TUCO Vee LEVEE 1-VOL, PA aULTIMATE PLAY-ALONG ~|FOR DBUMS svn on VOLUME ONE I i | DAVE WECKI Pupuisneo py Manuattan Music, Inc.™ © 1993 MANHATTAN MUSIC, Inc. ‘Ali Rights Controlled and Administered by CPP Media Grow CPP Media Group and Manhattan Music are divisions of CPP/Belwin, Inc. Al Rights Reserved. International Copyright Secured. Made in U.S.A. Disrarporen By CPP Mepis 15800 N.W. 48r AYENUE ‘Mua FL 33014 (305) 620-1500 ‘Any copying of this material in whole or in part without the express ‘written permission of CPP/Belwin, Inc, is a violation of copyright law, ——— —oQo i ACKNOWLEDGEMEN' “Thanks to all at DCI, CPP, Yamaha Druros, Zildjian Cymbals, Vie Firth, LP, Remo, AKG, Fishman Transducers, and Bagend Speakers, Hevsic Pronucrion Dave Weckl oconnune ano Minin Jay Oliver, Dave Weck Au Couresrions John Patitucci, Dave Weck rooanas ano proces Jay Oliver Rock Goran Carlos Rios ‘Dass Gurran John Patitucc ‘Duns, oven roocRa nn Dave Week Boox Lavour asp Dastor Chelsea Music Engraving | Hoste Trevenaray Bill Reeve ‘Arr Daneman Jack Waleip ‘PROOFREADING ANB CONTINUITY Emily Moorefield Proce Coompicrvon Steve Holloway Coven ane [xsipe Paovos: Ricardo Betancourt ‘Avnto wasrane ny Kou Scamsizn ar Furor Dise/los Axctixs12 7 21 YONTEN Inrropucrion Straicor Eicaras Stareenru Feri. Rocu Suurre Rock Bauap lam Stratcut~Aueap Jazz Rocx ’x’ Rou, Key Hicbst Open hichat Closed hi-hat Hi-hat w/foct Ride Cymbal Ride Bell Crash: ‘Tom! Tom2 Tom3 Tom4 Toms Snare Drum Bass Drum — Sustainor Abbreviation for Terral Toursiesnte play vey soy)In order to get the most out of this package, you should have abasic background in ead ing rhythms, basic notes, and rests within a measure of music. ve provided simple guide line (ehychm) charts for each song, There are many ways to waite out charts; but this is me approach that I see often. Sometimes the composer will just give you whats called a lead sheet, which is basically the piano chart. In those situations you have to ask alot of questions concerning the groove and fee ofthe piece, and make notes to yourself on the chart thatwill help you. Sometimes, i have time, PU write out my own charts, Istrongly recommend doing this. It will makeieasie for you to play the music, plusitis good prac- tice for note reading just to write out rhythms. The charts included here will familiarize ‘youwich the basics of chart reading, These ae the things you will see: INTRO. “The introduction tothe song, hefore the melody or body ofthe tune. Lerrers (A, B, C, ETC.) ‘These serve to iden sesione ofthe song. Example: A melody B bridge C chorus. D.C, or Da Caro Go back to the beginning or top of the chart. D.S. or Dat SEGNO Go back to the “sign” Copa ‘The end of the pice. The coda is usually played after taking the “DS.” or “D.C.” and is indicated by the @ sign. So for example, ifyou play through the chart and come to.a"D.C. 4 Coda’ marking, you jump beck to the top of the chart, and when you come to the mea- sure with the € sign (usually directly above a bar line), you then jump to the “Coda” (see ‘Steaight Eighths chart on page #1). Repeat SIGNS |: 4 hay the measures within the repeat signs again, or as many times as indicated, ose 1stT AND 2ND ENDINGS Sometimes at the end of a repeat sign there will be a frst ending, which means go back ‘to the repeat sign and when you get to the frst ending measure, skip over it and play the second ending, Ifthere is a repeat sign at the end of the second ending, repeat the sec- Soman skip overthe int two endings and ply the third ending I there are no repeat signs in an ending, continue with the char after playing that. REPEAT MEASURE SIGN 4 Repeat the preceding measure. Repeat MEAsurE SIGN 2, Repeat the number of preceding measures indicated, ‘Turn Play as written with the band. SIMILE Continue in a similar manner, UTE PLAY-ALON POR BRUM iret, vue et 5Mach of today’s music requires the drummer fo have a strong sense of time while con tinuing to provide «good fel within the band. I've always found the best way to develop spol tie nto pace with some sont of machine that prove a mewonomic ole lectonic metronomes are good, but can become boring and monotonous. machines are better because you can program interesting patterns with alot of subdivi- sions. Bu both ofthese tend to skip the musical side of things, I always liked to play Along with records, but then one may end up playing with a similar time fel ae the Hold the note under the feemata (sometimes referred to asthe “binds eye"). CRESCENDO == ‘Get louder from the beginning to the end of the marking, DECRESCENDO = Get softer. ‘VoLUME Markincs PP (pianissimo) Very, very soft. P (piano) Soft Ip (saez0 piano) Moderately soft aiff (e220 forte) Moderately loud. F (forte) Loud. AF (fortissizno) Very loud. Cross STICK (SOMETIMES ABBREVIATED CRS. STK.) ‘Turn the stick around, put your palm down on the snare with the butt end of the sick extending verte simefthe snare and bring he ake down on thesim. sort wood block” sound is made. You can change this sound by increasing or decreasing the length of the stick extending over the edge. {tis very impostant to realize that charts are there to inform you as to what is going or with the song. Very rarely will they tell you exactly what to play. Youstil! have touse yout cars and play as musically as possible. You don't want to sound like you're reading. This book will explain my thoughts on the style of exch tong, detailing some of my grooves and providing alternate grooves and idess, I will then talk about the chart, Pointing out things to look for, and also “talk down’ the form of each song, which is ‘very common practice at reheaceals and sessions. He this package will help get you stared playing with sequencers (and peopl), tnd provide aniden sf what readings chart lke If nothing ce, you can jt xe playing to some tunes without drums in the way! Have fan!Srraicut Eigutas This could be classified as an example of R & Byrock style. It is in a steaight eighth shythm, Generally in this kind of music, the quarter-note isthe pulse; here, the eighth- rote pattern of the piano and the hi-hat provide the forward motion over the quarter- note ple On the track without drums that