Professional Documents
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Funk Lessons
Jazz Coordination and Funky Ghost Note Grooves
Here's another jazz groove which will work on your coordination. I believe that his type of groove has worked it's way into funk playing,
as a beginning to ghost note playing. As you work through this groove, you'll hear what I mean. For those of you who "don't care" about
jazz, just use this groove as a challenge. Try and work your way through it and make it sound musical.
This second pattern is not as common as number one. It can be heard in music from Brasil and, in a somewhat lesser extent, from
Cuba and other Caribbean countries. Combining this pattern with bass drum and snare will provide some nice work for
interdependence (or independence, depending on how you conceive of the concept). It14ll also give you some new inspirations for
different sounding grooves and patterns.
The third pattern comes to me from the drum called chico, from Uruguay. Yu'oll notice an accent above the first 16th note. When
practicing at first, leave this accent out. This pattern is difficult enough without adding an accent. The accent does give this pattern a
real different swing.
Now, your job is to mesh the ride patterns with some bass/snare patterns. I'm providing just three with which to begin. Of course, there
are thousands more. These will get you started.
If you'd like to add a BD, try it first on 1 & 3. Now, this might sound simplistic to some of you, but, the most important thing is the groove.
I could add a bunch of more intricate BD parts (maybe I will for the next lesson!) but, for now, let's stick to the ride and snare pattern
and the BD on 1 & 3. As always, enjoy!
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Lessons from "The Hit Maker" Bernard "Pretty" Purdie
Bernard Purdie is arguably one of the most recorded drummers of all time. His grooves have been heard with Aretha Franklin, Steely
Dan, James Brown, and hundreds if not thousands of other artists. You may have heard that he recorded with the Beatles. well,
Bernard says he did. I believe him! Memphis Soul Stew, by King Curtis, is a baaad groove. Please find the album entitled "King Curtis
Live at the Fillmore West". Buy It! Listen to the live version of Memphis Soul Stew. There is no way that written music can convey the
masterful groove that Bernard Purdie lays down. Enjoy and hear from you soon!!
This first groove is a basic look at Bernard's pattern. Practice this lsowly to make sure that all the notes "line up" correctly. Only get
some tempo and make it groove when the coordination is right.
And now the fun begins. This pattern on the hihat provides a great motion and feel to the groove. Honestly, you have to hear Bernard
play this to really appreciate how this all fits together.
When we play, most drummers "learn" to keep time with their left or hihat foot, pumping eigth notes or some subdivision of the beat.
That's how the sound of this pattern is achieved. By pumping eighths and playing the hand pattern, the hihat opens on the last 16th of
the groove. It makes for such a sweet sound! Just try this.
Now, of course, you must add this hihat pattern to the groove. Good luck!!
And lastly, the open sound in the HH, on the downbeats. I think that Chad's getting this sound by playing 8th notes with his HH foot and
really smashing the HH to get the open sound. This is reminiscent of Harvey Mason's HH on Chameleon by Herbie Hancock, although
Harvey's sound was much more subtle. Chad's is more smashing of a sound! Anyone have other ideas??
Now, one more open sound on the last 16th note of beat 2.
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This is a must have CD. If you don't own this CD, get it! I've been trying to transcribe the drum intro from Spank-a-Lee. This is close.
Anyone want to try?? Come on :-) Give it a shot and email it to me.