Wednesday, July 22, 2020

Kenny Washington Inverted Roll

Here's a quick little phrase that I've been playing for years, but for some reason never thought to share with you wonderful people.  It's an idea I got from Kenny Washington that is built on an inverted roll.

An inverted roll is simply a roll in which the first note of each double stroke is on the "&", rather than the downbeat.  So, instead of: RRLL RRLL....  you'd play RLLR RLLR

Kenny, however, leaves off that single note on the downbeat and simply starts straight in with the double strokes on the & of 1, which gives the whole thing a nice kick.  It's worth trying it in different parts of the bar, as well as different parts of the phrase, though it works particularly well on the & of 1, and the & of 2.

I'm toying with the idea of tying the blog into YouTube a little bit more, so there is a video down below demonstrating this idea.



Wednesday, July 15, 2020

3, 5, 7 Applied to Triplet Systems for Syncopation

That sounds like a bit of a mouthful, but we are simply combining two different ideas we've previously looked at on this blog.

A few years ago we explored a concept implying 3/8, 5/8 and 7/8 over 4/4 to play longer, more fluid phrases that extend over the barline.  At the time we were using this idea in the context of comping.  If you haven't yet read that post, you can check it out here.  Today we're going to take that same concept and apply it to our soloing practice.  

Here, again, are the various phrases written out.  We're now going to use them with the triplet systems from the previous post, which you can check out here.  Apply all four systems from the last post to each of the examples below.  As I mentioned the first time around, resist the urge to actually count in 3, 5, or 7.  We are just using these numbers as a means to create new ideas in 4/4.


Another interpretation that we looked at last time is to add a "skip" note.  In each grouping of 3 play the first two notes instead of just the first note.  Again, try all four systems from the previous post with these ideas.


As this is a soloing concept a great place to start is by trading fours with yourself.  Each of the examples above natural resolve after an odd number of bars, so create multiple different phrases by starting on different bars and repeating back to the top.  For example:

In the 3 note grouping play measures:
  • 1, 2, 3, 1
  • 2, 3, 1, 2
  • 3, 1, 2, 3

In the 5 note grouping play measures:
  • 1, 2, 3, 4
  • 2, 3, 4, 5
  • 3, 4, 5, 1
  • 4, 5, 1, 2
  • 5, 1, 2, 3
In the 7 note grouping play measures:
  • 1, 2, 3, 4
  • 2, 3, 4, 5
  • 3, 4, 5, 6
  • 4, 5, 6, 7
  • 5, 6, 7, 1
  • 6, 7, 1, 2
  • 7, 1, 2, 3

Sunday, July 12, 2020

Triplet Systems for Syncopation

Let's look at a few classic interpretations of Ted Reed's Syncopation.  These are great on the pad as a general stick control method, and once you orchestrate them on the kit they are great for developing soloing ideas.

Most people head straight to page 37 or 38 (depending on the version of the book you have), which works perfectly fine.  It offers plenty of variety and is great for developing sight reading skills.  However, when these concepts are new to a student, I prefer to start them on page 33 or 34 (again, depending on your version) as each line is contains only a one bar rhythm that is repeated four times.

Here I've just grabbed a few examples at random for the purpose of demonstration, but you should try it from page 33 all the way through to "Exercise 8" on page 45.

For each system we're going to play triplets, and read the rhythms on the page as accents.  Notes on the downbeats are obviously accented on the downbeat, and notes on the upbeat are accented on the third partial of the triplet.  You'll never play the second partial of the triplet in any of these examples.

The first system is to simply play with alternating sticking.  Do it off the left as well as the right.



In some of the later examples you'll find three or more unaccented notes following an accent.  In this case it's fun to add in a paradiddle starting on the accent.



Next, we'll play the unaccented parts of the triplet as double strokes (RLL, RRL, LRR, LLR).  Sometimes this will cause the sticking to naturally flip to the opposite hand in each bar and sometimes it will stay on the same hand.  When it stays the same be sure to play it off the other side as well.  If you find a beat of the bar with no accents in it just play alternating sticking, as in the third example below.




Final, we'll go back to alternating sticking, but add rolls on the notes that are not accented.

