Tom Morgan - The Jazz Drummer's Reading Workbook [PDF]

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Jazz Drummer's Reading Workbook Tom Morgan

Table of Contents Introduction Time and Instrumentation Fills Developing Jazz/Swing Fills

1 2 3 4

Downbeat Figures - Short Sounds Downbeat Figures - Long Sounds Downbeat Etudes 1HE DOWNBEAT BLUES

5 6

7 8

Upbeat Figures - Short Sounds Upbeat Figures - Short Sound Etudes Upbeat Figures - Long Sounds Upbeat Rigures - Long Sound Etudes Upbeat Figures - Short & Long Etudes Upbeat & Downbeat - Short & Long Etudes OUT OF 1HE FOG

12 13 14 15

More Ensemble Figures SIGN OF 1HE TIMES

17 21

Linear Patterns NATHAN'S NUMBER

23 27

Hemiola Patterns 1HE BEAST'S DEBACLE

29 31

Discography Combo Charts - Information

33

9 10

11

34 CAP05760

ISBN 0-9723391-1-6

&pyright © 2002 C. Alan Publications P.O Box 29323 Greensboro, NC 29429

ALL RIGHTS RESERVED Copying or reproduction of this publication in whole or in parts violates Federal Copyright Law.

THE

Jazz Drummer's Reading Workbook THE DOWNBEAT BLUES - Tom Morgan item #06710

OUT OF THE FOG - Tom Morgan item #06720 SIGN OF THE TIMES - Tom Morgan item#06730 NATHAN'S NUMBER - Tom Morgan item #06740 THE BEAST'S DEBACLE - Tom Morgan item #06750

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1

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Jazz Drummer's Reading Workbook Introduction Reading a drumset part in a big band or combo presents unique challenges. Unlike horn players, drummer are faced with reading rhythmic figures while simultaneously improvising a drum part that properly supports the ensemble. Along with this, d rummers must play in the correct style and maintain good time. Needless to say, many find this a rather daunting task and are at a loss to know where to begin. We begin by playing along with other musicians. Without a rhythm section and ensemble to play with, it is easy for the drummer to make errors without knowing it. The Jazz Drummer's Reading Workbook provides written sequential exercises that gradually add new figures and longer summary etudes, all contained on a play-along CD. The goal is to give drummers a chance to play musical examples similar to what they will encounter in the "real world". Discussion, in this book, regarding how to play fills is kept to a minimum, since that subject is covered in many excellent resources. However, much can be learned from listening to the drum parts on the CD and copying what is heard. By practicing with the accompaning CD, each drummer will develop an individual approach. For each exercise, you are encouraged to listen to the professional's perfonnance. Then, play along with the same musicians, but this time you play the drum part. The scope of the book is limited to the jazz/swing style. This is to keep the book from becoming too large and unmanageable, and because young players typically have the most trouble playing and reading in this style. Many of the concepts can ee:1sily be adapted to other popular styles. The discography is a very important component of the book. Listening to the master drummers of yesterday and today is essential to the learning process. Please refer to the discography on page 33.

Since 1988, Tom Morgan has been Director of Percussion Studies at Washburn University in Topeka, Kansas, where he directs the Washburn Univesity Percussion Ensemble, Jazz Ensemble II, and the Washburn University Marching Percussion Ensemble. He holds Bachelors and Masters degrees in music education and music theory and composition from the University of Northern Colorodo and a Doctoral degree in percussion performance from the University of Oklahoma. Along with his ·teaching duties at Washburn, Dr. Morgan has a large private studio made up of elementary, junior high and high school percussion students from the surrounding community. He is the author of A Sequential Approach to Fundamental Snare Drum and A Sequential Approach to Rudimental Snare Drum, snare drum instruction methods, and The Drumset Reading Workbook, all published by C. Alan Publications . As a performer, Dr. Morgan is very activ~ in the Topeka and Kansas City areas, performing and recording with numerous groups, including the Trilogy Big Band, a seventeen-piece jazz ensemble with two recently released CDs on the Sea Breeze Jazz recording label. In addition, Tom has performed with the Topeka Symphony Orchestra and the Topeka Jazz Workshop big band. He is a regional endorser for Encore Mallets and performs regularly on Tree House Drums, which are hand made in Topeka, Kansas. He is in demand as a clinician at festivals and music camps throughout the region. He can be contacted via the Internet at [email protected] or at www.washbum.edu/cas/music/tmorgan

