Future Sounds (David Garibald) [PDF]

Zitiervorschau

A

Book

of

Contemporary

DAVID

Drumset

GARIBALDI

..

Copyright MCMXC by Alfred Publishinq Co., lnc Ali ríghtsreserved.

Printedin USA.

Concepts

Ttus book 1s aeotceted to the memory of my tethet. John Genbetdi

DAVID GARIBALDI Born and rarsed in trie San Francisco Bay area. David began playmg drums in elementary school at the age of ten At age seventeen. he started hrs professronal career. and m 1966 joined the 724th Unued States A1r Force Band. After leavmq the ser­ vice. David jomed the legendary Tower of Power band m 1970. of wluch he was a member for the next ten vears. lt was in thrs settmq that David became one of the most mñuentral drummers of rus qeneratrcn Since 1977, David has appeared in a variety of stu­ d10 and hve settmgs performing and/or recording wrth such artists as Pattí Austin. Natahe Cole, Larry Carlton, M1ckey Hart's Mystery Box, Jerrname Jackson. Ray Obiedo, the Buddy R1ch Orchestra. Boz Scaggs, Gino Vanneth, Dernece W1ll1ams (band leader for two years). The Yellow¡ackets, UZEB 's bassist Alam Caron, the BBC Orchestra, well­known Japanese producer Mickie Yoshmo, pop vocalist Naoko Kawai and the jazz fusion group Wishful Thrnkrnq. lnternatronaltv, David performed at the Frankfurt Mus1c Farr m Frankfurt. Germany, the lnternatronal Drummer's Meeting and lnternanonal Percussron Day in Koblenz. Germany, Yamaha B19 Drummers Camp m Nemo No Sato. Japan; Drum EST '94 in Montréal. Cariada. Ultimate Drummers Day in Melbourne, Australia; and Drums in the Bush m London. England In 1991 and 1994, David was featured at the Modern Drummer Festival in Montclair, New Jersey.

Proiect Eduors Sandy Fetdstem and Dave Black

From 1980 through 1985. David won the Moaern Drummer Header's Poli "R&B/Funk .. category H1s name now permanently resides m that poll's honor roll category for rus last1ng contnbut.ons to the percussive arts In the üeld oí educatron, David rs very active. Frorn 1982 to 1989 he was on the percussron faculty at the Drck Grove School of Mus1c. taught in the apphed music program at California State Urnversíty, Northridge, and gave serrunars at the Percussion lnstrtute of Technology As rus time permits. he teaches at Drum World m San Francisco and is a chrucian for Yamaha Drums. Sabran Cymbals, Latin Parcussion and Vic Firth Sucks. As an author, David has wntten numerous eructes for vanous percussion maqazmes worldwrde. 1ncluding Modern Drummer H1s mstrucuonal books mclude Future Sounds (Alfred Pubusrunql. which was ratee one of the 1 O greatest drum books by Modern Drummer magazine (Aug 1993). and The Funky Beet (Manhattan Muste¡ Oav.d's videos mcíude Tower of Groove Parts 1 & :! and David Genbetd. featunng Talkmg Drums He rs cur rently work1ng on an mstrucuonal book w1th Talk1ng Drums, a drum ensemble that fuses Afro­Cuban and funk rhythms. plus a solo recordmg. David continues to perform. record and teach worldwide. He rs presently tounng wrth Mid.ey Hart's Mystery Box and Talkmq Drums And the beat goes on

3

CONTENTS lntroduction

4

SECTION 1 Contemporary Drum­Set Playing Development of Two Sound Levels

Permutation Study #11 .. .. . .. .

.. ..33

Permutation Study #12

34

5 Permutation Study #13....

3alancing the Two Sound Levels

.

6 Permutation Study #14..........

)evelopment of the Two Sound Levels with the Hands

7

)eveloping the Two Sound­Level Concept The Single Paradiddle and the lnverted Single Paradiddle as E1ghth Notes ..

Ihe Single Paradiddle and the lnverted Single Paradiddle as E1ghth·Note Triplets

35

8

1O

Ihe Single Paraorddle and lnverted Single Paradiddle

. .. . ..

.

..36

Permutation Study #15

37

Permutation Study #16

38

Permutation Study #17

39

SECTION 3 Groove Studies

.40

12

Groove Study #1

.41

=our­Bar Patterns

14

Groove Study #2

41

3roove Playing

18

Groove Study #3

.42

=>racticing an Exercise

19

Groove Study #4.........................

=unk Drumming

20

Groove Study #5

45

Groove Study #6

47

Groove Study #7

.48

as Sixteenth Notes

=>ermutation Studies

SECTION 2 .

21

..

.43

Permutation Study #1

22

Permutation Study #2

23

Groove Study #8

50

Perrnutatron Study #3

24

Groove Study #9................................................

.52

Perrnutanon Study #4

25

Groove Study #10

53

Permutation Study #5

26

Groove Study #11

54

Permutation Study #6

28

Groove Study #1·2

55

Perrnutauon Study #7

29

Groove Study #13

55

Permutation Study #8

30

Groove Study #14

56

Permutation Study #9

31

Groove Study #15

60

Perrnutatron Study #1 O

32

Random Ideas

60

4 ¡::!;,,T~ack 1

INTRODUCTION "Future Sounds" is a presentation of ideas for the drum set that rs apphcable to, and insptr e d by, contemporary music The rnam objecnve of this work is to help the aspiring drummer in the lengthy process of becorrunq an individual with a uruque. original drum­set vocabulary. Thís material evolved from my personal play1ng and study time, coupled with a destre to see my ideas rrnple me nt e d in the musical srtuations that l've particrpated 1n over the years. All of these studies are m the funk/jazz­fusion category and combine technique with a musical idea. an approach further elaborated upon in the opening remarks of the section titled "Groove Studies." To get the most out of the exercises. you must focus on how they are constructed as well as how they are played. so when building your own vocabulary you'll understand how to put your ideas together. A big key 1n my development over the years has been the wrrtrnq out of my ideas (which rs where all of the exercrses contarned rn thrs book come from). Thrs has allowed me to see what l'rn plavinq Through the process of play1ng and then wrrtrnq rt down. 1 became much more orqanized, which greatly irnproved my ab.htv to make muste. l'd trrst hke to stress the .mpor tance of havrnq well­developed baste skills=­reedmq. hand tecnruque. rudrrnents. etc. In

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J

l li-Hat w/Fool

Hi-Hat w R.H. or L.H. Cyrn. Bell Cowbell

Crash

Ride Cyrn .

