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    14 views53 pages

    Dave Weckl 02 - The Next Step - Booklet - Backup

    Uploaded by

    Rodrigo Chaves

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    © All Rights Reserved
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    of 53
    DAVE WECKL THE _ NEXT _. STEP TRANSCRIPTIONS By JOHN RILEY ‘© 1992 Manhattan Music Publications Inc. International Copyright Secured Printed In The USA. Alll Rights Reserved. Distributed by: z CPP Media Group™ 15800 N.W. 48th Avenue Miami FL 33014 S (800) 628-1528 ‘Any copying of this material in whole or in part without the express written permission ‘of Manhattan Music, Inc. is a violation of copyright law. aes EDITOR Dan Thress Music ENGRAVING/BOQK DESIGN __ Bob Sherwin Cover DESIGN ee Jack Waltrip EDITORIAL ASSISTANT Emily Moorefield Cover PHOTO Stephanie Foxx ee ten te api. INTRODUCTION : ello again! Welcome to the second book in the transcription series accompanying my videos Back To Basics (book 1) and The Next Step. In the first book, subjects such as hand and foot technique, setup, tuning and some transcribed solos were covered. Here, we will discuss timekeeping, creating grooves, beat displacement and soloing. ‘As | said in my introduction to the first book, it will more beneficial to you to use the video along with the book. Seeing the action performed always, heips take the : mystery out of it. ad I hope this book will be of help to you. Enjoy! Key | ee : , Hi-Hats. = + CYMBALS : Hi-Hat X-Hat Open Half-open Ride Crash RC bell Splash China Cowbell @ | Close w/ Open w/ foot foot ie | , Bass/SNARE—--———, TOMSe ee Bass Snare X-Stick Tom! Tom tt LH Tom FTL FO TIME its partly the drummers role to establish and keep a confident time feel. One of the ways | have found to build, practice, and get a confident feeling across is to use some sort of click track or metronome when p.acticing. The idea is to build in or program an internai clock. ‘Another way to internalize the time feel is by subdividing. Whenever | hear a click, or somesody counting off a tur 2, . start counting or “singing” the subdivisions—I don’t mean le&a 2e&a, but rather imitating the groove and subdivision with my voice. Once the temo and feel is inside you, it’s easier to get it out of you Correctly counting off a tune is very important. If | am on a live gig and somebody else is counting off a tune and trying to {1nd the tempo, | look to see if they are tapping their oot or using some other form of body lan. uage or movement that | can pick up the tempo from. Then what | like 10 do 1s tap my sticks together to help give the rest of the band an indication of ~ example (which is not found on the tape) of a simple fill displaced both before and after the beat by a 16th-note: Original fill: velore: After: . zsstennh co a — Se we i 2 = + FRa Ar Se 2 2 2 + 6 = 0 —s— kage. called “Rain, Mow eg wn the Conter:porary Grummer + One Package, called “Rainy Day” which is a “jazz/pop vocal” tune. First, we will listen to the track without any drums on it, to hear what is goinr on Nou can hear that there is a lot of motion going -n. The feel is a dotted th Téth-note “funk/shutfle” type of groove, which isa very diffcul feel to play. If Was 10 Play this groove and none of the top forward motion was happening, | would try to create it by playing something like this: ; Swing 46ths 3 3 But since the top motion is alreadv on the track, I don’t need to copy it. | need to try and come up with something that is going to convey the pulse and fit in with What is going on. | think that a straight 8th-note feel is going to work better because of all the other stuff that is being played around it. Another thing to consider is that bass line has a lot of anticipations, The uestion is whether to play with the bass line or play against it Inthe fist version, til try to piay along with the bass line and see how that feels. The important thing to keep in mind is that every litle inflection that | do, every &th-note or 1éth. note, has to have tne shuffle-feel, “RAINY DAY” First VERSION Repeat form (Play C 2x) ( anticipations. Here’s version two: C ) POLO y a Opp pogo 3 Logos ey ° oo as yen ‘As vou can hear, both versions work pretty well. It’s a personal decision on how you want the groove to f2e!. De you want it to be solid and steady, or anticipating, with *° bass, or a ce ination of the two? It's an emotional decision that you make wren you are recording ihe trac: Remember, keep in mind what is already on the track or what the other musicians are doing. Pay ttention to what the bass player is playing. Alsu, don’t forget to sing ; our part vefore you actually _ ay it to get an idea of how it is going to sound. ; Opp TIME PLAYING Now | would like to stare my ideas on playing in odd time signatures—specifically 5/4, 7/4 and 9/4, Basically, I want to show you my concept of how to count, fee! and play around these ditferent time signatures. I learned this system of coui.