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BOOK I AT AT H IS BOOK
... 56
ABOUT THE RM. RM. . . . . ; . .. . . ... .. . . .. . . 6
LMNS O ONTEMORAR AZZ RUMMN. RUMMN. ...... 6
PRORSSIVE AZZ RUMMING: OVRVIW U Sg Bb C Er...... Er........... ..... ...... 79
ABOU MPROVON rici r v........ v........ 1011 1011
MBAL RHYTHMS b b L I I . ... .... .... ..... .... . . . 2 3 INTERATION O ARS. .. . .. .. .. . . ... .... . . 14 1455
METER WHIN MEER Bc Rhy P R . . 13
SONG ORM AN E ZZ RMMR . . .
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PHRASING HN IKE ORN. ORN. .. .. XPERIMNT XPERIMNT WIH WIH MSUAR TENSION . .. .
BOD MOON
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BOOK INTRODION S . ... ... . . . B4 W P
Pr Pr Pr Pr . . .. . .. .. ... ... .. .. .. 427 427
UNIVERA HYHM VE VE . . . . . . . .. . 345 45
RHHM EON Ryh S S
BOOK III NTRODUTION WAS O RAI. RAI... ... .... .... ... .. ..... ..... 79 79 ... . . . ... ... . .. . 01 01 Pr Pr . . .. ..
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BOOK I AT AT H IS BOOK
... 56
ABOUT THE RM. RM. . . . . ; . .. . . ... .. . . .. . . 6
LMNS O ONTEMORAR AZZ RUMMN. RUMMN. ...... 6
PRORSSIVE AZZ RUMMING: OVRVIW U Sg Bb C Er...... Er........... ..... ...... 79
ABOU MPROVON rici r v........ v........ 1011 1011
MBAL RHYTHMS b b L I I . ... .... .... ..... .... . . . 2 3 INTERATION O ARS. .. . .. .. .. . . ... .... . . 14 1455
METER WHIN MEER Bc Rhy P R . . 13
SONG ORM AN E ZZ RMMR . . .
.
.
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PHRASING HN IKE ORN. ORN. .. .. XPERIMNT XPERIMNT WIH WIH MSUAR TENSION . .. .
BOD MOON
.
.
.
.
.
.
.
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. 3
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37
BOOK INTRODION S . ... ... . . . B4 W P
Pr Pr Pr Pr . . .. . .. .. ... ... .. .. .. 427 427
UNIVERA HYHM VE VE . . . . . . . .. . 345 45
RHHM EON Ryh S S
BOOK III NTRODUTION WAS O RAI. RAI... ... .... .... ... .. ..... ..... 79 79 ... . . . ... ... . .. . 01 01 Pr Pr . . .. ..
ABOUT HE AUn J D
Muc has already been said i ths book aou ack De ohnete's maseru drng et sufice heefore, to say ha he s a eber o ha seec ew whose atry gves drecon o he many.
Jak has peoed oh 8 a den ad 8 eade on cords and ve wh any o e very best azz and uson sicans ere are b soe o the nae: Herbie Hencock John !, Chares Colrans Chck Co George Benson Gez ohn bercbe J Fa r ! lod. McCo yner. l vns Dave oad dde ubbad Jacke MLean and es Dvs Jac has aways ated hgh the varos usic pols Bu in 19 he won the own Bea Reades Poll as e # # drumer and s alu Jak De Johnette Special Edfn recods) was choosen as the es az alu of the ea HRPRRY
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Calie Pey is an itenaioal noted ato and tacher o odern-drug ethodoogy Several of s books n ac ave ecoe clac aong ehod books is i s atices have apeaed n pesgous trade pbications such as Peson Du a pubicaon o the Pecussive Ars ociey) ad the /nteton M ucin (the ofcia jona of e AF o M i which e wote a co entited oder Duing Pesenty e wites for Moe he # 1 drues agazineand is a eer of its advsoy boa May sdes and oessonal dres who have stded wt or consted Charle n a pofessona capay hae pefored with the eang naes i usic sch as zzy Glisie Teonious Monk aefl ead e Mann and ete Nero to name a ew n addion o ang ajor ecodings as stdio uscians haie has eoed wi soe of he finest az muscias n grops: enn Gooan San Kenton S Gz d Powel ily Mthel Bud onso Joh aPoa ad ie eso aog oes e Ca Cae tates tate s. S
ed United h e Unit gho out he s to togh erses ni erse maj or ni e majo soe o e ars at soe se sears dte on ondte Yok Ne w Yok Isand, New oege on Log Isand Tows oege Fie Tow acuty of Fi e ac entlv e pesentlv s pes
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HOW HI OOK CAME AI fieds egan soe yeas ago when we e dring an nervew or eruon D (8 ulaon o he M one oany en dsrbuor or onor Dus Sie ha ie we ave woked togee nteiely dong seiars and ea eachng ad ave eneied o or cotinual exage of deas and coceps A oo s eitale ecuse the aera w pt togeher or nstrucioa purposes see ou eeds ee than anyng already on he market oreover t was dversed and voinos enough o serve as e basis or several ooks (hs book, n consiss o ee eens eac o whch can sad on s own n ideenden wok) n o oiio os esseial o he az for o duig, besides ting is e ierlay ee e ruer an he ote uscias Yet nstrucioal iterau does no nae seiay the wa wen whee wy. and how o sc inepay nor doe t sandardze erolog wic would ae t oe inoratie and strucional he erolog is an acknowleged ac hove that i he earnng ocess, recise decrpv angage as ose einoceen vaue and can cnu up te os useu agey s ed "As our ental iae ecoes or cise w a etter ae to slc musl oveents whch wl acieve or goals quickly eficet ad acurateV· s ea eeoe tha e eaher wether on a onetoone asis or n ont of a ue ost specifc reise angge eology we explang and detating e pcpes ad tecnues of mpovisatio and redetermined eraon! e hope a hs oo o soe exen seves o intended pupose hae ey and a e oee • Ps ch/og urd eionl. bv W Jams Mc Kh (Pof o yoog U o g/ C k Do1e P o PoV Lwe o!, t Mo T iy :g) Ao- Pg op I Rdg SS . ge 24
BOOK I BOU HS BOOK
book ea w he ne ehque hyh a once o osve az an ae fom of un e w he ndvual pars funt on a n and he way h collecve n ee o an nea w he u cal conrbtos of he ohe ueal Thou ee eleme of oe ja r umn, ec ay be vewed separaely fr one another or e uoe of nay evenuay they st be synhesed n aple E whole -he inee an the a wh hey or he whole. os on he pas and he whoe u be peeaed wth tha eleen w is at he oe of jazz-tie: o one book of oeae eng of corse can dee n e wh eV e of ay one ube e are ply oo any varables nvoled Moreoer he ne word n ielf cano do ue o ua perorance The we word hereoe mus be coreated with he ou eeig, spri en prncples o he ic ef. Boh oe an v peromance us be udd nd ii (Soe o the hyhic ten he 3+3+8 and lke atea e not on abe o oher o o m fson o ) bu n ae ena to hefor nsance John Abercrobes Timlss EM 7 an Gaw CM 1061 Ao h Aan Brohe Bd, Brhs a Sss 0111 ue o e rhyh phrasng on the keyboad o he u soos e sae rhythc ode ca be heard n he s of The Grateful Oad Soe of e aea n this boo s sma o or the sae eria n ohe book a r cles Tis s nevble whe ay peope wrte on he sae subec and draw ro the �ae sorces uh eoe perfoane s ive perforanes ad neews oe such boos are ste ee
