‘THE ULTIMATE BEGINNER SERIE [BLues Drums Basics? STEPS ONE & Two COMBINED Pees eae ceed Sener See ee) See eee ey] Re oc a . a aan Me Dee iad a Ne ee \ ~ - ony Ee Ct \ » Tom BRECHTLEINS is d +s a al “ Mrke FINKELSpetT a 7,‘THE ULTIMATE BEGINNER SERIES Biues Drums Basics Steps ONE & Two COMBINED Tom BRECHTLEIN MIKE FINKELSTEIN Jor TESTA CONTRIBUTING EDITOR: SANDY FELDSTEIN support. Sure Micruphones an Recoled Tricks: Lee Levin, Mike Levine, Mike Scaplione, and Daniel Warace at Dewa-Tine Studios PP MEDIA BROS, PUBIntroduction/Notation Key........ Practice Tips , Rhythm Notation ...........66+ Basic Shuffle Patterns . Lesson 1... Lesson 2. . Lesson 3; HiHat Groove Techniques - Lesson 4 aE Shuffle Transition (Fills) Lesson 5 = Lesson 6: Lesson 7. Developing a Shuffle Groove with a Bass Player. . Lesson 8 Shuffte Play Along I. ........2-.5 Slow Blues Feel . . Lesson 9... Lesson 10. Lesson 11. Slow Blues Transitions (Fills). Lesson 12 - Lesson 13. Lesson 14 Lesson 15..... CONTENTS .. Pattern 1, Set-Ups & Variations - . - +. Pattern 2, Set-Ups & Variations + Pattern 3, SetUps & Variations. - RN . Technique 1 (2& 4)..... ¢ Technique 2 (Half Open “splashy Technique 3 (Left Foot Crash) . - Snare Fill 1 & Fill 1. Play Lesson 5 with Musical Transition. = Snare Fill 2 & Fil? . Play Lesson 6 with Musical Example - Snare Fill 3 & Fill 3 Play Lesson 7 with Musical Example |. Music (minus drums) for Lessons 5-7... 18 119 Intro (Bass & Drums Only)... . Keyboard Solo (Bass & Drums Only) . Guitar Solo 1 (Bass & Drums Only} . Guitar Solo 2. (Bass & Drums Only] 20 Shuffle Play Along | with Drums . Play "Shuffle Play Along I" .22 . . Pattern 4, Set-Ups & Variations . « Pattern 5, Set-Ups & Variations : Pattern 6, SetUps & Variations 23 - « Snare Fill 4 & Fill 4 isa Play Lesson 12 with Musical Transition » Snare Fill 5 & Fill S Play Lesson 13 with Musical Transition. . . . + Snare Fill 6 & Fill 6 : Play Lesson 14 with Musical Transition... Snare Fill 7 & Fill 7. . Play Lesson 15 with Musical Transition Music [minus drums) for Lessons 12-15 |Developing A slow Blues Groove with a Bass Player. Lesson 16.. Slow Blues Play Along. Unique Shuffle Patterns Lesson 17 |The Charleston Feel) Lesson 18 [Steve Gadd Shuffle) . . . Unique Shuffle Transitions (Fills)... . 36 Lesson 19 [Quarter Note Triplets} ..........- Lesson 20..... ves oy Developing A Unique Shuffle Groove with 8 Bass Player. . - 39 Lesson 21. Shuffle Play Along I 40 Blues Rhumba Lesson 22. Blues Rhumba Transition is)» Lesson 23 Bessie Developing A Blues Rhumba Groove with a Bass Player... Lesson 24. . tae Blues Rhumba Play Along . . Conclusion......5 «Pattern 7, Set-Ups & Variations . . Pattern 8, Set-Ups & Variations. . . - Guitar Solol (Bass & Drums Only) . . . Blues Rhumba Play Along with Drums. . Intro (Bass & Drums Only} see Guitar Solo! (Bass & Drums Only) - Keyboard Solo (Bass & Drums Only). Gultar Solo 2 (Bass & Drums Only) Slow Blues Play Along with Drums Play “Slow Blues Play Along” . . . Snare Fill 8 & Fill 8... 022+. ++, we 47-49 Play Lesson 19 with Musical Transition. . +50 «+ Snare Fill 9 & FID. ee eee agus BT +52 Music (minus drums) for Lessons 19 - 20 ent Organ Solo 2 (Bass & Orums Oniy) . - Guitar Solo 2 (Bass & Drums Only} Guitar Sole 3 (Bass & Drums Only} Unique Shuffle Play Along i} with Drums 58 Play “Unique Shuffle Play Along II". 59 Pattern 9, SetUps & Variations... 02.6. 66 60-61 - Snare Fill 10 & Fill 10 62 Play Lesson 23 with Musical Transition -63 Guitar Solo 1 (Bass & Drums Only) Guitar Solo 2 (Bass & Drums Only) - Guitar Solo 3 {Bass & Drums Only) - Play “Blues Rhumba Play Along”4. Introduction/Matation Key INTRODUCTION In blues music, the mast common beats are shuffes and slow blues feels. Both of these feels have been touched on in the Basics and Rock Basics books, but what makes them unique in the blues style is the musical progressions they support. In this book, we are going to explore in much greater detail these beats and more, Yau will learn © Practice Tips * Note Values * Shuffle Patterns ® Slow Blues Patterns * Alternate Cymbal Patterns for a Shuffle © Hi-Hat Coordination Exercises * Bass Drum Variations * Blues Rhumba © Open Hi-Hat Sound * The "Steve Gadd Shuffle” * New Fill ideas NOTATION KEY BASSDRUM SNAREDRUM RIMSHOT CROSSTICK = TOM! ToM2 TOM3 (RIM CLICK) _— a HAT HI-HAT HEHAT = HEAT HHA RIDE —-RIDEBELI. © CRASH CLOSED HALFOPEN OPEN CLOSED. W/FOOT WISTICK (SPASHY HAT) 5 x x_n * PT = — JPRACTICE TIPS The key to practicing, performing and just plain playing well is RELAXATION! The more relaxed you sre the beter your mind and bedy can perform. 