| ADVANGER FUN K STUDIES 1] SEINE —= 7 ADVANCED NS DRUMMER IN THE STYLES OF TODAY’S LEADING i wm siapieranieary ee, "cape availableCONTENTS Preface EXPLANATION OF NOTATION INTRODUCTORY EXERCISES HUHAT PATTERNS. ....20suse sven ceseererncnegeraycreesten teneneeeseasesen neuen : HI-HAT OPENINGS. COMBINATION EXERCISES: FILLPATTERNS .......-- FUNK PATTERNS .. TRANSCRIPTIONS . . SOLOSPREFACE The purpose of this book is to give the advanced drummer some insight into the techniques in: volved in playing today’s Funk and Fusion Music. The patterns in this text are to provide the player with a working knowledge of style and feel to develop his own ideas. The information within is merely a means to an end. ‘have used a "stems up" notation which | think will be helpful in interpreting the pattems, since traditional notation sometimes tends to be confusing. The cassette tape that accompanies this book will serve as an invaluable aid in the realization of the pattems set forth, Many of the patterns are styled after some of today’s leading funk drummers such as Steve Gadd, Harvey Mason, and David Garibaldi. Others are direct transcriptions from recordings as in- dicated. The first section of this book contains exercises which employ various techniques necessary to master the pattems that follow. These exercises will be divided into three types; those dealing with (1) the Hi Hat, (2) the Snare Drum, and (3) the Bass Drum, Many of these patterns will not be mastered in mere minutes. Begin them at a slow tempo, pay- ing close attention to accents and sticking. Remember to always maintain the eveness and flow of the pattern at any tempo.EXPLANATION OF NOTATION The notation used in this book Is basically standard percussion notation. | have used some sym- bols with which the reader may be untamiliar. a = HL-HAT OPEN HI-HAT CYMBAL BELL OF CYMBAL COW BELL SNARE DRUM ES ej S| SMALL TOM-TOM MIDDLE TOM-TOM. FLOOR TOM-TOM BASS DRUM FOUR BASIC HI-HAT OPENINGS 5 Sse gee ees Open on the beat, Open on “and” of beat, ‘Open on “a” of beat, Open on "ah" of beat, closed on next beat, —_ closed on next beat. closed on next beat, closed on next beat.PERFORMANCE NOTES Many of the patterns in this book, when first played, will seem very straight and stiff. It will take a short time to achieve the proper style and feel of each pattern. Here are a few basic suggestions that will help in achieving a good sound and feel. GHOST STROKES — Sometimes it will be necessary to GHOST certain strokes. This simply means. that the stroke is more Implied rather than actually sounded. A good example ofthis practice isshown nthe pattern, 2 J. The Hi-Hat on the “and” of gee should be barely audible, so that the pattern sounds like DOUBLE STROKES —When playing unaccented double strokes, be sure that they are even and DOUBLE STOPS — match or balance in volume level. ‘When playing a combination of both hands or hand(s) and foot (feet) together be sure there is one sound, not a flam effect. All exercises with no time signature are in 4/4 time—all other time signatures are notated. In the Funk Patterns, Transcriptions, and Solos—only special sticking will be indicated. All other sticking will be right hand on Hi-Hat, left hand on snare drum.INTRODUCTORY EXERCISES The following exercises deal with different combinations of the Hi-Hat, Snare drum, Bass drum, and Tom-Toms. The