Metodo de Bateria de Jazz

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TEARTOF JAZZ

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JACK '

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D.C PUBLICATION

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OK he treghh rh/npae e jZ 'a beH he o ha w In mee hroghde. .K !he ·y d& cnt o n n yn Ie rhhmo a/ g Jz eeeu II

BOOK IAT H IS BOOK ... 56

ABOUT THE RM. . . . ; .. ... .. . . 6

LMNS O ONTEMORAR AZZ RUMMN. ...... 6

PRORSSIVE AZZ RUMMING: OVRVIWU Sg Bb C Er........... ...... 79

ABOU MPROVONrici r v........ 1011

MBAL RHYTHMSb L I . ... .... .... . . 2 3

INTERATION O ARS. . . .. .. . . .... . 145

METER WHIN MEERBc Rhy P R . . 13

SONG ORM AN E ZZ RMMR . . . . . . . 2

RHHM EONRyh S . .. 3334

UNIVERA HYHM VE . . . . .. . 345

PHRASING HN IKE ORN. ..

XPERIMNT WIH MSUAR TENSION .. . . . . 3

BOD MOON . . . . . . 37

BOOK

INTRODIONS . .... . B4W P

Pr Pr . . . . .. .... .. 427

BOOK IIINTRODUTION

WAS O RAI......... .. ..... 79

Pr . . .. ... .... . . 01



ABOUT HE AUn

J D

Muc has already been said i ths book aou ack De ohnete's maseru drng et sufice heefore, to say ha he s a eber o ha seec ew whose atry gvesdrecon o he many.

Jak has peoed oh 8 a den ad 8 eade on cords and ve wh any o every best azz and uson sicans ere are b soe o the nae: Herbie Hencock JohnColrans Chck Co George Benson Gez ohn bercbe J Far !, Chareslod. McCo yner. l vns Dave oad dde ubbad Jacke MLean and esDvs

Jac has aways ated hgh the varos usic pols Bu in 19 he won the own BeaReades Poll as e # drumer and s alu Jak De Johnette Special Edfn recods) was choosen as the es az alu of the ea

HRPRRY __

Calie Pey is an itenaioal noted ato and tacher o odern-drugethodoogy Several of s books n ac ave ecoe clac aong ehod books

is atices have apeaed n pesgous trade pbications such as Peson Dua pubicaon o the Pecussive Ars ociey) ad the /nteton M ucin (the ofcia

jona of e AF o M i which e wote a co entited oder Duing P esenty ewites for Moe he # 1 drues agazineand is a eer of its advsoyboa

May sdes and oessonal dres who have stded wt or consted Charle n apofessona capay hae pefored with the eang naes i usic sch as zzyGlisie Teonious Monk aefl ead e Mann and ete Nero to name a ew naddion o ang ajor ecodings as stdio uscians

haie has eoed wi soe of he finest az muscias n grops: enn GooanSan Kenton S Gz d Powel ily Mthel Bud onso Joh aPoa ad ieeso aog oes

Cae has ondte sears at soe o e major nierses toghout he United

States. He s pesentlv e acuty of Fie Tows oege on Log Isand, New Yok

HOW HI OOK CAME AI

fieds egan soe yeas ago when we e dring an nervew or eruonD (8 ulaon o he M one oany en dsrbuor or onor DusSie ha ie we ave woked togee nteiely dong seiars and ea eachngad ave eneied o or cotinual exage of deas and coceps

A oo s eitale ecuse the aera w pt togeher or nstrucioa purposessee ou eeds ee than anyng already on he market oreover t was dversedand voinos enough o serve as e basis or several ooks (hs book, n consisso ee eens eac o whch can sad on s own n ideenden wok)

n o oiio os esseial o he az for o duig, besides ting is e ierlayee e ruer an he ote uscias Yet nstrucioal iterau does no naeseiay the wa wen whee wy. and how o sc inepay nor doe t sandardzehe erolog wic would ae t oe inoratie and strucional

is an acknowleged ac hove that i he earnng ocess, recise decrpvangage as ose einoceen vaue and can cnu up te os useu agey sed "As our ental iae ecoes or cise w a etter ae toslc musl oveents whch wl acieve or goals quickly eficet ad acurateV· s ea eeoe tha e eaher wether on a onetoone asis or n ont of a

ue ost specifc reise angge eology we explang anddetating e pcpes ad tecnues of mpovisatio and redeterminederaon! e hope a hs oo o soe exen seves o intended pupose

hae ey and a e oee

• Ps ch/og urd eionl. bv W Jams Mc Kh (Pof o yoog U o g/C k Do1e P o PoV Lwe o!, t MoT iy :g) Ao- Pg op I Rdg SS. ge 24



BOOK IBOU HS BOOK

book ea w he ne ehque hyh a once o osve az an ae fom ofun e w he ndvual pars funton a n and he way h collecve n ee o an neaw he ucal conrbtos of he ohe ueal

Thou ee eleme of oe ja r umn, ec ay be vewed separaely fr one another or euoe of nay evenuay they st be synhesed n aple E whole -he inee an thea wh hey or he whole. os on he pas and he whoe u be peeaed wth thaeleen w is at he oe of jazz-tie:

o one book of oeae eng of corse can dee n e wh eV e of ay one ube e areply oo any varables nvoled Moreoer he ne word n ielf cano do ue o ua peroranceThe we word hereoe mus be coreated with he ou eeig, spri en prncples o he ic ef.Boh oe an v peromance us be udd nd ii

(Soe o the hyhic ten he 3+3+8 and lke atea e not on abe o oher o o mfson o ) bu n ae ena to hefor nsance John Abercrobes Timlss EM 7 anGaw CM 1061 Ao h Aan Brohe Bd, Brhs a Sss 0111 ue oe rhyh phrasng on the keyboad o he u soos e sae rhythc ode ca be heard n hes of The Grateful Oad

Soe of e aea n this boo s sma o or the sae eria n ohe book a r cles Tis s nevblewhe ay peope wrte on he sae subec and draw ro the �ae sorces uh eoe perfoanesive perforanes ad neews oe such boos are ste ee

h Cp/e J D b Je Roa JR Pubcatos hs exceen book s a oplato o aeo other eo boos b Rotan It deas exenvey wh coodnaed ndependece the nelay beweenhands ad fee and meterwhneter gre n he

lCvbal by et M Bk ubishers deas w eterwthnmeer yba hyh e- Way Coonaon by Marvn d lo Fe BewnMls pbsher "Studes fo y heebee i for ou e see ps 8 9 a 50

Pfssonal Du( uds o Dc Rao 8g b eoe We a Brad Spnney ubhe by aoSo n lhou hs boo was copyrhed n 196 wa e , to our nowledge o ea wh heebeahyhic patens orour e ee pages 4 hough 7

h Book of Jaz by eonard eather pbshed n by Hozon ee ae 123 Chaper 15 enle TheDrus' oe of the es dscsed n s eon ae as oows olyyh bue he hh, unn ocybal hythic tasferg the essece of he rhthc beat fo he bass u to e op

cyba n an efo o escape fro he hvy pounding of an obviousy ae foue ba hy pge1 ae he ass. Hee the bass aye e e n he hyh eon e usse so seehape 22 o "he Anaoy of Ipovsao

Jaz I's Euo nd ssn by Ande Hode rove opyrigh 196 See ae 219 lel vs odernrhyth secio poyrhyts; pae 0 usng the cyba o epess he beats e e a pse houneo lenn h oi d iti ae cybl hh b wi ular bea anained; e 210 of oe stated withi he aewok o aohe n fee ue n e27, rhythc ouneo o the bg cyba

h A Ja on the Natre and evelopen of azz edied b Man W e rove r ess In

Coyht 1950 fod Uersity The essys rage o he 9 houh he '50s an offe neainao of the evouo of msic azz cas a styes an he epeenaion a ook pace overhe ear he essay are of parca neet to pi a ue beaue of the anlys of a hyheon and a drumg fo nsance he eo n h e es on geer ai e eoe fohe bass drum o he top ebop b Ros! Russ bished i 99 n h Reo Chanagazne) rhyth seton d oe.



