‘unk grade bi DD " AVA rice spa gtiitiouaea Werner ' ET ee bs CTTIECOCOCOCOHTTEEEER OOO i reno rneg COPE prance music ee Pa ony tne shh uu THEE thee jt CU hoon Nh i mo 1 OTT HN torenca oH Wi, vane nytt CIE OEE EEE ite “ POCHUIEUEEE COHEOOEOECCE TERE bie vent ve Hee TATTLE ute (TF OG Herre COTO OEE eeciie HN) Ha COOUIUNICOECCOLCOCU EOC EEOC OE eerie HNN), CUCU ii MTree COIN iiiiy TCU eric HMC einen VOTTITH CCU CCC COCO Ero uerceereciiiiiin VHA UHHUUUH OCHA OUUA UHH OVA OG OAHU OOOO DOU OOO OOO OOOH HOH EEHHOH HHH ieee HOO OHHH OOOO ONNNENVANNNOHUHOEUGOVHNHAHOOOOONOHHH OOUOUOUUNNHHQOHOOVONHHOOHOOOHNHAHHHHHiOHHi WUGNUNNHONADUNY CONDON HUA OUHOOVUHHONDONDONHONHOVUOVOG ON OAUNONHONEONONOONOEHUONONUONUONOO OOH EON OONOOHEN uh “uy NUVUAVGHOUDONOONODANONEDONOVOVONOVON OOOO OHVOAvAdOOvanOOiOGt (it Me PUMS WVOOQVNHOOVONYO ONAN VHA OOGOVODONV OOO NOONAHONN OOONOONDOOVHevtiueddonivonH ini) VANUNNONODAONN OND OONNONNONOONOOOLNDNOO HHO TOIINON OHIO ageLearnt EOE UIC g Ss S 5 S %latle of contents ‘acknowleclgments Vocabulary Adiptation fram English to Spanish Terminology Technical Notes on the Recording Basses Used Basic Brunt Set ip Notation Wwrropuction Purpose of the Book How to Use the Baok and CD. How to Best Take Arivantage of this Course Reading Requirements Ever to Swing Conversion ‘cnarnen one General Concepts Relationship Between Bays.& Drums Groove and Feel Playing Behind, On and on Top of the Beat How to Come up with a Groove that Works Tuning and Having the Rigi Sound fer the Mus Awareness Dynamics Researely Bt Analysis Practicing swith Dilferent Types of Clicks (metroniomes) Increasing and Decreasing the Tempos Practicing at Slow Tempos Practicing Coming inv and Out of a Groove Fracticing with Records Practicing sti) Other Musicians Recording your Practicing Sessions ane Rehearsals Practicing Playing Consisient & Simple Practicing Specific Exercises, Before Working on the Tunes Practicing Senedule 19. 8 a 4 6 7 8 19 21 2 23 24 25 H#SRaR 32 8 34 35, ee eee 7 38 indice Reconoetin nbs Acerea det Lenguay lizador Vocabulario Hormunotogte Datos Teenteos de la Gn action Arm 1 Hagicce te La Matera bhajus Urliza Notacién Wwrronn ce Propose del Lib Como Usar el Libro yeh cb. Corio Aprovechare! Litt al Maximo Re Conversion de thi uerinvientos pura La Lectin ano assuming PAPERUILO UNG Conceptos Generales Kelacton bntre ol tain y ta Baten Grove y Heel Tocar Dutras; Sobre ¥ Delante uel (ulse Como Crear un Groowe que huncione Atiniacion y Sinko Aden Toma de Conedencia (Awareness) Dinamicas Investiyaciiny y Analisis EAPETULD DOS Pantay de studio, Macticar con Dike tes THs ae clicks (inbetsdoumess Subir y fajarios tempos Piacticar pes Lenton Practica ef Latiar y Salirte un Ginwive Practicar eon Discos Piacticar eon Otiyy Music ‘Grabut los Ensaveis y Iag Sestonies de tvaetie Focar von Consistencit y Sumpleza Practicat Hercitloy Deterninachs Antes de Tear hos Grrayees de bate Libres Pon de Pstunk Ca i = CHAPTER WHHEE Tune Description and Groove Analysis, Groove #1 Gat Up Otte Groove #2- Alla Mike Groove #3 swanky 5) Gloove #4- Ragga Groove #5 All Me' She Grote 6 Serondd tine funk Groove W7 Samba turk Groove Wh Tigh Pocket Groowe #9 inbute fo Alles Groove #10 The Aves Groove #11 - (ible to Wtorens Groove #12 -10C hk losing Tine charren Four. Practical Exercises Exercise #1: Even ta Swing Conversion Exercise #2: Hichat Possibilities Bxerchve #3: Ghost Notes Fxercise #4: Paradidelle Connection, Exerclse-#; Melocic Line for Orchestrations Exercise #6: Linear Approach Enerclse #7: Target Notes wath Anticipation Exercive 8: Second tin Funk Exercise #9: Basic Sixteenth Note Subdivision Exercise W108 bars Groove, B bars Sole Exercise #11; Melody 1 Harter FIVE Drum Solo Deseription Suggested Listening Suggested Bibliography About tte Author 25 99 101 102 cartinite res Deseripeion de los Temas y Analisis de los Grooves Groove #1 Get Up ofa Kiroove W2 Abia Mibe Groove #2 Swanky s) agya Ml Mi’Shett Seen Line fink Groowe #4 Groowe ws Groowe HG Groove #7 Saumba fonk GH OVE HR Tight Phot Groowe #9. Tribute ta Ne. Groowe #1) The daes Groove #11 Tribnate ti Marcas Groove #12 JC fank ‘Cloning tune EAMITE LO CUATTO Fjercicios Practicas Flereieto #1: Converstin de Hinariow Sieg, Bjerclele #2: Wssibihidadtes del H)-Hat Hjercicao #8: Notas fantasmmay Hjenlelo #4: Pa jerctelo #5 Meld para Oryuestay dthtdle Connection Mercielo #6; Approwels Tune Hjencleio #7: Target Notes con Anticipuciones Hjoreein #8: Seowsna Line turk Fiorcicio #9: Subdivision Masks en Sexnleaichieas Hercicla #10) 8 Gompases de Cnoove. & Compases de sale Herelclo WUT: Melodia 4 EARFFULO EINCO. Anvilisiy det Soto de Bateria Sugerenclas: Qué Escuhur Bibllogeatia Suxerida Aconea tel AutorTrack CD track list fista de temas dl CL Title Intinduetion. Get Up Offa (full band Alla Mike (ull band) swanky 5} (Hull band) Ragga (ull band) alla Meshell (ull band) Second Une Junk (lull band) Samba funk Guill band) Tight Pocket (ull band) Tribute to Miles (Hull band) The Aves (full band) Fribuite to Maréus (lull bane) JPC Funk (full band) ‘Get Up Offa (minus one) iruny alone bast alone Alla Mike (initws one) ‘grurns alone: base alone Swanky S} (minus ane) drum alone bass alone Ranga (minus one) drums alone hassalone Nia Me’shell (minus ane drums alone: basy alone Second Line Funk (minus ane) uruinsalone: bass alone Sumo Funk (minus ane) drums alone Groove 1 Section 1 (full band) 2 "| 3 we 4 rr 5 co 6 +5. 7 cn 8 we 9 we 0 9. nwo a) ome Section 2 (minus one} “4 ” 1s n 16 Wl 7 we 18 W 9 42 2 a Ha 22 Ws. 2 wa 24 wa 2s ta 26 “5 2 5, a4 cr 20 6 30 46 3 Ho, a we 33 Ww u wr bas» alone 35 HB Tih Pocket (minus aney 36 #8 drunivalone 7 #8 bass alone 38 9 ribute (6 Miles (minuscane) 39 w2——anums alune 40 #9 bass alone 41 HID Tile Aves ¢rinnay one) 42 #10 drums alone 4210 bass alone 44 wth Tribute to Marcas (rvmus tie) asm drums alone 46 HN bass alone 47 WIPE An (rminues one) 48 #12 drumsalone 49 WI bass alone Section 3 (solo) 50 Groaving un wey sol 51 Cosine tune All instruments are tuned 104480 Todos Jos instramentos estan afinados en relaciony a unr AAO ‘Giroave #4 baron any tarptes boy Marin AAO: yourteuy of ‘spestemanies Hass Legere Giodve Wb a ain bas sais by loin Baivog Feo tegas SpesttavorsAcknowledgments Thanks to all the musiclans who took part inthe record Ing, especially to Guillermo Romero far being sich an Important part of this team, To César Silva for the great recording of thls project; to Daniel Tarra and Silvina Pini tor their ameonditional help and to Sole Pampilla tor fhaving such patience. Tu Victoria Bosehiial) and) Noemt Yarrane tor the edit- Jng, to Fito Messina for the constant support: to Willy Gonzalez far his contribution 10 the writing, to Peter Erskine, Gary Chattee and Ed Uribe for the valuable cominents; 10 Juani Pablo Cornpaired, Dario: Fskeriazh, Arturo Puertas, Fetiarido Dieguiee, Bruno Raberg, Dave Weigert, Constanza Yabés, Gallego Antinon jubeta Albistur, Marcel. Braga and his team; to José Luis, Sanches rom "Netto for providing Remo, LP Percus: SION and ZILBHAN products To all my students who, »without knowing i. persuad- ed me to cary our this project: To my Iriends arid tamlly for thet constant support. And my giatitucle to all the musicians wito constantly inspire me. To Hans and Veronika Gruber for supporting ths pro: Ject all along. Last but not least, | would like to thank Freddy Valeria: ri, whose contntuition made this project possible. This book jy deditated to Alex, Tito.and Carlos, Vocabulary Adaptation from English to Spanish In the following list, you'll tind some words that, in my ‘experience, make mote sense in Lnglish and thus don’t weed tobe translated, These tems, such asgroove, feel, bihat, ostinato ete, ate often used by musicians and {V/s appropriate to keep thei in thell otiginal language. Consequently, the correspandent Spanish meanings of the terms listed below are not a direct (ranslation into Spanish, but rather mustcal interpretation (technically speakitig) of the term, Reconocimientos Agradeace {a parttelpavion de todos fo» musicoy que colaboraron en este proyecto, en especial a Ciuslletmns Romero por unitse al equipo. A Cosa Silva yuo li yar villosa ytabucton de wste proyecto, a Daily! Larrab y Si itu Pink por sit Micon Vansjthe oF poser esa pacieneta ei avudia & 4 Sal able ‘A Vletorla Boxchtrol! va Noeml Vartan ciones de esti, a lola sugeternelut 91) e] ised, a Fite, Messtiin op oak aperye onstattie, Wily Gondlez rus sn conertbutyon en ka esetitura, a foter Erskine, Gary Chatfee y lid Utibe por sus valiosos comentarios, « Tuan Pablo Compal. Dap skonaal, Brune Ruborg, Dave Weigert, Arturo Pet fag, Vertiancly Diegues Constanta Yabes Gallege) Ant noni hulleta AUrigtu, Maceo haga ¥ su eq @ Jose ils Sanches de “Netto” por proveer instrumentos y aaccesorios Risto, LP PiRecussio y ZannAs Ac curtee lay buenas Hederen Axmadézco & toxlos ms altuninos, que (nditeetamente Han contritiiidey a que este prayeste sea posible; a nn farullia y amigos, nar el apoyts Constantes y a taclos tox masicos que me han inspirado. yee A Hans y Vensntka Gr proyertis desde sus inivios Wer gat haber apna Por Oltim, debis agradecer la particlpati Valetta, sin cays contrttsueydty, este (hh Sido posite teste Jb he Frid nov hubiese fest edivaides a Ales, TRU y Carbs Acerca del Lenguaje Utilizado - Vocabulario En fa slgtlente tisticencontiarin alunes teeminos quae sequn mi experiencia, tenon may wntides en Fa femagaa Inglesa, razon por bi euat no requieren ser Haktucides a espatiol. Fi significado do cada une Je estos teria, 1) pretend sey una aplicacions directa ul expan sito Una Interpretaciin musical (Gcmicamente habhisides del Leimino. (Pairs copier groove, feel, hi-hat, ost ao, 307 frecuenitemente sia prot ar titsiers yre eos. apiopiady mantenetiasen sit longue original. |nelalion nelacien eros stick shane Epes nil open roll a ow Snares “Toms Cowbells hishal w/oranher ap Lanbasieine hictin ride cyribyt STAN exintat ronal top W tichat-o | =———— so s nae FO woth I fuss drum eit fn lave Feet hithats (hands) & eymbals PP xcvnly sot Pp wn MP \ndlerstely sot mf iwtertely buat | SF out IP" (v5 ous DYNAMICS fepeat sign sermon * rz A ™~ | | — siacexdiy —eoeil —sttonger accel fertntta tied notesintroduction Purpose of the Book The main objective of this book is to provide deummers and boss players with a close examination of the teh tionship between the bass and the drums and show how both instruments build the grooves working together with the rest of the hand, Something that immediately eames to mind when Istening to any kind of popular music (Hink, jazz, tock, Latin etc )is the extreme importance al the groove and foundation. While every musician ina band must work fon their tempo, 1) assumed that the drummer's ant bass player's Job 1s, basically, 10 lay down the gioove Thus. this must be our first goal as thythn section players. Betore we spend any time on trying tw develop eurselis as good soloists, we must develop ounelyes ay grove players: Unfortunately, this is often underest aed by many Fhythim section players. Scialimes wo're 60 wrapped up It playing and/or leaining licks and filly that we don’t focus enough on ‘executing 1 really ennsisient groove: Yeb this as what we get paid tor ThoUaH the importance of having greal chops and soloing can't be denied, we think that whoever hires. hythm section wants a sofid groave behind. This is why we need to concentrate on it. 1h fact, if you Haters to some al the greatest thythm sections, what you will heat fs a team of players working towards the sare {goals @ sollet goove: Listen to Tower ot Power (Rocco Prestla and David Garibaldi). Mike Claik and Paul Jackson, Omar Hakim and Victor Batley, Stove Gadd and Anthiony Jackson, Peter Erskine and Will Lee, Steve jor dan and Marcus Miller, to name just a lew. All of them ve great soloists, bul Ws lainly for the feet and the ‘groove they achieve that they get called to play. trloducctin Propésito del Libro LI prinelpall ebjerive die este ty) es examiniar en pre Fundidad 44 relaewie etre el bajo ¥ fa haterta, mostrar mo ambi Imtrumentos construyen tos grooves: y Como fancionan dentie del ensambie. Steinpre Uehe tenerse presente i Impartanen del RroOve CaUFKILy se eseuCha Mmusiea polar (hunk. faze Fock: latin, te), ‘Todos tos miisicos. sin exewpcion, dehen preoeupatse por ef Lemmy {pur groove), sets hho deben perder dt wists que al baterista yal hallsta se lus contrat para “rmimtener” +1 ginove, Este ey huestin pritictnal objetivo come parte de una secerde ritmica, ar lo tate deberivs tocallaer Ly enengta en esta labor ANWS que invertir trempyr be enantio ext «lesarrullarnen cum buchos solistas. Lametitabletvienty, mucbus vec ey Su prioriziv uit solo porunelins JeLgieaiv Muchas yeoes nos tnesnnmamios con aprender fraves «6 Hills y testamios Impartaneia a (car atl groove side, stendo que normalimente. j ws 8 canitratan No alvidemos ta Iimportanen de fos recursos tecnicos en ta formacion de un musicon sin ersianyo, quiet sea que contrata una seccions titi, buseata Uyia base Shh dique fo aconypaie. En esto a detemis enncentrae Si prestan atenet6in algunas de fay bases ids sOlidas de Jos abtiriey slenpryys eon fa: misma meta’ ef gro Hrestia/Pavid Garibaldi. Mike Clatk/Paul Jackson, ‘Omar Hakin/Vietor Bailey, Stove Gadd/Anthony Jackson, Veter lxskine/Will Ley, Steve Jnidai/ Marcin Miller (pot sssmbiar a algustiess eacelertes musica MuHintasy sei} requietichys ar st dhictHidad y> soluter tocalicly “grouve" y por sy “feel” may que posts salon nto ake expe Tower af Rawer (KoveHow to Use this Book and CD Wher working with this course, use both the written music at the audio material. The book provides the Sutton parts Tor bss and seus, as yell as. the chord changes witt the form, Some of the written examptes hhave thei corresponding CD icon with its track number for listening, Reter wo the VOCAMULARY ADAPEAEION nthe ptevious section for speeilie terminalogy that will help you to understand the taok, The book atid CD include a MINUS:ONE SicTION to allow players to groove aleng with th rest of the bate The CD is divided in three sections |i Section One (full band), thore ote twelve tunas played with the full banc Keer in mind that they are ot Lunes a compositional way, but rather sections of {unes, Section Two (minus-ome) has the minus ane ver- sions of the sam Wines, whic you can play along to, The tunes this seetinns last appromiiiately three min utes Right after ach minusone version, your yall find the “dais alone” and “bass alone” examples, Asa ‘olerence, we provide just a few measures of the groove Section Three (solo section) consisty: of a cium ola which is Hlanseribed for your better understanding Fach groove on this weeording wes played with a differ 1en1 Fechnique, feel, sound or drumstick, rot to mention the different basses: snares, éymbals, drum heads ard tuning usect ih Une recording, Pick any one groave you want ata time (there's no need to follow ary particular