TRACK CASSETTE SIDE I FUNK © R&B * POP-ROCK * FUSION ....ff1 #2 #3 4 #5 #6 a7 #8 "9 #10 #1 a2 #3 5 Na Me Nt Nae NaN STIN (BRAZILIAN/ AFRO-CUBAN) .....0..4H14 #15 CASSETTE SIDE 2 6 m7 #18. Ho #120 #21 #22 #23 6 24 #25 #26 #27 #28 #29 #30 1 Ng Sat Sa a San So a Na bout the Authors. PVCS ME (TING) Medium Funk (2:13) Pop Bunk #1 (2:22) ss. Pop Bunk #2 (1:57) nk (2:06).. Funk-Shufile (2:32: Eunk-Rock (2:51) «+ R& BML (2:26) R&B H2 (2:02) Rock & Roll (2:30) . Bright Cross-stick Fusion (2:27). Slow Fusion Vamp (2:27)... Fusion, 7/4 Vamp (2:11) 26 Raggae-Funk (2:43) 28 Bossa Nova (2:22). 30 Fast Samba (2:26)... 32 Medium Samba (2:58) . Slow Samba (2:27) Baion (2:43) 3/4 Samba (2:25) Cha-Cha (1:48) Mambo (2:16) Songo (2:15) 6/8 Afro-Cuban (2:24)... Medium Shuffle (2:32) 1- Bright Swing (2:44) 3/4 Swing (2: Broken Swing Fee Ballad (2:36)... Up-Tempo Blues (3:09) Man fon Nan Son, ESSENTIAL STYLES FOR THE DRUMMER & BASSIST * Book Qne 3PERFORMANCE/ LISTENING SUGGESTIONS This medium funk groove requires that the drummer ‘The bass drum part should reflect what the bass player is playing. The snare drum on beats 2 and 4 is a necessity! Ac the end of measures 2 and 4 there is activity in the bass part, as well as in the drums (especially beats 3 and 4, which are long-sounding notes). As the track progresses, the intensity can be increased by moving from hi-hat to the dome of the cymbal. Be careful not to hat. overplay the fi “lock in” with the bass player. Fas | ‘The bass figures here need to be short for the most part. Notice the increased rhythmic activity at the end of each two-bar phrase leading to the next one. This corresponds with what the drummer is doing and helps give the rhythm section a unified feel, FUNK © R&B * POPROCK # FUSION4 ee te) _ Widnes pias) claus c2ey Beau 02s) Bee eo ear Pee ty fee! nn f 3 VAR. A sae iD a Bea He 9 ». a anee Clots eter Blokus Gor eos obs Acris Bho 4 4 pase Cindss es) Phos Vay clas et — eiulus old) J i ee 7 fore, LOOT ST) wy & it A FUNK * R&B * POPROCK* FUSION 5[ PERFORMANCE/ LISTENING SUGGESTIONS The drums must construct a groove that compliments the main accents played by the bass. A steady eighth-note beat with quarter-note accents on the hi-hat helps keep the groove relaxed. In the B section of the tune, there’s a different feel primarily due to the fact that the bass changes to a more legato style. p match this style change, the drummer should simplify the sna drum and bass drum parts. The last two measures of the tune incorporate some long articulations that should be reflected by the drums as well. As the band vamps, the drums become more active. Bs | The bass part of this cut has a syncopated figure that repeats at different pitch levels. Ie is mportant to play the hythm accurately, taking care not to rush the 16th notes that fall on upbeats. Dig into the last four quarter notes to launch the sustained section back into the thythmic groove. Notice that even during fills, the L6th- note upbeats are an essential part of the figure 6 FUNK * R&B * POPROCK # FUSION el “an dd a a a elFL e€@ eb Ge 7ab FUNK * R&B * POPROCK * FUSION 7 a”, Ss Mossab EM eus CHa Guits a ay? Kl ara 2" s dsl Le eee. sree W'sys| PERFORMANCE/ LISTENING SUGGESTIONS Dron “This track is almost machine Tike in that the drums are simple but constant. (You'll notice that the snare drum sound is on the bright side with a slightly “gated” effect.) The bass drum plays on all four beats, while the st drum plays on beats 2 and 4 are a few “pushes” in that the drums act independently of the bass part ‘This is our first groove using, the dhumb-slapping technique. Notice how the high D on the downbeat is approached: the 16th-note C just before the downbeat is played, and is then slurred into the following D, which is not re-plucked, In the