Cópia de CodeofFunk-BackintheDay

presents
The WoodShed
This Week:
BACK IN THE DAY
CWT
2^ST
^U
Excerpted from the book
The Code of Funk

by David Garibaldi
Photo by Tom Schwarz, LP Corp.
7n9Vk^Y<Vg^WVaY^
2006 Hudson Music LLC

International Copyright Secured. All Rights Reserved. No part of this publication may be reproduced
in any form or by any means without the prior permission of the publisher.
Garibaldi_bk_proof7.indd 1
5/9/06 8:40:20 AM
Excerpted from the Hudson Music book The Code of Funk, by David Garibaldi.
2006 Hudson Music LLC. International copyright secured.
All Rights Reserved.
May not be reproduced in any manner or by any means
without the prior permission of the publisher.
Visit HUDSONMUSIC.COM for educational resources, videos and more!
photo by Andrew Lepley
photo by Tom Schwartz, LP Corp.
80-page Book
Minus-Drums Audio CD
Two DVD-ROMs with
digital looping,
tempo and mixing
features.
M
aster drummer David Garibaldi explains
his legendary approach to drumming in this
book/3-disc (CD and two DVD-ROMs) multi-pack.

Read Davids transcriptions and performance
notes on 8 great tracks from Tower Of Powers
latest album. Then, using the special DVD-ROM
features and standard computer software, you
can loop the tracks, slow them down, and
sit in with the legendary band.
David Garibaldi is one of the
greatest drummers that I have ever
had the pleasure of listening to
and Code Of Funk is one of the
best books that I have checked out
in a long while!
Dennis Chambers
Hudson Multi-Media is available at your favorite drumshop

or go online at hudsonmusic.com for information and free downloads.
124-page Book
88-Track
Play-Along Audio
CD in MP3 format
T
he play-along companion to Tommy Igoes
popular Groove Essentials DVD this book/
CD package is an encyclopedia of grooves

from around the globe, featuring charts,
variations and play-along tracks. These beats
will challenge and inspire players of all
skill levels allowing you to perfect
your time-keeping and coordination
while enhancing your versatility and
musicality.
Also Available: Groove Essentials combo-pack,
including book, CD, poster and full-length DVD
with 47 grooves over 3 1/2 hours of performance
and instruction.
Techniques and Tips
E
L
Development of the Two Sound Levels with the Hands
he HH, SD and BD are the three basic drum set components used in the funk
drumming style. Understanding how these voices interact is an important key to
building a powerful vocabulary. This graph illustrates the dynamic distances among
these three voices.
fff
Snare Drum Accent/Rim shot
M
A
Bass Drum Accent
mf
S
p
ppp
Hi Hat Accent
O
S
M
N
C
.
C
I
S
HH Accent/Shoulder of Stick
M
O
HH Non-accent
SD Ghost Note/Tap
D
U
Graph by Roland Henkel.
These levels are always controlled by the overall dynamic level of the music being played.
In a normal playing situation, the rimshot may or may not be forte (f ). This is determined
by the situation. The graph illustrates the differences in the two levels and is not meant to
be interpreted literally. Most recordings will reflect what is seen in this graph.
2006 Hudson Music LLC. International copyright secured. All Rights Reserved.
May not be reproduced in any manner or by any means without the prior permission of the publisher.
5/9/06 8:40:27 AM
Practice and Performance Tips

Two sound levels should be used in all exercises, grooves, and fills.
Accented notes = mf/f (8" 12")
Non-accented notes (ghosted) = p/ppp (1/2")
E
L
The rim shot is an important part of the funk sound. The stick strikes the rim
and center of the drumhead simultaneously. Striking the center of the drumhead
produces the biggest sound. Additional rim shot sounds can be produced by using
other areas of the drum.
The dynamic contrast in these two sounds should be that of a whisper to a

shout.
M
O
The LF/HH should be played with the heel up, as this produces a shorter and
much more defined chick sound than with the heel down on the footboard.
C
.
C
To build endurance and groovability, you should strive to be able to play each
pattern, sustaining intensity for five minutes without stopping.
M
A
In the initial stages of development, practice the patterns slowly. This technique
allows you to watch each note as it goes by and then make any adjustments necessary for accurate execution.
O
S
D
U
M
N
I
S
Photo by Deborah White
9
5/9/06 8:40:27 AM
David Garibaldis Drum Set - Tower of Power

