METALLICA'S

Lars Ulrich

by Dina Fauci

Contents

The Drum Style Of Lars Ulrich 3 Double Bass Drumming 4 Feel Changes 9 Odd Time Signatures 12 Turning the Beat Around 16 Ensemble Figures 18 Drum Fills 21

Drum Notation Legend 2 Index 24

DRUM NOTATION LEGEND

HI-HAT

OPEN AND CLOSED HI-HAT:

Strike the open hi-hat on notes labeled with an 0. Strike the closed hi-halon unlabeled notes.

HI-HAT WITH FOOT: Clap hi-hat cymbals together with fool pedol

HI-HAT WITH SLUR: The open hi-hatis struck and then closed with the fool on the beat indicated by the hi-halw/fool notation below, creating a shoop sound

HI-HAT BARK: The open hi-hal is struck and is immediately, almost simultaneously closed so that the shoop sound is severely clipped

y5

j

CYMBALS

CHOKE: Hitthecrash cymbal and catch it immediately with the other hand, producing a short, choked crash sound

BELL OF CYMBAL: Hit the cymbal near the center, directly on the cup or bell portion

CYMBAL ROLL: Playa roll on the cymbal rapidly enough to produce a sustained, uninterrupted shhhsound lasting for the number of beats indicated

DRUMS

CROSS STICK: Anchor the tip end of the stick on the snare drum skin at the eight o'clock position, two to three inches from the rim. Then raise and lower the butt end, striking the rim at the two o'clock position, producing a clicky woodblocktype sound

FLAM: Hit the drum with both sticks, one slightly after the other, producing a single, thick-sounding note

RUFF: Play the grace notes rapidly and as close to the principal note as possible. The grace notes are unaccented and should be played slightly before the beat. The principal note is accented and played directly on the beat.

cd

.....

+~

. ....

II JmJ

CLOSED ROLL: Playa roll on the snare drum creating a sustained, uninterrupted tshhh sound lasting for the duration of the rhythm indicated and with no break between the two tied notes.

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'1

th-e Ql~u~ 8t'/te 01

LARSULRUH

.0ars Ulrich, the foot-blazing, time-twisting force behind Metallica's pulsating rhythmical fury, was born in Copenhagen. Denmark, in 1963. As a young boy he began to play tennis. and when he was ranked one of the top-ten players in Denmark at the age of 16, it seemed certain that Lars was headed for a professional tennis career. But at the same time, Lars had been undergoing a transformation.

Using tennis rackets as imaginary guitars, broomsticks as microphone stands, and cardboard boxes as drums, Lars and his friends would pretend to be a famous rock band, and it was Lars who somehow always ended up playing drums-or should we say boxes. Finally surrendering to his obviously intense desire, his grandmother gave him a kit of mismatched drums when he was just 12 years old. Overjoyed to have equipment of any quality, Lars began pounding toward a future that he cou ldn 't foresee-for now. his drumming was just a diversion from his Spartan regime of tennis practice and school.

To further Lars' tennis career, the Ulrich family moved to Newport Beach, California, where he could compete on the more prestigious U.S. circuit. After only a short time, however, the vision of their son as a tennis star began to fade. Tn the face of the intensely fierce competition, Lars rapidly lost interest in tennis and longed to experience other things-one of which happened to be rock 'n' roll.

Lars decided to take music more seriously and began taking drum lessons at a local music store. It didn't take him long to realize that years of learning basics and practicing rudiments were not for him-he just wanted to play with other people and do his own thing. Attracted to the Europeanized sounds of Saxon, Iron Maiden, Motorhead and Def Leppard, he placed an add in the local music paper in search of like-minded players who shared his tastes and sensibility. Rhythm guitarist and future writing partner James Hetfield responded.

The nucleus of Metallica was born.

The original version of the band included Dave Mustaine (guitar) and Ron McGovney (bass). Unsatisfied with that line-up, Lars sought out Bay Area-bassist Cliff Burton. Cliff agreed tojoin the band, but only if they would relocate to San Francisco. Metallica's following happened to be strongerthere than it was in Los Angeles, so Lars and James agreed, and made the move north. They subsequently met lead guitarist Kirk Hammett-finding the final link in the definitive sound that became Metallica.