2

Time TIME can be defined as a "repetitive groove drummers play thdt fonns the rhythmic basis of the music." It is assumed that the student can play basic time patters in the Jazz/Swing style. Ordinarily, the drummer will be moving in and out of a repetitive time feel to play fills and accents with the ensemble. Tune can be indicated in several different ways: . . Written - Some composers attempt to write out the-TIME feel. The drummer is not expected to play the exact written pattern and should use it only as a rough guide and an indication of style.

Slash Marks - The example below is a common way of indicating TIME. As.we will see later, ensemble figures~ be written above the slash marks to indicate that time should continue as the horn parts are reinforced.

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Play 8 Bars - The example below is probably the best way to indicate TIME when there are no rhythmic figures for th~ dnuiuner to rein.force, such as during improvised solos. This notation helps the drummer get his head out of the music and listen rather than focusing on not getting lost in the measures of time.

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Fills A FILL is a short rhythmic pattern, usually played with combinations of drums and cymbals. Fills are most effective when used to help delineate form. For example, if a tune has an eight measure phrase, it may sound good to play a one-measure fill in bar eight which ends on the down beat of measure nine. Fills can be played on one drum or on Several. In a drum part, fills are often indicated in the following manner:

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Some composers try to write out the FILL. This is unnecessary and often adds confusion because it can be difficult to distinguish between fills and band figures.

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Play the exercises below in the proper styles, playing fills where fndicafed. rock and triplets for jazz. Be sure to keep the tempo steady during the fill.

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Developing Jazz/Swing Fills Developing a triplet sticking vocabulary is essential to facilitate moving around the drumset. Practice the follow sticking patterns, first on the snare drum, then moving around the drumset in various combinations.

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5

Downbeat Figures Short Sounds When an ensemble plays short sounds, it is important to match them wiili short sounds on the drumset. The rim-shot is probably the most effective tool, however, closed hi hat or choked cymbal provide other possibilities. When playing rim-shots on the snare drum, be careful not to accent the ride cymbal with the other hand. This will make a short sound into a long sound. Short sounds often come as surprises in the music, and require little in the way of preparation from the drums. Perform the following figures using the snare drum rim-shot. A slight bass drum accent on the beat preceding the ensemble accent is all that is required for the set-up.

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Downbeat Figures Long Sounds When an ensemble plays long sounds, the drummer must match them with long sounds from the drumset. The most common long sound is a cymbal crash. The cymbal crash must be combined with the bass drum or snare drum to properly support the ensemble. Long sounds often require a fill prior to the main figure. Perform the following exercises using the written fills and then try playing fills of your own.

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The Downbeat Blues Practicing long & short d ownbeat figures

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Combo parts to THE DOWNBEAT BLUES are available from C. Alan Publications

9

Upbeat Figures Short Sounds Just as it is important to become fluent accenting and setting up downbeat figures, the drummer must be versitle at playing upbeat patterns. We begin with short notes written on upbeats. Then, we reinforce short sounds of the ensemble with short sounds from the drwns. The rim-shot will work well much of the time. As you become familiar with the figures, practice other possibilities as well. Remember not to accent the ride cymbal while playing short sound accents. Play the snare and bass drum prepatory notes relatively soft. They will be heard mainly by the band. Play a rim shot on the snare drum on all upbeat figures.