Yamaha Recording Custom Drums Sabian Cymbals Latin Percussion
Remo Drumheads Audix Microphones Vic Firth Drumsticks The Buttkicker Finale
E
L
M
A
S
z
q. = Metronome marking
( ) = Alternate note or accent

> v = Accents
T1
T2
C
.
C
I
S
U
Notation KeyM
N
O
S
D
U
H
Bell
Crash Ride Cym.
HH 1 or 2
Ride Cym. Cowbell
M
O
T3
Toms
L = Left
R = Right
Stickings
F = Foot
B = Both
HH 1 or 2
Snare Drum
Bass Drum
HH w/ LF
= Open Hi-Hat
+ = Closed Hi-Hat
(* Unless otherwise noted)
Accents will appear above or below a note
11
Back in the Day
E
L
Skip Mesquite, Steve Mesquite
This composition revolves around two basic grooves:
>>
xx
>
>
Ex. 1-The verses:
// 4444 ...
Verses
Verses
x
x
>
>
4
/ 444
// 44
..
..
.
>
>
o
+
>>x
+>x
xo

xx> x xx > xx x
>
>> > >>

>
Ex. 2-The choruses:

Verses
Verses
Choruses
Choruses
>>
xx
xx
>>
>>
x
>x
>
xx
>>
>>
xx
>
>
x
>x
>
>>
x
x
xx
>
>x
x
>x xx x
>
M
A
>
>> >x
xx x
>>
...
x
xxx

..
..
.
x
x
M
O
C
.
C
I
S
o
+
>
>
>
o
+
>
>
o
o
+
+
>
> > > > > > x >> xo + >x >> x >>
4>x .. xx ox x+ x xx >x >xx > > xx> >Z fi
xx xx xx xx xx ..
x eighth
xxx on
fi
xx note
xx the
/ 4xis an. ensemble
x
x
x
Z
>
>
There
figure
atx measure
81,
which
isan
and of beat
4.Begin ..
> and
> four
measures
>interpreted
4 .measure
> every
>
>> >> 89, this>>figure
>
>
occurs
ning//with
is
three
ways:
>
>>
>> >>
>> >>
>> >> r l r >l >>r >
Ex. 3-Preceded, or set up, by a fill:r l r l r
With the exception of the twists and turns of the arrangement, I stayed with these basic parts
throughout the songa very simple approach with very little improvisation until the choruses
Choruses
at the
end.
Choruses
> o +
>
>>x oox ++x x >>x
/ xx xx >xx xx xx
// > > >> > >
>>> >>
> >>r
r
M
N
> > > > >

> o
>>> > >>>> >Zvv fi >x >> ox oo
xx xx ZZZ fi x xx x xx
> >
r l r l r>>
>>>
>r l l r l l >>f r >b l
ll r >
r l l f b l
D
U
O
S
+
x+++
>xxx
>>>
> o +
> >
> ov
> o +
o
+
>>x ox ++x x >>>x >>> x >>>x vvo vZ oo >x oo ox ++ x+
xx> x>x xx>x xxx xxx> xx>x xx x xx Z> xx x xx >x xx >x

