marco minnemann - extreme interdependence

7/23/2019 Marco Minnemann - Extreme Interdependence

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DRUMMING BE YOMD IN D E F E N D E M C E

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y Virgil Donati -7 zwmhere are many challenging and demanding qualitieswe neour quest to improve our creativefaculties on the drums.

requires l t r e m en dA levelof inpu t, vitality, and finessein order to ma.t'e anexperience for n audience. T h e serious drumm erh s the respon sibility ofdiscovering and understa ndin g many of the rhythmic possibiIities in o rder tofill his musical palette with ll the colors he sees necessary to tel l his story.

ow ar an individual travels on this journey is dependent on com mitm ent,desire, an d dispositionfor little hard work.Marco has presented uswith atopic tha t I believe is a decisive and indispensable part of drum ming: tha t is,being able to coordinateour limbs in infinite combinations. H is breathtakingperformances are testimonyto e results one can achieve'with the stvdy ofinterdependence. Th is boo ko in us not on ly challenging but lmsvery musi-cal exercises to help uson our w y to g ining control and mastery overrhyrhm. A t this stage in th am of drwns, I believe this to b e the most



T to Ahna and Jens Minnemann, Phoeniu and Artemis, PanhlessELck., Virgil Donat i , Ray Brych, David Hillam, Mike Finkelstein, E dUribe Srephan Hsnisch, Norbert Saemann, everyone a t Meinl , Pat, hlauwandleff a t Pro-bjiiu-k, D o n and John at DW, Gerry Baumeister at A I G , afi ~tPrincipal Studies Miinster, and to all my family members and friends in theuniverse. Tharrks for promoting my life in music

All the very best,tzrco



......................................................................verview 9Introduction ............................................................. I IAbout Marco Minnemann ........................................ 13

..................................................About Rick Gratton 5

Part I Extreme Warm ups 17Part 2: The Patterns 25

....................................................he Basic Patterns 27............................................................................................Patterns: Set I 28

Patterns: Set 2 ............................................................................................ 29Patterns: Set 3 ............................................................................................ 30

............................................................................................Patterns: Set 4 32

............................................................................................Patterns: Set 5 33

............................................................................................Patterns: Set 6 34

............................................................................................atterns: Set 7 35Patterns: Set 8 ............................................................................................ 36Patterns: Set 9 ............................................................................................ 37Patterns: Set 10 .......................................................................................... 38

...........................................................................................Patterns. Set I I 39

..........................................................................................Patterns: Set 12 40..........................................................................................Patterns: Set 3 I

.Part 3: The Melodies 43................................................The Melody Elements 45

..........................................................Melodr Elements

IEighth Notes 46Melody Elements : Sixteenth Notes .................................................... 48

......................................................................e16dy Elements 3.Triplet.s 50........................................elody Elements 4: Sixteenth-Note Triplets 52

Melody Elements 5:Thirty-Second Notes ............................................ 53

Part 4: The Flam Patterns 5 5The Flam Patterns .................................................... 7

..................................................................................lam Patterns: Set I 58

..................................................................................am Patterns: Set 9

h atterns: Set 3 .................................................................................. 9

..................................................tterns 6 2..................................... 63..................................... 4

.................................................................... 65

67............................................................. 69



Part : Rudiments for ExtremeInterdependence 7

Creative Ways t o Apply Rudiments on the Drum Set 7

Rudiments as D rum Breaks and Fills 3

Rudiments as Patterns and Ostinatos 4

Part 8: Visuals and CombinationConcepts 75

isuals and Combinations 76Visualizing Motions .................................................. 77

Part 9: Advanced lnterdependenceWorkshop 9

..................dvanced Interdependence Workshop 80lnterdependence With Rhythmic Subdivisionsand Superimpositions ................................................................................ ICoordination Exercises With Latin-Style Rhythms ............................ 6

Extreme Soloing ........................................................................................89

Solo I 90Solo 2 ............................................................................................................ 9

Part I 0: olo Transcriptions 9....................................................olo Transcriptions 96

..................................................................................................Arpeggio 96

Streets 7

Discography .............................................................. 9......................................................udio CD Index I



ETREME IN TERDEPENDENCE is the incredible new method that teaches

you cutting-edge techniques to master and expand upon four-limb independence,moving beyond to interdependence.

