a A GUIDE TO IMPROVING FILLS, AND PHRASESForeword: By Joe Porcaro ‘Seasoned drummer, composer, and educator Ed Roscetti gives you the nuts and bolts in a variety of rock drumming styles. The songs on the play-along CD are very musical, and he lays out an assortment of grooves, fill ideas, and ensemble figure phrases. This interactive workbook and play-along CD pack- ‘age is a great learning and teaching tool for students, teachers, or professionals who want to get their rock time feel together. Dedication This book is dedicated to my family: Claudia, Linda, Armeto, and Ann.Contents Page 4 16 26 36 46 56 64 74 82 About the Author Introduction How to Use This Book ‘About the CD / Notation Guide CHAPTER 1: The Bass and Drum Connection CHAPTER 2: Straight-Eighth Rock and 6/8 Rock CHAPTER 3: Reggae and Ska Rock CHAPTER 4: Hard Rock and Double Bass Drum Techr CHAPTER 5: Funk Rock and Alternative CHAPTER 6: Uptempo Rock CHAPTER 7: Rock Shuffle CHAPTER 8: Sixteenth-Note Rock and Grunge Appendix: Great Rock Drummers and Performances CD Track 1-27 15 69 10-13 14-417 18-21 22-25 26-29About the Author Ed Roscetti, originally from New York, is a drummer, composer, educator, author, and clinician. Ed's critically-praised Hal Leonard book/CDs include Drummers’ Guide to Odd Meters, Blues Drumming, Funk & Hip Hop Drumming, and the World Beat Rhythms Series: Brazil, Africa, and Cuba (2003). He has been a core curriculum author for twenty years at the Musicians Institute (PIT) and conducts clinics, workshops, interactive concerts, and master classes across the country. Roscetti has performed, produced, and composed for numerous records, TV shows, and films, and has worked with Quincy Jones, Herbie Hancock, Joe Sample, the Crusaders, Benny Golson, Jack Nitzsche, Barry Mann/Cynthia Weil, Tommy Tedesco, Joe Porcaro, and Jeff Porcaro. Ed endorses the following companies: Drum Workshop/Paeific, Paiste, Remo, Regal Tip, Mountain Rythym, Drum Tech, Shure, Inc., Event Electronics, Digidesign, Presonus, and E-pad. Professional Affiliations: American Society of Composers, Authors, and Publishers (ASCAP) National Association of Recording Arts and Sciences (NARAS) ‘American Federation of Musicians (AFM) Society of Composers and Lyricists (SCL) Percussive Arts Society (PAS) International Association of Jazz Educators (IAJE) Special thanks to: Claudia Dunn, Cory Flanigan, Joe Porcaro, Pathik Desai, David Hughes, Damon Tedesco, Silvio Bruno, Alan V, Curt Bisquera, Maria Martinez, Theresa and Michael Robertson, Louie Marino, my lov- ing partner Claudia and my family Armeto, Ann, and Linda Roscetti, Roscetti Music, World Beat Rhythms, and everyone at Hal Leonard Corporation. ‘Thanks for your support: Scott Donnell, Garrison, Jules Thomas, and Don Lombardi (Drum Workshop/Pacific) Rich Mangicaro, Ed Cit, Steve Jacobs, Andrew Shreve, and Tim Shahady (Paiste) Carol Calato, Kathy Calato, and Nick Mason (Regal Tip), Bruce Jacoby, Matt Connors, Michelle Jacoby, Chris Hart, and Brock Kaericher (Remo) Ryan Goldin (Mountain Rythym) Ryan Smith (Shure, Inc.) Ed Ebien (E-pad) Chandra Lynn (Digidesign) Rick Naqvi (Presonus) Michael Marans (Event Electronics) Jimmy Carnelli and Tom Henry (Drum Tech) Ed Roscetti uses the following equipment and software: Pacific LX/CX Series Drumset (Drum Workshop/Pacific) www.pacificdrums.com Paiste Cymbals and Gongs (Paiste) www.paiste.com Remo Drum Heads and World Percussion (Remo) www.remo.com ‘Shakers (Canz) (Rhythm Tech) www.rhythmtech.com Sticks, Brushes, and Mallets (Regal Tip) www.regaltip.com KSM 32's, 44's, KSM 27's, and Beta Series Microphones (Shure, Inc.) www.shure.com 20/20 Biamplified Studio Monitors & 5.1 Surround (Event Electronics) www.event!.com Protools LE (001) and HD (DigiDesign) www.digidesign.com Logic Pro 7 software (Apple) Digimax Mic Pre (PreSonus) www.presonus.com DTS Tuning System (Drum Tech) www.drumtech.com Cajons and Djembe Cajons (Mountain Rythym) www.mountainrythym.comIntroduction As a kid | grew up listening to the Beatles, The Who, Jethro Tull, Led Zeppelin, Deep Purple, Black Sabbath, David Bowie, and Chicago, to name a few. | remember the first time | saw the Beatles on the Ed Sullivan show. It was February 9, 1964. | was five years old, and 73 million viewers watched the Beatles that night. That performance had a huge impact on me and changed my life forever. All | wanted to do after that night was play my litle drum set like Ringo. The passion and motivation for me to practice, study, and play came from watching and listening to great musicians. You never know when it will hit you and when you will be affected by a song, style of music, or a great groove. The most important thing is to remain open to receive it. | explored and played rock ‘n’ roll early on in my teens and later as a session drummer, producer, and composer in Los Angeles. Although I've explored many musical paths, there is nothing like a rock groove with a two and four backbeat coming at you like a train. | hope this book helps you improve your rook drumming time feel and groove. Good luck! You can correspond with Ed Roscetti at bpmrecords@earthlink.net or visit his websites at \www.roscettimusic.com and www.worldbeatrhythms.com.How to Use This Book This book is not an encyclopedia of rock drumming; it's set up more as a workbook. The more grooves, fills, and ensemble phrases you learn, combined with your own ideas that you write and perform with the CD, the more progress you will make. Chapter 1 will introduce the all-important concept of the bass and drum relationship. Chapters 2-8 are self-contained and concentrate on different styles. Each one of these chapters features many differ- ent grooves, fils, ensemble figures, and rhythm exercises designed to prepare you for a song chart that ties it all together. At the end of the book you'll find an appendix that lists some of the great rock drum- ‘mers and performances throughout the history of rock music. It also features commentary on some of my favorite drummers and recommended listening for each. | recommend working through Chapter 1 first. From there you can jump around between Chapters 2-8, depending on what rock style or song you want to work on. Try the following practice approach for all the grooves in this book: + Set a metronome/click to the CD chart tempo and start working on the grooves, one at a time, until you feel comfortable playing them. + Next, work with the grooves within the metronome range suggested. Get comfortable at playing each individual groove at different tempos. Then play each groove two times, with one leading into the next + Create two-, four-, and eight-bar phrases by combining the different grooves. + Play with dynamics: soft (p), medium (mf), and loud (7). + Only count at first. As soon as you can, stop counting. Use your ears and play by feel. Remember your ears are your friends. + Don't keep staring at a one-bar phrase over and over again. Memorize the groove as fast as pos- sible, get it together, and move on. ‘As you work through the chart chapters (2-8) be sure to write your own grooves, fils, and ensemble phrases on the worksheets provided. Remember to get together and play with as many musicians as pos- sible. This