TRACK CASSETTE SIDE I FUNK © R&B * POP-ROCK * FUSION ....ff1 #2 #3 4 #5 #6 a7 #8 "9 #10 #1 a2 #3 ph Na Mat Nae Nt Mat STIN (BRAZILIAN/ AFRO-CUBAN) .....0..4H14 #15 CASSETTE SIDE 2 6 m7 #18. Ho #120 #21 #22 #23 8 24 #25 #26 #27 #28 #29 #30 1 Ng Sat Sa a San So a Na bout the Authors. EVES ME (TING) Medium Funk (2:13) Pop Bunk #1 (2:22) ss. Pop Bunk #2 (1:57) nk (2:06). .cee Funk-Shufile (2:32: Eunk-Rock (2:51) R 8 B HL (2:26) R&B H2 (2:02) Rock & Roll (2:30) . Fusion, Bright Cross-stick Fusion (2:27). Slow Fusion Vamp (2:27). 7/4 Vamp (2:11) 26 Raggae-Funk (2:43) 28 Bossa Nova (2:22). 30 Fast Samba (2:26)... 32 Medium Samba (2:58) .. Slow Samba (2:27) Baion (2:43) 3/4 Samba (2:25) Cha-Cha (1:45) Mambo (2:16) Songo (2:15) 6/8 Afro-Cuban (2:24)... Medium Shuffle (2:32) 1- Bright Swing (2:44) 3/4 Swing (2:31) Broken Swing Feel (2:01) Ballad (2:36)... Up-Tempo Blues (3:09) Man fon Nan Son, ESSENTIAL STYLES FOR THE DRUMMER & BASSIST * Book Qne 3PERFORMANCE/ LISTENING SUGGESTIONS This medium funk groove |Druns requires that the drummer Bass “lock in” with the bass player. ‘The bass figures here need to be short for the most part. Notice the increased rhythmic ‘The bass drum part should activity at the end of each reflect what the bass player is two-bar phrase leading to the playing. The snare drum on next one. This corresponds beats 2 and 4 is a necessity! with what the drummer is Ac the end of measures 2 and doing and helps give the 4 there is activity in the bass rhythm section a unified feel, part, as well as in the drums (especially beats 3 and 4, which are long-sounding notes). As the track progresses, the intensity can be increased by moving from hi-hat to the dome of the cymbal. Be careful not to hat. overplay the fi FUNK © R&B * POP-ROCK * FUSIONeas c Yosss 6%) Hiroe Bes) claus c2ey Beau 02s) Ae ones ioe ele 4 pass Cualsos — %a) Blorzos oor Phorsus Peo eros oly arsos ar 4 etasss ots) MHCstuos O25) Hf) fe | =F hoo Hes wy FUNK * R&B * POPROCK* FUSION 5| PERFORMANCE/ LISTENING SUGGESTIONS The drums must construct a groove that compliments the main accents played by the bass. A steady eighth-note beat with quarter-note accents on the hi-hat helps keep the groove relaxed. In the B section of the tune, there’s a different feel primarily due to the fact that the bass changes to a more legato style. p match this style change, the drummer should simplify the sna drum and bass drum parts. The last two measures of the tune incorporate some long articulations that should be reflected by the drums as well. As the band vamps, the drums become more active. Bs | The bass part of this cut has a syncopated figure that repeats at different pitch levels. Ie is mportant to play the hythm accurately, taking care not to rush the 16th notes that fall on upbeats. Dig into the last four quarter notes to launch the sustained section back into the thythmic groove. Notice that even during fills, the L6th- note upbeats are an essential part of the figure 6 FUNK * R&B * POPROCK * FUSION aed “an dd dl ld| eS rs i e4 5 : ia od | | a le "sos es05 E P’sos Meus W'sys ay? Keusab CHV ab be sods Cosed Guits GPF Ee eb? FUNK * R&B * POPROCK * FUSION 7 wt Nat Maat as Pant ae antalya A &vl PERFORMANCE/ LISTENING SUGGESTIONS Dron “This track is almost m like in that the dru simple but constant. (You'll notice that the snare drum sound is on the bright side with a slightly “gated” effect.) on all The bass drum pl four beats, while the drum plays on beats 2a “There are a few “pushes” (syncopations) in the chart that need to be re independently of iis bass part ‘This is our first groove using, thumb-slapping technique. Notice how the high D on the downbeat is approached: the 16th-note C just before the downbeat is played, and is then slurred into the following D, which is not re-plucked, In the last ight measures of the vamp, notice that the band figs comes on the last 16th note while the bass note is played ‘on the downbeat. ann Sa a a al ee ~~J =08 [A] Pgh rer a ez Biv Re ie Fog sel ee. SSS 6 B SP al & fa Ce Dt NE ae FUNK * R&B * POP-ROCK * FUSIONSST PERFORMANCE/ LISTENING SUGGESTIONS oe: i ja The snare drum