t H a n d s . . . . . . . . . . . . . . , , , . . . " . ) - zR , < i . L A f + l l - h , i q v ' a a h u l i r h F i d h + I I ' h . i T . h f r i . l z c ^ , , n ^ \

T 6 f + U . h d E \ r ' l 1 a i r ^ 1 6 q + r ^ L 6- - - - - - - . i e

L e f t i { a n d H a f f C i r c l e . . . . . . . . , , I 5R i g h t H a n d H o o k S t r o k e . . . . . . . . . 1 6Combination Left Hand Ful1 Cj.rcle wilh Ri-ght ]Iand l look Stroke. 17Combinalion Right l iand Zorro Stroke - Lefl l land Ful1 Circle .. 18C i r c L e s , . . . . , . , . . . , . . . . . . . . . . . . 1 9Bas ic i l i ce Rhythm in 3 /4 - R ig i t ano Le f t Hand St rckes . . . . . . . 2Cd . . 6 F + a ̂ ' r l ^ + . ^ , , n + t r i h < / / . . . . . . . . . . . ? rS i x t e e n t h l i c t e T r i p l e t P u n c t u a t i o n i n 4 , / + i l h " v t h m . . . . . , . . . . . . . Z zq i v + a A n + l r \ r ^ + 6 f r i n l 6 t D l r h ^ l - , r . + i ^ h i h Z / J D . r ' + L m- - l - - - . . . . . . . - . . . . . . 2 3S t r o k e f o r D o u b l e T i m e F e e l i n g . . . . . , . . , . . , . , . . 2 4A - L l e r e q L r a p r e f ! n u 1 i " L e . . . . . , . . . . . . . . . . . . . , . . . 2 5

T i g h t S h u f f l e S n e e p . . . . . . . . . . . , , . . . . . , . . . , . . , . 2 5r l t n t J r v e e p a n o r a p s . . . , . . , . . . . 2 7r f s t ru l x rn in g r ' - -Gu i t a r S t roke . . . . . 2A' l

t h q r r a 6 h l . ^ r + i n 6 c f F ^ L 6 l

)vA d a p t i n g B r u s h e s t o L a t i n A n e r i c a n l . l u s i c . . . . . . . . . . . . . , . . . . 3 \l i ^ + r l " o , l a F t r c L q u ^ 6 r D . + F 6 F h c- * , . - - . l s

S i n g l e a n d D o u b L e S t r o k e s ( e x p l a n a t i - o n o n e x u c u t i o n ) . . . . . . , . , 3 tq i h o l d C + r - L 6 I ' v 6 F ^ i c 6 c . . . . . . . . . . . . . . . . . . , 4D o u b l e S t r o k e E x e r c i s e s . . . . . . . . 1 5F l e x a n d M u l t i p l e B o u n c e S t r o k e s . . . . . . . . . . . . . . ) 5

lhe Brush

The wire brush i-s constructed withj-n the 6hape of an opeD far. Tberehandles Bade to q|hich the brush isture6 of four of lhe roany.

thln wi-res bound togetherare d i f fe ren t types o l

connected . Be low are P lc -

Mo6t !0odels are oade so that the wires ca! be retracted j-nto

the hand les fo r p ro tec t ion when no t in use . The cho ice o f thety le you use. l i ke s t i cks . i s a le rsona l - one. I {yse l f . f p re fe ra- 6 ru l t r w l t i r - tn in and ver i f lex ib le w i res , The s l i f fe r w i re 'however . c a -n be u6ed : ros t e f fec t i ve ly fo r rud l [en ta1 based so1os .For a s6 f te r sound ard w ider ra r8e o f e f fec ts , the th in nore f lex -ib le w i re i€ bes t .

t-

Brush Technique

Both s t i cks and brushes shou ld be thought o l as .an ex tens j -on

6i-i ir" -nli ia

"-hen in u"e. The one difference being- that the

t " " " -o iJ r . t " I tush are f lex jb le ' rxhereas ' lhe s l i ck re rda ins

r i g i o " i n c e i t i 6 m a o e f r o n a s i n g l e p i e c e o r w J o o '

The f lex ib i l i t y o f the brush a f fo rd6 us c ther e l fec ts and

sounds which canno! oe naoe i4'ith a stick' Because -of the

i i l ' i - i i i i " - ' " i i es an adc i i t iona l techn ique muEt be deve loped

io get the naxiriuli use from the brushe6'

