.. , .

. ·-~:=~~:/:.

11 !ill lHl i lll

9 .17808981988901
A-borttthe Author --·----·---~--
\Vcll-knov. 1 for his crcativc Ilcxihiliry nnd musiciansh ip, Joí111 Rile.::· !~:1:; ,.,o~kcd .,,.¡,;-, ·'''' .Ó;

j:t:1.z mai nsc.:ys ;ts Sean Gctz, Red Rodncy, Dizzy G illcspic. .\'1 ilcs [)avis, Q1 i11c_i. _:,•ne·,,.!!;;·,;:·.:·
l lcath, ,vli li J:tcksnn, :Vliroslav Vitous, Toot s Th ic lc111a11s, Randr Bn.:cku·, (;;¡;·\· 1 \ .1 :·· ,_. ;.;, .• ;·,,:
t he big bnn Is of Woody lIcrn r.in, Boh NI inrzcr, aud t he Va11;~1L1n! J az:1 Or..: he~: r:<. l i;~ :·" 11 ·•
on original .nusic cnscmblcs has lcnd to work wi th pi i t.irist. .• J oh n Scof)L· lcl, :'di i.;c Sic::; . .i' ,: , ;;
Abcrcrornbic and Srcvc Khan, .ind snxophonistsjoc Lov:1110, Buli lkrg .tnd i);,-.·c l.:..::,:·: ... ::.

Equally acrvc in thcJaz'l. Education Iicld, John rcccivcd a lhd1dor o(\ 1'1:-.:.- ,k~;rt.T ::'. .:"n
¡1crfonnanu· ~·rnm rhe l lnivcrsity of Norrh Texas. vvhcrc he playcd in :he 0:1c ·)·,::o,;; 1 ... :.
Ba11d. :u~d v.cnt (lll to rcccivc ¡\ Masrcr« <kgrcc from l\'la:1hart:ll1 s,·h.uii (i:· :- lt1~i•. 1 !e¡· . ,"¡;
:T1;tly un tl·:.: f:t1.:ulty ofNcw York Univcrsiry, \A/illi;irn P:tl"t1.T:-P11 Colk:~c .11·,,i T!'.v ,\ L:.:;.,· ·
r.u: School ,,fj\Jusi1.~ . .'\:;a Irccluncc cduc.uor he lias ¡.:;iv..:n m.ist cr 1::1.'· \·
. ' .. '
: l ¡ j ~ 1 { : r ·.1 :·¡ ~ .: ; i ! . : \ '•

uround rhc ',1·orld.

Acknowledgements
;'vly ¡)arciHs_iohr: :111d l'vbry Ann Cor t hcir suppnrt :lll,i c ncour.urcrncut: my w;(c ~::~:1:·. :·,,:· ;·,\·1
(0:11'111t1:1: su.rport; D:1n Thrcss for his diligcncc :111d cxpcrt ixc: /ildjiar: l"r i l.c :,;;, k:-, ':· ::.·
h.ils :111,\ ¡)h· tos; CIVl.S l o r t hc d ru ms; M odcrn Dru1n111cr :1:1d Down Hc.11 :·,,;·::.e''."'•:\·.-.
i\ n h 11 r T.1y i ir fo r t he q untes a nd phMo; noh S lurwi n fnr h i,
111 m: l: .i nd (k·.: ~;n "1 p:::, I ), . ; : . , : .
H.11:rn.:r, [-~~11.: Robcrt::;, t lic Sdwrnhurg Ccnr«:: lo r IZc~.carc!1
in Bhck Cuilurc, F:-.:11l·; Í): ::'.:..: · .
.:\·Lch.1d \V,klcnliall, .uid ·:\·1rs. l\kl Lcwis Cor rhc pliotos; :md i nv first lt·:1c:1cs T.,1:: :-:::•.:,l
~rnd J ne 7'vl 01 Jiu. Also rhuuks to thc many fricnds and studcnts tliat rcao t !·:rm;i-:J, .-;;~· .: :·,¡: >.
rhc l~lllsicia; ,; Ior thcir grl'.;lt playing; and thc phycrs that :nspirc u>. ;lll.

Book De: ign

----·- ·----·----
Dan Thr::ss

Assistant Editor
------·---·-----·--·----·-------··--·---··- ·-·-· ····--- ·····-· --
E mil v l\1 norcfi.cld
.1

:0.'lu~ic Engraving
Dan LcV':

Covcr De :.ign
Jade Wah.'.ip

Photogra ;>hy
Dorian Roi. cr (.tront covcr); Ebct Robcrts (hade covcr);
thc Schoml: 1r~ Ccntcr for Rcsearch in Bbck Culture (pp 6, 34);
Frank Drig .. ;~ Colkction (pp 25, 47, 55); ?vlichacl \Nildcrman (p 70);
Zildjún (p .6); Mrs. J\tlcl Lcwi~ (p 62)

Producec~ bv Dan Thress & JohnRilev

; J
 Contents
Time Playing 6 More Jazz Essentials .JJ
Thc Rick Cyrnbul 7 Tiic Shufflc 56
Phra~inµ; 8 J'Ltying in .. 2" 57
ThcJa:.r,~ Drum Sound 10 .1/4 Waltz. .53
Thc lhs~ Drum s:
l Ii-hat 11 S;1mba .59
Cymb.ils 12 12/8 Fcd 59
Practicing 14 Mambo 60
l.Jptcmpo Pbyin¡;, oc
Camping 16
l n tcrdcpcrulcncc 17
Charts 62
Comp Examplc 1 18 Scliool Day~ (rncdiu:» ! (1...;
Pacíng 20 L:1!-;t \.\'cck (shuttlc ;uid ·•2" '.·c~·l; h)
Rhyrhmic Transposition 2 l. wr.« Is This Thin.c; C.tLcd: :·;,,:.:,:· .. ::;·.· '<:'
Cornp Examplc 2 22 Octobcr (bailad) 67
Cornping with rhc Bass Drum 24 Satch and Diz (3/..;., 4/·\) 6S
Cornp Exarnple 3 2(> Out 1n Thc Open (upt(:::~;:<>:. :,')
Comp Exarnplc 4 28
Accornp<mying a Soloist
Listcning/Song Strucrurc
30
32
Appendix 70
Awarcncss 33 Rccornmcndcd Lisrcninz
General Discographv 7R
Soloing 34 ilooKs & Videos 80

Solo Strucrurc 35
Onc-bar Phrascs 36
Dcvclopin¡; M usical Phrnscs 37
Th rcc -bc .u Ph r;tscs 40
l)cvdopia¡.; Longcr Solos 44
Q1c:;tin;~ and /\nswcr Solo 45

Brushes 47
na~ic Pattcrn 48
!hilad Pattcrns 49
Uptcrnpo Putrcrns 50
Thc "Figure 3" 51
"] /\gainst 2" l-ccl 51
Hrush Parrcrns in 3/4 52

Kev J

ridc hi-hat l.j - : ~ :1 t

xv: ~?~. ~·()\.!~

., \ ~~- \ ·.:· ~- - ) \ - . ..

1.- ¡:¿_
. :;,

\_ . .., ( t -
1 •• 2i e~
CD fracking Infonnation
1 Satch a. d Diz

Time Playing N1ore Jazz Essentials

2 Phrnsir-r
30 !.ast w-: (shumc;
31 Thc Shu:nc
3 \Varm-up
32 Pbying in "2"
4 64 bars of Bass ar J =:120
33 314 VV.1b.

Compin; 34
3.5
Sarnln
12/8 Fcd
5 Cornp .:;:x.1mpk 1 - Slow 36 Mambo - Jazz :\dapt·.1:;•.n·1
6 Cornp ~·:xamplc 1 - Fast 37 Uptcrnpo "Sprin:-" Lxcrr i-c
7 Rhyrhn.ic Transposition 38 Upicmpo "Spr ir.r " Exc¡-c!~c - }:,,<e·
8 Comp .~:xamplc 2 - Slow 39 Out In Tbc Gpcr: \up~c;r:;·:c ..
9 Comp :~:xamplc 2 - Fast
10 Comp :·:xarnplc 3 -
11 Comp ~.~xamplc 3 -
Slow
Fast
Tunes Minus Drums
40 Scboo! Doys (mcdium) ~:.3 í.
12 Comp ;:.xamplc 4 - Slow
41 Las: l+'cd: (shdt'!c) 5: 1.)
13 Comp ~~xamplc 4 - Fasr
42 ~Vhat IJ 'J!.1iJ Thing C .: :/~·d.'-' (:::c,l:O,;::<· ..:::,,

Soloing 43
44
Octobcr (b;i:lad) 2:58
Satch aru] Dix (3/4, 4/4) .2:S·:
14 What 1.· This Thing Ca/lcd? (mcdiurn-up) 45 Out In Tbc Open (up:c:~·.;·;o .. ':<:,
15 Onc-br.r Phrascs
16 Orchcst :ating Phrascs
17 Orchcs: :ating Phra:;cs - Fast Bob .:Vlintzcr tenor s;1.:-:o¡:honc
18 Rcsts w.thin thc Phrasc Phil Markowirz p1ano
19 Thrcc-l -cat Phrascs James Gcnus bass
20 Qucstic 1 and Answcr Solo John Rilcy drun:s
21 Qucstir..r and Answcr Solo Numbcr 2
All cornpositions bv JoL:: iZilcY
Brushes
Drums:
22 School lhys (mcdium with brushcs)
23 Brush I: .ittcrn 1 - Basic Partcrn CMS
24 Swing r.nd Straight Sth-uo tc Hallad Pattcrn l4x20 h~1ss rlrurn
25 Uptcmpo Pattcrn 1 Sxl2 niountcd torn
26 "Thc F .. gurc 8" 14xl4 íloor t o:n
27 "'.) Agai:1st 2" Fccl 5x14 snarc drurn
28 Brush LLttcrns in 3/4 Cymóalr:
29 Octooer :balhd) 20" Zildjian K light :·id<.:,,.;¡¡~ :}-,;·ce ;;\·c~s
18'' Zildjian K dark .:-;·a,h hri ;b:~ ~
13'' Zilcljian K hi-ha;s
St icl.J:
Corre sponding music examplcs are
Zildjian jazz, wood t;p
shaded in grey
throughout the book -----.-- ..-- ..-- .. --·---
l"cc01··1
'\. ··(!
V'- Sc·1····1-
! .. ~¡ her · (1 1--··; ~-:-
1) • • oll..' • 1, ·, •1'1
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Park \\'c<t 13-.,

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'11cc·)····::1.,,
\. \ ¡ ~l 1, ...... #o
.i.: ... -
.1.d,,J,'\,.J0\ ,; ,
,.\.
•" • •

Tracking numbcrs are i Fnginccr('(i lw Ji1~; C:rn:"c

Iistcd throughout the book ,\'lastcrcd ·~)~· FL1::k Pc<..;:•K .i: ¡:,,,1~:11:: I>:~>:
with this icon. Produccd by .Joh:1 RiicY :t;:.i D.\:~-~-:·.:·~,
. . ..J L __ . --- ·--·---~- _. _

---------··
Introduction
So ynu want ro play drurns, jazz drums, huh? rvlaybc you becumc intcrcstcd in jau. dn;;;;-
rning beca use you hcurd :! conccrt or rccording, artcndcd a clinic or rcad an intcrvicw bv onc
of thc more iimmincnt drummcrs of thc l.isr thirry ycars such as Dermis Chambcrs, \'i1111 ic
Col:tiut:\, D:lvc Vvcckl, Pcter Erskinc, Stcvc Gadcl, David Curibaldi, Biil_v Cobh.uu, Ja,·f.;
Dcjohncn c, Tony \·Villia.rns or Elvin.J(lnC5. But whcrc <lo you srartr Thcsc ciru m mcrs ~ot:;:,l
:-:o di:krcnt irom onc anothcr. Thcy use diífcrcnt tunings, cymbuls, iouch. :·c,·.hni:¡1:c .1::\i
groovc:;, :md thcy play diffcrcnt typcs ofmusic. Yct ali ofthcm arrributc a hu·gc p:1:·t ut·t:ici:·
musiculiry to a 1 horough study a11J knowlcdgc ol thc master drurnmcrs wh o preceded t hcrr».

Viunic Colaiut.i crcdirs Stcvc Cadd, Billy Cobh.un and Ton y \Villiams. Billy Cobharn crcd-
irs Tony \Vi'.liams and Buddy Rich. Tony \:Villiams crcdits i\-'Ln: Ro.icli, Art Blakcy, P'.:;iJ:i·
J oc Jnncs, Jim my Cobb aud Roy Hayncs.
Ali rhcsc drurnmcrs form a continuum that lcads back to thc bc-bop era of rhc l 940s and
·sos, nnd cvcn carlicr, Thc purposc of this book is to help you discovcr, and lcarn fro:n , r h c
masrcrs of bc-bop. l·.:;irly irmovarors such as Baby Dodds, Zuny SinF;lcton, Gene Krupn ami
Jo Jo11c1;, wcrc cxccptions to thc old saying;, "hvc musicians and a d rurnrncr" bur :111 xucccs--
t"ul "bop" p:.1ycrs wcrc knowlcdgcablc musici.ms as wcll as gifrcd drummcrs.

Thc lc.idcrs of thc bc-bop movcmcnt wcrc Charlic P:ukcr, Diz'l.y Gillcspic, Bud Powcll and
Thclonious ~'lonk. Thcir compositions challcngcd drurumcrs likc no othcrs had bcforc. Ti1c1·
cornbincd rhythmically intricutc mclodics and soplusricarcd harmonics (at times playcd :1'
slowly- or rapidly- as imaginable) in ways rhat coutinuc to captivatc playcrs todav,

This music rcquircs more frorn a drummcr rhan just tirnckccping. Whcn you listen to sorne
of thc rnastcrs of thc idio1n, you he.ir not only a grcat íccl, but an acknowlcdgcmcnt of rhc
mclody and thc harrnonic fonn, musi-::al ac<.:ornpanirncnt, and logiral solos. If you dig c\"Cn
dccpcr, you may lind th<lt more than onc of thc. "ncwcst, hippcst" phrascs was alrcady bci n;
p1:iycd by a drurnmcr in your grandfathc.r'~ <lay!

I hope this book will shed sorne light on this important music, and will hcli) vou put down
thc ;;;une kind cf musical rnots many nmsicians so dccply valuc. S;;bscqucn~ voh:mcs 111 ¡}-¡;,
series will ad<lrcss thc music1l innovations of thc '60s :md '?Os, as wcll as cbart rc::icLr:g and
i 11 tcrpn: t.1 t ion.

Enjoy!

"J)<:oplc :1)' :~ ..~tl int!:I .·fr¡¡11¡s t~.i.,_-;, .;1:.;·

¡1./icr t,..')'(t11~ !l:~~r·r:· -::. .·./.'·l:>:,g
on th-.·¡·r c<:..:11 Jty:'c. ) C.: ..· :i1~:~:.it

jir.;t :.po:d ,1 i'Dng ti.>1;,· ./r,;1:,;:,

ct·,:1yth:"ng :l.·;/ lle' ,-.:;rr,:.t
dru11;n1crs d? ... D:·. 1111n:.:1:g i.i /:./.:.:: ,-:.':
1

c~:olu I ic !.' ,·~· r~:.· p,4~ .' .~ t: rN.

Tony \Villiams

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The Ride Cymbal
To a drurnrncr, thc key ro playing any stylc of music wcll is rcco~nizing and ,!cn::o:'ing t:;c
fundamental clcmcnts that make rhc time flow, In courcmporary po¡rn!ar mu sic, tl.c : : ; ; .c
flow is Iockcd in by "1 '' an<l "3" on thc bnss drum and backbc.us on "2" .urcl "4" wi th t hc •;n;1:c
drum. In Lutin rnusic, thc time Ilow is detcrmincd by rhc cla-uc. \Nhilc Latin rb;11;1m·~~ are
nororious for rhyrhrnic advcnturousncss, risks are not t akcn at rhc expense otrhc clave. Si::1
ilarly, in rock or funk music, although it isn't nnpcrativc that ihc buss drurn be pia;·c<.! ori
downbcars and rhc snarc drurn on backhcats, it is csscntial thar rhc band rccl ¡'11;11 pu.se. h
,Í<lZZ, rhc time llow comes from thc phrasing of thc ridc cymbnl pat icrn.

'I'hc pulse n( ja:1;¿ is a quartcr-notc Ice] wirh an ci~h¡Ji .. notc triple: subdivision. Ovcr t iic
ycars, difícrcnr rhythmic phrascs havc been writrcn to rc¡1rcscnt this patrcrn. J-lcrc are t:1c
four mosi common ways of notating thc jazz ridc cymbal ¡nrtcrn:

Whilc nonc of thcsc notations is cornplctcly accuru tc, the third cx.irnplc with rhc :r;pk~
phr:tsing is fairly el ose to thc way most jazz drurnrncrs think of thc r idc pattcrn. Thc quancr-
note pulse is paramount, becausc it gives rhe music a scnsc of forward motion. '\ Virh rhi- i;i
mind, thc phrasing bcgins to tukc shapc and sounds likc this:

• .1 • .1

- -·~·~L . · -- , n J__L.-H
-·A-11--- -----··..
J . ..... - .•
3l:í===-:_: ---:_f---·---~ ... ·- ... ' --±l

i\ddin¡; rhc hi-hat on bcnrs 2 and 4 givcs thosc bcats more "wcigh t ," as sug¡;cstcd in t:1c o t hc r
riele cym b:i l notutions.
 \\:i1¡ic thcc are i11:,t:U1<.:t.:s whci c .hc ricit.: c·ymb.11p,ll[cr111n1gill be ¡d1:·.¡~c,; .1~ ;;, ;;, .. · c , :',,·:·
uot.ttio ns , ¡!;;: b:isis !(JI· :1 swin¡.;i11¡•;
fcrl .rr most tc111p11:, i.-; :1 rº1d\' p;ii:crn 1•1:>i:,\;:·,_:: .• : : r , .: 0

1;u:1rtcr-notL' ot cqunl inrcnsiry with die "skip" n< itc. rhc : 1: i rd n.,:,· • 1i' i he : :·: ;,:_.: • .: ~ ,, .. : ·· .:
:ind 4, phr:1s1,I as:\ rripkt (a lirt ic sortcr in volumc d1:1n ll<t· <¡u.1rter-11o:t.:s) :111,! d~..: :::··i .. :: ,,:·,
bc.u s 2 .md -·.

Fc'•r 1·..::1 rs i r w:1s s.u. l t ha 1 bcurs 2 :111d -1 wc re 1 he ruost i 111 ! '' irl :1111 hc:1 ¡,, to '.t·r 1 : 1' ;:1zz. T! ·, i 1 r , ;, : , ••

i~ ílawcd. In .di 11111si1·, indudi11¡.;,i:1zz1 hc:it:- l :111d :\ :\IT t lu: "111:u;::1" :11Hl "1':t¡':1" ;,L':il··. \\·;,,,;

cvcr 11n: mus..', JH:11pk dante on "1" a11d ".\," 1111r "2'' ::11d ".J.'' lk.1r~ 2 :111d ·l .ir« :h· ",.-;-,;:,;;,·: ...
oi'bc:lt~ l :11i-1 3. Ym1 can't :rnap your fin¡.;crs, d:1p your han.l», o r ¡-d:1v rhc !1i-!l.1t o:~".:> .m.:
"·I" 11:1 lcss yo11 are fCcii n¡.; "l" :111d "3." Thc idi.::1 is lo 111 :d .t h:11:11,_·c·, hL·,·:1 ·,::-e ir· :·,L· :1;' : .\ :·;,' _; • ':·
2 :1ml 4 are rr o licavy, thc 111u,i1: wou': grno\'c.

Phrasineu
· ¡ (l ¡ir:ll'I iu: ti 1.: ridc cyinh:tl p;1 rrcru, ~l'l you r 1 nct m110111L' al • = {10 and ,·o; :11 t rn 1 ¡ ], •11,J. 1-: :·i ¡ 1- lct .
.1.-:rip-lct, .) .. ·:·ip-kt, -l-rrip-Icr. By :u-.-rn:ing t lu: tl:ird note ol°thr :ri¡1kt. \'t11: -. .. -;~\ .'.1.1::.,¡· .:
.··~101d11,·.'.• in y·.!111' pl1rasi11_; as wcl' ;Js a scnsc n( cx:td;_,. whcrc rn p~:\c'C iÍ1c dn\\·;·.k·.t:- .

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:,;:: ···:
······-
!
{ \ ,,,, .. '·· .':¡: ... ·: ..

\ ~· /111;,· .. (· .. ·=:: ...... - •

·~-~

.. · .

.>
;1 l a2 aJ a-l a
r·--J-; :----3~, ;--J-¡ .-3--1 .--.• ---¡

\·Vith i l«; ridc cyn-.bal ir woulc] iook l.kc rhis:

.\la kc ~11 re th, t rhc Iour qu.utcr- 1101 es .irc 11l:1ycd ;t t fr1L: :,a me ,-oh; me .i ;..., ! ti1:\ 1 ; ; : ~: .. ,;,:: .': ; : , 1: •·
is 110/ ucccntc.l on ihc riele cy111h:1i. althu11¡.;h you do acccnr thc ;1plx::H~ in _1·;H1:· ,·,·,:.:1'.;::·,~ ..

