.2doy3 2M I.UED,, F oe Pe are era INIAOOYD TIIM G009 Retirement) AGANNA TIMSe a a a ee ia tee ee lwo>ouaeiewnnac e Sulopepad ajanap eyaym | ajdoad ayy o=%1 011 duln snc) sem cap ain SyuoM yesip ‘parade sjepins moja} sy | ued yey} dem siaked 3001 e074, ‘AjeuoN | “e\psByy, 2U0 S400 0; 1299 und pasr>oy ue o100H sy sauesyey-14 Supjey ise) au0 | vey ayn — BulssluisiBujalsor aiaym | -anq-rochy pues, "post yo Buj90 ‘0 os12s 1p IY a:eus sey/snounye YM | —_aeaq>Po1FuIsnd sBuENS © oxuS308 Jp] | ~£L0 W014 ]2849390!-yume jeuORIpeR s:0W ‘ony 247 Suuoci ‘pus oy} yun puemsoy | YsCws, 5 GE ¥ JeyLinjuaKasonfona fe o]u1oB saop ubyy a4 (3 YSPUI, 10) UOR SBuysna ye0q 3901 r+ los oat Ha) weap e dry upaiis | -eanByuos yeyp jo ano paige nq 9904 344n0p n)os2s'spua 31 5ufB9q nj ayp se woos =y ue Naspunu ayy a8uey> 9g 0194 |J2u | Ae s2op 2s00N) 9904 aBUIs eu Fke}s smu pM ZuinooiB agent | -winspjoadAa aya s3eul ve9q ax 70, 2>n0U }upIneM nod aso} Aula} | Rulaana pue > pueZ UO e1EUS 4) Siow hem y52yeu13/ 3899. 950/ 1810 nok, shes 24 Bu0s aso) asuias | Bute yen you pu oyr0 ure 1oU5105 14204193 ueM | ING soyeu ay ued funy esanyfnoup vara, 2618 | 6} 40} pue x>eq HUE uN) Buy Sued sshd ean on eum ‘mojo eu unjAyund jo sainseaus aye asl | ney sai -isuerind ip yum wee fojder3uem jos ues.ya seme 2 uasy vou "yore 1e1¢=q PoIwaUOAd | BuiAeld 's\U922" auiN-yo 210K st>ysnu juny snoungo puntos 104 4uoned ‘sno!zeds e Aq pomoyoj(,puers | any ded ca paquem |, shes 9 Suunup 349 UEM ana 3H 0q @ afew} ney nod n- yoy ow S908 Zu0s | ay 'aumua ay, ey pUE 4D) 2) 3090 290) NOA JueM, ‘pes 24) u24",) 1424p punose wou Sa\oune| | ‘aveus a4) uaanneq SoDeid Bfuens ‘inj ays [138s pay woos ‘1009 tp suey Y201 8g Aqpo2unouue zo:e | auos 0} Uul09 ‘suleq ye=q 316) rau 410} eu, shes MOK wt 210U 9] «pu Buysar0nn, pup, PRS 1e awn yeyorusasdeyoo ayysews, | -yyskfod Asnq-sodne soynoue ypenrecn seq sy — on, cuiod oyna | seus oF 24 ye Purauay Pema) wBiensof2n onuiauuy, $i Aynneas9 "yung ys pu x0q 249 J 390 4 U2124Ip Jo plow eae sean Aaya ‘mes s2pun go upg — aualayip 1 Aeyd or Ryo ux 9 'snc | ue> yy wrypayp aunouesd | — GEITEG] 208 uonedypoyoreusrey-iy= 100 “SMASH IT” 2 z ee | re q a Z Ad a = =I RE a ¥ Ey Ny x= ‘oe & lal a» oa ee i) es * 1) SS eee ee pos Ss eee) = J CY I) a = = wm Glen Sobel Taku Hirano — Daniel Adair Daniel de los Reyes , cots omc, eames vei e - s PLAY WITH THE BEST! aT) oly Ty MUS co oruneagzeinecem August 2013 DROME TOTwianya sioziseény WN ZO an Goorin ore == fares B90], WO] MON, Ct isheeceriahte eisitetoa — SUINIC] OYTYSY apAqsoory DIWUd = ePsuiT oat“SMASH IT” 4-4 RS | dea ae SMa a 304 eS eS = Se ass oS ASS Fe 9 date ORUMmagazine.com August 2013 DRUM! 103 Master Series Mahogany Wood Djembes New from Toca Toca Matter Series Wood Diombes ore expertly hand-carved from a single place of plantation grown mahogeny.woosuseseunnsa €.0esrOny AMG BOL separ on ly sous ay pe'soy a9 89 593 Youd a) usu ag exsgegarpengep d spmse suuaed uno oh 229 puny ney unseau kina stou-inoras plese} eq uo seus a sorou Ye ued anneousnojes pa poy suo -mysyo39]u1sys0m w ng uone2o| eoey>eG Ieucnpen ey sunseoupuo>as yn eg uo sieus an sae 44-2199 yo ateUs ainfurou ym