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Wal ynoge jun auinsos inom Zus0204saucy wp pue zen jevoneudsu 39 su 05 stungje2uone} au pareniend aya se Aaypof sip Zukeye suiny yo0122u8.9 pue saonpo1d peg ayy ane Aatn ang 24 soup jaune, sy puneg Aeme Supuned arunuca pynom Joost vaya 920m suoouroye ea 51103269 31 pnom puegauy ‘ureexg op 0y “guiem ewsytey au Aolua pue “apisine 08 24e319 € 24% pinow, oer) “Face To The Floor” (continuedon nex pane) rammagasinecom Februory202 DRUM! THT YOU DON'T HAVE TO MOVE | TO L.A. Lear To Play Drums Like A Pro At The Gelb Music Teaching Institute GMIT's head drum instructor Mie Cuko770, has 49 years of teaching experience in the Bay Ares, and 53 years of experience playing. and recording with Various rock, jazz, funk, fusion, Latin, top 40, and casual ‘bands in the SF. Bay Area Pius, Gelb’ clinicians have included Toy ‘WiLLiaMs, Mart SoRuM, STEVE ‘Sum, WiLL Keepy, Roy Buns, ‘STEVE Gan, Dave WECKL, Dens Coamins, Pere Bascins, Gress Brssowerre, BiLL Costiav, TERRY Bozzio aN Tow BRECHTLEW. £726 Brcadviay, Redwood City, CA eee Call the original Uy eT BiOeCRA Pe anne) Boca Cy Expert Drum Tuning Studio - Home Py crue Ree Croce} Scomn UD UAV Races Cie Ueno cd Faeebook.com/drumdoctors Seren mn aioe home) aN EE aie AS a Co rer Oo aia sore Fo ee | ee i] " By Rich Redmond ea) | Color Your World suericuury SINCE THIS ISSUE puts cym- bals inthe spotlight, [have developed fe fun exercises tochalenge you and 2¢acolor to your drumming On the ide cymbal, we will alternate netween usingthe body and bell of the ride. (in some Nashville circles, this re~ ferred ta as “Tanging he Hur long story (nthe hi-hat, wewil alternate between a tight chick sound anda splash "pea-soun") effect with the foot. Eventhough were | incorprating a wide variety of colors into the grooves, besure to focus onthe basics: time, ‘roove, and feel. Haven, groove hard, and lways paint with alot of colors. [Ec 1, Add the splash effect on the hi-hat with the foot tad anew color tothe backbest and help give itlength xs. Zand, Alternate the tip ofthe stick on the ride body and the shank of the stick on the bell Alternate between a tight sound and ‘splash sound an the hat with the fot. A SUEELCULEY MAKE SURE THIS swings Eight notes arebetter interpreted ina triplet fel ‘an aucio example may tolisten to Medeski Martin And Woods’ “The Lover” from Friday Afternoon In The Universe tohear what! talking about. But ultimately it doesn't matter how much you swing it because the phrasing and play on counter | point here makes it musica, challenging, and fun! Repeat Ex, 13s many times as you need before moving on 1 Ex. 2, which is asix-bar phrase. aut here, the ride cymbal patterns 3 two-bar phrase repeating while the hi-hat fat pattern isa six-bar phrase. “conversational” elements created in these ‘two grooves. Gofor accuracy onde! £5. The bell and tom accents createa De- voesque fee. oMoNe the turing ander demimer