,

w Rfhm Bk, b Don Es pbsed b Es Ms neises 4 kand • oh Hoywoodafona 0 so, e ab n E hs EM E eos, seeo

n lBBp pae paphe b Fank ose pbised by ank ose Msi n 123 os oadSsdae 03 ose a aoeae jazz eno saxopons omposeaane offes a persona inadevew of BeBo s pape s vaabe and weoed onbon o onempoay jazz ea

Th Jaz umg is eaed o e adaned sden no e benne an howeve be sed by

e ehe wi nemedae sdens And as of i a n even be sed wh eeenay aens hee howand wh wo is sed depends aey on sk and wokin knowede of he insro n eahn hefom o dmn i

e oane o snin

an be aeed fom e en xapes aken fro eons oressiv din does o offean iy dsenbe adope of he essenia eeens and nes o e nned ea and ind e odeveop a wokin ode of s din sye i s absoe neessay fo e sdn o oend eessenia as n a aiona ode o onneion end deendene and o eonze e inheen pinpes a wok

Sne e wien pa b sef s nsffen fo is ppose he pinpes ehniqes hyhiona aensand seqenes, e s be oeaed w oded o ve perfoanes, feaby boh of pssive jazzhe sden ean o sen oay and ey o ea eay and spefiay wha e poessive azzde doe s n peoane en, by oean e pefomane we nsona a ea e w ben o

ean wa e a onsss o e hy of i a and e o of appaone ia e ay e odor v dme eaes o and ineas w e sia onbons of e oe siians he way e apieshe inipe ehniqes o dsband ineaion and ovisaon

bshes oee ey wiins on az dmmn a dawn fos expeiene of any yeas w jazz banda ae andsma senn o evey knd of jazz , sdyn e wok of e ajo de on eodins and indeh dsssions abo jazz and jazz dmin wih any of e fnes jazz sians yeas of ehn e jazzfom of dmn and eadn books and essys on jazz and jazz dmin ha he ses in s ean andwiin owv efis onis ho pesona exeneak De Jonees sia noede and n onibon ae awn fo s yeas o exensve exeeneas a ao efoe opose and bandeade wh e eie sians and os of is ea

BOU HE "EMS'

bo e ems oden poessve and avanade jazz and azz dmin, wi a ofen sdineaneaby in is book:en efein o oden poessve and evnad jazz o jazz dn we ean e oa een peod ofdevopen n jazz 8S onased wi eae peiods

I

en we speak of poesse o avnad dmes we ean hose demsians whose wokebodes ideas eae o pnpes i deviae sny fo e adiions of pas peiods and wo aeeaed as eenen n he invenon and aaon o new and appopiae ehniqes apoahes andpnpes i n az z din

EEMENS Of CONEMPOY ZZ DRMMN

IME e ie eneaed and esabised by he dme o e yba yhm end oe yhs eiin invoed n he payn of yh pnaons fis and as es aond he ds.

MOSAODMSBD I inpes and ehnqes e ineeaed aion of drshy seion soois and ensebe he sa ineion beween embes of e oIO O HE S e oee aon of e ands and fee &s aped o e d se e wayese ndivida as reae o and nea wh ea ohe bo n poneved and ivised seens of esOOD ndeenden and nedeenden oodinon of e ands and ee epied o e d e

S nson eaxaon} e deees of enson n e ayn of ie, hyhi pnaions fies andpases Msa enson ono he deees of enson n ayn sof i, od eavy_ Inensiy of o



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DYMICS o cotro cct aatos rts to (uratotctstre o taous ag a o t ds a cyasCI caca wc s t odato o astry o a uscal strut Stcgtecu a rum-st tcu ysca otosaat t stcs a russ a oot alsrsoal t t ct o sou lg trrto

SUEMSII YS ( WII M ytmc dvcs o azzt rogs ot-ou toour o wt t rawor o ouor gougs o two wt tre tc 3+33 3334 3 a ot t dvsosIM SIS re ou v s s t v tc

I XSSO soa a cat t usc tat s ot cotly cat otato t uacs o to dyamcs, asg tou lg

SL DME Dot o 600 attrs ad ts sort a xt d solos t corus or at -or Qlo

PROGRESSE JAZ DRMG AN VEREWby

Ch.rie Perr

ssv a ru l grssv azz ts s co t t ay st t tat ar 8 u o urat ts g al to ad ro wtout 8art ry Qr asos colxt os't a owv tat gss azz s ormss or t a ts or caQt aalyz t cotray t s ost cass t ora ad urlyg a at cods s ct s t v atuo rssv azz t sotay t rdo to xor o aorat tQ x to sa ot oscres tasc rawor a m az o surstuctur v lss t orm s t or t os wo ws to stuy t oous ad t sut ts o wc t cossts woul gt o dcus y so o t dvdua styls tat rc a cotrutd to t ow suy toays rogrssv du s stys msvs ar stl ad a ar r outat at as o may o our stday ays w o sw ts catgos

atd Swing St

t dat swg styl t ay t cova al rd ryt ad ts varatos t ouroo t ass dru t o ad o o at t ryc ctatos o t se drum a sotst tos H ot aora o asc or wt so uctatos gus d ls" o sots tusc ich t ru oo y t rytc ad toa atrs o s coc a sm gus(gurs wc t a saosy wt t

og otr tgs ad e ot otat t s�oeed r uctos as 8 tr' cots t tmo o t ad try vtg t ro rus rag wl at t sam t s drvgad swingn t ad w at

t ary ays o sw t oou o t bss ru az t Qur g att to cymal sart ucto o stas t or e ad tuay so rg stys ca t ctral mas osasg mata t bsc t It cam t oat as Q ratg t cours tsvars wt dva rus So rrs act stl ly o t as ru aszg t ascs rc aa aso ds o t sy o t a d t rrc o t adlr or

stac t ajor rus o Co varous as stssd t ourour o t u otrad Mws o t ee g d s t our o t ass dm sotly t all ast tos aysa t two o t ass r aorat ctatos ad so sot us lso uss s as dru tororc scto a s es s wl 8 tos o t olost ray uss s ass ru uc ta o t t ad Hs s t g drug t wddg o dat swg argssv ru

[or xas o arly sw o t ug o Jo o Saow Wlso a os cotorary oBasle' Bet, Coua cord HL ot rurs la r ryt aratos o a og cg-at

1Jr

f

-at ayg wa a atu o s styl Sadow sows o s t wor Q t tu as They ot lay so usca ad ract so autully w t a lso lst to Lr Lp In,c rcors G 30 a Th Od Count and th N Cn c cors 0 y usJoo aotr o t sa ad drs s o o s o ts ast au]



