el What are you waiting for? es ed t4 ey te a ye ae BrnDrums2 INTRODUCTION Why did you buy this book, too? You bought it: because you love learning about the drums. And we're great instrument! lad—you've chosen a We assume that you've already completed (and reviewed a couple hundred time FastTrack™ Drums 1. If not, please consider going through it first. (We'd hate to cove something before you're ready.) In ary case, thio book picks up right where Book 1 ended. You'll lean loco more beats, lo more fills and plenty of cool techniques. And, of course, the last section of all the FastTrack™ books are the same so that you and your friends can form a band and jam together! Sa, if you still feel ready for this book, finish your pizza, put the cat outside, take the phone off the hook, and let’s jam, Always remember the three Ps: patience, practice and pace yourself. We'll add one more thie list: be proud of yourself for a job well done. ABOUT THE CD (no, it’s not a Frisbee!) We're glad you noticed added bonus—a CD! Each music example in the book is includec 60 you can hear how it sounds and play along when you're ready. Take a lister ample on the CD is preceded by one measure of “clicks” to indicate the tempo anc ‘er. Pan right to hear the drum part emphasized. Pan left to hear the accompaniment ne more confident, try playing along with the reet of the band. sized. Ae you beLET'S GET ORGANIZED As you learned in Book 1, drumsets can have various numbers of drums, cymbals and sound effects, Most of the exercises and patterns in this book can be played on a kit like the one shown below. Tom-toms: Crash cymbal Base drum IF you have a larger set (you lucky dogl), look for special sections on some of these added “toys: Here is a quick reminder of the staff positions and noteheads for all of the drums, cymbals and sound effects: Si | Pass drum ——Sraredeum — Small tomtom Medium Floor tom Cross stick ned base drum tomtom (or pedal) a mica Crash cymbal CoubetLESSON 1 You wanna rock! We've said it before, and well eay It again: how you play’ ie as important (if not more important) than what you play. In this book, we'll show you some popular styles used in today’s music. You can apply these styles to almost any song, ‘As we introduce each style, notice how the following musical elements change: A, DY Rhythmic patterns (quarter nates, eighth notes, sixteenth notes, etc.) ay Sounds ued (drums, cymbals, sound effects) 2 We'll also learn new beats, rhythms, and techniques as we go. Let's get started with an all- ‘time favorite... Rock music comes in many styles—classic rock, blues rock, easy rock, hard rock, heavy metal. Its roots date from the 1950s with such legends as Elvis Presley, Jerry Lee Lewis, and The Beatles. Early rock beats were generally played with a straight eighth-note feel. The following is one of the most-used beats in rock music from the ‘50s and ‘60s. (NOTE: Play the ride pattern on either hi-hat or ride cymbal.) @ Early Rock Beat pg a | —S-= Check out some variations of that basic beat, all of which have been used in hundreds of songs through the years. On track 2 of the CD, each pattern will be played twice, immediately followed by the next one: © Golden Oldiesre are four related beats that have also been used on a lot of songs. As before, each one played twice on the CD, immediately followed by the next. © Related Rock Beats ‘The straight quarter-note feel is often associated with many Motown records of the "60s but was also used by Roy Orbison on “Oh, Pretty Woman” (see FastTrack™ Drums 1 Songbook) and on records by the Rolling Stones, Young Rascals, Jeffercon Airplane ana many others. It’s easy and sounds great! @ Straight Four Rock SSS mH That beat also sounds good with quarver notes in the ride pattern, or with cross-otick on the snare drum. Two and fou! The pattern below, where the hi-hat stops playing on beate 2 and 4.as the snare drum hive, has been used by Charlie Watts on several different Rolling Stones songs. It’s also a favorite of Levon Helm (the Bard), Kenny Aronoff (John Mellencamp), Jim Keltrier (Traveling Wilburye) and many other drummers. The effect of hitting the snare drum by itself on beate 2 and 4 helps you get a really solid vackbeat. © Charlie's Beat T+} Ji» } ———— = f i Early rock drummers often used a lot of rida @ymifal andi partly open hichatito drive ES the music. (The snare and bass were played with conviction but nob Significantly louder than the ride or hi-hat.) = 4 ;One of the most important rock ‘n’ roll innovators of the "60s was a guitarist/singer composer named Bo Diddley. Many of his songs featured a beat that originally came fro Latin pattern called clave. The basic clave rhythm is like this: SS Diddley’s drummer would often play slightly “shuffled” eighth notes on the floor tom, accenting the clave pattern. (Well explain “shuffle” in Leseon 3, but track 6 will give you little preview.) To epice it up a bit, add a couple of extra accents in the floor tom, reinforcing the main accents with bass drum, as shown in GB below. (Each example is played twice on the CD.) © Bo Knows Beats SSeS Sees Wea ara New Toys: Maracas Diddley always had a maraca player who played straight elahths along with the drummer. If