1

Double Hi-Hat Setup

AN ALTERNATIVE APPROACH
By Paul Wertico

In the last few years drummers have been experimenting with the creative possibilities of using more than one hi-hat. In addition to the
conventional hi-hat placed to the left (for right-handed players), drummers also have integrated a permanently closed version-usually placed
either in the center or to the right side-in order to play certain grooves without having to cross stick.
With the arrival of the cable hi-hat, drummers now have the added flexibility of using an extension hi-hat that opens and closes. This has
been accomplished by putting the cable hi-hat pedal next to their main hi-hat pedal, and positioning the cymbals wherever they feel most
comfortable playing them. In this article I'd like to suggest a different setup idea for double hi-hats-one that I've been using for the last 10
years, and that I feel offers a different set of creative options.
Take a look at Fig. 1. You'll notice a couple of variations on the currently popular setup. First of all, my double-bass drum pedal has an
extension, thus making it possible for my main hi-hat to stay in its normal position, and the second bass drum pedal to be on the outside.
Secondly, you'll notice that my cable hi-hat pedal is next to my primary bass drum pedal. This allows me to play two complete hi-hat setups
simultaneously.

This idea came to me long ago when a bass player I knew bought something called a low-boy at a garage sale. The low-boy was an early
scaled-down version of the hi-hat that was used in the 1920s. My friend brought it to a rehearsal, and asked if I wanted to play it. I
positioned it on the right side of my kit, and soon was intrigued with the sound of two hi-hats being played with both feet. The only problem
with the low-boy was its height. It stood only about a foot tall, and was quite impractical for playing with sticks.
A few hears later, Don Lombardi of Drum Workshop came to a Pat Metheny Group concert with his new cable hi-hat. That particular early
version consisted of a regular hi-hat bottom that was attached to the top half by a long cable. I immediately took a hack saw to it, cutting the
bottom half to an approximate height of 8", so that I could put it next to my bass-drum pedal, and voila: my current setup was born!
I've found a variety of musical situations where double hi-hat pedaling comes in handy. For example, I play quite a bit with various types of
sequenced parts, mostly percussion parts or programmed synth lines. But occasionally I play to a bass drum part that's been programmed to
play exactly with the bass part. This can be a perfect time to try double hi-hats, since the programmed bass drum part will free up your bass
drum foot, and allow you to utilize all four limbs.
There are other times when the music might not call for extensive bass drum work, such as in jazz ballads. Here you can really make use of
the two hi-hats-particularly when using brushes-since you can get two different pitched chick and splash sounds. In fact, one of the most
interesting double hi-hat applications comes when creating the textural landscapes present in some of modern jazz' more atmospheric
moments. Here you can blend cymbal textures with various open and closed sounds of different lengths.
In the context of my setup, I can slide either my right or left foot back and forth between pedals when I need my bass drum. In fact, I've
found that by playing patterns with my left foot on the bass drum pedal and my right foot on the cable hi-hat pedal, reggae-type grooves can
occur naturally. I use a Drum Workshop hi-hat drop clutch on both hi-hats in case I need one or both of them closed. Then by simply
stepping down on the pedals, they open again.
There have even been times when I've used three hi-hats. In those situations I've used my double hi-hat setup, augmented with a third one
that was permanently closed, placed in the center of my kit. You also can create interesting tonal environments by attaching tambourinetype devices to one of the hi-hats, or replacing the cymbals with Remo's Spoxe. Anyway, once you try this double hi-hat setup, I think your
imagination will take over. But here are a few grooves just to give you the idea (Ex. 1-3).

Flat Ride Cymbals

MAKE MINE A DOUBLE
By Paul Wertico

Recently, I've had a number of drummers approach me to inquire about my double flat-ride setup. They've wanted to know what type of
cymbals they were, what sort of patterns I was playing, and how this setup came about. I'd like to answer those questions and give you some
ideas on how to approach double flat ride playing.
The first time I heard a flat ride cymbal I knew I was hooked for life. It was on the classic Chick Corea trio record "Now He Sings, Now He
Sobs", (Blue Note) with the great Roy Haynes on drums. On that recording, Roy played a cymbal unlike any I had ever heard. It had an
extremely dry "tick" type quality that gave it unbelievable clarity and definition. Yet, when he really laid into it, it almost sounded like
breaking glass. It turned out to be a Paiste Formula 602 flat ride. I immediately went out and bought one (even though at that time they were
hard to find) and that was it: The flat ride had become part of my sound!
Later, I purchased some different sounding flat rides of various sizes and weights, and started using two, sometimes three, in my setup.
When I got the gig with the Pat Metheny Group, the flat ride was already part of the group's sound, since Danny Gottlieb had used them
extensively before I joined. So I felt right at home.
The reason flat rides work so well in Pat's group is because of their clarity and definition. They don't cover up the other instruments with
any kind of "wash" that would "muddy up" the sound, so it's possible to play very intricate patterns on them even while using a wide range

3
of dynamics. They also allow you to play very intense and busy, while still maintaining a certain lightness. Thus, you can propel the band
without becoming over-bearing and getting in the way.
The ones I'm using currently with the Pat Metheny Group are a Paiste 22" Sound Creation Dark Flatride on my right, and the new Paiste
Signature Series 22" Flatride (with a Pro-Mark rattler) on my left. Keep in mind, though, that many cymbal manufacturers make flat ride
cymbals, each with their own definitive sound. Be sure to test as many as possible before making your purchase, so that you'll find the flat
ride sound that is appropriate to your playing style.
The types of patterns I usually play are random patterns based on paradiddle-type sticking, played in reaction to the melody and soloist. I
constantly move the sticks in and around the cymbals to bring out various dynamics and tone colors. This gives a consistent "rise and fall"
sound and adds a certain three-dimensional quality to the groove. Sometimes I play things that are similar to the two-against-three-type
patterns that are played on Brazilian shakers called caxixi. I also bounce back and forth between either flat ride and my snare drum, which
is tuned really tight. They complement each other well, and doing this gives the groove more "snap".