last sa ee”. notice that the band figure comes on the last 16th note while the bass note is played ‘on the downbeat. ae el ae! aga a lalJ 208 A a 2 Lo DS. | avame. FAE| FUNK * R&B * POP-ROCK + FUSIONSST PERFORMANCE/ LISTENING SUGGESTIONS | Druns | ena waeri [Bass | 7 chord. ‘The style ssa Because this cut is primarily a ae pase esr rls figure; all the embellishment Fe eee are soloistic in nature, and th ae ion tacks insect player should do whatever he > or she feels fits the style, the drums set up a comfortable “groove pad” for sree ae a the bassist to play over, being ny pile sroupe wih ye | careful not to cover what he is doing, 10 FUNK © R&B © POPROCK * FUSION actually jutsBass ene AD oe) 69 a= =e Yeoren . 3 FUNK * R&B # POP-ROCK * FUSION| PERFORMANCE/ LISTENING SUGGESTIONS Be This track combines two For this groove, it is best to | Drums concepts: funk and jazz BASS | set crisp attack on the bass " shuffle. ‘The bass drum syncs | notes. The right hand should with the bassist while the pluck the strings a little closer snare drum plays on beats 2 to the bridge, and the pickup and 4 and the hi-hat plays a balance favors the bridge jazz ride, pickup a bit more. ‘The rhythmic essence of this groove is the swing feel of the 16th notes; the bass plays two In the first ending, there’s a melodic figure which the drummer must catch. important groups of two 16th In the bridge, con notes, one on the downbeat achieved by moving to the and the other on the upbeat Jc cymbal; fills are done ‘of two. The first note is long ly and the second one’s short. J of the measure is, filled with longer notes which lead into the next downbeat sp he A strong understanding of jazz is important in this style. ‘Triplets are the underlying rhythmic feel 12 FUNK © R&B © POPROCK * FUSIONBass Fauy? Paina Seng 20-18 Sime l= = = Ges) cae gat Oni? Bud en > Ej? FP Cw’? Fanaj? C2 sus warn Bisaef FUNK + R&B * POPROCK * FUSION 13PERFORMANCE/ LISTENING SUGGESTIONS This is a bright shufile wl , funkier rock ‘This bass part switches back [Bass | anions econ pc figure and a slapped figure. many ideas from the previous tune. Notice that in the It’s important to make the intro, the bass drum is played transition between the two on beats 2 and 4 to create different right-hand drive and energy. techniques smoothly and at the same relative volume level. Following the intro, the beat incorporates a sextuplet pattern in the hi-hat. The Concentrate on playing the bass drum part closely beginning figure together matches the bass part. with the keyboard, matching both phrasing and articulation. I played the beginning figure with shorter notes to give it some thythmie bounce, then Playing on the dome of the lengthened the notes when cymbal will help create slapping to create that glide intensity in this tune. up from low “G.” ‘There are some stops that 1. ‘The fills at ack should must be observ. the end of the have a loose, “swing” quality, Take care to hit the rhythmic figures in the B section don’t play too busily. and 14 FUNK © R&B © POPROCK * FUSIONFUNK * R&B * POP-ROCK * FUSION 15Rc a SCY A PERFORMANCE/ LISTENING SUGGESTIONS This rhythm and blues track | Drums | also incoxporates a number | Bass “ Notice that in the A section, the notes are short on each jazz eleme change, but get longer as they shuffle don triplets, ead into the next harmony. which are played on the hi The B section is simply the hat blues with a walking bass line tin ‘The notes are longer and filling during Notice how thi concentrated in the lower register to create alone is used fi i fat sound, — the intro. When the hi-hat enters, itis kept slightly open to create a looser feel. The ride cymbal is used in the B section to contrast the tightly closed hi- hat in the repeat. Experiment with different tensions