Percussion Tips
By: Megan E. Thomas
Drum Set Hi-Hat Variations - Part 2
Let's continue on from the last article, "Drum Set Hi-Hat Variations," and expand on our palette of cymbal variations. The new patterns in this article should be practiced when the patterns from the previous article are mastered. In review from the previous article, we were introduced to some different hi-hat patterns with the goal of enhancing different sections of a song. One variation was playing quarter notes on the hi-hat, ride cymbal, or bell of the ride. The next one was playing sixteenth notes on the hi-hat or ride cymbal with the right hand. The last pattern discussed was playing sixteenth notes on the hi-hat but changing the sticking to alternating hands.
In a past article we discussed the use of accents. Accents are notated by a greater-than sign on top of a note. An accent above a note tells you to play that particular note louder than the rest. Adding accents into the hi-hat or ride cymbal part can change the vibe. If the accents are played on the ride cymbal, often times, the accent is played on the bell of the cymbal and the unaccented strokes are played on the bow of the cymbal. If the accents are played on the hi-hat, usually they are played with the shank of the stick or shoulder while the bead or tip of the stick plays the unaccented notes on the top of the hi-hat. Following are a couple basic examples of patterns with accents.
Lets move the accents to all of the &'s or upbeats. This utilizes the same technique as before but creates a very different sound. Following are two examples of patterns with accents on the &'s.
This last pattern has no accents but sounds a bit similar to accents on the upbeats. This pattern could be played on the hi-hat, ride cymbal, or bell of the ride cymbal. It consists of playing on only upbeats or &'s. Following are examples of a couple patterns.
When learning any of these, start with just playing the cymbal part by itself until it feels comfortable, and then add in snare drum and bass drum. Work on different grooves by changing the bass drum pattern as well as gradually increasing the tempo in small increments.
Meg Thomas Bio
Meg Thomas, percussionist from Chicago, is an active performer and teacher who received her Bachelor of Arts in Music from Millikin University. Meg performs and teaches several different percussion instruments such as congas, drum set, bongos, timbales, djembe, tabla, cajon, darbuka, berimbau, cuica, bodhrán, and other percussion instruments.
Meg is involved in several original music projects as well as being an avid performer in the festival and jobbing band circuits. Meg has played in numerous bands over the years, playing in venues that range from House of Blues to Alpine Valley to The Park West to The NBC/Disney Holiday Parade to thousands of clubs, festivals, and bars. Meg has performed on local and national TV, and has also been on local and internet radio. She has experience in a plethora of genres: rock, soca, pop, calypso, blues, punk, fusion, latin-jazz, metal, salsa, world, folk, classical, reggae, disco, R&B, percussion groups, dance ensembles, etc.
In addition to being an active performer, she plays sessions at recording studios, puts on world percussion seminars, facilitates drum circles, teaches private lessons, and writes the Drum and Percussion Tips of the Month column for the webzine, ChicagoMusicGuide.com. Meg is part of the Vic Firth drumstick and mallet company's Education Team as a Vic Firth Private Drum Teacher and has endorsements with Sabian Cymbals, Vic Firth Sticks and Mallets, and Evans Drumheads.
Visit Meg's website:www.MegThomasPercussion.com
Visit Meg's myspace page:
www.myspace.com/mtpercussion