Beop rughe besknown eponents o style we M oach. nny Cake. A Baey and lae oy HaynsAt as a ad, soeies a bi foco gooe Kenny 8 a soo snger, a gea ie plar M wasalways the intllcal pning i and dveoping new ytic concpts arious coss ys andtonl sqencs Roy wo ca sral yars aer hes oundng aers of op was a drivng, ighl tastefulas ell 8 nvene dmer (I' ncknaed oy "t copoe cas wat h is oganzed aondo- four and igta and ke a wters hs phases gro no coplete sntences hic n turndeveop no pagaphs[Roy Haynes and Ma oac sar t dring on The Best of Newpor in New Yrk '7 Ko K 000 oyHayns andles te biant ding on Now He Sg, Now e ob Cick Coea olid Sta SS 809

olowing tes drs was Piy Joe Jones wo V incopoaing leens o et cae befoe hdeeopd a igly sopsicad and c adied, wngng sy He, along wth h entire Mies Ds goup,pdced 8 usc ta as peaps anifesaion of suctrd postop az The avs yt sectioo ed arand on pano Pa Cabes on ass, and Philly o on ds was te ost popula o is da adecae known as he yt secon[Yo can a Plly Jo on and they section on t folowing Mles s als: Cook' wh te MlesDavs Qunte Pesig cod 709; Rax wh e e Das Qte Peig ecods 79 Pestg recods 7014]

In he p style cya d y and its araon ca t ansay o geneang and aintanng tiehe bass dru as payed i a all elaivey oly n four, t t innovaon as te ephasis on te ass dupnctations o os ic doed te usica landsap MX oac on o t ontands o ta a ,playd nues ccn and a a aont o figes on te ass d in conncton with t nse ds ndos He lso played or on t bas d. bt it occud n the pacs eween t pnctatons and figusAnd n he as paicuary buy; e as t space o te ass dm in fou e did not ey on h fou ofte bass dr to establ a dving sensaton H gneraed te and ecieent trough e cobnation ofpnctaons, fges and phas aong t pa of t d t n act was on o te first to stesbrokenyts and polyyhs n cang a t� ns and dring orcKenny Clak was o o he i not i o it he foor on t bass d in e st tpos ecpfo punuatona. and ly nsead on cybal id ryt and s vaiatons as te cntrel soe o e

Aough At Baky Ma oac and enny lar bop eac sondd difernt o t oh Ea d

anideniae ty aky mo an t ots, owr mpasd a avy two and fo afebeat e

sngl prnouncd o and or o te ia. a ajo inlnc on othr dres. was n fact an ntgal paof hs stye

e ool

T peiod ta followd te initial bop plosion as knon as e cool ra op n fec d into te coolpiod e sav ndersated gac of ealier tno sa sar Leste Young and he spa elodious lnes of teyoung Mes is inflenced many yong piarily it sicians to pduc a lyical ja that a beopinflenced t lss frene Sch divsions. owever, a not asoe In o ways one ovrlapped te otereoe always ea y or esal o attep o define syles Moreoe, defnitive labels often iplimiation soething at s d" And sic is anying bt cangss or stac Raher it s a dynac pcess

In te cool a soe de payed t ·hat lily o, at tes not a al Inste tey often usd t ator occasional rytic and ona eecs And t or-our o te ass dru was used spangly or siplyoitted Te top cya eca th enal e8n of gnatng and antaning time It as aout hn thatdrume relly egan to cyal rys tesiely, alting e ond and eect of cyal hyths ofensing ete wtn t n e o o cybal rts

op as consdred oter an cool bt as not as ot as swng or te so-called ot azz tha pcededsng Sound confusng? I can be as he prb hen trying to ael az era t eactness Reertat tes abels ae oten gnealizations and do not ds with te any o te usc of o e8 orfor ta ae i todays syles For eap n e sng ea Count asies bnd cae under te eadn ofswing but the nd as cool tan os e y scton of Basie (pano redde Gren (guter Water age(bas). and Jo ones (ds) Papa Jo no Plly Joe was decddly ifent say te hyt ecton of theBeny Goodman band o tha prod he Gooda rhyt section conss1ed of Jes v (pino Aln Reu(gtar Harry Goodan (bass) and Gne Krupa (dues no ore tat o ater pat o te p e8 EIin Jones as coninay eenting wil e on ayto oring is own e cptoa sy o ding, evntally ecoing on of e geat cat stlists Iin



took 8 bsic swig stVle ad velod t Ino a outtanig for of hrriving swing ad polyrhyths,ening the inertion of th parts eecially he sa d d bss drum to mo complx levl hannyon His cybal rhyth has iffent felig to t 8 iffent sort of pulse e oft fee thaccentuation of th " of th wo nd h four o uch dgr hat it s tht the atnot ftr the iomitd And sots it is oied h gis the iio of puing o of h rhyths in th Much

wht h ply i attr of pulse or ul

albu on whch vi Jons play 8 Low Supme/John Coltrane, puls AS ; Coltns "Liw Btths Vis ngus pu AS 0 Evn Jon. Liw Bt the ghthoue lu No BN LA 1 SlfleneFsturng My dte Thing Jon olr pul 9161 o his alb both a H pyrs) h Utiae En Jone Ble Note BST 84306

Th nxt Inovator o gain piec ws on Willi a dynaic young rumer who cpured th attnioof jzz a zz citic alike whl still in hs ts He eco wih truper Kny Durha when onvnn yr old! Uns Blue Noe T 41 7

Tony' rumg w dffr- kalocope of rhythm toe oton n itlct H generated a staidt ti fe iving ntity i highly skille interply wit the gu sed an exclle examp ofdruban intrtio an rovistio i pgiv (sn to oy on th Mile DBi r oab Colubi S

Toy dint u hs bass ru d hiha n the convntonal way ba ru in fou hih o d four) o

stt ti . howv ot play he hiht I four: Feo nc M i Colbi CS9401 Is goo xapl o i he rl o th standa cybal ie hyth fo his cybal ule Rther hlay a ccion of quaroe ntrprd with to an thbt figu whch he generlly wo ntothe oerall rhyic ad oa cooition cosisting of drus an cyba With this colctive unit he stedie ad pulse Jazz drug had od dcidedly toward russio (Mle in Eup Coluba PC898 cored e in 196

olowig Toy we hv Jck D Jo muican h trilthat rie ty (coosr. ladr. instrmtaliswho syntheizd uch of wh ca bfor hi ino a fesh iivduai style

Jas play9 i hgviy tuf boh intely eool nd crbralA though he i fewhling anuihibite hi soarng irit rs if withn an xceponally wel srctured yt flexble orm

ike Roy Hys a Toy Wl Jck i 8 fistrate dut coposr Rthr ha his two b ach of dffent d dn ch d hih for e·kpig of h usl kid h Icorort th

extly with th mide of h dru e in lying tr and squc tha concie echo anwer a payidepdnt of th corbuos of oher usicia

Wheas soe of th not rur hav tld no wlldn groves. Jacks layig continues ovolve He i n fat a prcpal of contemoray drug borerig on toorow

in to Jckon th followng cors Jo ar oon Ge ; Jack ohnette L PrsnsECM cor, scal edtion Jac Os Johnst' ction Unite M 10 tBa� ECM 10 nAbcbie iee, C 1047 Mc_Coy e Sur o Miesone M600 tOO t (both Jck DeJohtt an ony Willis pay o ti ouble abm B hnette Coplx Milone MS 9022 o thiab both De Johntt d Roy yns ply drum