Thin:... about t!ivin¡..:; cach note a dcfinitc b..:ginning, hut lhl cn,i111¡.;. ·r;·,c ''H::· .. i .,¡· r:t. .. .: .. ;:1.

s hould he w11 :1 ;·et.:.:! to t he ncxt onc ra thcr th:111 sep.tr:ltt:d. Tr~' p i:1yi np; t i;c: ridc :'·';te:·;; u:·, :•· '" :·
snarc dru 111. 1 'hc paacrn will sou nd somcwhat st i ff becausr :he sn:Hc has li:: !e'::· :·.o'<:-:.•::.-.
ynu can hc:u .. dctlnilt: ene! to each note. Nmv p:ay rhe pa<rc:·11 n;¡ .\'\Jt:r !lrn1:- t\>:-1~. -~-¡~,~· .... :.·.
sound ht.:ttcr .>;:ctu~..: thc. iloor rorn rcsnna:c.s ;,):1µ:cr th:1n rhc s1::1a·, ;<:hi 1:1e :;ot..:,, ·.·:.::~·,·:.
The ~1ltt11d _ve want on ~he ;·ídc cy:nb;d is !;i111iLtr: cacl1 norc shtY.dd¡i:.;-.~· in:(1 ::~;.:no::.

Time Pla~·ing i-:

 ~et YC1ur metro nome ar.:= 100 (thi11!.- iripld.r) ami si11g-
''Dc1.·cDct:tL1D1.·.ccDccduDccc," de. Continuc si11hing :1nd ad,! t hc riele cy111h:1! :1nd !:i-í;.1:.

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/l·,· ,\ :~·:'':.:~:· . . ... :. ',: ::.·: ... : --- ....

1 .ovk thc quarrcr-notcs in wit h thc click. Kccp <l consistcnt triplct /1;';'(¿/);;'. :·· / "r".: ' .. ' ·• ·; ,'( '", .: ·: ¡' •• • . ; ' ".:

']'<t<.:.ing-ni"1hc skip norc a11d rnakc surc rhcrc Me no fl.uus octwccn

thc riele cvmb.il .mcl hi-har -a pcrfccr unison is :1 m11~L Kccp y1,ur
S liclh· :\ Lrn 11<
soun.i :md vo.umc cousistcnr. Listen for :111d maintain rhc triple:
~;ibdivi~;ion. Use your CD playcr's looping function to ioup CD
,: ) ·; ·:, ·: .': .'.' .
tr.ick ..\ .ind play aiong wirl. rhc 8·-bar bnss iinc phrnsc (at , = ·120).
1 .ni.:k rour ridc cymbal pancrn in with thc h:1:;s.

R.pn1tJarjivc 111i1111lc.u11r¡1wr!r:r-11.otc: = 120, 140, 160, 180, 200.

Thi:. ii>llll\VÍng-cxc:rciscs are Jcsigncd lo rcmtorcc t lic swing frt:l 011 tlic riele cvmbul. :\.'":11:· ..
pructicc thcsc cxcrc.scs ar various tempos. Th:.: snarc rhythms mus; cni.anr c uic ~\·:1:·,<-: :·ce:.
l'l.1y t11c:~ rni'tly so th:1t you dou'r lose your !(wu~ on thc ridt: cv.nbal. P'..\v rh« 11.1" ,.:·.;;;,
,nt'tly, too . .'\ ¡;oud ~rart·in~ tcrnpn is;= 70 .

•
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'•-. __ ... ~

-----·-----·
The Jazz Sound
Early drumxct pl.iycrs, likc Baby Dodds a11d Zutt}' Singkton, Iocusccl thcir time p;;iving (>11
thc bass drum .uicl snarc drum, 'Thcir souncl was an outgrowth ofrhc mi!it;1ry srvlc. T!:c fcc'.
w:t:i m;ll'ch-lí kc, but also includcd ciernen 1 s u!' swiru; dcrivcd from boogic-wo<>é;Íc <tth¡ r:1~-
time ¡)iano st;·lcs. 'l'lw rcrrn "ragtíme" is a dcrivation nf''rah¡;cd-timc," rnc:i.ning svncopat 101i.
Cy111h:1L .ind Chincsc t oru-f o rns wcrc uscd as sound cffcrts. By 1hc El30s, thc :1:;·,ckccrini-;
(un,·:ioii moved lo thc bass drum and hi-ha1, and latcr to rhc b.iss dr.un and ridc .-y;-¡;~- r , 1'.. -~-hc
suarc was usc.l fur compi11g aud soloing, Thc rorn-roms wcrc incorpor.ucd ;::ein,L,-:11>, ;;-.r
va;·icty in dru¡:1 solos clcvclopcd on rhc snarc.

Calfskin Heads
Pl.1~tic drum hcucls c!idn't cxisr in rhc 1.930s uucl 1940s, and wcrc not i:1 w:d~:spn;;1cl use ur,~il
rhc mid-1 <J()C:. Thc sound of Kcnny Clarkc, Mnx Roxh, Roy H:1y11e~. Ar: n:akc:·. :1:~.1 :1!i
thc grcat play: rs of thc bop era, is rhc sound of drums witli calfskin hc.ids. Cal!~ki11 hcic'.'
h.ivc ;\ rich, purc tone wirh lcss ovcrtonc ring 1ha11 plastic hc.uls. You can tl:cl t lu: st ic k :.::·.k
into a cultskin hc.ui and rchmrnd wirh a nicc, sofr spring 011 i hc upstrokc. Mosr pu,¡iic ;ind
th:ll ca!(~kin lc.ids rcspoud physic:1lly a liu lc more slowly rhnn phstic, but mos: ,lr::1; ::·;;;:d
bcc.iusc tlic fe :1 ami sound are so pÍCJsing. No11c ofthc plasric-contcri hcad ~urt°ad:' '.ce; qu.t c
likc calfskin e:· lasr as long. Also, brushcs fcel and sound hr<:at playcd on a calfsh.i11 i1c:1c.

Tuning
Thc jazz drumscr usually consists of ;i. bass drum, snarc, mountcd tom, and llo1i~ t orn. Thc
drurns .irc tuncd so thar cach onc has a pitch and tone thar hlends wit h all thc othcr.., 111;:ci·;
l1kc vciccs in;; -hoir. Thc highcst voicc is thc su.ue drurn which should han: both .1 cri~p .m.« !.;
.md <l Iat soun .. \.Víth thi.: snarcs on; thc drurn should blcnd in perfc,'.lly wíti1 your toirn;.

Afrer making ~.urc rnch sn:i.rc drurn hc:i.d is Ín tune with itsclf, cxperimcnt \11,'ith vnur tu nin;.:;.
Tune both he. ds lo thc samc pitch - how <loes that sound? Now tune thc top hc:1d r:¡::-1:c:.
Try looscrn;1g H tighrcning thc snarcs. Top he.id loo~cr? Bouorn hcad tightcr:. l~;1,·:1 11(:.·nl;;·
drnms has a v. idc ton;tl rangc. On thc torns, thc top :rnd bnttorn hc;ids are us1;:dly tu1,c,l ;,,
thc ~ame pit, '· This tu nin¡.; ¡.;ivcs thc drums an open, warrn, si;1ging tone. Bcc.1u'c _:.1zz
drummcr:, :tt limes use thc bass drum likc a third hand, it is tuncd to <l tone ;rnd rc,u:ur:~c
simiLir to tha1 ofrhc toms. Thcrcforc, mufíling is kept to a mini111urn.

li1ning )'\)ur ;;rums to spccific pitches isn't ncccssary, but most Jrummcrs <:1i '.Une t:1..:¡;·
drunb in rhírc ; or lliurrh~ to hclp crcatc a 111c.lodic flow. 'vVhcn tuning, I tune.: :Le h:i:'~ ,!:·,::'.-.
lirst, ;rnd thcn thc snarc drum. Thcn J tune thc toms to blcnd ín bctwecn thc ;;r.;1;-c ;rn,! ~1,,,,,
drurn.1\s for t .. e ran~c in whích to tune thc drurn~. historically, thc srnalkr thc cmcmbk. ::;e
:1ighcr thc tui .ng of thc drums. Drummcr~ working in brgc.r, iou<lcr cnscmblcc, ;urn:(Í :::e
drurns lowcr bcrnusc thc lowcr- sounding; <lrums projeclcd bcttcr through thc cnscmbk.

To hcar thc smrnd of'cllfskin heads, compare M;Lx Roach's ~ound on Li·vc tll Basi ..1 Strc"c! wi t h
Clifford Brov\·. ,, to ;'vk] Lcwi::i~ :;ound on 'J'hc J),:j!nitivc Thad}one.r, Vo/:m:c J or 2. Rcrn;·dcd
more than thi:~y yc:i.rs :ipart, both drummcrs are usi11g cdfak.in hc:ids, bu: .:\·lax tune::. ':c1·~·
high wl:ilc :'vl.. tune~ \'cry iow. Hut both havc a similar rcsonancc and w:1rm:h.
 Tl1e Bass Drum& Hi-hat
Thcrc has bccn mucli discussion in rcccnr yc:irs abour whcthcr or :10t rhc i:iv. dru m mc r
should !'hy quartcr-riotcs on thc: bass drum (commouly rctcrrcd to ;1~ "ft:athcrin~:"': .. ¡\::
"bop" Jru;:1111ns pl.iycd time on thc bass druru, and this much i~ ele.u: ¡fthc qu;1rtcr-;¡1¡tc:,
are to,.i loud thcy will ruin rhc time l'lnw, and if rhc hass drum is lcfr out ihc t imc docs..': frl-:
,::;rouncled. Drummcrs considcr quarrcr-riotcs on thc bass drum too loud if ti:cy are ;1.u,;i~1:c .r:
;i;\ within ihc ensemble. Thcy should be "fch, not hcnrd," as thc saying gm:s. ~losr 1):· ;;;e
drurnmcrs who play tour on rhc Iloor succcssfully play .l'iat-fontcd, und lct thc bc.ucr rd·,nu:·,d
off rhc hcud Thcy use bass drurns ih.u resonare .uul ;1 so lt c r bc.ircr 011 t:1::: p~c:i:, wi:i,_·l: ¡'.r• ·,.
d11c·es ks:< o:"a "pop" t·han t hosc gcncr:dly 1:~cd tnday.

The rcason drurnrncrs starrcd pbying thc bass drum cm ali Iour r¡u:Jrtcr· notes was to 1·.:i1:f~1ú·
thc walkin~ buss liuc of thc unamplificd ncoustic b:\SS. Tbc idea W:1S to cnhancc - ... 11(.)l
rcplacc or ovcrshadow -- thc walking hass part. Thcrcforc. ] rccornmcnd dn·clop:;:¡_: : ne
kinJ ofsoji rouch rcquircd to play thc bass drum so thut it is fclt .md not hcard. Dur;"t trv i: i:1
public until ynu can control thc buss clrum to rhc point whcrc ir cunanccs thc time :1ow ~:il!H.:r
ihan stifling ir.

Oftcn drurnrncrs play four on t hc íloor in conjunction with thc "hccl-roc" hi-Iiur rcchniquc.
By synchroniz.ing thc [our c¡uartcr-nnres playcd 011 rhc b.iss drum wit h ¡he hccl-roc ;~¡01i1l:·,
on thc hi-h;1t, you creare a vcry stablc time Ioundation.

-~~- ···-·!
· ·_·-)==~-~·
-r··-·
=· .::::i- -.-· ·--· -·· ·. ·--~f= @
..~~·
Muk c s111.T. yo u r hi-hat Io ot i~ccí
lands cxacrly with thc Üas;c. drum .);1
)(
bcars 1 ;1nd 3. Si1n:Iariy, dni·:': 11;\;~~
/..

1 icL·l Toe Hl'.l'.I Toe

!ic:us 2 .uul -l.

I 11 addit ion to thc mcthod just dcscribcd, l'vc sccujazz mastcr j inuny Cobh use a not hc r ''Te
,,f foot synchronization to cnhancc thc groovc.. \Vhcn Jímmy chooscs 1101 to phy fm;:· ¡;;·; l :,e
!loor, he'JI play bcats 1and1 "vith thc hccl nfhis bass drum foot ;rnd ;\i: ;he ~ame time. :x;.::,
1a11J3 w}rh thc hcd ufhis hi-hat foot.

=-rr-2 ~--· · ·
=o=-•== --- . . _J- · · --· - ~ =-E . -· y
-t-
.
----,.1
Eithcr ot thcsc foot SYn(.hro;~:za: iu:i
"movt:s" will add real o,l1-c1i:.:;r:1 t(> yr:1;i·

lkcl l·lccl timc kcl. Try thcrn - tÍ1c penp;r y .. 1;

Hccl Toe lkcl Toe pl:ty wi~h wi:l notin: tl:c clif:-e;-c;-.,-c:.

Thc role ofthc lii-hat is to.rnhancc thc g;rncwc oCthc riJc cy1nbai. This is done by pl:tYin~ in
pcrfc~:r uni~on with thc ri<le cyrnhal on bcats 2 and 4. Thc sound you want is crisp ;111,: dc:·1··
ni te. Think ol thc sound nf a church cho ir clapping; a!t)n¡:; with thcir si nging. Thc clajyi ;:f~ ,, ..
sl ro11g, i ts pl:tn:nH:11t definí te. The cbp¡)inµ; rc.i11forces thc flow of thc rhy1 hm of the m1.:lrni\·.
l 11t;1¡~Ínc l10w thc llH:!iil'. W\lll:d SOUl\d Í j'¡Jic ..-];1pping was dono.: in;\ l 1alf-Ílcartcd, wish_v-w,1Ó:•
t".ishion - thc music would be better off witbout the c!:1p¡.iing. Thc hi-hat mwt he ¡1~.1\·cJ
with ;1uthor.ity, but at tbc ~ame t.ime must stay u11der thc ridc cymbal.

Jazz dnimme:·~ gcnerally kecp their hi-hat cymbals about tvm inche~ aparr. Tlie tnp c:·n~li.1i
is hc!d looscly in thc clutch - right cnougb rlut it docs1ú >lide up :u~d dowr~ in tl1c ,·:ut(h.
but lonsc cnot:gh to rnovc frc:cly and sound (>pcn, not dwkcd, whcn pbyc<l \\·ith ~t;,;;.;.~.

Thcrc.are thrc(: basic foot tc:chniques that work wcll for playing thc hi-hat. Ym: should t.:xp.::·¡-
mrnt to find d· e onc that givcs ynu a good, consistcnt "ch:ck" sm:nd. Rc:'"'cd COlltrnl i~ frc ¡..:n.1l.

Thc thrcc tcchnic¡ucs arcjlatjooted, h1:d-üx, ami "da11ri11g" r;11 ¡/¡,•hall u(1•r,11•·jo-~!. \\'hi,·;;c\Tr
mcthod you u:;c, nukc ~urc thatyour motion is fluid and rchxcd a;1d tlnt cvcn· >'lote ;0 ic'.;n-;:,;
; 11 t1 me .

..,, ·¡··l.'(/ 1 r/ -';¡·J,r;('

') J). r:11n111111,r::
.

----~-·-~-··--- ------· ··---·

Cvmbals
"
l n general, b;md~ g:·cw prourcssivclv loudcr throuhh thc 19(}0~, '70s and '80:•, fnff i •1:; e\·;:::,,¡]
m;1111;!':1clllrcrs ro m.ikc i hickcr and hcavicr cymb.ils to rnccr t hc rcquircmcnt-, ot"t:w ;1·11;:.i,.
Thc ;h°!vanragc; ola rhick cymbal ovcr a thiuucr o ne are that ;1 th iclcc.r q·11:h;¡[ is ;.,,,,ic·:·, e.u:
cu: tl1rnug-h ;1mplillcitiun bcrrcr, and hsts longcr hcc111:;c i1 is more dur.ihlr. Thv :'l'W !1c.1-,·-
icr cymbuls do what rhcy urc dcsigncd ro do, hut ir's importan! Lo kccp in mi nd ilu: ;1 ,-~::::h;d
rnarkcd "JVlcdium'' t0thy is hcavicr t lran a "Mcdium" madc in rhc 1 'J50s.

Thc problc.u witl. phyingj;11.z 011 a hc.ivicr ridc cyrnbal i~ rh.u

t he notes nf thc_¡;L'."-'. ridc partcrn dou't flow togcthcr to crea te thc
dc~ircd cus/iion ~/uJu11d. ¡\ hcavy cymh:d clocsn'r hrc;1Lhc; its
souud is shorr, iike playing rhc ridc puucrn on your suarc drum.
//~:;.' ... \ ·:.·!:·. / :,·
·¡.:; ·,· r ~· l·_-1·.';:/'1.'/ ·,:,, ;, .. ,, ; .
'l
,.;,/,· -:~·n:/.•,;/, l ·,,<:e;.'
Tiic rcason manyjazz.drununcrs put rivcrs in ihcir cyrnbals i!- to
cnh.mcc rhc .1prca:I or rcsou.iricc - thc cushion that connccrs !/.;( ,¡'::/,;;·.r;'.'j/ ·"·:,·:~!:·· . ,i. ·'

r/'.{/,·l·:· .',~ / ··:, '1· .;. ·· '. · '· '

c.ich note. Fortur.arcly, cymbul manufacrurcrs are once :tg:iin
111:-tking 1hi1111cr ridc c·.yrnbals, usually c.rllcd ".light" or "clry."
Thcsc cvmb.ils han: thc approprintc conrbination ofst ick art.ick . .
/':i :·.· . .' 1,1,· l):"'. ··,· .' .l··: ;,.'·,
'
' ; .. ,. ¡
.. · ··,'.
u·or cLHity .md definir ion) and cushion (ovcrtoncs and sprc.ul)
;.

1~:··~·¡·.1/•.·/·,.;1,.,, ... ,,·I/.c·~,_:·~··.·· ,;:1.· ;.1.· ;: .. •.•.·

:o hJp drummcrs gct :1 Jlowing time Iccl on thc ricic cyrnb.il. hr:1¡ .. /, ! ti:¡:.'/ :1.'':;.1 .'/t· .··:1. ;. ··. ··: ·

Tlic .i:izz ridc cym',al is usu.illv 20" nr 22" in diarncrcr, \Vith rhis
cymhal you can creare a multirudc of diffcrc11t sounds. 'Th« fact
th.u cymh:ils are rhickcst al thc bel! .uul thi1111cst ar thc edgc ,'.re-
ates diffcrcnt sm111d charactcristics dcpcndinµ; on wlwrc you play.

Pla ying Areas h.:,(/;¡'.''_; . :;;¡ , ::i.

!:.1-:,·c.r· _1-Jifl.'r:~
1 ,¡ J.I: ;'; /.::,

/',.',' .~f.•i
i .', ·' ".:- .. ,

:/·,.· 1.·
,l: .-/ ···.t

Th« cyrnbal bel! i:0 rhc highcst-pitchcJ, lcast sustaining (or (//SIJ-
:rming) and mosr ;1rojn:ting part of rlic cymbal. Playiug on thc , . ' . . . . . .
¡¡_-;,· J.l,','{/,;¡~- .·:..·¡.'?.i' :::·:·:7:-; ·,_ .· .~ ;,¡: ..
bel! is grcat for l. atin rhythms, fusion nius ic, and íor playing
oi10:·t, rnain¡; ll¡;u:cs with an ensemble.

l)ircctly bcucarh he bel! is thc thickcst part o lr hc body olthc il'/t.'

..
¡
'
l."Jf·/7.i..
.
,·/·,¡/ .'(~·
.
i,·· ,- ,"''

cvrnb.d. Playing tl.is aren aw;1y from thc bcll- approxim.uclv 2 ~ ~ '. 1: :

o¡·.) inchcs - wil! creare a ele.in, crísp, dcfrncd ~ounJ which Ís . . . ' . .
'. ·, _.
¡ ! .':' ,·;' ,•i ~' ~: ;" ·';. ¡ 'f 1_ •• ,"'' ':

VCr)' cffi.:ctÍVC WhL!l thc l11USicnl intCl1SÍty is high ami you l"C:llí)'
v.·;1nt to "diµ: in" tu thc cymbal. This part of thc cymb·,tl is also ;1
good drnicc for ¡ilayíng uptcm¡>os bccausc you can use a light s;;¡j(/:"·J :yp:, ~-<·'.,/,::. ~·.' ·; . . _.: /".. ,. .· · . .
touch and sti!I prl) cct.
1 e:<~(, 1 ú:-1;': '¡~·.ni·/.~~! .. ,·:'°·;·.·~ .....

