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TECHNIQUES GROOVE MASTER CLASS Zoro the Drummer performs with Whether you’re a singer,o k nLenny Kravitz soloist, or part of the c I rhythmL section, these five exercises will help get you in the groove. By Adam Perlmutter & Zoro the Drummer ou may not realize it, but every time you listen to a singer or instrumental soloist deliver a great performance, you’re hearing more than their individual Ytalents. They may not get the attention, but musicians backing them up are just as important as the soloists themselves. In fact, one of the overlooked skills of any great soloist is the ability to connect with the rhythm section, the core of any band, that usually consists of percussion, bass, and chording isntruments. Being a strong rhythm player involves much more than just having a good sense of time. It requires countless hours of deep listening to all the dif- ferent rhythmic approaches common to a particular style. Great rhythm players constantly study new beats to adapt to their style and add to their repertoire. We reached out to Zoro the Drummer, who has played with everyone from Frankie Valli and the Four Seasons to Lenny Kravitz. Known as “The Minister of Groove,” he explains five essential rhythm patterns that every musician should learn, with tips on how to play them individually ZORO and in ensemble settings. INTUNEMONTHLY.COM [ DECEMBER 2012 ] 25 TECHNIQUES GROOVE MASTER CLASS OUR MASTER CLASS INSTRUCTOR ZORO IS AN AWARD-WINNING drummer, educator, speaker and author of The Big Gig: Big-Picture Thinking For Success and The Commandments of R&B Drumming series (Alfred Music Publications). He has toured and recorded with Lenny Kravitz, Bobby Brown, Frankie Valli and the Four Seasons, The New Edition, Jody Watley, Philip Bailey of Earth, Wind & Fire, and many more. TheBigGigBook.com, Zorothedrummer.com E D E E D E # ™ œ œ œ œ œ œ œ œ ™ Guitar ## # 4 ™ œ ‰ œ Œ œ Œ nœ œ Œ œ ‰ œ Œ œ Œ nœ œ Œ ™ & 4 J œ J œ ™ ™ Bass ?#### 4 ‰ j Œ Œ nœ œ Œ ‰ j Œ Œ nœ œ Œ 4 œ œ œ œ œ œ ™ j j ™ Drums 4 ™ œ ‰ œ Œ œ Œ œ œ Œ œ ‰ œ Œ œ Œ œ œ Œ ™ / 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ BO DIDDLEY’S THE “BO DIDDLEY BEAT” MAY BE “Desire” by U2, and many others. Try BIG BEAT named for the rock pioneer who made it playing this exercise exactly as written, Borrowing from Afro- famous in the 1950s, but this rhythm has with all instruments in rhythmic unison. Cuban rhythms, this actually been around for much longer, Subdivide if needed, so that the eighth early rock beat has found its way into a originating in New Orleans a century notes land on the weak beats at the exact range of pop styles. before Bo Diddley used it. It contains right time. The accents defined by the elements of the clavé—the basic pattern top-line in the drum part (and echoed by heard in so much Latin music—and has a the bass and guitar) are very important to strong connection to Afro-Cuban rhythms. making this rhythm groove. Once you’ve 1 Over the years, it’s been at the center of got the basic feel, try playing variations of many different pop songs, including this beat while retaining its essence—for “Mickey’s Monkey” by Smokey Robinson & example, leaving some notes out or shifting the Miracles, “Faith” by George Michael, the weight of the accents. THE 12/8 ALL MUSICIANS NEED TO BE comfort- accents, but if you focus, you should be GROOVE able with 12/8 time—12 eighth notes per able to find the groove. When you’re Tracing its roots measure—which is at the heart of many ready to play, start with the simplest to West Africa, blues and jazz grooves. One way to look version. Set your metronome to eighth- this rhythm is considered to be the at 12/8 is by dividing the measure into note triplets, and play a note on each “mother beat” of four beats of three eighth notes each. Play “click,” counting “One-and-uh, two-and- American music. this three-against four pattern and you’re uh, three-and-uh, four-and-uh.” All doing a blues shuffle. Remove the middle instruments should try playing the bass eighth note in each set of three, and line, which leaves out certain beats. you’re swinging jazz. To get a sense of the Melody instruments and singers might 12/8, start by listening to a 1950s song try playing the Bf and F chords as eighth like Fats Domino’s “Blueberry Hill,” note arpeggios using this pattern. The where the meter is very straightforward. trick for playing 12/8 tightly together 2 The rhythm is more difficult to feel in a with a rhythm section will be internal- fast 12/8 like Stevie Wonder’s “Part Time izing the meter so that you don’t get Lover” or in Whitney Houston’s “I’m thrown off even when rests and more Your Baby Tonight,” which is packed with complicated phrases appear. 