FAQs

▸A PRIMER IN POLYRHYTHMS

To understand polyrhythms you have to have a basic understanding of fractions & ratios. For a simple example I’ll use 2 against 3 (which I think most people know the sound of, and is easy to play. This formula will give you the ability to work out any basic polyrhythm. You can use it with any two numbers – like 4 vs. 5, or 7 vs. 3.

First, you multiply the two numbers to get the smallest amount of beats that each can divide into: in this case 2×3=6. I’ll represent this as 6 “o’s” – that you can think of as 1/8th notes. o o o o o o

Then you divide the 6 into two groups of three: ( o o o )( o o o ) – and three groups of two: ( o o )( o o )(o o )

If you play this, one will sound 1-2-3, 1-2-3 , and the other 1-2, 1-2, 1-2.

(play the bold typeface below)

RH (o o) (o o) (o o) (o o) (o o) (o o)

RH 1 & 2 & 3 & 1 & 2 & 3 &

LH 1 & 2 & 3 & 1 & 2 & 3 &

LH (o o o) (o o o) (o o o) (o o o)

So, this makes a little melorhythm which you can hear and remember.

Each polyrhythm has it’s own little melorhythm like this which you familiarize yourself with & play from each perspective (2 over 3 & 3 over 2).

Once you are able to hear and play these you realize that polyrhythms are not so much the ability to hear two separate rhythms, but the interaction of the two, thought of as one melorhythm (which describes the inter-relationship between melody and rhythm) broken up between limbs (in this case RH &LH) like this: ( together–L-R-L- ).

I recommend Gary Chaffee’s “Patterns” book “Rhythm & Meter” as the best, most simple and straight forward way to learn these concepts. It will get you to a very advanced level (I wish I had that book before I got with Zappa – it would have prepared me very well!!!)

For coordination studies I recommend my 4 videos “Solo Drums” &”Melodic Drumming and the Ostinato”, as well as the book “4-Way Coordination” by Dahlgren & Fine

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DANIEL MARK:
Terry, It’s been a couple of years since I have been to one of your drum clinics but I distinctly remember you talking about playing the drums as you would the piano. I would really appreciate it if you could give me some more insight on this technique?

Well, it has to do with accompanying yourself with one or more limbs while soloing against it with the remaining limbs (as a pianist might play a bass line with his left hand while playing a melody against it with his right hand, or chords with one hand and a line with another). I do this with ostinatos. Or , because I have a lot of toms and cymbals) I play more melodically and harmonically at times rather than rhythmically to create a more complete musical statement.

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MIKE TIMMS:
My question is to do with permutations over an ostinato, say if you set-up a 16th note based ostinato between your left hand and left bass drum, when working though the 15 permutations with the right hand and then right foot, to play linear phrases do you go further to cover the over lapping permutations between the free limbs? Meaning all 15 permutations against all 15 permutations..to create none linear phrases over the pattern? Or, do you tend to play linear phrases between the remaining limbs?

No, not exactly, it depends on what I’m doing with what! I have said any of the basic permutations could be an ostinato played by one limb and the remaining limbs are free to solo against it (using the other permutations)-and I have somewhere 2 or 3 limbs hold the ostinato and 1 or 2 solo. But when you say linear that means melodic (between two or more limbs or two or more pitches) so this is where I don’t understand your question. At the linear point you get into playing mixed sticking patterns between limbs (as the solo part) against your ostinato, or doing actual melodies as I do on a row of toms or cymbals against it. So I don’t play all permutations against all others-I just pick one at a time and do the rest against it with whatever I want to create the musical effect I want-Then if possible for me I can get into mixed sticking (for example if I do an ostinato with my feet I can do mixed sticking against it with my hands). Then the last step is to do melodic permutations (on toms or any graduated pitches you have on your kit).

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ASMET:
I would like to ask Terry if he could please reconsider his decision about Missing Persons. I’m not sure that Terry understands the depth of the sentiments among the MP fans. It has taken on a completely different dimension from the band member’s experience. I understand there may be good reasons for Terry’s decision, but please reconsider how MP can be kept alive in one form or another.

