Beat
Poster
Drummers keep time by playing BEATS. For most situations, the music and musicianship within the ensemble will determine your approach to beat development.
at the prescribed tempo markings. This experience will better prepare you for contemporary work in a recording studio.
For contemporary music, the quarter note pulse is the foundation and the SUBDIVISIONS between each quarter note give a particular style its identity.
The best way I know to learn and understand a particular style of music is my listening to recordings and inte rfacing with live musicians. Check out the recorded performances for each beat excerpt featured on this poster and pay close attention to the way each drummer plays time, grooves, and interacts with the rhythm section and ensemble.
This poster features fifty beats for practice organized by genre. They are intended to provide the player with a diverse collection that can be used in a variety of musical situations. Practice these examples with a metronome or drum machine
by Steve Fidyk
Commercial Rhythms
Notation Key
Below are seven commercial rhythms to memorize before your next wedding, anniversary party, or bar mitzvah gig…
Rock Rhythms Below are eight variations to get you grooving. To learn more, explore your own collection of favorite rock and pop recordings.
New Orleans Rhythms New Orleans is known for its music – explore the origins and traditions of this great city by starting with these groove excerpts.
Brazilian Rhythms Authentic Afro-Cuban and Brazilian rhythms are intende d to be performed on Latin percussion inst ruments. Within any given ensemble, there can be four or more pe rcussionists each playing a different instrument. For example: conga, bongo, guiro, timbale, and triangle.
Swing Rhythms
Afro-Cuban Rhythms
The following transcriptions are simple beats that really swing! As you check out each recorded excerpt, listen to how these players are phrasing their ride cymbal beat. The ride cymbal is a jazz drummer’s focal point and the rhythmic information played on t his instrument helps the music swing.
The Clave rhythm is the found ation for which Afro-Cuban music is based. This two measure pattern can be phrased 3:2 or 2:3 depending upon the composition. The 3:2 Clave has three notes in the first measure and two notes in the second. The 2:3 Clave is the reverse of the 3:2.
Odd Rhythms The most common time signature in weste rn music is 4/4. The beats below are construct ed in odd time signatures 3, 5, and 7.
Signature Rhythms These beats helped identify their parent composition…
Additional Rhythms
Shuffle Rhythms Art Blakey and Bernard “Pretty” Purdie are the KINGS of the shuffle! As you listen and practice these examples, focus on the dynamic balance of your upper and lower appendages.
Funk Rhythms These funk beats have challenging snare and bass drum combinations! Listening to the music of Sly and the Family Stone, Tower of Power, James Brown, Booker T. and the MG’s, the Funk Brothers, and George Clinton will provide THE example of what funky truly means.
STEVE FIDYK Jazz drummer, author, and educator Steve Fidyk has toured and recorded with Maureen McGovern, New York Voices, Cathy Fink and Marcy Marxer, The Capitol Bones, The Taylor/ Fidyk Big Band, an ensemble he co-leads with Stan Kenton arranger Mark Taylor, and is currently the drummer with the Army Blues Jazz Ensemble from Washington DC.
As an educator, or, Fidyk has authored: The Drum Set SMART Book, Inside the Big Band Drum Chart, Jazz Drum Set Independence 3/4, 4/4, and 5/4 Time Signatures, and an instructional DVD entitled Set Up and Play! For information on these methods, please visit www.melbay.com.
As a leader, Fidyk’s dyk’s discography includes: Big Kids (U.S. U.S. Roots), A Perfect Match (Write Groove), and Live at Blues Alley (OA2) and can be heard on over 50 recordings as a contributing artist.
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A O L R O C I T C S P & L E E A D H P N C M R A A R G U B O S
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He has also recorded over 75 jazz play-along volumes for the Hal Leonard Corporation and contributed drum transcriptions to Drum Standards and Peter Erskine’s The Drum Perspective. Fidyk has served on the faculty at Wilkes University, St. Mary’s College of Maryland, George Mason University, The University of Maryland, and is presently a member of the jazz faculty at Temple University in Philadelphia, Pennsylvania. He holds a Masters Degree in Jazz Studies from the University of Maryland and Bachelors in Music Education from Wilkes University.
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