quarer-noe pli a provided by cowbell throughout thesong. You ka get eight clout in fon for acon of fb important toy and start subdividing in your head by eighth notes as soon ar you her the clicks so that you can lock in with a good time feel when you start playing, ‘The hi-hat pattern is very important in making this groove feel good. I've found that a ‘great way to convey the pulse while still providing forward motion is to accent the quar- fer-notes with the shoulder of the stick on the side of the hi-hat, and play the offbeat ‘eighths with the tip on top. The basic pattern looks like this: ‘Notice itis a 2-bar pattern. This isa nice approach to creating grooves. Instead of just tepetnga bar pate che 2-bar phe ress melodic "bok” that he latent en latch on to. However i's very easy in this style to “overplay,” la are anew ‘orncededin the groove. Concentrate on mati thereof ee Keepitsim to lock in with the piano part which is playing mostly consistent eighth notes. BB, the bass drum pattern changes slightly to accommodate the bass guitar line ed te ‘chord changes, It Tooks like this: ULTIMATE PLAY-ALONG FOR DRUMS uve, runt ont 1AcleterG the fc changes agin, The bess inebecomer ery short note ovinted yd sletof pea [to make the groove alittle more driving. To accomplish this, all the eighth-notes on the side of the hi-hat, Here's the groove at letter C: | ‘This is a 1-bar phrase which helps the “drive factor" remain constant, The next groove change comes in the solo section at C. This time I go to the ride cymbal accenting the quarter-noteson the bell with the shoulder ofthe stick, while playing the offbeat cighths an the body ofthe yb wish the tp Che me proach wih the bia), es i ‘what that looks I fl chose to leave the hi-hat out of this groove. You can also try this pattern integrating the i hi-hat asin these next two examples: [ ae eeeFeel fice to try different bass drum patterns — whatever sounds good to you. When playing ilsin ths flay sue to expe goa going In other words ke {bef fl good and inconporaetimeint the fil. Here's played going eter the into, Here's another fill played in the first ending, bar 26: T RRUURRLLR RRL ft ‘Tey this il with the hi-hat as well, playing all four quarter-notes with your foot, ‘This tune starts with a drum solo lead-in at bars 1 and 2. Sometimes this i done to eatab- Tish the groove and time-fel ofthe song. The bass enters at br 3, so the drums and bass a togetes forfour bas Ip tofilinv bar 7, whee th pian enten. Ast said before, sure the fil doesnt disrupt the time. Then the full chythm section plays the groove for eight bars with another “fll marking at the end of bar 14 into the melody at A. Letter Biindicates a change of some kind, In this case, the chords change withthe melody lead- dng up fo the two quaternote accents on eats 3 and in measure 2, Theft ending ficates that the melody and the bass hold while the time keeps going. This all leads up ‘0 the bass and piano fil in bar 32, and then back toA. In a.case lke this i'simportancto "Tecup” the band tha they can ely lock int the time when they ly the AL As you ‘can hear I played two big eighth-note, really trying to emphasize beat 2 because the fig- ure starts on the last sixteenth of beat 2 I then played a fll complementing the line. (Also ‘notice the instructions above measure 28 to take the second ending on the D.S.). ‘After the second time through A, we go to the second ending, which has an accented downbeat completing the phrase before it in bar 28. Bar 34 is a big fil bar with an cighth-note figure being played by pretty much everyone. As you can hear, I chose to start the fill as written, then play around the notes at the end of the bar going into C. ‘There are some notes in brackets above 35 and 36, and again at 39 and 40, ust to let you. know what's happening in the melody. Notice how, in bar 42, I attempted to keep the time going in the fil by playing some hi-hat notes between the cymbal crashes on beats 3and 4, Itlooks like this:| This leads into 4 bars of an “intro-like" groove before the keyboard solo at letter D. As ‘you will hea, the form of the solo is basically the same form as the melody, and the bacs {are outlined assuch, The arranger or composer may tell you in writing how many bars to play ifnothing changes — asin the eight bara at, then the following four bars, and the ‘seven bars at 63. At bars 71~74 isthe resolution to the slo, in which (as before, at 29) there is no bass. At the end of 74, take the D.S. back to A — the melody. After the sixth, ‘bar ofB (28), take the second ending into C. Play through the end of 41 where it indi- ‘cates a jump to the coda (bar 75). Notice the aft marking after the two quarter-notes in bar 75 with a crescendo in the cighth-note bar and the song ending on the downbeat of, bar77, [chose to keep the backheats going through 76, but you might also try approach ing this measure as fill I played the quarter-nots in 77 asa flam to make it sound big- ‘get and fates, and to give it a more final feeling, Measures 1 and 2 are a 2-bar drum solo (groove) lead-in to bar 3, Play the groove with the bass for four bas. The piano enters at bar 7. The fll rhythm section completes the intzo for eight bars. The melody starts at A for eight bars, continues through B into the first ending. Repeat back to A, play B, and take the second ending into C, This isan 8- bar section followed by 4 bars of the intro groove into the solo at D. The basic form is cight bars of the A groove, eight bars of the B groove and eight bars of the C resolving with four bars of groove with no bass. D.S. back to, through B, and take the second ending into C. The coda sign i at the end of 41. Take the coda (bar75) and end the tune on the downbeat of 77. Stralght 1/8th feet i Drum Solo - Time ~ w/ base | | af $6 A melody - simile 1s B 0 iano 2nd ending on DS. rams cot. no ass bau Spe foe melody > ss : £ 0 DAVE WECEL[ULTIMATE PLAT ALONG POR BUH sera, ewe or* IXTEENTH FEEL ‘This isan example ofan R & B/funk style song, Here we'llbe concentrating onthe sxe teenth-note rhythm. In tis feel — as with the eighth-note groove — the quarter-note is the pulee, bu susteenths will be the subdivision used