Wi th this unique approach, your coordination skills w i l l dramatically increase in orderto give you the flexibility to adapt to LL musical styles.

Included are:

Extreme warm-ups-groundbreaking exercises that will expand your inde-pendence skills immediately.

Patterns-the building blocks to the entire system.

Melodies for two limbs-the other h lf of the independence equation that willimprove your improvisational technique for multiple applications.

Flam patterns-increase your independence with these flarn exercises not onlyfor your hand technique but also for double bass drum applications.

Hi-hat p atterns-your groove will never be the same once you explore theseExtreme Interdependence Grooves.

Extreme soloing--see how you can apply these techniques to solos that willtake you to new levels.

Workshop sheetdadvanced patterns-this is where we put it ll together andredefine independence. These amazing techniques push l l of the rhythmical

boundaries and moreCD play-along-your independence and playing skills will reach new levelswith t h e s ~ncredible recorded tracks from Marco's solo CDs.



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er we are co~lscious f it or not, r h r ~ h m ermeates everything in our lifetime, the date, the seasons, daytime, nighttime, eating, sleeping: we ll

icnl movements on a constant basis. These events orimultaneously, independently, or in an overlappinginate these events that we discover that rhy th ~n s

B the heartbeat ofbur soul and, ns drummers, seems to "get us through" everything

I present to you my in terpre t~tio n f these life rhythms as applied to the drum set.

The material you are about to encounter is what I believe to be cutting-edge. Intoday's drumming commullity it is not enough to be able to groove, it is also impor-tant to have the coordinated flexibility to be adaptable in ll musical styles, in otherwords, to have extreme interdependence

Independence has always been a challenge for most drummers, who relegate them-selves to being content with applying a few coordination c~ercises o get by. I t is herethat we will overcome the challenge by teaching you a simple approach .to achievingthe independence skills that will give you the confidence to go to the next level andbeyond.

I now present to you xtreme Interdependence Good luck



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-Marco Minnernann was bornDecember 24,1970, in H a m x ~ ~

Germany , and studied piano and gu itaratthe tender age of five. Wh en he waseleven, M arco switched to the ffum set

1 nd proceeded to tour by the age of thir-teen. H e became abig: fan of FrankZappa and voraciouslynotated and playedalong to ll of Zappa's material. His studymaterials at the time were Gary Chester'sNew Breed &I and ary ChafFee'sPatternsseries. His irst major recordingcontract (BMGIArista) was signed at theage of nineteen, and he went on to release

ive C D s with the highly successfulbandFreaky Fukin' Weirdoz.

Marco has also played with various artists including ina Hagen,Wolfgang Schmid'sT h e Kick, and his own successfulgroup, Illegal Aliens, featuring his own music andhis wife Arternis on vocals.They released their first CD Thickness, in 1995.

Ic 99,6 he began playing with H - B l o c k and recorded the CD Fly which w s

released in 1998 and achievedgold record status. Illegal Aliens then releasedtheirsecond CD in 1997entitled RedAlibis,which garnered rave reviews in odern ,

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, D i m m e rMagazine.8

A t the end o f 1998,Marco brought his writing and playing skills to thehis successfulsolo CD The reen Mindbomband immediatelyM ~ w e d

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Aliens' thirdCD

entitled Time.Wi t h his ii tense schedule,Marco found the time to work with Artemis m d guitaristWerner Ponikowslu (FreakyFukin' Weirdoz) on yet another project called Brainhad

Marco was back in the studio near the end of 1999 to produce his second solo ventureComfortablyHomeless,and Illegal Aliens' InternationalTelephonewas released in 2000to more rave reviews.

His incredible technique and limb interdependencehave brought audiences to theirfeet on clinic tours and at drum festivals including the Modern Drummer Festival,Montreal Drumfest, PASIC, ICoblenz 1998, and exhibition shows in Frankfurt from1998-2000 for Meinl Cymbals. It is easy to understand why Marco was voted one ofthe top five up-and-coming drummers in Modem Drummer's readers poll.