sydo-p 93 ainseounsiy ayn ry aq jo ypaueus ayy aug puez914 z = odpm hide sms a any ‘ideas pur oxo0 os ds ah a a a rs ‘gum puna hex ut> om aa sieo@ypeg on 09 ‘1 pootsiopunhiesionun oie ue fe NY "opiey seus ie Uo PuezUNPeWS WES oh" 2te nok JAejé WES 2A “Leds 2413494 05,104 | 50g aie, pe pose sum agua en HL a yeagyaeg ay, UM Bulke|d i | if Ee)Poon Inverted Paradiddle ‘THIS MONTH, WE 2te going toexplore some different sticking patterns to apply around the drum set. This willbe the frst of four lessons involving this varying-stick-pattern concept. This particu farpattern i basically a paracidle, however, the sticking iofset by one note. his called an “inverted parade,” which cre- ates. different sound and groove from the straight paradidle. I's funkier and grooves fot! Be suce to move this patern around bitand cymbals to make it truly musical. aa Meagan gismmesbyne WHEN PLAYINGIN3/4, one cfmy favorite devicesto use isaccentsonthe &of 3. Roy Haynes vould have tobe cited asthe iggestinfiuence oc thistype of fed. Here aresomebasicpaters that might be helptlin ‘developing swinging and more open and aver- thecbarlineappraach toplayng in 3/4 x tis abasic eal with the bass drum on andthe hi-hat on 2.x. 2adds a synco- pated dotted-quarter feelin the bass crum. Ex, 3 moves the second bass drum to the snare, Ex. ties the cymbal ta match the bass drur, giving the feel more ofa float. In Ex. € we 2d3 the snare beat along with the ‘cymbal onthe &of 3. Bx, 7moves the second bass drum to the snare 6x, 8 tes the & of 3 over to the downbeat, again adding more float. hope you find these helpful, and 2 {reat starting place for more variations 2nd aq gorrup hospi wt Paton he Thythmicexperimentsin 3/4, 8 {idan aond erence sonessocote fs shin e080) thease nani caret emerberf iy ies sy far ia dort org DRUMmagazine.com August 2013 DRUME 105,8 ‘ 7 7 ‘suueyo uonoxdsoquT aig inq ‘270404, se aus ogy ore yes oyp anoge sun aise ay “a1bUs atn zaye a10u Yp9t auo paged s uinzp sseq axp YORI UL sosioioxa Azeutuyaud aip yo suonetiea atu08.¥ 4001512] MON, neu pur yory amp Bunesedag, ‘asm nos waned 4-1 J9saKnqaasuTese sized 3op{ puv axpus mou astaoidun xo sixe Surpwas 11asay)p asf) ‘Moned pawvadar Sue quem oveuriso v4 14 aap ape( dar uD no pum 'saiou ya payynys yaa soamay atp aonoead ose wes ‘no saaun0s punos Jay} 10 suro2ayp ov aed ares ap By noun pareiou se sadusexa axp pasarsea a9,n04 304 ‘10 a1Bus puse DPF fe Jo} faxaf amon. 9D sjsu09 & axatyv 0 puv surey prose 0 azesTeO8 au, aK "NSU Ye Uo puntos axpJo Aen a ox HORAN aso sed pu “e414 9p uo asqnd 2}0u-9ueNb ax q9098 01 ams neu Kuwojs rs ‘sojduawxe asain Rusonoead ay,nod sy Ncaarmen Sarr, ‘oeunso yey-1y 249 suv Jaxpaor Sn2exa suis tp Burseayd uu s5eq pur axeus ous ya rau aUres oY UL s1Bq AHFa BuEMOMOS atn Ae4d MON, cy ap GR CE SSS lie Ghai ota Se ounso 24-14 nou-Ipg aup suede An on suianed yopy/azeus aroun aap axe aa ‘ppeisqo tet saxowr uonsod papuey-tado ax, -aunsnoU ena ioe buns wawninganUagoM | 9¢ tp 04 puod9s o4p uy petaadso ‘éyqeLzo;H09 saINA%01 ‘xotH Oy spurey tnoq 105 wroor yous YoU saxon asMe99q, ueyTeep Solas autos o1mr UM PINON Nok ‘spur pass019| usm y Key 1 a1am