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The researchfor this book came fromthe followingbooks: Jim Payne's Give The DrummersSome!(re-issuedas The Great Drummersof R&8, Funk & SouĄ Allan S|utsky and Chuck Si|verman's The Funkmasters and Zoro,s The Commandments Of R&B Drumming. came fromthe followinglinernotes: Additionalinformation James Brown'sStar Time,writtenby James Brown,CliffWhite,HarryWeinger,Nelson George and Alan Leeds, and Funk Power,writtenby Alan Leeds. also came fromgood old oral history. Some furtherinformation I'dliketo acknowledgethe drummerswhose groovesand playingI have learnedfromand who inspiredme to writethis book.lf you'renot familiarwiththese guys yet, make sure Jabo Starks,Melvin Parker, you check them out:Zigaboo Modeliste,Clyde Stubblefield, ldris Muhammad,James Black, Bernard Purdie,Al Jackson Jr., Roger Hawkins,David Garibaldi,Clayton Fillyau,Mike Clark, John Bonham, Brian Blade, Johnny Vidacovich, HerlinRiley,ShannonPowell,RussellBatiste,HermanErnest,LevonHelm,WillieGreen, Geoff Clapp, RaymondWeber,JefferyAlexander,Adam Deitch,Kevin O'Day,Joe Russo, Carlo Nuccio,and JohnnyThomassie.
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ffiTffi$* While my firstbook, Takelt To The Street,presentedmy approachto the manyaspects of NewOrleansdrumming, thisbookis intended to exploremyapproachto funkand other typesof groovedrumming. This book can in manyways be seen as a continuation of Takelt To The Street. Thereare manyclassicgroovestranscribed throughout, and whileI encouragelearning theseas faithfully as possible,I also suggestusingthemas toolsto createnewgrooves as well.By understanding whathas alreadybeendone,we can betterunderstand howto progressforuvard. Youmaywantto considersomesuggestions forwaysto use thisbook.I suggestlistening to the CD by itselfto furtherinternalize the feelof a lotof thesegrooves. Also,you maywantto try coppingthe groovesby ear first.Trycomingup withyourown variationsbasedon yourfirstimpressionsof whatyou hear.Rememberto recordor notate whatyou play.You can alwaysgo back and learnthe groovesnotefor note,butyou can't you get fromhearingsomething alwaysrecapture the inspiration forthe firsttime.
The encloseddisc is an MP3/Datadisc.MostnewerCD & DVD playerswillplaythisdisc as a normalCD.Youcan also insertthe disc intoyourcomputerand importall thetracks intoiTunesor any othermusicsoftware. All of theexamplesin thebookare includedon thedisc,andthetracknumbersmatchthe examplenumbersin thebook.Lettershavebeenaddedto eachfilenameto makethedisc playin order.
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n 1962Cłayton Fil|yaurecorded..l'Ve Got MoneyJ'Fił|yau cameup withthisbeatafter spendingsometimewiththe drummerfor New OrleanspianoplayerHuey"Piano" to be eitherCharles"Hungry" Smith.Fillyaumetthisdrummer(believed Williamsor Joseph "Smokey"Johnson)while Huey Smith's band was touringthroughFillyau's Florida.Fillyauthentooksome of the syncopation hometownof St. Petersburg, he was of mostNew Orleansdrumming, shown,distinctive and blendedit withsome aspectsof FloridaA&M.He cameup withthisgroove thedrumcadenceshe learnedwhileattending put "l've it to James Brown'ssong Got Money." and B2bpm.
groove. $&*xę*ęj1main 3. {6€9ę.* &Jgx6 Manypeopleconsiderthis beatto be the seed of the "JamesBrownbeat"and the spark thatignitedthe flameof funk.Noticethatthe unusually brighttempoof thissongmakes thistracksoundvervsimilarto thedrum& bass beatsthatcamemorethan30 vearslater.
Also notethe similarities betweenthisgrooveand the grooveto the New Orleansclassic "BigChief."Eventhough"BigChief"was releasedafter"l'veGot Money," the beatto "Big Chief"is thestuffthatNewOrleansdrummershad beenplayingfora longtime.lt'shighly probablethat"Hungry" Williamsor SmokeyJohnsonshowedFillyausomething veryclose to thisbeat. Professor Longhair 1964,drums:SmokeyJohnson,c. 130bpm. ilfuB*S1? Right hand on rim or side of floor tom.
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eeffi*&ffiB* In 1964,MelvinParkerrecorded"OutOf Sight,"and in '1965he recorded"Papa'sGot A BrandNew Bag"and"l GotYou(l FeelGood)J'Heintroduced a clean,stripped-down style that utilizedthe cross-stick(or rim click)techniqueon the snare and,with"BrandNew Bag"and "l Feel Good",the recurringopen hi-haton the & of 1 and the & of 3. This openingof the hi-haton the &'s of 1 and 3 createsa "shoop"thatsets up the backbeatfor a crisp snap.This developmenthas appearedmany times since (especiallyin the drummingof Jabo Starks),and continuesto appearin greatgroovesto thisday.
g. e#*Eł sf sig&*'91964,dtums: MelvinParker, c. 130bpm.
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11.i6l 6at B'stl $ }e*t So*d)?t 196b,drums:MelvinParker,c. 147bpm.
In 1966James Brownwas so gladto finallyhavewooedJabo StarksawayfromBobby "Blue"Blandthat he recordeda tune withJabo and namedit afterhis new drummer. Noticethe similarities to Fillyau'sbeaton "l'veGot Money"? t2. t{#a&*t? 1966,drums: John"Jabo"Stalks,c. 128bpm.
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First 4 bars:
I'vetranscribedthe firstfour bars here,but noticethatthe majorityof the song is based on five-barphrases.Also notethatClyde'sgroovein the bridgeis directlyrelatedto the 3-2 clave.
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JABilES BROWN Here'sanotherone of Clyde'squarter-note hi-hatgrooves.This is the grooveto 1969's "MotherPopcorn." t9. 66B6*€ E xffiffeffe{Eg?ffi':1 1969,drums:G|ydeStubblefie|d, c. 116bpm.
Here are some things I came up with to work on Clyde's three-notephrases.Try these witheighthnoteson the hi-hat,d la "l Got the Feelin"'andthe breakof "Soul Pride." 2 0 ,c , 1 1 8b p m
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*AffiEg BROYYN In 1969 Clyde also recordedthe masterpiece"Funky Drummer." Clyde beginsthe tune with a very simple sixteenth-note hi-hatgroovewith a missing 1 on the bass drum.He graduallymorphsthe grooveintoan eight-barbreakthatis one of the mostsampleddrum breaks of alltime,withthe "Amen Brother"break maybe comingclose. I'vetranscribedthe wholeeight-barbreak.Usuallyonly bar 1 or bar 3 is sampled,due to vocalspresentin the rest of the break.Dependingon which bar is sampled,you may have heard the (slightly) open hi-hatin differentplaces.The consistentsixteenthnotes in the righthand along with all the other intricaciesbetweenthe snare and bass drum make this a very challenging break to play.I've heard speculationthat this tune (like"Papa's Got A Brand New Bag") may originallyhave been recordedat a slower tempo and the tape may have been sped up just a bit. lf that's true, it may be of some consolationwhen you first try to get this groove up to speed. Notice that the feel is in-betweenstraightand swung, but closer to the straightside of the spectrum.The "open"hi-hatshappenalmostaccidentally,as Clyde was most likelytapping eighth notes with the heel of his left (hi-hat)foot and liftinghis whole footoff the pedal ever so slightlyfor the quasi-opennotes.(Thistechniquehas also been used to great effectby Bernard Purdie.)Also, this should be playedwitha fairlylight touch;the break sounds so big because of the reverbappliedto this section of the tune.
