The Contemporary Ryhtm Section DRUMS.pdf

DRUMS 1 HI ONHMPORARY HYTHM Icn i - I I 1 DRUMS STEVE HOUGHTON @ 199' WARNER BROS. PUBLICATIONS INC. All Rights

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DRUMS

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HI ONHMPORARY HYTHM Icn

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DRUMS STEVE HOUGHTON @ 199' WARNER BROS. PUBLICATIONS INC. All Rights Reserved Any duplication, adaptation or arrangement of the compositions contained in this collection requires the written consent of the Publisher, No part of this book may be photocopied or reduced in any way without permission. Una uthorized uses arc an infringement of U.S. Copyright Act and arc punishable by Law,

FOREWORD 1e purpose of this book is to focus on the drums as it relates to the rest of the rhythm section. The ythm section Is the most important element in today's contemporary music scene. Whe~her it's a big md, Jazz combo. show band, pop group. or heavy metal, the rhythm section lays the foundation. artlng with set up, the rhythm section must know huw to adapt to various musical settings and set up a logical and effective manner. The rhythm section must work together with each player, 1derstanding their role. Those roles or functions vary from tune to tune, demanding a clear and Implete understanding of style. ~ing faced with "sketchy" parts to read, the rhythm players are constantly forced to interpret the music 1d create a distinctive feel. With music or without, good rhythm players are able to fit into any musical ttting.

) this end, this book is meant to provide not only practical suggestions and ideas regarding a lrticular rhythm instrument, but also an overall concept for effective rhythm section performance.

THE TAPE/CD 1e audio tape/CD contains all the musical examples performed on the video, "The Contemporary lythm Section." The various rhythm section selections (Charts #1-#12) represent a broad overview of Iportant contemporary styles. It is hoped that the tunes not only serve as a listening/play-along ference, but are also performed in a live setting with other members of the rhythm section. Je to the improvisational nature of contemporary styles of music, the illustrated examples throughout 3 book are very basic renditions of what is played on the tape/CD. udents are encouraged to:

1. Learn the basic examples provided in the book as an introduction to the variety of styles presented. 2. Transcribe and practice the tapes' embellished examples. 3. Explore and develop their own Ideas.

·xt derived from the DCI Music Video "The Contemporary Rhythm Section-Drums" (VH0162) litors: Debbie Cavalier, Sandy Feldstein oduction Coordinator: Diane Laucirica Ichnical Editor: Glyn Dryhurst

THE CONTEMPORARY RHYTHM SECTION DRUM CASSETTE AND CD TRACK INDEX Cassette users: For easy location of all 35 tracks, always set your tape counter to 000 when beginning the tape. Fill In the index numbers as you progress through the recording. ~

CD TRACK #

1. 2.

3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35.

CASSEnE INDEX # ~

Triplet Ride Beat........................................................................................................................ ~ Stiff Ride Beat......................................................•..................................................................... ~ Sample "Swingn Time ......••..........•............................................•....................................•........... ~ Basic 8wlng Beat...•••• Exercise #1 .......••............ ~ Triplet Interplay (Left Hand) ~ F BLUES (M~dium Swing) Chart #1 .......................................................................................... ~ Up-Tempo Ride Beat ................................................................................................................. Sample Up-Tempo Time ...................••.......•........•..................................................................... ~ Exercise #2 .....•........................................................................................ ~ U~-Tempo Groove (Bass And Drums) ...............................................................•...•....•.•........... B RHYTHM (Up-Tempo Swing) Chart #2 ................................................................................. ~ CONFUSED Rock Groove •.••.••..............••.........•..................••.....................•...•...•..................... ~ Rock Vamp (Bass And Drums) .................................................................................................. ~ Em FUNK ...•....•.....................•.••........................................................................................•....... Em FUNK (With Variations) Chart #3 ..................•.•...••...........•............•••••.••.........•...•.......•........ ~ Bossa Nova Bass Drum Beat .................................................................................................... ~ Bossa Nova Crossstick Rhythm ..........................•................................••.••................................ Bossa Nova Groove ....................................................,...........•...................•.........•................... ~ TOM'S BOSSA Chart #4 ........................................................................................................... ~ Samba Groove .............................................................................•............................................ ~ GENTLE RAIN Chart #5 .•.••...........•••.•.••.••.........•......•........••.••..••.••.•••.••.••••.............•........••........ 80ngo Bass Drum Pattern .............................................................•........................................... ~ 80ngo Groove ...........................................................................................................................~ INVITATION Chart #6 ............................................................................................................... . 000-TIME PIECE Chart #7 ...................................................................................................... ~ Triplet Ballad Rrush Beat ....................................•.........•••.....•..............................•..................... ~ Eigh~h Note Ballad Brush Beat .................................................................................................. ~ Implied Double-Time Brush Beat ............................................................................................... BODY AND SOUL Chart #8 ...................................................•..............................•................... ~ HALF-TIME ROCK Feel ~ HALF-T/ME ROCK Chart #9 .................................................................................................... . NEW MATH Chart #1 0 .............................................................................................................. ~ SNAPP/N' THE GIZ Chart #11 ........................•...........................................................••............ ~ WBC Chart #12 .........................................................................................................................~ 1 ••••••••••••••••••• 1 •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••

