Vdocument - in Marco Minnemann Extreme Interdependence

7/23/2019 Marco Minnemann - Extreme Interdependence
DRUMMING BE YOMD IN D E F E N D E M C E
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here are many challenging and demanding qualities we n e
our quest to improve our creativefaculties o n the drums.
requires l t r e m e n d A lev el of inpu t, vitality, an d finessein order to ma.t'e an
experience for n audience. T h e serious drumm erh s the respon sibility of
discovering and understa ndin g many of the rhythmic possibiIities in o rder to
fill his musical palette with l 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 us with a
topic 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 breathtaking
performances are testimonyto e results one can achieve'with the stvdy of
interdependence. Th is boo koin us not on ly challenging but lmsvery musi-
cal exercises to help us our
on w y to g ining control and mastery over
rhyrhm. A t this stage in th am of drwns, I believe this to b e the most
http://slidepdf.com/reader/full/marco-minnemann-extreme-interdependence 2/108
T
to A h n a a n d Jens M i n n e m a n n , Phoeniu and Artemis, P a n h l e s s
ELck., Virgil D o n a t i , Ray Brych, David Hillam, Mike Finkelstein, E d
Uribe Srephan Hsnisch, Norbert Saemann, everyone a t M e i n l , Pat, hlauw
andleff a t Pro-bjiiu-k, D o n and John at DW, Gerry Baumeister at A I G , afi ~t
Principal Studies Miinster, and to all my family members and friends in the
universe. Tharrks for promoting my life in music
All the very best,
tzrco
verview
Introduction ........................................... 9
II
About Marco Minnemann .................... 13
About Rick Gratton .. ............... 5
Part I Extreme Warm ups 17

Part 2: The Patterns 25
he Basic Patterns .......................... 27
Patterns: Set ...........................................
I 28
Patterns: Set 2 .............................................. 29
Patterns: Set 3 .............................................. 30
Patterns: Set 4 ............................................. 32
Patterns: Set 5 ........................................... 33
Patterns: Set 6 ............................... 34
atterns: Set 7 .............................................. 35
Patterns: Set 8 ............................... 36
Patterns: Set 9 .............................................. 37
Patterns: 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
I ....................
M e l o d r Elements
Melody Eighth N o tNe os t e s ..........................
: Sixteenth 46
48
e16dy Elements 3.Triplet.s ................................... 50
elody Elements 4: Sixteenth-Note Triplets .................... 52
Melody Elements 5:Thirty-Second N o t e s ...................... 53
Part 4: The Flam Patterns 55

The Flam Patterns ......................... 7
lamPatterns: Set .........................................
I 58
am Patterns: Set ....................................... 9
h atterns: Set 3 .......................................
. 9
tterns ........................ 62
................... 63
................... 4
.................................. 65
67
.............
.................. 69
Part : Rudiments for Extreme

Interdependence 7
CreativeWays t o Apply Rudiments on the Dr um Set 7
Rudiments as D rum Breaks and Fills 3
Rudiments as Patterns and Ostinatos 4
Part 8: Visuals and Combination

Concepts 75
isuals and Combinations 76
Visualizing Motions ......................... 77
Part 9: Advanced lnterdependence
Workshop 9
dvanced InterdependenceWorkshop .........
80
lnterdependence With Rhythmic Subdivisions
and Superimpositions ................................................................................ I
Coordination ExercisesW ith Latin-Style Rhythms ............................ 6
89
Extreme Soloing
Solo I ........................................................................................ 90
Solo 2 ............................................................................................................ 9
Part I 0: olo Transcriptions 9

olo Transcriptions .......................... 96
Arpeggio .................................................................................................. 96
Streets 7
Discography .............................................................. 9
udio CD Index ...................................................... I
TREME IN TERD EP EN DE NCE is the incredible new method that teaches

E 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 order
to 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 will
improve your improvisational technique for multiple applications.
Flam patterns-increase your independence with these flarn exercises not only
for your hand technique but also for double bass drum applications.
Hi-hat p att ern s-y our groove will never be the same once you explore these
Extreme Interdependence Grooves.
Extreme soloing--see how you can apply these techniques to solos that will
take you to new levels.
Workshop sheetdadvanced patterns-this is where we put it ll together and
redefine independence. These amazing techniques push ll of the rhythmical
boundaries and more
CD play-along-your independence and playing skills will reach new levels
with 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 life