T hr a excln-v ge drurs who ae o discue here not bcau thy e aog the bstdruers-for xap th great Buddy Rch oi llson, Jo MOllo Edie Shughn of th ToightShow nd cours ln Dwo so my co to ind-bt rather becuse thi gnt is votd the inovtor who li rcet ti bugt bout th trul ignicant chges in druing styl thtled no he progressv -agard if you will-tls of tody Nthles listi to th othr top ps-le o o corig-c o nhnc h musical underndng and artistic of toy druudt, so ncourage ou o ay uer not ecficll scss hee r ntanc Seve Gd ilyCoh. Chrli Prp. Mic ok n White B Ry aong oths T hee e oher deering uersoo nurou o cude h P forgve e or ot icuing eveo I ie



ABOUT IMPRVISATION

In ja. the dmer's favorite usica ideas and devices for par of his style The ideas and devics soetie pduced at ther ties they ae alered or exended

When the dume espnds suddenly t 8 given usical povided by th e other pefore or at tie,by hiselhe esponds with eter pcnceived or sponaneous rhythic and onal punctutiona. figurndphras

Wh at te druer plays is not always brand new and ay hav ben played in one fo Or another eithe byhiself r another druer. at soe tie r other t is often matr of the failiar being shaped dntlyoccurring in difeent ples or in differnt sequence But even failiar idea when us in ipovisation occursponaneously a esponse a gien scal siulus or 8S cunte rhyths plyed independent f what theother uscians ight play

Although the a2 drumer ight pla & given piece e r arrageent nueous ties he wil neer pay it eatlythe ae way ice For instance when playing an erranged piece. 8 set ine r prdeterined beginnings andendings he y play such sections 0 pats f such sectons, he same or neay the sae each tie But thoccu" only in high ly structurd fied arrangeens: Ee n owever. he will alost invariably ake soechangas n what he plays nd during the iprovised secions when he is invold n spontaneous usicalechanges been isef and the other usicians. e will nver pla the same pun ctuation figs and phrases

n he sae oder twice because neither the druer nor he other permers knw what wll be plaed during thempovaed egeenta of the usic the entire group wi adhe to 8 basic for such a chs butthey ae fe to ipovise wihin that for n tue fefor uscwithout a chrus for r set tructueanythng can happen at any te tepo changes key changes. eter changes and so fth all taking placespontaneously uch iprvsation is entil unpedictable since it has no guidelines to gi i pedeterineddictin

Underlying the druers ipvisaion is 8 fndamental concep a specifc approach-the eleents f stleAnd fro this base he exploes seeking new dirctions and foras

DrusBen n teracton prisatin Prncipes

What he druer plays elates to wat the othe r members of th e rp play pecifcally i n addition to generaingand establishng tie the drue int�8cts wih s?Iists, section (rhyt. brass eds and enseble heafrered o 8 the band or rp)

t varous points througho the usc the druers puncuaions. figre and phrases cici with. c orsw the puncations figes and f the soloist sections or eneble t ther ties howeer thadrumer rhyths d neract in these ways with he solois or band Rather they tae piece dpd fe other sicians usca cotrbons e independent hyths tae the fom of poyrhhs-counterhyhms played against aonic and rhyhi conributions of te other mebers f the grup

When te interaction between te due r and soist is expertly done the contributons the drummer anbecoe 0 conoined wth those of he sooist hat hee eerges a 010 parnership 8 single slo which is thewr of usicans The drus then ae then ely supporting or copleentay Rather te druer sin conversation wh he soloi pat provdng in mu sical conversaion. in part leding thecnversaton Usual but n always he soloist mains dinant meber of he 801 patnership

The extent to which he drumer nteracs (coincidesechos-asrs o is ndependent) depends n h is syle,the se f the band and he sc tsel There ia less complex neracon in swing oriened bands-Cunt Besie,

Due Elingtn. arry for exape-han here s azz groups n avantae a. succoplex druband heavies (and he drer s bsiestMis Davis Cck Coa McCoy yner.JO arl erbie ancock vin nes RoV Haynes Hp nseble. etc

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Smpl Exaes of Drus-Band Intec

The u hys de h e rys of he bhe rumer plys he se rhyh pye by he r ss he se e

s ( )Drus

J }The ru rhyhs h he rhys o e oos or b hey re pye sholy er he r an

.

Slo

Drus :

. n J Y . r hyh ns e rhys o he solos � b coverso wih a ife ryh:

s b f n

rs: moe he h he an c ce er e he o s

he r rhys deen of he ryhs o he soos o ; h he rer ps oes ococe echo or ser er hey e pye epee o hyh o he slos or b c rryh effec

. Solo b)

ms J YM

SD

WD

3 3 0 0

eorce oe oe o he oer For eple swer w le rly o cocg or rocog o se o c

Soos b

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CYMBAL HYHS id ry rd aiai ad r al ry ar d gra d abli i 8 ar jaz dug y wi rmai 8S lg a ya ry a ud r i purp

N ra yal plag wr, wll ui r y ry ia 8 iilarii ag u a dur a w al ry u ad i w l playig

al

rall i a ady a r li uppd iually wi ard puaiigu ad pra l ad. a dr ad ia Up lg ly wr. lar a ya i ad up parular ry a ad i i prap ral diidualy (pua ad g Tr i i a ial rid ry big playd ii wi ry ar a dru ad u rar a yal r a pad a par ry a a didd w yal ar a du ad a wa dgri u dpd yl idi dal drur·

OSIE dur g y wi yal ry i m r ap i wigr

i d i g ri ai ai y wi ybal y ur iig puuai igur d pra a a dru ad a ar ipra

aaly g d ybal a di id y ig a a dr dT rdai ad ig r pa pra

llg ya ry ar a r e bgg pia l pi M Gdur D J i

+

IJ n

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The thetl dviion o he yb hyt n othe hyhms depen on the ntepettio o einivdu l duer n the epo i ch e rhyths e pe I modete tepo the ybl hyth cnbe plyed o moe lkely nely 8 boeneghth tipe ottedeighh nd teeth o bokenixteettipet fig ue In oe epos he ybl hythm is oe o he dotedegth d siteeth o broensiteenttiplet figu o it y be plye 8 o ely s ouble-doe eghth thityseond igu lso ithin heouse of se esues o it y en lose to one nteptio h othe Th hold rue fo other

tempos too In fst tempo he ytm is interpete s or ney egul eights ependg o he spee ofthe st tepo d the ue' epeo

t i sufent to unesnd pce in the ouse of plyig cyb o othe hyths to oden oneknolege of the ez o of umg An epeienttion ih su hythi divisos n ptie isie oe esies it or eel it eery u ept to sub divde rhyths cocouly hi le plying ulot only dive the drue to dscion bu wod so wek his pefone utheoe if he dueledy s ey good ene of time hen plying cybl hyths nd his plying igs he should beexely utious bou expeentng o chngig h ene of tie n itepettion oe stuentdumes ve teneny to go o ex tee e ting ne o d eent oncepts he s e l it to ho f oey go i ptig oter umme's conept n technique ec thout endgeing oes on cOlc pts

d tenques utght io s o be guded gnst i one opes o en ones indiviulity

Lie to te cybl hyh o iee umesor nsnce Ro He vn Jo nes ony lis Phyoe Jones ong ote lo o hei eco o s ee p o sloe You ep le. pe the eod

he it i& sieen p d h en slo do n he plybk o he pe eoe Music Minus ne bu (Vome o). one he el Keny Clkes ide rhyth nepetion (pyedmny ith bushe on the e ) by unng up he tebe ll he y t wi noie h en in oeetepo the noes of the ie hyhm th f been the qute-oe ee pced slightly fe te et the lestnoe o e Okeeighh pe gue I s oe oten in the vinty o e let (he lst oe) o the boenixeenh ple fge o oedeghh sxeenth igure us i heily tigheoe ntene

6

ee oe ephsed e peen nubes h oud c broen-e petnepeon

n te lo epos his epeo s oe to boesxeeh ple o double-doed eighh nd ttysecond gue

he st epo. s nepeon close o egul eg

e split is ove he ext el pleen o te oes o he ie hy d he ys o thesne bss um nd he ppoe oeve i o y he sue ues of epreton hoee v fo due o de

feeng h c one ply hs o do oe t u he eil of oes ltieywingg d plyg h oeble eeling nedeced o ouerdece It h to o wih oe ent eoon uncos oonio e neous yse e y one peeve hyh ou

n oes le expeee Pps soey sence l be ble o el h exude with eneuopyoogil nd pyoysi poesses ht nevene nd e eevn o us

o oe eesed devg no e ube om scetc vepon e ecoed the boo Intrduction oh Physs and Phophys o Mu y u oeer puhe by he Egsh Unvesitie Pes L .