I.................1.....1.................................................................................. I I ••••••••••••••• I t . I •••••••••• I . I I •• I I •••••••••••• 1 ••••••• 1 I I •••••••••••••••••••••••••••••••••••••••••

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STEVE HOUGHTON Drums va Houghton Is perhaps one of the most well-rounded drummers in the buslness~ Be it big band, 111 combo. or cutting edge fusion - Houghton plays it all. constantly. !r studies at the University of North Texas, Houghton began his professional career with the Woody man Band at the age of 20. Since then, Steve has performed in the big bands of Bob Florence, Bill man. Frank Mantooth. Toshlko Akiyoshi, Lew Tabackin, Doc Severinson and Les Hooper; in small ups with Freddie Hubbard. Billy Taylor. Bobby Hutcherson, Dave Samuels. Bob Sheppard. Marc Inson. Carl Fontana. Enrico Pieranunzi. Joe Henderson and Gary Burton; and with fusion artists Jeff -Un. Billy Childs and Scott Henderson. Steve has become a highly respected music educator, luently performing at Jazz festivals and teaching jazz and traditional symphonic percussion as an st-in-residence at universities across the U.S. and Canada. Because of his regular connection with mainstream of jazz performers and performance, Steve is uniquely qualified to instruct young .irlng Jazz musicians. His verbal communication with students is as effective as his instrumental wess. ving as the National Percussion Chairman for the International Association of Jazz Educators, Jghton also sits on the Board of Directors of the Percussive Arts SOCiety. and is a visiting faculty mber at P.LT. in Hollywood, California. He maintains a busy studio schedule, recording for ~vision, movies and commercials. Houghton has authored four definitive texts for drummers: "A de for the Modern Jazz Rhythm Section;" "Studio and Big Band Drumming;" and "Essential Styles the Drummer and BaSSist. Books I and II." Most recent is "Drumset Performance Pak," an Jvative collection of twelve contemporary drumset solos with tape accompaniment. which he caIte with Wendell Yuponce. He has also recently come out with a series of three books entitled "21 st ltury Percussion Solo Series· which he co-wrote with George Nishigomi. cography

NINDSONG-Warner Belwin Records. STEVE HOUGHTON-Mesa/Blue Moon ve Houghton endorses Yamaha drums. Zildjian cymbals, Calato mallets and sticks, and Remo mheads.

TABLE OF CONTENTS J '.

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I. Rhythm Section Setup •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 8 A. Diagrams ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••~8 . B. Tuning •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••8 II. Contemporary Sty'les•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••8 A. Medium Swing ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••9 B. Up-Tempo Swing ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••12 C. Rock/Fusion ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••1& D. Latl n Styles •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••18 E. Odd-Tlme•••••••••••••••••••••••••••••••••••••••••••• ~ ••••••••••••••••• ' •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••22 F. Ballads •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••23 III. Additional Music •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••26 IV. Soloing/Improvisation •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••.••••.••••••••••••••••••••••••••••••••••••.••32 V. Chart Reading ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••~ •••••••••••••••••••••••••••33 VI. Ear Training ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••37 VII. Suggested Listening Ust••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••37 VIII. Suggested Reading List ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••38