I've heard Clyde say, "lf I would've known so many people were going to hear that thing, I would've played something hipper than that." Funny, Clyde, very funny.
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ve been workingon the grooveto "Funky Drummer"off and on for 15 years, easy. The hard part is gettłngthe righthand up to speed and then gettingeverythingelse to fall into place.So...a couple of things I recommend.Check out the JoJo Mayer DVD Secret Weapons for the Modern Drummer.There's a section where he explains the push-pul|techniquefor płayingquickercontinuoussixteenthnotes in the righthand' Few humanswill ever be able to do it the way JoJo does, but I foundthatjust by practicingthis bit, it he|pedget my right.handsixteenthsup to speed a |itt|ebetter. techniquea łitt|e Another tip is to practicethe groove over and over at a slower tempo.You can use any number of software programs (such as Roni Music's Amazing Slow Downer, Seventh String'sTranscribe!,Apple's Logic, or DigiDesign'sPro Tools)to slow down the track withoutchangingthe pitch.These programsusuallyhave a functionto loop it up as well. This allows you to hear exactly how Clyde is phrasingthe sixteenthnotes.You'll notice they are prettystraight,except that the snare drum skip beats and the note right before the backbeaton beat 4 are just a littleswung.lt's almostas if the right-hand(hi-hat)notes are straightand the left-hand(snaredrum)notes are swungever so slightly.Youcan really hear this when you slow it down. Practice the groove at a slower tempo so you can completelylock everythingin. Get used to feelingwhere everythingsits, and get used to the feelingof having it totallylocked.You can practiceto a metronome,but also practice to the slowed-downloop. Once you get it totally locked at the slower tempo, you can graduallyincreasethe tempoto get it up to speed.Once you get it up to speed,try practicing it even a littlequicker.This will make playingit at the righttempo a littleeasier as well. As for the semi-shoopson the hi-hat,I tap my left heel in eighthnotes on the hi-hatheel plate.When it'stime for the "shoop,"you just releasethe pressurewiththe ball of your foot not really liftingup the foot,but just barely. ever so slightly... Also it helps to use a crankedmetal snare drum and play it reallylightlyto get the sound. LudwigSupra-Phonic As far as I know,Clyde was using a 5x14 chrome-over-aluminum people played realize. than most lighter in the studio 400. Clyde You can apply these techniquesto any other groovesyou practiceas well.
1970 was a landmarkyear of turmoiland innovationin the James Brown camp. Most of '60s band, including Maceo Parker, Fred Wesley, Bernard Odum, and the legendary Jimmy Nolen, were disgruntledwith pay and touringconditionsand approachedJames beforea March 9 concert in Columbus,Georgia.James was unwillingto meet the band's demands and immediatelysent his Learjetto Cincinnatito pick up a band of teenagers, Brown knew of the Collins led by Bootsy Collins and his brotherPhelps ("Catfish"). The brothersand brothersbecausehis recordlabel,King,was also locatedin Cincinnati. was not most the material, but the transition of their crew were fans of Brown and knew perfectlysmooth and it took a few weeks for the new band to get up to speed.While the old band had featureda large horn sectionand multipleguitaristsand drummers,the new band (named the J.B.'s)was more focused around the stripped-downrhythmsection of one bass player(BootsyCollins),one guitarist(CatfishCollins),and drummerJabo Starks (who stuck around because he felt he had a contractto honor). Once James feltthe J.B.'swere readyfor the studio,he took them in on April 25 to record "Get Up (l Feel Like Being A) Sex Machine."The tune was a monsterhit, and James Brown and his band were back on track once more.
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**$ffi&effi was not part of the mutiny,he only It'sinteresting to notethatwhileClyde Stubblefield appearedon a few tracksduringthis period.Here'sa look at Clyde'sgrooveto "Since You'veBeen Gone."Noticethe missing1:Veryrare.Also,noticethesimilarity of beat1 in "Soul groove Food." this to beat3 in the secondbar of Nat Kendrick's gł. *{$fraaee Y*xa9ęę &ec.xa c. 116bpm. &*xe'91970,dtums:GlydeStubblefie|d, -3-
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And here is Clyde's driving groove on the kick-ass remake of "Give lt Up Or TurnitA Loose,"recordedin 1970 as well.The drum and conga breakdownin this tune is another frequentlysampled groove.
Ą ['oose}? Glyde *tŁp sr TŁEr'dt breakat5:13,1970,dlums; Stubblefield, c. 117bpm. 35.oiil6ęe
bass drum Here is Jabo's grooveto "Talkin'Loud And Sayin' NothingJ'Thefour-on-the-floor patternmakes this groove relentless.
John,.Jabo''Starks,c. 102bpm' $-*ex*:&gn* 36.{óx'ex$a*xxg sayi# sg*Idxs'l1970,drums:
This track,alongwiththe previous Let'scheckout"GetUp, Get Intolt And Get Involved." Talk twoClydegrooves,are raretrackswhereClydeand BootsyCollinsappeartogether. abouta monsterrhythmsection! drums:GlydeStubblefield, c. 111bpm. 3z. 66&*& € J p' se* $xE€ *X€ A}xd&et Xxaę*Eęe*?'1970,
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JABES BROWH Stalks,c. 97bpm. drums: John..Jabo'' swxg'ć T.akeftę s$*gs?91974, $. ódffmpa This is the basic groove, groovethroughout.
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Now let'sfurtherexaminesomeof Clyde'sclassicgrooves. c. 96 bpm. 44.{4$kefi&i*kenttAIlred"PeeWee"Ellis 1968,drums:GlydeStubblefield,
Stubblefield, c. 112bpm. 1972,drums: G|yde Xt}'? rynGolIins 45.66megłx& {A&oexć
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E]GABos BiloBEŁl$TE the Modelisteof NewOrleansfunksupergroup t's no surprisethatJoseph"Zigabao" Zig is one of the all-timelegends Metersis one o{ my all{imefavoritedrummers. greatssuchas Steve Manydrumming whenit comesto funkand groovedrumming.