Lono pngeVelg e o Heeeg en



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NT ERACTON O F THE PART

V naton of a w an liv ain f nd and ft alid t d Inona jazz dmin wa indvidal as (bals na a d and -t laa t anin wi a t

ting f ts lad wt i lltv nit f a nds and f as iant to d "i a al s w i a d na and ab i And fin inatin f and andf atv o god ti Pl vod oonatn wi av an adv fft on in f nain f and and ft

ntan o an and ft siia o dsband intain in tat diffn as of d a oind wit answ la indndn of a

ink f o f as o o d n lga ft l l n an n 8sing ida

R an nal naon fis and a divd ang t mas, na -atan a d divns of s among ats t d aond in avangad ding

F xa a an a n anta dn

{

CM

r3 {

m i Hi·

avan-gad d wv wl invaiabl s wi tis t

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n xa

asi R M .

vid an CYM f J J

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flwig pl pp f drui fr wl br f e ee JO rrlllu Moo er 6 e Je u:

& 3

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T WN T

In contempoa jazz i t s cm practice to u s e hy opn o tes f e meter wit hin he raeworo anothr etr Ths rhyhi deve however is ot ew t o pop mui I ha been ued o any yarsby coposes arranger and nentast

Don Ells n The New hytm BOk me io he act that hs t ype o pha wa poplar n el ja z and wasone o the an rhyt h devce of agt An d Dve rubeck in t he ner note of h al bu Tim Futher Ot.

ponts ot that in casical m dating the baroqe perod copoer arangd the rhythic gopngs onote o gie the et o f two w n e ne xt pee wrtten n tee. ( e a ctoay o MUsc thsefec i defined hm.")

n he early ors o az h as rate uian and s gwr ites also d t s rhyth deve bt neerse They gped note t eate the effect o thee t e cext ou ur �Th Ha conaycall thi econday rag") The efet of hree agan ou as used in oe pop une o the wentiesorexmpe "Facnang Rhh" "Stubli';' ad pats f Rpsd n Ble"

Brubck blieves hat ompoe uh as Hd and Moat ued wo ove hee in order to add variety to the"stricty masrd dance uic" their day ad that he sae aon ealy j su a ragtiepano paers, sd hee e or

One o h ea es um etd book to dea t the supeipst tree over o s the Pfnal DSd, r Danc Rado nd age b George Wettin ad Bad pe, py ghted n 196 Ths book ivessevea pages to threebeat tmc pates

payed nde o ou bs urour Snce th boo wa

publihed a nber o othr hod book have eihe toched on be en devoted entiey to u rhythidecesfor nstance hree f ve ad even payed whn e tet ur u

In th s o Inda taba player ae ses ch hmi subdvss Te wi eaple d vde senbeats nto grop of 3 ten bes ups 2 3 3 33 34+3 and so on.

n jaz dru n g, t wa he ary duer who dioeed and apped the e rhyh gropng n their playing I ae o say hat cae ab t tuall as par o the evlu j a st o the e drmmes wer cetnlynot aainted t cscal muc te msc cutues (eg nd n) n w hch ch ubdivon wee coon

Among the ak ian ee root extended t te hythms han . o Aia polyrhythmswee evrda st Educa Phi ani al eled Aa Ding:' whch appeared n te pblicatonLdg m d cus sed ea Arican py ryth four againt thre t! and giesexaples o h heio ryth th ropings f e noe ino three goups of two again t sx and soorth

ookng o h United State ee s eple of a pp tue te tees u: wh h two eaure oor a ephad a 3 2 teby dvding the eau nt o paterns o 3+ +2 (he tne wasapporately name d tul the tbling efet o te rhythmc phrasing of the rt two easrs

D A 2 A 3 A A 2 3 A 3

> >

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

z

in a az ntepetaton, he aght eighths would be played a or near as, beHghth triplets

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n ether cse we hae egt bat. The rt eample cont of two aur o or-or, whera the condexap I roed a two eare o t and one ear o tw. h ay not thatoetr paage can b wrttn n h a wa hat centd gron o note w atain the eect of dren eter wthot actalv chanin t natre h o on to a " anner o witn

qent perr or th ak o ear readn b t actall oe the tru rhhic n odrrtono Barl c ell a n Sch t a wt Stbn' t and other o o r jaz pec incdn thape that oow he or e eat pattrn etc ar actal eaier to read wn written ch rather thanwhen rtten or

he oown ae om a er Gbb b ban arrangeent e Cat (recoded o th e Mr ab Exp abot ten ear ago) Hr w hae or ear of orfour toaln ten ba:

t mht be dct at firt ance to rcone te actua hang the wa the h ar ren t notchow p t appear nd how ea t i to ra t phran whn e hth atern are conceeda theollog noaon how or ear o the and one ear o or

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A A

i

n the E, t tota tee bat 44+4 = ten eat; +4 " iten beat

On a ood a o�our iece (uc n ne Ab ol. 2) ant Don n a e o oth bnn on t ot beat f te oth ee o th at eht aue o thirtwo ar olocrong bar ne and enn on he cond beat o he at (the eht) ar

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Wat w a ee n ba oued n t r o tee ocurrin in t at f 8e o a ororec



st Ml Wld ses thee wth hs pece. The wste Musc Mu$ Oe lbu The ues aYou). Ths ccus he fth sxh esues o he e Although the tme sgt s ou-fou the

esus clug the st bet o the folowg es e gpe s ht the hthc tulo s tht of+

n �

e o wll ote the h te o eh thebet goupg s te o the pg ote hs ots thehthc ulo the th note esls et eect fo the 2 pe of th tuetubll he gps f hes ped b Do Abe hs posd po sooI Bubecs Ble Rod l the eeght seto s gped s 222+ ste of the usl Kths Wltz th e puse o th e qteote tple sees e hhm hh s ple eUe bdue Joe Melo gst te fou- of the gp null the "sx beoes e domt pul TheBbeck ses thgs b plg p o hs po 00 fo gst the "s The bss e pls lo the oe d the of eh es of fofou hh whe the b goes to sx plce s bs htho the d ou of te sx eses s expe of the queote tplet hth se 8 theplse of the sxfou e hh