sound should a This is another thumb- [Drums [Bass | sin ic shows only the basic c; all the embellishment ause this cut is primarily a s do ature, the «ru nature, and th oo nite eee ae plsyer shoul do watever be = the drumeeeuea or she feels fits the style. comfortable “groove pad” for Strive to create a strong the bassist to play over, being Hlonbiale rete with Ne careful not to cover what he is doing, 10 FUNK © R&B © POPROCK * FUSIONFUNK * R&B # POP-ROCK * FUSION| PERFORMANCE/ LISTENING SUGGESTIONS Be This track combines two For this groove, it is best to | Drums concepts: funk and jazz BASS | set crisp attack on the bass " shuffle. ‘The bass drum syncs | notes. The right hand should with the bassist while the pluck the strings a little closer snare drum plays on beats 2 to the bridge, and the pickup and 4 and the hi-hat plays a balance favors the bridge jazz ride, pickup a bit more. ‘The rhythmic essence of this groove is the swing feel of the 16th notes; the bass plays two In the first ending, there’s a melodic figure which the drummer must catch. important groups of two 16th In the bridge, con notes, one on the downbeat achieved by moving to the and the other on the upbeat Jc cymbal; fills are done ‘of two. The first note is long ly and the second one’s short. J of the measure is, filled with longer notes which lead into the next downbeat sp he A strong understanding of jazz is important in this style. ‘Triplets are the underlying rhythmic feel 12 FUNK © R&B © POPROCK * FUSIONSwale he's Bass Faas? l= ZEEE: a5 ee z | Cai? Cos) Eom? nil Bal Cac TP Engi? By? Fanaj? D-S- (4st > Asus Cus Vom? A (bisaet| FUNK + R&B * POPROCK * FUSION 13PERFORMANCE/ LISTENING SUGGESTIONS This is a bright shufile wl , funkier rock ‘This bass part switches back [Bass | anions econ pc figure and a slapped figure. many ideas from the previous tune. Notice that in the It’s important to make the intro, the bass drum is played transition between the two on beats 2 and 4 to create different right-hand drive and energy. techniques smoothly and at Following the intro, the beat mane SEMA yaeme ates a sextuplet pattern in the hi-hat. ‘The te on playing the bass drum part closely beginning figure together matches the bass part. with the keyboard, matching both phrasing and articulation. I played the beginning figure with shorter notes to give it some thythmie bounce, then Playing on the dome of the lengthened the notes when cymbal wi intensity ‘There are some stops that 1. ‘The fills at ack should must be observ. the end of the have a loose, “swing” quality, Il help create slapping to create that glide this tune up from low “G.” Take care to hit the rhythmic figures in the B section don’t play too busily. and 14 FUNK © R&B © POPROCK * FUSIONaaa ee jonums J) ns re 9 FUNK * R&B * POP-ROCK * FUSION 15mae te a PERFORMANCE/ LISTENING SUGGESTIONS This rhythm and blues track Hi | Drums | as incorporates a mime of | Bass jazz elements, The change, but get longer as they shuffle is ba lead into the next harmony. which are playedton the hi The B aection is simply th hat. blues with a walking bass line. “The notes are longer ant Notice that in the A section, the notes are short on each Notice how the bass drum alone is used for filling during the intro. concentrated in the lower register to creai When the hi-h: kept slightly looser feel. The ride cymbal is used in the B section to contrast the tightly closed hi- hat in the repeat. Experiment with different tensions on the hi-hat. - centers, it is pen to create a Watch for the fills at the end of measures 4, 8 and 12,dae D oO Ge Cur Dos 2S: FUNK * R&B * POP-ROCK + FUSION 17Kep72 Zz PERFORMANCE/ LISTENING SUGGESTIONS | Druws | cenretaprnnt te ‘Bass triplets, At this slower tempo the bass notes should be longer. Stay in the lower register to add bottom and to create a “meaty” sound. High notes here for any stretch would not be nearly as effective. The figures in the first part are important to catch (short setups will help keep the band. together). The ride cymbal is played throughout most of the tune, Fills should consist mainly of eighth-note triplets ‘ (or 