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Chameleons of Modern Drumming: Mastering Diverse Commerical Styles

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Chameleons of Modern Drumming: Mastering Diverse Commerical Styles Belmont University Belmont Digital Repository Recital Papers School of Music 5-1-2020 Chameleons Of Modern Drumming: Mastering Diverse Commerical Styles Cameron Simons Belmont University, [email protected] Follow this and additional works at: https://repository.belmont.edu/music_recitals Part of the Music Performance Commons Recommended Citation Simons, Cameron, "Chameleons Of Modern Drumming: Mastering Diverse Commerical Styles" (2020). Recital Papers. 5. https://repository.belmont.edu/music_recitals/5 This Scholarly Project is brought to you for free and open access by the School of Music at Belmont Digital Repository. It has been accepted for inclusion in Recital Papers by an authorized administrator of Belmont Digital Repository. For more information, please contact [email protected]. CHAMELEONS OF MODERN DRUMMING: MASTERING DIVERSE COMMERCIAL STYLES By CAMERON JOHN SIMONS A RESEARCH PAPER Submitted in partial fulfillment of the requirements for the degree of Master of Music in Commercial Music Performance in the School of Music of the College of Music and Performing Arts Belmont University NASHVILLE, TENNESSEE May 2020 Submitted by Cameron John Simons in partial fulfillment of the requirements for the degree of Master of Music in Commercial Music Performance. Accepted on behalf of the Graduate Faculty of the School of Music by the Mentoring Committee: ________________ ______________________________ Date Todd London, M.M. Major Mentor ______________________________ Bruce Dudley, D.M.A. Second Mentor ______________________________ Peter Lamothe, Ph.D. Third Mentor ________________ ______________________________ Date Kathryn Paradise, M.M. Assistant Director, School of Music ii Contents Illustrations ......................................................................................................................... v Acknowledgments ............................................................................................................ vii Presentation of Material Introduction ............................................................................................................ 1 Chapter One: Steve Gadd ....................................................................................... 5 Background ................................................................................................. 5 “50 Ways to Leave Your Lover” ................................................................ 5 “Aja” ........................................................................................................... 8 “Quartet No. 2 – Part II (Dedicated to John Coltrane)” ........................... 11 Conclusion ................................................................................................ 14 Chapter Two: Vinnie Colaiuta .............................................................................. 18 Background ............................................................................................... 18 “Seven Days” ............................................................................................ 19 “Keep It Greasy” ...................................................................................... 23 “Humpty Dumpty – Live” ........................................................................ 26 Conclusion ................................................................................................ 29 Chapter Three: Matt Chamberlain ........................................................................ 31 Background ............................................................................................... 31 “Bigger Than My Body” .......................................................................... 32 “Fast as You Can” .................................................................................... 34 “Kickstand Hog” ....................................................................................... 38 Conclusion ................................................................................................ 41 Chapter Four: Brian Blade .................................................................................... 44 Background ............................................................................................... 44 “Where Will I Be” .................................................................................... 45 “Ring the Alarm” ...................................................................................... 48 “Jazz Crimes” ........................................................................................... 51 Conclusion ................................................................................................ 54 iii Chapter Five: Nate Smith ..................................................................................... 57 Background ............................................................................................... 57 “History Repeats” ..................................................................................... 59 “Introducing the Fearless Flyers” ............................................................. 63 “Bounce: pts I + II” .................................................................................. 69 Conclusion ................................................................................................ 71 Conclusion ............................................................................................................ 74 References ........................................................................................................................ 76 iv Illustrations Figures 1.1. “50 Ways to Leave Your Lover” transcription, part 1. Verse pattern ........................ 6 1.2. “50 Ways to Leave Your Lover” transcription, part 2. Chorus pattern ...................... 7 1.3. “Aja” transcription, part 1. Verse pattern (0:37) ........................................................ 8 1.4. “Aja” transcription, part 2. Bridge pattern (2:16) ....................................................... 9 1.5. “Aja” transcription, part 3. Solo section vamp ........................................................... 9 1.6. “Aja” transcription, part 4. Drum solo outro (6:55) ................................................. 10 1.7. “Quartet No. 2 - Part II” transcription, part 1. Drum intro (0:00) ............................ 12 1.8. “Quartet No. 2 - Part II” transcription, part 2. Rhythmic improvisation outline ...... 13 1.9. “Quartet No. 2 - Part II” transcription, part 3. Drum solo fill example (9:42) ......... 14 2.1. “Seven Days” transcription, part 1. Verse pattern with rhythmic ostinato ............... 20 2.2. “Seven Days” transcription, part 2. Triangle ostinato from Sting’s demo ............... 21 2.3. “Seven Days” transcription, part 3. Three-note grouping example (0:06) ............... 21 2.4. “Seven Days” transcription, part 4. Chorus pattern .................................................. 22 2.5. “Keep It Greasy” transcription, part 1. Verse pattern ............................................... 24 2.6. “Keep It Greasy” transcription, part 2. Solo section pattern .................................... 24 2.7. “Keep It Greasy” transcription, part 3. Solo section comping (3:16) ....................... 25 2.8. “Humpty Dumpty – Live” transcription. Comping over the head (1:02) ................. 27 3.1. “Bigger Than My Body” transcription, part 1. Verse pattern .................................. 33 v 3.2. “Bigger Than My Body” transcription, part 2. Chorus pattern ................................ 34 3.3. “Fast as You Can” transcription, part 1. Intro pattern (0:05) ................................... 35 3.4. “Fast as You Can” transcription, part 2. Bridge pattern (1:22) ................................ 36 3.5. “Fast as You Can” transcription, part 3. Melodic phrasing relationship (2:06) ....... 38 3.6. “Kickstand Hog” transcription, part 1. 6/8 groove excerpt (0:00) ........................... 39 3.7. “Kickstand Hog” transcription, part 2. 4/4 groove excerpt (4:48) ........................... 40 4.1. “Where Will I Be” transcription. Intro and verse (0:00) .......................................... 46 4.2. “Ring the Alarm” transcription, part 1. A-section pattern ........................................ 48 4.3. “Ring the Alarm” transcription, part 2. Fill example ............................................... 49 4.4. “Ring the Alarm” transcription, part 3. B section pattern ........................................ 49 4.5. “Jazz Crimes” transcription, part 1. Intro drum pattern and rhythmic ostinato ........ 51 4.6. “Jazz Crimes” transcription, part 2. Drum solo vamp rhythmic hits ........................ 52 4.7. “Jazz Crimes” transcription, part 3. Drum solo (5:32) ............................................. 53 5.1. “History Repeats” transcription, part 1. Verse one (0:45) ........................................ 61 5.2. “History Repeats” transcription, part 2. Syncopated drum fill example (1:42) ....... 62 5.3. “History Repeats” transcription, part 3. Live arrangement drum pattern ................. 62 5.4. “Introducing the Fearless Flyers” transcription, part 1. A section (0:00) ................. 65 5.5. “Introducing the Fearless Flyers” transcription, part 2. Drum solo (1:50) ............... 67 5.6. “Bounce” transcription, part 1. First section drum pattern ....................................... 69 5.7. “Bounce” transcription, part 2. Second section drum pattern (2:55) ........................ 70 vi Acknowledgments This project was
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