Systems Book 1 Drumming Technique and Melodic Ja, drums drums
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•SYSTEMS•
And Melodic Jazz Independence
by Ari Hoenig
edited by Michael Dawson
Book 1: Drumming Technique
SYSTEMS
and Melodic Jazz Independence
by Ari Hoenig
edited by Michael Dawson
layout and design by Gerald Vitale
cover artwork by Rebecca Hoenig
photos by Katie Appleton and Jimmy Katz
MP3 downloads recorded by
Jimmy Katz and mixed by Chris Cuzme
Copyright © 2011 by Ari Hoenig
Exclusively distributed by Alfred Music Publishing Co., Inc.
All rights reserved. No part of this book may be reproduced in any form or by electronic or
mechanical means, including information storage and retrieval systems, without permission in
writing from the author.
Audio examples of all the systems in this book are available for download at:
www.arihoenig.com
Book 1: Drumming Technique
CONTENTS
Acknowledgements .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Chapter.1:.Introduction.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Chapter.2:.How.To.Use.This.Book.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Chapter.3:.Hand.Warm-Up.Systems .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Chapter.4:.Flam.Warm-ups.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Four-Way.Coordination.Intro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Chapter.5:.Swing.Prerequisites.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Chapter.6:.Displacing.Quarter.Notes.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Chapter.7:.Fill-In.Eighth.Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Chapter.8:.Off-beat.Systems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Chapter.9:.Triplet.Partials .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Chapter.10:.Triplet.Partials.Between.Two.Limbs .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Chapter.11:.Fill-In.Triplets.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Chapter.12:.Quarter-Note.Triplets.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Chapter.13:.Half-Note.Triplets.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Chapter.14:.Melodic.Line.Between.Two.Limbs .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Chapter.15:.Quarter-Note.Triplets.Between.Two.Limbs .. . . . . . . . . . . . . . . . . . . . . . . . . . 64
Chapter.16:.Melodies.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
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ACKNOWLEDGEMENTS
Thanks to my teachers Carl Mottola, Rob Zollman, Ralph Peterson, John Riley, and Ed
Soph for all the inspiration they gave me; Katie Appleton for the photos; Jimmy Katz
for the photos and for engineering the recording supplement; Yamaha drums, Zildjian
cymbals, Vater sticks, and Evans heads for their support; John Riley, Ed Soph and Jim
Jacobus for their time and suggestions; Jerad Lippi and Ben Bynum for their creative
input; all of my other students who have ended up teaching me as much as I have
taught them; Gerald Vitale for the layout; and, most of all, Mike Dawson for his
commitment and indispensable work on this project.
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CHAPTER 1
INTRODUCTION
M
any students are overwhelmed with the realiza
tion of what they cannot do. They have so many
things they want to accomplish that they end up
spending too little time on the most important skills. This
series of books, Systems, is set up to help you attain mastery
of speciic skills. It will provide many different ways to prac
tice one idea. (Each system in these books is thought of as
one idea.) The effect will be an enhanced ability to improvise
luidly around a theme, which will add much greater melodic
depth to your playing.
This book is divided into two main parts. Chapters 3–15
are the coordination systems. Chapter 16 is a collection of
melodies to be practiced with the systems. Practicing differ
ent melodic variations with the systems will keep you from
getting bored while you engage in the repetitive process
needed to improve your coordination
Note Values
Some of the systems focus on note values, which can be
concentrates on hearing the second note of the triplet and
thought of as short (eighth notes) and long (quarters or longer).
understanding its correct placement.
Any tied notes will be played as long notes. For the warm-up
sections (Chapters 3 and 4), any rests are added to the beat
Creativity and Individuality
value of the note which precedes it. So, if there is an eighth
The exercises are laid out in a structured and methodical
note followed by an eighth rest, it is treated as a long note.
way. Mastering them will give you more choices on the drum-
set, which will allow for maximum creative freedom while
The Second Note of the Triplet
improvising. Practicing in a structured way will ultimately help
In jazz or other triplet-based music, melodies which are
you perform in a creative way.
written as eighth notes are often swung (played with triplet
It’s not necessary to master each of the systems in this
subdivisions). In this interpretation, the melody can fall only
book. Instead, think of these examples as reference tools for
on the irst or third triplet, but never on the second. After a
different possibilities. The idea is for you to focus on certain
while, this approach can create a limitation in your idea of
systems that inspire you. Just make sure you commit to
swing. There was a time when the second note of the triplet
mastering the systems one at a time. I also encourage you to
was rarely played in jazz. Recently, however, it has become
come up with your own systems in order to develop a unique
a more common part of the language and can be effectively
voice on the instrument.
used to build tension in the music. A large part of this book
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