Marco's popularity has increasedworldwide and garnered high praises from such stel-lar drummers as Steve Smith,Virgil Donati,Mike Nlangini, and others. His passionfor music and drumming is infectious and knows no bounds Look for the many excit-ing projects that this drumming phenomenon has to offer, and remember that it allmarts with Extreme Interdependence

rses M E I N L Cymbals; DW Drums; his own signature drumstick,M I L L E N N I U MI1 721; EVANS Drumheads; AKG Microphones; and

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hroughout Rick s career he has

TP erformed and taught around theworld. People who have used hisinstructional materials include TerryBozzio, Gary Chaffee, KemyAronoff, and Virgil Donati, just toname a few. Kck s career highlightsinclude having his book, Rick: Licksranked in the top ten of ModemDrummer s Top 25 Greatest DrumBooks by Larrie Londin and KennyArono E His instructional materialhas been included in the updatedversion of Carmine Appice s ealistic

Rock (one of the best-selling drumbooks of all time).

H e has recorded with world-renowned artists such as PattiLaBelle and has shared the stage withSteve Smith, Sonny Emory, and Ki rk ,Covington at Drumfest 94 inMontreal. At Drumfest 99, Rick hadthe pleasure of teaching masterclasses alongside Gary ChafTee, SteveHoughton, Walfredo Reyes Sr., and

Joey Heredia. Rick has also toured and recorded with- arcJordan, ~e rr i- cl ar k, ongJohn Baldry, Garole Pope and Rough Trade, Ian Thomas and the Boomers, and a hostqf others.

Rick s students have included Anton Fig (David Letterman), Jeremy Taggert (Ou rLady Peace), Hilary Jones (Robben Ford), and m ny other outstanding drummers.

Rick currently endorses sabian Cymbals, Pearl Drums, Attack Dru m Heads, andRegal Ti p S iclcs (Cdato) .

You can find out more about h c k , his boolcs, and his instructional videos at his Website, www.riclcgratton.com.



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I order to master extreme interdependence (a Lifelong study), we must exercise ll fourlimbs. The challenge will be to brealc an old habit that seems to haunt most drummers, and

that habit is always emphasizing the strongest limbs and ignoring the weakest.

ctien The key to cytreme warm-ups is simplicity. ll of the exercises are written in quarter notesxtr m for easy reading. Each exercise breaks down the four limbs into manageable parts and then

u s combines them to complete the pattern for easy execution. You w ll discover that the learningprocess is always easier to understand when you can break things down into their basic partsand then put them back together.

Studying how these parts are combined will set the tone and approach that should be takenwhen working through the book.

This book was custom-made for you so that ALL exercises can and should be mixed andmatched with any limb and in any rhythmical setting you want. Take your time and bepatient, and you too will fin the proper musical setting to apply your new skills. In otherwords, ANY THI NG GOES

Remember: In spite of the technical nature of these exercises, there is a big differencebetween technique alone and playing music and grooving, so please keep in mind:

Music came first, the written note came second.

'Always play for the music; it's the right thing to do

Repeat each exercise as often as necessary, and tempos should be a matter ofchoice and no t forced.

So, d t h o u t furtLer delay, let's get started

E Following is the notation key for the forthcoming sections. This notation key applies unt l

another key or notation is presented. Note: Sometimes examples deviate from a given nota-tion key. In such instances each specific example will be annotated with instructions.

Snare

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xtreme Musical Interlude

N w that you are mastering the extreme warm-ups, the next logical step is to increase theinterdependence level with the following pattern exercises.

The 13 patterns with variations are the building blocks onto which other exercises will beadded, namely the Melody for Two Limbs section (page 41).

Patterns

Wh en studying these patterns, you will notice a similarity with the extreme warm-up exer-cises-they have simply been rewritten as sixteenth notes. Therefore, it is a simple matter o frepeating wha t you already know. (I told you would make it easy ) The key this time is torepeat the patterns until they become second nature to you so that you can add on theMelody for Two Limbs exercises with greater ease.

Wi th each pattern there are written suggestions as to what. sound source (snare, cymbal, bassdrum, etc.) the melodies should be played on. These are merely suggestions and are notcarved in stone. Feel free to place your hands or feet on whatever sound source you like.

