Canadian Musician - January / February 2020 | Página 28

PERCUSSION
Ted Warren teaches at the University of Guelph and is a well-regarded clinician and adjudicator. Ted has worked with
many acclaimed performers, including Mel Torme, Rob McConnell, Slide Hampton, Bob Newhart, Maynard Ferguson,
Lew Soloff, Chuck Mangione, Jeff Healey, Norma Winstone, Sheila Jordan, Howard Johnson, Nick Brignola,
Kenny Wheeler, and Jerry Bergonzi.  
By Ted Warren
Inside Double Comping Ideas
Part 2: Triplets
I
n the first installment of this article, we looked at taking a four-note
pattern with the middle two notes repeated for use in jazz comping.
These were all 1/8 th note-based ideas. (See Ex. 1)
Ex. 3F
Ex. 3G
Ex. 1
Exs. 4 and 5 show that you could also play the “backward jazz ride” or a shuffle
along with all these comping patterns. (Note that for the sake of brevity, I
haven’t written all these out.)
Ex. 4
Now we’re going to do a similar thing, but with triplets. In Exs. 2 A-F,
we’re playing the same four-note ideas as in part one, but now we’re
playing them in triplets, meaning they’ll occur three times in a bar of
4/4 rather than two. We’ll be keeping time on the ride cymbal with
quarter notes only. As before, make sure they’re nice and solid through-
out.
Ex. 2A Ex. 2B
Ex. 2C Ex. 2D
Ex. 2E
Ex. 2F
Ex. 5
For our last set of exercises, and to pose a bit more of a coordination
challenge, we’re going to play an Afro-Cuban 12/8 pattern with the non-
comping hand. We can play this on the ride cymbal, bell of the cymbal,
any drum rim, or side of the floor tom. Have fun!
Ex. 6A Ex. 6B
Ex. 6C Ex. 6D
Ex. 6E Ex. 6F
Exs. 3. A-F are the same thing but with the standard jazz rhythm on the ride
cymbal. As you can see, there are lots of options for right hand accompani-
ment on this. (Unless you play leftie, of course!)
Ex. 3A
Ex. 3C
28 CANADIAN MUSICIAN
Ex. 3B
Ex. 3D