When using two hi - hats, the symbol: u~ed are: 1 R.H.H.­Right H.H.

L.H.H.=Left H.H.

One reason good players become great rs that at sorne point in their development they began to focus on what they wanted to express musically instead of continuing to copy their favorite players. ldeally, through lots of playing, practicing, thmkinq things through, lístening, exchanqmq ideas wrth others and axoerirnentatron. the player will have developed a style and sound of hrs or her own, as well as many musical ideas. The person then has the option of taking the time to express those ideas. or of choosinq to continue to focus rnamlv on what other drumrners are plavmq. never tapornq mro the tremendous reserven of potennal wrthm him or herself. Hopefully trus book will further open contemporary drurnrrunq and wil] assist you m reachrnq your goal of be1ng the best player you can possiblv be.

o

= Crash

Cym.

other words, the goal rs ¡ust good overall musrcranshtp. lf the touncanon of your plavinq rs solid. then you can bulld whatever you hke upon that and 1t will endure. Exposure to expenence is another great building block­play1ng as often as possible m a vanetv of settings. l earrunq to play many styles rs what builds depth mto your playing regardless of what your favorite style is.

.....­­­­.....+

BelJ

CowbelJ

(2j =Ridc

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Snarc Dr. lli-Hat

w/

Left lland

or Right l Iand

• Hand accents are shown above or below each note. • Foot accents are shown above or below each note. • Strckmqs are shown above or below the bar

• Where stickmos are shown, the tollowmq symbols are used F

R = R1ght Hand. L = Left Hand. = Foot (R1ght or Leftl. B = Both Hands

5

CONTEMPORARY DRUM-SET PLAYING Development of Two Sound Levels There are three basic sounds in contemporary drum­set plavrnq: 1. snare drum (S O) 2. bass drum (B.O.) 3. hi­hat (H.H.l In a contemporary muste settrnq, these drum­set components require the most attention because most drum­set musíc rs based on these sounds Most of the material rn the book is wrítten far S.O., B.O. and H.H , wnh the occasíonal addition of cym. bell (C.B l. nde cym (R C.). cowbell (C.B.) and torn­torn (TT) These sounds \.VIII expand the tonal possrbilrtres of each exercrse To produce the type of drum­set sounds heard throughout todav's muste, you must develop two sound levels accents and non­accents. In a plavmq situatron there will be more than two sound levels, but for our purpose (building toundanonal drum­set techrnque) we wrll be usíng only two levels. The two sound­level techrnque qives you a place to begin building a consrstent approach to strrkrnq the play1ng surfaces lt not only deals with what is played, but the way rn which the play1ng surfaces are struck and where they are struck. so that your drum sound is compatible wrth contemporary muste You will frnd ttus techrucue widelv used among the top players of the day The followmq quidelines wrll help you develop two sound­level plavmq. 1. Accents should be played approxrrnatelv 8 "­12" from the playing surface, and non­ accents should be played approximately 1/2" from the playing surface. 2. Blend the sounds of the hr-hat and snare drum on the unaccented notes. drum must be played lightly so that 1t sounds like the hi­hat.

The snare

3. The drfference 1n volume between the two levels should be the same as forte (f) to prarussrrno (pp). The overall volume will be controlled by the dvnarruc level of each performance situation, while the relanve distance between the two levels of playing vvill remain more or less the same. Here are sorne specitic ideas that will help you develop two­level plavmq on each instrurnent wrthin your drum set.

SNARE DRUM

Accents-Use nrnshots far uve play1ng and sorne studio srtuatrons. Stnke the center of the snare drum wrth either end of the stick (the butt­end of the snck can thicken the snare drum sound) while the shaft simultaneously smkes the nrn between two lugs. This techruque produces a sllghtly lower and trucker snare drurn sound

Non-Accents-Play as an extremely sott. light tap near the center of the snare drum To do thrs. all tensión rnust be released except for the amount requued to hold the stick while plavrnq a light tap. Hl-HAT (played with the stick} Accents­Stnke the edge of the hi­hat with the shoulder of the stick.

Non-Accents-Stnke the top of the hi­hat (not to be confused with the belll wrth the uo of the stick.

BASS DRUM The two­level concept isn't as critical wrth the feet because most of the time the bass drum rs play1ng notes that recurre accents. The distance between the sound levels rn the feet rs less than wrth the hands [forte (f) to mezzo­forte (mf). ar íorte (f) to mezzo­piano (mpll. In any case, the bass drum must be blended with the hands m order to balance all of the sounds properly. The same rules apply when plavinq the hi­hat with the foot.

RIDE CYMBAL Playing on the bow Accents­R1de the cymbal approximately 2" to 2­1 /2" below the bell This produces a more controlled "pmq" sound and will help avoid crashmq the cymbal each time an accent rs recuired. The cymbal must be played l1ghtly enough m arder to avoid sound "buudup."

6

Also, instead of playing 8" from the surface, go down to approximately 5." ~ow

~--Edge

Non-Accents - Play 1/2" above the playing surface as descnbed befare. Playing on the bell The stick heiqhts are the same as described above far the ride cymbal. Accents­Strike

the bell with the shoulder of the stick.