Ex. 1 is a typical groove that I might play using double flat rides, with many variations, of course. Ex. 2 is not intended to be used as a
groove, but rather as an exercise for you to develop a feel for how the cymbals interact with each other. Try to get the cymbals to open up
while still maintaining a crisp stick attack. Play quarter-notes on the hi-hat.
Create and combine your own patterns made up of various single, double, triple, and unison strokes, with the idea of getting your flat rides
(and snare) to play off one another. Holding your sticks loosely seems to open up the sound, and remember to move around on the cymbals.
This way you can play with complete rhythmic accuracy while still sounding like you're floating. Good luck!

Dynamic Control
USING ACCENTS TO ENHANCE YOUR PLAYING
By Paul Wertico

Have you ever noticed how some drummers seem to have more dimension to their playing than others? You've probably also noticed that
some other drummers sound stiff and lifeless. I believe part of the problem is that many drum method books are written in the style and
manner of Ex. 1-just the rhythms. Now unless you're an experienced player or have a really good teacher, you might play through this
exercise as written: just the rhythms! But rhythms without accents and a sense of phrasing don't really come to life. Let's see how we can
breathe some life into Ex. 1.

First of all, if the ride cymbal is played as written, all of the notes would be approximately the same volume. So let's try playing the cymbal
as it appears in Ex. 2. Notice how slightly accenting the 2 and 4 adds life to the feel? Now try accenting the third eighth-note triplet of beat 1
of the second bar slightly more than the 2 and 4. This will help the cymbal phrase better with the bass drum and snare parts, without
stopping the time flow. Also be aware of the overall cymbal volume. If it is too loud, it will sound heavy and cumbersome. If it is played
timidly it will sound uninspired. So work on it until the cymbal seems to purr. With practice you'll know when it's right.
Next add the hi-hat. Try to get a clean "chick" sound, as opposed to a wider sounding "chunk", that might make the feel too sluggish. The
hi-hat should embellish the ride, so make sure it blends in with the cymbal sound and has a "finger snapping' quality.
Now add the bass drum. Play it as written in Ex. 3. In the first measure, the bass drum should be felt more than heard. It should add fullness
to the groove without becoming too loud and bottom-heavy. In bar two, the bass drum notes are accented, since they're part of a phrase, and
therefore should stand out a little more. But not too much! Again, a perfect mix of the instruments is the goal.
The last addition is the snare drum. Many young drummers play the snare too loud so that it disrupts the time flow rather than embellishing
it. Again, when you add this new part to the other three existing parts, it must both fit in and yet have its own clear articulation. Now play
Ex. 4. In bar one, the 2 and 4 backbeats should add to that "finger snapping" quality. When played at the right volume, it seems to fatten up
the groove without drawing too much attention to itself. In bar two, the snare is playing a phrase, so pay attention to the accents. These not
only will bring out the important notes of the phrase, but also make the phrase swing more. But again, don't make these too loud, and make
sure the cymbal rhythm doesn't change in volume or intensity when playing the snare phrase.
Once you're aware of practicing this way, I'm sure you'll notice a change in your playing. You can take any book on any style of drumming
and figure out which notes in a particular groove or fill need to be brought out more, or less. It should give your playing more dimension
and a personal signature.

Trouble Spots
HOW DO YOU SPELL RELIEF?
By Paul Wertico

5
In the next few articles, we're going to look at some common rhythmic problems that my students and I all have faced. Fortunately, I've
managed to analyze their causes and find solutions for them. Let's look at three trouble spots that can create headaches for drummers.
Has this ever happened to you? You're playing an off-beat kick or a series of upbeats, and find yourself either out of time, rushing, or
dragging the tempo. Well, don't worry, you're not alone. Each of the following examples contains a slightly different musical element that
could cause a drummer to blow the beat.
For instance, some drummers might lose the groove in Ex. 1 while attempting to play the sixteenth-note kick on the e of 4. This is often the
result of an instinctive urge to over-anticipate the kick itself. Two problems might happen as a result: The 4 will get rushed, or the drummer
will lose sight of where the 1 of the following measure should be placed.
The potential rhythmic hazard in Ex. 2 might spring from incorrect placement of the a of 4, while trying to keep the hi-hat and snare drum
backbeat in the pocket. And some drummers might tend to rush or drag the up-beat eighth-notes in Ex. 3.
Okay, these are the problems, but what about the solutions? First of all get a metronome and practice the exercises with it. There's nothing
like an absolute timekeeper to clear up any questions about the beat. Then identify and focus on your particular trouble spots whenever you
play them. Be aware that they're coming, but stay loose. Don't choke up.

Whether you're rushing the 4 or losing the 1 in Ex. 1, the culprit is the e of 4. So, first practice the two measures without the e of 4. Once you
feel locked in with the quarter-note clicks of the metronome, add the e as if it were played off the 4. By not thinking of the off-beat accent as
a separate event, or as some really big deal, you'll find it will fit into the groove rather than ruin it.
Ex. 2 can be approached in much the same way. First practice the exercise without the a of 4. Try locking the eighth-notes on the hi-hat
inside of the quarter-note clicks by first playing quarter-notes on the hi-hat. Then fit the eighth-notes in between the quarter-notes. When
it's grooving play Ex. 2 as written. Also, even though nothing is played on the 1 in the second measure, you should still feel the 1 strongly,
and play the a into that invisible 1. This will help keep the groove from stopping.
Finally, Ex. 3 can be played more accurately by paying attention to the quarter-note pulse rather than the up-beats. The eighth-notes on the
hi-hat should be closed on the downbeat where written, and by feeling these downbeats as strongly as the pulse, your tempo should remain
steady.
If you've observed that the quarter-note pulse is as important as what goes on top of it, you're right. Problems such as the ones we've looked
at can be avoided by developing a strong inner pulse. By using a metronome when practicing, you can learn the sound and feel of evenly
played quarter-notes, which is the foundation of most groove-oriented music.

Filling The Pocket

OR, MORE PRECISELY, POCKETING THE FILL
By Paul Wertico

Establishing a groove and staying in the pocket is one of the marks of an experienced player. However, one of the more common problems I
hear from students occurs when they are playing a beat, and then they try to play an embellishment or fill. It's not that what they play is
necessarily out of time, but it's not in the pocket, either.
Take a look at Exs. 1, 2, and 3.