order). Start by lishing te the whole tune and get the vibe af the groove by elap- ping 2 and 4 when appropriate. Lister to the till ban ‘version tht Dont go to the drums or bass alone exam niles right away. Make sure you understand the macd and feel of the groove and how and what each instru ment plays. Onice this is clear, fister to the “alone” example, white following the wrltlen notes, In many cases we suagest that you, practice certain preliminary exercises before actully trying to eirulate the grooves as they are recorded. Yau can enlarge: your {rove vocabulary by using the exerces we provide, Lut tee tree to conve ups with your own. They Have beor designed as fools to, prepare players tar the grooves, thus sparing you the trouble of spending too muci time fn something you are not ready for. In addition, some ob the components of a qroave may require votre sxtea ‘work, $0 set asic Sarne lime to elo this Once you Wwel comfortable with a aroove, play as many times as you rieed to assitnilate It as part of your Vocabulary, Remember, you tan always use the sane concept on another tune later an, so tty to incorporate the ileas you finw interesting into your nwn versions ’ Como Usar el Libro y el CD Fate (Ibe pe Jos eremploy esermos piers bajo batetta, avery de fay formas de tos tomas qi efecmtadas en oF isco Los cyernyplos esr ave Cure spondan aun tomu det OD, Hevardn el Wain Me yan CY aunt Lucila La wisely, (Paveden recueste wn Ae 9 ie EeMOU ME Litnuzaiie sulle sote lets HF n la sevcion anteeie para worn miinios freeuentemente usados 1 11 bre lene una seccion amit MUNI ONE que pcr mite tocar eneima ie fos temas ELH eft diviudo ett trey secctonies La Seccion F contiene 12 temay cane) easanitls sir pleto [fall band). Hay que tener en Guenta que ae sin tents el ef seitides ue Ls vannpwssicii, chi exteacins ¢ Inuestras Ue [is miatnios, La Seeckon: 2 | miisiy then Jos formic temas yc la Seecty pata tocar en) ub (os temas Hevien wna diiradon apranimada def Minion Inmediatamente despurs de cade version Minus ime. siguen tos ejomples con ts (drums alone vel bajo se yes aloge™) Loner ey ferentn que en La mayors de 1os easy estos ejemplo duran unis. pros comypusses, ya que son le ata neh Yeni. La Secelin & (sold sextiart) esta delicada «unr solo Ue hateria Cont Au enerespuadivite ftanseripeién quer Caxliuno se los grooves de esa grabaciou h so dhe diferentes toemieas: fee, somitio pall isin Inet lona 1a afinacton los ikerenites ajo, Laraloates, (ola Ulfos ¥ parce utlizadus en La yeatuacion) Jimmi tun gjernpla por vee. Neve nvcexario sequin un fonder em particrlat- Para tener ana lea genera del teat Primero conviene escuchar ef tema en sil swesidn full, ‘banal, marcando vom Las plinas tos theniqns 2 y 4 (la le sea iypreyptacony Nev tecureats Ue: (aieadtesa [os eens plos bass ulone e U/duns alane, Ls importante entender Li "iinala™ general shel grvave y to aye canka (nstrumentyy HoUd porseparaco, Lind ver paid este punto, escuchar ¢/ elemplo “alone” del invtramento que correspond shiulonido nota por nota el wjomplo escrito ene! libs. iv nnuchos casos, sugerinias- que jractiquers deter) hnaclos efercielos prolumbitares arites ie (itertar eer sitar Jos groaves Lal come fern lhjcados sty su Mersin orig Hal Puedeny onnyptomentar co voratutlanie: de Quins los ejersteies prmpuestes ety este fin también los propios), que estin disentudos pra panvere Jes herramientay y preparations pane Wis pioves, | inet do se pierde demasiady tiumpes tratunde de sacar un suO0Ve Cuan tne tO ext peepiorade petra Locatl, exc vs importante inh Llyn trabajo prrelisninag, Desth squeiite wi thempy extra ue estudio, ya que algunos. his componemey « cekitas de jos groaves. quieren mayer blenevn Vina wer que aw 9 og nla ceimilas «hy lel avon ‘hemp posible po Lande come paste det ywahairiy Recunetdery qe nt Idea pertenetieite « tin grinyy eh particular, puete ser ‘asada (Concept tal mente hablanida) en ore grove 1 prowve, ies asitnyHow to Best Take Advantage of this Course This book iy designedt for the intermediate to advanced playey, 50 you will benefit from it differently depending on the [evel of your playing, Whatever the case, marke sure youl use both the suritien material and audio exam piles Drummers must be able to sing what each individual voice he/she is playing, You may find this « hil lifficult at fest, but Wark on It slowly fo develo a higher level ot awareness, Ther db the same with the bass part, 1s crucial for the drummer fo understand the bass groove note by note. The same procedure applies to bass players. They need to fully understand and be able to sing the drum groave as wells Win/her exact part. Sing ing the oer asinument’s paar yl! alldwe You to “see” Ie whole picture. Belore you sing anybody else's part, make sure you can reproduce your own. We'll explain this topic in more detail in Chapter One AWARENESS and Dynamics “The best results will come trom playing the arocves as wa presented them on the CD. but d they tur out to be too difficult, don't Nesitate to use the play-along section to create your own versions, ever Il You don’t feel they ane as hip What matters is that you mauitd this material Jo your own needs, Pioctice the groove with and without te click, Aftne grooving with the click for a while, move or) SECTION “Wo (MINUS-ONI) of the CD and gtoove along with the band During the process of creating any grove, you shoukl go back to the CD and check how it feels with Ive music. The reason for this is thal we often start work tng on an idea based on what we have listened ta, but after a while we love sight of the groove we had in mind 1 eich groove you will notice allterent approael, feel, sound and timbre, The written descriptions. wil highlight any aspect we deer relevant to wath ony, but if youl find» certain itlea {hat you feet will envich your vocabulary, isolate (band workon it We hope that the variety of concepts will tigger newer dr esher ways to approach the mast important task for any mhythin section player: timekeeping, Our aim is 10 enable you fo be creative with the tools we provide. Remember, thie more you experiment with them, the Jurther you'll get. You shouldn't be afraid of trying new approaches if you follow the right steps. Try to avaid alyrays ending jy wiih The same old armeve. Although we think there is nothing wrong with. playing, vhat everybody usually plays. it's important to develop a wide vocabulary to ehoose fram There Is ne limit as to how far you can go with these grooves 10 Como Aprovechar el Libro al Maximo Este Li} fue cine para ip nig (pa Sa ses tne edt) hast avaneades | Jmoellais vldlertichy depen lend ety araty party del nivel de Gnd anes No-dewn de recurtir al CP a bos elemples eseritens Los bateristas deben hes timbres as Ccomponerttes del gruove gue estoH toLUnAHe Ay to prete teSUltat teMtlosty pot Hahalanit li ds ucay se puede lesa Cawsareniess) enh cain 196 teat, Mga Ie miymo-enn ta linea dy bali, eproducaindota saaimente tow por nots Loy bapstas denen desaerellan et mismo, CONCEPMO y EnMeHAENE PAR porer Canta Com prectstOHL Jos diferentes: componente del gece le La hates adenntds Ue sus proypla Tinea U1 pastes produce fsuntan) Jus que: fos dandy lstrumenton. aumpliana e) esprevirn y ask sat ¥isi0m sure be mia yee ‘aches mayer: Es fundamental ef tecanowimientin acs tico de fos diterentes instmmentos. 1 que antes de cantar aljgint otro anstyume éantare! propio. Mrotundt Capito uno Tost oF CONCIENCHS ¥ DEANE AS Se ofitenidra ny met testiltauke sacanalo ls arenes ome fiviont tocados ene CU, permed ser estos may avangadas, no-duest err usar las eases (ems sobte esto to avi 5h Play vervnines aunque no sean ‘muy sarisicaday importante es amoldar este raternal a lis neces inelivintuates, Uraciqqion ee ke e miatrvnine (eH Cais ya Ae shennan eon sum ef lich, vaya a la Stier 2 (Mints rNb) el CP atiiced las haps par tocar Recuerden sjue durante Wy buscpesta de cualepaer groowe deben tecuri if Ch correbonny que hs que husean como goove. sawn Mert coy el Fes sl enisamible. A menudo suctae que luego experiment con sn ida jperlentos el yuri de sevenemcia, po Wo at es int Janie ver al ara tigi pa weftseut hs fin cade groove van a escuchar wn approach. teel y sonido. diterontes. (Resaltamos Iu) que se sonsidena importante abaya, Se ustetes eluent alguita Wea {que fey nssulleingeresante, teabajerila po separat hasta ivosperaata Faperamos que este material diy acerca de como encarar fa mision mas importante que tiene Ia seceiGa siimica. Nos rfertnios w anene un solldo groove, Li ha cetstal aul es ser creative con las erramientas que brindavtion, Recurnten que uate tn expenlmentety cnn ests element, mids lef ran, No lengan mieato de experimentar cin conas mae vis emp V tande sigan. tos pasos comreeTaS. Es Amportante fener un vecatulano amptio. pero vaie (a pena actararque-no hay nad mato en tocar fa que “nar smalmerte® 4¢ 1ocu. A menudi resus yer que custts sas simple, mejor. Nu obstante, debett seer la mayer ceantidad ie secursos pases No hay limites en to que respecta a estos groores!Reading Requirements Without @ basic knowledge of reading, the written examples will not make much sense. Understanding base quarter hetes, eighth riotes, eighth nate triplets, sisteeni notes, sixteenth note triplets and thirty-second ‘votes Will help you through thi book, We suggest that you stuy away from your instrument when trying te understand what's weittan, Before playing the rhythms, figure ther out. Court the beats as weil gs thé ammount af measures white playiig the grooves, Feeling comfort able with8, 12.01.16 bat phrases will help you keep track af the form + Whe playing an eighth pote type oF yrbove counts pear2ransenta en” + When playing @ siteenth note type of qrauve count Ven day? 2% 0 da" 376 mda" anit 4 Ye na,” Always sing the rhythms either clapping 2 and 4 ot snapping your fingers on eighth note upbeats, HT you also try to sing the pitches, your reacting wlll become snore musical and Jess mechanicat eases 4 ae ne [4 SS pie 3 w ple aS Requerimientos para la Lectura Se FeqUivre ii) vanociiente bastere que: (mmplisa vs vorchivay) (restler so ceca semicorheuy. seistilos y- tusass Mamtengatise: dlojudos Wie] Instrumento cutnde feat los ejemplos par primey vez Asesttireniye de enter yu estseseritn, aiden Lacritralea por la fiver ent suena sate} CLE Cana deo toquieay his ge pases, ES importante sentirse commiadto con traves de, 12 16 compayes ya quue-exto les facsfitaca seguir Ta hor made lostemas, ets Hey Aten vs cer Hoquen ur groore cuiya subd easion sea ym ao sit » Cauinudarel growive e644 yubUi\ ubidiyety sett ienirebinay, W Ven da’. 2 yen da’, 4 Lendar 4 ten Shemp que Canter una eiica, haga pativiay en a y 4oen corneas al aire (1). 54 oidemayee contar, cantar J mehixtta (or et Fittmo), ti Hectura sera masomusieal y mentoy mecanicat ion Cee ee ee SSS SS SS ty ple 2 ap ne os edie A ny ye = gaa ee ee ee = = E Spi oaae \ ‘ z ys yg i \ODPLLPLLAPLPELLDD LAPD ADEven to Swing Conversion You ca reac any melody written in an even teel anc play it as a swing fee} without having to-rewnte the winnie melody. us! imerpret it as a swing teel by think: ‘ng of the second ancl fouith sixteenth (From. the six teanth tate pattern} as your swing notes. In other wands, Hiese [wo rote wll bie the only anes that will be affected. Consequently, any notes that will land on the *e" and an the “da” will change but not the ones that will ind on the pulse and on the *n.” Basie Subdivision (oven feel) ‘Tplet Suvaivision (swing feel) 32ne-note Subdivision (swing feel) iz “ | Conversién de Binario a Swing Pucdert tomar euulquicy metytht eseiita em Dinu Inferpeetarla en swing. sin fener que reeseribi(la. Simple mente Interpreters a seunila j cuuaeta venvlcareliea de aud tempo coo 6 furan lay riots ce se sesingueam (sng tes), otras pai Agra dos notas de cacn tiempo que’ st veran-afectadas por eb swing, pot To tanto las notas que caigats ety I" yet) Ccarmbiatin sti Intorpwetacicn Ne asl Jan gue cast) a hy SuPAValin Maslen (th Subanon en fusas bswsithgueaitny Sutative et) thesis QW lEaWdOgood concofols CONCE polos gore losRelationship Between Bass and Drums In ork, Jz, pop, Lusion anid Latin music, the bass and sdtuims ave the most Impartant elements of the ihythin: section, The communication between the two Is essen: tal, I bot} yostruments sound together and ght, the music breathes and feels good. It makes you want to dance oFtap your foot Therefore, thyth section players should strive for teain work, However, this doesn't ‘necessarily ean Pat the kick diva vk eATabe every thing the bass does. 1.0 matter of balance and com plementing each other. {t's worth mentioning that some styles of music recquite that the bass and drums play in unison. If we think of wok, the bass andl kick rum are rhythmically together ‘mast oF the time, How: sevens na modern. jaze style i's rare Anal these two Unstiuments play in unis lien i's better I the drurns leave space for the bass to 1 rather than crowding it with notes. AL other times, though, traving the kick drum play unison with the bass will give the rhythm section a fuller, more compact sound, which fy yometimes desired, Anothe! key concept 10 cansider 6 orehestration Drimmers and bass players have plenty of tools, sours and teckniques fo choose ftom, Depending on the style and tune, using # different bass might yield a diferent Teel, for example In the case of a drummer, 9 metal shate drum ean blend bettst with a certain mood andl feel ata particular tune, You should. be opan enough to fevart Lo whatever is necessary to make the ginove happen, ao Relacion Entre ei Bajo y la Bateria Hv una rupli Gout rites Herne, Jace jue, hase fo fiislea | str ments mas mpertayntes. Fa yu con doses esenciats s} tear MMtoN, Ja emusic respira suena bien provocdndianey ef dew ck bailar a auaecarla Con el ple. Ambos lnstrumentos dbes a|saiitat sit fos tiv trabajo ale sou ipe, sre sean Haga ta aia si70; e5 rs eriterhy de lance y complement. Vale a aclacar que lertos How se mitsea rex que el bajo ta baterta mquen en umasone, Tales dis tock, donde el boribo wet bajo apuntan a wear msm Une titnica Ia mayor parte del Herma Ee ed jaz. moderne por kjempha, Fara vex Wl beratyy est tunisonie can el ato yl ajo a Faker sa fy dy ‘Ammonites mnefr que ta bates eye eesti {ue el bays felleae, pore « weeses mejor que minguUNE Toque mas ht fo rsscesaanhe (shin FILS), Err artras ocasiones, se muses que amb ester cash al unisurie pina brgeue un serait mis patents y cumpacto, OHO CancepAY para Lene en CaM He Tanto ef bias catiy Ua hater poser ita an dad. de: Herramientas sancras y del estilo y del tema, ue tipo de hile pucde: tuncwsnar mejor que otto candle a La musica un Weel erent. En case de un platerist, un Grebe Ue metal jauedte toy dntar niejue para La tanda® de a detenrainatis tera, en) h vatie cas, Peper a actifudl abet yatilieay sf tout a braver sa sere sea nevesariyfob oon Groove and Feel As Duke Ellington once