Non-Accents-Stnke the bell with the tip of the stick. THE TWO SOUND-LEVEL CONCEPT REVIEWED The "thick" sounds

m the "Two Sound­Level Concept" combine:

• B O. accents • S.O

nmshots/accents

• H.H

accents w/shoulder of snck

• H.H. played w/foot accents • R.C. accents with shoulder of stick on bell, tip or bow • T T. accents (no rimshot) The "thm" sounds in a "Two Sound­Level Concept" combine: • S.O. non­accents (tappmq drum l1ghtly) • H.H. non­accents w/tip of stick • R C. non­accents w/tip of stick on bell and on bow • B.O. non­accents • H.H. w/foot

• T.T. non­accents

BALANCING THE Two

SoUND LEvELs

Balancing the two sound levels is very important. As was stated before, there are three basic sounds in contemporary drurn­set plavinq. When balancing these three sounds. it's wise to know how drums are mixed on recordings. You can then try to copy that rrux when you play. On many of todav's records, the snare drum is almost as loud as the lead vocal whereas 15 years ago, the drums were much further back in the mix. Today the drums are quite up­front in mu sic, so be aware that "loud" drums are not necessarily out­of­place. This changes from year to year, so watch and listen carefully 1n order to stay on top of these current trends, then adjust accordingly. l'rn not say1ng that the drums should be loud to the point of being out­ot­place. but loud enough so as to blend in properly with the style of music being performed. Keeping this m rrund. when balancing the S.O., B.O. and H.H., the S.D. accent will be the loudest. Next will be the B O. accent, which is slightly softer than the H.H. accent. lt is a more transparent sound, tying the S.O. and B.O. together. All of the afarementioned techniques are to be applied to every study in this book. Refer to these guidelines as much as possible until they are assimilated into your plavmq. When applied properly, the use of the "Two Sound­Level Concept" will give each exercise a musical quality. Read and re­read this section until a thorough understanding of these techniques becomes "vour own."

7

DEVELOPMENT OF THE

Two SoUND LEvELs WITH THE HANns

.fff

f

S.0. Accent/Rimshot B.O. Accent

H.H. Accent/Shoulder of Stick

mf B.O. Non-Accent

p

S.O. Non-Accent/Tap, H.H. Non-Accent/lip of Stick

Special thanks to Roland Henkel for thrs graph.

ppp These levels are always controlled by the dynamic leve! of the music bemq played. l'd like to make one more pomt befare we get into the body of the book. Rhythm wrthout accents 1s much hke speech that is monotone and lifeless. As an example, let's take the single paradrddle: R.H./H.H. L.H./S.D. ,,

4

·4

j

Jj j j j JJ j J

j j

jjJJ

R

L

R

L

R

R

L

R

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L

R

L

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R

L

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'

11

This bar contains no accents and, as written, would be played at one dynamic leve!.

11:

i

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This bar. played usmq the two sound­level concept, sounds much different. Play them both and listen to the difference in the sound and musical feeling. Once the gu1delines are understood, begin workinq the material in this book. Section #1 is based mostly on paradiddles and is designed to make you feel comfortable applying the two sound levels. While practrcmq. refer back to this section often.

8

THE

SINGLE PARADIDDLE AND THE INvERTED SINGLE PARADIDDLE

AS EIGHTH NOTES The followinq 12 exercises are based upon the single paradiddle as eighth notes. In exercises 1-4. the sticking and accents move to the right by one eighth note in each exercise. In exercises 5-8 the suckinc remains the same but the accents move to the nght by one eiqhth note m each exercise. Exercises 9­12 are inverted single paradiddles (the double or "diddle " ts in the front and is followed by two single accents). The strckinq and accents move to the right by one eighth note in each exercise. Ali 12 exercises are played overa quarter­note bass drum pattern. The idea of shiftinq notes and accents rs called permutation. Permutation is a mathernatical concept and is used frequently throughout this book to expand the rhvthrmc possibihties of many of the exercises. For a detailed explananon of permutation. see "Permutation Studres." beg1nning on page 21 . By rnovinq the last note of an exercise to the front of the exercíse. ali other notes are then moved to the nght and a ditterent pattern is the result The last note of each exercise becomes beat one of the next exerc1se and so on (compare exercrses 1 and 2 on pages 22 and 23). In a single bar of 4/4 time there are eight erqhth notes. By perrnutatinq each exercise m the atorernennoned manner. eiqht ditterent patterns vvill present themselves befare coming back to where the permutation process began lf the permutation is done by sixteenth notes, there will be 16 different patterns. lf the perrnutatron is done with eighth­note tnplets, there will be 12 ditterent patterns Also keep m rrund that the time signature will affect the number of times an exercise can be permutated. lf the exercrse rs 1n 3/4 and the permutation rs done by sixteenths. there will be 12 different patterns. This system works for any pattern, fill or solo idea and can be very helpful m developing a rhvthrruc/drurn­set vocabulary. The single bar at the top of the exerc1ses is a time pattern that is to be played before each exercise. Play tour bars ot time and then the written exercise for four bars. The exercises can be pertormed 1n sequence or randomly. The idea is to have continuous playing trom top to bottom. going back and forth from the time pattern to each written exercise. The tempo for these exercises rs ( .. = 144) but can be played much slower. Playing each exercise slowly at nrst (.. = 72) is excellent for building control. Once the material is learned and can be performed comfortably and accurately, begin advancing the tempo.

9

DEVELOPING THE Two SoUND-LEvEL CoNcEPT The Single Paradiddle as Eighth Notes Time Pattern:

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10

THE SINGLE PARADIDDLE AND THE INvERTED

SINGLE PARADIDDLE AS EIGHTH-NOTE Tru:PLETS

These eiqht exercrses are a little different than the previous eighth­ and sixteenth­note studies. This stickinq takes two bars to complete because the tnplet is a three­note rhythm and the single paradiddle rs a four­note sticking. Exercrses 1­4 are single paradiddles that permutate to the right by one eighth note in each exercise. Exercises 5-8 are inverted single paradiddles that permutate to the right by one eiqhth note in each exercise. There are two time patterns. (A) and (B)­either one can be used (also keep in mind that any time pattern will work). Play four bars of time. then four bars of the wntten exercrse (one repeat).

11: Four bars time

:111=

or work each exercise individually.

Four bars exercise (one repeat) :JI (See practice tip on page 19.)

THE SINGLE PARADIDDLE AS EIGHTH-NOTE

TRlPLETS

Time Pattern:

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H.H. S.D. B.O.