on the hi-hat. - Watch for the fills at the end of measures 4, 8 and 12, Swine FEEL By e0ten) Hi-Har paums 16 FUNK © R&B » POPROCK » FUSIONdae » o? GC? ec Gur Dos 2S: FUNK * R&B * POP-ROCK + FUSION 17ane - PERFORMANCE/ LISTENING SUGGESTIONS | Druws | cenretaprnnt te Bass triplets, At this slower tempo the bass notes should be longer. Stay in the lower register to add bottom and to create a “meaty” sound. High notes here for any stretch would not be nearly as effective. The figures in the first part are important to eatch (short setups will help keep the band together). ‘The ride eymbal is played throughout most of the tune, Fills should consist mainly of eighth-note triplets : (or 16th-note triplets for more excitement). A strong backbeat on the snare drum is important - 18 FUNK © R&B * POPROCK # FUSIONea oeer otf enss 49 Yq) Dbs ee? A0%3) G? 2? D9 oP ae Oc Griy Av) FUNK * R&B * POP-ROCK * FUSION 19PERFORMANCE/ LISTENING SUGGESTIONS |Druns | The drum sound on this cut should be more open in order to match the guitar’s power chords The intro is a series of drum shots which eventually establish the groove. ‘The tune uses eighth notes extensively in the bass drum, hi-hat and fil bassist plays straight eighth notes in the A section while the drums join in on only a few of the cighth notes. Notice that the ride cymbal is used again in the B section. [Bass OCK & ‘This bass part has short, repeated eighth notes in the ‘A section, then longer notes and a more linear approach in the B section. It’s important here to play as simply as ‘possible and to concentrate on establishing the groove. 20 FUNK # R&B © POPROCK # FUSION.a) [a [rage z ro FUNK * R&B © POP-ROCK + FUSION 21IGHT CROSS-STICK FUSI i PERFORMANCE/ LISTENING SUGGESTIONS [Dros] sts [Bs_| ss rhythms. Stay register fora whil The cross-stick on all four beats combined with the (open/closed) hi-hat er smooth, repetitive, yet interesting feel. Notice that the bass drum closely matches ‘what the bass player is doing some low notes to push forward later on. Playing the figures together an ensemble is the most challenging part of this cut As the tune progresse: ride cymbal rep! hat and the drum fills increase in both frequency and intensity throughout the vamp. workout on h out—try new soloistic ideas as you play along, 22 FUNK © R&B * POPROCK + FUSION- Bea) J -w-150LOW FUSION VAMP & PERFORMANCE/ LISTENING SUGGESTIONS ‘The bass is probably th active instrument in thi vamp; everyone els along. Even though there drum is gradually introduced. Watch the volume of the Loth ing hi-hat notes in the oj the soloist 24 FUNK © R&B © POPROCK * FUSIONLT an FUNK * R&B * POPROCK + FUSION 25PERFORMANCE/ LISTENING SUGGESTIONS The concept of this 7/4 vamp [~~~] The main concept to keep in | Duns | is struetured, but has a loose | Bass | minal initially is to play the ee “eal figure as written, and to get used to the odd- . Repeat ie until ie Fels natura, then experiment with ‘embellishing it slightly. ‘T is also a good veh neter f ‘The ride eymbal has no fixed pattern but instead plays loosely and lightly around the groove. ‘The bass drum, having the freedom to change the pattern subtly switch a Latin-style groove. The le for drum soloing while the bass part remains a solid constant rhythms in the p erial to play off of when soloing. no part provide m Ik is extremely important to continu practicing until you are comfortable playing and soloing over odd meters. As demonstrated in this tune, subdividing in odd me extremely important. ‘This particular vamp is subdivided into 3 groups of’quarter notes: 2 +2 +3. Exp with other groupings as well (ic. 342420r243+2, ete). 