Evens And Odds How Fills Add Up? by John Riley

In my last column, "The Pyramid" [April '05 MD), we explored using a couple of sticking patterns played at different rates of speed to create the illusion of an accelerating and decelerating ride cymbal pat­

tern. This month we'll see how similar sticking patterns can be used to add variety and mystery to fills. The books of Gary Chaffee and Gavin Harrison have inspired this column .

There are sixteen 16th notes in a measure of 4/4. These notes can be grouped many different ways. The most common is four groups of four notes. Now 4+5+7 also equals 16, but since the division of the measure is not symmetrical, the potential for intrigue increases. The rhythmic mystery increases even more when working in longer phrases. In this article we'll use a two­measure format and develop patterns that add up to thirty-two 16ths (two measures of 16ths), such as 4+4+5+5+ 7+ 7 = 32.

Below are some common sticking patterns for four-, five-, and seven-note phrases.

1 4s > > > > >

D J J J J II J J J J J J J J II J J J J tm II RLRL RLRRLRLL RLLRLRRL

Ss > > > > >

D J J J J J II J J J J J II J J J J J J J J J J II RLRLL RLRRL RLLRRLRRLL

7s > > > >

D J J J J J J J II J J J J J J J R L R L R L L R L R R L R L

> > >

D J J J J J J J II J J J J J J J J J J J J J J II R L L R R L L R L L R R L R L R R L L R L

These sticking patterns generate interesting phrases when played in succession. Practice them with a metronome.

2 ,---4-----,r------- 5 > > > > > > > > > > > >

0 1 JmJWJul!w 1 JmJmJul!w 11 RLRLRLRLRLRLLRLR LLRLRLRLLRLRLRLL

.---4---, 5 7-----, > > > > > >

oJWJWJWJW 1JWJWJWJW11 RLRRLRLLRLRRLRLR RLRLRRLRLRLRRLRL

1 02 I Modern Drummer I December 2005

.----4~ 5 7---~

> > > > > >

D JWJWJW JW I JWJfflJWJffl11 RLLRLRRLRLLRRLRR LLRLLRRLRLRRLLRL

.----4-----, 5 7----> > > > > >

D JWJfflJWJW I JWJfflJWJffl11 RLRRLRLLRLLRRLRR LLRLLRRLLRLLRRLL

Even more mystery is created when you scramble the sequence of the four, five, and seven.

3 5-----, 7 ~4~

> > > > > >

D i JmJWJWJffl1 JWJmJmJW II RLRRLRLRRLRLRRLR LRLRRLRLRLRRLRLL

.....---- ·----~4-.-----5----, > > > > > >

D JW Jffl JW JW I Jffl Jffl JW Jffl11 RLLRRLLRLLRRLLRL RRLRLLRLLRRLRRLL

I prefer sequences like these, where beats 1 and 4 of the second measure are not accented. (There are many more possibilities. Find the ones you like.)

4 r-- 5 ----,r----4-----, ;----- 5------, 7 > > > > > >

D i JmJmJmJm 1JmJmJmJm II RLLRRLRLLRLRRLRR LLRLLRRLLRLLRRLL

.---- 7-----,,....----- 4 ---.,.--s-, .---- 7------,r--s-. > > > > > >

D JWJW JWJW I JfflJfflJWJffl11 RLRRLRLRLRRLRLLR LRRLRLRRLRLRLRRL

r- 7 ~ r-4-, r---- 7---------, r---- 5-----, r--- 4-----, r---5--, > > > > > >

D JWJWJWJW I JfflJfflJWJffl11 RLLRRLLRLRRLRRLL RRLRRLLRLRRLRRLL

r- 7------, r-- 4-----, r--- ?----, r---- 5-----, .--- 4--, ..- 5-----, > > > > > >

D JWJWJWJW I JfflJfflJWJffl11 RLLRRLLRLRRLRRLL RRLRRLLRLRRLRRLL