said “it don’t mearia thing i lt ain't got that swing:* No matter how’ simple w groove may be, iL Ivextiemely important to make it swing and feel good, Bass and drums could be playing the right Hees at the right tempo but sill not groove: Music Has to tlow.and itis the rhythm section’s jab to maa it nays pen. Wher hort players work on hel? sound, they take jane note and blow whole tones, then they einipty their lungs to get a smooth, tal, ever tone. Bass players and drummers could apply the same concent when playing lime. Keep the groove very simple, go for the tel, make it sound relaxed and don't add any fills to W's linportanit to know that IL might take hours, weeks Gr months to make a groove feel relaxed, but it's only ‘hen that you car start adding fills. In the case of a drummer, you may have toms, eymbals, double pedals, extra hihats, cowbels ete, Lut it the main groove you are playing consists of hishal, kick and sate, try to stick vo them until It feels comfortable, Avoid the habit of playing 160 many holes on a-whole kit unless it called ‘on Of course, hot every tine You play isa band oF gig has the sarne lel, Sometimes a tune — or section of a tune ~ can be more relaxed than others and that’s someting, 10 he aware oF. To achieve this, you have to incoxporate Ihe settse of playing behind the pulse. on the pulse or ‘on top ol the pulse “whine vo noe Aloe malts, tie didn't hee Wt oF Secu, ary just rave Hs (ot = dhe feving ~ eel yous can’? to what Dy lo no rote haw mid techque yd fave” ‘Manu foutene; Modern Drummer, Decomber 1987 {often happens mat» groove sounds qyeal but when you want to play a vacating oF a fil, you notice that you don Sound a tight a$ you thought you aid. Getting in anst out of 4 groove requires that you feet totally cam Jontable with i We'll discuss this topic on Chapter Two PRACTICING COMING IW AND OUTOF A GROOVE. ae Groove y Feel {Lis palyras le Puke Ubiyttons (ens “Ne tere sentido Ly thee swing” ks emtreTadamente smnportante que Jury RrOove tenga swing “eaIMINE Ney Import to sien ple 6 compticadio que resulte. Lin bayista ¥ ais batersils pueden estar tocaniio Lis nots eastectas sl temp co feeb, pere-adn ast i belo swing. Las misica ede 4 lenigr urtiove, €9 6n1 gram parte el aber que tone Sexclon rfimea hacer que getty sce Cuando ejeertantes ae rine ts de viens ajare omy 44 servliis prara Jiograr tit yoaeyyiy > statin, {HT notas larga y Pausadas yactamely sus palmenies al tespirar para ast reper et ciclo con cada noi: E bao y {a hateria pueden aplicar ot misma cancep de mamtenerel groove simple. paste, eelyjad, cons Uhuen Jeet sin Wwcue nigagiin teller Fs importante tener en elare que pata iocae ui groove relajado podemos demorae horas: dius is hasty mess Heclen eitonees us Laundeyealenver porcrly filly ‘ariwevones, Far el gag du du Pinterista, este cient ex luna ganitldadd enorme de soils tales eermn toms. ph tills. dable herb, extra in tiat ocr proow principal consiste en hi-hat. tan 63 conyoniente no agregar tiadds hunt que suenw felajad y con swing, Evited tocar msde la Cher La, semenes que Sea necesito, ‘Nev todos fos temas que se tocar ue tuna baneis nener li misma interetdin. Muchas weces ett de an malsing- emul existen sexclones que Weber Ser WcaMlas «ion fds felan que tras, por es es tecesanio Incorporay ef concept de torar delante det pub con Jopn the heat), sobre el puisa:ton tho pulsed y detras «el pts (betnind tite pulses ay. pretest ct pony berm grove ‘Cu PServer Lk mere le mens aigumas. ena ye me pseen amaciud tvs Die ans fig 5 an pe cae Wo mad ade Lev ye tees” Mist Katehi. Modtorn Yammer, Uienib: 1h! Hor otro lacto, muchas pero en cuanto quered una’ arlacion Get groove para pasar Wwtra socvVNN Ae teHMA, NH enerymtraimos een que’ ne Swen tah ros, Etta y slit del grog con total relax y- control feqilore sentlise totalmente > comet Amp cm ee pun cH el {er what instrument we talcabout, this concept applies to every musielaty since all Instruments have 16 "heap tine” ane way oF another When working on this concept, try practicing the: easiest groove at a very comfortable tempo. Try playing 11 Ww all threo forms. Definitely use the metronome. When playing any af the three forms, give yourself same time to feel the pulbe. Your whale body has to vibrate vvathin the desired pulse. Record yourself and — without aragging or rushing = try to exaggerate the diferences Mate it groove really faid back andl seally on top. Don’t forget that this takes years of practice and awareness. I ‘won't happen overniaht "Vee abvayy lave groowes fat are erally nck, anes thar aru Hfesty tune ard pettecly quantized. A fat of the grooves fone Fare the ersion betwee tw struments tha aren’ pla: (ig ecto yen orls wPR basy and eames thad wa. Ce fir as players pay oxy Yop wee the drummer hols back, ara he ec! (ra batt a thers ca emai thee spots creates ere hie groves Paul Wartica Cad estila tiene su pproplo pulse liptertvn, Ey sgemerales, alguinds estilvs eequle elute del juss on tops thie twat spa ettes fa ex eb caso de li minien disco (qarmalmente ejecutada delan tw del pubsa) en comparacion com la nnusiea Haslet (detids del pulsay: Por otro Lada, los masins prates ules y experimentadis jiuedon fie tinwinte ada euuljuler situa y posees ly copa Gar is Nota tanto delante come detras del puise, toto Cncepty debe ser nbservatlo por fodoy Ios musicns Independientemente det instrumento que ti que todo muistco dehe mariemue "buen tern: Ghande (rabajen sobre este convepte, sugter que Phictiquen tocar un groove simple a unt tempo que tes sea cémoadio: Traten de tcatler un sus tres versie Definitivarniente useu el metrinern. Tivnieryy fat el ern nnécesario pasa sentir ide $e ures el Hey, UL cuerpe Here que ¥ibrar junto ent yilso, Gkabense Sin. apurar Q.ajranar el term, traten de wxagyrar las dite rencias 4 dicho-de otra manera, foquen tomas velajace laid back) y fo mas defante del pulse. jon topn prsitte No olvidiir que dominar este cm total catia puuesle embrarnos ats de irdeto inte Hy wr ms. teal “leap me era unsiie H eeves fou, fn spur ext pe isamenteafinandosspaantzasiesqtantersl) Mucbeay mney se sereran de a tension «rade ete dis detente nls seem fSdCLannente Aincroniradis Ask cates et ol ty 9 hy eterna Mauss Distant Ute del pulse rmienton que wt ders pow dds ded pb Vf dash ve cal ws yn usu pradine un groove iene Pat WersenHow to Come up with a Groove that Works The approach to finding the yroove that works is to Hest Fister to the whole piece in order to wet a clear picture, A fbasvline, ¢ sequenced percussion or he plano camping are usualy enough to get a basic idea, After getting the overall feel of the tune, go to your instrument ane Improvise on top of whatever was given ti you. Kees) exploring until you start hearing a basic groove that Jocks in, Then you know that you're an the rght wack. her you find the groove that works, you have to prac tice playing | along to the music over and over until it becomes totally natural and relaxed. Remember tat it can take hours, days or even monits to gel to this point. From this point on, all you have ta do 1s enhance the main idea by “putting makeup” on the sound, soto speak Tuning and Having the Right Sound for the Music You may have woticed that the tunes on this CD were recorded using different snare drums, eymbals or bas Ses In many cases, minor changes were rade to the Lunincyof the instrumentsto suit the mead ot a particular sound. In addition, i is worth mentioning that drums and Liss were secorded with no equalization, This shows thal, given the teclynological acivances at our disposal ‘you must have-a decentsounding instrument, and you should strive for the purest sounds trom It Having the aght sound tor the particular tune you're playing. extremely important: Many musicians don't pay too much attention 16 their sound, BULL is the First ting that the ears will perceive You should have all your gear ready to go and sound ing good for whatever the nerasion Is. The Fight sound from your instrument iy prabably as hnportant as the Fight key for the singer: Therefore, a player should know. tive different kind oF insitunents, accessories, parts or fects avallable sa he/she has more options when it comes to looking fora sound "Part ofa yroowe Ws having 2 sound thar nobenly is onsite but {5 Yott The sound your use can't be judge svietly 6” Howe, It ha ro bo naged by how Lends. Same tones sienply don work with the resto he bund, thougt they mray soured good alone: Feusing inne thar bien well hos a wea eitect un ane groove. Anthony teh ori ass Playa, Atl 1993, Como Crear un Groove que Funcione Para encontrar wy grove que-funcione es necesatio en primer lngar escuchar el tema entero con wt 1a una idea general. A menudo nos dan una secweneli cen Una Tinew de bajo, an gidoW projramadio os sien He uni enencta de acrdes, Urs Me ce que witeridemis «of feel del tema, ros yentamney con nesira eastrument (ona oF Payee la Herta} » imiprosisamos sobre fo que nos ture dado. Expiozamos hasta percibte que el ye se coremza iw avinar A arti All estasns gel ex tio eotseetes, hasta tinalimente erie he que Fl funciona, Cana ya detinienos ste Janterite ul groove ley tocumos coi a musica dito con et civ) asia tenedto Incomorada ¥ que suene com relax Tener ty que porlero' a © quleay meses fasta wicangar este junta Vina. vez -enennitriay ef groove, entorices st poderos p decoraito, msaren Afinacion y Sonido Adecuado Probablemente ya hiya ache steals lie lees tern de este CD Tuer geabados cory dlleteaites ti plathiloy y baju, kar muchos pesos, su acomyoute Wa ati Gon part logear e] sonnito dioseados Sun la pena meticionat que tanto el 1 ha lo-aesto, vale 10 Cone La ters los pralindiss ‘iy eouslleaclin), Esti jpeupha quae Aun cen tous Jas adletunnins tecineltigioens a riutstra aly posiciont, deberios cuntar cre in hus instrament § salwener dle of el sonider mas pra posite Ex nevesario ubterien ol janilera sald junraced estile abe aniisica que se esta tocwnndds Muclvus pstiamentistay le restary iaportaniety aos sonide, pero deboros. toner eT cuenta que esto es {iy peiTierO que Ins aldos utseaty iwlsonidat eben mantener sus: inst perfecto estado, sonando al maximin de sux postilica itey pars cualquier show o grabacion. Elsonado eurrcto PAGE UH Tema es Lan tinportante connis Li Hilldail (e tects pasa el Cantante Canto jas Canwecan Ws dife Teles mouteths, uKcesatids c Hletes (Nati Si AAstta Mentos, mas podriey apesttar a la muster ns ¥ aves On “Fiona ques Wi exq nde sung ont Face bar soe bu i ae se nN He lye Ne AE |e por st asreny sirron wlavine la aad Igwnes sind srniennet us harm snarer nha eamible pes We que ur si key our spa emipasi Gran e110 od erate sdadenreferta satin ¢ ror Anthony chs Rios Mave! ALE JOEAwareness You may have hegre rmusiclang say: “It you ean’t hear i in your head, you can't play it!” Musically speaking, ‘neing aware 4s being conscious of whal we are playing rom a physical and musical standpoint. Things (ike movements, tensions, posture, notes out of place, tuning problems, dynarmies, all are items that may go Uinnaticed unless we become aware of ther, When we're having problems playing & certain groove Lat passage from a piece Of music, i's after because we are not heating the music. Playing the music becomes mutt easier once you can hear te priches in your head. Thi way. any notes you play that don’t correspond to Ihe sense of the music as you Imagined it stand aut at lance and your nervous system makes an itantuneons: cious adjuytinent. Often, we are capable of perlorming (rtelty ideas but there 6 something preventing us trea playing it relied. I you are aware of what you are play: ing, however. you will understand it irons the listener's perspective: “You vig work wm ee sta Yor pees Yeu. ged il Aly oe; ult Pan b one aspect you can't get Maybe jut MIN 8 itt bright or sormétting. You kes wren on it cred waking an amt you nate that or aspect WF yur sane ~ un yi ree bre day that thay wat rely you That tiny youve ben tying so hurd ta gota pasta you and i Me going tage avy HS prt of your heart and your soul Then You com lr the prices around you start with thal ant ty doves it Michael Manringy We all have our filth limb; which ts-our singing. For a drummer, being able to play 4 fourway coordination {groove and sing each individual voice without changitig fone single note rrinkes Hhinvher see the lacger petite ‘mare clearly. If, ory top of this, he/she Is able to sing the bosy part accurately, a further lavel of awareness. will hive been reached, Sivilarly, yOu have to look.ot your body movernents and see how much they are contributing ta your overall performance. Making the nicht movements will really help you get to-the precise sound. For & deeper under- standing af this concepts | suggest that you read THE INwER Gam oF Music by Barry Green and Tinathy Gallway Toma de Conciencia - Awareness Seguro que muchos han escurhade 4 agin muistoe algiuna ver Uecar: *S# Hi (0 puedes end har eo le rele finar™ 4} aovareress es la tonuy a cvneicaieia ele cue tno esti fealizando, En tormin fundamente ligado a “ser concterto* ee Io quw sucede fisiew y musicaimente en ef montero ue ta eeu An (movimlentos, tensiones, pesturas, nota {wee elie jpeotstemas de ufinacton, variaclones si lay he di arescas ote) Sitertemos liticultades, juan efectitat un determi nade: pusije musical, es muy probable que sea pHOUE Ni) escuucheros fa midaiea dete nuestrey Cheatsdesescuchy moe iiilermamente wna aneledtia efecutirla es muche mds senile, Dee esa manera; cata Nita que -No Cres: ‘ponte 2.10 imaginado, sera conesidas wutoMndticamierite ¥ de forma (ncansctennte por nuésteo Lerebins, Muchas wees estamos enpacitades para elvcutar (on precision, Gertos pasajes musiuiles pene envonttan alge interamente que nos Impide que la performance este Hijo cotton Mor eso ey que rveurrumiay a fa tema dy concen (awareness) «tue Nox UbICar’ COME obser dares desde et lado del avorte. ued ytepactyuas es anni ios eas hi aN ene any seme, ft as lg ip Cabav w Hegs QuUHEA 10 Sone 8 Ya DriTo Ha aly eek sds es peo en aera eu te 2 un igen; Hasta ice une ta tas cue He qu “a” Ye vomioray ex vetinente ta Ut wsemia Ese ae bans Inte de Scart ec MUl 8 parte Lune tai 0 Un aed pte Hen conazon: de Ua hnuk Pitas ured nes ef price tne Saves con 8 en pies Thon ie vada ls desir Michie} Manring Todos estamos capa adoy para cantar. (ise ex come nuestra quénto rmiembea: Ui baterista tevmars mules mids concleneia musical Sl puede hicar ui) grave Ke cuaire milemnbios, (four way conedijuitien) ¥ canter i AW las Voces quue farman el groove. Se pwede fey H0H DEY MeJOF NAVE! e-aWarENESS, sh ademas poitemnuy ‘cantar la Hinea de Paro y tocar ef grove Mujistas y batrtstas debew obiservat sus mneimientinsy determiinar de que manera sy cuprpe esta contribuyen: doe Impxtiendo obteswr ef somite desea Part unt nayor sOMprension:xobte este lea sugiete Wer The TANER GAM OF MUSIC de Harty Greeny ¥ Timothy Galli amen fc Dynamics Uniortunately: a lot af players ~ especially diummers — can only perlony accurately at certain volumes. Below a ceriain ammount of decibels they feel i's not grouving or it doesn't have Intensity, But playing soft with intensity Fequires « Jot of contro}, All musicians should practice playing their instruments in the broadest dynamic range possible. Intensity atid groave have nothing to do with ynarncs, Sore styles ol munic require a oxider sound, but that's fo excuse for not being able to play salt. Take Marcus Miller and sre how he grooves at a soft valume with a lor of uted notes If vou pay elise attention you'll hear Hem andl realize what a crucial role they play. We should heeable to cantrol this internal clynamics as i we had a sort of mixer or corwole built into ourselves: With this “virtual console" we ean turn up or dow ary tints DoF note desired. Both drums and bass have a huge dyna. mic range and it should be observed. We suagest thal you experiment with the grooves in this book at ditfer- ent velumes, extiamely salt sett moderately sat moderately loud loud Ss srs very lou) Dinamicas Fie cuanto oa (especiahmen pve sion a partir unt determinada wolumen, For debayo le crerta cantudad le decibeles stenter! que tia hay “atooye" ni “iitensidail’. Estos dos eletentes. nila the ‘yye Wer La Tas dlndimleas, Ya Gui 4& pede Hoc “Sn nterisidadd pero # muy Hales SoluMEn, YOhy quae est Feqqulere muche contiol y divetpilina. Vicks Jos ars) 469s, 0 porta cull sew xu jnstrumenito, leben buscar de su instrumento el mayor rango dinarnico posttite No ofiitante, algunas etiloy de musica pequteren mayor Volumen, pert ey nm es ysCUsA para NO, poxter tocar suave: Escucherta Marcas Miller tocar notas tar faymas con peso y a bajo volume. Preston atk esas hotas ¥ ween euanty CLntribuy Aincay se reflere. imuchens masicns pateristas) sGlo pucden toear ¢ I groove Esta dinamicn tnterna (interdynamicst debe ver eo trolada por nosotros: mistios como si tavioranas iti consola dentro entestea: Ess cousala virtual us petint LUrd sttity ajar dee Vola pene canalyuier MER iat a frase testa, arth Li bateria Covi e! hij yon dustruet tos Gon un raniga ind 46 que debe ser ‘experimenten esto conceptos.con los grooves, erese. decrese.Research & Analysis Fort of the process of learring comes vam analyzing other player: and figuring But what, how aind most Important of all, why they play what they play. When steching gut.» good player, # Jol ot crattsmanship can be found behind the notes. Wry can we recognize faco Fastoriis tron a rile away? We recognize the sand, bat there is alto 0 more intellectual oF artistic side to his Tuite that We can perceive. Each player has his/her own way oF Interpreting, se when we analyze the muste we ovat lo. go beyond the hates and lank for other features, SiieH aS phrasing, tuning, time leel, density, pacing and textures ‘Try 10 read about thase musicians that inspire you to find out Now they evolved Try ta get alder recordings, read about them, watch videos and check out trans énitions tf available. By studying their carwer you wil understand mare cleatly the development ol their arent. wer Fas joey, go int Bue FR as oorr¥heloned fy fom ad beugh every Buddy reco ot Feld Yd. t wes lay festnigue nll. thee way days, We we my tr, SMV parent a thi old second plays Put wed go ccwyn 1615 PAL eer to Huw out Hk ull, | shower dwn vel Baty» sare soured fk © 22 perl teu Enactced ta shu for 1s bol ui d= Eiave Weckl; Modern Firummer, October 1996 IF you fster to the Tony Willis from the 606, you Will Ting that he sounded pretty different to the ane [raat te 9s, Seine important factors to take into account are ‘strum set anid his cymizals, as well ay the way musics recanted nowadays, But in spite of the time elapsed be- ‘ween both periods, there are still many ideas that are conceptually the sam What you tearn from a player can acd to your own vocabulary, F'm sure there wouldn't be any Dave Weed today without 4 Stewart Copeland or Dave Garlbald) Wilh the same token, there wouldn't be any. [aco Pastorius without a Rocco frestia and there wouldnt be a Marcus Miler without a Larry Graham, Investigacion y Andlisis Anallatr enna, que ¥ por ud sites: musicns toca hy que tocan, forma party ste} procune vie aprendiz Cuando un buen musico ejecuts una pieza tical, hae algo mas que simples notas: [hay arte! Nas prewunus moxentorices: edie us posible lus 4 la Uistancla? Obvlamerte efit 5 Sonnkld, pero eninie un aspesto jue va mas ally de tas Hotes Un ld artstico, ary had intetectwa. Cava rm co tiene su: manera de interpretar v pacs-anallzanle en [rofundidad: dehemos tatar do ‘onuiene 4 Jee laste es eartenito 9 oS ust elementos Come wl frase fa ullniacican, ef groove, la derasieadl, y las txtitay: et) NON wlgurns de fey elenscritos Anipertantes que un Lnvstouumetitista rniachiro ps debernos buscar missalld de las nonas “Cuma ay ent ava exnenve i meter oes i a Dich) Estahw-compknumente sorpremitids \enwinices ime ah aayta isco ses pate conseguie Siempre fut tee a cma un ie Aaa ce que fnctanatit at HO RUM, Fes entenster que Nd ba, Pagar He woken aso yam tao sonal kane My praca fonas Haast qu fi ominuta Ait exe ocala uta, Ms puattes Davee Weel: Nader ANniniMe!, inure bin Cuuinidy ehcontrattion un masien gus de Fy fo meYe dw NOS Lispiray. e» necesATIO buse muacion y-seqiirsu evolucton: este nis vind der sts proceso de erecimentes y mnailueuctory Nar fi trio, tration devin segui Viejas gratia Aue ieox y transcrip ientes, anticalos, SF escuchan iil Fony Willuims de los anus 60. vein evan dlfetente esa al Yony de lay 10 1 eventa que el Instrumente usados ¥ Le teenulegla han eamblady, pero alin at ae eanceptan © ideas nan. por muneciel ¥ evohucionado mus alla de! tiempo transects rida, Dive Week ne seth A) hop, ab nor huitniesr exyith antes tay Stewart Copeland wn Steve Gadd 6) ny Day Ganibaldi De ta misma. manera; Taco Pastorius nw hubiese sido Jaco st no hubies existe itn I Ha © Marci Miller sin haber distidis ait Larry Gra wel Mes.practicing concopls paula de ostudicPracticing with Different Types of Clicks (metronomes) For any professional musician, feeling comonable with {he click is must. OF course, thrs doesn’t happen aver: Nght i usually takes many years of practice. Technolo sy has changed the way music Is played, as campulters and sequencers have lorced musicians to wath on ther Tempo. This is the foascne why we must Introduce the tek to our everyday routine Sequencing 4 tune ¢av turn out to be quite differen from: Just playing to a simple lek i quarter notes. Drummers should try to practice playing grooves along with) bassline, either sequenced or played live. Simllar- \), bass players should do the same and spend sere lime practicing with sequenced dium parts of a real drummer | yoU are working ofa sixteenth nate Turk groove at a moderate tenypo: you can prograns a click in sixteenth notes 50.95 to heat haw every note you play feels in rela Hon fo thw etch. Afr practicing with this type of click tor a while, you will Be able to hear any inconsistency ia your time. Another way of using the click for these types ‘ol. grooves iso program ion the second and fourth six teenth note of every beac At first this.can really throw: you olf bur once you become camiortable with il, will olfer you a whoie new dimension, Increasing and Decreasing the Tempos he of he advantages of working wath a good drut machine oF computer sequencer 8: that your mactiine aN inernave or decrease any givers Lempd propor tionally. Let's say you are working ona funk groove and you Want to start practicing it ata stow tempaiar gradually take t up to speed, The starting tempo ls 80 bpm and ending tempo Is 120 bpm, Program your mochine to-go trom 80 dpi to 120 bipin inva 20 minute period. The ‘machine will gradually increase the tempo so you'll be able te hear a smooth and easy transition between the two tempos. The click will fores you to hang on Lo it Thy Tostart off very slowly and end ay fast as you can wit ‘out losing control, You Can practice all your routines and WuFMEup exerel4es in this fashion, a Practicar con Diferentes Tipos de Clicks (metrénomos) Ls Imperative que un masico proteapnat ve ston Comndy com el click No sneede de un alla pura ewig THAS bien feqimene muchos ano ue WsIuKh® Lop Uitte Histo fo tocrotogi tur cumbia a mtiera de treat abe fos mésiees,y Lis Cmnputadlias y sequencers han fear do Ul MiSieO a Weer «ke MEW sar ea Gwe Mus su toOr bo. Poresa eon, debe clelick nue Futana daria de estiedior Incorpon Hodemos entintes. aprowielando Li tecnologia se Cuenelat in tenis en see Ue iravticarhy con arr simple ellck a negra, § netaremes ht diferenicnn Los tater debe tratar de prvenicarsu grooves por write unyy Ninea de bay secuenciaca ¢ tncadta et vv. Lom Hallas eden hacer [0 mntsrm¥ yeactieal sas wowves cn tsa Ihateria rogramadla 0 104. wn ele. Por ony lad, st ef groove que deseads pmactiiin esta Subdividido om semnienretioas yw \Ln temp 4 pueden progeamar un click eh 46 ixteride, ILI ELHNEGS yas GscUChran ota FOE HOkA He elacion entree! elick y fo {ave ocak. Liege de practicar vie esta maneta durante lun nerup, pickin stotectur cualquter mila trical tenet. Orra mumera do practicar coral ellek, vs pour marlo para que toque [4 208. ¥ tu semicvrsta diva tiempo AF pemeipio puede ser Guan ests ling deseiogque peso ego Ue un salty Sern) CoM caddy rota HomaeA otra dimension Subir y Bajar los Tempos Una de tay ventajas que Here trahajar vont ama fuera aa de ritmo a sequereet es YUE este ape ats posed fon forma proporelonal, subir 6 dee terpe Supongarnos que estan practicandes un grave y des. an comenzatio lentery graduullinesite Hevatie al teipey real, qulewon comenzarhy en sexta = 80 bprny’ teerminar Joa negra 120 bp HHeygsanien su maquina para que for SieMpIO, durante UtT periody de 20 minutos, vaya Me AO 120 bpm, El cick ssbira cf rempo parejannente y al nn haber saltos hruscos, ustedes se wuts forzados a sexuirlo: hasta Hogar a atvanzar 14 yelocitad dsseada Istos 20 minutos prstublemente parecetait 2 horas, Jott traten ue 0 despegatvecdel lich y ax desatrollarin mayor resistencia, Vayan desde to mas femo husti to mds spidey sin perder et control, Puedon peaeticar todos sms rfersiciosy:rutinus de esta maneraht — Correcto Tempo B arto Tempe A=80 sr o Tempo 8 go — a0 = ares — on “8 => _- — ene" - aH we Tempo A=80 arm = on te — 3” Wrong = Incorrecto Tempo A= 80 8PM 120 6m 120 wm Tempo B= 120 nemPracticing at Slow Tempos ‘The space betweety the quarter nofes ima very slow tune, suet as a ballad, 1» alot wider than the space at at uptempo shuttle, These tempos are usually more dill cult than faster ones. Because of this, we shoul fish work of pur grooves ut a very slow tempo, to lel our Muscles memorize the movernmnls. This way we can monitor News each and every note sounds. Hw certain prove feels great at 110 bpm, try to mako it sound ay relied yshien playing itat 70 bpm, Practicing Coming In and Out of a Groove Once your groove feels youd, the next slap is to beable Tocome in anil out Of My playing some {Ml Ih often he iso that the fl around « groove don't feel as good 4 the groove isell, To avercomve this problem, practice different types of fills and then decide which ones sound more in tune with the music you're playing. YoU could be dealing with two types of fills: the ones which sound like part of the composition aret'the nes Which sound totally aut oF iL Bul belore you Wry to sour out, make sure you can soubd in, Keep the form in your head at-all times. 1 strongly encourage you to be aware of where you are in lation ship not only. t0 the pulse but slsa ta thw form, Whether ITI aR AABA 61 ABAB, You alwiays have to anticipate ‘what ls abaut to come, and 4 great tool for assimilating, {he form of tunes h memorizing their melodies. Practicing with Records Although It isn’t always the most pleasant of activities, Practicing shuld not be tedious. Playing 16 9 record is stil one ol the greatest ways to teat and probably the mest ejayable ofall. Whethor it's jazz, Lat or funk, i makes you aware of the form, feel tempo; dynamics 1 Lhe overall Mood of the piece. Sel aside sorme (ine to expenment playing to reeerdings, ——= (ee Practicar Tempos Lentos Subuinds y.rgjue'tis temper Hentas sen mda ly tenpren Apidos, ya que et espucto ete autsas.a un jempn de batada es mayor que Ul espracis vntte pial a unt tempo rapido de xivinw Fs ltnporturnle traltalar hen grooves wun temps bien lento, jmaniitionie: que ninest Fos muielus sem Hictles que leer toy movimeenin y fies cin aniias, De esta manera, poses moritonear de cen com suera. cada. Ota. Si-uT gHOONE Hes sue fegra = 10 bpm, traten de que sien bpm Practicar e/ Entrar y Satir de un Groove Un We Que a tong siete OK, prueben eartnar y sae He ¢l tycanaly ue fH) Observuran a romeo gue e! grew vw Sheer bier, perovet til to ta rrattsicieas al LID) $40, Por su) cheben practicar Fills que’ vsti seondes ou enteando y sihicniio de uns ewe Leste Uueden eniqontearse con dos categorie ie Ils tas que SuCTIAN IEF COMO pure TE Li CaMpeslelWH ¥ hus 4 suenan OME y no Gary La semsue sony dhe per Ccomposivion, Vale Ja frente taendivivat pla tacue aust 51 nies pucele toad Por otro tad, mamtengan ti tote del forma en Li aber. ater slempte utentus a “donde estan {0 1ELALION LOH pate gto tani biten ny rolacidicn cea fa fotava ated terra, No iriporta cual sea eat shes AABA G WAH, Siempre tivten du anticipar fa sector que Ushi Dor Venie. Una herrannionna aniy att) yy Jortra de Tos temas es intemselzat las snl » siler Practicar con Discos ether wie bebe sep a ssperienici tedion aunque Y APE LCCONIOFER MBE A YUKED ws INBRARO, Tou enetins lov chiseayy sigue spenitey ana fe Tas fogtmas ends eth Nuay:y plcenterss he practieit: [st muriera de peach at Dov Ponte ef cintacte Lawn eterientos fables canis by hve ‘rut de terra el ast, [as aie No finjvorty sive trate de jer: ease feel y ol tempe, ine Mk ENcorpOLEN ‘estar Thiniera de estudiar a sy rutins chan de extuallc,Fun loge vn Practicing with Other Musicians The vibe ereared wher wo of more people play to~ gether can never be placed by a computer or minus. one book, Likewise, the vibe we may ieel at « nightaub when-a good band is'playing can vot be replaced by any top quallty music video watehed at home Thove's a unique energy generated when music Is played live. Therfore, it’s equally Important Io spend time grooving along with other players, even Ml your goal is not 10 pul a band together and get some gigs. Though it may not be easy to tind time nowadays, try to. make tlinte to just play with other mussesans: Recording Your Practicing Sessions and Rehearsals “Quy vats ate your tna judge. Recording yoursel! pray {icing oF rehearsing with 4 band can be very bereficial to your Improvement Investing some fyoney I blak tapes for recording can be as Impartant as investing the “anve ainount in dium heads. A simple Walkman can ‘aptute tho overall sound and by listening back to what vow played, you