> > >>>
>r> l >>r l l >>f >> >b l
> >>>
>
>
> >
>r l >r l l > f b l
>
Ex. 4-As part of the groove (with two variations): Variation 1:
/
//
x
xxx
>
>>>
x
xx x
>>>
>
>
>
>x>> x >x>> x

x>xx xxx >xxx xx
>
>
>> >>
>
>>>x
xxx
>>>
>
x
xxx
>
>>>x
xx>x
>>>
x
xx

> o +
>>
> voo o o +
>
>
>x ox x+ x >x > x >x vx xo ox x+ x >x x >x x
x x >x x x x x >x x x >x x x x >x x
/ Excerpted
from the>Hudson
Music
The Code
of Funk,
David Garibaldi.
> Rights
> International
> secured.
> Allby
> book
/ >2006> Hudson
>
>
>Reserved.
>
Music
LLC.
copyright
> >
> >
>
> >
14
May not be reproduced in any manner or by >
any means without the prior permission of the publisher.
5/9/06 8:40:36 AM
x x x x x x x Z
x x x x x x x x
>

/ >
>
>
> >
>r l >r l l >f b l
>
> >
Ex. 5-Variation 2
> o
x x
/
> >
+
>>
>
x x x x x
>
> >
>
vo o o
x
x x

>
>
+
>
>
x x x x x x
>
>
> >
E
L
The concept here is to suspend the sound across the bar line, following the length of the figure,
while keeping the momentum of the groove going forward. The initial figure (meas. 81) is played
with crash cymbal and bass drum. After that (meas. 93 to end), either a snare drum with crash
cymbal, or snare drum with open hi-hat is used.
4
/4
Ex. 6-Choruses 7 and 8 include all three interpretations.
>
> > >

xxxxxxx
/ > >
> >>
chorus 7
> o+ > >

x xxxxxxx
> > > > > >
> o+ > >
x xxxxxxx

> > > > > >
> o+ > >
x xxxxxxx

> > > > > >
> o+ > >
x xxxxxxx

> > > > > >
M
A
> > > >

x xxxxxxx
/ > >
> >>
> > > >

x x x x x x x x
/ > >
> >>
o o+ > >
x xxxxxxx
/ > >
> >>
chorus 8
M
O
C
.
C
I
S
M
N
O
S
D
U
> o + >> > v

x xxx x x x Z
> > > > > >
>
> o + >>>>>>
x xxx x
Z
>

> > > > r l r l >r

> o + > > > vo
x xxx x x x x

> > > > > >
>
> o + > > > vo
x xxx x x x x

> > > > > >
>
15
5/9/06 8:40:37 AM
Back in the Day
Audio
CD
Skip Mesquite, Steve Mesquite
> > > >

> > > o +> > > > > o + > >
>
4 >j Z x x x x x x x x x x x x x Z x x x x x x x
/4
> > > > > > > > > x
> > > > >
>
1>
2
3
l r l l
r
> o + > >
> o + > >
x x x x x x x x
x x x x x >j >j> > >

/ >
>
>
> >
> >
> >
> >
4
5
6
Verse 1
>
> > >
> > > >
> > > >>
Z x x x x x x x
x x x x x x x x
x x x x x x x x
/ >
> > > >

> > > >
>
>
>
7
8
9
10 >
o +
>
>
> >
>
>
>
x x x x x x x x
x x x x x x x x
> >
/ >
> >
> >
>
11 >
12
13
14 >
>
> > >
> > > >
> > > > >> > o +
Z x x x x x x x x x x x x x x x x x x x x x x x x x x >j> >j>
/ > > >
> >
> >
> >
> >18 >
15 >
16 >
17 >
> > >> > > >>
> >o +
> > > o +> > > >
>
>
>
>
>
Z x x x x x x
x x x x x x x x
x
x x x x >j >j >j Z x x x x x
/ >
> > > >

> > >
>> > x
>
>
>
>
19
20
21
23
22
l r l l
Chorus 1
> o + > >
> o + > >
Z x x x x x x x x x x x x x x x
/ > > > >
>
>
>
>
>
>
>
>
24
25
26
27
r
> o + > >
> o + > o +> > > >
x x x x x x x x
x x x x x x
/ > >
> > > > > x

> > > >
28
29
30
31
l r l l
= 108
E
L
Intro
M
A
Back in the Day - 4 - 1
16
O
S
D
U
M
N
C
.
C
I
S
M
O
Back In the Day Mesquite/Mesquite