Thc third pl:iying arca, ilbout midway hctwccn thc bel! ;rncl Lhc:
cd¡..;c, i:-. thc main tirnc-playing arca 011 thc riele cymbal. Hcre you
.\Je,:] ( l'WI'
C11l gct a Jistinct ~rick~ound and :111 appropri;i.tc amount ufovcr-
_,~ /.·~./.
tr>nc build-up to crcttc thc .:.ushion. Thc cyrnbal vihr:1tcs c.vcnly
in rhis ;¡rea anJ can be pLiycd from vcrysoft to vcry loud, yet ~till
rn:tint:iin its sou1h.'. qualitics.
Thc pbyrng arca r loscst to thc cdgc genl·.ratcs a souud wi1l1 many low ovcrt oric.s an,1 l.tr!c
suck dcilnition. Thc cyrnbal vibrares uncvcnly whcn playcd r losc to thc elige, bu: ,·;1¡~:~e
,-,)nt;·ollcd i!'you j'hy it with a vcry light touch. Phy rowards thc cd.E,'c wi th thc shm;:,:c:- ,,,·
1·hc srick l or occnsi ou.i] soft crashcs wit hin rhc time How. Lxpcruncnt wi rh vour riele cvrn :·,;, .:
f\;1d th,· dittcrcnr soundin).!; arcas. Check your ridc cymb.il cnlt wit li dirlcrcnt wci.'-'::it -.;;,.;.;s
and diffen.::111 tip slr.ipcs. F.1111iliarizc yoursclfwiih your riele cymb«] - lc.irn whut ic ,·.1!: d1>
Ior )'Oll.

Sticks
Once vou'vc touncl ;1 srick rh.u Y<lll Iccl com íortablc with and
you kuow thc sound possibilitics of your ridc cymbal, cxpcri- "I UJt~1/ ;'(,¡ .lj''.lt"l.'d. ;;~'/ a.«, ,;,~ .' ··>~· (,·' r:
mcnr with "choking up" onc inch on thc $tick. How docs t h.u c·(),,.:¡,(n,>· h,.,·~~·<··. .; .':.' rr: .-.->~·
¡1:

changc thc sound in cach arca? At diífcrcnr volumc aud tempos? .·IJ.,·/,..:./:,·~tr,,· r:/.L:.·.~·j': ..· ·: ,~·~··1.·r>.;.'.: . . . _,,.
thr:';;t~¡/i th( i;,,"!'1:,/(.~. r··¡r; 1;: .. ".:,i:,:

Now hold rhc sticks at thc butt. \Vhat docs that do to your nt aiit.»:«, //'.· /\·,,, ·,.:.,·;{· .. :.~·:" /.~':1:.: .'C:''.'

sound? You r f'acility~ Expcrimcnr with pLtying t lu: shouklcr of

; he stick on thc cymbal in thc 1·ollowing ways:

/JilSi.'l:.'.l.1 /"",,/');\·/ .: .':,•/ :.1:.;:

"",.,·' ,~·1 J.•; .."i,¡,·~
Occasioually, as an ncccnr wirhin rhc time Ilow
·LJ..1¡}~fln::/i·~}: tor ·,·)u t .: .srun.rr.,»,
Supportcd by rhc bass drum or snurc drurn
j<

In c.ich pbying arca

l~rn;ha/·, ·-;.:. ·;·.';~ /•;,:~·{·· .tr..: :'~.·¡(· •.~:.f·.':.
Rcpcatcd shouldcr notes on thc bcll
thlJI ·;.:..:::'! hic1;,¡ --._¡_·¡/h //,- rn u:>: t:', .i.
Rcpcatcd shoul<lcr notes on rhc cdgc

1ntcgratc thcsc diffcrcnt sou ncls inro your playin~ to makc it Eh·i11Jonc
more iurcrcsting, Jlow bctrcr, more swinging and dvnarnic.
 rradicin o
b
For sorne pcoplc who are rcading this book, playin~jazz rnay bea rclativcly ncw o.:pcncncc, .m.:
mighr fccl awkward. Rcrncmbcr lcarning tu ridc a bicyclc' At first yrn• wcrc worri::,! ahnt::
kccping your balance; you didn't cvcn tlunk abour pc.dalinp;. Once you gaincd a sen se 01·;,,1Luh:<'
- hut nora mastcry ofit - you could try to pedal. You ~till h.uln'r cousulcrcd how vou .voulc:
stccr or stop' Cr:1<l1.,1.lly, it all e.une togcthcr; you could ridc llglll'c-cight:; .md 'top n:i :1 ,Ji111c.
bu: c.ich day until y{;\1 could "do it," you would st.ur out Liy rcg:tininh your scnsc of:).d,mc<.:.

vVarming Up
P Liri::g w: t h .1 ,wi nf~ Cccl rcqu i res asimilar scusc ofbnlancc. !:\p:i,·i ng c.w h 11oi.c so t h .. : ; : tbw,:
wu l: rclaxccl t~irwa1,l 1110111cntwn will t.ikc :\ whilc t<• master. Hul it 11111s! he !:la,:c:·cd, <J:
not:1in¡.; clsc )'0\1 pl.iv will rt.:cl right, orwill mattcr at ali. Thc spacim; ofrhc ridc C\·:11h.t: p.11-
tc rn must bccomc L ce your balance on a bikc - ir has tu be thcrc r:·om t hc !irst ~C,();;d v.».
sturr to riele. To hcl¡· »ch icvc a cousisrcnt, swi11¡.::ing riele cvmh.rl bcar, 1 suggcsr rhnr Y<Hl '.1q.;i :·,
ca ch practico scssio.: wi th 5 or 1 O minutes of playi Df!; thc ridc ,:ymbal wi t h r he ~-01:1 I' ¡ nt; p.1: ·
tcrns thur are wrirtc n out on pagc ninc. This will rc111i11d }'llll ofd1c prnpcr sound :t:;d ':1:1,-
iLg ofrhc triplci fccl ofjazz.

The "Fun" Factor

Tbc c.rums are fun ro play and you should huvc Iun playi11g thcm. Howcvcr, ali dru111111er~ :1:
onc time or anothc . go ihrough pcriods whcn t hcyll play :111 d:1y, cvcry day lt>r wccks :1t .t
time, but still not unprovc much , Thc fan tlint ir i:; so much fun to play ihc druu.s e.u: be :1
prohlcm in itsclf, bccausc ir takes discipline to stop phying (and s:u¡1 liavin;.:; so 111\icÍI :\1:;~
and s..trt working <:11 rhc wc.ikncsscs in your playing. \Vht.:n a drurnrncr phy~ :"or Í.\lur-; •>I•
cnd \\·i thout spc:idí:1g :my time focusing on corrt.:cling; wcaknc~sc~, he will impro\'C -· hut h(
will improvc thc .i~,ngs t:iar he alrcady <loes prctty well. To makc thc rno:;t <.:tlcct1\'C u~c ,¡:~
yot:r time at thc dn.ns, you shoul<l spend :it kast h;i,!fyour time corrccti11t; _.,.,H;r \\T.<k .·.:·c.L'.
:md thc rc;;t doing 1;iat111nn: prinul thing wc ali !ove so much.

Reading
Rt·,llling music, and bccoming a ~ooJ re:tdcr, Jocs not take away frorn your 11:11 ural fre:i n.~ :·"r
1nusic Imagine tha: you \V:t1:tcd to lcarn about world history but could not rc:id. l·Io.,,· w,1ul,i
you karn) \Vhat y.:•u could lcarn would be cntircly dcpcndcni nn thc lin;;tcd i11t'or111:1i:o:·,
¡H.:n¡1k t,1]d ynu an1.: your :1hility to rcmcmbcr \·vhat· )'DU v:crc tnld. i'\Gw ~liflJ1º"e y,,1; knc·,,·
hnw 1,:i rcaJ. Yuu e: ul,l sril: lcar11 from otht.:rs, ll\:t you «.:ould :1h1 µ,o to,\ li:1r:1:·y :<:1,l ;-c.:,;
;ibou: tlic m;rny cv1.:11ts and aspccts ofhistory d1:1t nonc oCyour cnntacb had .l:•y k:· .. ;,,·;(,!;;c
of. Yo111.:ouid also u.,c your rcading skills to veril)' int\irm:üion t!1:1t you h;1d :1..:cn µ_in·;,,

\.\'hik i:rnsic h:1s a: tron~ oral tradition, thc rcacling ofmusic in no w:1y cii1ninishc~ :·:·,:it :~.,-
d;:irni. Bcin¡; a gtH)•: rcadcr simply npens thc <loor to k.11owkd¡.;c a\im•t :tll 111:::-ic.

vVhere to Begin
Hüw do you figure 1:ut what to pr:1cticc? By list<.:11ing to ;·ccorJings :111d li\'c pcrform;11Kc~. ':1y
phying- with pcopL: and by looking at drum books. Takc :in invcntory or YP\lí p\;1y'1·;g, a1~,!
~·ou;· musicianship. :vlakc ;\ list ot"your >tronµ; points as .1 playcr and h: proii.l o( thc iil:r:; ..>
that you do well. l\'. akc <l sccon<l list of your wc:1krn.:sscs :md 1·n111:11it rnnrc pr.1ctin: 1;:T:c ::1
irnprovi n~ thcsc :m:.1s. You migh t wa nt to break you r \-Veaknc:;sc:-. in to ,c;vcr:1l grm: !1'· e; ro\; ;1
1 miµht cni1sist oft 1ings th:1t will takc onlya Ú.:w days to polish ttp. G:·u;,:p 2 mav ~·1m,.,::< •>'..
thin¡,i;~ thatvvili t:ikl ·1 month or so to impn.ivc: .. Crnup 3 be rhinp th:1n,·ill rh:1t will : .• ~:(: :t 1c::t:·
or rn to 111;1stcr and Group 4 nuy ,·.onsist oClong-tcrrn, lifi.: objc...:rivcs.

~ ..., Time Pl:iying

 Look at your list of strengths and wcakncsscs cvcry day. Acknowlcdgc what you do wcll, bur
work cvcry day on dccrcasing your weakncsscs. In foct, bcforc you sit clown to practicc, m.ikc
cithcr a mental or, bettcr yct, a writtcn note ofwhar you hope to accornplish d11r:ng rhc pL1c-
rice session. Rcmcrnbcr that you must cnjoy practiciug if vou hope to rcrain :in;·thing o:·
musical value, Rccording practico scssions, rchcarsuls, and gigs is cxrrcmcly valuablc bccn•~<.:
ir can rnakc you more awarc of your strcngths an<l wcakucsscs.

Setting Goals '1 u.~c."ti lo ¡Jratl:':i.: i'~,::/:.~ /::,;'-''.'. .: ..;',¡~~·

Thc goal ofbcing rhe besr drummer you can be is admirable, but C"UCI)' day.,. F. r, ·.111¡ ahr;u/ /!']5() ,'Jr:i'il
probably not spccific enough to gct you whcrc you want to go. ahou: 1962. l: ·7.: ¡;.; • .- \.~:.~··';/(· !/·:·1:.:~·· .;
Ycars ago, PrcsidcntJohn F. Kcnncdy focuscd thc psychc of thc subo!« /•trivd ir: nl)' .':"/~· icbcrc 1; . .,.: 1:;.-'n,;)
American peoplc and dirccted thc dcvcloprncnt of our spacc clsr .-. ~·r1.i ha..P¡h·1:1·.';?.·"
program whcn he said, "Wc'rc going to puta man on thc moon
by thc cnd of the dccadc!" Compare this specific goal to thc Tony \\'ílliam>
dcsirc to "Llave thc bcst spacc prngnm."
!-,,·. .\~; ·: ,, .... : .. :

Competition
Peoplc are compcti tivc by naturc. Whilc ccrtain aspccts of rhc music business are vcry corn-
pctitive, the playing of music is nota competition. Yct, pcoplc srill likc to compare borh how
they play, and their lcvcl of success, with that of othcrs. Fi¡,ruring out whcre you stand can i)l:
an cnlightening and stimulating prnccss. Thc knowlcdgc rhat othcrs havc workcd hardcr and
bccomc more complete musicians than you should cncouragc you to work han!cr ;111d
bccornc more scrious about eliminating your wcakncsscs. Unforrunarcly, sorne pcop lc
bccomc discouragc<l and frustratcd whcn they realizo thut thcír playing is not as "tog;cthcr"
as thcy would Jikc, or that sornconc younger plays bcucr than thcy do.

Tony Williarns, born in 1945, burst onto the rnusic sccnc in

1963. Ar thc agc of17, he was playing with Miles Davis and
sounding grcat. Stcvc G add, also born in 1945, Iirst startcd ''f ustd lo¡•ra1-1:·\~t 111:~~.---..:. .'/~;t·ri:_ (rvn;)~:4 ~·
rnaking waves in thc music sccnc in 1975, at agc 30. Imagine Íf.í ci//Jí /vy;;;-_; d ;/,.~·· -. ...-1~:(:; f_/ir.~: _{/:~..·:
how differcnt thc rnusic scene would be today jf a young Stcvc
l"d,,,(ro11¡ tbt· .1gr ·~.(tt'.~:-r/t"t~n :,: t:..:1\:>1 ;;~

Gadd bccarnc Irustratcd by cornparing himsclf to Tony in 1964

or 65 aud stoppcd playing. They both are grcat playcrs who have
influcnccd nuny. Evcryonc develops ;lt thcir own pace. Elvin
J oncs madc his first record at agc 29. Art Blakcy startcd lcading
thc Jazz l\lcsscngcrs at agc 3 7. Rcmembcr, music is a lifc-long
pursuit, and mcaningful improvcment takcs time.

Inspiration
An aspcct of practieing that cannot be ovcrlookcd is listcning to
rceordíngs and going to sec Jivc performanccs. \Ve are vcry fortu- "11'hcncucr ,·\-taxi cr Uud,,~~·. c.~· I~/·:·: 1:.
na te that a numbcr of thc innovators from the bc-bop era are :;till or Roy i'Ía_}'n'-·' or {n:. ·¡ go.t;d dr.-in~ n:r·~·
performing today. Sceing a master play is an invaluable c.xperi- is in 101:..:JJ, ~~(Jú; n",/ ::..·,_,:}:·n~::,
fg.-; ~r•.:.. 1hc.,·(· ti-::~·.··r1· ,4·r'··
cncc that wil! help you fccl an<l understand thc music better.

Philly JocJonc~

.¡'he Art ofBop Drumming

 Camping
Once you'vc dcvclopcd a flowing ridc cymb.il partcrn, rhc ncxt stcp i~ to ,,·ork 0:1 ,,,,,./,;·\~-
Thc word "comp" comes fi·om ar:.company or crJ?11pk111c11t. Compinµ; idea:- are ,lc,i~11c,i t- ,
;1ccDrnp:111y and complcmcnt hoth your !;win~ing rid,: ryrnhal ;111d t l«. (·111i,:: li;1:1,'..

Corn¡iin¡.:; is clone Ior scvcr.il rcasons:

•To cnhancc thc groovc;

•To add varicry to thc time flow;
•To support or stimulatc rhc soloist;
• 1\s :i rcspon~c toan idea just playcd by auorhcr hand rncmbcr,

Comping is 1101 done:

•To display rcchniquc;

·To disrupr thc time ílow;
·To ovcrsh.idow rhc soloisr;
·Beca use ynu are borcd "ju:;t playing time."

Interdependence
Thc comping cxcrciscs in this book combine a stcady ridc cvmbal .md hi-h.u p.utcrr, w'.:h
"movinjr" pares on thc snarc and bass drum. In the past, cxcrciscs likc rhcs« havc bccn c.1]kJ
"indcpcndcncc studics." lndepcndcncc is a misnomcr bccnusc thc lust thin¡::; a cl ru mmr;
wunts is his limbs to work indcpcndcnrly, \•Vhat you slwultl work Ior is what l ull intrr.l,»
¡1m./01cc, whcrc cach limb knows cxacrly wh.u ihc ot lu.rs are do¡::!'; .md hc)w ti.cv \\;.:·;,
togdho; not indcpcndcntly. \.Yhcn you can hcar how a complcx s_1·nu>p,1tcd c(1;-;1¡1:n< i.ic.,
relates to thc ridc cyrnbal, ir bccomcs casicr to lcarn aLlCI will .1ou11dbcttcr wlicn YGU ~,ja,- 1:.
Dn:·i1 t l.iuk uf your limbs as h.winp; four inclcpcndcnr h;·:1ins. l nxt«.«], visu.ili:«, fnur in:«: ..·".--
poid,·111 parrs riiar wurk lo¡:;cthcr to cn.:atc t hc wholc SWíil¡~¡ng grc>ovc.

You will noticc that thcsc compinjr cxcrciscs are notwri Ltu1 usillg tri plcts bu~¡;?·,· j'h;-c,; \\·;; ::
a tri¡ ikt l\.:cli:<g. Thís is achicvcd by "swin~íng thc cight h-nolcs. "{n _i:tzz, .11! t he cisht:1-;·,,,¡l·,,
are :;wung. In ordcr to swing thc cighth-notcs you musr lc.un lo "i"u:l" tiic. upbc.r; ''' t hc ¡~·.;:.:
note o ía tri.ilcr.

Hcre is a bar of'"straíght" Sth-riotcs: :'\ow pl.iycd wrt]: ;¡

.\ú)Íll,i:,_/'d:

Off-bcat Stlr-notcs: are phra~cd likc :hi,:

r-···-.:- ---.=
·:i}2'f
-- ... , - - b--~1-*---·~--~L_
·- ·---- b_ br-~ ii2.~~
-· . :-::1 -'-··-----·- : ... I ..... . ·-· . ..- 1

This Sth-norc phr.isc:

=0-· t~-~j~-. _-_ --·¡--.-~----

L----·· ~
-~·-···
. . -· =-· -·--·· -· -·~E~'
----· . .
·!__!.:_~=1:::-=-:
·----~-----~---·

.. -··----------~~----
. : · ~: . ...

---·-·

sounds likc thi:;:

--.1~ 3·---, .--_¡-

----------- --------- ---- ·----- ------ ·---

 Comp Example 1
Practico thc foLowing comping ideas with a stcady, swinging ridc cyrnbal bcat. 1'lay thc hi-
,'.
,.
•
.• /~, ~-~
\1 hat softly with sorne "snap" in pcrfccr unison with thc riele cyrnbal on bcars 2 and 4. Pby
qu.uicr-uotcs 1;n thc bass drum softly, don't mash rhc bcatcr into thc hcad.
~ •, ~
~_/

_, ' . -------~... .. ·-----i-i

3J: +-~---"':- .._-~ ·-·--_.. _ -·-f.
-- -
-:-:n¡.F-:t -·1:=•....:-:.>---·--~- ->._----,{__ _::i-... ~~
..
-------1--.,.
:Ej~.;--·~... q::-->
.¡ ..
""
----~
·--. ·---~--
----•~--·-:--..--::---•·:..~;.
-- ...
"'
.. , ,
:.::•.~:·
"
,., __ "
·,-•"'~-~ _·..:. ~:- J
·---::==__:__:·..:..-:·-·-:-:-~·-!'
...

-.:.:~:)

--oE-+.--.-;-11-~-7~.--.-.-
--~-- _L_~---.1' .:_,______ ~
__==r-~
_0_~---+\--.:\
__~\ .. . _'\, " '). .. ---· .· I
~ rrr: -,~-- _r~.r: -=!:=~':.:--....
_}:=·· ·---- -------·l --r:=..-:!~~
..,.....---¡¡- .---.-
-. _=:_!-::--:r:--~-_-·
.. ~.--.. ---...--!·· .. ) ----
-:-J- -_-_:~~----~~-~:--·· . .. - :_-~ ·-::·:
•. - •. -.---.-·
1

Compín~
 •
-·- ...
Rcmcrnbcr, thirik of thc triplct pulse ;1nd swing; thc cighth-notcs. Play cach rwo-bar phrasc
' \ until i¡ p;roovc~. Practico with a click; a good tempo to star t. witb is.;~ 100.
: i
. '

··----

~ ;--; ~\.
"! ••.....• ~.,-=x-=-·<-•--::

tl_D ' .. : - -, "

-ílf:-~3.------··
:u_:": fo.
.~,,~-.~=tz-::i?¿·
-·L
I~

- - ····~¡---;J:_-cfE:OB--;i:tf.=->==-~ --·-- .. --~----·-·--}-~~~.:__,:-.-.-.• .:__·

~ .....

· ...:.:.:~-=-==- . _}___
.....

-a~ _'t.. ~ ··· ·-··t.-. -::::_:-:- -·-.

e . --,;:-.

··-···.,·-· .. __ ·- ·---- , ,,,

fhulrt 0/Bot' Drumminv

•' ' ¡)
 Pacing
Once you are comfortablc playing thcsc comping cxcrciscs, tlic ncxt stcp is to dcvclop a scnxc
ofhow to use rhcrn musically, 1\ hood way to lcurn to c.omp musicdly is to pl.ry c.rch two-:,:1r
phrasc rwicc, thcn play four-b.us ol tune withour com¡iing. Th1s cxcrrisc wi]] ;;hpw yu·.: a
type of musical pacíng or cknsity bctwccn ,_-on q1ing and rime pLiyinµ;. Rcmcrnbcr l ¡1:1t y,·,¡¡;·
comping ideas musr arr.ompa11y and ron:¡ilcmcnt thc playin¡; of thc ot hcr musicians. :\dJ a n
occasional acccnt, vary thc dynarnics, or play sorne of thc cmnp Iigurcs on rhe torns to ch:u1gl:
thc Iccl o( thc p;1r:t:;c.

The slash marks in thc scco ncl stavc are a form of musical shorr-hand mcaning "cont inuc :l~t:
normal time fccl."

:'-low go on to thc ncxt two-bar phr.isc and play ic ihc sanie way:

and so on, through nll thc rwo-bar phrascs. \i\'hcn un idea is rcpc.uccl in t his fa"J::on, :t\
cullcd a "riff."