Monday, July 06, 2020

Transcription - Milton Banana, "Doralice"

A little while back when we looked at the Milton Banana transcription of "Cidade Vazia" I mentioned that some of the jazz influenced Brazilian drummers of the 1960s didn't always follow a specific rhythmic direction, and I hypothesized that part of this may have simply ignorance on their part.  While that could potentially be true for some drummers, it's clearly not the case with Milton Banana.  On the album Getz/Gilberto Banana puts on a clinic on how to properly improvise within the confines of rhythmic direction.  And he's doing it on nothing more than a hi-hat.  We've seen João Gilberto using minimal percussion to great effect before when we looked at Sonny Carr.

If you look at the first and third bar of each line you'll notice that with only two exceptions Banana always starts the phrase with two 8th notes.  In the second and fourth bars of each line there is no instance where he plays a note on the downbeat.  Of course telecoteco goes deeper than just being on the beat one bar, then off the beat the next, but this simply highlights the fact that Banana is staying true to that rhythmic direction.

Also note how subtle Banana is with his improvisation.  He's improvising quite a bit.  On very few occasions does he play the same phrase twice in a row.  But he's never more than a note or two away from a stock telecoteco pattern; an 8th note turned into two 16th notes here, a note omitted there.

The transcription below shows only the accent pattern, but this is filled in with 16th notes through the entire song.  As with the other transcriptions of this style that we've done try orchestrating in different ways around the kit, and with different patterns in your other limbs.  A few ideas to get you started:


  • With brushes, play the transcription with the 16th notes filled in in your right hand, and sweep with your left hand
  • Play 16th notes on the hi-hat and read the transcription on a rim click
  • Play 16th notes on the hi-hat and read the transcription with both hand, sometimes playing a rim click, and sometimes playing an accent on the hi-hat.  This works particularly well when playing the bass drum just on beat two.  We saw Cuca Teixeira do this in one of the first ever posts on this blog
  • Read the transcription on the ride cymbal, and:



Thursday, July 02, 2020

Pandeiro Transcription - Bira Presidente, "Vai Lá, Vai Lá"

The last two pandeiro transcription posts owe a whole lot to the guy in today's transcription, Bira Presidente.  Bira is their pandeiro player, and one of the founding members, of Fundo de Quintal, which is generally considered to be the first pagode group.  

Fundo de Quintal pioneered the use of the tantan and repique de mão in samba, and groups have been modeling themselves on Quintal since the 80s.  Bira's style of pandeiro playing was also incredibly new and unique when Quintal first hit the scene in the late 70s.  Much of the partido alto style of playing pandeiro (which is not the same as the partido alto rhythm that most drumset players learn) can be traced back to Bira, including the last two transcriptions on this blog.  Let's look at a few of the Bira trademarks before moving on to the entire transcription.

This first groove is a Bira trademark.  In today's transcription he plays it as the main material throughout the tune.  There is a second pandeiro on this recording, though, that is playing consistent 16th notes throughout.  In the last two transcriptions the players played 16th notes in the verses, and this Bira groove in the chorus.

It's commonly played like this:





Or with a small variation, like this:






Although we won't see it in today's transcription, I should mention this other groove which can also be played a couple of different ways:









This groove is often called "partido alto" (again, not the same as the partido alto rhythm) and will often serve as an intro to a tune.  It's not uncommon to hear this groove being played in the verses, and Bira's groove above being played in the chorus; or you may hear both of these played at the same time with each pandeiro panned hard to opposite sides of the mix which creates a very cool chatter.

Finally, there are two variations that Bira is credited with that can be dropped in either of the above grooves.  Look for both of these in the transcription below.













Thursday, June 25, 2020

Tony Williams-Style Flam Drags

Calling these "Tony Williams-Style Flam Drags" is potentially a bit unfair.  After all, Tony isn't the first or only person to play flam drags on the kit.  Actually, the ideas below seems to be quite in vogue at the moment. But Tony probably is one of the earlier players to split them around the kit in this fashion.  I have some students digging deep into Tony at the moment, and I've also been working on some transcriptions for a scholarly article being written at the University of Oregon, and have seen these flam drags pop up quite a few times.

Your basic flam drag, if you aren't already familiar, is a three-note phrase.  A flam, followed by a double stroke, and then a tap with alternating sticking, which we can group as triplets, or 8th/16th notes.

Another common way to play flam drags is to keep the rhythm the same, but change the sticking to that of a Swiss Army Triple.  RRL or LLR.  Even though the rhythm is exactly the same, the sticking gives it a different character.  This one, in particular, sits very nicely on the kit and is a lot of fun to play.

