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    Rhythm Section Method for Bass & Drums - Craig Lauritsen & Stephan Richter

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    36 views59 pages

    Rhythm Section Method For Bass & Drums - Craig Lauritsen & Stephan Richter

    Uploaded by

    Davrace

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 59
    Contents Introduction ......cesssssesseesseeseeseesesencenesneensenceneenseneensenes 4 Explanation of Styles .......scsssssssssscssssscessnserssesesonseese 5 Explanation of Notation — Bass .......scsesesessrereseeees 6 Explanation of Notation — Druins ......seesessesesecnsenne 7 Funk/Fusion .. Jazz. Latin... Introduction Rhythm Section Grooves For Bass anu 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 theit specialist stylc, need an understanding of many different styles, so as to equip them with the skills necessary to perform in a world where change and expansion occur continuously. This book is designed! for use by bass players vd drummers intent on creating a solid rhythm section capable of performing with versalility in any situation, See Progressive Rass Guitar by Gary dl Progressive Dew Some basic musical knowledge is assumed, ($ ‘Turner and Brenton White, Introducing Bass by Stephan Richter a 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 rhythm 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 encouraged {o access relevant information from anywhere within the book, 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: skills: ability + Improve your reading + Improve your technic + Improve your ability to perform in a band situation + Improve your hythmical knowledge and accuracy + Provide a source of ideas for your own licks and solos. Also available from the authors are: Stephan Richter Craig Lauritsen ive Drum Method ive Drum Grooves Progressive Slap Technique for ‘Tapping Technique for Bass Progres Prseres Heavy Metal Method 1 Mullion Drum 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 bos Explanation of Styles Categorising musical styles is difficult and limited, due to the fact that most styles are either 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 cpitomise a specific style have been ineluded in cach category. Rock — Accent on beats one and three; simple chords. Artists include The Rolling Stones, Dire Straits, The Who, Led Zeppelin etc. Blues = Refers primarily to music whieh relies harmonically upon the blu Most common song form is belve bars, Artists include Muddy Water Chipton, B, B. King, Albert Shuttle = Uses a triplet feel and a strong backbeat (beats 2 and 4). No specific artists are listed here for 2 reaso (D Nosingle artist plays shuttle grooves exclusively. (2) Shuffle grooves can appear in different style categories = Similarities to rock; relies heavily upon sound production. Artists include Black Sabbath, Iron Maiden, Metallica, Deep Purple. Reggae — Style originating in Jamaica which places rhythmic 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; uses syacopation 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 wiplet feel; draws upon aspeets of funk, rock and rap. Artists Chuck Brown and the Soul Searchers, Macceo Parker, include Funk/Fusion — Similarities to rock, but uses staccato fecl, syncopation and anticipation, and imore complex thythm and harmony more often. Actists include Billy Cobham, Tower of Power, Harvey Mason, Miles Davis (post 1970). dave, — Uses a triplet feel and complex harmony and melody. Syncopation, anticipation and emphasis of offbeats are common occurrences in jazz. 