Jack de Johnette - The Art of Modern Jazz Drumming

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TEART OF JAZZ DRU

JACK DEJ

'��NETTE

CHARLI&�P RRY i.'"

I. 'M ,.

D.C. PUBLICATION

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TABLE Of CONTENTS

The special edition of 'The ArI of Modem JaB DrummIng is !l composite of three books:

BOOK I: The coooepts, prioo/plu, elements. and t6chniqu6IJ 01 modem iuz and allied forms 0/ drummlnrlfllu·roch, IUlJIOIl}1!/Of7t6 of which al'llllppllctlbla to lOCh. BOOK 11: The trlpleHJighlh rh ythmlc·/onel patterns used in jllZZ, p'ayt#d betwHIl the two handund 'wo IHI,Inll moderate through modsflte.fllsl tflmpo. 800K !l1: The four·way indap&nrienf coordination in playing Ihe rhythmlc·/onal punctuate/ne and figures in Jazz In modem/e, moderate.ful, and f8!lIIBmpo-�.

BOOK I A80UT THIS BOOK .... . ....... 5·6

ABOUT THE TERMS .......... .. .. ...... ; : ...... ......... ............. ... .. .. 6

ELEMENTS O F C ONTEMPORARY JAZZ ORUMMING ..... , , ..................... . 6

PROGRESSIVE JAZZ ORUMMING: OVERVIEW Updated Swing BebDp Cool Era ............................. " ............. 7·9

ABOUT IMPROV1SAT ION Principles of Drums-Band Interaction & Improvisation ........................ 10-11

C YMBAL R HYTHMS Cymbal Line Interpretation ... ....... ..................... ........ ... ..... 1 2-' 3

INTERACTION OF PARTS.. . . . . . . . . .. . . . ....... . . ............... ..... .. 14-15

METER WITHIN METER Basic Rhythms Practice Rountines . , ...... : . , ..... ......... , .............. 18-31

SONG FORM AND THE JAZZ DRUMMER . . . . . .. . .. . .. .. . . . . .. . .... . . . . .. . . 32

RHYTHM S ECTION R hythm Section Graph ...... .......... .. . . ...... ........ , .... 33·34

UNIVERSAL RHYTHM: ClAVE .. . ...... ....... ....... ....... ... ...... 34-35

PHRASING: THINK LIKE A HORN ... : .............. ......... . . , ................ 36

EXPERIMENT WITH MUSCULAR TENSION . ............ " . . . . . . . . .. . . . .. ". 3 1

BODY MOTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . , 37

BOOK 11 INTRODUCTION Some recorded examples.. . ..... ... ................... ............... .. 3B-41 Ways of Practice

Performanc e Patterns. . . . . . . . . . . . . . . . . ........ . ................ ......... 42-77

.• BOOK III INTRODUCTION

WAYS OF PRACTICE ................. ............... ..... ............... 18-79

Performance Patterns . . . . . . . . . .......... ................ ..... ....... . 80-1 19

ABOUT THE AUn

JACK DE

Much has already been said in this book about Jack De Johnette's masterful drumming. let it suffice, therefore, to say that he is a member of that select few whose artistry gives direction to the many.

Jaok has performed both 8S a sideman and 88 8 leader. on records and live, with many of the very best jazz and fusion musicians. Here are but some of the names: Herbie Hencock. John Coltrans, Chick Corea. George Benson. Stsn Getz. John Abercrombie, JOB Fafrs!!, Charles llovd. McCov Tyner. Bill Evens, Dave Holland. Fraddie Hubbard. Jackie MeLean. and Miles Devis.

Jack has always fated high in the various music polls. But in 19BO he won the Down Beat Readers Poll as the #1 drummer, and his album Jack De Johnette Special Edifion tECM records) was choosen as the best jazz album of the vear.

CHARlIEPERRY ______________________________________ _

Charlie Perry is an internationallv noted author and tsacher of modern-drumming methodology. Several of his books, in fact. have become classics among method books.

His articles have appeared in prestigious trade publications. such as Percussion Discussion (a publication of the Percussive Arts Society) and the /nternstionel Musician (the official journal of the AF of M) in which he wrote a column entitled Modern Drumming. Presently. he writes for Modern Drummer-the #: 1 drummers' magazine-and is a member of its advisory board.

Many students and professional drummers who have studied with or consulted Charlie in a professional capacity have performed with the leading names in music, such as Dizzy Glllispie, Thelonious Monk. Grateful Dead. Henry Mancini, and Peter Nero. to name a few. in addition to making major recordings as studio musicians.

Charlie has performed with some of the finest jazz musicians and groups: Bennv Goodman. Stan Kenton, StSI'I Gatz. Bud Powell, Billy Mitchel. Bud Johnson. John LaPoria. and OliveI' Nelson. among others.

Charlie has conducted seminars at some of the major universities throughout the United

States. He is presentlv nn the faculty of Five Towns College on Long Island, New York.

HOW THIS BOOK CAME AI

Our friendship began some years ago when we met during an interview for Percussion Discussion (8 publication of the M. Hohner Company then distributor for Sonor Drums!. Since that time we have worked together intermittently. doing seminars and team teaching and have benefited from our continual exchange of ideas and concepts.

A book was inevitable because the material we put together for instructional purposes served our needs better than anything already on the market. Moreover. it was diversified and voluminous enough to serve as the basis for several books. (This book, in fee.t, consists of three segments, each of which can stand on its own 8S an independent work.)

In our opinion. most essential to the jazz form of drumming, besides timing, is the interplay between the drummer and the other musicians. Yet instructional literature does not name specifically the what, when, where. why. and how of such interplay. nor does it standardize the terminologv. which would make it more informative and instructional.

It is an acknowledged fact, however, that in the learning process, precise descriptive language has positive reinforcement value and can conjure up the most useful imagery. As stated in Psychology> "As our mental image becomes more precise. we are better able to select muscle movements which will achieve our goals quickly. efficientlv. and accurateIV.· It is imperatiVE!, therefore, that the teacher, whether on a one-to-one basis, or in front of a

use the most specific, precise langu8ge and 'terminology when explaining and demonstrating the principles and techniques of improvisation and predetermined interaction! We hope that this book. to some extent serves our intended purpose.

Charlie Perry and Jack De Johnette . • Ps ychn/ogy (IIurd editionl. bv Wilbert James Mc Keachie (Professor of Psychology. Universily of Michigan/. Charlotte lackner Dov1e (Professor of PsychologV. SerBn Lawrence College!, and Mary Mergllret Moffell (Teaching fellow. University of Mn:higan). Addision-Wesley Publishing Companv. Inc. Reading. MISS .• page 2B4.

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BOOK I ABOUT THIS BOOK

This book deals with the principles. techniques. rhythms, and concepts of progressive jazz and allied forms of drumming."" the way the individual parts function 8S a unit. and the way this collective unit relates to and interacts with the musical contributions of the other instrumentalists.

Though these elements of progressivE! jazz drumming, etc., may be viewed separately from one another for the purpose of analysis. eventually they must be synthesized and applied as El whole -the interrelated parts and the way in which they form the whole. And. most important, the parts and the whole must be permeated with that element which is at the core of jazz-"time:'

No one book of moderate length, of course, can deel in depth with eVEIry aspect of any one subject There are Simply too many variables involved. Moreover, the printed word in itself cannot do justice to musical performance. The written word, therefore, must be correlated with the sound, feeling, spirit, end principles of the music itself. Both recorded and live performance must be studied and assimilated.

-(Some of the rhythmic patterns, the 3+3+2'8 and like material. are not only applicable to other forms of music (fusion, rock, ate') but, in fact, are central to them-for instance, John Abercrombie's Timeless, ECM 1047, and Gateway, ECM 1061. Also, in The AI/man Brothers Bend, Brothers and Sisters, C P N 0111, tune " listen to the rhythmic phrasing on the keyboard. and to the guitar solos. The same rhythmic mode can be heard In the music: of The Grateful Of\ad.l

Some of the material in this book is similar to or the same 8S material in other books and articles. This is inevitable when many people write on the same subject and draw from the �ame sources, such as recorded performances. live performances, and interviews, Some such books are listed here:

The Camp/est Jazz Drummer, bv Joel Rothman. JR Publications. lhis excellent book is a compilation of material from other method books bV Rothman. It deals extensively with coordinated independence. the interplay between hands and feet, and meter-within-meter figures and phrases.

Poly-Cvmbal Time, by Peter Magadini, Briko Publishers. deals with meter-within-meter cymbal rhythms. etc.

4- Way Coordination, by Marvin Dahlgren and Elliot Fine, Belwin-Mills publisher. "Studies for playing three-beat ideas in four-four time," see pages 48. 49, and 50.

Professional Dru(1'l Studies for Dance, Radio and St8ge, by George Wettling and Brad Spinney. published by C apitol Songs, Inc. Although this book was copyrighted in 1946, it was the first, to our knowledge, to deal with three-beat rhythmic patterns in four-four time: See pages 24 through 27.

The Book of Jazz, by leonard Feather, published in 1967 by Horizon. See page 123, Chapter 15, entitled "The Drums:' Some of the items discussed in this section are as follows: polyrhythms. brushes, the hi-hat, tuning, top­cymbal rhythmic effec ts. and "transferring the essence of the rhythmic beat from the bass drum to the top cymbal, in an effort to escape from the heavy pounding of an obviously stated four-ta-the bar rhythm:' page 11 Chapter 14, "The Bass." Here. the bass player and the drummer in the rhythm section ere discussed. Also see chapter 22 for the "The Anatomy of Improvisation:'

Jazz, It's Evolution end Essence, by Andre Hodier. Grove copyright 1956. See page 219 clllSsicel vs. modern rhythm section, polyrhythms; page 220, using the cymbal to express the four beats (the time and pulse). rhythmic counterpoint. listening to the soloist and interacting; page 21 S, cymbal rhythms by which the regular beat is maintained; page 210. of one stated within the framework of another and different pulse; and page 217, rhythmic counterpoint on the big cymbal.

The Art 01 Jazz on the Nature and Development of Jazz), edited bv Martin T. Wi lliems, Grove Press. Inc .•

Copyright 1950 bV Oxford University Inc.). The essays range from the t 930. through the '50s and offer en examination of the evolution of jeu music. jazz mUSicians. jazz styles, and the el<perimentation that took place over the years. The essays are of particular Interest to aspiring jan drummers because of the analysis of jazz rhythm sections and jazz drumming for instance, the period in which the emphasis on generating time evolved from the bass drum to the top cymbals ("Bebop," by Ros!!! Russell. published in 1948-49 in The Record Changers magazine). rhythm sections, and more.

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The New Rf!';thm Book, bV Don Ellis. published bV ElUs Music Enterprises, 5438 Auckland Aw .• North Hollywood, California 91801. Also, the album Don Ems, New Rhythms, EME records, 1 stereo.

In Delfmse olBBBop, (16 page pamphlet) bV Frank Foster, published by frank Foster Music. Inc" 1235 Post Road, SCBrsdale. N.V. 10683. Foster, a major-league jazz tenot saxophonist. composer-arranger, offers a personal, inalde view of BeBop. His pamphlet is Cl valuable and welpomed contribution to contemporary jaz z l iterature.

Ths Art of Modern Jazz Drumming is geared to the advanced student. not the beginner. It can, however. be used by the teacher with intermediate students. And parts of it can even be used with elementary atuaents. Where. how. and with whom it is used depends largely upon the, skil l and working knowledge of the instructor in teaching the

form of drumming. i -The Importance of listening-

can be gathered from the written examples taken from recordings, progressive drumming does l'Iot offer an 8u.ily discernible audio-picture of the essential elements and principles to the uniniteted ear and mind. Yet to develop a working model of this drumming style. it Is absolutelv necessary for the student to comprehend the essential parts in a rational order of connection end dependence. and to recognize the inherent principles at work.