16th-note triplets for more excitement). A strong backbeat on the snare drum is important. < 18 FUNK © R&B * POPROCK # FUSIONYea) ¥G2)— Dbs A0%3) G? 2? D9 oP ae Oc Griy Av) FUNK * R&B * POP-ROCK * FUSION 19PERFORMANCE/ LISTENING SUGGESTIONS |Druns | The drum sound on this cut should be more open in order to match the guitar’s power chords The intro is a series of drum shots which eventually establish the groove. ‘The tune uses eighth notes in the bass drum, “The bassist plays straight eighth notes in the A section while the drums join in on only a few of the eighth notes, Notice that the ride cymbal is used again in the B section, [Bass OCK & ‘This bass part has short, repeated eighth notes i ‘A section, then longer notes and a more linear approach in the B section. It’s important here to play as simply as ‘possible and to concentrate on establishing the groove. the 20 FUNK # R&B © POPROCK # FUSION.FUNK * R&B © POP-ROCK + FUSION 21IGHT CROSS-STICK FUSI i PERFORMANCE/ LISTENING SUGGESTIONS [Drums | arrlpemaenalier [Bass | Bayamhawicee from jazz and rock. TT] because of the intricate The cross-stick on all four beats combined with the (open/closed) hi-hat creates a smooth, repetitive, yet ir ing feel. Notice that the bass drum closely matches what the bass player is doing, some low notes to give ita push forward later on. Playing the figures together semble is the most challenging part of this cut As the tune progresses, the ride cymbal replaces the hi hat and the drum fills increase in both intensity throughout the vamp. ey and equi Give yourself a workout on. this vamp! new soloistic ideas as you play along, 22 FUNK © R&B» POPROCK * FUSION: fae ry = = Sj -E== bee ==LOW FUSION VAMP & PERFORMANCE/ LISTENING SUGGESTIONS simple idea and A cross-stick is us bass, try to maintain the relaxed feel of the band—do not play too busily. he bass part and fills should never overpower the soloist 24 FUNK © R&B © POPROCK * FUSION“Ss Fs. cK + FUSION 28,PERFORMANCE/ LISTENING SUGGESTIONS The concept of this 7/4 vamp [~~~] The main concept to keep in | Duns | is struetured, but has a loose | Bass | minal initially is to play the ee “eal figure as written, and to get used to the odd- . Repeat ie until ie Fels natura, then experiment with ‘embellishing it slightly. ‘This is also a good veh neter f ‘The ride eymbal has no fixed pattern but instead plays loosely and lightly around the groove. ‘The bass drum, having the freedom to change the pattern subtly switch a Latin-style groove. The le for drum soloing while the bass part remains a solid constant rhythms in the p I to play off of no part provide m when soloing, I is extremely important to continue practicing until you are comfortable playing and soloing over odd meters. As demonstrated in this tune, subdividing in odd me extremely important. ‘This vamp is subdivided particula into 3 groups of'quarter notes: 2 +2 +3. Exp with other groupings as well (ie, 34242 0r2 +3 +2, ete). 26 FLUNK © R&B * FOPROCK # FUSIONRACK # 12 Li Si Soe 1 eas | am g So Sot ea F/ey FIG eK Bble—Anin ene Zs ft be é Say ett 7] C eb sas b pisos . FUNK * R&B * POP-ROCK © FUSION 27PERFORMANCE/ LISTENING SUGGESTIONS Reggae is presently a popular ——]__ This bass line needs the low style which has both Latin | Bass | E-flat. Play the figure first as and jazz roots. ‘The two key teen.) 1g a nice laid- elements for the drums are the jazz bi patrei (consisting of triplets and of your own. Pay attention to broken triplets) and the bass differentiating between the drum on beat 3. (Be carefull short and long notes not to be confused by the displaced” bass part.) bursts are all characteristic of reggae. All of these can be accomplished, or at simulated, on the drumset The release on this tune is in a “backbeat blues” style. Fill material consists of triplets or eighth notes w swing feel 28 TUNK + R&B © POPROCK * FUSION.a Oa) Bass Dip A = SS FUNK * R&B * POP-ROCK + FUSION 29PEREORMANCE/ : LISTENING SUGGESTIONS ‘To have an authentic feel, it is [Dros at" [Bas understand and to listen ‘The main thing here is not to rush the anticipatory eighth note, and to add a slight carefully