will help you develop your internal clock and time feel. Keep groovin’!About the CD (On the accompanying CD, you will hear each chart played twice: first wth drums, and then again with- out drums so you can play along. The play-along backing tracks have a two-bar count off (eight cowbell clicks) before the downbeat. A cowbell click keeps time through the remainder of the song. Use the grooves, fils, and phrases in this book as well as your own ideas when playing along with the CD tracks. Individual grooves from each chart are included as demonstration tracks on the CD as well. Several mea~ sures of each of these drum and bass grooves are notated for you in Chapter 1 Hey, remember to have fun! Credits: Drums, Percussion & Keyboards: Ed Roscetti Congas & Klong Yaw: Rich Mangicaro: Bass: David Hughes Guitars: Pathik Desai Additional Keyboards: Silvio Bruno DAW/Studio Tech: Alan Veucasovic CD Mastering: Damon Tedesco Drum Tech/Cartage: Cory Flanigan All songs composed, arranged, and produced by Ed Roscetti, Groovetoons (ASCAP) © 2004 All Rights Reserved. Recorded, edited, and mixed at Roscetti Music, Studio City, California by Ed Roscetti and Silvio Bruno, assisted by Cory Flanigan. Notation Guide Bass Double Snare Side Small Large Large Ride Right «Left Hi-Hat Hi-Hat HicHat HiHat Hi-Hat Drum Bass Drum Stick Tom Tom —Tom2 Cymbal Crash Crash closed splashy open wifoot open splash Drum Cymbal Cymbal witoot (left foot)The Bass and Drum ' Connection create a forward-moving time feel in the groove. The drummer and bass player should work together to create a basic foundation that inspires the rest of the rhythm section to add their parts and play with you. In the rock grooves to come, your relationship with the bass player is a huge respon- sibility. Trying to get the drummer to lay back the groove when the bass player is playing on top of the beat can be maddening. Both drummers and bass players need to make time feel adjustments within the style to accommodate the right feel for the song. The ability to listen to each other and to find parts that work together is a must. In this chapter we will check out all of the basic bass and drum grooves for the upcoming charts in Chapters 2-8. You wil revisit the grooves individually in each chapter, but for now we'll focus on the impor- tance of the bass and drum connection. Although the length of these examples varies from 8- to 16-bar phrases, the written examples in this chapter demonstrate the first four bars only. This will help you to begin hearing and seeing the rhythmic and melodic relationship between the bass and the drums. Throughout the history of rock there have been many great bass/drum connections. Here are a few to get you started listening. Remember to go back in time first and explore the past, then move up and on to the present. If possible, take some time before you begin the exercises in this chapter and real- ly listen closely to some of these classic bass/drum pairs. L ocking in with the bass player is imperative when you, as the drummer, are trying your best to Paul McCartney and Ringo Starr (The Beatles) John Paul Jones and John Bonham (Led Zeppelin) John Entwhistle and Keith Moon (The Who) Leland Sklar and Russ Kunkel (Jackson Browne) David Hungate, Mike Poroaro, and Jeff Porcaro (Toto) Flea and Chad Smith (Red Hot Chili Peppers) Sting and Stewart Copeland (The Police) Noel Redding and Mitch Mitchell (The Jimi Hendrix Experience) After you have done some listening, its time to get started. Listen to Track 1; this is a two-bar phrase from the intro of Chart 1. Check out how the bass plays straight eighths and the drums have more of a light hip hop/rock feel. 21=86 Light Hip Hop/RockChapter 1 The next bass and drum example is Track 2. This is a four-bar phrase from the A section of Chart 1. Check out the syncopated sixteenth-note bass line against the more open straight-eighth rock feel. 4 £86 Straightcighth Rock ‘Track 3 is a 6/8 four-bar phrase from the B section of Chart 1. Check out how the drums and bass play around the four dotted-eighth note syncopations in each measure. dsmTrack 6 is from Chart 2. This groove features a reggae/tock feel and is found in the A section. Listen to the quarter-note bass drum pulse, and notice how the hi-hat and bass play off of each other. 2138 Reggae/Rock Track 7 is from the B section of Chart 2 and is more of a 2-and-4 backbeat with a broken eighth-note pulse on the bass. Listen to the broken eighth-note bass line against the upbeat feeling of the hi-hat. 12138 Track 7 10Chapter 1 The next bass and drum example is from the A section of Chart 3. This is a broken sixteenth rock groove with double bass drum. Listen to how open the bass is against the busy snare and double bass drum phrase. The next bass and drum example is Track 11. In the B section of Chart 3, the time changes to a 6/8 feel within 4/4 time. The drums and bass play off of the six quarter-note triplets or the syncopated eighth- note triplets (see the rhythm exercise in Chapter 2). The bass drum plays quarter notes. OQ SoS ae ao Tock 11 1"The next bass and drum example is from the A section of Chart 4. Track 14 is a funk rock groove with a touch of swing in the time feel. Listen how the bouncy eighth-note hi-hat works with the eighth- note bass line. In Track 15, the B section of Chart 4, the time feel completely changes to a big open straight-eighth rock feel. The drums play a broken eighth, sixteenth-note feel to the toms with a quarter-note bass drum pulse. The bass follows the guitar rhythm with broken eighth notes. Listen to how the broken eighth-note bass line moves the groove forward as the drums play with the bass and dance around it, 2Chapter 1 Track 18 is from the A and B sections of Chart 5. The groove is an uptempo quarter-note rock feel. Listen to how the drums and bass lock together as one rhythmic pulse. Q Track 18 += 190 Uptempo Rock The next example is from the C section of Chart 6. In Track 19, the syncopation changes in the drums and bass. The bass moves to a busier broken eighth-note phrase, and the bass drum follows it. Listen to how the bass drum outlines the bass rhythms. The drums are more on top of the beat in this section. 13Track 22 is from the A section of Chart 6. The groove is a rock shuttle. Listen to how the bass osti- nato walks the quarter note with the bass drum. The two are locked together. Q Track 22 153 Rocksbuite (2J= J.) Track 23 is from the B section of Chart 6. The drums set up all the ensemble figure anticipations, and the bass sets up the figures as well. The anticipations are always the last beat of the triplet tied to a downbeat. Listen to how the quarter notes swing in the drums and bass and to how they both set up the figures. o Track 23 Jeis=73) 14Chapter 1 The last bass and drum examples are from Chart 7. Track 26 is from the A section. The groove is a slow, laid-back, sixteenth-note rock/grunge feel. Listen to how the syncopated bass and drum part work together to create the pulse. ‘Track 27 is from the B section of Chart 7. The sixteenth-note groove stays the same in this section, but the bass drum and bass change syncopation. Check out how the drums and bass play syncopated sixteenth-note phrases and how they blend together. ees ae aed eer Ml re ———— gesrye sie oe CS ee E = - pa fees | SSS aS Remember to always lock in with the bass player when you are playing in a rhythm section or in any kind of ensemble. 