DRUM EARS This is a complete guide to drum musicianship through the ears of a drummer. Topics include phrasing, chords, key signatures, the keyboard, the guitar, ear training, scales, and how to listen while playing.
STUDIES IN SOLO PERCUSSION
-~==-
by Morris Goldenberg For intennediate-to-advanced percussionists, this boc designed to assist the solo player in combining grou1 instruments cumulatively. Instruments include the si drum, bass drum, tenor drum, field drum, piccolo, ter block, cowbell, bongos, tom-tom, wood block, and n more. The book starts off with sel'ell studies for two dn moves to three studies for three drums, and ends ~ixteen studies for four or more instruments.
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CREATIVE TIMEKEEPING FOR THE CONTEMPORARY JAZZ DRUMMER by Rick Mattingly Combining a variety of jazz ride cymbal patterns with coordinalion and reading exercises, Creative Timekeeping develops true independence: the P.1111!11!••• ability to play any rhythm on the ride cymbal while playing any rhythm on the snare and bass drums. It provides a variety of jazz ride cymbal patterns as well as coordination and reading exercises that can be played along with them. Five chapters: Ride Cymbal Patterns; Coordination Patterns and Reading; Combination Patterns and Reading; Applications; and Cymbal Reading.
00347779 ... .. .... .. .... . ..$7.50 '
THE DRUMMER'S ALMANAC
by]on Cohan This celebration of the art of drumming must-have for all drummers, beginnin! advanced. With essential tips on technic and tongue-in-cheek anecdotes, Drummer's Almanac is very infonnalive very fun. Includes lots of photogra1 interviews with legendary Yamaha d1 endorsees, quotes, jokes, helpful hints, more. Chapters include: AShort History of the Drum Sci Rudiments You Should Know; 20 Grooves to Get Through Any Gig; How I Got The Gig; Gigs from I Drummers' Favorite Drummers; Drummers' Best Exc1 and Other jokes; Drum Tuning Tips; Drum Repair Maintenance; and more.
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THE DRUMSET MUSICIAN by Rod Morgenstein and Rick Mattingly Containing hundreds of practical, usable beats and fills, The Drumset Musician teaches you how to apply a variety of patterns and grooves to the actual performance of songs. The accompanying CD includes demos as well as 14 play-along I.racks covering a wide range of rock, blues and pop styles, with detailed instructions on how to create exciting, solid drum parts.
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GREAT ROCK DRUMMERS OF THE SIXTIES
by Bob Cianci This book offers a long-overdue retrospectivt some of the greatest drummers behind creation of rock music in the sixties. Presente a biographical/photo fonnat, the book rev what has happened to drummers such as: ~ Moon, Bobby Elliott, Sandy Nelson, Dino Da11 Kenny Jones, Ringo Starr, Hal Blaine, Ginger Ba Mitch Mitchell, Charlie! Watts, and more.
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PETER ERSKINE DRUM CONCEPTS AND TECHNIQUES
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THE CYMBAL BOOK
Peter Erskine is a world-renowned jazz/ fusion drummer. This book on Erskine's concepts and techniques behind jazz drumming is for the beginning to intennediate drummer and covers topics like drum set up, beats, brushes, phrasing, reading, etc.. Includes a full discography of Erskine's perfonnances. ..._.__........_....,_......._-=--
by Hugo Pinksterboer The Cymbal Book is the first book o kind It details the 5000-year history development of these fascinating instrumt Based on visits to all the major cyn manufacturing companies and interviews · the world's leading drummers, journalist drummer Hugo Pinksterbocr ha.~ create well-documented and readable book, fearuring over photos and a 16-page color photo section.
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THE DRUM PERSPECTIVE
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Peter Erskine is internationally renowned for his drumming skills, and equally admired for his teaching abilities. The Drum Perspective draws upon E.rskine's wealth of knowledge and experience to illuminate the mystery of mal
STAR SETS
HAL•LEONARD® CO R 7777
PO RA T
w. B L UEMOUND
I O
N
Ro . P . O. Box 13819
MI LWAUKEE, WI SCONSIN !53213
byJon Cohan Star Sets highlights the outstanc drum sets of rock, jazz, R&B, country music. Spanning SE decades, it features over 40 great played by Buddy Rich, Gene Kn Ringo Starr, John Bonham, K Moon, Ginger Baker, Hal Bia Dennis Chambers, Neal Peart, Mic Hart, and others. Features a 16-page color section diagrams detailing the brands, sizes, colors and vintage custom aspects of the famous kits. 00330ll3 .................$22.95
BY DAVI lOMBARDO Written in collaboration with Chuck Silverman Transcriptions by Chuck Silverman ldited by Rick Mattingly
Cover photo: C Ebel Roberts
ISBN 0-7935- 8849 -9
-
HAL•LEONARD~
~ C OR POR A T I O N 7777 w . B LUIMOUN• R D. fl'.O. a ox 13819 M ILWAUKll'., WI 53213
Power Grooves
clo World Entertainment Inc. E-mail:
[email protected] Copyright IC> 1999 by HAL LEONARD CORPORATION International Copyright Secured All Rights Reserved No part of this publication may be reproduced in any form or by any means without the prior written permission of the Publisher. Visit Hal Leonard Online at www.halleonard.com
ABOUT THE AUTHORS Dave Lombardo is an internationally renowned recording artist (see Discography, p. 46), drum instructor, and performer of drum instructional clinics. He came to national prominence as the drummer with the heavy metal band Slayer, and he has also worked with Grip Inc., Voodoo Cult, Fantomas, and Testament. · Chuck Silverman is known internationally as a performer, educator, and w riter. He has many published materials to his credit, including Afro-Caribbean Practical Playalongs, The
Funkmasters, Practical Applications Vols. 1-3, Changuito and the video production Drumset Artists of Cuba.
Mastering the Art of Cuban Timbales,
Dave Lombardo and Chuck Silverman met in the summer of 1996 after Chuck read an interview with Dave in Modern Drummer magazine. Always impressed with Dave's powerful drumming style, Chuck was intrigued when he found out that Dave was born in La Habana (Havana), Cuba. The idea for
PBWH HllVll was
born when the two exchanged tapes of their favorite music.
