THE ESSENTIAL

.<!

IVIETHOD AND

VVORKBOOK ~r-"

1/

by Maria Martinez

Edited by Rick Mattingly

ISBN

0-7935-9087-6

~I
7777

~CORPORATION
13819

HAL-LEONARD·
MILWAUKEE, WI 53213

W. BLUEMOUND RD. P.O. Box

Copyright© 1999 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved No part of this publication may be reproduced in any form or by any means without the prior written permission of the Publisher. Visit Hal Leonard Online at

www.halleonard.com

CONTENTS
Page

Introduction Interpretation General Instructions CD Tracks Discography Ostinatos Bossa Nova Samba Baiao Rhythm Studies and Summaries Part I Part II Part III Part IV Part V Partido Alto Ostinatos Rhythmic Phrases

4 4 5 6 8

9 10 13

15 17 21 42 55

61 62

3/4 Samba/Bossa
Ostinatos

Nova 64 65

Rhythm Studies and Summaries

7/4 Samba/Bossa
Ostinatos

Nova 71 74

Rhythm Studies and Summaries

ACKNOWLEDGMENTS

AND DEDICATION

Special thanks to my family for their love and support: Isabel Martinez, Miguel Martinez, Maria and Jorge Gonzalez, Teresa and Bobby Castello, Julie Sulser-Stav and Val Sulser. My deepest thanks to Robin Wright for her companionship, love and endless support of all my endeavors. Thanks to all my students and teachers for the opportunity to grow and learn. A special thanks to Joe Lambert for being a great teacher and an inspiration. Thanks to all the musicians who have given me the opportunity to pay my rent, play, and grow musically. Special thanks to Lynn Keller, Dennis Beck, and Eddie Roscetti for their friendship and continued support. Thanks also to all my endorsers for the great equipment and continued support over the years: Paiste, Regal Tip, Latin Percussion, the E-Pad Company, Pearl, Remo Heads, and Rhythm Tech. Thanks to Jeff Schroedl and Rick Mattingly at Hal Leonard for making this project possible.

I

am grateful to be able to play and teach music as my livelihood, and lowe my gratitude to many special people in my life. I dedicate this book to all those who have helped me realize my goal.

CD CREDITS

D

rums

and

Percussion:

Maria Martinez; Bass: George Lopez; Keyboards:

Cheche Alara;

Saxes: Robert Kyle; Trumpet: Ann King. Recorded at The Note Well Studio, Val Verde, California; Engineer:

Bob Nagy. Produced by Maria Martinez.

ABOUT THE AUTHOR

M

aria Martinez was born in Camaguey, Cuba and raised in New Orleans, Louisiana. She has studied drumset and percussion with Alex Acuna, Steve Houghton, Joe Porcaro, Ralph Humphrey, Joey Baron, Casey Scheuerell, Alan Dawson, and many others.

Martinez is the author of several educational publications, including the Brazilian Coordination for Drumset and Afro-Cuban Coordination for Drumset books and videos, and The Instant Guide to Drum Grooves book/CD packages. She has taught master classes, conducted clinics, and played at events such as PASIC (Percussive Arts Society International Convention), NAMM (National Association of Music Merchants), and TCAP (The California Arts Project), just to name a few. Martinez pursues an active freelance career, sharing stage and studio with such artists as Barry White, EI Chicano, Rita Coolidge, Nel Carter, Angela Bofill, Klymaxx, Emmanuel, Johnny Paycheck, Trini Lopez, and others. Her television and recording appearances include The Late Show, The Drew Carey Show, Dukes of Hazzard, Soul Train, and many others.

2

INTRODUCTION

B

teziiien Coordination

for Orumset will enable you to develop the necessary coordination

with which to

play in a variety of Brazilian musical styles. By combining ostinatos with a series of progressive coordination studies, the book provides challenging material for drummers at all leve!s. and rhythmic awareness. These are followed by inclusive summaries studies and as reading exercises.