1516 Straight-Eighth Rock and 6/8 Rock Each section has a different feel. We'll look at each section individually in order to prepare for T here are three different sections for this chart: the intro/outro groove, A sections, and B sections. Chart 1 at the end of the chapter. Intro and Outro The intro and outro grooves are played with straight eighths and swung slightly. There is an unplugged vibe to these sections with very light backbeats (side stick), and there are rock, hip hop, and jazz inflec- tions. | also played cajon (Peruvian box instrument) on top of the groove. Let's begin with a few one-bar grooves that will work for these sections. For these grooves, be sure to emphasize the backbeat on the snare (beats 2 and 4), indicated with accents. The unaccented snare hits should be played softly as ghost notes. Listen to CD Track 1. This is the drum and bass example for the intro/outro sections. It will help you with the time feel.Chapter A Sections The A sections of Chart 1 have a strong straight-eighth rock feel with the hi-hat accenting the quar- ter notes a la John Bonham (Led Zeppelin). The groove has a big, fat, laid-back and open sound. Listen to CD Track 2 for the A section time feel. The following two-bar grooves will work in the A section. Accented snare hits should be played as backbeats. Stay relaxed and focus on your time feel 718 The B section of Chart 1 moves into a 6/8 rock feel. This means there are six beats per measure, and the eighth note gets the beat. Remember that the eighth note stays constant when transitioning from the 4/4 meter of the A section. Listen to CD Track 3 for the B section’s time feel. ‘The following one- and two-bar grooves will work in the B sections. Remember, accented snare hits should be played as back beats; unaccented snares should be played as ghost notes. Let's groove!Chapter 2 Rhythm Exercises The rhythm exercises will help you to acclimate your body to the rhythms that are used to make up the grooves, fills, and ensemble figures in the charts, Work the rhythms in the following way: Play a quarter-note pulse with your right or left foot and play the rhythms against your foot. You can do this at or away from the drumset, If we are in 6/8 time, then use a dotted quarter note or dotted eighth note as the pulse in your foot. Follow the metronome markings. Play slower at first and then increase your tempo. Feel free to jump around the page. For example, play two bars of letter E into two bars of letter G. This will help you with downbeats, upbeats, and assorted rhythmic syncopations. Remember to learn the rhythm of the groove, fll, or figure first. This is important. The orchestra- tion should be second on the list. Increase your rhythmic vocabulary and add your own rhythms to each rhythm exercise, 19The following fills can be used to vary the grooves in Chart 1. Plug them into the appropriate grooves {from the three sections. Experiment with these different combinations: ‘Two-bar phrase = 1'2 bars of groove plus 12 bar fill ‘Two-bar phrase = 1 bar of groove plus 1 bar fill Four-bar phrase = 312 bars of groove plus ‘2 bar fill Four-bar phrase = 8 bars of groove plus 1 bar fill Concentrate on making your fills come from the time feel of your groove. A Section @ | | | 20Chapter 2 B Section = 152-212 a WEE —= ; an= Worksheet ‘As you are working through these examples, use this worksheet to create your own library of grooves, fills, and ensemble figures. This will help your rhythmic vocabulary grow. 22Chapter 2 Ensemble Figures Before you play Chart 1, let's play through the ensemble figures. They are all four-bar phrases. Example E is the last four bars of the outro into the ending. Learn the ending before you play through the full chart. A a Se 23Chart 1 Now it’s time to play the whole chart. Listen to CD Track 4 with drums to refresh your memory on the time feel and song form. Then play along with CD Track 5. Use the previous grooves, fills, and phrases to play along, Then try your own grooves and fills. The song form diagram at the end of the chart shows you the section lengths. Time to groovel <<) o “rack 4 (with drums) “eek 5 (without drums) Intro Straight-Eighth Rock light) Play 3 ns oe Filli— | (usin a) gl Sal SSE LIF Straight-Kighth Rock (heavy) c = = Oomr mn WH? TT LP PET | TE PIP PPT PT PPT [4 ee F | Guitar Solo Straight-Eighth Rock Pa 24Chapter 2 i 2 out Straight -ighth Rock igh) = 5 WG J7 ) ST —.. =e Intro 8 bars. B2 8 bars At 12 bars Break 4 bars Bt 8 bars A3 12 bars Az 12 bars Outro 6 bars 2526 Reggae and Ska Rock time reggae rock feel. The four quarter notes on the bass drum with the half-time feel in the hi: hat and snare was made famous by the drummer for the Police, Stewart Copeland. You should go back and listen to his grooves to get a handle on this style. The B sections go into an eighth-note rock feel with two and four on the snare, but the hi-hat has more of an upbeat ska feel. This combination cre- ates a hybrid ska rock feel. T here are two different time feels in this chapter. The intro, A sections, and interludes are a half- Intro, A Sections, and Interludes Let's begin with a few one-bar grooves that will work in the intro, A sections, and interludes of Chart 2. For these grooves, be sure to emphasize the backbeat on beat 3, indicated with an accent. In addition, the snare on the “and” of beat 4 is sometimes louder than a ghost note. Listen to CD Track 6. This is the drum and bass example for the intro and A sections.B Sections The B Sections of Chart 2 move into the ska rock feel with the backbeat on two and four. Listen to CD ‘Track 7 for the B section's time feel. The following one- and two-bar grooves will work in the B sections. Work them the same way as the previous grooves. Remember that accented snare hits should be played as backbeats; unaccented snares should be played as ghost notes. Let's groove! 27Chapter 3 Rhythm Exercises The rhythm exercises will help you to acclimate your body to the rhythms that are used to make up the grooves, fills, and ensemble figures in the charts. Work the rhythms in the following way: + Play a quarter-note pulse with your right or left foot and play the rhythms against your foot. You can do this at or away from the drumset. In 6/8 time, use a dotted quarter note or dotted eighth note as the pulse in your foot. + Follow the metronome markings. Play slower at first and then increase your tempo. + Feel free to jump around the page. For example, play two bars of letter | into two bars of letter J. This will help you with downbeats, upbeats, and assorted rhythmic syncopations. + Remember to learn the rhythm of the groove, fil, or figure first. This is important. The orchestra- tion should be second on the list. Increase your rhythmic vocabulary and add your own rhythms: to each rhythm exercise. = 120-140 fre Boe e ie . - - De 6 «© «© «© « 2 « BE? 6 7 6 7 he - oe ee . \ — ged z ° oe ag dy —= = «7 FTI! 7 fT 1 29The following fills can be used to vary the grooves