26 FLUNK © R&B * FOPROCK # FUSIONRACK # 12 LLG J 1 BLiay 2 —— a i F/ey FIG Ba—Amint Fete me i ales ; Je ee pean tls SS Ee | C eb sas b pisos . FUNK * R&B * POP-ROCK © FUSION 27PERFORMANCE/ LISTENING SUGGESTIONS Reggae is presently a popular ——]__ This bass line needs the low style which has both Latin | Bass | Play the figure first as and jazz roots. ‘The wo key |” _} written, keeping a nice lid- elements for the drums are back reggae feeling, and then experiment with some figures of your own. Pay attention to differentiating between the short and long notes bursts are all characteristic of reggae. All of these can be accomplished, or at lea simulated, on the drumset ‘The release on this tune is ina backbeat blues” style. Fill material consists of triplets or ath notes with a swing feel 28 TUNK + R&B © POPROCK * FUSION.RACK # 13 Bass Dip A = SS FUNK * R&B * POP-ROCK + FUSION 29PERFORMANCE/ LISTENING SUGGESTIONS “To have an authentic fel, ts absolutely essential to | Bass understand and to listen L_ ta carefully to the rhythm pattern which defines the bossa nova, rush the anticipatory eighth The main thing here is nov to note, and to add a slight accent to beat 3 for e Notice that the acoustic bass is used on this cut, It sounds ‘This particular bossa nova good on long, low notes, so groove starts with a play them once ina while and brush/stick figure allowing it Jet them ring fora beat or plenty of room to build. ‘This two—take advantage of the is not necessarily a warm sound, It’s best in this char: teristic of all bossa instance to avoid the high novas, though the cross-stick register, because the thick rhythm and the bass drum texture in the rhythm section rhythm pattern are essential requires that the bass provide elements. the low foundation. Notice ‘As the tune continues, the also that ee i bias bs ‘eross-stick pattern varies and intensity laser de ooo i bass should help this boost by using an implied double-time feel for a bar or two, with a are added. Later, there’s a switch to sticks and ride cymbal to further " few high notes and a little ght-hand attack. These are all devices for subtly ng intensity. increase the tume’s int 90 LATIN (BRAZILAN/AFRO-CUBAN)RACK # 14 BASS fa) Ami Qui? e? Bui a Atalsus vy Dati? Glo Gmaj? Fnaj? wv Bub eu B Ami? Gite? Gut? a? ee Burbs ers Ente br Ares = Se Dani? a ce Fay? Bhuj? Bwi7bS 6709 Anyi? arts LATIN [BRAZILIAN/AFRO-CUBAN) 31er PERFORMANCE/ LISTENING SUGGESTIONS ‘This up-tempo samba opens ‘The long notes in the first DRUMS | with the bass drum plying in | BAGG | two bars give a sustained unison with the bass, and the quality until the third bar, hi-hat establishing “time” where the main figure of a while the eross-stick pattern short note on beat I and a « constantly changes to match long note on beat 2 (in 2/2 the tune’s development. time) begins. ‘The bass figure should copy the feel of the percussionist as he/she plays the surdo. For variety Notice that the volum balanced throughout with the and the bass drum in particullimot piaverd tie push forward, the downbeat loudly can be anticipated occasionally. ‘There are a number of dl thythmical figures which need to be executed smoothly without interrupting the groove. The percussion part in the track (a large drum) play 3 of each measure. (The floor tom may serve this function in the absence of a surdo.) _ eatures a surdo don beat ° 2 ° ° eos (Alesi,7 es . B 9s) Bri? eo ay” 32 LATIN [BRAZILUAN/AFRO-CUBAN]eH? xi? als hy? Ft? 9 a as e Be Beda. (Feo Fund 3- Iz 9 Ae parts | Bm? BAUS. ye intas ay [Pass ara LATIN [BRAZIAN/AFRO-CUBAN) 33WEDIUM SAMBA i PERFORMANCE/ LISTENING SUGGESTIONS |Druns Many of the fast samba’s here. You will notice that the ‘This samba is slower, but the short/long pattern wit emphasizes long note stressed. Aj beat 3 (the primary beat) while the bass drum plays the hi-hat patteri gain, the ction of ine has some long notes bar of the verse standard samba bass drum that glide into the samba feel, (However, notice the setting up a nice use of quarter notes on beats tension/release technique. 