Jordan,DennisChambers,DaveWeckl,and VinnieColaiutaciteZig as one of theirfavorites as well. and misinterpreted" As muchas Zig is revered,I findthathis playingis oftenmisunderstood "Cissy Strut." groove Meters'classic to the funky Zig's amazingly Let's begin by examining Also note thatthe melodyof "Cissy Strut"has an underlying3-2 clave. this groove is very linear in naturewhich was slightlyahead of its time, as lnterestingly, '70s. lineardrummingdidn'tbecomepopularuntilthe mid |irst A section,The Meters 1969,drums:ZigabooModeliste,c. 88 bpm. łg. 66il&geę s*ew€ . 1! RT.RR
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It is importantto note that Zig playedthis beat with both hands on the hi-hat...gasp!!! I'veseen many great drummersmisinterpretthis beat withjust the righthand playingthe hi-hat.I was fortunateto see Zig give a very rare clinic.He revealedthat he used to watch a drummerby the name of Stanley Ratcliff(or"Rat")playingon BourbonStreetin the mid'60s. Rat was the firstdrummer Zig saw play alternatingsixteenthnotes with both hands so. on the hi-hat.Zig thoughtthis groovewas incrediblyfunky...andrightfully
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Notethatthis beat is verysimilarto "CissyStrut,"butthe handshavebeen movedfrom the hi-hatto the snare,withthe righthand going back up to the open hi-hatfor the lf you play"CissyStrut"withthe righthandon the hi-hatand thentry to play backbeats. that "FunkyMiracle," they seem like two unrelatedgrooves.But when you understand the played hi-hat, the similarities between two "Cissy Strut"is with both hands on the becomeobvious. Now let's check out the correlationbetweenthe "Ratcliffbeat"and "Hey Pocky A.Way." lf you take awaythe backbeaton the snare,slow the beat downslightly,and moveboth handsto the snare,you have"Hey PockyA-WayJ' molphinginto..HeyPockyA.Way.''AUD!00ttY ss. {d&nteliffbcgś?'
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Onceyou'veexperimented withmorphing thisbeat,trylockingit intoZig'sphrasingon the Meters"'GroovyLady"(ex.51). Again,if you movethe handsto thesnareand accentthe bass drumnotesinsteadof the backbeat,the"Ratcliffbeat"becomes"HeyPockyA-WayJ'Getting thisfeeldownwillhelp you understand whereZig and a lot of the New Orleansstuffis comingfrom.You can practicea lot of the stickingsfrom TakeltTo The Streetto"Hey PockyA-Way"as well.lt's importantto rememberthat this groove is slightlymore swung than "Cissy Strut" or "GroovyLady,"but it is still in-between straightand swing.Let'stry morphing"Hey Pocky A-WayJ'Let's start in-betweenwhere it should be, then listen to how wrong it soundsas it morphstowardstoo straightand thentoo swung.Once you get comfortable playingit in-between, try practicing to the originalversionof the tune. 75.c. 83bpm. R >
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T}tE,, Fl.sB*s'' Bts F.FŁY*Xę n thissectionwe'llexaminesomeof thecreativeprocessesinvolvedin groove-based and funk drumming.We've examinedsome of the techniquesthit should be digestedand whathas come before.Now I'dliketo explorehow we can combine
some of these differentaspects to create new groovesand come up withyour own approach.
We can start by examining and understandinghow some of our favoritedrummers created their classic grooves.We will try to develop a deeper understandingof some of the masters'creatłveprocesses' We'||examine some of the buildingblocks and where they got some of the ideas to do what they did. We can then begin to create groovesof our own by using certaintechniquesthat can aid in the creationprocess. We can now begin to apply some creativetechniques I like to call the "ations."These would incłude examination,variation, style and tone combination, new app|ication, realization, exploration, improvisation,interpretationand inspiration.We can also experimentwith feel and tone juxtapositionas well.
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It'sinteresting to notethatdifferentpeoplehavedifferentinterpretations of howthis beat was played.I'veseen it notatedthisway... 117.
And this way. 118.
Jabo plays this simplifiedversion on the bridgeof the album version. 119.
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128.
I actuallygotto havedinnerwithJabo and Clyde.Afterhangingoutand gettingto know eachothera bit,I saidto Jabo,"l reallydidn'twantto do thisto you,butsinceyou'reright here,let me ask you.I'veheardand seen yourgroovesinterpreted a bunchof different ways.I thinkyou'redoingthis,and it'scomingfromthe jazz ridecymbalpattern." Then I playedthison his leg... 129.
He smiledand said,"That'sit!Veryfewpeopleunderstand that,butthat'sright." I thinkit's important to realizethatJabo himselfplayedmanyvariationson the original recordings and playedthingsslightlydifferent liveas well.lt'simportant to checkoutall of thesevariationsand use the ones thatfitthe situationat hand. Let'scheck out some variationson Jabo's grooves. 130.
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An effectivevariationtactic can be to rearrangea pre-existinggrooveor start it in a differentplace.You can thenadd variationsfromthere.Check out howthis nextgrooveis This new groovestarts based off of ideas foundin "Cissy Strut"and "Hey!Last Minute." grooves. 4 of those what were beats 3 and outwith 139. RLR
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140.{{$ie'ilre*}fanet FuLtMlx Here are some variationson the grooveto the liveversionof "Africa." 141. RLR
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l've talkedpreviouslyin Takett To The Streetabouthowyou can get "Hey PockyA-Way" plays the The right hand conveniently variationswith the Steve Gadd Mozambique. These tambourinepatternin the "Hey Pocky A-Way"drums and percussionbreakdown. or chingringon the hi-hat. soundgreatwitha tambourine 150. R t
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or jinglestickin the righthandas well. Trya handbourine 151. L
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voiceson the kit.Here'sone withmovingthe righthandaroundto different Experiment playingwith the bass the hi-haVtambourine on the cowbelland withthe handbourine d r um . 152. RR L
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Hopefully,examiningthese groovesand variationsignitessome creativityand you are able to come up withsome new variationsof your own.Experimentwiththese $IooV€ S ; variations,and creativeprocessesand try to come up withsome new groovesthathave neverexistedbefore.
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Here are a fewthatuse Jabo'sgrooveto "SuperBad"as the firstbar whilestilldrawing fromClydeforthe secondbar. 173.c. 125bpm
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ffiffi seeminglydifferent stylescan be mixedwithsomeof theseideasto createa Sometimes, new twist.Let'stry infusingsome of StewartCopeland'sdrummingintosome of these ideas.Stewartoftenuses accentson his ride cymbalor hi-hatto greateffect.He also improvisedand variedwhat he playedgreatly.Let's apply a StewartCopeland-esque rhythmic structureon the hi-hatand/orbellof the ride. 182. >08
lt even appearsin some hip-hopand funkdrumming. Notethata similaraccentstructure "accents" "When groove the Levee Breaks." These happen to appearsin John Bonham's whencompressionis appliedto the drums.Compressionmakesthe softernoteslouder and the loudernotessofter,and givesthe drumsmorecrunchand morepunch.When is appliedto simplebeatsandthe hi-hatis theonlynotebeingplayedat that compresslon time,it tendsto jumpin volumeand soundlikean accent. lf we applythis accentstructureto these types of grooves,we startto come up with grooves. You can hearsome of theseideasin the forward-moving somevery interesting, previoustune,"PotLicker"as well. 183.
