< PreviousModern Drummer November 2022 48 ? c . . œ ‰ Œ Ó RR œ ‰ Œ Ó LL ? c . . œœ Œ Ó RRR œœ Œ Ó LLL ? c . . œ Œ Ó RRRR œ Œ Ó LLLL ? c . . œœ Ó RRRRR œœ Ó LLLLL ? c . . œœ ‰ Ó RRRRRR œœ ‰ Ó LLLLL ? c . . œœœ Ó RRRRRRR œœœ Ó LLLLLLL ? c . . œœ Ó RRRRRRRR œœ Ó LLLLLLLL ? c . . œœœ Œ RRRRRRRRR œœœ Œ LLLLLLLL ? c . . œœœ ‰ Œ RRRRRRRRRR œœœ ‰ Œ LLLLLLLLLL ? c . . œœœœ Œ RRRRRRRRRRR œœœœ Œ LLLLLLLLLL 1 2 3 4 5 6 7 8 9 10November 2022 Modern Drummer 49 Check out Joe’s Modern Drummer pro le page and get your copy of Master Studies at moderndrummer.com ? c . . œœœ Œ RRRRRRRRRRRR œœœ Œ LLLLLLLLLLLL 11 ? c . . œœœœ RRRRRRRRRRRRR œœœœ LLLLLLLLLLLL 12 ? c . . œœœœ ‰ RRRRRRRRRRRRRR œœœœ ‰ LLLLLLLLLLLLLL 13 ? c . . œœœœœ RRRRRRRRRRRRRRR œœœœœ LLLLLLLLLLLLLLL 14 ? c . . œœœœ RRRRRRRRRRRRRRRR œœœœ LLLLLLLLLLLLLLLL 15Modern Drummer November 2022 50 “Hoedown” Emerson, Lake, & Palmer Trilogy, recorded in 1972 Reprinted from Carl Palmer’s book Applied Rhythms. T his is one of my favorite instrumentals, probably one of the all-time great pieces of music I played with Emerson, Lake, & Palmer. Without a shadow of a doubt, it’s one of my favorites and the only piece of mu- sic I’ve ever played by Aaron Copeland. I’m sure that I’ll play this piece again in the future. This part is basically lifted from the orchestral arrangement. I’ve adapted the percussion parts that the orchestra would have played as closely as I could put them on the drums. Four bars after letter C is a very typical Aaron Copeland brass sort of phrase. I play that one with the band (or with the orchestra, depending on which record you’re listening to.) This is a very good drum part for the student to learn, because it is a little more diverse. It’s not just for on the oor with a bass drum. There are some quite interesting accents that have to be played. They’re unexpected, and they come in at strange times. But basically, it’s 4/4 throughout, so there shouldn’t be any problem with playing this one. ÷ 4 4 ∑ q = 140 ∑∑∑∑∑ t ŒŒ‰ j t œ ŒŒ‰ J œ t ŒÓ œ Œ , , ÷ t ŒŒ‰ j t œ ŒŒ‰ J œ t Œ œœœœ œœœœ œ Œ Ó t yy œ y œ y œ yy œ y . œœ Œ œœœ Œ ,, >>>> >>>> > > o > oo ÷ yyy œ y œ y œ yy œ y . œœ Œ œœœ Œ yyy œ y œ y œ yy œ y . œœ Œ œœœ Œ yyy œ y œ y œ yy œ y . œœ Œ œœœ Œ > o > oo >>> o > oo ÷ y œ y œ y œ ‰ j y œ ‰ j y œ ∑ y œ y œ y œ ‰ j y œ ‰ j y œ ∑ ‘ y œ y œ y œœœœœœœœœ ∑ ooo >>>>>>>> ÷ t yy œ y œ y œ yy œ y œ Œ œœ Œ yyy œ y œ y œ yy œ y . œœ Œ œœœ Œ t yy œ y œ y œ yy œ y œ Œ œ Œ > > o > oo > o > oo > > o > oo ANovember 2022 Modern Drummer 51 ÷ yyy œ y œ y œ yy œ . œœ Œ œœ Œ œœœ ‰ j œ ‰ j œ ∑ ‘‘ > oo > œœœ œœœœ 3 œ œ œ œ Ó Œ . œ œ œ œ œ œ ‰ j œ œ ‰ j œ œ œ Œ Ó t œ œ œ œ œ ‰ j œ œ ‰ j œ œ œ Œ Ó ‘ >>>> >>>> >>> > > ÷ t œ œ œ œ œ œœœœœœœœ œ Œ Ó t yy œ y œ y œ yy œ y œ Œ œœœ Œ > > >>>>>>>> > > oo > o yyy œ y œ y œ yy œ y . œœ Œ œœœ Œ « 2 « 2 t yy œ y œ y œ yy œ y œ Œ œœœ Œ > oo > o > > oo > o t yy œ y œ y œ yy œ y œ Œ œœ Œ t Œ t y œ ‰ J œ Œ œ Œ ‘ tt y œ ‰ J œ Œ . œœ Œ o o > oooo > o >> , > o > >> , > o > t yy œ y œ y œ yy œ . œœ Œ œœœ Œ y œ ‰ j y œ ‰ j y œ ‰ j y œ œ ‰ J œ ‰ J œ ‰ J œ y œ ‰ j y œ ‰ j y œ y œ œ ‰ J œ ‰ J œœ « 2 > o o > oooo > ttt ŒÓ œœœ ŒÓ ‘‘ ttt ŒŒ œœœœ œœœ Œ t yy œ y œ y œ yy œ y œ Œ œœœ Œ >>> , >>> , > > oo > o yyy œ y œ y œ yy œ y œ Œ ‰ . R œ Œ yyy œ y œ y œ yy œ y œ Œ œœœ Œ ‘ o > oo > oo > oo > o D C BModern Drummer November 2022 52 ÷ œœœœœœœœœ . t œ Ó Œ œ œœœ ≈ œœœœœ t œœ Ó Œ œ >>>> >> >>>>>>>> >>> ÷ t yy œ y œ y œ yy œ y . œœ Œ œœœ Œ yyy œ y œ y œ y t œ œœœ ≈ . J œœœœ Œ yyy œ y œ y œ yy œ y . œœ Œ œœœ Œ > >>> > >> ÷ yyy œ y œ y œ yy œ y . œœ Œ œœœ Œ yyy œ y œ y œ yy œ y . œœ Œ œœœ Œ > o > >> ÷ yy . . y œœœœœœ œ œ œœ œ Œ Ó t yy œ y œ y œ yy œ y œ Œ œœœ Œ yyy œ y œ y œ y t œ y œ Œ œœœ Œ o > >>>> >>>> > > o > > > ÷ yyy œ y œ y œ yy œ y œ Œ œœœ Œ yyy œ y œœœ t œ œ Œ Ó t yy œ y œ y œ yy œ y . œœ Œ œœœ Œ > o > > >> >> ÷ yyy œ y œ y œ yy œ y . œœ Œ œœœ Œ yyy œ y œ y œ yy œ y . œœ Œ œœœ Œ > oo > o >> ÷ yyy œ y œœœœœœœœœ . œœ Œ Ó t yy œ y œ y œ yy œ y . œœ Œ œœœ Œ o > > >>>>>>>> > >> ÷ yyy œ y œ y œ yy œ y . œœ Œ œœœ Œ t yy œ y œ y œ yy œ y . œœ Œ œœœ Œ yyy œ y œ yy œ y œ y œ . œœ Œ œ Œ > o > o > >>> o > o > ENovember 2022 Modern Drummer 53 t yy œ y œ y œ yy œ y . œœ Œ œ Œ yyy œ y œ yy œ y œ y œ . œœ Œ œœœ Œ t yy œ y œ y œ yy œ y . œœ Œ œœœ Œ > oo > oo > ooo > o > >> yyy œœœœ œ t œ œœ œ Œ Ó t yy œ y œ y œ yy œ y œ œ Œ œœœ Œ yyy œ y œœœ t . œœ Ó œ oo > >> >>>> > o > ooo > o >>> > , « 2 t yy œ y œ y œ yy œ y . œœ Œ œœœ Œ œœœœœœœ t Ó Œ œ ∑ « 2 > > ooo > o >>>>>>>> > œœ œ . œ œœ t Ó Œ œ ∑ œœœœœœœœœœ ∑ >> >>> >> > >>>>>>>>>>> t yy œ y œ y œ yy œ y œ Œ œœœ Œ ‘‘ t yy œ y œ yy œ yy œ œ Œ œœœ ≈ . J œ > > ooo > o > > o > o > t ty œ y œ yy œ yy œ œ Œ ≈ œœ ≈ . J œ ‘‘‘‘‘‘‘‘ > >>> t yy œ y œ y œ yy œ y œ Œ ‰ J œ ‰ J œ ‘‘‘ t yy œ y œ y œ yy œ y œ Œ œœœ Œ ‘‘ > > oo > o > o > t yy œ y œœœœœœœœ œ Œ Ó t yy œ y œ y œ yy œ y . œœ Œ œœœ Œ > o > o >>>>>>>> > > o > o G F 4 8Modern Drummer November 2022 54 Check out Carl’s Modern Drummer pro le page and his book, Applied Rhythms, at moderndrummer.com yyy œ y œœœœœœœœœ . œœ Œ Ó t yy œ y œ y œ yy œ . œœ Œ œœœ Œ >> >>>>>>>> > > o > yyy œ y œœœœœœœœ . œœ Œ Ó t œ y œ y œ ‰ j y œ ‰ j y œ œœœ ‰ J œ ‰ J œ >> >>>>>>> > >>>> y œ y œ y œ ‰ j y œ ‰ j y œ œœœ ‰ J œ ‰ J œ ‘ y œ y œ y œœœœœ 3 œ œ œ œœœœ Œ . >>>>>>>> >>>> >>>> t yy œ y œ y œ yy œ y . œœ Œ œœœ Œ yyy œ y œ y œ yy œ y . œœ Œ œœœ Œ « 2 > >>> oo > o ÷ œœœœœœœœœœœœ ∑ q = 87 œœ Œ t Ó œ >>>>>>>>>>>>>> ^ ÷ > ÷ Les ColeNovember 2022 Modern Drummer 55 The Rhythm Of Practice By Chris Lesso Beats are something you do; drumming is something you live. The drums don’t want you to be good at them. The world will throw every excuse at you not to practice or play drums. We have all heard the excuses, ‘Life gets in the way’ and ‘There’s always something else to do.’ If this game were easy, everyone would be a champion! It’s a daily challenge to step into the practice room and confront yourself. You are humbly confronting what you don’t know, or what you can’t do (yet). But we can turn this ritual of practice into the rhythm of practice. Consequently and over time, we’ll unleash our best selves through drumming. That magical day is not like winning the lottery, where we nally ‘get it’ and when everything magically clicks into place. Instead, it’s found in the stacking of hard won 1% gains. In this process we face days when we’re either dazed, confused, or frustrated. Or all three at the same time. Then there are the days when we nd the gift of one small victory. The slow drip of knowledge turned into action compounds over time and transforms you into the drumming super-hero you were meant to be. The LTR DRUMMING METHOD: LAUNCH doesn’t give you a forced practice regimen. Practice is a choice, one that should be fueled with enthusiasm, curiosity, and fun. Even