ROCK PERSPECTIVES Progressive Drumming Essentials
Part 6: Syncopated Double Bass…the Easy Way by Aaron Edgar
hen I began working on double bass, I was inspired by drummers like Gene Hoglan, Raymond Herrera, and Thomas Lang, all of whom seemed to have a never-ending supply of creative parts. I’d spend every waking moment fi guring out their ideas and working them into my playing. From this, I stumbled on a simple concept that can be applied to even the most basic 8th-note rock grooves to turn them into heavy, syncopated double bass patterns. We’re going to use a two-step process. First, we’ll take a basic 8th-note rock groove (Exercise 1) and add “e” and “a” with the left foot (Exercise 2). The bass drum notes from the basic groove will fi ll the spaces between the hi-hat notes, and the result will be a syncopated double bass groove, as shown in Exercise 3.
W 1 2
÷ 4 4
÷ 4 4
÷ 4 4
‹ œ
‹ œ
3 ‹ œ œ
‹ œ ‹ ‹ œ œ‹ œ‹ ‹ œ œ
‹ œ
‹ œ
‹ œ œ
‹ œ
‹ œ
‹ œ œ
‹ œ ‹ ‹ œ œ‹ œ‹ ‹ œ ‹ œ ‹ ‹ ..
œ .. œ ..
The fi rst step toward mastering this concept is focusing on the left-foot placement. We can do this by playing the right hand on the fl oor tom instead of the hi-hats. You’ll end up with a 16th-note roll that goes back and forth between the fl oor tom and bass drum. To further solidify this, try turning the pattern into a groove by placing the snare on beats 2 and 4. In Exercise 4, the right foot plays on beat 1 and the “&” of beats 2, 3, and 4. Try this concept with some of your own 8th-note rock grooves for extra practice before moving on.
4 ‹ œ œ
÷ 4 4
‹ œ œ‹ œ
‹ œ œ
‹ œ
‹ œ œ
œ‹ œ
‹ œ œ
Doubles In Exercise 5, there’s a 32nd-note double fi gure with the bass drum. Be sure to phrase this strictly as 32nd notes. If you get lazy, it can start sounding like a triplet.
5 ‹ œ œ
÷ 4 4
‹ œ œ
œ‹ œ
‹ œ œ
92 Modern Drummer January 2016
‹ œ œ œ
‹ œ œ‹ œ
‹ œ œ
q = ..
q = q = q .. as well. 6
÷ 4 4
‹ œ œ
7 ‹ œ œ
÷ 8 7
8 >
÷ 8 9
‹ œ
œ ‹ œ ‹ œ œ‹ œ
‹ œ œ
‹ œ œ œ
‹ œ œ‹ œ
‹ œ œ œ
..
Odd-Time Examples Here’s where things get interesting. Let’s see what happens when we apply this concept to a 7/8 time signature. Be careful not to fl am the snare at the end of the pattern, as it lines up with the left foot.
‹ œ œ‹ œ
‹ œ œ
œ‹ >
‹ œ œ
œ
‹ œ œ
‹ œ œ
z ‹ œ œ
() ‹
œ >
‹ œ œ
œ
œ‹ >
‹ œ œ
Exercise 8 is in a 9/8 feel. Pay special attention to your left hand, as both buzzes and ghost notes line up with the left foot. Watch your dynamics!
‹ œ Next we’re going to move the right-hand pattern from
Exercise 8 to every third 16th note. Make sure you’ve got the previous exercise completely internalized before trying this. Keep in mind that the left foot is still playing consistent offbeat 16th notes. Focusing on playing the left foot smoothly can help you even out the entire pattern.
9 ‹ œ
÷ 8 9
> œ
‹ œ œ œ
œ‹ >
œ
œ‹ œ
z () ‹
œ œ
œ >
œ œ >
‹ œ œ
.. When you play an odd time signature based on 16th notes,
your leading foot will switch naturally every bar. This means you’ll need to learn to play offbeat notes with the right foot as well. Let’s take a stab at 15/16 using this concept. You might want to isolate the second bar before trying the whole example.
÷ 16 1015 ‹
÷
‹ œ œ
œ œ ‹ œ ‹ œ œ‹ œ‹ œ ‹ œ ‹ œ œ
‹ œ œ
‹ œ œ ‹ œ ‹ œ œ‹ œ‹ œ œ
‹ œ
‹ œ
.. q = œ .. .. MUSIC KEY H.H.
S.D. B.D.
œ‹ œ œ
Ghost note
B.D.2
() œ
Exercise 6 demonstrates playing doubles with the left foot
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