05 - 34823486-Learn-Master-Drums-Lesson-Book

05 - 34823486-Learn-Master-Drums-Lesson-Book

(Parte 4 de 5)

The Blues Shuffles can be practiced with

CD 1,TRACK 4 - “Gut Bucket” CD 1,TRACK 6 - “Texas Shuffle” CD 1,TRACK 8 - “La Grunge”

The Texas Shuffles can be practiced with

CD 5,TRACK 4 - “Kill Joy” CD 5,TRACK 6 - “Bull’s Bash” CD 5,TRACK 8 - “Goosy Lucy”

When played at a faster tempo,this shuffle is felt in a 4/4 time signature as 4 beats of triplets.

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Session 630Blues &Shuffles

Flat Tire Shuffle Snare upbeats on the last triplet 8th

Texas Shuffle Shuffle played on Ride and Snare

Texas Shuffle with Quarters on Ride

Texas Shuffle with Jazz Ride

Driving Shuffle Shuffle in BD and Shuffle on Ride or Hi-Hat

Driving Shuffle with Quarters Shuffle in BD,Quarters on Ride or Hi-Hat

Charleston Shuffle Charleston rhythm in BD,Shuffle on Hi-Hat

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Session 631Blues &Shuffles

12/8 Blues Beats

At slow tempos every grouping of triplets is felt as individual triplets.As the tempo increases,it evolves into a quarter note feel with triplets,which you may count in 4/4.

Here are some great variations on a basic 12/8 blues triplet feel.Practice each variation slowly until you get the rhythm.Then bring them up to tempo.Use the heel down bass drum technique and sawing motion on cymbals.

12/8 Blues Variation 1 Bass Drum Quarters with heel down

12/8 Blues Variation 2 BD on 1 & 3

12/8 Blues Variation 3 BD on 1 & 3,add “and”of 4

12/8 Blues Variation 4 BD on 1 & 3,add “and”s of 2 & 4

12/8 Blues Variation 5 Various BD shuffle triplets

Learn &Master Drums

Play-Along Songs

All 12/8 Blues Beats can be practiced with

CD 1,TRACK 2 - “Slow Blues” CD 2,TRACK 4 - “I Hear Ya Fats”

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Session 632Blues &Shuffles

12/8 Blues Variation 6 16th Note triplets on Hi-Hat on beat 1

12/8 Blues Variation 7 16th Note triplets on Hi-Hat on all beats

12/8 Blues Variation 8 16th Note triplets in BD

12/8 Blues Variation 9 All 16th Note triplets on Hi-Hat

Blues Dynamics

Playing with dynamics is one of the most important aspects of drumming and a vital vehicle of expression for the drums. The blues come alive when proper dynamics are used.Here are some tips to remember.

When the soloist starts his solo,the drummer should bring the volume of the band down to a level that gives the soloist a chance to develop his solo.As the soloist's ideas develop and the intensity increases,the drummer must match his intensity to what is being played.Once the solo climaxes,bring it back down again for the next soloist or vocalist.

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Session 633Blues &Shuffles

You're Ready to Move On When… • You can play all of the beats in this session with the given Play-Along tracks.

Going Further

• Play the Texas Shuffle with quarters on the ride and reverse the lead hand.In other words,the left hand leads on a crash/ride with quarter notes and the right hand shuffles on the snare.The bass and hi-hat stay the same.Notice the difference in the feel.

• While playing the same motif (leading with quarter notes in the left hand,hi-hat on 2 & 4,quarter notes in the bass drum),begin moving the right hand around the kit–shuffling,playing triplets or broken triplets,improvising in an open arm fashion.

• While playing the same motif,go back to playing 2 & 4 on the snare.Next,shuffle the bass drum and play 2 & 4 on the hi-hat.You are now playing the Driving Shuffle with left hand lead.Now,start improvising with your right hand moving around the kit.

Online Resources Detailed assignments for the sessions and other helpful resources are online at w.LearnAndMasterDrums.com/resources.