The band's first two recordings, Kill 'Em All and Ride The Lightning, had minor success in the metal underground. Tragically, after the release of their ground-breaking, third LP, Master Of Puppets, Cliff Burton was killed in a bus accident in Europe. Reeling from their loss but determined to carryon, they recruited bassist Jason Newsted.

Proving to be stronger than ever with their successful 1988 release, ... And Justice For All, Metallica took metal to new heights. Combining punk rock rhythmic and vocal styles with Euro-metal guitarwork, they had developed a distinctive, classic sound that stood alone at the top of the thrash metal world.

Overthe years, Lars' approach has been fairly consistent, although the "feel" has changed to some extent. Metallica's second album, Ride The Lightning, has an open, melodic feel. On songs such as "Fight Fire With Fire" or "Trapped Under Ice," both of which are played at extremely fast tempos, a relaxed feel is still maintained. This differs from the much tighter feel on Master Of Puppets or ... And Justice For All, in which the notes are played evenly, cleanly. and sound almost mathematical in their machine-like precision and accuracy.

Here are four of the components that distinguish Lars' style: I) Flurries of consecutive 16th notes on the bass drums. supporting the song's intensity; 2) Strengthening beats two and four with preceding 16th-note triplets on the bass drums; 3) Turning the beat around without preparation; and 4) Throwing in odd-time bars (2/4, 5/4, 7/8), giving the music an interesting and unusual twist.

From the very first album to the present, Lars has evolved his style of drumming to keep it alive and exciting. Abandoning formal training after only a few months, the theory of "play what you feel," "just do it," and "practice. practice, practice," has worked well for Lars. Exactly how it works will become evident as we take a closer look at the distinctive elements that make Lars Ulrich a true speed metal master.

3

DOUBLEBASSDR~G

First. let' s take a look at the amazing foot dexterity developed by the double-bass drummer extraordinaire, Sixteenth notes whiz by in a flurry, played cleanly and evenly-as though played by the hands. This technique has become a stvlistic convention in speed metal, and one that Lars executes with machine gun rapidity. For an excellent example of this technique, let's look at the verse section in "Dyers Eve" ( .. .And Justice For Ail).

"otice how evenly the notes are played. The snare hits on the and of every beat. Start this very slowly and make sure to keep it even as you increase the tempo.

=:IJ Ex. I Dyers Eve: Verse

>E. 1st, 2nd, 3rd Verses

16' ilJ 0 r

F?Ir

I ~ r f1 r ~~
What is this_ hell you_
Time has fro zen still_
Hid - den in_ your world.c,
/! g I. Dear

2. Dear

3. Dear

Moth - er, dear Moth - er, dear Moth - er, dear

Fa - ther._ Fa - ther._ Fa - ther._

00

w

r

have put.c, what's left_

me through? Be

to be. Hear

Iiev - er, de noth - ing, say seeth- ing, I'm

celv-er, __ noth-ing.~ bleed - ing._

This example is from "The Shortest Straw" (. .. And Justice For AI!), third verse. bar 9. Lars keeps constant 16th notes moving on the bass drums as he plays a hand pattern over itin bars 13 through 16. This acts as a brief solo part. without disrupting the groove.

:: Ex.:> The Shortest Straw: 3rd Verse, bars 9 - 17

6: 2 U' f' [0 I j' V U' f' [0 I ~ 2 gr :::F=
I
~
You're reach-ing your na dir. Your will has dis ap peared The lie is crvs tal., clear. g: ~ p B" I - C=to f' :-C
"-
De-fend-mg. Chan nels., red. One word., said. k f' [0 I 'I P 21" r 0 IT
..
Black list ed. With ver - t i go make you dead. Let's take a look at 16th notes that are in groups, When 16th notes are put in groups of more than four, you will see a number indicating how many notes are to be played in the space of one beat Here, the number six is used, which is called a sextuplet. So six 16th notes are played to each quarter note.

This example is taken from "One" ( .. And Justice For All). Notice how Lars blends 3/4 int04/4 without preparationa recurring technique of his.

~ Ex. 3 One: 18 bars before the words "Darkness imprisoning me .

2

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J

6 6 6

6 6 6 6 ()

btmt

6 6 6

2

;$<

Another amazing feat (pun intended) Lars is capable of is intricate single bass drum work. He combines this with double bass phrases. For an example, let's look at "Blackened" ( .. .And Justice For A/f), Drum Figure 1. Notice it is in 7/4.