Now that you know we are going to add on the melodies, please glance through the patternsand then proceed to the Melody for Two Limbs section to see how we can put ll of thistogether.

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9 Introduction: Patterns plus Melodies. j

@Action " Pattern 2, Example 5 is played as the ostinato while Marco improvises

with the eighth-note melodies in a continuous rhythmical flow.



elcome to the oth er half of the equation W e are now ready to apply the melodies tot h e p at te rn s. O n c e a ~ a i n , ou will notice that some of the melodies appear in the

extreme warm -up esercises. T h e only difference is tha t t he figures are writte n as eighths,triplets, siuteenths, and thirty-second notes.

T h e melody exercises are writte n between th e sanle two notes on a single-line staff. O ne ofthe be nefits of writing these figures in this way is tha t we can reassign oth er limbs to th eseexercises.

T h e snare and bass drum can be replaced with:

a) Top note = right hand, bottom note = left ha nd, an d vice versa.b) To p note = right foot, botto m note = left foo t, an d vice versa.c) Using one limb (e.g., right hand ) top note = one sound source,

bottom note = a different sound source (e.g., snare t o floor tom).

Aft er practicing these me thods, you wdl notice an im provement in your im provisational slcillsbecause of th e flexibility you'll obtain. He re is an example that dem onstr ates how to do it:

G o back to the Patterns section and decide which exercise you want to play. Let's pickPat te rn l a a ouble-s troke between the bass drum and h i-ha t ( foo t) .

Now, flip to th e Melod y Ele me nts section and piclc anot her exercise. Let's piclc Mel ody l a .

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As mentioned before, you now have a choice as to how you would like to interpret thismelody. Since both feet arc occupied, we will play the melody hand-to-hand s single strokes

on the snare drum. Remember, top note = right hand , bottom note = left hand.No w it is a simple matter of combining the two:

1 s v ~ uan see, the possibilities are enormous You are limited only by your imagination, so=ye,lmen: ;\ irh your own combinations and have som e fun



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Pattern 3 Example 1A is played as the ostinato while Marco improviseswith the sixteenth-note melodies in a continuous rhythmical flow.

Pattern 9 Example 6A with an improvised melody on top.

Pattern 12 Example lB with an improvised melody on top.



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l m exercises are a must when i t comes to independence. Although they are playedFsporadicdy, they can be an effective part of one's bag of tricks. Simply put, Bams are acombination of two limbs ALMOST striking together. One is light, and the other is morepronounced.

Not only are they effective with the hands, but they are also extremely beneficial whenapplied to the feet, as witnessed by many of todays' players. Whether you are playing bassdrum and hi-hat or double bass and/or two hi-hats, you owe it to yourself to explore thepossibilities.

Wi th that in mind, the flam patterns can be played as hand and/or foot exercises. For now,

when applying the hands, play the top note with the right hand, the bottom note with theleft hand, and vice versa. When applying the feet, play the top note with the right foot, thebottom note with the left foot, and vice versa.

While practicing each exercise, experiment with both interpretations moving back and forthfrom the hands to the feet. You will notice that these exercises on their own also work wellfor your technical skills.

Remember: Repetition is th key to gaining facility on the drum set

Once you are comfortable practicing with your hands and feet, expand your independence byadding the Melody exercises. For example:

FlamPattern (hands) k

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Melody Elements lb

You see this:

You play this: X X X X

ombine the two and you get:I-

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ore that by adding a grace (Light stroke) note, you increase the level of

arically. Experiment with combinations of your own



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xtreme usical Interlude

I is interesting to note that as drummers we play time percent of the time. Therefore, itis here that we explore our extreme groove interdependence.

The hi-hat patterns are played with the foot in single, double, and triple combinations.

The snare drum is played on beats 2 and 4 throughout the exercises while applying variousride cymbal patterns. The only missing part is the bass drum. The bass drum figures can befound in the Single Note Melodies section (page 67 .