#ing from composer/atranger Hank Levy, who did a lot of writing for the Stan Kenton Band, and who was teaching at the Kenton Clinic Camps | attended in 1975-77. For example, let’s take 5/4. Instead of thinking of five straight quarter-notes, which can sound very timid, monotonous, and like you are constantly “falling off an edge” when you come to the end of the bar (1 2 34512345 1), you can find a phrase, generally a half-time phrase, that can be counted within the five-note bar. In 5/4 the breakdown that | use is counted: : Half-time phrase> |, 7 7 7 aaa : When you are playing in 4/4, you don’t think about dividing things up in certain . groups—you try to play a phrase that sounds good with the music. It makes it easier to phrase and groove if you think of it in that way. The halt-time phrase F , _works well whether you're paying haltime ora double-ime figure. Cc Half-time phrase> 4 : aa - | 3 ‘sy 12.34 5 6&7 a aaasis toca) instance, there is the type 01 soio where frurn start to finish there is nothing played. 7 before or after you—it's just you. There is the kind of solo that happens in the middle of a tune with no given form, ut something is played before and after you, s0 you have to think about siner', you just came from when you begin and where you are going when you finish. You-can solo over a com>, where someux is comping for you, which is-a change because 95% of the time we are usually comping for sc” ~body else. Personally, | prefer this type ¢ soloing. The first solo that | went to demonstrate is an ope~ soln, just drums from beginning to end. The rin thing that! try to do in any solo is communicate with thJaudience—not just with drummers, but w** avery: re who is lis.sning, A 200d way to do that is to think about playing # tive phrases, bott. melodic and thythmic. This gives the audience something to iatch onto. | don’t want to be the only one up here having a good ‘ime. | could sit down and do a display of chops that a few drummers and | might fee! was technically great, but there are not going to be a whole lot of people who understand or care to understand wHaiJ am doing—they want to fee! something. . = The first exaraple is of a reprtitive phr-se. ‘ am going to play a repetitive relodic and rhythmic phrase and build on it, play around it and then move on to another type «statement anu do th ame thing with tha. ouild it, and then end the solo. SOLOING—REPETITIVE PHRASE &. “AMPLE @ re x : Snares on o 6 | use the same idea when playing in “9”. The phrase keeps qi: up-from playing (1.2 &) in “5”, to (1.23 &) in “7”, 10 (42 3 4 &) in “9”. Half-time phrase-> 1234567 8&9 12345 67 8&9 on 66 6 When you are playing time and solos, it is much easier to play and get your ideas out by thinking about a half-time phrase that is musical, rather than dividing it up inté a mathematical equation that doesn't flow. : a Jo SSS f=} === = = — —_ rs os SOLCING—PLAYING Over A Cc MP The next type of solo, which as | said before is the | fun 1 © me, is playing over ‘acomp. Ia this, you don’t have to act as a comping . strument as well as a soloist. It gives you the opportunity to create space, not just leave space. You don’t have to play all the time. It’s a good idea to piay repetitive phrases, but this time you can create space and let the groove happen. Sah ID x Meonsinues ae ° _ fd mh ot l Ri HH ° i - a . EEAIND! OOP EUMOUNAL IONS Having demonstrated two examples of soloing, the question now is, “What types of ideas should | play during a =olo, >nd how do | develop my rhysimic vocabulary ont! drumset?” Or, asi. . sometimes asked, “Wr st was av. that stuff you we doing in your solo!” What | am going to give You is a very difficult exercise, the first part of which is based on triplets. There are ten sub-exercises, which are sic ily hand and foot combinations, to master before you can reall, get it ail goir.. You will probably recogr > thé first combination. tt is: Right Left-Foot. The iG:h 15 to go all over the drum kit, plaving all the cymbals and hitting everything you can hit while using this stickin,. Pay with d--amics and try to get a nice flow among all the instruments. Start slowly and work your speed up. Right-Left-Foot The second exorcise is Left-Right-t oot Number 3 starts with the foot: Foot-Right-Left Number 4 is Foot-Leit-Right The next two have the foot in between the hands. We'll start with Right-Foot-Left eat is what | cal. reverse or alternating tripiets, You can start with either the hands “the fect. We'll begin with the foot: Foot-Left-Right, Foot-Right-Left (repeating) 3 3 3 a a “rR? Ri@iRr? RL Ere. Nextin fine are double-stcoke triplets—I.vo fer hand and foot: . Right-Left-Foot-Foot-kight-Left-Foot-Foot ~- Now, one with the hand and two with the feet: Right-Foot-Foot-Right-Foot-Foot After you've mastered thesc, go back and try to do them alll with th 1e hi-hat playing \ quarter-notes, ° PNOWETE TAGE 1S 10 BYE IT OP MESES CONMUNEMONS SOGEMIEL TGS STOUIGRES PD ITT that you have to play dynamically with both vour hands and your foot. When you play softer with your hands, you have to get _ ter with the foot. The same goes for playing louder—your hands and feet have to be equal in volume. When you put these exercises together, they v-on’t be in any particular order— just try to use all of them while keeping a consisient flow of tip: ts going. If you are not playing one of the combinations, just play triplets with your hands to keer the flow going. Try to play in 4-bar phrases since most music is written in even measured phrases. This will get you in the habit of feel’ng the four bars. Give ydurself downbeats with cymbal crashes ac ine beginning of these. ases. Il play an example of this, slowly at fist so you can get an idea of what is going on. Pe The “ext th -g is to get it up to speed—really forcing yourself to “drive through” while continuing to play triplets. Once you have the triplets flowing, try the same thing with 16th and 32nd-notes. Starting with doubles: Groups of 3’s—two with the hands and one with the foot: £ Singles—leading with both hands: Dea em nm DR Now we will put together :he triplets and 16.hs and 32 xds. | use this a fot when | am soloing. It may sound “polyrhythmic,” but it is ree. y just going in and out of T6ths and triplets: Now I'll play the same type of example along with the click, orchestrated around the kit: Tatts: Once you have the triplets flowing, try the same thing with 16th and 32nd-notes. Starting with doubles: Groups of 3’s—two with the hands and one with the foot:, * Singles—leading with both hands: LeLL LRLLRLR Now we will put together she triplets and 16.hs and 32 rds. | use this a lot when | am soloing. It may sound “polyrhythmic,” but it is rec. y just going in and out of 16ths and triplets: Again, it is good to sing patterns—you can learn more from trying to sing drum licks than you can by just sitting down and trying to figure them out from scratch. If you can sing it, you can play it—if you can't sing it, then it is going to be more difficult to play. Just experiment. Figure out the pattern rhythmically and melodically, exactly the way you want it to sound. FS: ol orermoumenrey LLUSING [eel that practicing with records is a very important and /itai way to learn when you are first beginning to play. It was a major part of my practice routine because it gave me the opportunity to liste: to all mv favori. players and to try and copy what. they were doing. Also, if the band you are playing along with is good, then it teaches you how to plav in time with good musicians. Do~’t let anvone tell you that it’: wrong to copy—it’s the only way to lem at firs. you like something vo- hear, try to figure it out. Later on you are going to dev: op your own style. Thee wre tim: when | vould listen to evervthing that Buddy Rich or another drummer played, and try to figure out certain things: tavould spend a lot of time, bu. ! was conscious of rot spending toc much time on ‘afi, one drummer or album. I tried to listen and play along with a lot of different styles. Gics _ _ My first major gig was the Simon and Garfunkel tour in 1933, which | got with the help of Anthony Jackson. This business svorks on recommendation, ->4 Anthony was recommending me for -ver-thing. | “arted to get > few calls ead people would hear me and recommend me. Michael Brecver was the first one the told Chick about = Playing with Chic Corea is propa. he ust musically gratifving and wonderful learning ex, “ience that have « had, and possibly will ever have. Is a great thing to know you < working fr someone who cares about you: .-ell- being as well as your music career. Musically, it’s really gfeat—every nighi is a challenge. Sometimes | reaiize, “Wow, I'm actually playing with one of the guys that | grew up listening to.” Playing with C-ick was one of my “eams, and I feel very fortunate tc “ave achieved many of the other goals and dreams ! had when ‘ye growing up. Which brings me to the final point | would like to make. T dreams and goals that you set for yourself are possible. | be'ieve anythivig is possible with hard work. ‘Two things to remember: *) Don’t be in a big hurr 2) Don’t give up! .ost important, have fun with tne music. It -ou’re not enjoying it, then s.mething is wrong. Good iuck and enjoy! “ISLAND MAGIC™ SOLO a a To Figure Master Plan ” Dave Weck! - GRP Gershwin Collection Dave Grusin GRP Unforgettable Natal: Cole Elektra A Long Story une Elias Manhattan Flight To Freedom Arturo Sund: val GRP Upside Down Side ~ Mike Stern Atlantic A Place Like This Robbie Nevil EMI/Manhattan My Shining Hour

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