sticking should be strictly followed; this will be helpful in achieving the correct sound and feel of the exercise. These stickings will also be helpful in learning the patterns and transcriptions that follow. Some of the exercises will not have sticking indicated. These should be practiced right hand on Hi- Hat, left hand on Snare Drum and left hand on Hi-Hat, right hand on Snare Drum. These will be in- dicated throughout the book by*. RLALAR LALALL 9 gaits eeAALARU ALL ALL 13 ge rie faa FIXED HI-HAT PATTERNS This Mext group of exercises deals with four basic Hi-Hal sticking patterns found in Funk Drumming (1) Hi-Hat plays quarter notes (2) Hi-Hat plays eighth notes (3) Hi-Hat plays on the “and” of the beat (off beat) (4) Hi-Hat plays sixteenth notes on the “and-ah" of the beat For a more effective feel, play a Bass Drum dotted eighth-sixteenth or Samba pattern with these exercises.” 9HI-HAT QUARTER NOTES PRES ALG Soi4, bes > HI-HAT EIGHTH NOTES 104 paleo 8 pee Ea. 9 SHES pa space = 10 peas — HI-HAT OFF BEAT Siar ey 3 pay ope 4 pea ee ee6 aS o Bay | PSRs, 10 pea HI-HAT SIXTEENTH NOTES (and-ah) ae 1 eee 2 pee te in Ga 3 Fee | 12(Se HRT. 8 pa HI-HAT OPENINGS These exercises deal with opening the Hi-Hat on different parts of the beat, creating the SHUP... sound.” Also try these using alternating sticking. 139 jen = ° Wig ] So € COMBINATION EXERCISES The combination exercises deal with what has been covered thus far; different placement of the Hi-Hat, Snare Drum, Bass Drum, and Tom-Toms, as. well as sticking problems." 1415> > > > > I {Hy ert TY 1 } = AER Ei H xs # i « TAN q . a # a te =i os cos t af] ‘i T a TN | AGS ag a HES ul 4 OE ES aig) ES ay MBS] Be iE 4a) HR) BY coll act i a i | ME kt A egal cos ul I Ais © N co oS a a st a “ a i) oO oO oO i | j on q ty {@H1€@ og @ o-oo s a | ; 4 a ca) aah acl 3 A Nt] call fs) 4 = ; ' | ' Ly } a I tte {| mi ‘ a if | At afar a | ‘ | ACCES, ate) al) et wl kl ah as [ | 411) = - 4 min om AY BY i] ate | lH KR « o ° oA N x to = 7 - N a a a A 16= FILL PATTERNS = be} Saag) KefeRC cga ore aacaaras 2 12 [ParaFUNK PATTERNS This section ties everything together in the form of patterns, one or two measures long, that canbe used in a performance situation. A majority of these patterns can be used in some of today's Funk- Disco tunes. Many of the patterns work well at several tempos. On the cassette they will be played at the tempo ‘have found most effective. Remember to start these patterns at a slow tempo, paying close atten- tion to sticking and accents.Pay LL mire seem 14 be) 199 be] 15 ee 20 Bas 3. >» re BALAL AiR tA > 16 Py a1 Ere | 17 pee 22l, pa 19= key >> >> > > > t ARLE ALAL ALR RARE 3a Ase>> o> >> 61 pes eecacr des 66 Hes. Pe) 67 (Ea San gaae co ath aS gu 22>> 27 >> t atta 70 peas, f L__ tartar with Foon TRANSCRIPTIONS The following beats and solos are some of my favorites that I have transcribed over the last few years. These are to give you some understanding of the style and technique used by some of the top Funk Drummers today and to help develop your own style and technique. \ hope that you will find them enjoyable and useful 23STEVE GADD 1 ‘so ways To Leave Your Lover” From Paul Simon; Stil crazy d=100 RAR > >> > A RLAL “LAL LAL 2 “Lenore from Chick Corea; The Leprechaun A te 126 B d= 120 GELGER pee 3 “The Musician” from Chick Corea; Musie Magic /= 104 GERRY BROWN ITHIS TRANSCRIPTION