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About This Lesson THIS LESSON IS EXCERPTED FROM ASK FOR IT AT YOUR FAVORITE MUSIC STORE OR BUY IT ONLINE AT: WWW.MWPUBLICATIONS.COM ABOUT THIS LESSON: Lesson 28 is the fourth of five lessons on jazz fundamentals. Lesson 25 deals with basic swing grooves and fills, 26 is all about comping under the ride, 27 gets into setting up ensemble figures, and Lesson 28 deals with more complicated ensemble figures. When writing the book, it struck me that many others deal with setting up an initial ensemble entrance, but none deal with filling around figures AFTER the entrance. Also important are learning ensemble articulations so that you can orchestrate note lengths with the various sounds on the drumset. Included are two sound files to practice some sample figures (#4 – a two measure phrase and #9 – a four measure phrase). In these sound files, you’ll play time with a bass player, then set up and fill around the figures played by the pianist. The full play along track is a typical small group chart. As with all jazz, there is no set “drum part” – what you play is completely up to you. Feel free to copy some of the licks that Donny Gruendler plays on the track with drums, or make up your own! Good luck and have fun! Mark Wessels 28 28 More Complicated Ensemble Figures A-L Providing a setup for an ensemble entrance is just one of the drummer’s roles in a jazz setting. Usually a chart will also include important ensemble figures as well. It’s the drummer’s job to “catch” these figures – by either comping under the ride (with the snare and/or bass drum for example), or by playing fills to set up and ‘punch’ syncopated figures. 3 For example, this figure: Might be played: 3 > 3 3 > j Lesson ‰ œ. œ œ œ. œ ˙ j y j y y y y y y y y 4 œ œ œ œ œ ‰ ‰ œ ‰ ‰ ã 4 ’’ ’’ ’’ ’’ ã œ œ œ œ œ A drummer can choose to catch just a note or two of the figures or play driving fills around all of them – it all depends on the dynamics, orchestration, feel and style of the music. Practice catching these figures at various tempos and dynamics: 1 2 3 j j œ œ ˙ ‰ œ œ œ œ œ Œ œ 4 . 4 . 4 . ã 4 ’’’’ ’’’’ . ã 4 ’’’’ ’’’’ . ã 4 ’’’’ ’’’’ . 4 5 6 j j j Œ ˙ œ œ ‰ œ œ œ Œ œ œ œ œ 4 4 . 4 ã 4 ’’’’ ’’’’ . ã 4 ’’’’ ’’’’ . ã 4 ’’’’ ’’’’ . - œ Ensemble Articulations ã A good jazz drummer will try to match note lengths that note length (playing a rimshot, drum or choked &^ (articulations) and sounds of the ensemble with the - cymbal). Long note lengths will be played with long œ sounds on the kit. If the ensemble plays a short, œ sounds (cymbal crashes).œ Low and high sounds can ã ^ “staccato” articulation, the drummer should matchã be orchestratedã on the- kit as well. Hereœ are some examples of articulations that may be notated in ensemble figures œin the drum part: ã ã Short. articulations: Long, sustained articulations: œ œ ‰ œ ã . ^ ã - ã œ — Staccato œ — Rooftop (marcato) accent œ — Tenuto œ — l.v. marking or tied notes ã ã ã ã j — Short note value — “Fall” — Long note value œ ‰ ‰ œ ˙ ã . ã ã œj ‰ œ œ ‰ œ Practiceã singing these ãensemble figures with the correct articulationã before you workã on catching the rhythms: > > ˙ 8 > > 7 2 bars time . - j 2 bars time - . j . - ‰ œ. œ œ œ. œ ˙ ã œ œ ‰ œ œ œ œ œ œ ˙ 4 œj . ‰ 4œ ˙ . ã 4 ’’ ’’ ã ’’‰’’ ’’’’ ã ã 4 ’’ ’’ã ’’ ’’ ’’’’ > > 10 > > 9 2 bars time . .j j 2 bars time j j ¨ Œ ˙ œ ‰ œ ‰ œ ˙ œ. œ œ. œ ˙ œ œ œ œ 4 . ˙ 4 . ã 4 ’’ ’’ ’’ ’’ ’’’’ . ã ã 4 ’’ ’’ ’’ ’’ ’’’’ . > 12 > 11 2 bars time - . - - . 