Linear Drumming and 2nd Line

[rlhubley]

Do any of you play much linear drumming? I really want to get that and 2nd line drumming added to my vocab. Any tips on how to approach this?

[DrummerCafe]

For linear drumming, I think a good place to start is working with grooves you already play. This will definitely help with the concepts behind the style/technique and future progress.

 

Take a simple groove that you like to play; something that only involves hi-hat, snare and kick drum. Play it. Next play that same groove again MINUS the hihat. Once you can do this (with a simple beat it should be fairly easy) fill in the gaps with the hihat. The idea being that you never strike two things at the same time. Doing this correctly ... your hihat will not play when the snare or kick drum do.

 

Now this is just a basic way to get started with Linear drumming. If you can take all the grooves and beats you already know, and apply the linear approach to them, you'd be surprised just how many cool grooves you have at your disposal.

 

I like to use Dave Garibaldi's book Future Sounds when teaching more complex linear grooves. I highly recommend the book because it develops a strong understanding of linear grooves and their permutations. You'll quickly see how you can create your own linear beats and away you go!

 

In regards to Second Line drumming ... it's a whole different animal. I believe it's the feel that is most difficult rather than the beats and grooves used. Be sure to do a LOT of listening with this style of drumming. I think a GREAT book to get you started is NEW ORLEANS DRUMMING - "Second Line and Funk Rhythms" by Roy Burns and Joey Farris. This book used to come with an optional cassette tape which demonstrated some of the grooves, giving you a good sense of the feel you need to work for. It's a loose, greasey feel that is imperative to playing the style correctly.

 

 

 

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Bart Elliott

http://bartelliott.com

[Lee Flier]

Thanks for the book recommendation Bart! I'm nuts about second line drumming and very familiar with it... however would you be so kind as to explain more about what "linear" drumming is? I'm not at all familiar with that concept.

 

--Lee

[rlhubley]

Basically linear drumming is the playing of a groove while only letting one voice be heard at a time. I.E. if you were playing a normal kick on 1 and 3, backbeat on 2&4, then the hat would only be played on the up beats and NOT on the downbeats. This way only one voice is heard for that particular note. No double stops. I find paradiddles and the different permutations and versions of paradiddles to work great in this style. This will definitely funk up your groove. The great Zigaboo Modeliste is incredible with it, also check David Garabaldi.

[Lee Flier]

Oh, cool! Yes, I'm familiar with the technique (I'm a Zigabu fanatic) but didn't know it was called that. I love it, thanks!

 

--Lee

[DrummerCafe]

Originally posted by Lee Flier:

... however would you be so kind as to explain more about what "linear" drumming is? I'm not at all familiar with that concept.

 

A "traditional" slow funk beat, for example, might look something like this.

http://bartelliott.com/lessons/images/basic_funk.gif

One hand (ie. Right) on the hihat, the other (ie. Left) on the snare drum.

 

To turn this into a Linear Groove, you would simply not strike two surfaces at the same time. By definition, linear means "to draw a line" so you can see how the groove moves across "in a line" or horizontally. The original funk groove was horizontal in nature because there were two surfaces, the hihat and snare, which sounded at the same time.

 

http://bartelliott.com/lessons/images/basic_linear.gif

One hand still on the hihat, the other on the snare drum.

 

The concept behind linear drumming is not new really. Twentieth century composers in the 1950's used a technique called "serialism" which gave rise to "pointillism" (or linear). Points of sound where displaced throughout the orchestra creating a linear movement. Think of taking the tune "Mary had a Little Lamb", assigning a different note of the melody to a different instrument in the orchestra. When performed, the melody line would be bouncing all over the place, moving across the orchestra ... linear.

 

If you were touched by this lesson on Linear drumming, you may send your non-tax deductible gifts to me. By the way, you spell million ... M I L L I O N. http://www.musicplayer.com/ubb/wink.gif

 

 

 

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Bart Elliott

http://bartelliott.com

[felix stein]

Linear is the shit. I love it I love it I LOVE IT...can't get enough of it.

 

I had lessons from a New Orleans guy for several months and it definitely has a different feel---it's not wide and it's not totally swung. Can YOU say LEGBA???? You have to hear it, listen to it and play it. I've heard it, I've played it but I don't live it. Very interesting cultural tributary though.

[Gaddabout]

I know I've said this 1,000 times, but the best example of linear drumming is Steve Gadd on Chick Corea's "The Leprechaun." If you can make your way through the cheesy synth sounds, it is an amazing treat. Gadd would comp in linear mode, which I think is revolutionary even today.

[KikkyMonk]

btw linear drumming is what I have always liked... now I have a term for it http://www.musicplayer.com/ubb/smile.gif Could one say that carter beuford has elements of it in his playing?Any what is second line drumming -- it sounds interesting -- thanks all for your good info

 

Dave

[DrummerCafe]

Second Line drumming, also known as the Traditional New Orleans Funeral March is a New Orleans style of drumming with a long tradition. It's influences can be heard in Dixieland, Jazz, Funk, Rock and Pop styles.

 

A traditional New Orleans funeral ceremony involved a band comprised of brass instruments and drums. They would play somber dirges on the way to the cemetery with the mourners following just behind. The group of mourners became known as the "Second Line".

 

On the way back from the cemetery, the drums (snare & bass) would increase the tempo, playing an open, slightly syncopated march that was MUCH happier than the music heard on the way to the cemetery.

 

The mourners or "Second Line" would dance in the streets behind the band to release/purge their sorrows. The rhythms played by the drums during this portion of the ceremony became known as "Second Line" rhythms or "street beats".

 

Basic Second Line Feel

http://bartelliott.com/lessons/images/basic_second_line.gif

 

To try and fully explain what these Second Line rhythms sounded like would be a difficult task. Every player has their own unique way of playing these grooves. I can tell you that they have a rounded or rolling quality to them not unlike contemporary funk rhythms. Since there are two or more players involved with the snare and bass drum parts, there is a contrapuntal rhythmic approach resulting in patterns that are not symmetrical like traditional military marches.

 

 

 

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Bart Elliott

http://bartelliott.com

[felix stein]

As usual well said, Bartman.