=±J Ex.4 Blackened: Drum Fig. I

6

To see a different aspect of this technique, let's go to "Disposable Heroes" (MasterOjPuppets). This example occurs _; I bars from the end and contains three different feel changes. Notice how Lars gradually introduces the 16th notes. making the transition seem smooth and effortless.

Ex.5 Disposable Heroes: 31 bars from end

IA r r r r r-

Back to the front.c,

~3,

!§iFffln till 13

iitibil

Lars has become known as a triplet master. His use of 16th-note triplets before a snare hit has become a signature lick. Placement is important with this type oflick, as itcan quickly amount to overkill. As we look at some examples, it will be clear that Lars uses this lick freely, either to give strength to the note immediately following, or in succession, to create an individual phrase or groove.

The first example is from "One" ( ... And Justice For All). Starting on bar 34 of this section, 32nd-note triplets are used as a result of the tempo (only a moderate 108 beats per minute). In this song, the lick is used sporadically throughout, adding support and color. Later, when the tune is in double time, we see a 16th-note triplet is used, though

intermittently. .

7

til Ex. 6 One: bars 31 - 42

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@ijif&1 " Ifm${uj: ill II

R ilPRAIPR illeR AliDA ijr

Here we see the double time section with the 16th-note triplets. =:2J Ex. 7 One: 24 bars before Guitar solo

hell!-.,----_---,--,----- _

(Sillg l st lime ontvl

¥~t J;d J:; t wi If ~ t JjlidJ: pig

3

"Leper Messiah" (Master OjPuppets) puts this particular lick into a phrase (23 bars from the end). This phrase helps support the vocal line, while still being different from the rest of the song, thus providing contrast. Also, playing the snare on the downbeats creates a strong forward drive in this section.

~ Ex. 8 Leper Messiah: 23 bars from end

b:i ; ~. ; I~

W W W WI

3 J J 3

crna time)

:

:

d

3333 J 3 33

8

FEEL CHANGES

Feel changes give songs a new mood or direction. It's an effective tactic, but not one that is easily accepted. Changing reels is something that requires extensive practice to make smooth, and it happens to be another skill Lars has mastered. A perfect representation of this can be seen in "To Live Is To Die" ( ... And Justice For Ali). Since this particular tune is all instrumental. the many feel changes keep the song interesting and moving. There are a total of <even feel changes in the song. Let's start with the intra. It begins with a slow ballad feel, the first change coming after only 14 bars-using three bars of 8th notes on the snare and low tom as a transition.

~ Ex. I To Live Is To Die

Stow)o56

Slow Rock) = 100 "w/Drum Pat. 1 (Drums I)

~~ Drums H

~fF~11 an, an I an an I OOg£P5M II

p grad. cresc

"Drums I continue with Drum Pat.l at tempo I for one bar, fading out gradually

1

1

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Just 29 bars into the song, we come across another feel change. Notice how Lars plays off the guitar riff. Although this portion has a different feel, it is still part of the original section. Let's start on bar 25.

[!QJ Ex.2 To Live Is To Die: bars 25 - 34

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~~ ~ 1 I,ll EM'u@l: : @

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In bar 53, a new feel is introduced: a shuffle groove. Notice how the drums play straight against the guitars' shuffle rhythm. (This goes on far eight bars.) This starts on bar 49.

[!!] Ex. 3 Ta Live Is Ta Die: bars 49 - 61

10

Another example of Metallic a's typical feel changing is heard in "Disposable Heroes" (Master Of Puppets). Starting on bar 37, Lars plays a half time feel at approximately 172 beats per minute; then notice the tempo changes to 188 b.p.m. This occurs at the beginning of the six-bar phrase where the snare plays on the and of every beat, giving the feel more intensity and making it seem faster. The following two bars are considered a "setup" to the next transition. (The term "setup" is used when something is played to anticipate a change.) Keeping the same tempo, Lars plays the next section very straight, creating an open groove.

12 Ex.4 Disposable Heroes: bars 37 - 64

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I

Faster J = 188

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JL r : I. : Ir
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I I J rJ J J .. J J
• ..