From listening to each other's favorite music, they knew that they would be able to work together. Soon after the1r initial conversations, Chuck met Dave at his home outside of Los Angeles, California, and the concept for PIWll CUml was hammered out. For more information on Dave Lombardo: E-mail:
[email protected] For more information on Chuck Silverman: E-mail:
[email protected] Web site: http://www.chucksilverman.com
...
CONTENTS 4
Dave's Setups
5
Table of Note Values and Notation Key
6
Introduction
7
Chapter 1: WARMING UP
10
Chapter 2: EIGHTH-NOTE POWER GROOVES
14
Chapter 3: SIXTEENTH-NOTE POWER GROOVES
20
Chapter 4: DOUBLE BASS POWER GROOVES
27
Chapter 5: RIDING THE TOMS
34
Chapter 6: INTERPRETING THE CHARTS
35
MYTH OR MAN
36
EMPRESS (OF RANCOR)
37
COLORS OF DEATH
38
RUSTY NAIL
40
SILENT STRANGER
42
Recommended Listening
43
PORTRAIT OF HENRY
44
GUILTY OF INNOCENCE
46
Dave Lombardo Discography
CO TRACKS Throughout the book, numbers in diamonds
+
indicate corresponding
tracks on the accompanying compact disc.
+-+
Examples from Chapters 1-5
+.
MYTH OR MAN demo
+
MYTH OR MAN play-along
~
+ +
EMPRESS (OF RANCOR) demo EMPRESS (OF RANCOR) play..:along COLORS OF DEATH demo
~
COLORS OF DEATH play-along
+
RUSTY NAIL demo
~
+ + + + + +
RUSTY NAIL play-along SILENT STRANGER demo SILENT STRANGER play-along PORTRAIT OF HENRY demo PORTRAIT OF HENRY play-along GUILTY OF INNOCENCE demo GUILTY OF INNOCENCE play-along
...
DAVl'S SITUPS
14" Tama Bronze snare
I
c amco chain-drive pedal
24" x 18" bass drums
14" snare
15" timbale
14" timbale
20" floor tom
4
Table of Nate Values Throughout PIWll SIHIEI you will find all different kinds of note values. It's very important for you to understand the relationship between these notes and also the relationships of those notes to the time signatures found in PllH Gllml. Most of this book is written in Common Time or 4/4 time. One measure of Common Time is equal in time to one whole note. This Table will help you to figure out the relative value of all the other notes found within the whole note. Whole
Half
II
~
i J Quarter
II
IJ
J
J
J
Eighth
II
I
•I
J
J
J
J
J
J
J
Eighth Triplet
II
3
IJ
J
J
3
J
J
3
J
J
J
3
J
J
J
J
Sixteenth
II
.. i J J J J J J J J J J J J J J J J Sixteenth Triplet 3
3
3
3
3
3
3
3
.... I J J J J J J J J J J J J J J J J J J J J J J J J :rhirty-second
11
! j j j j J j j j j Jj j Jj j Jj j j j JJ j j j j j j Jj j
II
. Nlbtlll llJ 1· •
• Bass Drum 1
Ride Cymbal
I. Bass Drum 2
Hi-Hat
•
Tom-Toms
Crash Cymbals
5
•
1· Snare Drum
China Cymbal
~
INTRODUCTION Dear Drummers, Throughout my career, people have asked me questions about my style of drumming. I always felt I couldn't answer those questions because I was self-taught. I never thought there was a science to drumming. I just played. · When I was approached by Chuck Silverman to collaborate on a book for drum students, I questioned myself as to what I had to offer. Chuck is a drummer, teacher, and writer. He analyzed my drumming and found it unorthodox but effective. I had something different to offer. I could finally answer those questions the fans have asked me for years. I could give something back to my supporters. My relationship with drums started before the fourth grade. My brother listened to Led Zeppelin, Cream, and others. He showed me how to play along to the songs. I started with pencils and a cardboard box, and banged my way through a toy drumset by the time I was seven. The turning point of my early career came when I joined the school band when I was 1 0. I am left-handed and had been playing that way. My music teacher insisted that I learn righthanded drumming. To this day I play a right-handed set, but I still have the left-handed instincts. As you read through this book you will notice some of the fills lead with the left hand. As a result, the fills and rhythms are more complete. My dad bought me my ,first drumset at the age of 11. It was a 5-piece Pearl "Maxwin." I began to teach myself television theme songs like "Hawaii Five-0" and learn songs from the radio by playing along with the records. I played everything from disco to hard rock. My dad danced and listened to Latin jazz bands and would take me along to see them perform. I would sit behind the amplifiers and watch the percussionist and drummer. I was determined to join a band. If I had a great time watching, what would happen if I played? At 14 I performed in the school talent show with an instrumental version of "Johnny B. Goode," complete with drum solo. I joined a band after that and we played songs by AC/ DC, Led Zeppelin, and Judas Priest. My parents were not going to support my expensive drum habit and insisted I get a job. I worked for K-Mart and saved enough money to buy a real drumset. It was Tama Swingstar with a Paiste Rude cymbal package. My sound was born . After recording and touring for 10 years with Slayer, I was developing a style that was unstoppable. It was unique as far as I could tell. I continued recording with them until it was time for me to leave. I knew there were more and better musical styles for me to pursue, although I didn't want to change completely at the time because I enjoy playing heavy aggressive music. (Don't get me wrong, I play and enjoy mellow music and everything in between!) Focusing on the present and future, I'm still very much involved with heavy music but I have found there are more ways to release energy with other grooves. You'll find many of these examples within the book. I've put this book together to share these and other musical drumming ideas with you. I hope you enjoy PIWH lllnll!
6
Chapter 1 WARMING UP Warming up is something I don't normally do. Usually, on the road or in the studio, I'm in good condition. This happens in pre-production where hours of rehearsal are conducted. I know that my chops will be warmed up after the first or second song. I do some basic stretches and then play! However, over the years when I have had some time to warm up, I have developed these basic ideas. We'll start with eighth-note triplets. I start with my hands, playing this "hand-to-hand" or alternating. As on the CD, start real slow and accent each downbeat. Keep the intensity the same and accelerate. Try to stay relaxed and in control.
3
3
J,........ J ......J J,........ J ......J >
>
3
>
J--J- 3 :II
The next example is the same rhythmic idea but with your feet. It's important to start all of these warmups with both right and left hand/foot to make sure that everything is even. Keep everything steady and even as you speed up. If you find the rhythm "breaking apart" as you speed up, slow down and maintain a consistent speed until you feel comfortable. Then go to the next speed level. This will create consistency in your flow, playing, and expression. Make sure that the accents are all there. Concentrate on being relaxed. Tension indicates that you are not under control, and your sound will reflect this uncontrollep performance. Remember to let the pedals and the bass drums work for you. Feel the rebound of the pedal from the bass drum head. Try to really get in touch with how your body and the drums work together. For playing the bass drums I suggest you use the rebound from the impact of the beater on the head to help you gain momentum. For example, when you play a double-stroke roll on a snare, you're not forcing every beat, every hit. The momentum of the motion of the sticks takes over. This is a way you can visualize my technique .
•
II
IC >
L i
3
r
~> 3~
7
L 3L i >~
>
~
3
r
:II
Sixteenth notes with the hands are next. I play these alternating also. >
II
>
>
>
I J J J J J J J J J J J J J J J J:ii R L R L etc.
L R L R etc. Here is another sixteenth-note exercise I use. The sticking is different. >
II
t~
>
>
>
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
:II
R R R R R R R R L L L L L L L L
Next we have sixteenth notes with t he feet. Breathe and relax. Take your time and don't speed up too soon. You have to gain stamina, and that is done by staying at a consistent tempo until you sweat. Let your feet tell you when you can't go any faster and maintain that speed for a whi le. Sometimes I'll stay at a fast speed and then slow down again to where I began. Try this with all of these warmups.
II
:II t r ======r 6 6 6r6r6r6r6r6r >
>
>
>
Here's a groove I use for a warmup. It uses ride cymbal, snare, ar1d bass drums.
:II
r
These next two exercises use sixteenth notes and sixteenth-note t riplets. They really help to get me warm and ready to play.
8
Bass drum/Snare exercise using sixteenth notes. (Repeat many times.)
•
II
tr re r cc cr cc cr cc cr 1, bcr Cb er cbcr cbcrI
II
CCC Fr r CFC CE FCE EFlebcr cr cr r bcr cbcr I
II
EE Er EE Er cbcr cbcr IEEE r EE Er cbcr cbcr I
11
EEcr cccr cEcr cccr 1rrcr rrcr CCcr CCcr'1
The sixteenth-note triplets in this next exercise can be counted very simply. (We'll be using sixteenth-note triplets later on, so it's best for you to understand how to count and play them now.) Count eighth notes, and each time you say a number (1, 2, 3, or 4) or "and," play th ree snare drum or bass drym notes. Remember t hat you' re playing " hand-to-hand" or "foot-to-foot" with these exercises. Some of my friends call these "alternating single strokes."
Bass drum/ Snare exercise using sixteenth-note triplets. (Repeat many times.)
&
3
II
II
3
3
3
3
3
3
3
3
3
3
3
Now that we've warmed up our hands and feet, it's time to get into some groovin'!
9
3
Chapter 2 HGHTH-NOTE POWER GROOVES Eighth-note Power Grooves are a real good place to begin. If you're not accustomed to reading music, I suggest that you learn. Let the CD tracks show you how the grooves sound, but take the time to learn about the relationships between quarter and eighth notes. Even a basic understanding will help you immensely in your musical career, wherever it takes you. When I hit the hi-hat it is open approximately an eighth of an inch. I like this because there seems to be more energy in the sound. This could be another element in your own original style. An approach I've taken is to use the cymbals to give accents and atmosphere in creating music. These next beats are very important because you can use them in a variety of different styles. I enjoy finding different grooves for the same rhythm. Listen to the tempo at which I play these grooves. The tempo marking is provided, so if you have a metronome or drum machine you can match the tempo when you practice. You can and should use dynamics and tempo to vary the exercise you get from these grooves. First, try these grooves at a medium volume. Practice and play them slow. Make sure that your timing is together with the metronome. When you're finished with the practice part of these exercises, play them hard and try playing them faster. Playing things at a faster speed helps you improve your knowledge of the particular rhythm. It's always good to go to an extreme to find at what BPMs (Beats Per Minute) they sound the best. This is a good rule of thumb for c('.eating your own personal rhythms. The following beats are based on eighth notes and quarter notes. Take your time, listen to the CD and, as you practice, try to match the intensity with which I play the beats. There are seven play-alongs - songs I've chosen to accompany the book. These play-alongs best express in what ways these and other rhythms could be applied.
•
II
II
Ir Ir
~f
J
f
J
r
J
f F ~
f
J
J 10
f
r
J
f f
J
f
J J
r
=II
:II
=II
II
• • •
II
II
II
II
• •
II
J
J
[ r :I ; :II [ [ r r E r J ; [ tr r E [ r :II J J t; [ r t r f :II tf r [ r f E [ r :II J J ; :II ff F f F F J ; :II tt r f E E ~ tr t;
r r r
..
II
I've enjoyed playing this particular rhythm for a while now. I was exposed to it in the mid1980s by attending punk rock concerts. I would watch to see what rhythms made the crowd go w ild. You watch, you learn, then you apply. I don't use it as much now as I used to, but it is another essential rhythm you can add to you r style. It's meant to be played fast and hard. The CD features me playing with a metronome, so you can really hear the relationships of t he notes and drumbeats, and then without a metronome so you can hear the raw power these beats generate. I also play these grooves on the cymbal, but rarely on t he hi-hat. On t he cymbal the sound becomes cleaner, open, and precise. But they can also be played on the hihat for a more raw feeling.
11
I play three variations of the "skank," which are shown below. On the second one, make sure that you know where " l" is at all times. You don't want to get turned around, which would throw the band off!! These are played at performance tempos, with a click.
d :II :II
j Jd
=II
These next basic grooves are played with a triplet feel. A triplet occurs when you divide a beat into three equal parts. There are many kinds of triplets. The triplets used here are eighth-note triplets. Each quarter note pulse has been equally divided into three eighth notes. There are many ways to count tripls;!ts; I have included a common way with the first exercise. A good teacher can explain this method of counting to you, and may even have a better way to count. Listen to the way I deliver these grooves. At first, practice without a metronome in order to mentally figure out the placement of the bass drum with the ride cymbal. Taking the time to do the mental work will help you to physically play the grooves. When playing the rhythms, picture each limb in your mind and focus on the limb that is giving you the most trouble. You need to close your eyes to do this in order to achieve a mental picture.