though we can count on experiencing days when we just don’t feel like practicing, we can still take swift and steady action to craft a clearer, bolder, and heartfelt message to the world. Turning practice into a lifestyle gives us momentum. Once you start riding the momentum of good practice, you won’t want to let it fade. Momentum is energy in motion. For example, a jet that soars above the clouds at 30,000 feet has serious momentum. In mid-air, a pilot can let the plane coast and momentum will allow it to stay in ight. But once that plane has landed and lost its momentum, it is dead weight. To regain ight the spark to escape inertia and create momentum has to be ignited all over again. This re-ignition demands massive amounts of energy. Losing your drumming and musical momentum creates the thoughts of giving up and quitting. You feel like that plane sitting still on the runway. On the other hand, progress, even if it’s 1% each day, comes from using your momentum over time. This process can sometimes feel messy and like a fast track to nowhere. But the essence of organized practice is to use these obstacles as fuel for the journey forward. That journey is yours. Drumming is fun but endlessly challenging. The rhythm of practice is where the rewards are earned and discovered. That’s why we love it; we’re playing an in nite game. Practicing shouldn’t be a chore; it shouldn’t become something you despise. Over time these feelings can only corrode the joy of why we started playing drums in the rst place. To nurture this joy, we must keep the reason of why we play drums, front and center. We can use it as fuel to move us forward both on the days we can’t wait to play and on those days when we’d rather do anything else. Motivation is a myth. There’s nothing in the world that will magically sit you behind the kit and force you to pick up your sticks. This motivation must come from the re that burns within you. For this reason, practice can never be forced. We can only craft the motivational and practice conditions to build this ritual of discovery into a lifelong rhythm of practice. This habit is when we embrace the honor and thrill of turning our daily drumming workout into a lifestyle. Feel the Wood in Your Hands Once a Day Drumming icon Joe Morello has said this about practice, “Every day, I just want to feel the wood in my hands.” It can’t get any simpler than that! What a beautiful prescription for living a life lled with the joy of drumming. Tell yourself that once a day you’ll feel the wood of the stick in the palm of your hand and commit to getting 1% better. We all start with that idea in our mind’s eye. Channeling that creativity only happens when the drumset becomes your second home. That is when you’ll get so comfortable with that ‘wood in your hands’ feeling. That is when you can create an outpouring of expression and emotion through the drums. Creating the daily habit of practice moves us towards this wonderful feeling. Practice can take hours or take as little as 15 minutes. Feel the wood in your hands once a day, and just watch what unfolds. I hope you’ve enjoyed this excerpt from my book, THE LTR DRUMMING METHOD: LAUNCH! Next time we’ll explore the four essential areas of my IREC practice model: Intuition, Reps, Edges, and Celebration. We’ll also transform your practice space into a true practice dojo. You’ll learn how