in Chart 2. Plug them into the appropriate grooves from the two sections. Experiment with these different combinations: ‘Two-bar phrase = 1" bars of groove plus "2 bar fill ‘Two-bar phrase = 1" bars of groove plus % bar fill ‘Two-bar phrase = 1 bar of groove plus 1 bar fill Four-bar phrase = 3' bars of groove plus *2 bar fill Four-bar phrase = 31 bars of groove plus ® bar fill Four-bar phrase = 3 bars of groove plus 1 bar fill Concentrate on making your fills come from the time feel of your groove, Intro and A Sections /= 120-140 ewas ——— o— — ee B Sections ® War © Whe =] ee = - - - * 4 i ae eI SSS Lt SSS == = ® ude ® 1 ude © Was ® Wwge ® Wa Chapter 3 = rz pps e =j eee we eww et - . . ss * s RL RLRR = 7 =e = 3Worksheet ‘As you are working through these examples, use this worksheet to create your own library of grooves, fills, and ensemble figures. This will help your rhythmic vocabulary grow. 32.Chapter 3 Ensemble Figures Before you play Chart 2, let's play through the ensemble figures. They are all four-bar phrases. Example C can be played as the last four bars of the chart. Learn the ending before you play through the full chart. 33Chart 2 Now let's play the whole chart. Listen to CD Track 8 with drums to refresh your memory on the time feel and song form. Then play along with CD Track 9. Use the previous grooves, fills, and phrases to play along. Then try your own grooves and fills. The song form diagram at the end of the chart shows you the sections and bar lengths. This will help guide you through the chart. Time to groove! 4) Q ‘Track 8 (with drums) ‘Track 9 (without drums) Intro, — Ska Rock (2.8 4 Backbeat) Bi, — co 34Chapter 3 Interlude Reggae Rock-Hall time feel (nd time 2 & 4 Backbeat) (2 ine os) oo —S S$ ———- s ——_- Ss = 2 ze z = ex Interlude ‘Reggae Rock-Half time feel iananla) T eS wp re —. 2 @ "ad tine fe Intro 8 bars. Interlude 4 bars At 16 bars AS 16 bars Interlude 8 bars B2 16 bars | A2 16 bars Interlude = 4 bars BI 16 bars Aa 16 bars 3536 Hard Rock and Double Bass Drum Technique 1 this chapter, we have two different time feels and grooves. The intro and A sections are a 4/4 hard | feel with double bass. The B sections move into a 6/8 rock feel over 4/4 time. The double bass drum technique was made popular by drummers such as Louie Bellson, Keith Moon, Ginger Baker, and Billy Cobham. In the beginning, drummers used two bass drums with two pedals. Today you have a choice of using two bass drums or a double bass drum pedal attached to one bass drum. Double bass drum techniques can be used to drive the bottom end of a rock song or for synco- pated bass drum patterns that are too fast to play with one pedal. Intro and A Sections Let's begin with a few two-bar grooves that will work in the intro and A sections of Chart 3. I've cre- ated a drum loop with the two bass drums and snares in this groove and then overdubbed the hi-hats, cymbals, and fills. Listen to CD Track 10. This is the drum and bass example for the intro and A sections. 15-130B Sections ‘The B Sections of Chart 3 move into 6/8 over 4/4 time. (The rhythm exercise will help you find the 6/8 groove over 4/4 by using syncopated eighth-note triplets or using six quarter-note triplets.) Listen to CD Track 11 for the B section's time feel. The following one- and two-bar grooves will work in the B sections. Work them the same way as the previous grooves. Remember that accented snare hits should be played as backbeats; unaccented snares should be played as ghost notes. Let's begit 37Rhythm Exercises The rhythm exercises will help you to acclimate your body to the rhythms that are used to make up the grooves, fills, and ensemble figures in the charts. Work the rhythms in the following way: + Play a quarter-note pulse with your right or left foot and play the rhythms against your foot. You can do this at or away from the drumset. In 6/8 time, use a dotted quarter note or dotted eighth note as the pulse in your foot. + Follow the metronome markings. Play slower at first and then increase your tempo. ‘+ Feel free to jump around the page. For example, play two bars of letter E into two bars of letter G. This will help you with downbeats, upbeats, and assorted rhythmic syncopations. + Remember to learn the rhythm of the groove, fill, or figure first. This is important. The orchestra- tion should be second on the list. Increase your rhythmic vocabulary and add your own rhythms to each exercise. 382 = 115-130 fac Chapter 4 39The following fills can be used to vary the grooves in Chart 3. Plug them into the appropriate grooves from the two sections. Experiment with these different combinations: ‘Two-bar phrase = 112 bars of groove plus "bar fill Four-bar phrase = 31 bars of groove plus ‘2 bar fill Four-bar phrase = 3 bars of groove plus 1 bar fill Eight-bar phrase = 6 bars of groove plus 2 bars fill Eight-bar phrase = 7 bars of groove plus 1 bar fill Concentrate on making your fils come from the time feel of your groove. Intro and A Section + = 115-130 es RLRLRLERLERRLE S © =e oaseaed dune ® ~ 40Chapter 4 * 16th notes beamed in groups of S for B Section = 115-130 aWorksheet ‘As you are working through these examples, use this worksheet to create your own library of grooves, fills, and ensemble figures. This will help your rhythmic vocabulary grow. a2Chapter 4 Before you play Chart 3, let's play through the ensemble figures. They are all four-bar phrases. Listen to the ending of Chart 3 (CD Track 12) and learn it before you play through the whole chart. ® 16th notes beamed in groups of 5 for easier reading. 43Chart 3 Time to play the whole chart. Listen to CD Track 12 with drums to refresh your memory on the time feel and song form. Then play along with CD Track 13. Use the previous grooves, fils, and ensemble Phrasing ideas to play along. Then try your own grooves, fills, and phrases. The song form diagram at the end of the chart shows you the section lengths. This will help guide you through the chart. Time to groove! Q Track 12 (with drums) Intro Hard Rock (double bass w/ quarter-note hi-hat or trash eymbal) ~) ‘Track 13 (without drums) ro shoo == eeee ® x a a a ee ee == y 6/8 Rock feel (quarter-note triplets in 4/4 time) ed Interlude Guitar Solo tame cn HOM AI aa 44(2nd ine ol) Chapter 4 (2nd tine rbdnd Jee ae oI os | Intro 8 bars At 24 bars Bt 9 bars Interlude 8 bars Song Form A2 B2 Interlude A3 16 bars 14 bars 8 bars 17 bars 4548 Funk Rock and Alternative feel with a bouncy hi-hat, and the groove is slightly swung. This is the alternative rock groove of today. You will hear this groove on many pop songs. The B sections move to a half-time rock feel with the backbeat on beat 3. I: this chapter, we have two different time feels and grooves. The intro and A sections are a funk/rock Intro and A Sections Let's begin with a few two-bar grooves that will work in the intro and A sections of Chart 4. Listen to CD Track 14. This is the drum and bass example for the intro and A sections of Chart 4. Also, listen to CD Track 16 with drums to get the right feel for the groove.B Sections The B sections of Chart 4 go into a half-time rock feel with the backbeat on beat 3. This is a big, wide- ‘open feel with the toms and the bass drum playing quarter notes. Lay back and find the pocket. Listen to CD Track 15 for the B section's time feel. The following one- and two-bar grooves will work in the B sec- tions of Chart 4. Work these grooves the same way as the previous grooves. Remember that unaccent- ed snare hits should be played as ghost notes. Let's begin! 