Specifically, the book contains in-depth rhythm studies that can be worked out individually with each os-

tinato in order to develop coordination that can serve as further coordination But Brazilian Coordination coordination

for Orumser goes beyond just teaching mechanics. The book also contains

two-bar rhythmic phrases typical of the Brazilian style that will help you make the transition from practicing exercises to playing music. CD contains demo and play-along tracks in the popular Bossa Nova, Samba. Baiao

The accompanying

and Partido Alto styles, which are often played in "Latin jazz' settings. Practicing with the play-along tracks will help you get the feel of the rhythmic style and also help you learn to lock in with other musicians. In addition to practicing the material in this book, you must listen to the styles of music you intend to learn and play. A selected discography of Brazilian music is included that you can use as a starting point. Listen to the ways in which the drums, percussion, bass, piano, vocals, etc. interact with each other. Because there are so many ways to play and interpret Brazilian music, I encourage other Latin drumset books that include Brazilian drumset patterns, percussion the traditional ments. It is my sincere hope that this book will provide you with an effective and musical way to acquire all the coordination you need in order to express your musical ideas with ease. percussion instruments used in the music, and the traditional you to check out

parts, and musical history. To parts played on those instru-

learn the "language" of the Brazilian style and its drumming, familiarize yourself with the feel of the music,

Maria Martinez

INTERPRETATION
In order to achieve the proper "feel" for Brazilian music, rhythms must not be played with strict metronomic, mathematical, or "military" subdivisions. Straight eighth and sixteenth notes often have a hint of a egg would roll across a table swing feel, although not so much as to sound like a shuffle. It's like the wayan with a sort of "lope" as opposed to the way a tennis ball would roll smoothly. When playing quarter-note triplets in conjunction with the ostinato patterns in this book, the triplet figpolyrhythmic man-

ures must be loosely interpreted. They are not to be played in a strict three-against-four

ner. The example below illustrates how straight quarter-note triplets on the snare drum would be aligned with a hi-hat/bass drum ostinato in a Bossa Nova or Samba. '

I

-

I

But even with the above example, don't play it with a strict interpretation. through notation alone.

Put a little bit of "lope" into it.

This is why it is very important to listen to a lot of Brazilian music, as the nuances of feel cannot be reflected

GENERAL INSTRUCTIONS
Underneath each Bossa Nova. Samba and Baiao ostinato pattern is a checklist corresponding to Rhythm Studies and Summary pages in Parts I through V. Once you are comfortable with an ostinato. go to the first section indicated in the checklist and learn to play each Rhythm Study along with the ostinato, following the instruction given on eaoh line (e.g .. play on snare drum: play with cross-stick technique: play ride cymbal and snare drum in unison). Once you have mastered each of the Rhythm Studies on a page, practice playing the Summary page that follows. At the end of each section there are Comprehensive Summary pages that combine rhythm patterns from Rhythm Studies pages and Summary pages. Once you have completed a section, you can mark it on the checklist and advance to the next section. For the Partido Alto, 3/4 Bossa Nova/Samba, and 7/4 Bossa Nova/Samba sections, the checklists appear at the bottom of the corresponding Rhythm Studies and Summary pages so that you can keep track of which ostinatos you have mastered with those pages. It is not necessary to learn the ostinatos in the order in which they are presented in this book. If you wish to skip around, you will find the checklists especially useful in helping you keep track of which patterns you have mastered.

E

ach ostina,to in this book cO,ntains a rhythmic pattern played by the feet on hi-hat and bass drum. and most include a ride cymbal or hi-hat part to be played by one hana. Begin by practicing an ostmato as written until you are comfortable with it.

NOTATION KEY

3E

• I

J
X I Hi-hat with foot
only be opened slightly

J
).

I

25:

1

)
Open

0

til

Bass drum
*Hi-hat should

Snare drum
so as not to interrupt

Ride cymbal
the tlow of the pattern.