to create forward motion. There are alot of things to gratp,time-wise. The clavinet partis playing a sixteenth-note pat- tern, and the bass i also very ‘The cowbell part, which is mostly quarter- notes with some eighth- and siteenth-note inflections, s also thereto lock in with. The Count-off for this tuncis two measures ofa cross stick sound, with beats 1 and 3 accented in the int bar. There ae several ways to approach this groove as far asthe drum isconcemed, Thisis the groove I chose to play as abasic feel forthe A section ofthe rune! ‘Thisiswharmightbe called a "broken" sixtecnth pattern, because the sixteenth donttcon- ‘tinue in a consistent manner. I chose to kecp this groove very simple because that’s what sounded appropriate tome. The accents in the hi-hat part aze very important tothe feel of | the groove. In addition, the hi-hat is used to help create phrases and color by opening and closing here and there, for example atthe end of a 2- or 4-bar phrase on the “and” of 4, At the B section ofthe tune, the chord changes dictated asight fee! change tome, o the pat~ tem became more consistently sixteenth-note oriented. Once again, its important to 2 z fon om — — fa Oe = wos B2- = > == C groove/comp D synth solo 4 = = fill_as 33 7 Ff bass line E Cymalight time . a fill ————_ Ff DS. al Coda Coda groove-no solo-build = > > TZ 4Rock SHUFFLE ‘This song deals with the shuffe fel. Ths isa very difficult style to play with a consis- tently good feel. Generally in a shuffte feel, everything you play isbased on triplets. “That's easy when you can play consistent triplets, bur when you have to play just part of the ipl oran ase with he and, ou relly hae logon king it feel right. Pay attention to the guitar part on the track: it’s playing the last tr eet wich shall help youlocktn- Als afterthe2-ba count of om the cos, a shaker plays the quarter-notes and a tambourine plays 2 and 4 throughout the track. Jose remember, always think triplets! ‘Thisis arock shuffle as opposed toa jazz shufile. The biggest difference to meis the bass Tine, In a jave shufile, the bass ssl i either a "2 feel,” which is notes played on beats 1 and 3, or a 4/4 feel (walking bass), which is four quarter-notes to the bar. The dtrum part also varies in that, fist ofall, a jazz version would be lighter. Secondly, she backbeats (beats 2 and 4) wouldn't be accented as hard, and third, the “ride” pattern oF ‘normal right hand part would be on the ride cymbal all the time, In the cock version, the ‘base line is either a consistent dotted eighth/sixteenth pattern (the shuffle), or what is commonly known as a “Charleston” pattern (from the popular dance music of the 1920s), "The bess du usually fellows this later pattern a abasic feel. The way the shufle pattern is uctually distributed (voiced) on the kit can vary. Example A shoves the basic groove I chose to play on this song. ‘Asyou can see, the shute pattern is coming from the hi-hat, with the snare on 2and 4 ‘and the bass dram following the bass guitar with the *Chasleston” pattern. Notice the bass drum line is wrivten quarcer-note, eighth-rest, eighth-note. If you played this, Ccacalya writen, it wouldnt have the correct fel. Remetnber, no matier how itt t= ten, it should have that swinging triplet feel, The cighth-note on the “snd” of 2in the bass drum should go-with the last triplet of beat 2 in the hi-hat a indicated by the dot- ted line. This is the basic feel, and as you can hear 'm embellishing the beat with litle grace notesand things, but never loudly enough to destroy the original groove. Here are some examples of alternate grooves for either abasic pattern or perhaps at the organ solo. ‘URTATE PLAY-ALONG FOR BRUXS uve ecat WwNotice that the pattern is written in triplets. This to help you really internalize the feel, ‘Sometimes you might see the shuffie feel written as in the next two examples: “The bass drum stays consistent throughout, with embellishment notes here and there to ssccompany the bass guitar ine being played, Heres an exemple ofa jazz shutfe pattern, ie eeeSa ‘The intro starts with drums, bass and guitar, and has the dynamic marki raasccin bars Notsthe cng eigen tthecadar bar 8 mantel loys Remember although written straight it shouldbe felcastplets, Letter A designates the organ melody with the same aceens written in bre 12,20, and 26. The clash marks that start et A mean just continue in a similar manner. Also notice the sign at A: that’s where youl he going back to at the end of bar 58. Composers will sometimes give ingtructions such xs the ones written along with the D.S. al Coda marking. Here it says to pay both nding onthe D'S. Although the coda sign atbar 8, italo yt ake it the second time. ‘The Coda is at bar 59 with the Fine or end of the tune at bar 61. cate ‘The intros eight measures long at a medium volume level. The melody etartsatA with pickup owes bar hess sacs form A Hues usually twelve bars long, Which thsi. Soplay from letter through the first ending then epeatbac oA This time after bar 18, take the second ending, The next four bars are marked “Intro-like,” which means groove with no melody. At 27 is A2, which is the melody again. Rather than writing out the twelve bars again, it just says “play 12.” Thisis where it's important ‘to know what a 12-barblues sounds like, so that you can just play the music cather than. count twelve bars “Measure 39 is the 4-bar intro feel again, then letter B isthe organ solo. In this case, let- ‘ter is not the bridge of the tune but is used to separate the sections. The form of the solo is the same 12-bar blues. The chart says to repeat the section four times, so keep track of where you are, Also, itis important to build gradually behind the soloist. For ‘example, Istarted on the hi-het and went to the ride cymbalin the second chorus, build- ing to the end of the solo and playing off the soloist. At bar 55, the intro-like cool down” section creates some space hetween the solo and melody. The D.S al Coda is at the end. ‘of bar 58, which means at the end of 58, go back to the sign at A, play the first ending tnd pet OA, Atthe end ofbar 1 isthe coda sign which metns go tothe Coda (bar '59) and play che