47co seaee rar a mm : conbee SS eee x == —— aX ~ Ha ae at == mn r > © a —- rn oe oA SS a ® ayChapter 5 Rhythm Exercises The rhythm exercises will help you to acclimate your body to the rhythms that are used to make up the grooves, fils, and ensemble figures in the charts. Work the rhythms in the following way: * Playa quarter-note pulse or halt-note pulse with your right or left foot and play the rhythms against your foot. You can do this at or away from the drumset. In 6/8 time, use a dotted quarter note or dotted eighth note as the pulse in your foot + Follow the metronome markings. Play slower at first and then increase your tempo. + Feel free to jump around the page. For example, play two bars of letter E into two bars of letter H. This will help you with downbeats, upbeats, and assorted rhythmic syncopations. + Remember to learn the rhythm of the groove, fill, or figure first. This is important. The orchestra- tion should be second on the list. Increase your rhythmic vocabulary and add your own rhythms to each rhythm exercise. 106 gro ad J ed J J J Cae ee a 4 d fT) ITA AFR FAI IT Lod? db tbr en dD d t Ky Alden =) t Le z - . . —— poe Mo - - - . . 4950 Fil The following fills can be used to vary the grooves in Chart 4. Plug them into the appropriate grooves from the two sections. Remember that the fill should always come from the time feel of the groove. Experiment with these different combinations: ‘Two-bar phrase = 112 bars of groove plus 12 bar fill Four-bar phrase = 312 bars of groove plus 12 bar fill Four-bar phrase = 3 bars of groove plus 1 bar fill Eight-bar phrase = 6 bars of groove plus 2 bars fill Eight-bar phrase = 7 bars of groove plus 1 bar fill Intro and A SectionsChapter 5 51= : Worksheet ‘AS you are working through these examples, use this worksheet to create your own library of grooves, fills, and ensemble figures. This will help your rhythmic vocabulary grow. 82Chapter 5 Ensemble Figures Before you begin to play Chart 4, let's play through the ensemble figures. They are all four-bar phras- es. Listen to the ending of Chart 4 (CD Track 16) and memorize it before playing through the whole chart. Ex}= Chart 4 Now let's play the whole chart. Listen to CD Track 16 with drums to refresh your memory of the groove, time feel, and song form. Then play along with CD Track 17 minus drums. Use the previous grooves, fils, and ensemble phrasing ideas to play along. Then try your own grooves, fills, and phrases. The song form diagram at the end of the chart shows you the section lengths. This will help guide you through the chart. Let's begin! Track 16 (with drums) ‘Track 17 (without drums) Intro Straight-Fighth Rock (slightly swung) > ei Aer aia eee == Guitar Melody a) Interlude = = 54Chapter 5 Interlude — Sa Guitar Melody Sonn TT. - — a oo os Intro 12 bars A3 8 bars At 8 bars Interlude 4 bars Interlude 4 bars Aa 8 bars a2 8 bars B2 8 bars Bt 10 bars B3 10 bars Interlude 4 bars 5556 Uptempo Rock ‘an uptempo straight quarter-note rock feel. A good example of this groove and feel is Ricky Martin's “Livin’ La Vida Loca” Intro, A, and B Sections I: this chapter, we have one time feel for the grooves in Chart 5. The intro, A, B, and C sections have Let's begin with a few two-bar grooves that will work in the intro, A, and B sections of Chart 5. Listen t0 CD Track 18 for an example of these sections. Check out how tight the bass drum and bass are on this example, There is a lot of repetition in the drum and bass groove for this part. The key is to set the groove in motion and let it go. Listen to CD Track 20 with drums to get the right feel for the groove. 2 =176-196C Sections The C Sections of Chart 5 are the same time feel as in the intro, A, and B sections. The only differ- ence is that the bass drum and bass are syncopated differently and there are some additional snare ghost notes. Remember not to overplay on this groove. It needs to have a very open, forward-moving pulse in the quarter-note hi-hat. Listen to CD Track 19 for the C section’s time feel and new syncopations. The fol- lowing one- and two-bar grooves will work in the C sections of Chart 5. Work these grooves the same way ae the provious grooves. Remember that accented snare hits should be played as backbeats and unac- cented snare hits should be played as ghost notes. Time to groove! += 176-196 87Rhythm Exercises The rhythm exercises will help you to acclimate your body to the rhythms that are used to make up the grooves, fills, and ensemble figures in the charts. Work the rhythms in the following way: + Play a quarter-note pulse with your right or left foot and play the rhythms against your foot. You ‘can do this at or away from the drumset. When in 6/8 time, use a dotted quarter note or dotted eighth note as the pulse in your foot. + Follow the metronome markings. Play slower at first and then increase your tempo. * Feel free to jump around the page. For example, play two bars of letter J into two bars of letter G. This will help you with downbeats, upbeats, and assorted rhythmic syncopations + Remember to learn the rhythm of the groove, fill, of figure first. This is important. The orchestra- tion should be second on the list. Increase your rhythmic vocabulary and add your own rhythms to each rhythm exercise. 116186 NS ad d cd d 4 4 odo esa TTI] Boe see eee) koe : « . 7 > ot? dt A : Hoe 7 pz ° colo Md ne 16th notes beamed in groups of 6 for easier reading,Chapter 6 The following fills can be used to vary the grooves in Chart 5. Plug them into the appropriate grooves. from the two sections. Remember that the fil should always come from the time feel of the groove. Experiment with these different combinations: ‘Two-bar phrase = 112 bars of groove plus ‘2 bar fill Four-bar phrase = 312 bars of groove plus "2 bar fill Four-bar phrase = 3 bars of groove plus 1 bar fill Eight-bar phrase = 6 bars of groove plus 2 bars fill Eight-bar phrase = 7 bars of groove plus 1 bar fill 16th notes beamed in groups of 6 for easier reading, 59@ioji ji j SS >= aio —— or }—] SSS SS =e Worksheet ‘As you are working through these examples, use this worksheet to create your own library of grooves, fills, and ensemble figures. This will help your rhythmic vocabulary grow. 60Chapter 6 Before you begin to play Chart 5, let's play through the ensemble figures. They are all four-bar phras- es. Listen to the ending of Chart 5 (CD Track 20) and memorize it before playing through the whole char. *J6th notes beamed in groups of 6 for easier reading, 61Chart 5 Time to play the whole chart. Listen to CD Track 20 with drums to refresh your memory of the groove, time feel, and song form. Then play along with CD Track 21. Use the previous grooves, fils, and ensem- ble phrasing ideas to play along. Then try your own grooves, fills, and phrases. The song form diagram at the end of the chart shows you the section lengths. This will help guide you through the chart. Remember to always practice and play in phrases. Let's begin! ® @ Track 20 (with drums) Track 21 (without drums) Straight Quarter-Note Rock feel. = 190 ead in Fi. Intro SF Guitar Melody (2nd ne oly ® Guitar Melody @) ®) J Gitar Metts @) _— gp iit Melody ® —_ a aaa > Guitar Melody @) FATE Guitar Solo (2nd ine ony) ri Fe] J@) ‘16th notes beamed in groups of 6 for easier reading. 