mes _# = UTE ee a1 ci) (cea)SERIES MER TON au The Dave Weckl Band “RHYTHM OF THE SOUL” w/o DRUMS By Dave Weckl The original fulkband version of The Dave Weck Band— “Rhythm of the Soul” The Payers Cre compact disc ($CD-9016-2) 's available at finer record stores Chatsworth, CA, 91313 everywhere, or 1 here, of call 1-800-551-5299, ee ea Original “Rhythm of the Soul” Email PCinfo@playerscircle,com Cover art ©1998 Stretch Records. Inc, Dave resentation: Ron Mos Monogemen Contact: Danny Byrnes 2635 Griffith Pork Blvd, los Angeles, CA 90039 Phone! 213-660-5976 Fane: 213-660-9967 Email: DanBymes@compuserve.comacknowledgments Thanks, as always, to my wil for accepting and suppor Joyce and daughter Claire ng my life as a musician. To all at Yamaha Drums, Zildjian Cymbals, Vic Firth Sticks, Remo Heads, Shure Mics, LP, XL Specialty Cases, May Microphone mounting systems, Warner Brothers Publications, Rob Wallis, Paul Segal, all at Ron Moss Management/Agency, Danny Byrnes, Mark Francovich and all at Stretch/Concord Records Music composed, produced, recorded and mixed by Dave Weck! and Jay Oliver. Mastered by Jay Oliver Project Concept: Players Circle Coordination: ‘Text, Drum Transcriptions and Charts: Text Editor: Music Typesetting: Graphic Design: Art Direction Services: Front Cover & Inside Photos: Back Cover Photos: musicians Jay Oliver Tom Kennedy Buzz Feiten (All except tracks 5 and 7) Frank Gambale ( 5, 7, + melody & solo on 1, melody on 9) Bob Malach (1, 2,4, 9) Steve Tavaglione (3, 5, 6. 7.8) roduction Dave Weck! Dave Weckl, Jay Oliver, Marco Breidenbach, Paul Tortora & Paul Tortora Jr. Dave Weck! Rick Mattingly John Cheas Greg Dahl & Jay Oliver Greg Dahl Designs Alex Zolca Tyler Bendertable of contents KEY INTRODUCTION ... DEFINITIONS .. . The Zone: a driving straight-eighth tune with a slight swing feel i 2. 101 Shuffle: a grooving blues/jazz/rock shuffle . 3, Mud Sauce: a slinky New Orleans feel. 4, Designer Stubble: a funk/rock tune, driving and grooving, 5. Someone's Watching: a mesmerizing mood/groove piece. 6. 7. 8. . Rhythm Dance: a funky, syncopated groove tune....... . Access Denied: a 6/4 driving fusion/jazz/rock blasting tun: . Song for Claire: an R&B ballad—hands and brushes time! 9. Big B Little b: a funk/fusion tune with an extended drum solo over a vamp CHARTS ... key : ° + os Hitt Open iho Cedi Hho w/lot == Gymbal = Ball Gosh Tom! Tom2—Tom3— Floor Tom Snare Drum Bass Drom Susioin o¢ Abbreviation for Ghost note buzz ol four os (play very sab)introduction Hi, and welcome to the “In Session” Play-Along series. This package features the music of The Dave Weck! Band ~ Rhythm of the Soul CD, without the drum tracks, so you can play along to the music. ‘The music WITH the drums is not included in this package; It Is assumed that you already own the Rhythm of the Soul CD, which is available on STRETCH/CONCORD records. For years now I have been asked by many fans and students to provide a “without drums” package to accompany my solo recordings, and this is the first step in satisfying that request. Like my other play-along packages (The Ultimate Play-Along 1 & Il, and Contemporary Drummer + One, available through Warner Bros. Publications), this package focuses on chart-reading, development and my musical concepts within a band, and it gives you the opportunity to create your own drum parts and play along with some of the greatest musicians on the planet. FUN! The main difference with this package Is that it really is like sitting in on a real record dlate-one in which YOU have been asked to replace MY parts! musical conception for “Rhythm of the Soul” and the “IN SESSION series” My partner in most of my musical adventures, especially my solo recording efforts, Is the great keyboardist/composer Jay Oliver. We spent a great deal of time conceptualizing the writing direction of Rhythm of the Soul, and we discussed what we really wanted to say musically. After some long conversations and digging up our past influences, we came to the conclusion that the music that affected us the most emotionally—that made us happy when we listened to it—usually pointed toward older RAB/groove-oriented music. We decided to compose songs with that style in mind, combining it with the improvisational aspects of jazz and the melodic concepts of vocal pop music in an instrumental setting. The end result was a different kind of album (for us anyway), that we feel combines a lot of great styles and is very listenable, for both musicians and non-musicians. The CD was mostly recorded live in the studio and focuses very strongly on that concept—a live band playing good-feeling music. The “In Session Series” for the Rhythm of the Soul CD allows you to “sit in" on that session and become part of the band, creating your own grooves and parts, while benefiting from the instructional value of the charts and chapters in the book. Each chapter includes my musical concepts for each song, transcriptions of the basic parts | played, and occasional suggestions regarding alternate parts, giving the user of this package unprecedented insight and instruction. Above all else, I hope that you HAVE FUN with this package, and that you also have, and are enjoying, the Rhythm of the Soul CD. Enjoy! Dave Weck!the charts (and the importance of reading music) It would be fairty easy to sit down at the drums, put on the CD in this package, and play a fairly respectable drum part without even looking at the charts, But that's neither the total intention of this package nor the most beneficial approach for you. I feel very strongly that if you cannot (or de not) read music, you are missing a great cleal of the actual intent of the composer and the internal aspects of the song, and therefore more likely to just “blow right over” it and not pay much attention to detail (i.e., dynamics, breaks, groove changes). I've found that being able to read and interpret a chart greatly enhances my reputation and ability to get the part FAST, with no preparation or advance knowledge of the music. You can imagine the benefits of possessing this ability. It has meant the difference in whether or not | get called back to doa gig (quite a few actually) where the ability to read music is crucial. Job calls such as radio/TV jingles, movie soundtracks or last-minute calls for live shows would not be possible to accept without having the ability to sight-read music. | recommend getting your hands on as much reading material as possible— snare drum books being a good place to start. Once you have acquired a good, solid foundation and a knowledge of basic rhythms, the art of reading (interpreting) a chart can begin. The concept should always be in your mind to make good music. Always remember, too, that a listener will NOT be commenting how well a musician is reading, but instead will (or will not) be moved by an artist's musical approach and emotional input to a song. So, the use of your ears is also very important when reading music. In other words, it still has to sound good. | have occasionally run into situations where what was written on the chart didn't make any sense compared to what I was hearing. and so | ended up re-writing a bar or two (or the whole chart) so that it made more musical sense to me. Transcribing music, drum grooves, solos, etc., Is great reading practice. The more you see the rhythms and relate the sound to the notation, the easier it will be to actually sight- read and play a musical part. You have to learn to trust your eyes as well as your ears, but you have to LOOK at the chart and get used to doing both. A package like this is a good place to start, “rhythm chart” that you The charts contained in this package are slightly more involved than a basi might encounter on a recording session or at a rehearsal. A “typical” chart is hard to simulate, because depending on the leacler or arranger, these parts can vary drastically. I've seen everything from slashes within barlines and little else, to exact drum grooves (and occasionally fills!) written out in great detail. NOTE: The measure numbers in the charts found in the back of this book may not match the measure numbers in the other corresponding “In Session, Dave Weckl Band — Rhythm Of The Soul” books (keyboard, bass, guitar and sax). However, the “section letters” (A, B, C, D, etc.) will match.definitions of things you will see: 1, Intro—this is the introduction to the song, before the melody or body of the tune. It may re-appear a number of times in the song. 2. Letters (A, B, C, etc.