3and 4.) ‘The cross-stick weave through the chart, va it phasizes the musical lines. In the chorus the ride cymbal enters to change the character of the tune, Pay particular attention to the commu of phrasing, concepts between the drummer and bass player. 34° IATIN (BRAZIUAN/AFRO-CUBAN]Lae eee ee ee a ee ee ee ee eee nay aw) He Peg ne | BASS Ami? a7 entlan?) “ems 09 obs E’cus €7 Tend 09 BST? En? = I Bes Ed Al at? e928 BP ibe Gants oo bay Blew. ctabs eg =? a Ess ey, gv Amines?) Aan? File? = Bp Bah Eni (ana?) Emi D aagis 6749) Bae Emi? Blom, or Eni Cars?) Emi? Aw? » Guns? C°4mag? ths Pp ely Em Ceibtt en/D ey = wr & “Em? c Emi ea ea a 3B? Pee 2 Ang? Guag9 Fm? BP @ sos 279 Bae LATIN (BRAZILIAN/AFRO-CUBAN) 35LOW SAMBA & PERFORMANCE/ LISTENING SUGGESTIONS ‘The bass drum’s role here is Th. | inthis cur, the fret bass DRUMS | simitar to that of the surdo BASS | plays a short improvised I played on beat 3 of each “~~ _} melody—you may want to measute. (The action of the experiment with soloing over hich helps emphasize beat 3 this. as well.) ‘The cross-sti pattern remains unch: bass part is similar to the other two samba feels, ged to but the bass plays help lock in the slow samba notes for a nice little fift at the feel 2nd bar of letter B. Filling is very sparse. At the end of each phrase, there’s a “suspended feeling” achieved by light, airy cymbal fills. In the C section of the wine, you will notice that the bass dr matches the bassist’s thythmic style. 36 LATIN (BRAZIIAN/AFRO-CUBAN)ens BID? %q Cm? i = ‘ > : +s 9 De Ye 67-9 esos ev-9 Dai? 9 673 at? Am? Ana ehunls. Baur AHsas eH EHC) Chau? e505 cas B'Sus Ad s Aves LATIN (BRAZILIAN/AFRO-CUBAN) 37Se a PERFORMANCE/ LISTENING SUGGESTIONS [ws] Sts. [Bus ‘The accents come on the be pianbeilcda! had upbeat of 2 and on beat 4. Notice the surdo’s ace makes an appe: py this style, gas] Benj? sv: Qmas? Osos maj? 3B LATIN [BRAZILAN/AFRO-CUBAN]Yaa Bsus Burke Ors Ana? AY ous Almas? _AP es PP aad AMsas Gui7he oy Fuaj? cone Fu 5 2nd Gloises Pni9 Eas (Bl bans? Ay? Aonai9 Dui? Athos 22 Bnaj9 (er ah Bn? cleb Abn (ap pb 2763) Aes C7sus Ae. ————S j Bar eli file 7 Ei? C?sus ee LATIN (BRAZILIAN/AFRO-CUBAN] 99ZEUS PERFORMANCE/ LISTENING SUGGESTIONS Draws ‘This 3/4 samba has all the characteristics of the other sambas but note how the cross-stick follows the piano comping, The bass drum utilizes the note concept itself to 3/4 time by hth notes in beat 3 playing ¢ ¢ fills for the kicks at the end of the phrase must be smooth and subtle ension at the end of hhas a suspended 80 dissolve the groove using light cymbal and tom fils | Bass Since this is in triple meter, there is no short/long division of the bar as in the Beat 3 is the heavier, emphasi This cut has nice hi be sure to play the duple meter lone. the E iminished chord. Chopin will love you! 40. LATIN (BRAZILAN/AFRO-CUBAN!cd ea we TD T_T Tg. Ca cot Ried je Bass of hy 7-9 aeteb ebaay? =n) oe 2 = 2 a a ae 7 fe Asus Any? (2 my) 04s Deis Oe Be 9 ot . Guites Chole rai? Bren BPC) Acialsus Kat Dt at ats ai ahahy Dubs __ Gros LATIN (BRAZILIAN/AFRO-CUBAN} 41PERFORMANCE/ LISTENING SUGGESTIONS [Daun The cha-cha is elegant Shoplet Foust [Bass comes from the q cowbell hyd note guiro-like hi-hat figure unchangi drum pattern. However, if you listen closely, you'll hear a subtle bass drum alteration which was done to add a touch of color, (There is also a “funk” cha-cha, where a snare backbeat is at 3.) hit on ‘The bass stays in the medium- high register throughout, which gives this style a feel. The most difficult thing is to remain constant and steady without embellishment a2 LATIN [BRAZILIAN /AFRO CUBAN)Yee LATIN (BRAZILIAN/AFRO-CUBAN) 