62Chapter 6 FEET ETT ——— Gate Meloy AW Se wm 2 Guitar Melody @- = Intro Al BI A2 B2 Bee 8 bars 16 bars 8 bars 16 bars 8 bars 16 bars 16 bars 8 bars Interlude Aa Ba AS BS c2 Outro 4 bars 16 bars 8 bars 16 bars 8 bars 16 bars 5 bars 63_ Rock Shuffle ‘a mid-tempo rock shuffle. You need to work on your triplet feel to play this groove. The rhythm exer- I this chapter, we have only one time feel for the grooves in Chart 6. The intro, A, and B sections are cise in this chapter will help you feel the triplets. Intro and A Sections Let's begin with a few grooves that will work in the intro and A sections of Chart 6, Listen to CD Track 22 for an example of these sections. There is a strong quarter-note feel between the bass drum and bass in this groove. Also listen to CD Track 24 with drums to get the feel for the groove. In addition, listen to as many rock shuffles as you can. Check out “Lido Shuttle" by Boz Scaggs (Jeff Porcaro on drums) and Toto IV's “Rosanna” (Jeff Porcaro on drums). “Rosanna” is @ half-time shuffle. = 145-165 ® ®@ NE 64B Sections ‘The B Sections of Chart 6 are the same time feel as in the intro and A sections, but there are some syncopated ensemble figures. The figures are usually on the last note of the triplet anticipating a down- beat. Listen to CD Track 23 for the B section’s time feel and syncopations. The following one- and two-bar ‘grooves will work in the B sections of Chart 6. Work these grooves the same way as the previous grooves. Remember that accented snare hits should be played as backbeats, and unaccented snare hits should be played as ghost notes. Time to groove! 6566Chapter 7 Rhythm Exercises The rhythm exercises will help you to acclimate your body to the rhythms that are used to make up the grooves, fills, and ensemble figures in the charts. Work the rhythms in the following way: + Play a quarter-note pulse with your right or left foot and play the rhythms against your foot. You ‘can do this at or away from the drumset. + Follow the metronome markings. Play slower at first and then increase your tempo. ‘+ Feel free to jump around the page. For example, play two bars of letter E into two bars of letter H. This will help you with downbeats, upbeats, and assorted rhythmic syncopations. ‘+ Remember to learn the rhythm of the groove, fil, or figure first. This is important. The orchestra- tion should be second on the list. Increase your rhythmic vocabulary and add your own rhythms to each rhythm exercise, Boo e ce - - - pt oe F 2 Fe - Rel ew ol oe 1 ww te 67The following fils can be used to vary the grooves in Chart 6. Plug them into the appropriate grooves from the two sections. Remember that the fil should always come from the time feel of the groove. Experiment with these different combinations: ‘Two-bar phrase = 1" bars of groove plus ‘2 bar fill ‘Two-bar phrase = 1" bars of groove plus Si bar fill Four-bar phrase = 312 bars of groove plus tz bar fill Four-bar phrase = 31 bars of groove plus bar fill Four-bar phrase = 3 bars of groove plus 1 bar fill Eight-bar phrase = 6 bars of groove plus 2 bars fill Eight-bar phrase = 7 bars of groove plus 1 bar fill Intro and A Sections = 145-165 68wi y y @ ® SSS 6=z Worksheet As you are working through these examples, use this worksheet to create your own library of grooves, fills, and ensemble figures. This will help your rhythmic vocabulary grow. 70Chapter 7 Before you begin to play Chart 6, let's play through the ensemble figures. They are all four-bar phras- es. Listen to the ending of Chart 6 (CD Track 24) and memorize it before playing through the whole chart. —_—= oS nChart 6 Now it’s time to play the whole chart. Listen to CD Track 24 with drums to refresh your memory of the groove, time feel, and song form. Then play along with CD Track 25. Use the previous grooves, fills, and ensemble phrasing ideas to play along. Then try your own grooves, fills, and phrases. The song form dia~ gram at the end of the chart shows you the section lengths. This will help guide you through the chart. Remember to always practice and play in phrases. Let's begin! ® o Track 24 (with drums) ‘Track 25 (without drums) Intro Rock Shute (riplet fee) = 183 (SJ=1) enenre) merely tole Bey =e SS AEE EEE EEE IE (A2) Guitar Melody (2ndsine ot) 72(2 neon) Interlude aI (Guitar Soto continues.) Interlude ninco) (98) Guitar Melody Intro 16 bars Interlude 8 bars AL 16 bars A3 16 bars Interlude 8 bars Interlude 8 bars A2 16 bars Aa 16 bars BI 16 bars B2 16 bars 73Sixteenth-Note Rock and Grunge slow, laid-back, sixteenth-note rock feel. The rhythm exercise in this chapter will help you get your I this chapter, we have one time feel for the grooves in Chart 7. The intro, A, and B sections are a body accustomed to syncopated sixteenths. Intro and A Sections Let's begin with a few grooves that will work in the intro and A sections of Chart 7. Listen to CD Track 26. This is the drum and bass example. The groove is very open and laid back. Try accenting the down- beats of the sixteenth notes on the hi-hat first. Then try the downbeats and upbeats as shown in the pre- ceding grooves. Also listen to CD Track 28 with drums to get the feel for the groove. oe SS SS Se & S seeded edadeda dag Ee — =" 74B Sections The B Sections of Chart 7 are the same time feel as the intro and A sections. Check out the 32nd- note snare accents in some of the grooves. Listen to CD Track 27 for the B section's time feel and syn- copations. The following one-bar grooves will work in the B sections of Chart 7. Work these grooves the same way as the previous grooves. Remember that accented snare hits should be played as backbeats and unaccented snare hits should be played as ghost notes. Time to groove! OE OGL TT SSS SS 7576 Whee eter teree ier Rhythm Exercises The rhythm exercises will help you to acclimate your body to the rhythms that are used to make up the grooves, fills, and ensemble figures in the charts. Work the rhythms in the following way: + Play a quarter-note pulse with your right or left foot and play the rhythms against your foot. You can do this at or away from the drumset. + Follow the metronome markings. Play slower at first and then increase your tempo. ‘+ Feel free to jump around the page. For example, play two bars of letter E into two bars of letter LL. This will help you with downbeats, upbeats, and assorted rhythmic syncopations. ‘+ Remember to learn the rhythm of the groove, fill, or figure first. This is important. The orchestra- tion should be second on the list. Increase your rhythmic vocabulary and add your own rhythms to each rhythm exercise, estas Pro 6.Chapter 8 Fills ‘The following fils can be used to vary the grooves in Chart 7. Plug them into the appropriate grooves from the two sections. Remember that the fill should always come from the time feel of the groove. Experiment with these different combinations: ‘Two-bar phrase = 1' bars of groove plus ‘2 bar fill ‘Two-bar phrase = 1" bars of groove plus % bar fill Four-bar phrase = 32 bars of groove plus * bar fill 314 bars of groove plus Si bar fill Four-bar phrase = 3 bars of groove plus 1 bar fill Eight-bar phrase = 6 bars of groove plus 2 bars fill Eight-bar phrase = 7 bars of groove plus 1 bar fil Lé6th notes beamed in groups of 5 and 6 for easier reading. 