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ffięeE&#*ęB Once the rightfoot starts doing upbeatsixteenthnotes,you can also add upbeat eighth notes with the left-footbass drum to add to the overalldrive.I do this more to assimilate some of the things"Geechie"from the Wild Magnolia Mardi Gras Indiansdoes on a bass drum with mallets ratherthan playingtraditional"doublebass."Geechie usually plays a bass drum restingon a hotel luggagestand so that the head is facing up. He plays it with a bass drum mallet in the right hand and the back end of a bass drum mallet in the left hand with traditionalgrip.The rhythmshe plays are usually based off of the cinquillo rhythmffi ł Ę or variationsthereof.He p|aysthe rhythmswith his righthand and fil|s in with the left.The stickingscreated will look familiarand usually look like this: RLRRLRRL-RLRR-LRRL or RLRR-LRRL-RRLR-RLRL. Sometimes Geechie will sit on the RRLR-RLRL stickingas well.This creates an awesome rolling,rumblingfeelingwhen played in conjunctionwith a kit drummeror other percussionists. I often use a 26-inchbass drum that is playedwith a remotepedaljust to the rightof my main pedal.So for me, the upbeatsixteenthnotes are on the 26 while the upbeateighth notes are on the 20 (or 18).With the two differentbass drums ltry to approximatethe rumbling,rolling,percolatingeffectthat Geechie gets wiih what he plays.When I do this, I like to straddlethe hi-hatat the same time.This sounds great if you add a tambourineor ching ring on top of the hi-hatas well.With this setup, it sounds betterif the left{ootbass drum is softerthan the right. 192.
small b.d. 26" b.d.
We can startto mix some of these"PowerClyde"conceptswiththe beatfor"BigChief" grooves. and come up withsomeverycompelling 193.
194.
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This conceptentails Nowwe can try a creativetechniqueI liketo call "feeljuxtaposition." pre-existing groove witha different feelto comeup withsomething infusinga new.Youcan to forceyou to lookat it in a different changethe tempo,or changethe feelof something light. Brother"and James Brown's Considerthe way the drumbreaksto the Winstons"'Amen "SoulPride"weresped up to createa newgenre...drum & bass. I personallylike to slow thingsdownand put a New Orleansliltto it. Let's re-examine of Jabo's grooveto "Sex Machine"and Clyde's example153, which is a combination grooveto "l Got The Feelin'."lmaginewhatthis groove(thesenotes)wouldsoundlike Keep in mindthatZibaboodoesn't sloweddowna bit and playedby ZigabooModeliste. as Jabo and Clyde. usuallyplayghostnotesas dramatically 201.Similarto 153 butjuxtaposing a New Orleans(orZigaboo)feelon to it.
Let'srevisitthe grooveto the previoussong.This timeit has a different feel.
FuLtMtx 202.$6Pg* $,iekgn." &eś*xa'' sxig*ut Movethe rightfootto the26-inchbass drum,switch Nowlet'strysometonejuxtaposition. outthe snaredrum,and imaginethe same grooveas p|ayedby John Bonham.'Hęefu||y you can beginto see someof the possibilities forcreatingnewthingsto play. 203.AUDI00ll[YSame notationas 201,butjuxtaposed withBonham-esque tones.
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ę&€.mBsffi Now let'stakea lookat someexamplesof MikeClark'splaying. Here'sa transcription of thefirst16 barsof Mike'splayingon the tune"ActualProof." Noticesomefamiliarinfluencescreepingin here.There'sClyde'schatternotes,the right hand,.KingKong''patternffi ł Ę , the occasionalmissing..1,'' and creativeplacement of openhi-hatnotes.Also notethe subtleunderlying 3-2 modifiedclave. 240.{{Ac&xal Srccfft HerbieHancockThrust1974, drums:MikeGlark,c. 123bpn.
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Afteryou get comfortable, try varyingand improvising on these beats.Try combining Garibaldiand Clark with each other and with other drummers.Try applyingfeel juxtaposition as well.Also try placingthe handson othersoundsourceswithinthe kit. You'llbe surprisedand pleasedwithwhat you come up with.DavidGaribaldi'sbook Future Sounds, Mike Clark's book Funk Drumming,and Jim Payne's book Give The DrummersSome!(re-issuedas The GreatDrummersof R&B, Funk & SouĄareexcellent sourcesfor transcriptions of some of these grooves.You can also use these books as a deep well of greatbeatsto reinterpret.
lntelpretation I've been talkinga lot about learningthingsas they were originallyplayedand then applyingthe "ations"to them.There can sometimesbe a significantbenefitto playing thingswronginitially as well.Youcan alwaysgo backand learnsomething the"right" way, youfeelthefirsttimeyou hearsomething. butyou can'talwaysre-harness the inspiration Some times improvising over your first impressionof somethingor playingyour own interpretation of somethingcan lead to new creativeideas thatyou may not havecome up withif you had been lockedin to learningsomethingthe "right" way or the way it was writtenin a book. I'vecome up with lots of ideas by playingmy interpretation of somethingI was excited about.Let'slookat a specificexampleof this.As I was firstlearningthe grooveto "Cissy Strut,"I didn'tyet knowthatZig had playedit withbothhandson the hi-hatand I was playingit withonlythe righthandon the hi hat.Thatlookedsomethinglikethis: 248. RR
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At the same time, I was also checking out some of David Garibaldi'sgrooves. I startedto incorporate some Garibaldiisms into my interpretationof "Cissy Strut"-namelyswiss triplets.Below is a groovethatis a combination of my interpretation otZig and Garibaldi.lf I hadplayed"Cissy Strut"'correctly''from thestart,I mayneverhavecomeup withthisgroove. I'vewrittenout the maingroove.In the audioexampleI continueplayingand movemy handsto different voicesaroundthe kit whilekeepingthe same groovehappening. I've playedthisgroovewhereI'veplayedthe handson emptyglassbottles.I usedthisforthe tune"StantonHitsThe Bottle"on my firstrecord,All KookedOut. 249. R >
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You can try playingyour interpretation of any groovesthat you hear.Try this with some of your favoritegroovesand with any of the grooveswithin this book.You maybesurprised withwhatyoucomeupwith. Don'tbe afraidof initialmis-interpretation or reinterpretation as well.When used in the rightcontext,theycan oftenlead to greatideas.
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Now let'sreversethe orderusingJohn Bonham-esque tones. 288.
To me, John Bonhamand ZigabooModeliste'sstylesare'muchmoresimilarthanthey are different. Bothdrummerswere born in 1948.TheMeters'andLed Zeppelin'sdebut albumsbothcame out in 1969.Bothdrummersgrewup listeningto Earl Palmerplaying with Fats Dominoand LittleRichard,the drummersof James Brown (notablyClyde Stubblefield), BernardPurdie,and Motown.Their individualplayingis often different interpretations of thesameor similarinfluences. Bothdrummersreinterpreted thefirstbar of "Cold Sweat"to createsignaturegroovesof theirownforthe firsttuneon each of their secondalbums.Theybothplayedwitha phrasingthatwas in-between straightand swing. The moreyou checkoutbothof thesemasters,the moreyou willsee theyare reallytwo sidesof the same coinfromoppositesidesof the pond. Let'scheckout some variationson this structure. Once you get comfortable withthese, you can try reversingthe orderof the bars. 281.c.91bpm withZig-liketones. t RL >>>
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Again we can startto come up withvariationsbased on the stripped-down structure. Here'sone thatadds Clyde'schatternotes. 288.c. 99 bpm
Add Jabo's skip beats on the hi-hat. 289.