}—these serve to identify sections of the song. Example: (A) melody; (B) bridge; (C) chorus; (A2) Melody the second time. 3. D.C. or Da Capo—means go back to the beginning or top of the chart. 4. DS. or Dal Segno—means go back to the: % 5. CODA—the end of the piece. The coda is usually played after taking the D.S. or D.C. and is indicated by the sign. For example, if you play through the chart and come to a “D.C. al Coda” marking, you jump back to the top of the chart and when you come to the measure with the §¥ sign (usually directly above a barline), you then jump to the Coda. 6. Repeat signs— [ = J means play the measures within the repeat signs again, or as many times as indicated. 7. 1st and 2nd endings— Repeated sections will sometimes have Ist and 2nd (or more) endings. The first time through, play the Ist ending, then go back to the beginning repeat sign. The next time through the section, skip over the Ist ending and play the 2nd ending. If there is a repeat sign at the end of the 2nd ending, repeat the section again, skip over the first two endings and play the 3rd ending. If there are no repeat signs in an ending, continue on with the chart after playing that ending. 8, Repeat measure signs— % means repeat the preceding measure. 9. Repeat measure signs (grouped) — ue means repeat the number of preceding measures indicated. 10. TUTTI—means to play as written with the band. 11, SIMILE—means to continue in a similar manner. 12. SFZ—or sforzandio, means to accent the note then immediately get soft. 13. RITARD—means to gradually slow down 14, FERMATA— sometimes referred to as the “bird's ey means to hold the note under which it appears. 15. CRESCENDO— —— means to get louder from the beginning of the marking to the end of it. 16, DECRESCENDO— —— means to get softer 17. VOLUME (DYNAMIC) MARKINGS: PP oF pianissimo —very, very soft P or plano —soft mp or mezzo piano —moderately soft _mf or mezzo forte —moderately loud For forte —toud ff oF fortissimo —very loud 18. PUSH (or ANTICIPATION)—an anticipation to a downbeat, usually an eighth or sixteenth note, 19. HIT—an accent that some or all of the rest of the band is playing.THE ZONE veg Conceps Jay and I wrote this song around a funky guitar loop (which Buzz later took and turned into his own great-feeling riff and a co-composed bass line. The feel is one that | love to play—a straight-eighth feel—but with a swing to it underneath, so all the internal subdivisions are more triplet-orfented than straight-eighth. The melodies and harmonic content was partly inspired by the legendary saxophonist ‘Tom Scott. It is meant to be a fun vehicle for Jay’s brilliant organ soloing, with the emphasis on “feel good,” especially from the drum part. There is a hi-hat click throughout the song, but it's mixed into the track so you can focus on the feel of the band, The Explanation ‘The song starts with the Rhodes alone (no count-off), with the band entering after four bars. ‘The hi-hat part was the focal point of the pulse and feel; it didn’t feel right to me unless I did this swiping motion from left to right with the right hand while playing the eighths, similar to what Ringo Starr does at times to create his great feels. The general feel from within was one of a swinging nature, so although the basic groove is straight eighths, any time there is a sixteenth subdivision (as in bar 4 of the Phrase) it swings. Technically, this means it would be more like part of a sixteenth-note triplet than a straight sixteenth note. Fig. 1 shows the basic groove I played in the A sections of the song, el Too Fig. 1 You'll notice the bass drum does not play ALL the notes that the bass guitar is playing (written in the chart). I chose to orchestrate my part around the bass, really laying for that push (sixteenth note) into bar 4, making the groove a four-bar phrase. This was created very early on in the composing stage, thus laying a nice foundation for the melody and other parts to go on top. ‘The feel becomes straighter in the B sections, with sixteenths becoming the subdivision. The B section has lot of eighth-note pushes (or anticipations) to the downbeats. | wanted a groove that kept the forward motion going while still paying attention to the offbeat pushes, thus the open hi-hat where notated, Fig. 2 shows my basic part for the B sections: os e+ = oS te LOT CAA ee = = eI} / { oe Fig. 2 ion, with the “country/New Orleans funk” guitar breakdown, is back to the “swingin’” feel. | went to the rims on the snare and a sort of ‘standard “second line” bass drum pattern. | really wanted to open this section up for the organ solo, creating lots of space. I felt the rim part provided the desired attitude, rather than just a hi-hat part. Fig. 3 shows the basic idea of that groove. ‘Rhytum ofthe SoutRemember to swing it! 8 I changed my part slightly at bar 31 to go more with Tommy's bass part. See Fg. 4 Bar SH io The organ solo at D should build as it progresses, so my part needed to do the same. In situations like these I remember something Steve Gadd once sald in an int iterview. He basically said, “Always try to build ‘on the foundation of what's already there in your pattern; add to it, don’t just change it.” (That's not exactly what he said, but the idea was definitely conveyed.) With that in mind, where it says “more motion” in the chart (35), | attempted to add a straight-elghth hi-hat part (using my second hi-hat on the right side of the kit), while sell keeping the vibe of the rim part, along with the snare hit on 4 with my left hand. | continued that concept in the next section (37), going to the ride-cymbal bell on eighths, maintaining the hi-hat eighth-note part now with my left foot, and stil keeping the basies of the rim/snare part. This is @ very effective way to build a solo section. (These parts are not transcribed, as they are basically just add-ons (© the basic part shown in Fig. 4, replacing the rim on 4 with a snare drum rimshot from the “more motion” section on out.) When we get to E, I played basically the same pattern as i n the B section with the melody, only here the organ solo is continuing with his last eight bars. The only difference is that the right hand hi-hat part stays up on the cymbal from the previous section, but | still (red to keep the ‘open hichat part with the left hand. (Also not written out; see Fig. 2 for the basic pattern and replace the hi-hat .g the bell on the quarter notes, and try to play the open hi-hat part with the left hand), part with the ride cymbal, playiAfter the hits at the end of E (bar 46) we play Intro 3 at 47, then D.S. to A2 with the repeats, play B and take the Coda after the 7th bar of B. The Coda has two big quarter notes on beats 3 and 4 of the bar, leading into the melody section at F. | basically just kept the same vibe as the B section (straighter feel), but return to the ride cymbal, following the crescendo in the Coda bar. The guitar solo at G leans a little more towards the swing side of the groove again. Hig. 5 illustrates the basic of what | played in this section. This is an eight-bar phrase and there are pushes in bars 7 and 8, the second ending (and” of 2, 4 and 2 respectively) that should be paid attention to, always remembering that the groove and forward motion should keep going.101 SHUFFLE ng Conzele One of my favorite feels to play and listen to is the shuffle, which can be looked upon as a fusion of jazz and rock all in one groove. There are many ways to approach this groove depending on the vibe of the song and the desired effect from the composer/arranger. In this song, given the instrumentation, Jay and I wanted to lean towards a blues/rock type of shuffie, while still incorporating the inevitable jazz influence that we both grew up with. There is a lot of grooving going on in this song behind the melodies and solos, but there are figures (rhythms) the band plays that need to be “set up” from the drums, a /aa “big band” vibe. There was no “click” on this tune; I created one for you in some of the more open sections, but basically you are playing to the band’s “feel” as we recorded it. The Explanation The song starts with the keys alone again (who's record is this anyway?), with