Let’s use the shuffle again for the following “mirrored” patterns.
Ex. 41. A four-bar phrase that is essentially two two-bar phrases put together. Notice that the initial pattern starts over at the third bar, only with the opposite foot.
Ex. 42. Here is a two-bar pattern that reverses at the second bar — think Vinnie Paul on Pantera’s song “Psycho Holiday.”
Ex. 43. Now we have a two-handed ride pattern placed over the constant triplet feel. If you don’t have two rides, just use your hi-hat.
Ex. 44. Finally, let’s go back to shuffle in Ex. 31 and throw in some ghost strokes on the snare drum to spice things up a bit.
“Shifting gears” is a term I use for having the ability to maneuver between eighths, sixteenths, thirty-seconds, and triplets with ease and comfort. Listen to Mike Portnoy, who has the ability to do this at varying tempos with the utmost of ease.
Ex. 45. Thirty-seconds, eighths, and sixteenths.
Ex. 46. Sixteenth-note triplets and sixteenths.
Ex. 47. Eighth- and sixteenth-note triplets.
Exs. 48—49. Nonstop thirty-seconds and sixteenths.
To challenge yourself even more, go back and play the last four examples while substituting double-strokes for any alternating sixteenth-note patterns.
Well, that finally concludes our double kick drum tutorial. A few things to keep in mind — most of these exercises were written using a basic straight eighth ride and 2 and 4 on the snare. I could have written other hand patterns out as well, but we simply don’t have enough space. It’s up to you to try different snare/ride combinations and come up with your own interesting beats. Double bass is something that takes practice and patience, so start out slowly and make every note count.