7Worksheet ‘As you are working through these examples, use this worksheet to create your own library of grooves, fils, and ensemble figures. This will help your rhythmic vocabulary grow. 78Chapter 8 Before you begin to play Chart 7, let’s play through the ensemble figures. They are all four-bar phras- es. Listen to the ending of Chart 7 (CD Track 28) and memorize it before playing through the whole chart ® re * 16th notes beamed in groups of 5 and 6 for easier reading, 79Chart 7 Listen to CD Track 28 with drums to refresh your memory of the groove, time feel, and song form. Then play along with CD Track 29 minus drums. Use the previous grooves, fills, and ensemble phrasing ideas to play along. Then try your own grooves, fils, and phrases from your worksheet. The song form diagram at the end of the chart shows you the section lengths. This will help guide you through the chart. Remember to always practice and play in phrases. Let's begin! ® ® ‘Track 28 (with drums) ‘Tack 29 (without drums) Intro Sixteenth-Note Rock feel = Interlude 80Song Form Intro 4 bars Bt 8 bars At 8 bars Interlude 4 bars Interlude 4 bars A3 8 bars Az 8 bars Outro 4 bars In closing, I'd like to say this: listen to as much music as possible. Saturate yourself in the style that you want to play. Also, play with as many people and along to as many CDs as possible. Remember, use your ears and play for the song. Keep rockin’! All the Best, Ed Roscetti at82 Appendix: Great Rock Drummers and Performances Ringo Starr (The Beatles): Ringo wasn't a technical drummer, but he always played for the song. If his time sped up it was always in the right place. Sometimes his fills were in weird places as well, but they always served the melody and song form. He was a master of playing those long, big, open tom fills that you hear all over the Beatles’ later works. | think Paul McCartney and Ringo could stand up to any rock musicians in the drum and bass arena. He was definitely underrated as a drummer. Recommended listening: the entire Beatles catalogue. Keith Moon (The Wh Keith Moon exploded on the scene in 1965. He seemed to have limitless energy as he bashed about the drumset. He would hit anything in sight and always seemed to be in continuous motion. He influenced many players with his unique style and extremely large drum set. When he was on, there was nothing and no one like him. He was a complete, one-of-a-kind original, Recommended listening: Live at Leeds, Tommy, Who's Next, Quadrophenia, “My Generation.” John Bonham (Led Zeppelin): Probably the most influential player in rock drumming history is John Bonham. He had a big, wide- open, simple style, a heavy bass drum foot, and a great vibe and groove. Although other drummers have come close, | don't think anyone has duplicated his kick and snare sound to this day. Recommended listening: Led Zeppelin iI, Led Zeppelin IV, Physical Graffiti, Bill Bruford (Yes): Bill Bruford’s movement in and out of common times and into diverse meters and complex rhythms was oftentimes uncharacteristic of other rock drummers of the time. Bruford's style was his own, and he supported the time feel for Yes perfectly. Recommended listening: Close to the Edge, Fragile. Carl Palmer (Emerson, Lake, and Palmer): He was a technician on the drum set and complemented the ELP trio with incredible rhythmic and technical imagination. He also possessed incredible stamina on the drum set. Recommended listening: Trilogy, Brian Salad Surgery.Appendix Jeff Porcaro (Toto): ‘One of my all-time favorites. | had the pleasure of hanging and working with Jeff, and he always brought into the room an awareness of professionalism and kindness, along with a love for the music and the people with whom he was working. His signature groove was infectious. He could play the simplest groove or fill and make the hair on the back of your neck stand up. Jeff Porcaro left us too early and is truly missed. Recommended listening: The entire Toto catalogue. As a session drummer, among the hundreds of albums he played on, here are a few: Silk Degrees (Boz Scaggs), Thriller (Michael Jackson), End of Innocence (Don Henley), Human Touch (Bruce Springsteen). Stewart Copeland (The Polic He popped on the rock scene with the Police in 1979 with their first hit, “Roxanne.” The trio emerged. as one of the most popular and innovative bands of the post-punk era. His style was a unique combina- tion of rock, funk, reggae, and ska, and together with Sting and Andy Summers, he arranged some of the best rhythm section grooves of all ime. Copeland now works as a composer. Recommended listening: the entire Police catalogue. Terry Bozzio (Frank Zappa, Missing Persons): One of his most well-known drum pieces, “The Black Page” was written by Frank Zappa as a chal- lenge to him. After ten albums with Zappa, Terry played with the Brecker Brothers on Heavy Metal Be- Bop. In 1980 he formed Missing Persons. As the producer, writer, and set and stage designer, he led the band in four album projects. A standout is Spring Session M. His creative energy continues to flow in his recent solo drum projects and clinics. Mitch hell (The Jimi Hendrix Experience): Mitchell was a jazz drummer turned rock drummer, and you hear the jazz inflections in his phrasing with Hendrix constantly. His drums were tuned higher than most rock drummers of that time. He had incredible energy at the drumset, and his phrasing pushed the Hendrix trio and kept them in forward motion. Recommended listening: ‘Fire,’ ‘Hey Joe” “Purple Haze,” and “Manic Depression” to name a few. 83Appendix 84 Following is a list of some of the greatest rock drumming performances. Remember when you are learning a new style to saturate yourself with a lot of listening. Start collecting your own catalogue of favorites. "2112" - Nell Peart (Rush) “21st Century Schizoid Man’ - Jerry Mercer (April Wine) “21st Century Schizoid Man” - Michael Giles (King Crimson) “A Day in the Life” - Ringo Starr (The Beatles) “A Passion Play” - Barriemore Barlow (Jethro Tull) “A Quick One” - Keith Moon (The Who) “Aenima’ - Danny Carey (Too!) “Ain't That a Shame” - Bun E Carlos (Cheap Trick) “Aja” - Steve Gadd (Steely Dan) “All Along the Watchtower” - Mitch Mitchell (Jimi Hendrix) “Angel of Death” - Dave Lombardo (Slayer) “B'Boom’ - Bill Bruford/Pat Mastelotto (king Crimson) “Baker's Dozen’ - Stanton Moore (Galactic) “Barracuda - Mike Derosier (Heart) “Battery” - Lars Ulrich (Metallica) “Black Page’ - Terry Bozzio (Frank Zappa) “Bombora’ - Mike Biondo (Original Surfaris) “Bonzo's Montreux’ - John Bonham (Led Zeppelin) “Born in the USA" - Max Weinberg (Springsteen) “Bravado” - Neil Peart (Rush) “By-Tor and the Snow Dog’ - Nell Peart (Rush) “Candy's Room’ - Max Weinberg (Springsteen) “Cemetery Gates" - Vinnie