cam hear the results of what you hive practiced Practicing Playing Consistent & Simple DOneof the most difficult thinys to achieve tor any aypir ing musician by te ability to play simple, and F mean really simple) Keep» your groove, lls and solo consistent and simple by not playing too many notes. Force yout sell to play veonamvcally and 6 leave tots of space You must Be able to feel II as part of the musle oF composition “1 dig playing very simple ane par suey Muegs te much, Wer (ary youreer et he need to always deave afew Birger pris at te scene of tho crime, But Lan play etune now and vat eel tat wige fast the taurh arid ths placement o the bear shows event ati) playing. and | don’t onierwse fee that have Jo-callto mua atienton oh” Pete Erskine: Modern: Druminey, Nowemnbser 1993 Practicar con Otros Musicos La energla que se genera Cuundi tos Juntan u tocar fr 2s dscns se ase pra reermplaaar por ninguna sompittadira es dhes pura acompanar Aytnisme, ja ‘chergia generada por ina banda tocamato en vivo on un club nocturno, munca sera compatable can la enerela que nos puede generae riiear wer ides on) el [VINK ste uestza casa Es muy importante juntarse a tocar con ammmque eb objetivo ney sed armay una Waiala Ali w {Lak Fueraat que tHete Li maxis ork wigee es dle! Tate de hacesse aan eypagho en faagernda fara stnpte mente tocar ntros Masiveis Grabar los Ensayos y las Sesiones de Practica abat Hie shows vio tos emayoy fene un vafor enor me; ya que wseuchamey a bt divunei nos permite madurar y evaluat con clerta objetividad 1 gue pies Jocado. {Los ofdos mandap! vertir divers ery cassettes bet blanco #s tan Lmpertant come lavertitle dtr parches drum heads) mikes. Un simple y econorice, wath ‘nian puede cuptucar ta esencia de wit show. Vast podie Amos Hacer une balance y ver los resultadlos del que estustiamos, Tocar con Consistencia y Simpleza Una de tas bares ends ditedtes para jan muses que esti tomenzande su formacion es tocar simple, jmmuy ple! y com epmsbtencia, Hunguen economia ¥ soll ‘em us RIOOYES; Fllsy MOTOS. ES an Lnppirbante set Ls horas como sentir el espacio que elas daar Cuan ti se cut). ;Dejent espacio "AME Ps Yi EN Alpe Uh sur sermeie Curr ene ‘nits lower tania fd eves de oursoryy e sm lacuna ditariawn U its tgetaber ina pi er. pet i examen, AL "hye he waa a fas yas ran ewvdad ie Ny ne tent, Meroe afr. armar fa TN Hoter Urskine: Modern Drumuner Novienstwe 1198Practice Specific Exercises Before Working on the Tunes Sometimes we are not ready ta play certain pieces right sway because we faven’t done dur Hhomewark ye. If {Nereis 4 groove you want to work ar bait you come-up sapinst problems that cannot be solved in.a matter of hours, the best thing you can dow spend sone time on preliminary exercises. Work ani isolated sections betare {you attempt to play the whole groove sight away. In this course you may encounter some obstacles, staes some of the grooves are not us easy as they may sound, Hence, we suggest thet you try getting the pieces Tngettiey beforehand, This will ave you a lat of time. When warking ora particular groove Jam this book, refer to the Exekeist SCHON in Chapter Four lor specitic Youtines to work on them. Don't force yoursell to play eomplieated pieces iH you think you are not ready for them Learning ty meant to be a natural and evolwng process, on Practicar Ejercicios Determinados Antes de Tocar los Grooves de este Libro Muchas veces no exturox prepa para se ita tas ideas, pique toxics nus bers eh pplevios. A'veces quremns ttacer he He tn ay sro PHHieulit PEW Nos eneeMfiaMes con AbNtACAtOs. No Solucionialtes en un par deharas: Hareso ex conver te pasar por determinados ejerereius: pr ‘no faciitaran ta tarea posterion, Sh deter) ue minados eomponientes ue wh yroave requ tps adicional, separento del resto ded groove ke Clest0 Fuse 44n te Gon respecto a este Silay, 9 were obsiaculos e1i [a ejecuctan de las groves yi sue: let ‘low le elas suenan mAs series de Ho Quin pram FaRON, 4) es necesarky trabvatens fas. pH Npecahezas por separadey ¥ aherrarin mucho que e mpe, Cuando analiven os grooves. consulterr el Euattro referidde Los Eyer veto PrAcrioos: bey ser ati Puede suceder que ng exter preparidos para tocar etre matertal; de seriisi, no salten etapas. aseguotise de que #1 pmreso de aprendizaje sw yrivliul, \aturaly coberenty evotuelin, piratePracticing Schedule ‘Time management in practice habits s-crucial. They are thousand of books and articles dealing with this topic, but few music students seem to manage thei time properly, Finding tine for 8 good practice routine iy a hallenge IV you plan ahead, Iet's say for the nex! 2, 6 oF 12 months, determine the amount of hours a day you can spend on your inytiinment Renembor that the amour, 6! baury Is important bul not as important as “what? you do with thove hours. While amenizing nur practice {5 helptul in realizing our goals more quickly, by. no ‘means should we become so sttict Iw our schedule Lal ‘xe do nat allow some treedam In the process. Renee bor that often during the course of 4 practise session, smatiy new ideas will come up which should be abservedt Plan de Estudio {i manejo del Hlempe en to que respects wa pprictica det nstramento es crucial, Cxtstert milis de Mbyos ¥ atten los wieritas sabe este tera, pie pococestiallanies dle mitsiea patecer aitlizay el Wem puoducts Macerse de-tionnse pata peustiege of lnstramemtiy 187 esa, ‘Si plumes van erty aeesttis pasa His fr 12 meses, determiner ly cantilad de ita pron da que pucean dedtivarle ab vrvirumente, Hecuoden gute ta Lanpilad se horas es importante, pero mas importante ini 6s lo que hacemos con esis horas. Onetetuat este noierns Hutting de estudio wl Ger Hex ayuUlL 4 ciganieae “que lomemos que estuilhae®.pyerw bajis nligany sii de vista Noy dete Sondicioriar deminer tall que pendarniy ba espontanictdad. Recwenerr que en eb taumauesn del cestiudio sirgen.a menue muchas tdeay que deben eseuuchadtsMany students complaint that there is never enough lime to work on everything they need to work on. 115 also te, on the other hand, that setting up few. goals each month will ensure a qood development. in general terms, a three to (our hour routine 4 0 S days a week sell auttice for a month worth of practice. Howeves, ike eating, one must have a COnsisten| “diet” of practicing) Jstening to develop ay 6 musicians, Bashing for & hours ne day and tor | hourfive days tater snot the best way to practice: Consistency is the key! Another important aypect of time managements pre tesely what we do with it Some will deny that technical studies, reading and improvisation are a must. On the other hand, allow yourself some tine for groove play: sng. That's right, ust groove! The same ajyplles to play: {ng along with records. There’s §0 much musit-going sttound nowaelays that & is impossible to, hear evory. thing that comes inta our hands. Neverthaless, we need to set up some tine for transcnbing qrooyes, fills and solos. IVa difficult but also ani important and reward ing exercise. Like so lew other things in life, aur time belongs ta us alone. Be eareful not to waste Il when you an use iti produetive ways Muchos estudiantes ye gue essuticemte, ts un zealand pero por orn ialo, pc fos metas de estudio tos garatttzars Ut bw es ils En toraiinos enerates uta p Hie alas, 4 4 Sian considerable para an mes, De ctalipr inaters, pe Hieares comp comor: a ctieta debe ser camstamte > rex tat, Hesarroltarns corm misicay eequiete met stancta Te mada sive estudiar Horas, leur us diay. y estdlat 1. {La wonstaricla es la clasp qu eb emmy munes We tiv ul 05 4 CualtO: ai Otto importante aspecto: ent ef manejo del tempo es precisamente io que-hacemos con él. Deberne dedicar new 1 Ache, Ua Becta y la Linprovisackrn. Por otto lad, dojynve ven. dompe para locar "gtagvee”, jsimmplemnente groowewe! Li av eisstn linea, debemes incorporar el “tocar encima de discas” Uixiste tarita masiea dhimin wunltas por la cali que resi twimpestble abarcar todo to que.cae en nuestra ssanion No obstanite, transetitar yeooves, 1116 y solos, es uni actividad Comple]s fet eveniclul ¥ gratifieante, © Dtfay pocas cosas ent La vida ol tlempe pana el est trey de yadie mids, Ferhat cub thado de no derirchario ytilizandiie ste hy productiya posible euti tempus cons “nos pertenee', es 1lune descriplion and For °€ aN alysis deseripctin de tos temas y antlisis de tos GOW% tN GRoove the Get Up Offa This i a groove inspired! by Jamies Brown's Get Up Ofia hat Thing. The tune consists il three sections. &, Band © Sections A and Bare thythmically islentical, but in Seetion C we go into.a vamp which ends witha fade pat The bass and dtums play pretty much in unisory throughout andl by listening to the bassline ive car pro ably quess what the drums will play. Check put THE Fume MASTERS by © Silverman to get int a deeper spapreciation of James Brown * Note: Section © only appears on track #2 (full band version) and not an track #14 (ntinus-one), ae 14 eno sitar + drum Licks Leth Titi groove est inspinidto ent Get Up Offa Thur Ping de James Riown, El tema comsinte en 3 seceloness A, Iy ( fay doy primers seccte situ 5A yf) seo sit)camerite fe, poe Li seein Ces ute VaR Hts sue que fuera ef in fail’ out EL bajo y ta batetia tocar prac iemmenie al unienes a Ho lunge de text feseuchando el groove del hijo postemos inaginarnos et sroave le la baterts, Sugiero que consultert THM: Funk Mastin dle €. Sliverman pars meterse mas de lene © lu muisica de James Bowe. * Nota: La section. © yolo apareen ety ef track #2 1full band version ¥ no en tick #18 fortepiysiong econ III pa weary 8 white bard 49 REPEAT TIMES. FADE OUTwe 1s The kick andl snare are played in a Clyde Stubbiletield style but the hichal and ghost notes on the snare ace orchestrated with @ more linear approach, Instead of playing straight eighthy notes, | borrowed some Garibat Gadd elements. so | moved the LH to the hi-hat and the RH to the snare Pay altention to the Interdynamics botwnon the hands, The ghosted note wt 4 ertclal we ‘ment in this groove. Notice tte impartanes of the lang open hi-hat of beat J of the first measure. Everyone In the band heavily omphasices thisnote, {1 section G, there |j a tambourine and claps overdubbed. The groove on section € is 4 variation ol Aarid 8, but itt played looser and with a lot mor drive; It goes into an intense Rocco Prestia type of ‘bassline ity a sixtoonth note feel, whiel is a key element In this section. The drums change from hi-hat to quater otes on the ride and the contribution of the tarmbou rin and claps overdubbeu! ad forward motion ta [he aroave, EL annoy y ef tambon estany presales a la Clyde Sus isto, porns ef hat las bor estin pemuday gon un approact heal. En wz de tocar corcheas en ef Ni hat come Io hada Suubblotield) tome prestado algunos elumedtos de Garlbaldi/Gadl y movi ld mane [rquiierela al Ni-hat y ta terec a al larn}voe Pres jas atte que las noviay funtassnas Megan ane pm Jamte en este grow. fantremas en of tam W 1 muy impor eb lernpa 1 dal prtiner ¢ nota larga del lijhay obleria es insinuala par tea ba hianda. La secciony © es una varsacyory de: tas seccinmes A y Ihdonde ty mano derecha paso «tcl Mi-hat wf ride ent Hhegras v eons Tasayucla atl Gambourin v Loe elaps, el geoovE Togea mds dlreevlon v-empuje, UI Iaje *a ba Re ay ene “ath is) ya que toa Gea Presta” en esta seeciony e pains Me Groove Section A ~ Groove Seccion A Kut a> 13 = Rt RRL = Ps ia® > mae fon seeonil ful» ew hfe adic ionwad RLHo tee T HO Ho Suggested preliminary practice Practice the Takart NOTES WITH ANTIEI ATION exercise on Chapter Four, Ther) move oni to the PaRARTBOLE CONNEC TOW and the LINEAR APPROACH exercise. When practic Ing this groove, look for precision and balance between the hands. Make it sound as i all three timbres (kick, share and hi-hat) were the same one answer 1 PEE peer [9 —t yop tTrHer f Sugerencia de préctica preliminar Practiquen [det Notes con ANTIC DINDLL CONKECHON 5 pital Castro) el ejetelelo Tanger ACIONES pare Huei paar ab Maia 1 teieley AMIKOATHE LINEA Cuando practiquen estoy eqerecivios, busguen precision y balance entre jos pies yas manos, Perisem cum ¥ las 4.voces (bombo, tambor y Wilt fuera an sel3 Groove #2 - Alla Mike Here, bass and drunys are meant to be if unison in an easy-going sisteenth note feel, Notice that both snstees ments play a busy pattern without interfering with each otter. The bass supports the drums by playing with them and not around them, we tste tema we concebide para que ef buy la hatte toquen ew semivarich com un feet ee felajadc. Amite Instrunenton tocan has muy vat iad per An Intertetir tne sins eb ota Po oferta Aho, tabs te dil ato li hace de sup eT *Timay nat hashed to vine Up With a “$0 Ways" part al oF the lume, But just Becouse i isn't et druin-alented ghee af mus orsnt mean that 1 oekn' val for your eveaivly mean, crea Luny se jastcoming up witha inky drum part.” Steve Gatles Modern Deurnrer, July [988 ta puedes toto Weipa re mne- pis ewe wr parte Anitereomne este “30 at poms bso te A praeagenicw nf te er dere yer yee yar crag Id Es evs te feed apni avr a PT Wa 40h) pur Stove Gad) Mtodtoen Peurntniey; pul 1982The sieteenth nates with the RH brustyon the stare 2 Fras semteoreheus ile la mane detect en of sraye 2. son Dprovinie the basic feel while the LH om snare and. kick fy que le dian ef feel general al tema, mentras que ol drum lay down the groove. The RH plays a couple of bombo y ef tambor | armani vt groove con el tijo. La accents belweer heats 2 and 3 to catch some of the nanny derectis toca en los tempos 3 4 uth jar ale acy Impariant notes trom the bassline, On beat 4 of every os-con ti escobilta reforzanel Us linea let bajes Lit vl bar, the RH brush sweeps for a whole quarter nate, In Hempo 4 de cada compas. la Wetecha Nace an sweep sestion A, the 1H plays the backbeal ny the rim but motions Charnido Lon esenpills sure el parched kn ta swtches:to snare in section 8, Ever though this is. RH SecCION A, La tuane aguilera thea 6 hackbeat ep el ace lead kind of groove, the LH moves. around the set and pore en Ly 4ecciOn BE ps9 al tan hae A pene de que La plays alle backbedts, qhost notes and fills 10 change Mejecha © liv qu Nera. Ta Iaquterds. es Ld qu {Wont one section to the next: tonto. trabajo. ya que tet w su exe Hodis fas The hishat Is played de eauta ivan (a lighter sound) and the open hishat sound with the po, Norer: la diferencia uw exis entre fowat of fits heel (a crashiike sound). Thest small detally give more abietter cont ef talon y toxanlo de punta, iy ha primera energy to the B section, Also natice that throughout the (2tal6n), et impacto entre amber platos es mayor po Whole (une the RH plays at a different volume thaw tho duclendi un somidty equivalente aide wn exash, eles LH Here, the concept of a four channel console applies, fray que con la punta ef sonido es mac livia |W other words, try fo have all four fini at totally inde pendent yolume contrat Preston atensiOi 