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he etel Ro es uet ses the pulse o he ueoe pet s the pulse o e sxfou e hthspepose ou he po chus o ee teps to ee, Mes Ds lbu o ob ue T Wllssupeposes phses of te oe u fo ffee es of bets o uses hs dee ofte hspng s oes ebe nd be he dog t o ecs O the lb Me Dv nEpe To cees the efet goups o es beg ple oss the b les the bp e e f otos s Ke e Mx Roch At Blel, Ry e o 8 lte e thesle ool stle Phll oe Joes sll lte es T Wlls og othes edto s ote e ohee cle] wh opoe sh hth dees s ee gst ete the plng ed the to te pot o sopst he they e o s h ell uscl es the bp d cl oppe A we wll f gop plg p ool etc he couse o eegs

peoe

As o see j te e s ee to p hth fgues phses tht ot lscoo o st ouou so b les ste he poses he see f p g hths poue b es d eegs o he oet e oes st t es ou spec sos o betstht he wll se pee The es he e h goupgs of otes ocu mscl coexete ug pefoe o whe tg The cocee te of hth d so he thhetl sonsThs s o s t he ue ot o shl o o pctce specc 2 4 5 etc betgpgs tht be ppe pee O he ot he s ee to expeet ug pctle to hlhet's cotet B t he shoul t o se use \ch hh deces dsc tel eel becse he sehcl pble o p g thee o e gs o fou gs hee W ht he pls ust be elet to thesc peoe o whh e s ee seget post dusb cto}



PRACTCE ROUTINE

e to .amp• "e eo .poy h.V o " wthn Eac lne on8tt alu nclu!ng . cyma hythm or

& /4 he w" aa Make pU\ he m. rhyhm cn1d..4

.gh bea ( ymb hyhm)e b rhyta do no h. o a aa. e �h. d. i a o U cba of h0 he ay ollo he + n B ny b

CYb hyth he 4.air.a poat to nh n avat-gade drmmng uh hyhmi ot are no aal ooed y r o

a. c hythc _d U. not. gouing

k pte n I p. d vd.d

EX�YMl SO

A 2 A 3

3EX.C�MA J

J BD

X

A

CM.D

A

4 A A

+

1 A 2 A

d hy n aian H n

V t he ymal hyt 0 . b n .rhyhm

dr ing he cal hyh . o enpa ben he \u no. ,oupn,

ae dvdd n the dm and mle h 1nh hyth pae on he cbal ae not thoh

o h convntona rd. h nd riaonae oen conceve hythm gure hase

on the cya h than on the d or ddedb.wn drW nd bl A the te play n the

requny pt of hthm ntaon and pa }

he xaplea a.d ' r nThe ide e s noeb l n me don

Note t perO

on he ea I th he seond be n e

3 A 4 A

2

+

8

3

n : ' A 8 '

3

ither of ese wo ba hyhm a be ued th the nM SD D '

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Remeber, in fast tepos h hym teted as gul egs. In odee d odee- o,

tey are as ig hh. I .

2 SD

i

3 J

SD

J J J n f J J

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2

CYM.

S

3 -

J J J

3

B " i � U j

BD ' � i

2 2

BD ( '

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JJ

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CYMj J Jj J

J D

B D - ) � . " ' HI- )

rI ) J .

: 1 A A 4 A 1 2 A A A 2 A 4 A 2 4

1 0 �. P J J J j J J n-H J J t J X J ) ) r :

IAO �{ J J J J Jl J J J J Hi· j r I I t J I=

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1 4 CYM, •

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1 CYM. J Jso

Fr the example, use BD hythm of your coie

23

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He. he avat-gae bal rhyhm ae used n place of he covenioal de yh:

I 1 9 :n J - r' 0

C;: n J �

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J � J r' J J



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Right and o -a cose, r lef an rum

2 H·Hso

BD

22 so

HiH

2 o

R BD

3

o

BD

3 i

n j

R A A R L L R R

o r* r- r- r

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

Bscv

yhm o pa ou be pracce s sw ee:

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I

H on To H 0 ______ .

_____og= ogeth

3

T

BD

:Hand·

T

oHand___

3

4

BD

He, the cymbal rhyh is writen quarers ad reguar ehhs o der shw he netin bewee heymba sare drum ad bass du rhyhms. I fas epos f he cyba rhyh ay be layd as r earl d rular ehhs.

CYM

BD

odrae adehhs) as show hee:

M J

B

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J Jf T l

he ghh ae layed as o earv a bken-pl g (az

ymal rhyh ariao

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Additonal paterns : Use s tick g of you hoe. Inlude oms

A

nz j

B � W J Z j

c � : f Z J �

D

E � SO r

j D

J

A of he two-our measures are inechageable. Theeo eah he shd e pd h he heeohyhs:



Now. play al the 3 + 2 paterns. but his tme ply the fot rhth n th h-hat ntead he bass duExamle ;

� SO

HI·

No, av al h 3 2 patrns gn. this tme, however ve th o hhms beween he d ad

1

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h h-ht Exap: i

Cnert the 3 + 2 tes to 3 3 3 4 tte Exle:

2

� SO

BD

Th SS drum y e yed ec e e ybl stuck

J

J �R L L L

CYM. T O D OD

r -

I

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R L •

CYM. T O SD

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Notes o desigaed for oer pas o e dum se ae played on e snae dm.

n

CYM ST S 0

J

.J L R R R

J

L

C S

j

R R

Rg an oves cockw se he co e-cose aon e os e ba ss d y be o ed o aypa o e es

Te oowng woor bar ay be sed ecageaby e ogna woo ba:

Pce vaon a s ped (anpae e oo eac e e rg ad ses a o e aso a be ose "c son ae sappg e a s g w e foo), or a be ope(ap e ped sde moon he oo eeasng sy so a pops ope aowng og

Hee se op cbas n pe o he os;

A

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BD ' r"

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R l R R l

I .LT S LT SO

The ig and ove ack fo beween wo or oe, larg e tos . e ba drm ay pay on he ube1 2 3 2 3 1 Or, he ba y pla o he i bea of eah ba onl

CM.

SOBD

YM

SB

J J n

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M

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80

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Pra e roah

ahe tan onsantly seekng ou the one o each measue experent by hnking n e s o ie hearn pulse as - - - ec o as sound such as da-da-dada- slar to bass lne s ay. you ae n teddown to say te o he easure; VOU ae fee to provse aious jgures and pases in SLcessionwthout he constr on o bar lnes Vou wll be abe o say i n tepo e oing reey ouhou he pice O

ourse, when praiclng wh or eng wt h oher usicans ou us o ha s g on g on aoundyou and your dumng to he musi and to e deas o he othe uscans ee section on drums�bandneratonJ

Way o Pac e

Pactce each lne separatey ro te ohers Play onsecvely gong ro one line dely ino h nex Hne Ad the bass dru where not wtten n he musc ubsttute the hha or he bass du Divde he bass dru rhyhm beween he hihat nd the ass dru lay he lfhand rhyths on he os instead of he snare du Dvde he ef -hand rhyths beween e snare dru and he os Pay he snae du rhyhs o n the cybal wt he let h and. wle playng te cyba y h he igh

hand on the snae drum Th e bass d u plays ony when t he cyal plays la he snare dru pat wh he let hand, whe playing the ybal par wth the rgh han, gong bak and

orth between the sall to and the large o Folow the same pedu excep tat ths e the ight handwll go ro snare dru o sall o o large o to sna dru, etc clockwse aoun he dus

Play he snare drum art th he hha Iet oot) wh le playng he cybal wh h e ass dru (rgh foothen ese he procedur he hands are not used he