the band entering after four bars (no count-off again). | played a long buzz roll that actually starts very softly in the fourth bar leading up to the downbeat of bar 5. As I said, there are many ways to play a shuffle, to “voice” the kit, so to speak. | sometimes like to define the sections of a song with changes of color or groove, so in the Intro, | start with a full shuffle on snare and ride cymbal, then go to the open hi-hat at letter A. | accented the snare on 2 and 4, and the cymbal (and hi-hat at A) on quarter notes, almost ghosting the other strokes of the shuffle, This is a personal decision as to how I wanted it to feel; you may want to play it more evenly. Fig. 1 shows the basic groove of the Intro, and Fig, 2 shows the hi-hat groove at A. Ride cym ‘The quarter notes on the bass drum are not played all that loud; it's almost more of a jazz approach here, and is “felt” more than heard. | didn’t play it quite as soft as if it were a jazz shuffle, though— somewhere in between loud and soft. In bars 15 and 16 some hits occur with the rhythm section as the chords rise up to the IV chord. Again, there are a few ways to approach this. My general rule where “hits” are concerned is to never let the forward motion or time suffer because of the accents. One thing | almost always do to achieve this is keep the hi-hat going on quarter notes with the foot, either in a “splashing” manner or a tight “chick.” This helps maintain forward momentum and creates the feeling that you never stop playing time. Hg. 3 and Fig. 3a show the basic idea of a couple different approaches | use throughout ‘Session with me Dave Weck! Bandthe song, as this rhythm figure happens quite often, even in the solo sections. marsacsq HFoot Fig. 3a Measures 17-20 have some melody figures written (I went to the ride here to outline the section change); they are there more to show you what's happening, although | did play with the sax in bar 18 on the snare only, and again in 20 with the sax and whole rhythm section, as this is, going back to the tonic chord. | kept the left foot hi-hat going on quarters, and played a ‘small fill leading up to the hit on the last triplet of 2 and the “and” of 4 with the snare and crash, allowing the bass drum to come back in on the downbeat of 21 (back to the open hi-hat again). The end of 24 going to 25 is a natural place for a small fil, so | played some triplets on the snare on beat 4—no big deal, just something to fill the space. The next eight bars are sort of a “call and response” section with a rhythm figure in 25 and 26 (written above the bar), answered by a sax fill for two bars, then the rhythm figure again for two measures and a response from the guitar. (Again, | outlined these sections by going to the ride for the figures and the open hi-hat for the responses.) The figure is a tricky one to make groove, and at times may be best left alone so the time stays consistent, and so there is counterpoint between the figure and the groove. One approach | used (if paid attention to it at all) was to play the figure with the ride cymbal bell while lightly filling in some of the triplet subdivisions with the snare (still accenting 2 and 4 though), keeping the quarters on the bass drum and hi-hat. An idea of this can be seen in Fig. 4 bar zs] 2 a8 a3 a oe poe ty 4 Continuing on with the chart, at 33 is a first ending. that is the Intro 2 vamp for four bars, which will repeat back to the melody at AZ. Measure 36 has some hits with the keyboard, so again the rule of “don't let the time die” applies. | used an approach that really helps to lock in the figure. as the tendency is to rush something like this. | played triplets on the snare throughout the bar at a soft level, playing the accented notes along with the keyboards. My preferred sticking was to use the right hand for the accents and everything else with the left. Again, to keep the time going, I kept quarters going with both bass drum and splashing hats. Fig. 5 illustrates what I just described: ‘Bhythm of the Soul . oo 1Crash Eefoot Fig.5 The repeat at A Is basically the same thing again for the whole melody section, so to make a difference | went to the ride cymbal instead of the open hat. | also made a little more out of some of the figures that | purposely laid back on (content-wise) the first time. This is something that needs to be scoped out before you ever play the chart, while you are checking out the “road map” (D.S.'s, Coda signs, etc.). This time we take the 2nd ending, which is a drum solo. I decided NOT to transcribe any of the drum solos from the album. I think it Is more beneficial for you that I talk about concepts for these sections and allow you the creative freedom to come up with your own solos and fills. You can obviously HEAR what I did on the Rhythm Of The Soul CD, which is how I prefer you come to know what I played. That way, It’s not Just a bunch of written notes, and you realize the FEEL of the notes I played related to the song and feel of the groove. So, conceptually, | fee! it is important to play something that feels good that the band can understand so everyone can come in on the downbeat. Act like you are composing part of the song, not just playing a drum fill, That usually means SIMPLIFY, and since we're in a triplet feel, try something triplet oriented that is simple enough for you to really make it feel good. Other things to always consider in ANY solo: RHYTHM, MELODY, HARMONY, and TIME. Try to play something you can sing back! (One suggestion would be to keep the hi-hat going on quarters and play something against that so the time feel is maintained.) The B section says “time w/rhythm hits—bass/sax melody.” My main focus here was to provide a different groove for the melody to play over. The hits are rhythm only, without the bass, so they shouldn't be too heavy. In fact, here the ricle cymbal bell and hi-hat become the time focus with not a lot of bass drum except for the hits. Fig. 6 illustrates my basic pattern for this section. BI = m3 Ce os 3 Fig. 6 The next section starting with the fill at 46 into C is really like a big-band hit section with the melody answering the hits. As with anything, there are a lot of ways to approach this, but my concept is, as always, to KEEP THAT TIME FEEL GOING! Once again, the hi-hat is my choice for that kind of subliminal time continuum. It’s in the background on quarters, but the pulse definitely keeps going. Try different approaches for this section (C) to see what feels better to you. I tend to always subdivicle rhythms like the one at 47. Fig. 7 shows what | might pl: » ‘Session with the Dave Week! Bandmen ~ 3 \ wo} oy hdl. : oe oa SS aT Ct) TT © ° be Pgs Cs Fig. 7 This section ends with a two-bar drum fill at 54 with the band hitting on the “and” of 4 in bar 55. | played a fil with a double-time feel (which was, of course. my choice and doesn’t have to be yours) that really ended on beat 3 so I could properly “set up” the band. Remember, in a live situation they'd be counting on YOU to set them up for the “and” of 4. The next four bars is the Intro 3 vamp, providing a ramp into the solo section at D, which is the same form as the A section. The organ is first, followed by sax and guitar. | like to give different textures for the soloists to play over, so | actually decided before the song was recorded how | would treat each one. For the organ I used an open hi-hat (although it was the right-side hi-hat, so it ‘sounded different than the normal one used for the melodies). The sax felt like it should be a little lighter, so I went to the ride cymbal and basically played less intense. The guitar went up & notch in intensity and volume, and I changed the bass drum pattern to a “Charleston,” which the keyboard doubled. | went to a swish/crash cymbal for the quarter-note ride, so the pulse was very intense and trashy sounding. Fig. 8 shows this pattern: = a Fig. 8 Notice the bass drum figure at beat 2 is written in just eighth notes. It is important to note that any time you see straight eighths written in a jazz/swing/shuffle tune (melody notes in 17-19 also), unless specifically notated otherwise, the notes are always swung. So the “and” of 2 that is written is actually the last triplet of 2, as most of the other figures in the other examples are written. ‘At 84 the guitar continues over what