In the first bar of each of these examples, when playing just the beat, the feel comes, in part, from the placement of the 2 and 4 in between
the 1 and 3. For instance, sometimes you might want to place the backbeats a little further behind the beat in order to achieve a certain
feeling of tension and release. The problem arises when you play figures such as those in the second bar and you don't place the 4 in those
figures in the same place as all the other 2's and 4's. If you're establishing a certain feel and mood by the way you're placing your backbeats,
and then you play the embellishment or fill in a different place-such as ahead or even down the middle-it can sound out of place, especially
on tape.

The same goes for Ex. 4. Many drummers play a great pocket until they get into a longer fill. Then the feel seems to change until they go
back to the groove again. Now, if you're consciously trying for that effect, that's one thing. But it has been my experience that a lot of players
do it because they don't think of a fill as an extension of the groove, but as something totally separate. It's almost as if they're thinking:
Groove (stop) Fill (stop) Groove. To my way of thinking, a fill should be thought of as part of the groove. You may be playing more notes, or
hitting different drums, but you should still feel the pocket inside your fills. This way you won't interrupt your time flow.
Again, working with a metronome can help. By using quarter-note clicks as your frame of reference, you can get an idea of where you're
really placing your time feel. Since the metronome is playing in the center of the time, first try playing these examples with the back-beats
down the center. Next, place them slightly behind the beat, and finally, play them with a slight forward edge. Then, make sure you play the
embellishments and fills with the same feel as the backbeats. A helpful hint in doing this is first to play the exercises without the fill. Just
play a backbeat in that spot instead, and concentrate on its placement. Then add the fill while still feeling the backbeat. Think of it as
dropping the fill in and around the backbeat. Use the same principle when playing other grooves and fills.
I think you'll see that once you practice like this, you'll get a better idea of the feel you're projecting. That, in turn, will give you more
control and versatility. Also, as long as you concentrate on internalizing your time down the center, you'll have your own frame of reference
against which you can place your rhythms, with or without the metronome.

Lock In The Pulse

IN THE TIME LINE
By Paul Wertico

In the last few articles I've made reference to developing the ability to feel a strong quarter-note pulse, and how I believe that in doing so,
you will form a more solid basis for your playing. Now I'd like to share something that should help those of you who sometimes have
difficulty in understanding the concept of even pulse.
First, in visualizing what time is, take a look at Ex. 1. In this diagram, I've drawn four vertical lines. This can be called the time line. Here,
each line represents a beat.
Implanted on top of this time line are rhythmic figures such as in Ex. 2. Here you can see how the rhythms fit on and inside the time line.
When we subdivide rhythms while feeling the pulse clearly inside the rhythm, there seems to be more weight to the sound. Furthermore, the
rhythm seems to have more of an inner flow, thus giving it a natural feel of momentum. I'm always shocked when I get a student or hear a
drummer who will play rhythms as if they are hanging out in outer space. No time feel, no flow. Just a bunch of notes strung together with
no purpose. Of course, some music has rhythmic figures that occur outside of a set pulse, but the majority of music most of us drummers
play requires us to lock into a tempo and groove. The following is a typical case.
Look at Ex. 3. Most of you will recognize this as the standard jazz ride cymbal pattern. Simple enough to play, right? But even here I've had
a number of new students, some with a good working knowledge of the drum set, that could not execute this properly. In trying to play the
dotted-eighth-and-sixteenth figure, some students will pull the 3 of this pattern ahead of where the 3 really is. The same happens to the 1 of
the second bar, and so on.

The result looks like Ex. 4. Now, if you're going for this effect intentionally, fine. But almost everyone I've heard do this had no idea that
they were doing it. In this case I'll have them concentrate and play only quarter-notes. Once they're comfortable with that, and the quarternotes are grooving, then I'll have them drop in the dotted-eighth-and-sixteenth, all the while still feeling the quarter-notes. This has worked
in every case I've encountered.
By having students focus on the quarter-note pulse, as well as to think of rhythms on and inside the time line, I've been able to help them
with their time problems. It's also helped others develop their ability to add "feel" to their playing as well as subdivide better.

Knowing When To Lead...

...AND WHEN TO FOLLOW
By Paul Wertico

It seems that as soon as we start taking drum lessons, we are taught that as drummers, we must lead the band. No doubt your drum
instructor told you that many times, and I can think of numerous drum instruction books that also stress that fact. Granted, being the
rhythmic foundation of the music is our principle responsibility. However, there are situations in which we sometimes have to follow, as well
as lead. Let's look at some different situations and see how we can adjust our playing to best serve the music.
There are times in almost everyone's career when we end up on a gig with some "lame" players. You know, the piano player rushes, the
horn player drags, and the bass player can't play even quarter-notes to save his life. It might be for just one night, but since you're already
there, you'll have to make the most of it. In a case such as this, it really pays to have a good secure inner clock. I believe that if you are a
really strong player, you can make this normally "sad" group of players sound reasonably acceptable. This is definitely a case where you
have to take control and groove by yourself. In most cases, the other players will feel your sense of control, and they may relax and "ride" on
your rhythm. You might not ever want to hear a tape of it, but it will sound 100 percent better than if you get "bugged" and just "get
through the gig".
Another situation is where the other players feel and play the time in a different place from where you feel it. This is a case where being
flexible comes in handy. Let's say you can only feel time in one spot-say, in front of the beat-and you work with players that like to play
behind the beat. Unless you can adjust to their placement, it might sound like they're dragging all night. That could end up happening, too, if
they feel you're rushing, and they try too hard to hold you back. If the players already blend together well, then maybe you'll have to be the
one who adjusts.
This same type of situation can happen when playing along to a click track. Most of the time we try to make the click disappear, so that
we're sure that the groove is locked and all the subdivisions are accurate. However, sometimes a click is just used as a frame of reference, so
that a certain number of measures at a certain tempo can fit into a certain time frame, say 14 measures at 112 beats per minute in 30
seconds. The music played around that click might be interpreted very loosely, and if you try playing it so that every downbeat happens
right on the click, you're going to sound at odds with the music. Listening is the key.
Playing with drum machines can create a whole different set of adjustments. Drum machines usually are audible in the final product, as
opposed to a click, which is heard only during recording. Also, many times the patterns played on drum machines consist of beats made up
of smaller subdivisions, such as sixteenth-notes, thus decreasing the margin for rhythmic elasticity. In this case, a situation such as the one
above using the click does not apply in the same way. Although it is still possible for certain other instruments to play loosely around the
pattern, if the drummer plays just a little too loose, more times than not, it will sound sloppy and inaccurate. This is due to the fact that both
the drummer and the drum machine will be audible to the listener. Here, the drummer must stick close to the drum machine. At the same
time, the drummer must help bridge the gap between the band's rhythmic interpretation and the drum machine's unrelenting accuracy to
make the music sound alive and natural.
One more example of listening, rather than just leading, can occur in jazz settings. Take, for instance, playing in a piano trio. Let's say
you're playing a ballad, and the time is breathing in a natural, musical way. This would hardly be the time to impose a strict pulse. Instead,
follow the phrasing of the music, playing with a more orchestral approach. The result will be that the music, and the musicians, will sound
harmonious.
In your career in music, there will be countless situations in which you will have to decide how you can best serve the music. Having
experience is incredibly helpful, but having the right attitude is essential. Remember: Leading the band does not necessarily mean being a
dictator. Being a leader also means playing and doing things for the benefit of all.