nosy waned oyduns vs. yNOMNTY ‘surey ou—arous pur yory oun wo pated aq or pss 12 ajdanex‘puey a>] ox tA 1-1 a4 LO paceyd (uuoned pawwodon) owunso arou-ig alias 8s ¢aydurexg as1o10x0 Biota} 2p mo yPaIf9 “oF Y0]» Joy ATENEN TAs HIE “aor ‘Sol 100} ua axp pu (axeus ay HO) puBy Ys axp tONYsod Popurq-uado ue uy (wuRUp sseq ayp wo 100) ay azeUs aun wo puey 30) Pog ax 30 sopisousoddo usoyaq suse ‘we 0} anzy nos aout 4fasfaud Joqpaer pue| on areus pure 790} 242298 oF no4Hp aso Yon sr-pass09 spurey tp ipa. Suyéejd uoxyy ura sseq pur axeus arp taamiog, SUITpAUE uostun uo Sutsnooy ‘araqh UHBaq p44 08 at uu ain spoexow ay ay jo stiauinsty UqEHa9 Sef Oy Suge ayy st saunumap A1a99 105 Ys AER Ase aK suosquin asa soo ma» Ba uous oped popu ado ax yo etmumape x0 ous oor ape cr Bi om its mt urs Foarcorane Ree cee a ma arore adios tome genera sng au nn prose Jpan a nok <2. 0 wun oto arn eenao 0 artan, pur sea gd 01 spuy no ssomjo | AEC ‘wounnoupo}anasqoaip qm op evasey | MEETS 3] 04 nos tnt papuel unto gy | RI mind on sedeweape stiryon joa) 22504 se &q [enuaiog wapprH aun Supjooruy :1 Ved sulfe[g papueyy-uedgCombining our basic 8th-note hi-hat pattern with Example 8 results inthe following. Do the same thing with the remaining examples. ai ae You can also practice Examples 8-11 using shuffled 16th nates, and you can switch the position ofthe bass drum and share so that the snare plays the second! 16th note, Ater you've mastered those varlations, try moving the snare notes to toms, cowbells, or any other soun This will create nice fills and interactive-soundi all of which will be much more comfortable‘ play in an ‘open-handed position than with the hands erossed, One last suggestion: Playing open-handed is usually more ‘comfortable when you lower your hi-hat to be almost level ‘with your snare. This helps yout avoid strange positions o the arms and shoulders. You want your arms, shoulders, and elbows tobe as relaxed as possible I've created a play-along track for you to practice within order to apply some of these open-handed ideas in a musi- cal situation. You can check out the chart and an MP3 on the Fducation page at moderndrummer.com or in the Modern | Drummer Digital Edition. Have fun, and enjoy the journey? ‘Glaus Hessler, who is basedtin Germany in-demand drummer in Europe Hs book, Ope: ‘Handed Paying Vol. is avaiable tough Aired Publishing, For mare nfo, vist clausheslerce MUSICIANS INSTITUTE COLLEGE OF CONTEMPORARY Deed Careers eect 1.800.255.75: LY Leg on Ca Cree eR INT Pr MUSIC ee ey Cee Marah Cre ANAL T See 2011 « MODERN DRUMMER] 77 Cree tai |‘uy 3604 Spogizona wi. 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Co ce ots vida yp da ¢ man zm ony ‘ump Arona sunot aut Sey oF ane a,op nos “ssN09 50 eerie ceo erro mods yom da em be ay dy ioc-maueis. yawwnwanaaon | 82 soydin ay 30 wed puoods ayn uo SOU WoL OM Key ‘ase9 stu] oq Hp Jo UND 940 105 serOU Osis Se SHH ‘uuos Bumppe sq wHoped pup BL au AOR 5,1, WON Toi coo mda y mt dag om da zo day roe 4 toa1oN) 1 o19eq9x.NOK HoRA pe 2 t'2t-Z"1, seasind ‘utes at uno» poo no ‘anseauu ap jo sye2q oan 50 aK uo 2(-du-p 23[-dun-, Sunumoa jo poss ioayo sep