I first got this idea in a lesson I had with Kiko Freitas. Kiko took Dotô’s rhythms of the repique de anel, and orchestrated them for drumset.
You can revisit this post for more on Dotô and the repique de anel, but as a brief reminder, here’s what a common version of his signature groove looks like.
You can revisit this post for more on Dotô and the repique de anel, but as a brief reminder, here’s what a common version of his signature groove looks like.
The left hand plays the “dois do bumbo” rhythm on the bottom head, while the right hand taps out a telecoteco-ish pattern on the shell of the drum. The right and left hand together also make interjections reminiscent of 3rd surdo phrases.
I don’t want to share Kiko’s arrangements without his permission, and working on it gave me some new ideas. So, I’ve come up with my own interpretation.
Kiko’s version required more in the way of chops. At points there are four or five 16th notes in a row with one hand. That’s no big deal at moderate tempos, but I thought the groove also had the potential to work well at brighter tempos. And, I wanted to get a third pattern in there with a rim click, rather than using the snare.
So, here’s what I came up with….
I don’t want to share Kiko’s arrangements without his permission, and working on it gave me some new ideas. So, I’ve come up with my own interpretation.
Kiko’s version required more in the way of chops. At points there are four or five 16th notes in a row with one hand. That’s no big deal at moderate tempos, but I thought the groove also had the potential to work well at brighter tempos. And, I wanted to get a third pattern in there with a rim click, rather than using the snare.
So, here’s what I came up with….
The bass drum covers the left hand part, and the right hand on the hi-hat plays an almost identical rhythm to that of the right hand on the shell of the repique de anel.
The left hand then serves two roles on the rim click. The accents outline a very common samba/bossa nova pattern. But each note of that pattern is followed by a second note, intended to be played much quieter, ideally matching whatever volume you choose to play the hi-hat. If done well, the rim click and hi-hat should blend together, creating a steady stream of 16th notes.
The result is constant 16th notes with two separate comping patterns while not having to play more than three simultaneous 16th notes. The creates a more relaxed feel and should allow you to play it longer without fatigue.
The left hand then serves two roles on the rim click. The accents outline a very common samba/bossa nova pattern. But each note of that pattern is followed by a second note, intended to be played much quieter, ideally matching whatever volume you choose to play the hi-hat. If done well, the rim click and hi-hat should blend together, creating a steady stream of 16th notes.
The result is constant 16th notes with two separate comping patterns while not having to play more than three simultaneous 16th notes. The creates a more relaxed feel and should allow you to play it longer without fatigue.
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