‘unk grade bi DD " AVA rice spa gtiitiouaea Werner ' ET ee bs CTTIECOCOCOCOHTTEEEER OOO i reno rneg COPE prance music ee Pa ony tne shh uu THEE thee jt CU hoon Nh i mo 1 OTT HN torenca oH Wi, vane nytt CIE OEE EEE ite “ POCHUIEUEEE COHEOOEOECCE TERE bie vent ve Hee TATTLE ute (TF OG Herre COTO OEE eeciie HN) Ha COOUIUNICOECCOLCOCU EOC EEOC OE eerie HNN), CUCU ii MTree COIN iiiiy TCU eric HMC einen VOTTITH CCU CCC COCO Ero uerceereciiiiiin VHA UHHUUUH OCHA OUUA UHH OVA OG OAHU OOOO DOU OOO OOO OOOH HOH EEHHOH HHH ieee HOO OHHH OOOO ONNNENVANNNOHUHOEUGOVHNHAHOOOOONOHHH OOUOUOUUNNHHQOHOOVONHHOOHOOOHNHAHHHHHiOHHi WUGNUNNHONADUNY CONDON HUA OUHOOVUHHONDONDONHONHOVUOVOG ON OAUNONHONEONONOONOEHUONONUONUONOO OOH EON OONOOHEN uh “uy NUVUAVGHOUDONOONODANONEDONOVOVONOVON OOOO OHVOAvAdOOvanOOiOGt (it Me PUMS WVOOQVNHOOVONYO ONAN VHA OOGOVODONV OOO NOONAHONN OOONOONDOOVHevtiueddonivonH ini) VANUNNONODAONN OND OONNONNONOONOOOLNDNOO HHO TOIINON OHIO ageLearnt EOE UIC g Ss S 5 S %latle of contents ‘acknowleclgments Vocabulary Adiptation fram English to Spanish Terminology Technical Notes on the Recording Basses Used Basic Brunt Set ip Notation Wwrropuction Purpose of the Book How to Use the Baok and CD. How to Best Take Arivantage of this Course Reading Requirements Ever to Swing Conversion ‘cnarnen one General Concepts Relationship Between Bays.& Drums Groove and Feel Playing Behind, On and on Top of the Beat How to Come up with a Groove that Works Tuning and Having the Rigi Sound fer the Mus Awareness Dynamics Researely Bt Analysis Practicing swith Dilferent Types of Clicks (metroniomes) Increasing and Decreasing the Tempos Practicing at Slow Tempos Practicing Coming inv and Out of a Groove Fracticing with Records Practicing sti) Other Musicians Recording your Practicing Sessions ane Rehearsals Practicing Playing Consisient & Simple Practicing Specific Exercises, Before Working on the Tunes Practicing Senedule 19. 8 a 4 6 7 8 19 21 2 23 24 25 H#SRaR 32 8 34 35, ee eee 7 38 indice Reconoetin nbs Acerea det Lenguay lizador Vocabulario Hormunotogte Datos Teenteos de la Gn action Arm 1 Hagicce te La Matera bhajus Urliza Notacién Wwrronn ce Propose del Lib Como Usar el Libro yeh cb. Corio Aprovechare! Litt al Maximo Re Conversion de thi uerinvientos pura La Lectin ano assuming PAPERUILO UNG Conceptos Generales Kelacton bntre ol tain y ta Baten Grove y Heel Tocar Dutras; Sobre ¥ Delante uel (ulse Como Crear un Groowe que huncione Atiniacion y Sinko Aden Toma de Conedencia (Awareness) Dinamicas Investiyaciiny y Analisis EAPETULD DOS Pantay de studio, Macticar con Dike tes THs ae clicks (inbetsdoumess Subir y fajarios tempos Piacticar pes Lenton Practica ef Latiar y Salirte un Ginwive Practicar eon Discos Piacticar eon Otiyy Music ‘Grabut los Ensaveis y Iag Sestonies de tvaetie Focar von Consistencit y Sumpleza Practicat Hercitloy Deterninachs Antes de Tear hos Grrayees de bate Libres Pon de Pstunk Ca i = CHAPTER WHHEE Tune Description and Groove Analysis, Groove #1 Gat Up Otte Groove #2- Alla Mike Groove #3 swanky 5) Gloove #4- Ragga Groove #5 All Me' She Grote 6 Serondd tine funk Groove W7 Samba turk Groove Wh Tigh Pocket Groowe #9 inbute fo Alles Groove #10 The Aves Groove #11 - (ible to Wtorens Groove #12 -10C hk losing Tine