is like the B section. The rhythm section Is playing the hits, with the guitar solo ending at the “and” of 3 at bar 91. C2 is approached in a similar fashion as C, ending with another big fill into the anticipation as we D.S. back to A, A2. Since the melody only happens once this time, | stayed pretty intense (with the swish/crash cymbal combo). changing the color again by going to the ride at 17, then back to the trashy sound at 21. As this was the last time through the tune, when the figure at 29 happens, | made a little more out of it: I did a little double bass drum (pedal) thing in between the accents in bar 30 only. Again, it’s important not to attempt anything like this (when the red recording light Is on) if you can’t really “pocket” it. See Fig. 9Fig. 9 The Coda is like C, except where there was a melody in 48, there are now solo drum fills around the hits starting in 102. Once again, the concept was to play something that was solo oriented, but not too complicated that the band couldn’t follow it. Make it swing and feel good. The last fill in 108 should be an obvious set-up for the triplet melody figure in 109. | played as written here, leaving the melody alone for the first half of the bar and playing very “intencled” triplets on the snare to end it. MUD SAUCE Song Concept This song is inspired by some of the wonderful rhythms and feels from New Orleans. It isa tricky feel to play, as it hangs somewhere between straight and swing. It's a great feel once you get it, though, and that was my main concern—to provide a very relaxed, slinky feel for the melody and solos to play over. Again, there was no “click” on this song, so I created one for you—a programmed hi-hat in the background. Since this tune is all about feel, try to really pay attention to locking in with the BAND and not so much the click. Don't drive yourself nuts, though: there will be fluctuations in a groove like this, so just have fun with it. The Explanati. eft my actual count-off in from the session, and after two stick clicks you will hear me say “1-2-3-4," (with the programmed hi-hat “click” in there as well), at which point you will be at bar 1. The song starts with the drums (for a change), with an idea of what to play (note-wise) written out in the first bar of the chart. This is basically what | played on the CD, adding a flam or two on the accents. ‘The FEEL of it is the most important thing, as it needs to be swung, sort of, and really laid back. You are by yourself for four bars, then the bass comes in at 5. It's drums and bass for four bars, then the melody comes in at A. The soprano sax plays the melody with you and the bass, so it's still pretty light. I'm always talking about texture changes, which I made here by using a very small snare for the Intros and A1, then switching to my normal snare in the 2nd ending at bar 13. This type of color change has a great deal to do with how the drums can affect the atmosphere and evolution of a composition. So from 14-17 it’s basically the same groove as the Intro on the normal snare, ending the section with the hits in 17. Again, these must be swung, not played as straight sixteenths. At AZ it says to go to the hi-hat for the sax/guitar melody. Fig. 1 shows my basic groove at A2.[AZ| ES amar Fig.1 ‘One thing to note here is that this tune is written in the “half time” feel. This always is an issue (on sessions/gigs, as some arrangers prefer to write it in “two,” or cut time (the sixteenths would be it-time format). It's all the same; it just 5 will always write in “two.”) I can go either unts 2 and 4, not on 3 as it would be if this is feel especially, it's more laid back to feel which is more appropriate for the song. were written in cut time with eighth notes. Also, for thi it with a slower pulse, as it is written in this chart, Letter B is like the bridge of the song, and the written notes indicate a slight change to more of an eighth-note feel. The melody had a lot to do with how | approached this section, and | kepta bit more motion going than is written. Fig. 2 illustrates the pattern | basically played. B S +o +o +_o taf HHO + 0 + 6 gg Tl TL ed hd So roar Fig.2 Letter C is an extension of the bridge, with the quarter-note bass line indicating another change. | played pretty simple here, but was nted to keep the motion going. | went to the ride cymbal bell (mot too heavy) on straight eighths while still suggesting the swing feel with the bass drum and other voices of the kit. See Fig. 3 for that pattern, neg TTT ST J Z Sa r The next section is a release for the bridge, and the chart instructs you to go back to the snare feel, getting softer until the hit on the last sixteenth of 4 at bar 34, marked forte, then back to mezzo forte for the Intro 2 section that follows. | played the same thing | did in (for the release section at 31), but on the normal snare, with the hi-hat splashing quarters. Then "went back to the small snare and tight hats on the quarters, There's also a natural accent, al Pause on beat 4 in measure 36 that the keys play as well, that is not written, but I did pl Intro 1 for Intro 3 most a lay it. After the hit with the keys on the last sixteenth of 4 in 38, we're into the Suitar solo at D. As it says, it's just an easy groove, so | played the same basic pattern that | used at A2 (see Fig. 1). ‘At 43 the chart indicates eighths in the bass part, which is what the bass is doing, but doesn't ‘nythm of me Soutnecessarily mean the bass drum should do it too. | chose to orchestrate the drum part with the ride cymbal bell and hi-hat (foot) on the eighths, playing very solid and simple on the bottom. A basic idea of my approach can be seen in Fig. 4. [bar 43) From 43-47 is an odd, five-bar phrase, marked with a double bar at 48. These next three bars act as a release for the guitar solo, so | actually got softer with each measure. I also broke up the constant eighths on the cymbal and hi-hat, playing light crashes on beat 1 and the “and” of 2, but it can also be played on just the cymbal bell. Fig. 5 gives you an idea of what | played here (at 48-50), as | varied it with the crash or the bells Fig.5 The quarter notes in the 2/4 bar at 51 are marked long and have a crescendo. Instead of just playing the quarters as written, | played the eighths in between with the splashing hi-hat to help keep the forward motion going and also give the band some subdivisions. Fig. 6 illustrates this measure. 2/4 at bar 51 Cogs Fig.6 The sax solo at E can be treated a lot of different ways. The rhythm section is playing a unison rhythm, which is written on the chart. I played that rhythm with the bass drum, and went to the open hi-hat (my auxiliary hat on the right-hand side of the kit). This allowed me to play straight eighths on that hat while lightly splashing quarters on the left, or normal one. Fig. 7 shows what this groove looks like: aro oer There are a few “fill” spaces written in the chart, and the ones I did were definitely triplet oriented. The general rule still applies—to not take away from the feel of the groove for the sake of the fill; keep it ® {n Session witn the Dave Wect! Bandsimple and grooving. At bar 60 the groove goes back to the New Orleans feel, this being like the vamp sections at 14 and 35, except here it is the foundation for the continuing sax solo, and a bit more lively than just an intro approach. | kind of combined two different patterns here, and played the straight oe on the cymbal bell along with the basic feel | used in the Intros. Fig. 8 shows this pattern: —_ — == | tae ha Leo CI Fig. 8 | didn’t pay a whole lot of attention to the quarter notes written in 61 and 63—just kept the groove happening. Sometimes, especially behind a solo, it can get too heavy and distracting if the drums are playing EVERY hit. This feel goes through the 2nd ending where there is a fill around the melody notes leading into C2. | basically played the same thing this time that I did at C the first time (see Fig. 3). Bar 69 is the same as measure 31, which is the snare groove that gets softer by the bar until the hit going into the bass solo at 73. This also can be treated many different ways. | went back to the little snare because compositionally this is the Intro section of the tune, but since itis a bass solo, | played the hi-hat as well, basically playing the groove illustrated at Fig. 