Experen wth the nuerous combinations possble in the playng of hese hys he rhyhs should e used for solos 8 we as dusbend interaton epenng upon the epo in wch they are played thes rhyhs shoud aso be paticed as sxeenhs end

eghths, S ell as the way they are wtenquaers and eighths

L R l R R

he prae routine rhyhs a applicable o azrock �oe soul uson and ok as well a a All of the rhyths ay be ether epeaed or oowed by playng a for of te on the ybal o y gong on to

othe patterns o your hoice as one woud in perorane he rhyth pattens shoul be appled o musc: twel beats thn the asus of oufour or four

easures o theour steen beats whn our easus o fourour eg beas win wo easures o

fourour By alterng he note gupngs one can and should use the n ote te sgnatus. too he rhyth patterns should not be hought o ony in suh gupings as o et Raehey ay be extended say fo as any g oups o 2's o as he drue els wl bes su he usic

hese rhyhms ar presented here n ter splest for ey to llusate as clealy as possbe the rhythcdevice o usng one eer whn te faewor o anoher ee en used in he ourse o usalexchanges betwen duer and band hey ay becoe as coplex as the occasion warans or pets

You don have o think n ers o predetened exac groupngs o notes s shown n he pracce rouinesWhen thooughly amila wh the hys you ay pay as few or as any obea threebea fvebeaunis. et or obnaons o such unts and eun o cybal hyhs or ote puncuatons. gures andphrases when ady hen reunng isten o the chord cha nges and the b as na to deteine we you a nthe mus oweer, when t h e piano an d bass ae playng odally there are no any ch anges t o is ten or Usuallya such tes. one eber o he group ay gradually nodue segens o e ee, o whch he oeruscans rspond. and he s evenualy oned (posbly on pdeerned ) by ote eers of he goupn reurning o he hee

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F

THE ONG fORM AND H JAZZ DRU MM R

Fo he beginning or neay ro the beginning, he taented sef-ah druer e able to keep ime, stay inetar and hee o he chors (ong) for How he doe so withot ra train i a qesion ha evenscienc e wh al t accuuaed nowedge an d heores canno a nsr wth certant Evidenly hese ab ites arnhent to hi He can assae what he e and hears and copteie reevant data in his brananly.perhap a ubconsc ios evel an d reprduce it a wil f coure. h i a n overiplificaion of ht s

probabl a iocheica neropsychoogcal pces of so copet Neverheess. nara gfed orotheise he dent who studes dung u be abe o say n epo say in eter and adhee to hesong for Thee iperatives, theeo cannot be disarded by ehe he sudent o he teacher

e w w ou ne h e de's reation o he chor for es begin by defining brefly what we mean by hesong (cors) or

By for we ean he suca desn (old raework) in uscal coposition he ar o cobining cadea no nfied whoe

The choru s for and dun o ogeher What e dmer pa relates o he suctu o he sicacopoiton herefo he yhc-tona phrases seqences and caxes payed by the druer aenerreated wth the mscal conibuons o he other payes wihn he fraework of the phases peiod andchorus of the song or

An exce ent eampe of he pogssve dru mers aden ce to e c hou s o is gven by ony Wllias on he

ne "Sragh Aead Kenny ura abu Una Ms, Be Noe BS-81) he claic ascending rhyhsof the p at the end of eigh bar sixteen bers en d hirytwo bas a re easly discenible Bt for he elemenadru sden or fo hat ater even an inerediae sudent , progressive je may too difficu o coprhendfor use a sang poin or sch sdens it wold b bet o seec siler eapes ch Phly Joe oneson the pece Sqeeze Me Mles Davis abu. Cokir' wt Mle v Prege 7094, or siar c

It is bes for the eache o deonsrae wih a eaively spe jazz econg sch soe of he oder ThreeSounds to jazz albus 8ue Note), o one of he Mu�ic Mnus ne co albus sch a the A St RymSecon Sng o� Pay A(ong MMO Voue his hyth secton ha Do n Abne o n piano, Ji aney on garKenny Cere on drs and Oscar eord on bass The rhyth secton plays exceponally ood stey eowme and is idea or e sden o play aon w Anoher albu o hs prpose alhoug bt o coplex iBlue Dru MMO 005. wih Ma Wadon on piano and Wendel arshal on bas no drmer on hs one) heabu deas wth he chos for and aso conain he os basc d chars somete ed to seeon chas)

When he udent dumer unsands he corus o l il d n wi h j for dinst be praciced w a zz recors Why? ecause he s 8 word of dence beween pracicing sc aterialwih and wtho he musc o whch was nended The prncipes and technique of odern azz dmins be appied o he usi o wch hey are an essenial pa Repeated lsenng and playing wh sch osoes he novice drumer the opporuny o aliarize ise thoroug wih the wok o good proeionaazz scians n he pocess h s guidance end coachn the student wi deveop tha invaluabe hab ofenng o he ms ica idea s an ecniques o he oer nsuentaistsha is nin g n o e i n dasand haeing An d hopef uy he eeng and he nterpetive qa es of the corded uci ans wll be abs orbed byhe sden drumer and ced away n his ind fenc point for evenua use in his own playn

Because hs s no a begin nes book s ass ed that he stdens who wl use this boo k ae alrady wevered he corus or Moove. we beeve at he ajory o drung insucors who wl use hs book in heirteacng ae experenced n chous fom usage Bt for hose duer who a no we oer he olowng:

This s an anayss o he 32 mease chous in his cse he A·BA or ach eter consiss o etmeasues) The rs leer A staes e ee (eody he second leer A pes the heme e leer 8 consiss of aconasn hee whch is inseed or he ppose of vaiety he B ecton is known as the bdge. iddlecannel reease The na ler A is he ogna A epeaed in s exact for or in odifed for n orer ocopete he son

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THE RHVTHM ECTON

he oeral rhthm le s composed of oe or more differethyths occrg imultaeousy (polyrhythcIy-a is. the rhythms of the pao (ad/or keyboas) gutar. ad drms possibly othe pesson too proisao the ared rhths occr spotaeously he comprise puncuatios fgs ad

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W hee the pao keboards) bass ad g uitar are coceed the rhyth le s haoic ed rythc the case the drus (percssio), the cotrbutos e toal ad rhythic

The rhthm ectio r ds te solo s srs of elodic ar ad rhthc sequeces i orm of rhyth le: Basically the soost bilds o this e. which is based o so ng r (x efousc, whch has o pederd or. for istace a 32bar tue a 2 bar blues

The members the hythm section sten to la o, ad teract with oe aother both ididuall adcolectely hey pla o aohers ideas as well as ther ow T hey aso, ndidally a d collectel lste o,elate ad inteact wth the solost A the ae tie, the soloist listes to relaes to ad iteacts with theebers of he rhyh secton idivduay and oleciey S secton o dusbad tercto ad

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Sometes bass plaer wll pla rs c us he ) w (n h a nd 3) then go to "ouo 2 n 1 w russ prsai he drue wll ay cyb al ri y a t vara ars h u bass fddle woccasoa sa a ass du puua ad ures e s ssar y bass du ur hes it a done so w puuans paed moe strng y r f te ass druen a puuan ad igus h a o h and o sa drum uddy R s agood exape du w ays the ass i ur w soe ass pctuatos adoccasoa gures In Budys as ass u ad the top cba se our aong with the bassst!The hha is paed o w and ou he bar avly o ligh pg o drum rs

Eve ug the bass dde and e rus sa rar s basst suall stays s to r s was u ay r ryay ayg ntettetl of and