time, the date, the seasons, daytime, nighttime, eating, sleeping:we ll
icnl movements on a constant basis. These events or
imultaneously, independently, or in an overlapping
inate 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 ter pre t~ tio n f these life rhythms as applied to the drum set.
T he material you are about to encounter is what I believe to be cutting-edge. In
today'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 othe r
words, 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 here
that we will overcome the challenge by teaching you a simple approach .to achieving
the independence skills that will give you the confidence to go to the next level and
beyond.
I now present to you xtreme Interdependence Good luck
Jc
arco Minnernann was born
December 24,1970, in H a m x ~ ~
-M
Germany , and studied piano and gu itarat
the tender age of five. Wh en he was
eleven, M arco switched to the ffum set
1 nd proceeded to tour by the age of thir-
teen. H e became a big: fan of Frank
Zappa and voraciouslynotated and played
along to ll of Zappa's material. H i s study
materials at the time were Gary Chester's
New Breed &I and ary ChafFee's
Patterns series. His irst major recording
contract (BMGIArista) was signed at the
age of nineteen, and he went o n to release
ive C DFukin'
Freaky s withWeirdoz.
the highly successfulband
Marco has also played with various artists including ina Hagen, Wolfgang Schmid's
T h e Kick, and his own successfulgroup, Illegal Aliens, featuring his own music and
his wife Arternis on vocals.T h e y released their first CD Thickness, in 1995.
Ic 99,6 h e began playing with H - B l o c k and recorded the CD Fly which w s
released in 1998 and achieved gold record status. Illegal Aliens then released their
second CD in 1997entitled RedAlibis,which garnered rave reviews in odern ,
. 8
;
, D i m m e r Magazine.
A t the end o f 1998,Marco brought his writing and playing skills to the
his successfulsolo CD The reen Mindbomb and immediately M ~ w e d
U
CD
Aliens' third entitled Time.
W i t h his iitense schedule,Marco found the time to work with Artemis m d guitarist
Werner Ponikowslu (FreakyFukin' Weirdoz) o n yet another project called Brainhad
Marco was back in the studio near the end of 1999 to produce his second solo venture
ComfortablyHomeless, and Illegal Aliens' International Telephonewas released in 2000
to more rave reviews.
H i s incredible technique and limb interdependence have brought audiences to their
feet on clinic tours and at drum festivals including the Modern Drummer Festival,
Montreal Drumfest, PASIC, ICoblenz 1998, and exhibition shows in Frankfurt from
1998-2000 for Meinl Cymbals. It is easy to understand why Marco was voted one of
the 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. H i s passion
for 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 all
marts 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
lh
hroughout Rick s career he has
TP People
world. erformed and
who taught
have usedaround
his the
instructional materials include Terry
Bozzio, Gary Chaffee, Kemy
Aronoff, and Virgil Donati, just to
name a few. Kck s career highlights
include having his book, Rick: Licks
ranked in the top ten of Modem
Drummers Top 25 Greatest Drum
Books by Larrie Londin and Kenny
Ar ono E His instructional material
has been included in t he updated
version of Carmine Appice s ealistic
Rock (one of the best-selling drum
books of all time).
H e has recorded with world-

renowned artists such as Patti
LaBelle and has shared t he stage wit h
Steve Smith, Sonny Emory, and Ki rk ,
Covington at Drumfest 94 in
Montreal. At Drumfest 99, Rick had
th e pleasure of teaching master
classes alongside Gary ChafTee, Steve
Houghton, Walfredo Reyes Sr., and
Joey Heredia. Rick has also toured and recorded with- arc Jordan, ~e rr i- cl ar k, ong
John Baldry, Garole Pope and Rough Trade, Ian Thomas and the Boomers, and a host
qf others.
Rick s students have included Ant on Fig (David Letterman), Jeremy Taggert (Ou r
Lady Peace), Hilary Jones (Robben Ford), and mny other outstanding drummers.
Rick currently endorses sabian Cymbals, Pearl Drums , Attack Dru m H eads, and
Regal T i p S iclcs ( Cd at o) .
You can find out more about h c k , his boolcs, and his instructional videos at his Web
site, www.riclcgratton.com.
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order to master extreme interdependence (a Lifelong study), we must exercise ll four
limbs. 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 T h e key to cytreme warm-ups is simplicity. ll of the exercises are written in quarter notes
xtr m for easy reading. Each exercise breaks down the four limbs into manageable parts and then
us combines them to complete the pattern for easy execution. You w ll discover that the learning
process is always easier to understand when you can break things down into their basic parts
and then put them back together.
Studying how these parts are combined will set the tone and approach that should be taken
when working through t he book.
This book was custom-made for you so that ALL exercises can and should be mixed and
matched with any limb and in any rhythmical setting you want. Take your time and be
patient, and you too will fin the proper musical setting to apply your new skills. In other
words, ANY THI NG GOES
Remember: In spite of th e technical nature of these exercises, there is a big difference

between 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 t o do
Repeat each exercise as often as necessary, and tempos should be a matter of