1
& a
3
& a
3
3
& a
4
& a
3
3
r ; r tJ ; r ; r tJ 3
.. I
2
3
3
3
L__3__J
12
3
3
z =I I
L__ 3__J
3
II
t~ ~ ~ ~ 3
3
•
3
:II ~ ~ ~ ~ ~ ~~~
3
3
II
3
3
3
3
3
I~ ~ ~ ~ ~ ~ ~ ~ 3
3
3
3
L- 3_J
3
3
~~~~
:II
3
3
This next triplet groove uses four different cymbals: a ride, two crashes, and a China. I hope it gives you an idea how you can orchestrate musically on your drumset. Even if you only have two cymbals, or one ride and a hi-hat, this beat can work for you. Concentrate on " locking in" with the metronome. If it's too fast for you, slow down.
•
This last example is written in odd time. Odd time is usually defined as a meter w hich is not common. Many of the exercises and grooves in this book are written in 4/4 time, which is also called Common Time. 5/4 time is an "uncommon" time signature, and as such, it is also called "odd time." This beat is from the Grip Inc. song "Guilty of Innocence" from The Power of Inner Strength CD. It is also one of the play-alongs! Learn this beat!
CD track
~
is the same beat played
a~ performance tempo.
These groove ideas have progressed from some basic ones to the odd-time grooves. Along the way you may have encountered some problems with counting, independence, or just the ability to form a strong groove. These problems give you the opportunity to learn and grow, developing into a better m usician. Stick with it and practice hard. Then, when you've mastered the mechanics of the rhythms (the stickings), play even harder!
13
Chapter 3 SIXTEENTH-NOTE POWER GROOVES Sixteenth-note grooves are essential. If you play heavy music, rock 'n' roll, funk, jazz, Latin, R&B, or any other style, you must master these types of grooves. This section of Pllll lillml gives you some ideas of how I apply sixteenth-note phrases and/or patterns. These power grooves are staples in my drumming vocabu lary.
As with the previous section, I feel that it's important to practice slowly, making sure that you understand the basic feel behind each groove before you continue. If you can't seem to understand the groove, take your time, slow down, and count out loud. (A suggestion of how to count sixteenth notes is shown with Exercise 1. There are other met hods of counting sixteenth notes, but this way is very common.) The first set of grooves and exercises features sixteenth notes played on the ride cymbal. I don't like playing this ride pattern on the hi-hat because on the hi-hat the rhythm sounds too washy. You want to hear the "ping" of the stick hitting the ride. This doesn't mean that you shouldn't try it on the hi-hat, but it's a waste of energy if you're hearing a "sloshy" pattern. Definition is important, so you may need to close the hi-hat tighter. IMPORTANT: There are fnany ways to practice this book. You can play your ride pattern on hi-hat or ride cymbal. Play it with your strong hand (if you' re right handed, this would be your right hand) or w ith the other hand. Be creative but don't forget that the name of this book is PIWH Gllml. What you play has got to breathe and be alive!
The first three irooves come straight from a song I recorded. (I play the whole groove for you on CD track • .) The bass drum and snare drum parts are played "wide apart" to really let the groove breathe and also to set up the rest of the parts of the song. These first three examples w ill get you ready for the real feel, w hich follows. 1
• • •
II
e & a 2 e & a 3 e & a 4 e & a
~j II
II
tF
zf
JJ
~ ~ ~
i F,J ,J ,J f ,J,J ,J Fj
r f
j j
~j ~j
J
~j ~j ~j
f
r
~j ~j
~j
J
J ~j
r f
~j ~j ~j
J ~j
:II
~j
=II
f,J,J'1 f j ,J ,J F,J,J.l f j j ,J F,J .I ,J: 1
14
II
Here is a 12-bar phrase using the three grooves shown above.
•
II
f
(l
~j ~j
r >
II
f
~ j ,J,J J ~j j (l.l.l I
f J )j .l rJ ~j ~j
,J ,J ,J
f
)j ~j
4 , 7 ~
J
)j
1f
,7 ~
f
• 7
r;
J ,J J J J )j J j
r
r
~j ~j ~j
2
>
II
r
)j ~j )j
f
)j
J
~j
r
)j )j ~j
f
~j
J
j
~j
I
Ir
-
II
Following are a couple of patterns that incorporate eighth notes in the snare drum/bass drum part.
11 1~ ,J ~ II
~ ~ )j
1f
f
)j ~ ~
r
f ,J j ,) ~ ,J ~ j f
,)
~j )j
J J ~j
f
)'
1f
JJ
~' f
~j ~ ~j
~j ~j ~j
F
~ ,l ~
)j
We'll continue playing the sixteent h-note ride on the cymbal, but now we'll add some more syncopa~ed rhythms in the bass drum and snare. Syncopated means not following the strong beats of the measure. These are beats I have a lot of fun with. They work great for the type of music I love to play. They groove great and they're fun to play. The bass drum and snare have really got to "lock in" with the ride cymbal. (Remember, you can also groove on a closed hihat.) My suggestion? Practice slowly, concentrating on locking in, not only as I suggested previously, but also with the metronome. Take your time with these grooves. These beats are easy to play if you just count them out and practice slowly.
I~ ~ ~· ~ ~ ~j
II
J
~j )j
.J
15
)j
~
p f
~j
)j
)j
:I
:II
II
I~ ~ f- ~ ; D f ~ :II J J J ~ ; ; If. J D D E ~ :II If. J~ ; ~' D ; LJ f ~ :II J ; ~' ~; If. J D D f ~ ~ ( 1 ~j
~j
~j ~
~
~j
~
~j
.J
• •
~j ~j
II
~j
~j
zJ
~j ~j
II
~j
~j ~j
II
~j
~j
~j
~j
~j
~j
I combine the previous three beats to form this next example, which I play on the CD without the click.
•
II
II
EJ ' f. j~
I f.j j~ ; j ·Dj ; j D'1
11 j
; j D,J ; j
(l jj ; j D,) ; ,) Dj EJ j I(l jj;
j
i t)
Dj ; j Dj
j
f;; f:II
.. Here's another opportunity for you to learn some counting and independence. This beat is important to understand so take your time. In the second measure of the next groove, all of the sixteenth notes in the bass and snare line up with the sixteenths I'm playing on the ride. Make sure that the musical lines are in sync and that you're not "flamming" when two surfaces are played together.