You can varythe rhythmic structureslightlyand ornamentthe backbeatfurtherto create morevariationsas well. 290.
tune"TheNextBall Game."Again Here'sa grooveJames Blackplayedon the InellYoung throughout thetune,makingit hardto pickone baras the maingroove. Jamesimprovises Hereis an approximation of the maingroove. 291.&Tkc $ext Safi $*rnetttnettYoung1969,drums:JamesBlack,c. 110bpm. o6RLRLo >>>>>->
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Even some of the more modern and syncopatedgrooves of Mike Clark and David Let'stakeanotherlookat David'sgrooveto rhythmic structures. Garibaldihaveunderlying theTowerof Powertune"SoulVaccination." drums:DavidGalibaldi,c. 106bpm. Towerot Power1973, Ybecfrantion99 zgg. {6$oał} o >
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structure. Checkoutpages65-67forvariationson this rhythmic Here are some moregrooveswithrhythmicstructuresthatI'vefounduseful. 300.
grooveon the Galactictune"Baker'sDozen"and the Garaged Trois I playthe following song "The Dwarf." 301. RLRRL
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These startto vary thatstructureby leavingoutthe 1 of the secondmeasure. I playideassimilarto thisone on thetune"LateNightat the MapleLeaf"on myTriorecord Emphasisl(On Parenthesis).Some of these are loose interpretations of some of Mike ideasas well. Clark-style 311.
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in a jazz contextas well.He can oftenbe heard structures ElvinJonesoftenusedrhythmic playingoverthe clave.Check out his playingon "Equinox" off the John Coltranerecord throughout the tune,whathe TheSoundof John Coltrane.Eventhoughhe'simprovising playsstayslockedintothe underlying clave.Elvinwoulduse thisconcepton othertunes as well.I heardhimplayat the NewOrleansJazz Festivala fewyearsbeforehe passed. rhythmic structure. The firsttunehe did was playedwiththisclaveas the predominate 330. (lR
of Elvin. structurein a stylereminiscent l'll improviseoverthis rhythmic 331.AUD!0oltlY structure... I'vealso seen Elvinplayoverthis rhythmic 332.
Again,l'llimprovise overthisstruciure. ot{LY 333.AUDI0 overtheclavein a jazz contextto great BrianBfadealso uses the conceptof improvising effecton the KennyGarretrecordPursuance,the Music of John Coltrane.Check out his of "Equinox" and "Lonnie'sLament." interpretations odd time I find the conceptof rhythmicstructuresto be very usefulwhen approaching play in an odd meter,I firsttry to figureout whatthe signaturesas well.WheneverI repeatingunderlyingrhythmicstructureis. This helps me lock into what'sgoing on musicallyand also helpskeepme fromhavingto counteverybar. Whenplayingin 5, mositunesusuallylockintothisstructure. 334. OR
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Let'stry somegroovesbasedon thisstructure. 344. '-J-_-
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And hereare some groovesoverthat. 3 5 1.
Here'sone thatincorporates someof Clyde'schatternotes. 352.
This one is basically a 7/8 version of Jabo's groove to "Sex Machine." 353.
Here'sone thatblendsClydeand Jabo in 7. 354.
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S1{,INĘISHU.FFLES think it's very importantto understandswing (at least in some capacity)to fully groove.To me,swingis a groovejustlikeany other,it'sjustmoresubtle understand played with its own set of nuances.The pulse (or underlyingrhythmic and is
structure)is the quarternote.lt's importantto be able to make the quarternote feel good, groove,and swing.Oftenwe'll hear the question,"ls it swinging?"This can be a perplexing questionwith elusiveanswers.To me all this means is, ls it grooving?Does it feel good? I thinkthere is oftena lot of emphasison coordinationwhen youngerdrummersfirststart gettinginterestedin learningjazz. I thinks it is ever more importantto concentrateon developinga strong time feel that grooves and swings.Once you have a strong groove with good time and a good feel,you can add all the coordinationand intricacies.Firstyou just likein buildinga house.Once yourfoundationis solid, must havea strongfoundation, then you can add the rest of your structure.You wouldn't want to install granite faucetsin a house builton sand...right? countertopsand gold-plated A lot of the drummersthat we consider to be the greatestgroove players-Earl Palmer, Zigaboo Modeliste,John Bonham, Steve Jordan, John "Jabo" Starks-grew up hearing jazz and music that swung.They were all raised on Big Band jazz, bebop,blues, rhythm and blues,early rock'n'roll-all music based in swing.To be able to reallygroove,I think it's importantto be able to swing.With swing, it's not enough to just play the notes.You have to make the notes feel good and groove.
When I startedplayingjazz andfirststartedswinging,knowingexactlywhatto do to make things swingwas oftenan elusiveconcept.Once I had the epiphanythat the swing lay in the quarter notes, my groove improvedimmensely.This was an eye- and ear-opening revelation.Once I startedlisteningto Jimmy Cobb on Miles Davis' Kind of Blue,l started to understandswing a great deal more. lt's possible to play quarter notes with such convictionand soul, they move and swing the band in a way that leaves the listener wantingto hear nothingelse.The trick is to find the balance.You have to understandhow to play a strongquarter-notepulse that is stillsupple and subtleat the same time.All you have to do to discoverthis is listento "FreddieFreeloader"over and over again, and you will to start to understandthe importanceof the quarternote. Even thoughJimmy is adding skip beats, the quarter note is always there.Once you can swing the band and make people want to dance just by playingquarternotes,everythingelse will start to fall intoplace.
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In general the skip beat seems to want to be closer to the note directlyfollowingit.You want to find where the placementof the skip beat feels right for you at many different tempos. Extensive listeningto the greatjazz drummerswill help you develop a greater understandingof where you want to place your skip beats and how you want to phrase your ride cymbal pattern.Everyonehas theirown way of playingthe ride cymbal beat,so you want to listenand experimentto find out what works for you.
theRlde Let'strymorphing theskipbeatat eightdifferent tempos.I'llstartby phrasingtheskipbeat whereI liketo placeii, thenl'll morphit moretowardsswing,to the pointof too swung.l'll thenmorphit towardtoo straight. l'll end by playingbackwhereI feelit. Let'sstartat a mediumtempo. 373.AUDI0120bpm Now let'sdoublethat. 374.AUDI0240bpm Nowlet'shalftheoriginal120. 375.AUDI060 bpm Noticethatall of theseare basedoff of 60 bpm,or the tickingof the secondhandon a wristwatch. You should practicefindingall of these temposwith a wristwatchor by watching thesecondhand(orthedigitalblinking) of a wallor deskclock. Once you get comfortable withthose,you shouldbe ableto lock into60 bpm.Nextplay sixteenthnotes.Accenteverythirdone.Thiswillgiveyou80 bpm.Fromthereyoucan find 160bpmand 320 bpmby doubling and quadrupling 80. 376.AUDI080bpm 377.AUDI0160bpm 378.AUIllO 320bpm From60 bpmyoucan playsextuplets. lf youaccenteveryfourthsextuplet youwillfind90 bpm.Youcan find'180bpmfromthereby doubling thatas well. 379.AUDI090 bpm 380.AUDI0180bpm Experiment withmovingthe skip beataroundat different temposand listento howgreat drummersphrasethe skip beat.Try to noticefor examplehowTonyWilliamsand Max Roachtendto phrasea bit straighter, whileElvinJones and BrianBladetendto phrase moreon the swingside of the spectrum.