26 [ DECEMBER 2012 ] INTUNEMONTHLY.COM C7 ™ œ œ œ œ œ œ œ œ œ œ œ œ ™ Guitar 4 ™ ‰ bœ ≈ œ ‰ œ œ œ ≈ œ ‰ ‰ bœ ≈ œ ‰ œ œ œ ≈ œ ‰ ™ & 4 œ œ œ œ œ œ œ œ œ œ œ œ J R R J R R ™ ™ Bass ? 4 ™ ™ ™ ™ 4 ‰ œ œbœ œ œ œ œ œ œ ‰ œ œbœ œ œ œ œ œ œ ™ ™ Drums 4 ™ ‚ ‚ ‚ ‚ ‚ ‚ ‚ œ œ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ™ / 4 œ œ¿ œ œ œ œ¿ œ œ LEANING IN THE 1950S, SONGWRITERS IN section member needs to study the way TO LATIN New York and Miami got excited about in which the bass lines, keyboard riffs, Playing these rhythms the rhythms coming out of places like guitar, and melody parts interlock with correctly can involve Puerto Rico and Cuba, and they began the percussion in Latin-type grooves. breaking some well- established habits. incorporating these elements into This might involve “unlearning” habits American popular music. You can hear that are actually correct in other styles. this highly syncopated influence in so For example, a bass player coming from a many different places, from “Unchain rock background must sometimes refrain My Heart” by Ray Charles to “ABC” by from playing on beat 1 in a Latin setting. 3 the Jackson 5 to “Devil in Disguise” by Therefore, it pays to spend some time Elvis Presley and Stevie Wonder’s studying these Latin grooves on your interpretation of the jazz standard “The own. Start by counting each of the Shadow of Your Smile.” You can learn a rhythms shown here, subdividing if lot about Latin grooves by listening to needed, and then learn to play them these recordings and to the work of accurately on your instrument before original Latin bandleaders like Xavier playing them together with the rest of Cugat and Machito. Every rhythm the rhythm section. B¨ F ™ ™ Piano ™12 ™ &b 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ ™ ™ ™ ™ ™ Bass ? 12 œ œ ™ j œ ™ b 8 œ œ J œ œ œ œ œ > > > > ™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ Drums ™12 œ œ œ œ ™ / 8 œ œ œ œ œ œ œ œ Four threes: Try counting 1-2-3-4 while clapping the eighth notes shown left. 1 2 3 4 Accent 1, 4, 7, and 10 to outline the four beats. Then try giving all 12 eighths equal 1 2 3 4 5 6 7 8 9 10 11 12 weight, and notice how the feel changes while the timing stays the same. INTUNEMONTHLY.COM [ DECEMBER 2012 ] 27 TECHNIQUES GROOVE MASTER CLASS A B‹ D E ™ w w ™ Guitar # # 4 ™ w w w w ™ & # 4 w w ™ ™ Bass # 4 ™ œ ™ ?## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ > > > > > > > > > > > > > > > > ™ ™ Drums 4 ™ ¿ ¿ œ¿ ¿ œ¿ ¿ œ¿ ¿ ¿ ¿ œ¿ ¿ œ¿ ¿ œ¿ ¿ ¿ ¿ œ¿ ¿ œ¿ ¿ œ¿ ¿ ¿ ¿ œ¿ ¿ œ¿ ¿ œ¿ ¿ ™ / 4 œ œ œ œ œ œ œ œ œ œ œ œ FOUR BEFORE THE MOTOWN LABEL Alright),” and so many others. To master SNARE was founded in 1959, the groove in popular the Motown groove, listen to how bass The Motown groove music usually had snare accents on beats 2 complements the driving snare pulse. Like generates energy by and 4. But when Motown’s house drum- a rhythmic puzzle, each part fits together. putting the all-impor- tant snare accent on mer, Benny Benjamin, began playing a A general rule of thumb is that faster all four beats. snare on all four beats, he created a driving tempos call for the guitar, keys, and bass to pulse that generated a lot of excitement. play eighth-note patterns around the drum The intricate low-end parts by bassist groove. Slower tempos allow for 16ths. James Jamerson added even more energy Play this example at a faster tempo. 4 to the Motown sound, which you can hear Guitarists and melodic instruments can try on such 1960s hits as “I Can’t Help Myself doubling the bass an octave higher or (Sugar Pie Honey Bunch),” “It’s the Same create an independent eighth-note line, Old Song,” “Uptight (Everything’s being sure to lock in tight with the groove.
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