you really wart to get the Bo Diddley sound, have your singer shake @ pair of maracas while you play the Diddley beat on the floor tom. (Besides, why should the singer just stand there?) See if you can hear the infiuence of the Diddley beat in three popular patterno—with ae cighth ride, quarter ride, and sixteenth ride. Each example will be played twice, followed immediately by the next one: @ Bo VariationsHere are a couple of tunes in which fille are used a6 part of the drum groove. They'll help you develop the rock'n'roll feel © We Gotta Go = seers eS LUE Pet Gee JIT FFA Jo hte foo SB ee —= : Hey, You! SS eee = Tad s OAT, 2 FR , eaLESSON 2 3-for-1 special... Biy view yout iow etext cho: clalth nonce eee Boe paertar Vota, ald Teoleeheeoith notes aloo equal one quarter nove. Guees what? You can also divide a quarter note into thirds. What's this new rhythm? The Hal Leonard Pocket Music Dictionary (a great little reference book!) defines a triplet a: “three notes that are played in the time of two notes of equal value” You can tell eighth- note triplets from “regular” eighth notes because the triplet eighthe are beamed together with a number 3: z the tor-s Here's how triplete are written and counted in 4/4 time. Tap your foot to the beat and count out loud as you listen to track 10. Then try it yourself. Triplet Demo #1 P’ 2 —— — _——— ene op 2 ve You can also use “cho-co-lave” to help you count triplets. (Of course, this nc could make you really hungry after counting a long song?!) Let's mix triplets in with eome other rhythms. } Triplet Demo #2 pon a a Many rock, blues and country ballads have a triplet feel. Here is a basic triplet-base. drumbeat you can use with a ballad. (It sounds great with a cross-stick on beats 2 and 4 @ Ballad Triplet Beat 2 2 2 asses | ELEC ee. a ———For really slow songs, it’s common to divide the middle eighth note of the first and third triplets into sixteenths: } Slow Triplet Groove a —— fate ee Here are twelve variations of the triplet feel. As before, you'll hear each one played twice, immediately followed by the next one. Take ‘em slow and have fun. Twelve Triplet Grooves Py a = — 4 eT S eeFill it up! Triplete can come in handy develop technique around music. Insert a new fill each time Triplet Fills #1 P ir improvised fills. Below are some triplet fille to help you ¢ drumkit. Play along with track 15, following the first line of peate (fill A, fill B, etc.) You can also play triplet fills after a otraight eighth or sixteenth pattern. fills from above (A, B, C, etc.) a9 you play along with track 16. This time, ho: beat is straight eighthe: D Triplet Fills #2 _ og 4 = ae = 3 : f SS 4Now put those triplets to work on a longer slow ballad. You might try listening to the track a couple times before otarting to play. } Sad Song moomm mp Ee St cot Cr J hpi ahh fn ayaeyh Pee APES, = Ee Sr 2 Spat faedeeheeher! noomm Ep Ep ter Eee Tigh wma, on healt =]3/4...4/4...1 Until this page, you've been playing with time signatures in which the quarter note equaled ‘one beat. Time for eomething new (change is aood!): = 12 beats per measure eighth note (1/8) = one beat am 12845678 90 2 All notes and rests are relative to the value of an eighth note in 12/6 meter: doy doe Lot do = ‘eahth one beat quarter= twobeate dotted quarer= rer beats doteadhalf= chaste om 1 2 5 4G 6 769 wm @ of three... In this way, the rhythmic pulse of 12/6 meter feels like there are four beate per measure with each beat divided into thirds. (Thirds? Sound familiar?) That's because 12/6 are played the same way as 4/4 grooves with triplets. Compare the following pattern: track 12 (back on page 7)—they sound exactly the same: om 1 2 3 4 5 Gel + 2 2 + @Shut up and shuffle! As we described briefly, one of the most popular triplet-based rhythms is the shuffle. The basic shuffle rhythm ie obtained by leaving out (resting) the middle note of each three-note triplet group: ® Shufflin’ Down the Road a on Shuffies are sometimes written in 12/8 (again leaving out the middle note In a group of three.) The example below sounds just like track 19: qo ee} NO MORE CLUTTER: Instead of all the rests, you can group a quarter and eighth together for the same effect as above. It’s all in the feel... In some music, shuffles are written with etraight eighth notes, but a special instruction at the beginning tells you to play each pair of eighth notes as if they were a quarter-eighth triplet. Or, to further confuse (or perhaps simplify) things, shuffles can be written with a dotted eighth-sixteenth pattern. Any way you slice it, a shuffle is a shuffle. Here are two different ways to notate a shuffle. Both measures would be played exactly the same as the rhythm in track 19... a ee ee ee 5Accentuate the positive... For most shuffle patterns, you want a strong accent on the backbeats. Not only should you really slam the snare drum (rimehote aren't a bad idea either), you should also stress the backbeats on the hi-hat or ride. Shuffles generally have a strong quarter-note pulse, 60 we'll first accent this in the base drum. Track 20 ie a terrific shuffle pattern that can work with lots of songe: Basic Shuffle To add some body to the shuffie, many drummers play the complete