•
II
I
f j j ,J f ,J j ,J f ,J j j f ,J j j I ~· j j~ f. j j~ ~[) ~ I :II
Maintaining the sixteenth ride-cymbal pattern, here's another groove with a heavier bass drum.
16
I love my China cymbals! And just to prove how much, here's a great groove using sixteenth notes and the China.
•
II
I~
J :l
~~~r
~
rr
J :l
~~~~r
~
r r :II
These next grooves add an element that we have not yet come across: an intense level of independence. Drumset independence can be considered the ability to play one pattern consistently while other patterns are played in a musical "counterpoint." If you just look at these grooves you' ll see what I mean. You're playing eighth notes on the hihat. But notice the patterns being played in the snare and bass. They are a counterpoint, or counter rhythm, to the eighth-note ride pattern. In order to execute these grooves properly, I suggest that you count, out loud, all the sixteenth notes. Remember that for every two sixteenth notes that you count, there will be one eighth note. Have the metronome beats equal eighth notes. (Remember how to count eighth notes? Review Chapter 2 if you need to refresh your memory.) Once you can perform these next grooves matching my CD metronome tempo, try them at different speeds. Also add your own ideas and see where your imagination takes you. I've included examples to better explain the theory and independence. ' First let's examine the syncopation and counting involved with the more difficult layers within this groove. " A" and "B" show you the counting and relationships between hi-hat and snare drum/ bass drum with two of the main ideas of this groove. Count and work these ideas out so that when you play the groove, it sounds smooth and effortless.
1 e&a2e&a
,; 2 ~ (
ir[
r
1 e&a2'e&a
i
f ii1 ~ ( r [ r [ f I
The next example is a basic level that shows you the relationships between the eighth-note ride pattern (count sixteenth notes throughout!) and the basic bass and snare pattern. This is written as a whole groove in 4/4 time. There is no accompanying CD track, so it's up to you to make it feel good.
1 e & a 2 e & a 3 e & a 4
II
If ~ ~ ~ r i 17
J
~
e & a
J :11
Here's the next section of the groove.
1
. 1f
e & a
F
2
e & a
3
e & a 4 e & a
f r;r;rf
F
J
:II
The next two examples take you to different levels of this groove.
1
II
tf 1
•
II
t~
e & a
2
r
F
e & a
3
e & a
4
e & a
fr~ f ; r fr f
:ii
e & a 2 e & a 3 e & a 4 e & a
r
F
f r ; f ; rfr f r
=II
Here is another great beat, composed of the previous two grooves .
. Here's one of my favorite ride patterns, using ride and China cymbals. I use this technique to provide a different texture or layer for my grooves.
J
J
J
J
J
J
:II
Combining that ride pattern with the previous groove takes you to some interesting rhythmic dimensions. ·
18
Now here's the whole phrase, going between hi-hat and the ride/ China combination, at a performance tempo.
II
~ F ~ r i ri r rr EFI~ F f r i ri r Er F
..
19
Chapter 4 DDUBll BASS POWIR GROOVIS Most drummers with whom I talk are interested in my double bass style. I feel it is a strong point, signature, and philosophy of my playing, and it's great to be able to share some of my ideas with you. Over the years I have developed different double bass ideas, from very, very fast singles underneath a powerful ride and snare, to grooves that use the double bass in a different way. In this section you'll find various types of grooves incorporating the double bass drums. By the way, I really enjoy using two bass drums and not a double pedal. I did try playing with a double pedal but it felt awkward and this made me feel uncomfortable. Two bass drums provide a basic and solid support for my power grooves. (This, however, does not mean that these grooves cannot be played with a double pedal. They definitely can!) As with most of the exercises and grooves in this book, please take the time to practice slowly and carefully. Make sure that all the different surfaces (i.e., cymbals, snare, bass drums, hi-hat) "line up" where they have to. Take the time to do it right, now, and your grooves and beats will sound better when you're playing with a band! Speaking of bands, drummers are the foundations of songs. Play the drums to be heard. Set the pace and be in controJ. And most importantly, groove. These first seven grooves are based on a favorite beat. I play the hi-hat very open and loose sounding; it's my style. You'll see that, when I'm playing a long phrase of sixteenth notes in the bass drums, I lead with my left foot. These next beats have a mixture of different "stickings" for the feet. One idea would be to first learn them exactly how I play them, but then, if this is not comfortable for you, try them a different way. Most important is that they groove hard. Practice with a metronome at a slow tempo, locking itl with the time.
• • ti II
II
tj
:II ~ i ~ r ~ b~ r c r ~ r
; i r b~ ~ b~ r c r f
J
:II J
20
II
• +
11
i
C;
II
fi b
i i i r ~ b i r l r ~ f f:II
rf r i r i c i r
B i r i r ci ri f i r f f f' 1
P
11
i i r p i r ; f i r r r f:ii i c i f ci ri ci r BIi ci r Fci r ; l i r EcrfII •
•
II
11
f
C
C
G
Here's a performance-tempo groove using patterns that you've been practicing.
21
I like playing ride patterns on different surfaces, not just on the ride cymbal or hi-hat. In these next two patterns I'm playing the ride pattern between a china and a ride. There is a different kind of independence involved here because of the movement with your "ride" hand between the two surfaces, and the bass drums. There's a lot of motion happening between the ride and two bass drums. See how this pattern feels and, wherever there is tension, take it slow, relax, breathe, and concentrate on playing evenly.
1 " ~ r ric
i i r ~ r i r~r i r
This next pattern uses a snare pattern very different from backbeats! First, let's learn just the snare pattern. The counting has been written in to assist you. Make sure that you can read and understand how it falls within the quarter-note pulse.
1
II
e & a 2 e & a 3 e & a 4 e & a
t~
~
:II
a ~ r ~ r ~ r.F ~
:II
~
~ ~
~
~
~
F~
Here are the snare and cymbal patterns together.