9 lo dMereticia ke yolumenes entre unas mans, Aqul intFENtHEE ef concepts shente descripto dt ta consota de + canals, Cada (ont 1 extremidad debe tenet un control de value penalionte Groove section A ~ Groove seccién A Adora ssveei) ==. Berredrphreri = REx xx ex oo —_—_—_ * RH brash yn jnare 2 Utena f= bas drane 1 at foo * none: this sare is el up a the High aid ie the kit vee num est bec at Crt lee oraGroove section B - Groove seccién B RH section A without the sweep Mano derecta deen weve § sin ul swe LAD snare 4 lt => x hishar open witeor 7 eT eT et ae 19 | agen ae fen motif ansiows nity arpieer Suggested preliminary practice Sugerencia de prdctica preliminar | suggest that you practice the Hi-MAr Possinurries and Praviiquen (det eapiiilis cuatinn ¢) ejereaere Nosema tos GHOST Notts exercises trom Chapter Four BES DHL HIGHT y eb eyercictiy Nevis FNNTASSIAS aoePe er ee Pay close attention the swing fee OF this groove, Its played Very static and on top of the beat. Ina quasi hip hop feel, Watch the similarity between the cowbell Inwlody and the bassline. The two-bar rhythm of Ihe drummer's left hand ¥> used as the count ott for the june. teva, fie Presten atencién al tio de swing (sel se Ne una caractersties un pace estdtica ademas de haber sido toeado delante det pulso (or tap ol the Wyeaty, La Imelodia de! baje-es emulada por la melodia de tas cary Panas. EI filma de das comprases de la mane Lequierls del batersta, 6s el mismo ritmo usade paral auenty ink cial del tema. BE 20 romp eisons ion IAI x0 wc cc0 swing Feet o” count off aay A prey xo rt REPEAT 9 TIMES: peHe 21 Tre bass is in-charge oF the fow frequencies, since the Kick drum purposely plays only on beet | of every mea- sure. The hand orchestration 1s Yhe main hey 10 this yfoove, There are two thyttyis. going or ab the sane time. The RH plays three cowbells anc the backbeats on snare 2 ~set on my ight ~ while the LW plays a New Orleans kind of steady countertine on the rim ol the sna= fe This ie the same rhythin used as count off on the first ve bars of the tune The fi-hat foot plays eighth note upbeats in Section A and iLopens on every other upbeat (2 "1," 4") in Sec W60, B. This Is a useful too! that provides a mone oper" feel without riding an a cymbal Notice that the hichat sounds very light, You can get this sound by using your toes instead of the heel, This way, the wo. cymbals barely touch each other, thus resonating mare. If you want the heavier and longar erash sound, use the heels 40 that the sound cores from the whole leq instead of the toes You will ind this technique throughout the book (ria Nena HF to Hen: fou fa Le eta ented registro ms grave ya Ayu ek ame fe tocanta muy ccandngleamente set ol Hepa} de eal coups) «oH gmove, x Hrealidad, Fy eXte Ia orquestacton de lay manus ex el elemento indy pmypartante 9. pesaltar, Fijense: existon doy ritmmos SinuitanGos. En el primero, lie mano derecta toc wt Hem wate tees CeNCERFOK y UL tamer 2 (ubleado.u 1d ee la of ceutaen el famberr 4 ina connie linea en stna que "New Orleany®. Aste ultima rime similar 4 ana stave) es et usado on fos doy primers compases como ruer Introductoria an que ere el cewunnde Li bog £1 hishat foot fowr din emtinattven guorcheay al ahey (°¥) fara Ja seccion A, pero ¥eubee ors ol thepa Lyme 5°(° del compas en fa vecckon N Esta es una herramiert UU interesante sl yueremos abit uss poet el casi sin tener que Feeurell al side Fijense que eb Aivfari se hy pari ale pie cay bh <1) er del Laco, dante et sonido es generad pe niemna en ver de seria por el pie. He esta mane platiifos dot hi-hat apanas se tocan obtersiendo ash wn Sourido casi Ue: 1a teenie es feeuiemente us uaa et ste 110 talinnt finda La os Groove Section A - Groove Seccién A REbhythm LU hyve TR The Lary > nn %e sci lh 4 cow ined {oni snore F a6: i fe — | hadi oye ye 7b Ye Np as Ut Uf SOM ai iy i! coubuidiooe Wega gages « nove: this snare ts sex up on the right hand side of the kit- este zumibow evi biel al voxtado s2yunonterstel 406Suggested preliminary practice Sugerencia de préctica preliminar I suggest that you practice the MELODICLINE YORORCHES Practitnr (det capitulo cuatro) et elercicis MrLania vena RATIONS exercise from Chapter Four, OROUESTAR . . 2Bes GROOVE #4 Kagga Even though this music is generally played very ait bach = especially by the rhythin section ~ we played It nore on top af the beat to give ita funkior edge, You rust check out reggae masters Robbie Shakespeare and Sly Bunbar to hear how solid that rhythm section sounds, Although they are thythvnically similar, the tune consists of sections A and B, Be 23 Mand isthe an sunidey tds futikerda, este rronve te tocailn cor an feet “on tap? y com nvtertcron ate bane a pesar de-que normalmente el reggae se tc bid bck. Fscuchen Robbie Shakespeare ¥ Sly Dunhar y vera ‘cuann solid es La base. A pesar Ue ser simblates, este Wart iene dos secianes AWB. es REPEATOTNS rape ortae 24 The RH plays eighth note upbeats an the snare 2 while the Rihat foot plays quarter notes throughout the sjr00ve. Since the LH |y responsible for most a the back beats and filly keep in mind that the snare 21s set up ort Iny tigi hand sid, allowing total freedom for the LH to ave around the set. Kiek drum plays on beats 2 and 4 Rumson with the guitar and the LH (an snare) mainly plays on 3. Asthe tune progresses. the Li adds more tom tis and, with the help ofthe RH, adds some smate/erash vinisoris, Note thar the test never change their pattern, In section B, Fopen the hrhat with my loat (4 ash sound) on beats | and 3, opposite the quitar rhythm. Though it may seem that you could play busy, it wall work much better if you keep sf economical Because of 4 rhythimie displacement, you can get thio wi) off by The way the third and fourth measures are felt, Ereating the lusion, of being upside down. Listen to, bands like Bob Marley. Black Ubury, Peter Tash) ete as well as drummers ike Carlton Barrett and the Innovator Stewarl Copeland, Fel sna 2 LF sire 1 brass dren Witt foot Doi one RAI. ha mano dlerecha ioc en ef anaee 2, cuyeheay en ef \ie-caca tempo. rtentaas que el INL fivol tea teal groove en nugras. Cornis W-anutvo leyulee Jvonsible de Hc fas hy Hibs yds fn many dered eota array ea eh gostadio derecho ava dlarle ast ai Azgnersta toda ti Uibertail Ue owt Mento, LF bombo tea neeacen ts tiempos 2 4 cal uTHyoND con la guitarra, ¥ el taanbur fast el Hacheat ened tiempo t li re Ameciicly que ef fema sube laenenta, la taste laguler Wa, ayutlada por fa dereciis untes wn mayer serivisel con Tos tomy y algu s/erasly nije Oserven que los pies unca ambien wl patter excep toon la seccion Bonide e! hi-hat pasa a ocr un soni He Open eral, Opwesto al ritmo de fr guitarti. A pass de haber macho espacio para tetlenar, wnuntengin el gTOONE y fox ills ocoGMNNCR. fAMelena Mejoe! Obviervan ef despilazamjente produc en el texee » Cuurty compas que da fa sensacion de que el groove fquedato al reves: Hetu estructura vitaile se abservg cyentemente enol reggae baat expecialiierste en Hats Marley, tack Uhuru, Powe Host eh y stefstas tales como Carton Rartett y ef intiwaden Stewart Cpetand parse w/RTT Gm tne 2 pt hi ha ony BE section = fda dient oH Ua ane * ‘woes this ona fs se} apo the rt fn sie ofthe Ki» eae Lamar est ube enslivdeneet db verae 2s SE Suggested preliminary practice ‘Try practicing (he RH upbeals ostinato wlth some basic leet pattem white the LH read various melodies such as, the MEUOO" Y OF the BASIC SIXTEENTH NOTE SuBDvIsION exercise. Also try using the Har POSSIBILITIES exercise trom Chapter Tour for more RH independence. Far this last exevelse, play Lhe Backbeat on 3 and the kick din ‘on2 & 4 while the RH plays different patterns Sugerencia de practica preliminar ‘Alquion Koerr con la derwehiy en ef Hide, caretiemy en VP de cada tempo, tmentiay que la izqulerda lee varias melodias come la MILODIA «fi Sunbavisiiis TASICS Df SPMICORCHIAS cn un putters haslun ett Las ples También practiquer el HiGHAr (deb capitulo cuatro) pare obtener mej pendenich en tis manioy, Para ese ultimo etercicin, Toquen ¢| hackbeat eel tempo 4, y el tkimbo en los npos 2.y 4 micntray fa dereckts toca diferentes typos de ostiniatos en 6 Bi hat elo POsIMHETARESFE 6 coor ‘This tribe to Me*Shell Ndegeocello, is arn example of a 4-bar groove with bays and drums in unison the whale: lime. This groove sounds very static. Watch the guitar playing the line th octaves and the clavinel comping, They, alona with bass and drums, ane an imporiant part of the arnove * Note: the bass intra with a ery baby elfect hay not beon transeribed, se 26 eu ‘ass & drys INTRO HT “INTRO, ——— nf’ Este trlbuto a Me!Siull Nuegeogelta, 66 uit ejemplo: oe tun grade de 4 cimpases de «ll bbaterla tocar ex gvinstante aie Web bawey Shmerveay iy stat co qite suena, teniendoen cuenta que Ja gaitarna. tovan di la lites en oetavas y of accrmanarmente del claviner Son parte fundamental en ot armado de este groove Notas la Introduccion let bale cor whveintia fey fue transeripta forthe pliyaiong von I im was 8Be 27 Drums alone [anal This groove’s let Is in eighity nates as oppased to the \ypical sisteenth note feel, Pay close attention to the atest tes, which havea primaty tole On bars | andl 3, tive kick craumy andl the bass play the same figure. On the ther hand, bary 2 and 4 are the release ol bars Land 3, Notice that on bars Zand 4 there's almost no activity or the kick dium. Instead, the hichat and snare ghast notes ate the predominant timbres in the orchestration. The RH on Wi:hal plays very staccato, almost without any Inudniees oF accenits Notice the importance af the open hishat on beats 3 8 4 of the second bar, They are part of te gultar and bass, rhyttin. This, again, borrowed from Garibalili’s Onk- LAND STROKE, Which at the same time was borrowed from James Brown's SCHOOL OF DRUMMING. Instead of expecting a backbeat, you got an open hihat creating gap sensation noni : RE bidet x LAH snare — we Li foscdrum x — . “W's mpaitint tora bassist mat to pry Foo busy. A wre Dns to diive a fut af tomparency. os 0 air and sunlit ould come Theoigh You wan! trong pitas but you don't wetet to dori fe a te fin * Will Lee: Modern Drurmnes, May 1997 Mibebite Waves sors Isle gt0ONE ey MU partion, yt que La subetivivion principales a corches ytabstuaimento el tank Heme unt tel eer semicorcheas, Mesters ateviehons a as ttas ts Tasmis’ya «jue tener un ral importanie en wl snide fpeneral in os compager Hy Aveta yt haterta toguny Ja nadvar Fgura untrue las eases 29 4 sem ol release” (elijacion) de lo mismien. Ervestin deny com Iwses, eb bombo pracheamente caper de actividad Siendo lay notas Fantasias y Tos Hi-bat tos quae peed minan timbrcamedte. fav ef hi-bat Li mane den ha es ‘jectitada staccato y sin dinainicuc ac Ln ef compas 2, noren et thet abierto en los tempos SY 4 tocado al unison cen el Daj ¥ La gultarga, Este eoncepte fo tame prestodo de Garitukll (aitsste Sr) quien 4c U2 fe leno prestadis de da Pse bey te Marranyras de lames thrown en yer de poner a huckbeat, deja ef esparn pane ocupario con tan open ti hat creando una sensacion de vacio, anisnvr His uh UnyportateyuieWb Ballito tiie Har iad eis BE rae tem’ yes transparent, emake eld Vs 48 Pe ‘tun etuvesato, Se ta di toes temp Will Lev Mextern eam Maye 109" ia prs de variameaty ‘tte 3 answer #2 Suggested preliminary practice Practice reading @ Mevopy 1 lor the kick dri while the: (H plays a backteat on 2 & 4, Also wark on the Hear TossiANitHs and GHost Nore exercises from Chapter Four, For any of these exercises, ep each limb corsts tent. Try playing the groove vely. Ligh! and slid by eeping th ghost notes underneath, Sugerencia de practica preliminar Practiquen leer la Mi.obia Geom ef furte mientras ty mumnes tequierda toca tamnbor en) 2y-4 hi poco mas las manos, peavtiquess [5 6) DADES DEL TIDELAY cambinadas can Ne (Wel capitulo euatrod, Cualqud fengar) las nistas lantasinas Muntengaty by cansitercha peices Pony s FANTASMAS ten: ten Jo«ar 6} grove lo. may solide y parejo positik cen verti = FE 7 Gnoove no-secont tine rank Altflough this is not @ typical straightahead swing tee, Aypesat de ni ser ai lees virig feel ef arrine fr notice how the laid back phrasing makes the groave S00) terariy Ue este geewie hace que suene selina Sound relaxed It’s tell between “even eighth" and ald back. Mirece binary perc posce ese pequena pr “swing eighth” notes, Keep in mind that these kind of porion ate swing que In hace diferomte, Este toma I grooves fee! much better at slower tempos. The dea for Insplrado ene] estity New Orleans a Cajun Styli se this one fs baykd! on a New Orleans Cajun style: Check chien una banda de Is aris 70 lamiads ‘Hye Me ‘ut a band from the 70s called The Meters. They have Dati Sido planer extol esti 1 pets imasteredt the style with a strong anid personal feel. Thelr eeatlvo ¥ econimicn con ute siving in)guatlabie playing is imple but extremely creative and melodic. FE 29 terveptyatrg scion FAI 01 Swing foe o=k6 ddewna fih nf EPEAT © TIMES sete 30 The concept here is to use boty hands ani snares as tines heepers Instead of the typical right hand on the hishat. The kitk dium plays peetty much In unison wil the bass while the hi-tat fool plays the upbeats. The RH plays a bbrusty on the snave 2 while the LH plays backbeats and ghost notes on the main snare |. Notice iat the LH hits the'snare | close to the edge of the drum to get w tre bale sound Also, sine® I'm using a brush on save 2 and 4 stick on snare 1, {Wy to go fora balanced and smooth souind between the two snares On beat 1 of the trst measure | play a tive stroke fall (RRL) and on beat 3 “ny” | play a hrust sweep with the RH Try Jo make it blend with the ginove. On beat 4 of Hye secon bar | play laid back sixteenth note fills, which crate a ite tension, Notice that the drums have plenty fof room to fil up in this part ot the measure, but don't forget t6 avoid using too many notes. Bu discrete! Vd father work with nuances such as press rolls, dminueny Hos oF delayed elects than Tiling Up the space with big notes As fol the New Orleans style, listers to The Meters? rum mer Zigaboo Modellste. He ls an expert and has a strong, economic and personal feel. His playing as sim pple but extremely creative-and melodic. No doubt he’s an innovator, Some newer guys worth listening are Heri Riley, Richie Hayward, J, Vidaeavich ete —— mmuh ass ru fuvhat foo * « ee Ef eancepto gut: fue usado es ef dé amibas manos en los. Tambores como “time keeper”, est ver de La tyitea mabe derecha en el hicat. El bombs sca east al cel bajo mtemtras que eb WLhat foot te “de calla Hempo, 14 mane derecha Wea qin ee fone snare 2. tnlenttas que Li legiierda toca el tmackbweat won snare 1. Las notes de ta taxquterda son tecadas ra) gf bore vel rambor pant lograe ant sonia Tetalico cast a tim, Camowustey. uwanido una ese Viv en wevtannbie vin malls en el ats tamibaiy rater le tmuantener ef Malanice entre arnt Lieb dempe 1 del primer compas. tocet un