h Cp/e J D b J e Roa JR Pubcatos hs exceen book s a oplato o ae o other eo boos b Rotan It deas exenvey wh coodnaed ndependece the nelay beween hands ad fee and meterwhneter gre n he lCvbal by et M Bk ubishers deas w eterwthnmeer y ba hyh e - Way Coonaon by Marvn d lo Fe BewnMls pbsher "Studes fo y heebe e i for ou e see p s 8 9 a 50 Pfssonal Du( uds o Dc Rao 8g b eoe We a Brad Spnney ubhe by ao So n lhou hs boo was copyrhed n 1 96 wa e , to our nowledge o ea wh heebea hyhic patens orour e ee pages 4 hough 7
h Book of Jaz by eonard eather pbshed n by Hozon ee ae 123 Chaper 15 enle The Drus' oe of the es dscsed n s eon ae as oows olyyh bue he hh, unn o cybal hy thic tasferg the essece of he rhthc beat fo he bass u to e op cyba n an efo o escape fro he hvy pounding of an obviousy ae foue ba hy pge 1 ae he ass. Hee the bass aye e e n he hyh eon e usse so see hape 22 o "he Anaoy of Ipovsao Jaz I's Euo nd ssn by Ande Hode rove opyrigh 196 See ae 219 lel vs odern rhyth secio poyrhyts; pae 0 usng the cyba o epess he beats e e a pse h ouneo l enn h oi d iti ae cybl hh b wi ular bea of oe stated withi he aewok o aohe n fee ue n e anained; e 210 27, rhythc ouneo o the bg cyba h A Ja on the Natre and evelopen of azz edied b Ma n W e rove r ess In The ess s rage o he 9 houh he '50s an offe n Co yht 1950 fod Uersity eainao of the evouo of msic azz cas a styes an he epeenaion a ook pace over he ear he essay are of parca neet to pi a ue beaue of the anlys of a hyh fo nsance he eo n h e es on geer ai e eoe fo eon and a drumg he bass drum o he top ebop b Ros! Russ bished i 99 n h Reo Chan agazne) rhyth seton d oe.
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Bk, b Don Es pbsed b Es Ms neises 4 kand • oh Hoywood afona 0 so, e ab n E hs EME eos, seeo n lBBp pae paphe b Fank ose pbised by ank ose Msi n 123 os oad w Rfhm
Ssdae 03 ose a aoeae jazz eno saxopons omposeaane offes a persona inade vew of BeBo s pape s vaabe and we oed onbon o onempoay jazz ea Th Jaz umg is eaed o e adaned sden no e benne an howeve be sed by e ehe wi nemedae sdens And as of i an even be sed wh eeenay aens hee how and wh wo is sed depends aey on sk and wokin knowede of he insro n eahn he fom o dmn i e oane o snin an be aeed fom e en xapes aken fro eons oressiv din does o offe an iy dsenbe adope of he essenia eeens and nes o e nned ea and ind e o deveop a wokin ode of s din sye i s absoe neessay fo e sdn o oend e essenia as n a aiona ode o onneion end deendene and o eonze e inheen pinpes a wok Sne e wien pa b sef s nsffen fo is ppose he pinpes ehniqes hyhiona aens and seqenes, e s be oeaed w oded o ve perfoanes, feaby boh of pssive jazz he sden ean o sen oay and ey o ea eay and spefiay wha e poessive azz de does n peoane en, by oean e pefomane w e nsona aea e w ben o ean wa e a onsss o e hy of i a and e o of appaone ia e ay e od or v dme eaes o and ineas w e sia onbons of e oe siians he way e apies he inipe ehniqes o dsband ineaion and ovisaon bshes oe e ey wiins on az dmmn a dawn fos expeiene of any yeas w jazz banda ae and sma senn o evey knd of jazz, sdyn e wok of e ajo de on eodins and in deh dsssions abo jazz and jazz dmin wih any of e fnes jazz sians yeas of ehn e jazz fom of dmn and eadn books and essys on jazz and jazz dmin ha he ses in s ean and wiin owv efis onis ho pesona exene ak De Jonees sia noede and n onibon ae awn fo s yeas o exensve exeene as a ao efoe opose and bandeade wh e eie sians and os of is ea BOU HE "EMS'
bo e ems oden poessve and avanade jazz and azz dmin, wi a ofen sd ineaneaby in is book: en efein o oden poessve and evnad jazz o jazz dn we ean e oa een peod of devopen n jazz 8S onased wi eae peiods I dmes we ean hose demsians whose wok en we speak of poesse o avnad ebodes ideas eae o pnpes i deviae sny fo e adiions of pas peiods and wo ae o new and appopiae ehniqes apoahes and eaed as eenen n he invenon and aaon pnpes in azz din EEMENS Of CONEMPOY ZZ DRMMN
IME e ie eneaed and esabised by he dme o e yba yhm end oe yhs e iin invoed n he payn of yh pnaons fis and ases aond he d s. MOSAODMSBD I inpes and ehnqes e ineeaed aion of drs hy seion soois and ensebe he sa ineion beween embes of e o IO O HE S e oee aon of e ands and fee &s aped o e d se e way ese ndivida as reae o and nea wh ea ohe bo n poneved and ivised seens of e s OOD ndeenden and nedeenden oodinon of e ands and ee epied o e d e S nson eaxaon} e deees of enson n e ayn of ie, hyhi pnaions fies and pases Msa enson ono he deees of enson n ayn sof i, od eavy_ Inensiy of o
DYMICS o cotro cct aatos rts to (uratotctstre o t aous ag a o t ds a cyas CI caca wc s t odato o astry o a uscal strut Stcg tecu a rum-st tcu ysca otosaat t stcs a russ a oot als rsoal t t ct o sou lg trrto SUEMSII YS ( WII M ytmc dvcs o azzt rogs o t-ou toour o wt t rawor o ouor gougs o two wt tre tc 3+3 3 333 4 3 a ot t dvsos IM SIS re ou v s s t v tc I XSSO soa a cat t usc tat s ot cotly cat otato t uacs o to dyamcs, asg tou lg SL DME Dot o 600 attrs ad ts sort a xtd solos t corus or a t -or Qlo PROGRESSE JAZ DRMG AN VEREW by Ch.rie Perr