Since the written part bV itself is insufficient for this purpose, the principles. techniques, rhythmic-tonal patterns and sequences, etc., must be correlated with recorded or live performances, preferabfy both, of progressive jazz. The student must learn to listen totally and acutely. to hear clearly and specifically what the progressive lazz drummer does in performance. Then, by correlating the performance with'the instructional material he will begin to learn what the "what" consists of. the "why" of it all. and the "how" of application-thet ia, the way the recorded or Jive drummer relates to and interacts with the musicai contributions of the other musicians; the way he applies the principlel techniques of drums-band interaction and improvisation.

, Publisher's Note: CherJie Perry', writings on jazz drumming are drawn fromilis experience of many years with jazz banda targe and small, listening to every kind of jazz, studying the work of the major drummer. Ion recordings and live). in­depth discussions about jaz z and jazz drumming with many of the f inest jazz musicians, years of teaching the jazz form of drumming, and reading books and essays on jaz z and jazz drumming, What he !.Ises in his teaching and writing, however. he,first confirms through personal experience. Jack De J ohnette's musical knowledge and writing contributionB are .drawn from his years of extensive experience as a major performer, composer, and bandleader with the elite musicians and groups of this era.

ABOUT TH E "TER MS:'

About the terms modern. progressive. and avant-garde jaz z and jaz z drumming, which are often us�d interchangeably in this book:

When referring to modern, progressive, and event-gards jazz or jazz drumming. we mean the moat recent period of development in jazz 8S c ontrasted with earlier periods.

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When we speak of progressive or avent-gards drummers. we mean those drummer-musicians whose work embodies ideas, treatment, or prinCiples which deviate strikingly from the traditions of past periods and who are regarded as preeminent in the invention and application of new and appropriate techniques, approaches, and principles in jazz drumming. '

ELE M ENTS Of CONTEM PORARY JAZZ DRUMMING

TIME: The "time" generated and established by the drummer through the cymbal rhythm end other rhythms. The timing involved in the playing of rhythmic punctuations. figures and phrases around the drums.

IMPROVISATIO N -DRUMS·BAND INTERACTION: Principles and techniques. The interrelated action of drums, rhythm section, soloist and ensemble; the musical interaction between members of the group. INTERACTION OF THE PARTS: The collective action of the hands and feet &s applied to the drum set; the way these Individual parts relate to and interact with each other both in preconceived and improvised segments of the music.

COORDINATION: Independent and interdependent coordinetion of the hands and feet 8S epplied to the drum let. ...

INTENSITY h�nsion & relaxation} : The degrees of tension in the playing of time, rhythmic punctuations. figures and phrases. Muscular tension control; the degrees of tension in playing soft, light, loud, heavy_ Intensity of touch.

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DYNAMICS &: TONE: Volume control. Accent variations. Properties of tone (duration-pitcl'l-intensity-timbre) of the various plaving area, of the drums and cymbals. TECHNIQUE (the mechanical skill which is the foundation of the mastery of a musical instrument): Sticking technique and drum-set technique. Physical motions- manipulating the sticks and brushes and foot pedals. Personal technique, the effect on sound, feeling end Interpretation.

SUPERIMPOSITION O F RHYTHMS (METER WITHIN METERI: The rhythmic devices of jazz-the groupings of three-four. two· four, fil/e-four within the framework of four-four; groupings of two within three, etc.; 3+3+2, 3+ 3+3+3+ 4. 5+3 and other time divisions.

TIME SIGNATURES (METERS): Three. four. five, six. seven, nine. ten, eleven, etc.

INTERPRETATION &. EXPRESSION: The personal and creatiw element in music that is not completely Indicated bV notation; the nuances of tempo. dynamics, phrasing . touph, feeling.

SOLO DEVELOPMENT: Development of 6010 patterns and themes- short and extended solos; the chorus form and the free-form SQlo.

PROGRESSIVE JAZZ DRUMM ING: AN OVERVIEW by

Ch.rlie Perry

P rogressive jazz drumming, like progressive jazz itself. is complex. In fact, it may strike the uninitiated ear 88 B jumble of unrelated parts mOlling madlv to and fro without 8pparent rhyme Qr reason.

This complexitv doesn't mean, however. that progressiw jazz is formless. nor that its form cannQt be analyzed. On the contrary, there is. in most cases, a definite format and underlying plan. What clouds 'this fect is the very nature of progressive jazz, the spontaneity. the freedom to e xplore, to elaborate, tQ extend. to reshape. often obscures the basic framework in a maze of superstructure. Nevertheless, the form is there for those who wish to study both the obvious and the subtle elements of which i t consists.

It would be enlightening to discuss briefly some of the individual styles that preceded and contributed to it before we study today's progressive drumming. These styles in t hemselves are still valid and far from outdated. and the names of many of our present-day players will be found somewhere in these categories.

Updated Swing Style

In the updated swing style. the drummer plays the conventional cymbal ride rhythm and its variations, the four-four of the bass drum, the two and four of the hi-hat end the rhythmic punctuations of the snare drum. and sometimes the toms. He often elaborated on this basic form with some punctuations. figures and "fills" (open spots in the music in which the drummer solos briefly with rhythmic and tonal patterns of his choicel. and ensemble figures (figures which the drummer plays simultaneously with the ensemble.)

Among other things, and perhaps most importantlv. the swing �oriented drummer functions as 8 "timekeeper:' He controls the tempo of the band. thereby preventing it from rushing 01' dragging while at the same time he is driving and swinging the band with his beat.

In the early days of swing. the four-four of the bass drum emphasized the fQur feeling. later.. the top cymbal shared the function of establishing the four pulse and Elventually. in some drumming styles. became the central means of establishing snd maintaining the basic time. I t became the dominant means Qf generating time. Of course this varies with individual drummers. Some drummers, in fact. still rely on the bals drum in emphasizing the basic pulse. The difference in approach also depends on the style of the band and the preference of the bandleader. For instance. the major drummers of Count various bands stressed the four-four of the drum. On the other hand, Mellewis of the Mellewis Big Band, plays the four on the bass drum softly, if et all. On fast tempos. he plays a light two on the bass drum elaborated with punctuations and some short figures. Also, he uses his basl drum to reinforce section and ensemble fjg ures as well 8S those of the soloist. Generally. he uses his bass drum much in the manner of the left hand. His stvle might be termed "hip" big-band drumming, the wedding of updated swing and progressive drumming.

[For examples of early swing, listen to the drumming of Jo Jones end Shadow Wilson, a Jones contemporary. on Basle's Best, C olumbia records HL 7229. Both drummers plaved ride rhythm variations on an opening end clOSing hi-hat. 1Jrfs hi-hat playing was a feature of his style. And Shadow shows off his hi-het work Qn the tune "Taps Miller:' They both played so musicallv and interacted so beautifully with the band. Also listen to Lester Lellps In, Epic records lG 3107. and The Old Count and the New Count Epic records LG 102 1. They're Gus Johnson, another of the first-class big band drummers. is one of the drummers on this last album.]

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Bebop Drumming The best-known exponents of the style were Mu Roach. Kenny Clarke. Art Blakey, and later, Roy Haynes. Art was a hard, sometimes a bit ferocious. groover. Kenny W8S a smooth swinger, a great "time" plaver. Mu was always the intellectual, experimenting with and developing new rhythmic concepts, various cross rhythms and tonel ssquences. Roy, who came several years after thes" "founding fathers" of bop, was a driving, highlv tasteful. as well 88 inventive drummer. (I've nicknamed Roy "the composer" because what he is organized around two-, four-, and eight-bar and like a writer's. his phrases grow into complete sentences. which in turn develop into paregraphsJ [Roy Haynes and Max Roach share the drumming on The Best of Newport in New York '72, Korv KI( 2000. Roy Haynes handles the brilliant drumming on Now He Sings, Now He Sobs, Chick Corea, Solid State SS 18039.1

Following these drummers was Philly Joe Jones. who bV incorporating elements of whet came before him. developed a highly sophisticated. and much admired, swinging style. He, along with the entire Miles De"is group, produced 8 music that was perhaps the manifestation of structured post-bop jazz. The Davis rhythm section of Red Garland on piano. Paul Chambers on bass, and Philly Joe on drums was the most popular of its dav and became known as the rhythm section. [You can hear Philly Joe Jones and the rhythm section on the following Miles Devis albums: Cookin' with the Miles Davis Quintet, Prestige records 7094; Relaxin' with the Miles Davis Quintet, Prestige records 7129; Mil8S, Prestige records 7014.]

In the bap style. the cymbal ride rhythm and its variations became the mainstay of generating and maintaining time. The bass drum was played , if at all, relatively softly in four, but the innovation was the emphasis on the bass drum punctuations or "bombs" which dotted the musical landscape. MIX Roach. one of the fountainheads of that era, played numerous 'sccents and a fair amount of fi gures on the bass drum in conjunction with the Bnsre drums Ind toms. He slso played four on the bass drum. but it occurred In the spaces between the punctuations and figures. And when he was particularly "busy;' there was litt'e space for the bass drum in foul'. He did not rely on the four of the bass drum to establish a driving sensation. He, generated time and excitement through the combination of punctuations, figures, and phrases among the parts of the drum set. In fact. he was one of the first to stress broken-rhythms and polyrhythms in creating a tjm� sense and driving force. Kenny Clarks was one of the if not the firet, to �mit the four-four on the bass drum in very fsst tempos. except for punctuationa. and rely instead on the cymbal ride rhythm and its variations as the centrel source of time.

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Although Art Blakey, Mal( Roach. and Kenny elar bebop. each sounded different from the other. Each had an identifiable style. Blakey, more than the others, owever, emphasized a heavy two and four after-beat. The stronglv pronounced two and four of the hi-hat. a major influence on other drummers. was in fact an integral part of his style.

The Cool Era I

The period that followed the initial bebop explosion was known as the cool era. Bop. in fect, led into the cool period. The suave, understated grace of earlier tenor sax star Lester Young and the spare, melodious lines of the young Miles Devis influenced many young, primarily white musicians to produce a lyrical jazz that wae bebop influenced. but less frenetic. Such divisions. however, are not absolute. In some ways, one overlapped the other. Therefore. it always easy or desirable to attempt to define styles. Moreover, definitive labels often implv limitation, something that is "fixed." And music is anything but changeless or static. Rather, it is a dynamic process.

I In the cool era. some drummers played the hi·hat lightly or, at times. not at all. Instead. they often us�d the hj·hat for occasional rhythmic and tonal effects. And the four-four of the bass drum was used sparingly or simply omitted. The top c ymbal became the central me8n� of generating and maintaining time. It was about then that drummer. reelly began to use cymbal rhythms 8xte"sively, altering the sound and effect of cymbal rhythms. often using meter within meter in the form of cymbal rh�thms. .