ending. The shythm at bar 60-61 is again written straight, but remem ‘ber to swing the eighths. LULTIVATE PLAY-ALONG POU BRITS urn on, onc 1»aed xtocode @ 29 Intro-tike 2 A2 a 3942 Intro groove 0 1 B Organ Soto DS. 1 Coda (st ending is good) » ave weRock Banap ‘This type of song is one ofthe most difficult to play because of the slow tempo. The idea iso play powerfully but very solidly, and with good time. Singing the subdivision this case the eighth-notes — really helps to anchor the time, ‘The shaker is playing an eighth-note part on the track without drums which will help you lockin. The count off {Stwo bars of cick long wth the shaker, Remember to sng the subdivisions before you start playing, ‘This song introduces something new: the half-time feel. The cross stick backbeat is placed on beat 3 to give the half-time feel. Some arrangers may write this kind of fec! differently ~ putting an eighth-note where the quarter-note is now, for example, to produce a sixteenth-note pattern on the hi-hat (instead of eighths), thus putting the cross stick on 2 and 4 instead of 3, and creating one measure of music where there is 1ow ‘wo, Itwould sound the ssme but look different on a chart. The basic pattern I played is pretty much what the arranger suggests on the chart. Here it ist Remember to keep the eighth-notes on the hi-hat as even as possible. The tendency i, to want to rush (speed up). Be very deliberate with those eighth-notes, e feel,” which we discussed before. The arranger has specified tick with a eymbal crash on the downbeat, with a dynamic marking of ‘af Weck playing the cymbal cash and ging back othe hi-hat mort keep ing the me steady You might ry hing the cymbal wit the opposite hand than you vn on te hirhat The tres eight bare fong with» fil into A, Notice how in the AT kccep the time going by playing quarter-notes on the hi-hat on beats 3 or 4. Here's what that il looks like: “ese aa ULTIMATE PLAY ALONG POR DRUMS ur, vous om, aLetter is fourteen bars long, consisting of eight, then six measures divided by a double bas. Notice the use of the hi-hat opening on the “and” of 4 in bars 12 and 16 to help round out the 4-bar phrases, There's a bass accent in measure 19 that can be treated ‘many ways, This is how I approached it the first time: r | iE "The hi-hat is opened with the bass drum accent on the “and” of 3, then the hi-hat foot | isused to cloteiton beat 4, playing the cighth-note that the hand would normally pla “The fst ending happens at 23 forfour bars, acting asa turn-argund for the meody before repeating back to A with a fill in 26. I played this section basically the same a3 Before, except this time at 191 approached the bass accent diferent keeping the fi hat going in strict eights while playing the figure with the bace drum. ‘This nice effect; it creates afecling of space after the and” of beat 3 because the hi-hat i te only thing you hear keeping the forward motion going until the downbeat at bar 20, ‘This time we go to the second ending. The melody resolves and there's aig fill bar into the B section of the song, with a crescendo and a dynamic marking of f'. Here it is appropriate to go to the big snare backbeat on beat 3. Normally for this Kind of song I ‘would rune the snare lower and hit t almost dead center, no rim shot, with the butt end ofthe stick. This gives you that big fat snare sound that producers sometimes ask for. This section prety taight-aead forthe ft eight bart, with land cymbal cash marking in 36 and 37. Starting at bar 41 there are crash notations for three consecutive measures, with a crescendo in 41 and decrescendo in 43 leading back down to the melody at letter C. Here we have a dynamic marking of mf’, and the instruction to go back to the cross stickon beat 3. Thisis the A melody again, and this time at the bass accent barl really went forthe sus- pended feeling, letting the hi-hat ring through until the downbeat at 56, where I played ‘light eymbal crash. You relly have to be singing the subdivisions herein order to keep the time going (Example D)‘ULTIMATE PLAY-ALON0 FOR BRV/MS uno, wanton, ‘This is the final time through the melody, and it agaia resolves in $9 and 60.with a fill Jeading into the vamp out, where the melody instrument improvise lightly. IU an 8-bar section that repeats once, then tekes the second ending. The “ritard” marking, a differ- ent instruction than we've seen so far means t slow the time down in your filto the last noe, Moat ofthe ne the deummet wl be expected ole hie Kind of hing, oak the composer or leader (ifit’s notyou) how much to pull it back. But there may be times, Tike here, where you'll have to follow a pre-programmed sequencer that has the riard builtin follow tie shaker). Another new sign is the “bird's eye” aver the lst note ofthe song at 71.'Thisis a fermata, which is defined in the preface, and means “hold.” There isa “roll” marking on the cymbal note. This is a musical judgment call: depending on what's going on around you, you may want to play different types of rolls In this instance, especially with the decrescendo marking, I chose to roll only slightly (shoulder ofthe sticks onthe edge ofthe crash cymbal) to give sustain and ambience without being too loud or noticeable. eae Ta Tauu-Down ‘Afiera 2-barcount-of, start righton the downbeat of measure 1 with the my" dynamic. "The intro is eight bars, then play a fill into letter A where the melody begins. There’s an S-bar phase followed by a 6-bar phrase. Catch the bass hit in 19 stesigh into the first ‘ending, which is four bare long. Play fill ack into letter A. This time after 22 we take the second ending which rounds out the melody phrase to an even sixteen bars. Big fill tnd crescendo in bar 28 changing from cross stick to snare forthe back beat in the B sec- tion, Pay zttention to the writen cymbal erashes throughout. Letter B is sixteen bars Tong, with the building im measures 4143, then corning back down in 44 to the melody at ©. Play sixteen bars of the A melody again with the bass accent in $8. Fill nto the inio-ike var aD, he sac ighy improves nobaiding here jst groove, Repent at the first ending, after 66 the second time jump to the second ending, Start