Here is an example to show how to combine the single-note melodies with the hi-hatpatterns:

Hi-Hat Pattern 1

Melody (single notes)

Combine the two and you get:

Oncedrum

you are comfortable with this process, experiment with variouspatterns of your own. Your grooves will never be the same

ride cymbal and snare



ownthe single-melodyrhythms pages 69 and 70



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s you c a n see from the hi-hat patterns, the sinule-note melodies ;IS? inv:duablc wh na

I ~ I ~ > I ~ I12 hem 11s b;\ss ,Irum figurcs.'The f'ollow~ ng melodies nrc 1.h\lthrnicall-\1 lividedInto sincrlc-, tlouble-, ;111tl 1-riplc-note cornhinations. Th e various lnctcrs :~n tl onl l~ i~i ;lr io~ i ets

,i n t ,:icr.c~sc ? :~sl c I)l:tyecl in their ho~~~c-l>:lscct ctcrs and also in 4/4

1?)1-c s ; ~ n ~ p l c ,vhcr~ l;lying l 3/4 melocly ;IS 4 4 t will t;lltc three bars of 4/4 to cornl~lct c . 1 1 ~

1.~1ttern. 115/4 i t will take five bars ot'4/;C to cyclc the pattern in order for it to resolvc II;I .I;to the down beat.

No w tha t your independence is c~ pa nd in g, imply reassign these single-note melodies to tllcdr um set as possible hi-h at, snare, or ride cymbal figures and apply them in combination will^

the exercises throughout the book.

The se simple rhythms a nd their applications c m brealc down those independence barriers toallow complete freedom on the drum set



9. Triple Note Sets

l ingle Note Sets 8.

A 1 1

12.

13 Various Meters and Combination Sets



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lications of traditional rudiments to the drum set can expand your technical F ~cilit-y,especiady when combined with the independence exercises you are learning.

The first part of this section demonstrates how the rudiments can be applied as drum breaksand fills whiie playing time. h e second part shows how you can directly apply the rudimentsto the independence ideas from this text.

Once you understand the process, it is highly recommended tha t you apply these techniquesto all of the rudiments.

Following is the notation key for this section:

Please note Du e to Marco s extensive drum setup, it is sometimes necessary to deviate fromthis key (which is Marco s standard key) to present a more practical and readable notation. I nsuch cases there w ll be a note at each example explaining th e specific notation.



. Ratamacue Variation

R R R R R R

a. The Drag Paradlddle

Zm m rdRam Accent

2b. Drag Paradlddle Variation

Flam Accent Drum Set Variation



2. The same Paradiddle played on two hi-hats with a second ostinato played

over it with the l e f t hand.

F==-When comfortable with t h i s base

4l ? = pattern, begin improvising around the

se t with the right hand.

3. Double Stroke Roll between the Bass Drum and Small Tom with a polyrhyth-ml hl-hat pattern over the top.

Note: The top line Is played wi th theleft foot (hi-hat foot). The open tonesare splashes and the closed tonesare chicks. When you're comfortablewith the base pattern, improvise with

1 A Paradiddle moved a 16th back and played on Toms and Snare. 1

oop the pattern and then improvisewith your f e e t in 8ths and 1 6 t h ~ .

R R L L R R L L the right hand.



sti1. A Paradiddle moved a 16th back and played on Toms and Snare.

Loop the pattern and then improvisewith your feet in 8ths and 1 6 t h ~ . .

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2. The same Paradiddle played on two hi-hats with a second ostinato played

over it with the left hand.

P When comfortable wlth t h i s basei- 4F

=Xpattern, begin improvising around theset with the right hand.

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3. Double Stroke Roll between the Bass Drum and Small Tom wlth a polyrhyth-mic hi-hat pattern over the top.

Note: The top line is played wCth theleft foot (hi-hat foot). The open tonesare splashes and the elosed tonesare chicks. When you're comfortable

R R L L R R L Lwith the base pattern, improvise wlththe right hand.



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ce you start to apply these techniques your motions on the drum set can furthe r stim u-late the creative process.

Thc following exercises present concepts for singlc-stroke combinations in various metersand with diagrams to help you visually explore the different ways to move them around theset. Nest to each notated pattern is an overhead drawing of how these patterns look whe napplied. The se motions c an be adapted to any size drum set and t he concepts should beapplied to ll the exercises in this book.

Following is the notation k y shown again for convenience in reading the examples presentedin this section.

Following is the master diagra m for th drum s tup used in these examples.

marco minnemann - extreme interdependence

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