oe ase By ster aussie squs09y rr Pete ore om, ew decal DOES ee Tiree oe aS 2 Me at 0 eae eee pc oie ee Tea errr we sBunons z Tap S564 = swened 1005 sate] Uo 720m 4 10 Supouos sf sump Jo uoRpPe ay uo aseus 1p UO UII.” pur supp ly oypedg wopeay pu Suyao} Bt am Gowap cy apo ut waned yoo pee uo aun puads ‘auouanau ® Sus, squoe ai pur sBunppns ng ypea yy uoneurquios us wad yoy Kiana Ud 0m ta) -yed oo} up pi [a9] YoptoD v SunpeaL yyy sfaperedos ue 2up pu pps ag ‘suraned ooy ap sanseuren 5} dois asry gL, aaa ‘sayfs ayy pueysiapun 4upyp yng syoog uegD-ouyy SPOLEA pat ‘oy swuapnis sur 1 pu ‘anbautpay stamp ou yng anbrtoay tunsp areus poo8 yen stzapmys pre oy Suzyred 21869 ay pare ano pueszpan 2g ms ui-oy ln nua a] ‘st siuapnis day 01 padoyasap arom Sasioxa Sutmo[o JOSUINAG 10} sasjosexq Ayjoey ueqng-o.yyRLRL PART “After you have memorized and developed the feeling for the exercises in Part | start creating your awn pattems based on the stickings, Part II deals with patterns that can help you inthis cre ative proces. These patterns use the same stckings but involve different drums, bells and cymbals. Practice each pattern until you feel comfortable with itbefore go- ing on tothe next one. Spend additonal time with each pattern ancl rake your own additions to it based on the song you are playing, or simply to add your owen personal touch, Music has no limits and our creative minds are capable of amaz- ing things. This isa very important aspect in your musical develop- ‘ment. Although musicians ae creators we stil need to practice to create. Addl my patterns to yours and you will have a lat more in your arsenal. Patterns Applying the Stickings ‘Add the foot patierns from Part | cowbell Kok DD RnR We iREL RRURLLRL RLRLLRLR hichat jam block hichat jam block RUERL RLRL agri Songo is the sabjc ofthis ection The way some books explain Songo isnot appropriate fr beginning or intrmodiate Grummers Some books show you a pattem that ma take you an hour ora ‘week to master depending on your level, What these books don't explain is how the pattern works with clave, Also, they show a pat tern that most drummers can ply, but ony a ew can pay it with freedom, which s theultimate goal Can you read a char playing the his, and groove without losing time or the cave? Can people dance o your playing? ‘This parol the study in divided into exercises tha you can prac tice to internalize the concept without rushing the learning proces. Itise step-by-step study, Practice each exercise sepoately a all, tempos and make sure iis groovin, ry these patieos with your NOW AVAILABLE ON DVD! Historic Drummer's Heritage Concert Celebrating the power, pride and glory of field drumming ed at PASIC 2002, this 2- hour DVD features some of the most accomplished field drum artists in the world. ‘Appearances by: Jim Kilpatrick, Marty Hurley, Alfons Grieder, Jeff Queen, John Pratt, Nick Attanasio, Americlique, Bethune. Cookman College Marching Wildcats Drum Line, Canadian Associates Drumming Rudimental Excellence (CADRE), Camp Chase Fifes and Drums, Colonial Williamsburg Fifes and Drums, Oak Village Marching Percussion Ensemble, University of North Texas Drumline. Also includes an exciting mass ensemble finale with NEXUS, and a special interview with Artistic Director Robin Engleman. Cost: $30 Supplies are limited Order onl www pas.org/shop Or call: 580-353-1455, pencussne nares 19 son 200?sone ergy LON asso Ne ‘Suapnis ayeypauuzauy pue Buuuifaq Rueonpa ut sazepads yong “ou yor s zadig st snaos wre ste “poppy yon ahi fo susan pu sod 24], ue ‘unphiy fo oqo pu Sadoys 1 “pe souya, aysmpy Jo siu2yog pur