Bebop was considered "hotter" than "cool", but was not as hot as swing or the so-called hot jazz that pruceded swing. Sound confusing? It can be. That's the problem when trying to label jazz era$< with exactness. Remember that these labels are often generalizations and do not desl with the many of the music of thoM er88, or for that matter, with today's styles. For example. in the swing era Count Basie's bend came under the heading of swing, but the bend was cooler than most. The rhythm section of Basie (pianol, Freddie Gruen (guiter). Waiter Page (basa). and Jo Jones (drums) Papa Jo. not Philly Joe i was decidedly differunt from, say, the rhythm lectlon of the Benny Goodman band of that period. The Goodman rhythm section consis1ed of Jes. Stacv (pieno), Alen Reull (guitart Harry Goodman (bass). and Gene Krupa (d�ums). Let's not forget that from the latter part of the bap e�8. EI"in Jones was contin�any e)(P8rtmenting while on hie way to forming his own exceptional style of drumming, eventually becoming one of the great creative stvlists. EI"in

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took 8 basic swing stVle and developed it Into an outstanding form of hard-driving swing and polyrhythms, extending the interaction of the parts, especially the snare drum and bass drum, to a more complex level than anyone else. His cymbal rhythm has a different feeling to It. 8 different sort of pulse. One often feels the accentuation of the "a" of the two and the four to such a degree that it seems that the quarter-note after the "a" it omitted. And sometimes it is omitted I he gives the impression of pulsing some of the rhythms in three. Much

what he plays is 1'1 matter of pulse over pulse.

albums on which Elvin Jones plays 8111: A Low Supreme/John Coltrane, Impulse AS 17; Coltrens "Liw," Bt ths Villsge Vangusl'd, Impulse AS 10; Elvin Jon,. Liw Bt the Lighthouse, Blue Note BN LAO 1 Selflessness Festuring My Fevodte Things, John Coltrane, Impulse AS-91 61 (on this album. both and HevRe. play drums); The Ultimate Elvin Jones, Blue Note BST 84306.1

T he next Innovator to gain prominence was Tonv Williams. a dynamic young drummer who captured the attention of jazz men and jazz critics alike while still in his teans. (He recorded with trumpetar Kenny Durham when ontv seventHn years old! Uns Blue Note BST 841 27.1

Tony's drumming was different-a kaleidoscope of rhythm. tone. emotion, and intellect. He generated a 8ustained, at times fierce. driving intensity. His highly skilled interplay with the group served at an excellent example of drums-band interaction and improvisation in progressive (listen to Tony on the Miles DBvis four" Mo" album. Columbia CS

Tony didn't uee his bass drum and hi-hat in the conventional way (baBs drum in four. hi-hat on two and four) to. stata tima. tHe did. however, sometimes play the hi-het In four: "Fl1Iedom Dance," Miles Columbia CS 9401 Is El good exampleJ Nor did he relv on the standard cymbal ride rhythm for his cymbal pulse. Rather he played a lucceBlllion of quarter-notes interspersed with two- and three-beat f igul1ls which he generally wove into the overall rhythmic and tonal composition consisting of drums and cymbals. With this collective unit he stated time and pulse: Jazz drumming had moved decidedly toward percussion (Miles DBvis in Europe, Columbia PC 8983, recorded live in 1963.)

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Following Tony we have Jack De Johnette. a musician the triple-threat variety (composer. leader. instrumentalist) who synthesized much of what came before him into a fresh. individualized style.

Jack's playln9 is high-velOCity stuff. both intensely emotional and cerebral .• And. though he is free-wheeling and uninhibited. his soaring spirit expresses itself within an exceptionally well structured. yet flexible. form .

Like Roy Haynes and Tony Williams, Jack is 8 first-rate drum-set composer. Rather than use his two blBI, drums (each of different eize and different pitch) and hi-hat for tfme·keeping of the usual kind. he Incorporetll them expertly with the remainder of the drum set in playing patterns and sequences that coincide, echo, answer, and play independent of the contributions of the other musicians.

Whereas some of the noted jazz drummers have settled into well-defined grooves. Jack's playing continues to evolve. He is. in fact. a principal of contemporary drumming, bordering on tomorrow.

(listen to Jack'on the following records: Joe farrell. Moon Germs, CTI 6023; Jack De Johnette. Live PtJrlormsncs, ECM records, spacial edition; Jack Os Johnstte's Directions, Unfit/ed, ECM 1074; GstBwa� ECM 1061; John Abercrombie. Timeless, ECM 1047; Mc_Coy Tyoef, Super Trios, Milestone M-66003 tWO-I1ICOrd let (both Jack De Johnette and Tony Williams play on this double albuml: DB Johnette Complex, Milestone MSP 9022 (on thi. album. both De Johnette and Roy Haynes play drums).)

T here are excellent-even great drummers who are not discussed here. not because they eren't among the best drummers-for example, the great Buddy Rich. louie Bellson, Joe MOl1lllo, Eddie Shlughnessv (of the Tonight Show), and course Alan Dawson; so many names come to mind-but rather because thil segment is devoted to the innovators who. in relatively recent times. brought about the trulv Significant changes in drumming styles that led into the progressive -avant-garde, if you will-stvles of today. Nevertheless, listening to the other top "pros" -live or on recordings-can only enhance the musical understanding and artistic of today's drum student, so I encourage exposure to many drummers not specificallv discussed here. For instance, Steve Gadd. Billy Cobham. Charlie Persip. Mickev Roker, lennv White, Ben Riley. among others. T here are other deserving drummers. too numerous to include here. Please forgive me for not including everyone I admire.

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ABOUT IMPROVISATION

In jazz. the drummer's favorite musical ideas and devices form part of his style. These ideas and devices Ire sometime, reproduced at other times they are altered or extended.

When the drummer responds suddenly to 8 g iven musical provided by the other performer., or. at timet, by himself-he responds with either preconceived or spontaneous rhythmic and tonal punctuationa. figurellnd phrases.

What the drummer plays is not always brand new and may have been played in one form Or another. either by himself or another drummer. at some time or other. It is often 8 matter of the familiar being shaped differently, occurring in di1ferent places or in Cl different sequence. But even familiar ideal, when used in improvisation. occur spontaneously '88 a response to a given musical stimulus or 8S counter rhythms played independentlv of what the other musicians might play.

Although the ja21 drummer might plav & given piece e r arrang ement numerous times. he will never play it exactly the lame way twice. For i nstance, when playing an erranged piece. 8 set line or predetermined beginnings and endings, he may play such sections, 01' parts of such sections, the same, or neariy the same, each time. But thl. occu", only in highly structured, fixed arrangements.: Even however. he will almost invariably make some changas In what he plays. And during the improvised sections, when he is involved In spontaneous musical exchanges between himself and the other musicians. he will nsver plav the same punctuation., figures and phrases In the same order twice because neither the drummer nor the other performers know what will be plaved during the Improvlaed segementa of the music. the entire group wilt adhere to 8 basic form, such a8 8 chorus but they are free to improvise within that form. In true free-form muslc-::-without a chorus form or set Itructure­anything can happen at any time: tempo changes, key changes. meter changes and so forth. all taking place spontaneously. Such improvisation is entirelv unpredictable since it has no guidelines to give it 8 predetermined direction. '

Underlying the drummer's improvisation is 8 fundamental concept, a specific approach-the elements of stvle. And from this base he explores seeking new directions and formats.

I

Drums-Bend Interaction Ht Improv isation: Principles

I � I I

\

1

What the drummer plays relates to what the other members of the group play. Specifically, in addition to generating and establishing time. the drummer int�r8cts with s?IOists, sections. (rhythm. brass, reeds) and ensemble (hereafter I referred to 88 the band or group).

At various points throughout the music the drummer's punctuations. figures and phrases coincide with. echo. or I answer the punctuations. figures and of the soloist. sections or ensemble. At other times, however, tha drummer'S rhythms do not interact in these ways with the soloist or band. Rather. they take piece independent of the other musicians' musical contributions. These independent rhythms take the form of polyrhvthms-counter rhythms played against harmonic and rhythmie contributions of the other members of the group.

When the interaction between the drummer and soloist is expertly done, the contributions .)f the drummer can become 80 conjoined with those of the soloist that there emerges a 8010 partnership: 8 single solo which is the work of two musicians. The drums then are more then merely supporting or complementary. Rather. the drummer Is in conversation with the soloist. in part providing in musical conversation. in part leading the conversation. Usuallv. but not always, the soloist remains dominant member of the 8010 partnership.

The extent to which the drummer interacts (coincides-echos-answers or is independent) depends on h is style, the style of the band and the music itself. There ia less complex interaction in swing oriented bands-Count Besie, Duke Ellington. Harry for example-than there Is in jazz groups. In avant-game jazz. such complex drums-band is heaviest (and the drummer is busiestl-Miles Davis, Chick Corea, McCoy Tyner. JOB farrelt Herbie Hancock. Elvin Jones, RoV Haynes Hip Ensemble. etc.

" "

I I

I I I I I I I I I I I I I I I I I

Simple Examples of Drums-Band Interaction

The drum rhythms coincide with the rhythms of the band-the drummer plays the same rhythm 81 played by the band or the soloist at the same time:

Soloist (or bandl: J. ) Drums: J } The drum rhythms echo the rhythms of the soloist or band - they are played shortly afterward in the form of an echo.

Soloist (bandl: n .-. Drums : .-. n J Y. ... j. lhe drum rhythms answsr the rhythms of the soloist �r band, 8S in conversation, with a different rhythm:

Soloist (bandl: fl n .-. 3

Drums: }mJ Note: The echo and the answer can come ullder the heading of "fills:'

The drum rhythms are independent of the rhythms of the soloist or band; what the drummer plavs does not coincide, echo or answer. Rather they are played independent of rhythms of the suloist or band. creating a counter rhythm effect:

J. } .-Soloi8t (bend):

Drums: J J J J CYM.

SD

WWWW BD

3 3 0 0

In performance, one often runs into the other. For example. an answer will lead directly into coinciding, or from coinciding into an answer jnto COinciding again:

Soloist (band):

::::::>-

Drums: "f } J.

1 1

-----------,

CYMBAL RHYTHMS

The ride rhythm. ride variations and other cvmbal rhythms thst are used to generate end establish time 8re a cornerstone of jazz drumming. They will remain so 8S long as cymbal rhythms are used for this purpose.

No one format of cymbal plaving. however, will suffice for everyone in every situation. There 8re similarities in usage, but each drummer has his own cvmbal rhythm sequenoes and his own stvle of playing them.

The Cymbal Une

The overall effect is one a steady cvmbal rhythm line supplemented continually with assorted punctuation,. figures and phrases of the left hand. bass drum and hi-hat. Upon listening closely, however. one learns that the cymbal line i s not made up of one particular rhythm, but that instead it consists of perhaps several Individual rhythms (punctuations and figuresl. Therefore, it is not .9 matter o f the conventional ride rhythm being played in conjunction with the rhythms of the snare, bass drum and but rather that the cymbal rhythms are often played as part of the rhythms that are divided between the cymbal. snare, bass drum and hi-hat. To what degree this occurs depends on the style of the individual drummer.·

OSISIIlIIEl for 8 drummer to get by with the cymbal rhythm in some for example. in 8 swing .... r .......... rt trio. He could swing the trio establish the time mainly with cymbal rhythms. of course, the timing of the punctuations, figures and phrases of the snare, bass drum and hi-hal BftI of major importance.

I A basically good sense of cymbal time can be diminished by the collective timing of the snare, bass drum snd

The coordination and timing of every part, therefore, is important. ,

'The following cymbal rhythms are taken from the beginning of the piano solo of the piece "Moon Germs" (drummer. De Johnettel: i

3

�+J J J :1 >

fJl � J0n � a a

I J J nn J 3 a I)

I r;l J r.;l J 3 3> I]

r.;l r.;l-J J �

.3 > 3

r.;l f;l-J J

3

r.;lJ 3 :)

r.;lr;l

J J J ()

J r.;lJ a

J nJ 3 I)

J J7]r.;l

I I

,

I I , "

, I �,I

I I I I I I I I I I I

I, I I I I I I I I I I I I I I I I I I I I

Interpretation

The mathematical division of the cymbal rhythm, and other rhythms. depends on the Interpretation of the individual drummer and the tempo in which the rhythms are plaved. In moderate tempos. the cymbal rhythm can be played 8S, or more likely nearly 8S, s broken-eighth triplet. dotted-eighth and s ixteenth. or broken-sixteenth triplet figure. In slower tempos. the cymbal rhythm is closer to the dotted-eighth and sixteenth or broken-sixteenth triplet figure; or it may be played 8S, or nearly as, a double-dotted eighth and thirty-second figura. Also, within the course of severat measures or it may lean closer to one i nterpretation than another. This holds true for other tempos. too. In fast tempos. the rhythm is interpreted as. or nearly as, regular eighths. depending on the speed of the fast tempo and the drummer's interpretation.