11 ODD TIME SIGNATURES

In the world of heavy metal and rock music, the 4/4 time signature was considered standard-that is, until Metallica carne along. Lars and company have rewritten the rules concerning time signatures. But a heavy metal tune with ,," en different time signatures-and those seven alternating with each other 48 times? But it works' It works exceptionally well.

Starting in 5/4, then going through 4/4, 7/4, 6/4, 2/4, 3/4, 5/8 (not necessarily in that order), "Blackened" C .. And Justice For All) is unique in its approach to time signatures. Even with all the meter changes, the phrasing flows smoothly. enabling the changes to seem organic to both the trained and untrained ear. Since there are so many changes. we will examine some of the more revealing examples is this section.

Let's start with the first groove section, the l Sth bar ofthe intro. This begins in 7/4 and continues for eight bars before going into 6/4, lasting 12 bars. It then returns to 7/4 for three bars, and one bar of 2/4, which sets up the following eight bars of 4/4 .

. .\lthough there are three different time signatures in the example, the feel change is more evident than the meter change, with the exception of the 2/4 bar, which is quite obvious.

131 Ex. 1 Blackened: bars 19 - 46

3f

2

+

(end Drum Pat. I)

l st, 2nd Verses

~. w/Drum Pat. 1

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Black - ened IS the end Blis - ter - 109 of earth.

I r r r F 4' I f f f ~r r
Vo/in -ter It will send, throw - mg ,11 you
Te, mi- nate its worth Dead lv 0 - tine 12

to ob - SCli ri -f y. _

kills what might have been. _

Death of Moth - er Earth. Nev -er a re -birth
Cal-lolls frig - id chill. Noth-ing left to kill.
IF J j J fPlfijl; J i J fPfij ~~~r ~~I F~f ~f ~flt17E~g-"~t ~I]E!~~F~~F ~~~

Ev - 0 -Iu - tion's end; Nev will it mend. __ Nev- er. --I

Nev. er seen be - fore Breath - ing nev - er more. __ Nev- er. __ I

I. • 2nd time substitute Fill I 2nd time substitute Drum Fig. I

§I IfIP fPfij I; J i J prBP I] pgJFPpj]flg

-2nd time play crash on beat 4 L-3_j

Chorus

Fire.

To be - gin whip - ping dance of the dead

Black -ened

is the

Now let's take a look at the mathematics involved in the guitar solo section of "Blackened." Since 4/4 is considered common time, the odd bars here are 2/4 and 3/4. There are four bars each, so adding two 3/4 bars to one 2/4 barequals one 8/4 bar, or two bars of 4/4. This happens twice, leaving two bars of 2/4 (equaling one bar of 4/4).

When odd bars are used, it is common to see another odd bar to equal it out. For example, a 5/4 bar might be equaled out with a 3/4 later in the section. In this example, there is a definite pattern. One bar of 4/4, one bar of 2/4, one bar of 4/4, and one bar of 3/4. This phrase repeats itself four times before going to 16 consecutive bars of 4/4.

13

[!±: Ex. 2 Blackened: Guitar solo

Guuar solo

I I I

a p j f7P 11 r J ~ ~ Ii 1 P t} i J I~ P R n Iii =Vi: RppIPPPM!IPP{3PIfE?pwl

In the next example from "Eye Of The Beholder" C .. And Justice For All), in the second verse, we find constant 16th notes on the bass drums, with beats two and four on the snare in 4/4. In bar four, notice the fill Lars plays. He accents the snare and crash cymbal while keeping the groove going on the bass drums. This type of fill can be heard throughout his playing. In bar eight, there is a setup fill leading to 12/8 (12 eighth notes per bar). This kind offill is necessary to make smooth transitions. An ensemble figure is heard in bar 6 of the 12/8 section (all instruments play the riff together in lock-step), a four-bar phrase with the fourth bar in 214, returning to 4/4.

14

l5l Ex.3 Eye Of The Beholder: Verse

2nd, 4th, 5th Verses

1I

Bit ter > ing_ dis . tress.

Bound 'Ties 0 ver - thrown.