Grlps for Playing Brushes

The brushes are :1e lc bas1ca l1y the sa f ie as the sx icks- .E i ther the cc) lvon t i -na I 8 r i } , o r the matcheo Sr rp can be useo 'I use the convent icna l 6 i ip mos l o f the t ime. I have founds l iah t a l - te ra t i cns in the pos i t lon o f the le f l handnecEssary fo ! sorne s t rokes . (Th is w iU be rnent ioned whenn"" " " " t "y on the ins t ruc t ion c 'sAet te ' )

t=tt

t

Ride RhythB in Jazz

;r".,iloiril'lnlriSi"ii li"'li,Bxi':"'*{tl"*i":'gli:r:: 3i'liln"o.""i i*i- r"i

-'j" ""tp"nine " soloist or backing up the enserdble'

ri"a" u." been liuch controversy over which j.s the cor'ect figure orr ii"."-io" pl-aying a ri.au rtti!n.. I woufd like to clarify thi6 by-qii"i'-trrif ii-h"pE"as on re" sivie ;rd the interpretatior of thats ty le by the rous ic ians PraYrnS.

F c tho6e o f us b rought up qur ing the swing anda l te red t r ip le t on the 2nd and 4 th beats o r tne-6rnce the s ty le6 ard rhy thmic in te rpre ta !1on or

r ! E r {J l . l t l 7 ) 7 7 . r J-7J

be-bop erasr _ thebar i6 prevalenl tthe ouslc is based

- t .

o f the rhYthE o f the ne lody ' the a l te redand 4 th beats o f the r ide rhy thd f i t s nore

- r . - 3 -

c_ the t r ip le t . ie .

ir itteD:

* P IaYed:

l,[ th ihis i-nterpre tationt iplet used on the 2ndneturally. ie.

lle lo dy:

^ - ^ l . v i n d c h r r a f l p

in any style.

I r ad i t j - ona l o r D ix ie land 6 ty le

J;. ! -r)

R:.de rhythn: ,l )

- l -

7 7I

) .

J;- : -r:)

Fianv of the traditional or dixj-e1and 6ty1e pfayers nake rouch use of

. i " l i i f r t ' " i s l t in

and s ix teenth no tes . That i s ' . the i r in te rpre ta t ion, r - ia ! "0 on" th is puLse even though the rhyrhm'1s . syncopateo ' , ,For "*Jco@pani@ent in ih is s ty le you w i l I f ind tha t the s ianoarq no la leor ide rhy thm wl f l f i - t be t le rl r u Y I ' r r L r u ' " " J ' J =

J- f h i s r n v t h n i s a l s o v e r y e l f e c t i v e f o r S e l t i n g

r e n p l - a v i n g i n a s f o w b a l l a d t e m p o r w i l h t h er in inE lhe- fu l l c i rc le o r tne bas ic le f t hand

i igh t Io Le l t to r i8h t e tc .t T - 1 |

ren p lay ing a t a very fas l tempo i l . t irratural ride pattern for sv/in8r dixier be-bo!tt r ' o - + a r n c + w l 6 c

a double-llme ieelj-ngl-e ft hand sti l l roain-

sweep froro left to

I

tI,f,

gosp lewi l r be the

or country-

rhyLhm, [he a l te red t r ip fe t w i l l genera l l y f j . t

J-J e-r l;r J-,1r I

r \ o L a L I U I I r . ! v c e p r r r r L a r q ' 4 . P

Malki.ngs

The darkarea to

There is no standard lrotation for brushes. When brushes are desiredi " - . " i . .uog" t "n ! ' the word Brushes ' Br ' o r l t .B . i s genera l l y . wr i t len

- in at the b6ginniirg of the section 6f the amangement in which lheiruse is de s i red .

* In no6t case6 it i6 up to the drun!0er to decide when the brushes wil lp rov lde the bes t e f fec t .

As a gulde I woulct suggeEt that you vj-11 be safe .i4 using lhem when-._ ever ihe Bus ic ca l l s io r so f t p lay inB, t tp iano r ' rp ia .n iss imor r r e tc .

There are t j -me6, however ' when they - in be very e f fec t i ve in a I ' fo r ie t r(loud) dynanis iange. Thj-s ie because of the sounc of the brush

- playlng a strong ride rhythm.

It is further suggested that you l isten io recordlng6 j-n v/hlch. .different druroroeii use brushes in various muslcal seitlngs. Thj.s

- wil l help you to ievelop your own tasle.

