Terry Bozzio Melodic Drumming and the Ostinato Vol. 1 Workbook e (3) De 12 Pare DRUMCHANNEL.COM FORWARD Itishoped that the written examplesin this booklet help to further clarify the ideas 1 discussed and explained in the video. Also, it might be neccessary to correct anything I unintentionally mis-explained while taping the video. Key: Toms1 Tk Rkick This key is used throughout these examples unless otherwise specified. OSTINATOS FROM SOLO IN FOUR MOVEMENTS Here is the “Swiss Triplet” Rhythm which I used as an ostinato to solo over in the first movement of the “solo in four movements.” A The next ostinato we have is quarter notes played simultaneously with the feet, adding the last three 16th notes of each beat with the left hand on the open hi hat. ‘Then in the third movement I played an ostinato of a double stroke roll with my feet in the rhythm of 8th note triplets. ©. F r h eyttates tes oe © 2010 DRUM CHANNEL, LLC. Engraving by Robert Lobato Page 1 of 9Terry Bozzio Melodié, Drumming Vol. 1 Workbook This is the “Flammed Ruff” Burundi type figure I used as a theme on top of the double bass shuffle. eth R The following rhythms are the basic one beat permutations of 16th note figures which apply to gain independence against any duple feel ostinato.ie: 16th or 8th note feel rhythms like ex. “B” above (Iinadvertently skipped #s 13,14, 15, and 18 in the video, so they are not demonstrated by me, but are important to practice). Examples#’s 16, 17, 18,19 &20are polythythmic figures which should be practiced in 3/4 5/4 and7/4as indicated in order for the figure to complete it's cycle and come out on “one” within the shortest number of beats, Another option isto hold on the rhythm for3, 5 or7 bars of 4/4 time (respectively) to hear how it cycles over 4/4 time. (I only demonstrated these polyrhythmic figures for two bars in the video, the complete cycle is recommended for practice and proper understanding). 4) 6s tes tay 46, 16TH OR 8TH NOTE MIXED STICKINGS When playing a duple feel ostinato with both feet that leaves both hands free to solo, [suggest practicing the following 16thor 8th note mixed stickings which, after ‘mastered, can be broken up around the kit in various melodic ways. Ex.21-RLRL Ex.27-RLRR/LRLL Ex.33RLRL/LRLR Ex.39-RLRR Ex.22-LRLR Ex.28LRLL/RLRR Ex.34LRLR/RLRL Ex. 40-LRLL Ex. 23-RRLL Ex.29-RLLR/LRRL_ Ex.35-RRRL Ex.4I-RRLR Ex.2¢LLRR Ex.30-LRRL/RLLR Ex.36¢LLLR Ex.42-LLRL Ex.25-RLLR Ex.31-RRLR/LLRL Bx.37-RLLL Fx.26-LRRL EXx32-LLRL/RRLR EX.38LRRR o © 2010 DRUM CHANNEL, LLC. Engraving by Robert Lobato Page 2 0f9Terry Bozzio Melodic Drumming and the Ostinato Vol. 1 Workbook BASIC STH NOTE TRIPLET FIGURES eb) ee DRUMCHANNEL.COM Here are the basic one beat permutations of 8th note triplet figures which I use to achieve independence against any triple feel ostinato. (ie the Swiss triplet (Ex. A) or the double stroke roll triplet (Ex. C) figures above (Once again Ex. 50 through 55 are polyrhythmic, hence they are in 2/4, 4/4,5/4 & 7/4 in order to cycle through the 2 over 3, 4 over 3, 5 over 3 or 7 over 3 pattern in the shortest amount of beats. You could also practice these last two as 5 or 7 bars (respectively) of 4/4 time for a longer cycle. I only demonstrated 2 bars of these rhythms in the video. 4, 46. 4G dad ah BL dl sabe grt ls dah STHNOTE TRIPLET MIXED STICKINGS Now we have the basic mixed sticking combinations in 8th note triplets which can, bbe used when both handsare tree to solo over triplet ostinato. (1saic.in the video that I didn’t bother writing out the double paradiddle permutations- I meant I didn’t demonstrate them- here they are written out for you after the numbered dlemo'd examples. Ex.56-RRL Ex.57-LLR Ex. 58-RLL. Ex. 59-LRR Ex. 60-RLR Ex.61-LRL Ex. 62-RRLLRR Ex. 68-LLRRLL. Ex, 64-RLLRRL Ex. 65-LRRLLR Ex. 66-RRRL Ex. 67-LLLR Ex. 68-RLRR/LRLL DOUBLE PARADIDDLE PERMUTATIONS. RERLRR/LRLRLL (& REVERSE) RLRLLR/LRLRRL (& REVERSE) RLRRLR/LRLLRL. RLLRLR/LRRLRL : RRLRLR/LLRLRL* RLRLRL/LRLRLR . o © 2010 DRUM CHANNEL, LLC. Engraving by Robert Lobato Page 3 of 9Terry Bozzio Melodic Drumming and the Ostinato Vol. 1 Workbook Remember these figures can be played by any one limb as a solo, against any one, twoorall threeother limbs playing an ostinato pattern. Or, these figures and mixed stickings could be played as a solo by any two limbs against an ostinato pattern played by the remaining two limbs. Rey) eee DRUMCHANNEL.COM Don’tcopy meif youdon’t want to- make up your own personal ostinato patterns with rhythms that are an expression of your personal style and reflect the instrumentation of your kit! After mastering these figures try moving the rhythmic figures around your kit melodically then try playing the triplet figures and stickings polyrhythmically over a duple feel and vice versa: ie 16th figures and stickings over a triplet feel, etc. MELODIC TOM PATTERNS. Playing melodic patterns around the seven toms of my kit is one of the most exciting new aspects of my playing. If you have more or less toms on your kit look to see how to “frame” the patterns ‘on your own kit. For example: if you have one snare and four toms,you have five pitches to deal with so my example #69 mighthave your right hand on snare- 2nd fom & 4th tom and your left hand on tom one and tom three. Also you'llhave tocut down the length that specificpattern canrun. iea four pitch decending pattern(example #79) can only run twice ona five pitch set (snare-tom one - tom two- tom three- tom four) Before you run out of notes and have to turn around and go back up. ‘These are the only limitations or adjustments you'll have to consider in applying these patterns to your own kit. 6. RR RR RR LOSE oof) RL AR LRL ALA LAL Alternate single strokes - practice starting with either hand. 70. } © 2010 DRUM CHANNEL, LLC. Engraving by Robert Lobato Page 4 of 9Terry Bozzio Melodic Drumming and the Ostinato Vol. 1 Workbook Re) oe DRUMCHANNEL.COM 75.Terry Bozzio Melodic Drumming and the Ostinato Vol. 1 Workbook Ret) 9 DRUMCHANNEL.COM ; Petre 55,Terry Bozzio Melodic Drumming and the Ostinato Vol. 1 Workbook Re) pe DRUMCHANNEL.COM 89,Terry Bozzio Melodic Drumming and the Ostinato Vol. 1 Workbook ASYMMETRICAL HAND/FOOT DOUBLE BASS PATTERNS Rey) eee DRUMCHANNEL.COM ‘Asymmetrical hand /footdoublebass patterns were played in the interludesection of the solo in four movements in an open toclosed (slow to fast) style. In the video I demonstrated them slowly then in double time. They are designed to facilitate the ability to play groups of twos and threes, and groups of threes and fours with the rightand left hands, and the right and left feet which combine tomake phrases of five and seven. I generally play them leading with my right hand or foot as demonstrated, but many of these figures can be reversed. ‘The following key is used with the remaining examples: crash Tight eK 7 } © 2010 DRUM CHANNEL, LLC. Engraving by Robert Lobato Page 8 of 9Terry Bozzio Melodic. Drumming and the Ostinato Vol. 1 Workbook 100. 101 ce 4 CLOSING In closing I want to remind everyone again to take your time, don’t be over- whelmed, practice one little baby step ata time, and to remember tohave patience with your self. Drumming is not a result, it is an on going process that can be enjoyable every step of the way if we just have the right attitude. Think about this “baby step” metaphor. We wouldn't think of being hard on , or critical of a new born taking his first awkward steps- yet we sometimes expect ourselves to be able to play something new perfectly the first couple of times we try it. We have to learn to be good to ourselves, encourage ourselves, to “just try it” every day, and enjoy the process. Enjoy where we are for today and know that in time, months or years maybe, we'll get where we need to goiif we just try, alittle bit, every day. oe © 2010 DRUM CHANNEL, LLC. Engraving by Robert Lobato Page 9 0f9