ssv a ru l grssv azz ts s co t t ay st t tat ar 8 u o urat ts g al to ad ro wtout 8art ry Qr aso s colxt os't a owv tat gss azz s ormss or ta ts or caQt aalyz t cotray t s ost cass t ora ad urlyg a at cods s ct s t v atu o rssv azz t sotay t rdo to xor o aorat tQ x to sa ot oscres t asc rawor a maz o surstuctur vlss t orm s t or t os wo ws to stuy t oous ad t sut ts o wc t cossts woul gt o dcus y so o t dvdua styls tat rc a cotrutd to t o du s stys msvs ar stl ad a ar r outat a w suy toays rogrssv t as o may o our stday ays w o sw ts catgos atd Swing St t dat swg styl t ay t cova al rd ryt ad ts varatos t ouro o t ass dru t o ad o o at t ryc ctatos o t se drum a sots t tos H ot aora o asc or wt so uctatos gus d ls" o sots t usc ich t ru oo y t rytc ad toa atrs o s coc a sm gus (gurs wc t a saosy wt t og otr tgs ad e ot otat t s�oeed r uctos as 8 tr' cots t tmo o t ad try vtg t ro rus rag wl at t sam t s drvg ad swingn t ad w at t ary ays o sw t oou o t bss ru az t Qur g att to cymal sar t ucto o stas t or e ad tuay so rg stys ca t ctral mas o sasg mata t bsc t It cam t oat as Q ratg t cours ts vars wt dva rus So rrs act stl ly o t as ru aszg t asc s rc aa aso ds o t sy o t a d t rrc o t adlr or stac t ajor rus o Co varous as stssd t ourour o t u otr ad Mws o t ee g d s t our o t ass dm sotly t all ast tos ays a t two o t ass r aorat ctatos ad so sot us lso uss s as dru to rorc scto a s es s wl 8 tos o t olost ray uss s ass ru uc t a o t t ad Hs s t g drug t wddg o dat swg a rgssv ru [or xas o arly sw o t ug o Jo o Saow Wlso a os cotorary o Basle' Bet, Coua cord HL ot rurs la r ryt aratos o a og cg -at 1Jr -at ayg wa a atu o s styl Sadow sows o s t wor Q t tu as They ot lay so usca ad ract so autully w t a lso lst to Lr Lp In, c rcors G 30 a Th Od Count and th N Cn c cors 0 y us Joo aotr o t sa ad drs s o o s o ts ast au]
Beop rug he besknown eponents o style we M oach. nny Cake. A Baey and lae oy Hayns At as a ad, soeies a bi foco gooe Kenny 8 a soo snger, a gea ie plar M was always the intllcal pning i and dveoping new ytic concpts arious coss ys and tonl sqencs Roy wo ca sral yars aer hes oundng aers of op was a drivng, ighl tasteful as ell 8 nvene dmer (I' ncknaed oy "t copoe cas wat h is oganzed aond and ke a wters hs phases gro no coplete sntences hic n turn o- four and igta deveop no pagaphs [Roy Haynes and Ma oac sar t dring on The Best of Newpor in New Yrk '7 Ko K 000 oy Hayns andles te biant ding on Now He Sg, Now e ob Cick Coea olid Sta SS 809 olowing tes drs was Piy Joe Jones wo V incopoaing leens o et cae befoe h deeopd a igly sopsicad and c adied, wngng sy He, along wth h entire Mies Ds goup, pdced 8 usc ta as peaps anifesaion of suctrd postop az The avs yt sectio o ed arand on pano Pa Cabes on ass, and Philly o on ds was te ost popula o is da ad ecae known as he yt secon [Yo can a Plly Jo on and the y section on t folowing Mles s als: Cook' wh te Mles Davs Qunte Pesig cod 709; Rax wh e e Das Qte Peig ecods 79 Pestg recods 7014] In he p style cya d y and its araon ca t ansay o geneang and aintanng tie he bass dru as payed i a all elaivey oly n four, t t innovaon as te ephasis on teass du pnctations o os ic doed te usica landsap MX oac on o t ontands o ta a , playd nues ccn and a a aont o figes on te ass d in conncton with t nse ds nd os He lso played or on t bas d. bt it occud n the pacs eween t pnctatons and figus And n he as paicuary buy; e as t space o te ass dm in fou e did not ey on h fou of te bass dr to establ a dving sensaton H gneraed te and ecieent trough e cobnation of pnctaons, fges and phas aong t pa of t d t n act was on o te first to stes brokenyts and polyyhs n cang a t� ns and dring orc Kenny Clak was o o he i not i o it he foor on t bass d in e st tpos ecp fo punuatona. and ly nsead on cybal id ryt and s vaiatons as te cntrel soe o e bop eac sondd difernt o t oh Ea d Aough At Baky Ma oac and enny lar an ideniae ty aky mo an t ots, owr mpasd a avy two and fo afebeat e sngl prnouncd o and or o te ia. a ajo inlnc on othr dres. was n fact an ntgal pa of hs stye e ool T peiod ta followd te initial bop plosion as knon as e cool ra op n fec d into te cool piod e sav ndersated gac of ealier tno sa sar Leste Young and he spa elodious lnes of te young Mes is inflenced many yong piarily it sicians to pduc a lyical ja that a beop inflenced t lss frene Sch divsions. owever, a not asoe In o ways one ovrlapped te ot ereoe always eay or esal o attep o define syles Moreoe, defnitive labels often ipl bt cangss or stac Raher it s a dynac pcess imiation soething at s d" And sic is anying In te cool a soe de payed t ·hat lily o, at tes not a al Inste tey often usd t at or occasional rytic and ona eecs And t or-our o te ass dru was used spangly or siply oitted Te top cya eca th enal e8n of gnatng and antaning time It as aout hn that drume relly egan to cyal rys tesiely, alting e ond and eect of cyal hyths ofen sing ete wtn t n e o o cybal rts
op as consdred oter an cool bt as not as ot as swng or te so-called ot azz tha pceded sng Sound confusng? I can be as he prb hen trying to ael az era t eactness Reer tat tes abels ae oten gnealizations and do not ds with te any o te usc of o e8 or for ta ae i todays syles For eap n e sng ea Count asies bnd cae under te eadn of swing but the nd as cool tan os e y scton of Basie (pano redde Gren (guter Water age (bas). and Jo ones (ds) Papa Jo no Plly Joe was decddly ifent say te hyt ecton of the Beny Goodman band o tha prod he Gooda rhyt section conss1ed of Jes v (pino Aln Reu (gtar Harry Goodan (bass) and Gne Krupa (du es no ore tat o ater pat o te p e 8 EIin Jones as coninay een ing wile on ay to oring is own ecptoa sy o ding, evntally ecoing on of e geat cat stlists Iin
