17
Chapter 3:
A Modern Approach to Second-ine Rhythms
The next approach finds i t s e l f creeping up i n m y p l a y i n g quite often. T h i s approach was introduced
to m e by m y mentor, J o h n n y V i d a c o v i c h . John?s approach to second-line and street-beat d r u m m i n g
is based on a couple o f d i f f e r e n t sticking combinations. These stickings, though simple i n concept
and easy t o play, can y i e l da plethora o f interesting grooves using the same sticking. I f you accent
d i f f e r e n t notes w i t h i n the sticking o r m o v e the hands to different sound sources w i t h i n the drumset,
the sonic possibilities are i n f i n i t e , l i m i t e d o n l y by y o u r imagination. O v e r the years I have learned
h o w to use these stickings i n m y o w n p l a y i n g and have developed several o f m y own variations
based o n this u n d e r l y i n g concept.
This is the f i r s t s t i c k i n g that opened m a n y doors f o r me. Here is the w a y Johnny f i r s t showed i t to
me. T h i s g r o o v e w o r k s great as a street beat.
W h a t m a k e s this style so special is its s i m p l i c i t y . N o t i c e that the r i g h t h a n d a n d the r i g h t f o o t p l a y
together. Subsequently, w h e n variations are played, the r i g h t h a n d w i l l c o n t i n u e to p l a y w i t h the
r i g h t f o o t . Let?s c h e c k o u t some o f the possibilities w i t h j u s t the R R L R - R L R L sticking. T h e f i r s t
o n e w o r k s w e l l as a j a z z - L a t i n g r o o v e . Y o u could use i t o n C a r a v a n , A N i g h t i n T u n i s i a o r any
n u m b e r o f j a z z - L a t i n tunes w h e r e the bass p l a y e r is p l a y i n g a m a m b o - t y p e bass l i n e .
Here?s one that works as a Ma rd i Gras Indian groove. The only change is putting the right hand on
the floor tom. This one sounds great i f you play it w i t h a handbourine o raj i n g l e stick in the right
hand (these are sticks w i t h tambourine jingles attached).
e e | Cot r e r
f < r
T h i s one works great in a funk, brass band, o r M a r d i Gras Indian situation.
R R L R R L R L R R L R R L R L R R L R R L R L R R L R R L R L
> > >
R R L R R L R L R R L R R L R L R R L R R L R L R R L R R L R L
Here are some other voicings to try.
RRLRRLRLRRLRRLRL
R R L R R L R L R R L R R L R L
fF
R R L R R L R L R R L R R L R L
RRLRRLRLRRLRRL >
R L
DRM115
19
Snares o f f >
R R L R R L R L R R L R
T h i s one works g r e a t f o r St. Thomas.
Snares o f f
R R L R R L R L R L R L
N o w l e t ?s experiment witht h e agcents. Thisf i r s t one makes f o
a cool
r Cajun b eo r a NewOrleansshuffle.
t
RRURRLALRRULRRLRL
> >
RRLR
RRR L R L RR RR LL R R LRL
Here?s one that I came up w i t h that uses the traditional accents ( N e w Orleans clave).
> > > > > > > > >
>
L R R L R L R R L R R L R L
R R L R R L R L R R L R R L R L R R
T h i s one can be used f o r a ?Hey P o c k y A-Way? type groove.
> O S > > > >
R L
Note that all these stay
Here is an extended example of how all these variations can work together.
t r u e t o the R R L R - R L R L sticking pattern.
N o w by elongating the R R L idea, you can c o m e up w i t h more options.
You can get the traditional accents with this sticking as well.
> > > > > > > > >
R L R R L R R L R R L R L R L R R L R R L R R L R R L R L R L
T h e original R R L R - R L R L sticking and its elongated variation w o r k very w e l l together.