Ex. 4, Drags, accents, anda “linear” feel make this groove resonate in the spirit of Dennis. ‘Chambers or Carter Seautord Ext _— Ex.2 Shuffle Scuffle Bel t faa) Sea e ee ‘drummagazine.com February 20%2 DRUM! 115 werourefeuane cocAonnes ane gt ado sopquny ug e 5198 Ayeatdhy ano. ayy ‘erxquise's9 ain uo ayn ynd pur saa. 204) 2510n2! nok way eqUh> ai jo asa ‘2 vo »ens a Jo 9p]NOUS ayL A 39g ay to su222e Aye no usu adap af tt Bp snooif au “punos pawopeun ing wsisie “os esa3npoidequid> ey-4 ay Jo984 39) ue yo ajo da Baked eng 900.8 3.00 -3B eon pene seq e sways 34 PUY ‘sn00i8 au2ual dnaid © uewa> aia sauexa sno) jy "534625296 ay AA leap am aay ang ja se 2a 294 a9 Ue> 09) NOK Yen ok sey ey pare 99 sje pnausat-ancos? sof yo punos ayy oaye Aieas ue>q yPeUS a oyna 3}3pews o1n0k 1} Buren sof asin <3 pue 1 09) snok as -poqUEsE +o) way U23)0 SLAVE 3HL “pas 0d — 1 9p5 30 pMONS - s PS A 2U-IH serosa hn a enya Ye aed tab teatg ‘puny Koganivnw us yr npg sane pun ased —_‘PAPONIPY AK 30} NE NA Jo s9pjNoYs a4 eco aun os aT ears eae aK hed pue ANYBys lequiayEy-K 3K ede 5 Bayt) ps a pean pn sods 1ey-1y uado 219 pu sye>q-dn 24 uo Hey ats ppe oy sn 8 puE EL eR 10 sn e214 01 pauBisap ave syeaq asa Pe ueuruop sno qua sy 34-4 pue equik> sno ea] ox puss antsy pueu-ayBis vou Aya © 9104) suy puey-y9 uo siey aun Sunado ‘ate am uayi ut 59409 ssaunpu e224 ‘saramoy-puey 4p put 1y3u 349 uaaMNDg ‘saspipxe sau jojesanas ur-seu>ye Sy aveus aq, 102)sI6U0> Aad a1e SPP UL ety 24 U0 sa}oU- 929} “as Sunewye uns yey ste09 aus uo 2197109 oSuloB aM HINOM SIMA ATIIOTE SHIH JH JOH HO _ sos Vd DLDWUd Surdayyionuniprwoyagninotnaun E ou 295 M09 UH foe oiomumippacraqaiot-nun TTY, serepsveomsavesna vege wen sin 5p uaa pa of ys hip pnw F203 sump nok Gydany Kop Buddys suando > arsipioy dys wens po w EyPDIg wer ou no pay jr po houaurpabuty Pawan o4p Ua aM PP WM puy Apu as> tru zou 53 puo ayo an} 0 Sau6 mn Bum penaauc ’2syopoubsap-Auau sy 0) Poy 24)woauaus ey yodo}>UN YORAO PLO ‘ahuans fuk. sy wo Bunordur pun syodbucusposodia saa yy qo ou oar Buu sep 2p 2c aun Om 05 UK ‘TsO Sunyp Ws “24014 ‘sump uo uo sou dos Kusnpu uw $.1S2p99 Jo Turow wo} 21. 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Uh PLR orb dR EL. FLAMTAP. Here's the traditional notation for flam taps. qed Ap eaeiee IRRILEIRRGLL IRRELLIRRTEL Here's the flam tap played as a four-over-three polyrhythm subdivided as Gth notes. IRRGLUIRRSLE IRReLLIRRTLL FLAMACUE ‘The lamacue is traditionally wetten ike this: qqueieene Seems TREREIRIRLELI® IRERLIRIRLRLIR TRERFLRLIRERTLRL TRERFLRLIRERGLRL ‘When played with a half-note-triplet pulse fam accents ‘outline a three-over-four polythythm, IRERCLRLIRER rLRLIRERGLRE FLAM PARADIDDLE Here's the traditional way co nocate fam paradidales Here's the lam paradidldle outlining three-over-four polyrhythm (half-note-triplet pulse) fem IRLRRGERULIRLRR FLRLLIRERRFLRLL pap omer se a a eo oo, ‘SWISS ARMY TRIPLET The Swiss army triplet i typically notated as fth-note luiplets. 