to the rhythm pattern whieh defines the bossa nova, accent to beat 3 for e Notice that the acoustic bass is used on this cut, It sounds ‘This particular bossa nova good on long, low notes, so groove starts with a play them once ina while and brush/stick figure allowing it Jet them ring fora beat or plenty of room to build. ‘This two—take advantage of the is not necessarily a warm sound, It’s best in this char: teristic of all bossa instance to avoid the high. novas, though the cross because the thick ick register, rhythm and the bass drum texture in the rhythm section rhythm pattern are essential requires that the bass provide elements. the low foundation. Notice > As the tune continues, the Ses Sat baie bias ibe ‘cross-stick pattern varies and Jurensley laser In the ese i bass should help this boost by using an implied double-time feel for a bar or two, with a are added. Later, there’s a switch to sticks and ride cymbal to further " few high notes and a little ght-hand attack, These are all devices for subtly ng intensity. increase the tume’s int 90 LATIN (BRAZILAN/AFRO-CUBAN)RACK # 14 fal Ami ae Qui? Py ati? US 1b9 Atalsas vy B € Dati? Gee Gmaj? Finaj? wv Bub eu Bl amir Gite quar? a? Dads ers Ente br Ares ——————— Dani? a ce Fay? Bhaaj? Babs E709 Ay? e749 LATIN [BRAZILIAN/AFRO-CUBAN) 31ees een ee ee NL PERFORMANCE/ LISTENING SUGGESTIONS ‘This up-tempo samba opens ‘The long notes in the firs DRUMS | with ehe bass drum playing in — | BASS | evo bars give asus unison with the bass, and the quality until the third bar, hi-hat establishing “time” where the main figure of a while the eross-stick pattern short note on beat I and a constantly changes to match long note on beat 2 (in 2/2 the tune’s development. time) begins. ‘The bass figure should copy the feel of the percussionist as he/she plays the surdo. For variety push forward, the downbeat can be anticipated occasionally. ‘There are a number of dl thythmical figures which need to be executed smoothly without interrupting the groove. The percussion part in the track features a surdo (a large drum) play 3 of each measure. (The floor tom may serve this function in the absence of a surdo.) _ Notice that the volume is iced throughout with the and the bass drum in ular not played too loudly don beat ° 2 ° ° esas (Alett,i,7 pis _ B 9s) Bri? eo ay” 32 LATIN [BRAZILUAN/AFRO-CUBAN]B? et? re? wastx. call Bai? LATIN [BRAZIAN/AFRO-CUBAN) 33SU PERFORMANCE/ LISTENING SUGGESTIONS Many of the fast samba’s ‘This samba is slower |Druns | characteristics are present [Bass a same basic feel appli j but the the — here. You will notice that the — |" _} short/long pattern with the hi-hat pattern emphasizes long note stressed. Again, the beat 3 (the primary beat) first bar of the verse section of | — while the bass drum plays the standard samba bass drum glide into the samba feel, (However, notice the setting up a nice ¢ of quarter notes on beats tension/ Band 4.) ase technique, ‘The cross-stick weaves its way through the chart, varying as it emphasizes the musical lines. In the chorus the ride cymbal enters to change the character of the tune Pay particular attention to the communication of phrasing concepts between the drummer and bass player. 34° IATIN (BRAZIUAN/AFRO-CUBAN]ee ee eee ee ee ee ee ee ee ee eee ee ae | Entlna?) "ems 09 Bhs E’cus 7 He BASS Ami? 37 Tend 09 BST? En? = I Bes Ed ian (A) at? 9 ct ” Ean? Pl 8? ea? 71D ctabs eg =? a Ess ey, gv Amines?) Aan? File? = Bp Bah Eni (ana?) Emi D ats #79 Bae emit? Ble. or Eni Cars?) Emi? Aw? » Guns? C°4mag? BE, 67 em Exibtt En?/D wy ats "Emi? Cy Emi ea ea ow 3B? Pee 2 Ang? Guag9 Fm? BP @ sos 279 BSe LATIN (BRAZILIAN/AFRO-CUBAN) 35ee PERFORMANCE/ LISTENING SUGGESTIONS ‘The bass drum’s role here is Th... | inthis cur, the fretless bass DRUMS | simitar to that of the surdo BASS | plays a short improvised I played on beat 3 of each “~~ _} melody—you may want to measute. (The action of the experiment with soloing over hich helps emphasize beat 3 this. as well.) ‘The cross: pattern remains unch: bass part is similar to the other two samba feels, ged to but the bass plays fo help lock in the slow samba notes for a nice little fift at the feel 2nd bar of letter B. Filling is very sparse. At the end of each phrase, there’s a “suspend by light, the G will notice that the bass drum feeling” achieved y cymbal fills. In ction of the wine, you matches the bassist’s thythmic style. 