to keep your momentum going on those days that you just can’t seem to nd the time, and learn tactics to keep practice fun (like it should be.) Drum with passion, and let’s nd YOUR voice through drumming together. chrislesso.net/drum Check out Chris’s Modern Drummer pro le page at moderndrummer.comModern Drummer November 2022 56 Double Bass Drumming Soloing Over the Double Bass Roll by Joe Franco T his month we will continue with another excerpt from Joe Franco’s groundbreaking book, Double Bass Drumming. This month Modern Drummer is focusing on Joe’s section on soloing over the double bass roll using accented rolls and accent patterns with the hands. These excersises and patterns are a fantastic way to develop di erent hand patterns and independence for soloing over the feet, and develop balance, control, and stamina in your double bass playing. In this excerpt, various hand patterns are developed and played over the double bass drum roll. These patterns include accented rolls and their accent patterns, and mixed sticking patterns. This article deals speci cally with the sixteenth note feel, and is designed to: -Present di erent hand patterns that are useful in soloing. -Develop hand independence over the double bass roll. -Develop balance, control, and stamina on double bass. When practicing this information rst become familiar with each hand pattern. Repeat each pattern on the snare over the double bass roll until you are totally comfortable with it before moving on to the next. Keep in mind, when rolling with your hands and feet simultaneously, you should not hear any amming. Once you are comfortable with the patterns, move them around the drums. Combine them with each other as solos of 4, 8, 16 or more measures. Playing these hand patterns as extended solos over the double bass roll will also increase your stamina on double bass. Accented Rolls and Accent Patterns In the following sections and accented (single stroke) rolls (on the left column on each page,) and the accents (or synco- pated patterns) of that roll (right column) of each page are played over the double bass roll. Accented rolls and accent patterns can be interpreted in many ways. Here are a few suggestions for playing this section: -Play the accented roll on the snare using rim shots for all accents. -Play the accented roll on anyone drum by playing the accents loud and the unaccented (ghost) notes soft. -Play all the accents on toms and other parts of the kit while playing the unaccented notes on the snare. -After playing the accented rolls, play only the accent pattern (right column of each page.) Break up the patterns between both hands. Try using the Single Stroke System for stickings, or experiment with other sticking methods. Keep in mind that playing the accent pattern over the double bass roll is not as easy as playing the continuous accented role. This will serve as a good balance and control exercise. -Play the accent patterns with both hands simultaneously. -To further develop your hand independence over the double bass roll, try playing the accent patterns on the snare with one hand, while playing one of the following ride patterns with the other.November 2022 Modern Drummer 57 In the following sections, the double bass roll is written only once on the bottom of each page. However, every hand pattern should be played over the double bass roll.Next >