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Introduction

The TB Coordinator is a comprehensive program which helps drummers explore the total possible number of duple and triple combinations for all four limbs. Taken as a whole, this method literally sets up tens of thousands of ostinatos or short repeating patterns. Each computer generated pattern offers a rhythmic puzzle like challenge ranging from the very simple to very complex in degree of difficulty.

The TB Coordinator method focuses on developing controlled coordination which can serve as a solid basis for both independent and harmonic play between the limbs. The Four Voice Coordination exercises are intended to train all four limbs so that one hand (or one foot as the case may be) literally knows what the other one(s) are doing.

Roy's inspiration for creating The TB Coordinator method was born out of the extreme awe he experienced after discovering how Terry Bozzio has/is taking the concept of drum set playing into new and different dimensions. The comprehensive layout style was formulated from decades of practicing out of George Stone's Stick Control book. A strong nod to Jim Chapin's Advanced Techniques for the Modern Drummer Volume II - Independence the "Open End" book is also in order for its innovativeness. The 4-Way Coordination book by Dahlgren and Fine also served as a springboard to explore the subject in its totality. Thanks also goes to Damian Gregory Allis Ph.D. at somewhereville.com for the original on-line concept found on his (currently retired) Bozzio Independence page.


Roy SeGuine with Terry Bozzio
 

Directions

Hear an example solo
The best way to learn The TB Coordinator for an All Four Voices pattern is to open the Learning Exercises section and practice all the related Two and Three Voice Breakdown patterns. This successive approach allows the mind to fully grasp the pattern relationships between each limb and creates the building blocks of how the different limbs interact with each other. After the Two and Three Voice Breakdown patterns have been mastered, the All Four Voices pattern can now be fully realized. Once an All Four Voices pattern can be repeated for a period without interruption, it can serve as a foundation for developing ostinato playing. Dropping a voice (a limb) in and out of the mix or developing the ability to smoothly start/stop All Four Voices indicates an ownership of the pattern.

When an All Four Voices pattern has been practiced enough to be internalized, the next step is to learn to play all variations found in "the grid" One of the limbs (which will be referred to as the free limb) is removed from the All Four Voices pattern and practices each grid pattern over what the remaining limbs are playing, i.e., the ostinato.

Ultimately the idea is to gain enough freedom to randomly chain the grid together in interesting ways to create melodies "on the fly". Mastery of this technique will allow for the development of a vocabulary for the free limb to create either planned or spontaneous melodies over the ostinato. A Random Four Bar Melody (found directly below the All Four Voices pattern) has been created as a way to begin to investigate these kinds of possibilities. Further, the free limb should be moved around the set to explore orchestration on the different instruments.