One Sticking, Another Way to Develop
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Simplify the sticking, and the phrase opens up.
In 1984, “Percussioner International” magazine featured an article by Gary Chaffee on linear time playing, and it was the inspiration for my “Linear Time Feels and Phrasing” approach. Applying that thinking to last month’s eight-note phrase, I reduced the sticking to alternating strokes and ended each phrase with a foot, bass drum or hi-hat: RLRLRLBB for the 8, RLRLB for the 5, RLB for the 3. Even-length phrases end with two foot notes, odd-length phrases with one.
Once the sticking is that simple, you can double up a single note, a sixteenth becomes two thirty-second notes, as an embellishment. It doesn’t make the phrase longer, it just doubles the flow in the flow two, and it works best when you use it sparingly. The real work is control, because the double has to sound like two single notes. Practice your doubles and accent the second note of each one.
Which note can you double without losing the shape of the phrase? Pay attention to that one. It’s telling you something.
In the November newsletter, I show all three phrases and their embellished versions in notation, along with the double-stroke exercises that build the control. That issue goes to subscribers only, so if you’re not on the list yet, sign up below.