mn nn NU |PREFACE The purpose of this book is 10 glve the advanced drummer some insight Into the tachniques in- ‘volved in playing today’s Funk and Fusion Music. Tha pattarns in this text are to provide the player ‘with a working knowledge of style and fool to develop his own ideas. The information within is merely a maans fo a9 end. ‘have used a “stems up" notation which | think will be heiptul in interpreting the pattems, since {raditional notation sometimes tends to be confusing. The cassette tape that accompanies this ook will serve as an Invaluable ald in the realization of the pattems set forth, Many ot the patterns are styled alter some of today's leading funk drummers such as Steve Gadd, Harvey Mason, and David Garibaidl. Others are direct transcriptions from recordings as in dreated. ‘The first section of this book contains exercises which employ various techniques necessary to ‘master the patterns that follow. These exercises will be divided into thee typus: those dealing with (0) the Hi Mat, (2 the Snare Drum, and (3) the Bass Drum, Many of these patterns will not be mastered In’mere minutes. Begin tham at a slow tempo: pay- ing close attention to accents and stleking. Remember to always maintain the eveness anc flow of the puttern at any tempo.EXPLANATION OF NOTATION ‘The notation used in this book is basically standard percussion notation. ! have used some symm ols with which the reader may be untamniliar, = == = = — l#| == Bay pA h Open on “and” of beat, Open on °e" of peat, closed on next beat. —_clnged on next beat closed on next beat. = CYMBAL Pa ‘Open on “ah of beat, closed on rien! beatPERFORMANCE NOTES Many af the pattems in this book, when first played, will seem very straight and ati. it will tako a short time to achieve Ihe proper style and teal of each pattem. Here are a few basic suggestions that ‘will neip in achieving a good sound and feel, GHOST STROKES — Sometimes it will De necessary to GHOST certain strokes. This simply means that the stroke (s more implied rather than: ‘sounded. A good example of this practice is shown in the pattern, The HéHat on the “and of MG pest janene be ey wisi, oo" ihe camara ete ee DOUBLE STROKES —Wnen playing unaccented double strokes, be sure that they are even and match or balance in volume level, DOUBLE STOPS— When playing 2 combination of both hands or hand{s) and foot (feet) together be sure there is one sound, aot a flan elfect. All exercises with oo tine signature are in 4/4 time—all other time signatures are notated In the Funk Pattorns, Transcriptions, and Solos—onty spacial sticking will be indlested. All other sticking will be right hand on Hi-Hat, left hand on snare drum,INTRODUCTORY EXERCISES The following exercises deal with dittorent combinations of the Hi-Hat. Snare drum, Bass drum, sng Toman Te aching shud erat famed i hole achewrig he cored ae i sear 10am transcriptions th Stickings wil also be heiptul in leaming the pattems and Saino. the ua/sioes wit ot have sticking Indicated. These should be practiced right hard on Hk ‘Hat, loft hana on Snare Drum and left hand on Hi-Hat, the book by". 1, ee 2 pea Ta a ————— 4 TE 5 PREY 6 pa aa }on Share Drum, Thess will be in , EE, Rian FI aL BERS RLBLAA LALBLL 9 sail, hie a ee 2 aysemery, SEA wee, = HASSE 15 Pain| 18 [a a aa) 10 FIXED HI-HAT PATTERNS This next group Of exercises deals with four basic Hi-Hat stoking patterns found in Funk Drumming (1) Hbsat plays quarter notes (2) Heat plays eighth notes (3) HiHat plays on the "and" of ie beat (ott Beal) (4) Hi-Hat plnys sixteenth notes on the “and.at” of thw beat For a mors atfective tes!, play a Bans Crum ottert #ighth-sixteenth or Samba pattern with those muercises.* 9HI-HAT QUARTER NOTES 1 pa, 6 PEELS, 9 SELLS 9 SS (PRESS 9 AG, 5 peas Terie cere | HI-HAT EIGHTH NOTES AR, alii, 103 eter Streets 4 a 5 ERELG HI-HAT OFF BEAT 1 EPR 2 fea, 4 MEA PP,5 aS 6 Hy 7 pee AY 8 ay 10 aie a HI-HAT SIXTEENTH NOTES (and-ah) 1 Pa, 2 (Paw fa 3 ae a PerErerieece sce - Baba 6 [pat a zeOR ERR PAR WSF HI-HAT OPENINGS hese exercises deal spices lnatietnt poh evn naa the beat, creating the SHUP. . sane Also try these using allCOMBINATION EXERCISES hat has been oi ns Nive fer eteeye oacarnant ct ita Sve ans Cova Daun wok TenyTomaee eer & 5 Sticking probier 14eS 7 Pea oA 12 Pa alas wee EER, 1 Be,s7 1 (PELE 19 BE 29 EE, op REE va ab es os FEE os PSS 16 26 oe | or aS 28 re 29 ae a 31 ines ery 32 fe > t5 =F a3 ee) a4 Pee,> FILL PATTERNS