lve stroke roll (RIELL), ¥ en «1 Heanpo 3°" han ui Brush swveeyt ‘com la derecha. Traten db que este foenie painted ieoey Ve: Fil Liempo 4 del segsinulis cimpas. a leqntenta toca setnicoreheas con un ciety ft land hack ge erie Faun proce ce tension, ba hatert# thane. on esta pattte del compas, mucho espacio pars Hetutr, pote e6 mas yeu dente ser econdmice yalseret en ve de voy angu i aon ef pies drum JUL En estas casi, pretier sar neta a eeoraclon (ombellishinen|s) guneEAT of Alon. atises (IuAniee) TA Pi ls que respects al estlly "New Dijeniie™ esenchien @ Zigalwws Modcliste y su grup The Meters: € ene un tiny inuy freTsortal, eTeativo, evonomien y Gan un swing iriigualabte. Sirvducla ha siclo uns mnnovadior: Hay fitra generacion de: bateristas mds joverses cars rnuuitas personalidad! que merece s Jos, comme Hed Rile§, Mitchie Hayworth J, Vidacovseh ete _ Leween ea ne: Hl mes pe ip the right hunel sido the kit esse tumbor esreéubicade al eomadi dereoho del edFonk Soo For Dem ae 31 swing Heel Suggested preliminary practice Fraclice Exencise HB {ron Chapter Four, Irs not so much about technique as i ly about feel, Also cheek out New: Onitans Jaze & Steono LINE DruMMing written by: Hert Bley and Jolin Vidacovich. Listen to bands like New Birth Brass Band. ihe groove: denornurws the dvection of the sory, the fir, Ee ‘Oynamic level and the length vf solos H comtiods the sang.” Ror Carter ast a Sugerencia de practica preliminar Practiquen el tte iy #8 del capatito cuutioy i este gmoave ne prevalece fa fécmiea, sine feel: Gonvateen et Nie ONEEARS JAZZ # SECOND LINE DRUMMING wNCrItO porl Riley y}-Vidacovten. Lscuthert a hans Com New Mirth thrass Mavi "A grove ef pve teenie elfen ut ery fre {ac linac § a Marcil defi sea Bf ue unter tiie tyr’ Fon tutorae 8 Gnoove This. is probably the most unusual of all the tunes on the CD. This type of samba = called samba quebrado —has a funky, laid back feel which is typical of the style, The Hue gethorn sole helps to create a jazzy mood. Notice how heavy the aroove gets with the hick drum and the bass playing around the 2 and 4, emulating the role of the surdo, fe 32 Pimaj? AN oh DY ‘uri 1 Heat rere song econ Ab Hobablemente, este tipa de grace Hares saints qua tirade, sea eb mis Inuisual Ue este [ibe Fue tenadis “imity" luk bck y funkeathy (varactorstiva pimps Hed allo} ¥ encarally com Un logue jzesticn, dame La fmiprovisaclén det flugelhiorn conteibueve a ge ef tera stuere mas suelo, No 1) Ko pesalo que se slente ef goo. yeen lostiempos 2y 4. ya que ef Dorit yet bales Corus Jando e! rol de surdo) se apoyan, en estos Wise Honspos seatocar eC Pmt) GL J J J Conall) ts J J — — REPEAT 1 TIMES.de B The RH constantly plays the bishal ostinato, except wher it goes to the rice cymbal, jn vbich case It plays all se. iwenth nates. The LH plays syncopated snare on 2 “da (fourth sixteenth note af beat 2). Nate how | barely play ‘on beat 1 giving a lorward mation to the groove. On beat 271", the open hichat emphasizes the backbeat on beat 3 Keep in ming that the kick —which plays the rote of 3 surdo ~ doesn’t always plays the double note samba alter, Moke a distinction between the single kick drum nate ori beat 2 and the double kick drum notes on beat 4. Although the groove waltten with the LH play: ing cross stick; #) moves to: the snare as the tune pro- gresses. Ee rs RTI sia Hi) ostinato de ly mtatier deneha ely el bh hat predamina ea Gavi toda ef Temi, psa Horr ste para, Noten la importancis de no tocar siempre el tiem. po 1 del primer coinpas, genesan die movieniento, Level there 20" de urilvas compas ‘el hi-hat ablerti erttatiza e/ fitektoeal sel Ueripel Yengaten cuenta que ef bombs ap clon de surdo} no Siempre Loca Geautile nutes ety eh fal teen de sami Sepa dlierenelay enters, ef single note del homily ene Kemper 29 ef dusullle tte en eb Hemper dA pesar va, und yee avariaacto e} tema la mane iquienta pass al tambor, gle tun quiese gros esta eet > so = > SS =— MMM X |X M * x a oeSuggested preliminary practice | recommend playing olf Gary Chester's book THE NEW Brtey (lessons ILA, 6 INA, Bete), reading the melody vith the LH with the Hick playing the: samba pattem while the RH plays an ostinato, Then play the kick drum only an beats 2 & 4 {alo suggest that you practice dif ferent Kick/snare combinations while you keep the hi hat or the ride ostinato. For example, work on the seme pages and assigri ane note to snate and the next note to ick drum. This way i's going to sound more broken ead! the whole page down in this fashion. I dant mean 570V t0 use these combinations for typical samba giao: ves, but I'm sure will help your independence | also encourage you Ihten to drummers tke Teo Lima, Robertinho Silva, Paulo Braga arid Carlos Bala among “thers, Also check oul Duduka Da Forseca’s book 882) HAN RHYTHMS (Oe THE DRUMSET, THE RSSHNNCE OF BRazi) aN Music by Ee Uritie and BRAZIMIAN Music WoRKSHOr by Antonio Adolfo which [ully explain and demonstrate all the different styles i) popular Brazihan music. I's alo important t0 listen to such artists as Djavan, van Lins, Sergio. Mendez. Eis Regina, Joan Bosco and 10 more traditional samba style. or Sugerencia de préctica preliminar Vractiquen con ef bre Nnw tine son A, ALLA, labia es amas bsjuiesta, miewteay ta dercctia toy un aint fv eL Nena y & bammby toe el pattern de samba, Supe: (many ue Kenlos los homntin. com excepeidn de: le tiempos 2 v4, truchen diferentes coms cltambor y el fihat¢o ide) usando Ls yas ps Y asignandky mut nota al tampa etta al fmt Lean Aeada Le pagiiia de esta manera, Obylunyeaite. el Hamby ejard eh turnhadiy de saritie, pror fev tants, senarh mais qquebmadis, A pesar de alejamoy del feet de samba, este elerviei nos dard wna mayor independencis ett este estilo, Het 4 hatwrlktas como feu Lima, Ktohertahe Si raga, Carlos Bala, enene otcas. Macaen tal bien trabajar com ef bs de Duduks (M4 Tunsev JWmAaUIAN TteTHNIS Oe HHE DUM SE. RNAZHLENYS Mt si Wonkstior de Antoni) Adolto » 1M Essie 8 Maat} AN Musie di tal rite, qe bstndars ur) matytial euy ‘nici explicate y demnustnuin sobre Hoy aiterentes este de Ja master popular de} trast) Es tunamwntal escus Chav a artistas: brasilefios tales enomes Diavan, wan Ling Serigio Mendez: frac Maser, Ells Reyna y ate nas tradicionalBEF Groove ts tight Prcket Allinstuments were played on top of (He beat and area Todos los Insttunientes de) enunible est crveial part of the groove, This dense and busy sixteenth delamie del p 9s torman parte de a seccion nt note groove requires precision in is execution, As we've micas liste intense y cargado: groave en semicorchs seen in other tunes, nobody takes a solo; rather, we all Here que ser Weide con mucha precision pata ley keep the groove. 11's a collective etfort que suene glustado. Come ya vimos en otto geen aul 0 hay uti solista; todas Jonrmant parie de) geoow esfuierzo cotectives ser “Tos FE 35 toriepiyaong econ TRIE ts seas stews fl t xt © RUPEAT 2 TIMESHE 36 eee Thr groove is inspired by the great Steve Jordan, who is Sta Hispiradtiniint Stooe Jordan, quite es capae de tonat a master at playing the loudest backbeat with the soll Impocalilemente las nutay fartasinas mas sutiles ccsn ef est ghost notes on earth, Throughout the whole groove, hackbeut mas patente del planeta. by Youu el tema. ef the tat has to mattain gre forpline aeeen Wit gather diner frei et toa to be very every and pianissimo without any accents. The Tasmias:deben ser tocadic planisaitna, Lu rds ditt! te most difficult thing with this groove is to make it sound este groove ox lograr al thaie felajadie § pees tsen Lae felaxed and precise. This subtlety makes the groove: mano lzqulerdy toca las Hasta Lantasrnas y bers thal the que usy.etee Vi iporance Yeap i snes Noe ltrpirtece ceo hus rcs {i hats on beat 3 of the second measure. Watch the del tempo 3 del segundo compas. Cuiden el vulumety ¥ volume and duration af these twa notes. cel grado de aperturi del Ki Nat ert estas des rotor a SP ont 1 vse a innit 1 1» pypzere > > RET i a pel => ww ie nea ae == XxxxX BRR ne IC a —— “| Tope + pes naiver #2 ‘hassle von 4th xe re Te 37 aie mos ==) amen ——9) mong inwor #2 STs ee Suggested preliminary practice Sugerencia de practica preliminar Tiy to practice the GHOST NOTES exerelses from Chapter HPractlgien (del caplillo cut) el eferedcles NotKs Faye Four with the LH while the RH plays either eighth nots TASMIAS eat La man Lequlerda, miierrtea ste by sere bor sixteenth notes on thie hi-hal Keep the volumes even oor corcheas 9 yermiuachess evel hishat-baego, Hate Then, iry adding the backbeats on 2 & 4 with the same de mncorporar el hackbuat en 24 curt Th quieras. Pes hand (LH5, This may be difficult so start with the sim hatslemente al rine eulilhcL, pert tomes pest ane and work on il ovly. This will add a ‘ot of ol Heenpes niecesarh y carmenicens en eb mds HAT, Cah musicality and forward motion to your playing, den fos solamenes de amhias maners Este ejenion Ie ara mucha riuyh Niedad a ns groves, soyBE 10 Gov 45-Tritwie to mites The iea far this tune was taken from Milles Davis’ record Tur, whith is highly recommended for study The bass ane trams don't play together éythimically as Iniuch as they do in other tunes. The drums play really Simple and steady and give the bass the freedom to move around withouit overcrowding the rhythm section Minimal alaying will do for the groave so keeps it rolaxens and don't play too many notes, Licluei puata este roove tue sumiunreceite fox sila dee VYTY, a liscey lel trompetsta Miles Davis, Ta ete tema, el bajo y ja panera no toean juris camo etvotios temas: Jarsimpleza y continuicad se la batt te da at bajo th libertad pats evar ef onde sini que se sabreeirgyue tl seach pata este grovel ee ae Gm Dy Cm | J. ZA LS PPP AAA AA | Al REPEAT 1 TIMES, bin? Eby ¥ 2 ‘ Sa eF a Bb? Abn? KEPEAT TIMES. hn” Dm? Gm" (Se FO REPEAT 2 TIMES Dm" cnt FFF ft Af x5 REPEAT S TIMES,ae 39 The LH eventually plays som! syncopated liqures but, overall, this Groove doesn't move much on the drums. AS you ean heat, its. very quarter note oriented, The dense harmony occupies a fot of space 50 keep it simple and let the chords carry the groove. Keep the kick in a steady pulse ("walking” style) unless you're loging lor funkint and more syncopated feel Listen to the keyboard comp and you'll notice the same static motion, Al the same Ume, Iry 10 get the widest ynanie range posstale wilh your LH. Make sure that hone of the other limbs fntertere with) (t. The drum groave was inpired by Weather Report's NIGHT Passact with Erskine on drums, Check our the ttle track, Peter's playing Is impeccable, very delicate an musical. Aunque el groove es hastante estatien, [a mune uxquler da everiualmente toca aluniay sineapis, port basten mente, coma se priede aprect puso en negres: La densa armonia en este tema ocups muche espacio sono, por lo tants mantergan ef groowe sien ley dejen que Tos acandes Haven a yebowy. Marthonigan HL bumbe en negras (ested “wuklnag®),.a eno que husqued hinheur 4 groove Escucten smo wl welade acumpana cur el mise erllorig estaticn. Traten de obterier ef mayor range len invices co ht teajuterels sint dejar que fas otros miembros Interlieran con ella Ei gmove, en lo que reypeetia a ka haters, fou inyynrado en Veter brskine er te venion de NIGHT MassAGt, de! geupo Wheuther Report, Escuclien HE gemma que Heva el bor oF ANG, su Wj dnypecaly, deligadla usa me ian bi ha foot nes rrrSuggested preliminary practice | suggest thal you practice Guost Norts excreises from Chapter Four wath the swing nde pattern. For a beller understanding of how to Convert binary to swing Hates, Feet to the EVEN 10 Swit CONVERSION exorcise. ‘row might need to spend some extra time with the jazz stylet yau are ot familar with iL. Theie are # lot of books which deal with this subject, such as Tue AKr at Bop Drum minc by Jobin Riley, as wel as Jazz Wonkstior Fon Bass ane) DuUMS by Dave Weiger, among others roroop prrt rare Sugerencia de préctica preliminar Pracriques (det ealtato cats) ef elorcktn ae Navas FANTASMAS, Twn en vez de toca ol Fue hinarin en cor stioas, tequentswingueado en semmicorcieas. Were] elercieny Camvansidne DE Binur a Sate pura un meforcomprenvion Ue coms ssa ee Iinarhs 4 svlngh Aauielios aie no osten fariiaeizados con et jazz aj 2s dehaw dedicarie ian tiempo. Txivte mica bib ratio como THE ARKO Bow DuL sant e fits Riley § IWZE WORKSHIOW YOK KASS AND JIM de Das WeixertPun i or ner ae i Groove #io~ The Axes This groove is inspired by the great Rocco Prestia. 1k has hat staccato sixteenth note feel which io typical Tower fof Power leature, The drums stick to the busy bassline most of the time. The guitar eontriutes « great deal ‘witty ity precise comping and because of the tightness and fullness of the tno, there Is no need Yo have any key. boards camping wu ensemble hicks drums fll an fo wroove Rate groove sta spire ett Roce Prestia’y thee un feel staceate caracteristlyo de Tower «af Power, La este ‘Gargadto rode: subitividide ef sern|eqielieas, ls hater ¥ el bajo tocar cast al unison Gracias al aroma miento precise de la guttara May.compacta base ert 10 sini mien de-teelades (rma provee una sol scesiddad del acompana forthe plorsong scion II ras esr cr “Repetition 1 the mother of leaming. You practice things aver amit eer anil ye are vk oft ther you do ot some moee! Reet toms whor greet yeowne laying ero * Dave Catala asta arta: fue prensa rata te wpetiion” REPEAT 2 TIMES “Repeticion es a mi este tsiptentizay 1we 2 Two different shares have been used in this tune: Since there area lat ol ghost notes, the snare 2 — setup on my lelt hand side will ger its own space, soneally speak na There are (wo important parts to this groove. One is the first beat of measure 1, which has two LH sixteenth note offheats in unison with the bass. The otter iy heat | of measure 2. Aguin, the ghost totes stand oul as an Important texture. Notice that the hi-hat openy ari beat 2 "n°, In dinisan with the thythm guitar and bass. This note femains pen for at least a whole beat, On beat 3 “0% this hehal happens again, out this time iL remains pen foran eighth note, so it closes on the downbeat of A.This isa lick used & Hol ln funk music As tarthe kick drum ieplays a very simple tale, leaving space for the hands to stand! out, so Ly tw keep them consistent. Think of yoursell as a four churned mixer to conto! all [our volumes. Keep the ghost notes under swath the Wi-hat = don't let ther get in the wary RM bite — * hove: this snae ts set up a the Ht ee tinin P Ve Te A Ce Tuvror uttlizados dos tant dail die que las notas Impeirtarte (a lequiderda) tenigan ss frp je ite es wipe By lta 1 spatter 2 ¢utsicadte a facie $a Hay dox puutiiog iniportantes ei las dus sermlesrsheas del Hernja | det pri we Son focadas al unisane (Gort many Kequicrda) con festa del extsamble; el otry es el rempo | del conys Nuevarnente ocurte que tas nots tantasmas tlonew ais color importante en la enqu that se ubse ert el tempo 2"1° del primer comps al eat soneieon el bajoy la guitarra, Reatserden qu debe duirar como minim una negra, Ene temper $s el compas 2) ef hist aparece otra ver, sole manece ablerto una eorchea, corti boat del fiempo 4. Estw es una turrrame ene extite Fa arinte al bambe, Rennie: Une eslaclon Noten que at Hb 19 co} eo muy limitacks ya Prinerpal atractivo de este wrenve sea tongan consistentes ambos tanbaes y stots fantasia; 10 der qu ln Miensen en bi tennsola virtual” mens de cau entree slag 60 ba nav Hi tsat AU sare 1 nd Side oF Me kit ee: lanbde esi wbricwulr vl ast gular del seSuggested preliminary practice | stiggest that you practice teading MiuoY 1 on the Ke} drum while you keep the backbeat on 2 & 4, Also, work con the Guosr Noes exercise trom Chapter Four: For Inspiration, listen to James Brown's drummers and to Dave Garibaldl and Mike Clark ‘One ove av (mpc eterno yas new Nhe ase ‘at gna! nates, hey provi the (star of space und fe sacer Lt uly poy the qrocwe. 