Hey my friend, Von here from Jazz Drum School with some tips about how to trade fours in Jazz drumming. Trading fours is one of my favorite things to play and teach.
If you’re new to the concept, trading fours is just a way of soloing back and forth with another musician four bars (measures) at a time. You take four bars, they take four bars, and you keep that conversation going.
It’s a super fun part of playing Jazz drums, but it can be tricky to know what to play and how to not sound like you’re just throwing out random chops.
Let’s fix that.
What Is Trading Fours?
Basically, you’re having a musical back-and-forth. Imagine the piano player takes a 4-bar solo, and then you respond with your own 4-bar idea on the drums. That’s it.
It’s kind of like a musical tennis match, but more like a conversation than a competition.
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It’s Not Just About Drum Licks
In learning how to trade fours in Jazz drumming, this is where a lot of drummers get stuck. We think, “Okay, four bars of freedom, let me throw in that paradiddle thing I practiced last night!”
But that’s not the move.
Instead, you want to treat your solo like part of the overall musical conversation. Just like if someone said, “I love calzones,” you probably wouldn’t respond with, “Did you see that new Marvel movie?” It wouldn’t make sense. Same thing with soloing.
You want your ideas to connect to what was just played. That’s how you create musical flow.
Wanna solo with confidence? Jump into my Jazz Drum Soloing Course and let’s make it happen!
Listening Is Everything
One thing I recommend (and I do this all the time) is: listen to solos by other instruments. Seriously. Piano, bass, sax, guitar, vocals and learn to sing along with your favorite Jazz recording solos.
Why? Because when you internalize melodic phrasing, your drumming will sound more musical. You’ll start playing lines instead of licks. You’ll naturally develop a sense of phrasing, tension, and release.
Your hands will follow your ears. Not the other way around.
Real-Life Example: How To Trade Fours In Jazz Drumming
In the video this blog is based on, I played fours on a tune called Belmont Avenue (a rearranged version of If I Were a Bell), alongside pianist Dr. Philip Strange and bassist Tetsuro Aratama, two amazing musicians here in Japan.
This is actually one of 22 play-along videos in my Brushes Mastery Course, and it’s also available as a drumless track in my Almost Jazz Standards Vol. 1 collection.
Let’s break down a few of the trading sections and I’ll share how I approached them.
Check out the video below:
1. Match the Mood, Not Just the Notes
Phil (the pianist) always plays beautifully constructed phrases. When I respond, I listen for his vibe, his dynamics, and his rhythmic spacing.
For example: If he plays something with space, I’ll try to echo that sense of breathing in my drumming. Not copying, but continuing the story.
Think about how you’d say “Yes, and…” on the drums.
2. Don’t Copy. Compliment.
Let’s say he ends his solo with a phrase like “ba-ba-da-bee-bop.”
Instead of parroting that exact line (which sounds kind of like musical copy-pasting), I might weave that shape or rhythm into the middle or end of my solo response.
It keeps things connected without being obvious.
3. Energy Matters
In one of the later trading sections in this drumless track, the energy ramps up. There’s more motion, more density.
So I match it, not by playing louder or busier just for the sake of it, but by letting the energy of my solo rise to meet his. Like you would in a real conversation. If someone’s hyped, you don’t answer like you’re half-asleep.
Same thing here.
4. Shape the Transition Back to the Head
The last four measures in this example lead back to the melody.
That’s your cue to bring the dynamic level down and shift from playing in 4 back to 2. It’s a moment to set up the return, not show off. So I start a little more active, then shape my dynamics downward to support the transition.
It’s subtle, but super important.
Final Thoughts: Soloing Is Storytelling
Trading fours isn’t about filling time or showing off your chops. It’s about listening, responding, and adding something meaningful to the musical conversation.
So the next time you’re trading, ask yourself:
- What did the other player just say?
- How can I continue that idea?
- What energy are they bringing?
- How does this fit into the bigger story of the tune?
Answer those questions with your sticks, and your solos will start to sound like music, not just drumming. Keep swinging my friend!
Resources To Help You Go Deeper
🎧 Want to practice this yourself?
Grab the Belmont Avenue drumless track from my Almost Jazz Standards collection
🥁 Want to dive deeper into Jazz drum soloing?
Enroll in my Jazz Drum Soloing Course