1, but substituting the small snare for the normal one. After the hits in 76, we go into A3 (back to the normal snare) and the basic same groove I played at A2 (Fig. 1). Since this is the last time through the melody, on the repeat (after the first ending) | went to the ride cymbal, playing light eighths on the bell and ghosting some of the sixteenths in between, keeping everything else the same. This helps to give the feeling of building and creates some tension, which is released momentarily at B2. | stayed on the ride here rather than bring down the level of intensity—not that it’s that intense to begin with, but I'm referring to sonic tension. The pattern is basically the same as B the first time (Fig. 2), but I replace the hi-hat with the ride, playing the bell on offbeats or on all eighths, This section has a first and second ending as well, so the second time is a little more active and the tension builds again to the held note in 87, where | played a fill leading up to Intro 4, which says to be “more soloistic” with the pattern. Be careful in these situations; | found that If | started to play TOO much in a solo frame of mind, it just didn’ fit the song musically. Same applies for the two-bar repeat phrase at the end. BE MUSICAL! (But have fun, too!) ‘Anytum ot the Sout 1DESIGNER STUBBLE jong Concept In the early stages of writing for this record, Jay and I were using technology to its fullest. Since we don’t live all that close to one another (L.A.’s a big townl), | would record a few measures ‘of a drum groove to DAT and send it to him via cyberspace. He would then sample and loop the ‘grooves and start putting down ideas. The foundation for this song was written in this manner. For some compositional insight, Jay had a completely different metody written and had the song going in another direction based on what we had talked about. We let it lay and came back to it later, starting completely over melody-wise, thus giving us a whole new approach to finishing the song. The basic drum groove was inspired by the legendary funk drummer Clyde Stubblefield. ‘We tapped into a few other influences here, and a few more of my favorite grooves and feels are present in the solo sections as well as the body of the tune. Once more, there was no click track when we recorded this (one has been created for you, though, and comes in after the first four bars), so you're playing to the feel of the band. The Explanati ‘After a two-bar cowbell count-off, the song starts with the guitar; the drums enter at the tail end of bar 4. | didn’t do too much, just sort of a 5-stroke roll, if you will (starting on the “and” of 4) into the downbeat at measure 5. | wrote out the basic kick and snare parts on the chart, since they were such a big part of the composition early on. The hi-hat part | came up with helps create a lot of the vibe and the feel. Obviously, this is MY approach; you can (and should) most certainly try something different. Hig. 1 shows my basic groove at bar 5: L RL RR eo bet ete ° FAA, Fa — = R Sno R Fig. 1 It's just drums and guitar for four measures, with the bass and keys in at bar 9 for four more measures. This basic groove continues for the A section, which is two four-bar phrases. At 21, the melody starts in the same manner, with a descending harmony, all hitting together ‘on the “and” of 4 in bar 23. The figure in bar 24 is the bass line, with a drum fill into the half notes at 25. These are big hits, and | played them as is—no forward motion here. The second half note is tied over into the 2/4 bar, so make sure not to play anything heavy on beat 1 of that 2/4 measure. | started playing the hi-hats with the foot on quarters there, and played a simple sixteenth-note snare fill with a big crescendo starting on the “and” of one. Bar 27 is Intro 2 for four measures, the same feel as Intro 1. We go straight into Bat 31, and the groove basically doesn’t change much, as outlined in the chart. | may have played a cymbal bell or two with the hi-hat part written in Hig. 1, but that's about the only difference. ‘The double bar at 35 is sort of a reprise of the last half of the A section, and that whole section isthe same approach as the first time trough A, with a different fill in the 2/4 bar. Intro 3 is the same approach as the other intros, drum-wise. Letter € is the first major departure as far as the groove is concerned. The chart indicates four quarter notes on the kick and 2 and 4 on the snare, which is exactly what I played, along with a slightly open hi-hat elghth-note pattern, slightly accenting the quarter notes. It is important to note here that the feel changes slightly to more of a swing feel. Remember the basic eighths are straight, but any accents or subdivisions are slightly swung. Fig. 2 illustrates an example that | played at the end of the first ending (48): c The second ending is an eighth-note melody line, with half notes played by the bass guitar, | kept the backbeat pattern on the snare, hitting crashes on the half notes with the bass. | played a small fill around the two quarter notes on beats 3 and 4 of measure 50, still attacking them though. The ‘solo section at D is from 51 through 67, TWICE—first for the sax then the guitar. Both endings are good at 58 and 59 for each solo. The feel is basically the same here as it was at C. The harmony goes up a minor third in the fifth bar of D, and back down to the tonic chord again on the repeat. Letter E is a new section, a bridge for the solos, and the chart says “driving eighths.” I played the eighths on the ride bell, and also started a pattern with the bass drum that Jay picked up on the second time around, behind the guitar solo. Fig. 3 shows that groove. The guitar solo ends coming out of the second ending (68) into €2. | played almost the same way here as | did at C the first time, except the bass drum has more motion and the hi-hat is more open. That groove can be seen in Fig. 4. tea To Oo oO A similar melody line that was played in bar 49 happens again (in a different key) in the second ending at 73, with the same half notes in the bass. It’s the same approach as before from the drums, except beats 3 and 4 are nailed this time (just drums, no cymbals) going into a two-bar drum solo that ends on beat 4 of bar 76, with the guitar playing his pick-up on that note as well. nyt ot the Sout ®As usual, try to lock into the click and play something that feels good and fits into the pocket, setting up that quarter note on beat 4. Bar 77 is just the guitar with some sparse fills. | played some rock-oriented fills around the guitar, leaving lots of space. At 80 we D.S. back to 27, or Intro 2 (really Intro 4), which is treated in a similar manner as the other Intros. This time at B I went to the ricle cymbal but played the same groove on the bottom. Fig. 5 gives you an idea of the part | played: Fig. 5 At the double bar (the A reprise, bar 35), I stayed on the ride to help keep up the intensity, playing bigger, more intended fills (fatter notes, more of a rock vibe). Bar 41 is the last Intro, where | stayed on the ride cymbal, jumping to the CODA at bar 45. Here | went to the trashy sound of the swish/crash combo cymbal, and played a bit more free, but still within the context of the groove,SOMEONE’S WATCHING ng Concept: Every song on Rhythm Of The Soul was a “co-effort” for Jay and me, composition-wise, except for this one. Jay pretty much had it in his head, written around a mesmerizing keyboard pattern he created, vocalizing the melody as he played. The vibe of this piece dictated itself to me—lots of airy cymbals with perpetuating sixteenth note motion on the ride. While singing my part before | actually got on the drums, | kept hearing a backbeat on the “and” of beat 3 with the bass line. | heard this as a very distant sound, though, not just a snare. | ended up Putting a towel over at least half of the drum with the snares off to get the desired effect. (A distant reverb was also part of the sound that I envisioned, so that needed to be added while tracking and, of course, in the mix.) That's basically the vibe on this tune—not too heavy, ever, and nice atmosphere created with the cymbals. The click (no count off) on this is a shaker—a more “musical” approach to having something to listen to for the pulse. The Explanatio The chart pretty much describes the fee!