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Surely itwas named after its locomative imitation, achieved by playing alternating strokes on the snare drum with accents on beats 2 and 4. The bass drum plays an ostinato-lke pat- term on beats and 3 with other variations The groove can be played with brushes, bundle rods, orsticks. Two, four, and cight-bar phrases are achieved by slighty alternating the hand patter to create mini cadences’ that drive the music, [As always, practice with a metronome: atalltempos and dynamic levels. Play the Uunaccented nates close to the head and Fe? the accents a5 full strokes. You can play the accentsin the center of the head a full, rimshets or as half rimshots called Practice combining thelist of are drum vatations and base drum variations for maximum grooveaicousness. In addition, practice thelist of hi-hat variations with the left foot to maximize independence and vo= )%5 Jo UNO ppoaeLara sae Bae sMLeELS Uae Meech 2251 9 Sens Seu a au Jo Zep =AUONE, © pavoyo, vay SIL SACURLZE U aSEIYE LAWIPTJapOp-ACAPeLEd AA N Suis as Ad uses 2t0 ve apa aye ype aDs yn sLsco es em eds jUOyscnsaLiDshaNte Ny Jo] E94 CSUEN A spun a “SVEyo eq i parcjo}e/zso=unseaUre se 3uoa, Wo SuOSSLg ELST OY/ILS ANELAISSUNAIATEWADVELS:e WeDCOW!SI-T OPS, =BuNs, a 1a aaa Fe ibs cau : o a o ozi=r Tepen@-17apM@pN as ase ns se A925) ajesa4p10 ng Sadnos¥ BLS a4 HRS 0} 519592 ‘umoasing. emdaemuu sosadua roNomusccpmroNeMaEETeo/omeerA meee } F | | ———— SS =e | ae : ° ASM NOLLVLON "yy nat uaa uno Au vodh neo, sod PU AU BuRINASTA AISLE {a.Hep Ayesey yon 5901] ¥ yong cuuy Su pwed WOH ue S\cDe\auO sEAYRINogD EEK aL 03 AED Ath 9 SITUS Jo LL pe nox pane as aun 86394 useH pue ies lor uisaumwirpe gue Sup pcuTOs Kam ANTE ae.NS uae sieu wooaaUl DOI jestayang DI) eyApaLe| AOU JU, Span RUST Uy Zunecey sun pio u Sus59)%9.0) Ren auauAAODE Se Alin NS Up BEE usa ae aN ue) oe uss vj uvo9 vayogaq S973 10A0UUED |e RIPURL AIEEE Sp ES Ua IST SOW ARIEL } 9p se ono 0) dey sen Aen w Aryadow Lose oNeUANNeW BUI paueyHKe 3a ese Jo 2m sje wet e901 wea] pueSseNnUL ao yn cesDURD maAssaud@ 4 uaa] FOUN ISHED oN sy Sure roA2smno> 4p sj00qm}0U wl uNop Wa BUNUN Aa ERP wese 9 mBuoveuties.noypuesinay ds vay OYA NSIS, -Syeau0p sev ued gens sou do yan a punay | 3\uND -Fol doarop ueynot yn aaensve apuN eUnnepExdesE TO LEN 5), Ue. asou Lan A.PeK aL SLI WHEW pOUaN SAreO MO BUN Iryepuom eu Sdesucs aunts puesge.euiDpue sattutodp.2180, pub seuWed, an od une joxpsusy Browne oayen YM paKeS jee uoss9)euo pasa SU puliiap Sok "0 jo ey; WO FepaeU RUN AIEDSEN HE 20) 2URDUUULMINURPUON, 2s | AEEALOUAANEpION-wDEIAESHD 2yalyede 0 09) azn AynLapucM pou ak 2} ;EIOCLD uns au une oufep avo equoue |e UIP ARC UNO pue sy yo 3250) SopuaN e LORS Jo wad JANE) a SEH cy ‘oy Are suns Ueda pu ep Lares a. oa /wa UNsMONES ‘yeeu2s820upp Hosaka Be som uoyusurup Sued pas |WANoUnY ‘GNVHOIW N3HaaIS Aa wy}Aqy IM Suyyuawiadxy a) r Ooy Michaux. 