lhe y ha Ea TETContents Introduction ,.. Explanation of Styles Explanation of Notation — Bass, Explanation of Notation — Drums... Rock ... Blues... Shuffle ..... Heavy Metal Reggae. Rap vse Go-Go... Funk/Fusion ...... Jazz... Latin ....Introduction Khythnt Section Grooves For Bass and Drums features over 120 examples of grooves which can be used in a variety of musical situations. Versatility is something which is expected from any modern rhythm section, Musicians regardless of their specialist style, need an understanding of many different styles, so as to equip them with the skills ury to perform in a world where change and expansion occur continuously. This players and drummers intent on cre: ting a solid rhytho tilily in any situation. nec book is designed for use by bas section capable of performing with ve sive Hass Guitar by Gary und Progressive Drum musical knowledge is assumed. (See Prog iy Bass by Stephan Richter Some hy ‘Turner and Brenton White, introduc Method by Craig Lauritsen). Progressive Rhythm Section Method for Bass and Drums also by Stephan Richter and Craig Lauritsen is a valuable introduction to the role of, and the technique required of bass players and drummers within a thythm section. This book is split into ten broad stylistic categories, each listing examples in order of difficulty. The book's layout is designed for versatility of usage and readers are ed to access relevant information from anywhere within the book. encour Each example includes a tempo setting which is the speed which the authors feel works best for that particular groove. The authors also suggest that you practice each example at various tempos. Technically difficult examples especially should first be practiced at a comfortably slow tempo. Remember that speed comes from precise, controlled playing. This book will benefit the reader in the following ways: + Linprove your reading, skills + Improve your technical ability + Improve your ability to perform in a band situation y for your own licks and solos. + Improve your rhythmical knowledge and accu * Provide a source of ideas Also available from the authors are: Stephan Richter Craig Lauritsen sive Drum Method p Technique for Bass Prog ‘Technique for Bass P, seressive Drum Grooves Heavy Metal Method 1 Million Drunt Grooves Heavy Metal Techniques for Bass ‘The Drum Dial Heavy Metal Licks Volume 1 and 2 Bass Licks Rhythm Section Method for Introducing Bass Bass and Drums ~ by boul: authorsExplanation of Styles Categorising musical styles is difficult and limited, due to the fact that most styles are cither influenced by, or have similarities to other styles. As music grows, different styles draw upon a broader range of influences and hence change and expand. Therefore the explanations below of the main style headings used in this book, are purely broad guidelines. The only way to fully understand any style, is to listen to a broad range of artists who have been so categorised. With this thought in mind, examples of musicians and/or bands which epitomise a specific style have been included in each eategory. Rock = Accent on beats one and three; simple chords. Artists include ‘The Rolling Stones, Dire Straits, The Who, Led Zeppelin ete. Blues — Refers primarily w music which tlie: Most common song form is twelve Clapton, B. B. King, Albert King. harmonically upon the blues scale Artists include Muddy Waters, Erie Shuffle — Uses a triplet feel and a strong backbeat (beats 2 and 4). No specific artists are listed here for 2 reasons: (1) No single artist plays shuttle grooves exclusively. (2) Shuffle grooves can appear in different style categories. Heavy Metal = Similarities to rock: relies heavily upon sound production. Artists include Black Sabbath, Iron Maiden, Metallica, Deep Purple. Reggae ~ Style originating in Jamaica which places rhythinic emphasis on the off- beats. Artists include Bob Marley, Third World, Peter Tosh. Rap — Similarities to funk and rock, Accents on beats one and three; u syncopation and anticipation; relies heavily upon ‘sampling’. Artists include Kool Here, De La Soul, M.C. Hammer, Public Enemy, Eric B and Rakim, Run D.M.C. Go-Go — Uses a triplet feel; draws upon aspects of funk, rock and rap, Artists include Chuck Brown and the Soul Searchers, Macceo Parker. Funk/Fusion — Similarities to rock, but uses staccato feel, syncopation and anticipation, and inore complex rhythm and harmony more often. Artists include Billy Cobham, Tower of Power, Harvey Mason, Miles Davis (post 1970). Jart — Uses a triplet feel and complex harmony and melody. Syncopation, anticipation and emphasis of offbeats are common occurrences in ja Artists include Charlie Parker, Miles Davis, John Coltrane. Latin — Latin music refers to the numerous musical styles originating from various regions found primarily in South America. Numerous sub-styles occur within this broad category. The style generally uses straight eighth notes and contains very syncopated rhythms and strong emphasis of offbeals. Artists include Tito Puente, Tania Maria, Eddy Palmieri,Explanation of Notation — Bass