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SESSION 7- Basic Rock Beats

Session 734Basic Rock Beats

Introduction to Rock Drumming

In this session you are going to learn many of the most popular Rock beats of all time.Most Rock beats demand a driving straight eighth note feel on the hi-hat which is often played with the shank of the stick instead of the tip.Some of the early Rock beats are played halfway between straight and shuffle.

Use the sawing motion as described in session 5 on the hi-hat for an aggressive Rock beat.A rimshot on the snare can also be used.A RIMSHOT is where the drummer strikes the rim and head of the snare drum simultaneously with the stick.I also will refer to the Moeller technique several times in this session.

Hitting with Shank of StickRimshot

The MOELLER TECHNIQUE utilizes a downstroke and a tap of the stick on the upstroke when playing eighth notes.An in-depth explanation of it is covered in Session 12.

Basic Rock Beats

Practice each of the following beats starting at 60 bpm slowly increasing the tempo to at least 140 bpm.

Basic Rock Beat 1Basic Rock Beat 2

Quarters on BD,Snare on 2 & 4,Eighths on Hi-HatBass Drum on 1 & 3

Learn &Master Drums Estimated Time to Learn These Concepts - 2-3 Weeks

• Basic Rock Beats • The Money Beat

• 2 Bar Rock Grooves

• Early Rock Beats

• Playing using the sawing motion. • Rock syncopation of the bass drum with the ostinato of the hi-hat and snare drum.

• Understanding the different ways to approach playing the hi-hat. • Applying the beats in this session to the Play-Along tracks.

“Practice in minute detail until every note is imbued with internal life and has taken its place in the overall design.” ~Pablo Casals,One of the most influencial cellists of the 20th century

Play-Along Songs

The Basic Rock Beats can be practiced with

CD 3,TRACK 6 - “I Don't Want to Know” CD 3,TRACK 8 - “Mysticized” CD 3,TRACK 10 - “Do You Know Jack” CD 3,TRACK 14 - “Rock My World”

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Session 735Basic Rock Beats

Basic Rock Beat 3Basic Rock Beat 4 Bass Drum on 1,“and”of 1 & 3Bass Drum on 1,3 and “and”of 3

Basic Rock Beat 5Basic Rock Beat 6 Bass Drum on 1 and the “and”of 3Bass Drum on 1 and “and”s of 3 & 4

Basic Rock Beat 7Basic Rock Beat 8 Charleston rhythm on Bass DrumBass Drum on 1 and “and”s of 2 & 4

Basic Rock Beat 9Basic Rock Beat 10 Bass Drum on 1 and “and”s of 2,3,& 4Toms on 4 and “and”of 4

The Money Beat The Money Beat is one of the most versatile beats in Rock.It can be played in a varietyof tempos–slow to create a smooth ballad or medium to fast for the foundation of a Rock or Pop tune.

The Money BeatThe Money Beat in Sixteenths 8ths on Hi-Hat,Cross-Stick or Snare on 2 & 416ths on Hi-Hat,Snare on 2 & 4

Learn &Master Drums

Play-Along Songs

The Money Beat can be practiced with

CD 3,TRACK 6 - “I Don't Want to Know” CD 3,TRACK 8 - “Mysticized” CD 3,TRACK 10 - “Do You Know Jack”

Playing Tip: Rock Beat Variations Here are some helpful variations to try with these beats.

• Use a half-open hi-hat.• Use quarter notes in right hand instead of eighth notes.

• Use up & down Moeller technique on hi-hat to create a • Interpret the eighth notes with a shuffle triplet feel. slight accent on every other beat.

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Session 736Basic Rock Beats

2 Bar Rock Grooves

Many Rock songs use patterns that are longer than one measure.As before,practice each of the following 2 bar grooves starting at 60 bpm slowly increasing the tempo to at least 140 bpm.Here are some very common 2 bar Rock grooves.

2 Bar Rock Groove 1

2 Bar Rock Groove 2

2 Bar Rock Groove 3

2 Bar Rock Groove 4

2 Bar Rock Groove 5

2 Bar Rock Groove 6 2 Bar Rock Groove 7

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Session 737Basic Rock Beats

Early Rock Beats

The following are examples of Rock beats characteristic of certain early Rock songs and artists. Some variations occur but the foundation beats are written below.The ride cymbal and hi-hat are used interchangeably.Practice each slowly starting at 60 bpm and gradually increase the tempo.