20 _, Compinr;
 Rhythmic Transposition

•
-----. Groups offour-bar phrascs are thc basis otnlmost al! jazz tunes. In rhc carly days, .i;lZZ rnusi-
\ cians would start thcir solo ideas ut thc bcginning of cach four-bar phrnsc. As thc musi(·i~.:1>
' '.
; 1 bccaiuc more sophisric.ucd, thc phrusiug bcgun to changc. Solo ideas bccarnc icss prcdicrab.c
1. I

-- or symmcrrical beca use thcy sturtcd at diflercnt points withi n thc lour-bar phr.isc.
I

_J==-=-_.
. ~
-l+=fta-_j=___,J.=~•:'--'D =-~
-==-
-==-::::t_=-1-==-.., ._~-·14-~-1-l
=--'l~.p iz__,
__--;,_r:_,z.
,.-----. -._z___...

Noticc thar thc ideas you playcd in bars 1and2 ofthc tlrst four-bar phrasc sound quite éJ-
fcrcnr whcn playcd in burs 2 and J of thc sccond four-har phrasc. In ordcr ro hcar rhc c'.iffcr-
cncc, you must fccl hcat J. of cach [our-bnr phrasc. Don'r frcl thc bq~inning of cach comping
idea as thc "1" of cach phrusc. This idea of moving iclcntical rhythms from onc place to
auothcr is cullcd r~ythmic transposuion,

Check out thcsc rhythmic transpositions:

=o:=.r,-
=a-
~--Jt.·•

...._-_-_--e ===:.:.;-;;~z=::=~--~:+: . .-=-::L:.:_•~---=-~-=-::.~-z:"":''=-_~-=--=-~~-z~·

-;-=-::.~-::...-=-.=-r:__-. --.-,- j). . ._~--~--+--*---~
----~z~' =-_¡j-. -~i~--·

~-.·¡--iJ---·-~
. -··-p+,_,.,·~'!........,_,. ~z"''--·!--C.·-~¡-~------
----~-·-----------~·

Now ~o thro11~h euch phrasc in Comp Excrcisc 1, trunsposing thc rhvthrn in thc thrcc d:ff,:r·
en: W<1ys l just dcscribcd. Couut out Ioud to he surc r.hat you ;1rc fr.cling horh of thc [our-b.rr
phrascs and thc way thc comping ideas "lay" ovcr tlic time. Makc surc thar thc ridc cymb»] \,
swinging throughout. Once this is cornfortablc, spcnd sorne timc improvising in t his rnuu-
ncr. Play along wirh CD track 4.
 Cornp Exarnple 2

•
Comp Excrcisc 2 cxpands on Comp Excrcisc 1 with triplct-bascd ideas. Althnugh thcsc cxcr-

i
-~ \
ciscs are busier tnan thc carlier oncs,
Thc inclination will be to acccnr thc
you must mainrain rhc sanie Iocuscd riric cymb.rl 'ounli .
"skip" notes on r hc vide cymbal hui ifyou ;icu:nt rhc ridc
\
-, j
1 cymbal in conjur.ctiou with thc lcft hand ym1 will lose thc :;lronµ; forwurd rnou.cnrum o:' t hc
~ <¡uartcr-notc pulse. Srart at J = 80.