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took 8 bsic swig stVle ad velod t Ino a outtanig for of hrriving swing ad polyrhyths, ening the inertion of th parts eecially he sa d d bss drum to mo complx levl han nyon His cybal rhyth has iffent felig to t 8 iffent sort of pulse e oft fee th accentuation of th " of th wo nd h four o uch dgr hat it s tht the atnot ftr the i omitd And sots it is oied h gis the iio of puing o of h rhyths in th Much pulse or ul wht h ply i attr of albu on whch vi Jons play 8 Low Supme/John Coltrane, puls AS ; Coltns "Liw Bt ths Vis ngus pu AS 0 Evn Jon. Liw Bt the ghthoue lu No BN LA 1 Slflene Fsturng My dte Thing Jon olr pul 9161 o his alb both a H py rs) h Utiae En Jone Ble Note BST 84306 Th nxt Inovator o gain piec ws on Willi a dynaic young rumer who cpured th attnio of jzz a zz citic alike whl still in hs ts He eco wih truper Kny Durha when on vnn yr old! Uns Blue Noe T 41 7 Tony' rumg w dffr- kalocope of rhythm toe oton n itlct H generated a staid t ti fe iving ntity i highly skille interply wit the gu sed an exclle examp of (sn to oy on th Mile DBi r o druban intrtio an rovistio i pgiv ab Colubi S Toy dint u hs bass ru d hiha n the convntonal way ba ru in fou hih o d four) o stt ti . howv ot play he hiht I four: Feo nc M i Colbi CS 9401 Is goo xapl o i he rl o th standa cybal ie hyth fo his cybal ule Rther h lay a ccion of quaroe ntrprd with to an thbt figu whch he generlly wo nto the oerall rhyic ad oa cooition cosisting of drus an cyba With this colctive unit he sted ie ad pulse Jazz drug had od dcidedly toward russio (Mle in Eup Coluba PC 898 cored e in 196 olowig Toy we hv Jck D Jo muican h trilthat riety (coosr. ladr. instrmtalis who syntheizd uch of wh ca bfor hi ino a fesh iivduai style Jas play9 i hgviy tuf boh intely eool nd crbralA though he i fewhling an uihibite hi soarng irit rs if withn an xceponally wel srctured yt flexble orm ike Roy Hys a Toy Wl Jck i 8 fistrate dut coposr Rthr ha his two b ach of dffent d dn ch d hih for e·kpig of h usl kid h Icorort th extly with th mide o f h dru e in lying tr and squc tha concie echo anwer a pay idepdnt of th corbuos of oher usicia Wheas soe of th not rur hav tld no wlldn groves. Jacks layig continues o drug borerig on toorow volve He i n fat a prcpal of contemoray in to Jckon th followng cors Jo ar oon Ge ; Jack ohnette L Prsns ECM cor, scal edtion Jac Os Johnst' ction Unite M 10 tBa� ECM 10 n Abcbie iee, C 1047 Mc_Coy e Sur o Miesone M600 tOO t (both Jck De B hnette Coplx Milone MS 9022 o thi Johtt an ony Willis pay o ti ouble abm ab both De Johntt d Roy yns ply drum T hr a excln-v ge drurs who ae o discue here not bcau thy e aog the bst druers-for xap th great Buddy Rch oi llson, Jo MOllo Edie Shughn of th Toight Show nd cours ln Dwo so my co to ind-bt rather becuse thi gnt is votd t he inovtor who li rcet ti bugt bout th trul ignicant chges in druing styl tht led no he progressv -agard if you will-tls of tody Nthles listi to th othr top psle o o corig-c o nhnc h musical underndng and artistic of toy dru udt, so ncourage ou o ay uer not ecficll scss hee r ntanc Seve Gd ily Coh. Chrli Prp. Mic ok n White B Ry aong oths T hee e oher deering uers oo nurou o cude h P forgve e or ot icuing eveo I ie
ABOUT IMPRVISATION In ja. the dmer's favorite usica ideas and devices for par of his style The ideas and devics at ther ties they ae alered or exended soetie pduced When the dume espnds suddenly t 8 given usical povided by the other pefore or at tie, by hiselhe esponds with eter pcnceived or sponaneous rhythic and onal punctutiona. figurnd phras
What te druer plays is not always brand new and ay hav ben played in one fo Or another eithe by hiself r another druer. at soe tie r other t is often matr of the failiar being shaped dntly occurring in di feent ples or in differnt sequence But even failiar idea when us in ipovisation occur sponaneously a esponse a gien scal siulus or 8S cunte rhyths plyed independent f what the other uscians ight play Although the a2 drumer ight pla & given piece er arrageent nueous ties he wil neer pay it eatly the ae way ice For instance when playing an erranged piece. 8 set ine r prdeterined beginnings and endings he y play such sections 0 pats f such sectons, he same or neay the sae each tie But th occu" only in highly structurd fied arrangeens Een owever. he will alost invariably ake soe changas n what he plays nd during the iprovised secions when he is invold n spontaneous usical echanges been isef and the other usicians. e will nver pla the same punctuation figs and phrases n he sae oder twice because neither the druer nor he other permers knw what wll be plaed during the the entire group wi adhe to 8 basic for such a chs but mpovaed egeenta of the usic they ae fe to ipovise wihin that for n tue fefor usc:without a chrus for r set tructue anythng can happen at any te tepo changes key changes. eter changes and so fth all taking place spontaneously uch iprvsation is entil unpedictable since it has no guidelines to gi i pedeterined dictin Underlying the druers ipvisaion is 8 fndamental concep a specifc approach-the eleents f stle And fro this base he exploes seeking new dirctions and foras
DrusBen n teracton prisatin Prncipes What he druer plays elates to wat the othe r members of th e rp play pecifcally in addition to generaing and establishng tie the drue int�8cts wih s?Iists, section (rhyt. brass eds and enseble heafr ered o 8 the band or rp) t varous points througho the usc the druers puncuaions. figre and phrases cici with. c or f the soloist sections or eneble t ther ties howeer tha sw the puncations figes and drumer rhyths d neract in these ways with he solois or band Rather they tae piece dpd f e other sicians usca cotrbons e independent hyths tae the fom of poyrhhs-counter hyhms played against aonic and rhyhi conributions of te other mebers f the grup When te interaction between te duer and soist is expertly done the contributons the drummer an becoe 0 conoined wth those of he sooist hat hee eerges a 010 parnership 8 single slo which is the wr of usicans The drus then ae then ely supporting or copleentay Rather te druer s in conversation wh he soloi pat provdng in musical conversaion. in part leding the dinant meber of he 801 patnership cnversaton Usual but n always he soloist mains The extent to which he drumer nteracs (coincidesechos-asrs o is ndependent) depends n his syle, the se f the band and he sc tsel There ia less complex neracon in swing oriened bands-Cunt Besie,