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12

THE SINGLE

PARADIDDLE AND THE INvERTED SINGLE PARADIDDLE

AS

SJXTEENTH NOTES

The idea here is basicallv the same as in the previous eighth­note exercises. except wrth sixteenth notes. In exercises 1­4, the stickinq and accents permutate to the right one srxteenth note m each exercise. In exercises 5­8, the snckinq stays the same and the accents permutate to the ríght one sixteenth note m each exercise. In exercises 9­12, the strckinq and accents permutate to the right one sixteenth note in each exercise. The bar at the top of the exercises is the time pattern to be played in front of each exercrse. Play tour or eight bars of time, then play tour or eight bars of a wntten exercise. Begin at • = 72 or whatever tempo rs desired. 11: Four or eight bars time

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Practice tip: Begin by plavrnq only the B.D part. As you are playing the B D. part. play the first four or five notes wrth the hands until they are performed accurately with the correct accents and non­accents. Next, beqin add1ng one or two notes untll the pattern is complete For a more detailed explanation and further practice suggestions, see page 40 (" Groove Studies ").

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14

FoUR-BAR PATTERNS Exercises 1­5 use a four­bar S.D. and B.O. pattern that turns around backwards m measures 3 and 4, while the H H plays a one­bar pattern.

Exercises 1­14 are patterns that take four bars to complete. Each bar wrthin each numbered exercise rs lettered so you can work them morviduaüv.

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18

GROOVE PLAYING Laying down a salid groove is by far the most irnportant element of contemporary drum­set playing Whether u be a simple pattern or a complex pattern, there must be a groove no matter what the tempo rs. lf you were to su down and listen to ali the great groove players m contemporary music (though they may differ stylistically), the way each performs within the framework of the time will be very much the same­a machine­hke consrstencv from beat to beat and from section to section withm a tune. Although there will be a whole section of groove studies later m this book, the concept rs essential 111 ali of this material. The way in which the time is perceived rs very rrnportant and can defirutelv be learned as well as rmprovec upon. Ed Soph, a great drummer and teacher, says that "even tirne­ keepinq" is produced by strokes and silence m time. The silences or rests between strokes must be perceived evenly, as well as the strokes that are being played. This can be likened to ear tra1n1ng­learning to perceive the intervals between notes so that these intervals can be randomly performed, the goal beino the abuitv to play time wrth machine­like precrsion and consistency. Working wrth a drum rnachrne or click can be of great benefit rn this process Playing patterns at vanous tempos until they groove is a tedious but rewardmq exercise. Taping yourself so you can hear any t1m1ng errors is also very helpful Concentration plays a biq part m trns and very often timing errors are due to lack of concentration. Good mental focus will rnirurruze those types of rnistakes. You vvill contmue on your "quest for the more perfect groove" by further applying those previously mennoned bastes m a series of hand/foot exercises. Here are sorne practrce suqqesnons: • Use a click ora drum machine to play along wrth. • Make sure each exerc1se is played very slowly at first. This will help 1n building control. Beg1n at • = 60, then advance the tempo gradually until ali metronome rnarkrnqs wrthin the tempo range can be performed accurately. • Play each exercise for five minutes without stoppmq. maintairunq a controlled, even groove While plavmq. focus on each hrnb and relax, remembering that tension inhibits execution. • Without plavmq a note, mentally picture what each limb is to do, making sure you know what each mdivrdual part does and how they fit together as a whole pattern. Do thrs often. because if you can't picture yourself play1ng these grooves, accomplishment becomes very dithcult This is one of the most irnportant keys m the development of hand/foot coordination lf you are having a problem wrth coordinatmq your hands and feet, a great th1ng to remember 1s that cooromanon 1s basrcallv orqaruzation. The more orqaruzed one is regarding the interacuon of rrund. hands and feet, the easier it becomes to coordinare them when makmq muste. Pracnce each exercise as written, paying close attentron to the accented and unaccented notes. Learrunq the rhythms or stickínqs first. then addmg the accents later is extra, unnecessary work. Retraining yourself to play the accents and non­accents rs added work that can be avoideo by play1ng them correctly from the start Should this process be too difficult at first. 1t can be eased somewhat by taking the first three or tour notes of a pattern (or any number of notes you're comfortable wrth) and playing them over and over until they are performed correctly. Then add one or two notes at a time untrl the ennre pattern can be performed as wntten. Ali of this should be practiced to a click or drum machine (see exercises 1 A­1 G on pages 19 and 20)

19

PRACTICING AN Ex:ERCISE H.H.= S.D._

First. pick an exercise you would like to play.

B.D.=

Next, set your drum machine or metronome to the desired tempo. J=60-100

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Using this method of progressively adding notes will allow you to work through any exercise in this book. as well as any other material you may be working on. This technique is especially helpful in developing control over the unaccented notes. When playing exercises that have an eighth­note or quarter­note H.H. pattern, use the H.H. like you would a click. Start first with the H.H. pattern, then progressively add the S.D. and B.O. parts one or two notes at a time until you can play the entire H.H., S.O., B.O. combination. The same is true for the exercises that use a quarter­note B.O. pattern. Use the B.O. as a click. then progressively add the hand parts.

FuNlc DRUMMING Funk drumming is best described as great groove playing plus innovative hand/foot combinations. This style is basically generated from the H.H., S.D. and B.O. voices of the drum set and includes, but is not limited to, playing 2 and 4 on the S.D. In the funk stvle. any hand/foot combination will work as long as it has a strong groove and fits with the music. Jazz­fusion drumming and funk drumming are very closely related. Both are very sixteenth­ note oriented, both (at times) draw upon various ethnic music for content, both require a very strong groove sense and both can be very improvisational.

21

PERMvTATION

STUDIES

Permutation rs a rnathernatrcal term defmed as "any of the total number of groupings possible withrn a group." For example, take the sequence 1-2-3-4. lf tlus sequence were to be permutated by one number. the result would be 4-1-2-3 or 3-4-1-2 or 2-3-4-1. As can be clearly seen by this example. the next oerrnutanon of the sequence 2-3-4-1 would be 1-2-3-4. which takes us back to the beg1nning. Because rhythm rs mathematical. the variety encountered is endless. Apply1ng this perrnutauon concept to rhythm opens up a very large area of study and can be extremely helpful rn the building of ones drum­set vocabulary. To apply thrs concept, becrn with any time siqnature. Let's examine 4/4. for example. The top number rs the number of counts or beats per measure (4). the bottom number rs the type of note that gets one count or beat (4, a quarter note). There are four sixteenth notes per quarter note. In a measure of 4/4 there are four quarter notes equaling 16 sixteenth notes. Now, to apply the perrnutatron concept, begin with permutation study #1, exercise 1 In trus study the hands play simple eighth­note time while the B.O part rs permutated by sixteenths.