n
r-r- J -, :--- J -, ,.--- 3 --, r--}-. r-.i -

~~~ "f y -=--·,~~

'iJ"-t-\,-~

r-3-i r-3--i r- J-, r--3-. ,-- -~ ~~

;,_Q--;:-r- :¡~J)-~~~--..--1·
--t-11--0li-:---..I: -~~ ?íl 7 P-P-2~@~~-!E~~?~ -~]

o!l- ~ . '~ ~- ~ ~J~-, ,

-j----. ,-~··· ~ r-J~ ,-3-. r-.l- ,· -· ..

:füt=!
- -~=--··-..-i·· .-- ·u-•_, _ _~_, __ [l-·-~--•-•·-.;·
-~--\. \ . -. · - ···---·· ·
~~---) '--7-:: __- . - !J _ -----;+:1:co--._
-----::-:=2.i:__f~~--- f--=__ _:: J~:-~~::--·-~::·.~ ::~_:_-:- -- . .
-- • •-.-:-
I __ -- f -·
e.:». ··• ,,- . ····-··-···
·: ~
--- . z

:-- 3 --, r- 3 -., .? r=r: 3 ~

=ªk · J~.¡=:J~P.dIJT. -- .q 1
r-- 1

J~ ~ · ---~tll J:J-~~~~ -~-j~ ~!?~~;~i~~~~~~?1

2M Comping
 Pract in: Comp Excn.:isc 2 thc sarnc way you practiccd Co;iljl E.xcrci~c 1.
Kccp thc ridc cymbal, bass drum and hi-har ~winging.

• Play cach phrasc a numbcr of times, until it Iccls good; t he n go o n to t hc ncx t ,

•
• ivbkc cach phra~c into a riffby playin~ it twicc, followcd by fom bars of time.
. ---- 1n a Iour-bar structurc transpose cach phrasc as you did with rhc prcvious co1~·1¡ii;;~ :1'.c.1~ .

( ¡
\~.-- !

r-3--i r-J-, .---3-, :-- ..t·-

B±t-.p ~--ª~j~JJ 1 fJ::flFf?~-§_-_•:~-~~~-:_~:~c~-_-

.;_:•:-: -~_-_

~ J-, r-3-. r-J-, r- 3--, ~-~~· 3- .. --- ~

=ettt}y-;3=~~---Fj::t~ ·1 IJ~y!\ J541t1 R., ~~~·/~~~~::--=!~-=~~~:¡

r--3-, .---.1~ r-3-.. f·-3- r--.1 'r-.~-.

=tfg~rl; _ ·~~~~~~~1~~\~~@411J:~"j~#~-·::-~;~~·,L~f;~.-::(~:- =.
·

~~---3-, ~3-, r-J-, r-J-i r-J-:

~!:-~ 1~J. __ y~~~-·:0~~~~~~:~1

.-- J-..., r- 3-, r - 3-, -··· \ ··-

~m?r==§-=_---._~~-~~~{-.Ji... ---J JJ:@;§tjfj~~--~L&~~=~·-·:?.'~~'.~?;:~:-]

.-...

7/hcArt o/ Rop Dm111111i11g l'r;.:r.~'¡¡:::

__1~
)
Comping with the Bass Drum
Drunuucrs tron. t hc c.uly days t hrough thc swing era cornpccl .ilmost cxclusivcly wirh thc
s n.irc «lrum. \.Yith thc cmcrgcn~:c ofbcbop, druuuncrs bc¡;an usi11g rhc bass (:rum tor com¡J-
ing as wcll.

Thc Sa:;s dru.n's rirst stcp oursidc.ol strict timckccping was phyin¡:-; isol.ucd acccnts, callcd
'\L·opping hontl1s." Gradually, drummcrs Kcnny Clark«, i\n Bbkcy ami cspccially Max
Rouch. Roy I Iayncs .ind Shclly Mannc bcgan to incorpora te thc bnss drurn more activclv
i nto thcir co.nping vocahulnry by u:;.ing ir almost likc a third han d.

To dcvclop your "rhird hand," go b.ick to Comp Excrcisc l. Pl.ty time on thc ridc cymbal and
"2 and -!" wirh rhc hi-h.u, Don't play c¡uartcr-notc~; with thc bass drurn; but rarhcr, plav cach
t wo-L.u rnl::pin¡; idc:t wirh rhc bnss drurn uuril ir Iccls good. Be carcful to kccp thc ridc c;·m-
l);1J "tc.\dy, :1~ ir,,.¡¡¡ w.mr to go wirh rhc buss drurn.

--F1--·
: .nJ _n
:~.:.:.~=~~l=~,:::.:~::::~:¡~~~-:¡tr
1 J-- · -.------~-----~.: . :. :_:_:::..-:---=----:: ,
-=-u-,.-----=:.¡:.·:
_ __:L.=~ ·} =-~-=---~::'.:.=i - --F-1\--
-----------------1--,i .--
--~-;¡7__ -·
------·--01----'l---l'-,--f--;p-~
~--· ·- ' -~
·
-- ~~:-::::--=::::::::.

;-..;nw slow clovvn ihc tempo arid play Crn11p Excrcisc 2 wirh thc bass clrum wl n lc tt ic ridc
cy·rnb:tl and hi-h.u swi ng. Vv'ith your lcft hand you cm play a crnss-stick on bcat four.

. !oh:• R1b.
 -~
ta ..... \
~·
 Cornp Exarnple 3
Cornp Fxcrci:«: 3 i.ttrociuccs rwo-voicc comping ideas with thc snarc drurn and hass drurn. Thínk
of r.ic rwo voiccs <'<> having a convcrsation ami, as always, kccp thc ridc cyrnbal and hi har stcady,
Rcmcrnbcr, ym1r é"nrnping shouldn't ovcrpowcr thc l1ow of thc ridc cyrnl:ial. 13cgin a1. = 90 .

..,
26 Cornpinjr

---·-·-····------
•-o~ iJ
"Don't think efyour limbs as ht1vingjour mdcpcndent brains. [nstcad, "<!Ísua/i::::.<')Óur intcrd1/>cn.io:t
parts that uiori: togcthcr to crea/e tbc uibo!« swi11gi11g groovc."

1 .2 * 1 f¡ -¡ .. J
j)
~
j
-~
J :111: "1
j)J J }' j ~~1• ~
~~
.,1 ííL.
2 *--
r BrB B rB j .,
~ ~ ~
~11: j):!fl: r-
--j
~l ~~
1
j •: ~ ·1
~

:u E ·~·-··rl=i=r~-=*-~-
- '
''ft
--
¡_·-·----'--
·--·----
., ~ .f-A::r151____i....--1
_;:-~
------·----·
111=?----+--'--.)
:~ L-1-") -
-'-•--·---- -·-----~--
[:..... ...... :_,d_~•-~~;~·.:. :. .·,~
. __ _____¡_____,_._.________,
____y

-----
. ··------~-·-·. •-

-./ Tbc /lrt ofBap Drumming C. ;¡:-. :~,: :1:;

 Comp Example 4
•
-------
\
: '¡ Comp Excrcisc .t cxpancls ou Cnmp Excrcisc 3 to includc triplcr-bascd figures
' 1

~--~ Sr.ur ar J" 80.

r-.l--i r-.'--.

~EJ5.CP~--~-Jtn~~~,;:~-· -c··~-'C·~~I
=t.2---;--·,_-,

r·--.i-.

--¡ \ r¡
:=-ti]~:=~i~~~~E~---.¡~:_-h-=rt---!t-- ---
__ · ~
-------~!--_,-, •.--l
,...... ··-
-UJt:::=---. . . •
-1.. . ·~·· .. ··---·---'- ==:=[--
·- --····--. J ----- ---

_-- -~-.

~-··----, _l ~-·-

I: r!i ~ D

-· ··-
- ••• ~*=i-. Jil±i-1.
-Ofr~•.
=fFE-·1- - --1-:-~+ ± : : :-:_
--;---

]JI_
1-:::.

28>1
. ~ b~.~-
~ ~~ ~,ª8.~ rr
·---
~-,~i:~--
+-·· ······- -· ---

Comping
___t:::_::~
---~E
---·· - -
. -~- ·--·-·--
-:-- -
---··-- '.:!Jf;i~·
~
~·
.___ ·--- =::::-=..~---~
---·-··
; -~ - - - -
-,;--,;==-= :.-•.--::::c---.~--. -~1.
~)-=t: ~ .. -·=--=---==-: . : . ---~- -:- . :
,,.--,,~----~--.---,,---,,--,,-· ·
r
 Fxpcri1m:nt wuh Comp Excrciscs 1-4 by;

•
--·-- • Tmprovising similar comping ideas nf your own • D!splacing thc figure:; in Iour- bar :'hL1.<>
!
\
\ • Playing a rwo-bar figure, tbcn improvisinjr a corupli mcnrarv twc-bar rcó¡1o:i'c
. ; • Eliminaring thc hi-hat on hcats 2 and 4 • Playing quartcr-notcs wi rh thc hí ·· hat
\ ;
---~ • Substituting thc hi-hat for rhc bass drurn

ffilr=JJ·ft~ . ~3·--::i11?1·,;~~,g~_;:;:~~~,:~~:.-·~ce>
.i 3 3 . .l ·-·---3--, r--3-----i r-.'-.

J-~L~*}m D'~-Li-~~_:-~~--~'.=-~-·=: -~-:-~_--

.1 3 .! . .1 3

=tfl~~-
·-·ul t.-.:.: -r:r::tJ __ ~~;~>---·
_"Jbf~.
-
- -=-,
-• --- _ , _ -~-1:¡J_¡-~~Tll31_ _I·-. -· _, ··-·-.·· . ~
=---:. ~----~- -- ~----=:..;____ ·-·----·-- ·-·-- - ·-_. --'ii ~=--ll=--~¡;:-f'--_-·_:~-- ·-----. - .. - --

---f,
:u:!:.
-h r1 c:--~=--C-~L'l.__c, !_0___
r--.l-

, .• !--~~~
J·~-· m
--r,;;-L -~~t~ ..-~----'-1,HT-.
1
-f1- ~•<.:••---¡ ····-¡.-:::I;¡~-----p---•¡:::::¡,;:T--:Jt=-~--~ · --~.:.i=~~--.·-·-··l-
·-~~·--:- :.-- __
-=: . ~.-. - :
i~·----=~ . ;--~==~~:_:_ . _~:-;-:: . : .
- -. .
· - - ··-···-· ·- .. -·----.-· ..• ·
' \ e>:

r- ·· .f .....~ r- 3 1 e- .1·--:

:e:n~-'-·-E="
::filf____
Df. ¡-1---;-==-
- 1--_¡-.:~---··· - . .
~:.. --_- - -·~~--~J;-:i~-•-;;:
:,=- -~-- . ·-.___ ·-.---~_:: :_ -:.·~ --·=~~-_ -: ;~-:: __ - .•.• e: _ .. _-.-_
.:----.: ·-·

../
Thulrt 1(Bop Drum111ing

--- --· -----------

 Accompanying a Soloist
Now that you'vc .Icvclopcd thc physical and mental tcchniqucs of -.:omping, rhc probicm
rcm.uns: ''\IVhcn ,!o 1 com¡i - whnt i~> rhc righl rime?" Thi~ qucstio n can "nly !1c ;mswt:1·..:-!
hy you: c.i rs. Y<.>U :nust listen to thc pcoplc you .rrc pbyin~ wÍI h .mcl alway, knovv whcrc vou
.uc in die son¡; form.

As rhc soloist plays, you ( thc accornpanist) must rccognizc whar thc soloist is tryi:1¡; t o do.
Ja,..z solos are not onc-dimcnsional. Thcy havc shapcs - "pcaks" .md "vallcys." You rnust je
in ~ync wi t h thc soloisr in his or her solo. lhsical!y, a soloist cun do u1K olrhrcc t:ii;~g>:

• Uuilcl to a cii111:1x
• Come clown frcm a clirnax
• Const

Building to a Clirnax
Evcry time you pL1y, your goal should be to gcncratc a goo<l fccl and rnai nt.un ;w,;r p;.1n: i.:
thc form of thc tune. In addition, as a soloist dcvclops his or her soln, rhc ;1ccnrnpanisr mu-:
borh support a1~J cncouragc th.u dcvclopmcnt,

To illustratc che ¡·oÍrH, imagine a tckphonc convcrsatiou goi:1~ snmcthing likt: 1!1:s:

Is: Pcrso 11: ]:?y, 1 'in happy.Ijus!.fauwi a s=« ncio ridc cy111hrd.
2nd Pcrson: Thars grcat. Ca11 l hcar it somctimc?
:~·:trr. you u111. Ir sounds so 'l.Vrl.'"111 anr~(<:r.ls s=! lo Í'lay 011, too!
] 'd likc ro fmd a cymbal likc rhat sorncday.
~/!come across ano/her onc, J'll be surc to tc!lyou about it.
\1lhcn can l come ovcr and hcar your ncw cymbal?
<·:.:mu~ oucr n~r;ht nou: i/youi.l likc.
l m on myway.
Both pcoplc are li;;tcning to cach othcr, rhcy'rc intcrcstcd in whut cach has to ~ay arh.i rcspond
to cacho: her in a fricndly ami supportive way.

\ Vhat if t hc convcrsarion wcnt likc this:

2n¿ Pcrson:
ihy Tm happy.l)ÍL1lfaund (J grc?a/ ncui rule rymba/.
Thut's nicc.
"Styi,· :·J 11~.~ i,·n/>-:-rt4n:.J. ;./ .~ ,"::··( .:·.··;, ''i ..
Stvl<-,
_,
:·s nt/l n.-us:·:. /jr;·;i·~;i·;
.· .
:1;11 ::-.:/
'l
l
.:t sounds warm tlllr~(ecls good tu j,/ay 011. :J'J lhc: ,/r:t.'N.1t·/ ._;,•:,;'{~(/ J·~·.i.:_:;; . . /
F)ut ho7.. :..: 1i~ ·,·;t.· plL4·y .-.;. .::, i~·,/·.·~·.
4'·. /.

i-·.mmm.
./;;:- p:.·t;¡'J."(. [J/,,~·,·:·n,~: ..1 :, : .' .: r; ,:, _.,.. / . 1.:·· :·

!-Ve//, [just thought Fd tellvo« alrout it, Ryc. dri1111s ;·." :Jnc t{in.g. b1.·1.J :~/ :',4... ~.i::~ ...

Click. /t; pl,i.,~' -:.::'¡/.¡ /'(·~1p/,·_/ér ~::.'-i·r.·: ·,

h.< l(ti .'~. t/it1.' :! .~.'.d!::'.'.'~·/1:_:.- (.'.::·.

~ow· supposc thcy wcrc h:1vi.ng a musical convcrsation. 'l 'he first pcr- ·¡ ~:,·(i i :: ,·; 7.:.. /~-;, .'( -:, : 1:. :: .·· -: .. ~ .. :~ .....

son is thc soloist ar.d thc sccond is thc drumrncr,

Tom· \\ illi~tm~
\Vhich music woi.ld you cnjoy more?

Cornpin¡.; i' . ··. ,',.

 \Vhcn a soloist mercases thc intcnsity, so should t h e drummcr, Thi~ can be done in a nurn-
bcr of w:lys. Art Blakey would help a soloist build his solo by ¡;;·aduaily incrcasi ng rhc i;:tc;:-
sity of rhc grnovc itsclf Each cho rus would "burn" a link h.irdcr rhn t thc prcvious o n«. PL1i:;:

-~i-----
}ocJoncs wculd incrc.isc rhc tcnsicn by playing rcpcatcd "ritfs" hehind thc soloi s ;:

~.;--·~-;-,--.g_~
--~1..... ¡;-_), -_---
~ ~ 1 1
-
.. __ r=
F=-
·é. ·_ .· .
~
'-11.~.•.;-l----
!.::_ •---: ~---~----:=~·==~-~_:__-.-.-.=-~·-----------
··-------· · ---------
~!:~~~-·-: .

-- -- .. --~
. ,1--. ---,__/'=~----~~--
::_u:::::'.=.
-- .
-:-:__ ---
_[_
..
... ,._

,,
:L ...:,~-----.---·
.
-.-.. ----1-1 =¡==-·-i...:--:)-====:3=--=•·
--·--~--
1 -·--·
··----
·--~--' --~---
- ..
. . -·--· ·...---
-·------·-
- --~-----
-
.... -..
... ---·---· .. --·-""
-_-_::...:..::::.:=:-:.-_-::~
-------. -- .. ' ...,. :_::·-·
..--------·.
'\ ... :"."".'."
·-11·
. . -:---
---
.... '
-- ..

Coming Down from a Climax

Coming clown frorn a clímax involvcs gradually thinning out thc compin¡; dcnsi ry, rvturning
to thc normal lcvcl of intcnsiry, and bcing awurc rhat the soloist may build again, or cud t!:c
solo, orbe unsure of whcrc to go ncxt.

Coasting
Evcryone has fdt thc intensity of somconc building a solo to a climux. 'vVc'vc ali cxpcr icnccd tl.c
cooling off after a clímax, but what is coasting? Coasting rncans thar thc soloisr isnt surc ;:·h.:
wanrs to build more intensity and play a fcw more choruses or cnci thc solo. Whcn a soi;1;;-t ;,
coastinu, a musical drummer can hclp shapc the music.
Ifthc drumrncrjust lays clown a swingin~ ¡:?;rnovc for t lic soloist (whic!1 is difTicul: Ul•>'.•¡ ..;li i;·.
itsclí), thc solo will probably cnd soon. But if the drummcr iniriatcs sorne uction hy rnn;¡<n.~~ .n
a way that "pushes" thc soloist - generares sorne sparks - chances are thc soioisr \,.;11 rcsponci
by building thc solo again. You must discovcr whar cach soloist nccds. lf you push too h.uu :·\lU
might ovcrpowcr thc solo, ifyou lay back too much, thc rnusic may dic. Listen to thc mu~i..: :··'•U
are playing; and hcar how the soloist is rcacting in orclcr to decide wha t is appropr.ntc !(n d>;;:
soloist on that tune on that day. Anotlicr versión might go in a cornplctcly ditrcrcnt dirt:u:,1;;.
The grc;it thing about irnproviscd music is that if you'rc rcally in tune with thc peo ple Yº'' i';;"·
with, your songs can sound complctcly <liffcrcnt cach time you pby them.

No jazz solo tak.cs thc sume shapc twice. This is why it's cnicial to listen to thc soloist. 1 f)K ¡;,¡ :,;.;.,
he i~ building to a climax, you should be right ihcrc with him swinging hard a1xl inc:-c.1s:11:; y<n;:·
intcnsity (by comping) to push h.im farthcr. Howevcr, if a soloist is building to a c-Em.L\ ~)1:: ~,-p;i
think hc's wi nding clown beca use you lost your conccntration or wcrcn't rc·,¡//yhcari ng, '11c mw.i(
will not reach its full potcntial, and thc soloist will be unhappy and fccl that '\ou wcrcn't pla::in~
witb me."

Sc:asoncd players are complctcly awarc of what thc soloist is doing without thini<.ing about :)u:lcl-
in~ or coasting. Thc goal is to get to the point wherc the improvisarions antl comping- idea' L;t¡1-
pcn natura.lly and are dircctcd byyour cars and intuition, rathcr than by thir.king o~ p:;¡nnir.g .

.,, Thr ,,·frt o/H~p Drnmming (,,¡:·.:·.: ·.:

Listening/Song Structure
Most jazz son ::;s are built on onc of two form>. Thc first is thc h/un_f;rm, which is 12 :,ci rs
dividcd into tl-rcc four-b.ir phrascs, Each 12··bar cyclc is callcd a chorus.

., .;

Th.: sccoud i:; thc .rlr111di1rd .ra11gfor111, w hich is 32 mcnsu rcs divi,kd in to 1·1">1:r l'.'..t;lit-L"~
phrascs. Thc t·i~hr-bar phr.rscs are gcnnally dc:;ig11:1tcd a:, J\(8) i\(8) 13(8) :\;_8\. Th:: ,.,_,:;, ·
plcrion otcacl. 32-bar cyclc is a chorus.

r~ 8
----·-------- ---
~--=--:~: __ .. ·---·
::: _,]:'-~-·- ~ - ~-__ -----· ·-------- -- ---·· -- ----·- -----

\~ 8
~~n=:IE=- ·--------~------
-----------
---------··-·
---- ··-·---~- -· ----- -----
--------- ·-· ----- .. - ---- --- ·-·--
----· --~--
- ·----- --··--
- .

=fr~J·
-
-----·-- ---
------·----- -··---- ---- . ------- ·------. ·----···
- - -· · r~- _:
. -··. ---·

__ ·-- ·-----
. ----- ----

~~.~~==-~---·---··-
¡~ 8
---- ----·---·-- _-----------~-~.·

ln a 32-bar tune, thc Iirsr cight bars (A) introduces rhc mclody and harrnonv. Thc scnmd
~: ~~~]
cighr b.irs (;\) usually rcpcats rhc Iirst. Thc rhird cip;ht-bar sccrion (B) is gu1G:dly ;1 r.cv,:
mclo.iy in a di .fcrcnt kcy, This scction is otrcn callcd thc bria;1v. Thc timcftd (l ,:tti u , :--.·;<,-
bcar, swing, ct.i.) Ircqucn tly changos dming rhc bridge. Thc last cigh r-bar scction (A; :~ ;!m-
era U y a rcrurn ,o thc mclody, harrnony and fccl ofthc .first(A). T .istcn to thc phy-·aiong tune-
'·Last \Vcck," "'vVbt is This Thing Calkd?," "Sarch und Diz," and "Out in thc Opc1:." T:1L·:
.uc cach :32 rncasurcs long and use thc samc A.ABA song Iorm. "School D·.n·~" i~ a :2-i:·.:r
Iorm and rhc balhd "Octobcr" uses an 8-bar Iorrn.
 Awareness
The 32-b:1r AABA standard song form and thc 12-bar blues form are by far rhc rnost corn-
mon structurcs uscd in jazz. Thcsc forms repcat ovcr and ovcr during a jazz solo. Chariic
Parkcr wasn't just playing anything he wanted off rhc top ofhis hcad - cvcry note and C'>cry
phrasc was in rclation to the form (harrnonic movement) of thc particular song he was pb:•i:ig;.

As a drumrncr, you too must know where you are in thc song ar all times. Thc form of ihc
tune you are playing repeats ovcr and ovcr, The soloist you accompany may play solos from
just onc chorus to ten choruscs or more. You must kcep track of whcre thc bcginning of C\·cr;·
chorus is, wherc thc bridge is, and so on. Develop your sensc of the harmonic movcrncnt by
listening to rccords and figuring out thc form of cach song. Fecl thc harmonic rnovcrncnr.

"Tbc drummcr, ij'h.: :1 a icarc of mus]: .z :

a '::.Jh~lc and iistcns in rcrrns ~/~f~rn;
ami melad» and cbord clxwgr.1. -..:.:::i;
out actual~)" s/;.a<~.-:·n,r;,. he car: bcccm;
a toare ~(1hr.sc :hzr:1;j a ru] use :len;:·.~:
his pla;·i1:g. l:·:. cn .'Í)Q:J.._;:,h he n;"Y nz: r:
1

ahic te n.:mc · •·.:.;/;:;/ chlin,;c /cg:·Cíii.~:•

fallo';i..,'5 ano/her; he can sen se it, ]1; ....:.~:·.-.. ·.
rbc .rcr;úng "./that tbr:g i;j:,.;t a:
impcrtant a.1 J.:nná ng."

Shclly Marine

..ff'hcArt ofBop Drumming Com pir.s-

t
• ' .
. ·.: i: ~~};.::~:¿,;:_~'.·~'.:

. ..
Philly . .J~e J~p.e
. .
' ' ~ '. '
 Solo Structure
Drurn solos can vary in lcngth from onc mcusurc to as long as thc drummcr des.res. Shor:
so los can serve as a transitiou from onc scction of a tune to anothcr or changc t he ícc. or
niood. T .onp;cr solos are uscd Ior cxchangin¡; ideas (as in "trading" 4 's, S's, or choruscs) o r to
Ic.uurc thc drummcr,

\V ha rever rhc purposc of thc solo, thc drum soloist's ideas shoulcl be playcd in a musical fash-
ion with a swinging fccl ami shoukl relate to thc rnusic bcing playcd. 1\ goud solo on .mv
iusrrumcut is onc rhut is playcd in thc style of thc tune, fccls good and tells a stnry. Tncrc are
many'"'ªYS to dcvclop a solo, including rhcrnc and variation, cal! and response, dyr.am:c >.:0:-.-
trasrs, tcnsion and rclcasc, and textura! changcs.

Long solos consisr of four and cight-bar phrascs, which in turn "Lfoitcc: !he :·n.·pr1J·1..-:ºs.;1icn t.'\·\';¡.:~:::
are madc up of ouc-bur ideas. To dcvclop a musical soloing stylc bas rulrn 1.·11j"-....:hc"n /:~(~· 1i.·~·.-;:<·1~: <:

wc will bcgin by looking at onc-bar phrascs. 1 tJick uf) lht /;;J/ }1.~\~·¡¡_:!· .~:~-:~ t-: r.: . .: .:>:
.. J ~ • •
..
. ,st rhr·.v , i.\ :1\· . .. (\~:.'u.·:·,,:r t: '':_·.

One-bar Phrases
inz!Jt~"-.};·.\,1l:>;n c r: !l:c mr ..'-;J: . : t·.;.'.'~ .. 'r:
' ,
~1(t/:,~ :.-;n;p·';_i;.':.-;.t: ...

Thc ouc-Iiar phruscs in rhis book are not includcd bccausc thcy Elvin Jeme·
are "hor licks," or thc "hippcst " stuff. Thcy are mcant to be uscd [)e;:_·::}],·,;
to dcvciop rhc kind of musical logic and mclodic phrnsing that
all thc grcat jau playera cmploycd. Whcn soloing Max Roach,
Kcnny Clarkc, Philly Joc Joncs and Roy Hayncs didn't just play
whar rhcy had practiccd and mcmorizcd. Thcse rnastcrs playcd off rhc mclociic motifs oí thc
son¡:; a11J ccvclopcd ideas that thc orhcr soloisrs prcscntcd in rhcir solos. J r's takcn for gran~c(:
thar thcy kncw thc mclody and forrn of rhc songs and had good time, a swingi :ig fccl, and t he