2-co Tack 32 RURRLERLERRLLERL RRLLRLERARLLRLRRLLRERRLL “Stinger 216 Override Groove—This ronveuiizes a 3/16 “shuffle” bel pattern superimposed ever the 1/6 patter i the cher limbs. work various ghost nots into the grooe inorder to gvethe grooveatlo. This particular groove istree bars ong, asthis the numberof measures needed forthehel paiemn i polmeticcye Michaud &.3-co Track 33 =150 F “stinger Solo #2—The2 notation nb our iat that two 6rsare led evnly inthe me of hee Ios. nbar eet, start paving an 16 rythm that tepeat for four bars. An “overthe-barine” effets achieved, however, by ropping lame an afeent parts of teprrase in each Michaud 4-0 Tack 90 | Vaaae sete eee Tee eee Tate ttata easel cepena-cx ep Saou WPT puesjoupe 2 24061} 2]00 WS AOU auenb-pasnare sae maiayp any ‘sq ous sizagonysoavo Kiaaayes )0u xy aUS.e> App DON AHEM SUN, PELE HSI .95UD, Sigg ate Meee est te ae Ge teat 1 al eee ee r——r —e f—r =e Po SaaS ee =e Se ea oe cole srr sd sepen@-97a MeN ‘ian 3) pg ui auspnsawes 4 Bun 413449 voNeMPOW earzaD seq oy se NLP aUSpLeSIEY SIE LEU ALL aamvaqpafed 3 pur 45 BuppHS al “reqLED acu YUBA U Walled AuPpNS ROL BuLITsESSeINN lp ANAM H/SESIS|-aH0019 S520, yu otadqda madada Taavatatqadas Taqaqatadas eo Teta tial is eer PG ergo MoM Teas, ate Itaats ata ada ude SepeLad-<-a MEP (eRou IRR oMyJoaUIaIgu Seu peat "31 2 80925124 eq wands wey au tose ay 29} Auns.9d| Noy SM) Zs AU 2}Ou UR UE UI pasEIWd PLE IB>T CHU pARI\EENS ANE 2218 Say Se yo} ase 29 YW BEN ap 3r0 S08 YU Uo dna ws seq puod2s..9 uy sTaD0 3) BSE ens 4,-1.4 UN, 9/8 Sectin—The opening lis eth nce triplet phrase hat sporadically dis nto 32nd notes. The overall Parkalarlyas hardin te accents on the snare an tor tom, Te groove after thei isa sticking groove (tig), Michaud €x.8-C0 wack 38, Nour ofthe piraseisa over ne s/s, cru solo pececedcated tomy two sos, John and ames. This phrase a stenote Ram ; ‘epentedly trough thenoteratesof5-cNer? and 7-02 Michaud Ex 9-cOTrack29 pattern played "hiest”Groove—this song is unique nthe albumin thatthe grave was submit ‘imcopated, the thread that holdsittogtne the recuring 6 ostinato sup my Michaud .20-co Track 40 fs, with the composton being out around the rome Though very se he 8/4 sare / bas ater, eelaey ces or eee as SS are = c “Hines Fll-Tsis a5-nolelinear fl phrased eth note tres, Michaud B.11-CO Tact snag Se 3 Sh we a === 5 | SESE Saas: Sa =a = so a a } re aS ee RLR RLR ceo | z ee ‘epypen c>-et amet sgt puesta aoe wruaawd sudiow yun Aupons 0u-ay Ps ahoas# ay SHURE ALU Ray eDPA SH tags paseIyd Vek B Aq paWO|O} aN Be ASE ay) 10 snojuon a ua AUS. | "sj ou pu Ona PapINpaNS sleNIeE snaLeA Ya HBMNNeSt jy Euuodo aya.) yo IL END 2UL, Ve vaya ete tte teat at atta add SSE eS zyppeu aD -2t-apREPAN saiaq v0 ay I) 2860 u>ea ope ai 3 105910 2uy UND a4 eo O 3sOKD nq 249 BL =ryBUOD C1519 BA J} NOMAD ‘ayy asnoraiuos pay a9 gi 24 Jo pak BupanSanU-aNy 251 nO /42N0-GayL'9

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