a 11 EE . Gaeekii 2 he —_ 12 FFUNK PATTERNS This section ties everything together in the formof patterns, one ortwo measures long, that canbe used in a performance situation. A majority of those patterns can be used in some of today's Funk- Caer the patterns work well at several tempos. On the cassette thoy will ue played at aia Seep ining aie Pere’ taan epee slow tampo, paying close 2 Peis 5 , ES 0 Fe aL 183 ey 1 SY 15 lay 1o BOARS, 17 feces tee ol RRA39 ees of Ry a ee ThA Rem CTR Rae 2—=S= 43 Poche | HESS 45 4) Lif cee » ef ofp ofl o ial aint oii 5 ee Reet dat SEE 6 De ace a8 i sete pee aa 2157 ane, 62 Peleg, 58 ea ool) o Ra oa By 60 apis | 65 gaee Pe | 61 ae >> 22 >> o7 EE 2 co A Bile pay jeBent Bunk 2» rata onl Gieh ceik tae eek 69 Paes 7ols mls #4 ail treet th TRANSCRIPTIONS ‘The fotlowing beats and 30103 are sore of my favorites that | have transcribed over the las! few years. These areto give you some understanding of the ntyle and technique used by same! the top Funk Drummers today and to help develop your own style and technique. | hope that you will find then enjoyable and useful. 23STEVEGADD 1 *so ways to Leave Your Lover From Pau! Simon; Siti Crary J 100 fg “tat che mume 7am Lae Rime pe epee ile Lily 2 Lenore’ trom Chick Covea: The Leprechaun ade r26 B d=120 pany PRE S «Tne musician” trom Chick Corea; Music Magle d= 104 GERRY BROWN > hb 2s - MELA EL LALLn fF Ae — B +. ey ely 4 “1 Lowe Wastin” Time With You" from The Brecker Brothers; Back to Back d=ti6 poy Ppa a om, § ‘ve Go The Melody” (Deop In My Heart” rom Kenny Loguins: Celebrate Me Home 2116 ey+ ARG ae inh, Jaa) abe pip, 7. pwry ota Man” trom Tom Seott: New York Connection d= 92 8 “Looking Out For Number 7” trom Tom Scott; New York Connection doves 9 “Towehdewn" trom Bob James; Touchdown, d= 2 ‘PEP TEE eg 2510 saven stops To Heaven” trom Bien Sicran; The Cat And The Hat d= 126 anaes = 12 -# You wane it” tom Bobbi Humphrey: Freestyle 4= 108 PR pe a SS15 16 “Skat Talk” trom Mark Caltsy, Ona Good Tum d= 98 6 far re a + Raley Dream’ trom Esther Philips; Capricom Princess d= 138 ee iy “Ths Te Terao tom Nel Laren: High Gear d= 8 Ray ° ay DAVID GARIBALDI “Ebony Jany" tom Tower of Power; in The Stot d=10817 -on the Serious Sida fom Tower of Power, In Tha Siot J=116 eae Pe, 18 saute Cakes” rom Towarof Power: Back To Oakland #= 108 pea Ga ee lira ie igh HARVEY MASON 419. -Bortna saps tom Harvey Mason; Earthmavar = 120 (PAP eae) 20 ~1mo ase’ trom Harvey Mason; Earthmover d= 9421 ~Phantania rm Warvy Mason Funk in A Mason dar d=120 Fst four measures s0I0) pay Pep a ea, pea BR RR CARLOS VEGA 22 -ctotat” trom John Seery; Jaxste d= 116 + pay oe pa a WETS PETERERSKINE 23 De 1 tom michel Colombier; Michel Colomblor 48 110 PRR 2924 “Take Me Down’ trom Michel Colombier; Michel Colombler J= 90 GERRY BROWN 25 Funky Row" from John Loo and Gerry Brown: Still Can't Say Enough J= 98 Ree R pa PET eT Ly PAUL LEIM 2.6 1 wanna Be With You" trom Doe Saverinson; Night Joumey d= 02 Am AR,RICHARD “MOON” CALHOUN 27 “Turn” trom Rufus; Street Player J= 82 ED GREENE 28 shake Your Boxy" (own To The Ground’ trom The Jacksons; Destiny J= 116 +>>> > >> > Lit tw SOLOS ‘The Solos that follow use the pattems 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 neip in achieving an even flow of the solo, These 010s represent citterent grooves or feels thal are wery pooutst in today's music. Certain Solos will Bring to mind certain players. ‘You will find that the solos makes excellant lesson material or very challenging jury and recital mows 31SOLO —— EEE 5 De a = SSR Raza, epi pean pies 32SOLO #2 = BARA EAE, apes bx ke a 235AA AAR AS [ep PP py eae ay = para ial ee SS37ii 5 gingiain gg 7 Pal hapa eS] BA » SS SS39SOLO #6 d=120 eee eee aaa ae yeni a aad S=— Sap pA 28 i nae elie, mais a ae EE NT Sao e eae SSeS41SOLO #7 d=116 E= Bhan43>5> > 2h >>. >8 > >r > > ae > b> How 5 ti Pees >: if eirassln iB Sa D3 ms aida eee aL, Po bata eR PO BE) jie 2 a AT Gat a2 PRT Gar a5" Pata45pada pala jiaiia, eee i aN A Lah Ga ie —— Hoe =47SOLO #10 | 3 sri ik ic z oe ee | GPR PRS A Geese ee PA AB Aofis fk pe at bah é eee ELE fae, daly Pt he Masa 49Proleee a5. se ceresdeenes a8 EXPLANATION OF NOTATION .. . ov verre ® INTRODUCTORY EXERCISES: - 8 HbHAT PATTERNS 50050520 s ccs e ewer eeee HLHAT OPENINGS. COMBINATION EXERCISES . FILLPATTERNS .... FUNK PATTERNS «6.65 ccc ee see é 8 TRANSCRIPTIONS so-coccieceece sss censnsdacsaansingnrd ste ntedent 2 SOLOS ... bende foshateesaee . mM