I have posted the sound files for this article at the bottom of the page.

Over The Line

            In the last article we stretched the parameters of a 6\8 groove by exploring the six over four feel.  I know this is a bit outside the worship drummer box, but I think that learning to play more complex feels will help us play more creatively. I know that being comfortable playing six over four has helped me when playing songs in 6\8. Chris Tomlin’s tune Famous One, or Tommy Walker’s version of The Lord’s Prayer are two examples where subtly implying this feel can add a nice touch. This month I would like to go completely over the line and discover playing in 4/4 using a six over four concept. This creates an over-the-barline pattern. Let me explain;

            The first example has four evenly spaced beats in a measure of 3\4. To make this figure easier to understand I wrote it out with 16^th notes in example two. You will notice that every third 16^th note is accented. If you play one bar of 3\4, the accents end up back on beat one. Adding the bass drum on downbeats and the high hat on off beats implies a four over six feel.

            Number three takes the same rhythm as in example one but spaces it out so the rhythm is played four times in three bars of 4\4 (notice the dashed bar lines). It is important to count in 4\4 while this rhythm repeats itself over three bars. Number four breaks it into 16^th notes with accents.  As in example number two, this should help you get familiar with the rhythm repeating over-the-barline.

            Now lets look at letter “A”. It has a four on the floor bass drum pattern with an accented ride cymbal (use the bell for the accents) and an offbeat high hat foot pattern. We are going to combine letter “A” and the rhythm in number three to create an over-the- barline exercise.

             In examples “B” through “E” the number three rhythm is placed in each of our four limbs. In Letter “B” it is played on the ride cymbal, letter “C” on the bass drum, letter “D” on the snare drum (playing a cross stick) and letter “E” with a foot chip on the high hat. Can you say independence?

            After playing “B” go back to “A” and then move on to “C” without stopping. Continue down the page always repeating back to “A”. To expand this exercise you can displace the number three rhythm by one 16^th note and go through it all again.

            These exercises are meant to be challenging. Once you teach your body and mind to play and conceive a complex idea, imagine how much easier it will be to groove a simple rock tune. You can find audio of these examples at davidowensdrums.com. They can be found under Private Instruction and Practice Tips.

            Remember not to force these rhythms into songs. It is always best to work on new concepts at home and if the right musical context presents itself you might find a way to subtly imply them on a gig.

            If you like to explore complex rhythms, I would suggest you purchase Mokhtar Samba’s African Rhythms and Independence For Drumset. This book and CD opened my mind to grooves I could never have imagined. If you are into African influenced music, you should download his solo CD entitled Dounia.

            I pray that taking you over-the-barline will open you up to new ways of approaching musical phrasing. Remember to practice hard at home and keep it simple on the gig.

                                                                                                                        David

Here are the audio files for the examples below.