43,PERFORMANCE/ LISTENING SUGGESTIONS ‘To understand this style, one Til pecina of the “clave rhythm.” ‘This repeated two-n se ¢ phrase establishes the time frame over which the music flows. ‘There can be a 3-2 “reverse clave” rhythm, This tune uses a reverse cla rhythm, The cowbell pa plays a eascara pattern, a rhythm usually played on the timbales’ shells. (The drummer generally emulates that sound on a woodblock, drum shell or cowbell.) The varied caseara pattern works as well if not better ‘The repetitive mambo bass drum establishes the repetitive foundation, When playing with a percussionist, the di what his role or function is. mer must understand ts | This style is quite involved, amine the piano part and how the bass part fits inte he bass line is just like the baion except brighter, an the eighth notes are sometimes played shorter than the quarter notes. it, 44 LATIN (BRAZILIAN/AFRO-CUBAN}RACK # 21 cose St 1 fi vd od Jyh ieee Nis Rt Satara 4 (unser) ona , As LATIN (BRAZILIAN/AFRO-CUBAN) 45PERFORMANCE/ LISTENING SUGGESTIONS |Druws | » The songo groove is very popular today in the United. Seat ‘Two key elements are the steady quarter-note cowbell and the mambo-style bass drum: This style, unique because the bass and piano never play on down beats, is fan to play once you get used to the thythmic displacement [Bass | with a nice relaxed feel, so ice playing something (a scale for instance) with a tronome and play on all the upbeats until you can — steady without producing tension. ‘The vamp is similar to the mambo, but has ane piano pa wh n more involved really fun all the parts come together 46 TATIN (BRAZIUAN/ AFRO-CUBAN)LATIN (BRAZILIAN/AFRO-CUBAN) 476/8 PERFORMANCE/ LISTENING SUGGESTIONS [Bass | | This 6/8 Afro-Cuban groove, | Druns | aie furn to play with a commonly © pereussionist! The naiigo scems to lend itself to unlimited polyrhythms and accent schemes, soloing over this This tune eventually launches into a two-bar vamp afi percussion solo. ‘Th nergy of the piano solo really fuels things, and the bass part plays either ina veat Feel with eighth-note feel. Watch out for the 3/8 bars and the drum breaks. 48 LATIN (BRAZIUAN/AFRO-CUBAN} VeeSevanP oe eee x , — Ko i ~ Baus? aui7v?t§ Gu? 2 a Fb = DS. LATIN (BRAZIAN/AFRO.CUBAN) 49PERFORMANCE/ LISTENING SUGGESTIONS [Drums | “The sound of the drums is very important in this tempo shui ed for fusion just don't work in this stylet medi Drums tw Dig in and feel the bass notes. There must be a strong emphasis on beats 2 and 4 in ashuflle. ‘The bass drum may be used ina variety of ways: J) _ FMA 4 ead ‘Bass | We return to the acoustic bass now for the remainder of the tracks. This style starts out with a walking b. heavy back-beat. ‘T cight measures in length, anda consisting of two four-ba phrases. Dig in gradually increases in intensit over the course of this tune ‘The bi ere isa very strong and basic onic progre: notes t do not lead strongly will sound languid and too many will thyvart the entire effort, so make sure you understand how these harmonies work. Figure them out at the piano 50 JAZZme TRACK # 24 Swi ree Davos 2 ka ee ae? to Dw De GP a? 7% ah ols EY WP Athy peDEC oe Moms Aja PERFORMANCE/ LISTENING SUGGESTIONS [Dawns MEDIUM SUING BRUSHES. 