Sweep, L i f t and Tap Slgns

shadow represents the generalbe played on the drun head.

An amovr polntj.ng rigilt, means thal thebrush sweep starts on ihe leit hand sideof drum and sweeps to the ri8ht.

.An arrcw pointing lefl ' neans ihat lhebrush s \yeep scar ts rn the r ighL nanu s i :eo f d rwo head and sweeps lo the le f t

'-=? i . n " , a ' ' . n " t F f " c - r r n f . ^ n f e f t h a n d

s-*--------7I \ - - - - - - -

s ide o f d rum head and sweep !o r j "gh tpass the "2 r r o r v jh ichever count i srnarked, to the nex t count , i .e . n le t 1 " .

^ r " l a t , r c n l ) - : , n d b r u 6 h b a c kto le f t pass ' t4 " o r wh ichever count i sn - F L a ; + ^ h 6 v + - ^ r l n +

Brokeu line means to !!! l bru6h to nextbeat or count roark in the direction ofthe arrorv.

Dark fi l led circle neans that the beati6 tapped ( t i ck sound) .

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( ! o o6 P . (o rD q,+

6 | g F

orl . lq t . t J q ,

o E oh ^ s

a6 t) 0, i

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@ oB N r i P

0 1 - { O O S

drr (n rl OF{ O k OF{. - l c op

o ( ' qto o or0)t i o E E - l

E q o o ' r l3 L J B oc o o

-e a-{ Fl..t 5

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6

t ho

j o

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k €

b + , p 6I E. - { t . ' U l . p ., t t i i O t { @ l rd E } r o & q lqt .q r lo

F *' ri cr.o- o o r l [

E r { A O O !c l . P q r E qA d O .P(\l{ r l E t rc t , . t o o $ { oi l s @ ol r, 6 6

Et , ik + ' l r@ d o t 6 @! ci @..1i j a { ( l ) P

t F l o o e6 d . O O \ . P Eg ( 0 > o r j s r . P

r {q E i . t to-r F o r_l Fa l l J o C l l . e { O| {& .q o t{.P O q-r oq

tO +t ot{ .qd F t a 1 ' P @d r-.t o lr! ct Pid qi C.d ${ q{

.ct + r-t o"if t t r .qk - l

( D t r . { F O U )4 0 O . . q E 0 )P > a @ . r t . q

i > q x { r-CC O '-l t{ l4 ri+J r.{ .P >' r{O ti -- { c l d a P A; o o - { P a q t

.!l l4p1 .u (0 pd O i . { @ O? { t { F { l r o t r . q >d r r a e o . P At O Q d O F l Oql .-l > 6.d rD >

o t @ r i o. p - E ! o o . t 6t r P i : { r l t r q rd - P " o - o.p qr l-{ bo o oc to c o€ . r i ( 0

-r l E.c o.rri 6 o o F + ( 0 6 0 k 6O l i l d O a . 1 ' P O> f t o o - E A p

.{ Atr 4Jo o . { ) t r J @ " ql o r a a o o r l r ro q r 6 ( 0 > E Jk I! Fl Pr r o f t t { o = dA , q . q o f l o ' l q

+r .lr i{ -C .ri 6

l l o b o k o o t r !o > c 6 > t r o tO qi a-{ Pi ..1 .o N. f .C o Ebo E .= . . l d 0 6 ( D 0 ( )

J + | r E E o r r.at o o io ${ .J op oa > : 6 C & ld , r . . 1 r r o o @,C tr FI+) CrJ O oli

o + ) 6 { r o . !. p . p o o > 5 . O O.q qr t{ 60 t{F tt ,DMd {g F-r .P.- l .P >)d q . ! Fe{ .qL - C i . F | d = @ a _ l + ) + )

@ o c o ( [ o . c - fo j >, 32 Frr 60- C A o o . l r ' . t O. u P O > @ . r l | ] r l l r

F { o ol i o ' . 1 o @ > > S o do.q .q. .1 .C o t r r r .q h*q 1r = (d Er.-| Er O.pf.\

c kt 6

o

o

"i

ta

z

FI

&-

H < 1 7

6

= t - oA Ae1* ,

II

II

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o flllr

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c l a

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Fl

o

Et !0O 'Fl

= { !