avn 01 09 ut padnos# sj asmnd 2d a1seq ay “1 1Paq HO 9G auBir spur] ayy ang asind mau e soyst eso rN yEKjOd saqeara uinap sseq aup Moy ano fad UT eral j af gra Gs yom dng edn com dn 1 4ajdin aqp jo a1ou puooas ayy uo pur ya acy (pis axons axqnop v Sefg ‘Sov0U1s0u8 aos PpR sa. 40N ee ee ee a I Barons ser asta aia suuoned yo Aioye9 voy nap sseq ayy ap ‘ares 2qp uo F pur z uo pur yo] arp pu W4-4 pasoja mn Lo puEE, 2ugiu atp soajanu yeoq sony 21Seq aUC “,,e1-di-F aI-dn-¢ Yar-dun-z 49j-dn-t,) uojs}upqns 19ydt-2»ou-gg uw Asn dumnog ‘uyuruunyp sanyq Jo sa1seq 24) Uo Yonos 5998914 “sumunitpsjod pue uonedoousis Apurwu ‘sidaauos asorp jo may (fnonp of am ape si Lu sanyq axp Sunseyd 10j seapy paoueape aour ys STO -adxa sei | uoos pur ‘steak [o10108 105 Ans SA PayLO3 | (Carus atp sem oyuaa arp pure “equass aya se psn sem ped arp jo-apis au.) “Sang ay a} uo paield | pur ‘ped aonoeid pu sans Sur poy J sourumap vse panies fo Ajqemiae seus, sama amp sanoy Spoqian uke wir a sjaaq orm AyATog pure payedoouss sonj|gq posueapy ae eeEu =" al using triplet subdivisions. Now let's apply the shythms ftom the previous examples to a three-over-four feel, by turning the triplet subalivisions into quarter notes. In Example 11 the backbeat now falls on beat 4 in the fist measure and or beat 2 in the third measure. The groove sounds similar to what’ in Example 8, but the framework is diferent. This polyrhythmic approach is one way to add some sophisti- cated jazzy concepts to the blues i oe, at ve hy Ld Ay Example 12 applies the same concept over a backward jazz vide pattern, Here's a variation using the standard jaz ride in the right hand with a different bass drum pattem. jaz ride pattern on foot independence ath. The result I adenser- sounding polyrhythmic blues groove. 4 /Atmoderndrummer.com and in the Modern Drummer Digital Edition, you'l find videos of me playing al of the examples in this article, plus two additional clips where L play various shythms lke these over a nwelve-bar blues form, so you can get an idea of haw to apply these concepts inva real-world situation. There area lot of ways to play the blues. Go ahead and invent some more! me has layed with Maceo Parker and the Homs and has produced records for Medeski Matin & 1d. He teaches in New York Cty and oni, ad is bboolvbvb Advanced Funk Drumming is available through Modern Orammer Publications For mor inf, out funkydunimercom. ae = Ce eee;‘oreus ayy uo uEUoL Ms soyons aiqnop au, Cpapuey-xota1,n04 eq asiaay) ‘wor yBiy ayp uo siua2oe purl y9] ple Won Jo9y aig Ho ‘wuapoe pusy au Buutoyd da ‘seas 10g sooppINE WAAAY uo s1usa98 anoK arensoqpr0 03 aq UPD nad axon WOR qjamseaun paoig ag au, 1 28ed ap yo sos an BoM ax0Uu uarp pub ‘jdusexa sip done SUTeOTIOS AER NTT 24001 [« (o,ouSo 004 a49 YA Pax) siuaaoe uN ‘spUBY aq ursaiou qnor wuassisuoo Un pase ay Aaxp uaa, s ‘9| aod uo | amseaur woyy uoyR are swua998 Suynowos au -paaie aa ays yood kzepUa8ay JES {rep uy punoy soipoyaur uns ayy ys yoeoudde aes ayy Supqen i ‘stayyed yuanoe peoquypoy pur ansiv9x9 I0UE 205 ‘o1eUns0 100} 241 JaK0 SoIOU MOL IUARSISHOD UTI poy uoys ayy S400] wroy6d yuD9.0 aM EUS StS ae ‘usompdaua92e a4 Sa19{] aun pie amsvow auo ‘fed o¢p 701892 949 YONA _axout‘unop aveatd sup aney nod 9ou9 ‘woxsndonutS Yoo 21SSEP s,paay pal Jo 8¢ aid Uo T amspauN Woy Lay ‘ate siua9." 