sais ayy, $4009 Salas SMA pue SUE -poor-aysts ays 30 sou ay sap Bare Senay, SeTTeq ay UL BumpIsa saypea; pue ‘asoduoD ‘Tau SWwOYeNgEA® Soda MEW UYOF sesturigh 7] sneyp von ap ut aed ano uly any anor ay ynoygnonp assoc souses aruda any Suey spur ayy ayeUse fe sy Hodis tanup see apn jequr ap uo soyseys nung ye Aoi ‘puey WS ap yen BuTUUFZaq aDeNS Sue Uo snp apt YBa WeIsUOD eI 9 (spuey asasarosiy) oddns Sqr pe deg pury sySer ayy ym SuruUFBaq adezIne Aue wo s}ou UDP HHEYSUOD Key "S| (spuegasianan oxy) pues ay pin Sunes 3 puny wy ou SoUseT na Te ADE eA BuPPNs SuteIOye Busy -aDeNS JoHTO ue Lo SOU {pie apo qe pu odds wsnapsseq yas jequu> © uo puey nfs ah yp SSeS AY fe BuLkeyd sayou YBa MELD Keg (spuvy asaAat os) adepnssayyo ue uo pueY Yo tf pn Se ee Aej Hons wap sseq yo oqo uo puny ys ap oy Saye NURAYE Te umUBse‘opou sauenb awesu0 dee “THe spunos pue soepns Susfueyp assay uo are ns ae wo (uo) soyses nad Ae bejns as © vo uanz se (Aju) sso NaN et T ‘umup seq unis equa ayp uo sayseys on ces sp Suzy way 95 Isdayse uaos are aos usp possaud uP 0 sumer ue 390 popuog Spr eHealth uy ody Sudo ogy astra 29 sy poston sass ny Dpto srouuunyp sonpornt 1 ope all 99 Uadid MAVIN NHOF AS. | apnyy 904 ‘bed ays Jo apis 14811 ey uo AUN ,sojonay eoueyUy punos, our oH ‘UORD9S Alu SEqUIOWY aun oWU BUIBGO) sayy (G1o'sed'manm) eusqaq S¥q AUN UO PUND} 2q Ue BORE siLA /, uct eine teiguetuerae oa SUE mY ( \' ——_______——pesmniag panos,Ger TRAPS 49 ellIne Note Records was the brain child of jazz-obsessed German ex: pats Alfred Lion and Francis Wolf This par of thirtysomething dreamers launched thei label in 1939 with some funky boogie-woogie sessions ourtesy of pianists Albert Ammons and Meade Lux Lewis, and some hot Disiland, courtesy of tmultireed wizard Siciney Bechet, They took bow tothe bebop revolution in 1947 hauling in novative pianist Thelonious Monk into the st dio, where the bearded one cut collection of oddball originals and oddbalishly arranged standards that eventually comprised the two vol umes of the bebop bible, Genius Of Moder Musi he session's well-timed bass crum bombs and chatterystckitork were provided by one Abdullah ton Bubaita, ale, Art Blakey. Blakey's mind-melding hookup with Monk -as was always thecase when itcame tohis ability to ‘communicate with pianists is rooted in the fact shat he was originally a pianist himself switching to percussion only when literally foreed toal gun point."Tended up beinga drummer hecausea sgangster told me with a38 You hit the drum, Sol went up there and played the drurms."The be bop work should get on its knces and thank the unnamed mobster. as Blskey developed into one of thesubgenere's most vita figures not jus: ddeummer, bt asa conceptaalist and bandleader Alter those initial Monk recordings, Be Note dda‘ see much of Blakey until October of 1952, ‘when he eut series of sessions with Horace Si ver. In the intervening five years since the Monk dates, Blakey's playing had become crisper sub ter, and funkier. His timekeeping on the Latin tinged Silver original “Safar,” for example, snore focused than tha af either “Hamph” or b-26 rugs with sing fe Thelonious” from the Monk sessions. But that vvas the way it had tobe, as Silver's musie ~and also the ever-evolving Blue Note paradigm — was now calling fora tighter sense af eamposition, Over the next three years, Blakey drifted in and out ofthe Blue Note sphere - the most no table drifts being a 1953 classic session with ‘Miles Davis and some more coo stuff with Monk in’S1~before becoming. label mainstay in 1955, a year featuring the first appearanee of a colle tive that became