Hi-hat with hand

Hi-hat"

ADDITIONAL

PRACTICE SUGGESTIONS

The purpose of this book is to help you develop the coordination necessary that you can eventually improvise freely on the snare drum while maintaining an ostinato with the other three limbs. One way to begin to develop that ability is to play each two-bar phrase in Part V, and then "answer" that phrase with an improvised phrase of your own. You could also play two consecutive two-bar phrases from Part V and then improvise a four-bar phrase, thereby "trading fours" with yourself. On ostinato patterns written only for the feet, in which the instruction is to play the rhythms in the Rhythm Studies and Summary pages hand-to-hand, you could also incorporate tom-toms as a way of developing fill and solo patterns that can be played while maintaining an ostinato with the feet.

CD TRACKS
improvising on the snare drum while maintaining an ostinato. All the tracks on this CD are played in 8-bar phrases. A demonstration length of each play-along is indicated by how many music is repeated 6 times). Bossa Nova demonstration 2 3 4 5 6 7 8 9 10 (ostinato 1, P 9) is followed by a play-along. The

I

n order to assist you in developing the proper "feel" for the Brazilian rhythms covered in this book, the accompact disc features demonstration along with the Coordination and play-along tracks that can be used when practicPatterns and Summary pages, as well as to practice

companying

ing the ostinatos

s-oar

phrases are repeated (e.g., 6X means 8 bars of

Bossa Nova play-along (8X, quarter note Bossa Nova demonstration

= 116)
= 152)

(ostinato 2, p 9)

Bossa Nova play-along (1OX, quarter note Samba demonstration (ostinato 12, p 12)

Samba play-along (1OX, half note = 80) Samba demonstration (ostinato 3, p 10)

Samba play-along (12X, half note Samba demonstration

= 100) = 120)

(ostinato 4, p 10)

Samba play-along (16X, half note

11 Baiao demonstration

(ostinato 9, p 14)

12 Baiao play-along (16X, half note 13 Baiao demonstration

= 100) = 116) = 120) = 100)

(ostinato 3, p 13)

14 Baiao play-along (12X, half note 15 Baiao demonstration

(ostinato 7, P 14)

16 Baiao play-along (16X, half note 17 Partido Alto demonstration

(ostinato 6, p 61)

18 Partido Alto play-along (16X, half note 19 Partido Alto demonstration

(ostinato 8, p 61)

20 Partido Alto play-along (12X, half note 21 Partido Alto demonstration

= 116)
= 120)

(ostinato 7, p 61)

22 Partido Alto play-along (16X, half note The following demonstrations 23 Partido Alto/Bossa 24 Partido Alto/Bossa 25 Partido Alto/Samba 26 Partido Alto/Samba 27 Partido Alto/Samba 28 Partido Alto/Samba

and play-alongs alternate the two styles in 8-bar phrases 1X each. (ostinato 2, p 61; ostinato 1, P 9)

Nova demonstration

Nova play-along (9X, quarter note demonstration

=

152)

(ostinato 3, p 61; ostinato 3, p 10)

play-along (12X, half note demonstration

=

100)

(ostinato 4, p 61; ostinato 2. p 10)

play-along (9X, half note

= 126)
=
68)

29 3/4 Bossa Nova demonstration

(ostinato 5, p 64)

30 3/4 Bossa Nova play-along (6X, quarter note 31 3/4 Samba demonstration (ostinato 2, p 64)

32 3/4 Samba play-along (8X, quarter note 33 3/4 Samba demonstration (ostinato 3,

= 86) = 110) = 122) = 130)

p 64)

34 3/4 Samba play-along (8X, quarter note 35 3/4 Samba demonstration

(ostinato 1, P 64)

36 3/4 Samba play-along (1OX, quarter note 37 7/4 Bossa Nova demonstration

(ostinato 2, p 71)

38 7/4 Bossa Nova play-along (6X, quarter note 39 7/4 Samba demonstration (ostinato 9, p 72)

40 7/4 Samba play-along (8X, quarter note 41 7/4 Samba demonstration

= 160) = 220 = 130

(ostinato 3, p 71)

42 7/4 Samba play-along (1OX, quarter note 43 7/4 Bossa Nova demonstration

(ostinato 10, p 72)