shuffle pattem on the hithat (or ride) and the snare drum at the same time. The most important thing is to play the accented backbeats much louder than the other notes. Doublin’ Up #1 When playing the shuffle rhythm on the ride cymbal, you can reinforce the backbeats with left-foot hi-hat “chicks” We'll notate this one in 12/8 for variety. (Notice that: in 12/8, the quarter notes in the base drum become dotted quarter noves.) © Doublin’ Up #2 More power to ya... If guitarists can have “power chords” then we drummers can have power shuffles. Well throw the shuffle rhythm down between the bass drum and onare drum and mowe the quarter-note pulse up to the hi-hat. Check out the two patterns on track 23 (youlwe probably heard them on a lot of songel). Each is played twice... © Fower Shuffie x | 1 Se SSS J =FFor really fast tempi, you can alternate the shuffle rhythm between your right and left hando, with the left hand playing all of the “upbeate” and the right hand moving between the hi-hat and enare drum: . Uptempo Shuffle om jew! ms d WP SS Se rn = Or just play the shuffle pattern on the snare, alternating the hands. (Stevie Ray Vaughan’ drummer used to do this on lots of fast shuffles!) } Shuffiin’ Snare alia at t~ (took - r New Toys: Brushes and Multi-rods For a different “color.” try track 25 again using brushes or multi-rods (shown in the photos) instead of regular \ drumsticks. | | page (Don't worry—they aren't expensivel) Here's a “jazzy” version of the shuffle used on some of the earliest rock ‘x’ roll records. In this one, the quarter-note pulse is emphasized more than the backbeate, } Old-time Shuffle ee cS Go, mF fFTime out? Remember half-time from Book 1? The half-time shuffle is another popular feel. Play the same shuffle rhythm on the hi-hat or ride cymbal, but instead of accenting the backbeats (beats 2 and 4), accent: beat: 3; instead of a quarter-note pulse on the bass drum, play half notes. Half-time Shuffle #1 Here's a bass drum variation that sounds great with the half-time shuffle feel. Half-time Shuffle #2 If the rhythm guitarist is holding down the basic shuffle groove, you can vary the drum beat (and not have to play every note of the shuffle pattern). Here are a couple of variations ‘that work fine in such situations: Two Shuffle Variations Ae JJ - = aga = = Sometimes youll see a shuffle written in G/B. As suggested on page 11, simply pretend to cut a 12/6 bar in half. } Shuffie in 6/8 Now shuffle on over to the couch, pick up the remote control, and take a nice long break—you deserve itlLESSON 4 You've got the blues... If you haven't heard of the blues, then where have you been? It’ been around for ages and has been used by ouch music legends as B.B. King, Eric Clapton and Muddy Waters. Blues is fun (and easy) to play. Clas The most typical blues uses a form called 12-bar form. This doesn't mean that the song is only twelve bars (measures) long. Rather, the song uses several 12-bar phrases (or sections) repeated over and over. The buelve bare are usually divided Into three four-bar phrases. The lyrics (iF there are lyrics) of the firet phrage are usually repeated in the second phrase (with maybe a little variation), followed by a different third phrase. For example (you might grab a tissue for this one?!) Phrase Possible Lyrics 1 “Well, | woke up this mornin’. and my dog had died.” 2 “| oad, | woke up this mornin’, and my poor dog had died.” 3 “I felt 50 bad when | found him, | hung my head and cried” Any way you like it... Blues eongs can be fast or slow. Shuffles are especially popular with blues musicians, but blues can be played with straight eighth- or sixteenth-note feels, or just about: any other rhythm feel you can think of, The other members of the band will be playing very specific chord progressions that further define the 12-bar form. You, as the drummer, should also be very aware of the form and mark it accordingly. For starters, mark the beginning of each four-bar phrase with a cymbal crash. (Note: you won't always mark the beginning of every four-bar phrase with a crash, but you want to be able to do it when it: seems appropriate.) } 12-Bar BluesLess filling, sounds great... With the blues, drummers can ease back and just play the beat. The rest of the band will provide the “showy” stuff. However, there are some appropriate places to fill in with some sound effects. But it’s important to know when and where, 50 you don’t get in the way of a great blues guitar eolo... } 1 Cumbal crashes: The most important place in the form to recognize (and mark) is the beginning of each 12-bar phrase. IF you only play one cymbal crash in the entire twelve bare, play it on beat | of the first bar. xX ‘Add fille: A good way to signal that the form is about to start over is by playing a fill during the last (twelfth) bar leading into the cymbal crash at the beginning of the first phrase. BY Vary the ride: if you want: to change from riding on the hi-hat: to riding on the ride cymbal (or Vice verea), make the change at the beginning of a 12-var phrase—not somewhere in the middle. Generally, you would make such a change when something else in the song is changing. For example, you might ride on the hi-hat during the vocals, and switch to cymbal behind the guitar solo. Try some of these out in the next tune: Fillin’ On the next page you'll find a basic blues chart, often called a “road map” chart. A chart notated but does give you some basic information about what to play (leaving a Read through thelist and mark these spots o4 ‘You should quickly notice that this is a 12-var form in three distinct sections. The first is 24 a keyboard melody; the second a guitar solo; the third a repeat of the keyboard melody. The first measure tells you to play a shuffle feel, but you don't have to restrict yourself to what ie notated, The notation that's there is just to indicate the overall feel. Slashes that follow mean that you should continue in a similar style. 