HYTHM SECTION SETUP :RVIEW

important for the rhythm section to be able to hear and see one another (visual and acoustical tact.) This means cymbals, music stands, amplifiers, piano lids, etc., cannot inhibit the visual tact. The setup will vary a bit depending on the musical setting (see diagrams.) When playing in a the bass should be positioned between the drums and the piano for the best musical effect. When ling with an ensemble, it is important for the entire section to get as close to the band as possible I the drums being the closest. drums must be positioned correctly when playing with a big band, with the hi-hat next to the lbone section. In a trio or big band setting the bass player should be positioned by the rid; cymbal. · ideal place for a music stand is to the left of the hi-hat. =ussionists should set up next to the drummer in order to communicate verbally and musically. 3 players need to be out in front or miked so they can be heard. · drums and the cymbals should be set up around you for comfort not looks. Your set-up should oN you to move between drums and cymbals with ease. The hands should simply have to pivot .yeen drums without over-extending the arms. · throne height, combined with the distance from the bass drum, affects the performance of the feet. throne height should allow a variety of techniques with the feet. In addition, the distance from the TIS (of the throne) should not alter the normal body posture when playing.

DIAGRAM #1 10 SETUP

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ODD-TIME

Id-Time playing is an obstacle for many musicians. The concentration needed te play in time ::urately causes tension which contributes to a tentative feel. Try repeating a simple camping pattem [lilt feels natural. Practice with basic odd-times such 5/4 befor~ going on to tackle more complex lters such as 7/8 and combinations where the meter changes every bar or two. Eventually. you·1I find It you will be able to feel even the most complex meters quite naturally. As you become accustomed playing in odd-times. the music will develop a natural flow and you will find yourself hardly counting all. When this happens. you·1I no longer feel restricted by the confines of the meter and actually feel e to experiment further with creative rhythms that Ago over the barline."

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complete your understanding of odd-time music It Is helpful to study Indian drumming. non-western tian tabla drumming. and to listen to Frank Zappa. Don Ellis and the Mahavishnu Orchestra :ordings. jd-Time Piece" in 7 (Chart #7) demonstrates a common odd-time feel. I: is important to listen and ,k for the subdivisions of the various bars. Note that some are divided 2-2-3. while others are 3-2-2 2-3-2. Chart #7

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Ballads are one of the most sensitive styles of music that a rhythm section can play. There are two ~ kinds of ballads: the jazz ballad and the half-time rock ballad. With either of these ballads it is necessary to understand what note value the song is based on. A jazz ballad is based on either eighth ~ notes, triplets, or double-time eighths and a rock ballad is based on either eighth notes or sixteenth ~ notes. These values are determined by many things: The melody, the harmonic rhythm, the lead A) trumpet part, etc.

The drummer must understand the note value so that the correct brush rhythm is played. The drums ~ must create a sense of calmness and smoothness while making the time very clear. The hi-hat on 2 + 4 Is Invaluable in a ballad. The bass drum must be used to lightly mark phrases and provide the "bottom ~ end. n Ught 1sand 3s are effective. Cymbals have a lot to do with the overall feeling. A sizzle cymbal is ~ the perfect selection for creating a smooth, legato sound. (Track 27: Triplet Ballad) (Track 28: Eighth- ~ Note Ballad) (Track 29: Implied Double Time) ~

The jazz ballad (Chart #8) is demonstrated with a suggested drum part for the first 8 beats of the tune. The rest of the tune - you're on your own - good luckl

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lther kind of ballad is a half-time rock ballad. The concept here is much the same as a rock tune in : the rhythm parts all work with one another. Examine each part individually, as well as collectively, let a broader view. (Track 31: Half-Time Rock Feel) with the "Odd-Time Piece," The "Half-Time Rock" ballad parts are fully written out so there is no :I sheet.

The following half-time rock ballad demonstrates how the bass and drums must work together to create a ~ groove. The note value concept for this feel is eighth-notes. Pay close attention to the ensemble pushes ~ (measure 4). The crosstick Is an Import~nt element of this feel (Track 31: Half-time rock teel)_ Be ~ careful not to let the hi-hat get too loud and overshadow the beat. ~

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MUSIC· ! following three tunes (Charts #10, #11, #12) were performed on the video "The Contemporary tthm Section-Complete." Three different types of lead sheets are provid~d so the player may follow 19 and eventually perform the tunes. *33

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