charren Four. Practical Exercises Exercise #1: Even ta Swing Conversion Exercise #2: Hichat Possibilities Bxerchve #3: Ghost Notes Fxercise #4: Paradidelle Connection, Exerclse-#; Melocic Line for Orchestrations Exercise #6: Linear Approach Enerclse #7: Target Notes wath Anticipation Exercive 8: Second tin Funk Exercise #9: Basic Sixteenth Note Subdivision Exercise W108 bars Groove, B bars Sole Exercise #11; Melody 1 Harter FIVE Drum Solo Deseription Suggested Listening Suggested Bibliography About tte Author 25 99 101 102 cartinite res Deseripeion de los Temas y Analisis de los Grooves Groove #1 Get Up ofa Kiroove W2 Abia Mibe Groove #2 Swanky s) agya Ml Mi’Shett Seen Line fink Groowe #4 Groowe ws Groowe HG Groove #7 Saumba fonk GH OVE HR Tight Phot Groowe #9. Tribute ta Ne. Groowe #1) The daes Groove #11 Tribnate ti Marcas Groove #12 JC fank ‘Cloning tune EAMITE LO CUATTO Fjercicios Practicas Flereieto #1: Converstin de Hinariow Sieg, Bjerclele #2: Wssibihidadtes del H)-Hat Hjercicao #8: Notas fantasmmay Hjenlelo #4: Pa jerctelo #5 Meld para Oryuestay dthtdle Connection Mercielo #6; Approwels Tune Hjencleio #7: Target Notes con Anticipuciones Hjoreein #8: Seowsna Line turk Fiorcicio #9: Subdivision Masks en Sexnleaichieas Hercicla #10) 8 Gompases de Cnoove. & Compases de sale Herelclo WUT: Melodia 4 EARFFULO EINCO. Anvilisiy det Soto de Bateria Sugerenclas: Qué Escuhur Bibllogeatia Suxerida Aconea tel AutorTrack CD track list fista de temas dl CL Title Intinduetion. Get Up Offa (full band Alla Mike (ull band) swanky 5} (Hull band) Ragga (ull band) alla Meshell (ull band) Second Une Junk (lull band) Samba funk Guill band) Tight Pocket (ull band) Tribute to Miles (Hull band) The Aves (full band) Fribuite to Maréus (lull bane) JPC Funk (full band) ‘Get Up Offa (minus one) iruny alone bast alone Alla Mike (initws one) ‘grurns alone: base alone Swanky S} (minus ane) drum alone bass alone Ranga (minus one) drums alone hassalone Nia Me’shell (minus ane drums alone: basy alone Second Line Funk (minus ane) uruinsalone: bass alone Sumo Funk (minus ane) drums alone Groove 1 Section 1 (full band) 2 "| 3 we 4 rr 5 co 6 +5. 7 cn 8 we 9 we 0 9. nwo a) ome Section 2 (minus one} “4 ” 1s n 16 Wl 7 we 18 W 9 42 2 a Ha 22 Ws. 2 wa 24 wa 2s ta 26 “5 2 5, a4 cr 20 6 30 46 3 Ho, a we 33 Ww u wr bas» alone 35 HB Tih Pocket (minus aney 36 #8 drunivalone 7 #8 bass alone 38 9 ribute (6 Miles (minuscane) 39 w2——anums alune 40 #9 bass alone 41 HID Tile Aves ¢rinnay one) 42 #10 drums alone 4210 bass alone 44 wth Tribute to Marcas (rvmus tie) asm drums alone 46 HN bass alone 47 WIPE An (rminues one) 48 #12 drumsalone 49 WI bass alone Section 3 (solo) 50 Groaving un wey sol 51 Cosine tune All instruments are tuned 104480 Todos Jos instramentos estan afinados en relaciony a unr AAO ‘Giroave #4 baron any tarptes boy Marin AAO: yourteuy of ‘spestemanies Hass Legere Giodve Wb a ain bas sais by loin Baivog Feo tegas SpesttavorsAcknowledgments Thanks to all the musiclans who took part inthe record Ing, especially to Guillermo Romero far being sich an Important part of this team, To César Silva for the great recording of thls project; to Daniel Tarra and Silvina Pini tor their ameonditional help and to Sole Pampilla tor fhaving such