2 bars time - - .j j - ¨ ˙ œ Œ œ œ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ œ 4 . 4 . ã 4 ’’ ’’ ’’ ’’ ’’’’ . ã 4 ’’ ’’ ’’ ’’ ’’’’ . 66 A FRESH APPROACH TO THE DRUMSET 3 3 Techniquey3 y ‰ Focus:y y3 y Sticking‰ y Patterns 3 3 Apply4 theœ œ tripleœ sticking œpatternsœ œ from Lesson. 21 to the jazz ride. ã 4 œ y œ y . y3 y ‰ y y3 y ‰ y Œ Œ 3 3 LL RL 1 FirstLL isolateRL a sticking pattern on count 1 and 3. 4 œ œ œ œ œ œ ã 4 yœ y ‰ y yœ y ‰ y . 3 3 Œ Œ LL RL LL RL y y y y y y ‰3 ‰3 4 œ œ œ œ . ã 4 œ œy 3 œ œ y 3 . 2 Next, move the same patternŒ to count 2 & 4.Œ œ œ œ œ œ œ . yRL y RRLy yRL y L y ã y œ y œ . ‰3 ‰3 Œ Œ L L LR L L LR 3 3 œ œ œ œ œ œ . ã y3 y ‰3 œy y3 y ‰3 œy . Œ Œ 3 Finally, play the pattern on all four beats. After you’re comfortable, œL œ œL œLR œL œ œL œLR mix and match triple patterns – or mix & match triple stickings ã œ y œ œ y œ . with (swung) duple patterns from the Appendix on page 94-95. Œ Œ LL RL LR LL RL LR 28 Jazz Chart Reading: Small Group M-N The chart below contains many common elements to a small group setting: An intro, the “head” (the melody), and an open solo (where one or more musicians may take a solo). In the head, decide whether to “catch” all the figures, just the accents or none at all – it completely depends on the intensity of the group and your personal style! Medium Swing y y y y y y (4) (8) (12) 4 . ã 4 (pno. solo) ‘‘ ‘‘‘‘ ‘‘‘‘ ‘ A F ^ ^ ^ % œ œ œ œ œ œ œj œ œ œ œ œ Ó Œ ‰ Ó 4 ã . ’’’’ ’’’’ ’’’’ ’’’’ f 1. ^ ^ ^ ^ >j >j >j >j œ œ œ œ Œ œ œ œ œ œ ‰ œ œ. œ œ. œ œ. œ œ œ œ œ ã ’’’’ ’’’’ ’’’’ ’’’’ . B 2. Fine > > ^ (open solo) (4) (4) (8) (12) œ œj œ œj ˙ œ œ œ œ . Ó y y y y y y . 4 . ã ’’’’ u ’’’’ ’ (fig.’’’ 1st x only) ‘‘ ‘‘ ‘ (on fine only) F ã 4 ‘‘ ‘‘‘‘ ‘‘‘‘ ‘ F (8) D.S. AL FINE D.S. al Fine ^ ^ ^ ã ‘ ‘‘‘ ’’’’ ’’’’ . & Repeat back to the Segno% œ œ œ œ œ œ œj œ œ œ œ œ (cresc. 2nd x only) (sign) and play to the Fine. Ó Œ ‰ Ó . A FRESH APPROACH ãTO THE .DRUMSET’’’’67 ’’’’ ’’’’ ’’’’ f 1. ^ ^ ^ ^ >j >j >j >j œ œ œ œ Œ œ œ œ œ œ ‰ œ œ. œ œ. œ œ. œ œ œ œ œ ã ’’’’ ’’’’ ’’’’ ’’’’ . 2. Fine > > ^ œ œj œ œj ˙ œ œ œ œ (4) . Ó . ã ’’’’ u ’’’’ . ’ ’’’ ‘‘ ‘‘ ‘ F (8) ã ‘ ‘‘‘ ’’’’ ’’’’ . Table of Contents PREFACE ...................................................... 4–7 LESSON TWELVE .......................................34-35 How to Use the Book/CD, Note Values Chart, 3/4 Time Signatures, Grooves in 3/4 Time, Drumset Notation Key, Notation Elements Rudiment: Flam, Fills in 3/4 Time, Music Reading: 1st & 2nd Endings, LEARN ABOUT THE INSTRUMENT ..................8-9 Play-along Track: “Horseback Waltz” SETTING UP THE DRUMS ................................11 LESSON THIRTEEN .....................................36-37 Music Reading: Dotted Notes, Style: Halftime Feel, Halftime Grooves, LESSON ONE: ............................................12-13 Play-along Track: “Halftime Show”, Technique: Gripping the Sticks, The Rebound Stroke, Accented Paradiddles, Paradiddle Grooves Rudiments: Singles, Doubles, Paradiddle