UPDATE: The author of this methodology is Gary Harding, a percussionist, scholar, and teacher from Washington state. There is further information on his site, which you can regard as authoritative— if there's any conflict with anything I say about this, go with Gary's info.
You can find it easily in “tab” form, but here it is for people who read music:
The patterns called “long” and especially “short” will be most familiar. I always thought I was pretty sophisticated, African-influenced cat for occasionally using the long pattern, but as you can see there's quite a bit more to it than that.
Here's an article comparing the inversions of the bell pattern with the melodic modes in European music, which you could say are formed in a similar way. Use with caution— there is no actual connection I am aware of between the two things in practice or in history. I guess the conclusion we are meant to draw is that humans apply similar logic to music across cultures and media. But it wouldn't be a bad practice to think of the inversions as rhythmic modes, each with its own special color. And it may be that that is what is done; I'm a simple jazz drummer, and this concept is as new to me as it is to many of you.
Coming up we'll look at a few ways of developing this on the drum set.
Get the pdf
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