STANTON MOORE ei ee = ym Moore currently plays ee I) Sirois ma =e hind Cle heed are aa ae SN Late fr the Future Moore ato hes released solo albus called AN Kooked Out on Fog CinyReerds Stanton Moore Longhaies “Her Mind is Gone" from oor tom, ot cowbell, hi-hat, ride, the Cranfish Fiesta record. Vidacovich _etcotera. When he would play the sec~ {recently played some gigs with John _played this groove with both hands on _and geoove, would play the first one, Vidacovich on drums and Rich Vogel __the snare drum and any time the two again with my right hand on differs (Galactic) on organ. The frst une we hands were played together, itwasaleft- sound source ddid was with George Porter Jr (Mecers) handed flam. It may be easier sarting This creates a super fat poly-textured con bass. For the second ome we used with the right hand on the hi-hat New Orleans groove. It’s important to Cornell Williams on bass. And most re- Ex. 2is my version of astreet beat realize that instead of accenting the and cently during Jaza Fest, we featured Jim that Vidacovich played on “Cissy Strut” of 4, as ie standard in most New Orleans Singleton on bass and Karl Denson on _ from John Scofield’ Flet Ont, These street beats, these grooves accene the sax. Talk cbour fun! I studied with two grooves have always worked well a= second sixteenth-note of 4, creating a Vidacovich for a while and doing this gether and you can interchange them as.__more syncopated modetn feel projece with him has revitalized and re- main ar complementary grooves in a ‘Once you gec comfortable with both Inspired my playing. [have picked up _soag. On the particular gig we were of chese grooves, invite a friend over co ‘any grooves from him over the years _ playing, we had the opportunity ‘o play _ practice them together. Your neighbors and ['d like co discuss ewo of them here. them together. When Vidacovich would will love i! Ex. Lismy adaptation ofa groove play the first groove, I would play the that Vidacovich played on Professor second one with my right hand on the > > RRRUERRLERRLRLRLERLE RRRLRRLRRULRIRIRE peuet 105Discipline TOM BRECHTLEIN Fat Fusion ‘Tom Brechtlein bac played swith Robben Ferd & the Blue Line. Chick Cores. Joe Farrell, Wayne Shorter, AL DiMeala, Jean-Luc Ponty, Natalie Cole and Bric Jobson. Irreverent Splashing Hey Folks! Tom Brechtlein here with an- ‘other happening CD for you co check ‘out, The now Chick Cores record is out. Tes ealled Past, Present and Fururetand Drummer Jef Ballard plays his ass off om it know a lot of you aren't into the acoustic jazz tri stuff thats on this record, but check it out anyway, you will noe be disappointed, Just thought tell you that. “Anyway, here are chree ideas ro prac tice splashing the hi-hac with the heel of yout foot. They can be played straight or joy playing them and like everything else, don't take it too serious swing. ly. 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UDP am saUoWos ‘on, ee wh soBueip Aiors ayy aan sine aude, 2x02-24qn0p Joy sowooy uy usurp 3599249 90U U4) “srg euisnpul 2.0u ap 3} 2peU JO pup eyy yuna 1 2snesaq sys AUIS 020), 209 04 sai poauem), "5940S USS JO | ruppoup uns ypot paey Suuaiag peaye 1yBlens Ayoud e suey — pu> au seou | s8puq ayy Zuunp pue(,922q uinup paauenbos ‘BYR pu 5e>0n 9e4-1y EMfs A INO soup ‘Bunghsara “Buns x9 40 spuozas 0 114 UL, 35098514 249 — Fuydues-wuon>9} 0 sus puzyoog,oajdn0> e aiayn 'UOISIEN unqye ayn uo uopH9 saswoiduo3 ay, Ips 24) UL qu yo wos am os yuon2afo fe Buia 40 5 e2pr aig 0 Anud sem pueg 2joyy ayn un 3.uop | Fusasoqu Ayeas st yay mou st 21.24 o0u paydious jo pur}y-aun by uy Buoy ey-1y ayons-aBuss esa, Sguon>aye fe s1— A119 SW ULASI9A 51 ay sea] 3e — sossan a 208s postu Suu! mou uaa “us a4 03 UBS 9A 3, shes ay, 9e2 uanup Aje>qu0:1292-| Suavd WOU (Jd JILIWUd_ Aaron Gillespie Uy ELK r) con