Tablature Tablature is a method of indicating the position of 1 Tie notes on the fretboard. There are four “tab” lines, A 2 | struncs each representing one of the four strings on the bass. me 4) “Thickes Nur When a number is placed on one of the lines, it indicates the fret location of a note, C.2. HA Hammer Attack This indicates the 4th 1 Tapping right hand fret of the second . string (an F# note). ! Tapping Index and Middle finger together This indicates the 7th fret of the 4th — string (a B note). , Play the note first time -7 through. Apply standard This indicates the tic rule upon repetiton. a third string open (an A note). J Optional note. (#) Played at your discretion. staccato (short Reminder accidental (is a detached note) @) already stated in key signature). rc ee i = Hammer-on > Accent — play louder Hl Jy J Quick Hammer-on al arene WY Slide - into the 8. indicated note T Thumb slap Slide - commence the B Popping Effect SS slide somewhere further up the neck ; PO Pull-off sees Vibrato x Ghost Notes - muteExplanation of Notation — Drums j J Open Hi-Hat Closed Hi-Hat sed HO. = Half Open Hi-Hat (closed Cowbell and foot Snare Drum at together Drum Bass Dru (right food (left foot) closed hie Crash Cymbal Side Stick Ride Cyinbiat ell ‘Small Tom, Floor Tom Ghost Note Accent (play the note softly) (play the note loucler) R= Right Hand L = Left Hand wee? Play the note the first time through. Apply standard tie rule upon repetition. NOTE: The right hand is presumed playing all ride eymbat, ride exmbal bell, hi-hat, crash and cowbell parts The left hand is presumed playing all snare drum hits, Any stickinyg lunge will be indicated.a ———10 [7] J=128 Bm = — of Ease V v js. yoy ee ¥ o xo He ae a= a= [8] Jas EE —— = - £ = [9] J=108 Dm— f Edt DEE wz [12] J-102 Cm bs ao RLR RLR | simile wg aif =P An, 72 [13] Je16s FHSos FES (16) J E5 oeBlues Example 17 uses notes of the Major pentatonic scale. (17|J-m2 G : — = z * 3 SSS Si : ====s= # z —— a —— SS Example 18 uses minor and Major 3rds after each other, which creates the ‘bluesy’ sound. [18 \jus £6 | st : L L o£ Z M+ tbe on eee Ha[20] J =130 zi 22\J=126 FT eT pte eS a eel peat ae . = a i — 2 2 a B + x SS * For more information on slap technique see Progressive Slap Technique by Stephan Richter.24 | J=68 A D A > E = 23 ae + 3 e _ ss Es = i 3-2 2 3-2-4 4—3 + — = air: i ie ae =i a : e ° r a = ae “Ss aware |25 | J=80 Cm = s = HN BES = ; oe Z NES Fs 2 — = 6c.) a i ae iis a I en ee 5 = = f L sy Ss “SS — —_— Se(27) J = .Rolling Stonesee ee Ber |i vo t % | Io E Tit |-4 7 a th 1a fits RA tt [ue 14 ial fit, He ha if L P lle : [Fis lll ih @ Ah Le 4° HI _? =126 ES ¢ [29] J Pt Bet (30) > [31] J=12 Fim= a= eae — ¢ = oe at =z F e J=128 Blues al al + £ x = z= N e aoe \ ote R.C. = E 33| J=98 Blues oe E 34] J = 128 Jazz G Be N ie WwD7»9 Cm7/9 35) J 2134 © Rock/Jazz» » nat oe a He ie KL {+ KL (KL He Example 38 includes harmonics played together as a chord, using the thumb (1), index (), and middle (M) finger of your right hand. q—|d dg dd ld od dd Se Be Sees ee \ = ; oa RER R RERER cf fl a[39] J =130 — Po do SS dh —s- PLE = 2 Pe i FH oT[80] J -00 att or isi DEE Fi ——a — L]] RURL simile Sota pap arGo-Go Note: Examples 82 onwards use alternate sticking, (RL R L etc.) between hi-hat and snare drum, unless otherwise indicated. 81) J = 17 a TA Dm Am | 82) J = 166 xs tin, > = asae [86] J-179 Gm ; Ny Ny [DE 3 3 set oe + 5 =z a EEm7/9 [89] J - 14Funk/Fusion Bb7aaa 13 RR RR RLRLRR R R RLRLR LR LRL Oxo x Bb7ada 13 ae z z 0 z x t——sa—: ee 24 RLRL similez c z no! LR RLR RLR z j FQ, * The ~ sign in Example 96 indicates an upper mordent, where you play a quick hammer on followed by a pull off. The note hammered on is usually a tone above the starting note and is played as quick as possible. [96] J = 102 Ee 4 f eo an ~ PO POoTHT es cae ater. TEST > — = | xe oe nS se : +2 — H SS =a PB Te Ta ° 3 I NK=sr | " | : z SS —————— 0-23-3385 X57 :a a —_ [100 J - = = SSS a ——— RL RR LR L LR LL RoR RL px) pepe 101) J =95 z = eae—ae z ey = Faw BSS ao SS rn $—t RL Roe eee ase iz x) SS === [BES = R A) L- -—2-—e Heel Se = 2 Rg a a30 Jazz Walking bass — bass line predominantly playing every beat (quarter note) in i time in a linear fashion. 102 | J- 2s Fadd9 EiSaeS Se eae aest ‘The next two examples use a half time feel — dividing the bar in two rather than four (half notes, dotted notes etc.) (104) Jes 7 Bbmaj7 = a a pee z | a [105] J = 156 F : 5 E > [D4 4 He = = = t fe ; may se eee Be: | =2 Example 106 is a walking bass with triplets, ghost notes and syncopation. 106 | J = 142This example implies both half time and normal time. [107] J - 166 Bb - + 5 ; = € = “sy4 Example 108 uses ‘straight’ eighth notes rather than ‘swung’ eighth notes. This straightening out of notes tends to occur naturally at very fast tempos. {108} J - 260Brazilian [111] J «188 TS —— a | x pe er = 4a gg ty Se cer it UF LT Ey} iL 1 22 ee oe | J=230[114] J-198 Calypso C.$8 116 | J=228 Latin 2S Cowbell ca =)HIS) = 252 Guaguanco cm7/9 Abmaj7 #11 = =e 4 aby =: = aes a — "oe Db7b13, rte [120] J=252 Sal eo =n Hi ra $- —¥ ¥. z bd id sf a pe© 121} J =196 Songo = 5 a