3 This medium swing tune should have a light, airy quality to it. The tune requires a triplet feel, with the hi-hat underpinning it At the beginning and the end, the bass play two- beat feel (emphasi ice that the bass s accordingly. For contrast and intensity, the drums change to sticks behind the piano solo. +) as, | This tune has a four bar tag at the end of the standard 32- bar progression making it a 36-bar progression (AABAstag). Keep thisin — mind when you play this tune; losing the form will almost — certainly kill the momentum. ‘This is a good example of the — « var, Red Sad frBulls 6789 aS Dros a? SS | Ges) oat a? Ne are idea lO eee y 2 eb? @ F% 3 = Ee’ Ban's 2735BASIE GROOVE i PERFORMANCE/ LISTENING SUGGESTIONS | Druns | We couldn’t get the incomparable Count Basie Band for t % session, so we've assembled some of the most pportant elements of the band’s style Particular attention should be given to the Freddie Green: style guitar playing (strumming lightly on all four beats). “The closed hi-hat gi asie-style character to tune nings, heard atthe top of this chart. But as the tune continues, you'll hear the traditional open/closed as bass drum and little or no snare drum is also characteristic of the Basie style As the tune builds, the hi-hat becomes looser and looser until th cymbal combined with a beat 4. ‘The key controlled 's a switch to ride cross stick 0 to this groo intensity. (as This is your basic “Basie” e hi-hat fora chorus npo is a bit bright, while the style is clear and iu mee OFa fm IRACK # 26 | I [ L 3 | | | | [ | BP ab7 a ce? he Gt Cui? _—F?. , = 4 | . Bie Gas Cwi? —? of Baw ? ee = = | [ r | + @ Cust? Ff? : r == Zz i | r . JAZZ 58.PERFORMANCE/ LISTENING SUGGESTIONS pee This eloquent 3/4 swing is Laying down a swing = [Drums] sinssinimiwtsen [BASS | snr Senecio interactive dialogue with the adds both sustain and a legato feces ene to let your bass sing, beautifull style. “The bass takes a solo, which is imperative (and fun) in a trio contest, 90 feel here. With the bass ly playing downbeats h bar, there is room for 1e drums to fill subtly. pea oes be prepared by taking the ine some of me ro ¢} ie hi-hat and snare work = these harmonies at the piano. mn (Another tune in D Whit the bass solos, it should flat—sorry about that!) be supported tastefully (without get because most bass players don’t like to play over silence. in the way), Try to create a subtle dialogue with the bassist 36 JAZZ] ee et/pP bai Zo? Dey Abani? ater ee Fut? Bhai? _ Deh ala) Gril Cb DP Abui? Gey eter ee rah poe ass oe ae Fa? Es En as ee — : = = eu Ala) CPeb SS = = Ay @e%/ob_ Dh hip beg Boni? LP DY - pea = ae a9 Ab7s95 Ab? - SS Jazz 57.Case PERFORMANCE/ LISTENING SUGGESTIONS [Druns| Sissies [B without the usual ride ass. | eal eee Me walking feel but breaks the rhythm. ‘Thi between players with interesting rhythmic interplay time up, allowing forsome — — everyone listening to and It’s good to become taking ideas from one with this kind of ima another bass playing rather than being locked into a rigidly-defined rhythmic role, because it It’s important that one be constantly aware of the stimulates creativity. Asin of the melody as well as the most real-lil 1e’s form as the tions, the entire t longest bass solo is in the - 28th tune of the set! entire rhyt incorporates these elements Notice that behind the bass solo, the drum comping is closely keyed to what the piano player is doing, ‘The best drummers are always sensitive to what the pianist is playing, and often respond rhythmically to their - comping. ‘This track really never goes to a typical walking four-be: feel although it could have é done so. Give ita try! 5B JAZZUa Der Gui? Fai? Bh Me D/H Cu fe cle paneer areal JAZ 89PERFORMANCE/ LISTENING SUGGESTIONS [Deus “This ballad is best played with ‘The number of notes a bassist brishey and & Iecofsizale | Bass | may play ih any given time ceymbal. In fact, the sizzle cymbal greatly contributes the notes sustain, and in no toward the establishment of style is that more evident than: this track’s overall mood aslow ballad, Ifyou have a bass thar will nor sustain for — one or two measures at this «mpo, it’s shopping for a new frame is affected by how long, Notice the subdivided triplets throughout, along with the light bass dr beat of each bar, Notice