The song of the drum solo has been sung in many ways over the centuries. Its evolution on the drumset touts syncopated cadences, “jungle drumming,” improvised snare drum exhibition, song form adaptation, abstract “free-form” textures, double bass drum thunder, orchestrated compositions, soloing over a vamp, realized melodies, and, more recently, “gospel chops” among its highlights. Drum soloing concepts can vary as much as the settings they are applied to. A common drum solo might simply be you alone playing an irresistible, hypnotic beat! Whatever the setting, you have the spotlight.
Chapter 8 - Soloing Applicatons
Practice Tips & Applications
Rhythm & Melody in Harmony
Interpreting Rudimental Studies is a traditional, yet personal art form. The applications presented in the book serve as examples for you to use your creative imagination to develop musical variations of your own. They are largely based on classic vocabulary for the drumset to provide a focal point and foundation for further exploration. The Melodic Linear Motive Studies offer vocabulary beyond interpreting rudiments. Linear means “resembling a line.” This relates to the definition of a melody––a logical, memorable succession of tones in rhythm. In linear drumming, none of the limbs at the drumset are played simultaneously. The concept is to produce phrasing both linear in foundation and melodic through the arrangement of selected voices.
Video Demonstration 1, Cross Referencing Chapter Studies, interprets a single musical motive throughout the book, spotlighting the Inverted Double-Stroke Roll on pg. 118, of the Interpreting Rudimental Studies chapter, and an Eight-Note Motive from the Cross-over Sticking Variations on pg. 131 of the Melodic Linear Motive Studies.
Video Demonstration 2, Cross Referencing II, interprets Single Paradiddle variations throughout the book, spotlighting two voicing examples of the rudiment around the drumset, as seen on pg. 119 of this chapter’s studies.
Video Demonstration 3 highlights the Melodic Triplet Progressions on pg. 182 of this chapter’s Melodic Linear Motive Studies.