Early Rock Beat 1Early Rock Beat 2 (a la Johnny B. Goode)(a la Carol)

Early Rock Beat 3Early Rock Beat 4 Two-Handed Blues Beat with Backbeat(a la Josephine)

Early Rock Beat 5Early Rock Beat 6 When the Saints Go Marchin' In Two Beat(a la I Hear You Knockin') (Played as fast four)

Early Rock Beat 7Early Rock Beat 8 (a la Good Golly Miss Molly)Ride on Hi-Hat & Tom(a la Lucille)

Early Rock Beat 9Early Rock Beat 10 (a la Rockin' Pneumonia)Boogaloo Beat (a la Sock It to Me Baby)

Early Rock Beat 1 (a la Good Lovin')

Learn &Master Drums

Play-Along Songs

The Early Rock Beats can be practiced with

CD 1,TRACK 10 - “O Jeraldine”CD 2,TRACK 8 - “Little Lucy” CD 2,TRACK 2 - “When the Saints”CD 2,TRACK 10 - “Baby Huey” CD 2,TRACK 4 - “I Hear Ya Fats”CD 3,TRACK 2 - “Detroit Rock & Roll” CD 2,TRACK 6 - “Great Googly Moogly”

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Session 738Basic Rock Beats

You're Ready to Move On When… • You can play all the Rock beat grooves in this session comfortably at the tempo of the play-along tracks.

You'l be able to learn and play these basic grooves relatively quickly–say in a couple of weeks.However,to make the beats breathe and to make people want to dance when they hear you play them may take awhile.Do not worry though. Just practice with your metronome and with the tracks and enjoy the process.You'l get it.

Tips for Improving

• Devote time to the material. • Play with a band,with friends,or by yourself.

• Play with CDs.

• Play with loops.

• Experiment with different Rock beat variations like using quarters instead of eighths on the hi-hat or by using a shuffle feel with the beat.

Going Further

After you have the grooves in this section under control,I encourage you to dig into your music collection and see if you can find some of these beats.Listen for how the drummer interacts with the bassist and the other musicians.Listen for the nuances of how the hi-hat is played.Is it a loping beat or straight eighths? Is the snare drum on the beat or a little behind? It's important to know that the same beat can generate a completely different feel depending on how it is played.

Online Resources Detailed assignments for the sessions and other helpful resources are online at w.LearnAndMasterDrums.com/resources.

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SESSION 8 - The Jazz Ride & Brushes

Session 839The Jazz Ride & Brushes

The Jazz Ride Pattern

Jazz is based on an underlying feeling of triplets with the middle note removed.The musical key to Jazz drumming is the pattern played on the ride cymbal–the JAZZ RIDE PATTERN.

In order to play a good swinging Jazz Ride you have to be able to sing the pattern and make it swing with nothing but your voice.

In the first exercise only sing the rhythm.

Singing the Jazz Ride Pattern Sing the rhythm to internalize the Jazz Ride Pattern.

Next,sing and play the Jazz ride using the sawing motion on the ride cymbal with a very loose grip.Begin this exercise very slowly by counting in triplets at a speed of 120 bpm for each eighth note triplet and playing the Jazz ride pattern on the ride cymbal for a long time to internalize the triplet feel and the Jazz ride pattern.

Playing the Jazz Ride Pattern Count triplets and play the Jazz Ride Pattern.

Learn &Master Drums Estimated Time to Learn These Concepts - 2 Weeks

• The Jazz Ride Pattern • Four Positions of the Jazz Ride

• Playing with Brushes

• Singing a grooving Jazz ride pattern. • Playing the Jazz ride pattern at a variety of tempi and making it swing.

• Applying the Jazz ride pattern to the recommended

Play-Along tracks. • Playing all of the brush beats.