Your mon - ey and c, yourweaJth

Who de - cides what you.; ex p-essv.,

Look in - side, to each.; his own.L,

You si-1ence just to neer.; your- self._

2. Do you feel what 1_ feel') 4. Do you need what I_ need? 5 Do youknowwhaj Li.; know?

take? En . dUT- anee is the word.;

trust? Me. selfc and L_

Mov-ing back in-stead of for - ward Pen-e-trate rhe smoke screen.Tc..c. see hun-ger af - leT in de pene-cnce.

seems to me ab - surd'_j

through the self ish lie __

length-en free v dom's ring.c;

Does n't mat-ter whar., you see,

or In - to it what ., you read.

You can do it YOUf_ own way.

if it's done just how.. I say.

(H)

~¥Lztili;n Ij ffl m 12 PBsPii I n if n m II

In

de " pend

lim it ed.L,

15

TURNING THE BEAT AROUND

The advantages of turning the beat around are numerous, as Lars has shown time and again in his drum work. Just '" one thinks the back beat is on two and four, Lars changes it to one and three, and the transition is seamless. Turning the beat around can act as a counterpart to a guitar riff or add a twist to the music without changing the time -ignature= although Lars often uses one bar of odd time to set up a turnaround or to come back to the original two and four backbeat. Lars will also use a two-bar turnaround as a lick to color a particular groove.

In the first lesson on turning the beat around, let's look at "The Frayed Ends Of Sanity" ( ... And Justice For All), the instrumental section before the guitar solo. Lars turns the beat around by accenting beats four and one with the snare and crash cymbal, while keeping the snare on one and three. Seventeen bars later, he uses a 2/4 bar to bring the backbeat to two and four. Only at this point does the listener know for sure what has happened.

Ex. I The Frayed Ends Of Sanity: 2 bars before Double time section

f3wF\F,[9WP?\Q

Double time J = 192

=*F b $; j ~ I # ~. ~

·2nd, 3rd and 4th times cymbal line plays xl beat I.

- .. t : . t
• I
=
~3-' ~3~

5 , I~ EfT j E±?

j~ ... 1 ~

In the guitar solo, we hear a two-bar turnaround phrase, giving the groove a little something extra.

IT2l Ex.2 The Frayed Ends Of Sanity: Guitar solo

II r ~ ~ J tb d tb t btl ~ d tb t ~. I; ~ i r =fa

3

udz r ~ ~ 11 i ;J:rI;J:r&a~~I&a~~&al

~3~ ~3~ L3~

J

1?ff

"Blackened" ( .. .And Justice For All) has an example of clever phrasing. Lars plays what is called an "over-thebarline" till. This example contains two. The second one institutes the turnaround by using a 3/4 bar. !fthe 3/4 bar had been a 4/4 bar, the crash would have been on beat one. With the 3/4 bar, he brings the backbeat to two and four.

18 Ex. 3 Blackened: 23 bars after Interlude

# I #0 i pi. I 0 i J h"
I&~ ~ ~F' 0 1 ~ -. D
I
1, tion. Mu- ti 1, - tion. Plan et dies.
Vi - 0 1a - tton. Mu - ti - Ia , tion.) Dark-est col - or.

Elis - tered earth.

True death of

life. _

j

j ~j i J : J I~ ; ; J i J : J
Fr To
I I
rP Pi 1 ~J IPi~ UPlfJP UPI To 12
r (Ter- mi

Ter - mi - a - Han. Ex-pit- a - tion.

a -tion. Ex pir - a - tion. Can-eel-

Ter v mi - a -tion

17

ENSEMBLE FIGURES

Imagine being in a room with 50 people on one side and four on the other. The side with 50 people is talking loudly, and onlv one of the four from the other side is shouting "May I have your attention?" One person shouting over 50 IS not very successful; he goes unnoticed. However, when all four shout the same words together, commanding anenuon is inevitable. In music, this is called an "ensemble figure"-when all instruments play the same rhythmical or melodic phrase together. This device is universal; it can be found in every type of music, used in different ways. For example, it can be found as a way to state a song's theme, or it could be used in intros and endings, or to set up a transition. Whenever used, ensemble figures are powerful and definitely draw attention. In Metallica's hair-raising repertoire. these figures can be heard in many forms-some are subtle, others obvious. Ensemble figures greatly contribute to Metallica's distinctive writing style and overall impact.