2003 Fat Back Music
Administered by Bob-A-Lew Songs (ASCAP)
Used by PermissionAll Rights Reserved
5/9/06 8:40:39 AM
>
> > >

> > > >
> > > >
> > > >>
x x x xx x x x x x x x x x x x x x xx x xx x x x x x x x x x x
/ > > > >

> >
> >
> >
> >
>
32 >
33 >
34 >
35 >
r
o +
>
>
> >
>
>
>
x x x x x x x x
x x x x x x x x
/ >
> > > >

>
>
>
>
>
36
37
38
39
>
> > >
> > > >
> > > > >> > o +
Z x x x x x x x x x x x x x x x x x x x x x x x x x x x >j> j >j>
/ > > >
> >
> >
> >
> > 43 >
> >
40 >
41 >
42 >
> > > > > > > o + > > > > > > o >+ > > > > > o +> > > >
Z x x x x x x x x x x x x x x x x x x x x xx x x x x x x >j >j >j
Zx x x x x Z

/ >
>
>
>
> >
> 48 > > > xl r l >r
44 >
45 > > >
46 > > >
47 > > >
Chorus 2
> o + > >
> o + > >
Z x x x x x x x
x x x x x x x x
>

/ > >
>
>l > > >

> >
> >
49
50
51
52
> o + > >
> o +
>
>> >
>
>
x x x x x x x x
xx
/ > >
> > x
> > >>

>f r l r l l
53
54
55
56
l r l l r
l
l
Solo - Guitar
>
> > >
> > > >
> > > >o +
Z x x x xx x x x x x x xx x x
x x x x x x x x
>
/ >
>
> >
>
>
>
>
>
>
>
>
59
58
60
57
>
>
> >
>
> o >+ > > > > >
x x x x x x x x
x x x x >j
/ >
> > x
> >
61 >
62
63
64 >
rl r l r l l
o
>
> > >
> > > >
> > > > >> > +
>
>j
Z x x x x x x x x x x x x x x x x x x x x x x x x x x >j>
j
/ >
>
>
> > >

> > >
> > >
> >68 >
> >
65 r
66
67
Verse 2
E
L
M
A
O
S
D
U
M
N
C
.
C
I
S
M
O
17
5/9/06
8:40:40 AM
> > >> > > > >

> >o +
> > > o +> > > >
Z x x x x x x x x x x x x xx x x
x x x x >j> >j> >j> Z x x x x x Z
>
/ > >
> > >

> > >
> 73 > > > xl r l r>
72 > > >
69
70
71
Chorus 3
> o + > >
> o + > >
Z x x x x x x x x x x x x x x x
/ > >
> > > > > >

>
>
>
>
74
75
76
77
l
> o + > >
> o +
> >>>>>
x x x x x x x x
x x x x x
Z
/ > >
>
> >
>
> > r l r l >r
78 > >
79
80
81 >
Chorus 4
> o + > >
> o + > >
fi x x x x x x x x
x x x x x x x x
>

/ > >
>
>
>
>
>
>
>
>
82
83
84
85
> o + > >
> o +
> >>>>>
x x x x x x x x
x x x x x
Z
/ > >
>
> > > >

> r l r l >r l
>
86
87
88
89 >
Chorus 5
> o + ...sax
> solo
> to end...> o + > >
> o +
>> > v
fl x x x x x x x x
x x x x x x x x
x x x x x x x Z
/ > >
> > > > > >

> > >
> > >
>
>
>
>
91
90
92
93
r l r l l f b l
> o + > >
> o +
> > > vo
x x x x x x x x
x x x x x x x x
>
/ > >
> > >

> >
> > >
>
94
95
96
97
Chorus 5
o o + > >
> o + > >
> o +
> > > vo
x x x x x x x x x x x x x x x x
x x x x x x x x
/ > >
> > > > > >

>
> > >
>
>
>
>
98
99
100
101 > >
o o + > >
> o + > >
> o +
> > > vo
x x x x x x x x
/ > >
> > > > > >