It is sufficient to understand what is place in the course of playing cymbal or other rhythms to broaden one's knowledge of the jezl form of drumming. And experimentation with such rhythmic divisions in practice is fine if one desires it or feels it is necessary. But an attempt to subdivide rhythms consciously while playing would not only drive the drummer to distraction but would Ilso wreck his performance. Furthermore. if the drummer already has a really good sense of time when playing cymbal rhythms and his playing swings, he should be extremely cautious about experimenting with or chang ing his sense of time and interpretation. Some student drummers have a tendency to go to extremes when trying new or d ifferent concepts. There Is e l imit to how far one may go in adapting another drummer's concepts a nd techniques. etc., without endangering one's own cOllcepts and techniques. Outright imitation is to be guarded against if one hopes to retain one's individuality.

Listen to the cymbal rhythms o f different drummers-for instance, RoV Havnes. Elvln Jones. Tony Williams, Phmy Joe Jones, among others. Slow down their records t o sixteen rpm or slower. You can, example. tape the record while it i& at sixteen rpm and then slow down the playback of the tape recorder.

On a Music Minus One album (Volume Two). o ne can hear clearlv Kenny Clarke's ride rhythm i nterpretation (played mainly with brushes on the snare drum) by turning up the treble all the way. It will noticed that even in moderate tempos. the notes of the ride rhythm that fall between the quarter-notes ere placed slightly after the "'et:' the lest note of the brOken-eighth triplet figure. It is more often in the vicinity of the "let" (the last note) of the broken­sixteenth triplet figure or a dotted-eig hth and sixteenth figure. It results in a mathematically tightedmore intense)

6

effect, and a more emph asized and exact placement of the numbers, than would a strict broken-eighth triplet interpretation.

In the slow tempos. his interpretation is close to a broken-sixteenth triplet or a double-dotted eighth and thirty­second figure

In the fast tempos. his interpretation is close to regular eighths.

One can split hairs over the exact mathematical placement of the notes of the ride rhythm and the rhythms of the snare, bass drum and hi-het. Our purpose. however, is to amplify the subtle nuances of interpretation and how these vary from drummer to drummer.

feel ing with which one plays has to do with more than just the mathematical of notes. Ultimately, swinging and playing with considerable feeling is inner-directed, not outer-directed. It has to do with one's mental and emotional functions. muscular coordination, the nervous system. the way one perceives rhythm and sound. and one's life experiences, Perhaps someday science will be able to deal with exactitude with the neuropsychological and psychophysical processes that intervene in and are relevan t to music.

For those interested in delving into the subject from a scientific viewpoint. we recommend the book Introduction to the Physics and Psychophysics of Music. by Juan G, Roederer. published by The English Universities Press Ltd .•

London; Springer-Verlag, New York. Heidelberg, Berlin.

,-

1 3

1 4

i .

: ' f

I

, ,

I , [

; i , I 1 ' " I '

• i

INTERACTION O F THE PARTS

BV the interaction o f the parts we mean the collective action of the hends and feet s s applied to the drum set In contemporary jazz drumming: the way the individual parts (cymbals, snare. base drum and hi-hetl relata to and interect with each other.

The timing of rhythms played with this collective unit of hands and feet is a s important to e drummer's "time" as the cymbal rhythms which are used to g enerate and establish time, And proficient coordination o f the hands and feet I1 imperative to good "time:' Poorly developed coordination will have an adverse effect o n the timing of the interaction of the hands and feet.

The interaction of the hands a nd feet is similar to the drums-band interaction in that the different parts of the drum set may coincide with, echo. answer, or play independent of EIach other.

Think of your feet as you do your hands. Don't relegate your feet to leaser roles then your hands in 8l(pressing your ideas.

Rhythmic and tonal punctuations, figures and phrases ere divided among the cymbals, snare drum. toma, hi-hat and bass drum, Such divisions of rhythms among the parts of the drum set abound in avant-garde drumming,

For example. here is a rhythm pattern that is common to mainstream drumming :

:1 {I

CYM. J M J r;J 3 {I f.I

SO m m m B D r � i � Hi· H

The avant-garde drummer, however, will invariably do something like this with this rhythm

,..- 0 -, r-3-, r-�-'

CYM. t J J , J � � I J

Ql gl v] w B D H-H B D H-H

Another example: IJ

Basic Rhythm: J n n j M 'J "f . J Divided among CYM. J "f f J J

.-a--,

"I "I � "f . 'J J drums: set I)

SO "f ' } � J M J BD r IN '1 � r 'V - g r Hi·H r

• • • • • • • • • • • • • •

The following example Is apropos of the drumming on the first twelve bars of the piece Moon Germs (JOlt Farrell's album. Moon Germs, eTI 6023. De Johnette on drums) :

&........ 1I .....1 i...... 3 ........1 I...... 11 .....1

H i

1 6

M ETER WITH I N M ETER

I n contemporary jazz, i t i s common practice t o u s e rhythmic groupings of n otes of one meter within the framework of another meter. This rhythmic device. however. is not new to or pop music . It has been used for many yElars by composers, arrangers and instrumentalists,

Don Ellis, in The New Rhythm BoOk, mentions the fact that this type of phrasing was popular in early jazz a nd was one of the main rhythmic devices of ragtime. And Deve Brubeck, in the l iner notes of his album Time Further Out. points out that in classical music, dating from the baroque period. composers arranged the rhythmic groupings of notes to give the effect o f two within the context pieces written in t h ree. (In the HSl'vard Dictionary of MUsic this effect is defined 8S " hemials.")

,

In the early forms of jazz. such as ragtime, musicians and songwriters also used this rhythmic device, but in reverse. They grouped notes to c reate the effect of three within t h e context of four·four. �The Herllard Dictionary calls thi� "secondary rag.") The effect of three against four was used in some pop tunes of the twenties - for exsmple. "Fascinating Rhvthm," "Stumblin';' and parts of "Rhapsody in Blue."

Brubeck believes that composers such as Haydn and Mozart used two ovef three in order to add variety to the "strictly measured dance music" of their day and that for the same reason early jazz such as ragtime piano players, used three over four. .

One of the earl iest drum method books to deal with the superimpo sition of three over four is the Professional Drum Studies, for Dance, Radio end Stage, by George Wettting and Brad Spiney, copyrighted in 1946. This book gives several pages to three-beat rhythmic patterns

' played inside of four bars of four·four. Since this book was

published, a number of other method books have either touched on, Of be en devoted entirely to, such rhythmic devices-for instance. three, f ive. and seven played within the context of four- four.

In the music of India. tabla players are ma sters of such rhythmic subdivisions. They will. for example. d ivide seven beats into groups of 3 + 2 + 2 ; ten beats into groups of 2 + 3 + 2 + 3, 3 + 3 3 +4 + 3. and so on.

In jazz drumming, it was the early drummers who discovered and applied these rhythm groupings in their playing. It is safe to say that i t came abo ut natural ly as part of the evol ution of jazz. as most of these drummers were certeinly not acquainted with classical music or the music of cultures (e. g " I ndian) in which such subdivisions were common.

Among the black musicians, however, roots extended to the rhythms , chants, etc., of Africa, were polyrhythms were everyday stuff. Educator Phil Fani. in an article entitled "African Drumming:' which appeared in the publication Ludwig Drummer; d iscusse d in detail African polyrhythms hwo four against three, ete .! a nd gives examples of such hemiols rhythms- the groupings of s ix eig hth notes into three groups of two against six, and so forth.

looking to the United States, here is an example of a pop tune of the twenties, "Stumblin':' in which two measures of four�four are emphasized as 1 23 4 1 2 t hereby dividing the measures i nt o patterns of 3 + 3 + 2 . (The tune was appropriately named "Stumblin' " for the stumbling effect of the rhythmic phrasing of the first two measures.)

1 1 1 :

� 11:

> > >

J n I D J J1TJ I J n J n I l A 2 A 3 4 A l A 2 3 A 4 A 1 2 s 3 4

> >- >

JITJ J I n n J I� 1 1 J n J n I 1 A 2 A 3 1 A 2 A 3 1 A 2 A 2 a 3 4 a

8

z

z :11

:11 Given a jazz interpretation, the stra ight eighths would be played as, or nearly as, brokerH�ighth triplets:

.. > a > 3

j 11: .r;l J r;l > 3

r;l

� J J I I I I I I I I I I I I I I

I I I J I I I I I I I I I I I I I I I I I

In either csse, we h al/e eight beats. The first example consists of two measures of four-four, whereas the second example Is g rouped as two measures of three and one measure of two. The H8I'Verd Dictionary notes that poly metric passages c an be written in such a way that specific accented groupings of notes will attain the effect of 8 different meter without actuallv changing time signatures. They g o on to say, "This manner of writing i s frequentlv preferred for the sake o f easier reading. but i t actually obscures the true rhythmic life. i n moderrf editions of Barly music 88 well as in " Such is the case with "Stumblin' It and other pop or jazz pieces, including the sample that follows. Three or fille beat patterns, etc., are actually easier to read when written 88 such rather than when written in four.

The following example le from a Terry Gibbs big band arrangement, "The Cat" (recorded on the Mercury album Explosion about fifteen years ago) , Here we have four measures of four-four, totaling sixteen beats:

11

It might be difficult at first glance to recognize the actual phrasing from the wav the rhythms are written. But notice how simple it appears end how easy it is to grasp the phrasing when the rhythm patterns are concelved-al the following notation shows - s s four measures of three and one measure of four:

I 1 J J J J -] J J J I 1 A 2 A 3 A 4 A i i i i

I n either CSSEI, it totals sixteen beats: 4 +4+4+4 == sixteen beats; 3 + 3 + 3 + 3 +4 "" sixteen beats.

On "lady Be Good," a four�four piece (Music Minus One Album, vol. 2). pianist Don Abney plays five groups of three's. beginning on the fourth beat of the fourth melilsure of the last eight measures of 8 thirty-two bar solo, crossing bar lines and ending on the second beat of the last (the eighth) measure:

> 3 3 > 0 :)

I I.;l I.;l j I.;l I I.;l j

What we have here is fifteen beats grouped in the meter of three. occurring in the last five m8Bsurei of a four-four piece.

1 1

1 8

'I

Pianist Mal Waldron uses three within four in his piece. "The Twister" (Music Minu$ One album, The Blues and You). This occurs in the fifth and sixth measures of the melodv. Although the time signature i s four-four, theM

measures (including the first beat of the following measure) are grouped so that the rhythmic articulation is that of 3+3+2:

n I n�

Here, you will notice. the third note of each three-beat grouping is tied to the preceding note. This omits the rhythmic articulation of the third note and results in El different effect from the 3+3+2 pattern of the tune "Stumblln'.�' and the groups of threes played by Don, Abney in his improvised piano solo. In Brubeck's "Blue Rondo a la the nine-eight section is grouped as 2 + 2+2+3 instead of the usual 3+3+3. I n "Kathy's Waltz:' the pulse of the quarter-note triplet serves 8S a ride rhythm which is played intermiUeniv by drummer Joe MOfello against the four-four of the group. Eventually, the "six" becomes the dominant pulse. Then Brubeck reverses things by plaving part of his piano 8010 in "four" against the "six:' The bess player plays mainly on the one and three of each measure of four-four, Which, when the band goes into "six," place. his bSls rhythm on the ana and four of the six-four measures. is an example of the quarter·note triplet thvthm serving 88 the pulse of the six-four ride rhythm: .

I I

J 3

n The eternal RoV Haynes frequentlv uses the pulse of the quarter-note triplet as the pulse of e six-four ride rhythm superimposed over four. On the piano chorus of "Seven Steps to Heaven," (Miles Davis album on Columbia)' d rummer Tony Williams superimposes phrases of three over four for different n umbers of beats. Tony uses this device often in his playing- as does Herbie Hancock -and can be heard doing it on many records. On the album Miles Davis in Europe, Tony creates the effect of groups of fives being played across the bar lines. In the bop era we find innovators Sl.Ich as Kennv Clar�e. Max Roach. Art Blakely, Rey Hayne8, and of 8 later era, the so-called cool style, Philly Joe Jones, and still later. Elvin Jones and TOIlY W illiams among others (editor's note: Jack De Johnette included]' who incorporated such rhythmic devices as meter against meter in their playing and advanced them to the point of sophistication where they are today. tAs with ell musical eras, the bap and cool 81'8S overlapped. And today, in fact. we will find El group playing bap. cool. rock. etc., in lhe course of an evening's performance.)