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The same process rs repeated in exercises 3-16 unnl the B.O. part has moved through ali the available sixteenth notes. There are a total of 16 exercises because of the 16 sixteenth notes m a bar of 4/4. In each study, as the snckmqs and accents shrtt rn relatron to the quarter note. notice how different each exercise sounds in cornoanson to rts beqrnninq exercise. Counnnq aloud through each exercise wtll help you to better hear how these rhythms are rnovinq across each quarter note This habit is a very important key tn bu1ld1ng and estabhshinq a strong "qroove" sense. Thrs key becomes of even greater importance as the studies become more complex. Permutation can be applied successfully to most rhvthrruc patterns. Don't forget to pay clase attention to the accented and unaccented notes (for a detailed exptanatron of the accented­. unaccented­note concept, refer to "Developrnent of the Two Sound­Levels wrth the Hands." page 7).

22

PERMuTAnoN STUDY #1 In studies #1­8, play each exercise at least eight times. then proceed to the next exercise without stopping.

H.H.

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B.O. moves to the right one sixteenth note in each measure.

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23 PERMuTATION

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24

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25

PERMUTATION STUDY

#4

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>>

1 ],¡¡

ª ~ 1 1 J j J J ª J J 1 r-·lll·6t~ J J s J 9 J J 1 J J ª ~ J ~ J.·11 >

>>

>

>

>

>

>

>

>

26

PERMUTATION STUDY In trus study the H.H. part rs the same as m Study #4. each exercise to produce contmuous sixteenth notes.

j

#5

The B.D. permutates and the unaccented S.D. outlines

=H.H. = S.D. = 8.D.

íl a-J j­q~

J=72-110 >__

~g 11:f

>

j

>>

>

>

>>

>

>> Accent S.D.

fJ s

>

J

(3)

~

>

j

(C)

~ ~

~

>

> >

~--

J

>

j

:lll:t

::;:..

> >>m

>>

> (5)

11:

t

>

J

J

7

>

J

1(! ~ ­.,.

(7)

11: 1

fil

J

>

11:

1

J

>

e

~

~

fJ

CElJ

>

:IH

>

J

> >

~

7

7

s >

J

>

> (G)

:ll=i

J

J

>

~

~

~

> >

J

~

>

:lll=t

>>

J

>

J

> (H)

> ~

>

j

m >

>>

:11t~~

>

J J

>

>

>

J

~ ~

pJ >>

J ~

J JJJ ~

>

>

~ ~

·-

m m

}=;

=

>

n ~~

: 11

>

>>

>>

J ill

> >

>>

>>

;J ~1

>

>>

>

>

: 11

>

>

>> >

=11

>

>

n

>

~

>

>

> >

>

~

>>

Accent S.D.

> (8)

>

>

n >

>

e

J

>

> >

~

>

J

j

z~

Accent S.D.

>

>

n~

>

>>

Accent S.D.

=11

>

: 11

>

~

>

=11

27 PERMUTATION STUDY

#5 (continued)

Accent S.D.

Accent S.D.

J

> (11)

ll:i

J

~

>

IJ J

> (12J

11=!

>

>

J

>>

>

>

>

J

e

>

~gg ,1n~

~

>

n

>

>

> > ~

>

>

>

Q}(

(L)

:111:!

J~J

>

J

>

M ·>>

>

ITT

: 11

>>

> >

>

>

J

~ ~

>

Accent S.D.

>

>

>>

~iij

=11

>>

>

Accent S.D.

>

(13)9

ll=í

>

7

>

>

> >

>

Accent S.D.

>

>

>> Accent S.D.

>>

>

>

>>

> (15)0

ll:t

Accent S.D.

Accent S.D.

(16)[1 >

>

>

>

>

>

>

>

>

28

PERMUTATION STUDY

#6

Studies #6­8 go together and demonstrate three different ways to play the same rhythm. In Study #6, only the B.O. part permutates, while the H.H. and accented S.O. rernam the same throughout. In Study #7, the H.H. and accented S.O. are the same as in Study #6, vvhrle the unaccented S.O. outhnes the same B.O. partas 1t permutates. In Study #8, the accented S.O. is the same as in Studres #6 and #7. The H.H. part is broken up and helps the unaccented S.O. outline the same B.O. partas 1t permutates.

J=

~:11'. 1

~ fil ta 72­110

1 B.O.~~>..___ __

ll:f

ll:f (5)

a :111'.1 n: ~,, a a , 11

>~-~>~-------~~~~>---~>-'\-~>..___

ro

> (3)

J-J

1 J

j

p p

~

>

>

h 7

Accent S.D.

>

>

>

(4)

:lll:í

>

>

p fil O 1J >

>

J fil J J tJ >

J

>

(6)0

:lll:t

>

>

>

tp

>

h

>

J

>

>

ta oaa

D

>

>

>

>

>

>

>

>

:111:

>

> >

Q

rn

7

>

B:111'.f~ >

Accent S.D.

>

J

>

>

'\_>

Accent S.D.

QB >

QP

>

D

>

> ~

>

: 11

>

>

>

>

>

: 11

>

>

t

:111'.f)ffi

>

>

>

: 11

>

>

>

(15)

na

D

Accent S.D.

11: 1

: 11

> (8)

>

(9)

>

J

Accent S.D.

(7)

~

: 11

>

>

D

ArrPnl S

n

>

>

>

>

29

H.H.

PERMUTATION STUDY

S.D. B.D.

J = 72 ­106

1~1(1! ~JJJ w.

lE

#7

[1 =111~1 J J J J l;~J J b tJ

b

:11

.....__..__..-____,,~~-----~~--"'L--___,-------------='------'-"

>

>

>

>

>

7

Accent S.D.

>

>

Accent S.D.

>

>

>

>

>

>

>

: 11

>

>

>

>

D

> (7)

ll=t (9)

ll:f

: 11 >

"' Accent S.D.