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*ffit#FFkffi* By the late 1920'sand '30s,drummers(namelyBaby Dodds)beganmovingthe timeup to the cymbalson the drumset to createa morelegatoand lightertexture.As the right hand beganp|ayingtime on whatbecamethe ride cymba|(at thattimecymba|swóre muchsmaller), drummersstartedaddingtheskipbeatto filloutthetimeand makeit more fluid.This developedintowhatwe knowas the jazz ridecymbalpattern.Also the pulse on the bass drum moved from 1 and 3 to all fours...againto make the time flow moreeffortlessly. 386.
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Eventually the backbeatwas leftoffthe snarein an effortto smoothoutand elongatethe time even further.When the lowboywas eventuallyintroducedin the late '20s by the LudwigDrumCompany,it eventually evolvedintothe hi-hatwhichreplacedthe snareon 2 and 4. This startedto look morelikewhatwe knowas "jazzlime"or the traditional jazz ridecymbalpattern. 388.
It'salso interesting to notethatex.387 was playedduringthe endingor "shout"choruses jazz at theend of andBig Bandtunesforyears.Eventually Earl Palmerandothersstarted playingthatbeatand variations thereofthroughout the bulkof thetunein a newgenreof musicthateventually became"rock'n'roll."Earl didthisin the FatsDominotune"TheFat Man,"and manybelievethisto be thefirst"rock'n'roll"song. Checkoutthisaudioexamplethatdevelopsfroma simpleEuropean/CivilWar marchinto whathas nowbecomethe ridecymbalpattern...
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ffiffiwFŁffie Now let'scheckout the shufflewithoutthe inflections suggested. To me, the inflections makethe shuffleswingand groovemuchharder. playedbadly 392.AUDIO OilLYSame as 391,butplayedwithoutinflections and intentionally to demonstrate whatnotto do.
theShuffle |["qnliu
So now,let'smorphthe shuffleas we havedonewithothergroovesso far.We'llstartoff whereI liketo feel it.l'll thenmorphmoretowardthe swingend of the spectrum,all the way past the pointof good taste.l'll then morphit back where it shouldbe. l'll then it outtill it'stoo straight. l'll end by bringingit backto whereI feel it.The point straighten of this is so thatyou can controlthe phrasingof the shuffleand you can determinehow to phraseit forthe musicalsituationat hand. 393.AUDIo01{LY youshouldwork withthe doubleshuffle(bothhandsshuffling), Onceyou getcomfortable jazz pattern. playing ridecymbal the shufflewiththe on 394. -3-
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You shouldworkon the shufflewithquarternotesin the righthand as well.I find this versionof the shufflegrooveslikemad,and I oftenuse it as my "goto"shuffle. 395. '--3-
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playingthe preceding Let'scheckoutsome shufflevariations. Once you get comfortable patterns in the righthand(shuffled shuffleswiththe threedifferent eighths,thejazz ride pattern,and quarternotes),you can varythe bass druma bit.Let'sstartwitha mambo Again,playall of thesethe threedifferent wayswiththe righthand. bass drumpattern. 396. -J-
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And here'sone with theiazz ride patternin the righthand withthe upbeateighthnotes on the bass.
402. -3-
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Here'sa groovereminiscent of whatEarl Palmerplayedon manyearlyrock'n'rollhitsby Fats Dominoand LittleRichard.This is basicallycomingfroma beefed-upshoutchorus of a Big Bandtune. 403. >_J--
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Earl lateraddedthe mambobass drumto this grooveas well.There'smoreon Earl and his styleof playingin Takelt To The Street. 404. >_3_
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The greatAl JacksonJr. playedthefollowing simplified shuffleon BookerT.and the MGs' hit"GreenOnions."This grooveoftengets misinterpreted but,if playedcorrecily,grooves likemad. 405.66$x-e'exe &pdexesre BooketT. & TheMGsEreenłnionslg62,drums:AlJacksonJr., G.134bpm. Ł-:--
This nextone worksgreatfor a breakdown. You can also try it witha mutedtoneon the ride.This is achievedby actuallypressingthe tip of the rightstickintothe ridecymbal. 406.Playtheaudioexampleon openride,thenmutedride. '-3-
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ss#t.B* Ht*FFŁE& Theseworkgreatwiththe righthandon the hi-hator snareas well. Hereit is writtenoutwiththe righthandon the snareand the mambobass drumpattern on the bass drum.Whenthe handsplaytogether, theyshouldbe playedas left-handed flams.This worksgreatfora trainbeator snaredrumshuffle. 412. R
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Here's a heaviershuffle,the likes of which was pioneeredby Bill Ward in Black Sabbath. This grooveworks greatin heaviersituations. You can crash the ride,makingthis as heavy you played as want to make it. I this groove on the Corrosion of Conformitytune "Stonebreaker" from ln the Arms of God.lf playedcrashingon the ride and with a 26-inch bass drum,this groove is heavy.Part of why I got the call to do that recordwas because they knew I could make heavy grooveslike this also swing. 413. 0R-;-
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Whilewe'reon the topicof shuffles,I'dliketo coversome doublebass drumshufflesas well.This typeof shufflewas popularized by BillyCobham,SimonPhillips,TerryBozzio, and Alex Van Halen. Let's start by re-examiningexample397. Let's now play straight quarternoteson the hi-hatwiththe leftfootinsteadof 2 and 4. Nowmovethe leftfootfrom the hi-hatto the doublepedal,and you'replayinga doublebass drumshuffle. 418.c. 180bpm Notethattheseare generallyplayedat muchfastertemposthanregularshuffles.I often liketo playthesewithmy leftfooton my 2O-inchbass drumwithmy righton the 26-inch bass drumforthe upbeats. -3_--
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Also notethatwiththe upbeathi-hatshuffle,the leftfootis obviouslyplayingthe upbeats. Withthe doublebass drumshuffle,however,it is commonto playthe upbeatswiththe rightfoot.This is becausethe rightfootis usuallymoreusedto playingupbeatswhereas the leftfootis usedto playingquarternoteson the hi-hat.This makesit easierto get the doublebass drumshuffleup and runningand also makesit easierwhentryingto add ideason top of thefeet. Sincethereis so muchgoingon withthesetypesof shuffles,you wouldusuallysimplify the handsa bit.Checktheseout. 419. -3-
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You could fit most of the hand patternsfromthe previousshuffleexamplesover the double bass drum shuffle.Experimentand see what works for you.
