Stanton Moore: Linear Lines
Over the years I’ve come up with some grooves that have combined linear concepts with New Orleans rhythms. Here’s one of the ones that I use often as a fill or variation. You can take most of the other grooves that I’ve introduced in this column and use this new one as a compliment to them – a variation or fill.
Although not purely linear, the groove mixes loose linear ideas with the New Orleans street beat. When playing the groove, it is important to play in between straight and swing, and don’t play it too fast. As always, don’t forget to accent the and of beat 4.
Of course, you can place the right hand on the ride cymbal, hi-hat or cowbell, and the left on cross stick, hi-hat or left-side floor tom. For different textures, experiment with putting your hands anywhere they feel comfortable and let them come up with their own variation. Also try buzzing all the left-hand notes on the snare drum. You can play hi-hat with your left foot on upbeats, or for coordination practice, try playing the bass drum pattern on the hi-hat. For real fun, try playing a 2:3 son or rumba clave with the left foot.