azz groups n avantae a. suc for exape-han here s Due Elingtn. arry heavies (and he drer s bsiestMis Davis Cck Coa McCoy yner. coplex druband JO arl erbie ancock vin nes RoV Haynes Hp nseble. etc
Smpl Exaes of Drus-Band Intec
The u hys de h e rys of he bhe rumer plys he se rhyh pye by he r ss he se e s (
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CYMBAL HYHS id ry rd aiai ad r al ry ar d gra d abli i 8 a r jaz dug y wi rmai 8S lg a ya ry a ud r i purp N ra yal plag wr, wll ui r y ry ia 8 iilarii ag u a dur a w al ry u ad i w l playig
al rall i a ady a r li uppd iually wi ard puai igu ad pra l ad. a dr ad ia Up lg ly wr. lar a ya i ad up parular ry a ad i i prap ral diidual y (pua ad g Tr i i a ial rid ry big playd i i wi ry ar a dru ad u rar a yal r a pad a par ry a a didd w yal ar a du ad a wa dgr i u dpd yl ididal drur· r ap i wig OSIE dur g y wi yal ry i m r i d i g ri ai aiy wi ybal y ur iig puuai igur d pra a a dru ad a ar ipra aaly g d ybal a di id y ig a a dr d T rdai ad ig r pa pra llg ya ry ar a r bgg pia l pi M G dur D J
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nrrn The thetl dviion o he yb hyt n othe hyhms depen on the ntepettio o e inivdu l duer n the epo i ch e rhyths e pe I modete tepo the ybl hyth cn be plyed o moe lkely nely 8 boeneghth tipe ottedeighh nd teeth o bokenixteet tipet figue In oe epos he ybl hythm is oe o he dotedegth d siteeth o broensiteent tiplet figu o it y be plye 8 o ely s ouble-doe eghth thityseond igu lso ithin he ouse of se esues o it y en lose to one nteptio h othe Th hold rue fo other tempos too In fst tempo he ytm is interpete s or ney egul eights ependg o he spee of the st tepo d the ue' epeo t i sufent to unesnd pce in the ouse of plyig cyb o othe hyths to oden one knolege of the ez o of umg An epeienttion ih su hythi divisos n ptie is ie oe esies it or eel it eery u ept to subdivde rhyths cocouly hile plying ul ot only dive the drue to dscion bu wod so wek his pefone utheoe if he due ledy s ey good ene of time hen plying cybl hyths nd his plying igs he should be exely utious bou expeentng o chngig h ene of tie n itepettion oe stuent dumes ve teneny to go o ex tee e ting ne o deent oncepts he s e lit to ho f oe y go i ptig oter umme's conept n technique ec thout endgeing oes on cOlcepts d tenques utght io s o be guded gnst i one opes o en ones indiviulity Lie to te cybl hyh o iee umesor nsnce Ro He vn Jo nes ony lis Phy oe Jones ong ote lo o hei eco o see p o sloe You ep le. pe the eod he it i& sieen p d hen slo don he plybk o he pe eoe Music Minus ne bu (Vome o). one he el Keny Clkes ide rhyth nepetion (pyed mny ith bushe on the e ) by unng up he tebe ll he y t wi noie h en in oee tepo the noes of the ie hyhm th f been the qute-oe ee pced slightly fe te et the lest noe o e Okeeighh pe gue I s oe oten in the vinty o e let (he lst oe) o the boen ixeenh ple fge o oedeghh sxeenth igure us i heily tighe oe ntene 6
ee oe ephsed e peen nubes h oud c broen-e pet nepeon n te lo epos his epeo s oe to boesxeeh ple o double-doed eighh nd tty second gue
he st epo. s nepeon close o egul eg e split is ove he ext el pleen o te oes o he ie hy d he ys o the sne bss um nd he ppoe oeve i o y he sue ues of epreton ho ee v fo due o de feeng h c one ply hs o do oe t u he eil of oes ltiey wingg d plyg h oeble eeling nedeced o ouerdece It h to o wih oe ent eoon uncos oonio e neous yse e y one peeve hyh ou n oes le expeee Pps soey sence l be ble o el h exude with e neuopyoogil nd pyoysi poesses ht nevene nd e eevn o us o oe eesed devg no e ube om scetc vepon e ecoed the boo Intrduction o h Physs and Phophys o Mu y u oeer puhe by he Egsh Unvesitie Pes L . Lono pngeVelg e o Heeeg en
NT ERACTON O F THE PART
V naton of a w an liv ain f nd and ft alid t d In ona jazz dmin wa indvidal as (bals na a d and -t laa t an in wi a t
ting f ts lad wt i lltv nit f a nds and f as iant to d "i a al s w i a d na and ab i And fin inatin f and and f atv o god ti Pl vod oonatn wi av an adv fft on in f nain f and and ft ntan o an and ft siia o dsband intain in tat diffn as of d a oind wit answ la indndn of a ink f o f as o o d n lga ft l l n an n 8sing ida R an nal naon fis and a divd ang t mas, na -at an a d divns of s among ats t d aond in avangad ding F xa a an a n anta dn
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T WN T In con tempoa jazz it s cm prac t ice t o us e hy opn o te s f e meter wit hin he raewor o pop mui I ha been ued o any yars o anothr etr Ths rhyhi deve however is ot ew t by coposes arranger and nentast Don Ells n The New hytm BOk me io he act that hs type o pha wa poplar n el j a z and was one o the an rhyt h devce of agt An d Dve rubeck in t he ner note of h al bu Tim Futher Ot. ponts ot that in casical m dating the baroqe perod copoer arangd the rhythic gopngs o note o gie the et o f two w n e n e x t pee wrtten n tee. ( e a ctoay o MUsc ths efec i defined hm.") n he early ors o az h as rate uian and s gwr i t e s also d ts rhyth deve bt n eerse They gped note t eate the effect o t hee t e cext ou ur �Th Ha conay call thi econday rag") The efet of hree agan ou as used in oe pop une o the wentiesor exmpe "Facnang Rhh" "Stubli';' ad pats f Rpsd n Ble" Brubck blieves hat ompoe uh as Hd a nd Moat ued wo ove hee in order to add variety to the "stricty masrd dance uic" t hei r day ad that he sae aon ealy j su a ragtie pano paers, sd hee e or One o h e a es um etd book to dea t th e supeipst t ree over o s th e Pfnal D Sd, r Danc Rado nd age b George Wettin ad Bad pe, p y ghted n 196 Ths book ives sevea pages to threebeat tmc pates p ay ed nde o ou bs ur our Snce th boo wa publihed a nber o othr hod book have eihe toched on been devoted entiey to u rhythi decesfor nstance hree f v e a d e ve n payed whn e tet ur u In th s o Inda taba player ae ses ch hmi subdvss Te wi eaple d v de sen beats nto grop of 3 ten bes ups 2 3 3 33 34+3 and so on. n jaz dr u n g, t wa he ary duer who dioeed and apped the e rhyh gropng n their playing I ae o say hat cae a b t tuall as par o t he evlu j a st o the e drmmes wer cetnly not aainted t c s c al muc te m sc cutues (eg nd n) n w hch ch ubdivon wee coon