the Blue Note petri lish - Art Blakey And The Jazz Messengers ‘The irst edition af The Messengers vas fronted by Blue Note stalwart, trumpeter Kenny Dorham and Blue Note cornerstone Hank Mobley who ‘was on his way to finding a lick voice that woul soon become the labels tenor saxophone template At some point during the next yea, Blakey decd ed itwould be more musically falling and mon: ctarily prudentto make The Meseengersa revolv ing doce of sorts, casting out the veterans and bringing in young (and generally cash-poor up slaris. The early Messenger ensombles featured, among many others, trumpeter Bill Hardman and sxophonists Jackie McLean and Johnny Grif, All the while, Blakey shared the recording room with many of Blue Note's finest: most un forgettably, pianist Herbie Nichols. Nichols. de- spite beinga monster talent, never garnered a wide audience similar to that of Silver and Monk, likely because at the time, both his eam posing and playing seemed harsh, dissonant, and ~le'sjust go abead and say it~ efrd. But Blakey was nothing if not adaptable, and his un characteristically delicate work on the loping 2800 Skidoo,” the clunky “Amocba’s Dance: and the jittery “Brass Rings" allavailable on The Complete Blue Note Recordings Of Herb Nichols) eG, ‘spring 2007 TRAPS 67ile Blakey was cutting a swath ~ of more accurately, wielding a flamethrower through the moder jazz Jandseape, a pair of pio: neering trapsmen were keeping the old-school ‘bebop flame flickering forthe Blue Note boys. Kenny “Klook-A-Mop” Clarke is acknowl ‘edged by many as the first iene bebop drummer, ifonly because sometime around 1941, he discov cel that A) keeping time on the ride cymbal rather than the snare, and B) dropping random bass drum bombs made piano/bass/drums rhythm section sound bit more newfangled, Not that what Big Sid Catlett or Papa Jo jones were doing was oldfangled, mind you, but come 1941, jazz admittedly needed a kick i the pants. Clarke - whose onomatopoetc nickname stemmed from those previously noted base drum, bombs made only a handful ofappearancescon Blue Note but his Klook-isms both touched and shaped each of his sessions forthe label. His ‘maiden Blue Note voyage eame in 1948, when he Anchored septet co led by pianistccmposes/be- bop visionary Tadd Dameron, and Dameron's mercurial trumpet toting foil, Fats Navarro. [Navarro wasthe acknowledged star ofthese ses- sions - if you're not hip to Fats, know thatthe ‘dude could straight up blow — but Clarke played no stall ole, Lomnbing Navarro into the strato sphere on Dameron timeless “Lady Bird." 1953. Klook performed the same service on both voluumes of The Eminot Jay ay Fobaon, wre ‘wasa beautiful thing because Johnson, a genial Dut mellow trombonist witha penchant fora rid-tempo repertoire, was in serious need of be ing bombed, On Volume 2, for example, the stan- dards “Old Devil Moor” and “Pennies From Haver? are save from one-dimensionality by Clarke's insistent ride and popping snare However, Clarke's most significant recording asa sideman for Blue Note was his final one Dexter Gordon's 1963 opus, Our Man In Paris Prustrated with what they flt wasalaek of re spect from American audiences, Clarke and the tenor saxophonist ad recently setup shop in France, where much to their delight, they be- came semi-megaestars. Francis Wolf, knowing a ood thing when he heard i flew across the pond and dragged Gorcion, Clarke, fellow émigré Bad Powell, and France's preeminent azz bassist Pierre Michelot into the CBS Studios, where the sPRino 2007—— et i LY UD BPH, ves t-quyg ono 0 aga SH, wictnue gaps ms puna a eu