The development of IndigenousĪrt in Canada is in many ways more complex than that of the relatively recent European settlers, and may be divided into three distinct periods: prehistoric art, contact or "historic" art, and contemporary Indigenous art. Decorative and depictive carvings from theĮarliest periods have been found in the Lower Fraser region of British Columbia, and other pieces have been found in several parts of Canada. To date, however, the oldest surviving artworks (excluding finely crafted, aesthetically significant stone tools) are datable to no earlier than 5,000 years ago. You can also set this by playing 3 bars or time followed by this phrase as a 1 bar fill.The history of Indigenous art in Canada begins sometime during the last Ice Age between 80,000 and 12,000 years ago ( see Prehistory). Start by moving the single strokes to alternate sound sources, right hand singles can be played on the floor tom or cymbal and left hand singles move to the rack tom or hi-hat, once you are comfortable with this change things up by leaving the singles on the snare drum and move the double strokes around the kit.Įventually you’ll have full freedom with this phrase around the kit. This pattern can be used on the snare drum to build speed and control but things get really interesting when you start to using on the kit. The “a” designation refers to there being 1 single stroke followed by double strokes. The first pattern is Gary’s 5a sticking repeated followed by 2 groupings of his 3a sticking.
What this means is that the patterns will be grouped in sticking patterns of 2 groupings of 5 note stickings and 2 groupings of 3 note stickings, which put together one bar of 16 notes in 4/4 time.
In this article we will take a look at an “artificially grouped” phrase of 5-5-3-3. Gary has a whole system of sticking patterns that can be used in many ways, and I actually prefer using these to develop speed and control over the standard methods of using books like Stick Control, because his patterns contain mixed sticking (singles and double stroke rolls) with accents which make the phrases much more musical than standard snare drum exercises. What I plan on doing over this series of blog posts is to dissect some of Gary’s teachings to make it accessible to everyone regardless of your level or experience, my intention is to level up everybody’s playing ability and give you new creative ideas to work from.
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