Ralph Humphrey FRaloh Humphrey has enjoyed an extremely active career a8 both’ performer and teacher. He received his B.A. degree fom San Jose Stato College and an M.A. degree In mane Performance from San Femande State Colage, His professional experience includes five years with the Don Ellis big band and several years with Frank Zappa's "Alothe of Invention As a troeiance and studio drummer in Los Angoies he has ‘worked with most of the great west coast jazz players and has backed many top slngars on TV. and in fire Additionally, ne has worked around the county #8 a clin cian, concert artist and adludleator for high achools, col ‘egos and private organizations. He also continues to write for MUSICIAN, the prestigious |azz magazine, opytn © 1090 by CL. Gantouse Ca, Oxnaoose i £2977 Invasions Sig Sacred Hin ine US Nh Ses esosAcknowledgements To Don Ellis, Har! Har Rao, Frank Zappa and Milcho Leviey. ‘Their particular inspiration’ and contibution to my present day knowledge have made this book possibie. ‘To my wita, JoAnn, for her design work, photography, and tion of nt support during the comp Table of Contents ‘Time Patterns for the Drum Set Section 1 — Quarternote meters ‘Bia (Swing Bhs and straight sins) 8. 714 {Swing Bths and straight Stns) . 44 (Swing ths and straight Bins) D. M4, 1214 ana 13/4 (Swing Bins and straight aths) Section 2 — Eighth-note met 38 78 6 We 28 138 tae. 198 ‘Section 3 — Extending the rhythmic phrase zommgosp: PART ll — Accent Patterns and Sticking Combinations, Section 1 — Quarter note meters A ale rer cow 5 ‘Section? — Eighth-note meters ‘38. a8 8, 8 28 138 Section 3 — Odd Combinations in 44 and 3/4 mmpom> a 1 Exam ‘Based on the Indian Technique ‘materia 8 23 Fs 2 37 40 7Purpose ‘The purpose of this book is to lead the player visually and ‘musically into the logic of odd rhythms and their various, forms, 30 that he may apply this new knowledge to contem: porary rock, jazz and Latin music. ‘Through my experience in all styles of music, | have been able to put together a comprehensive study of rhythms and ‘meters, material which isnot largely avaiable on the curent ‘matkel. I should prove to be most Useful to amateurs and professionals alike, to both rock and jazz stylists, to all those who are hungry for some new, fresh ideas and ep- proaches to drumming and drum literature. To you, therefor, this book Is appropriately dedicated. Falph HumpheeyIwrRooucTion ‘The basi principle to bese in mind when confronted with & Tonge than thre beats that it ean be subdivided into \roupings which combine 2'sand 3°. A common example of raguerduple materi 18, which bev nto two rout of 2 (20216), The meter 6/8 is an example of & rqulae tripe ‘reer, which normaly sbcvdes nto two aoups of 3 (3438) Isesablshed, recurs ina rquar, equal manner ‘an inrgule or dd eter, convermiy, does not subdvice tion of ad 2's ust oxi for it to ba odd. For example, a meter in 7 would subdivide nevely into the fllowing groups: 2423, 24342, 34242, Meters based on mltiles of 2 (ep 8,10, 12, 14, ate} and multiples of 3 (eg. 8,12, 15, 18 ete) are exceptions to this In the performance of odd ehythms, It is best to sess the first best ofeach group of2 and 3, een though acont re not ‘of many, one where you begin {0 approximate the dation value of each group of 2 and 3 0 thatthe disnction between ‘them not proily clear. Adways be certain that you give cach group of 2 and 3 its prope value [As general ru, a 000 26 you can, get anay from the page by memorizing the exercise as you play it 20 tht you can ancenrate more on how you ae canesiving it in yout min, and how its fsling within yout Body. Therefore, move your !ntentin from readin to thinking and playing, which wil ead to "eligi, he pre objective. 1 strongly recommend the use of 8 metronome with a the veri, a lest a fest, Included in wach scion are suitable tempo markings which give an indication of perorming tempo. A further suygestin Is 10 count the exerelses aloud orto yours at you ple. First determine the subdivision of the exerci, than count secordingly, \cealy, to achieve the maximum benefits trom this mail, 2 teacher i strongly eeommende, pretraby one who i part of the contemporary musical seine, and who can be a guide inthe apoleation of this materi in musical stations PART |: TIME PATTERNS FOR THE DRUMSET ‘The exercises below ae desianed to acquaint you with vvous odd time patterns, and to si in he development of independence between he hands and feet. ‘Te symbols tobe used for PART {wl be located on the sta 2 follows gi Me BAY 1 usual, however, is not played exactly as written. | suggest playing the dottd-n/Tethote sy ls strictly. Loosen it up and trv for» cs! ing Sraight Othnotes sre to be played excedy as writen,SECTION t: QUARTER-NOTE METERS Exar in 818° ‘wing Bes Exercte 1 Repeat exemple until you begin to “fs the subdvsion of 32, Count 1-2-3, 1-2 as you play and stresthe frst beat of each group ‘Then pay the following eymbabide pate ‘Now a the bss-rum and hihat part and note that i reinfraes the 342 subdivision of the cymbal ine, Repeat until independent fot Now play he rext exerci: ‘Note thet the tp lin (eymbol sa 242 subdtion while the bottom par (besedrum, hihat] ta 243 subdivision. By ang a sare drum to beat 4 however, the bes rum on beat 3 bxcores an anaes, or upbest, aking the subdivision 342 Following isan example of polymer, or two oF more meters occuring smultaneouty. The cymbal the underving part outlines @ 10 beat pattern thet more the Barling It ean bein ether 118, o 5/2 doieate a Seat patter, whe Bima St ramen ance ples se shar you let ery aed pv he ple secon > (Se Ryn icine of the mete ese Dace here te eri rma) See.In exerci 4 the cymbal tne romans the se, while the lower partimolie 6/8 meter, subi 259,243 (peS Bia Pay the following exc: we ka La ia kas 2 kat oe it ah SS ae Rl , LA a | oS Tt Se, | 4 as LBW UA NRRL Se Saar BOAR SS ae NOTE: Repeat esc uni a ctu ving developsee Fu LB) A Sit =P St ere Li LA Pu oe = = Saas? SS Seah ants ‘Stress the fst Bth-note of wach sroup with the rit hand to bring out the pula, The rhythmic configuration of the snare and bess rum ‘ines will determine the subdivision of the exerci, Accent only those snarecrum beats which ect asthe “back-beat” of each exerci, Always strive fr 4 relaxed groove NOTE: The opening (0) and closing (1) of the hihat optional. However, f you employ tis technique you wl notice that the execs tncome more interesting nd chtlensing. @UPBDR DREN, ‘epet unt relaxed groove develops,