the ritard ‘during the fill in har 70 to the last note in 72Straight 18th - 12 time feet HRUCRS.STK_ = To Tniro-like 2‘Into-like/Syoth solo D LELTOWATR PLAY ALONG POR DRM ur on, euucoLATIN ——— This ong explores 6 of the many grooves in the Latin sl. Here che A ection int bossa nova for the dfum part, while the B section goes into « cha-cha feel. The bossa nova, originally froré Brazil, i essentially this groove: ‘This isthe basic pattern which I generally play throughout the A sections. Ina latin jaze setting, one can improvise on this figure by creating different patterns with the cross stick, This was my approach at the beginning of the intro and forthe fist couple of bars at. Iturned the pattern around to go with the melody, then went back to the bate pat- tern after those fst ewe bur. Here that alternate pater: Sf eee 2 t ® ‘The groove in the B fection is based on the cha-cha, a thythm which originated in Cuba. ‘There are several was to play this groove. In a traditional cha-cha, there are a number of percussion instrughents whose parts should ideally be emulated on the drum set. Here are few ways to play the cha-cha. This first example represents the basic groove:’ ‘One thing that’s missing in this basic pattern, however, isthe guiro part. The guiro is «| of percussion instrumentthatlooks lke fish. Itis played by sliding a small thin stick down the many ribs on the body of the fish.” The standard guiro part goes like th ‘My approach was to play this parton the hi-hat (with the right hand) the first time, leav- ‘out the cowbell part. Youcan try playing all the partsby playing the hi-hat (guio) part with your foot. Splash the cymbals on beats 1 and 3, then play two eighths on the closed hi-hat. This might take a while to get going, but itis avery effective groove. Ialso played the snare instead ofthe cross stick, creating a more contemporary “rock/cha-cha’ sound. Also, if theres a percussionist playing with you, you have to be aware of what he or she is playing so you don't end up doubling parts. (On the rack without drums tere cowbel plying the qurte-notes, while the cone ‘splay an eighth-note groove. Try to lock in with these pars. As you can hear, in place ‘of a cowbell I went to the ride cymbal bell in the solo section and at the end of the tune. ‘These ate all good variations; it’ really up to the person playing it atthe time to decide which approach to take, and also depends on what els is happening in the music. What- ever you play is fine, as long as you get the idea across as to what kind of groove itis. 1 chose to playa fill nto bar 1, where the basic bossa nova begins. The intro is eight bars long into A, with the melody notes sketched out above bars 8 and 9. Notice the sign at ‘A, and the “simile” instruction indicating to continue in a similar manner. A isan 8-bar pphrase with the first ending containing some rhythms to previous chapters, i's important to play without disrupting the time. Ib the eighth-note on the “and” of 2 with a light crash cymbal, then went right back to the hi-hat part, Repeat back to A, this time taking the second ending, The figure in 17 has the gf marking underit, which means hitit and get offi build tothe end of the cighth~ note line, then the fill into B, the cha-cha, The melody notes in parentheses should be paid attention to in your il so that you dont step on them, ‘The arranger has written out the suggested part tobe played, which I actually followed pretty closely. The melody note in 23 is anticipated into 24, but since the bass is not, played the downbeat instead. Another way to approach this would be to play the antic- pation with just the cymbal (no bass drum) and play the bass drum on 1. The way the igure is written in 25 is essentially saying everyone is doing this, so play it as written, ‘The fil bar before that (24) is like a set up for those hits, so play something that makes sense musically and eels good. Also notice the “To Coda” sign. ‘This leads into C, back to the bossa nova groove for cight bars, completing the A-B-A. form, Letter is the keyboard solo. IFyou look ait, you can see that it's over the A part of the song, with the first and second endings containing the same rhythm hits that are in the melody, The charcha groove at Elston bry, though — twice slong asthe original form. This builds into bar 59, where the cha-cha melody comes back in under the solo. The melody is written out above the section so that you can see it and maybe catch some of it, This leads to the hitin 66, then take the D.S, back to A. Play both end- ings, then at the end of the B section (bar 25), jump to the coda at bar 67. This is the B melody again, whichis played twice. To make the two melodies sound different, I played the hi-hat (the gu part) the iste trough, then went othe ride cymbal ell the second time, building with the fill in 73 to the last two hits of the song in 74. ‘ULTIMATE PLAY-ALONG FOR DRUMS rao, urn one u‘You get a 2-bar count-off. The intro is eight bars long, starting with the bossa nova if ani 1. Drums bass and percussion play forfour bar the plano enters at bar 5. Letter A is the melody, sume groove, into the first ending. Repeat back to and take the second ending, playing the hits into B, the cha-cha groove. Bis eight bars long "heninto C the melody again for eight morgbars. This take uv intoD, arbre over theA form, firtand second endings. Es the cha-cha groove in the solo for sixteen bars. The melody comes backcin at 59 behind the solo forei ight more measures, After bar 66 we DS. back toA, play both the first and second endings, through B, then take the Coda after 25. The coda is at 67, which is the second time through the B melody that cends with beats 1 and 2in 74. Bossa Nova» crs. stk. ‘wi bass & perc, piano 1 Bath endings on D:S. D Keys solo - Bossa groove E ChaCha Solo cont, wimelody 7 = Keys-cont. 0 de ==='DS.al Coda Ai & fade ‘ULTIMATE PLAY-ALONG POM DRUMS ur, vec aneTRAIGHT~AHEAD JAZZ eee ‘This is an example of straight-ahead jazz style, sometimes called swing of, in a more progressive form, bebop. ‘As with the shufile, generally everything you play should be tiplet-based, The ride cysabal is one of the most important