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You couldalso playthis idea withthe leftfootplayingon 2 and 4 (if triplets)or upbeat eighthnotes(ifsextuplets). 434.c.200bpmor 100bpm >-J--
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Here's that idea put into a fill.
435.Aulilo 01{tY Hereare somethathavemoreof a lineartripletfeel.The handsplayalternating rightand leftstrokesand are splitup betweenthe hi-hat'and snare.Youcan alsotrythesewiththe righthandon the ride. 436.c. 118bpm --3--*
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Purdie The Shuffle grooveswouldbe completewithoutmentionof No sectionon shufflesand triplet-based the Purdieshuffle,also referredto as the half-timeshuffle.Bernarddemonstrates his classic groovevery well in his video GrooveMaster.When playedcorrectlythese will soundlikea crossbetweena shuffle,a funkgroove,and a 1218all in one.Hereare some to get startedwith. łłz. {{$c:ea* 'Ą*Ł*s*'' introgtoove,Stee|yDanAja1977,dtums: BetnatdPutdie,c. 64 bpm. -
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You could experimentwith differentstickingsas well.Here'sone based off a double paradiddle. Noticethatthe righthandspellsoutan Afro-Cubanbell pattern. 456. R tR
L R L R t L
t R RL RL R L L R L R tRR
L R L R L L
L R L R L L R LR LRR
R LR LRR
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Here'sone basedoffa paradiddle-diddle. 457. RLRRL
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LRLRRLLRLBRLLRLRRLL
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LRLRRLT
LRLBRLLRLRRL
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RTRRLLRLRRLLRLRRLLRLRRLL ó-6->-6-6->
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RLRRL
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R L RR L L
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These can be tricky to make feel right.Make sure to take your time and start off playing these slowly.Play to the metronomeand make sure that every note is even and is laying where it should.lf you concentrateon layingdown the backbeatsolidlyand steadily,it will help the whole groovefall into place.
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ffi Once you'veexperimented withthis,you shouldbe ableto comfortably lay the backbeat backin a waythatwillmakethegroovesit better. Sometimes(a lotof times)a bass player or someotherinstrument willbe playingon top or aheadof whatyou are layingdown.lf you laythe backbeatbackjusta littlebit,it can makethingsfeela lotfatterand funkier.lt mayfeelstrangeat first,especiallyif you'rehearingit in the headphones forthefirsttime. I remembercheckingoutJohnnyVidacovichonce in a rehearsalwitha Big Band.I was sittingbehindthe band betweenthe bass playerand the drums.The bass playerwas playinga bit on top and Johnnywas layingthe backbeatso far back it almostsounded wrong.The space betweenwheretheywere each feelingthe beatfeltlikethe size of a canyon'But when I went out frontof the band it soundedpeńect|yfat, round,and grooving. WhenI walkedbackbehindthe bandagain...thecanyonwas stillthere.Johnny was creatinga big fat crevicefor the band to lie in. Most of the timethose littlegaps disappearin thetrackoncealltheotherinstruments are in place,andtheoveralltrackwill soundthatmuchfuller. Let'sexperiment withlayingthe backbeatback.This is exaggerated on purpose,justto see howfaryou can pushit so you can learnwhatwillwork.I playedthisto a clickand I you do the samewhentryingthese. stronglyrecommend Startby playingthe backbeaton the click,thengraduallylay it backfurtherand further. Eventually, bringit backon the clickagain. 459.AUD!oottY
"ImnlluJkft*lffi There'sa lot thatcan be done to ornament,decorate,or livenup the backbeat.You
can start by takingthe simplestof groovesand spice them up by applyingsome of the followingconcepts.You can then applythese conceptsto virtuallyany backbeatgrooves to varytheminfinitely. Let'stakea lookat thebasicgroovethatwe willbe altering. We'llbe concentrating on funk grooves,but try these concepts with shuffles,rock grooves,and any other types of groovesyou may encounter.
460.
llrum llotes $nare Chatter One of the mostcommonand usefulthingswe can do is add chatternotesor gracenotes after,before,or in-between the backbeats'These firstexamp|esfeaturechatternotesó |a ClydeStubblefield. Of coursewe couldwriteoutthousandsof variations on this,butthese are justto giveyou an idea of whatcan be doneto the backbeatsof pre-existing grooves to vary them and help spurn creativity. I startedout by demonstrating some of these alterationsto the simplegrooveabove,but make sure to apply these ideas to other groovesas well.Thereare also plentyof variations on chatternotesin previoussections of the book.
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&&ęK&.€ffi& Youcan add openhi-hatnotesas well.Theseopenhi-hatnotesset thesnaredrumup to "snap." 480.
AgainI couldwriteoutthousandsof variations fordays.I don'twantto gettoofarofftopic of whatwe can do to varytheactualbackbeat. I'mjusttryingto giveyousomeof theideas thatI'vefoundto work,yetalso leaveroomforyouto comeup withvariations of yourown. Next|et'sstartto add skip beatson the hi-hat,ó la Jabo Starks' 4 8 1.
482.
Youcan applythisconceptwithdifferent rhythmic structures as well.Here'sone withthe "ColdSweat"rhythmic structure. 483.
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Keffi 489.
490.
491.
492.
Again,you can applythe"ColdSweat"rhythmic structure. 493.
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&&'ęKeffi Again,we can playwiththe rhythmic structure.... 500.
Alsothreeconsecutive snarenotesworksgreatwiththeBernard Purdieright-hand rhythm as well. 501.
Nowlet'slookat someof thethingswe can do in the righthandto ornamentthebackbeat. The following utilizesthreeconsecutive notesin the right. 502.
I'veseenZigaboousethesenextideastimeandtimeagain,andthey'realwayssuperfunky. 503.
504.
Changethe rhythmic structure... 506.
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BACKBEATS Threeconsecutivenotesin the lefthandworksgreatas well. 512.
Alternatebetween3 and 2 chatternoteswiththe lefthand. 513.
So now let'sstep back a little.Checkthis out...if you playex. 508 into509,you havea four-barphase witha changeof rhythmicstructureas a fill at the end.Add a buildin dynamics(crescendo), and you havea wallopingfinishto a sectionof a tune. 514.AUD!0oltlY
Bass Drum Chatter llotes Nextwe can experiment withaddingbass drumnotesafterthe backbeat.We can call these"bassdrumchatternotes"or,as I referred to themin my previousbook,',bassdrum afterbeats." Theseare noteson the bass drumthatfollowthe snaredrumbackbeatwith a sixteenthnoteon the bass drumimmediately following the snare.We'veseen a couple of thesecreepup in previousexamples,butlet'sexaminefurther. Let'sstartwithvaryingour mostbasicexample... 515.
516.