Ensemble figures in a solo section are common, as they add strength and color to a part that otherwise might sound monotonous. A terrific example ofthis is found in "One" ( .. .And Justice For All), 24 bars before the guitar solo. This is a 12-bar phrase this is repeated until the solo. Notice that the figure crosses over the barline, creating an odd-time feel. This example starts on the repeat going directly to the solo.

19 Ex. lOne: 24 bars before Guitar solo

12. Double time

Ill, J)

16; II: §r rr-~ """,,,-== =--1 I'

~;'~~-Js-t-tim-e-O-nIY-)-------------

*2nd time bass drum plays ., ~ on beat 3. J

3 3

+A1illJ

3

m~

3 "znd time bass drums

plaY'Ibtr'0nbeat3 .

.3 3

mm:11

Guitar solo

18

In bars 9 and 10 of the guitar solo, the last half of the figure is heard again. Let's start on bar 5 of the solo.

~ I) Ex. 2 One: Guitar solo, bars 5 - 20

II r ~ ~ t Js: It pit p i I r ~ ~ : bY? I r i t bYfa

3 3

I' I: ~ p t Js: Ii Js: t bY? I r ~ p t p i I r ~ p i bY?

3 3

~ ~p;eJs=itis:t6tJ? II: ~p Jp i

3

~ i ; bU? I r ~ p ; tis: I; p ~ p ; 6fd/i II

3 3

In bar 27, a new ensemble figure is introduced. This is a two-bar pattern in a four-bar repeated phrase. It sets up a new section which starts with a variation of the original ensemble figure in bars 35 and 36 of the solo, and is also found in bars 45 and 46.

::I!l Ex. 3 One: Guitar solo, bars 27 - 50

z

:11

33 33333)

=w4JJ mj dJJg m mm-m I •

3 *2nd time play snare and crash on beat 4.

i : Js: I; Js: i bY?

3

I: ? r ~pliJs:JbY?

19

"ineteen bars from the end, notice how many times the second ensemble figure is played. The song ends with the first half of the original figure on beat two.

~ E,. -+ One: 19 bars from end

• 7

J

trl~1f?i IU ? L ? IU ? u ? J ? j ?
Ir r
u
3 J

_3 _

_ 3_

II

...

... :

In the chorus section of"Blackened" ( ... And Justice For Ail), there are three different types of ensemble figures. The first is a riff that supports the vocal line, with the instruments playing 16th notes againstthe 8th-note vocal line. The second figure is played with the vocal, using quarter-note triplets. In the third, the vocal, guitar, and bass play together, while the drums playa variation of the figure.

~ Ex. 5 Blackened: Chorus

Chorus

Fire.

To be - gin whip - ping dance of the dead.

Black -ened

is the

end.c..

To be-gin

dead. __

Col-or our world black - ened.

20

DRllMFILLS

Drum fills give the drummer a brief opportunity for individual expression. In Metallica's music, this has become a group effort, as Lars seldom plays "The Big Drum Fill." Although he does play interesting random fills to add color and contrast, the majority of Lars' work is in ensemble figure form, to set up a transition, or to signal the end of a phrase. When Lars plays a fill, it is in musical context, to support a particular phrase, not to call attention to the drums for a bar or two. A favorite device of Lars' is the "over-the-barline" fill. This is a fill that crosses from one bar to the next, creating an odd-time feel. This can be heard throughout the body of Lars' masterful work.

In "The Frayed Ends Of Sanity" ( ... And Justice For All), bars 22 and 23, an over-the-barline fill is heard, followed by four more bars, containing two ensemble figures in bars 24, and then again in bar 26. This sets up the first verse.

lil Ex. I The Frayed Ends Of Sanity: bars 21 - 29

JLMHF[irp'5rgW,p3qiili,

~3~ ~3~

.EEEl

il

Double time feel l st Verse

Nev - er hun - ger.

Nev - er pros - per

1 have fall

prey to

fail - ure._

In "The Shortest Straw" ( ... And Justice For All), the last four bars that set up the final chorus, we hear a fill using 16th notes between the snare and bass. Notice the snare is playing flams. (A flam consists oftwo strokes played close together, the first being a grace note.) This gives a thicker sound. Let's start two bars before the fill.

Ex. 2 The Shortest Straw: 4 bars before Chorus

J

J

J

21

There is some creative fill work in "Blackened" ( ... And Justice For All), 10 bars before the guitar solo. Notice how Lars fills up the empty space left by the vocal line. Then he sets up the solo in the last three bars with a very nice form of phrasing, using 32nd notes and sextuplets to add a driving, forward movement.