Among the ak ian ee root e xt e nded t te hy thms han . o Aia polyrhythms wee evrda st Educa Phi ani al eled Aa Ding:' whch appeared n te pblicaton four againt thre t! and gies Ldg m d cus sed ea Arican p y r y t h exaples o h heio ryth th ropings f e noe ino three goups of two again t sx and so orth ookng o h United State ee s eple of a pp tue te tees u: wh h two eaure oor a ephad a 3 2 teby dvding the eau nt o paterns o 3+ +2 (he tne was apporately named tul t he tbling efet o te rhythmc phrasing of the rt two easrs
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in a az ntepetaton, he aght eighths would be played a or near as, beHghth triplets
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n ether cse we hae egt bat. The rt eample cont of two aur o or-or, whera the cond exap I roed a two eare o t and one ear o tw. h ay not that oetr paage can b wrttn n h a wa hat centd gron o note w atain the eect of dren eter wthot actalv chanin t natre h o on to a " anner o witn qent perr or th ak o ear readn b t actall oe the tru rhhic n odrrton o Barl c ell a n Sch t a wt Stbn' t and other o o r jaz pec incdn th ape that oow he or e eat pattrn etc ar actal eaier to read wn written ch rather than when rtten or he oown ae om a er Gbb b ban arrangeent e Cat (recoded o the Mr ab Exp abot ten ear ago) Hr w hae or ear of orfour toaln ten ba:
t mht be dct at firt ance to rcone te actua hang the wa the h ar ren t notc how p t appear nd how ea t i to ra t phran whn e hth atern are conceeda the ollog noaon how or ear o the and one ear o or
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n the E, t tota tee bat 44+4 = ten eat; + 4 " iten beat On a ood a o�our iece (uc n ne Ab ol. 2) ant Don n a e o o th bnn on t ot beat f te oth ee o th at eht aue o thirtwo ar olo crong bar ne and enn on he cond beat o he at (the eht) ar
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j Wat w a ee n ba oued n t r o tee ocurrin in t at f 8e o a oror ec
st Ml Wld ses thee wth hs pece. The wste Musc Mu$ Oe lbu The ues a You). Ths ccus he fth sxh esues o he e Although the tme sgt s ou-fou the esus clug the st bet o the folowg es e gpe s ht the hthc tulo s tht of
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n � e o wll ote the h te o eh thebet goupg s te o the pg ote hs ots the hthc ulo the th note esls et eect fo the 2 pe of th tue tubll he gps f hes ped b Do Abe hs posd po soo I Bubecs Ble Rod l the eeght seto s gped s 222+ ste of the usl Kths Wltz the puse o the qteote tple sees e hhm hh s ple eUe b due Joe Melo gst te fou- of the gp null the "sx beoes e domt pul The Bbeck ses thgs b plg p o hs po 00 fo gst the "s The bss e pls l o the oe d the of eh es of fofou hh whe the b goes to sx plce s bs hth o the d ou of te sx eses s expe of the queote tplet hth se 8 the plse of the sxfou e hh 3
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he etel Ro es uet ses the pulse o he ueoe pet s the pulse o e sxfou e hth spepose ou he po chus o ee teps to ee, Mes Ds lbu o ob ue T Wlls supeposes phses of te oe u fo ffee es of bets o uses hs dee ofte hs pngs oes ebe nd be he dog t o ecs O the lb Me Dv n Epe To cees the efet goups o es beg ple oss the b les the bp e e f otos s Ke e Mx Roch At Blel, Ry e o 8 lte e the sle ool stle Phll oe Joes sll lte es T Wlls og othes edtos ote e ohee cle] wh opoe sh hth dees s ee gst ete the plng ed the to te pot o sopst he they e o s h ell uscl es the bp d cl oppe A we wll f gop plg p ool etc he couse o eegs peoe j te e s ee to p hth fgues phses tht ot ls As o see coo o st ouou so b les ste he poses he see f pg hths poue b es d eegs o he oet e oes st t es ou spec sos o bets tht he wll se pee The es he e h goupgs of otes ocu mscl coex ete ug pefoe o whe tg The cocee te of hth d so he th hetl sons Ths s o s t he ue ot o shl o o pctce specc 2 4 5 etc bet gpgs tht be ppe pee O he ot he s ee to expeet ug pctle to hl het's cotet Bt he shoul t o se use \ch hh deces dsctel eel becse he s ehcl pble o pg thee o e gs o fou gs hee W ht he pls ust be elet to the sc peoe o whh e s ee seget post dusb cto}
PRACTCE ROUTINE d hy n aian H n V th e ymal hyt 0 . b n . rhyhm
e to .amp • "e eo .poy h. V o " wthn Eac lne on8t t a lu nclu!ng . cyma hythm or & / 4 he w" aa Make p U\ he m. rhyhm cn1d. .4 .gh bea ( ymb hyhm) e b rhyta do no h. o a aa. e �h. d. i a o U cba of h 0 he a y ollo he + n B ny b CYb hyth he 4.air.a poat to n h n avat-gade drmmng uh hyhmi t are no aal ooed y r o a. c hythc _d U. not. gouing k pte n I p. d vd.d
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dr ing he cal hyh . o en pa ben he \u no. ,oupn, ae dvdd n the dm and mle h 1n h hyth pae on he cbal ae not thoh o h convntona rd. h nd riaon ae oen conceve hythm gure hase on the cya h than on the d or dded b.:wn drW nd bl A the te play n the requny pt of hthm ntaon and pa }
he xaplea a.d ' r n The ide e s noe b l n me d on Note t perO on he ea I th he seond be n e
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ither of ese wo ba hyhm a be ued th the n M SDD ' ' , AA3 AA
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He, the cymbal rhyh is writen quarers ad reguar ehhs o der shw he netin bewee he ymba sare drum ad bass du rhyhms. I fas epos f he cyba rhyh ay be layd as r earl d rular ehhs.