Paul (Pantera) “Chop Suey" - John Dolmayan (System of a Down) “Cinema Show’ - Phil Collins (Genesis) “Close to the Edge" - Bill Bruford (Yes) “Cruise Missile” - Rod Morgenstein (Dixie Dregs) “Cygnus X-1” - Neil Peart (Rush) “Dallas Warhead” - Tommy Aldridge (Gary Moore) “Dancin’* - Mark Nauseef (Gary Moore & G Force) “Davidian” - Chris Kontos (Machine Head) “Day of the Eagle” - Reg Isidore (Robin Trower) ‘Desperado’ - Jon Hiseman (Colosseum) “Dharma for One" - Clive Bunker (Jethro Tull) “Do the Neurotic” - Phil Collins (Genesis) “Do What You Like” - Ginger Baker (Blind Faith) “Drive in Drive out" - Carter Beauford (Dave Matthews) “Driven to Tears” - Stewart Copeland (The Police) “Dyers Eve" - Lars Ulrich (Metallica) “Erotomania" - Mike Portnoy (Dream Theater) Face Pollution” - Matt Cameron (Soundgarden) Fast as a Shark’ - Stefan Kaufmann (Accept) “Fast Ladies" (Very Slow Gin) - Leonard Haze (Y&T) Fiberglass Jungle” - Don Murray (Crossfires) Fifty Ways to Leave Your Lover’ - Steve Gadd (Paul Simon)Appendix “Finally Free” - Mike Portnoy (Dream Theater) “Fire” - Mitch Mitchell (Jimi Hendrix) “Fireball” - lan Paice (Deep Purple) “Five Minutes Alone” - Vinnie Paul (Pantera) “Flight of the Rat’ - lan Paice (Deep Purple) “Fool in the Rain” - John Bonham (Led Zeppelin) “Frankenstein” - Johnny Badanjek (Edgar Winter) “Frizzle Fry” - Tim Alexander (Primus) “Give Blood” - Simon Philips (Pete Townshend) “Good Times, Bad Times” - John Bonham (Led Zeppelin) “Guerilla Radio” - Brad Wilk (Rage Against the Machine) “Heart of the Sunrise” - Bull Bruford (Yes) “Heaven and Hell” - Keith Moon (The Who) “Hey Joe” - Mitch Mitchell (Jimi Hendrix) “Highway Star’ - lan Paice (Deep Purple) “Hocus Pocus” - Hans Cleuver (Focus) “Hold the Line” - Jeff Porcaro (Toto) “Hole Diggin’” - Kurt Covington (Scott Henderson) “Honky Tonk Woman’ - Charlie Watts (Rolling Stones) “Hot for Teacher’ - Alex Van Halen (Van Halen) “Hundreds of Thousands” - Deen Castronovo (Tony Macalpine) “Hush - lan Paice (Deep Purple) “I Can See for Miles” - Keith Moon (The Who) “| Can't Explain’ - Keith Moon (The Who) “| Don’t Even Know Myself” - Keith Moon (The Who) “Ym a Man" - Danny Seraphine (Chicago) ice Cakes’ - Rod Morgenstein (Dixie Dregs) “vm the One® - Alex Van Halen (Van Halen) “Immigrant Song” - John Bonham (Led Zeppelin) “in A Gadda Da Vida’ - Ron Bushy (Iron Butterfly) “In My Time of Dying’ - John Bonham (Led Zeppelin) “into the Future” - Joe Franco (Vinnie Moore) “Jellikt” - Tim Alexander (Primus) “Jesus Christ Pose” - Matt Cameron (Soundgarden) “John the Fisherman” - Tim Alexander (Primus) “Karn Evil 9° - Carl Palmer (ELP) “Karoke" - Matt Cameron (Soundgarden) “Klash-Ka-Bob” - Joe Franco (Good Rats) “La Grange” - Frank Beard (ZZ Top) “La Villa Strangiato” - Neil Peart (Rush) “Lady’ - Carmine Appice (Jeff Beck) “Left Behind’ - Joey Jordison (Slipknot) “Level Five" - Pat Mastelotto (King Crimson) “Los Endos’ - Phil Collins (Genesis) “Loss of Control” - Alex Van Halen (Van Halen) “Magic Bus’ - Keith Moon (The Who) “Midlife Crisis" - Mike Bordin (Faith No More) “Moby Dick" - John Bonham (Led Zeppelin) “Murder by Numbers" - Stewart Copeland (The Police) 85Appendix 86 “My Generation’ - Keith Moon (The Who) “My Plague" - Joey Jordison (Slipknot) “Natural Science” - Neil Peart (Rush) “No Excuses” - Sean Kinney (Alice in Chains) “No Quarter’ - John Bonham (Led Zeppelin) “Old Days” - Danny Seraphine (Chicago) “One Little Victory” - Neil Peart (Rush) “One More Red Nightmare” - Bill Bruford (King Crimson) “One of These Days” - Nick Mason (Pink Floyd) “Opiate” - Danny Carey (Tool) “Out in the Streets” - Josh Zoomer (Vandenberg) “Painkiller” - Scott Travis (Judas Priest) “Paint It Black" - Charlie Watts (Rolling Stones) “Paint It Black’ - lan Paice (Deep Purple) “Pamela” - Jeff Porcaro (Toto) “Parabola” - Danny Carey (Too!) “Party in Simon’s Pants” - Simon Phillips (Los Lobotomys) “People of the Sun” - Brad Wilk (Rage Against the Machine) “Pleasure Dome” - Alex Van Halen (Van Halen) “Pretty Noose” - Matt Cameron (Soundgarden) “Pull Me Under” - Mike Portnoy (Dream Theater) “Purple Haze" - Mitch Mitchell (Jimi Hendrix) “Radar Love" - Cesar Zuiderwijk (Golden Earring) “Raining Blood’ - Dave Lombardo (Slayer) “Rat Salad’ - Bill Ward (Black Sabbath) “Ratcity in Blue” - Joe Franco (Good Rats) “Red Sector A” - Neil Peart (Rush) “Regatta De Blanc’ - Stewart Copeland (The Police) “Riding the Scree” - Phil Collins (Genes “Rock and Roll” - John Bonham (Led Zeppelin) “Rock N Roll Suspension" - Terry Bozzio (Missing Persons) “Rollin’ and Tumblin’ ” - Ginger Baker (Cream) “Rosanna” - Jeff Porcaro (Toto) “Saucerful of Secrets” - Nick Mason (Pink Floyd) “Scatterbrain” - Richard Bailey (Jeff Beck) “Schism” - Danny Carey (Too!) “Set Me Free” - Mick Tucker (Sweet) “Seven Days" - Vinnie Colaiuta (Sting) “Sgt. Baker’ - Tim Alexander (Primus) “She Likes Surprises” - Matt Cameron (Soundgarden) “Shibuya” - Stanton Moore (Galactic) “Shyboy" - Greg Bissonette (David Lee Roth) “Smell Yourself” - Vinnie Colaiuta (Steve Lukather) “Smells Like Teen Spirit” - Dave Grohl (Nirvana) “Sober” - Danny Carey (Tool) “Song for America’ - Phil Ehart (Kansas) “Soul Sacrifice” - Mike Shrieve (Santana) ‘South Side of the Sky” - Bill Bruford (Yes) ‘Space Truckin’”- lan Paice (Deep Purple)Appendix “Spiral” - Terry Bozzio (Bozzio Levin Stevens) “Spoonman’ - Matt Cameron (Soundgarden) “Suck My Kiss” - Chad Smith (Red Hot Chili Peppers) “Supernaut’ - Bill Ward (Black Sabbath) “Sweet Wine" - Ginger Baker (Cream) “Tank” - Carl Palmer (ELP) “Tarkus"- Carl Palmer (ELP) “The Attitude Song’ - Mike Mangini (Steve Vai) “The Barbarian’ - Carl Palmer (ELP) “The Changeling’ - John Densmore (The Doors) “The Great Debate’ - Mike Portnoy (Dream Theater) “The Grudge" - Danny Carey (Too!) “The Mule” - lan Paice (Deep Purple) “The Noose" - Josh Freese (A Perfect Circle) “The Ox’ - Keith Moon (The Who) “The Prisoner’ - Clive Burr (Iron Maiden) “The Real Me” - Keith Moon (The Who) “The Rhythm Method” - Neil Peart (Rush) “The Wizard” - Bill Ward (Black Sabbath) “Ticks and Leeches” - Danny Carey (Tool) “Toad” - Ginger Baker (Cream) “Toccata” - Carl Palmer (ELP) “Tom Sawyer" - Neil Peart (Rush) “Tommy the Cat” - Tim Alexander (Primus) “Touch Me" - John Densmore (The Doors) “Travelin’ Band” - Doug Clifford (CCR) “Tripping Billies” - Carter Beauford (Dave Matthews Band) “USS. Drag’ - Terry Bozzio (Missing Persons) “Vapor Trail” - Neil Peart (Rush) “Walk This Way” - Joey Kramer (Aerosmith) “Walkabout” - Chad Smith (Red Hot Chili Peppers) “Walking on the Moon’ - Stewart Copeland (The Police) “War Ensemble" - Dave Lombardo (Slayer) “War Pigs” - Bill Ward (Black Sabbath) “What Time Is It" - Aaron Comess (Spin Doctors) “When the Levee Breaks” - John Bonham (Led Zeppelin) “When the Water Breaks” - Mike Portnoy (Liquid Tension Experiment) “Where Eagles Dare” - Nicko McBrain (Iron Maiden) “White Room” - Ginger Baker (Cream) “Who Are You" - Keith Moon (The Who) “Whole Lotta Love” - John Bonham (Led Zeppelin) “Windows” - Terry Bozzio (Missing Persons) “Wipeout” - Ron Wilson (Surfaris) “Won't Get Fooled Again” - Keith Moon (The Who) “Xanadu” - Neil Peart (Rush) “Young Man Blues” - Keith Moon (The Who) “YYZ” - Neil Peart (Rush) 87