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When you place alternate pedals to the right ofyour bass drum pedal and tothe left of your hi hhat, you can play the ostinato asa four-pedal pattern 9 % Now go back and repeat all othe previous examples using a multi-pedal ostinato, Here's what Example 7 looks when played this way {In the next part ofthis series Il show you how to create ‘metric modulations and polymetrc phrases on top ofa con- ‘ostinato. Stay cuned, and practice up! I | Jason Gianni fultime acuity member at | DrummareCollectivein New York Chyna i ‘conuthor ofthe acclaimed insnictional book E The Drummer’ Boe For more information, | Ea visit asongiannicom. fe ee esr ea = f ISC@IQDOL. Oe ey Cofiet “i Ke CREE aeluvs suctiewune wor Menus IAM Bip eT aA eaeTHOMAS PRIDGEN, / Pee eALDIE ORICHIE HAYWARD.Set ont ee MNES eT Ere retePRACTICE PAD DRUM PARTS carefully, you may not even notice there's an odd meter — ann You can sill tap your fot tit “Te song “Out OF The Par was born when Sehnalle started testing around on guitar in is ici, on, bead nsp tion fora sneny ile into that paved the way forthe rest of the tne, hn’ 2 secton that's the frst minute a kick/tim/ hat feel that repeats twice more inthe song. "i's starts with two-bac phrases of 7/8, but thenin the next section the beat becomes longer seven consisting of 3/4 plus 4/4. | ‘Asa way of providing slightly mare ten- sion, the groove and bassline inthe third section inverts that and changes to 4/4 plus 3/4, Surprisingly enough, the hardest part was to go to 4/4 from there!” rom about 0:55, those solid three plus-four and four-plus-three grooves | kick nas the band builds toward the frst ofthiee super-tight sequences at 50 where the band plays every note simul- taneously foran eight-second stretch, "Sometimes when I'm writing, | get overly concerned with theory and what's proper.” Schnalle says. “So stepped away from the keyboard, sang what | wanted to. ‘myself, then went back tothe keyboard and transcribed, It took abit of practice tomakeithappen: This band got together several times before we giggled with this ‘music, then we gaged for a litle while before we recordedit.” rch in ‘ALS9, Schnalle starts showing exactly war he really ean do etinga series of p super-fast patters ly around the kt for a thrilng 20 seconds or so, These bursts reward the listener throughout "Out OF The Pan,” each ane alittle more complex, intense, and inspirational than the lst. "& part like that takes an awareness of where Vm headed," Schralle says. “\ usualy start ‘off with maintaining the groove, and then | E see wire the adventure takes me.I realy like the paradiddlediddle — RLRRLL. Inthe ; second measure ofthat section, m playing | those sie-note pattems as thirty-second notes, 0 you get four-over-three poly rhythm, plus some fast thirty-second-note | singles to end the measure “Alot of what happens in that secon s. double-stzoke rolls between the right hand and