i | THE ART OF MODERN JAzz DRUMMING E JACK DE — CHARLIE-PERRY & : D.C. PUBLICATIONTABLE OF CONTENTS. “he sect eon of The tof Madam uz Dronning ie necro fe books pelt lamar aroctufguest dar jecors aed frm LOM devock an ene Tit lg nyno-oraoaierusaniar,paybaweenng chun nolan recat cig ‘cox odeeacart sprdnate ool be yi lon urea nd uns an ode —lO SU BOOK | ABOUT THIS BOOK eT EET, : BS ABOUT THE TERMS. sesvevilbscciane HRC ELEMENTS OF CONTEMPORARY JAZZ DRUMMING... cegunnsesid® PROGRESSIVE JAZZ DRUMMING: OVERVIEW Updated Swing Bebop Cool Era... 2... 78 ABOUT IMPROVISATION Prineipias of Drums-Band Interaction & Impeavis 10.1 CYMBAL AHYTHMS: Cymbal Line Interpretation : sees ce BAB. INTERACTION OF PARTS ..2.... 2.0055 ce MB (METER WITHIN METER Basic Rhythms Practice Routines «2... i+ sees AST ‘SONG FORM AND THE JAZZ DRUMMER Suenene 232, RHYTHM SECTION Rhythm Section Graph co teteeeeeeee waeneanessannne SSA! UNIVERSAL RHYTHM: CLAVE beeen 34-85 PHRASING: THINK LIKE A HORN. , wars G8) EXPERIMENT WITH MUSCULAR TENSION .f....00.0.c.008 37 BODY MOTION. cece 37 BOOK 4 INTRODUCTION ‘Soma recorded examples 38-41 Woys of Practice Performance Pattern... sesevecseeene cies 5 see GOD + BOOK It INTRODUCTION, WAYS OF PRACTICE, . Porformsnce Pattoine ........ABOUT THE AUTHOF JACK DE JOHNETTE. ‘Much has aeady baen sad inthis Book about Jack De Johnatte's masterful druring. Much tas Shecotore to sey that he is @ member of that select few whose aitsky ones direction to the many. ‘sack as performed bath a8 sideman and eo o Leeder, on corde and hve, with Mery O! He dees fast ond usion musicians Here ee But sore ofthe names: Herbie Hache ‘John Fanart eo Corea, George Benaon, Stan Gotz, John Abercrombie, og Faral, Cries Coen emer Bil Ean Dave Hollen. Fodi Hubbarc, Jackie MaLesn, anc AOS Davis. " “Jack has always reed high in the various music polis, But m 1980 he won the Hows Date sek has ae era drurnmer, and Nis album Jack Ge Jofrerte Special Editon ECM fecores) wes choosen ua the best jazz album of the year CHARLIE PERRY Charlie Pecry ison in mathodolagy, Sevarat of his book: this stiles hove appeared in prestigious trade publications, euch ve Percussion Ciseege te itn of he Perauaswo Arte Society) and the fnfemacionel Musiar Nos officiat Je Paulo! the AF cf Min which he wrote 2 colurn entitled Modern Druminea, Presently, he sea ot jocein Drummer the #1 drummers’ magazine—andis @ member of ts HELL a = 0 a. tome ons ~ au §£ p s é | TW pte é | r o 8 ol Se eee w TS cr «< C=. - = ~ RL SO RL Tt Best — x9 " . : s E"~ * a we Lt . al « . a = « r tue pet r rues owe fe, * = = ie ~~ oo i re ee se om es wo a! cat 8 + < ol xn of « ee ee ee a er Se aoe al « = e oe wn Ff ~ 7 rot oe rw - f afc ot 2 = y z = pO & oo co, Zoe ga i Zag ae Za8 Ses i zee 33 = BBs oO o Ss o< = BERBER ERERBPEBREBEREERSE— + 5. eet STOTT fl i al + Terptor ter aries’ — egeh [IT]AUfTT}AI TT] [ee a en, ee) ee p PETA TET p Tetra gtteFor the following examples. use BD rhythm of your choice ee —_*—_, « fama! oA ol eel PAPO ou Tuo eel J MAMAN OW aw SU TAMA cu wef) GH GH GH.) —3t tt aa) Manu ta Gil Gadad iia, Right Mand on hichat closed, oF opening end closing. Latt hand on snare drum. awe | STII] TTI]ITT) | ne RALACOR REAR EL RAL ot et 23 so Tamassia wrrreererpe errr | Baste Rhythm ga TIE) , Ty} 4 77) {25 Whiten Tor; Lion SD, tog toger 48 | | a : Hond-Te-Hend Hare, the cymbal rhythm is written 86 quarters and regular olghths in order 10 show the connection between the ‘oymbel, engve deur, and boss drum enythme. in fast tempos, in fact, tha cymbal hythm may be played as. 0° nearly 85, quarters end regular eighths. 1 md Oi fl fi ET PAH ] aed as In moderate and moderete-fast tarnpos, the eighths are pleyed as, or nearly as, broken-triplt eighths (arz eighth), as shown here: ] Cymbet rhytivn varietion: em, i an yy a8 Ey | aly, tt cE om 1-0: Mm eh PIG GAL Ay]Jnoica, Include toms. -arTPI| a3 + | } + al FIP | - Jaa | - aD fll + la de] . efT5|- |s J) » os al} | pe ee | | eT] Wa 4)? Y | fa PPEQ EERE RRR ee eee ee TT .od of the bass drum. Nove repay a the 34342 pattems, but this tne play the foot rhythms on the Meat neta eT] TT] | Hh x om: roplay athe 34242 patterns agai, tis fime, however, vide the foot ane between the bses drum and yo TPIS ; TT) | Bp HI-H x Convert the 34342 patterns into 3+3+34344 patterns, Example 4 a ° 3 of J ] J x x Bo 4 s x 1 TT) 7T\4 ‘The bass rum may be played cach tme the eymibe n TD cy. ST SDD28 | EE Notes not designated for other parts of the drumset are piaved on the snare drum. m7 || mei Ree |, fa omst st eva st ws mma |.