And if we change the sticking one more time, as well as the accent pattern, we get another interesting phrase that I've heard Tony do quite a bit.  This one is also quite common in the drum corp scene, and I believe they gave it one of those goofy names, but I don't recall what it is off the top of my head.

As always, these are just the stock versions of this rudiment and it's sticking variations.  Get creative and spend some time voicing it around the kit and in different parts of the bar.


Friday, June 12, 2020

Pandeiro transcription - Paulinho Félix, "Procura-se Um Amor"

As you might have guessed from my recent posting I've been playing a lot of pandeiro lately, specifically nylon pandeiro, which is a beast in it's own right compared to playing hide pandeiro.

This time around we're looking at the playing of Paulinho Félix.  In this tune Paulinho employs a lot of material pioneered by pandeiro legend Bira Presidente, who we'll look at in the next post.  However, he's taken Bira's language and expanded/modernized it which, again, we'll chat about soon.

If you followed along with the last pandeiro post, you should notice a lot of similarities in the shape of the tune: constant 16th notes in the verses, broken partido alto style playing in the choruses, hemiola used to create tension, and the almost obligatory triplet phrase.

Thiago Viégas, however, kept things a little bit tamer for the sake of demonstration where as Félix gets a little busier.  There's some fun stuff in here and the tempo is a little brighter, so it should be a little bit more of a workout if you're playing along at home.





Wednesday, June 10, 2020

Mel Lewis Latin Groove

Here is a latin groove I've heard Mel Lewis play a few times.  This is very much a jazz-latin groove as it doesn't really stick to deep rooted practices of any particular rhythmic tradition.  And that's OK.  I love to nerd out on said rules and find one what makes various types of music tick, but that doesn't mean grooves like the one below are any less valid.  If anything, it's more true to the jazz tradition.  Jazz has always been a music of fusions; melding elements from various cultures to create something new.

Here Mel is playing your standard ride cymbal and hi-hat pattern with straight 8th notes.  The rim and tom voicings remind of an agogo pattern that you'd hear in old Brazilian recordings of singers like Carmen Miranda.  Whatever it is, or isn't, it's a cool and versatile groove worth checking out.



Friday, May 29, 2020

Piano comping on the kit

We're often told to listen to other instruments as we can learn a lot from them.  But not many people ever say what it is we can learn from those instruments.  Well, one thing that we drummers can take from harmonic instruments like piano or guitar is comping ideas.  After all, they're acCOMPanying the soloist just as we are, so why should their rhythmic ideas be seen as any less valid than that of a drummer?  Simply put, they shouldn't, because they aren't.

Here I've transcribed Bill Charlap comping behind trumpeter Brian Lynch on the album Brian Lynch Meets Bill Charlap.  Joe Farnsworth is on drums, so there's plenty of other great material on the record for us to check out at some point, but for now we'll stick with Bill.  I've simply written out the rhythmic ideas of his comping, and what we're left with is a sheet that looks very much like a page out of The Art of Bop Drumming, but in a less exercise-y, more musical form.




We can use this sheet in many of the same ways as AoB, or Syncopation.  Here are a few.  Play a stock ride cymbal pattern, and hi-hats on 2 and 4 unless otherwise noted.


  1. Play it with your left hand.  If you're new to this type of playing or independence maybe start with just two or four bars at a time.  Imagine, or write in, repeats.
  2. Play the whole thing with your left hand, right foot, and left foot individually
  3. Alternate notes between two or three different voices
  4. Play downbeats on the bass drum, and upbeats on the snare drum
  5. Any time you see two or more consecutive 8th notes play them all on the snare until you reach the last note which you then play on the bass drum
  6. Play any 8th notes on the snare, and anything longer on the bass drum, or bass drum doubled in the right hand, regardless of where you are in the ride pattern
  7. Improvise.  Play all the notes where they are rhythmically, but interpret the chart however you see fit.
These are, of course, just a few of the countless ways to approach this sheet, or any others like it.  Todd Bishop, over at Cruise Ship Drummer! has about a million and one different approaches to using this type of material, Robert Breithaupt has a nice list, and there are countless other sites and books offering different approaches

Thursday, May 28, 2020

Transcription - Grupo Balacobaco, "Fotos Antiguas"

As promised, some pandeiro material.  I transcribed this one from a video on the Aprendendo Percussão YouTube channel.  Thiago Víega does a playalong with a recording by the pagode group Grupo Balacobaco to show typical ways of playing in this style of samba.