=
> > > >
R R L R R L R L R R L R R L R L R R L R R L R R L R R L R L R L
O n c e c o m f o r t a b l e w i t h the original and its variation togeth er, try moving the hands to different
sound sources w i t h i n the k i t to get d i f f e r e
nts u possibilities. Start by trying all the previous
Cer! 6
voicings that we already explored.
RRLRRLRLRRLRRLRL RRLRRLRRLRRL R L RL
A l l these grooves work great together. Once you are comfortable with
themt o g e t h e r . Y o u c o u l d use o n e o f them for the head of the tune a r o oegosBz
Y
§ e 2g
asa f i l l , a Variation , behind di 5$5
fferent solos or as another part o f 2 a 7
SBSea
Check out this concept in this extended section. O
nce you? re comfortable,
voicings, such as moving your right hand to the floor tom try some of the previous
or the cowbell
21
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a
SS
«YSU
Me
Tg
Let?s see how some of these work together in W h o T o o k t h e H a p p i n e s s out?
T h e s e p r e v i o u s grooves show h o w this s i m p l e sticking pattern w i t h slight v a r i a t i o n s such as m o v -
i n g the hands t o d i f f e r e n t sound sources and changing the accents can create so m a n y d i f f e r e n t
grooves. It?s v e r y i m p o r t a n t that once y o u feel c o m f o r t a b l e w i t h each o f these v a r i a t i o n s y o u t r y
u s i n g t h e m i n c o m b i n a t i o n w i t h each other. T r y to m a k e t h e m f l o w f r o m one to t h e other. T r y p u t -
t i n g y o u r hands on s o u n d sources l i k e f r y i n g pans, m i x i n g b o w l s , congas o r a n y t h i n g y o u can t h i n k
of. Use your imagination. A l l the while you should pay attention to any mistakes you make; they
may make for great variations!
I use the following grooves on a regular basis. They utilize the m o d e r sticking concept. When
developing the first groove, I was looking for a street beat that I could play in more of a f u n k or
backbeat context.
> > > > >
R L R R L R R L R R L R R L R L R L R R L R R L R R L R R L R L
©* C o E oT
C d
e e
This groove, as you w i l l discover with most of the rhythms i n this book, works very well as a
one-bar f i l l in a funk context. When the right hand plays the hi-hat or ride cymbal, it works great
as a funk or a boogaloo groove. Here are some variations that I frequently use. Notice how this
first one has the traditional street-beat accents.
> > > >
C j T d a E t t
e e e e
- ?ii e a @ a a e a e@ a @ a 4 e ai a a a es @ !
C T e e
e n r e e r D e a A S S | F f D e e e n e r ) D e pe a e d D r r n n l b r e v e e h n o e l
T T e e e O e e e e t
O L OL OT e e e i
1
r t T T T T r
( w e a e w e e e e e eae w a e e e
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23
I s o m e t i m e s p l a y u p b e a t s o n the r i d e c y m b a l f o r m o r e h i g h - e n e r g y sections o f tunes.
DRM115
_RLRL sticking on the ride cymbal.
Here are some that c o m b i n e upbeats and theR R L R
@ ) Let?s put all of these together in the tune Snowball.
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25
Here are some more sticking variations. A l t h o u g h these are written w i t h the r i g h t hand on the
cowbell and the l e f t hand on the snare, you should try the hands on different voices around the kit.
A l s o try different accents and alternate bass-drum patterns. Play these w i t h the baion bass-drum
pattern, or try f o l l o w i n g the right hand w i t h the right foot. When the hand plays t w o notes in a row,
the foot o n l y f o l l o w s the first one. ?
] R R L R L L R L R R L R R L R L
DRM115
R L R R L R R L R R L R L R R L
R L R R L R L R R L R R L R R L
R L R R L R L R R L R R L L R L
R L L R L L R L R R L R R L R L
R L L R L L R L R R L R L R R L
Ww
R L L R L R R L R R L R L R R L
R L L R R L L E L R L L R L R R L L
R L L R R L L R L R R L R L L R
DAM115