> > >
> > >
>
>
>
>
102
103
104
105
E
L
M
A
O
S
D
U
M
N
C
.
C
I
S
M
O
18
5/9/06 8:40:42 AM
o o + > >
> o + > >
>> > v > o + >
x x x x xx x x x x x x xx x x
x x x x x x x Z
>
/ > >
>
>
> > >>

> > >> > >
> >>
>
106
107
108
109
> > > >
> o + > >
> o +
>> > v
x x x x x x x Z
/ > >
> > > > > >

>
> > >
>
>
>
>
110
111
112
113 > >
Chorus 7
> > > >
> o + > >
> o +
>> > v
x x x x x x x x
x x x x xx x x
x x x x x x x Z
>
/ > >
>
>
> > >

> >>
>>
>
114
115 > >
116
117 > >
> > > >
> o + > >
> o +
> >>>>>
x x x xxx x x x x x xxx x x
x x x x x
Z
/ > >
>
>
>
> > >>

> >>
> > r l r l >r
118
119
120
121 > >
Chorus 8
> > > >
> o + > >
> o +
> > > vo
x x x x x x x x
x x x x xx x x
x x x x x x x x
>
/ > >
>
>
> > >

> > >>
> >
> >>
>
122
123
124
125
o o + > >
> o + > >
> o +
> > > vo
x x x x x x x x
/ > >
> > > > > >

> > >
> > >
>
>
>
>
126
127
128
129
Chorus 9
o o + > >
> o + > >
> o +
>> > v
x x x x xx x x x x x x xx x x
x x x x x x x Z
>
/ > >
>
>
> > >

> > >>
> >
> >>
>
130
131
132
133
>> >
> > > >
> o + > >
> o + >
x x x x x Z
/ > >
> > > > > >

> >
>
>
>
>
>
134
135
136
137 > >
r
l
l
f r l l r l
Chorus 10
>
> > >
> o + > >
> o +j
x x x
/ > >
>
>
>
> > > >

> >
> > >
138
139
140
141
Chorus 6
{FI|NE}
19
5/9/06
8:40:44 AM

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Cópia de CodeofFunk-BackintheDay

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presents

Excerpted from the book

The Code of Funk

2006 Hudson Music LLC

photo by Andrew Lepley

photo by Tom Schwartz, LP Corp.

book/3-disc (CD and two DVD-ROMs) multi-pack.

Hudson Multi-Media is available at your favorite drumshop

CD package is an encyclopedia of grooves

Techniques and Tips

Development of the Two Sound Levels with the Hands

Snare Drum Accent/Rim shot

Bass Drum Accent

Graph by Roland Henkel.

Practice and Performance Tips

The dynamic contrast in these two sounds should be that of a whisper to a

Photo by Deborah White

David Garibaldis Drum Set - Tower of Power

( ) = Alternate note or accent

Accents will appear above or below a note

Back in the Day

Skip Mesquite, Steve Mesquite

This composition revolves around two basic grooves:

Ex. 1-The verses:

>> > >>

Ex. 2-The choruses:

> > > > >

xx> x>x xx>x xxx xxx> xx>x xx x xx Z> xx x xx >x xx >x

Ex. 4-As part of the groove (with two variations): Variation 1:

Ex. 6-Choruses 7 and 8 include all three interpretations.

> > >

> o+ > >

> > > >

> > > >

> o + >> > v

> > > > r l r l >r

Back in the Day

Skip Mesquite, Steve Mesquite

> > > >

> > > >

> > > >

> > > > > x

Back in the Day - 4 - 1

Back In the Day Mesquite/Mesquite

> > >

/ > > > >

> > > >

>l > > >

> > >>

> > >

Back in the Day - 4 - 2

> > >> > > > >

> > >

> > > > > >

> > > >

> > > > > >

> > >

> > > > > >

> > > > > >

Back in the Day - 4 - 3

> > >>

> > > > > >

> > >

> > >>