II
1F 1
J
e & a 2 e & a 3 e & a 4 e & a
Here is the full pattern. I suggest you practice it first with just double bass and snare, and then add the ride pattern.
r :II
22
This next rhythm comes from a song I played on a few years ago. In order to play the original idea correctly, I feel it's important to go through several learning stages. The original beat is a strong musical statement and must be played with confidence and inner strength. The way to get there is to focus. The original groove has you playing an eighth-note ride pattern and hammering the snare drum on all four counts. The bass drums change each measure, from sixteenth notes to sixteenth-note triplets. The following exercises divide the beat up into its integral parts. Practice each exercise slowly, making sure that all of the notes you're playing line up correctly and that your groove is strong.
r:II r:II II
II
+
+
Here's the original groove. On CD track I play it slower, so you can hear exactly what's is the same groove at performance tempo . happening. CD track
• •
~
_. . _ _ _ _ _-1"'-W-_____
~-------_,____,.~---~__,....~~
_ _ _ _. _ , . . ._ _ _ _
23
These next three patterns reflect another personal double bass style. Once again, I'm leading with my left foot.
II
I
i b c r ~ r ~ b c r ~ r :II
Here are the previous patterns combined, and played on CD track
•
+
at performance tempo.
111 ~rCrB i rCrEJ 1 ~rCrEJ irCrP rCr 11
~ r C r [J ; ~
tJ i r r'CJ ~ ~ [J :ii 1
C
Slight variations in the snare drum produce tension within the beat. Check out these two grooves!
•
~ ~ r ~ r C r ~ r C r i J Y:
11
1
11
1
1
11
~ rCr~ rCrPrf f i J 24
11
f :
Now let's combine them at performance tempo.
Fast singles in the double bass drums are one of my trademarks. These two grooves feature thirty-second notes in the bass drums, either as straight thirty-seconds, or thirty-second triplets. Below you will see how a sixteenth can be divided into three note values. A sixteenth note can be divided into two thirty-second notes and also into three thirty-second notes, as a triplet.
;
z
z
z
s
s
s
r
------
3
These next grooves are meant to be played fast and hard and are meant to sound intense. Work for an even sound from the bass drums. Play with conviction. You have to put everything into it. Play it like you mean it. (CD tracks and are the same pattern; first it is played slowly, then at performance tempo.)
+ +
- ------
-------
Here is an example using thirty-second-note triplets.
25
---- ----
-------
We have a1ready discussed the meaning and use of odd time signatures. These next examples are writ.ten in 5/4 time. There are five beats to each measure, and the quarter note is the main pulse, receiving one beat. In this first example, both hands play the same pattern. >
>
>
In the next example, the lead hand plays snare on the downbeats while the cymbal hand plays the syncopated rhythm. Here's a look at what the hands are playing. >
II
>
J
id 1
&
2
>
>
J.
>
&
3
d d
~
And now here's the whole pattern.
26
>
&
4
&
5
:II &
Chapter 5 RIDING THE TOMS This style of playing grooves is a very powerful way to make a musical statement. The mix of toms, snare, and bass drums provides an unmistakably strong and intense groove. It's very dense and fierce. I've found these grooves to work best when the music calls for a very powerful drum part. It's one of my favorite ways to express myself on the drums. This section features several different grooves. We've broken them down so you can see how they work from many different views. For example, you'll see (and hear) the whole groove, but not before it's taken apart so you can understand it, learn it, and play it better. Featured first is the bass drum and snare part from a powerful groove.
•
II
t
e6~
r
~
6~
r e6~
r~ 6 ~ r :II
Now let's just look at the first section of the tom part and its counting. Use a metronome and count out loud, playing the drums as you count.
II
tf 1 e &
:t
a
if:_
~ :t
:II
I
a 2 e & a 3 e & a 4 e & a
Here's the tom part with the bass drums.
•
II
ie 6 ~ r c6
8! ~c r e 6
~
:II
r
The next section of the tom part features flams between the toms.
II
-
t27
:II
Here are the tom flams with the bass drums.
And now here's the whole groove. On CD track ~ I play it a little slower, and on CD track I play it at performance tempo.
+
>
:
111
!ur~ rO t~tr;~ r 4err~ c0F~tr¥rij r' 1
Now let's look at another groove that includes the toms. Once again, let's get inside the groove and really learn what makes it tick. This is the left-hand part, played between tom and snare.
II
J J
j
Here's the same pattern played over a double kick.
!{
J
j
..
We'll now play floor tom and snare with the right hand, over sixteenths in the bass drums. >
II
>
! ! 6 ~ r !6! r ! 6 ~ r
:II
f e6 r
28
11
This next example shows you exactly what your hands will be playing, if they were playing this pattern just on one surface. This is a good way to practice the independence that you will need to play the full pattern. Try this on the snare with the kicks playing sixteenths ..
II
t~ JJJ LR
R
L
R
>
>
f9
~ J J J J riJ
LR
LR
L
R
L
R
LR
Here is the orchestration of just the hands on two toms and snare.
And now here's the full pattern.
r :II Here is the same pattern at performance tempo. Notice that a cymbal crash replaces the small tom note on the downbeat.
:II
r
Let's look at another hard-hitting groove, which is very aggressive. The hands are playing a pretty simple part. The right hand plays eighth notes on the floor tom, the left hand plays half notes on the snare. (This means you just play on beats one and three, which is very common in heavy music.)
J J J
29
J J
The first level of the pattern just adds the right bass drum, filling in between the floor tom in certain parts of each measure. I have isolated the bass drum part and written it out so you can see where it should fit in.
II
I
-
I
7.
Iv c
if:_
D
r
7.
D
-
:II
Here's the combination of floor tom, snare drum, and bass drum. The way you execute this part of the groove is most important for the groove to be as dominant as it should be. Make sure that each bass drum stroke fits exactly where it should. If it is supposed to be in-between two floor tom notes, then make sure that it is as exactly in-between as you can make it. Go for perfection. You can't miss!
This is the entire bass drum pattern as it is played in the original groove. You may want to practice this with a metr~nome before adding the hands. Execute it as cleanly as you can.
-
-
7.
:II
.. Here is a simplified version of the whole pattern.
Here is the pattern as it is meant to be played.
J J 30
This is the same groove but at performance tempo.
11 1F+~ D 11:!'1c -+~ r --+O -+-: -1+-'-"'
II
J-f-jJ~%--+--1 !'1--c-+-~ r --+O -+-: -+-J -1J ----1-*----i
d i---
-..--d
!c;rtJd J J * 1 ~ c ;rtJ!r;r~c; r:II
This next groove is a bit simpler than the others but this doesn't mean it should be played any less intensely. Play loud. The toms play a unison line.