>

>

>

j­­J

>

>

>

~ >

m

>

>

J

(11)

>

tJ ~~p >

>

11:1

>

>

>

ag

> ~

(12) ~

; =111:~

>

>

>

>

J

>

>

Accent S.D.

~SJ >

>

~ >

~

> (13)

7>

>

(15)

J

p J te >

>

>

Accent S.D.

1

Accent S.D.

>

>

>

J >

>

>

>

: 11

30

#8

PERMUTATION STUDY

-H.H.

_

= S.D.

­~:::8.D.

J=

72-106

>

>

>

>

>

>

11:!

1{5

>

>

> (4)

>

j

~

>

>

>

>>

J~ J

>

gg

> ~

>

>

>

>

~

=111'.!)~

! h ~ J J J J J J J :n >

>

>

>

=111'.f )

>

>

>

>

[J

J >

1J JJ >

:o

>

j

>

>

>>

~J~ J ~ :11 >

J

>

J ~ >

ªJJ >

>

J--J

>

>

>

>

>

>

>

>

>

>

>

>

=11

31

PERMuTATION

STUDY

#9

Because this is a two­beat rhythm m a bar of 4/4, u will only permutate eight times. The right hand plays the H.H , whlie the left hand plays the S D and toms The hands can be reversed, wrth the left hand playing the H H and the nght hand plavmq the S D and toms.

rn t_ · · J

Play either one of these time patterns before each exercise

~--~:j~.-~: >r 11: Í

Time Pattern:

>

=H.H.1 =S.D. = B.O.

.

i

>r

r~rr

>n

>

x

=11°'

11=1

>

>

>/>

=11

Accent S.D.

Use trus form when pertorrrunq thrs entrre study: 1: Eight bars time =,ll= Eight bars exercise =11

= T.T. - = T.T.

J=n-110

glf J j j 5 J j J j ~ 12 J j j ~ j j J 1 J J J ' j J

>

>

>

"Hand patterns from 1­8 wrth 2 and 4 B.O

>

JjJJ 1

>

>

11'.2

j j

J

:j

¡

,J :~l~i

i

* t9) =111

F

>

i 1

F

: 11

>

F ¡~=j=J=Jj_~_J_J_~_J_J_J_j_J_J_J~~~i1~~--F i F F

>

(12)

>

>

>

>

:lll:f

i

>

=lll:t j

1

F

>

>

> >

J J lti (7)

J J

>

J

>

J

>

>

JJjJ

>

>

>

J J J J 1t~i j J J J

J

>

>

J J

>

>

>

>

>

J ,J, J

>

=lll:t

F

>

F

>

F

> This study can be performed with the hands reversed

Play the time pattern with R.H./H.H.,

>

>

>

F

: 11

1

F

=11

>

i F i F i r i r

:11

>

• 11

>

>

>

L.H./S.D.

: 11

32

PERMu'I'ATION STUDY The H.H .. B.D. and S.D. parts ali permutate

in

114

this study.

~--~·. : 4

S.D._ B.O.=

\i'.i

11=

Eight bars time

jJ

>

>

>

w

í

(3)

11:

> >

>

>

JJ1JJJ ]J JJJJJJJ J >

>

>

>

(10)

>

=11

JJJJJJ JJJ JJ JJJ

:11

=111:! - -

(l 1)

:111=1

J

>

>

>

J

>

t JJj

(6)

]

>

>

JJJ=JJJ JJJ JJ JJ > >

>

>

>

j J :lll=t J J J J J J j J J J J J J J J j >

>

>

:f J

(14)

=111

>

>

JJ J J J J~ J J J JJJ JJ >

>

>

! ~ J J 1 J J 1 J J ª ] J J J J ] =1ii~I J 1 ] J J J J ] ~ J ª J J J 3 J

11\1

>

>

>

>>

>

(8)

>

>

JJ

JJ J] Jj JJJ Jj JJJJ >

=lll:f (16)

>

=11

:11

=11

>

>

>

ll:t J J J 1 J >J J j J J J J J J >

:11

(13)

JJ J j J JJ J J J J j

>

>

> ;

>

J

>

> ;

> >

>

> ;

>

(12)

(5)

>

JJH J n J J J JJJJJ ==­ =­ ­ =­

í J >.J J J J J J ] J J J J J >J J J : 111 :í J J > >

ll:f J J J J J J 1 >J J J J J 11:

>

>

>

>

(4)

11=

> >

>

>

>

> >

i:!;':••n

\'.ti

=11

>

>

(2)

Tr1ack21

Eight bars exercise

(9)

>

~

=\11=

>

Jl J J JJJj JJHJn J ll=t - - = ­ ­ ­ = = ­ =

\'.ti

>

n ~J:- Jj~ -d ~J ~r~ n ~jJ~ :lll:t -d JJ J JJ J J J J Jj JJ J J ~~~ ~~ ~ ~ ~ ~ :11 ~

::Rll=t ~

~Tr1ack20

>

J :ll

72-104

>

(1)

>

You may also play the hands from the time pattern with the B.D. part from the exercise to be played. Use this form:

H.H.=

J=

j

>

H.H.

Time Pattern:

,

>

LLRLr-LR

(

·11

LFLRLRLLRLFLRLRL

(12)

1

1

:111=1

=11

l

LLFLRLRLLRLFLRLR

JJJJJJJj JJJ >

11·

J

LRLRLLRLFLRLRLLF

LFLRLRLLFLRLRLLR

11:

:/1

>

J j J J J ·111. ·1 J J J J J J j J J J (J J J J J J .·11

>

>

>

>

>

>

>

>

>

>

(1:)

LRLLFLRL

R

RLLF

LR

LRL

>

>

LRLF

LR

L

J J j J j J JJ J J J J J J=J . J J j JJ JJ J J j J¿ J: J= . 11 · t ( ·111· t ·11 >

>

>

>

>

>

~

>

j

RLLRLFLRLRLLFLRL

~

~

LRLLFLRLRLLRLFLR

t J J J J J j J J J J ; J J J J J : 111: t J J J J J J J J J J J J J J J J : 11 >

>

>

>

>

>

(7)

>

>

RL

RLLFLRL

>

>

>

>

>

RLL

RL

F

(15)

LRLLRLFLRLRLLFLR

L

J J; J jJJJJJJJ J j Jj . JJJ JJ J ] JJJJ J J JJ J. t · t >

~

>

>

>

>

>

>

>

>

>

>

>

>

(1 ~)

(8)

11 ·

~

(1 ~)

(6)

11:

>

1

111 ·

R

L

R

L

L

R L

F

L R

L

RL

L

F

L

L R L R L L F L R L

R L L R L F

• 11

L~:~~rar ~\~p

Play this pattern before exercises 17-32

H.H. w/Foot

~

35

:\1

~

Accent S.D. & B.D.