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Now we couldplaythis all withthe righthand...bring the righthanddownto the snare. This wouldallowyou to playthe cowbellpartto "HonkyTonkWomen"withyourlefthand on a cowbellto the leftof yourhi-hat. The originalcowbellparthas tonsof variations; this is justa briefexample. 521.'(Honlry Tsak Ttbrneattapproximation, Rolling Stones 1969,drums: Gharlie Watb,c. 11gbpm; L R
LH cowbell
Zigaboohas inadvertently used this conceptas well.ln his grooveto "Cissy Strut,"since he is playingbothhandson the hi-hat,whenthe rightcomesdownto the snarefor the firstbackbeat,it is exposedwithno hi-hat.Rememberthat"Cissy Strut"is comingfroma two handson the hi-hatsixteenth-note groove. 522. LR >>
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The missinghi-hatnoteon the backbeathappenson any of thesetypesof two-handed grooves. sixteenth-note 523. Rt
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All this being said, if you listen closely,you can hearZig actuallyadd in the hi-hatnotes occasionallywiththe lefthand on the hi-hat.This can be usefulin many instancesas well. 524. tR
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eesffiffiffi Checkout ex.528 withthe addedhi-hataccents.In my opinion,thissubtledetailmakes thisexamplegrooveevenharder. Throwingin an accenton thesnareon the lastsixteenth noteof the bar helpsadd someforwardmotionas well. 529.
Flamming theBackbeat Nowlet'scheckoutaddingflamsto the backbeat. Youcan bringthe righthanddownfrom the hi-hatto the snareto playa flam.I usuallyplaythe righthandas the gracenoteand the lefthandas the accent. 530.
Youcan also playwithbothhandson the snare. 531. t
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Here'sone of my favoritesthatI've"borrowed" fromJohnnyVidacovich.Noticethe double backbeatand the bass drumchatternotes. 532. RRLR
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effiKeffi#F* Thereare plentyof waysto get different-sounding backbeatsas well.You can of course changesnaredrums,butthere'salsowaysto getdifferent-sounding backbeatsoutof the same snaredrum.InthissectionI willplaythe same basicgrooveforeach example,but willchangethesoundof thebackbeat...sometimes subtly,sometimesdrastically. I willuse the same snare(mysignaturetitanium-shell 4.5x14snaredrum)throughout. l'll change the tuning,muffling, and attack,and try differentsticks,brushes,and blasticks,all the whileusingthe samedrumwiththe same headsand snarewiresto getdifferent sounds. Let'sstartwitha |ight,crispbackbeató la thedrummersof James Brown.James Brown's drummersusuallyplayedtraditional grip,tunedvery high,and playedfairlylightly(by today'sstandards). Thattypeof backbeatsoundedlikethis... 535.AUD|oot{LY You couldplaythatcloserto the edgefora ringiersound. 536.AUDIO OI{LY Now let's get into some differentsounds. Rim shots are very effective.You can get different-sounding rimshotsdepending on howmuchstickyou leavepastthe rimas it hits the head.I tendto gravitate towardplayingmatchedgripwhenI'mplayinglotsof rimshot backbeats.That'sjust my personalpreference.I feel like gravityis on my side when playingbackbeatswith matchedgrip.That being said, StewartCopelandand Steve Jordan both get atomicbackbeatswithtraditional grip.lt's all a matterof preference. Here'sa full-sounding plenty rimshotwith of stickon the head. 537.AUD|0ol{LY Now if you pullyour handback and playwithless stickon the head,you get a higherpitchedrimshot.Youcan also gripthe sticktighterfor moreof a smack. 538.AUDI001{LY You can dig the stickintothe head,leavingthe stickpressedintothe headafterimpact. This givesa deader,thuddier-sounding backbeat. 539.AUD|001{LY Nowwe can get intothe wideworldof crosssticks(orrimclicks).Youcan getthousands of different crosssticksounds.You can changethesoundof yourcrossstickby whereyou placethe backend of the stickon the head,howmuchstickyou letextendpastthe rim, the positionof the stickon the head,the size of the stickyou are using,and whetheryou playwiththe tip end or buttend forward. Hereare justa fewexamples. Butt end forward,lots of stick on the head,only a littlebit extendingpast the rim, 1 o'clockposition.
540.AUDIo or{rY Butt end forward,lots of stick on the head, only a little bit extendingpast the rim, 3 o'clockposition. 541.AUDIOOl{tY Butt end forward,not as much stick on the head, more stick extendingpast the rim, 1 o'clock position.
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566.
Anothereffectivetacticis to p|aythefloortomor racktomon the backbeató la A| Jackson. I'vereadthatEarl Palmerwas actuallythe firstto do this.He was askedby Phil Spector to playthe backbeaton the tom alongwiththe snareto fattenit up.You couldplayit on different backbeatswithin a twomeasurephrase. 567. L R
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Check out Al Jackson'sgrooveto the introand chorusesof "StillIn Love WithYou." Notethatthe snareand racktom are tunedlowerand muffledquitea bit. 569. 6{{'xge s#}t&x Fxlve&li*h tkłn?'AlGleen 1972,drums: A!Jackson Jl., c. 97bpm.
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ffi You could even add the bass drum to the backbeatto thickenthings up a bit. 517.
This happensall the time in reggae,ska, and rock steady music.Check out this one-dropgroove. 578.
You could playfour-on-the-floor, playingthe bass drumon all the backbeats,makinga driving,relentlessgroove.Let'strythatwiththe upside-down pandeirotrick(ex.560). 579.
Here's a four-on-the{loorgroove that Steve Gadd has used to great effect. Notice the Jabo Starks hi-hatpattern. 580.
Let'scheck out what happensif we use differentsticksor brushesto playthe backbeat. I digthesoundof a wirebrushplayinga backbeaton thesnare.The keyis to lay as much brushon the head as possiblewithouthittingthe shaftof the brushon the snare.This takessome timeto developuntilyou can get a consistentsoundeverytime.You could swishsixteenthnoteswiththe righthandon the snarewhilethe leftplaysthe backbeat. 581. L R >
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ffi theBackbeat Present inFills I'dliketo talkaboutthe conceptof playingfillswhilekeepingthe backbeatpresent.Jrist becauseyou play a fill doesn'tmean thatyou have to foregothe grooveor even the backbeat. lt'spossibleto playfillsand includethebackbeat. UsuallywhenI playfills,I like to keep the backbeator clave or relevantrhythmicstructurepresent.This keeps mostof the fills I playrelatedto the grooveand the musicat hand...abit of musicalcontinuity, if youwill. Earlyon in my playing,I wouldrecordmyselfand listenback (l stilldo this of course). I noticedthatcertainthingsI was doingwouldrush,sextuplet fillsin particular. WhatI did to try to remedythis problemwas A) playthe grooveat handwitha metronome and go intothe sextupletfill,all the whilestayinglockedwiththe metronome. This helpedme "memorize" wherethesubdivisions shouldsit at different temposin different grooves. The otherthingthathelpedmy timegreatlywas B) feelingor internalizing the backbeateven if I wasn'tplayingit.Feelingthe backbeatthrougheverything I did,whetherI was actually playingthe backbeator not, greatlyhelpedmy playingand helpedme learn where everything shouldsit. Check out these very simplefills.They start out with the backbeatactuallypresent. See if you recognizesomeof the stickingstheseare basedon. 588. RRLRL
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