tcchruquc nt:ccss;HT to cxccutc thcir ideas.

Pcoplc still listen to thcsc drummcrs thirty, forty, cvcn fifry ycars larcr not only hccausc rhcv
swing so hard but hccausc thcy dcvclopcd thcir music in a logical >n.y. Thc kc:y to b.in¡;in¡.:: ;1
scme of musical logic to your soloing is listclling as yo11 play, and building cach ncw idc;; on
what was pbycd prcviously. Dou't think about pattcrns or $ticking. Listen to thc mu.1i.- -
your iJcas will cvolvc from that.

l\1usic is;¡ b!1guagc. Your pl;tying communicatcs with tho~c you are phying with, and with
(he audicnce. Listen to what you are playing. Dcvdop your ideas. Don't rambk - say rn:nc-
thin~ memorable whcn you play.

.f Thuírt ~/Hop Drum111i11g

------···· ... -----. ·-----

 One-bar Phrases
•
•

/ \
: \ To bcgin, pl::iy cuch ouc-bar pluusc ata comfortublc tempo -- rry. = 120.

~--~
1, )

- . __ J=.-1~-- - =+-c·. J=:¡ ------ ~----~-~--·· = = =-

~---Ur:i:1k-
, · ---·-+·
-·~-:-~i:~:·-~·-.-::-::'::._¡
, __ ¡_ .:.:.,--,Jlr=11.
··--··· -'---- ··-· ··-··· - ----111 .• ·- ---'·
·, l=--_;,
..
_¡_ __ :-.;_-=~----
=-:..! . .•.,-:•_ ::.. 3_1-:-"=*--
...---··---
.. . · -=_.:,111·--·-:•---
-----··-·-·- .r:
. -- ---'
.: . ._-':J. ::.,-::·
--- .
1 • ··-·-·--·
~--,,-.-.-•·-·-··
- •. --·. - --··.
:..."· •-•.. -:
. ·- . -··-·
"¡
1 -:- . •••••••••
•:
. • . •

·-·m·---~~- ,~+:::l~~--=J
~--
.
-
.

:-~c_~Ed-
: --• .- ~-
- ... -~-· · J~
·-----. ...
'
-·--=-ljg:-i:.:~?:-::---:::-:=-:-1.
_ .:'. ~:-·
=B •• -i • '• ':J_étl
__ f--"11 •.
-----. ~----j_~!-···
+----- ·--!------·-··-·-···-•--·.
--- :·--·
.
··-·" .:- •.-···· - .. :· •. ~; •.•• 11

. *-- ----
.. :---- --·--·- ---··-:::] 1-·-" 1 -- - ,. ·--'-----· - .
- - .. ..... .___..,,.._.. . -,;.. ----- ·------· ' -·-·

-·
-·-:-
-Bl! : .- . B
:r;::::::
~ -- -
~~
·-··
-'------"-'·,j_-1--
---·· · ---···--· ·---···-.
1-
,l

_j_~_J__ ] . .i_:__
- .. !-~--¡--..
--"-!· ···-!-/··-- ~~~=3\
-t....
---..J-----,------;-·..... -J--/
- • ·- - .
=tli.:.::.:_~-"i)~---·· -·
m~ j__J¡,_.
_¡
~--
·-
. --+------~- -·
- ,-,. .-----: ..
'--"-l-..

- ·-··
.. -t-r-'-
··--·- _j -·

,_ · -------
--....
.
1
__
-
¡
,_.J
_
_J.____:_i___l - . --------
_____.___
_ 1
1··----··------·
·--··---11-"
··-···•·-;•
. ' .....

·······'
:.• f.~·----.---
-",
··--

---
.
... · ---
--·---···- ·-·· --··· ---·'...-····-
•·•••
' . ••••••••••
- . . ...
_, ..

..
-··- -· -·
~.

:~~ ..

-----·· ----
 Developing Musical Phrases
Step 1- Repetition
Now : rade lo.rrs with yourscl l: play f"t>11r b.us (lf ti me IÍ>llowt:d hy t he one-ha r :dc;1 rc¡w;i :e,:
!{1ur rimes (four bars). Do this unril thc phrasc~ ílow togcthcr.

_·--~:--==~-.
Jj=:-,~~~~-"-· · ~-: . _. . . ~~~----~_;z==_.--~-"
=--=-~-
~:--~-~. ~;::;.~~Y-~~~-~~-~.·:_~~~:::.

Step 2 - Orchestrating Phrases

•
------

•
.

!
~\ Nnw ore hes trate (movc) rhc idc1s .uound tlic set whii« tr;1ding !'rn1rs. l lcrc are so me ofthc
: 1
;
\ l
' uiclodic ;w>sibi litics:

~-~
_ -ti1- .:,--~--.~-
~tf,. __ ..~-~-· '._._ ._~
.. _._.._ J. --·:~.¡-··1·-
:~. . - • _,- -~--======t=~-f__~¡~a~~i.-
_ ~ J ~·
rn ~_. f----·
• ~-
{--__-~-_ rb_ . ~. __ , .-¡,;:-·-- •. ~--_:_ ~~~.: .=,. :_::-__ :..=-.::-:-_ ·
~-=--'--- .. .¡::-·--.;~·~-·--·--·-----
_¡_;_.:
.. '--..J-·- ..... •
._y;=-:.=_._-__1.-•~•:L_ ·:--::.:..·=::
. ,, - -.- 6
R L R L R
 Step 3 -Adding Rests to the Phrase
Thc ncxt stcp i~ to use rcsts to creare spacc, or rhytlimic displaccmcnt , wirhin thc :-o•.1r b:1:- ¡i;;:·:;,:_-

3
---------~-r'."J--~ ··-··-----~_b,
-fl--·---=--E;i=~-~~L-r-- __ c::o__e¡~-
-=·---;;-:r...,r;_:_~--.
::-U~-=-~--=:-~...:=. - - ~·-:-::::/=:-~!-- --~.:._.=
-·-------¡--·--··-·----------
-=~J'( ---·· -- - · ·-··-~------·--··- ----
I:~-1~1=~--~;::.~=~---- - : ~:~~~~--=~~~-=--~-~ _ :-~·:· ".
-···---,,----•- \ .. • --:----
.,-,--, ~-
. .. - .. . _.

--- --- - ·---·· ·-·-[?== ¡==:::::--------- --- - --· -- -·. - -·- ·-······ · - . . -· ·-- ". - -· .. - . - "·-
~ __ _ z-=~~:~- -~--~z=~~=Z~1=::~L-==-~-- =z- .:.::::-L~~:~~{::._ ~~-:(_- =. /

· ):ffi-J=J
-------~--------
+ --
- -1--
" - ,; .-----
-::~---._-;--------K----;;,;.-
_ _::-_-
-¡-~¡--j----'- ------· -
__ -_~-=f •e-:~~-~~~,;-~,;_:: .,;- :_. ,----,.-
·--------~-------- - -----
·----- ,,---
-·
-, ~- .

.!

=tt==}
=tH'===~=~,
~~-~~~fJ ., __,..i;:::::,o.--'--------------_E
--~ 9·-r~_J)- -
~=1-"Jl~-..~----:--
----..-~
-_ -'- 1-_=1tl_-
1_- -_1.~---
__ -_-=--_-
_-----_-
-_-_
- -: ::_:: -_::_~_~: =-:-=~_--_-:_-·_-~-~

.r -~
~ITJ :=1---~-- ------hl-· rnFL - ----··----~-==---=-------·.
-_Fi_·--;-.t=itCi_11.::.-
o .
__·__ - • __· .-..... ,.1_··_· __ --.r_.::=g_ -
i-.. .L. ~ ~
~-- - ·í---~--..--=-~~~~~ ~ __r~Y-~-} =-~==·/=!f~~---~~=-~~·~L~~~~-~~~i~

---
·--:z.-.-·· -~-:~-/~.:..:-::z==.--:-r..:
. -· '"".

/---- 7-- · -·7----d-F-=z:-·

--:- - ---·· .. . . . . . . ·-· .... ~ .. ·-· .... 7. - ··----
.. /.-.~·
----"--~-·-··--- ..... -·-·-······.

3 3 ¡·

~¡~o!E-ffiI'j"'C'E~~=FJEm~~~$%==-=~=~~~~·~~~~~~
./
 Step 4 -Rests within the Phrase
Now takc out notes within r hc phrasc for more rhythmic inrcrcst.

Now orchcstr.uc thcsc ideas.

Step 5-Rhythmic Elasticity

Lct 's s - t ·- r - e - : - e - h thc rhythm --- sprcad ir out so that i t sounds slowcr:

.!

~~-j --AJ;~ ~J---.J=:-1--. .-.·- - .---=-=-~:l=§#·-· ~--~~ª--~=.!=~~~~;;.:~:~;~_{.

. . . -.~_--.~+:- ;~~=··: ·~~~

Ür cont ract : lu: rhythrn, nuking it sound fas ter:

.,
Tf., /lrt nf'lh11 Pn11111.1;;11¡~

-·····--·--~-
 Three-beatPhrases
Onc of thc most frcqucnt rhythrnic dcviccs uscd by all ihc bc-bop g;rcats involvcs rcpc.uing
ideas that are only thrcc bcats long ovcr a 4/ 4 pulse. Most any of thc 1-bar phrascs can be
transforrncd into a thrcc-bcat phrasc by omitting cithcr rhc tirst or lasr bcat of a phrasc.

For cxarnple: 3

IJ~JTIfg-.·r--jETI
13ccomcs this figure whcn you removc thc íourth bcat:

*1-- ,-~~m _FJ~J=~

.1

Or whcn you rcmovc thc first bcat:

/.
•
l.
\~~
• \

Check out how i.hcsc 3-bcat phrases sound in 4/ 4.

n:f]
.? j

1 j) 1 'j-1ª-:CTJ-~ . _ ! .:

~·~=·=¡~-~~~-~-
~-·~~:- ~· .· •::
3 3 3 3 3

--++o-•_w_-_9--1--~,L__.--++f)-~-:-
___,--1-_:::::-•_g_,._+--
_ _:j-+J_,__1)13
__ @_..Jr-1. .-L!_=t~·
_,__j _JJ:
JJ-'-
'1 _· ~--~~~~
.-__.@E-1~· 1

Now orchcstrarc thc rhrcc-bcat phrascs around thc set.

To rcvicw, solos can be dcvclopcd in a nurnbcr of <liffcrcnt ways:

• Rcpctirion
• Orchcstratio ·t
• Dynamics
• Adding rcsts to creare rhythmic displaccrncnt
• Omitting notes in thc phrasc
• Strctching 01 contracting thc rhythm
• Use of thrcc-bcat motifs

As you can scc, you can gct a lot of musical milcagc out of a simple idea:

Ji ti
1f you use crcative logic.

------·· ·-----~
 Look what happcns whcn you introduce a sccorid idea -
thc sccond onc-bar phrasc: =fil - ·- --~~~~=•f;~~-:~-j~-~~:
RLRLi-::L ;.

--~~.. ·-·--- .
·--L.~--.-•.--:•::•.:.•-•::.=~=·:::-
--~ ··---· ------·
··----. --,-·
---·

····-·-·
- .
¡

.1

___ __:: :- ~--=:~=-1 ~.------~*~.___,~¡,_

: : : :~
- •-m
------~- ___,.;--i.~

Hcrc are sorne orchcstrational ideas for four of thc other onc-bar phrascs.

R l. R L R L R L

t1Jt~ n . . . ~1---1;;p ITT ,;_~~-·

rh-t- _ '·;· 5-..::-,;;_:+=:1_ __ . ..
1
¡ .
Try ...
±~--·•-;;~~R=-
...
- '1 - ----
:
n-11
.• - •.--·-··-
·~
. - -·
r • _.;.-::•Jt~--:._!!-:--::-::.~_.
... --- ·--
~.---:"°.
_.._._ . -
11_
.
1
,__

-'-=:j "
i:. -,----
····---11-·
'···
·' .. ---~-- ..
--·-·
--- . -----·
--"

·'J'hr. rlrt oJBop Drumming S:)it·,: ;~ .:

 - - ri r --
~~J~J~~0~1~~-~·.
RLR LRL LRLR l.,Rl.,R LRI_.R I .. R! .. R l.i\l~! .. i_;,¡~

• • •
• !<
- "

_¡
F-or . . ~ ~1
=F~.1-==J- _._ • ,}--·=~+~_
--+-'--¡,---t·- CJl
-- ~~-
--~-~-) - - - -~
----·.f.~---~-
--- ' --- -
- _L; -- j ,, -- -~ ~:=:-:::--- -

-~
{") <-;' '' ,: ... ,
h.1r...
--11-/t-~...J
• • 1 --i-,
1--·
-~-r=:::r.:-- ._._._e .. .,__ ._
.-,,- -
-•-¡------
~
.. ------'---· ---
---- - 23]
JL·l ..._-=..-==-~---- · -~ -¡; ...

= - fñ=1 ~ F.9 -
r~--j-J~:•. ~J~iE.
::·U-::_~---- ------J.-·L-·--1~~ ,__:_.--~---
-Fl!- ---~~.-~- -<[.V~--
t==JE~~L_ ~- .. -:- :=:J2-~ - -~. --
. ._-~_-ltt::::.-.
-
--~----
----~-
.-- -. ·;•._ :~._.=-_
·
-_.·_.;-·.
: ·.-.·
RLRRLRLl.R RLRRLRLLR RRLLRRLLR RLRKLRLLR

. -J-.=-j
Cfl-olw.i•4.r.r/ ~
~=ir=;- - - II±_ - -J ~~.;,. ,~.;--.
tm ! ~
-~_,.,, =-- . - •• -·--- - - -
.............. -

-~~-_:_~=~~--
J·
1 ' 1 ~ 1 ; ; '
-1---+ .-------- ~··· . -·- ····- ~- . . - ··-·'--~··--·· .
_:-o= - : . .- _::__~~-.-· . =i~ ~- ~~ -.~ - -.- =111~- . - -_- -~ --~---- -~JL ~
RLLR LR LR L RLRLRLRLR RLRLRLRLR RRLRLRRl.R

:\nd so on. Now orchcstrarc, usíng dynarnics and addíng rcsts withín thc oric-bar phruscs.

Anothcr cffcctivc idea is to use rolls to conncct phrascs.

Thr "suck on sr.ck" sound is also uscful.

 Developing Longer Solos
Srudcnrs oftcn tc.!1 me thcy don'r know what to play whcn they are askcd to solo. T!1c truth i~
riun't nccd ar. imrncnsc vocabulary to play a solo if you dcvclop your ideas fril!y. ·1<> í':ª."
)'Dll

longcr solos - a chorus or severa] choruscs - use a mctif(sornc phrasc t h.u is cspccially mcrr.-
orablc) lrorn thc :nclocly of thc song; as .m open ing- stntcmcnt or "qucsuon," and play a11 ;1pprn
puare "answcr."] ··you try this, you will find it hclps you dcvclop a lo¡;ic:tl ancl mcloclic ~,,lo.

Anxwcr 1

Qucstion 1 Auxwrr 2

Answcr l as a qucxuon Answcr 2

Answcr 1 as a qucstion Qucsiion 1 as an answcr

'L1is formar forc::syou to rcmcmbcr what you'vc just playccl. If you can't rcmcrnbcr ir , t hr n n;;;
probably wcrcn': thínking mdodically. \Vhcn you are thinkinb mclodiet;Iy, vou'rc ph::inc:;
"rnakcs more se .sc" and bccomcs more memorable to you, die band .md thc au.l.cncc.

·./
1 ~ O.: .• T • :
 ,

QuestionandAnswcr Solo
1.i Hm', wh ar rhc formar sounds likc using ideas from thcone-bar ph"""·

_¡

ID---~-$i-~-<--j)-A-t----1f-----m_.~m
~--+--P--------+-1
~~
J 3

~r-~
- _
pi5illn ,
Qucstion Answcr J

mn
1

ffi,_-______._1_IJ,____±3
_¡ 3

il jl 1 'I
Question l

~mq m
Answcr 2

·~4W
3 _¡ 3

~-----------+---r---------+.1--J -j-1---" f]g j p-•,CA-----

Answcr 1 as a qucstion Answer 2

mm -l--E-----~1~j)~m__.
3 J J

-º G#=-----------411--"'-?4-+---* . . . . . . ._,-
1 n----l-----'1-j___.1..._._~ ¿ :-~;--- - - --------=-----~-
1 -'J"f-----

Answcr 1 as a qucstion Question l as an answer

As you can hcar, by usingjust thrcc ideas:

12-J J

~-m &J;ry1 r_-::M_-·

~r- -==-~-=-------=-
-=-
_-._
---=---·

0 .! .l

M=-iD~P-J:=f_-=---r=_J-
_-.---:=____---=----~-·-
-_- - ~~~--~~~~~=---- =-::

0
fJ m ~~--- ., - -J~------_--~
J

~e=@ ----
----~ °SJ----.L --- . -. . --
--- ~-~

an intcrcsting and musically logic1l solo was crcatcd.

s(,~n¡¡-::~
 Question and Answer Solo Number 2
Hcrc's anothcr solo using the samc forma t. Can you hcar thc log;ic? Thc mclo.iv? Thc q~¡o:~--
tions and answcrs?

i]_____,1~0------1m j
.?

n_._g-+-
-l-1---'=a=a.._______..__-q......__-t-+--C-1

L R L R R L R L R L R L R
? _¡

_1_.~$at:f:.___...¡
-=-=t] •.__[J-t-J
.<-..-..[:j:J____. --_-__-_-1---1-
----~.~- -==---___._JÍJ J---~-.-=-~
-
!~::;;:__. ~=------, 1~ --~~--
•.___...:-~~--

A grcat way ro improvc your soloing is to lcarn somconc clsc's solo. Colkct solo iJca~ írom
rhc rccommc rdcd Lstcning CDs. Lcarn thc ideas by car or by transcríhing ri1c:n and rhcr;
intcgratc thc-c ncw ideas into your own soloing vocabulary.

Soioing
 Brushes
Lcgcnd has Ít that thc brushcs of today originatcd in New Orleans. In thc carly 1900s,}; cw
Orlcans dru.nrncrs wcrc looking Ior a way to crea te a <liffcrcnt, softcr soun<l than thcy couid
gct from sricks, Today's brushcs are thc grandchildrcn of thc fly swattcrs u sed by ~ cw
Orlcans drurnmcrs to achicve this cffcct.

Bruslics produce a warm, smoorh-flowing sound at lowcr volurncs and at ail tempos. Goo<l
brush phyin;~ rcquircs many of thc sarnc skills as playing with sticks, such as maintaining a
good fccl and sound, Iistcning to ami accompanying thc soloist, and knowing how to solo.

Thc biggcst -, .iffcrcnce bctwcen playing with brushcs and playing with sticks is thc way mu
ach icvc a go< J sound. Playing with brushes rcquircs a typc of sustaincd motion (particular ly
with the lcft .iand) that is cornplctcly diffcrent from playing with sticks,

l havc found ·:hat rnost srudcnts makc dramatic improvcmcnts in thcir brush playi:-.g once thcy
rcalize that tl e lcft hand must makc its circling pattcrns in time. This is done by gcn':.ly Jcac.lir.g
thc brushcs ovcr thc hcad. Don't push the brush inro thc hcad - sv.:ccp it ovcr thc hcad.

Brush Pattern 1-Basic Pattern

The most common brush pattcrn is as follows: Thc right hand plays thc ridc cyrnbal pattcrn
whilc th e lcf hand circlcs clockwisc in half-notcs. Thc hands cross on beats 2 and 4. Don't
push thc lcft rrush into thc hcad. Strivc for a lcft hand whcrc you can't hcar thc hrush changc
dircctions. T .ie sound should be as smooth and consistcnt as possiblc, This vcrsatilc brush
pattcrn soum Is good ar most tempos.

·.~ Bru~hcs
 Ballad Patterns
This ncxt pattcrn is grcat for balluds. Each hand cueles in quurt c r-frorcs, coming toward-, t.ic
othcr on thc bcut. Puta littlc wcight 011 cach brush to h~~p spcll out thc qu.utcr+not c ¡iul,c:
:::t

Rccordcd sequencc - rwo bars cach partera.

Straight Eighth-note Ballad

On sorne hallacls, thc rnclodv is play¡;d wi:h .1 ~,~~~;;;:.: •..

note íi.:ding. T'hc rhythrn sccuon m':~.: ~;:~:r.<.:~:.uc::, :·e,·;·:_:

nizc whcthcr thc mclody is bt:::1g phyL,l \\·11 :: :1 ., ...,.¡ r.. :; .cc. r ,
a n ciµ;hth-notc fccl anJ providc :he iij);'~•1¡H::.;.:c :-:::¡·1,;··
Both brushcs st av on rhc hcad at a.l r imcs.

1, 2, 3, 4

RH

o
+

r. 2, 1, 4

Swing Ballad Variation

In this variation the right hand plays thc ridc cymbal
pattcrn, and thc lcft hand circles in '¡uartcr-notcs.

RH
l,2a,3,4a
•
LI-I
r, 2, 1, 4

LD--1-"-
R 1

" "1 • " " ., "

-
1
3

IU.. . ~---~---·--·•_____.
L ! :

"-rhcArt o/RD(> Dnimming

 Uptcmpo Patterns
This ncxt patkrn is uscd for uplcmpo playing. Thc
liand« 'P!it up he riele cymbul pattcrn:

Be surc to havc onc of yom h.inds swccpirur ar all times;

•
,!on't ii~-, offthl' he.u! 1111til thc orhcr liand has srarrcd .

~----"-··;;:.._~\
'. 1
' 1
\ J

~'-.-/~
+li>
RH
l. 3
> >
LH
2,4
> >

1 lcrc are two uvternpo pattcrns that Jack DcJ ohncttc showcd me. Pay spccial ~1t:en:i0n to l ::e ;,~.-n(h ;·-.1::: 1.-, : ;.· :·.
with r hc hi-hai: hccausc ihc coordination is a lirrlc awkwarcl. Th1.: lctr hund swcc¡1s on bcats 1 ,¡;,,; .-:.. T>;c :·;;:::·.:
h.uid ~aps 01; bcirs 2 and 4 nnd swccps on thc "nnds" of hc.its 2- and 4.

L!-1
Rll
\ ••_, -i
RH
+
> > •\

~
•1_, 4
~
\
LH > >
"1lf 3
1' 3

~o--4--
•
R

,¡ . . p
• .J-i--
-----· ... --1
1
L

srf Brushcs ••.•• 1\ ..

 ·""1
1 ne 1rr·ngure onn
lIcrc ¡, ;¡ ¡;:-c;I[ soundir.g r••ttcrn that GUl ix: uscd in a varicty of tcrnpos:

•
. -·--.._

i \
' j
\ /
'

·----·

.t J
RI r-i¡ ¡--
nL J J ·1 ~ • ~ ., •
·-~I -•¡ -----~~~
L. 1

: u1¡
Li

"3 Against 2" Feel

1 fir>t hcard .:Vfarty Morcll play a pattcrn likc this witli thc Bill Evans Trio in thc car lv '70s. ~ once
rh.it tlic lcfr hand plays a srnall cirdc within a circlc, Thc soun<l of thc lcfr hanci snould be pcr-
fcctlv xmootl i .ixccpt for acccnt pulses as notcd. Aµ;oo<l-soun<ling right hand variario.: \'>·ou¡,; be
to swccp thc rcght h.md Irom bcar 1to2 and trorn 1to4. "ihis will hclp th.ickcn thc soun.i.

RH
•2, 4

•a
e.. , . RH
trip -· ...
2,4

M
J

~----¡·~1__.J
J
R
:_n1--1---·~·_-
- ·'
•__"'._• •:.----- ._·:_~
r---r r ¡::::J
1

. u ·l ~ • ·-· • ·---
L'
·-.!- L_-J---' ~-.<--~
 Hcrt:'s;1 pattc.n Livin joncs ¡;by~ frcquc•Hly. 1-lc. uses

:1countcroiockwisc circlc Ín thc lcfr hnnd .md puslics

thc brusl: intc tlic hcad ~lightly 011 hc.us 2 and 4.

T lcrc\ ;i '.-i\Nin:-;ing p.utcrr, t h.u ;:a:: J-,c ~<.1\-c~: .~: :·;~ ·.: :·:
pos. l~rush m.is t cr J·~d 'f'hí~:H·11 ,¡,e~. .: (Ji', ;1 ~:;e,~~ -::

record, Os,::1r l'c1c:·.Cl:1\ :\tf;;;;:::. Ti.e .c.: i .. uh .... :~

s~ops on ca\.:!1 be.ir.

Rll • 2. ,¡ • ., •· ·.

LH
1 ~
' .. J
> 411(
-
-· '"t
3
R ¡----; 1 r-¡
. ns .: • ., • ~ ----~-.- 'fj . ~ "'.J,·
L:
----º~
'lJ~-r------_· J

1--84-· :- . -----.

•
,, ., ..• . .. "
--------·-··-·
,,
1.

•
--·--

¡
. '
''
i
Brush Paterns in 3 / 4
Tlic lctt hand makcs a srnall fasr circlc for hcar 1 and a
\~-- i
slow largc circ.c for bc.its 2 and 3.

On thc CD, cach pattcrn in 3/4 is rcpeutcd four times.

ª LI ---- ·
3 3

18
R J J0 j -· ·¿ J • 1.a_:;_..,

1
4 ~- ..

Brushes ~ . ' ' . ~< .

 lIcrc are tv•-'() more Marty Morcll typc p.utcrns in :Í/'+:

~--J---_J J

L---J~--~ - ?--··

In this paucrn, thc lcft hand swccps acccntcd dottcd

quartcr-notcs starting un bcat 2. Thc hi-hat plays thc
"and" ofbcat 1 and bcat 3, Vicnncsc srylc:

..
• -i • •
·~--.--------
.,/

llx /lr: ofBop Drum111i11g

 RH
• l ,+,(2)+,3

1, 2, 3

r r
j

When pbyingwith brushcs, makc surc thar your bass drurn and hi-hat are in hda::cc wi~Íl thc \·n!-
urnc ofthc brushcs. Play the bass drum and thc hi-hat as softly ª' you ca:1 witl.o.r; lo<nf-': :Le: c¡l:;i'.-
itics of their sound.
Thc patterns Icscribed hcrc are by no mcans thc only "good'' oncs. But in ordcr w soun.] ¡.:,,,,,; -x;! :·.
brushcs, you .nust lay down a solid foundation. Pructicc with brushcs !'"or 15 or 20 ;:;in,Hc~ ::;¡e!·, d.,:-·
until you gct :. good swing fcci at all tempos. For inspir.uion, thcrc are many :\·;:<in.L1~¡.;·: .1· '.!· :.e
with his own .~roups; Philly Joc Joncs with Miles Davis or Wyruon Kc.ly; Vcrnc.l Fn;:r¡¡:::~ \•:::;:
Ahmad jamr.L joc Morcllo with Davc J3rubcck; Ed Thigpcn with Osear l\:tcr:,0:1; T\1,¡; ,\·1u:: .. ::.
Shclly Mannc, Larry Bunker and Marty Morell with Bill Evuns; and Kcnny 'S,1<1in¡..;:o:: \',;;;,
