April 2012 Issue – Volume 37 • Number 4

Open-Handed Playing Part 3: Triplet Groove Systems

In this article I’d like to take the idea of avoiding crossed hands into the rhythmic field of triplets. Triplet-based grooves have their own special twists and turns. Playing these ideas open-handed can be a serious challenge, one that will…

CHAD SEXTON: A Free Spirit to the Corps

Chad Sexton and 311 have been riding a wave of good vibes for over twenty years. Since the band’s 1993 debut album, Music, which followed several independent releases, there have been no hiatuses, no lineup changes, and no periods of…

Inner Drumming Part 1: How to Listen With All Four Limbs

Ever since I privately published my book Inner Drumming in 1983, I’ve received hundreds of letters and emails wanting to know exactly what it is and how to obtain a copy. This is the first of a series of articles…

Glenn Kotche

The lengths some people will go… Wilco’s compositionally minded drummer prepares his kit with a glorious array of mechanical and digital devices, each with a specific, meaningful effect—and its own set of performance demands. At one point in the middle…

April 2012 Issue – Volume 37 • Number 4

Chops Builders Part 18: Irish Spring

This month we’re going old school—with a new twist. What we’re working on is a standard exercise called Irish Spring that comprises swung double beats with smooth hand-to-hand turnarounds. This exercise has been used by rudimental drummers for decades, but…

Michael Sarin

Texture shifts, quiet drive, and a finely honed melodic sense are the subtle tools this drummer uses to facilitate some of today’s most intriguing new jazz. “One thing I like to do is mute the snare with the brush, then…