.

As you see, in jazz. the d rummer is free to play rhythmic figures and phrases that don't always conform to a strict four-four division and bar lines. Instead. he improvises 8S he seel fit. playing rhythms are produced by ideas and feelings of the moment. He doesn'l sit at El desk and work out specific divisions of beats that he will use i n performan�e. The ideas for the varied rhythmic groupings of notes occur in 8 musical context. either during performance or when practicing. They are conceived 8S unite of rhythm and sound rather than mathematical divisions. This is not to say that the drummer cannot. or should not, work out and practice specific 2, 31 4. 5. etc., beat groupings that can be applied in performance. On the contrary. he is free to experiment during prlctlce to hll heart's content. But he should not, for instance, use 8\Jch rhythmic devices indiscriminatelv. merely because he is technically capable of playing three or five against four. or four a gainst three. W hat he plays must be relevant to the musical performance of which he is a (See segment on improvisation. drumsMband interaction.}

...

r

I 1 9

I PRACTICE ROUTINES

I 'ftIe firat two ."'ampl •• g1"el1 belo", .mploy th. •Via. of "3" wi thin ... . .. Eacb l ine con8i8tll

ti.1I val u. 1 incl ucl! ng tb. cymba 1 rhythm C four 1111:1.(I.r.1I &11 4./4 t.he twol" .. beata Make up

lII •. U \ 111'10"'. t.he IIl1m. rhythm conIl1d .... 4 1111 aon.illt. af .ight beat ll . 3+3+2 (no cymbal rhythm ) . lie cyablll rhythaa do not hllv. to ha tba aa.. lill

er.. �h. drumm.r i a f.... to UII. cymba l of hill 1 1110 , h e lIIa y f o llo.. the 3+3+2 pattarnll liB IIIlIny bu,.

CYlIIblll rhythm IlIII he 4.a i r.a . I t ill import.ant to nota , thllt in avant-garde dru.mm i ng . lIuoh rhythmic of Ito • • are not uaua l l y followed by barll of

ath... . lIuch rhythmic of _d by Uk. not. groupinga

broken rhythlll patte .. ns I plltt.rllll d ivid.d

I EX

�YMJlll J Jlll J SO I I I

I I I

A 2 A 3

3 EX.

C

�MA Jlll J BD

1

EX. 1 B

A 2

CYM. SD

A 3

"

4 A A 2

+

Jlll J 1 A 2 A 3

.., rid. ..hythlll end i tll variat1onll. H. e.n

,"il''''''V'''''' t h e cymba l rhythlllll 01' .. r i t. tb.. in abo .... rhythm .

drulMling . the cymbal ,.hyt.hlll, .... often ..pacell biltwelln the \l'1I .. 10u. not. ,roup!n,.

are d i vided 411l0n'l the drum. and cymbill e . In .. 1.Ieh 1n-the rhythl'lllll played on the cyabal are not thought

ot the conven t i on a l rid. rhythm .nd It. . .... r i a t lonll. are often conceived 11. rhythmic f1gure. or phrases

on t h e cymba l rather than on t h e drumll or divided b.'l::w�'lIIn drWII. IInd eYlllblll lll . Ala." the note. play .. CI on the

f requ.,nt l y part of rhythmio punotuaUonll and U!!� page.f \ 2 , 1 4 , I S. }

In the IIxa.plea ua.d ' hlll!:" bar I 1 n ... The i d ea l a to feel various note ba .. l inll. of metric de�arcat 1on .

Notice the perlllutllt!Ol'l ll l o n t h e U"lIt beat I the '" the second bea t . In e x . )

J 3 A 4 A 2

2 +

8

J 3

Jlll J n J : ' A 2 A 1 2 8 ' 3

3

J ..

J 4

J 4

I Either of these two bass rhythms may be used with the hand

CYM Jlll J Jlll J SD B D '"f � "t '"f r -J , i

I I I 1 A 2 A 3 1 A 2 A :3

I

I , I

, 1 i I :

20

Remember, in fast tempos the rhythms are interpreted a s reg ular eig hths. In moderate and moderate-fast tempos. , :1 they are as eig hths. I .

2 CYM. J SD

i

3 CYM. J so

J SD

J fIT] J fIT] J fIT] J n

n J fIT] J fIT] J fIT] J I

5 CYM. J so 80 -t "f r

y 2

I ,

5 A CYM.� J SO J-' x

3 2 ---..... I I

J Jl J

2

3 i

J

B D '*f � i " i "f � r "1 U '*f i 5 B CYM,jl J

so B D '*f � i

2 2

J BD "f � (1# '*f U "f " I . � i I

2 i

J

2 i

J

J J

I

J i

J i J i

, I

I '­I 'I I I -I I I I I · 1 I I

• •

- .... -

1 2 3 4 . 1 2 3 4 i ,

9 CYMjl J JlT] J jl J J J I.l S D

B D -t � ) � . � '1

'1 j "1 � J '1 � '1 '1

HI-H t r J re ) r I r ) r J . r 1 :2 3 4 1 2 3 4 1 2 3 4

1 A 2 3 A 4 A 1 2 A 3 4 A 1 A 2 3 A 4 1 A 2 A 3 4 8 1 2 8 3 4 a

1 0 ��.Jl J JTI] J P J JTI] J Jl j J Jl J n J n HA-H i r J r J r t r J IX J r J r ) r� i r ) r

t 2 3 4 1 2 3 4 1 :2 3 4 1 2 3 4 1 2 3 4

IAO ��{J J JTIJ J Jl J J Jl J J I.l J I.l J I.l Hi·H j r I r I r t r J I=< ) r I r I r . J re I r

1 2 1 2 3 1 2 1 :2 3 1 2 1 2 3 1 2 3 4 5

I , , , I J

' , i

i

, ) I [ i ! i

I j

I , i i : i

I :

I � �;MfJ J JTIJ � � J JTIJ J Jl J • J J J Jl J ·

Hi-H J r J r J I� J r J r J r � r J r J r J r 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

t t CYM. so .

1 2 CYM,

.. 1 3 CYM.

SD •

80

1 4 CYM, •

SD •

BD

Jlll J Jlll J

Jlll n n Jlll -t U -J U -t U -t U -t U -t

2 + :3

Jlll n Jr

rj fnl n

•

�

I I I

1 1 CYM. J J so

For the examples, use BD rhythm of your choice

23

I I .

Here. the avant-garde cymbal rhythms are used in place of the conventional ride rhythm :

I 1 9 �:JTI] n n JTIJ J r:-J---J r:-J'"'J I I I 20 C;:JITJ J JTIJ n J � J I I

i 3 i

J � J r;l' J J

24

A

B

- ----- -------------

Rig ht hand on hi-hat closed, or left hand on snare drum.

2 1 HI·H so BD

22 so

Hi·H

23 so

RH � SO BD

3 so 4 BD

3 + 3 I i I I

i i

J J J J n J J J J n j J J J R A l A L L R R l R L L R R l L

ro r* r- r- r r • •

A R l R L L R R L R l l R R l R L L R R L R L L R R l L R R l L

Basic Rhvthm

rhythm a nd tonal pattern should be practiced as shown here :

..

I ' I I I I I I I

I ' I I I I I I I I I I I

'*" . .

ft.H. on Tom; LH 01'1 SD. ______ ......;.. ______ Tog. = Together

t 3 RL 4. Tog

BD ITJl : Hand·To-Hand _____________________ _

D 3 SO 4 BD

Here, the cymbal rhythm i s written 8 S quarters and regular eighths in o rder t o show the connection between the cymbal, snare drum, and bass drum rhythms. In fast tempos, in fact, the cymbal rhythm may be played as, or nearly BS, Ind regular eighths. \

CYM.

so BD

In moderate and eighths). as shown here:

CYM. J SO BD

.. '

J J J J fTJl

the eighths are played as, o r nearlv as, broken-triplet eig hths (jazz

Cymbal rhythm variation:

J J J J �

25

26

I I I

I: I!

I I I

) '

I : ' I !

I \ I

!

Additional patterns : Use s ticking of your choice. Include toms.

A � :: fTIl n z � j

B � :: WJ Jl Z j

c � :: f11l Jl Z J �

D

E � S O rrn j BD J " " J

All of the two-four measures are interchangeable. Therefore. each of them should be practiced with the three-four rhythms:

I I I I I

Now. replay all the 3 + 3 + 2 patterns. but this time play the foot rhythms on the hi-hat instead of the bass drum. Example ;

� SO

HI·H

I Now, rep.av all the 3+3 +2 patterns again. this time, however, divide the foot rhythms between the bass drum and

I I 11 • • 11 III

the hi-het. Example: i

Convert the 3 + 3 + 2 patterns into 3 + 3 + 3 + 3+4 patterns. Example:

t 2

� SO

BD

The bliSS drum may be played each time the cymbal is struck .

J J J J � R R L R L L

CYM. ST SO SD SO BD r r-

ITJl

ITJl ITTT

J J J J ·

R R L L •

CYM. ST S O SD

I

27

i tJ I1 ,I

'j i 1�

28

Notes not designated for other parts of the drum set are played on the snare drum.

J J J J n R R L R L L

CYM, ST ST BD ,0

J J J J .r-J R L l R L l R R l R L l

J J J J R R L L

CYM ST ,

j J J J R L L l R R L L

Righ t hand moves clockwise. then counter-clockwise around the toms. The bass drum may be omitted. or i t may play on the numbers 1 2 3 1 2 3 1 2.

The following two-four bar may be used interchangeably with the orig i nal two-four bar:

J J J J R l R L

Practice variatio n: hi-hat is played (manipulated with the food each time the right hand strikes a tom. The hi-hat sound mav be closed ("chick" sound made by snapping the hi-hat shut tightly with the foot), or it may be open (s-nap the hi-hat pedal with Cl sudden motion of the foot. releasing it instantly so that it pops o pen, allowing It to ring.

Here, use top cymbals in place of the toms;

J J J J n A L L R l l

BD

J J J ] R l R l

r ..

,

�------� .. --.. � ......

I I I ... .

I I I I

I I I 11 11 11 11 11 11

-.�--

, ; ,

j J J J J J J J J J J J J J J J J . R l l R l l R L R L R L R L R

BD r· r- r r r r r

j J J J J J J J J . R l R L R L R L

i J J J J . H l R R l R L L

BD f u l

n R L R l R l R L R L

i

� :-. ! i J J J J : R l R l R L R l R L

j J J J J J J J J : R l R l R L R l

BD � r· r r

•

29

30

\! "

" . '

I ' . �

i J ' . ' .

� I "

r l

1 1 ) I , !

! .

j J J J J J J J J j J J J J J J J •

l R l l ..

R t. R R l R l L R l R R BD i j '1 r" i

� J J J J � ,.; i J J J J R R l R l l R R l l I....-...J I..--J I..--J LT SO LT SO

The right hand moves back and forth between two, or more, large toms. The bass drum may play on the numbers 1 2 3. 1 2 3. 1 2. Or, the bass drum may plav o n the first beat of each bar onlv.

j CYM.

SO BD

j CYM.

SO BD

J J n

rrl rrl

4 CYM . . rrn .1Jn 4 so : : : J : : : J

80

..

•

,.