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26 Additonal pa t erns : Use s tick g of you hoe. Inlude oms
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A of he two-our measures are inechageable. Theeo eah he shd e pd h he heeo hyhs:
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Now. play al the 3 + 2 patern s . but his tme ply the fot rhth n th h-hat ntead he bass du Exa m le ;
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No, av al h 3 2 patrns gn. this tme, howeve r ve th o hhms beween he d ad h h-ht Exap: i
Cnert th e 3 + 2 tes to 3 3 3 4 tte Exle:
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THE ONG fORM AND H JAZZ DRUM MR
Fo he beginning or neay ro the beginning, he taented sef-ah druer e able to keep ime, stay in etar and hee o he chors (ong) for How he doe so withot ra train i a qesion ha even science wh al t accuuaed nowedge and heores canno ansr wth certant Evidenly hese abites ar nhent to hi He can assae what he e and hears and copteie reevant data in his brananly. perhap a ubconscios eveland reprduce it a wil f coure. h i an overiplificaion of ht s probabl a iocheica neropsychoogcal pces of so copet Neverheess. nara gfed or otheise he dent who studes dung u be abe o say n epo say in eter and adhee to he song for Thee iperatives, theeo cannot be disarded by ehe he sudent o he teacher e w w oune he de's reation o he chor for es begin by defining brefly what we mean by he song (cors) or By for we ean he suca desn (old raework) in uscal coposition he ar o cobining ca dea no nfied whoe The chorus for and dun o ogeher What e dmer pa relates o he suctu o he sica copoiton herefo he yhc-tona phrases seqences and caxes payed by the druer ae nerreated wth the mscal conibuons o he other payes wihn he fraework of the phases peiod and chorus of the song or An exceent eampe of he pog ssve drumers adence to e chous o is gven by ony Wllias on he ne "Sragh Aead Kenny ura abu Una Ms, Be Noe BS - 81) he claic ascending rhyhs of the p at the end of eigh bar sixteen bers end hirytwo bas are easly discenible Bt for he elemena dru sden or fo hat ater even an inerediae sudent, progressive je may too difficu o coprhend for use a sang poin or sch sdens it wold b bet o seec siler eapes ch Phly Joe ones on the pece Sqeeze Me Mles Davis abu. Cokir' wt Mle v Prege 7094, or siar c It is bes for the eache o deonsrae wih a eaively spe jazz econg sch soe of he oder Three Sounds to jazz albus 8ue Note), o one of he Mu�ic Mnus ne co albus sch a the A St Rym Secon Sng o� Pay A(ong MMO Voue his hyth secton ha Don Abne on piano, Ji aney on gar Kenny Cere on drs and Oscar eord on bass The rhyth secton plays exceponally ood stey eow me and is idea or e sden o play aon w Anoher albu o hs prpose alhoug bt o coplex i Blue Dru MMO 005. wih Ma Wadon on piano and Wendel arshal on bas no drmer on hs one) he abu deas wth he chos for and aso conain he os basc d chars somete ed to seeon chas) When he udent dumer unsands he corus o l il d n wi h j for din st be praciced w az z recors Why? ecause he s 8 word of dence beween pracicing sc aterial wih and wtho he musc o whch was nended The prncipes and technique of odern azz dmin s be appied o he usi o wch hey are an essenial pa Repeated lsenng and playing wh sch os oes he novice drumer the opporuny o aliarize ise thoroug wih the wok o good proeiona azz scians n he pocess h s guidance end coachn the student wi deveop tha invaluabe hab of enng o he msi ca ideas an ecniques o he oer nsuentaistsha is ning n o ei n das and haeing And hopefuy he eeng and he nterpetive qaes of the corded ucians wll be absorbed by he sden drumer and ced away n his ind fenc point for evenua use in his own playn Because hs s no a beginnes book s assed that he stdens who w l use this book ae alrady wevered he corus or Moove. we beeve at he ajory o drung insucors who wl use hs book in heir teacng ae experenced n chous fom usage Bt for hose duer who a no we oer he olowng: This s an anayss o he 32 mease chous in his cse he A·BA or ach eter consiss o et measues) The rs leer A staes e ee (eody he second leer A pes the heme e leer 8 consiss of a conasn hee whch is inseed or he ppose of vaiety he B ecton is known as the bdge. iddle cannel reease The na ler A is he ogna A epeaed in s exact for or in odifed for n orer o copete he son A A B A hee ee conrasting hee (elody) elody) ee eody) Noe he eody s no sae on he MM Voe ab Rate e pianst plys {cops te chord of he son On he u alb e meody s saed on he is and ast choruses
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xaples of AABA ogs " Ma Be rog Poor Buefl y; ed Be Good "The Twiste "Too Marelous for Wods Red Cross" "Ch asi t Bid "Athrpology "Lor Ma "Scrappe fm the Apple ot ouse. erdio' "Costellato "Mrmaduk Steeplechase "5d St heme' Staght Ahead: aples o 1 bar blues 8 Boue Now's the me' "Sph oy Sid Exap es of A 6 bars) 6 bars tues Hw gh the Moo oa ee Rr Ar" Out of owhere rnthoog, "Groin Hig\' he sog "diaa" s a ABAC o Orgal elody cotrastg mody ogal eody, s ar cotastig melody THE
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he oeral rhthm le s composed of oe or more differethyths occrg imultaeousy (polyrhythc pao (ad/or keyboas) gutar. ad drms possibly othe pesson too Iy-a is. the rhythms of the proisao the ared rhths occr spotaeously he comprise puncuatios fgs ad nlJ�! Whee the pao keboards) bass ad g uitar are coceed the rhyth le s haoic ed rythc the case the drus (percssio), the cotrbutos e toal a d rhythic The rhthm ectio r ds t e solo s srs of elodic ar ad rhthc sequeces i orm of rhyth le: Basically the soost bilds o this e. which is based o so ng r (x efo usc, whch has o pederd or. for istace a 32bar tue a 2 bar blues The members the hythm section sten to la o, ad teract with oe aother both ididuall ad colectely hey pla o aohers ideas as well as ther ow T hey aso, ndidally ad collectel lste o, elate ad inteact wth the solost A the ae tie, the soloist listes to relaes to ad iteacts with the ebers of he rhyh secton idivduay and oleciey S secton o dusbad tercto ad