4 In measures 12 and 24, play fille over beats 3 and 4. In measure 36, play a fill through ‘the entire measure (for a big finale). But play whatever you want in these spots (as long as it sounds good!). a Note the indications for cymbal crashes. In the second section, you should play one on beat 1 of the first bar. In the third section, you should play one at the beginning of each four-bar phrase. (This io an example of building the intensity at the end of a song.) ONE MORE THING: Although not indicated on the chart, it would make sense to play on the hi-hat during the first and third sections, and switch to ride cymbal during the second section (the guitar solo), Or vice verea... © Blues Chart fal Keyboard sl ire - FEEL ELIE LEL ELLIE rT == Sa 1} pA ETL tS al = =) Before you play, you might pencil in some ideas on the music— file to play. sound effects to use, snacks to eat, CDs to purchases.LESSON 5 Nashville Dreaming. Years ago, you wouldn't use “country” and “drumming” in the same sentence, because country music didn't use drummers. Times have changed, and today’s country music borrows from a variety of styles. Still, it has a sound, feel and attitude all its own. MENS) The main rule for country musicians ie that the music hae to serve the lyrics. So country drummers tend to keep their playing very simple, but they make it feel really good. (Hey, & country cong ain't worth much if people can't dance or cry to it.) Mary country songs are based on the shuffle rhythm. However, whereas a blues oF rock shuffle has a strong quarter-note pulse, a country shuffle is often played with a “two-heat feel—that: io, you only play the base drum on beats 1 and 3. | } Country Shuffie - Some country shuffles (especially the faster ones) use a more jazz-like version of the shuffle rhythm, one that is also used in the “western owing” style... © Country Swing Shuffle COOL TECHNIQUE: For a popular country sound and fee! (instead of riding on the ride with a stick ard smacking the snare drum the usual way). play the ride rhythm on the snare drum with a brush while playing backbeate with the cross-stick technique. For the really fast tempos, play the shuffle entirely on the share drum with either sticks or brushes, alternating the hands: © Snare Shufflene Ty x a —- 4 isa IMPORTANT: Don't be a slouch—"basic” doeen't mean “boring.” It may be easy, but you are still expected to play with conviction and attitude. Country songs often have a straight two-beat feel. it can be thought of as quarter notes in cut time, as in the example at lower left; or as an eighth-note feel with accents on the “ands” as in the example at lower right. Both would sound the same. } Country Two-Beat Le Country artists also like songs with three beate—usually referred to as waltzes. Although a traditional waltz often hae accents on beats 2 and 3, most country drummers only accent beat 3 (often with a cross-stick). } Waltz Across Texas A popular (and fun!) country rhythm is the train feel, named for its “locomotive” sound. It's often played with brushes, but also sounds good with sticks. (Listen before playing...) Ri in’ the Tennessee RailCountry drummers sometimes play just on the snate drum (no cymbals), alternating their hande as shown below: eat for uptempo (that ie, “fast”) songs. Try it on the following tune. It sounds ks, blastice or brushes! Country Boy Here's a tune that combines country with rock ‘r’ roll © Tennesee Rock ee ri ae LoLESSON 6 The power of rock! No, “hard” rock doesn't mean that it’s more difficult—that’s just the name given to a style of rock music that was lese “pop” sounding than most of the rock of the ‘60s and ‘GOs. For drummers, the hard rock style involves putting more emphasis on the base and snare drums and playing more agressively. The ride cymbal isn't used as much (in fact, some hard rock drummer don't use or have a ride cymbal at alll). The hi-hat ride pattern is often kept more in the background. The hi-hat isn’t really being played softer—the bass and snare are Just being played louder! Most hard rock beate still emphasize the backbeat on the snare drum, but the base drum is often busier than it was in the "GOs. Check out these hard rock beats. On the CD, each beat Is played twice, immediately followed by the next one... © Rock Hard ~ ag d d _Tyo_ oT so AoPerhaps more than any other style of music, heavy metal is more about: how you play than what you play. The beats are usually very simple (heck, so are the power chords