~ Ex.3 Blackened: 10 bars before Guitar solo

Can-eel - la -tien hu-man

Ex - pee - ta - tion.

Ex - pee - ta - tion. Lib -er-

la - tion.

I

f":=; __ ""II ...

~ ! ! ~ ~:

Lib - er - a-tion. Pop- u -la - tion lay to waste.

a - tion. Pop-u - 1a - tioo.)

See our moth - er

r ~ I I

,~
U E I , j F :. • liE E 51
. I I
put to death. See OUf moth die. III ~ J

In ending a phrase it is common to use a fill. Its length can be one bar, one beat, or even a fraction of a beat. In this example, the four-bar phrase has four different endings, due to the four different fills used to end each phrase. This starts on bar 104 of "To Live Is To Die" ( ... And Justice For All).

~ Ex.4 To Live Is To Die: bars 104 - 119

J dl:_

I.
J t &t1
I _ ~
I 2.

3.

J.

22

In our final example, we see how Lars makes good use of fills that do not interfere with the groove; this method is helpful in adding colorto a song. In "Harvester Of Sorrow" ( ... And Justice For All), bars 4 and 5 of the first verse. a non-disrupting fill is played that also crosses over the barIine.

~ Ex.S Harvester Of Sorrow: Verse

1st Verse

My life

suf - fa - cates.

seeds., of hate.

I've loved, turned.; 10 hate.

Plant - ing

Trapped far be - yond., my tate.;

J give,

you take

this life that I_ for-sake.

Been cheat - ed of my_ youth.

23

About the Author

Dina Fauci has been playing drums for 16 years, and has studied privately with David Garibaldi, Gregg Bissonette, and Peter Erskin, to name a few. He has also completed the percussion program at the Grove School of Music.

Dina has appeared in the Star Jam video series featuring John Bonham, and the "Beginning Rock Drum Video" for Star Licks. He has transcribed two Winger albums (featuring Rod Morgenstein) for Hal Leonard Publishing, and the video workbook for the Randy Castillo video (Star Licks). He has also appeared on numerous Guitar Trax cuts for Cherry Lane Music.

Dina lives in the Los Angeles area where he is active in the club and studio scene.

Index
Double Bass Drumming CD Track No. Page Turning The Beat Around
Ex 1 Dyers Eve Tk 1 4 Ex I The Frayed Ends Of Sanity Tk 16 16
Ex 2 The Shortest Straw Tk 2 Ex 2 The Frayed Ends Of Sanity Tk 17 16
Ex 3 One Tk Ex 3 Blackened Tk 18 17
Ex 4 Blackened Tk 4
Ex 5 Disposable Heroes Tk 5 Ensemble Figures
Ex 6 One Tk 6 Ex lOne Tk 19 18
Ex 7 One Tk Ex 2 One Tk20 19
Ex 8 Leper Messiah Tk Ex 3 One Tk 21 19
Ex4 One Tk 22 20
F eel Changes Ex 5 Blackened Tk 23 20
Ex 1 To Live Is To Die Tk 9 9
Ex 2 To Live Is To Die Tk 10 10 Drum Fills
Ex 3 To Live Is To Die Tk 11 10 Ex 1 The Frayed Ends Of Sanity Tk 24 21
Ex 4 Disposable Heroes Tk 12 11 Ex 2 The Shortest Straw Tk25 21
Ex 3 Blackened Tk26 22
Odd Time Signatures Ex 4 To Live Is To Die Tk27 22
Ex I Blackened Tk 13 12 Ex 5 Harvester Of Sorrow Tk 28 23
Ex 2 Blackened Tk 14 14
Ex 3 Eye Of The Beholder Tk 15 15 24

ME ... ALLICA'S

Lars Ulrich

by Cina Fauci

An up-close look at the playing style of heavy metal's leading drummer using actual transcribed examples from these Metallica hits:

Blackened Disposable Heroes Dyers Elle

Eye of the Beholder The Frayed Ends of Sanity Harllester of Sorrow Leper Messiah

One

The Shortest Straw To Lille Is to Die

I,ncludes CD of All Musical Examples I

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