Secrets Of Clave
BUILDING BLOCKS FOR JAZZ IMPROVISATION

9
By Paul Wertico

When I ask new students to play some jazz time for me, more often than not, they will play the standard dotted-eighth-and-sixteenth ride
pattern with some random sounding punctuations on the bass drum and snare. If things are phrased properly, what they play can sound
reasonably acceptable.
However, it usually doesn't take long before their playing displays a lack of compositional development. Obviously one remedy for this is to
suggest that they think of a tune and play off the tune's melody and form. But I'd like to talk about another approach that can aid in giving
you a theme from which to build rhythmic improvisations.
The idea of using a clave pattern as a rhythmic structure is nothing new. Latin music has used several different clave patterns for years. For
those who might not know what a clave pattern is, it is a rhythmic pattern, such as:

that is diligently adhered to when playing a song based on that particular clave. This, in turn, gives the music a certain "glue" that holds the
composition together. Almost all Latin music is based on some type of clave.
Though some jazz tunes are based on a clave type structure, such as "Phase Dance" by the Pat Metheny Group:

Many times in jazz, the drums will play rhythms based more loosely around the melody and the soloists. Obviously, a part played by a great
jazz drummer will have a logic and development that can stand on its own merit. However, young drummers often think that jazz
drumming is much more haphazard than it really is, and when they try to play a jazz groove, they end up sounding too sporadic. What I'll
do in this case is narrow down the parameters on which to base their rhythms.
For example, the standard jazz ride cymbal pattern implies a 1-2-3-4 type of feel. Now, certainly an infinite number of variations can come
out of this pattern. Yet, this freedom to improvise all sorts of independent lines and counter-lines can be the very thing that can confuse and
intimidate an inexperienced player. It's a classic case of being overwhelmed by the possibilities. This is where applying clave-type figures
really can help. By limiting the possibilities, you instead set up some rhythmic guidelines.

So, for instance, I'll suggest a rhythm such as that in Ex. 3 to be used as a clave-type pattern.
I'll have the student play the rhythm until it sounds and feels right. Then I'll have them continue to think and feel that rhythm while they
start to play things based in and around the rhythm. You can keep the figure literally while playing around it, or you can just hint at it
enough so you still can feel the figure inside what you're playing. You can try having the clave played by one limb while the other limbs
improvise around it. You can also play the standard jazz ride pattern and base your bass drum, snare, and hi-hat improvisations around the
clave (see Ex. 4). Or you can play a variation of the ride pattern based on the clave rhythm itself (see Ex. 5).
The object is to develop the ability to create and play different types of grooves based on a clave-type pattern, and to improvise coherent
variations based on those grooves, using the clave as the foundation. There are so many patterns from which to choose. Most rhythms can be
used successfully, but start out simple. Later, as you become more proficient, you can start to use two-bar, three-bar, four-bar rhythmic
phrases, and so on, to add to your ability to improvise in a rhythmic structure. It's also a great way to work on odd meters. The possibilities
are endless.

10

Once you start using this technique, you'll become more aware of the subtleties of jazz improvisation. It will increase concentration, as well
as rhythmic awareness and development. It also should aid in your execution of big band music, since some of the clave patterns will be
similar to big band type figures.
Finally, it should aid in dispensing with the notion that jazz is just "ding dinga ding"!

A Question Of Balance
By Paul Wertico

Ahhh! That magical, almost mystical experience of being able to play anything you want on the drum set. It's that indescribable feeling of
knowing that whatever you hear, you can play. I'm sure we've all had those wonderful nights when we felt totally comfortable on the drum
set and the music just flowed. Naturally, the more you play and practice, the closer you get to achieving that feeling regularly. However,
sometimes we can also feel as if the drums are fighting us, not just sound-wise, but physically as well. Sure, it might just be an off night, and
you might attribute it to lack of sleep, or your biorhythms being off, but it could also be a question of balance.
Since playing the drum set requires us to use four limbs, the way in which we balance ourselves at the drums is extremely important. Feeling
balanced at the kit lets you relax, and thus makes your playing more flowing. This allows your body the freedom of movement to more easily
execute your ideas. Finding the point where you feel centered at the drum set can take some time, and staying centered when playing four
different rhythms together can take even longer. It's usually easier to feel balanced when playing simpler exercises. Grooves that require
complex counterlines and polyrhythms can sometimes make you feel as if you're going to fall over.
One important step in becoming consistent in your playing is finding your center of gravity, and focusing on keeping that stable, no matter
what you're trying to play. Practitioners of the martial arts know how critical focusing on your center point can be, since it not only allows
you to keep your balance, but can also give you more power. Drummers who play using a heel-down technique usually don't have as many
problems balancing, since their heels are resting on the pedals. Their feet act as a stabilizer. This also seems to give them a lower center of
gravity. Heel-up players can run into balance problems because of this lack of a stabilizer. If you play this way it's important to really feel
your center point as low as possible, usually a few inches below your naval. Doing this, as well as finding a comfortable position and height
on your seat, can give you the stability you need to execute difficult rhythms.
There are a couple of other things that can mess up your balance. One of them is when the individual limbs are playing counterlines, and one
or more of the limbs gets out of sync with the others, either because a limb can't keep up, or maybe you haven't trained your limbs to quite