Notice that during the verses he is playing constant 16th notes with a muted sound on beat one and an open sound on beat two, similar to how a hide pandeiro would be played.  Then, in the chorus, he moves to the more broken partido alto style of playing.  While this isn't a rule, it is a very common structure to follow in this style of music.

A few other things worthy of note:

* In the verse section you'll see the "1, e, a" rhythm played with an open bass tone fairly often, which mimics the third surdo.

* The chorus always starts with an entrada.  Throughout the chourus the first bar of the rhythmic cycle has sounds on the second and four 16th note, but at the top of the phrase he starts with 8th notes.  See this post for a deeper explanation.

* The "fills" in the chorus section are almost always heavily syncopated, playing on "e, a" or "e, &, a".  This creates a lot of tension, and also flows nicely back into the partido alto.

Here is the transcription, followed by a video of Thiago playing it, as well as the track itself.







Tuesday, May 26, 2020

Pandeiro notation

When I first started learning how to play pandeiro I had a couple of DVDs and books that, despite having great content, employed some unnecessarily complicated notation.  I continued to use this style in my own transcribing/writing until recently when I saw some videos by Junior and Thiago Viégas of the Aprendendo Percussão channel on YouTube.  They use a simpler notation style that is much easier to read.  Most of their channel is in Portuguese, so I thought I'd give you a little breakdown as I have a few pandeiro transcriptions in the works that I'm going to start posting here.

There are four basic sounds, each of which can be played two ways; with the fingertips or top part of the hand, and the thumb or heel of the hand.

The jingle sound is notated with a headless stem.  This was the biggest improvement on the old style of notation.  The jingles get played a lot as they often act as a ride cymbal.  Having no notehead allows us to see clearly where the jingles are being played, and therefore how the drum is moving, but also makes the other notes stand out more clearly.  This one looks pretty strange isolated like this, but it will make more sense when you see it in context.

Jingle with fingertips


Jingle with heel

The bass sound is depicted with a standard notehead.  To mute it the notehead is placed in parentheses.


Open bass with fingertips



Open bass with thumb
 


Muted bass with fingertips



Muted bass with thumb



The slap sound is most often played with an open-handed slap, leading with the fingertips.  It can also be played leading with the heel but it's more difficult to get clean, sharp slap, so you won't see it that often.

Slap leading with fingers



Slap leading with heel


Here are the various sounds in context.  First, the simplest way to play samba on the pandeiro, and the pattern that most people learn first:



The pattern starts with the lower part of the hand and never stops alternating, so the drum just continues back and forth.  We can keep this same motion, but add a slap before the open bass sound, emulating a ripique:



One more without having to change directions; add an open bass with the fingertips just before the muted bass sound on beat one:



Now, the first direction change.  Technically, in terms of the different tones, this one is the same as the previous example.  But here we play the pickup note with the thumb.  This is a more traditional way to play, and is also more common on nylon pandeiro.  The version above is a more modern way of playing, popularized by players like Marcos Suzano.



Finally, here's a two-bar phrase that incorporates some third surdo language.



In the transcription I am going to post in a few days you'll see a different style of playing with a lot more syncopation that does not require the drum to be in constant motion.

Monday, May 25, 2020

Jimmy Cobb (1929 - 2020)

I'm sure a lot of people will be sharing their Jimmy Cobb stories in the coming days, but for what it's worth, here is mine.

Blue Train was the first jazz record I ever owned, but it was Kind of Blue that I first spent a long time with, analyzing, picking apart, transcribing, and, most importantly, playing along to.  It was the first time I realized that I didn't always have to play "the jazz ride cymbal pattern", and the first time I started to appreciate how to be supportive of the other members of the band.

At one point in college I lived on the third floor of an apartment block.  Being quite close quarters I couldn't really play full volume.  So, in the corner I crammed a tiny makeshift kit out of an old marching bass drum that I borrowed from the school of music and then stuffed with pillows; a crappy snare drum that was labelled as a Ludwig (though I have my doubts) which I filled with rolled up towels; and a cracked 18' ride cymbal covered in duct tape.

