PART ONE
I ventured into the Horacio “El Negro” Hernandez’ clinic during the PASIC 2010 and was, of course, blown away by his drumming. I was especially mesmerized by how he moved seamlessly between a duple and triplet feel. Ever since then — when I’m practicing/improvising in the mode of Billy Ward (explained in his great instructional DVD Big Time) — I like to dabble with this type of feel change in a number of styles. It was during one of these moments, that I began playing a typical samba foot pattern within a 12/8 or eighth-note triplet context. I jotted down a few of the resulting experiments and the following lesson was born.
Assuming you have experience playing sambas, foot ostinato A will seem very familiar and comfortable. The spacing between the notes is the only difference. All 29 exercises included in this lesson are written with Ostinato A as its foundation, but Ostinatos B–D are included for increased challenge and interest.
Exercises 1–8 get you started with the involved coordination. Start slowly and gradually increase the tempo. Make sure that notes are hitting at the same time (when appropriate), avoiding unwanted flamming.
PART TWO
The right hand plays an Afro-Cuban 12/8 bell pattern (Ex. 9), and the left hand fills in spaces not occupied by the ride cymbal (Ex. 10).
The right hand plays a shuffle (the first and third ta of each triplet), while the left hand fills in the second ta. This pattern works nicely along with the rolling triplet foot ostinato because the right hand plays along with the right foot and the left hand plays along with the left foot (Ex. 11). Next, strategically placed accents are added (Ex. 12).
Displaced doubles, starting with one right or one left (Exercises 13–14), also sound great over ostinato A.
LRR (Ex.15) and RRL (Ex. 16) stickings are now used. Ex. 17 is a swiss triplet orchestrated between the ride and snare, while Ex. 18 involves displaced swiss triplets.
PART THREE
Exercises 19 and 20 use four-note groupings (a paradiddle and a displaced paradiddle) in two measure phrases. Ex. 21 uses single flammed mills.
Looking for unusual half-time shuffles? Check out these offerings.
The following two exercise (24–25) use two half time Brazilian patterns played as rim clicks with the left hand.
PART FOUR
Four jazz oriented patterns are combined with the rolling samba foot ostinato: Ex. 26 involves a typical jazz ride with snare notes filling in the missing triplets; Ex. 27 is a paradiddle-diddle (or a displaced six-stroke roll); Ex. 28 is a double paradiddle; and Ex. 29 is a different form of a displaced six-stroke roll.
Don’t Stop
1. As you feel comfortable with each exercises, allow your hands to travel to a variety of sound sources.
2. Attach a tambourine (or a tambourine accessory) to your hi-hat to accentuate the cool hi-hat note found in the middle ta of each beat. Left-foot accessories (cowbells, woodblocks, etc.) will also work well.
3. If you have a double-bass pedal (or two bass drums) substitute the hi-hat foot part with bass drum notes. If you become a wealthy heavy metal drummer from this new material, be sure to remember the little people.
4. Play two or four measures of a regular samba followed by two or four measures of the rolling triplet samba.
5. When the bandleader at your local jazz gig calls out a tune that uses a samba groove, respond by asking, “Would you like that straight or rolling triplet?” Take a picture or shoot a short video of their reaction and email it to me.
