New Directions in Rhythm by Joe Morello.pdf

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No. 13-1OO
JOE
MORELLO
studies
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JOE
MORELLO
studies
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3
CONTENTS:
PREFACE
INTRODUCTION
BASICRIDE CYMBALVARIATIONSIN 3/4
BASICDRUM RHYTHMSIN 3/4
HI HAT RHYTHMSIN 3/4
DEVELOPING
IN
INDEPENDENCE 3/4
ADDINGTHE LEFT HAND
..
EXERCISES -
COMBINATION
BASIC RIDE CYMBAL VARIATIONS IN 5/4
LEFT HAND VARIATION TO THE MUSICAL PHRASE
5/4 BASSDRUM RHYTHMS
........_.._.
s/4 Hr HAT RHYTHMS
ADDING THE LEFT HAND IN 5/4
PAGE
3
4
6
B
ro
T4
17
24
29
27
31
32
34
MUSIC, 1249 WAUKEGAN ROAD, GIENVIEW, ILLINOIS
SOLE SELIING AGENT: CREATIVE
@Copyright1963 by
Prinled in U.S.A.
iltrmuF
PUBLtcATtoNS
Chicago, Illinois
All Rishts Reserved
2
ABOUT THE ATJTHOR
Never before has there been a drummer with such world wide acclaim and popularitX
In an unprecedented clean sweep of four of the worldts treadingjazz polls, Joe MoreIIo be
comes the No. 1 jazz drummer of our time as selected by jazz buffs, critics and fellow musi
cians who continually rave about his fantastic technical ability, his taste,his touch and hi
ideas.
One of the main contributing factors to Joe's great popularity,besides his fabulousmu
sical abilities,is hiswarm personalityand willingness to help otheraspiring youngmusician
Before and after every concert, Joe is besieged by drummers of aII ages seeking guidanc
and advice on the art of drumming. Often Joe will still be on stage hours after the close ofr
concert working with his many fans.
In recent years Joe has become one of the most popular clinic artists in the field wiu
thousands of drummers and music educators benefiting from his outstanding lecture demon
strations. Now NEW DIRECTIONS IN RHYTHM offers the drumming world anauthentic guid
to interpreting the rhythms which Morello has made so famous in the jazz fieLd.
Joe Morello will no doubt wear the worldrs jazz ctown for many years to come, fo
few have contributed more to the field of drumming than this great artist. With Morello, itrr
more than artistry on his instrument that nakes him great, itrs his sincere desire to help Nr
fellow man. He riEhtlv deserves all honors which mav come his wav.
3
PREFACE
The purposeof this bookis todevelop freedomand anatural feel for playing theodd time
signatures which have recently become so popr,rlar in the jazz field.
The following exercises
are not just "licks'r to memorize and use indiscriminately while working with a group, but
constitute a systematic development of coordination and a musical approach to playing in these
different time signatures.
NEW DIRECTIONS IN RHYTHM was written in answer to the numerous requests from
slrdents and professionals and shows exactly how I use the cymbals,bass drum, hi-hat and left
hand in playing these rhythms.
I have concentrated on the presentation of two of the most
commonly used odd time signatures,the 3/4 or rhythrn of t}lrejazz waltz and tlrre5/4 rhythm.
The figures presented herein are functional and will swing if executed properly.
Included are
several musical examples showing how these rhythms may be actually applied to performance.
It should be thoroughly understood that what weare trying todevelop isamusical drum-
mer with ability to interpret a musical phrase and make it swing. Certain techniqtre must
naturally be developed but technical skill is only a pa.rt of it.
The real object is your ability
to play these rhythms musically and to become as much at home with these signatures as you
are in the standard 2/4 and 4/4 meters,
Dedicated to my sincere and honest
friend and to all serious students of
the art of modern percussion.
4
INTRODUCTION
I havealways been interested in exploring newrhythmic possibilities offered by various
time signatures and enjoy experimenting with the pl.acement of accents within a given
meas-
ure or musical phrase. The odd rhythm signatures, or measured signatures to
be exact, of-
fered a new challenge because of their ururatural pulse. During a tour of
India and the Far
East with Dave Brubeck I began to realize the great possibilities of these rhythms
and how
they may be applied to my own style of playing.
I have found that the eastern cultures are far more rhythmically advanced than ours.
In
India, for example,musicians are very much at homewhen playing in b, z, 9, 11 or 13
measured i
signatures. TVo, three or four counter or cross rhythms are commonplace
among these
drummers.
we of the western world are basically familiar and adept at the even measure
signatures such as z/4,4/4 and6/8 which is more of a rolling rhythm.
It is more natural for us to think and react in a pulse of two. wtry is this
so? Stop and
think of our most natural physical reactions.
our heart beats in two,we walk in two 6eft-
right, one-two), we have two eyes, two ears, two hands. This may sound ridiculo*s
but it is
true.
As soon as you throw this pattern off it becomes awkward to some individuals.
With the serious study of the following rhythmic patterns you should eventually
develop
freedom and a musical feel for these odd measured signatures.

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