I I I I I I I I I I I I I I I 11 • • • • •

Practice Approach

Rather tnan constantly seeking out the one of each measure, experiment by thinking i n t er m s of If. time, hearing tne pulse as 1 - 1 - 1 - 1 -, etc., or as Cl sound such as da-da-da-da-. similar to El bass line. In this way. you are not tied down to, say, the 1 2 3 4 of the measure; VOU are free to improvise various fjgures and phrases in SLlccession without the constriction of bar lines. Vou will be able to stay in tempo while moving freely throug hout the pilce. Of course, when practiclng with or jemmlng with other m usicians, vou must Jisten to what is going on around you and relate your drumming to the music and to the ideas of t he other musicians. (See section on drums� band interactionJ

Ways of Practice

o Practice each l ine separately from the others. o Play consecutively. going from one l ine directly into thfJ next Hne. o Add the bass drum where not written in the music. o Substitute the hi- hat for the bass drum. o Divide the bass drum rhyth m between the hi-hat and the bass d rum. a Play the left- h a nd rhythms o n the toms instead o f the s nare drum. a Divide the left-hand rhythms between the snare drum and the toms. o Play the snare drum rhythms o n the cymbal with the left h and. while playing the cymbal rhythm with the right

hand on the snare drum. The bass d ru m .plays o nly when the cymbal plays. o Play the snare drum part with the left hand, whi le playing the cymbal part with the r ight hand, going back and

forth between the small tom a nd the large tom. Follow the same procedure, except that this time the right hand will go from snare drum to small tom t o large tom to s nare drum, etc., clockwise around the d rums.

o Play the snare drum part with the hi-hat lIe ft foot). while playing the cymbal with t h e bass dru m (right footl. Then reverse t he procedure. The hands are not used here.,

o Experiment with the numerous combinations possible in t h e playing of these rhythms. o The rhythms should be used for solos 8S wel l as drums-bend interaction. o Depending upon the tempo in which they a re played. these rhythms should also be practiced as sixteenths end

eighths, 8S well as the way they are written-quarters and e ighths.

L R R L R R l R R L R R L

I o The practice routine rhythms are a pplicable to jazz-rock, �ome soul. fusion, a nd rock. as well a8 jazz. o All of the rhythms may be either repeated or fol l owed by playing a form of time on the cymbal or by going on to

other patterns of your choice. as one would in performance. a The rhythm patterns should be applied to music: twelve beats within three measures of four-four or four

measures of three-four; sixteen beats within four measures of four-four; eigh t beats within two measures of four-four. By altering the note groupings one can and should, use them in other time signatures. too.

a The rhythm patterns should not be thought of only in such groupings as 3 + 3 + 2 or 3+3 etc. Rather they may be extended, s ay. for as many g roups of 2's or as the drummer feels will best suit the music.

o These rhythms are presented here in their simplest form merely to i l lustrate as clearly as possible the rhythmic device of using one meter within the framework of another meter. When used in the course of musical exchanges between drummer a nd band they may become as complex as the occasion warrants or permits.

o You don't h ave to think in terms of predetermined exact groupings of notes ss shown in the practice routines. When thoroughly familiar with the rhythms, you may play as few or as many two-beat. three-beat. five-beat units. etc., or combinations of such units and return to cymbal rhythms or other punctuations. fig ures and phrases when ready. When returning. l isten t o the chord changes and the bas'!> l i na to determine where you are i n the music. However, when t h e piano a n d bass are playing modally there are not a ny changes t o l isten for. Usually, at such times. one member of the group may gradually i ntroduce segments of the theme, to whic h the other musicians respond. and he is eventually joined (possibly on El predetermi ned riff) by other members of the g roup i n returning to the theme.

,

----- ,� .""" • .J

3 1

32

, .---."�--- , •• F

THE SONG fORM AND THE JAZZ DRU M M ER

From the beginning, or nearly from the beginning, the talented self-taught drummer le able to keep time, stay in metar, a nd adhere to the chorus (song) form. How h e does so without formal training is a question that even science with all its accumulated knowledge and theories cannot a nswer with certainty. Evidently. these abilities are inherent to him. He can assimilate what he sees and hears and compl.lterile relevant data in his brain- mainly. perhaps. at a subconscious level -and reproduce it at will. Of course. this is an oversimplification of IJIIhst is probablv a biochemical, neuropsychological process of some complexity. Nevertheless. naturallv gifted or otherwise. the student who studies drumming must be able to stay in tempo. stay in meter. and adhere to the song form. These imperatives, therefore, cannot be disregarded by either the student or the teacher.

Here. we will outline the drummer's relation to the chorus form. let's begin by defining briefly what we mean by the song (chorus) form.

By form we mean the structural design (mold, framework) in musical composition, the art of combining musical ideas into III u nified whole.

.

The chorus form and drumming go together. What the drummer plavs relates to the structure of the musical composition. Therefore. the rhythmic-tonal p hrases, sequences and climaxes played by the drummer are interrelated with the musical contributions of the other players within the framework of the phrases, periods, and choruses of the song form.

.

An excellent example of the progressive drummer's adherence to the chorus form is given by Tony Williams on the tune "Straight Ahead" (Kenny Durham album Una Mss, Blue Note BST - 841 21,) The climatic ascending rhythms of the group at the end of eight bars, sixteen bers. end thirty-two bars a re easily discernible. But for the elementary drum student, or for that matter even an intermediate student, progressive jell may too difficult to comprehend for use IS a starting point. For such students it would be best to select simpler examples. such 8S Philly Joe Jones on the piece "Squeeze Me," Miles Davis album. Cookir' with Miles Dtivis, Prestige 7094, or similar music.

I It is best for the teacher to demonstrate with a relatively simple jazz recording such 8S some of the older Three Sounds trio jazz albums (8lue Note), or one of the Mu�ic Minus One record albums. such as the All St,r Rhythm Section, Sing o� Play A(ong, MMO Volume 2. This rhythm section has Don Abnev o n piano, Jimmv Raney on guitar, Kenny Clerke o n drums, and Oscar Pettiford on bass. The rhythm section plays exceptionally good. steady, mellow time and is ideal for the student to play along with. Another album for this purpose, although 8 bit more complex, is Blue Drums, MMO 4005. with Mal Waldron on piano and Wendel Marshal on bass (no drummer on this one). The album deals with the chorus form a nd also contains the most basic drum charts (sometimes referred to 88 "skeleton charts")'

When the student drummer understands the chorus form. a l l material deal i ng with jsn form drum m in g must b e practiced w ith j a z z records. Why? Because there is 8 world o f difference between practicing such material with and without the music for which it was intended. The principles and techniques of modern jazz drumming must be a pplied to the music of which they a re an essential part. Repeated listening and playing with such records offers the novice drummer the opportunity to familiarize himself thoroughlv with the work of good professional jazz musicians. In the process, with skillful guidance end coaching, the student will develop tha invaluable habit of lis tening to the musical ideas and tecl'\niques of the other instrumentalists-that is. tuning in to their timing, ideas, and phraeing. And hopefully the feeling and the interpretive qualities of the recorded musIcians will be absorbed by the student drummer and tucked away in his mind 8S referenc� points for eventual use in his own playing.

Because this is not a beginner's book. it is assu med that the students who will use this book are already well-versed in the chorus form. Moreover. we believe that the majority of drumming instructors who will use this book in their teaching are experienced In chorus form usage. But for those drummers who are not. we offer the following :

This is an analysis of the 32 measure chorus, in this csse, the A- A·B�A form. (Each letter consists of eight measures.)

,

The first letter A states the theme (melody). The second letter A upsets the theme. The letter 8 consists of a contrasting theme which is inserted for the purpose of variety. The B section is known as the bridge. middle, channel. or release. The final letter A is the original A repeated in its exact form. or in Cl modified form in order to complete the song .

A A B A theme

III (melody) theme

(melody) contrasting

theme theme

(melody)

Note: The melody is not stated on the MMO Volume 2 a lbum. Rather, the pianist plays {compsl the chords of the song. On the Blus Drums album the melody is stated on the first and last choruses.

• 11 i I I

I I -

-I

I I I I I I I , I f

I I I I, I I I I

Examples of A-A-B-A longs: "i Mav Be Wrong:' "Poor Butterfly;' "ledy Be Good:' "The Twister:' "Too Marvelous for Words:' " Red Cross," "Chasin' the Bird:' "Anthropology," "Lover Man:' "Scrapple from the Apple," "Hot House." "Perdio:' "Constellation," "Msrmaduke," "Steeplechase:' " 5 2nd St. Theme;' "Straight Ahead:' Examples of 1 2 bar blues: "BI1II8" Bounce:' "Now's the Time:' " Symphony Sid:' Examples of A ( 1 6 bars) B ( 1 6 bars) tunes: "How High the Moon;' "Donna lee;' "I Remember April." "Out of Nowhere," "Ornithology," "Grovin' Hig!\il' The song "Indiana" is an A-B-A-C form : Orig ina l melody. contrasting melody. original melody, still another contrasting melody.

THE RHVTHM SECTION

The overall rhythm line i s composed of one o r more differentrhythms occurring Simultaneously (polyrhythmicfll. Iyl -that is. the rhythms of the piano (and/or keyboards), g uitar. a nd drums (possibly other percussio n tool. In improvisation the varied rhythms occur spontaneously. They comprise pu nctuations. figures. and nl'lt'J:I!l:�I!'l

W here the piano (keyboards), bass, and g uitar are concerned, the rhythm line i s harmonic end rhythmic. In the case of the drums (percussion), the contributions fife tonal and rhythmic.

The rhythm section. therefore, "feeds" the solo ist 1:\ series of melodic, h armonic, a nd rhythmic sequences in the form of SI "rhythm line:' Basically. the soloist builds on this line. which is based on 8 so ng form (except in free-form music, which h a s no predetermined forml. for instance, a 32-bar tune, a 1 2 -bar blues.

The members of the rhythm section listen to, relate to, and interact with one another both individually and collectively. They play off one another's ideas as well as their own. T hey also, i ndividually and collectively, listen to, relate to, and interact with the soloist. At the same time, the soloist listens to, relates to. and interacts with the members of the rhythm section individ ually and collectively. (See section on drums-band intertlction and

GHYTHM SECTION GRAP� S o L o I S T

DRUMS: BASS : GUITAR: PIANO: lit rhythmic ----- Bass Line --------Harmonic- . !hythmic --- harmonic & '"VIn.,,,,,,,,

petter. squences sequences

Within the framework of contemporary iazz, there is a divergence of s ty les. with different rhythm sectio ns fulfilling their roles in very d ifferent ways. First, let's look briefly at a typical format for what may be considered mainstream - updated swing or bop-orlented- jazz.

The bass fiddle plays what is k nown as a "walk ing" bass l ine - a basic quarter-note pattern ( 1 ,2.3.41 with some variations. R hythmic inflect io ns may be added by the bassist That is, the bass line is o rname nted by punctuations and some f igures , suc h 8S t riple t-eighths o r "sk ip" figures. Moreover, the bassist links harmony and rhythm together.

Sometimes the bass plaver will play the f irst chorus (the theme) in "two," (on the 1 a nd the 3) then go into "four" (on 1 ,2 .3,4) on 1he "blowin" c horuses tthe improvisation) ,

The drummer will play the cymbal ride rhythm and its variations across the four of the bass fiddle l ine. w ith occasional snare and bass drum punctuations and figures. He does not necessarilv play the bass drum in four. If he does, it may be done so ftly with the punctuations played more strongly. Or he may omit the four of the bass drum end use it instead for punctuations a nd figures in the manner of the left h and on the snare drum. (Buddy Rich is a good example of the drummer who plays the bass drum in four, mixed with some ba ss drum punctuations and occasional figures. In Buddy' s c ase, both the bass drum and the top cymbal state the four along with the bassist.! The hi-hat is played on two and four of the bar, either heavily or lig h tly depending on the d rumme r' s

Even though the bass f iddle a nd the drums both state the four-to- ths-bar pu lse. the bassist usually stays close to the four pulse, whereas the drummer may become more rhythmically complex, playing intermittently off and around the four-four of the bass line.

