Drumset Daft

Punk Medley Written by: Thomas Bangalter,

Guy-Manuel de Homem-Christo,
Anthony Wayne Moore, Nile Rodgers,

8            Arranged by Dan Satter

   
Pentatonix's Tribute to Daft Punk
Pharrell Williams, George Duke,

 44          
 = 133 Carlos Sosa, and Edwin Birdsong

             
   
           

    
A 3

   
14


       
                      

               
3 3
19

 
   3    B
     
              
                
3

        
23


 
    
                                     
30

         
                 
       
35

                                
 
                  
39

  3                        

                      
44

                 
 
              
C

  
49

                             
            
54

   
                 
                      
59

                             
 
        
63

                 
             
    
ths
D Swing 16
69


Transcribed by Dan Satter

                            
            
Daft Punk Medley
73

                     3     3    
              
76

 3           
              
 
               
80 EStraight

     
                             
                    

89

      
                                 
                 
92

 
 

   
               
      
         
96 F(Half time groove) 5
3

 3        3          6  3  3
            
   
99

   
 
                   
    
        
G

 
102

                                   

                     
109

                     

             
                                   
                    
115

        


 

 

  

                          

H

   
119

   I
 
                           
 
        

125

        3      
                  
              
 
129

     
        
 
   
       
133

2 Transcribed by Dan Satter