ses 9 py poy as, ssp apo 04 poy ay Saar a oonuys,uequog yor > Uru unos sada sep agony 7 25 vo ake sap UNOS ios Lana eqn apo 24.0 ec pun a8 2 fora ue plea ny pga ua HI owns pay sadn ay aus ‘mopeds jar anDaL Nn eaRRD 2.2, U5 DH BHO BPP ‘ayes pup va ey vedo 2pene 5 pun An 4, eH Ase eo 08 pu o€sonseu oy eos ajons usa sues cg Ye uM gore eo pu “aso sede ry 224 (05 a7 29 UND eu tes in) 12-3 9 ‘ospueds eq 2upnou sag agra Sup seriou ames pap nos ans a so 9-4 ped aya ue as wn aun wa pana a fen nn awn sy 0 ane SSpUBUOU jaa yam pe SuaWNL gg ua es ayy Lg ep pe ernanon Ks ey AED HH "ya puna je uy gn Zuni a pre sp uo NE Ae yNgOA AUN “pao mo pau acts sae pons seg uF ‘osu wag un p46 wes oun 0 20059 275 U UROL EG lump go 24 2D Uy, 8408 un papa ny 9) PE paso sunuyh2u'951 4 33 ‘sea naye apa pro wears os 0 Bupopesany ey 23) say yup wos eg 54 ut 03009 ‘und pout sua fue‘ sm iy BUEIEKe pu aed ze vata ng 0094 «1° 25 PIE, uD Noo speaaRARS pH Dupe a ea, +2893 pu a apy uate 96, eq ag sue 3 yu "0200q ‘pal EAD HLH ONS Tg a, way se gc a Fo Q COREE EERE eRe eR ee SILON NO SIIONEB, BOOGALOO - GROOVE OF THE '6os [Mich nice ooo bs 1 120 Fite ini Hei 1967) a= Fee, J=10 18.7 Gwguy Cole's oor fom “Ann Br (The Winstons 150) Je10 75 FS Fe a. sano 2007 TRAPS 85= sev 08CORRE BERR OREO Oe Pee eee eee Renee SIGNATURE LICKS x1 dntaok at ks sea fot fas ‘notte ist peso hat four hem. utter area oupe of things that eeboy knows me 2 fatter as et whe twine —— tend and tin the a rum SEs, ‘1 And the thes thngsthetaee= Dat pon the as drum 2] I starts onthe ight foo two on he rightand on on tre et vst the hi-hat there 53 time oper. Ao tal depends haw pooch fete n-hates nandsf teas tehanges 2 ming [sand] ind oF 5 3 : festte eat mada, RR RR SPRING 2007 TRAPS 93WOOSNIZvOWNSavEL 4 ES jw ‘uo au), se ay py "a st Bunya em | psa sy ueu ge pg fa 74 "Ayop wey 250 Sink sds ‘vg dn Baan 594 pu sump yn poueq oe sun ay uaa 2° aun, 2 1 BuO, ue mou unay say toute Says ous. pu te 90 e016] st pp way ue dey Jey son 2 °g} 44 Spunos Sum 54> 05 Now 4 0 uo saunas ing rw 90 aus pap autos id oy Sun “wry yo, pw ey, pays vaponu suo} 2ung aes an pay p14 ‘enn | 1 3068 24 235 1 pawen sn ay woo mt oB ony yup eu pate, ua at 54 290, 241 2a Pe} 0 pu a pu spa ‘uy dn pau aves sy 020 oo ays IN NLD, Supues sau ne foo a, 1108 pu peaye 09, Buy ant oy 2u Bupa SupUR "3 9a pu 20 Yo a8 yea, Buu an aygeun}0D 1a pau posaord Bu0s asym | pu pass 24 9 spn fy sem pre “oda uo 895 29 3 eda ay ego wamatuene wag peu our yoy {Wop aes Bund Seay fu Sans i eres — ; ee uxnaa 0 0 03 Ue no nea 2S e> Isesfe furu wu stony asa poyiny Lg} dena 59 ay 'sfem uno is yasn pue uno Aux 92u pr yy pose | 200 aya sey apeusay ype, 20a U0} HUMP foun sy ay psn 2490 US ey psn Kaos aH "wo ay BuO ye moe 97g] 4.28 09 61 oem sas ‘uo sno 242 pe nok dun sang a EM, {1 9a] 3511 59n5Aysy9 ovo 15 Aa wey woes 8 sa ensApN NSH 9 2 Suu 23924 KO) ‘yop wep 0 oes 34, saw 24 0 pur Bae aa en ua ao fa yy, peer | 20 wong a4 01 001 pay ‘ay gfew yeu andy | nq aum umes 245s Sues au us) seuuesny, ses pue sons a spuEY eum a Kg 9 qe ay pue2u0s un ya a) 105 O78 wp, as 4 ur jo aap 9 98S Due ‘un 0 | 05 jo} au ye ay Sew, “unui pay ok suena, ses pue en S002 ayer o1 Super ayeén seu 285 0) 589 4 ue pat wp aur er1pve aren u'sy uy 1195 yoko 9 une pul au ye Suyoo 427 pue wn uae, ey dupues ued wa a oj qua a ey URE a uy pated aut yea au, aes ‘nym au0p pe ey pol fe ave pue wnt in auop peg ie pana ay tpn oy aut Pre}2h “psi am ue 0 vam | 2u0p jo an aus a2 aM P) 24} yo Zupues sou o1EI04 i puefyds 295 01900 OR, Pua. 324 3 puB UES rea uy or vo sen 2p 340, HANKS 3WU-LND a fi pe a0 0200 fue uoy unex nes aes guage pu [240] ung