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a ^g o o )

J 4 6

@I t 0 &

t E p

F r r o

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t9l

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u 9 a| { rDo :N v

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6 6

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o

a

taYo

' t a

Both hand6 Dake circl€ 1n couuter notlon

\-a' '

\-.'"

't-.1

Note:One cEll also ac centi! the ci.lcle on the2 aad 4 courts by adal-1!g a Ll.ttle press[reard slithtly acc€leratethe noverert on thesecouDts.

LO

tr.5 (! C)

O A t r E

o

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(m,

(9N

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:t

/ rl til

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t \I

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rs,

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ao

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LL

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coun tri.p

Sixteenth Note Tri-plet Punctuation

The Sixteenth Note Triplet is used quite often as a variation t'- ir-ealtered triplet for puirctuation. Reriember that it cones .n the c'-ur-:o f t tant r , an- t r lp- -1e l , to be prec ise. Star t the g4 ccunt r i th t i ' .ele f t hanc.

I t--t-t

J ) ) )

4/4

4/4

. :': . .:lt

- t -

- 3 .

IlIII

I

r)

{o

(0qt

6

(t@tioot{a

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r-. |Jr-rc-.-t at

- 6

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s

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q

FI

60

\r rF+' i

F . p o $ l o q ).-l C .r.1.+r

o - f F o.rr () 6 r! {,t r r c p Et x 6 l l ) i . , ro .rl o.r-,o (o m-4<

- $ O .! & q n . . r dC O ( s - t o - o ( D(! .ql i t N

EN 6l f i o . r lx {r F.d Fl. 60 qr (6 6 o) alE ri rr.q tiP O r- l o OIJ

v t { ( D5 tr -.\JI -.o

. . 1 o o ( 0 - o ( ,o l >.c or- ] . l ( | , {r{ .P .Tt r.{.-l .-lo l q , t o t { t J r lz t H o c o = p . B

a a6

P)4D.'g

ao

; fI. . , i

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: r! li l

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9r

;

t

=)

!6'I

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oc

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v

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l

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2 '

$.ght Shuffle Sweep.

.:'"ff Left Hand"*TurJffi

1

4

1.

1

aocet!{'

1e'

Rj.aht Hand

2'7

t o @

a t 6 . :

! > r ; :@ 6 L ;

l . | o o

5 0 ( l ) ( D

F

l--r

o

o

t0

E ! o l

_3

\ . ) , .

-"Struludng" (cuitar Stroke )

When rvorking wl"th a rhythm glitar phying a atrai-ght fourbeats to the bar, or j.f you have no ggj-tar and vlsh to 8eta LIghl 4/4 rhyttu0 guitar feeling' thls stroke 16 very effec-tive conbined u"ith the left herd full circle.

l l &!"eThe countneasu!es.

rap @ offirst bar

o

I\

I

/

I

1

\ l

Sluo ,o

Left hald full cicle

? bru6h area becoEes the count nl( area on alternate29

=,'')

({

,t

a

\

\

*,\' 1 \

II

- E4v

\

i\i\

!\

\I

*"1(,

=Iv

\

\

glir

s lI

I/

l030

.!-t '

r f u

EI E'lll n'---- n

Fl t=)'{l ̂ l-'- nL] -\

' i l F'Tl ̂ l--- oLl f rtl ^[- o- [--r

l l-- 'L A-r d

L,

L

L

Lt )i,

As nentioned earri.er' "":?";:!:i::iii ii:iiiili*iii :t"*##ii-;-llii.3%1"'l;i},i*1" :$:ii"l;iltr:;:,i:.1*r:;:llr*-;r' "i'""n,r,

u:;,::*l*lF"liii" :";rll"lo:,:::;:':l'1i*::: "":::;":if, "nli*""'Frn^rrn tW fff^f I I r a t ?

Adalting Brushes to Laiin-Anerican l"lusic

accen t "one r r

- the snare drun.

lxa,nple: Ione can also sinulate the souoci ol the scraller "t qill:"":Ltt:l*- iFa..n: :ti::'l;:;i,;iig:q'i!!;hil"riill:l"i'*"1"i;,iiftl;F;l::;i " r ' i t t tn " g roup. Fo l lo rv ing are a fev exerc ises to r

rhythmic sound e f fects.

1"1:l:'#f, e" ;1"'l?1"il:'.3;3;;"lni3" o3'iflt3"'xilnBrush Si'/eep [xerc i6e sfor Sa.nba or Bossa ltrova

your fj-nger tipsslowly at f irst.