right foot — my right hand wil start ‘na tom and travel around the drum set Although | do play double kick, Idon't use it on thistrack." ‘Atabout 531, close listening turns up 2 none sn suRON CE 7/8, he says of the timing for (ue blues 12/8 around the backbeat slighty diferent texture coming out ofthe hi-hat. "Sometimes ldo interplay on hi-hat be tween hitingit with the stick, and then playing the chick sound with the foot,” he says. “Ile to do that because it's Another timbre. il doit also as ‘repetitive pattern ina groove, and sometimes I'ildo it in a “aut on every album, with these double combinations — hands, feet ~ I try to work on as much vocabulary as 'can, 1nd keep it fresh, son the heat of battle it will pop when it needs tof you're not careful in a gig, the older favorites will Pp out, soit helps to have a broader palette ike that.” For Schnalle the defining times ofthe song are not when he spins his monster ‘chops, but rather the big jams and tracing guitar/sax solos suchas the part that be- ginsat around 3:30, "Speaking ensemble wise, the slo section inthe middle of this Ds: Pea elerence sees (shimmer 0102) 5x65" Bass Reference SrareDrum "Foor Tom serar6*ForTom 104 Mopleare Bry Wally Schnalle tune really shows that this isa working band that's heen playing together for awhile," Schnale says, "We have the | herewithal alive comfortably in these lime signatures, We're al playing of of cach other, bulding on 7/4, but i's not just. ‘one pattern, We're all improvising simulta- neously k's almast lke the sax nd guitar ate having a conversation while the drums and bass are having another one, We're all speaking about the same topic atthe same table atthe same time. Then that tension ‘eleases into this cut-time section at 3:53 i's one ofthe most glorious moments of the album for me, because it just explodes into the groove For drummers interested to see where ‘dd times can take them, “Out of the Pan” and its mother album are-an excel lent HQ. “One ofthe things I strve for over the years with all this odd meter writings tomake them fua and un=intimidating,” Schnalle says "I think ‘Out Of The Pan’ and ‘many ofthe ather songs on the CD bring me closer to achieving that. This band is able to pull tal together for me.” cents: zhan rere BW ACintomErt crash (© OT Caton Lge 22 custom ign Defntion tide Eve KERL Cash Wally Schnale so ses Peart hardware Pear Demon ive deubla ped Veith SA ticks, Ree Coated Arba head [tp andlor Kbazadr oto) a Erthuerks mic apones wumagaecm Jawery 201 DRUM 89worsureseukiny orherver Iwn¥a OG iter a edie eee Sate aoa zovpwmsnd Ot siavd WdSTAND UP Hae METAL E) 1B Se] alot .e-4 US Tg SUT se ETT [Riel (ie emcee RecercaTUTTAATA TNA TATTAA TAT TATE TIAA TY fee ete wor suefeuuunp wor komo WN ZG ‘NEFLIDER ROL ANY 017708 ane, ‘AVEO Te “SILBNDSSEL pap SEMIN wag ‘SRE, SNA “HOA BAVC BARLS, “SM AO KENNY THA HLINS. SAAS NINOS LiVgy ‘SAVIN | -kx0], papaya Say SUBMIS S.QF2D “mjd ary Seat rs a wt spueg ease poe ‘of don “097 “worsy gong ft ae TD TUTTI TATE TET = = ae =e = = a me a Beier Wy ‘af pou cnn qa upon put Tec ent Joma 75 pos stay fata aod Sen Dansk gr aby OLoAnD Dae