choice 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 untl
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
Ride
Bass r u m Hi-Hat w foot
30 a.
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xtreme Musical Interlude
N w th at you are mastering th e extreme warm-ups, t he next logical step is to increase the
interdependence level with the following pattern exercises.
The 13 patte rns with variations are the building blocks onto which other exercises will be
added, namely t he 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 f
repeating w ha t you already know. (I told you would make it easy ) The key this time is to
repeat the patterns until they become second nature to you so that you can add on the
Melody for Two Limbs exercises with greater ease.
Wi t h each pattern there are written suggestions as to what. sound source (snare, cymbal, bass
drum, etc.) the melodies should be played on. These are merely suggestions and are not
carved 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 patterns
and then proceed to the Melody for Two Limbs section to see how we can put ll of this
together.
i
L L R R L L R R L L R R L L R R R R L L R R L L R R L L R R L L
i; li:
R I L
R R R R R R R R . R R R R R R R
2a 2b
R R R R R R R R R R R R R R R R
2a
R R R R R R R R R R R R R R R R R R R R R R R R
4a
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L L L L L L L L L L L L L L ~L L L L L L L L L L
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L L L L R R R R L L L L R R R R R R R R L L L L R R R R L L L L
4b
L L L L L L L L L L L L L L L L
la
2a 2b
La
R R R R R R R R R R R R
m s C I
R R R L R R R L R R R L R R R L L L L R L L L R L L L R L L L R
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;he ask Patterns
la
L L R L L L R L L L R L L L R L R R L R R R L R R R L R R R L R
6b
L L L L L L L L L L L L L L L L
'tt t
2a 2b
L R R R L R R R L R R R L R R R R L L L R L L L R L L L R L L L
L L L L L L L L L L L L L L
2a 2 b
R R L R R L R R L R R L L L R L L R L L R L L R
rouping
la y
Grouping
-/-note grouping played with 2/4

click. Results in 7: but this s
2a really played in 1 .
L R R L L R R R L L R R L L
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8
Extreme Musical Interlude
L
9
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Introduction: Patterns plus Melodies
@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 to
t 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 of
the be nefits of writing these figures in this way is tha t we can reassign oth er limbs to th ese
exercises.
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 slcills
because 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 pick
P a t te r n l a a o ub le -s tr ok e b et we en t he ba ss dr um a n d h i- ha t ( f oo t) .
Now, flip to th e Melod y Ele me nts section and piclc anot her exercise. Let's piclc Mel ody l a .
:H
As mentioned before, you now have a choice as to how you would like to interpret this
melody. 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:
1s v ~ u an see, the possibilities are enormous You are limited only by your imagination, so
=ye,lmen: ;\ irh your own combinations and have som e fun
Pattern 3 Example 1A is played as the ostinato while Marco improvises

with the sixteenth-note melodies in a continuous rhythmical flow.
Pattern 9 Example 6A with an improvised melody on top.
Pattern 12 Example l B with an improvised melody on top.
JJJ I IIJ JJ
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l exercises are a must when i t comes to independence. Although they are played
F s p o r a d i c d y, they can be an effective part of one's bag of tricks. Simply put, Bams are a
combination of two limbs ALMOST striking together. One is light, and the other is more
pronounced.
Not only are they effective with the hands, but they are also extremely beneficial when
applied to the feet, as witnessed by many of todays' players. Whether you are playing bass
drum and hi-hat or double bass and/or two hi-hats, you owe it to yourself to explore the
possibilities.
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 the
left hand, and vice versa. When applying the feet, play the top note with the right foot, the
bottom note with the left foot, and vice versa.
Whil e practicing each exercise, experiment with both interpretations moving back and fort h
from the hands to the feet. You will notice that these exercises on their own also work well
for 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 by
adding the Melody exercises. For example:
Flam
Pattern (hands) k
W
L R L R L L R L R L L R L R L L R L R L
Melody Elements lb
You see this:
You play this: X X X X
ombine the two and you get:

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n 4
D D HH D BD HH
ore that by adding a grace (Light stroke) note, you increase the level of
arically. Experiment with combinations of your own
R R R R R R R R R n R R
3 10
R R R R n R R R n R R R R R R R
4 11
R R R R R R R R R R R R R R R R R n
5 12
R R R R R R R n R R
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R R R R R R R R R R R R R R R
xtreme usical Interlude
I
is interesting to note that as drummers we play time percent of the time. Therefore, it
is here that we explore our extreme groove interdependence.
The hi-hat patterns are played with the foot in single, double, and triple combinations.
T he snare drum is played on beats 2 and 4 throughout the exercises while applying various
ride cymbal patterns. Th e only missing part is the bass drum. The bass drum figures can be
found i n the Single Note Melodies section (page 67 .
Here is an example to show how to combine the single-note melodies with the hi-hat
patterns:
Hi-Hat Pattern 1
Melody (single notes)
Combine the two and you get:
Once you are comfortable with this process, experiment with various ride cymbal and snare
drum patterns of your own. Your grooves will never be the same
own the single-melodyrhythms pages 69 and 70
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s y o u c a n see from the hi-hat patterns, the sinule-note melodies ;IS? inv:duablc wh n
a
I ~ I ~ >12I hem
~ I 11s b;\ss ,Irum figurcs.'The f'ollow~ ng melodies nrc 1.h\lthrnicall-\1 livided
Into sincrlc-, tlouble-, ;111tl 1-riplc-notecornhinations. 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 a n d also i n 4/4
1?)1-c s ; ~ n ~ p l c , vhcr~ l;lying l 3/4 melocly ;IS 44 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 tllc