/:\

a c c e n t

3

ac cent

' l )

rn

- 4/4

z/4

Nota ted Brush sweeP Pat te rns

t-t-t-t t-t-t-ld ] . t . l t r d t t . l

o )ln>'--'----a a t a

-.+t/

S-

o ) . j : J

. =

o l l , J - . f 7 ) ) r !

o ) J , l >

ll, J--J-J ) J)111t _ J

a,

33

Si-ngle and Double Strokes

For p rac t ic ing s ing le a rd c roub le s t rokes ,is qu i te app l i cab le .

Cne shou ld t ry to p lay o l f the drum head,io!'m into it. This is obtaj"ned by rnakin8the hand or hands, using the !rr16t as thethe hand. This is conmanly knorc as wristbe a clear crisp tick sound from the drum.

the idea o f the up-s l roke

c ^ + ^ c n 6 . l z r . + h a , + f , h

quick do$,n-up motions withh , + r ' F . l n ' i v ^ + n ^ i h + f ^ F

act ion . The resu l t shou ld

Flat SlaD Sound

;h is sound is mcst o i ten usecr fo r mak j -ng eccents o r Set t lng a heav ie r? ' ' 1 , + c ^ r r r n h 6 . r - , v i h d F ] v + L ' - h 6 c l r b i e 6 h t , i n c . i u J ! r a J r r r 6 ! L r q

brush flat and ncre ccl'rn into the drum-head.

T r o f ^ l l . r , i n r o v . - . i h r c i . h ^ r ' o v . F

erc ises lv i th the i r re la ted s t i ck ings shou ld he lprhan aoequate techn lque. I t i s bas ica l l y a goodr f r h 6 c . h o , , r d i n o r r c c + a ^ ' ' i - - -o - - ! ^ f r 6 :

t ice with siicks.

The u6e of the open square aJld the dot or f i l led\ rh ich hand 1s to be usec i respec t ive ly . The openhand and the do t a o r f l l l ed c i rc le fo r the le f t

h r ^ . + i . a ^ i + h a e a F Y -r ' ^ ) r i r d 6 r ' 6 1 - h i r r r ^ r 6

L e h i + + ^ n F . . t i . a r ' l l

ihat you normalfy prac-

circle wi.l l inciicatesquare cl for the ri8hthand.

J lex anc l :u l t ip le Bounce S l rokes

i.4ren playing fa6t Couble strokes or multlple bounces, that is three ormore bcunceG (beats ) v i th each har1d, then the l lE o r v ib ra t ion o f thev i re b rush ls very use fu l .

The stroke is executed wlth a quick dot! 'nward wrist action witbout theup-iurn as wiih the single strdkes. What happens 1s that instead oftu rn ing the wr is t up a f te r the ln i t ia l - down mot ion , you t igh ten orsqueeze mole on the brush hand le and fo l low the v ib ra t ions o f the w i lesdown} rard w i th the hand. Wi th p rac t ice one can beg in to cont ro l the

. f the wr i_s t .

It i6 al5o advj"€able for the druro-set player to practice all exerciseswhile naintaining a steady 4/4 pulse lvith the bass-drum adding the hl-haton the znd. and 4th beats of each neasure. Try the salle exerciEes u6ingthe hl-hat on each pulse beat.

34 \r(

hen playinA fast double or nuftiple bounce strokes (three or norebeats'wiih 6ach ha:rd), naking use of the natural f lex or vl"bratj-ons^f the w-ire brush is necessary.

=he 'rFlex Stroke" is executed w'ith a quick downward wrist action ldove-roent w'ithout the up-turn' as is' ' , 'r i th the sin8le and double 6t!okes'

ha t happens is tha t ins tead o f - tu rn ing lhe wr is t u ! aga in a f te r - theowowar-d- novenent r you tiShten or squeeze nore on the brush handle and

iollo!.r the vibrations of the wires domward with the hand.

' i th p rac t ice you car cont ro l the anou l t o - f bounces , ge t t ing twot-ohree', four or nore bounce€ with each single novenent of the hand'

Flex and Multiple Bouace strokes

MuLtiple Bounce Exercise s

E : o4a

! a,aa o

L a ^a oan

Iaa

4 artO 1 '

atLZ o.trc l a

4a- lzL z

t = aI (t;p

- j -

I\4

o

iftA' - LLt

= a - t -t:*r-)'!

a

37