voices in this style, tis the lead voice of the pattern. his type of music should be approached with a lighter touch, pulling the sound out of the drums, The snare and bass drum parts should be viewed ‘more as “comp” pacts thae. timekecpers, although it is common to play the base drum very lightly on quarter-ndtes.Ithas been said that in jazz, the bass drum should be “elt, not heard.” The hi-hat part can go either way. In.a simpler, more traditional swing set ting, the hi-hat is more ofa timekeeper, usually playing 2 and 4, or (less authentically) all quarter-notes. In more contemporary bebop ot fee jazz, the hi-hat can act as. sep- arate comping voice like the rest of the kit. The best suggestion is to go back and listen to the originators and masters of the musical style. This way you can hear the way it was done, then use those concepts and slowly create your own style. ‘The sound of the drums is very important in creating the correct feel. For this song 1 changed my normal 22” bass drum toa smaller 18" and tuned the toms higher for more. ring and ambience, Also, instead of using the normal single ride cymbal and numerous crashes set-up, 1 preferred to use two or three different cymbals to ride on for color change, and fewer crashes. It is not imperative (nor always economically feasible) to own ‘two or three bass drums and a lot of cymbals in order to play these styles correctly. It is, ‘however, important to know that the sound of your kit will affect the way you approach ‘the music; so keep thar inymind when purchasing equipment.'Try to get the gear that will ‘best accommodate the ype of musi ‘you like or intend to play and, most importantly, that will help you sound the way you want to sound, But for now, let's just try to get the feel happening. At the top ofthe song, a °2 feel” is indicated. This is mostly dictated by the bass line, which would : normaly play ‘on beats and 3. In this case, the bass is doing that but also following the chythm that the piano. playing throughout the intro. There are a few ways to approach this from the drums, Here is onc basic “2 pattern” that will work: “The hi-hat is very important inthis example. Without it this would sound like strict half-time, which you don’t want. Another ideas to playa standasd jazz beaton the cym~ bal pethape mining in straight uarternotes and 2 and 0 he hh thes these ae fees the fel. This is easentally what Ichote to doin the ino atletter Ain this song, while still accenting the piano phrases and melody: Here are two examples ofthis kind of approach.‘As I sated earlier, the snare and bass drum are used to help color the pattern and sup- ‘port the accents with the piano and bass. Listen to the frst eight bars and check out the snare and bass drum parts. You just have to get used to the ride cymbal being the time- kkeepes, not the snare and bass drum, asin some other styles. ‘When the feel changes to “wating bass” at the piano solo, my approach also changes. ‘Now itisa more driving feel. About the only thing that changes from the above two termsis that sometimes the bi-hat willbe played onal fou quarter-notes instead of fst Zand 4, Also, the bass drum may be used as more ofa timekeepes, lightly playing quar- ter-notes on occasion, ‘The count-offis two bars of a cowbell, then a shaker takes over as the click for this rune. ‘The congas are playing a triplet feel throughout, so try to lock with that part 2s well as swith the shaker, and with the feel rhet the est of the instruments are creating. ‘The intro starts with a drum lead-in to bar 1. There isa half-rest, then two slashes i cating to play on beats 3 and 4, Concentrate on playing something musical, not just something that you ply on those eat special. Notice the DS. sgn at bar 1 lo ‘The intro says “2 fee,” but there are also some figures above the staff marked “piano,” So you have to play the correct feel while also paying attention to those phrasings. It doesnit ‘etn thac you have to literally play all those figures; theyrte just thereto let you know ‘hat goiogon around you The intro iseight bars ong undleads into the melody tlet- ‘erA. Thisis a blues form, which is normally twelve bars long, Letter A has repeat signs ‘at the beginning and end ofthe twelve bars, indicating to repeat it one time. Notice the shythms within the measures. Normally, melody rhythms will be written on top of the staff, while thythm section (piano and bass) hits willbe placed at the bottom of the staff. ‘Agi thes shythms ae thereto let you kno what happening, especial inthe melody. They don'emean you are to catchall the figures. Infact, some arrangers may not ‘want you to catch any of them. The shythm hits, however, should almost all be played. The “To Coda” sign is at the end of bar 15. The piano solo starts at bar 21 (letter B) It saye “walking bass,” so the 2 feel ends here and the bass guitar starts playing all four quarter-notes. Remember, thisis the beginning. ‘of the solo, so you want to start at a volume level that will allow you to build over the three choruses the piano will play. I use different ride cymbals to help create different textures and t0 also help build the section. On the third time through, I switched from a flatride to adark-sounding cymbal with more body. This leads into the drum and bass trades. The drums take the first twelve bars starting atC, then the bass plays a solo at, ‘This whole 24-bar section is played three times, with the third ending (notice the hits) ‘being the twelfth bar ofthe final bas slo, The bass is outlining the form underneath the dun solo chores. The writen accents can either be player played around, The ciruns should also keep time for and complement the bass solo ata lighter volume evel ‘A drurn solo is « very personal, creative thing. To try and tell you how to play a solo ‘would be against my better judgment. A couple of pointers, though, might be to think rmelodically and don't be shader repeat rhythmic phrases, Start simple and dont just think about playing fast. Make music! ULTIMATE PLAY-ALONG POR DRUWS usrt.om, yxoweont a‘At the end ofthe last bass chorus, which i the third ending, the “D.S.al Coda” instruc- tion appears. Italo saya “A both times.” So we go back to the sign at leter A, play the tele bars and repent again to this time taking the coda athe end of bar 15. rom bar 15, we jamp down to bar 59 (the Coda) and finish the tune. Notice the rhythm hits in 59 and 60, and the “tutti” rhythm in 61. Aswe know from the definitions in the pref- 2 ut means to lay satya writen eter withthe ban. Ie you chi Re viythim on the deur ever, how to voice Lead-ia to the intro, which is eight bars long: Letter A twice (melody) into the piano solo at B for three choruses. Letter C is a drum solo for twelve bars, then D is the bass solo. This whole section (eoventy four bar) yeaa two more times. The third ending is the end of the last bass chorus, Take the D.S. back to. Repeat A, then take the coda at the end of bar 15 to the Fine. ‘Medium Swing Drum lead in Intro «2 feel pro ie SSA. melody -2 feel com.