—light and airy. The keys start it (again) and cymbal fills are welcome at the third bar. | had some very thin cymbals (a 15-inch Azuka and 22-inch Oriental, and some other Zildjian crashes and rides) that made up a big part of the sound of this track, drum-wise. Just some swells here and there in bars 3 andl 4, into the time at 5, which is Intro 1. The bass line is written at bar 5, and this is what I based my whole pattern off of. The dynamic marking is p, so | just played cymbals and a very light bass drum. The hi-hat was played in an open fashion with the foot on the “and” of 3 with the bass, Fig. 1 shows an idea of what I played: {bar 5) Fig. 1 This pattern stays the same through A, and at 17, which is a vamp between melodies, I brought in that snare (with the snares off and the towel) on the “and” of 3—not too loud, sort of that “distant” thing I mentioned earlier. The hi-hat changes up a little, too. Fig. 2 shows that basic pattern, which is the same at A2, where I also change ride cymbals for a new color. 2200 OM oe + Fig. 2 Letter B goes up a notch volume-wise and, as you can see in the chart, the bass pattern changes and repeats every bar, | followed this rhythm with my bass drum and played the “and” of 3 every bar. The rest of the pattern (cymbal and hat) is similar to Fig. 2. This whole section increases in ‘nyt ofthe Sout aintensity until the held bass note at 36. | played a light tom fill that actually started back in 35, kind of spacious and light, stretching across the two bars. There's no bass in the next four bars, so no bass drum on beat { there either, just back to the airy cymbals. The bass plays a fill into the Intro 2 section, where I went back to the first Intro groove (Fig. 1), and played the same through the bass solo, which is more of a transitional melody fill than a solo. The sitar solo, played beautifully by Frank Gambale, starts at C. | went back to the A2 groove here (Fig. 2), very easy feeling and light. The section repeats four times and builds a little in the last four bars into the sax solo at D. The chart suggests a little more here, and | adapted a bit of an ECM vibe—a little more jazz mentality than before. It's still mostly cymbals though, not too heavy, especially from the bass drum and bottom of the kit. The groove basically stayed the same, however, with the “and” of 3 pattern on the snare. The section resembles B in that it is a new chord every measure, so more motion is appropriate. Measure 76 has a rhythm that everyone is playing, and it's always a question as to how to approach this type of thing. Fig. 3 shows what | did around the written rhythm, then it's just cymbals for the next two bars. bar 76) Ride Fito HA Fig. 3 At 79 we have more of a bass solo, still only eight bars though, again more like a transition. I went back to the Intro groove, hinting at the snare on the “and” of 3 at times to keep that theme going. A3 is the same groove as A2, and BZ is the same as B; however, since it's the last time for the melody, I put a bit more expression (volume) into it here. At 103 we have the same release as 37 (no bass), so just cymbals here, Bar 107 is the Intro 3 vamp out, and | played the snare on the “and” of 3, just riding ‘out that way. The vibe here is just to mesmerize the listener with the repetitiveness of the groove,RHYTHM DANCE Song Concept: While discussing our past (and present) influences, Stevie Wonder's name came up more than once. Jay started playing a bass line inspired by those thoughts, and I started messing around with a very syncopated drum part. This is one instance where the voicing of the crums is all important, as it is not a standard groove. | wanted to compose a part that was rhythmically interesting and integral with the other rhythm parts, rather than just the normal 2 and 4 on the snare. The bass part ended up being the template for my pattern, which to the untrained ear may sound totally displaced. “The guitar part really helps to lock in the pulse here, until the bridge and solo section, which provide a release to all the syncopation and become more recognizable and “standard.” That doesn’t last for long, though, as the end melody and vamp-out go back to the playful “dancing of rhythms.” The Explanation. The intro is the bass line doubled with the keyboards, with the chart saying “HH Time.” You can ‘obviously approach this however you see fit musically. I chose to play broken sixteenth on the hi-hat with a definite accent pattern creating a two-bar phrase, playing the bass drum on beat 2. Fig. 1 shows this basic pattern. > BAe TBA i. _ it ir 7 Tf Fig. 1 ‘Once we hit bar 5, we go into the syncopated pattern of the song. I chose to write out ‘the basic groove on the chart since it was such an integral part of the composition. If your ears tell you to play something different, by all means, feel free! But this is a case where the composer has a definite idea of what the drum part should be. I embellished what is there a little bit. Fig. 2 shows my part for bars 5 and 6, which carries on through A, the vamp at 13, and A2. Fig. 2 I do vary the part here and there. One alternative would be to play bar 1 of the phrase a little straighter, and make a slight difference in bar two as well. Fig. 3 shows that basic idea. ‘Rum of the SoutFig. 3 There are four eighth notes going into B, with the basic pattern written out in the chart. I played that last eighth note in bar 20 on the bass drum, so the two-bar phrase starts there. The composition of this part was a little tricky to play and make feel good, getting from that “and” of 4 into the downbeat to start the pattern. See Fig. 4 for the part | came up with. Bs oe =z ot = This part continues until the “and” of 4 in 27, which is an sfz. Everyone is holding and building, but the drums should keep the time going (2 and 4 accented in the chart) and play a fill into 3 and 4 in bar 29. | played a sixteenth-oriented fill that stopped on the “and” of 2 so the quarter notes could really be set apart and nailed. A3 is back to the basic groove, ending the phrase with four eighth notes in measure 33, which lead into a one-bar drum solo. One thing I was taught a long time ago about drum solos, long or short, is to be aware what comes before and after, so the content of the solo makes sense musically. So, if you're going to “go off,” do it in the beginning of the bar so the last couple of beats set up the band to enter strongly at C, which is kind of a standard R&B pattern, with all four quarter notes played on the snare. Fig. 5 illustrates the basic groove | played in this section, showing how the bass drum reinforces the rhythm hits written above the bar. ee ee Fig. 5 At 42 there are some hits that everyone is doing. A nice way to approach something like this is by playing a sixteenth-note fill on beats 1 and 2, ending with the snare hard on 3, playing the written rhythm with the bass drum and crash cymbal, and playing beat 4 in between those rhythms with the snare. This keeps the groove going while still making the accents. Letter D is the Rhodes solo, where the whole groove changes up to a tight funk pattern. What's written on the chart is pretty much what I played. The solo should really “stair step” from the first sixteen bars to the next eight bars to the bridge, which the chart indicates. I went to the ride cymbal at the bridge, playing quarter notes on the bell, catching the eighth-note pushes with ‘In Session withthe Dave Weed! Bandthe bass drum and crash, but still keeping the groove going. The last eight bars starting at 59 go back to the original funk pattern, but I stayed on the ride cymbal because the next section goes up even more in intensity to the sax solo. Once again, I played almost exactly what the chart indicates at E, with the driving eighths on the bell. F is the C section again but the sax solo continues, climaxing with the hits in 82. There are cut-off markings at ‘AA, so | stopped the crash from ringing exactly on the downbeat of 83, creating a “mute” effect while the melody plays by itself until the band comes back in on the “and” of 4. Remember that when you come in, you're in the middle of the phrase—the second bar of the pattern. This is like the last A, so it's only four bars, then we DS. to B, where I played the same part | did the first time. Play A3 (really AS) and take the CODA after the eighth notes