36 LATIN (BRAZIIAN/AFRO-CUBAN)RACK #1 ens BID? %q Cm? 2 = +s 19 Dn Ye G?-9 esos ebro Dai? 9 673 at? Am? Ana ehunls. Baur AHsas eH EHC) Chau? 255 cas Bus ae s Aves LATIN (BRAZILIAN/AFRO-CUBAN) 37PERFORMANCE/ LISTENING SUGGESTIONS Draws Notice that the baion’s bass drum differs from that of the samba. Here, the hi-hat and cross- stick com smooth, relaxed groove. Notice that i the surdo’s accent on beat 3, makes an appearance again, and in C there is yet another he B section, . ‘The baion is one of the more | Bass a difficult Latin feels because the downbeat is rarely played. ‘The aecents come on the upbeat of 2 and on beat 4. Notice how the note on beat 4 offen anticipates the next harmony. This cut has more of a samba feel at B, but I nches into a heavier baion ion ©. Enjoy this style, it’s a fun one! Bey 9 Ssus Bsus Gmaj9 3B LATIN [BRAZILAN/AFRO-CUBAN]a eae Bsus Burke Ors Ana? AY ous Almas? _ Altes PP aad AMsas Gui?br oy Faaj? wall | Fu 5 2nd Gloises Pni9 Eas (Bl bans? Ay? Aonai9 Dui? Athos 22 Bnaj9 (e] eh fap Bm? clab Abn (wsj?)-b 2763) Aes C7sus Ae. ie B f7 7. 7 Ei? C?sus ee LATIN (BRAZILIAN/AFRO-CUBAN) 99ZEUS PERFORMANCE/ LISTENING SUGGESTIONS Draws ‘This 3/4 samba has all the characteristics of the other sambas but note how the cross-stick follows the piano comping, itself to 3/4 time by hth notes in beat 3 playing ¢ ‘The fills for the kicks at the end of the phrase must be smooth and subtle ension at the end of has a suspended ¥y so dissolve the groove using light cymbal and tom fills, | Bass Since this is in triple meter, there is no short/long division of the bar as in the duple meter, Beat 3 is the heavier, emphasized one. This cut has nice hy be sure to play the iminished chord. Chopin will love you! the 40. LATIN (BRAZILAN/AFRO-CUBAN!ITH Per fo Ht (oft treat aass A) ce ——— ot oly O79 Deeb eMan;? =5e =a Sy ay 2 = 4 ae ae 2” fe Asus Ao Anas? (ax Dd) D9 Dai Ihr Ons p B) 2°? a, otic ¥ Guites Chole rai? Bren BPC) Acialsus Kat Dt awey aby ah Ghee Dar’ br Gos Pee =| LATIN (BRAZILIAN/AFRO-CUBAN) aPERFORMANCE/ LISTENING SUGGESTIONS Bas. [Daun The cha-cha is elegant in its nplicity, Its foundati comes from the quarter-note cowbell shythm and eighth note guiro-like hi-hat figure over an unchanging bass drum pattern. However, if you listen closely, you'll hear a subtle bass drum alteration which was done to add a touch of color, (There is also a “funk” cha-cha, where a snare backbeat is at 3.) hit on “The bass stays in the medium- high register throughout, which gives this style a light fecl. The most difficult thing is to remain constant and steady without ‘embellishment a2 LATIN [BRAZILIAN /AFRO CUBAN)TRACK # 20 LATIN (BRAZILIAN/AFRO-CUBAN) 43,PERFORMANCE/ LISTENING SUGGESTIONS ‘To understand this style, one [Druws) Soar a lave rhythm.” This ed Dvo-n ¢ phrase sstablishes the time th the music flows. ‘There can be a 3-2 “reverse clave” rhythm, This tune uses a reverse clave rhythm, The cowbell part plays a eascara pattern, a rhythm usually played on the timbales’ shells. (The drummer generally emulates that sound on a woodblock, drum shell or cowbell.) The varied caseara pattern works as well if not better ‘The repetitive mambo bass drum establishes the repetitive foundation, When playing with a percussionist, the drummer must understand what his role or function is. ts | This style is quite involved, Examine the piano part and how the bass part fits inte he bass line is just like it, the baion except brighter, an. the eighth notes are sometimes played shorter than the quarter notes. 