played by heavy metal guitariete). But when played with the right attitude and conviction, these beats can be very effective. A lot of heavy metal power beats are built on one of the first patterns you learned to play: Sheer Power Here are some more beats that are typical of the heavy metal style. Each one will be played (you guessed it!) twice on the CD, followed immediately by the next one. & Metal Mania “Is that the phone | hear?” Musicians need to proteot their cars from the high volumes their instruments produce. You'll often notice a ringing in your ears after you play, but it usually goes away after a few hours. If you keep exposing your eare to loud music, there will come a day when the ringing won't go away—ever! So, unless you want to hear this sound instead of your friends, family or favorite music, always wear earplugs or headphones when you play. Losing your hearing is not-cool,Hard rock and heavy metal drummer basic and powerful. Check out the following example nd to use Hit’em Hard Sri x eats they play— ve) fills,# you're fortunate enough to have two bass drums or a double-bass pedal, here are some grooves that are very popular with double bass players. First, practice playing straig) sixteenths between the feet (making sure that the notes are even and the volume i same). = mame nt: oot , LEE : When you're playing that much on the bass drums, it's a good idea to keep the other parte very basic, 29 In the examples below. Try it with a quarter-note feel, as in example 47A. Then try an cighth-note feel (like 47B). Each pattern i played twice on the CD... Double Basics You can apply the same idea to the triplet feel, as in 48A below. Then try the ever-popular “double bass shuffle” show in 486. Each pattern is played twice on the CD (tired saying that?): Feet Don’t Fail Me Now a =Nek a ered low we first two, keep the hi-hat slightly open a4 Chain-link Jal eee I] a 2 ot a pes i on oo oo f = SSS Se approach. On the E, tfeet oe po peeeeedeet ey a ee a puiji jy tii cetpe ph fe 5h ep ttee te fy |of 5/4 meter (yikesl), which fo just like 4/4 but with an tive music doeen't have rules!) Black Garden ae 4A FE fo J jee 22 oe 29 7 ee wh ielghe a IGEa a, OSG gh) maf eg gy BOT} pT ey Take another ee friend and have them learn es jet Track™ instrument. Be But don't dial too fast. Son ool baat see those handelLESSON 7 Locking in with the bass player An important part of being a drummer is listening to the electric bass (guitar, that is). Ae the two basic instruments of the rhythm section, it ie up to the two of you to lay a tight and solid foundation. This lesson provides you with some essential insight and common patterns to help you get “locked in” with the bass player ie | ADDED BONUS: If you know a bass player, have them play along with the same examples found in Lesson 7 of the FastTrack™ Bass 2 book. Talk about: being “locked in!” In many songs, the base drum will be playing the same rhythm as the base player. Track 52 demonstrates a common ballad feel. Listen before playing along. Pay special attention to the bass part and make sure your base drum is hitting at exactly the same time. @ Follow the Bass Now try an uptempo rock feel. Again, listen carefully for the bass rhythm and match It with the bags drum. ITT Kick It! om om jeep tee i Many times you will use a combination of bass drum and snare drum to match the bass line, as in the next two examples: Basic BalladYou don't have to play exactly the same pattern as the base player (and the base player doesn't have to match you exactly, either). But the two parte must fit together. One thing to listen for is the bass player (or the whole band) changing to a new chord just vefore the downbeat of a bar. Listen to track 56 and notice how the bass drum hits on the “and” of 4 in the first and third bars reinforce the early chord changes that are anticipating beat | of bars 2 and 4... Catch the Kicks Sometimes (Imagine this, garage band drummers), there won't be any music for the drummer to follow—not even a “road map” chartl Never fear—just look at the base player's chart to get an idea of what to play. For example, if you saw a bags chart like this.. edie Da qe pete de Gs te You might play a drum part like this one. D Still Can't Wait Liddiddd oh orttriester f _—— xLESSON 8 Let's get funky... The funk style is especially fun for drummers, as the rhythms are often more interesting than the more straight-ahead beate found in pop and dance music. Syncopation One of the rhythmic elemento that distinguishes the funk style is syncopation, which is defined ae “putting a strong note on a weak beat.” That simply meane that instead of always accenting the main beats, you might put them on the “ands” (eighthe) or even the *e'e" and “a's” (sixteenths). Ie easy to hear the difference. Track 58 is a short snare drum example played very etraight ahead Marchir’ guanine pai * pais y Now here's a very similar example but with heavy syncopation... } Syncopated Marchin’ squad FALE MOAI AAS, SABIE Funk beats generally have a sixteenth-note feel, 60 a good way to start is by playing otraight sixteenth between the hi-hat and snare drum s0 that all of the syncopated bass drum notes are placed accurately Try the