Tommy f!all.lgan.

Brushcs ~ •• : ~ • : • 1 "
 This scction w.Il bricíiy cxpl.un a nurnbcr of diílcrcnr "fccls" tL.;: jazz d~·,¡;;~t::G:; are oftc:
rcquircd to pby.

The Shuffle
Thc shufflc is .t rhyrhm in 4/4 with a "walking" fccL It crea tes a slrong trancc-Iikc grnovc hy
playing :111 thc cighrh-notcs in thc bar. As always, swing thc cighth-notcs. Bq_~i:: at. = 100 .

• Hcrc are sorne variations on this pattcrn:

Thcsc rhythms rnay be playcd on thc ridc cymbal, half-opcn hi-har, ora "chi nu" cymbai. l t is
gcncrally bes: to stay with ouc variution ancl lock thc time up. Thi:; rhythrn g;r0.-,vcs har<l an\.Í
wil! rcally ror.1p if you stick wirh it. Listen to Art Blakcy (on Moanin'), Grady T :1 te :111d ,\ 1 e;
Lcwis, all rna.tcrs of the shuíllc. On CD track30, wc play thc A scctions of"] .ast \.Ved.;_" with
a shufflc fcd.

More Jazz Esscntials

 Playing in "2"
\Vhcn J. lcadcr or band rncrnbcr asks for a ''2-fecl," thébass playcr plays half-notc-ba scd
rhythms (bcats 1 and 3) rarher than a "walking" quart<.;r-notc pulse. Thc drummcr in tur n
will phy a more rclaxed groovc, which can be done hy pb.ying fcwer quartc r-rio tc bascci

r-J
rhythms on rhc ridc cymbal.

-
r n
f
:-
j j j j j __···--··--·
~:::. ·.··-·- .... _,.
--

J
•···-----
·-·--· .. ·--- .. -···
J 1 1
J. -X
1
-J
·---··
/:
¿ ,. ----

(Bccause playing in "2" is lcss active, you must be surc to kccp things popping - plnv wit:·,
thc sorne map and don't lct the music sound slccpy or boggcd down. Kccp the hi-hat G·i:;p.)

Anothcr way to play in "2" is to play time on thc hi-hat. To do this, use your foot to hold t hc
rwo cymbals about a guartcr of an inch apart. Position your kft thumb on thc top cyrnbal .u~,l
your tingcrs on rhc botrorn cymbal. Use your lcft hand instcad of your foot to close thc c:·m-
bals on bcats 2 and 4. Thc will be smoother - without ihc snap.

e e

J:J
n
1 1 1
8 & ~ x
~ 11

A nicc variation is to closc thc cymba.ls wirh your hand on thc "and" of cithcr bcat 1 or bcar 3
- likc this:

¡:;:
1
~
e

z:
1
e

~ 1
e
~
l
~
e
- &'.
-
1 ¡
·zr z .-:i)
=tl~
&
1 I! ··+
CIC

Don't squcczc thc cymbals togcthcr,just gcntly <lampen the sound withour !itoppíng thc flow
of thc rhythm.
Try this variation:

1
e
xb 1 e
eh 1 e J:J J c[J z1 cf±d e ~
i
z s ¡··-.~-~-
r-"'
:

jjj
1
A 8: K 8
-----·---·-
~t::===::::::========t:::==============lt::==============±========
(Y) (/)
1 1

Listen to thc tune "Last Wcck" (CD track 30) - wc play rhc bridge with a "2-fccl."

Y:J;e Art ~lflop Dmm111i1Jg ) I

 3/ 4 Waltz
i\ihny jazz tunes are wrj tten in 3/4. Standard tunes tlrar wcrc oriµ;inally writtcn i n 4/4 e::: be
convcrrcd to J/4 for ;i changc of pace.

Ti1c thrcc most cornruon ways to pby 3/4 are:

In"l"

Thc bass pbycr plavs a dorrcd half-norc on hcu t 1 and lcts it sustuin for thc cr.tirc mensure.

2 Tn "3"

Thc bass pl.iycr plays thrcc (¡uartcr-notcs to rhc hnr ro givc a strnn~ "walkiru;" fcci, ~-i111i:.1r
lü w;t[king in 4/4.

3 Brokcn "3" [ccl

Tlic buss p.uycr plays rhythrns buscd on dortcd qunrtcr-riotcs. 111 ali thrcc Iorms, thc
drumrncr ¡:-lay:; a similar typc of pan:

JI~ fl ;ti? 1::~ ·-_-~ _·--==-- ==-:t=.+:=:: -==.+=-~--:=-(:-1!-~¡¿_5:-~-

t---

Howevcr, thc crnphnsis changcs dcpcnding o n thc fccl. 'vVhcn pbying in "1," Ü1c ba~s .Irum
and hi-Iinr are thc ccntcr of thc time whilc thc ridc cymbal ;111d hi-hut are lcss drivins. \V!1c:~
pbying in "3," rhc rid1; cymbal and hi-Iuu are more focuscd ancl driving whilc t he h:1.,~ clrur.:
and sn arc play lightcr. ln thc brokcn "3" fccl, thc h:.ft hand is more promincnt.

On thc tune "Sarch ancl Diz.'' (CD rrack 1or44) thc Asccrions of thc hcad and pi:mo so.o ;;~e
phycd with in "l." During; thc sax solo rhc A scction is playcd in "3."
Hcn: is an cx.i.uplc of n 3/4 pattcrn rhar works wcll in a Latin-j.izz Iccl:

,l

Check out ~VT:.l': Hn;Kh's rccording, Jrn:.z i11 .J/4 Time, for s111 ne swint,.jng playing in 31,i_

58.( More jazz Es~cntiab ,,1 .. , ....

 Sanba
Thc samba is a Brazili;1n rhythm in 2/4 thar "swings" in its own w;1y. Thc cighth--no:cs a re
pLtycd str;light, not "roundcd." Don't lct tlic riele cy111hal srn111t! likc s·wing. 1t should be 'en·
straight, but rclaxcd, Thc pat tcrns th.it yom right h.uicl .uid ynur Icct are pi;tyins ~hotdci
n.:alty lock togcthcr and crcatc thc forwarcl morucnnuu. Do11't play t hc bass .irum too louri lv.
Thc sound should be vcry cvcn ami balancee! lu.rwccn y011r h.mds ;tnd fcct.

•
J = 90-120
.-··--
"~
1
' )
\
~=--

Tliis p•ttlcrn is gclll:rally writtcn ;1nJ fclt in 4/4 whcn uscd i11 conjuncrion wi t h svvir;g:

Thcrc are man y diffcrcnt traditional samba rhyrhms which c a n be i11corpnratcd i nto jazz.:\'.-
with any srylc of music, makc nn artcmpt to "gct to thc sourcc" and hcar thc or;g)r;ai art i.a s,
lt is wor th knowing tht: work of contcmporary BLt'l.íli<tn artisrs such as .:\lilton ;\;iscimcn~D,
Ivan Líns, Joycc, Jorge Ben, Chico Buarqllc, Elianc Elías, Cal Costa, Bcth C;¡n·allrn, Eli;,
Rc¡;in;i, Gilhcrto Gil and Djavan, Also look Ior rccordi11gs fcat;iricg Brazilia:1 rirummcr-,
Dom Um Rornao, Airlo Morcira, Duduk.i l);i Fonsccu, .md Portinho.

12/8 Feel
This rhythrn also known as 11a11igo, hwzhc, or /ff1'0-C11hrm (l/~\', is pcrhaps thc grandfatl:cr of thc
morlcrn jazz ridc cymbal pattcrn. Thc 12/8 Iccl can he pbynl for .m cntirc so;·+~ or uscd t1•
changc thc mood within a soug. Two mastcrs olthc l 2/8 grnovc are l~lvinJoncs anJ ;\rt Hhkcy.

•
- .
.· \
i 1

\~-=~

3
 Mambo
Thc mambo is an Afro-Cuban rhythm in 4/4. Tr.idiricnally pl-.iyc<l o n timbales, rhc manJ,n
puttcrn can be aciaptcd Cor use on thc drumsct,

Traditional Application

Thc mambo cruzc of thc 1 CJ50s influcnccd drummcrs such as M ax Roach and 1\ rr B l.rkcv,
who .idnprcd thc rhythrn and rcc.l of thc mambo to ihc bop rhyrhrns of thcir ;:«1(:. T!~ci:·
mambo partcrn w.is ;1 bit more roundcd and irnproviscd t lum rhc rraclil"ioiul ;;,,1mbo, .in,! \a!;
be playcd with cithcr u str:.ii~ht ei¡;htb-nott: or swing Iccl:

Jazz Adaptation
~- = 140-240

To hcar Afro-C11ban b"rnovc$ and j~\ZZ. paircd with standnrds byThclonious :V1rn~k, :;\.-LJcs D:l\'i~.
\•Vaync Shortcr :.nd othcrs, check out recor<lings byjcrry Gonz.ilc» ami Thc Fon A pacl:c h.1:·":
with Stcvc Bcrr:•>S on drurns and percussion. Othcr drurnrncrs to look for are I~1w..:in Bcrro.1
with Diuy Cill-spie; and Robhy Arnecn with Rubcn Bladcs ami Davc Valcnrin.

Uptem20 Playing
Drurnmcrs :;\1:n Roach, Philly Joe Janes, }1kc H:mna and othcrs cm be hcar.l o n rccorc.s
playíng tempos <es fastas J = 400. I Tow?

Thc playi11g of uptcmpo jazz, rcquircs subtlc changos in thc phrasing ofborh the riele ..:;·m!M:
pnttcrn and com1)ing. At tempos bclow J = 270, you musr maintaiu thc triplct ~p:t-.:Íní; wcvc
bccn working o n; but bcrwccn j = 270 ami J = .100, your ridc cymb.rl pattcrn and comping wi::
"Ilatrcn 001t." Tbc triplcr phrasing changcs to a more strnighr-cighrh-uotc spacin¡.; . .:'\bi:~-
taining the triplct spacing .ibovc J = 300 wi.l.l crcatc an cdgy stiflncss in your playins, a:id :e:..:
to stiflc thc flow of thosc you accomp<my. Thc comping can includc rriplcts, hur 1·.-ill he
mainly cighrh- a11d quarrcr-norc-bascd.

In ordcr to be aolc to play uptempos you rnust practico playing uptcrnpos. Onc ¡..;ooc w.rv to
practico ali thc ideas in this book is to play along with rccords ami try to "cop thc frci ·· <)l. r:-.c
mastcrs. Pracric1g uptcmpos with rccords is cspccially valuablc beca use it shows ~T>u o;;;.::!\·
how far you hav, to go to be ablc to do what you 11111::;t be ablc to do.

60 ./ \I ore jazz .. Essc n ti als

 End urance and Speed
In practicing uptcmpos, it is irnportant to rccognizc that thcrc are two cornponcnts which work
togcthcr, but must be pracriccd scpararcly: cndurancc anJ spccd. You nccd thcrn both, bur you
must dcvclop cnduruncc bcforc spccd.

To improvc your enduraucc, work on sustaining a modcr.ucly fast pace f(ir a long time, say 15
minutes. Its bcsr to kccp thc riele cymbal pattcrn vcry consistcnt - rcally Iocus on rhc sound
nnd fcci you are crcatiug, and stay rclnxcd.

Whilc thc hi-hat stays on "2 and 4," intcrjcct an occasional comping idea with thc suarc drurn
or bass drum, but don'r !et your comping takc away from thc ridc cyrnbal - rhis is a ridc cpn-
bal cxcrcisc. Practico with a mcrronornc in half-norcs clicking on bcars 1 and 3 or bcars 2 and 4.
Thc tempo should be just fast cnough so that you havc to push yoursclf a littlc to fin ish thc last
fcw minutes. Kccp a record of thc tempo you started with :md how long you could susrain it.
Incrcasc thc tempo five BPM (bcnts pcr minute) cvcry Icw days as your conditioning improvcs.

Uptempo "Sprint" Exercise

Tn play fas ter, you must practico pbying fas ter. Aftcr you'vc bccn working on ihc cndur a ncc
cxcrcisc for a wcck or two, you will havc an idea of what you can do, as wcll as ha\·ir.g thc
cudurancc to do it. Now you rnust push your uppcr limit in short bursrs to cvcntually mercase
your cndurancc tempo. Do this by taking a tempo 10 to 20 BP]VI fastcr than your cnriur a ncc
tempo an<l do "sprinrs." If you'rc playing for 15 minutes ar .J = 100, thcn set your mctronornc
at 120 and play thc foUowing:

Eight mcasures at J = 120, followcd by sixtccn mensures at J = 120.

•
~~120 J~120 . --- ..
8 16 / ·,
~
\: '
rcpcat l Ox ~--~

ln othcr words, cight bars of regular time followcd by sixrccn bars of doublc-timc. Thc cight
bars of regular time are thc "rccovcry" phusc, whilc thc sixrccn bars of doublc-tirnc are :he
sprint phase. Thc click will be on ali four quartcr-notcs in thc íirsr half and on "I and 3" 1 n
thc sprint phasc. Shift the hi-hat to doublc-timc as wcll.

Be sure you are warrncd up beforcyuu <lo this. In rhc sprint phasc, play lightly but stay [ocuscd
and rclaxcd. Try to incorporare all your rcsourccs - wrist, fingcrs and arm. As you gc.t
strongcr, you rnn inerease thc intervals to sixtccn bars of regular time and thirty-rwo b:ir~ ot'
J
c.loublc-time. Rcmcmber that if you are phying = 150 or fas ter, thc 4/4 scction wiU havc a
dcfinitc triplct fccl, whilc thc doublc-timc section will flatten out to a more straight cighth-
notc fccling. On thc tune "Out In Thc Open" (CD track 39) the ridc cymbai pattcrn is tht-
~cnc.J out in this manncr dueto lhc tempo.

·of';.,·,.·J,.r ~{Bop Dru111mi11g

 Lead Sheets
Thcrc are a numbcr of diffcrcnt ways that a band lcadcr can introduce ncw rnusic to a ¡_;roup.
In most srnall group situatious, thc lcadcr will supply idcntical "Icad shccts" for ca<·i1 tune to
cach mcmbcr of thc group. Lcad shccts contain thc rnclody, chord clu1i~cs, dynarnics M:d
usually sorne information about thc srylc (i.c., "rncdiurn swin¡() of thc ~011¡..;. Each p:.1\'CO i~
cxpcctcd to know how to rcad thc lcad sheet ande reate thc appropriatc rnusi cal pa:-: 011 t !1ci r
instrumenr. Thc lcad sheet givcs a drumrncr thc four crucial clemcnts nccdcd to play ;1 r.cw
song in a musical fashion - .rtyle,farm, me/odie shnpc, and dynanucs. Lcad shccts clon't (011-
rain "bcats." Thc drummcr must creare thc appropriarc fccl bascd 011 rhc srylc :.:-:ka:cl! u1:
rhc sheet (ballad, "2-fod," shuffle, calypso, ctc.).

Drun1 Parts
Sorne lcadcrs writc spccific parts, as in a big band, for cach instrurncnt. ¡\ good dru m part
will indica te thc style, thc important rhythrnic information frorn thc mclcdy, show ihc for:;-,,
and thc dynamics. Drum parts don't contain thc actual mclody or clwrJ changcs, but use n:.•:·
cicscriptivc words to suggcst thc mclodic or harmorric mood such a~ "xmoot hlv," "bt;ik-· o r
"lcss intense" and so 011.

"You'll hear it"

A third sccnario finds thc lcadcr without music for thc drummcr, I'm oftcn rokl, "You dont
nccd a part - you'll hcar ir." Expcrieuccd playcrs can hcar a tune once or t wicc a:••~ be ;;!:!::
to soun<l good playing it ifthcy ask thc leadcr thc right qucstions abour thc son¡:_'; bcforc it :~
countcd off:

• What is thc stylc or fccl - sticks or brushcs?

• What is thc form?
• Wh.u nbout dynamics (A scctions loud, bridge so ít, etc.)?

With this iulormation, which a lcudcr can re.by ro you in a Icw scconds, you havc a mur I: l :e: t cr
chance of not only sounding likc you "hcar it," b11 t like you '' knnw í t." Wl.cn you are toi(! '\·, ¿ 11
hcar it," just ask, "What's thc fccl and thc form?" Thc lcadcr will say somcthi:;¡; likc, ··;_ icdiu;1;
up, swing, 20-bar forrn, fivc -l-bar phrascs. On thc hcad thcrc's a stop on bc;n onc o( tÍ;c ::r,t
phrasc. Come lnck in 011 the sccond phrasc." Rcmcrnbcr what he tells yo11 and ¡;o for 1:'

Since lcad shccts providc more musical information than drum parts, I'm incluJing tl-.c :cad
shccts for you to use when you play along with thcsc tracks. Lcad shct'.ts don't re:: :--oL:
wheth<.:r to use stieks or brushes, or whcre all thc "hits" (accents) are. You must m;ikc :l:c
appropriatl: musical choiccs about how to accornpany the melody. Playing "School Day:;," 1
choosc to play brushcs but sticks would havc workcd cqually as wcll. 0:1 "Lasl \Vcck'' l
played the A sections with a shufflc fccl, but that is not thc only appro:tch that wili cornpE-
mcnt the song. Expcrirnent - play cach track with sticks thcn with lm1shcs. Try switd~ing
betwecn srick..~ an<l brushcs within a song .

.:Vly composi:ions and our rcnditions of thcm reflcct our bro:td cxpcricnccs as musici:rns a;·,,;
•15 sucl1 include soinc "post-bop" influcnccs. Work on achic.:ving a ~ruc, purc 1.Jop frc! a:-.(;
voc1bulary, then cxperimcnt by introducing clcmcnt:; from your own cxpericnccs ª' a 1m;<-
cian. The more thoroughlyyou umlcrstand thc past, the more dt.:arly you (an ser: rhc :·:::;¡:·~:.

-~ 'Jlyufrtof Bop Dru111111ing

 SchoolDays

•
IR.
·-----

Mcdiurn swing,; = 140 .J.

B~13 0'1maj9 Ci/(.);

G\,n:aj7 A~m7 B!.m7

f ~--- -~~-- _:~~~- -~;-~~-~~-~ -

Cm7 Fl maj7(# 11) -$-(las/ x nnly)

~-:~0AX¿~89-F r

~$E~ffe J~-f---_-_-
~---_ _:2___111s_--~_~_-_:-=z==_~
___,__~l =~C
-~-~

~Coda

Forrn:
• Play the hcad twice
• Two chorus bass solo
• Two chorus piano solo
• Play the hcad once and go to the coda

Churrs '•', ...

 LastWeek
•
-----
.

•
.
~_/

> 144 In "4" J. }{ilc;

F1117 G,111:.f;'
,---..._
• .. -4.)>
----·-
--- ··--··-
~~=J ·-_-_··
- =------_·-
mf

IJ In "2"
Cm7 B9 B:>m7 A7!5 Ab6 Gb7(;Jl) Fm Frn/E,

r--fº:ª
r---.1--

*-r
~~F--t--+--------
mp
7 ~- 1--r =l:ü· ·--- -E=:-

Fm/D D~maj7 C7(b9) Fm7 Bl-m? Cm

t ¡ )~).

~rJ==-c:::4---+--~. _-~==0-=r®)E2f~I!-'~--
_,. ,. __ -_---J.__,._-¡

Fm7 e: .ll~);lj 7

--·Ctt-~--=_:-_.__-1=_f-_~_r
.-----4.~

_~-=-::·h~~·-·-
-==
-==_=_· = - -=~~:~--
:t: ·--~~-
:_ -~--

rm7 G~nrnj7 El,m7 EmaJ7

_ P _) ;~p=fl(E- _c~¡;::q)p:¡::~·
___:=~~~-;;=!!:::.~~~- ====::_·_-=----~
Form:
• Play thc hcad once
• Two chorus sax solo
• Two chorus piano solo (First chorus AAB)
• Play the hcad once to fine

~
Tbrrlrt ~(Ro/J Drum nnnv
 ••
What Is This Thing Called? , .'' ••• •• •
,,
• •
', '·~. _ ___,.

J"256 J. l{j

[2.----·---
\c1m.i7 ;/. Cm7 ¡:-;

t4=--=---==-~-. ~ . _·gj_-~~~:~~~~:0.?i('~-~~~:~
I

Fm ;/. -$- D'"7 - G7r~~ i

:±-d1 ~- "------=i=-~_r~ .. _r:_~_ .:-•---, .s: '!.___!'!_~·--- .~ --· ..

~-~-- ¡s:¿~=$ .!~-==---=-:1~1=--1 ~-:ir_...:i=~:.*=~·-::=.=-=- - =:- : ...- :--~•~>•-·-- :1. -
! - ~--=--=:--==~~-=---v--1~-=-=-:J.:_~_.J(--=- -=----=:=-.==-e
t) ---:
__ .....-.._::.:.:__::-·:.:_~----- . -

Form:
• Play thc hcad once
• 2 chorus sax solo
• 2 chorus piano solo
• 1 chorus trading "4's''
• 1 cho rus trading ··2 's"
• Play the hcad once and go
directly to coda

66 ·~ Charts T..: ..

- -··-----·--·-- - - ---~
 October
•
.. -

.
'
.
"--~.----

Ballad ~ -60 .J. R

Elo7 i\~maj7(~ 1 l) l ;ll19

Al,/C Bm7

~~--~~r~--
---_-
.{ r>;

--![
............... -___-----,-t-tl:il
~------1-F89=..- -t-1=::,_____.__-==-------------
- +- J. _
~~ --~--.. ~-----l=r, J-1
3 [inc

Form:
• Play thc head once
• Onc chorus sax solo
• Onc chorus piano solo
• One chorus bass solo
• Play thc head once to fine
 Satch &Diz

•
'

···---~

J~226 .J. Rilev

Q In "l"
~ mm9 E~maj9 Cmaj?

Bl.m9 El.111aj9 Cm;1j7 F71:_<,: C) 1

~ J>l,m9 E,maj9 Cnwj7

-·= --::
~-
-.--,~±f_¿~--"1~-·
1
~_l_-
~
. ·~· .~ - ~
~
-~
------t----~1--$.
-,.---
---+-~-J-+--------:=.t:::=.
.
~ ~
-------~~_:_~
__ .
-·-~==-=--=:--..::_:_--c~~~=~-:__-
--1-~ ·---·--•L._. _ _,._···--
·---:---==::::;- ~-:-:--.....:... -=-:----:=_;¡·_-_:_.:-·=--

mm9 E~maj9 Cmaj7

Form:
• Play the head once
• Two chorus piano sol o
• Two chorus sax solo
• Play the head once to fine

68~ Charts
 Out In The Open

• Up swing
~
l..:.J
(J ~ 300)
(Solo cliangcs)
Abmaj? Fmaj? Dmaj7 /J11wj7
J. Rik:

=b·--.:.,
~ ~~!--·
-·-~--1\ ,__-i_. . :-_;u_m_s
-J+------+-¿, - ~./
~. , ,_L.---·~,,_= ---,i/fL---<-·~~1~~~

Ai.m;.iJ7 Fmaj7
! l. 1. 2.
E/,m7 A~7 mm7 GP 1· Bm7 E7 fü1117 EP '¡ B/,1117 thnwj7

i
!\ A Drums

J ~d ¡zz=:z~_'~_;~,~1~~/~z~'
__F_/._._/_,_z_¿_2_z~.ij.l._L_,_z_/_~~
t.i Dm;.¡j7 Bmaj7

íBI
i...:::.J Gm7 C7 Abm7 D:.7

€1===~/".=.=.=.-::./-.
__ ~z_7. j--;r,,_z_----.;,,._, __ z,,----z"'7'--__,-/
_ __,,7~--7--f-j-z-=--.;,,._.r / 7 -~
~)

Am7 07 B~m7 E~7

e1 zz zz z-
7
L.
7
rz zz x:
7
z
1 J_ x:7 r:
z
zz e.r 7 - x:7 7
-z:_--·
- 1
~

A;maj7 Fmaj7 Dmaj7 Bmaj?

~
!\ Drums
~\
tJ ..'
Ai-maj?
~ ·-~ ~
Fmaj7
7
x:
7
x:
=»
7"" ?- ~ r7 r7
-z
x: !

EP
Eb1117 D/,m7
Drums
Gb7 Bbm7 A;maj7
B-
r7 =»
7""
z
x:
~
x: L
7
x:z rz =»
x: r
7
z z- .7 ·-·:

Form:
-$-coda • Play head once
Fmaj7 • Three chorus sax solo
1\ • Thrcc chorus piano solo

=&3~~~
• One chorus drum solo
• Play hcad once go directly to coda
tJ 1
[uie