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f gs s used he y ly "e" te fo of cods fou o e b o e y co he e o theo eddie Ge of e Cout Bse bd s exe o he hy guts suee Whe both od g o he s 8 dge o o e get tg the y of e ohe A o fl of hs so ho hyh seco

o exles of bgb d hy ise o he bds of C out Bse (st) Buddy h hs chrtse o oe the Bses Mel es ( "h" xue o syles Woody Hem z ed fuso oeed) My Feguso (o the fuso ey)

o s gous study he Mes Dis hyh secto of e Gld o o ul Chbes o d PhlyJoe Joes o dus s he ost ou of s dy d ko s h yth setio ou he theo Ckn wh h M Dav Qun Pstge od 70 94; xn wh h n Pestgecods 1 M Pesige eods 04. hs seco es eed loig d sgg d s dy esosdeed ogsse ody ould be osded he es of "h" o o lessstghed yg ofte highes ul :ost cely sudy he Mes Ds hyth seo of Hebe oc o o Ce o bss d oWs o dus M Da Fur & M Colubi C 9253; M S Colub CS 940 I fiseo ods o ch hs seo lys

he s uh oe usc tey codg ehog seg ) ee ebes o he secoself, 88 ll s bee he hyh seo d e hos he lte yh seo Wlls Ce H ecock)t the foe (oes Gld Chbes) his s o o sy th oe seco s bee th e othe h f s ts s ul syle

he o ge hyh secos su s he o oe Fes lbu Mn Gr (Sey lek bssHebie o keybod De Johee dus) he ecio s o ole th the ously edhyh sios is s eselly tue of gus o Abeobes yth setio o he lbus EMC 04 (De ohee ds e eybods ed Gwy CM 0 6 (De Holld bss DeJoee dusEditor'. noe: sn a ecors wh Jack D Jn play

THE C lAVE R HYT M : UNI VRSAL YH

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PHRANG: THN K LKE A HRN

P ha ng i mann i wch a pae drd or teped

Prs a jazz epet s oe o essea gedes of ua jazz dng. D'go Anddo'tik d pase dsaly o fdenaly Rudmnal pang s h o dnsl dun, b noor

Yes, azz d, wt ey a awae of o o o se o -fa dag uffs soke llsc b ey a pase and appl eenly n ezz ha ty n dna dn Dobl oanc a soemes appe s show n exape A:

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Jazz pang on e du e a be deeoped by ulatng e f g and pae o a on pao, o gutarFo xapl wn paclcn w 8 cod seec oe o te pae payed by olo ad eo eeay on h du et n emla g and p laneoy (odng) oloDo e a h eneb phre a d pn o e pan

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ose

payed by o of he dume Ths o ondene ae ow a e patualy aldumme a ondbl oe "n tne wi e u i dea and npeaton o or hn s

oony bved by due ad drm ntuto ae .

Pa Hb ao plag a eent ou o des. e wa p bend he ol tedgphases aoss a ies da o de to wo w

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EXPERIM ENT WIH M UCULAR ENN

I n the coure of prticing, experimen with musc uar ens n. Looen your us cle aong the o " let go tobecoe e8 mp 88 pole hle etaining only tha dege f tenion needed to grip nd anipulatE the

drutick ba d and h-he pedal. Then, whie layng gdualy ncease the ucula tenon o iaxium Notce at dege o tenion you duing el and ounds best. sen o the dfference I toneand b awa f the diffnce in the "fee and uial epesion at ( J(W/of uscula tenson. Thoroughy alarze orelf wth vaing dege ucular ensn and the enung odily sensns Eventual, if notimediaely. depending on ho ll o are n ouh wth ou body, you wll notce that oo much uscuartensin reults n exceive tighnes and possil rgdty a nd that ovrl tight muses can ut n ucefat gue whch consderal esen endurance n cotol Invarably ting also uer

Fnd' the dee f ucu lar nten t tha eves ou needs eJt A nd eeer th at n he course of �enguclar nenS a well as ena and eotinal inenty varie oetes consderaly

IWhen ltenng t and oservn anohe druer focus our atenin on the cybal nar bass dru, and h·

hat rhyths a pled at each level o intensty and volue!

BY MN

In sense paying he dru se is lke dancing dance ove aund the stage th hs egs seng as heeans of locoon wh ile he reainde o hs body oves n harny wit h his The whl e body s nvlvedin he dance

A drumer plays the drum set wth hi hands an fee and hs involve the ars ad egs aso But ther is noran for the reainde of h ody o eman ioble r and shouldes d not have o rean in ixedposion Expssion can be channeled through body moon a shoulder am o oso-sor o body nglh

his not to S8Y hat the drumer us ue axu bo ton if he can atta the deid suls ith ainu of oon he point s het he shoud do what enae hi to be the o expsive usically. Hehould nt thefoe, b afrad t experen wh bdy otn u neher shld e wase vauae eegy onotins that d no conute o hs uscal peforance erely for he sae f hoanshp



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Becaue they lend hemelv wll o jazz played in oderate o odeatefast empos eighhnote pletjazzeigh th too of course*) se as a �ae up on whi ch he a dumme build h i rhythmc rcure ad frwich he daw hythc unctuation figues phrase fil o and tiegeneating and te-eeingatten

Thi ection herefore cos s o rhythmic and tona paern s and aiation that ae ed by uch outandngdrueruician s as Evn Jo es, Roy Hayne ony Willas amon g oters Pubihes note: ack De Johtecded)

Whem, when and ho thee rpet pattens are payed of course ake te dference eween a medoce andan exceen endition_ e s where haing a working nowledge of he prnciple a nd technique of du/bandineraction and ipoiaton a well as the nuances of neretaon come nto lay The subtile diffeence ntming pacing o noes iensity (tenion ad laxation) tone h low hor and long soundthese are theeleent tha epaate te dincve fom the ordiary

Bu first the drmmer s hae at s fngertis a perto of sch hyic and tonal mateal uon which todaw ps the chnca sl neceary o apply t o he drs.

'Jez-ights: Rula no plyd 8S r v s, brkt tlt

When tenng to the eoed eales you will noce ha a paticulr rhy or a siiar one ay be aledo dfferent d um each t s played. eefo he sae hytm ay ond dent each e t i yed nthis boo, each ryh s apled o e du et in at leas ifeen diffent way

oe eed a es

Jk De Johnee' Dctn, Untiled CM 1 074 tne "Fying Spirits' The Ulate Elvn Jne Be Noe 84305 tne Someie oie "Wa s his1 Seleness eatng My Fe Thing John Colane)mpe ecord S-9 6 1 e "My Faore hngs (Ry ayne on dru Buddy Ri ch Keep he CustoersHap Libety cords S 006, te Kee the Cusoes ap y acc oanimen to the tobone lo.he (Saney ne CI 60 es "Th e evs "In ospecve By Cobh am o du Dae Brubeckro Al the hng e Alanic cods SD 4 (Aa n Dwson lays dru on one sde of the ecod Royayne on te vese id) Dve Bb ek i & Gery Ml/n L at the erin Phlharon Colubia 24Aan wo on drms ay an exeen excng so o o ndi an Son g. stead f a pair of dusticks, he usesoe aaca ad one d !



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Repa each on e-b a paen seveal imes o oe. Howev, endless epeons a no n ecessay Insead p ay n sow o vey sow epo whe phoogaphng end cong enay wha yo see and hea colang whayou 8ee wh wha yo hea If yo encone pacl diffcly hs: ay he hyh once ony sop lay agan once only sop epea h is poced B ew o o es n l yo feel he hyh s fjxed secey yo

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Ofen s bee o spend a cople of ine s on on e paen see o o es ogho he dey h an s ospend a o o e on a on sng Moo f ae a wk o 0 of paccing 8 paicula hyh yo slexpeence dfly ge away fo fo few days o o

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