11
land together when they're supposed to. This can also happen on silent notes. For example, I've had a few students that had inconsistent hihat closings on the 2 and 4. I noticed that whether they rocked their hi-hat foot back and forth, or bounced their heel, their heel came down
out of time on the 1 and 3. Usually it was early. When I pointed that out to them and made them play the silent 1 and 3 right on the money,
not only did their hi-hat technique improve, but so did their bass drum technique and sound. Now they were no longer playing an
unintentional polyrhythm that interfered with the flow of what they were trying to play.
Injuries can also interfere with your balance. Once I injured my right hand doing something totally unrelated to music. When I tried to play
the drums, I noticed that my flow wasn't what it should be. It wasn't just that my right hand had less control than usual, but I also noticed
my hi-hat foot wasn't responding normally, and my overall sound and power were also diminished. Then I discovered why. Just a baseball
players sometimes get in a slump, and then find out the reason was that they had unknowingly changed their batting stance, I had
unconsciously started raising my right shoulder, to compensate for my hand injury. This, in turn, created tension in my whole posture, and
that affected my control, my speed, and my power. Once I lowered my shoulder back to its normal position, my playing returned to normal.
When we play drums, one thing we're doing is transferring energy from one limb to another. Good time and flow come from the
uninterrupted passage of this energy, allowing your limbs to respond instantly to your ideas. Being balanced, breathing normally, and
having a comfortable posture are all critical to a good performance. Being aware of these things when you practice should help you in having
a lot more of those great nights.

Subdivide And Conquer

By Paul Wertico

SUBDIVIDE! As drummers, I'm sure that you've heard that word before. If you haven't, now is as good a time as any to learn it. The
foundation of rhythm and syncopation is based on how mathematical subdivisions fit inside larger groupings of time called the pulse. The
stronger your pulse is, the better your time is. The more you subdivide, the more accurate your playing will be. The combination of good
pulse and accurate rhythmic execution can help give you that one thing that is required of drummers in almost any musical context-a strong
groove! There are a couple of ways in which you can improve your playing by subdividing. In this article we'll look at the most common
way.
First of all, there's not enough space here to go into depth about the theories of syncopation and rhythmic structure. That's something you
must check out on your own. So let me just start by saying that the first and most basic way to play subdivisions is to play rhythms (such as
eighth-notes, eighth-note triplets, sixteenth-notes, sixteenth-note triplets, quintuplets, septuplets, etc.) within a time signature (such as 4/4,
3/4, 5/4, 3/8, 7/8, 5/16, 9/16, etc.). If you're not familiar with the mechanics behind this, let me give you a crash course. If we look at the 4/4
time signature, for example, the 4 on the bottom represents what type of note will be the pulse. In this case it will be a quarter, because that's
what the 4 represents. The top 4 tells you how many quarter-notes will comprise a measure. Here it will be four. So within each measure,
you must have the mathematical equivalent of four quarter-notes. That means you could play eight eighth-notes, sixteen sixteenth-notes, or
any combination, such as one quarter-note, three eighth-notes, and six sixteenth-notes. Any note combination will work, as long as they add
up to the equivalent of four quarter-notes. If the time signature is 13/8, then a measure consists of the mathematical equivalent of 13 eighthnotes.
The variety of mathematical subdivisions and types of time signatures is endless. Only your imagination and skill will limit your mastery of
rhythms and polyrhythms. However, since much of the music that most of us will be called upon to play will probably involve common time
signatures like 4/4, as well as more basic subdivisions like eighth-notes and sixteenth-notes, let's look at those.
If we are playing a beat in 4/4, it is crucial that the quarter-notes be even and consistent in order to give your beat some type of "glue". If
you're lucky enough to have a good internal pulse, then your time will most likely sound good. However, to develop that skill, as well as to
maintain a steady pulse at difficult tempos, a useful technique is to subdivide mentally. By counting smaller increments of time, you give
yourself much more control and also reduce your chances of guessing when the next quarter note will fall. When you start guessing when the
next beat is, you increase your chances of falling out of time and losing the groove. That's something that can ruin a great take, so obviously
you want to avoid doing that at all costs. Subdividing takes a lot of the guess work out of your playing by allowing you to count and feel
smaller spaces between notes. That allows you to keep better track of not only the tempo, but also those little unintentional shifts to one side
or another of the beat. This helps your pocket playing, as well as your overall rhythmic feel.
You actually do a version of this when, for instance, you play sixteenth-notes on the hi-hat during a rock ballad. However, the main point is
that it is important for you to actually keep thinking sixteenths during the ballad, whether you actually play them or not. You might be
playing quarters or eighths on the hi-hat, but by thinking the faster subdivision, you make all of your slower notes more precise.

12
Subdividing is especially useful when playing slow tempos, where there are big spaces between the beats, and therefore more chances to be
inaccurate. If the song you're playing is based on a 12/8 groove, you may want to think eighth-note triplets, or even sixteenth-note triplets if
the tempo is really slow. Medium tempos require you to feel the smallest subdivision you can manage comfortably. If the subdivision is too
small and going by so fast that after a while you can't keep up, you might tire out and start bringing the tempo down. So it's really important
to pick a subdivision you can comfortably play for the whole tune.
Find out what works best for you. Obviously, the more you do it, the easier it will become. When playing faster tempos, usually just thinking
the pulse will be good enough, although for extremely up tempos, I'll sometimes feel the beat in half-notes, or even whole-notes, so my mind
doesn't overload. We'll look at that approach, and its other applications, in my next article. Until then, try practicing and playing using the
concept of subdividing. If you're a pro, I'm sure you already do. If you're not, the sooner you start, the better your results will be.