rlcArt ~(Bop Drumming tí')

 Recommended Listening
Once I was spcalcing on the tclephonc with thc late Stu Martin, a fine jazz drummcr. In thc
background 1 could hcar a vcry abstraer series of"blceps and blats" which ccrrainly didn't sound
anything like music to me. Whcn I askcd, "What's thar noisc in thc background?" Sru rold me
that he was trying to lcarn about synthcsizcrs and scqucnccrs and that sincc thcir "languagc''
was forcign to him he was lcarningjust what thcsc things did by ktting rhc synthcsizcr "play"
randomly twcnty-four hours a day so that he would be totally immcrscd in its languagc.
To be fluent in any styk of music, you must know the "dialcct." Thc discography that follows
consista of sorne of thc classic rccordings of rhc bcbop era (rnughly 1945-1960). Ail thc gn.:at
playcrs I know have studiedhundreds of rccordings and havc listcncd to and probably own a
thousand or more jazz recordings. Fer thc jazz, novicc, a trip to thc record storc can be daunt-
ing, wíth thousands of titlcs to choosc frorn. To hclp you start your own irnrncrsion ¡Jroccss,
I rccommcn<l six widcly availablc classic CDs as a. supplcmcnt to thc material in this bcok.
Thcsc recordings can serve as both a rcfercncc anda sourcc of inspiration, whcn rclatcd to rhc
conccpts found in rhc book. Stu<ly the fccl; Icarn rhc tunes. Transcribe any comping and solo
ideas you likc, and play a.long with thc music,
Thesc are thc six CDs 1 rccommcnd:
Artist Ti tic La bel
Clifford Brown & Max Roach ClijfordBroum & Max Roach Emarcy
Art 5lakey & The Jazz Mcsscngcrs Moanln' Bluc .:\" ote
Roy Haynes We Tbrc: Prestige
Miles Davis Mi!estoncs Columbia
Art Popper Ar: Pcpper+ Elcucn Contcmporary
Thclonious Monk l\llonk's Drcam Columbia

Thesc CDs showcasc both the music and thcir musical drummcrs in formats from trio to big
band. Max Roach, An Blakcy, Roy Haynes and PhillyJoc Joncs are among thc most inllucntial
drumrncrs of all time. Art Pepper + EIC"JC1lis a largc group fcaturing a ve.ry musical groovcr, :'.\lcl
Lcwis, Knowledgc of the music ofThcloníous Monk is csscntial for any jau rnusician and
Monks drumrncr Frankic Dunlop is a much ovcrlookcd swingcr.
Following is a bricf synopsis of cach rccording which includcs information abour cach tune.
Sorne of thc tracks include rccommcndarions for working on your ridc cymbal phrasing. Play
along with "RCl," and workyourwayup to RC2 and RC3.

·>l Thc /Í1/ ~/Bop Dru111111i11g

 lviax l{oach
Clifford Brown & Max Roach (1954-55)
Max and Clifford lead onc of thc most popular and
influcntial bauds of thc 1950s. Check out thcir
swinging fccl, awarencss ofform, and mclodic soloing
throughout. Max providcs a diffcrcnt texture for cach
soloist.

"Dclilah"
Tempo Medium
Intro Ló-bar intro
Form 32-bar.AABA
Ascction In "2" with mallcts
B scction In « 4" wi th sticks
Solo scction In "4" with sticks/brushcs during
piano solo
Drum solo(s) Trading "4's'' lcads to onc chorus
drum solo with mallcts "Jordu"
"Parisian Thoroughfarc
" Tempo Mcdium (RCJ)
Form .12-bar AAB:\
Tempo \1edium A scction Stop time
Intro Long intro doublc-tirnc fccl B scction In "4··
Form '.l2-bar AABA Solo scction In "4"
Asection Douhlc-timc fccl
B scction In "4" "What.Am I Hcrc For"
Solo scction ln "4"/brushcs during piano solo
Drum solo(s) Trading "4's" lcads to onc chorus
Tempo Up
lntro 8 hars
drum solo
Form 32-bar (1(1+ 16 fnrmJ c;.;:,~ 4-i::a; :~·,;:_;
on thc hcad .
"Blues Walk" v,

Drurn solo(s) 1 chorus d;·,;i;1 S\J~o

Tempo Mcdium-up
Intro Last 4 bars of tune
Form :\.2-bar blues
Solo scction '·Ri.ff" backgrounds uscd to build
intcnsiry during solos
Drum solo(s) Trading «4's"and 4-bar scnd-off sets
11p a six chorus drum solo. Listen for
i hc horns trading 4's-, 2's-, L's- and
:.12-bar phrascs.

"Daahoud"
Tempo Mcdium (RC3)
Form 32-bar AABA with a 4-bar
coda-Listen to Max "play" rhe
mclody
Solo scction .12-bar AABA
Drum soloís) Onc chorus

"Joy Spring"
Tempo Mcdium (RC2)
Intro R bars
Forrn 12-bar .AABA wirh nicc brush
playing throughout
Drum solo(s) Trading "4's" lcads to onc chorus
Jrum solo

~,2 ." A ppenrnx

r:
 Art Blakey
Moanin' (1958)
Art's driving time fecl, use of dynamics to support the
soloist, riffbascd comping, grcat shuffle playing and
impassioncd soloing fire up the band. Listen for how
cach soloist picks up ideas from the prcvious one.
"Moarnn
. ,,,
Tempo Mcdium-tempo (Shufflc #1)
Form 32-barAABA
Asection Stop time
B sccrion Shuffle
"Are You Real?"
Tempo Medium (RC 3)
Intro 12-bar intro
Form 36-bar(8-8-8-12)ABAB
Drum solo(s) Trading "4's" with Art playing last
eight
''Along Carne Bctty"
Tempo Medium-slow t'a" (RC 1)
Form 34-bar ABCD (8-8-8-10)
Listen for: Great rclaxcd swing fecl Art comps
in the spaccs the soloists lcavc in
thcir lincs

"The Drum Thundcr Suite"

Forrn A series of ensemble "scnd-offs" and
interludcs connectcd togethcr by
rnclodic drum soloingwith mallcts
and sticks, Each section crcatcs a
diffcrent mood from thc fcrocious
opcníng to thc lightcr middlc and
swinging finalc.
"Blues IV1arch"
Tempo Mcdium (Shuffle #2)
Form 12-bar blues rnarch shufflc with
open-cndcd march-likc drurn solo
intcrludes

"Come Rain or Come Shine"

Tempo Mediurn in "4" (RC2)
Form 32-ba.r ABACwith stop-time
on head.
Grcat "walking" swing fccl

fheArt ~(Bop Drumming

 Roy Haynes
We Three (1958)
Likc Mnx Roach and Art Blakey, Roy is onc ofthc
WE THREE
pionccring "musical" drurnmcrs of thc bop era.
Known for his loosc swing fccl, crisp cornpíng, and
mclodic soloing, Roy has citcd "\.Ye Thrcc" as one of
his favoritc rccordings.
"Reflcction"
Tempo Mcdiurn-tcmpo (RC 4)
l ntro 18 bnrs
Fonn 32-barAABA
Ascction "Latín"
B scction Stop time
Solo scction In "4"
Drurn solo(s) 1 chorus

"Sugar 1~"ªY "

Tempo Mcdium (RC 2)
Form 24-bar ABC (hcacl pLtycd twicc)
J\ scction Stop time
fiscdion 12/8 fccl
e sccrion Stop time
Solo scction 16-bar form, starting in "2," cvolving
into "4" ·
Drum solo(s) 1 chorus

"Solitaire"
Tempo Bailad ·with brushcs
Form 32-bar AABA with sorne implicd
doublc-rime

"After Hours"
Tempo Slow Bluc5 (RC 1)
Forrn 12-bar blues form with sorne irnplicd
doublc-rimc "2'' fccl

"S nea ki n 'Ar oun d"

Tempo Mcdium (RC 3)
In tro 8 bars
Form 12-bar AABA ("2" Iccl during hcad)
Solo scction In "4"
Drum solos Tra<ling "4's"

"Tadd's Dclight"
Tempo .\1cdium-up (RC 5)
Inrro H bars
l-orrn 32-b;ir AAllA ("2'' fccl during hcad)
Solo scciion l n ''4"
Drurn solos Tradinb 4's leads to l chorus drum
. olo

74 ·.# Appcndix

--~---· ------ -----~----···

 Philly Joe Janes
Milestones (1958)
Philly JoeJones, Red Garland and Paul Chumbcrs are
thc rhythrn scction, Thcy supporr thc soloists in rhcir
rnost burning or subtlc morncnts. Check out joc's
smoking uptcrnpo playing .md his slick, almos:
rudimental soloing.

"Dr. Jckyll"
Tempo Uptcmpo in"4"
Form 12-bar blues
Drum solo(s) Miles tradcs 8's and +'s joc rakcs a
two and a half chorus solo

"Sid's .Ahead"
Tempo Medium-slow (RC 1)
Forrn 12-bar blues in "2"
Solo scction In "4" sorne irnplicd doublc-ri mc
fcel
D rum solo(s) "4's"

''Two Bass Hit"

Tempo Up
Intro S bars
Form ABCD (16-16-8-16)
Soio scct ion 12-bar blues
Li~tcn for: Intricare arra ngcrncn t wirh h ip
drurn intcrludcs
Ríffcomping

"Miles"
Tempo Mcdium-up (RC 3)
Form AJ\J3A(8-8-16-8)
Listen for: Cross-stick placcmcnt

"Billy Boy" (trio)

Tempo Up-Lcrnpo with brushes and sricks
Imro 16 bars
Form AARA (16-16-8-16)
Slick arrangemcnt playcd by
a tíght trío
Creativo and swinging "4's"

"Straight No Chascr"
Tempo Mcdíum (RC 2)
Fonn 12-ba.r-blucs in "4"

Th-lArt ~( Bop Drumming

¡ -'
 MelLewis
Art Pepper +Eleven (1959)
laRI PEPPE~+ELEYEi
Mcl's buoyant zimc fecl, supportive comping, ensemble w.,...,.~-.. 'i-'1.
set-ups aud use of cymbals (including riding 011 tbe
hi hat) to support the diffcrent ensemble pass;1gcs.
p,.."•'
~· . ,. .
•~. •r An•J" ·.
s.·.

PJ:w~, í·r.
"Movc"
Tempo Mcdiuru-up
Inrro 7 bars
Form 32-barAABA
A scction In "4"
llfflll
B sccrion ln "2"
Solo scction In "4"

"Groovin' High"
Tempo 1\.1 cdium-tcmpo
1111-ro 6 bnrs
l'onn 32 bars (16-16)
"W alki n'SJ lOCS "
First 16 In "2" Tempo
Sccond I(i In "4" Iutro
Solo scction In "4" Forrn ]2-bar i\ABA
Hcad Bru~hcs
"Opus De Funk" Solo scction In ".f' ,\'¡Ó sticks
Tempo Mcdiurn (H.C 4)
Inrro 8 bars
''Anthropology''
Fnrm 12-bar blues in "4" Tempo ,\ lcdiurn
Listen for: Mcl plays around thc ensemble 1 n tro 10 har~ i:~ "2"
figures figures during shout Form .32-bar i\1\B:\
cho rus A scction L"·f'
B scctron j •
.J. 1 l
••""In
L,

"Round l\1idnight" Solo scction: l:irst ..:.hnr¡_,.'..; of ~(<í~ '.-:.:,:::(J:· ..

Tempo Bailad A's use ''2_..~·· pcd~d
Form 1\A.llA 32 bars l~ svrtion ·~¡:,f.>· pee!~~: in .. .;"
L1stt.:;: Ior: Brushcs going in and out ofdoubk- Subscqu.-m chnru~,c> .r, ".+·'
time Iecl Listen tor: ~ lci'::. c.4 .. :-cci n:J ::-.:.: :-..; .. .«:

"Four Brorhers" ''Aircgin''

Tempo Mcdium-up in ''4" (RC 5) Tempo .:'vlcd;t; ITl- e::'
Form 32-barAABA lntro 12-h;i~ L1t;r. (ce!
Form ABAC (8-12-~;-s,
"Shaw 'Nuff" Listen for: iv1cl plavs sp.1r:~c;}. \;t;r;:1~ ¡;~:> >·., . _..
:irrangt:mc:1¡
Tempo Uprcmpo "4"
Inrro 24 bnrs "\V al ki n"'
Form 32-bar AABA wi th 8-bar scnd off
Listen for: Mcl's <lriving but rclaxcd uptempo Tempo Mcdiun>-;;:ow :RC :
ride cymbal playing Intro 8 hars
Form 12-lnr hl.;c, ~11 "2"
"B erruc
. 's T une " Solo sccrion In "4"
Tempo Mcdium-tempo in "4" (RC 2) "Donna Lec"
lntro 10 bars
Form 32-har AAllA Tempo \kdiu;:-,-ur ;;1 " ..r·
Listen for: Mcl's intro fil] suggcsts thc mclody Inuo 8 bars
Form 32-bar )6-16.

76 " . '·. .', :~:.

--------·· .
Frankie Dunlop
Monk' s Dream (1962)
Monk w.is one of the pioncering bop composcrs. His
tunes are a "must know" for anyonc playing this music
and thcir :i.ngular motion makcs rhcm grcat to play.
On this CD, his quartct is in top íorm wirh drummcr
Frankic Dunlop's infcctious swing fccl and snappy
camping bringing it ali together.

"Monk's Drcam"
Tempo Mcdium-ternpo (RC 2)
Form 32-barAABA
Asccuon In "2"
B scction In "4"
Solo scction In "4" Frankic comps in just the right
places

"Body and Soul"

"Swcct and Lovcly"
Solo piano
Form 32-barAABA Tempo Slow "?"
lntro 4 bars
"Bright Mississippi" Forrn .12-h;1r AAI3:\
Listen for: Grcat "2" fccl
Tempo Mediurn-up (RC 4)
Form 32-har tune (16+ 16) bascd on "Swcct
Georgia Brown"
Listen for: Monk and Frankie play offeach
orhcr bchind thc tenor solo

"F.
~ IVC S pot Bl UCS "

Tempo Mcdium-rcmpo (RC 3)

Form 12-bar blues
First chorus ofhcad is in "2"
Solo scction In "4"
Listen for: Qand A comping on thc hcad and
t hroujrhout

"Bo1·rvar Bl ues "

Tempo Mcdium-slow (RC 1)
Form 12-bar blues
Hcad in "2"
Solo scction In "4"

"] ust A Gigolo"

Solo piano
Form 16 barsA.B
"Byc-Ya"
Tempo Mcdium (RCS)
Inrro 8 bars
Form 32-bar AABA
A scction In "2"
B sccrion In "4"
Solo scction In "4"
Drum solos 1 chorus
 General Discography
Louis Bellson
With Dukc Ellington (Wi:st Coast Party); as a lcadcr (TJ¡unrfcróird).

Art Blakev
With tite} azz :'llcs~cngcrs (1Vfoani11: Live at Birdland); wi th lIank Moblcy (So«! Starion,
Rol/ Ca./!); with 'Thclonious l\1nnk (Bla~:cy and /\1011/.:, 'I'bcloniouJM on]: and foon Coitrauc j.

Sid Catlett
\Vi rh Louis l\rrn~trnng- (Louisrlrmscrong an.t th1· /111 Srars, Thr Co111plt:,· l<1yno:,· .\(:.:ion.'-/·

Kcnny Clarke
\.Vith thc Modcrn Ja,;z Quarrct (La Rondo); with Miles Da vis (Bag's Croooc, Miles Daois
and tb» 1'vfodcmjazz Giants); with Dcxter Gordon (Our 1Wa11 i11 Paris);with Diur Giilcspic
('f '/;,: Gi1111t}; with Cannonbull Addcrlcy (Prcsmting Can11011h11/I rlddcric»}; with Sonny
Rollins (rlix En Proucnce); wirh Donald Byrd (RynD Word}.
JimmyCohb
With Miles Da·)is (K ind Cf'Btuc, Liuc at tbe Blackha.wk, Liuc at Stockhalm, Miles «n.! Alonl at
l\'c•~pr;r!); with 'Nynton Kclly (S111oki11' al thc l 111(.(Note); with \Ves ,\•1on1homcry (Ful/ Housc':

Frankic D·unlop
\Vith Thclonio.1s J\.1onk (Mo11!~'.1Dream, Criss Cross},
Verncll Fournicr
\Vith Ahrnad J unal (Livc al the Pcrshing).

Al Harcwood
\'Vith Curris Ftdlcr (Blues-cite}.
Louis Hayes
\Vith Cannonb:1U Addcrlcy (At thc Lighthowc); with Joc ]-lcndcrson (The Kiciicr): with
lIorucc Silvcr (1ilowin'Away tlx Blues).

Roy Haynes
As a lcadcr OVe Thra, Out In ThcAftanao11); with McCoy Tyncr (Ri:r1rhing Forth): wirh
Thclonious M(1:1k (In /lction}; wirh Stcvc Lacy (Tbc Slraighr Han: of Steuc Lacv).
Billy Higgins
With Lec Morjmn (Tbe Sidcwinder); with Dcxrcr Gordon (Gcncration ); with Ornct te
Colcmun (Sorne •l;ing Elsc}.

JoJones
;\~a lcadcr (Tri11, Pcrcussion and BaH, Tbc Esscntínt jojoncs], witn Count Basic (T'ix Bes: v/
Cou u: Basic); wi :h Lcstcr Young (Prez At 1lis VNy Bcst}.

Philly Joe Joncs

\Vith Miles Da\' s {Milcstones, Relaxin']; with thc Sonny Clarkc Trio (Cool Strnt1i1;'); witi1
:Vlilt jnckson (B.;gs Meets Wcs);wirh Son ny Rollins [Ncuik's Time); wirh H ank Moblcv
( Mlod.:out, No Roomfor Squarcs};with /\ rt Popper (/lrtPcppu Meas Tbc Rhythm Scction):
with Wynton Kclly (Piano, Kcll)' al Mid11ight); with john Coliranc (Hi11,. Tranc}.

TinyKahn
Wirh Sran Gcrz. and jimrny Raincy [Liue al. Sto1yvil/c).

78 '' :\ppcndix :- ,, ·- 1):.

 Gene Kr upa
As a lcadcr (Dru111111cr J\'1a11, The Cene Krupa Story}; \IVith l3cnny Goodman (Li~,, ,;/
Carncgic 1-lalf).

MelLewis
\Vith Art Popper (Art Pr.ppcr + 11); as a lcadcr (Me!Lciois and Fricnds, Toe D,:fi1111:vr Th,.-J
[oucs Vo/J.1 and 2}; with Tcrry G ibbs (Drcam Band Vol. 1-5).

Shelly Manne
As a lcadcr (Ma1111c Kind, Lioc at the Blackhawk-Vol. 1-5}; with Bill Evans (Empatl.1j); witl:
Sonny Rollim ( Wáy Out Wi!st).
JocMorello
VVith Davc Brubcck [Liue at Carncyie Hall),
PaulMotian
\Vith Bill Evans (Viflage Vanguard Sessions].
Cha.rlie Persip
Wirh Dizzy Gillcspic (Dizzy's Ducts, Sunny Sirle Up, Birds Wods).
BuddyRich
/\.~ a lcadcr (Thc Monster}; wirh Charlic Parkcr (Charlic Parkcrwith Stri11g.1)
BenRilcy
\Nith Thclonious Monk (Lioe at the It Club); with Sonny Rollins (Thc Brit~~c).

MaxRoach
With CLíffor<l Brown (Clijford Brmon a.nd Max Roach, Ln»: at Basin Strcct), with Charlic Parkcr
(Binl Thc Savoy Rcc01dings};vvit11Sonny Rollins (Frccdom Suite}; as a lcadcr (CrJ/l':;cnatic11,}ir::.-::. in
3/1 Time).

Pete "LaRoca"Sims
\'Vith Joc Hcndcrson (Page One, Our Thing}; with ] ackic McLcan (Ncui Soii).
O'Ncil Spencer
Withjohn Kirby (Boss oftbc Hass).
ArthurTaylor
vVi th Red Garland (A Garland of Red); with J ohn Coltranc (Trancing In, Sou! Tranr, Gi,:n:
Stcps); with Thclonious Monk (Liue at Taum Ifallj.

EdThigpen
Wirh Osear Pcrcrson (/!!Jinity, We Ge: Rcqucsts).
DavcTough
vVith \Voody Hcrman (His First Hmi, Thc Thundering Herd).
ChickWebb
As a lcadcr (A Lcgcnd Vol 1, Ki11g ofthc Savoy Vol 2).

Shadow Wilson
\·Vith lllinoisJacquct (Thc Black VdvclBand).
Compilation Recordings
On Impulse Rccords (Tbe Drums, Tbe Big Beat, Thc Soid ~/.Jazz Pcrcussion).

Drummer-lcssRecording(For Play-along)
Jim Hall (.Jazz Guitar}; Wynton Kclly (Piano}; Monry Alcxandcr/Rav 13rowníHcrb Elb
(Triple Trcat), Osear Pctcrson (And thc Bassists, Thr. Trio); Bill Evans [lnt uirion, Und.rrur-
rcnt]; Nat King Cole (any trio rccording).

·-1.,..
,· 1:.· /,
l
rr .r;/ "')/),~, ,(),. rv .
1r111J1n;;nv
 Books md Videos
Drumset Methods
! frrlin Rilcy ~.. ndJohnny Vidncovich (Ncw Orlcans faxx & Sccond Linc.Drumming);John
Ralllsay {rlr: j '/ak,:y'sjazz Mcssages); Jim Chapín (Advmzccd Tcchniqucsfor tbr Modern
On11t1111cr Vcts. J and 2}; Tcd Reed (Sy11copatio11); Rick l\htlingly (Creatiuc 'Timckccpin,;;J;
.r~d Soph (F.JJ,. .uia! Tecbnioucsfor Dnu11 Sr.t); Keith Copcland (Creativa Coordination ):
.) icvc Hough1 n (E.rsential Styles Vols. 1an<l2); Ron Fink (Drumset Reading]; Jack
::)cJohncttc a:· l Charles Pcrry (ThcArt ofModem fazx Drumming),
Snare Dr .1111 Tcchnique and Reading Methods
Gcorgc Lawrcncc Stone (SticJ:. Control};]oc Morcllo {Master Studies}; Charles S. Wilcoxin
(J\..1odcm Rudi.ncuia] Swing Solos};J ohn Prnrt (l 4 Modern Contcst Solos], Mitchcll Pctcrs
(OdJ Meter R.; .. limental Etudes]; Anthony Cironc (Portraits in Rhythm); Fred Albright
(R hythm ic ./l 1w lysi.r).

Brush Mcthods
Philly Joc Joncs (Brusb Artistry); EJ Thigpen (Tbc Sound of'Brusbes].
Afro-Cuban/Brazilian Methods
Frank Mnlabc ind 13ob Wcincr (Afro-Cuóan Rhythmsfar Drumset}; Duduka Da Fonscca
and Bob Wcincr (Braziiian Rhythmsfor Drumset); Robby A.meen and Lincoln Goincs
(Fimk.~fjiing tb« Clave]; Airto Morcira and Dan Thrcss (Rhythms and Color.r/Lislen and Play).

General
Ron Spagnardi ('}'he G1·cat]azz Drummcrs}; Burt Korall (Drummin' Mcn}; Chariic Pcrs.p
(Hou: Not to Pi. y thc Drums}; Bob Meses (Drum Wisdom}; Burton Ka plan (JV1usiciam Prac-
tic» Log); Mick .y Han (Drumming at tbe Edgc cfMagic); Art Taylor (Notes and Tones);
Mikc Hcnncss, (Klocl.::·Thc Story ofKemzyClarkc);Gene Lees (Mee! Me at fim and rlndys];
James Loche (• [cntal Toughness Trai11it1gfor Sports); David Licbrnan {Sclj-Portrait cf a
jazz Musician).

lnstructi(; nal Videos

Hcrlin Rilcy (/··agti111e and Bevond}; J nck DcJohnctte (!v!usical Exprmion 011 thc Drumsct),
Clayion Carnc.on (Thc Li·uingArtofBrushcs}; Elvin joncs (Difforcnt Drummer); Pcter
Frskinc (E~Jél) '.hing is Timckecping); Ed Thigpcn (Thc Essence of Brushcs); J oc Morcllo
[Tl»: Natura/A, ;proach lo Tecbniquc].

Video Performance
Ccnc Krupa (/-1zz Lcgeud); Mcl Lcwis {Livc injcrusalcm};Art Blakcy ('The jazz Messcri-
gas, 1961 in.f.</ an}; Wynton Marsalis (Blues and Swing); Tony Williams {Ncu: York Livc);
John Scoficld (1. iue 3 Ways, withJohn Rilcy and Marvin "Srnirty" Smith); Thclonious
Monk (Straigh.: No Chaser; Monl: In fapan '63).

so'