A FUNKY THESAURUS For the Rock Drummer by CHARLES DOWD Features Afro-Cuban Rhythms & Odd-Meter Rock Beatsforeword The music of a particular style precedes any book on that stylistic application, Specifically, in the realm of, jazz, rock and most improvisational arts, the perfor- mance precedes the theory about such a performance, It is imperative that the book or theory follows logically, using the communicative arts, so that the intricacies of the performance might be shared with others . . . and it is with this spirit that the following collection of exercises and excerpts is made. The following thesis represents an attempt to categorize current rhythmic trends in Afro-Cuban jazz and rock to extend a logical series of progressive studies to the present drummer who will sooner or later be confronted with the current rhythmic revolution in rock and big-band jazz. The music has set the precedent. The new dimensions in rhythms carry new needs for broader skills among drummers. Witness the artistry of drummers and backing pioneers such as Don Ellis and John McLaughlin. Given the current trend and demands placed on the drummer of jazz and rock today, it is necessary to open new avenues of growth. The following collection is one small avenue. In many cases, this collection represents nothing new. African, Indian, Cuban and other ethnic percussionists have played these rhythms for years, yet the Europeans have just “discovered” the dimensions of ethnic folk rhythms. This “discovery” has spread so quickly, however, that in recent years no one person has had the time or foresight to keep abreast of every contribution in the field. The most significant music that explores ethnic origins in odd-time jazz drum patterns is that of, Don Ellis. The more comprehensive and progressive application, however, is the drumming of Denny Zeitlin’s drummer, George Marsh. The music of both Ellis and Marsh represents application of genius within different frameworks and boundaries, and are simply two influences in a frontier of several other unmentioned pioneering artists. The music of Afro- Cuban rock and jazz at this point dictates a need for musicological thought and it is hoped the following collection of progressive studies provide informative and enjoyable development of the player’s skills. fo the professional The mature musician will find this collection valuable in forcing practical skills of independence and ding. If the new rhythms have not been approached vet, the following exercises represent simply one way of approaching the particular style. This treatise is not tended to be complete, and important developments, have been omitted for various reasons, Since drumming 1 this style is still categorically uncommon, many attitudes of playing are strictly personal. These working rock patterns must suffice, therefore, as simply the author's single approach to bass/snare_ interplay, independence and reading exercises in odd-time rock drumming. These rhythmic ideas should serve only as a catalyst for creative thought because the sensitive and accomplished drummer does not play from books . . . artistic percussion is played from the heart. fo the teacher This thesaurus is a sequel to the text, “A Funky Primer for the Rock Drummer.” It is suggested that one be able to perform the studies in that book before attempting this one. Both deal with the straight or “Latin” eighth note almost entirely, and are based upon musical studies and excerpts found valuable by the author in professional circles. The skills one must impart to students include improvisation, reading, independence, technique and stylistic taste (among others). The Primer and the Thesaurus constitute an attempt to categorize the style of “funk”? or “boogaloo” found in rock drumming, and currently extending through forms of progressive and big-band jazz. Supplemental to this course should be a record collection, private lessons, metronome, tape recorder and playing experience. One should also pursue the various skill-building texts on jazz, playing both in 4/4 and odd-time signatures, and independent four-way coordination. fo the student Keeping time is the most important primary function of any drummer. The drummer who does not keep good time not keep company with fine musicians as a Performer. Afro-Cuban “‘time”’ must be felt through the marrow of the bones in order to be stylistically effective. Therefore, incessant repetition of many of these studies is the only way these exercises can ever be transferred from the page into an actual musical playing condition, Do not attempt to read through this book . . . study it. Time is kept with the hi hat and/or ride cymbal. Stylistic “‘licks’? and interplay must be seated between a very proficient right foot and left hand (bass and snare). Work for volume, punch and a flat sound. An even tempo and loose feel should be achieved. Play this book with appropriate records in the various time signatures, and strive to exceed the metromomic markings. Practice slowly for the first few hundred repetitions . . . then attempt faster tempi. Have patience, attend concerts, play frequently, and listen to records . . . good things will come with discipline and time. © Copyright MCMLXIV by Gwyn Publishing Co. Copyright assigned MCMLXXXVI Alfred Publishing Co., Inc.A FUNKY THESAURUS For the Rock Drummer by CHARLES DOWD IHARLES DOWD began playing drums at an early age. His formal training on drumset, vibes, marimba and timpani led to a Bachelors and Masters degree in percussion performance under the tutelage of Anthony Cirone. During chis period, he played jazz drums with Don Ellis, Oscar Williams and rock with Pablo Cruise’s Cory Lerios while working as an “extra” with the San Francisco Symphony. Charles made the move to New York City to do doctoral work on classical timpani and percussion with famed New York Philharmonic timpanist Saul Goodman at the Julliard School. He began recording again on drumset, this time as 2 regular at RCA Studios, as well as freelance work in New York City performing both classical and jazz. Accepting an auditioned position in Oregon, he conducts the University of Oregon Percussion Ensemble, which is dedicated to the performance ‘of new and experimental percussion ‘‘art”” music. Charles is principal timpanist/percussionist with the Eugene (Oregon) Symphony and performs regularly in the famed Hult Center for the Performing Arts. As highly gifted player. . . musical, imaginatbe a drumset artist, he is a Ludwig clinician, and is author of A Funky nd inventive. Saul Goodman Primer for the Rock Drummer and A Funky Thesaurus for the Rock Drummer, Charles is also the author of Velocity Warmups for Jazz Vibes and Marimba and an active mallet player ‘ith his own jazz vibes quartet. He is principal timpanist of the Carillo Music Festival in California and records ften. Author of The Well-Tempered Timpanist, his versatile playing has sparked critical acclaim 4 time when the playing of odd time signatures is GEORGE MARSH has Recorded/Performed with: ecoming increasingly important for the drumset Denny Zeitlin zusician, a book dealing with certain aspects of the Mel Graves 1echanics of this process is welcome. Mr. Dowd’s table Jerry Hahn n page twenty is an especially valuable tool for the Bill Russo rummer to use in the solution of odd time signatures. I Chuck Berry tegest the student use the material in this book not as John Klemmer nend in itself, but as a starting point. The possibilities Morgana King e infinite! Loading Zone EORGE MARSH Allauddin William Mathiew structor of Drumset Art Lande AN FRANCISCO CONSERVATORY OF MUSIC contents OCK INTHREE . ROCK IN SEVEN . ATIN-ROCK IN 4/4. ROCK IN NINE ATIN-ROCK IN 12/8... 14 ROCK INELEVEN... 36 OCK IN ODD TIME SIGNATURES 20 ROCK INTHIRTEEN .....2..000000000 seco 40 OCK IN FIVE 22 ROCK IN FIFTEEN 44 edicated to Artist Percussionist Anthony Cirone Special thanks to George Marsh and Louis Bellson Cover by Susan Alstadt