44 LATIN (BRAZILIAN/AFRO-CUBAN}RACK # 21 se 1 fi vd od Jyh ieee Nis 5 ats LATIN (BRAZILIAN/AFRO-CUBAN) 45PERFORMANCE/ LISTENING SUGGESTIONS |Druws | » The songo groove is very popular today in the United. States. Two key elem the steady quarter-note cowbell and the mambo-style ts are bass drum: se the This style, unique bee bass and piano never play on down beats, is fan to play once you get used to the rhythmic displacement [Bass | difficult to play a with a nice relaxed feel, so practice playing something (a scale for instance) with a metronome and play on all pbeats until you can hold the! producing tension, ‘The vamp is similar to the mambo, but has an even more involved really fun when all the parts come together steady without piano pa 46 TATIN (BRAZIUAN/ AFRO-CUBAN)LATIN (BRAZILIAN/AFRO-CUBAN) 47Ti) aa EI PERFORMANCE/ LISTENING SUGGESTIONS This tune eventually launches into a two-bar vamp after a percussion solo. ‘Th of the piano s things, and th deum breaks. 48 LATIN (BRAZIUAN/AFRO-CUBAN}ivy ypvene a DA/AERC SOLO i? Cun? 349 Gui? Zz } CEES ey ~ B) eus? ui 7 D746 Gav? 2 ee DS. LATIN (BRAZIAN/AFRO.CUBAN) 49PERFORMANCE/ LISTENING SUGGESTIONS [Drums | ‘The sound of the drums is ed for fusion just don’t work in this stylet Dig in and feel the bass notes. ‘There must be a strong, emphasis on beats 2 and 4 in a shuffle. ‘The bass drum, be used in a variety of ways: J) _ FMA 4 ead ‘Bass | We return to the acoustic bass now for the remainder of the tracks, This style starts out gradually incr es in intensit over the course of this tune ‘The bi here is a very strong and basi monic progres xd notes aad strongly will sound languid and too many will thyvart the entire effort, so make sure you understand pla how these harmonies work. Figure them out at the piano 50 JAZZme TRACK # 24 Suen, > r iS D5 hs EP Ae ye? absDEC oe PERFORMANCE/ LISTENING SUGGESTIONS Draws MEDIUM SUING BRUSHES. Thums 3 This medium swing tune should have a light, airy quality to it. The tune requires a triplet feel, with the hi-hat underpinning it Ac the beginning and again at the end, the bass plays with a two- beat feel (emphasizing beats 1 and 3 only) and the drum: the bass goes to a 4-beat feel and you'll not natch. Later, c that the bass drum changes accordingly. For contrast and intensity, the drums change to sticks behind the piano solo. as, four bar tag, at (AABA+tag). mind when you play this tune; losing the form will almost — certainly kill the momentum. ‘This is a good example of the — technique used in going from a two-beat feel to a four-beat — or straight-ahead walking feel. ni add « VAR > Res A J >= ol fr = + 3 K z x72 yazzarts Dros a? i_ wf Bo ay dT @ Ny DD Mite lB? ! Bails 6759 Awi? Fg 2 Ee’ Aw? 29 Gui? _@7 F9 Ban's 2735BASIE GROOVE & PERFORMANCE/ LISTENING SUGGESTIONS | Druns | We couldn’t get the incomparable Count Basie session, so we've assembled piano noodling around it some of the most pportant in four elements of the band’s style Particular attention should be given to the Freddie Green: guitar playing (strumming lightly on all four beats). npo is a bit bright, 5 while the style is clear and. asie-style character to tune nings, heard atthe top of this chart. But as the tune continues, you'll hear the well. L little or no. J open /closed as bass drum and drum is also characteristic of the Basie style As the tune builds, the hi-hat becomes looser and looser I there's a switch to ride cymbal combined with a 4. ‘The key - rove is controlled cross-stick on be: to this intensity. iu mee OF| ae | I [ | | | | [ess [Alyy ales Cui? > 2. [= = a = ag | ee a 6? ad NE ce Geta, Comal? £2 [ Ses : | i Bie hs Cul? 7 of ODay 2? == : SS | [ r r 7 | r . @ ‘Cuil? F? 3 be == 2 ’ aan ror ET To re -_PERFORMANCE/ LISTENING SUGGESTIONS (rac This eloquent 3/4 swing is aying down a swing, 2 | Drums Jelasina ouleynod i ies [Bass | eaidasonl feo oe toas well, important here as the Senecio interactive dialogue with the adds both sustain and a legato feel here. With the bass piano and drums. ‘The time to let your bass sing is in this beautifull style. “The bass takes playing, downbeats FCA eat eat a solo, which is imperative the drums to fill subtly. (Triplets broken up be 1¢ hi-hat and snare work ely.) (and fun) in a trio contest, 90 be prepared by taking the time to ¢} ine some of these harmonies at the piano, (Another tune in D- When the bass solos, it should fat—aore/aboug.thadlh be supported tastefully (without get in the way), because most bass players don’t like to play over silence. Try to create a subtle dialogue with the bassist 36 JAZZ| ea et/pP _ Deh ala) Gril Cb DP Abui? Gey = . ales oe ae Fa? Es En - = == aa zz a Ly ala) cHob Ay @e%/ob_ Dh - = —— GbiZob pheg Boni? > DY — : . i eye a9 Ab7s95 Ab? ——— eS | Rr Jazz 57.Case PERFORMANCE/ LISTENING SUGGESTIONS | Duns | Stina are ea [Bass | cca eer Ms without the usual ride walking feel but breaks the thythm. ‘There is interplay time up, allowing for some — between players with interesting rhythmic interplay. everyone listening to and It’s good to become familiar taking ideas from one with this kind of imaginative another bass playing rather than being locked into a rigidly-defined rhythmic role, because it Asin tions, the It’s important that one be constantly aware of the stimulates of the melody as well as the ae form as the section these elements most real-life sit longest bass solo is in the - 28th tune of the set! Notice that behind the solo, the drum comping is closely keyed to what the piano player is doing, ‘The best drummers are always bass sensitive to what the pianist is playing, and ofien respond. rhythmically to their S comping. ‘This track really never goes to a typical walking four-be: feel although it could done so. Give ita try! 5B JAZZLd ar) : Diet Gui? Eur? Bh Me S/r# Give cle - Sea <9 = a Po JAZ 89PERFORMANCE/ LISTENING SUGGESTIONS [Deus ‘This ballad is best played with | The number of notes a bassist brishey and & Iecofsizale [Bass | may play ih any given time ‘cymbal. In fact, the sizzle frame is affected by how long cymbal greatly contributes the notes sustain, and in no toward the establishment of style is that more evident than: this track’s overall mood aslow ballad, Ifyou have a bass thar will nor sustain for — one or two measures at this Notice the subdivided triplets throughout, along with the light bass dr beat of each bar, Notice also the different colors of the hi: tempo, it’s time to go. shopping for a new instrument. ‘This is the place _ m on the first to let the richest, longest notes sound so choose your to the notes carefully. A wrong one bassist’s phrasing for it will is going to be heard for a help give you a good sense of while = hat, Be sure to list when to fill a Ballads are actually one of the more challenging feels to p! well, requiring a meaningfial and expressive interpretatio The choice of notes is dictated by the harmonic — movement, so the bassist’s jc is to get a rich sound and to — try to capture the tune’s mood. 60 jazzRACK # 29 0% Esus O49 (Po) 2 Glee Am? ans bey Dios 9? = aes ahs gH7-9 oni? 9 mitts 79 Ami? rbd 9 Cb GNS BF ew? B77§ ws? —_—Ewi”/D ote) Oth may? PES ; ots Fg che 3 ce? Bs @ BA ofns§ tds) ws 9-9 Em? BO Ami? OPE waz 6tTEMPO BLUES PERFORMANCE/ LISTENING SUGGESTIONS ‘This straight ahead burning “This tune is a straight ahead {Drums | blues requires a “flattened [Bass | blues in'B, Notice he Fide rhythm” on the ride the pedal point in son cymbal JnAelAa of the later choruses builds intensity. E rhythms that the drums pl mine some of the differen against the walking, bass and The eighth notes must also be the pedal points, It is - played on snare and bass interesting to hear how the drum. drums react to and support ‘The relationship between the idea, ‘Those are the piano and drums is extremely moments that make music important at this tempo, for fan! Notice how the d you'll notice that the and drums catch many together in support of the soloists, and bass both come down in — intensity for the piano solo without losing forward m, It’s important When the bass plays a pedal to create a fresh beginning fo point (repeated pitch in the bass) the drums really open the new soloist and to ain the overall intensity ~ 62 JazzJAZZ 63 PETARSTEVE HOUGHTON: Jazz Drummer Steve Houghton is perhaps one of the most well rounded jazz drummers the business. Be it bi band, small combo oF cutting-edge fusion, Houghton plays it all Atier completing his studies at North ‘Texas sity, Houghton began his protes with the Woody Herman Band at the age of 20, Since then, Si formed