BEAT 9B- Analysis
This beat has lots of space at times. At other points, it’s very dense. So, make sure that you USE A METRONOME and that you give each 16th note its due.
There aren’t many accented snare and bass notes…
…but there is a lot of activity between the unaccented snare and the ride layers. So, it might be a good idea to differentiate the unaccented snare and ride as much as possible.
There are 4 ride layer notes in each measure. To create some symmetry, let’s see what happens when we take the middle two (in each measure) and move the notes down to a tom. Then let’s do the reverse. Take the outside two notes (of each measure) down to a tom. Why? Because we’re thinking like programmers, not drummers. Check out the application in 9m. for these nice counter melodies.
Overall, there is a lot of vertical variation in this beat. There are only two points in this beat that share the same rhythmic pattern of four 16th notes in a row. All the other rhythmic patterns (the rhythmic patterns that make up one quarter note’s worth of time) are different.
BEAT 9B- Application
There is so much vertical variation, that this beat should probably be kept straight ahead. That is, we won’t separate the main important layers of the beat, as we did with beat 9a. If you did, there wouldn’t be enough rhythmic consistency for the listener to grasp on to. This beat doesn’t have a clear rhythmic statement like in example 9i.