los profesionales “It's Dangerous...” Trapsccition by Wally F (contin next p99) aia Wee Eaear drummogaanecom Septenve 2008 pum 121 eeewoveurefeuunp sone oquondes WANG ZL F E L ew 2° E corer E Avid L Co) Avid iE = ie Fe ae ‘NITUDE NO, ANW O1zz041 Jon, wvH20 THE ‘aLLINOSSIg ‘opp, “INDIA mag ‘SHIA SINNC “DOAN sav ‘Gav aNaS “kang AOY ‘AOENNAY THA HLS, AUS “NO§ LIVIN “SHVETH NOL. papnyouy any SURI 8.412) ‘nia "ary Avg a's 218 spn yeoses pus py dos “une “vost yung ‘sojoansuy WiRUp peDys, aimnsuy Buysee, | SISMWW q199 ay IY Old | Waxr7 swing Aejd of w1e97 VIOL | JAOW OL 3AVH siuvd WOUd (dq 31 Wed | LNoa no,uk Ny 1 IN} (IN == deammagsinecom Sopombar 2008 RUM! 123lwoosurefeumunp aode quads NMG HEL ermveudya io fou souunsewh | operou wzisq4 Jo eatgeqene siuBi0 wo>uly poo ws 12:9} (wlexa pu) ho Mo Sonn auppry-aion a Uo tse 6 anaeg 4214 uno ae Api on nok 6 pps (20 0 al 2120 ra oqno> >) SAS Bp] pinor suo. phosgene = ere tera ae jester oed eee | Sc tc spac femal [TARR gee phy laste aioe era “eatnoy euop sees iw novo 080 Vs, See cee ace Te ee a = Toa ea, poate ea jafaaep om pus oyun] | fae Aes ese | tH] eal popessaseouy qt erat aeere! Pao smn rien room ue ony SL yeag adoy INO “nue fos og em soduiot jo Aen & 8 1218 unos sie2q 25040 0 Y su01s 3k 4 Yo 9UIOE SM Se "sajpipesed pu 'sayons s49n0p ‘sayouis 2s jo dn peu a1e ‘aut 3809 y>e9 UL pNP wp 2p pur ascus ayy uaameg Suisenyd au. “epping uoneu -|pioo> Aem-ino} eB eae ‘4809 9504) 3004 49] oun Im 7-1 ay) Uo s=us3}.en Aeyd 3m sgh J d03 Uo eausho 2pul2ip uo sar0U-tqUDsheyd puey yf nok am wp yeus ay uo puey 32] ay) puE wrupsseq ayy uo 100) 148 24) 20m Ayenba yey pjpuey 936 9:9)s1809 qun-sno) i041 aos i i999 5 apuous 1] snunu09 02 9MI09 3.3m, snosss (Wd JILIWudROB AFFUSO'S DRUM SET-UP. Snare Hi TomTom A (10°) Hi TomTom B (12") TomTom 4 (13") TomTom 2 (14°) > TomTom 3 (15" = Floor Tom (16") = Bass Drum 1 (22") Bass Drum 2 (22*) -rommoow> Composite Music Key Ride Crash China Cowbel = Pat Hitom A HitomB ee ee nee= z adda Axons 51 puns daoys aig oy os paso A¥snoBUOAUIS [SOU “Ajopeunus 81 puo yoru] ou wado GUL VRE LWH-IH, SSS ‘you etka ou ueeoq Yo=.q Ov ym puDpaYDOIpU WUYALaY 10 Lowoinp eu 0) Burs01 punos yay) paydnuauiun ‘peur © Cuyoor usp aious ay) Uo jos 0 Mold “TOY aaSOTO Sa Sa 1999 4, Uo A¥oe11D patD|d pUP payuedaO si a0 vedeund aul y0eq au) 20} ATUBIS Dako aa Pinoys uD Pajuzo90un 210 Seou soouB aut sjasod 0 ajou jaded ‘ul 0} @S0}0 $0 PUD A>pido1 Sa}OU cons8 4, KOs 98m ‘}0U Buypunos-yany “QUIS © BuronpOHd eyo uy 2040 AuDNS @u0 “SoS Log YUN WUD Ou MYT SSE ‘punos adAj -yoo|qpCOM Ayar|a © BuIonpowd ‘uoW!sod 420}9,0 OMY BYL 10. tao inne pneu nc ch Sn aon Woes po ae oe oak Sin nose Ge sso As 889 swing = 2 Petoojput sjoaq yo roquinas 2420} urs01 punosyuus perdnueutun pauiojsns OBonpaAd (61 uBnove Apdo oquifo eu Uo jos 0 ADid “TOM TWEINAD == + * —-uojyod eq 30 dra ou, uo Apeup 2980 9y JoeU ONO IH =TYBRAD 40 7138 ? ‘Punos ysnio payoyo ‘poys 0 Buangoxd “puod Joyo ou "wn efopausuy!yo}o0 pum oq YO aU YH “NOHO STVaWAD unos dooys © Buioaso aq \Yooyouyooyra jou 24 Aa BejoopuI 1009 941 LO JoO}eu YA eSoy0U04/DU Yorus SOU UedO BL IMTS HL LVI Le oped 4004 yu sa} soqui YOUy dOKD 1008 HAIMN AVHIK ‘jou pajaqojun uo jou-y pasoxe 2 ax 0 Un YU Pateqo| SajoU UD jou vedo Oy oxUSS AVH-IH G4S019 GNY N3d0 AVH-IH NOILWNV1dX3 NOILVLON Wnaa18 AND LIFE Words and Music by Rachel Bolan and Dave “The Snake” Sabo Gtr, Intro Rick-y was a young boy, he had a heart of stone. Lived nine to five and he worked his 1 f fin-gers to the bone zs z Just bare-Iy out of school, came from the edge of town. i Fought like a switeh-blade so no one could take him down, no! He had no mon-ey, no, Ceoopegh © 1868 New Jarsey Underground Music. ne (ASCAP) Wasrgerent © 1251 New Jreby Undergrosn tise ne che Secured A Paps econo °ive 06 : SHE “Hie Sars ee oe = SS = = =) of ty ter MOU NOK “ay