“I hear violins in my ride cymbal.” ~ Art Blakey,Jazz drummer

Key Idea: Jazz Ride Technique

Obtaining good Jazz ride technique involves:

• The Touch on the Ride Cymbal • A Distinct Triplet Feel

• A Solid Time Feel

• A Sense of Relaxation

Play-Along Songs

The Jazz Ride Pattern and Brush Beats can be practiced with

CD 5,TRACK 4 - “Kill Joy” CD 5,TRACK 6 - “Bull’s Bash” CD 5,TRACK 8 - “Goosy Loosy”

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Session 840The Jazz Ride & Brushes

Next,increase the tempo to 80 bpm for each quarter note.Play the Jazz ride pattern starting with the ride cymbal,adding the bass drum,and finally adding the hi-hat on beats 2 and 4.

Jazz Ride with Bass Drum & Hi-Hat Jazz Ride,BD Quarters,Hi-Hat 2 & 4

Four Positions of the Jazz Ride

This is a fantastic exercise called the Four Positions of a Three Beat Figure in a Two Bar Phrase.When we say “Three Beat Figure”we are referring to the figure which is found on beats 1,2,and 3 of the first position.Notice that the three beat figure moves over one beat in each successive line.

Play through each position exercise using the deadweight sawing motion with a loose grip.Put a slight accent on the quarter notes.All the other notes are played very light.

Position 1 Three beat figure on beats 1,2 & 3

Position 2 Three beat figure on beats 2,3 & 4

Position 3 Three beat figure on beats 3,4 & 1 of next bar

Learn &Master Drums

The Three Beat Figure

Playing Tip: Jazz Ride Pattern with Accents

Experiment with adding accents on various parts of the Jazz ride pattern.Try adding accents on: • Beats 2 and 4• Quarter Notes

• The Triplet Upbeat

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Session 841The Jazz Ride & Brushes

Position 4 Three beat figure on beats 4,1 & 2 of next bar

Playing with Brushes

Learning brushes is an integral part of learning to play the drums.The brushes are an indispensable part of the drummer's artistic color and timbre palette.Brushes use side to side horizontal motion as the brush slides on the snare drum head.

The DVD outlines several brush motions and the conventional brush beats used by drummers.Here is a brief outline of the conventional brush beats.

Circular Brush Beat Quarter Note LH clockwise circles,RH Jazz ride pattern,H on 2 & 4

Rotating Brush Beat Quarter Note LH rotating strokes,RH Jazz ride pattern,H on 2 & 4

Ballad Brush Beat Quarter Note LH concentric circles and H on 2 & 4

You're Ready To Move On When…

• You can sing a convincing Jazz ride pattern at tempi ranging from 70–140 bpm. • You can play a swinging Jazz ride pattern at tempi from 70–140 bpm.

• You can play all the Brush Beats demonstrated in the session.

• You can play the Four Positions of a Three Beat Figure at 140 bpm and make it swing.

Going Further

See the “Going Further”section of Session 9 for some recommended videos on Jazz history.You must see this to appreciate from where today's American music came.The drummers that were the main innovators in the evolution of the Jazz ride pattern are Kenny Clarke,Max Roach,Art Blakey,Art Taylor,Elvin Jones,and Tony Williams.Get some CDs featuring these drummers and check out their swinging interpretations of the Jazz ride pattern.

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SESSION 9 - Jazz Coordination

Session 942Jazz Coordination

Jazz Coordination & Independence

This session is our first foray into the concept of independence on the drumset.INDEPENDENCE on the drumset is the ability to keep an ostinato (a repetitive pattern) going with one or two limbs and improvise with the other limbs.For this session on Jazz,the ostinato will be the Jazz ride pattern over which other voices of the drumset will be improvised.

Two Way Jazz Coordination

TWO WAY JAZZ COORDINATION involves playing various rhythms on the snare while keeping the Jazz ride ostinato going.The idea is for the ostinato part consisting of the Jazz ride in the lead hand,the bass drum quarters,and the hi-hat on 2 & 4 to be on autopilot while the snare independently plays.

(Parte 4 de 5)

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