1) The first step to relaxing is stretching. You should always stretch before and after you play By doing this you will help relax the muscles, sono unnecessary or sudden strain occurs. 2) Make sure the instruments in your drum set are set up in the most comfartable place for you. What may be comfortable for your favorite drummer ar friand may not be the best for you. Every cymbal and drum should be setup so that it is very easy to play. If you notice yourself straining to play @ cymbal or drum, you are probably wasting energy because of a poor setup. Playing the drums is a very physical activity and should be approached like an athlete would approach their sport. 3) Patience is @ must. VWhen practicing something new, take your time and slowly build it up Don't go on to the next step until you feel you've mastered the first. If you're still having trouble after slowing it dawn, then chances are you've missed something in the pravius lesson, Go back and review the lessan or exercises before. 4) Using a time keeping device, such as a metronome or drurn machine, work on each exercise slowly until it is Correct. If certain places are giving you more trouble than others, work on them individually one limb at a time. As you become comfortable, add the next limb and proceed until all ibs are playing with ease. Don't increase the tempo until you can play the new greave with confidence at a moderate tempa. Always make sure you stop befare changing tempo. This will avoid creating the bad habit of rushing. A drummer's primary responsibility is to lay down a steady groove. The ability to play with consistent time is samething you need to strive for. 5) Record every time you play: practices, gigs, jam sessions, etc. Then spend time listening back to yourself. Also, listen ta ather musizians and to all types of music as much as possible. You should spend as much time listening as you do playing, 6) Play along with all your favorite recordings. This will help you fearn your favarite drummer's style, licks and musical approach. If blues is your favorite music, then play along with your favorite blues musicians (Muddy Waters, Howlin Wolf, Stevie Ray Vaughn, Rabben Ford, BB. King, John Lee Heaker, Buddy Guy, Paul Butterfield, etc). This will help you acquire that special feel thet makes blues drumming unique 7) Play with many musicians in many musical styles, You picked up this book because you're interested in blues drumming, but you shauldn't underestimate the assets of other musical styles and haw they can improve your averail performance. 8) Drums are @ very dynamic instrument and volume can be a major factor in your playing, It is Very important to protect your ears when playing. Using earplugs can extend the life of your hearing and protec: you from suffering from hearing loss or damage,Car EI ed RHYTHM NOTATION, TIME SIGNATURE & REPEATS At the beginning of every song is a time signawure, 4/4 is the most common time signature: 4 = FOUR COUNTS TO A MEASURE 4 = A QUARTER NOTE RECEIVES ONE COUNT The top number tells you how many counts per measure. The bottom number tells you which kind of note receives one count The time value of 2 note is determined by three things: © This is a whole note. The note head is open and has no stem. in 4/4 time it receives 4 counts. 4) Note Head: 0 =e |=) Stem: dd) Flag: This is a half note, It has an open note head and a stem. In 4/4 time it recaives 2 2 counts. This is @ quarter note. It has a solid note head and a stem. In 4/4 time it receives @ ‘1 count. This is an eighth note, tt has a solid note head and a stem with a flag attached. In eo! 4/4 time it receives 1/2 count. 5 This Is a sixteenth note. It has a solid note head and a stem with a couble flag @! attached. In 4/4 time it receives 1/4 count. 3_ One count in 4/4 time can also be divided into three equal notes called eighth note triplets. To distinguish them from regular eighth notes, @ small 3 appears above them. In 4/4 time one eighth note triplet receives 1/3 count. A rest is a period of silence, Fach type of note has a corresponding rest: Whole Rest: ~ = © = 4 counts Half Rest: = =¢ 0 2 counts Quarter Rest: " 1 4 = 1 count Eighth Rest. oY = p)) 1/2 count A 3 Sixteenth Rest: 7 4 =1/4 count — Triplet Eighth Rest: « 7 gad 3 @ = 1/3 count Music is divided into equal parts called measures. Barlines indicate the beginning and end of measures. A double barline (une thin and ane thick) indicates the end of a piece. _-- Bar Lines~— = — Measure Measure Measure