The 1 And The 3

By Paul Wertico

In my last article, I talked about how you can improve your accuracy and make your time more consistent by subdividing. Now I'd like to
touch on a way of improving your time feel. Time and feel are two different areas, and having one does not necessarily guarantee that you
have the other. Each player's feel can be affected by a number of different factors, such as whether you feel a certain groove from the
bottom up, or the top down, or how you balance the various sounds in your kit. However, an important element in getting your time to not
only be consistent, but to also feel good, comes from understanding the importance of the 1 and the 3. It can make the difference between a
beat that is accurate, and one that is ALIVE.
To make a beat or groove have life, it must swing. By this I don't mean the "ding dinga ding" jazz cymbal swing rhythm, but rather a
certain tension and release that comes from a backbeat's relationship to a downbeat. Many times the backbeat can be moved up a little (for
an on-top-of-the-beat feel) or moved back a little (for a laid back feel). Although the backbeats can be moved, the placement of the
downbeats usually remains constant. In a typical 4/4 groove, for instance, the 1 and 3 are the grounding points, and should be played
accurately. It is the relationship between the back and forth motion (the swing) of the downbeats and the placement of the backbeats that
gives the groove its feel.
If you have any doubts, just ask James Brown about the importance of the 1 and 3. Sometimes drummers and percussionists can get so
involved with all the complex rhythms and the coordination that it takes to execute certain beats, that they forget the essential purpose of the
beat itself. Every beat should groove, no matter how complex it is. You might have heard a great groove referred to as pumpin' or humpin'.
It all means the same thing: that back and forth motion. You can help get that feeling by paying strong attention to the 1 and 3. Doing this,
in conjunction with subdividing, will make a noticeable improvement in your time feel. Your beats will "sit" in the pocket more and have a
"glue" to them, so they will be better able to stand on their own. Your phrasing and rhythmic articulation will improve. It will also improve
your ability to lock in your playing with the rest of the band.
To work on this, try practicing any even-eighth 4/4 beats you want to play, along with a metronome or drum machine. Rock beats, funk
beats, Latin grooves, even march-type feels will work. First, just feel the quarter note pulse evenly. Next, mentally subdivide using sixteenthnotes, while still paying attention to the quarter-notes. Finally, do both, but also put an emphasis on the 1 and 3. By this, I don't necessarily
mean more volume, just more focus. If you do it correctly, you should feel the swing from the downbeats to the backbeats, and it will almost
seem as if you're playing in two different tempos: the original 4/4 tempo, and a seemingly half-time tempo. You might also notice that your
beat seems to widen out and become fatter sounding.
Practicing this way has a number of benefits and it shouldn't take long before you notice it strengthen your overall playing, as well as your
ensemble playing. You can also apply the same basic principle to triplet-based patterns, as well as to odd meters. Applying the principle to
odd meters will require you to find the primary downbeats; for instance, a 5/4 pattern broken up as 3-2 or 2-3. Experiment on your own, and
I'll see you next time!

Skeletal Rhythms
By Paul Wertico

13
Many drummers would love to possess the ability to play fills and rhythms that are fast, intricate, and exciting. And it's a great feeling to
hear someone really go for it. This type of playing can lift the band, as well as the whole room, right off the floor. However, sometimes trying
to execute such things can also cause problems in accurate placement. This, in turn, can screw up the groove, and thus cause everything to
fall apart. In almost all types of music, speed without accuracy is virtually worthless. So let's look at a way to approach practicing that
should give you more control and confidence in preparation for those moments of abandon.
First of all, it takes a lot of practice to acquire physical speed and control, and yet, the physical part is only half the battle. Once you're able
to play fast, it's critical that you're also able to think and hear what you're playing in time. That can be a real problem. For example, if
you're playing something such as a long string of thirty-second-notes, it can be quite difficult to keep your mind moving at that speed and
still make sure that each thirty-second is landing accurately in time. You want to play 32 thirty-second-notes over a space that needs 32
thirty-seconds; and you don't want to play 34 or 31 "whatever notes" over the same space, unless that's what you intend to do.
So, one way to make sure that you're playing accurately is to feel slower subdivisions inside of the thirty-seconds. This will allow your mind
to relax and take it all in. I call these slower subdivisions "skeletal rhythms". These are rhythms within rhythms that strengthen what you're
trying to play. It's similar to the way your skeleton holds up the rest of your body. While using skeletal rhythms you should feel the slower
rhythm while playing the faster one. Now take a look at Ex. 1:

You'll notice that one quarter-note equals two eighth-notes, which equals four sixteenth-notes, which equals eight thirty-second-notes. You
might already know that. However, there is a musical way in which you can apply that knowledge. Look at Ex. 2a:

In 2a you find a phrase using thirty-second-notes. Some of you might have a hard time playing this, but if you look at Ex. 2b, you'll see how
this sixteenth-note rhythm fits inside the thirty-second-note rhythm. I think it's a safe bet that more of you could play 2b easier than 2a. So
next, try feeling 2b, and use stickings such as the ones in Ex. 3 or 4 to play 2a:

14

I think you'll see how much easier it is to play 2a in time by doing this. You can apply this method to any duple-based rhythm. If you're
trying to play a triplet-based rhythm, such as sixteenth-note triplets, you can break it down to eighth-note triplets. Also, you don't have to
apply this technique only to written notes. For example, practice playing sixteenth notes on the hi-hat or snare drum, and then drop in
double strokes. You'll see how the thirty-second-notes just seem to fall into place. Next, try dropping in triple strokes. Then try combinations
of doubles and triples. Let your imagination run wild. It's a great way to figure out what you really want to play and to clean up your
interpretation.
Once you get used to applying this technique to playing fast rhythms, you'll be able to do it automatically. Your execution will be more
accurate and you'll be able to play those "go for it" fills with much more success and confidence.

Using Skeletal Rhythms In Jazz

By Paul Wertico

In the March/April '92 issue, I talked about "skeletal rhythms," which are basically rhythms within rhythms. The skeletal rhythm structure
is based on the idea that the larger rhythms in any musical sequence will help support the smaller ones. In jazz drumming, where the
drummer is responsible for creating and sustaining the tension by different combinations of rhythms and accents, skeletal rhythms can be
applied in a number of ways. The goal of skeletal rhythms is to increase accuracy in thinking and playing.
Skeletal rhythms can be used to freshen up tired swing patterns. Look at Ex. 1:

Notice that underneath the standard jazz ride cymbal pattern, there is what could be described as an independence exercise utilizing
broken-up eighth-note triplets. Now look at Ex. 2:

Here, we have embellished the original exercise by bouncing certain notes, so instead of a single eighth-note triplet, in its place we now have
two sixteenth-note triplets. These consist of the original triplet, and a second additional triplet, creating an entirely different-sounding
exercise. By concentrating on Ex. 1 (or you can use any similar independent exercise), just "dropping in" an extra bounce here and there can
create a myriad of rhythmical possibilities. Also, by feeling the eighth-note triplets while adding the extra bounce, you can maintain the
original feel and make it more interesting. This should give you more mileage out of those old independence books. When using this
technique, make sure the triplets are accurate. The original triplet should be in its original place, and the additional bounce should make a
sixteenth-note triplet, not just a "pinched" sounding noise.
Skeletal rhythms can be useful in attempting more complex solos and fills. Look at Ex. 3:

15

Here we have a standard eighth-note triplet feel, but if you look at Ex. 4 and 5, you can see how dropping in some bounces can make a stock
fill have much more impact:

Again, focus your attention on the original eighth-note fill, since it's much easier to keep track of eighth-note triplets than sixteenth-note
triplets. In doing so, your mind is less likely to be overloaded, allowing for more solid playing with creativity. This is the very essence for
using skeletal rhythms.
One of the things I have always loved about certain jazz drummers is the way in which they could achieve a type of "rolling sound". Their
time has a loose "circular" feel to it, exemplified by Elvin Jones, supplier of the swing beat in John Coltrane's bands of the '60s. He can do
more with triplets than anyone I've ever heard, and his time-feel captures the essence of swing. In order to achieve this kind of sound, one
must become familiar with various triplet combinations. One can also apply the triplet skeletal rhythm concept to shuffles, as well as 6/8, 9/8,
and 12/8 grooves, in a jazz or rock context. Also, experiment using multiple bounces for more complex rhythms and sounds. And remember,
by adding varying accents to the same exercise, you can create depth in your playing.

Loosen Up!
By Paul Wertico

There are two different approaches to playing the drums. The first is the "tight" approach, in which everything is carefully articulated and
subdivided. Tight playing works well in situations such as funk, fusion and other precisely executed styles of music. In contrast, in most
forms of jazz, a "looser" interpretation of rhythm is important to creating the feel essential to the jazz genre. Playing "loose" can be very
creative and demanding. Since jazz is not as popular as pop or funk, it can be overlooked by students of drum set. Learning and practicing
the "loose" approach can be a lot of fun and will increase your overall playing abilities. It can also give you some alternative ideas that can
be applied to various styles.
One way to work on playing "loose" is to practice rhythms that are not easily transcribed. In other words, rather than playing standard
subdivisions, such as sixteenth-notes, or thirty-second note triplets, you create and play "events" in time. Those events can be sporadic notes,
a rhythmical flurry, accelerandos or decelerandos. Now, I am not talking about playing completely free here. Rather, I am describing a
situation where you play in time with a feel of total freedom. This is not easy to accomplish; your goal should be to have the ability to flow
from the "tight" to the "loose" approach in an effortless manner.
A drum machine can be a useful tool to practice these approaches to drumming. To start, program a comfortable groove for 15-1/2 bars.
Then, leave the last two beats of the sixteenth bar empty. The result is a repeating 16-bar exercise in which you have ample time to get in the
pocket. At the end of the 16 bars, something interesting, if not unusual, should be attempted. The goal here is to set up a strong feel in time
and then become totally adventurous in those last 2 beats. You can try just about anything, but you will find certain things work better than
others. The object is to come in squarely on the 1 at the beginning of the next 16 bars in a completely confident manner.
Once you find that you can play freely in those two beats while still maintaining the groove in the other 15-1/2 bars, reset your drum
machine pattern to play 15 bars of the groove and leave the sixteenth bar open. When you're comfortable with that, keep decreasing the
number of bars with the groove while increasing the open bars. This type of practicing not only works to improve your groove playing, but
also teaches you how to feel large areas of space. Tape yourself when playing this exercise. You may find that some freer-sounding fills sound
better and more musical than others, depending on the type of groove and tempo.
A drum set can provide a vast palette of colors and sounds. Being a drummer and percussionist gives us carte blanche to make use of any
sound we want, as long as it fits. But, contemporary pop drumming makes use of only a portion of these potential sounds and colors. Playing

16
with different strokes as part of your technique will get you in touch with the different sounds that can be created by the drum set. For
instance, pushing one or both of the sticks into a drum head will choke the sound or vary its decay. This can be an alternative to a more
traditional open stroke. Also, pushing one stick into the drum head while varying the pressure and playing with the other stick can create
some great sounding pitch changes. A variation to this stroke is to slide one stick around the head while the other stick either strikes on the
head, or the other stick. Playing on various areas of the drum head and the drum itself provides a variety of tonal colors. The center is
usually the deadest, while the area nearest the rim has the highest pitch, most overtones, and provides the greatest stick bounce. Intelligent
use of these principles can make for some very creative phrasing.
The hi-hat is an important ingredient to the "loose" approach as well. Playing the hi-hat while varying the amount that it is open or closed is
not a new idea, but try varying the pressure that your foot applies to the closed position. This creates pitch changes that can be very
expressive. In terms of the cymbals, a stroke can be employed in which you dig your stick into the cymbal. This will change the cymbal's
decay. For variety in cymbal pitch, try cupping one hand over the bell of a cymbal while the stick in the other hand hits or slides on top of or
around the cymbal.
Don't be afraid to be different.

Doin' Doubles 'Til You're Seeing Triple

By Paul Wertico

It's probably safe to say that all of us would love to have clean-sounding chops. It's great to hear a player that sounds "even" in his or her
execution. In this article, we'll look at a way to improve our evenness through the execution of a couple of basic patterns.
I get a fair number of new students that come to their first lesson and try to play figures that require a certain degree of evenness in order to
sound right, such as paradiddles between their snare and ride cymbal. Yet, when they try to play these types of figures, they end up
sounding erratic, and outside of the groove. Even if they're playing in time, their flow is uneven and uncertain.
The problem is a classic case of trying to run before you walk. Just about everything that we play with our hands has to sound good on a
single surface, such as the snare drum, before it can sound good between two or more surfaces. When you try to play double strokes or
paradiddles around the drum set without first checking your execution on a single surface, you can fool yourself into thinking that things
sound okay, simply because of the complexity of the sounds. And just because a ride cymbal might wash with a certain degree of decay, don't
let it fool you into thinking that it's masking the unevenness of your playing.
Take a look at Ex. 1:

Here you have sixteenth-notes made up of double strokes. Many players with poor technique try to play doubles, and they unintentionally
make the bounce strokes softer. The result is uneven-sounding. You can remedy this by practicing Ex. 2:

By accenting the bounce strokes, you bring out those notes that have a tendency to sound weak. Try using a technique known as "catching
the bounce", in which the first note of the double stroke is played normally, and the second note-the bounce stroke-is played by snapping
your fingers up into the stick at the very moment your wrist starts to come up for its next stroke. This type of snapping motion allows you to
play the bounce notes louder, because it causes the stick to snap back into the drumhead, instead of just bouncing up and back. Also try
varying the degree of the accents. Run the gamut from extreme to subtle. This will give you a lot more control over your hands, in order to
shape the sound of your doubles any way you wish.