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MARCO GOGOPANTS:
Does anyone know if the Terry Bozzio/ChadWackermann duets video will be available on DVD? I’m holding out for a DVD so any information would be much appreciated. Thanks

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MICHAEL CARPENTER:
Terry,I’m having some trouble understanding how you have your piccolo toms tuned. On the “live” video it looks like they are tuned to the scale of C but I’m not sure. I was also thinking about using your tom set-up for a project I have in mind. I want to have at least two octaves of piccolos to play on. I need to understand your tuning though and what you would base your depths and head tensions on in relation to scales.

Two octaves of 8″ piccolo toms is not possible. Actually, my low “D” is as low as it can go without being too flappy. My set has 8″ x 6″s, & 8″ x 5″s, as well, the Cis an 8×6. The actual piccolo toms are tuned every other note of a C scale: D-F-A-C. The others are C-E-G-B (all ascending). To get two octaves you might have to go to 10″ and 12″ for the lower C and down. Try experimenting with Rotos to see what the practical tuning ranges are. My piccolos are really stretched to their limits with the low D and high C.

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BILL NELSON:
Has Terry Bozzio done, or does he plan to do a video that would contain the following: Like a 8 or 10 piece band that Features Terry doing themes like tangos, swing music, jazz and maybe even some rock mixed in? AND I MEAN ASIDE FROM WORK with (Zappa who i admire greatly). I think if i saw this type of video of Terry playing with guys like the Marsalis brothers, Brecker brothers, Harry Connick jr. etc, etc. I would think I died I went to heaven. I Can’t imagine anything better than this type of format where Terry is permitted to go on a few 15 min solos with a little question and answer between some horns and/or strings etc, etc. P.S. IF Terry sees this idea i hope he will consider it strongly…..I loved your solo work on your live-in-concert video it was nothing short of beautiful…I think the project I mention would only embellish your GRAND TALENT.

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PIETER APPLEMAN:
Hi Terry, I’ve been to a concert of yours last year when you played in Haarlem, it was part of the Dutch tour which was arranged in association with the magazine Slagwerkkrant. I hadn’t heard a single song of yours before I went there so I was very curious. After I’ve seen your show I think your drumming was about the only thing I talked about for two weeks :-). I was wondering why you don’t use any electronic drums in your kit. When I listen to music from Tool I hear all sorts of electronic sounds which could fit into your music as well I think. Not only you could use all sorts of percussion sounds, but with a good sampler, you could combine (layer) percussive sounds with melodic sounds, which would of course, fit very well into your kit and playing class. Also, I was wondering why you use 12″ snare? I thought it was because it gives you more space for your legs/pedals only, since you tune it like a normal snare. Am I correct or no?

Thanks for the suggestion but I burned out on electronics in the 80’s (after inventing my own drum pads &pedals). Now I really enjoy keeping it pure and simple!! (I have enough electronic stuff to deal with when composing or recording at home with ProTools and all the midi & synth stuff). I like the spontaneity of the acoustic instruments and also I just can’t handle having to deal with any more gear!!!!

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C RICHARD CALLOWAY:
Dear Terry, I would like to know what kind of bottom heads you use with your signature heads. I also would like to know the bearing edge specs on your drums. I would also like to know where I can get a SPOXSE Hi-Hat. What type of foot board do you prefer, solid or split? Any info on educational material written by you would be most appreciated. Thanks, Terry for your time, Rich.

I use the same TB signature head on the top & bottom of all my toms. The snare, of course, has a thin TB sig. snare side head, and the top id a coated white dot. The bass drums have a black “thin skin” head on the front. (all available at (terrybozzio.com). I use a DW nylon strap pedal , it is a solid normal footboard. The Spoxe are no longer available but you can make your own from an old roto tom and punch out the center of one part of it. I’m working on a book but so far my educational material is in my videos: Melodic Drumming & the Ostinato vol.1, 2 & 3 (also available at terrybozzio.com).

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FAUZIE:
My name is Fauzie Cokie. I am come from Indonesia. I know about you from your VCD. I like to see you playing a drum. as you know I like to play drum too but I am still amateur. Would you be my teacher to play drum by send techniques how to play drum it can be a book or something. You can send to my e-mail. Thank you very much if you want to be my teacher. I wait your answer.

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JIM BOB:
Can someone tell me how many different time signatures (meters) are used in the song “Crash” – Situation Dangerous album?? Thanks.