and recorded with an impressive list of jazz heavyweights in a variety of styles: big, band with Frank Mantooth, Toshiko Akiyoshi and Lew Tabackin, Doe Severinson and Les Hooper; small combo with Freddie Hu Billy ‘Taylor, Bobby Hutcherson, Billy Joe Henderson and Gary Burton; modern fasion as a member of Seott Henderson’s “Tribal Tech.” In addition to his professional experience as a performer, Houghton has also bee: ming at jazz festivals and teaching jazz and traditional symphonic percussion as an “artist-in-residence” at universities across the U.S. and Europe. Because of his strong connection with the mainstream of jazz, Houghton is exceptionally qualified to instruct young aspiring jazz musicians, His ability to e¢ icate with students is as effective as his instrumental prowess. In addition to serving as the National Percus sion Chairman for the National Association of Jazz Educators, Houghton also sits on.the board of directors of the Percussive Arts Society and teaches at the world-renowned Grove School of Mus Houghton maintains a busy studio schedule, recording for television, movies and commer cials, and has authored two definitive texts for jazz drummers: A Guide for the Modern Jace Rhythm Section, and Studio and Big Band Drumming. ABOUT THE AUTHORS TOM WARRINGTON: Jazz Bassist OZ} Long respected by his peers, Tom Warrington is Zf currently one of the most sought-after bass play. Los Angeles. ‘Tom came to L.A. from New York City where he spent three years touring and recording with the Buddy Rich Band a two more years touring Europe and the U.S as.a performer and clinician with the John McNeil Quartet. While residing in New York, he also worked with many other great artists, including Stan Getz, Bob Moses, Dave Liebman, Adam Nuss Remler ily ‘Tom moved to Los Angeles in 1981 where he now maintains an active schedule of studio recording for movies and television; perform: ing and recording, with such artists as Freddie Hubbard, Peter Erskine, Denny Zeitlin, Bob Florence, Eliane Elias and Randy Brecker. He also performs worldwide as a clinician and solo artist. In addition, Tom writes music for television jingles and has published a variety ‘of musical works and instructional materials, He holds a M.M. in composition from the University of Hlinois. 64 ESSENTIAL STYLES FOR THE DRUMMER & BASSISTPrices in $US (4300) $17.95 Book/CD 260 965 806 ma 8 178 me 4300 aa07 4302 43081 a) 34 M9 23 v6 10 m 3 Mae wi Drumset Alfred's Beginning Drumset ‘Method Feldsten/Black) Book and Cassette Tape Book nly Caseite Tape only Contemporary Brush Tecin ‘ook av Cassette Tape Drumset Artistry Analysis, (GurnsFekisteind Bok anc Cassette Tape Bock nly Cassette Tape any Brazilian Percussion Manual {Sabanavich) Drumset Music (Burs/Tokistein) Drumset Principles (Humphuey) Book and Cassette Tape Drumset Reading (Fink) Essential Styles forthe Drummer and Bassist (oughton/Warringion) ‘ook ¥ and Compact Dise Book 1 ani Cassette Tape Book 2 ani Compact Dise Bok 2 and Gassette Tape Funky Primer forthe Rock Drummer (Dowd) Funky Thesaurus for the Rock Drummer (Dave) Fusion Drummer touli) Future Sounds (Garbalth) ‘Book am Cassette Tape Now To Play Rock and Rott Drums (Palmer /tughes) Book and Cassette Tape Book only Casetto Fape aly I've Got You Under My Skins eo) Book and Cassette Tape Independent Drurm (Chatien) Learn To Play Dr The et (Gilbert) (4307) $17.95 Book/Cassette Rockin’ Bass Dram ombardo/Porry) Book 1 ‘Book 2 Rockin’ Drum Sole Fills (xy) 10 nw 135, 150) Salsa Rock (Sciartno/o tos Reyes) Teach Yoursol to Play Drums (wilson) 4305 Book and Cassette Tape 4393 Bock only 4304 Cassette Tope only Snare Drum Alred’s Drum Method (FoldstenyBlack) 138 Book | 238 Book? 900 VHS Video, Book 1 ‘302 _ VHS Video, Buok 2 Allred Beginning Snaro Drum ts (Foklstvin Black) 309 Cassotte Tape 4201 Book oly 4003 Cassette Tape only fermational Drum Rudiments ‘Wanamakes/Carson) 7214 Book ad Cassotte Tape 7216 Book only 7215 Cassatt Tape only 299 International Drum Rudiments Poster Learn To Play the Snare and Bass Dem (Gilber/Foldstein) 739 Book! 752 Book? 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