pue "suey ag ‘a a ‘sypaNE, a0 eae ste Sua, 944 8 wos vores > >on 0 BouuUNE Kas peopel usy st pero amy ok ug Zo Woy ata apeu yaar fap, ‘ew Hou apew eM -0'S ya prea.s apew UN nae} nak a0 sot ek 43 au, yyooys ews ue "5 oe vou oe. U09 onéoud 0 yy-nousrfenaa, nls sop evownasurun ‘map o13ey a m}y po my seyeureyn pue re pp ‘oyna pau oy cy au fons {Wop san sna OY NOLLWULdSNI TEDSTER eee INO NO INOETL ols eH wo Keg wo Korg (29 op probe Jequinig seuung ** suinig 098i setesssss sang yjoows: sorts poyg dog seesees* quinbey seippig Aewe “* SsoW ON peg eg ++ seBueug, yall ajduy Abid 01395 18D) 117 BAONSUIN * eyons usmig iypno, fino eu isn ywely = Be JO puly OS : ew-Vv00H Be eUNET inedieg euL ino tle ~ syjo4 Guno, UMoy 3nQ * yseog Asez Se ~ -yeey pue spuey ISN JO. a pue suBig Bulureldx3 Ae0H “Y Paid 8 eUISUIYOS WENN “alsnus sAepo} ul Auesseosu os uoseteidietU! pue ajAis jo sjulod auy ou) Aide pue puejsiopun squspnis djoy 04 pepnjout s} suRsutYos [1g Jo BuIxe|d ay; Buunyz9y sojos asau) jo Bupsooe y ‘sUOSS@| WNP au} O} apyeds PUR |SaJaTUI MAU PPE ||IM SPOUJEW JeyJO YUM BuoLe soos esaLg Jo as, 110A pouray wnug s,feg je, Jo eBpa;mouy o1wYyAY By) Pays|idwcsde ‘ney Kotp papinaid suosso} ys sy} Woy} siUepnisjes wrup BuluulGeq Aq pesn eq Aewseun, Jag wig -pedojanep s| BuWUUup ojos Kem ay) Jo autos oyu! s|yBisu! pue Seep! enib pue suey BuDjanS 291109 dojenap ‘jas wrup ayy ye samige Suipees s194) dojenep sjuapnis day ym sojos aseuy yeuy padoy st 88 whup eoald-eny psepuE}s © UO paXe|d eq 0} paUBisep sem Yoog SILL “sJ00q poujeu MUP Jo\o YUM esn 10} jeLeyeW AleyUaWe\ddns se pepusyul osie e1@ sojos esau), “Bulfeld yes winup injssesons 10) Aresseoau saifis pue senbuyse} ay jo Atsysew! & ‘nalyoe Ajenpes6 uEpNs etp diay o} Papusyul are sojos asa nays AlaqeLepOUIo} ASE Aion WON} AINDYLP JO Jepio ul peSuexe ‘juepnys jes wrup ay) 10 sojos paredaid Ainjaieo Jo 40g ® $1 S3NAL L3S WAY eee OTeuowoxs, jeg ums yoo pue spury aEasy Does It Drum Set Sketchwoiess, yes uC uUMOL INO eeYoung Folks Drum Set Sketcha Bist 1a uoreas yes wag jjedieg oy} 31nQ [OY eeLatina Drum Set Sketch Snares off So Bae = = RL RRLor wT © “atk Tat yoreas jeg unig, eV POY eeSome Kind of Jazz Drum Set Sketch uThee ies "a (swetd “a Ty) yoyeas, yeg was YW wep aSJust the Right Touch! drum set Sketch Brushes @.e = Slide L. Hand Brush aoe ee eR+1 SOySMIq OFLA YEA uo}exs, yes una ayol1g ysnig iMini-Nova Drum Set Sketch Hold L. stick across rim: matched grip ssa ieeeoO uo}o%g yes ung Atl 0} Jag 105 a eeDrum Set Sketchst oS = Yoq=g yeg wnzq pValy, ofdiay,Changes Drum Set Sketch08 7 a uo9%s, 39g ung yord yougNo Moss Drum Set }= Multiple Bounces Sketch RRLLRRLE = RRLL RRL RRLTaT8 Ta ty 9 uooxg yes ung. seTPPld ApredRequinto Drum Set sketchin x 1 Tr - he Tet ee te wets Pete Famer, ete Ter eT ape | ela arle bet aoe = taf, Cea eer yes wnaq, yoryo dog fdSmooth Cut Drum Set Sketch fea} Para Se) See a © eh eee cee ‘eet RS —_ = Bg ig ge kg Rg ge Soe ae Se t ee eee pgpde dt de ah wh — nes Sesebeor bee "yeu tH er | atid 2d dF = ean : alee el eee Gast ns TC ae et et ee vO ory ie vey ae ee sumiq, oosiq eeSummer SlumberContest Solos For The Intermediate Drum Set Player 10 original solos in a variety of popular styles for grade 3-4+ players by Murray Houllif FOREWORD ‘The solos in this collection provide a variety of stylistic mate- al for the drum set player. They go beyond the scope of the fist book, Contest Solos For The Young Drum Set Player (grades, CONTENTS Rockin’ The Rudiments 1-24), by offering even more challenging repertoire for recital, 2. Timpbuktoon contest, july and study. Many aspects of solo drum set playing gre encompassed