81 play a pie} on eeriy Note the Deossinw suid be far 390 bs.” Lary Watlstass Mayen Apr 199% oe Sugerencia de practica preliminar Prictiquen bombo, mi con wet patterns do ie tat si “er dol eapituly cuatro ta Meisvioty neon el bras qué: muntivnen et hackheat en 2 va n Lug} el ejerctel NOWAS TANTASMEAS. LacucTient a Jy ate ristay He hares Thread, Dawe: Gaeivalel 4 4 Mike (ath ‘ea iragucarse jen pueden tea “Vin a fist ovt inpertarees sem Tn te fn wa lis nits fantasia he senator espece arian acento: {que prapusan of gene St cate nate que fae TaN) A nee star sedate emt Laury WIIG Has Hayes, AU) 19ae 12 Groove #1¢- Tribute to Marcus The swing feel In this groove Is a lot Ughter than in Groove #6 (Secon (ine lank). IN this easy-going bass: oviented groove, the cums primarily play a supportive role, Despite being written as a two bar groove. it was ‘ongially conceived asa one bac groove de 44 syerny fet Eb feel swvingucadlo que (ene este tema, es mucho may Precise. ¥ compat que el que tiene cl Groove Mb (Second Line funk). ste groove fue pensado: principal mente pasa ef bajo, tazéat por lt cual ka baterta tense in, simple rol die soports A pesar de estar excrita en dos eompuges, fe cimicatito ene aan geocme de ust solo wants Grin pang secon AIA ours curseArh rover trans ae 4s In bath sections, the RH plays eight notes with a brush, accenting the backbeat an 2 & 4, In section A, the tH plays on the hi-hat, which hay a moutited tambourine ontop. This tambourine enly sounds when you either * play the Hishat with foot oF * hiit witha stick |i) Section 8, the LH goes trom the hi-hat te the snare. |n beat 3, there i also a Goube stroke which is more of anoccasional embellishment try ta qet a crisp and artic: ulate bafance between bot! hands. Keep the valume down, especially on tive LM shen going to the snare. Hrambasseceiones, Wy mune denecha toca euretieas exh tia eseobilty wcentuunide fos buckbeatsen 2y 4 En la secelon A, la rane jcor palit en ef bi hat gque trene un tambourine agartodo encima del titer ste tambourine solamente suena etuarle avert to + sels pega can el palit, + Seka ef Hichat com al ple Far fa seccion B, tarmano intiierda va del lath at nas bor tocande la micas tease Noten que et ol Heme a hay un doublestroke cay fingi9in eee nal (embellstimentst. Vrately de tian halatice exitte amas mai men de ambas, al tambor ee jrariva ewashie er an faery dione importancis al you a la izquienta cuandy va ons fantasia, tuvaaoons 9 Fy Mo a suena ee af fp — bass drum - Wns hat fsa meg —\ Lurnburityuttehed « rep of Wishayune "1 got into sappnig theaugh larry Gratioon te mny: rwighhiowe Nowa iF ped colle’ py like Cary. youn ought ery wel pur yur ‘baysidiwn We useet tr have sap caripetiiynn dn a hiieecaterenia fae in Righ sion! wo actace gifs, Later was lortunette fo. have fend (arvinener Ferny Washinagtorty velo got me elo Pu ‘Chiamibiers, Hort Carter an Ludie Gorrex, Then fove-camw aut arnt (aoe omy inal Her Hs ese abun (fave Patents, Bpvie) ore em Hurntable far twe years ara lnaraed envy solv nate-foy nate Marcus Miller: ays Player, Cetober 1992 Suggested preliminary practice Tiy using the sweep motion with the RAY ay twas. ase ‘oly Groove #2 ~ Alla Mike. The thix of brusth and stick sounds great f both hands are balanced, | suggest that you listen to. brush masters Clayton Cameron, lack Defohnetre. Milly joe Jones or Paul Motian with Bil Evans t0 get some ideas. You can experiment with iltererit kick drum rhythms to create a more active gyoove Alternatively, you can Invert the hands and play RW (witty stick) on hi-hat and-a LH (with rush) on snare For the embelishment, try dilferent combina tions of doublestrokes, press lls and sweeping motion ‘watt the bnush in the RH (as played in Groove #2). ou Ur fc ae one inten pres: Em an yer, wee tenses na EM yn eqien escemary He Be caretera std vulegte securatino, sata fualer cemeteries. aq pana araer we lay chicas. Temp step, fae eet erica ve a amie #t Paterst Kenney Washingtan, yracn mie srarntiny ab rub de Pome Rant Cantor y abt som dacs ye vind LAC SW potrner dew ie Kasturi. He ito err tree faut yr eu ates sr np mt rn LPT WTO Pa rare we FRE Lange Marcus Miles) Bassa 1 Cut 198 Sugerencia de practica preliminar Traten dé usar dicaslonatmenite ef seseep motion enn ta mann derecha, como se uso.on ol Grave #2 = Atle Mike Lar combinacton de ta equienta com fa derechat es a musical fe armas fogeamns Wan buen balance, Bus eas Con lay esCAhiTas escuchar | Cylon Camerin, ek Dedetinetts Milly Joe hime, Paul Matin C/I Huns, Expentesiters som diferentes fitinic ara obtener may desi groove. Lon opsion, pueden Invert kay manor y tocar-con la derecha ef hishat cont illo (en Ia primes V tercera semicorcliva}, y can laqulerda el tania ein escola (on la segunda y cqurts sernigenchea). Mies rohan, ademas, diferentes tipioy ate ermbellishinents, (press malls «louie strokes. con amas manny ast come tambien diferentes barricas con fa detecha et) of byorn 3Cine fiers ae 13 Groove #12 = (PC Burik This slow funk tune has to be played tight ana with the ‘bass and drums iy unison, This tune has a basic ttplet feel and consists of two main) groaves, The first corre. sponds to sectians A and B, which are identical, (hough section B ls slighlly (rashier The second groaye in Sec: ion € feels more on top. In the first Wo sections, the triplet feel is very laid back, whereas in the last one iL almost becomes thirty-second nates ae 47 Este uri lent {ue Goncebieo pata ser thcuitn com pect sion, qrerd laid ack ya yntisonn eine el bake ta hatetia, Hay dos grooves quiticipalos. en. este: tema; ambos tlenen wa foe! en teevillos de semicoreheas: Lats sevectones Ay B Herten basicamente el mista geoove on Md diferente de que ta savesOon BM tlene aaa [tert Clon tis rockers, La sequnda seevion (©) nen do double tine y est toadla 1 foe adelante padlse (ony hyp l the beat) shetty sy feel ws ent yer tua forthe pay aong secon I arses ce ” ensemble kick A Ie re = pick up bar . if double time fecl t eqular tive Feelae 48 ee ee Inv sections A, the kiek dium locks In with the bass on Hin tay secciones Ay Het hombo esta uf urisono can of almost every note. On beat 4 of the second measure, bojo. FL dempo.a de! segundo vompas tiene un espe these fs @ space used for some hishap variations. Aas 1 que es relenauly’ ce ef Neha, Dado que [a inteneld wanted this groove to have mote bite, | purposely kept ira este grove fy dare muds garsa o pieshou) maar the tichat volume soft so that i€ did't get in the way ef hichat por debalo sel 4 pmo peur Gonically speaking) of tie kick and snare. In section B, Esto resaltaran. Noten que en li sovetiay Hef bibhat We Hihab iy ywiele oper and trashy, but the snare and toc alverto pany lograr tn sonido may rock hick drum cemain unchanged pero fos demas Himbires de | 1 petmatiecet igus Section © goes into a doublectime leel. Watel the har {ex sonic rhythins it’s a dauble-tine thet but the pulse stays tin la seceion G observen que ambas nutes roca ur tive same, Both hands play it exact union, The RH plays Perfecto unsano en double Lune pete vE puso fe on any china «ymbalas a ride and the LH plays-ail ghost egg) no se modiLiea Li no Jewelia te ap pati ed notes on the snare excep! for the backbeats on the Jo “china” que cumple La fusicny de de Laman "Wn" of every beat The hi-hat with fot and kick dit Jaquitetels tes tockds Jay metas fantasia er el tart y Selberately play yurter notes in unison, creating ders Ji ucts en los “1° de ada thernpe conctivw a aired sityand a more staightforward (ee Tara Fograr densidad y sensaeion estaniea Groove Section A & B ~ Groove Seccion Ay B | 4 Hot played ANE Mike Ne toed ene pedoher pms RIT hi hat imma Tar ee LA state 1 soir RPT EHD PoP Ere Groove Section C ~ Groove Seccin C é ride took LP smite RR Rahn cymbal (itanae 1 , or % ada I at mn Iovtan 18Js eer fre Groove Section A - Groove Seccién A Rit mute uot playeu the Tsk bu me Me Tt en 2 prin cong Groove Section B ~ Groove Seccién B nger playing walking Suggested preliminary practice | suggest thot you practice the Gost Nores and Hi-Hat Posstpitries exercises trom Chapter Faur In a swing fee Combine these with the MiLoor 1 lor kick drun ta get Mate independence As tor section C work an the same material you worked on for Groove #9 ~ Tiibute Atle. Sugerencia de practica preliminar Uiactiquiea (dil capitulo cuatro) Joy efereicing: Notas Fantasmas y Posmunsnes pry HEHAT interpretadas ambos enn Un feel de swing, Combinent estos ejerciciss com ef MELODIA 1 pare ef Demo, y ust Inygranin uni mayor tney fauismo materia uie para el inane HO Piva fr Men rt 1 xeLclony C prasthyiien €!se 51 Cosine TUNE 1118 not my Intention to ge nto the details of Latin music, bul [ist to give you a rough idea at what the kirums played in this tune. Although 1% nol a typical Turk tuts I has some funnky ingredients, Latin music ts generally written) cut tine ~ eahth. noes ~ but tor \vanscription reasons tus tune has been written it shi feenth Hotes in 4/4 meter. Because of the orchestration Lise, the runt track qlves the impression &f beng pay. fed by more than one person, but ne averdubs wore ‘done on this tine. All the Insiruments were played lives Thi groove was conceived inva 5:2 clave and everytbing you play is supposed to fit in this clave: Four cowbell were played, thre ol them set up on the ght hand! side and the other one:ory the lett. Since boty handy hit many ditferent parts of the set, you must be particulatly careful tes avoid inaecuiacies, jy order Lo get to al the sourdds, the hands Heed to move really last around the hit On these types a groowes, work really slow a Firs Speed could te your worst enemy ifyou are Nol careful The feet play the 3:2 mambo clave with the lett foot and a single note tumbao wath the kick deun This pattem is repeated over anid ever To turthey under stand what was played note by note, refer ta the groove escription in the following page. | suggest that you check outdrummers like Jullo Barre ta, {o.e Quintana, Ignacio Berroa, Steve Berrios, Alex Acufia_and especially Cuban drummer Horacio. “El Negra” Hernandez. He has fully developed this multi Hlmbral concept of archestration, As far as Latin music 0%, Fadvise you to apend a lot of ume siudying and smalyzing Wi its:most basic and traditional form i you want 10 get to this level of understanding, MYecormmend Bob Weiner & Frarik Malibse’s AFNO-CUmans RHYTHAS, Ed Lnibe’s THE BSGEHCEOF AFRO-CUBAN PrHcUssiON & DRUM S81, a well ay the APNG CUBAN, GROVES by Robby Ameen and Lincoln Goines “Anyting can be tne feo pore. I cay te the bass drt oF Me ler (oor othe ett hand oF tho Pkg Rand. A ot at pepe just bok IF the han thae vs piayrng he apiicar estas figuras ntmicss ¥ wade Lp de dence exercive you are: working an: Whether your are rabilo de Independencia w walizar. Se yueden usr ‘working .an independence for the bass dur or tor the {como melons Ue a utt comps, 0 shipment sun {eH hand, you ean take one measure: at a Linie oF the melodia di tala yin agin whole line or page Tungan en cuenta que esta avila et Jos sec ian Keep in mind that this page isdivided into wo sec Li seston contivine hasta ii (2) natin Canseautivas tions: Section A contains moduilue with Wp to Wwe (2) fi) 1A meoalia:mienteas que la Sey )61F He voniete esta ‘consecutive sixinenth notes, while section B contains up Aes 1) notas conseuuitives to three (3) consecutive notes 9menage ans BUCY pI TET PEE rere ss a Saar eare <= SS, See Ly ane as Para Ses perpen repre yes preys gape gs be eer sgepeyg fp See efor pepe ert = oye [yer toppesleppeepereeds a SOS Ye Ts PpPeerpr pr isty sre pare eepce eter Serene LEP Erp pric orage vonduu ML IC bo de 50 ipelion This sole was tionseribeld for better (understanding, There are so many dilterent approsches to playing a solo that (1 would take several books and CDs 19 go. through all of them. Nevertheless, you can use these, Ideas and expand them with your awn sols vacabulary, As you may alreacly nove, you can aprroach a solo from very different anales. Fram playing a groove type solo to playing foese, from playing an a de playing open ar tom playing broken to playing 4 niato kindof solo, you can ereate all kinds OF sensations and moods Wilh Ihis particule solo, | Wanted! to! emphasize a three limb ostinato kind ol the remaining limb ‘alo, whine you only Nave thw left and, This ease ~ tar soloing. This isa more orchestral concept. dilferent trom the ones previously menboned. Except for the bass ui act Hib pilays rut Aimbre liye, The RH plays o pattern with a muted floor tom and two cowbell, while the let oot plays pattern ‘on two different pedals: one plays a jam block and the cntuer one plays tho regular bat with a crasher mount fon top, The third limbs is the Hight foot playing the fick dium (for specitic timbres and patterns reter to the drum sai comryponents) ‘She of ne MOK impr Negroes i the uraoKe 6 the space darieeor the motos Pathan tase antlists del solo de tatoia Hay turitas miner diferentes de en) requetirta de vatios Nhs y CO" para abarca a Yoetes Ne obsianté, puedert usar alyuriay she wstay ideas e inver poratlavdl socabulario pro Prapanlemente: say eon lin Lefer anagtalinn somal chased ye phiede enncatar ein sila, Se hasta tocaran sola atmicamente tree forma fas hasta. un he Hips astina bn ef caso de vste solo en qritticalar ja sntenevin the rear un ostinato do ites maiembsos donde el Griec lequietdi), she Concepte Hsin ser myefoF WUE Hs aeons) 6114s orquestal jue los jrerclortadts atmterbormmentte y puefrnite explsras uty amples ratnges frolinther Exeupte po sf hambo. 1 Linea multitimbytea. La rane Weave tc a suinte doy eanmpanas & © Jos 1s mauemsres wean) Ua vate rorty ob Hoar ten) arnitead ruventras que ol py equ pattern etre A peslales: uno es eb hihat con an craphe y el otra esamna clave (0 Jam block 1 pie dervehn er el bonte (Ver € Hultimo timbto © mponentes el sole JW Dakota... para ldemtitheas Tes osthnitas y Halsies Usa Ub iA as pts Lanne it rive ap ive a ono a ai