| DS. al Coda i {A both times) 8 tut Coda ‘ x 3 3 2 o mee Zz 7 —— FESS UULTTMATE PLAY-ALONG FOB DRUMS ire ot, une ont 3u Rock ’n’ Rou ia ‘This is an example of a straight-forward, classic American rock a! roll song with an eighth noe fel My ppronchin hie type afsongtto play rong andsoid Theresa ‘alot of room for subtlety in thie style, thus the use of dynamics is not es common as with ‘other types of music. The dynamic marking is always at east forte. The groove and pat- ‘ternis fairly basic throughout with a few fill and solo bars here and there, The count-off is two bars of across stick sound (without drums), then the cowbell takes over and con- tinues throughout the song, So cy to lock in with the cowbell and the other instruments, ‘specially the piano, thythm guitar and bass. Here's the basic pattern used in the A and B sections: ae ‘The bass drum varies here and there, sometimes just playing a quarter-note on beats 1 ‘and 3, asin the first two bars of the song, The voice that changes the most, however, is the hi-hat. Notice that the first four bars are played with the hi-hat closed, then when the band enters, the cyrabals are loosened up litle (with the foot), then tightened again atthe first melody. This is an effective way to identify sections. It happens again atthe B section where the bas line changes every two bars. Because that was a new section, and the bass was playing those consistent eighth, I opened the hi-hats back up for the first two bars, then closed them when the bass went back to. tighter, more syncopated line with the guitar. The next two bars is the eighth-note line again, so T went back to the hats. These were all musical decisions made by meas played. The chart didn't tell imc todo those things, twas what my ears told me to do. Your ears may not say the same thing so dont be altaid to try something diferent if you heart being there. ‘This isa differeat kind of chart than we've seen previously. This is more like what is commonly called a rhythm chart. There’ not very much on it that rells ou what to play. Instead, it has the bass line, melody (thythms) and some ehythm hits written to let you know what's going on. I would say 80% of the time this the kind of chart that given to me na nai simaton This where you really have ous our ett elp you 3 four determine what to play. For instance, the ars area time oriented drum solo, but there's not much written there to give you a clue as to what to play. Don't be afraid to ask questions. Notice atthe top left of the chart ft says “Straight-eighth rock.” This is the most i instruction to reeive, and if i¢ doesnt chow iti witing on the ‘way Youre not guessing, and you can start the groove confidently with tatitude. Also, itis very important ro know the dynamic of your fist entrance. ‘The f marking is written on the chart, but it's not there, ask. Seo,a stated eal te tune start wit a dram solos the chat does say ale °, ‘which means to just sct up the feel ofthe song, but by yourself, J chose to play a set-up bar into measure 1, although it doesn’ say to. This is usually okay, unless someone in charge tells you not to doit! The band enters in bar 5, with the bass (and guitar) playing the rhythm on the bottom of the staff while the piano is playing the eighths. Again, this ddoese mean that you have to play everything that is written. The biggest decision is tvhat to play with the bass dunn, Bo you follow the bass notes oc do yon playa pattern that catches some ofthe ge but kept a content gore ong? chow the te, keeping the groove that Ihad established eater. You can try different chings, and some~ ‘times the arranger or producer will ak you to go one way or the other. The intro with the fall band is eight bars long,‘Things ike “fll” and other markings concerning the drums are notin this chart, soi’ up to you to determine where the fils should be. To me, the first obvious one is leading into bar 5, where I mainly played the eighths with the piano entrance on the floor tom and: snare, ending with a big cymbal crash on the downbeat. The next place I thought needed afilwas going intoleterA, the melody, which is chythmically written out above the staff, Most oy ls in hirun aright oriented to goalong withthe fe Inger ‘most phrases require fil before and a cymbal crash to mark their beginning, Thatsa very ‘general statement, but a good one to keep in mind when frst reading a chart. Letter A is an eight-bar phrase which leads into B with an eighth-note line played by almost everyone in the band. This to me s another obvious fill place. I talked earlier about ‘my approach to this section with regacd to the hi-hat opening and closing for the 2-bar phrases, Letter B is also an 8-bar phrase that endsin the first ending, with the melody held our, This is another a good place for «fil, Ieading back toA. This time through A, notice thacinbar 16 the time on beat 4 with a big snare lam. This san effective way to make a statement when a section is being repeated, to make it lite different. Continu- ingon, ly he et ofA, into agai thine taking the econ ending, I paed another big fill into C, which is a new section of the tune. The chare says “Time-cym," so that scemed towork, although I did use the bell for more accenton the quarter-note. This sec- tion isa bass guitar and drum solo trade that happens