in these pieces: ee eae styles: rock, boogaloo-funk, hip-hop, jazz waltz, §/4 jazz, 4. Waltzin’ My Blues Away .., mambo, samba, etc., and the characteristic mythms To Be Is To Bo, {and timbres (fone cole's) of each idiom on the crum set pre ee techniques: playing with sticks (sick shots, press rols,rim Cele j clicks/clave, etc.), brushes, and timpani matiets; pitch- 7. Just A Simple Samba bending, 4-way coordinated independence of hands and feet; fikin ideas 8 Boogaloo Shoes ‘Musicionship: note reading: phrasing in groups of 2, 4, 8 9. Down At The Five-Spot and 12 measures; ime-keeping; ad lib or improvisational space, development of taste, etc. TO. POET RODDM oes esnere is the autnor’s nope that the intermediate drum set player Is provided herein with interesting, valuable and enjoyable mate- Fal for this exciting mode of expression, LEGEND sae drum stickshot_—_rimelicklclave small tom simof smal tom ide eymbal or closed hi-hat w/foot i hat w/stick bell of ride cymbal ‘crash cymbal mci cepa (oneal) ree is large tom [COPYRIGHT © 2000 BY KENDA MUSIC, INC. (SESAC), DELEVAN NY 14042 U.S A ALL RIGHTS RESERVED - INTERNATIONAL COPYRIGHT SECURED - MADE INUSA NO PART OF THIS BOOK MAY BE REPRODUCED WITHOUT THE WRITTEN PERMISSION OF THE PUBLISHER, RADE 3 33+... 3-34 3+ 3H 34-4 4 as ode ima of large tom PAGE 2 4 6 8 10 12 4 16 18 20 bell of erash cymbalz seseL ams Ta TAA TAT V1uy TAATT aad f ome Te Dae a T XI TIM TUTE Feyayarat ay at WH - TH Paso VTINTAT Tae 7 TATAITATaATa TIaTaeT Tat ‘yfos quowpns- odo ut soyonw ayesipur stoquINN 96-26=— 00:2 uoHOINP: eaqvuo SJUUIPNY SUL ,UP9OY *LRLRRLRLLLR LR > = R R RLRRLRLL RRLLRRL LR RRL LLR RRL LLR RRL LLR RRL simile = crest. 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Sf RRLLERRLLRRLL mf crese, mf eresc Gradually damp } cymbal RRLL ra tf ——_ ”HE esse 72 ne se ae oh SUED tone SS oa Z x ; fu-d eqMs> 9p . £ F £ T r . = - I re (¢.f =f) Oz1-91L zzvp 90:2 uoyounp Jods-eal4 oul sy UMOG 6 vaavyocresc. cresc. al fine it)sz} esset requigo opus fo tea mae | MaTTaa uTaait al UTVATA WTA f HTH paso ARE TUTATa 887 P8 =F Adis doy diy 00:2 uoHoINP: HaQbY 10494 “OL tr saveLLR L RRL RLLR aa Closed Hi - Hat RL LR LLRR ae =f ——— RL LR RL L , RRLRRL a mp Open rolls —= Ff RLLRRL 21SONGS < DRUM PARTS ek acd On this song's funky groove, Chad time on his ersh eymbal, ane _—_ tn Frusciante'squitr sot inthe ‘Smith opens his hi-hat on the 4& moves this cymbal bell inthe utr, This mement wouldnt nave of every fourth bar then grooves curv. Although the song may sound been as poignant Smith had been through the prechorus with an open simple, there area lt of subtitles soloing atthe same time. Be sure Fi-hat using texture to convey in Smith's part, which sfillremains to watch Ray Luzior demonstrate song structure He takes things up solldbenesth the band —ke when this parton the DVD, ‘notch inthe chorus by keeping he Hlds down a groove beneath “Ete Kamm 1295 Intro/Verse/Chorus row ro ray ons EES—kx<<<— = sms0q ¥ zee< snu04)-94~ “SHaddad IHD LOH G34 SHL Ad .WINYOSITVO INYO»,Fill Into Guitar Soto (3:43) = og ES “ > nding Fill (4:33) Ba SRE McCoo Mh a COM Lel ya StU aa Dance tunes are often vary ‘4 curing the verse to add a dash out for eight bars toward the end ‘minimalist and inthe pocket. so of oor then Boosts he sang’s of he song, where a programmed ‘Arian Young plays "Hella Good” —_energyby playing with the nat electronic bass rum cartes the propriate, laying down a very open during the chorus, while tune, proving that there are times, simple yet affective gcove based reserving the crash cymbal only whet not paying at al can be ‘around acassic Zand 4rock for moments nfen the chorus more effective than plying. backbeat.He opens his hi-hat on needs emphasis. The drums ay Bic Kamm I rer sees UUUUY CTSA LY OUUCSIOS ACT Wane< smuon puorsg 28194 puoD9s JB rrr momo ye SeHr i wado Sits SMUON BEPC Pelee nate Ley‘Third Chorus SS rrunig ss0g sone wena UAL Li siuvd WANGd-188 Bile Joe Armstrong bogs this sang by introducing the central guitar theme, and Cool sams in wath a hard crash on 4.The verses structured as acall-ant-response, where Amstong sings his vocal melody and the guitar, bass, and ‘tums respond, Creatively using texture, Cool ays down four on the fico fplsatod quarer-notes on the ck drum) behind te vocal “al,” and uses his entire kt to crve the instrumental “response” with the ‘uitar and bass. Wile Cool breaks up he verse both hytmicaly and textural te cvs the chorus hard vith straight time played onthe hina, Immediately folowing the ‘choruses rye, and during the ‘io, Cool moves to just his toms ‘and pays a classic sur beat that perecty bridges aloft song's arts, Caretuly choosing not to step on anyones nes, Col plays straight me oni hi-hat through ‘Armstrong octave s00 and dosn't move back to his toms unl after the ‘guitar's melodic idea is complete, stan fo haw the entire and constuets the powerful ending, Coot ays out fortwo bars folowing ‘he bridge so the final chorus can hitwith a bang. They bounce alte song's contra themes and textures off ofeach other until Coo finally places the perfect period at the end ofthe tune wh simple snare Erie KannSwine AVTa OF MOW @ ‘AVG N3IHD Ad «LOIG! NVOIEAINY,, shiva wauaee sees == —s SE EA(OEE EPO E es“YOU SHOOK ME” BY AC/DC. DR ‘There is ahuge diference between a ‘rom it Phil Rudd ie a master ofthis chorus by acting crashes @ couple (group of musicians playing together philosophy. He demonsirates tin. _of bars before it Hs tme remains , and a group of musicians playing the nro "You Shaok MEA Night simpe and soi during te chorus ‘athe same time. Good drumming Long” by laying out altogether and where he creates tension and release should aways complomort and continues tool back inthe verse by carefull placing ereshes where strengthen the other muscians’ by laying down a sold backbeat Angus Youngs guitar hesitate, arts, rather hen avert and detract Chock out now Rudd anticipates the Eric Kamm Jew Second Versea Sy OpsaaRD. EC ee Siuvd WANG‘Third Chorus He “| nee THI (aint batho led fk Se eet hata HE eioecneTCyTa TTT Dali ddd u Se ee nd andyclectedjungle/drum ‘n' bass grooves. The following workshop is based on the track “Drift” from my debue solo CD, which is featured on the Seok fr compan jon CD of this issue. Please refer to the audio track on the CD that coincides with the Stick Zr companion CD's Sampler Station, First listen to the track, and then check out the grooves below co get a feel of how to play half time to dou- ble time jungle! I a this issue of Stick J, we will focus on half time to double time Gear Needed: Hi-Hat, Bass Drum, Floor Tom, Main Snare Drum and Auxiliary Snare Drum, Left Hand 1) Hloor Tom 3) HiHac 5) Bass Drum 2) Auxiliary Snare Drum 10” 4) Main Snare Drum 14" a RO ‘asses, Wanguer descr x nero The fist groove is taken from the into. Iam playing a half rime feel, utilizing a Jor of unison strokes. Keep in mind, there are two snare drums in the setup. ‘Your left hand will play both the floor com and the ausiliary snare drum. (Both, should be to the lft of your hi-har sand. Ifyou donic have two flor toms, ‘move your floor tom to the lef for fun!) Your right hand will play the hi-hat and the 14” main snare drum, See