also the different colors of the hi: m on the first me to go instrument. This is the place _ to let the richest, longest notes sound s0 choose your notes carefully. A wrong one is going to be heard fora help give you a good sense of wile hat, Be sure to listen to the bassist’s phrasing for it w when to fill a Ballads are actually one of the more challenging feels tw play well, requiring a meaningfial and expressive interpretatio The choice of notes is dictated by the harmonic movement, s0 the bassist’s jc is to get a rich sound and to — try to capture the tune’s mood. 60 jazzea ats Bro Eni? ot Am? (Po) pr Esus O49 Gwe Oni7tS Emi? Cai? Brats PO anil’ ebdin Dios 3? aS == Ee 279 Ami? Drbo Eni’/D Fag BK) at Cmaj? Fis Eni? otys§ ped) 9 Ew? BO Ami? DEY ae = TT ee ee nee = TITTEMPO BLUES PERFORMANCE/ LISTENING SUGGESTIONS This straight ahead burning his tune isa straight-ahead {Drums | ‘Ghaee Suee TaRenes | Bass | salkes TaN NGAGE ide rhythan” on the Fide the pedal point in some of the cymbal JnAelAa later choruses builds intensity. E rhythms that the drums play ~ mine some of the differen against the walking, bass and “The eighth notes must also be the pedal points. It is - played on snare and bass interesting to hear how the drum. drums react to and support ‘The relationship between the idea, ‘Those are the piano and drums is extremely moments that make music important at this tempo, for fan! Notice how the d you'll notice that the piane and bass both come down in — and drums catch man together in support of the soloists, intensity for the piano solo without losing forward momentum, Iv’s impo When the bass plays a pedal point (repeated pitch in the bass) the drums really open up! to create a fresh beginning fo the new soloist and to maintain the overall intensity ~ 62 JazzJAZZ 63 PETARSTEVE HOUGHTON: Jazz Drummer Steve Houghton is perhaps one of the most well rounded jazz drummers the business. Be it bi band, small combo oF cutting-edge fusion, Houghton plays it all Atier completing his studies at North ‘Texas sity, Houghton began his protes with the Woody Herman Band at the age of 20, Since then, St formed and recorded with an impressive list of jazz heavyweights in a variety of styles: big, band with Frank Mantooth, Toshiko Akiyoshi and Lew Tabackin, Doe Severinson and Les Hooper; small combo with Freddie Hu Billy ‘Taylor, Bobby Hutcherson, Billy Joe Henderson and Gary Burton; modern fasion as a member of Seott Henderson’s “Tribal Tech.” In addition to his professional experience as a performer, Houghton has also bee: ming at jazz festivals and teaching jazz and traditional symphonic percussion as an “artist-in-residence” at universities across the U.S. and Europe. Because of his strong connection with the mainstream of jazz, Houghton is exceptionally qualified to instruct young aspiring jazz musi ability to e¢ cate with student effective as his instrumental prowess. In addition to serving as the National Percus sion Chairman for the National As of Jazz Educators, Houghton also sits on.the board of directors of the Percussive Arts Society and teaches at the world-renowned Grove School of Mus Houghton maintains a busy studio schedule, recording for television, movies and commer cials, and has authored two definitive texts for jazz drummers: A Guide for the Modern Jazz Rhythm Section, and Studio and Big Band Drumming. nL oe TOM WARRINGTON: Jazz Bassist OZ} Long respected by his peers, Tom Warrington is — Zf currently one of the most sought-after bass play. Los Angeles. ‘Tom came to L.A. from New York City where he spent three years touring and recording with the Buddy Rich Band a two more years touring Europe and the U.S as.a performer and clinician with the John McNeil Quartet. 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