following grooves. Ae before, track GO plays each groove twice, followed by the next one... } Funky Sixteenths _on phim, AM ATT, torr *t =—- =. A ed) eeFast changes... Here are a couple of exercises to develop your ability to play between the snare and hi-hat. I's possible to play all the hi-hat notes with the right hand and the snare notes with the left, but: many funk drummers use alternating strokes for patterns such as these. IMPORTANT: For alternating hands, pay special attention to the sticking pattern. ® Mixing ‘em Up Now try some sixteenth-based patterns with syncopated accents In both the snare ana bass drum parte. (Careful—these are a bit tricky and may take some time to master!) e Funky Combinations The next one is also tricky at first, but stay with it until your harids sort of feel where to-go. NOTE: The right hand moves from the hi-hat to the bell of the crash cymbal to the snare and back to the bell of the cymbal (and then does all that again). The left hand plays al “e’o" and “als” on the hi-hat. & Gaddzooks IF all of the notes are played at exactly the same volume, the pattern will sound boring Especially on the snare drum, ome notes should be accented (rimshote are always eecthel). some should be played “normal” and some should be very soft (“ghosted"). Play the beats i this lesson aaain with varvina accents and notice how the entire sound and feel chanassEven though the following grooves have an eighth-note ride pattern, the sixteenth in the onare and bass drum parts give the rhythms more of an overall sixteenth-note feel. Open hi-hat io used on hi-hat offveats to enhance the syncopated feel Funky Stuff unk beate are played in a linear style, which means that only one part of the kit is being played at any one time (rather than a constant ride pattern with enare or bass notes hitting at the same time as the hi-hat). For starters, “free up” the hi-hat, and don't be dependant on having it play steady quarters, eighths or sixteanths. Many popular funk beats feature the hi-hat playing steady upbeats (the “ands” of the beats). Try this basic groove. © And Now ry p> by by } a , ee Here's one that will take a little more coordination, but it’s worth it when you get the (hey, i's always fun to impress friendo and family). © And Then Somewe Those “ands” sound great on the bell of the ride cymball Continue doing that while you play quarters on the hi-hat pedal with your left foot, as in the next two examples: And Then Again pi» _p +p And Then Some More gp et SS FS fitters F Here are two more popular hi-hat funk patterns. Notice that: you can “stick it” two differen= ways. } One-and-a, Two-and-a... Variation fli ae Hi a a == ——— = Te SS Feel free to mix and match the hi-hat variations... Funky Hats PG 2 Get:Final funky feels... Here are several linear beats using bass, snare and hi-hat. @ Linear Funk SLI, cecreestece eS pe EP AT While funk beats often use a lot of sixteenth notes, many drummers like to incorporate “space” into their funk beate by mixing in some quarter notes. For the following pattems, be sure to give the quarter notes their full value: © Breathing Room y yer err) al? aE = S4 Shuffles can be funky tool Try these. ——— gs, d Funky Shuffles 7 ine 3 2 2 Jo Td J Sd SS v ygot the hang of it, here are a couple more funky fresh beats... Ridin’ the Bus TL BA a= SS af Lo 7 SAA ere Se st | | oene TA 3_ Ag tt — — SS be > Staccato Funk PP Gp Pee oe Now that youve iH TED = ih iii Break time! Give your mind a rest. Do something that: doesn't involve counting....like your taxes?lLESSON 9 You got style! Welcome back, Let’s take a look at some more music styles used in today’s hits... The reggae style was born in Jamaica, and to hear the “real thing” you should check out artists such as Bob Marley, Peter Tosh and Burning Spear. But artists such as the Police, Eric Clapton and the Rolling Stones have also incorporated reggae influences Into their music. One of the most popular reggae grooves is called the one-drop, in which the bass drum etrikes on beat 3. The snare drum (usually with a cross-stick) can also strike on beat 3 (pattern A), or it can reinforce the hi-hat accents on beate 2 and 4 (pattern 8), First we'll hear the straight eighth versions @ Straight One-Drop : yo i {Tp owe TP = g z ..aind now we'll hear the one-drop shuffle fee! @ Shuffle One-Drop Here are several variations of the one-drop rhythm. On track 79, each pattern will be played ‘twice, immediately followed by the next one (where have you heard that: before?). @} Reggae RiddimsSome more reggae riddims... } Hot in the Sun My Lol All de 2 ee I a Wie (i i fa Ge (ti I I Re Llp LdLESSON 10 Dance the night away! Various styles of music are often classified as “dance music.” For the drummer, one of the main characteristics le that the bass drum will maintain a steady quarter-note pulse. The other parts will also tend to be repetitive so that the dancers can easily lock in with the beat. CO In the '70s, the disco style was very popular. Besides the steady base drum, many disco beate featured offveat open hi-hat notes. Notice that when you play open hi-hat notes on the offbeate, you need to close the hi-hat on the beat—which means that both feet will be playing a quarter-note