In this lesson, I would like to discuss alternating the ride cymbal pattern. I found a lot of students are alternating incorrectly to play it too active and too busy. Sort of sounds like this. I’ve never seen the professional drummer use that in contemporary jazz setting. So, I develop a conceptual method and I would like to share with you. First of all, I would like to delete some of the ride cymbal notes from a traditional ride cymbal pattern. It leaves me with more quarter notes in ride cymbal, and the loud ride cymbal pattern to breathe. Now that’s very deceptive because its sounds like I’m doing some stuff with my ride cymbal, but no reality I’m doing less stuff because I’m taking away a note. I’m taking away one of the up beat on end of the two or one of the end of the four. And that leaves me with the quarter note has more space. I really like this way to begin the alternating other ride cymbal pattern.
The second step to this approach, is to tie one or both of up beats other ride cymbal pattern the end of two or end of four. And what this does is elongate the pattern, it alternates pattern and makes it sound more forward and open. These two patterns, these two approaches employed drummers such as Tony Williams and Elvin Jones, Roy Haynes, certainly Jack Dejohnette. Young drummer on scene today who are currently riding like this would be Brain Blade, Bill Stewart and Jeff Watts. This is an approached that less the band feels comfortable with because you hear and feel ride cymbal pattern, ride cymbal beat, but it’s not standard “din digi din”, repetitive, static, voice, normally associate with jazz ride cymbal.
The third approach to this style is one word combined quarter notes on the ride and the tied notes.