patience. Tu Victoria Bosehiial) and) Noemt Yarrane tor the edit- Jng, to Fito Messina for the constant support: to Willy Gonzalez far his contribution 10 the writing, to Peter Erskine, Gary Chattee and Ed Uribe for the valuable cominents; 10 Juani Pablo Cornpaired, Dario: Fskeriazh, Arturo Puertas, Fetiarido Dieguiee, Bruno Raberg, Dave Weigert, Constanza Yabés, Gallego Antinon jubeta Albistur, Marcel. Braga and his team; to José Luis, Sanches rom "Netto for providing Remo, LP Percus: SION and ZILBHAN products To all my students who, »without knowing i. persuad- ed me to cary our this project: To my Iriends arid tamlly for thet constant support. And my giatitucle to all the musicians wito constantly inspire me. To Hans and Veronika Gruber for supporting ths pro: Ject all along. Last but not least, | would like to thank Freddy Valeria: ri, whose contntuition made this project possible. This book jy deditated to Alex, Tito.and Carlos, Vocabulary Adaptation from English to Spanish In the following list, you'll tind some words that, in my ‘experience, make mote sense in Lnglish and thus don’t weed tobe translated, These tems, such asgroove, feel, bihat, ostinato ete, ate often used by musicians and {V/s appropriate to keep thei in thell otiginal language. Consequently, the correspandent Spanish meanings of the terms listed below are not a direct (ranslation into Spanish, but rather mustcal interpretation (technically speakitig) of the term, Reconocimientos Agradeace {a parttelpavion de todos fo» musicoy que colaboraron en este proyecto, en especial a Ciuslletmns Romero por unitse al equipo. A Cosa Silva yuo li yar villosa ytabucton de wste proyecto, a Daily! Larrab y Si itu Pink por sit Micon Vansjthe oF poser esa pacieneta ei avudia & 4 Sal able ‘A Vletorla Boxchtrol! va Noeml Vartan ciones de esti, a lola sugeternelut 91) e] ised, a Fite, Messtiin op oak aperye onstattie, Wily Gondlez rus sn conertbutyon en ka esetitura, a foter Erskine, Gary Chatfee y lid Utibe por sus valiosos comentarios, « Tuan Pablo Compal. Dap skonaal, Brune Ruborg, Dave Weigert, Arturo Pet fag, Vertiancly Diegues Constanta Yabes Gallege) Ant noni hulleta AUrigtu, Maceo haga ¥ su eq @ Jose ils Sanches de “Netto” por proveer instrumentos y aaccesorios Risto, LP PiRecussio y ZannAs Ac curtee lay buenas Hederen Axmadézco & toxlos ms altuninos, que (nditeetamente Han contritiiidey a que este prayeste sea posible; a nn farullia y amigos, nar el apoyts Constantes y a taclos tox masicos que me han inspirado. yee A Hans y Vensntka Gr proyertis desde sus inivios Wer gat haber apna Por Oltim, debis agradecer la particlpati Valetta, sin cays contrttsueydty, este (hh Sido posite teste Jb he Frid nov hubiese fest edivaides a Ales, TRU y Carbs Acerca del Lenguaje Utilizado - Vocabulario En fa slgtlente tisticencontiarin alunes teeminos quae sequn mi experiencia, tenon may wntides en Fa femagaa Inglesa, razon por bi euat no requieren ser Haktucides a espatiol. Fi significado do cada une Je estos teria, 1) pretend sey una aplicacions directa ul expan sito Una Interpretaciin musical (Gcmicamente habhisides del Leimino. (Pairs copier groove, feel, hi-hat, ost ao, 307 frecuenitemente sia prot ar titsiers yre eos. apiopiady mantenetiasen sit longue original. |