pu uaa ry — TOK NOX ‘ep pu uae - sy [08 01 ayn pur uae -rysha HL PR “owns; ous sno, ou nok “ay pur ua 1uflg —} 8 NOK “IH uF uso -aHRig Samer: su049 a aa Sa MOU PUL uo] -& PHOM ayn 1¥Bho} 24 puE sop Jose syans o¥n poNEA, “auoy 3 pool owMou no “op pu use ng = “Sat MOU pu eto] == pYOM amp aynoy oy pu aap [os if nowy nos ‘on pur uso qua, = sioans Wp payreg,o S—— a Siar Su pur ~‘aun sy oua anog = =e iad zs ft 2 Sea ge aa Saale ee aiaa Mow nok “ayy pur uo9-r8y IE GOR NOK “aA pu Ud — rug [08 0} ayy pur uaa - 2480 — it h— ‘ SH pur ‘uy sy aus snox = —mouy nos ‘ag pur ua2- rg «408 OA “aym pu uaa - nay smu Sa ° “SL mow pum ouol -® PON 241 yynoy oy puB JoNp-yos P sIeeNs amp PO>TEAL —awoy ye pot ouTEMPOS: The tempo for any of the solos is wherever it feels comfortable to play them accurately and in time. Obviously, the more Bass Drum beats that there are in a group may slow down the tempo, because it’s easier to play two or three beats than seven or eight. However, most of the solos sound better when played at a faster tempo, NOTATION I wrote these solos in sixteenth note patterns as | did in Bass Drum Control, using two staves, two bars each, for a four bar solo. Triplets are written the same. Any solo played as eighth Notes will double the duration of any sixteenth note solo. STICKING Ihave written sticking which will be helpful in playing the solos where it's not an obvious R-L situation. In both endurance exercises | like to play all snare drum beats with either the right or left hand, not R-L. They are also both playable as R-L, whichever you are comfortable with. ADAPTING TO A FOUR PIECE SET The idea of course, is to replace the missing mid-tom with the snare or low-tom. ‘A good example of this is in the first solo on page four. It would sound good to use the low-tom in that situation. In solo number two on page four, also low-tom. In solo number three | would use the snare as the replacement, so that you have hi- tom, snare and low-tom in the first and third bars. Solo number four would be the same as solo number two. It's not difficult to figure out how to substitute for the mid-tom. COMING OUT OF A SOLO itis very important to know what to play on the first beat after a solo, whether you are going back into time or playing a beat to finish the solo, not in a time playing context. There's a rule of thumb that if the last beat of the solo is on a high end Drum, snare or toms, the first beat of the next bar or the end of exercise solo, would be cymbal and Bass Drum. If the last beat of the solo is Bass Drum, then you would play cymbal and snare. This applies most of the time. Occasionally it may feel right to play two Bass Drum beats as the last beat of a solo and first beat of time PLAYING CYMBAL AND BASS DRUM TOGETHER In these solos, play the cymbal and Bass Drum louder than the left-hand snare beats. Ithas a better effect than playing both at the same volume. cym and hi hat (slightly open) hi tom mid tom snare low tom bass drum This will be the Ledger line note set-up throughout the BookSiv3a WNYG ssva Zz pue | solos yva unosSLV38 WNYG ssva zpueL soios y¥va Nosi a he if tr Hi Hd \ a Ae | | to q 4 i | 44 | i]2 ae ee ee TWWAD WIM Sivas WnuG ssv_e z pue L solos yuva unos4. and 2 BASS DRUM BEATS with HI- HAT (Slightly Open )| Sivas WNUG ssva ¢ puez-) solos yuva unosae = = LES Gar — = = Slvaa WNYC ssva ¢ puez-| solos yva unos Eee’zwTWSWAD 4M Sivas WNHG SSvVE € pue Z-b thFOUR BAR SOLOS 1-2-3 and4 BASS DRUM BEATS9L4-2-3 and4BASS DRUM BEATS with CYMBALSivaa WNYG ssva so} 1} so10s uve unos1to6 BASS DRUM BEATSea ie ae eee Siva WNUG ssva 20711to8 BASS DRUM BEATSung sseg, =-— a ae UL eeu LU SLV38 WNUG SSv8 +10 » WOUS 3SIO4¥3SX3 SONVYNGNS veFOUR BAR SOLOS - TRIPLETSez29 TRIPLET 4's with CYMBAL 3 3 g.31 TRIPLET ENDURANCE EXERCISE FROM 3 to 10 BASS DRUM BEATS Sor Pages 3 3 3