Linear Drumming

What does "linear" mean?

The way I see this term, it is a line with points all along it-- two, three, ten or 100. A minimum of two points creates a straight line but those two points, no matter how close they are or how far apart they are, never rest on top of each other.

When applying this to the world of drums, let's say that each point on a particular line represents a limb. For this line we have points L, R, K, L, R, K. If we were to read this line from left to right, as we always do, we would play two notes on the snare drum (or toms, or crash, or other creative percussive pieces), and then one note on the kick drum (the bass drum). We would then repeat this one more time to finish the line of six notes.

As a definition, Linear Drumming is a method of application (a way to play) by which no two limbs are used or played at the same time. The pattern on our particular line is a linear pattern because, although we are using more then one limb, each one has a specific place, and none are played at the same time.

How can I use linear drumming?

Linear drumming is very creative and solid. Many modern drummers, including Tony Royster Jr., have mastered a variety patterns and combined them together to make those creative and solid chops powerful, giving the drums a lot of presence within the music.

This picture is of Tony Royster Jr., one of today's best modern drummers. He executes punchy, powerful and precise linear patterns in a mastered sense of time. However, many of the fills he plays, although you may disagree just by listening to him, are simple. By this I mean, the structure or notation of the fill is simply bouncing among the four limbs (with some exceptions based on creativity), using one after the other. He uses simple patterns, similar to the ones below, but combines them all together and mixes them around to be creative. The reason you may disagree is because of the speed at which he plays these fills and the subdivision in which he plays each one. Yet when his fills are slowed down, you will find that each fill is in fact simple in structure.

Since no two limbs are playing together, and once the coordination is built, great speeds can be reached. It's like playing single strokes with all four of your limbs. To reach such speeds, however, a great amount of independence must be achieved. By independence I mean the ability to control each of the four limbs in such a way that, when playing together, they can play four different patterns at the same time.

If we were to place our six note linear pattern into a 4/4 time setting as 16th notes, we would count 1e+a 2e+a 3e+a 4e+a--and our pattern will look like LRKL RKLR KLRK LRKL. The left hand plays a certain pattern--on 1, a of 1, + of 2, e of 3, 4, and a of 4--while the right hand plays another pattern--on e of 1, 2, a of 2, + of 3, and e of 4--and as the kick plays yet another pattern--on + of 1, e of 2, 3, a of 3, and + of 4. Each of the three limbs are played every third note from when it starts.

The pattern can of course be used in any subdivision. Here we used it is 16th notes, but it can also be used 8th notes, quarter note triplets (3 notes per beat, instead of 2 like 8th notes), 16th note triplets (6 notes per beat, instead of 4 like 16th notes), 32nd notes, etc.

When practicing and applying, the key to have even spacing between each of your limbs. What I mean by this is, don't be at a certain tempo with your hands and then be slower with your feet. Start slow and practice the patterns evenly like you would for single strokes or other rudiments.

How can I practice my linear techniques and begin learning linear drumming?

I have here a few patterns to start you off, but take these patterns and orchestrate (or move) them around the kit on the toms, cymbals or other interesting percussion products you may have.

Practice each of the six basic patterns slowly to begin. As the independence builds, so will the speed. It is better to start right; you are more likely finish right.

1. RLK

Don't be intimidated by the fact that there are only three notes which will cause awkward placement as you may have seen in our six note line pattern--which can be used as much as any of these patterns. The fact that it is only three notes gives the drummer a lot of flexibility. It can easily be used as triplets, which will definitely be easier. But it will prove to be interesting and creative when applied to 16th or even 32nd notes.

2. RLRK

The trick to this pattern, and maybe to your surprise, is always starting with the right hand. My right hand being my dominant hand, I thought this would be easier since I use my right hand for practically everything. However, to my surprise, it wasn't. Easy to place in 16th and 32nd notes, but try this in triplets (you may be surprised). Try the variation LRLK as well.

3. RLKK

A classic rock linear pattern. You may often hear this particular pattern around the drums (two strokes on the snare drum, two kicks, two on the high tom, two kicks, two on the mid tom, two kicks, two on the low tom, and two more kicks). When coming back around to beat one, it's difficult to play three notes on the kick drum in a row (two to end the fill and then one with the crash on beat 1). You may also find yourself limited by your foot speed. My only advice is to build the speed from slower tempos, then push yourself to reach those faster tempos. A variation you might use instead of the three consecutive kicks is to play two kicks to end the fill and then hit the snare drum with the crash on 1.

I also found that this pattern works well in 16th note triplets. Try the pattern RLKKRL RLKKRL.

4. RKLK

This pattern requires the most independence since neither your hands nor your feet are played consecutively. Instead they are broken up by each other, making at first, a stuttering kind of feel. It will feel awkward at first. Keep loose and relaxed and start slow.

5. KKRL

This is a variation of number three which you may have also heard in rock music. However instead of starting with the hands, start with the feet. This pattern eliminates the concern of having three consecutive kicks but still requires foot speed because of the doubles on the kick.

Try this as 16th note triplets as well. KKRLRL KKRLRL.

6. KLKR

This is a variation of number four which also requires the most independence for the same reasons as number four. Again, keep loose and relaxed. Start slow.

This is a small portion of the many linear patterns that have been created and mastered. To begin, learn these six patterns and orchestrate them around the kit. Then begin mixing them together to create combinations and orchestrate those around the kit. You'll find that these fills will have a lot of punch and presence, and that you can play them.

Cheers,

The Instructor

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If you have questions about this topic, or about drumming in general, feel free to email me at dexter.verill@gmail.com or by using the contact form on the website, STIX Drum Lessons.

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