II
t~
;~
~:
1 e & a 2 e & a 3
~
~
:II
e & a 4 e & a
Adding one bass drum, playing eighth notes, we get this groove.
r :II . Adding the double bass, we get this groove. (CD tracks ~ and ~ are the same groove, first played slowly and then at performance tempo.
~ ~
II
! !: $! 6 ! r !6
t 6~ r c ~
~
r:II
Now we'll add together all the things we've been learning for a very powerful percussive statement. You have to have your double bass chops together, your reading, independence, and an even flow around the drums. This groove has it all. It's written in 6/8 time and has a feeling of "3" to it. Each hand part has been isolated for you. Here's the right hand.
f f
rf
11
Sr___r__r
r
31
r__r __r
: 11
The left-hand part is a bit complicated because of the reading. All counting has been written for you. Use your metronome and learn the pattern correctly. 1
J II e
2
&
3
&
if:_
if:_
&
5
&
--
if:_
6
&
~
r j
~
~
~
4
&
:II
This one-surface pattern shows how both hands will fall. Sometimes it's good to put both hands of a two-surface pattern on one surface such as a practice pad or snare, just to get the feel for the pattern.
II
e~ LR
~ ~
~ ~ ~ ~ ~ L
R
L
L
R
R
L LR
:11
LR
Here's the double bass drum pattern in 6/8 time.
11
er
r r r r r r r r r r r
:11
Here is the pattern orchestrated on the drums, without the bass drums.
•
II
e
J J j
j
:II
Here is the whole groove, written out for you. You can plainly see why we took the time to really explain it! Please work through the different levels of this groove. It's the best way to learn. CD track ~ is a little slower, and CD track ~ is the same groove at performance tempo.
32
Here is another groove with a feeling of three; you'll be using this in the play-alongs. We'll start with the hands playing on snare and three toms. The hand playing snare also plays the second tom, on the "and" of beat two in the second measure.
I~
J Now we'll add the double bass. CD tracks slowly and then at performance tempo.
+ + and
j
J :II
are the same groove, first played
These 6/8 and 3/4 grooves are a somewhat new addition to my drumming style. They reflect influences far more than just heavy metal or other forms of rock. You can hear Africa, Cuba, and other countries in these styles. They are still heavy hitting and intense, which are my trademarks. I hope that these grooves will serve as influences and give you more ideas for playing drums.
..
33
Chapter B INTI RPRITING THI CHARTS Each play-along on the PIWll HllVfl CD has a corresponding chart, to make each song easier to follow and easier to learn. For those with iimited experience in chart reading, this is a good place to begin learning this important aspect of playing drums. These charts are basic "road map" type charts, which allow you some freedom of interpretation. You'll want to stay as close as possible to the original feel of each song. The fills have not been written out; they're left for you to interpret. Listen to the CD and then get as close as you can to my original idea. Then you can start to stretch out a little. Timing is the most important thing here. Any fills or grooves must be in time, and you must go back into the beat without any hesitation. Your fills should maintain the groove, and should flow and be alive. Most important is that you listen to my interpretation of each chart and, using your new knowledge from PIWEI HllVll exercises, get into the songs and have fun! Symbols The following is a repeat symbol, which means that you should play the previous measure again. You will often see several of these in a row.
The following is a two-bar repeat, which means you should repeat the previous two measures.
2
..
When several measures of music are to be repeated, double bars with "repeat dots' are used to indicate the measures that are to be repeated.
II:
:I
Some charts contain the instruction "D.S. al Coda," which means to go back to the sign and play until you see an indication that you should go to the Coda (ending).
34
(~)
+
MYTH OR MAN Full band;
+
Play-along
This song may look simple but playing it requires precision and power. The eighth notes must all fall in the right places - no room for doubt or hesitation. The fills before the eighth-note hi-hat ride sections need to follow the rules: timing is everything and power is foremost. When the double bass comes in towards the end of the song, you must be accurate with everything you 're playing. The syncopated section eight measures before the end is very important and must be exact.
Music by WALDEMAR SORYCHTA, DAVE LOMBARDO, JASON VIEBROOKS
1
• =144 >
II
13:t. a a: ~ ~ a: t. a a: ~ ~ 1
1
1
2
2
II
1
>
II
11:i
BJ t It BBt It BJ t It BBt I
2
2
2
2
fill ------~
I >
II
>
>
I
I
I
I
I
I
I
I
I
II
>
l ' ~rrrtidrrr~ur l
fill
,. . 7
I
l
I
I
I
l
>
fill -
Copyright C 1997 by Lombardo, Sorychta, Chambers All Rights Reserved Used by Permission
35
-
-
--,
I
l
I
=I I
EMPRESS (Of RANCOR)
+
Full band;
+
Play-along
The grooves of "Empress (Of Rancor)" are a great example of "riding the toms" and of the sixteenth-note grooves found .in the book. The song is simple, straightforward, and very powerful.
1 __
•
II!
1 02
Music by WALDEMAR SORYCHTA, JASON VIEBROOKS
Ir a~ c0!&r c~ r4 ciq u cq rO!rrr~ rt~ r I
4 ·7
•7
•7
fill -~
11 r
,7
z:
rI
I
1
1I
I
fill .7
z;
II
I
j
I
I
I
I
I
2
fill
,. I ,7
Copyright C 1997 by Lombardo, Sorychta, Chambers All Rights Reserved Used by Permission
36
I
I
I
I
l
l
I
I
i3 I - II
+
COlOIS OF llATH Full band;
+
Play.along
This is the first song in 3/4 time. There are three quarters notes to each measure. The tempo is fast. The single bass patterns are fast quarter notes. If you'd like, just practice these grooves before you get into the song. Much of this work has been done in Chapter 3: Sixteenth·Note Power Grooves. To perform this song well, you've got to be able to feel in "three," or better yet, in one.measure phrases. This is called feeling in "one." Of course, you must have your reading together, too! There are numerous opportunities for fi lls in "Colors of Death." The middle of the song has a section that ca lls upon you to fill for one measure, followed by a measure of powerful eighth notes. Accuracy is important; keeping the time alive, vibrant and strong are the other very necessary tactics.
J =208 Music by WALDEMAR SORYCHTA
2
2
2
:c-5 1
II
II
1d? j] j1 If8 f8 f8 I >
J II
7
r
>
fill 7
r
l
l
>
I~
>
>
>
>
~ ~
I
2
2
*
11
2
2
$
$
2
i.
