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Advanced Funk Studies (Rick Latham) PDF

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Carlos Javier Jara Hernandez
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565 views51 pages

Advanced Funk Studies (Rick Latham) PDF

Uploaded by

Carlos Javier Jara Hernandez
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Le ADVANCED K STUDIES I el See PATTERN: R TH ie =_———H Fo jee age DRUM IN THE STYLES OF TODAY’S LEADING FU DRUMMERS yn a AM TTT many well-known recordings. CDs Included RICK LATHANM “Advanced Funk Studies is excellent. The book is well written and the Tapes are so helpful. This will cause me to practice a little more.” Louie Bellson Author, Clinician World renown Drum-set artist “| would recommend Rick Latham’s book Advanced Funk Studies to all serious drummers. The notation is extremely well thought out and easy to read.” Jim Chapin ‘Author, Teacher The Father of Drum-Set Independent “Latham's book Advanced Funk Studies is one of the best books on the market dealing with contemporary Funk-Rock techniques. It is helpful to all drummers." Ed Shaughnessy Author, Teacher, Clinician NBC Orchestra, The Tonight Show “Advanced Funk Studies is a well written and informative addition to drum set literature. You have done a great job of capturing today’s drum-set style.” John Beck Percussion Instructor Eastman School of Music Timpanist, Rochester Phil. “1am very happy to endorse this most interesting/enlighting book ... The sticking alone makes the patterns fun to play. Colin Bailey Teacher, Author, and Clinician “A valuable addition to the area of percussion instruction literature. The recorded material makes the book an especially powerful teaching aid while still allowing sufficient latitude for the student to develop his own styles.” Harold A. Jones Associate Professor of Music East Carolina University “Rick Latham's concept on Funk Drumming is a necessary addition to drum set study. The material is pertinent and challenging...” Robert Schietroma Coordinator of Percussion North Texas State University “All of the beats sound good and “Cook”. There are all two few quality books in this area. Yours is excellent and contains many original ideas.” Henry Okste! ; Instructor of Percussion (Drum set) North Texas State University “| think there is a need for 2 book of this type in advanced playing. ..the excerpts are challenging and interesting.” Ron Fink Associate Professor and Author North Texas State University ADVANCED FUNIK Uy CREATIVE a PATTERNS > o> a> iE i 1 Fi ———- beeen Ses oe A H 9 fee | 5S peo pi Se CRS 3 ee at = 12 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 10 11 12 > > > > x > > > > > > > > > > > > to ——— > 2 > > r 4 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 1 12 13 14 16 15 > pon 26 27 4? 18 > > FEA Rua 28 o N = be pa > > 20 >> Wiptcscercce > 21 22 TRLR > > LAL BLL RLA > > aE RRL > a >> >> pics rites 24 33 EZ Tt oO 16 FILL PATTERNS > el > > LAER enn. 2 whe f | Sees | > 5 | | [sc il Ried ttt Boagcase ARUARUARD 35 P3934 P3433 PSII | 12 17 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- tlon to sticking and accents. 