che diagram of my setup before starting, Practice each hand individually, addin the bass drum and when you are com fortable, pur the whole groove together. Remember to start slowly! Ex. ky The following notation is the basic double time fel I play on “Drif.” Keep in mind there is alo of improvisation, so fel fre to embelish once you ar Fil ins with the groove. Before moving on, practice playing four measures of Ex. 1, then four measures of Ex. 2 and repeat! This wil get you comfortable moving, fiom halftime wo double rime. START SLOWIY! Ee 2: —_ Finally, below isa hybeid groove thar happens later in the tune. Simply combine the first ewo exercises together to create a half time feel with a double time jun- gle groove top! The left hand plays double time 2 and 4 on the auxiliary snaze While che right hand plays che main snare in halftime underneath, Remember thar the right hand will play the hi-hat and main snare and the left will only play the auxiliary snare, Feel free co add some hand bass drum notes with the left hand when you are comfortable. Bxercise 3: eS Half Time to Double Time - Jungle/ Drum ‘rv Bass Grooves f Johnny Rabb resides in Nashville, TN and is Director of Product Development for the johnnyraBB Drumstick ‘Company. He has his own. instructional books and videos, including The Freehand Technique, Hip House Groove and RhythmSaw Techniques. He hhas just completed his book/2 CD set entitled Jungle/Drum ‘n’ Bass for the ‘Acoustic Drum Set, which is to be released soon by ‘Warner Bros. Publications. Johnny continues to perform in Techno Trio and as a clin- cian, E-mail questions to: Jr@johnnyrabb.com Website: ‘www.johnnyrabb.com ~ qqes Auuyo ‘Check out "Drift" on crack 5 of the ‘Stick lt’companion CDfe the tape is, and then the sound with just ‘ood. All draummers have things that they sake it easier for them to play. also use sam sticks beeause I wear red glasses and Secs, and the sticks have a piece of gold pa center so when the ight shines ssa reflection. I don't have any the way itlooks!™ tions to the vernacular of drumming, ==bering the lesson from Paul Barbari. Se. | was atthe North Sea Jazz Festival Seas backstage with Max Roach, Elvin ‘Now Os Gb, Hs Manta (1-0) : a aa Jones, and Art Blakey in Art's room. We were talking about the drums, and Max said, ‘What you play is so complicated, but it swings so Ihard and isso funky, I ean do that.” And Elvin said, ‘Yeah, the only one I know that's as close to me is you." And Isai that I had lis {ened to him enough, because T wanted to play like he ddl with Trane. And Art sai, Y you got some kind of shit you play on the bass. rum, how you do that?’ And I said, ‘Look, I listened to all of you. I copied all you guys, what yall were playing.’ And they said, ‘No, ‘we wasn't playing that shit you're playing. "But these guys had inspired me to play what [Eplay. These guys were my heroes. And Art | said, You're one of us,’ and I said "No, [wasn't ‘one of yall ~ you're Max Roaeb, Ein Jones, andl Art Blokes" Art said again, ‘No, youre one of us said, ‘Vall better stop smoking that shit’ and T ‘turned to leave the room, and Art came up be- hhind me and grabbed me. He was squeezing me in that vie grip, and he sai, ‘T'm gonna keep squeezing you wil you say you're one of us! “Art was squeezing so hard [could hardly breathe. ‘Say itl Say it! You're one of us!’ And T ‘was barely able to get out, ‘Okay, Im one of you! mone of yall" “Lalways thought ofthese guys.as my heroes “They were my frends, and for them tosay that vasa real compliment." Wiki. 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