44 7/4 Bossa Nova play-along (6X, quarter note 45 7/4 Samba demonstration (ostinato 13, p 72)

46 7/4 Samba play-along (8X, quarter note 47 7/4 Samba demonstration

=

160

(ostinato 11, P 72)

48 7/4 Samba play-along (8X, quarter note

= 200
approach. The approach are

Note: The conceptual approach for playing Samba and Baiao on the snare drum is mostly improvisational. In some musical situations playing a repetitive rhythmic phrase is a more appropriate playing of ghost notes with occasional demonstrated accents and/or press roils with an improvisational and 47. track number inside a on tracks 7, 9,13,15,27,33,35,41

Ostinatos that are demonstrated

on the CD are identified with the corresponding

black diamond next to the written example.

DISCOGRAPHY

l

.sterunq [0 -,-ara~ilian mUSiC is extremely important in, developing your ability to ir_nprovise in these muslcal styies. I ne iollowinq Clscograpny is provided to neip you locate recordings teaturinq the styles covered in this book. Brazil Classics 2. vVarner Bros. 26019-2. A great collection of popular Samba singers and

o Samba.

recordings compiled by Cavid Byrne. Sergio Mendes. Oceano. Verve Forecast 314 532 441-2. Contemporary Kevyn Lettau, Simple Life, JVC 2016-2. Contemporary Brazilian music. Brazilian music.

Brazil/iance: The rv/usic Of Rhythm, RCD 20153. A compilation of great Samba singer/composers.
Sambas de Emedo, Carnaval 89 Gravaacoes originais: Des Esco/as De Samba 00 Grupo 1A, RCA Kaiser (LP) 122.00002 & MC 772.00002. A compilation of songs from the top samba schools. Tania Maria, Piquant, Concord Jazz CJP-151. Contemporary Brazilian music.

Brazil Classics 3, Farro, Warner Bros. 926323-2. A collection of music from the Northeast of Brazil,
called Farro, compiled by Daved Byrne. Cajun-like folk music using vocals, accordion and percussion. Antonio Carlos Jobim, Passarim, Verve Records 4228 332341. Bossa Nova. Joao Gilberta, The Legendary Joao Gilberta, The Original Bossa Nova Recordings (1951:5-1961) Worid Pacific B4 93891. Martinho Da Villa, Canta Canta, Minha Gente, RCA Victor 110.0002. Ivan lins, Ivan Lins, A Notte, EMO 064-422849. Gal Costa, Can tar, Philips 6349.117 Milton Nascimento,

Clube De Esquina, EMI 664.791606-02

8

BOSSA NOVA OSTINATOS

T

fie Bossa >·Jovacstinatcs are written in 1..4 :common time). which is how that rhythm is :YPIC21l1/ 'houcht of and notated. Therefore. concentrate en th~ quarter-note pulse when workinq with these patte:ns .. i4ii
in

or the rnythm studies and summary pages. nowever. are wntten with the Bossa Nova. Ostinatos

cut time. wrucn is how the::oamca as 4;J. when

and Baiao rhythms are felt. The rhythm studies and summary played in conjunction cymbal or hi-hat in unison with the snare drum or cross-stick

pages should be interpreted

1 and 3 may be played by slightly accenting the rice rhythms.

The rolls in Part V should be played as press rolls with one stick when playing the Bossa Nova ostinatos. The half notes written in the bass drum position in Part V indicate the surdo pulse that is part of the samba feel. Ignore these notes when using Part V with the Bossa Nova ostinatos. Tempo range: • = 116-152

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SAMBA OSTINATOS
simply be stressed, FOllow the general Instructions given In the introduction drum with the press roils emitted, and then played with cross-stick technique

S

amba is ofte~ w,r:rten in J./J. 'i~,e" ~ut is corr,ect,lY fe, It a,nd played with a "twe' feel, and so [he os,(mates are notated nere in cut time, I ne oass drum part Written m the Samoa ostmatos emulates the surco part and should be accented on beat 2, But this should not be a heavy accent: rather, the beat should section of the bcok. (omitting the press roils). The Summary pages in Part V should be played as written on the snare drum, played again on the snare