, . '

33

34

If a gUitarist is used. he may play "time" in the form of chords four to the bar. or he may comp in the manner of the piano. IFreddie Green of the Count Basie band is an example of the rhythm guitarist supreme.) When both piano and guitar comp there is 8 da nger of one getting in the way of the other. A conflict of this sort r.an wreak havoc in a rhythm section.

For examples of big-band rhythm listen to the bands of C ount Besie (mainstream), Buddy Rich this charts are more complex then Basie's), Mel Lewis (a "hip" mixture of stylesl, Woody Herms n ijazz end fusion oriented), and Maynard Ferguson (of the fusion 'IIa riety).

for small groups, study the Miles Davis rhythm section of Red Garland on piano. Paul Chambers on and Ph lily Joe Jones on drums. I t was the most popular of its day and was known ss the rhythm section. You c a n hear them on Cookin ' with the Miles Davis Quintet, Prestige recorda, 7094; Relsxin' with the Miles Del/is Quintet, Prestige records, 1 1 Miles, P restige records, 70 1 4. This section wes relued, flowing, a nd swinging a nd in its day wes considered progressive. Today it would be considered the best of "hip," more or less- straightrshead playing of the highest qualitvl : Most certainly, study the Miles Davis rhythm section of Herbie Hancock on piano. RC' .... C arter on bass, a nd Tonv Williams on drums: Miles Davis Four & More, C olumbia CS 9253; Miles Smiles, Columbia CS 940 1 . In fact.. listen to all records on which this section plays.

'

There was much more musical interplay (coinciding, echoing. a nswering, ate.) between members of the section itself, 88 well as between the rhythm section and the horns, in the latter rhythm section lWilliams, Carter, Hencock) than i n the former (Jones. Garland. Chambers). This is not to say that one section was better than the other. Each. In fact, was fir�t-class in its particular style.

In the more avant-garde rhythm sections. such as heard on Joe FarreU's album Moon Germs (Stanley Clerks. bass; H erbie Hancock. keyboard ; Jack De Johnette, drums); the interaction is more complex than the previously named rhythm sactions. This is especially true of guitarist John Aber-Cfombie's rhythm section on the albums Timeless EMC 1 074 (De JohneUe. drums; Jan Hammer, Keyboards), end Geteway, ECM 1 06 1 (Dave H olland, bass: De Johnette. drums). Editor'. note : listen to all records on which Jack De Johnette plays .

.

THE ClAVE R HYTH M : UNIVERSAL RHYTH M

The clave rhythm has been called a universal rhythm because it often serves as an underlying pattern i n more than one form of music. for instance, jall, rock, fusion, 8S well as Latin, with which it is commonly associated.

clava :

j 11: J. 1 A 2 A 3 A 4 1 2 3 4

I �. .J :/1 1 2 3 4 1 2 A 3 4

O n some tunes it is reversed !remember the old standard. "Peanut Vendor" ?):

. ' 1

I

I

I I I I I I , -11 11 11 • • • • • • • • • •

There is Cl difference of only a half-beat nove rhythm:

occurs in the second barl between the clava rhythm and the bossa-

i ll: �. J. J J J. �. :1 1 1 2 A 3 4 1 2 3 A 4

In rock. the rhythm takes place In the space of one measure:

j 11: J. , '1 ) ' '1 ) J :11 1 Cl 2 A 3 A 4

���n to the bassist plav off the clava rhythm on the Oan album. Aja, ABC tunes "Black Cow," and "I've Got the News," Even when t he entire rhythm isn't and felt

Inc. AB- 1 006' on the out, it is nevertheless imphed

For Eucample. on "Black Cow" - the second half of the bar -t he two consecutive notes are felt limp lied) rather than stated:

J. 1 a 2 A 3 A 4

An additional example is found on the Herbie Hancock album, Thrust, tune "Actual Proof." Columbia P C 32965. And listen to the rhythmic patterns. which are of the chart larrangement) as well as Buddy's fills, on the tunes "Ye Gotte Try," end the "Tales of Rhoda from t he album Buddy Rich Pla ys and and Plays, ReA 1 ·2273.

ThiS type of rhythmic pulse is c haracteristic o f the music of the Grateful Dead, and prompted a writer in a Modern Recording & Music article to say that "The Dead drummers rarely rely on a traditional 4/4 rock and roll baC'kbeat . . . "

The 3 + 3 + 2 and allied pattern. are rooted In the c lave rhythm. Here, we have the same rhythm written In different time signatures. Notice the clave r hythm on the bass drum: I

I I lJ A

CYM 1 11: rrr Jlll SD fill> r- r r

J]1l I

J � 11: � J

r' i' r Practice playing around the clava rhythm in roc k as follows:

A R L L It 1. L R 1. .B It 1. L R L 1. R L

•

CVM. � �: fjfj 8D AD �. ; .,

'" 'f

I a

Jlll I i r J

J J iJf!l Jl ' J

it L L L

•

r

It 1. £I L

Jj9J ., �

r I

11 L R 1. It . 1. L L

4

FJTI r

:11

:11

:11

36

--,

PHRASING : TH INK LIKE A HORN

P h rasin g is the manner i n whic h a phrase is rendered o r interpreted.

P h rasing with a jazz interpretation is one of the essential ingredients of musical jazz drumming. Don 't ignore itl And don 't think end phrase drumistically or fudimentally. Rudimental ph rasin g is rig h t for rudimentsl drumming, but not for

Yes, jazz drummers, whether they are aware of it or not, do use some rudiments-flams, drags. ruffs. stroke rolls, etc., but they are phrased and applied differently in jezz than they ere in rudimental drumming. Doubles, for instance. are sometimes applied a s shown in example A :

A:

CYM.

SD BD

Stroke roUs may be applied this way, ex. B: SO SO

J

Flams can be very effective in tom. and snare drum; ex. C:

as can drags too a nd so on. Try this rhythm divided among top cymbal, small

� f J J J fJ n X � d J J J 11 so R R L 'D R R l R L l BD ST ao ST liD , r ST

j' r-About Rudiments

Rudiments are merely names for various rhythmiC patterns. C harles L Wh ite, in his very interesting and informative book, Drums Through the Ages, te lls ·us that rudimentsl drumming dates beck to 1 758, whe n King C harles I of England put it to the English drummers that they play ,"marching beats exactlv al ike:' The various beats used at that time for marching were eventually standardized and developed into the twentyasix rudiments of drumming . (Drums Through the Ages, by C harle s L. White, 1 960, The Sterling Press, Los Angeles, Cal iforn ia')

Jazz phrasing o n the drum set can be developed by emulating the f ig ures and phrases of a horn. piano, or g uitar. For example, when practlcing with 8 record, select : some of the phrases played by the soloist and echo them immediately on the drum set. Then emulate the figures and phrases simultaneously (coinciding) with the soloist. Do the same with ensemble phrases a nd the camping of the pia nist.

You will find that the rhythmic ideas of the horns and other soloists are similar to, o r even the same a,s. those played by some of the best drummers. This is not a coincidence. Rather, it shows that the particu larly musical

drummers are considerablv more "in tune" with the mu sical ideas and interpretations of the horns than is commonly believed by drummers and drum instructors alike .

Pianist Herbie Hanc:ock's playi ng is an excellent source of ideas. The way he camps behind the soloist. extending phrases across bar lines , etc., is ideal for drummers to work with.

.. ,

...

• •

-, . .

I I -

I --I I I I I I I I I

When playing a phrase, don't a lways play all the notes exactlv the same. unless that is the desired inte rpretation. I Think of the notes as individuals, each with different, distinct characteristics� One short and fat, another taU 8nd_� _ _ _

thin, still another of medium build, and so on. (Such imagery is one of the ways noted musician end teacher Jo hn la Porta deals with interpretation.!

I I

I I I I I I I I I

---

EXPERIM ENT WITH M USCULAR TENSION

I n the course o f practicing, experiment with muscular tension. Loosen you r muscles allowing them to " let go," to become e8 limp 88 possible while retaining only that degree of tension needed to grip end manipulatEIII the drumstick., bass drum. and hi-het pedals. Then, while playing. gradually increase the muscular tension to its maximum. Notice at which degree of tension your drumming feels and sounds best. listen to the difference In tone and be aware of the difference in the "feel" and musical expression at (JlJCh J(JWJ/ of muscular tension. Thoroughly familiarize yourself with varying degrees of muscular tension a nd the ensuing bodily sensations. Eventually, if not immediately. depending on how well you are in touch with your body, you will notice that too much muscular tension reeults in excessive tightness and possibly rigidity, a nd that ovsrlv tight muscles can result in muscle fatigue, which considerably lessens endurance .and control. Invariably, timing also suffers.

I

Find' the degree o f muscular intensity that serves your needs beJt. And remember that. in the course of �erforming, muscular intenSity. as well as mental a nd emotional intensity, varies, so metimes considerably.

I When listening to and observing another drummer, focus your attention on the cymbal. snare, bass drum, and hi· hat rhythms aa played at each level of intensity and volume. !

BODY M OTION

In e sense, playing the drum set is like dancing, A dancer moves around the stage with his legs serving as the means of locomotion, while the remainder of his body moves in harmony with his The whole body i s involved in the dance.

A drummer plays the drum set with his hands and feet. and this involves the arms a nd legs also. But there is no reason for the remainder of his body to remain immobile. Arms and shoulders do not have to remain in fixed positions. Expression can be channeled through body motion, a shoulder, arm, or torso - sort of body English.

This is not to S8Y that the drummer must us.e maximum body motion, if he can attain the desired results with a minimum of motion. The point is thet he should do what enables him to be the most expressive musically. He should not, therefore, be afraid to experIment with body motion. But neither should he waste valuable energy on motions that do not contribute to his musical performance merely for the sake of showmanship,

37

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' I i l 1 1 I I I 1 1 1 ' \

38

,--- .--. ...... -.�, -I Id II IF ' N •• __ ·, · ,,>, " '--- ......... ,-.�,- --"

BOOK 11 : INTROOUCT10N

I I I I I

Because they lend themselves 80 well to jazz played in moderate to moderate-fast tempos. eighth-note triplets ijazz-eighths too, of course*) serve as a �ase upon which the jazz drummer builds his rhythmic structure and from I which he draws rhythmic punctuations, figures. phrases. fills. sofas, and time-generating a nd time-keeping patterns.

This section, therefore. consists of rhythmic and tonal patterns and variations that are used by such outstanding drummer-musicians as Elvin Jones, Roy Haynes, Tony Williams, among others. (Publishers note: Jack De Johnatte included.) I Whem, when, and how these triplet patterns are played, of course, makes the difference between a mediocre and I an excellent rendition_ Here is where having a working knowledge of the principles a nd techniques of drums/band interaction and improvisation. as well as the nuances of interpretation. come into p lay. The subtile d ifference. in timing (spacing of notesl. intensity (tension and relaxation) tone (hi, low, short, a nd long soundsl -these are the elements that separate the distinctive from the ordinary.

But first the drummer must have at his f ingertips a repertoire of such rhythmic and tonal material upon which to d raw, plus the t4[lchnical skill necessary to apply it to the drums.

'Jezz-eighths: Regular eighth-notes played 8S, or neerlv es, broken-eighth triplets :

When listening to the recorded examples, you will ,notice that a particular rhythm. or a similar one, may be applied to different d rums each time it is played. Therefore, the same rhythm may sound different each time it is played. In this book, each rhythm is applied to the drum set in at least fifteen different ways.

Some Recorded Examples

Jack De Johnette 's Directions, Untitled ECM 1 074, tune "Flying S pirits:' The Ultimate Elvin Jones, Blue Note BST 84305, tunes "Sometimes Joie," "What is this 1" Selflessness featuring My Fevorite Things (John Coltrane), Impulse records AS-9 1 6 1 , tune "My Favorite Things" (Ray Haynes on drums). Buddy Rich. Keep the Customers Happy, Liberty records lST 1 1 006, tune "Keep the Customers Happy" (accompaniment to the trombone salol. ChefTy (Stanley Turrentinel , CTI 60 1 7, tunes "The Revs," "Introspective" (Billy Cobham on drumsl . Dave Brubeck trio, All the Things We Are, Atlantic records SD 1 684 (Alan Dawson plays drums on one side of the record, Roy Haynes on the reverse side). Dave Brubeck Trio & Gerry Mull/gen, Live at the Berlin Philharmonic, Columbia 32 1 43 (Alan Dawson on drums plays an excellent. exciting solo on "Indian Song." Instead of a pair of drumsticks, he uses one maraca and one drum stick.!

