PERCUSSION
Mike Mann is the drummer for One Ugly Cowboy and owner/operator of Groovewerks, a Toronto-based
recording studio specializing in providing live drum tracks online. He has over 35 years of touring, recording,
and teaching experience.
By Mike Mann
L
Linear Drum Patterns
inear drumming is defined as a style of playing in which
no two limbs play a note at the same time. Although it
may seem odd, this approach is actually quite versatile
and can be used to play a wide variety of creative grooves
and fills while also building independence between your
hands and feet.
All linear drum patterns can be broken down into two components.
The first is the sticking – the order in which your hands and feet play
the notes plus any accents or dynamics. The second component is the
orchestration, or which drums are played within the sticking pattern.
Keep in mind that the orchestration is only a guideline, meaning
that what is written is a good starting point but you are encouraged
to experiment with your own orchestrations. For example, try playing
the bell of your ride cymbal instead of a tom or perhaps play the snare
as ghost notes, etc. The idea here is to experiment as much as possible.
A linear pattern can be as simple as repeating a three-note phrase
throughout a measure, or it could be a pattern consisting of 16 or more
notes, complete with complex sticking and orchestration. Either way,
the key to learning linear patterns is repetition to the point where it
becomes muscle memory.
Exercises
Ex. 1 and 2 are simple linear sixteenth note and triplet patterns. They
are both made up of three-note phrases that repeat until the end of
the measure. Start off slowly, around 50 bpm. When you can play the
pattern smoothly and in time, gradually raise the tempo and alternate
the orchestration. I recommend using a metronome to help improve
your timing.
Practice Ex. 1 and 2 by playing the first bar of rhythm three times
before the linear pattern.
Ex. 3 and 4 are examples of slightly more difficult linear patterns.
Memorize the sticking patterns first, then build your tempo and ex-
periment with your own orchestrations. Also try adding quarter notes
with your left foot on the hi-hat.
Ex. 1: Sixteenth Notes
a) The right hand plays the closed hi-hat and the left hand plays the snare.
b) Alternate the right hand around each of your toms and play the snare with your left hand.
Ex. 2: Triplets
a) The right hand plays the closed hi-hat and the left hand plays ghost notes on the snare.
b) Alternate the right hand around each of your toms and the left hand plays the snare.
Ex. 3: Sixteenth Notes
a) The right hand plays the floor tom and the left hand plays the snare.
b) Experiment with your own orchestrations around the drum kit.
Ex. 4: Triplets
a) The right hand plays the floor tom and the left hand plays the snare.
b) Experiment with your own orchestrations around the drum kit.
28 • C A N A D I A N M U S I C I A N
These four exercises are a ba-
sic introduction to the linear
drumming method. You can
find many other examples
online, or try writing your own
patterns. There is no right or
wrong; just experiment and
you will learn what works and
what doesn’t.