The half notes written in the bass drum position in Part V represent the surdo drum part. which is an important element of the Samba style, The surdo is a large, low-pitched drum that maintains the underlying pulse of Samba, The cross (+) below the half note indicates a muted stroke: the circle (0) is an accented open tone. For further practice, you can play the notated surdo part in Part V with the right hand on a floor tom with a timpani mallet, while playing the snare drum rhythms with the left hand. Tempo range:
Q

= 80-120

~ 10 10

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BAIAO OSTINATOS
cent the bass drum slightly on the "ana" of two. as indicated. Follow the general instructions given in the Introduction mary pages in Part section of the 'cook. When practicinq the sun-

A

ithough Baiao and Samba have different underlvino

pulses. thev are both felt and played with ajwc
[0

reei. and so the Baiao ostinatos are notat:d in c~t-tirT:e. The bas~ dr~m in these osti~atc:emuiates rhythm played by the zabumoa. a type or surao drum used in the eaiao musical style. be sure

.r-e ac-

V. first play them as written. playing the rolls as press rolls with one stick. Then play then

again but omit the rolls. and finally play them with the cross-stick technique. The haif notes written in the bass drum position in Part V indicate the surdo pulse that is part of the samba feel. Ignore these notes when using Part V with the Baiao ostinatos. Tempo range: '"

=

100-120

][]:
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PART I: RHYTHM STUDIES
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PART IV: SUMMARY A FROM RHYTHM STUDIES 1-60
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PART IV: SUMMARY 8 FROM RHYTHM STUDIES 1-60
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P.ART IV: SUMMARY

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PARTIDO ALTO OSTINATOS

T

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intro. bridge, of a Bossa [\jova or Samoa. Aito exercises

In this section, the ostinatcs consist only of ,ide cymbai or hi-hat patterns. The Partico using regular snare drum strokes as weil as cross-stick

that follow consist of two-bar bass drum/snare drum phrases. Practice each of these phrases with ail :i the Partido A.lto ostinatos. technique. Each of the twebar exercises begins with a pick-up bar. Begin by counting one bar of half notes. then play the pick-up bar. then play the two-bar phrase at least twice before moving to the next exercise. Once you are comfortable tne Partido Alto in conjunction playing the Partido Alto. play eight bars of a Bossa Nova groove. then play with the Bossa Nova. think of the Partido Alto in 4/4 rather than in cut-tirne.) eight bars of the Partido Alto, and continue going back and forth between the two grcoves. ('Nhe: piaYlng You can also alternate eight bars of Partido Alto with eight bars of Samba. CD tracks 23-28 contain demonstrations and play-alonqs of this conceot. Note: Partido Alto Rhythmic Phrases 1-10 will sound best with the Partido Alto play-along tracks on the CO, due to the specific rhythm played by the piano on these tracks. Ostinatos 2 and 6 are appropriate for slow to medium tempos; ostinatos 1. 3. 4, 5, 8 and 9 are appro-

priate for medium to fast tempos. Ostinato 7 can be used for fast tempos by substituting snare drum notes with either hand, Tempo range: .,

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3/4 SAMBA/BOSSA NOVA OSTINATOS
bal/hi-hat, When using the rhythmic phrases and summaries with ostinato 1, play all of the rhythms in unison on the snare drum and ride cymbal. and also play the rhythms hand-to-hand rolls. Tempo range:. on the snare drum, Witt', ostinatos

B

eiow are five ostinato patterns that can be used for playing Sambas and Bossa Novas in 3/-1.time. On the following pages are two-bar Brazilian rnythmic phrases and summaries in 3i-l. time that can be cracticsd with the osnnatos to deveiop coordination between the snare drum, bass drum, and ride cym-

2-5, play all exereses on the snare drum, and also play them using cross-stick technique, omitting the press

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