LESSON FOURTEEN ...................................38-39 LESSON TWO: ...........................................14-15 Syncopated 8th Note Beats, Syncopated Sticking Patterns, Bass Drum Technique, Combos, Technique: Single Hand Accent, Hi-Hat Pedal Technique Play-along Track: “Synco de Mayo” LESSON THREE ..........................................16-17 LESSON FIFTEEN ........................................40-41 Right Hand Hi-Hat Technique, First Rock Beat, Music Reading: Sixteenth Notes, Music Notation Basics 16th Note Grooves, 16th Note Fills, Technique: Grid Diddles, Style: Rock Ballad LESSON FOUR ...........................................18-19 Music Reading: Quarter/Half/Whole, LESSON SIXTEEN .......................................42-43 The Ride Cymbal, Play-along Track: Music Reading: 8th/16th Rhythmic “Rock Steady” Combinations, Syncopated LH 16th Grooves, Technique: Accent Grid, LESSON FIVE .............................................20-21 Syncopated BD 16ths, Style: Syncopated Rock 8th Notes, 8th Note Rock Beats, Music Reading: Quarters and 8ths, LESSON SEVENTEEN ..................................44-45 Play-along Track: “Solid as a Rock” Music Reading: 16th Rests, Dotted 8ths, 16th Based Rhythmic Permutations, 16th LESSON SIX ...............................................22-23 Beat Combos, Rudiment: The Ruff, New 8th Note Rock Beats, Technique: Style: 8th Note Funk Independence, The Crash Cymbal, Play-along Track: “8 Ball in the Corner” LESSON EIGHTEEN ....................................46-47 Syncopated 16th Note Grooves, LESSON SEVEN ..........................................24-25 16th Open Hi-Hat Combos, Syncopated Fills, The Toms, New Beats Using the Toms, Style: 16th Note Funk Rudiment: Multiple Bounce Roll, Play-along Track: “Jungle Drums” LESSON NINETEEN ....................................48-49 Technique: Controlled Rebound, Play-along LESSON EIGHT ..........................................26-27 Track: “Slow Motion”, Rudiment: Flam Drum Fills, Concepts: Sustaining Tap, Style: Train Beat, Rudiment: Lesson 25, Momentum, Play-along Track: “Solid Time” 6 & 7 Stroke Rolls LESSON NINE ............................................28-29 LESSON TWENTY ......................................50-51 Open Hi-Hat Sounds, Rudiment: 5 Stroke Music Reading: 12/8 Time Signature, Roll, 8th Note Combos, Cross Stick, 12/8 Grooves, Technique: Accented 3’s, Play-along Track: “Spy Games” 12/8 Fills, Style: 12/8 Blues LESSON TEN ..............................................30-31 LESSON TWENTY ONE ..............................52-53 Quarter Note Ride Pattern, Technique: Triple Sticking Patterns, 12/8 Reading, Independence, Style: Two Beat, Play-along Triple Combos, Triple Hi-Hat Combos, Track: “Two Bits”, Technique: Tap, Down and Play-along Track: “Crooked Stick Blues” Up Strokes, Time Check LESSON TWENTY TWO .............................54-55 LESSON ELEVEN ........................................32-33 Music Reading: 16th Notes in Triple Time, Music Reading: 8th Rests, Upbeat Ride Pattern, 12/8 Grooves Incorporating 16th Notes, Style: Disco, Fills Using the 8th Rest, Technique: 12/8 Accent Patterns, Play-along Track: “Build it Up” 12/8 Fills
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