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 nows and contains very syncopated rhythms and strong emphasis of offbeats. Artists include Tito Puente, Tania Maria, Fddy Palmieri Explanation of Notation — Bass Tablature Tablature is a method of indicating the position of notes on the fretboard. There are four “tab” lines, each representing one of the four strings on the bass. When a number is placed on one of the lines, it indicates the fret location of a nole, e.g. HA = This indicates the 4th t fret of the second string (an F} note). \ | MI =———— This indicates the ¥ 3 Th fret of the 4th string (a B note). t This indicates the third string open —— (an A note). J () J staccato (short detached note) (} Hammer-on H iy J Quick Hammer-on J WV Slide - into the —~§_ indicated note Slide - commence the 5 “S$. slide somewhere further up the neck PO seses+ Vibrato x Ghost Notes - mute Thicket Nur Hammer Attack Tapping right hand Tapping Index and Middle finger together Play the note first time through. Apply standard tic rule upon repetiton. Optional note. Played at your discretion. Reminder accidental (is already stated in key signature). Accent — play louder Harmonic Thumb slap Popping Effect Pull-off Explanation of Notation - Drums | J i Hi-hat unless otherwise Open Hi-ttat Closed IHi-tat indi i dey. Hi-Hat RC. ~ Ride Cymbal (closed with the foot) 11.011, ~ Half Open Hi-Hat Cowbell and foot Snare Drum together h Cymbal Bass Drum Bass Drum” Bass Dy (right foo (lett foot) closed hi rh 2 Ride Cymbal Bel Small Tom Flooe'rom Ghost Note Accent (play the nove sofilyy (play the note louder) R= Right Hand L= Left Hand wee Play the note the first time through. Apply standard tie rule upon repetition, Fe right hand is presumed playing all ride cymbal, ride exmbal bell, hi-hat, crash and eowhell parts 1 hand ix prestuned playing all share drun hits. Any sticking change will be indicated. [1] J=100 C7 Det pee pba a= aa — i ze aa E ——— > [2] J=104 A D 4 SS E = —— 0 fe R.C. “a pg 3|Jeus F BE =aS 8 Ss = a [— E — J7G_ OG LOO GLE) ee . S| J=ue 6| J=0s2 pe SSS a aS a oe ee oh td B sf sf a 0 [7]J-128 Jaen jz 5 [#4 oH mit) tH q tf 9] d= 108 in ab c A BS = SS hE] ¥ rn Leg Co Sor = z yy > Te = ze [10] J - 104 cm ee bee : 2S ae 2 == — 5 RC 4 RB) + a z h 4 a) 5) = ee = m2 fo ees: bal Ee: = S35 63 z RLR RLR en 3) 9) 2 RLR RLR ii 13] Jers FHS Tae £ f 3 ee > > | > peagadagaeagaeagaas— Lai IK Ik x ee 14] Je102 Dm —— Z A 0 Fi . RLRELRL De je 7 ——— —— Senn - 15| Jews ps Ee — a <2 = ——— > RRLLREL aie x ~ pg9 Dg = __d cr 16] J =9s od =F 2 BL H.O.H. = [De a —, | z (ie =e 2 * —S t eee Rk L oa 2 roy Blues Example 17 uses notes of: Major pentatonic scale. W7 |Join G = lJ & Dap a SS = Py ot SSS ee CooL OG | ooo ‘bluesy’ sound. 18] J-116 16 et Pd Lol = NY Example 18 uses minor and Major 3rds after each other, which creates the 3] ne 2 iv de 20| J = 130 A 22|Jei6 F7 eT Bo TP LN = te p Technique by Stephan Richer, = 130 a p—, 2 T. T (23) H 3] Se 24)J=o 4 3p Ss A zB oie oes | eS aae 4— # ee ee Fe 0. oa [0 Ts mage =e 0. a o—2—-0- = es Dob bl ; art Si] d= Film 4 fie ae —3—f\ -F_ 2 ae eee be ed i) LE ft e. r? w 32] J-128 Blues F K J) DEE = a =e i— fe | z 7 0 —— z 3 = R. find hy Le h a ) oy) [Oe z a % 4 Toopiar tae 33] J = on ue \ an ae ey 5 - aes + : ete =e 38| Je ise Rock/Jazz cm7/9 b7h9 aN pee SSS Heavy Metal 37] Je100 Am Dm Te i B oi = Baa Bee EE og Sa ph ph ph pl fo sf Te sto oo - Example 38 includes harmonies played together as a chord, using the thumb (1), index (i) and middle (M) finger of your right hand. 38) Jens we f | F =f et l= : 4 ; E is oO {iL alll e c QV RK T= i= o 5 tl = =e RLR R RLRLR > 4 wae RLRLRLRLRELRLR UL x ° me [42] J - 14s Em et - TL = [43] J- 14 Am riers Tt 7 [4 pe au 3 3 ey J sa Ce =. a aes we 2 3 re J J J 2s ao oe ad page z i$ fo BZ 3 44| Jers FA Dee yee ar ‘pale a3, [= — ~— = Lt ee I" 3 tsb i od f3}__ [ae z Right Hand Tapping i Left Hand Hammer Attack HA [45] J = ine } ‘| ete, — ¢ Be-E: TOR TSR a es " = ( ) (Tae oe Ly 4 = 3] te == =5 HA\ — — — wat er HA HA j Cowbell J 4 A Se mK * For more information on tapping technique see Progressive Tapping Teclnique by Stephan Richter M4 [46|Jeiwe 4 Am y fi F e gz - = et 2 git e rae 4 a {Ff =| peat bees E aero i Ke eh ae : Plage a ee HAH. etc. +s 4. tpt 44-} = sat fega eo aat es a =. Fd 3 a) aint = ot TD M 50|J=108 (pick) ro bb} MO. Ee! ea 3 F- z cas For more information on heavy metal bass technique see Progressive Heavy Metal Technique, and Progressive Heavy Metal Licks Vol I and Vol 2 by Stephan Richter. 