II !
2
2
II
Copyright © 1995 by Lombardo, Sorychta, Chambers All Rights Reserved Used by Permission
37
:II
* >
2
;
2
J
fill
Ir
7
r7
2
>
l
l
+
RUSTY NAil Full band;
+
Play-along
This song begins with a very strong fill - time to get out your pencils and manuscript paper and get to work! This song features an insistent sixteenth-note cymbal ride. Most of these grooves have been explained in Chapter 3. The double bass work throughout this song is very intense. This is a great song with which to really develop your double bass skills. There are fills over a lot of the double bass work, so you're working doubly hard, getting the bass drum parts right and also fitting in the fills. You must play intensely, and you gotta keep up with the track!
J = 92
Music by WALDEMAR SORYCHTA
.. 1; ,,, 1 pmapr 1 prpr 1 ~ 1 1
II
r
~j ~j
j
FJ
a 1r .l
II
11
1f
~ ~ ¥f \Z ~ i
~j ~j ~j ~j ~j ~j ~ ~j J F j r JJ f
j
,J ,J a,J .l .l ~ .l ~
j
r
j
~ .l
>-----~ r r b r b.c.r ,tr Cr
iii
fie =l
Fcbrfa brfa brtu r1iui~ c~r ~~ rr fa rr 1 1
11
Copyright© 1997 by Lombardo, Sorychta, Chambers All Rights Reserved Used by Permission
38
• 7
z;
cont. fill
II
I
I
I
I
I
I
I
i3
I
J~ J
fill
j
j
j
j
II
@r
II
?rrr%rrr; rrrij rar; rErr rEr frrrrrrrI
11
frr rf rr r~ rr rrr rrKrr rrr rrf rr rrer r
11
I
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l
l.
Ir I
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r
r
l
l.
Ir I
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r
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r
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Ir I
rI
l
l.
l
l.
Ir I
l
l.
rI
rI
I
Err ff rrrf rrrf rrrf'rrrrr rrtrrrrrrr
1
1
•
11
1rrrfrrrfrrrfrrr!rrrrrrr!'rrrrrrr
1
f i l l - -----. z;
II
FJPrJe rJf JrJe 1rJ&:t6ii 1
39
r
r
r
1
Choke
1; ' , ,
JlJ311
+
SlllNT STIANGll Full band;
+
Play-along
The song hits like a ton of bricks! You must have your sixteenth bass and snare combinations together to play this song well. Listen to the track a lot to get a real feel for the groove. Once again, you have lots of opportunities for fi lls, interspersed with syncopated figures. You know what to do! ·
Music by WALDEMAR SORYCHTA, DAVE LOMBARDO
J =124
2
fill .7 y.
Copyright C 1995 by Lombardo, Sorychta, Chambers All Rights Reserved Used by Pennission
40
I
I
I
I
I
I
I
I
I
2 =II
2
•
2 I
r
b/ I
41
2
Recommended listening list The best musicians draw from a lot of sources, so it is important to listen to a wide variety of music. Here are artists, groups and composers that have inspired my musicianship over the years.
Beny More
Minor Threat
Exploited
Elvis Presley
Celia Cruz G.B.H.
Rolling Stones
DI
Shaft Soundtrack
lrakere
Parliament Live Cream
Tito Puente
Circle Jerks Dead Kennedys
45 Grave Devo
Doors Sex Pistols
Ted Nugent
Suicidal Tendencies
Scorpions
Venom
B-52s
The Clash
Slayer
Pink Floyd Aerosmith
The Police Kiss
Queen The Cult
Jane's Addiction Van Halen Roy Orbison
Deep Purple Bob Marley Iron Maiden
Motorhead Ministry
Judas Priest
Nine Inch Nails
Punk
K.M.F.D.M.
State of Alert
Pig Face
Skinny Puppy Rage Against the Machine
Front 242 Thrill Kill Kult
Mo by Ultra Violence
Prodigy
Chemical Brothers
Lords of Acid
Godflesh Future Sound of London
Fluke
KKLEQ MUZZIL
Karlheinz Stockhausen
Led Zeppelin
System of a Down
42
The Ventures
Black Flag AC/ DC Beastie Boys
-
Crystal Method Last Exit Krzysztof Penderecki
PORTRAIT Of HENRY
+
Full band;
+
Play-along
Fast double bass grooves begin this chart. Be confident when playing this song. The double bass warm-ups will help you with these fast sixteenth-note beats. Follow the chart through and have fun! Music by DAVE LOMBARDO, WALDEMAR SORYCHTA
J = 199
11 t ~rrrrJ 1 f II
~ f ~ f ~~~ If ~ f ~ !rrrB
UUUU1UUbB
1
2
11
trcrEf trcrEf
2
2
2
2
·7
1
2
II
Edf & Edf & I :/.
fill ---,
/. Ii I
I
It
Copyright C> 1997 by Lombardo, Sorychta. Chambers All Rights Reserved Used by Permission
43
I- rrrrttll
GUllTY Of INNOCf NCI
+
Full band;
+
Play-along
Although this song begins with two measure of common time (4/4), most of the remainder is in 5/4 time (five quarter notes to each measure). There are sections where you will be going back to common time. In order to interpret this song, it's a great idea to be able to read the chart. You've already worked on the basic groove in Chapter 2. Now you get the chance to use it! "Guilty of Innocence" features a lot of very intense and advanced patterns as well as independence. Listen to the track with drums. Absorb the feeling and then begin to dissect the parts. There's a lot to learn from this track. Music by WALDEMAR SORYCHTA
J = 187
4 .7
·>
II
'
1 =~ 4 f~r ? i 1iiLJiLJ1i@@LJ@1
11
@Et@ Et@=111m nm n· 1m n~ ' It
II
II
II
11
i
~ nf 0f-l f-l 1~ nn~ p.i f-l I
y.
It
~ HL mI
1 y)~;l;~i iiiE /f@1i@E/l@i1@E/f@i@ [/l@ct@e 1~ i frr ? i 1iJf/fBC/l@1 Copyright © 1995 by Lombardo, Sorychta, Chambers All Rights Reserved Used by Pennission
44
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U.S. $14.95 I SBN 0-7935-8849-9
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73999 20018 HL06620018
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