Mel Bay - The Drummer's Cook Book.pdf - Książki +CD - The_Great_Red_Dragon

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PREFACE

r' In lhe post few yeors, rock hosceosed to be the illegitimote offspringof the

more sociollyocceptobleforms of music.lt hosbecome qn oulhentichybridof Blues,

Jozz, ond more recently,Gospelond Countrymusic.lt hos emergedunscothedfrom

the Shoo-bop, Shoo-bopero q seporqte ond legitimotemusicform, still in its in-

foncy gronted, but nevertheless, on honestform with o new direction.

Rhythmicolly, Rockhosodvoncedby leops ond bounds.As o result, muchemphosis

hosbeenploced on the drummer.Thisis onein q seriesof booksond it deqlswithone

of ihe most imporlont ospectsof rock drumming:RHYTHMIC

IMPROVISATION.

The objectof thistext isto encouroge ond developthe drummer's qbility to creqie

ond develop hisown ideosfrom o bosic formot.Rockmusicis, or shouldbe,o form of

personol expression,There cqn be no right or wrongwoys to ploy. Everythingmustbe

reduced to ihe individuollevel. Thereshouldbe very few generol rules.lf something

works for on individuol, then for thot porticulor drummer it is right. lf something

works for you, do it!

Er.,

tNC. pACtFtC, MO.

INTERNATIONAI COPYRIGHTSEOUFED.ALL RIGHTSRESERVED.

PFINTED IN U.S.A.

o 1S72By MEL BAy pUBL|CATIONS,

TABLE OFCONTENTS

j I

few exetcises

THEROCKFEELING:Anexplanation

ofsomeo{thedifferent

"Jeels"usedin rock.A

threebasichigh hat patterns, andtheirrelationship

showing

to theoverall

teelingof a

rhythm.

THEVARIATIONS

ANDDEVELOPMENT

OFA BASICFIGURE:A methodot obtaining

variations

from

a basicfigure by 1)Changing

thetonalstructureotafigure2) Changing

therhythmicstructureota

fisure.

RHYTHMIC

lI\4PROVISATION;

A studyintotheconceptof improvising

rhythmically.

lmprovising

off

ofa basic rhvthmic structure muchinthemannerofmelodic

improvisation.

CHAPTER

ONE: Variations

of a basicbeat.

A seriesot eight8 Bar solos builtfrom

theexercises

inChapterOne.

CHAPTER

TWO: Variations of a basicbeat.

A seriesof eightI Barsolosbuilttrom

the exercises

in ChaDterTwo,

CYI\4BAL

VARIATIONS

WITHTHERIGHTHAND:Atewexercises

demonstrating

thetechnique

ofvary.

ing therhythmottheright hand and integrating

it intothe overall rhythm.

THEROCKFEELING

Betore going anyturther,an attemptmust bs madeat explaininghowto te6la rockrhythm.

Everydrummer has hisownwayof feelinga tigure,butin general

theyall must give a rock sound.

most prevalent

feelingin the newertunesis borrow€d

is notnearlyas importantastheleeling generated bythe drumm€r. The

tromthe BlackMusic ol today.lt isa com-

binationot threeor fourfeelscombining

together

to giv€ anoveralleffect.

to be played nofusterthanbetween

importance

., : 112to 120.Asa general rul6,it wouldbeadvisabla

feeling.Thefigures

inthisbookweredesignod

play ev€ry {igure at many diff€rent

temposrangingbetween

J: 60 and112.ANYTIME SPENT TRY-

INGTOPLAYTHESE

FIGURES

ATRIDICULOUS

TEMPOS

ISWASTED!!

it. Asin alltyposof music,

whatthe bandisdoingwill govern what you, thedrummer,will play behindthsm. Whetheror not you

chooseto actually play the "8 to the bar", that feelingmustalways b€ ther€. Sometimesstraight

quarter notes suit the arrangementmuch betterbut theyare still felt in €ight.Don'tthink of iust

straighteighthnotesin4/4butotanS/Stimesignature.TrycountingL2S4S5TS,instsadof

r&2&3&4&.

it is not so necessary

to play this figureas it is to IMPLY

ll,

*!t*!<r<n!ara

ffi-l

'll

-T-r:

Note:Playeacheighthnote with an upstroke rather thana downstroke

the 8/8 feel.

teeling.This giv€s the rhythm

o Coprndt 1972 bt MllE.rPuhlic.tioN,

lic .] hhmllloialCopyithtS6cur.d

.:. Pidld inU.S.A .:. tttf,tl|ib[$!rvid

Technical

execution

Tempo

is of utmost

wfen discussing

(A) Exceptfor th€ obviousdifferencessuchas shufflesand 6,/8 figures there is alwaysan "8 to

the bar" feeling.Usuallyit is played withtherighthand, eitheronthe ridecymbalor ona closedhigh

hat. Onoccasion

a lift and emphasizes

THEROCK FEEIiNG

(Coni.)

ontop of (A) is a cut timeor upbeatfeeling. When ptayed, it is most often done

bythe high hat,or onoccasion,

onthebassdrum.Usually

though it is merely

insinuated.

rl!

1.e1e

the right footandtothhands

"4lo the bar"feeling.

lt is most effectivewhen played bythe highhat

freeto ptay there$ df tie figirre.onie agai

to play it asit isto IMPLY

it.

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somethings soundbetterwith an eighti notJride andnot

th€ sixteenthfigure. lt canbe played bythe tambourineor whenthe tempoandthe arrangement will

allow,it canbe played bythe right hand. lt is mostetfectivewhenplayed ona closed higf,hat.

Rl|XXXltxx

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(B)..Superimposed

withthe lefttoot, leaving

rtrsnt sonecessary

(D) Last but not least,is the steadysixteenthnotefigure that rideson top o{ everything else.lt isn,t

n€cessarilyusedin everyarrangement.

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