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Exercise #5: Straight Eighth Notes with the Melody in the R.F.

Step 1: Straight eighths with the melody in the right foot

In this exercise you will play continuous, alternating straight eighth notes

on the hi-hat with accents on beats 1, the + of 2, 3, and the + of 4. This hi-hat

St. Thomas

Melody

Medium Latin

5

9

13

17Sonny's Solo (0:55)

21

25

29

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pattern provides a generically Caribbean sounding rhythmic background for

the melody, which you will play with your R.F. Once you feel good playing and

singing the melody leading with the R.H., try starting on the L.H.

Guide

R.H. and L.H.= Alternating eighth notes with accents on beats 1, the + of 2,

3, and the + of 4

L.F.= Nothing

R.F.= The melody

Example #1

Playing Tips: Hearing the melody against the hi-hat

The key to playing this exercise successfully is to be able to hear both the

melody and the groove of the hi-hat at the same time. Train yourself to do this

by playing slowly and carefully without sacrificing focus on either the melody or

the groove. Pay particularly close attention to melody notes that do not line up

with accents on the hi-hat. Be careful not to change the melody to go with the

accents or the other way around.

The ability to split your attention between groove and melody is an ex-

tremely difficult one to master. It also one of the most important skills for a jazz

Drum set

1. R L R L

2. L R L R

3

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musician to cultivate, as it gives you the mental strength necessary to focus on

both of the songs of jazz at the same time.

Step 2: Maxs GrooveOnce you feel comfortable with step 1 try replacing the generic hi-hat

pattern with the groove that Max plays on the suggested recording. Play along

with the recording until the groove feels natural.

Example #2 (Maxs basic groove)

Once the groove feels natural, replace the bass drum part with the melody.

Guide

R.H. and L.H.= Maxs groove

L.F.= Jazz foot

R.F.= The melody

Example #3

Drum set

3

Drum set

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Playing Tips: Hearing the melody against the groove

In this step there are even more challenges to your ability to hear the

melody and the groove at the same time. In the first measure for example, the

melody lines up with the hands for the first three notes but then doesnt line upon the fourth note. If you try to approach this step too fast or impatiently it will

be incredibly frustrating. So take this step very slowly and carefully, memorizing it

measure by measure. Eventually you should be able to play through the entire

exercise at a decent tempo.

Notes: Sonny Rollins rhythmic theme and variation

Notice that starting at measure 17 the exercise is based on Sonny Rollins

solo rather then the melody. In Blakey exercise #3 there is a brief discussion of

Sonnys ability to take a short idea and develop it using theme and variation

technique. For drummers, the most important aspect of theme and variation

technique is rhythmic variation, and this solo is a clear example of how to use

this rhythmic variation successfully.

Essentially, the two note rhythm that he plays at the very beginning is the

theme of the entire solo . Notice how he moves this rhythm to different beats

(for example measure 17 and 21), breaks the two notes into single notes (for ex-

ample measure 31), or uses the two notes to launch into many more notes for

contrast (for example measure 25). Building an exhilarating solo from such a

simple two note rhythm is an inspiring example to learn from.

Suggested Recording

Sonny Rollins, Saxophone Colossus