F

R

L

R

L

R

RF

R

L

RL

R

R

L

In exercrs e s 17-32. the R.H. plays cowbell or the cymbal bell, while the L.H. plays the S D and toms The cowbell/cymbal, S.D . toms and B.D. permutate while the H H. plays quarter notes rn each exercis e. (Same perrnutanons as exercrses 1-16 l

R

PERMuTATION STUDY #13

rn J­­j­J rn J

Permutatioh Studies # 13-16 permutate by e1ghth notes Open=

o

Play ttus pattern before each exercrse rn studies #13-15·

Closed=~ H.H.= S.D. =

B.D.

H.H.=

= __

w/Foot

J=

f):t

3

J

J J JJ~ ~): ! J

> > ~

>

(§;)ª~;; @J ~:!

>

J

-J J- n J ] ] o

>

(2)

> ~

~

J

> ~

>

.--...

J @J J J J

­

> ~!

>

+

o

(5)

!

IJ: Eight bars time :111: Eight bars exercise :JI >

J J

>

~ (4!

>

>

>

>

é§;ick24

~T~ack 26

j J :JI

90-112

J

(1)

B.D.

Use thrs form:

>

é§;ick23

~~-,J:t

J

>

+

o

>

,,.---... o +

>

J

J

]

J:l~

J

> (8)

: 11 ~:!.

J

o------+

~ ~

]

] f~:!J 0--

JJ

~

> (10).

+

]

~

( 11)

=11

~:!

J

J

>

j j ] Ir

J J >

>

J

+

>

n~J

J

~

x

>

>

x

.....--.....

o

>

o---+

>

--j o

~-------+

j J

....--....+

o

>

JJJ]J

Jj

>

+

> >

> +

J J

J

J

.1

>

J J :JI > ~

~

>

:11

.....­­­....

o

>

J

+

]

>

>

J J

@J

~

>

:11

o'+

>

j ] >

J

J

,....---..._ o +

o--+

>

j ] J >

d

-

o

>

+

>

] n~~ ........­­.....

o

>

+

J

J

x

1

1

X

J

>

JmJ

:11

>

: 11

36

j

PERMuTATION STUDY = H.H.f_B.H_,__ = S.D./L.H. _ =B.D.= H.H./L.F.

J= 90-112

JJJjJJJ

3>

H.H.

(1 )

~:~J:j

3

JJ J J J

>

3>

3---

o

>

J ]

:lll:t J J (7)

o

>

J J JJ

~

>

>

J

JJJ

J j PjjJ J J J J J >

>

J

+

J j J n JJJ J J J 3>

>

X

=111~1

JJ >

J

JJJ

j==jjJJ J

j¡---i:J ~

>

=111'.i)

JJJ3 >

J

>

J J J j J j jjJ

>d-d J ~ @J J J J ~ J J J J ~ J >d d ll:t - - = ~ ~ ~ ~ :lll:t ~ ~ ~ - (llJJ

>

>

=11

X

,,---..._

>

=11

...­­­­...

+

(S)

:11

o.......---..

,,­­­..._

e

3

1

s">

1 Jj jjJ

j

·~ 3>

>

...­­­....

11',f

+

>

......---..

11'."f

#14

>

=­

J¡ e

+

=: x

~

=11

37

PERMDTATION STUDY

#15

~.H.

S.D.

B.D.

J = 90-112 ]..

H.H.

S.D. B.O.

J J J fl: t ~ ~ (l)

>

(4)

ll=t

11: i (5)

.J

3

>3>

j J >d d J J d d J

~

- - >~

>

- -

J

11=1 > (6) ~

>

>

JJJJJJ3JJJ~ >

J

>

>

JJJJJJjJJJ >

>

(?)

d~ J

:IJ[t ­ ~

(ID)

:!ll:t

J >

J

rJ

1~ ­d J ~ J~ ~ 3

3

3

>d

J__.._J

­

:11

J j• ~ J J J J J J J

:11

JJ~JJJ1JJ

:11

>

JJJJJJJJJJ)J >

3

>

>

>

>

=lll:f

J

=lll:f

JJjJJJ~JJJJ~

(1 1 )

(12)

3> J

>

>

>

>

>

:11

38

PERMu'l'ATION STUDY

d _

limePattern: =H.H.

S.D. B.O.

= L.F./H.H . 3

:¡) ~: J

11·1 =

H.H. w/Foot

rn ;m rn r1

>

>

>

--

g+

{i ~ J X

Use this form:

~

J ~=

3

Eight bars time

=111=

3o----+3o

Eight bars exercise

3

:U

C"-+36°"+3~3

J J J~ "j ~~ ­: J ¿~ .-111·1 ~ J ~~ ~= J 2! ­: J J ~= J J (7_) ~

1

>

~ ,..---.....+>

J J

11=

:11

>

=S.D.~ = B.O.­====

.-.. H.H.

ll:t

#16

>

>

x

>

>

>

x

>

- -

g......--.....+

JJJJJJJ

1

g

J

:il~t J j J j >

>

+o+

J

J ~ ] J

.......--..... o+

J J x

J

.·11

::

:11

39

#17

PERMUTATION STUDY

>

~~-11=

lime Pattern:

B.D.

=H.H. = S.D._

Use this form:

~B.O.

J=

~--~· 11'.1 B.D.