I sat behind that kit and played "So What" and "Freddie Freeloader" on loop again, and again, and again.  I would play it with nothing but quarter notes on the ride; I would copy Jimmy's comping; I would try to sing the solos while playing time; I tried to emulate that wicked buzz roll in "So What".

Just a few years ago I was lucky enough to see Jimmy play at Ronnie Scott's here in London.  I always feel bad trying to chat to musicians who have just finished a gig, especially the likes of greats such as Jimmy Cobb as everybody and their mother wants a picture, an autograph, a handshake, etc.  So I never did say anything to him, but I kind of wish I had.  He probably hears it all the time, but it would have been great to tell him how much I learned from him, and how much time I spent/spend with his music.

Thanks, Jimmy.

Thursday, May 21, 2020

You Be the Drummer - Milton Banana, "Cidade Vazia"

If you listen to a lot of music from the 1960s, when stereo was the new hip thing, you may notice that there is some seriously hard panning, presumably because the technology was still relatively new.  Sometimes things are panned to the point where certain instruments are only heard out of one speaker.

This can be really beneficial when transcribing, as it's possible to cut out half of the instruments and isolate more of what you want to hear.  A little bit of fiddling with the EQ can make this even more effective.  I've done this quite a lot in my own transcribing, but for some stupid reason it never occurred to me to do this in reverse.

The idea struck me the other day as I was transcribing "Cidade Vazia", and in playing around with it I figured out how to take this concept a step further in order to make play along tracks.

In this recording, the piano and bass are panned hard left, with almost no drums on that side.  So I dropped the track into GarageBand and panned the channel hard left.  I then copied the file to a new track and, using a built-in GarageBand plugin, flipped the signal so that piano and bass were in the right channel, and then panned that track hard right.  What I was left with was a version of the song with the drums almost completely gone.  I then dug into the EQ, bringing the bass up a bit amongst a few other things, which further pronounced the effect.

So, I now have the original Milton Banana recording of "Cidade Vazia" with almost no drums in it, essentially creating the best play along track you could ask for, and I share it with you today.  Check out the transcription in the previous post and enjoy!


Monday, May 18, 2020

Transcription - Milton Banana, "Cidade Vazia"

Following on from the telecoteco stuff we've been talking about lately, here's a different take on it, by Milton Banana.  Banana was one of the earliest and most prominent drummers of "Samba no Prato" (Samba on the cymbals).  Prior to that, samba on the drumset was much more focused on the drums themselves, and sounded more like a batucada ensemble.  They often played in a style called "Samba Cruzado".  I've got a post coming up on that very soon.

Edison Machado is credited with being the first drummer to play "Samba no Prato", but Banana was right there with him, playing on many of the great Bossa Nova records and a lot of samba jazz, particularly with his own trio, which released quite a few albums over the years.

Drummers of the samba-jazz, or hard bossa, genre like Machado and Banana, as well as Rubinho Barsotti, Paulo Braga, José Roberto Sarsano, and many others, seem to be more relaxed about staying true to the direction of the telecoteco. I've heard differing theories on this, the two most prominent and plausible being:

1. These drummers were inspired by American jazz and American jazz drummers, and actively chose to take a more laissez-faire approach to the direction of the rhythmic cycle in order to have fewer constraints on their playing/improvising.  In this case, the telecoteco parts are more of a "vibe" than a true rhythmic cycle and serve a similar role as that of the left hand of an American-style jazz drummers; comping, essentially

2.  The concept of rhythmic direction that we see in telecoteco is a characteristic of the music that comes from African traditions.  The majority of the drummers from this period and genre were white.  It has been argued that they were simply ignorant to correct interpretation of the rhythm and were merely emulating it to the best of their abilities.

I'm not sure which one is true, or which one I would prefer to be true.  Players today, like Marcio Bahia, Edu Ribeiro, Kiko Freitas, Celso Almeida, etc. tend to stay true to the rhythmic direction, but this does not clarify why the older guys didn't.  It could be that these contemporary players have a renewed interest in traditional approaches, or it could be that they learned the traditions that the previous generation were unaware of.

You'll hear in this recording that Banana isn't necessarily flipping the rhythmic direction, but he's also not adhering strictly to the traditional "rules" of it.

Let me be clear that I'm not saying what Banana is doing is right or wrong.  I'm simply observing as I find this stuff terribly fascinating.  Banana is one of my absolute favorite drummers and one of the most beloved and respected ever to come out of Brazil.  But hardcore samba purists take the direction of the rhythmic cycle very seriously, and flipping it or not playing by the rules is sacrilege.