dr 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 to
allow complete freedom on the drum set
l ingle Note Sets 8.
A 1 1
9. Triple Note Sets
12.
13 Various Meters and Combination Sets
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 breaks
and fills whiie playing time. h e second part shows how you can directly apply the rudiments
to the independence ideas from this text.
Once you understand the process, it is highly recommended tha t you apply these techniques
to all of the rudiments.
Following is th e notation key for this section:
Please note Du e to Marco s extensive d r u m setup, it is sometimes necessary to deviate from

this key (which is Marco s standard key) to present a more practical and readable notation. I n
such 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 2b. Drag Paradlddle Variation
Zm m rd
Ram Accent Flam Accent Drum Set Variation
1
1 A Paradiddle moved a 16th back and played on Toms and Snare.
oop the pattern and then improvise

with your f e e t in 8ths and 1 6 t h ~ .
2. The same Paradiddle played on two hi-hatswith a second ostinato played

over it with the l e f t hand.
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When comfortable with t h i s base
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pattern, begin improvising around the
s e 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 the
left foot (hi-hatfoot). The open tones
are splashes and the closed tones
are chicks. When you're comfortable
R R L L R R L L
with the base pattern, improvise with
the right hand.
1. A Paradiddle moved a 16th back and played on Toms sti

and Snare.
Loop the pattern and then improvise

.
with your feet in 8ths and 1 6 t h ~ .
.-.
R R R R
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 base

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pattern, begin improvising around the
set 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 the
left foot (hi-hatfoot). The open tones
are splashes and the elosed tones
are chicks. When you're comfortable
R R L L R R L L
with the base pattern, improvise wlth
the 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 pres ent concepts for singlc-stroke combinations in various meters
and with diagrams to help you visually explore the different ways to move them around the
set. Nest to each notated pattern is an overhead drawing of how these patterns look whe n
applied. The se motions c an be adapted to any size drum set and t he concepts should be
applied to l the exercises in this book.
Following is the notation k y shown again for convenience in reading the examples presented
in this section.
Following is the master diagra m for th drum s tup used in these examples.

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7/23/2019 Marco Minnemann - Extreme Interdependence

Andrea IWeister, Lissa Wales

y Virgil Donati -7 zwm

Part I Extreme Warm ups 17

.Part 3: The Melodies 43

Part 4: The Flam Patterns 55

Part : Rudiments for Extreme

Part 8: Visuals and Combination

Part I 0: olo Transcriptions 9

TREME IN TERD EP EN DE NCE is the incredible new method that teaches

to give you the flexibility to adapt to LL musical styles.

er we are co~lscious f it or not, r h r ~ h m ermeates everything in our life

words, to have extreme interdependence

I now present to you xtreme Interdependence Good luck

hroughout Rick s career he has

H e has recorded with world-

Remember: In spite of th e technical nature of these exercises, there is a big difference

Music came first, the written note came second.

'Always play for the music; it's the right thing t o do

Repeat each exercise as often as necessary, and tempos should be a matter of

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

Bass r u m Hi-Hat w foot

xtreme Musical Interlude

;he ask Patterns

-/-note grouping played with 2/4

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

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

Pattern 3 Example 1A is played as the ostinato while Marco improvises

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

Pattern 12 Example l B with an improvised melody on top.

n J JJJ JJJJJJJ vyJ

You see this:

You play this: X X X X

ombine the two and you get:

arically. Experiment with combinations of your own

xtreme usical Interlude

Melody (single notes)

Combine the two and you get:

own the single-melodyrhythms pages 69 and 70

No w tha t your independence is c~ pa nd in g, imply reassign these single-note melodies to tllc

the exercises throughout the book.

l ingle Note Sets 8.

9. Triple Note Sets

13 Various Meters and Combination Sets

Following is th e notation key for this section:

Please note Du e to Marco s extensive d r u m setup, it is sometimes necessary to deviate from

a. The Drag Paradlddle 2b. Drag Paradlddle Variation

oop the pattern and then improvise

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

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

Loop the pattern and then improvise

P When comfortable wlth t h i s base

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