twice. Here again, used the hi-hat to separate the time for the band and the bass olo, going toan open hi-hat forthe bass and bac to the cymbal bel for the band. T didnt make too much of the band figures, time through most of ther, until the last time they occur in measures 34 and 35. Then. used the crash cymbal to play the accents with the band, but played the bass drum on both the anticipation and the downbeat, so that the downbeat forward motion kept going. Here's what that looks like: ULTIMATE PLAY-ALONG FOR DRUMS uo, ous PaStraight 1/8th Rock ‘Solo- Time f Forthe drum solo fil spots, I felt that the fil should be time-oriented so thatthe groove ‘wouldn't stop. From here we go into the guitar solo at letter D. This section repeats four times. Here again, I didn't pay lot of attention tothe figure in 38 and 39, but mostly Just maxed-out time playing, building the section with fills and cymbal crashes, then {aking the DS, back fo. dtsay the fst endings good onthe D'S. 0 play second ingly, meaning build as you go. This time I played B alittle differently, incorporating the side cymbal bell along with the hi-hat. The hitin 27 is played the same way both times, Notice the snare backbeat continues through the accents. Again, this helps Ieep the time going, Take the first ending, go back to A und jump to the Coda after bar 20. The Coda is at bar 42. It says to just play time, but judging from the bars line, it isthe same Kind of thing that happens at B. The guitar starts playing a solo at 44, which is really in the middle of the phrase if you go according tothe way B was phrased previously. ‘The repeat signs are around 44-47 with first and second ending brackets above 47. 1 approached this ina similar manner as I di before at B, going back and forth between hea ba ean i hates ipo forte hind me we kee hirdend ing, Everybody's playing the figure in 48 and 49, so that’s pretty much what I played as ‘Wel The formate is over the haf note thats ted vo the eight-note before ag to fil with the guitar. Generally ima live situation sameone will give the cutoff (usually someone out front) but at times you will be expected to cut the band off. In this case, you have to follow the clicks atthe end. You get two cowbell quarter-notes; ther in time ‘with those notes, you hit the last chord in bar 50, which in my opinion should be a big ‘cymbal crash left to ring out. What is played in that fermata is totally up to you at the time, Try tobe tasteful ‘Drum solo intro for four bars into the full band at bar 5. Play eight more bars of intro then letter Ais the melody atbar 13, Play eight bars into H, take the irttendis Bacto A. Play through A and Wagan, taketh second ening into. Base and dra, trades ection repeats one time, then into the guitar solo at D. The 4-bar phrase is four times, then D.S, back to the metody at A. Play through A and B, take the first end , eight bars ofA then jump to the Coda which is at bar 42. The out guitar solo starts at 44, This is a 4-bar phrase played two full times (frst and second endings). On the third ime though tae the third ending and fish the song after the fermate withthe wnbbest inbass solo fill_ o> D Guitar soio a's DS. al Coda drum soto fill 37 = ULTIMATE PLAY-ALONG FOR DRUMS ur ost enon ”TRAIGHT EIGHTH Straight 1/8th feel ‘Drum Solo - Time = C melody nd tthe fill! Fas fi D synth solo 98 : noe fi<= SIXTEENTH FEEL C rooveleomp D syn sto E (Cyme-light timeRock SHUFFLE ‘Rock Shuffle feel Intro - Bass & Drums Bond 3 ad er) 7 and x to Coca . DS.al Coda (ist ending ts good)‘Seraight 18th - tle feel 1. Tntro-tke 3 2Iniro-Hike/Syath soto‘Bossa Nova - crs stk. w/ bass & pere. SSA simite— Both endings on DS. D Keys solo - Bossa groove E Chacha Solo cont. whnetody [Tix Keys cont 2440 _ play all ‘DS. al Coda Coda ChaCha melody A fadeSTraiGut AHEAD JAZZ Medium Swing - an Sn - ate eel SEA. melody -2 feel cont. B Piano Soto- C Drumsoto- walking bass over bass) 3x3 f payingdrum solo fill D Guitar soto x's Lf‘The following isa ist of selected books and videos which are available from DCI Video/Manbattan Music tat relate to many ofthe topics Dave bas mentioned in this Bok. aur Ausuoet * Power Workout 1* © Power Workout 2° (Gunut Busonerm: © Private Lesson* * Playing, Reading, and Soloing with a Band* Dros Caanseas * Serious Moves" In The Pocket? Luseer Init # Off The Record ‘Dcoeus Da Fonseca axp Bos Wexen # Brazilian Rhythms For Drumset Sturt Gan © Up Close” avcoun Gores asp Ronse AneRK + Funkifying ‘The Clave: Afro-Cuban Grooves For Bass and Drums Wrcun, Lave © Understanding Rhythm Lassors Wrrn Tax Guts ¢ Aronoff, Bissonette, Bozzio, Erskine, Smith, Weckd, and Xepoleas Fran Haase wo Bor Wants * Afro-Cuban Rhythins For Drumset Suwon PaIusPs © Simon Phillips” Kin Puasa * Advanced Concepts Dare Wort * Contemporary Drummer + One * Back To Basics* ® The Next Step* © Ultimate Play-Along For Drums Level One Aus Aan * Drums and Percussion Hennr Anonor © Laying It Down * Power Workout 1 # Power Workout 2 (Gasca Brsorerte * Private Lesson * Playing, Reading, and Soloing with a Band ““Taxr Boao * Solo Drums ‘Curton Cumttod * The Living Art Of Brushes Dennis Caanmens * Serious Moves * In The Pocket Bray Coxnax * Drums By Design Prren Ensuine * Everything Is Timekeeping * Timekeeping 2 Grama Gap * Up Close © In Session Gun Hut © Express Yourself ‘Gown Kaas © Jazz Legend Ron Moncresrnm * Putting It All Together New Ono Davao: suum Rust Ragtime and Beyond * Joan Vsaconen Street Beats-Modern Applications Bono icy Hrvoua Concur: wr I Featuring Lovie Bellson, Gregg Bissonette, and Dennis Chambers Tw If Featuring Vinnie Cost, Steve Gadd, and Dave Weck ‘Tarn IH Featuring Neil Peart, Marvin “Smitty” Smith, and Steve Smith ‘Tam IY Featuring Omar Hakim, William Calhoun, and Neil Peart Stwox Pants * Simon Phillips * Simon Phillips Retums Cu Surtu * Red Hot Rhythm Method ‘Snr Surtu » Part One * Part Two Dat Woea, * Back To Basics # The Next Step Dave Wace. ano Wasranse Rens, St. ¢ Drums and Percussion-Working It Out 1 * Working It Out 2 Fon A COMPLETE CATALOG OF MANHATTAN Music, DCI Music Vioeo, ab REH Vine Propucrs, contact: CPP Mania Grove, 15800 N.W. 48ra Avenue Misa FL 33014 (305) 620-1500 on (800) 628-1528