17
The same principle applies to paradiddles. Look at Ex. 3:

Here you have a single paradiddle. What I have found is that many students don't play the doubles in the paradiddle evenly. A good way to
remedy this is to accent the second stroke, as in Ex. 4.

Again, use the "catching the bounce" technique, and vary the degree of the accents. By doing this, and by paying attention to note
placement, you should see an improvement in your sound and level of accuracy. Remember too, that the principle of accents can also be
applied to your feet.

A Different Kind Of Independence

By Paul Wertico

It's probably an accurate statement, if not too obvious, to say that the more independence drummers have, the more creative we can be.
That explains why we all constantly practice exercises that were designed solely for learning independence, or learn new beats and grooves,
which is a more musical and fun way to accomplish pretty much the same thing. This article will present an alternative way of getting a
useful, but specialized type of independence that can really open up some new avenues of expression for you.
Most independence books train the drummer to be able to play any number of different rhythms simultaneously with each limb. These
rhythms usually fall in time together, so that when you look at the exercise, you can easily see which notes fall together, which notes fall by
themselves, and which limb to use for each part. See Ex. 1.

In this column we're going to work on another kind of independence in which one or more limbs plays a repetitive pattern, while the others
play free. It is as much an independence of the mind, as it is the limbs. One has to master a number of things to accomplish this: You have to
keep the time firmly planted in your head; sustain the time accurately, both in the placement of your limbs and their articulation; and
perform an interesting and musical free counterpoint. This can really open up some doors, since it is true independence, not just learned
exercises.
In Ex. 2 we have the hands playing independently. The right plays quarter notes on the ride cymbal, while the left plays in and out of time on
the snare. I strongly suggest you use a metronome or drum machine when doing this, to make sure that the quarter notes are accurate. Start
with just the right hand. Make sure the sound is consistent in both dynamics and timbre. Once you feel that you're really locked into the
groove, begin playing on the snare with your left hand. At first you might try rhythms with which you're already comfortable. Next, try
dropping the stick onto the head, and letting it bounce. Then try patterns that almost seem to fight the time of the ride cymbal. Finally, try
playing in and out of time, doing accelerandos and decelerandos. However, don't play sloppily. Make certain that what you play on the snare
drum sounds believable. Try to get to the point where you sound like two separate drummers, not just one drummer with a bad left hand.

18
Look at Ex. 3. Here is a musical effect that I use from time to time when soloing. The feet are playing a typical samba pattern, while the
hands are playing free. I really love to do this, especially over some kind of a rhythmic vamp, since it creates a lot of musical tension. You
can see that the approach is similar to Ex. 2. Get your feet locked into the groove and just go for it. It's an incredible feeling when you can
play anything you can think of, while your feet maintain their own independent patterns. You can also try just playing 2 and 4 on the hi-hat,
and play in and out of the time with your hands and right foot. It's a great solo tool when playing jazz.
The number of repetitive parts you can invent is infinite, so use your creativity. Once you get used to practicing this way, you'll
automatically come up with great variations and discover a world of rhythmic ideas and effects.

Look The Way You Want To Sound

By Paul Wertico

The other day, while I was trying to come up with a topic for this article, I gave drum lessons to two new students, and as destiny would have
it, the subject became clear as day. I believe that the problems these drummers experienced are common to many young players, and when I
pointed out what they were doing incorrectly, the predicament disappeared.
The first student did something that I often see done by many young drummers. When he would play a beat, and especially when he would
try to do fills, he would occasionally arch his body back away from the drums. This prevented him from having a grounded center that
would remain stable and give him a strong foundation from which to play. The result was comparable to a fighter pulling his punches.
Whenever he did this, his sound dissipated, his dynamics and tone quality varied, and so did the feeling of any kind of flow. It also gave the
impression that he really wasn't sure what he was doing. I drew his attention to this, and suggested that he constantly monitor his posture so
that he would play into the drums, and stay conscious of his sound at all times in order to get the fullest sound no matter what the dynamic
level. He instantly sounded and looked like a much better drummer. Obviously, since one of the main jobs of a drummer is to keep the band
together, you need to look and sound confident.
The second student had a different habit that kept him from getting the fullest sound out of his drums, and affected the way he looked when
he played. He would bob his head in a nervous, unrelated tempo, and also move his elbows out whenever he tried to play fills. He thought he
couldn't come up with interesting things to play, when in fact all these nervous mannerisms actually kept him from physically being able to
get around the drum set. It was as if his body was fighting itself, so when he tried to play a fill, his arms didn't really know where to go.
When I suggested that he relax and keep his upper torso stationary, all of a sudden he could get around the kit with no problems. His sound
was much bigger, and again, he looked much more in control.
Tension is another proclivity that can prevent you from playing at your full potential, and make even the simplest movements much more
difficult. Some drummers unconsciously hold onto their sticks too tightly, or hold their breath when doing fills. Sometimes the tension in a
drummer's body is clearly visible while he or she performs. If you think you might be doing any of these things, take the time to train
yourself to relax. With a little self-examination you can catch yourself at these bad habits. At the first sign of tension, consciously tell
yourself, as well as feel yourself relax. After you do this for a while, you'll start noticing an improvement in your performance. Being aware
and in control is the key.
Many great players look good as well as sound good. Having a strong center of gravity, and using your limbs to play into the drums, can
really pay off. If you think you might have any bad habits, or other energy-wasting motions in your drumming, play in front of a mirror,
and try to look the way you want to sound.