|, 774 RLEt RAUL Right hend moves clockwise, then counter-clockwise eround the toms. The bass drum mey be omitted, orvt Mey: play on the numbers 12312312 “The following two-four ber may be used interchangeably with the onginal two-four ber: eet e ua closed ("chick sound mace by srapaing the Ni-ral shut tightly with the foot, oi! may be open Teer he hat pedal with » sudden motion of the foot, riaasing it instantly #0 that i pope opar, allowing fo | Practice venation: bi-natispleyed ‘manipulated with tho foot] each time the sight hand sitikes @ tam. The hi-hat | | ring. i Here, use lop cymbals in place of the toms: my ! . Poattunce er ot ref ace Riat |eee Tee 3 y TT) | RRULRGLL RRLL Let , ONIN | on | % mw r 80 Tt 8D RRLL Cr) “The sight hand moves beck ard forth batwaen two, or mors, large toms. The bass drum mey play on the rumbers 425, 12 3 1 2s OF, tho bose drum may play on the first beat of each bar only. 4om 1 olo | Doan | om nin . 74} ig (TT) ITT) 4Practice Approach Rathos than constantly sesking out the ona of each measure, experiment by thinking in terms of i time, hearing the pulao os 1-1-1-1-, etc, or asa sound auch ab da-da-de-da-, similar to a bass line, In this way, yOU are not ec Gown to, $a¥, the 1 2 3 4 of the measure; you are {reg to Improvise various figures and phrazes in succession ‘without the constriction of barlines. You willbe able to stay in tempo white moving freely throughout the piges. O! Course, when precticing with records, of jarnming with other musieiane, you must l/stento whst is going on around you and laeyour craig to tha uc ant ro sou OF te Ccther musicians. (See section on drums-band invwraction. Ways of Prectice Practies azch line separately from the others. Pray consecutively, going from one line directly into the next line, 1 Add the bass drum where not written in the music. © Substitute the hi-hat for the bess drum, © Divide the bass crurn rhythm betwean the hi-hat and the bass drum. © Piay the left-hand rhythms on the toms instead of the anare crurn. Divide the left-hand yinms between te share crum and the toms, ‘© Piay tha snare drum rhythme on the cymbal with the laft hand, while playing the cymbal chythm with the right ‘hand on the snera drum. The bass crum plays aniy when the cymbal pleys. © Play tha enare drum pert with the left hand. while playing the cymbal part with the night hand, going back end forth between the srrell Lorn and the large tom. Follow the same procedure, except that this time the right hand il go from snara drum to small torn t0 larga tom to snare drum, etc., clockwise eround the crums. fay the snare drum pert with the fi-het (eft foot, while playing the cymbal part with the bass drum (ight toot. ‘Than reverse the procedure. The hands are not used nere.: ‘© Exporiment with the numerous combinstions possible in the playing of these rhythms. ‘© The mythms should be used for solos 3 well as drums-band intaraction. Dopanding upon the tempo in which thay are played. these rhythms should also be practiced as sixteenths and fignths, 63 wot ag the way they are written—querters ond eighths AspaAn AT LAALRAL ARERR ERA ‘© The practice routine rhythms ere epplicable to jaze-rock, some soul, fusion, end rock, as well as jazz. ‘@ Allof the rhyihms mer be either repasted or followad by playing a form of time on the cymbal or by gaing on to ‘other pettems of your cholce, as one would In performance. ‘e Tho ehythm patterns should be applied to music: twelve Deats within three measures of fou~four or four messures of three-four, sixteon beste within four mogcures of four-four: eight bests within two macsurss of four-tour By altering tha note @roupings one can and should, use them in other time signatures, too, ‘¢ The rhythm patterns ehould net be thought of only in such groupings as 3+3+2 or 3+3+3-+3+4, eto. Rather they may be extended, sey, for 8s many groups af 3's, 2's 0° S's as the drummer fools wil best suit the music. ‘@ Thote rhythme are presented here in thair simplast form meroty to iustrate as clearly as possible the rhythmic Govise of using one moter within the framework of enother meter When usud in the course of musical ‘exchanges between crummar and bana they may become 28 complex as the occasion warrents or parmits, ‘¢ You don't have fo think in terms of predetermined exact groupings of notes as shown in the practice routines. ‘When thoroughly famiar with the rhythms, you may play as fow or os many two-beat, thrae-baot, five-boat unite, ele, oF combinations of auch unite and return to cymbal rhythms or other punctuations, figues ard pireses when reedy. When returning, listen to the chord changes end the begs line to determina where you are in ‘he music, However, won the piano end bass are playing madally there are nat any changes to listen tot. Usually, at such times, One mamber of the group may gradually introduce segments of the thems, to which the other ‘masiclans respond, and he is eventually joined ‘possibly on a predatermined rit] by other members of the group ‘in returning 10 the there. 31