55] Jase g c .P [DEE Z Al t — 2 t 5 £ a 0- oD ON SS. 56|J=120 pe = aaa p= : = Fy — Am Ey [57 ]J-128 eee — Em a 1 ag a 2 | a4 Deere or feds E| i Sh GF eR: B T FFT o 8 F. 3 PN DLS hl bs DET lM aN | | T ah. [SB] Jes6, co a aS Ea ee 252 : as Bm a ee Sata Bi — — bm es : = Ss == pet - =e e= eae | ¥ a et bs NOG doy) errr 62] J = 1 on Gm c= KR RLR RLR RLR RE} simile x 63] Juss T SSS t tf = oe i EF ¥ A. + + oe r= fi. Bk fa, eb THRe t ; a ee is ae eee a? eee a = psaill Ht =—_—— ee a pt UPD a) wd Sri oe 64] Na 6A] Jean a Pa Pee oy Ror ss Met TT OT, T T J Se GS SE - MBAR [he = =e z 2 = Se ee = —_— — ea eae Er Example 65 is a ‘swung’ version of example 64. In such instances, the notes are rounded off into sixteenth note triplets instead of sixteenth notes, thus creating a ‘swung? triplet feel. [65] J aus ass. Em 35 Rap Note: All drum examples in this section usc alternate sticking, (R L RL etc,) between hi-hat and snare drum, unless otherwise indicated. [67] J = 102 a. hy S ee zt se a os : ol : SJ ae [== |—* 3 rE EF # RRL RRL simile 73] J = 100 NEF] 222 = ia. o a a2 I F& oe ——# = Se ee + Fas RLERLRLRERLRLRLR x erase add Bezcdccacscatsa} a er # [76] J «ws 79| J=96 ae [80] J=v0 par D4 ree — = a. a = eget 38 ys} Ly} RLRL simite apececcce aT a Wottart au Go-Go Note: Examples 82 onwards use alternate sticking, (RL R L ete.) between hi-hat and snare drum, unless otherwise indicated. [81] J = 17 — Am Dm Am A BS See = SSS Go TEL E ea Sf or Am rer Gas SS SS = Se = = = SS eS ———— — a —— = Ny ‘ ; sna == ; = = is | = =e vate [yay LSS f+ Ee =r “pmo a Ss eI) = y Veo] 3 ws =r 2 = 0° 8 a t oo eR ee eae Ss oF x3 oS” ¥ ¥ ri #f, Hf: jis ——— PEcrPerecrere. fo fed aed goa 88) Je - { N. ee s err ¢ a e = Ee See men —— an a - fats fa Pieceereire rt Em7/9 164 un ae A LPP AI ILA pe , 6 iL ae ey iia) oO “s Hay & fe Pal um ry HT oi 7 KsH Kt [x9] simile Funk/Fusion 3 Vv v pea = —— =. 7 nae ame BbTada 13 a ee a 334 | te ape ag + 3: 4 KR RLRULR R RR RLERLR LR DRL ox [92] J «100 RO RLR_ RER RER RE 22 : “TTT 94] Jans > —4— : Ba - ee BE {ee ee 7S op SLs Bre Fh 4a ra eee Ne [95 |J =96 ey Ex ee af t r ar we <0 i a aes ys ft Loapeg Os t RLR RLR RLRK RELR = j= Fy” 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 : RLR LE simile Po Ht ¥ A og * a RL RL simile eceleeedres Meertcctceel zz) Sy oe 97 | J 00 Cmaj7 Bbmaj7 — 4h Beast Tei Bee (lem eo pre pret, pod Spe r a ri 5 = + $4 ‘0—j}—_ fF 3-3-0} t 5 a4 re RR RLRL ~H simile ER i a oe [99 ]J = 106 Py - e eon ee Us rt PrrBrrerr@tttH = 100] J «92 49 a - = ) S | sf: Z Eas Cy ye ot r ws ae ca eT {ee ig RLRRLRLLELRELLRERRLE fx 4 >| 24_d {sf 2 pee we. [101] J 94 ae ey be ¥- af 2 t 8 fe ee ae eee = GR ROL LR RL R RL SE z a a2 J ae s = at 1 fe = +] $0 Jazz Walking bass — bass line predominantly playing every beat (quarter note) in 4 time: ina linear fashion. 102] J = 128 F6add9 c [103] Je1s8 Walking bass 7 Bbmaj7 == == = a = t** = =e 0 3 2 ¥ 3 # =| cm | fa ae Ze, ——_ : Gm7 C7 st ‘The next two examples use a half time feel — dividing the bar in two rather than four (half notes, dotted notes etc.) 104|Je.ss F7 Bbmaj7 Bee = i = it = ° =— Gm7 a ss = a ° BE p-< [105] J = 16 K I xu (M, fT th pg ed = Sort Example 106 is a walking bass with triplets, ghost notes and syncopation. 106 | J = 142 rT Bb maj7 Ee ee pei = ee Ss [= > — 3 4 4—| = = TT ag ee” dod tensed | pI BE en Gm7 cr “_ s

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