pulse in unison. Track 82 features four variations of a standard disco beat. On the first line, maintain straight eighth notes on the hi-hat. On the second, you can just play the upbeats. (They'll both sound about the same.) The third line uses some sixteenths, and the fourth is almost the same pattern (but notice the alternating sticking in which the right: hand movee back and forth between the snare and hi-hat. © Disco Daze[eas The original meaning of R&B was “rhythm and blues.” a verm applied to music that combined elemento of blues, jazz and rock ‘r’ roll. Such artists as Chuck Berry, James Brown and the Rolling Stones were originally considered rhythm and blues. In recent years, however, RGB refers to a blend of funk and what was once called “soul music.” Youll find this style in music from Stevie Wonder, Marvin Gaye, the Temptations and many others. It usually has a strong dance groove, 50 the beat should be very smooth and repetitive. A little bit of syncopation doesn't hurt, but dort overdo it. The following two CD tracks will give you the idea. © Motown GrooveThe hip-hop style is a type of funk that evolved from rap music. Because a lot hip-hop beats were programmed on drum machines, they were sometimes very di not impossible) to play on a real drumset—they had so many noteo! A very common hip-hop pattern (that you can play) is based on the half-time shuffle, but inetead of the shuffie rhythm being written with eighth notes and the onare hitting on beat 3, the shuffle pattern is written with sixteenth and the snare plays on beats 2 and 4 (four eighth-note clicks begin the track). Some of the triplets are filled in by the bass drum or by “ghost notes” on the snare drum (as you'll eee and hear in the track 85): & Hip-Hopping Za vai Te Ly ~4 = — 4The bossa nova is a popular Brazilian rhythm that hae been used by both rock and jazz bands. The cross-stick on the enare imitates the sound of claves, while the base drum and hi-hat patterns should ve smooth and flowing... } Who's the Bossa Nova? gp LTP — bt Ft or $ Hf you have trouble playing the pattern shown above, you can start by simplifying the ba drum part and playing it thio way: age Tas e= ar ae In a real Brazilian band, another player would be playing straight eighth notes on mars or a shaker. So, to get a more authentic sound, instead of riding on the hi-hat you can shake a maraca with your right hand. Another way to imitate the sound of a shaker is to “ewish" a wire brush across the snare head. You can give a Latin flavor to some of your rock beats by riding on a cowbell or the bell of the ride cymbal (inetead of the hi-hat or body of the ride cymbal), using a cross-stick on the enare, and incorporating tom-toms into your beat. Try the following Latin-style pattern: & Rock'n’ Cha-cha 4g dl Sg a = a Ft Kinda makes you wart some spicy food, huh? Well then, break out the peppers! (The important word here is “break’"—take one.)(and other funny words) Just as guitar and keyboard players practice scales to help them learn to get around their instruments with dexterity, 90 drummers have rudimente—rhythmic patterns and ‘techniques that can be used in a variety of ways. You learned an important rudiment: in Book 1: flams. In this leseon, we'll look at another useful rudiment... radiddle: A single paradiddle is a group of four evenly spaced notes (usually eighths or sixteenthe) ‘that are played with two altemating strokes followed by a double stroke, Often you will have ‘two paradiddies in a row, as in the following example: IMPORTANT: Follow the correct sticking for each paradiddle. (Heck, that's the whole point of playing them!) When playing the double stroke (RR or LL) at the end of each paradiddle, be sure you really play each note. That is, don't just let the second one bounce. If you do, it will sound weak (wimpy event). Practice the above example until you can play paradiddles effortlessly and don't have to think about the sticking pattern. To help you remember the pattern, try saying the name of the rudiment as you play it: ries Now try playing paradiddles as sixteenth notes and play bass drum on the quarter note beats fills, Try this for starters, then create your own combinations: © Paradiddle FillUse paradiddles to create interesting drumset beats. Simply play paradiddles between the snare drum and hi-hat, accenting the backbeavs: Full Set Paradiddle Make a great Latin-sounding drumbeat with paradiddles. Play the right: hand on the bell of the ride cymbal (or a cowbell). Play single strokes with the left hand on the snare and double strokes on a tom-tom, like the next example. Listen to track 90 a couple of times before you play it... Add the Toms ee For a driving rock beat, play the paradiddle between the loft: hand (snare drum) and the right foot (bass drum), with right-hand quarter-nates on the ride cymbal or hi-hat. Be eure to accent the snare drum backbeats but play the other snare notes softly as “ghost notes” » } Ghostly Snare ‘And, of course, you can apply the paradiddle pattern to a shuffle. This one has a nice half time feel (a6 long as you put the accent in the right-placel) © Paradiddle Shuffle x 2 Piece SSeSTHIS PAGE IS ALL TEXT (Please read it anyway!) Ready