ONLY)6 “Midtown Rush” trom Tom Scott; New York Connection d= 104 > > >> > > > >> >> >> a ee > > > > > ° pay ——— ‘ eee10. “seven steps To Heaven” from Ben Sidran; The Cat And The Hat d= 126 > > >> >>> >> > > > LRLR Loejn ALLA LLRL > > ALLR LER, maa 11 “Hop scotch” from Jeremy Steig; Firetly d= 98 ALR >} > > >> > >> At “LAL ALL REA REAL ALAL ALL 12 if You Want it” from Bobbi Humphrey; Freestyle ¢= 108 SS a>2>> a>> >13> «skat Talk” trom Mark Colby; One Good Tum d= 98 15. “this Time Tomorrow" from Nell Larsen; High Gear 6= 98 >> o> o> (BERG DAVID GARIBALDI 16 Ebony Jam” trom Tower of Power, In The Slot d=i08 > > >> > > 2 a 27 mye PLB =17 “on The Serious Side" from Tower of Power; In The Slot = 116 18 “squib Cakes" trom Tower of Power; Back To Oakland 4=108 AE Gea HARVEY MASON 19 “Bertha Baptist" from Harvey Mason; Earthmover fe 120 ae Re 20 “the Mase” trom Harvey Mason; Earthmover d= 9421 “Phantazia’ from Harvey Mason; Funk In A Mason Jar (First four measures of bass solo) pp BE LE CARLOS VEGA 22 acrobat" trom John Serry: Jazziz J=116 PETER ERSKINE 23 “Do It” from Michel Golombier, Michel Colombler d= 110 >24 Take Me Down” {rom Miche! Colombier; Michel Colombler J= 90 GERRY BROWN 25, Funky Row" trom John Lee and Gerry Brown; Still Can't Say Enough d=o8 PAUL LEIM 26 wanna Be With You" from Doc Severinson; Night Joumey J= 92 rea > o> >> > x05 pat PP yaRICHARD “MOON” CALHOUN 27 “Turn” from Rutus; Street Player d= 82 ED GREENE 28 “shake Your Body" (Down To The Ground)" from The Jacksons; Destiny d= 116 SOLOS The solos that follow use the patterns that you have worked with throughout the book. Each solo has it's own special problems that should be worked out very carefully. This will help in achieving an even flow of the solo. These solos represent different grooves or feels that are very popular in today's music, Certain solos will Bring to mind certain players. You will tind that the solos makes excellent lesson material or very challenging jury and recital pieces. 31ra p>> > A FL FFE =| HERE apis,SOLO #2 d=100 >> 20 > >> > = RLAL ALAC ALALALAL sm Zen = BH > > 93> > > > > > >> pees ob Say papa TR 3 Zi = >> o> > a> o> >> > >> > > > rate RAL ALAR RAC AL FRA _A ime LE peel pet =} bo pa > > 22 3, Ba, eB * OLA A a th?? pasate peer a ey a ,SOLO #3 126 4 = = L > soe a >> a” AL S| > fi abu >> >> > = a > > > > eS Se >” . we R = Fim Aum ane. 7. 4 fe uae 2 2 hat SS > a hited = ¥ 2 > a > a ZS =e ee RP L Se ad ari Caan 3 = | + se p> mr > >> rr> > > > > s> >> se >> | a > > ALLA zr > at _ oa =r s35SOLO #4 d= 132 = RLRL RLRL .- pee >> > >> >> > > >> > > ALRL RLAL LLRE RERG PH ee eae SS b> a> ss o> > R > >> > > > a> > >> ALRL ARLA LRLER ALLE RLRL RRLALRIR ALL r [pease gerageny [geeg a gsag | —f 37SOLO #5 de 116 > > > >> ALAL RLALAL RLAL AiL i ie tl i T a Fz st Bh lie: > D> >> >> > so>> 39peed f fig Le E AR 4 ee ae one es Trur PERRET PRET ty "UAL ALL” ALR”41SOLO #7 de116 pra FH, vt Ac cfs Biy fe | z ae ae | fe PN | Ee : cE : = | “tos ay |. Hom 3 + A 1 at = o | A ™ | A > > > Fae > > >> > = ra — a 2) = — 42| 2 > >> Fanaa aa Freee ia >> Post 43SOLO #8 d=28.92 > >>> URLO RAD 35 35 pines 3H! > >>> >> 3 >> Ee 35 335 > "| au ATC f yy See u ay ‘4 al athe A t ants | x an all , r ie % “esis i Ae)| ¢ enall| nel ‘ kf ri < il L it < ali a a *e al > 3434 343 a mi > ra a a 2, a 234-3. atc RR . a a >> oo 444547SOLO #10 de 72 WAFKrest pete pe a peta E 49