Now practice the exercise below which includes all the upbeats in both 4/4 and 3 I 4. Just move the above fill over to accent each upbeat.

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Upbeat Figures Long Sounds A typical long sound fill is illustrted below. This fill should be a part of every drummer's "bag of tricks." It begins on the small tom. The two notes in parentheses are soft "ghost notes". The two accented notes are usually played as rim-shots. The accented notes will help horn players find the upbeat that follows. As with the downbeat long sounds, the cymbal must be reinforced with the bass drum or snare drum to be effective. The basic long sound fill in the jazz/swing style is given ~ below. I

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Sign of the Times Tom Morgan

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Linear Patterns Sometimes ensemble figures are so densely written that they should simply be reinforced rather than set up with fills. This requires a drummer to sing the rhythms with stylistically authentic articulations, and match the articulations as closely as possible on the drums and cymbals. The long and short sound concept will continue to be very important here. Examples of linear patterns are provided below.

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Add a light ride cymbal "shoulder crash" to some bass drum notes to enhance long sounds.

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Groups of legato eighths need little or no reinforcement, with the exception of the last note of the group which should be played long or short as appropriate.

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Jazz Reading Ensemble Discography The discography below is not meant to be an exhaustive list, but rather a general starting point for those interested in developing their ensemble reading skills. Listening is an essential element in the process and listening to the "masters" will insure the chances of your success as a player. The following examples have been important to me over the years.

Ensemble

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Drummer

Louis Bellson Count Basie Count Basie Count Basie Count Basie Count Basie Count Basie Clayton/Hamilton Jazz Orchestra Miles Davis/Gil Evans Miles Da~is/Quincy Jones Duke Ellington Duke Ellington Duke Ellington Dave Glenn/Little Big Band Woody Herman Woody Herman Thad Jones/Mel Lewis Thad Jones/Mel Lewis Thad Jones/ Mel Lewis Thad Jones/Mel Lewis Thad Jones/Mel Lewis Thad Jones/Mel Lewis Thad Jones/Mel Lewis Art Pepper Trilogy Big Band Trilogy Big Band Buddy Rich Buddy Rich Buddy Rich Buddy Rich Maria Schneider McCoy Tyner Big Band Frank Mantooth Frank Mantooth Frank Mantooth

Thunderbird Evergreens Blues Alley Straight Ahead Kansas City Shout Basie Plays Hefti E=MC2 Shout Me Out! Miles Ahead +19 Live at Montreux 70th Birthday Concert Yale Concert At Newport Journeys Thundering Herd 1963 Live at the Village Vanguard Monday Night Potpourri New Life Greetings and Salutations Suite for Pops Thad and Aura Art Pepper + Eleven Auditions Does Christmas Big Swing Face Keep the Customer Satisfied The Roar of '74 A Different Drummer Evanescence The Turning Point Sophisticated Lady Dangerous Precedent Suite Tooth

Louis Bellson Harold Jones Harold Jones Harold Jones Duffy Jackson Sonny Payne Sonny Payne Jeff Hamilton Art Taylor John Riley Rufus Jones Sam Woodyard Sam Woodyard Mike Hyman Ron Davis JakeHanna Mel Lewis Mel Lewis Mel Lewis Mel Lewis Mel Lewis Mel Lewis Mel Lewis Mel Lewis Tom Morgan Tom Morgan Buddy Rich Buddy Rich Buddy Rich Buddy Rich Dennis Mackrel Aaron Scott Steve Houghton Steve Houghton Louis Bellson & Steve Houghton

th:Jazz

drummer's reading workbook Composer - Tom Morgan

Bill Crain - Alto/Tenor Saxophone Stan Kessler - Trumpet Stephen Decker - Trombone Roger Wilder - Piano Bob Bowman - Bass · Tom Morgan - Drums

2 CD's New Combo Charts

~------------~

ISBN 097233911 - b 52995

CAP 05750

9 7 80972 339 1 17