18 | 18 19 N = Soe ee HARA Pe RRLL > 22 Be 19 34 36 >> >>> > RRUL ALAL ACA > RRALL 37 1H, >> AL As Aa, aq Acc! >> cE 47 49 > >> > > = >> Ria D> > >> I N oO >> As Aq| Aa! 53 = >> L Sim? ALA 54 21 >> RL S Db > > 65 SD > S faa] 60 61 Rt Prat 70 Darr > >> > > >> ae OS Sm 73 EL TRANSCRIPTIONS The following beats and solos are some of my favorites that | 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 “50 Ways To Leave Your Lover’ From Paul Simon; Still Crazy d= 100 > Sexe 1S > See RRLL “LAL LAL R RLRL “LAL LAL pe td ey “Lenore” from Chick Corea; The Leprechaun A de 126 B d=120 > 12 > > ALLA LRRE WL RL ace tected teed ttt ere =A BPH “The Musician” from Chick Corea; Music Magic d= 104 “1 Love Wastin’ Time With You” from The Brecker Brothers; Back to Back d 116 > > = | 5 Ap ieee 6 “Midtown Rush” from Tom Scott; New York Connection d= 104 >. Bye: ee > >> 7 8 9 “Touchdown” from Bob James; Touchdown d=112 ‘pees 25 10. “seven Steps To Heaven” from Ben Sidran; The Cat And The Hat = 126 S > Ses 5 » a ee BO eS may ALLA LLRUE ALR Lean ALLALLAL s a HH H F als [aa a : 2 ————————— = 11 “Hop Scotch” from Jeremy Steig; Firefly d= 98 ss & MS Ss Seacie tes > AL “LAL ALL ALR ALAL RLAL ALL ALA ALA f ? I i “fe | 2 J {| 2 e =. Z 12 if You Want It” from Bobbi Humphrey; Freestyle ¢= 108 >>> > >>> > > 13 “skat Talk” from Mark Colby; One Good Turn d= 98 14 “Dream” from Esther Phillips; Capricorn Princess d= 138 bo ci ta gh 15 “this Time Tomorrow” from Neil Larsen; High Gear @= 98 0 pp ey © aE ey DAVID GARIBALDI 16 “Ebony Jam” trom Tower of Power; In The Slot d= 108 17 on he Serious Side" from Tower of Power, In The Slot ¢=116 5 FAA HARVEY MASON 19 “Bertha Baptist” from Harvey Mason; Earthmover J 120 > > Ss, bey | 5 Fa FEA = 94 >>> >> >>> > >> >>> > >> >> 21 “Phantazia” from Harvey Mason; Funk In A Mason Jar d= 120 (First four measures of bass solo) PETER ERSKINE 22 “acrobat” from John Serry; Jazzlz J=116 24. Take Me Down” from Michel Colombier; Michel Colombier = 90 A B Cc > > > > 3 SS eS pec ettttie GERRY BROWN 25 “Funky Row” from John Lee and Gerry Brown; Still Can't Say Enough d= 98 > > >> > b> os >>> > PAULLEIM 26 «1 wanna Be With You" from Doc Severinson; Night Journey d=92 RICHARD “MOON” CALHOUN 27 “Tum” trom Rufus; Street Player d= 82 ED GREENE 2 8 “Shake Your Body" (Down To The Ground)” from The Jacksons; Destiny d= 116 >>>> > S> 3 RLR | oR LELA CRE 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 find that the solos makes excellent lesson material or very challenging jury and recital pieces. 31 SOLO #1 SOLO #2 }= 100 p>>> a >> >> >> | FERLEFAL apo rs st pay AFT e ‘Hy in ae ie ee a es is z | a |! “| “Bea * t ha E He fl van * at ll BL SOLO #3 126 de | 2 ae a> > . Bi > > > > p> o> jnny oe cr L 4 ‘== > pe >> aM il of zl]. 4) nesting } na Ant Z : iii ne % a ae i / aa 2 ih NTS wis *. eh ) a tl al aH Sep acl ol cat A) “Ett [ f wl dit ae Samer se ye > LAL LRL LLRL ALA >> rr DP rrr > > > > a ae oe 34 35 SOLO #4 d= 132 RLERL RLRL D>>> a>>> TM QI} od Aes : ‘| : 4 4 Alen A ‘ {] t qt ‘Tes 1 TE _ 7. ; ‘Ry : a i st 2 a ; Tay. * é pe a 37 SOLO #5 d= 116 > > Seite LRL RLALAL REAL A > > > >> Petite ars, : IR URRE ps = 34 RERLAL R AES fal t , = = ; 39 41 SOLO #7 d= 116 > eee > Lp Ra LRLR — = BA ae Rpt sMaseess=em- P a a eee oe CA A srLa we > AR > A LAL + > He B =| >> RLRL a FER ae ss pop >.>? ee Bot tx — 42 > > R LAL ae is > > > BRL OR 43 >> > aes Sa Ba 3 3 > rs fo >> ee ee ee ee ed P5E35 3. S34 Fs ss Fa >> > > ee ie >.> > > 625 eae S38 33S Ba Se RLR aL Bh 25 ae Se Ps a =a= sss aa >> pre >e 2s > 33 al R SOLO #9 d= 132 > me > >> Aa et ae eee > pdr > ep = > ee be > ee o> OBER ze Jo5F | A 4 ATT xa Uf A a Uy rs wall Ri) ay), S20 ]|| “Th Neate “SHI co fl aa ATT * aa ON in et cal) 2 Aa Re Aa Az Ast aq Au aq > o> > 35 3a > amt > A cr oe 2s we i rraeee ae ee ee > = F “ee i. p= aa bt 47 SOLO #10 d= 72 WALFX FEEL eeeiitiee Rr = : Fy | 1 | t a os > > ARLL ALAR LAR 5 oy eel > pas a > > > 2 > ABLL 7 > RLERL RRLL RL > R >> ae > > > >>> RL > RE LALL ALL > >

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