Aaaanyway, here's the transcription.  E-mail if you'd like a PDF, and enjoy.



Wednesday, May 13, 2020

Frevo

It’s been a little while since I posted anything about rhythms from the northeast of Brazil.  The most common rhythm from this part of the country that often gets a cursory mention in method books is baião, from Pernambuco.  I’ve done a few posts on this already and have a few more in the pipeline, but today I want to chat about a very different style called frevo.

The first time I traveled to Brazil I went to the cities of Recife and Olinda, in the state of Pernambuco, which sits in the eastern most part of South America.  Not really knowing anything about Brazilian music or culture at the time I was fully expecting to hear samba and bossa nova everywhere.  Granted, we did hear some samba, as it’s pretty popular all over the country despite coming from Rio de Janeiro in the south.  But I quickly learned that there are numerous pockets of music and culture across Brazil, and Pernambuco and the northeast is a particular hotspot.  A northeastern style that is commonly applied to the drumset you may have come across before is baião.  Throughout the trip we were lucky enough to have wonderful guides from the local university who took us to hear a lot of incredible music, including baião.  One sound that really grabbed my attention, however, was frevo.  Like baião, frevo comes from Pernambuco, specifically the city of Recife, but that’s about where the similarities end.  

Whereas a typical forró ensemble that would play baião would be comprised of accordion, triangle, and zabumba, a frevo group utilizes pandeiro, surdo, and caixa in the percussion as well as a full brass and saxophone section.  This music is often played in parades, though it’s common to see frevo groups performing on a stage, or even at soccer games, similar to how you might see marching bands in the stands at a football game in the States.

Here’s what a typical frevo na rua (street frevo) would look like.  I’ll have to dig out my pictures, but I’m pretty sure I was on this very street.  You get a fairly nice shot of the percussion section just after the seven minute mark.


So, let’s take a look at the elements of a typical frevo….

Frevo’s most identifiable feature is the snare drum, or caixa.  It plays a powerful syncopated rhythm, embellished with a roll at the end of the phrase.  Supporting that is a pandeiro, which plays a persistent galloping rhythm.  And the foundation is a surdo that generally plays on beat two, though it is sometimes heard on every beat.



Although each part of the percussion section is typically played by separate musicians, it is also common to play frevo rhythms on a drumset.  A simple and effective orchestration to start with is to play the caixa part on the snare, and put the surdo part on the bass drum.


A great group to check out for this style is the Spokfrevo Orquestra.  They are the premier frevo group in Recife, and likely the world.  They play classic frevos, in addition to their own compositions, but with a lineup resembling that of a big band.  That's not terribly far from the lineup of your average frevo group anyway, but they also include the use of a drum set, wear suits, and perform in concert halls.  They also add individual solos like we would see in a traditional big band.  So, essentially they are a really tight big band, playing burnin’ frevo rhythms, with solos of hip bebop language.  It’s very cool stuff.



As you can see, the percussion section and drummer in Spok are essentially playing the traditional orchestration and making hits.  But, frevo has been incorporated into Brazilian jazz for quite a few years now, so not only is one drummer often left to play everything on his own, but in a smaller ensemble it’s generally necessary for we, the drummers, to cool it a bit. The simplest way to achieve this would be to just reach for the brushes instead of sticks.

However, whether played with sticks or brushes, the orchestration above leaves out the galloping rhythm of the pandeiro.  Try playing that on the ride cymbal or hi-hat, while playing the accent pattern of the caixa on the snare drum.  The roll is generally a pretty tight buzz roll anyway, so you can just play a long buzz with your left hand.



A quiter version along the same lines would be to play a rim click instead of the snare.  You can mimic the long sound of the buzz roll by splashing your hihats with your left foot.



And finally, we can get a little more creative with our voicings, and test our left foot independence by playing the pandeiro rhythm on the snare drum (probably best with brushes), and move the caixa accent pattern to our left foot, again splashing the hihat for the roll.



In any of these examples you could play the bass drum just on beat two, or on every beat.  Similarly, you can play the hi-hat on all the downbeats, all the upbeats, or not at all.  Here's the full sheet.  Get creative and see what other arrangements you can come up with.  Drop me a line if you'd like a PDF.