Chameleon is a well known jazz-funk composition by Herbie Hancock. In the original studio version, around 12 minutes into the track, there is a less known part with interesting rhythmic modulations. Let's have a look at how it works!
In this article written in 1997 for Batteur Magazine, and adapted for this blog, I used a Tower of Power song as a pretext to present a popular and interesting groove pattern.
This is the second part of an article that was originally published in Batteur Magazine in 1997. Here I show you how to further develop the pattern that was demonstrated before.
Here is an adaptation of an article I wrote in 1998, and that was published in the March 1998 issue of Batteur Magazine from France. To illustrate the article, there is an excerpt from a recording by Andy Newmark with John Lennon. I recently added a video to further demonstrate the concept.
Here is the adaptation of an article that was published in the April 1998 issue of Batteur Magazine from France. I recently added a video that demonstrates the concept. An excerpt from a recording of VinnieColaiuta with Jing-Chi illustrates the article.
This lesson is adapted from an article that was published in Batteur Magazine in 1998. It talks about a concept used by Michael Brecker in one of his compositions, and Peter Magadini is also mentioned.
In this post, recycled from an article published in Batteur Magazine (France) in 1999, I deconstruct a groove pattern that Dave Weckl created for a Mike Stern song, Sunnyside.
This series of exercises can help you learn Soul Vaccination's main groove pattern, as created by David Garibaldi in the 1973 classic album Tower of Power.
A short video to demonstrate some of the rhythmic concepts developed in my Time Manipulation Drum Book. These are displaced 12/8, shuffle and half-time shuffle ideas, played inside of 4/4.
Another polyrhythmic exercice in 7/8, with six or three-note groupings. This is from a new drum book that I'm writing and which is called Melodic Possibilities.
Section 4 of Time Manipulation is meant to approach beat displacements in a simple and progressive way. It includes three sets of seven exercises, and I feel they are one of the most interesting series of exercises in the book.
Section 3 of Time Manipulation is meant to work on anticipations. Snare-drum and bass-drum notes that are played accented right before a beat, when they are followed by a rest, can be considered as being an anticipation of that beat.
In Section 2 of Time Manipulation, new patterns are formed using some of the basic rhythmic figures seen in Section 1. This is done in a musical way, using polyrhythms that are ubiquitous in many musical traditions, as well as in current styles.