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o eddie Ge of e Cout Bse bd s exe o he hy guts suee Whe both o d g o he s 8 dge o oe gettg the y of e ohe A ofl of hs so ho hyh seco o exles of bgbd hy ise o he bds of Cout Bse (st) Buddy h hs chrts e o oe the Bses Mel es ( "h" xue o syles Woody Hem z ed fuso oeed) My Feguso (o the fuso ey) o s gous study he Mes Dis hyh secto of e Gld o o ul Chbes o d Phly Joe Joes o dus s he ost ou of s dy d ko s h yth setio ou he the o Ckn wh h M Dav Qun Pstge od 70 94; xn wh h n Pestge M Pesige eods 04. hs seco es eed loig d sgg d s dy es cods 1 osdeed ogsse ody ould be osded he es of "h" o o lessstghed yg of te highes ul : ost cely sudy he Mes Ds hyth seo of Hebe oc o o Ce o bss d o Ws o dus M Da Fur & M Colubi C 9253; M S Colub CS 9 4 0 I fise o ods o ch hs seo lys he s uh oe usc tey codg ehog seg ) ee ebes o he seco self, 88 ll s bee he hyh seo d e hos he lte yh seo Wlls Ce Hecock) t the foe (oes Gld Chbes) his s o o sy th oe seco s bee th e othe h f s ts s ul syle he o ge hyh secos su s he o oe Fes lbu Mn Gr (Sey lek bss Hebie o keybod De Johee dus) he ecio s o ole th the ously ed hyh sios is s eselly tue of gus o Abeobes yth setio o he lbus EM C 0 4 (De ohee ds e eybods ed Gw y CM 0 6 (De Holld bss De Joee dus Editor'. noe: sn a ecors wh Jack D Jn play
THE ClAVE RHYTM : UNI VRSAL YH
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Prs a jazz epet s oe o essea gedes of ua jazz dng. D'go And do'tik d pase dsaly o fdenaly Rudmnal p a ng s h o dnsl dun, b no or
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Jazz pang on e du e a be deeoped by ulatng e f g and pae o a on pao, o gutar Fo xapl wn paclcn w 8 c od seec oe o te pae payed by olo ad eo e eay on h du et n emla g and p laneoy (odng) olo Do e a h eneb phre a d pn o e pan
Yo w il l fd a he y dea o e o ns and o olot a a o o v he am a ose payed by o of he dume Ths o ondene ae ow a e patualy al dumme a ondbl oe "n tne wi e u dea and npeaton o or hn oony bved by due ad drm ntuto ae .
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EXPERIM ENT WIH M UCULAR ENN
I n the coure of prticing, experimen with musc uar ensn. Looen your uscle aong the o " let go to
becoe e8 mp 88 pole hle etaining only tha dege f tenion needed to grip nd anipulatEIthe
drutick ba d and h-he pedal. Then, whie layng gdualy ncease the ucula tenon o i axium Notce at dege o tenion you duing el and ounds best. sen o the dfference I tone
and b awa f the diffnce in the "fee and uial epesion at ( J(W/of uscula tenson. Thoroughy alarze orelf wth vaing dege ucular ensn and the enung odily sensns Eventual, if not imediaely. depending on ho ll o are n ouh wth ou body, you wll notce that oo much uscua r
tensin reults n exceive tighnes and possil rgdty a nd that ovrl tight muses can ut n uce fatgue whch consderal esen endurance n cotol Invarably ting also uer
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Fnd'the dee f ucular ntent tha eves ou needs eJt And eeer that n he course of �eng uclar nenS a well as ena and eotinal inenty varie oetes consderaly When ltenng t and oservn anohe druer focus our Iatenin on the cybal nar bass dru, and h· hat rhyths a pled at each level o intensty and volue ! BY MN
In sense paying he dru se is lke dancing dance ove aund the stage th hs egs seng as he eans of locoon while he reainde o h s body oves n harny with his The whle body s nvlved in he dance A drumer plays the drum set wth hi hands an fee and hs involve the ars ad egs aso But ther is no ran for the reainde of h ody o eman ioble r and shouldes d not have o rean in ixed posion Expssion can be channeled through body moon a shoulder am o oso-sor o body nglh his not to S8Y hat the drumer us ue axu bo ton if he can atta the deid suls ith a inu of oon he point s het he shoud do what enae hi to be the o expsive usically. He hould nt thefoe, b afrad t experen wh bdy otn u neher shld e wase vauae eegy on otins that d no conute o hs uscal peforance erely for he sae f hoanshp
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Becaue they lend hemelv wll o jazz played in oderate o odeatefast empos eighhnote plet jazzeigh th too of course*) se as a �ae up on whi ch he a dumme build h i rhythmc rcure ad fr wich he daw hythc unctuation fi g ues phrase fil o and tiegeneating and te-eeing atten Thi ection herefore cos s o rhythmic and tona paern s and aiation that ae ed by uch outandng drueruician s as Evn Jo es, Roy Hayne ony Willas amon g oters Pubihes note: ack De Johte cded) Whem, when an d ho thee rpet pattens are payed of course ake te dference eween a medoce and an exceen endition_ e s where haing a working nowledge of he prnciple a nd technique of du/band ineraction and ipoiaton a well as the nuances of neretaon come nto lay The subtile diffeence n tming pacing o noes iensity (tenion ad laxation) tone h low hor and long soundthese are the eleent tha epaate te dincve fom the ordiary
Bu first the drmmer s hae at s fngertis a perto of sch hyic and tonal mateal uon which to d aw ps the chnca sl neceary o apply t o he drs.
'Jez-ights: Rula no plyd 8S r v s, brkt tlt
When tenng to the eoed eales you will noce ha a paticulr rhy or a siiar one ay be aled o dfferent d um each t s played. eefo he sae hytm ay ond dent each e t i yed n this boo, each ryh s apled o e du et in at leas ifeen diffent way
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Jk De Johne e ' Dctn, Untiled CM 1 074 tne "Fying Spirits' The Ulate Elvn Jne Be Noe 84305 tne Someie oie "Wa s his 1 Seleness eatng My Fe Thing John Colane) mpe ecord S-9 6 1 e "My Faore hngs (Ry ayne on dru Buddy Ric h Keep he Custoers Hap Libety cords S 006, te Kee the Cusoes ap y acc oanimen to the tobone lo. he (Saney ne CI 60 es "Th e evs "In ospecve By Cobh am o du Dae Brubeck ro Al the hng e Alanic cods SD 4 (Aa n Dwson lays dr u on one sde of the ecod Roy ayne on te vese id) Dve Bbek i & Gery Ml/n L at the erin Phlharon Colubia 2 4 Aan wo on drms ay an exeen excng so o o ndi an Son g. stead f a pair of dusticks, he uses oe aaca ad one d !
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