Zill Pattern:
R(1) L(2) R(3)
Placement:
The 3 of the pattern falls on the downbeat. (In other words, the emphasis of the pattern is on the 3, the last strike of the pattern.)
Full Time:
In 4/4 time played at full-time this rhythm is &-a-1 rest &-a-2 rest &-a-3 rest &-a-4 rest.
| R | L | R | R | L | R | R | L | R | R | L | R | |||||
| 1 | i | & | a | 2 | i | & | a | 3 | i | & | a | 4 | i | & | a | 1 |
Half Time:
In 4/4 time played at half-time the rhythm is 4-&-1 rest 2-&-3 test 4-&-1 rest 2-&-3 rest.
| R | L | R | R | L | R | |||||||||||
| 1 | i | & | a | 2 | i | & | a | 3 | i | & | a | 4 | i | & | a | 1 |
Quarter Time:
In 4/4 time played at quarter-time the rhythm is 3-4-1 rest 3-4-1 rest 3-4-1 rest 3-4-1 rest.
| R | L | R | ||||||||||||||
| 1 | i | & | a | 2 | i | & | a | 3 | i | & | a | 4 | i | & | a | 1 |
Variations:
This pattern can also be played w/ the left hand dominant (LRL) or alternating (RLR LRL) – and it is not a bad idea to practice them these ways to keep both hands even in ability, but in formation they will be played right hand dominant (RLR) unless otherwise noted for both uniformity and ease of building upon the patterns in the future.
The pattern can also be played with the 1 on the downbeat (or ending on the upbeat, depending on how you look at it). This creates a very different sound and feel. It is something to experiment with, especially so you can easily identify the difference in sound. In the tribal format at this level, at least, we will be only using the variation shown here for the gallop pattern.