J n J V J n =11

>

11= ~

72-100

>

J >

~

~

~

~

11= ~

>

>

>

~

~

~

J

J

~

> ~

~

~

>

>

>

J

J

J

~

~

~

J

>

>

>

~

J

~

~

J

>

> (8)

~

=111=~

J

(9)

J

~

~

>

J J ~

>

> ~

>

>

j

1 J

J

>

*When go1ng back to time pattern, ornit the B.O

Eight bars exercise

>

>

>

>

iJ J J J >

J JJ J

>

>

(5)

~

>

=111=

jj Jj~JJ

=liFI

>

>

>

> (4)

>

>

(3)

11·.2

>

11: Eight bars time

!J JJj Jj jj Jj]J

* (2)

11:

1

>­­­

>

J

(11) : 111

>

>

j

>

J JJ JJ

> ~

~

>

J j : 11

J

> ~

~

J

~

: 11

>

>

>

J JJ J J ~

~

~

~

J >

>

>

>

J J J J

~

J

J J

>

>

>

>

~

~

:1 J

J

>

>

j

>

>

~

=111 :~

=lil~~ J

>

>

>

J

J

:11

~

>

on beat one, bar one only.

>

>

~

~

>

J

>

: 11

> ~

J

~

>

: 11

> ~

~

~

: 11

40

GROOVE STUDIES Groove studies are exercises built upon the concept of playing consistent time that "feels good" whíle performing one or a senes of hand/foot variations. The exercises vary m difficul­ ty (from easy to difficult) and mclude many unusual ways of cornbirunq the hands and feet. Each study beqms with an exerc1se that is the basic theme of that study. The exercrses that follow are variations on the beginning exercise. When performing the mdividual studies, play each exercíse far 4, 8 or 16 measures. then wrthout stoppmq, proceed to the next one in or out of sequence. To build endurance, play each exercise for frve minutes, and without stoppino, proceed to the next one in or out of sequence. Obviouslv. with the number of exercises in each study, perforrrunq them this way would be very time consurrunq. Try any group of four exercises for a 20­minute work­ out. To buíld relaxatron into this routrne, stop at the first siqns of tensron and beqm again. Ali the exercises throughout this book combine technique wrth a musical idea The perfor­ mance of thrs material includes repetition, which builds techruque. concentratíon. endurance, etc. Get in the habrt of play1ng vvrth the same conviction that you would rf you were play1ng m a real musical srtuanon wrth other players. Once trus rs done and you are familiar enough with the material, get together wrth sorne rhythm section players and build music around these grooves, as well as sorne of your own. See pages 18­20 far adoitronat practice/performance techniques. Keep 111 mtnd that the metronome rnarkmqs are only sug­ gested rnarkinqs Play each study at a tempo within your phvsicat capabihnes. advancing the metronome as you gain control of each series oí exercrses.

41

= H.H.

GROOVE STUDY

~S.D.

=B.O.

(§;í"'" J~~6· 106

~~ 11'.t B.D. --

-

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w

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GROOVE STUDY

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42 GROOVE STUDY

= H.H. ~•

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ó+

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S.B.D.D.11.f >= H.H.w/F

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H.H.

= T.T.

•

= S.D. =B.O. = L.F./H.H.

J = 72o..­.... ­98

#3

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R

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L

= Left

F

RR LL R L R

R1ght Hand

= Right

Hand Foot or Left Foot

The accents m parentheses (>) are opnonal.

Be sure to watch the stickinq throughout that is qrven in exercise 1, with the exceptron of exercise 11.

=11

43 GROOVE STUDY

3

=H.H. =S.D.

#4

~· _

= B.D. B

J = 72-92

= H.H. w! Foot Hands

= Both

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44

45

GROOVE STUDY

#5

is a senes of six. four­measure exercises. Measure 1 m each exercise rs drfferent: measures 2­4 in each exercise are the same Measures 2 and 3 are single paradidoles (RLRR LRLL). while measure 4 rs built upen the ceradiddle­drddle (RLRRLU lt is irnportant to observe that any notes or accents rn parentheses are to be orrutted when the exercises repeat For example, in exercise 1, the accent and B D on beat one are in parentheses. so they would be omitted when the exercise repeats. Thrs is also true when proceedmq directlv. wrthout stoppmq. from one exercise to the next where parentheses are indicated lf exercises are played mdivtduallv, then the only time the parentheses are not observed rs on the initial downbeat leavmo only an unaccented H.H. to be played on beat one. The same is seen m exer crses 2 and 3. Measure 4 of each exercise rs very important­please note the suckrnq and the cymbal crashes. This study

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The unaccented notes are cvmbet. the accented notes are cymbal bel/

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59 GROOVE Snmv

#14 (continued)

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60

GROOVE STIJDY

#15

In exercises 7 and 8. the R.H./H.H becomes R H./Cym. and T.T. The R.H. plays back and forth between the ride cymbal and tom. The L.H. stays on the closed H.H. (In exercise 8, accent the H.H. on 2 and 4. ¡ust like the H.H. pattern in exercise 7.)

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Accent H.H.

RANDOM IDEAS Random Ideas are a collection of beats. Sorne are individual grooves. while others are in groups of two, three or tour ideas that go together. Ali can be developed even further by substituting one voice for another (for example L.F./H H for B D or vice versa; T.T. for S.D.; C.B. for H.H.) and/or usrnq the permutation concept

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The L.H. plays the left cymbal bell. The R.H. plays H.H. and S.D.

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4

# 13 The C. B. rs posrnoned on the nde side of

the set. The C.B. and F.T are played with the nght hand. The H.H .. S.D. and T.T. are played wrth the left hand. B.O. &&-.:::E-m>>

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#18 The R.H. plays quarter notes on cym bell; the L.H. plays H.H. and S.D 1

«= 96

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> #21 The R.H. plays the cym. bell. the L.H. plays open H.H. and S.D.

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J (J {1l'Jf J/d,11

> >> > > > > A great deal of the material in thrs book can be converted from srxteenth notes to sixteenth­note triplets to produce a shuffle sound >

>

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(38) ~

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76

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:>r > > > #41 The R H. plays the cym. bell on the accented notes, the ride part of the cymbal on the unaccented

>

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76

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B-----'

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J > > > > ~---8---~~----B----~ #48 This eight­note sticking is the same as

in

> > ~----8------'

#4 7 except rt's being played as eighth­note triplets.

J = 102

>

J=- 96 º------..o-+

>

....­­­­.......+

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>

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=11

fUTURE SouNDS 273 Book and Cassette 16921 Book and CD 8967 Book

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