in 33. The dynamic marking is mfat the Coda, so that last eighth of 33 should almost be an sfz. The first eight bars are like a cool-down section before the sax and synth start trading for the vamp-out and fade at 91. My groove was basically as written in the chart, but about the third 1e through the trades | went to the offbeat sixteenth pattern on the hi-hat (similar to: B) —but only in the hi-hat; the rest of the pattern continues as written in 87-88.ACCESS DENIED ng Concept: Jay and I had talked about writing something that spotlighted the drums a littte more, kind of a fusion/rock type song. We were actually in the middle of writing another tune, in one of those “composing lulls,” when Jay found this distorted clav sound and started playing a pattern, to which | jumped on the drums and started playing along. It was such a fun groove to play that we jumped ship on the other tune momentarily and started working on this one. A funny bit about this one—Jay was playing triplets in 4/4, but | heard it as sixteenths in 6/8 (the chart is in 6/4 actually). We decided to go with my version, as it satisfied the desire for an uptempo, progressive kind of tune, It ended up having a “spy theme” vibe, thus the title. There is a cowbell count-off and click in the solo sections, but programmed musically, not just six quarters. During the body of the song there is no click, as there is a lot of motion going on within the band, thus a lot to grasp onto time-wise. The Explanat There is a solo fill outside of bar 1, so you get six clicks and you're in. | wanted to start this one off with a bang, with no question as to where it was headed right from the downbeat. | played a sixteenth-note fill between the hands and bass drum, starting on the biggest tom and going backwards up the kit to the snare on beat 6. EXACTLY what | played is not important; what is important is the vibe—STRONG! Bar 1 begins the Intro, with the basic bass drum/snare part written in the chart. With this kind of song there isn’t much room for subtleties, so | was either on the rice cymbal (usually the bell) or the swish/crash combo cymbal throughout the tune—changing the color depending on what else was. happening at the time. You could get by with just straight eighths on the bell with the kick/snare pattern as written. I, however, wanted to create LOTS of motion, so there were a lot of subdivisions and ghost notes happening. | played a couple different patterns for the Intros and A sections, with no set time or place of changing from one to the other. Fig. f and Fig. 1a show these two basic patterns. intro/A) bat, [ Ride So 8D, HH Foo! 6 tm Session with the Dave Weekd Band‘There are four dotted quarters in the melody at bar 8 that | really didn’t pay much attention to, continuing the time and playing a fill in the last couple of beats in the measure. This leads us into the B section, where you can see on the chart that the snare pattern changes to a backbeat on 4 instead of beat 5. To make a contrast, | played more simple here, and basically just added driving eighths on the cymbal bell to what's written. The hits on beats 4 and 5 of bar 12 are part of the melody and need to be paid attention to. The melody plays another group of dotted quarters in 14, which I played on the bass drum and cymbal, but | kept the snare on 4 for that consisteney of groove. The vamp at 17 (notice the Coda sign) is back to the Intro-type groove with the sax blowing ‘over the top (I went to the trashy cymbal here). The first ending at 20 is a solid sixteenth line with the synth. There are, of course, many ways to voice and phrase this. | usually mixed it up with the bass drum a little; Fig. 2 shows one variation I played (notice the accent pattern). [Ist ending-bar 20} _ = sae ee See : RRL Tog? Be Fig. 2 From here we repeat back to A, and for A, B and the Intro | played everything basically the same way. The second ending is that sixteenth-note run again, straight into a two-bar drum solo. It is important to keep the flow of the groove going in this solo, as it is setting up this next Tutti section at C. The chart says “time and hits,” which is what I did. I went to the trashy ride sound and a snare-on-4 feel throughout the section. The bass drum tended to go with the written melody notes on the chart. | played the eighths in 27 around the toms, ending with a bass drum and crash on that “and” of 4, then went to the normal riele bell and played the accents in 28 along with the snare. Measure 30 needs to be nailed with the band, and phrasing is very important. Here's what I played in that bar and the measure after it (see Fig. 3). sis Js PCP filem Fig. 3 The organ solo is up for interpretation; | played along the lines of one of the A grooves, but loosened it up a bit. There's a chord change at 40, so that corner needs to be identified (in other words, a fill into 40). Eight bars follow, and then the drum solo at E. The synth sixteenth part keeps going under you here, with some band hits every four bars. It is important to note that while playing along with this CD, as you will be here, is a different story than playing it or recording it LIVE with a person actually playing that part. Here, you can basically get as crazy as you want with no regard to the synth part, because it will always be there. Live, you have to be aware that the synth player needs to somewhat understand and be able to HEAR what you are doing, time- and phrase-wise, within the pulse. Otherwise, what's known as a “train wreck” will occur—not a good thing.So, my suggestion is to play this tune in a couple different ways, depending on your mood and practicing schedule. First, have fun with it and go for the stuff you can't do yet; it will give you some ideas as to what you NEED to practice. The second way would be to act like you are in a recording session. Don’t overplay your ability, try to really MAKE all the breaks and hits, and concentrate on the time feel. The guitar solo follows the drum-solo section at F with the same form as the organ solo, and has the same basic approach from the drums. At 79 there is a chord change, which is the eighth bar of the last phrase of the guitar solo, setting up the D.S. back to A. I went back to the trash cymbal here, since it was the last time through that melody, then back to the ride bell at B, playing basically the same way as | did before in these sections. After the big fill in 16 we take the CODA, which is another Intro type vamp with the sax walling. One more sixteenth run in 83, right into the Tutti section this time, with the ending on the “and” of 4 in 87. The hold is a huge rock-type ending, with everyone going for it. You'll just have to listen to it a few times to try and get the last hit. Good luck! SONG FOR CLAIRE jong Concept: The late Richard Tee was the musical inspiration behind this RAB ballad. His keyboard wizardry is sadly missed throughout the industry, and especially by the people who were lucky enough to play with him, as | was many times, from my first “big” gig with Simon and Garfunkel in 1983, to numerous recordings and a band called “Who It Is” with Cornell Dupree, Will Lee, and occasionally David Sanborn. Jay and I were both inspired by Richard long before | worked with him. This song was written in memory of Richard, and at the same time in celebration of a new life. My wife was about to give birth to our daughter as we recorded this song and the rest of the record. Claire Elyse Weck! was born june 7th, a healthy, beautiful baby girl. So, no matter how you look at it, this song is not about DRUMS; it’s about feel. | played mostly with my hands or brushes on the snare, allowing Jay to add his touch within this style. There Is a two-bar count-off, along with the shaker that continues as the click. The Explanation The song starts with just the drums, with the hands on the snare, as the chart indicates, To make this pattern feel good, | needed to add some subdivisions and phrase it a certain way. Fig, 4 shows my basic pattern. Intro) g Rt Rt oe fea ee Bret ———When the keys enter at bar 5, | changed the pattern on the snare to one that, in my opinion, would fit better with the melody at A. | didn’t want to start the tune that way, but | wanted to Introduce it before the melody actually started. | decided to illustrate that change in the chart. Again, | embellished the