In this lesson I will be showing how insanely cool it is to play a short burst of 16th note double kick with various combinations of cymbals played over the top when constructing fills. The movements used will be a long the same lines as those in our Copying The Hands With Double Kick lessons so I strongly recomend you have a look at that first.
The basic shape you will be applying is given below. I have given two one beat examples that will be extended over longer phrases. Various other cymbal combinations will be used but this will give you the idea.
The idea is that you play a single stroke roll over one or two cymbals with 16th note bass drums matching the rhythm and sticking of the hands. These shapes will be applied in various ways but you will need to be able to play at least a full bars worth of it. Listed below are several examples of fills using this pattern, an explanation on construction is given with each. Each fill is shown in the context of a one bar phrase. With each given example try playing it as part of a longer four or eight bar section.
It is also worth noting that some examples will have this pattern played at the end of a bar which will be followed immediately with a groove. In these cases you will end up with a sort of Single Stroke 5 sticking.
Example 1
Here the part is applied as a one beat fill. I have shown it played on a splash, to achieve this it is easiest to have your splash positioned somewhere over your high or mid tom.
Example 2
This is a very similar idea to that given above except you lead into the cymbal roll with four sixteenth note snares. When playing this, experiment with switching those snares to different parts of the kit and use different note groupings for the rhythm.
Example 3
A simple half bar application using the ride. This is a lot easier to play if you are using a four piece set up with the ride where the mid tom usually would be but is doable with the ride off to the right of the kit.
Example 4
A second half bar variation where the cymbal voicings switch mid way through.
Example 5
This fill takes the idea shown in example two and spreads it over a full bar. The same ideas for varying the part can be applied here.
Example 6
Another full bar version that is the reverse of the fill presented in example 5. I have thrown in some toms to demonstrate how easy it is to switch the orchestration.
Example 7
Whilst the basic shape could just be played over a full bar and would sound really cool, I didn't feel the need to include that on this page. Here though is something interesting you could do around that idea, play some of the bar as the straight shape but then throw in some quarter notes.
Example 8
Reversing the idea given in example 7 also creates some nice patterns. Here I have used constrating cymbal sounds to add to the affect.
TASK
- Using the 2 minute rule, get all examples up to a tempo of around 150bpm.
- Experiment with creating further fills from this idea. A separate lesson will be given on combining this with rolls around the kit.
- Add all fills to a structured piece.