to play... You've learned a lot in the previous pages, 90 now it’s time to use some of that knowledge and technique playing some full-length songs. First, let's review some of the basics of a great performance: KNOW THE SONG: Don’t just play random beats, fille and cymbal crashes. The drummer has to understand the song form just as well as the rest of the band. Find ways to reinforce the form of the tune by changing the beat or the sound when the ong moves from the verse to the chorus. Play fills at the end of sections and hit cymbals to mark ‘the beginning of a new section. Above all, make sure your drum beat fits the rhythms ‘that the other instruments are playing. x BE CONSISTENT: Pick a distincitive beat for each section of the song, and use the same basic pattern each time that section is repeated. That doesn't mean that you can't play extra notes here and there to spice things up, but don’t change the beat 60 much that it sounds like you went on to a different song, wy USE DYNAMICS: (‘What dlya mean use more dynamics? I'm playing a6 loud as | canl”) Using dynamics means playing at all volumes, including very soft. Sure, the loud stuff is impressive and a lot of fun to play, but people will notice it more if there are some soft spote, too. Save the really loud playing for the climactic moments, Drive the song with conviction, not just volume. xX BUILD THE INTENSITY: Don't play everything you know in the intro, Save some stuff for the etd, Let the song gradually build in intensity and interest. 4 LISTEN, LISTEN, LISTEN: Don't get so wrapped up in what you're doing that you don’t know what the rest of the band members are playing. You can't make your part fit with theirs unlese you are listening to them all the time, ay LET THE MUSIC TELL YOU WHAT TO PLAY: Don't try to force your favorite beate and "fills into songs. Pay attention to what the other instruments are playing and it will be obvious what you need to play to complement the other instruments. nx SIMPLE AIN'T BORING: There may be one or two drummers in the audience who will be checking you out to see what kind of licks you know. DON'T WORRY ABOUT THEM! Play for the music, for your bandmates, and for the people who are listening and/or dancing. If you want. to get a lot of gigs, you don't: need to impress other drummers, because they're not going to hire you, Impress guitarists, bassists, keyboard players and singers. The way to do It is to make their jobs easier by giving them a simple, solid beat. (And GOOD drummers will be impressed when they hear you doing that!) Okay. time to tackle the final three sonas. Go for itlLESSON 11 Strike up the band... As in the first book, this last section isn't a lesson. ..it’s your jam session! All the FaetTrack™ books (Guitar, Keyboard, Base and Drums) have the same last section. This way, you can either play by yourself along with the CD or form a band with your friends. So, whether the band’s on the CD or in your garage, let the show begin.. & bo Nervous&} Dim the Lights [| Soto (Guitar) nn Tamme ae f p vt Tp 5 AL ATLL Lo 1 SS to oe [D) Reprise Tre Ayn Be Lo ee == [EF] Outro aya age fle ee Cg =f ee eee& & Basement Jam Congratulations! You're ready for the big leagues...(...gotta have one!) cD SONG TMLE PAGE > SONGTITLE 1 Early Rock Beat 8 50 Just a Slice 2 Golden Odie 8 51 Black Garden 3 Related Rock Beats 4 52 Follow the Bass 4 Straight Four Rock 4 83 Kicktel 5 Charlie’ Beat 4 54 Basic Ballad 6 — BoKnows Beats 5 55 Base Ostinato 7 Bo Variations 5 56 Catch the Kicks & — WeGorta Go 6 57 Still Cant Wait 2 Hey. You! 6 88 Marchin’ 10 Triplet Demo #1 7 59° Syncopated Marchin’ ‘1 Triplet Demo #2 % 6O Funky Sixteenths 12 Ballad Triplet Beat z 1 Mixing ‘em Up 13 Slow Triplet Groove & 62 Funky Combinations 14 Twelve Triplet Grooves e 3 Gaddzooks 15 Triplet Fil #1 2 64 Funky Stulf 16 Triplet Fils #2 9 65 And Now 7 Sad Song 10 66 And Then Some 18 12/8 Meter 1 67 And Then Again 49 Shuffli’ Down the Road 2 68 And Then Some More 20 Basic Shuffie 13 69 One-and-a, Two-and: 21 Doubiin’ Up # % 70 Variation 22 Doubiir’ Up #2 3 7 Funky Hate. 23 Power Shute 1B 72 Linear Funk 24 Uptempo Shuffle 4 78 Breathing Room 2 Shuffliy’ Snare 4 ‘7 Funky Shuffies 26 Old-time Shuttle 4 75 Ridin’ the Bus 27 Half-time Shute #1 16 76 Staccato Funk 2B Half-time Shuffle #2 6 77 Straight One-drop 29 Two Shuffle Variations 5 7 Shuffle One-drop BO Shuffle in 6/8 ® 79 Reggae Riddims 21 12-Bar Blues 6 60 Hot in the Sun 32 Flint 7 81 Jamaican Me Crazy 33 Blues Chart 18 82 Disco Daze 34 Country Shuffle 19 83 Motown Groove 36 Country Swing Shuffle 19 84 R&B Drums 36 Snare Shuffle 19 26 Hip-Hopping 37 Country Pop 20 86 Who's the Bosse Nova? 38 Country Two-Beat 20 87 Rock‘ Cha-cha 29° Waltz Across Texas 20 82 Paradiddle Fill 40 Ridin’ the Tennessee Rail 20 89 Full Set Paradiddle Al Country Boy 21 90 Add the Toms A2 Tennessee Rock 21 QM Ghostly Snare 4% Rack Hard 2 29 Paradiddla Chucfinee ee you came to the right piace! Continuing with the “2s Track series is a great (not to mention fun) way to play drums. Dee me re ee dae Se Re Re Rcd DUE Ge ate La Se en ee Ue SURE UB eS Ee pC UR togy Sem Ce RR mE eRe oe BE eee Sa a ee MSS Ud Pee ey Pea Guitar Songbook 2 LOS ES ra oS RT le PTR Bay ents