volasa an 4 TLD. ‘aynyysuy Guyysee, ‘SISNW G18 OL WW Old vv ayr7 swag Aejd 01 11207 W101 JAOIW OL FAVH L.NOG NOA Ree er ec Ce) Co Crm cP} ror oydi Ce Mea BIG MONEY BEAT #4: Saved By The Bell ‘THIS MONTH'S COLUMN focuses on incorpo rating the bell ofthe ride cya to favor our favorite "Boor Schmack” groove. Alternating betwen the shimmer ofthe ride Body and the pointed sound ofthe bell adds est, drive percolation, and even melodie qualities tothe ‘roove. Ply the accented notes onthe bell | ‘with the shoulder ofthe stick, Pay the una ented otto the body of thee wth he tholthestk Usedtasteuly,hebalotthe be 4 = = teva ony bythe cowbell or rope lng 3 roove snd ding sce omy bone’s performance. Commit to it, own it, and have at fit Se you at the an Uibiatlemomensny nck oes scea ‘Cubes Guide Rhythms THIS S.A CONCEPT that helped met fee up some rhythmic and textural posses when soloing. Here we take the ite three-note pase foundin x. 1and stretch it and mold ittofit the rhythmic framework we seen the form of a guide rhythm i the folowing exercises. As the phrase stats onthe right hand, ty playing the right-hand rhythm you sevin the rst measure of each exercise ‘Then, iin the restofthelick eveny. The result should be what s notated inthe second ‘measure But thisisenly the beginning of the possibilities. 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Made of yn cu er Tena ad TVET UAunoosuReFewNINAG FOZ AlonueY IWR QR etelentllereks 20 (id LV Ae <4 2 4 ENE ie Cualey sora)sluvd Wnad euynea woe Aoruoy IANO ZB OD Sch 0) ) EDIE! E 4aLLNID BELA aE aaa f BSR CEP) ey eC) ROR one Dae ata cael Oia nreny Cay Si Geen bly | EAC al WoTtm Wa prea JB Gave The Drummer Some DEFENCULEY MUCH OF WHAT! dois based offof funk beats, so why not ge directly to the source? These beats ae inspired by the great grooves nthe lames Brown band, by drummers like Jabo Starks and Clyde Stubblehold, which like to improvise off ‘of Here are 3 few ileas that might get you started down the same path os rcoring woh prep Onan pa um cine olen he ri chap scone of hob inprtonr of cect ns Double-Bass Shuffle DIEEVEULEY, WHATEVER HAPPENED tothe ama coer look 2 this heavy, swinging, PR anc powerful groave. We tart with the basic pater in Ex. ‘where you putthe shuffle on double bass ight ‘orleft footlead, quarter-notes on ide with your righthand, and 2and 4on snare with your left Me expand onthe right handin x. 2by Introducing ajazzride pattern and then gveit forward motion with grace notes inxs, 32nd 4 Everyone thnks of Alex Van Halen when they bhearadouble-bass shuffle, sox, integrates bisfamousrdebelfrom the “Hot For Teacher” intro. Ex. 6uses the double-bassshufle aan Independence exercise, x. 7isanunusualhand-foot combination Using the shuffle Start on snare and then voice ound the tomseymbale. Ana nal, x. & Features a half-time double bass shale patter I played with the main hi-hat tightly closed on "confrontation With Te Elect Bes" from Tony Macapin's Modness record hsoun pnw ae Cope es ces cae Pa {Ser si Aa cre enya ces ere Janam Whe nA Gener ts och ple sian oases eS rp = i eee ee) Bs See Ritesh arn oRWraginecom Jervary2cH DRUM! 83