Sound, Time, & Creativity - S.F.

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4 4 œ > œ / ‰ j œ 3 œ œ œ > œ > œ 3 ¿ ¿ œ 3 œ œ œ 3 > 3 œ œ œ œ œ œ 3 œ œ œ œ œ ‰ œ > 3 œ œ œ ¿ œ ‰ ¿ ‰ j > 3 œ œ œ œ Shifting the departure point makes the four-measure phrase sound and feel completely different. Each example has a total of sixteen departure points to choose from: four beats per measure times four measures equals sixteen points. This “circular fours” approach allows you to come up with new solo phrases based on the original example. Now try playing four-bar phrase number 2 starting on beat one of measure three, and then start on beat one of measure four. Then incorporate the hi-hat ostinatos. The next step is to combine examples. Here is four-bar phrase number 1, measures one and two, combined with fourbar phrase number 3, measures three and four. /4 4 ¿ œ œ œ œ œ œ œ œ œ ¿ œ œ œ ‰ œ > / œ œ 3 œ œ ‰ œ œ ‰ œ 3 œ œ œ 3 œ œ œ 3 œ œ œ 3 œ œ œ You can expand each note value within the four-measure phrase. For example, written quarter notes would become half notes; eighth notes would become quarter notes; eighth-note triplets would become quarter-note triplets. By expanding each note value, the four-measure phrase becomes an eight-measure phrase. Here is four-bar phrase number 3 after being expanded. /4 4 œ œ Œ œ œ œ Œ œ œ œ œ œ œ œ ˙ 3 / œ œ œ œ Œ œ œ Œ œ 3 3 œ œ œ œ œ œ 3 œ œ œ 3 œ œ œ In addition to expanding the phrase, you can also compress the phrase. Quarter notes become eighth notes, eighth notes become sixteenths, and so on. Compressing each note value converts a four-measure phrase into a two-measure phrase. Here is four-bar phrase number 1 after being compressed. /4 4 ¿ œ œ œ œ œ œ œ œ œ ¿ œ œ œ ≈ œ > / 6 œ œ œ œ œœ 6 6 > œ œ œ œ œ œœ œ œ œ > 6 œ œ œœ ¿ > œ œ œ œ PERCUSSIVE NOTES 21 FEBRUARY 2000
PERCUSSIVE NOTES 22 FEBRUARY 2000 The combination possibilities are endless. Mix them up and have fun. Do not limit your practicing of transcriptions to one style of music. Try combining transcriptions from different drummers or idioms to come up with a unique style: your own! Approaching transcriptions from this angle serves as a tool to develop a better sense of phrasing. It will also improve your reading skills and stimulate creativity. In essence, you are using a particular drummer’s ideas (based on the transcription with its modifications) to orchestrate your own style. Steve Fidyk has performed and/or recorded with such artists as Mark Taylor, New York Voices, Arturo Sandoval, Clark Terry, The Capital Bones, and Chris Vadala. He is the drummer and featured soloist with the Army Blues Jazz Ensemble of Washington D.C., Director of Drumset Studies at the University of Maryland, College Park, and he contributed transcriptions to Peter Erskine’s book The Drum Perspective, published by Hal Leonard. His solo CD, Big Kids, is available at www.stevefidyk.com. PN
Page 1 and 2: 62 Rudiments are structured stickin
Page 3 and 4: THE ORIGINAL STANDARD 26 AMERICAN D
Page 5 and 6: Sound Enhanced A play-along audio f
Page 7: In order to evolve as musicians, it
Page 12 and 13: For the left hand, the index and mi
Page 14 and 15: The legato shuffle uses the sweepin
Page 16 and 17: Meet me in the middle is a beat tha
Page 18 and 19: The samba brush beat features the B
Page 20: Handle Roll A roll effect is create

Sound, Time, & Creativity - S.F.

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