basic pattern with subdivisions and accents to help the feel. See Fig. 2. bar5-A] i op ei cRireckr Sn thonds a HHFoot Fig. 2 The B section, where the bass enters, can be approached, as with anything, in many different ways. ‘One basic | used was to keep the sixteenths rolling on the snare (different accents, wherever you like) and reinforce the bass notes with the bass drum and open hi-hat, following that line with the snare as well. AZ is the same basic pattern as A the first time, followed by B2, also the same concept as B. At 46 it says “to Brushes,” so the hard part here is making the switch without sounding like you're making. a switch. If am playing music that | know in advance will require more than just sticks, Iwill put the brushes/mailets, etc. out on a “tray” (a chair, drum case, whatever will fit and things won't roll off of), usually next to and slightly behind me on the right side. This way, my left hand and feet can keep things going while I put down one thing and pick up another. Here, | am going from hands to brushes, so it’s a relatively easy transition, ‘The pattern I played at C is pretty close to what is written on the chart. The bass drum is light (the bass is sustaining) and the hi-hat is played on either quarters or on 2 and 4. With the left hand, I kept a counter-clockwise sweeping motion going to create the sustain that the brushes can give, playing the written pattern with the right hand, accenting 2 and 4. | changed the feel slightly at D (the bass starts a sixteenth-oriented, but spacious, pattern) by playing the hi-hat on offbeat eighths, creating a double-time effect, still maintaining the “half fee!” with the right hand on the snare, and changing from a continuous sustain with the left to more of a cabassa effect, stopping on 2 and 4. The bass drum changed slightly too. Flg. 3 illustrates this groove. RH: Sn, Sy 5 = PRifeor Fig. 3 The D section repeats twice into 59, which is the end of the guitar solo. There is a two-bar phrase that repeats twice, with a fill indicated in the first bar of the phrase. | definitely approached this fil space as a time-oriented one, basically just embellishing the groove. The notes written at 65 and 66 ‘are what the rhythm section is playing with a melody on top of it. | kept the time going through 65 with hi-hat splashes on quarters, then stopped everything In 66 and played a sixteenth-note cymbal fill along with the keys.At the double bar at 67 | went back to the hands (another switch, this one harder because you have to lay down the brushes undetected). It says “hands or brushes” on the chart, and lately, playing live gigs with the band, | have been staying with the brushes. Play it the way you hear it; it is good practice to attempt the switch occasionally. This is the B section (B3) that serves as an interlude or intro as well, and that sets up the last time through the melody at A3. | approached this all the same way as before. Be aware that it is a nine-bar phrase this time, so you don’t want to turn the corner tao quickly and play a fill in bar 7 and a downbeat in bar 8, because it’s not the top of the phrase yet! Bar 80 is the second half of the A section into B4, which repeats this time. The four-bar repeated phrase at the end goes back to a funkier type feel, so | played something similar to what | did in the guitar solo. ESSERE SCS AEE BIG B little b ng Concept: Since most of the groove ideas in our writing concepts early on featured medium to slow tempos, | wanted to also play something up, a bit more exciting. | came up with this groove and e-mailed it to Jay. He came up with the basic bass line of the A sections, and a Rhodes part that fit in great with my groove. It stayed in its raw form until we were together later on, well into the composing stage. It endedi up becoming one of the more blowing and open tunes ‘on the record, ending with an extended drum solo over a vamp. (Have fun!). There is a cowbell click throughout the song, with a two-bar count-off (eight clicks). The Explanation: The song starts with the drums alone, setti In situations like this, if the bass line (or any other rhythm) is written in the chart as it is here, I use that as a rhythm template for the part I will play. Fig. 1 shows the basic pattern I came up with, which carries on through all the A sections and vamps/intros (13). [Intro] -—— - Fig. 1 AtB the groove changes up considerably, and | played pretty much what is written on the chart. I went to an open hi-hat playing eighth notes while accenting the quarter note. AtC the rhythm goes back into a similar one as A, with pushed sixteenths at the end of every bar. | played bar one of Eig. 1 for every measure of this section, then after the rhythm in 36, it’s back to the two-bar phrase at Intro 2 (Fig. 1). This four-bar section ends with a tutti rhythm into the suspended time at 41. I stayed on the cymbals and implied a half-time feel for these two bars. AtD there is another tutti line that the rhythm section is playing, while the sax starts soloing sparsely around the band, The written figure shows the phrase with the accents, and I played almost exactly what's written again (with a closed hi-hat on quarters), as it fits the section well. «0 ‘Session withthe Dave Wectt BandThe bars with the holds and rests (45-46, anc 48-49) is where the sax, and to a certain extent YOU, sort of solo. It was meant to be a playful duet with the drums and sax, but not TOO soloistic from the drums. Once again, there are many ways to approach this. Try whatever you hear, always remembering your number-one job is to keep the time feel going. The second ending at 51 has quarter notes walking up to the chord change, and it resolves again in 59-60, with bar 63 marking the midway point of the sax solo. It continues at the double bar (64) with a funkier, but not too heawy, feel. This section was open and we got into this pattern that | started, with the snare on the “and" of 2 in the first bar of the two-bar phrase. Fig. 2 shows an idea of what | played here. Bear in mind that it was an improv section, so my part was never exactly the same for any two bars. bar 64) fie Bl - = WA Fig. 2 Bar 79 is the walk-up to the IV chord again, and the same concept as 64 applies here, with the rhythm in 87 being the resolve to the I chord. Bar 88 marks the beginning of the last four bars of the solo, so it gets intense and builds up to the hits in 90-91, into the melody section at E. The rhythm in 97 is with the melody as indicated; I just accented it with the bass drum and kept the rest going on top. It all climaxes with the section at B2, with some melody hits in 103 as well. For these hits I tried to create a little more tension within them by adding some motion while still playing the rhythm. Fig. 3 shows that basic idea. Hits in BZ bar 103 Ride Sn PRE Fig. 3 This continues into the C2 section—same vibe as C the first time, except I stayed on the ride (quarters) to keep the intensity. This is a tricky groove to play and it took me a minute to work out, but it has a nice feel once you get it going. See Fig. 4 for this pattern and the stickings. [cz] © : * . Deshi p + SNorHH (tH closed) Fig. 4The hit on the “and” of 3 in 113 is with the rhodes and bass (so not TOO heavy from the drums); after that | played a fill (a la big band style) to set up the band hits in 114, hitting the downbeat of 115 (and 114 too). The voicing you use for the Tutti band line is really up to you; the important thing, as always, is that you make it feel good and treat the figure as if it were part of your time groove. This leads into a repeating two-bar phrase that you can have fun blowing over! With a solo like this, even though it is YOUR solo, there is a rhythmic riff happening. under you, so once again you have a responsibility to play in a soloistic manner that feels good within the pocket or groove of that rhythm. Of course, as mentioned earlier in the book, when you're just playing to the CD there's no “groove or time police” to keep you in line. 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Bie st bm Pet 101 Shuffle Someone’s Watching _ Song for Claire POURS ta Dae Ura La ee eRe ire Cera ortega eas eee sort the player, the musician, the artist. Our goal is to provide meaingful, helpful tools that not only offer a fun REN ec cna eee Ree eer Bs et ees apie hae os cnnp Nop rreees