I

I

I

I

I

I

I

I

I

11 I • • • • • • �

Ways Of Practice

Repeat each one-bar pattern several times or more. However, endless repetitions are not necessary. Instead, play in .. slow or very slow tempo while photographing end recording mentally what you see and hear, correlating what you 8ee with what you hear. If you encounter particular difficulty try this: Play the rhythm once only, stop. Play it again. once only, stop. Repeat this procedure B few or more times until you feel the rhythm Is fjxed securely iv,your mind and body.

Thil a pproach often works far better than numerous repetitions. Educator Ernest Bayles put It this way: " It is not how many times a thing Is done that counts. It is the grasp the learner has of it that makes the d ifference:'

,The mind must focus entirely on what the lear,ner is learning, as he learns I If his mind wanders away from that in which his hands and faet Bre engaged. leaminR is impaired considerably I

Often it 's bettef to spend a couple of minutes on one pattern severe I or more times throughout the dey, than it is to spend a lot of time on it at one sitting. Moreover. if after a week or 80 of practicing 8 particular rhythm. you still experience diffieulty. get away from it for IS few days or more.

Follow each one-bar pattern with e bar of cymbal rhythm:

B a a 3

SD

BD 11: IT] IT] IT] JT] T"J , r

a r,J J r r

j :11 r

Note: The last note of the cymbal rhythm is, omitted to allow you extra time in returning to the triplet rhythm pattern. Also, if you like. you may omit the first note of the bass drum rhythm in the cvmbal rhythm bar. 8S shown here:

CVM. J B D J

3

r,J j r i

j :11 r

Or yOLl may omit the bass drum when plaving the cvmbal rhythm:

J J :11

39

40

Combine different one-bar .. unT .... '''''' to form two-baf patterns :

so 11: BD

:11

I

I I

Practice repeating the two-bar pattern several o r more times. Then follow the two-bar pattern with two barll of cvmbal rhythm:

I

I

I

Repeat this four-bar sequence seversl or more time •.

Combine individual patterns to form four-bar pqtterns: ,

a 3

11: IT] JT] 3 11

ITl IJl

Repeat the four-bar pattern several times; stop. Go on to the next four-bar pattern.

Follow the four-bar pattern with four bars of cymbal rhythm :

3

1 1 : J r;l J

B a

I � J 1 J JJ J LII I

a

:11

J J : 1 1

I

I I I

I

I

I

I I

I UsinQtthe procedure given form six-bar. eight-bar, twelve-bar, Sixteen-bar, and thirty-two bar solos.

,I Another way of practicing is to plav each page from top to bottom. going consecutively from one bar into the next bar.

.. '

I

!

,..

I I 1_-- - - For iIIlsier relding, the notas designated for the hands (either one or two hands) are placed on one line (SO linel .

When you have reached the point where you can play the rhythms with ease. then. for the greatest musicalJlffect. divide them among the snare drum and or merely the toms.

I I I I I I I I I I I I I

For example. the following rhythm, ex. A, for SO (floor tomt ex. B. Use sticking of your choice :

. Ex. A -

Ex. B. -

SO

BD

ST

SO

LT

BD

If your set includes two small toms, try ex , C :

Ex. C -ST (1)

ST (21

SO

LT

BD

I for two small toms and two large toms, use 8X. 0 :

I I I I

ST ( 1 )

{21

LT (H

LT (21

BD

BD. can be divided among the snare, small tom, and large tom

:]

IT]

..

•

•

•

41

h ,_0'1 ' ,

� . PE R FO R MAN C E PATT E R N S

Play each exercise three ways:

1. Play SD with RH. 2. Pla y SD with LH.

3. Play SD with alternating hands ("I,d erc.).

5 3 3 (I :J G :1 :1 :1 <1

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.

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-

48

Snare

Hi-Hat

3

5

7

9

I I

1 3

Pllly each BxercisB thl1J8 ways:

, . Play SD with RH.

3. SD with alternating hands (r,I,,,',

2. Play SD with iH.

NOTE: Sticking patterns may be d ivided among snare drum and tom toml.

:1

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3

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Plsy right and left toge ther: Me hand on snare drum, one hand on tom tom of your choice.

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53

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64

Snare Hi-Hat

B�SiI

5

7

9

1 1

1 3

Play each exercise three ways:

I. Plsy SD with RH.

3. Play SD with altermlting hands (r.I,(,/,

2. Play SD with LH.

NOTE: Sticking patterns may be, divided among snare drum end tom toms.

G

t o :I 3

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I Hi·Hel Ba.

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i

5

68

57

Snare rr�-4-Hi·Hat 11---­

Ba.

59

Play righ t and Isft together: one hand on snare drum, one hand on tom tom of your choice.

..

t G

SNlfII Tom

HI Het

BasB

3 3 3

i I I I

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60

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I 61

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Hi·Ha' 1_

4 5 1- 3 --,

49

I 63

-I I Snare

Tom HI· Hat

11 B .

I 11 11 • • • • • 11

64

Cym. 8 __

1

Play LH on SD or Toms.

You may the Straigh t - Four Cymbal

Rhythm - Quarter Notes As Written - Or The Cymbal

Rhythm Of Your Choice.

2

HI-Hit 1_+-+ __ +--1-_-+--11--_ B_

3 .4

5 6 J J J J J J I I I I I I I I I

r r I 1 r r

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6 7

68

Cl/m. SI'IlmI

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3

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r I

5

7

9

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Play re with RH.

Play SD with LH.

J J J -"" r. r I I

2

r r I I

6 J J J J I - I I I I r r" r r" I

I I I I 8

8

10

17 la

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Play SD with LH.

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5 Cl I I I

7 8 I I I I

9 10

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27

29

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24

26

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30

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33

35

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39

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32

34

36

38

40

76

Cym. S,... HI-Hat e_

41

4 3

4 5

4 1

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l

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r r

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J

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r

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55 56

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About the cymbal ride rhythms:

. , ,

BOOK U I WAYS O F PRACTICE

The straight-four cymbal rhythm (quarter-notes) may be used here in place of the conventional cymbal ride rhythm. Eventually. however, cymbal rhythm variations of your choice should be played in conjunction with the left-hand. bass-drum. end hi-hat rhythms.

In performance. left-hand. bass-drum, and hi-hat rhythmic punctuations and figurEls ere nat plaved repetitiausly­occupying the 18me positions In the measure bar after bar, and played on the Bame parts of the drum aet. Nor should they be practiced thet way- When performed. such rhythms are continually moved Bround the different parts o f the drum set as well 8 S having their positions in the framework of the measure or the phrase changed.

Here, the pl.lnctuations and fig ures are moved around within the framework of six-measure groupings. They may, however, be practiced as you choose as well as the way they Bre written.

The left· hand rhythms should eventually be divided among the snare drum and the toms. Or they may be divided among the toms onlv.

The hi-hat rhythms should be practiced using a "chick" sound (snapping shut t he hi-hat suddenly and keeping it closed until the next time it is played). When it's feasible, they should be practiced making an open, c langing sound (snap shut and instantly release the pedal, 89 if in one sudden. emphatic motion, allowing the sound to sustain).

This section is not designed specificaUv for coordinated independence; at least not in the usual way- Rather, the emphasis is on the progressive drumming s tyle-the way the drummer compliments and interacts with the lololst and the members of the rhythm section.

Remember, in moderate end moderete�fast tempos the rhythms a re played as, or nearly as, broken-eig hth triplets (al written) , In faster tempos, they are interprets? 85, or nearly as, regular eighths.

I I 11 ' I I �' I ::

"

11 •

The ride-rlwthm lIariations mav be uud in place of the COlllluntionpl ride rhythm: a 3

t . J J J J.;l

2. J J J J 3. J J J

3

4. J J J 5. J J J

a 3

6. J7J J J J 7. J J r;)

a

j J.;l j J

3

1 0. J7J J 1 1 . J J

t J 1

For Ihe purpoma of pr3cliciroll rock, mlerprel lhe broken-eight \riple\s (jazz eighthsl as regulllr eighths lrock eighth! l . Then. uu the rock cymbal rhythm Of the straight-four cymbal rhyttlm !quarter-notes)

79

80

I

I · 2

PERF 1 A :2 , A 3 A .. A

ANCE PATTER NS 1 A 2 A 3 A .. A

This is the conversion to Rock of the following exercises. Only the first two measures afe shown . .

I • •

Cym. SOIlll'II � HI-Hat BIIIIIIII I •

•

•

3

"�-� Iq; ' ..... - . �-

81

t ,

82

CVI'TI. Snare .4 Hi·Hat .4 B_

5

6

• • • • • I

• • 11 III •

7

Cym. Sna,e .4 HI-Hat .4 BIIIIlI IIU..----I----

8

83

84

9

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::� � �------�------�--------------��-----1-

12

is:' . � . S$S-:i:iiu -

86

86

1 A Z A 3 A 4 A

This ia the conversion to Rock of the following exercises, Only the first two measurell are shown.

3 3

j J ., J J J ., J J J ., J J J 1 J ... ..

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l r :3 3

11 • • . " • III III III III III • .. • -­, III

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Cvm. Snare .4 HI·Hat .4 BIIBI

1 A 2 A 3 A 4 A 1 A 2 A 3 A 4 A

This is the conversion to Rock of the following exercises. Only the first two measures are shown:

• •

• • III

Cym. Snare 4 HI..fi1!lt 4 B_

, , ' 'I '

99

· .. � 1 00 I � 1 i . �I 4 1 I Cym.

Snare 1 HI·Hllt � BUll

I I I I I I I 42 I I J

43

Cl/m. 8011111 4 H�Hllt 4 �----�------+-------------�------4-----+-----�4-----����-P------� Ba. �----�------+-----�--���------�----+-------4--------r------------�

44

1 0 1

f ;

I. i' ;i !

l ' i \ 1 I : I "

1 02

Cvm. Snore .4 HI-Hat .4 8l1li1

.46 I

. -

;' ,

1 03

47

48

----" .• '-. '" "

1 04

49

Cvm. Snlll1ll .4. HI-Hit 4 Sea � ____ � __________ __

50

, .�

1 01

.�

1 06

53

'-- 3--'

I

I I I I I I

, )

I . '

i 11 t",: " '" i : : .<.

"

l I, '

55

56

1 07

, -"Z

.." ?r n .;,) ;j

1 08 I :�

-51

I C\lm. Snare 1 · 1 HI·MI. B_

I I I I I

.� .'

� �

58

�

59

Cym.

��M 1 't:::t::::::t::::;::::;:::j::::i::::t:::::�::::����::t::::1 8_ IIJ

60

1 08

-

I �

1 1 0 I 1 A 2 A. 3 A 4 A 1 A :2 A 3 A 4 A

11 .}�

This is the conversion to Roek of the following exercises. Only the first two measures al'& shown.

Cym. Snarll i H I·Hat � s_

I I • �

62

1- 3=-.1

. i

1 1 2

65

66

'- 8=-.1

1 1 3

, 1 8

71

Cym. ��� i "�F-------�--+-----------�--+-�--�--------�-F���-'�--�-F� 1- '

72

1 1 6

13

14

L...... a ::::..J

-

I l !

I 1 ,

", I I I I

1 1 �

16

\ . j, �';1

I !

1 1 8

77

Cym. �:�t 1 �----��----------�--------------�----+--+--�����----__ ����-; B_

78

1 1 9

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