25 The next step is to start replacing some of the melodic tom parts in Exercises 55 and 56 at random with the bass drum. Remember to keep the hi-hat going in quarter notes, as this is the foundation of inde- pendence practice that you are after. Here ae the first four measures of what I played; use your ears to hear the rest of the examples. Transcribe them if you like, otherwise, make up your own using mine as conceptual template. 60 7 RLLRLLRELEG EL Lo RL ERTL RL RL RLRE BF RF Play Along This song, Tlempo de Festival, is from my CD on Stretch/Concord Records, Perpetual Motion. You can hear me play it on that CD, and view the added footage of me playing o this track as well on the DVD release of the Natural Evolution series. The version on the CD with this book contains the band without drums. The musicians you will be playing with are: Steve Weingart, keyboards; Tom Kennedy, bass; Brandon Fields, sax. The horn section features: Jerry Hey and Gary Grant. trumpets: Bill Reichenbach, tombone; Brandon Fields, sarxes. Song Overview This song is like "big band meets a salsa funk group.’ There are c lot of ensemble sections (full band).and horn hits to catch within the drum pattems. If you are totally without an approach idea, it would help greatly to hear what I did on the Perpetual Motion CD, or see if on the Natural Evolution DVD. The chart is written more like a lead sheet thatt tells you what everyone else is doing. I always find it helpful to see the melody so I know what is happening. That way I can pick and choose how to trectt the rhythms and construct my grooves. This is a fairly complex piece, so it is better to approach it from the "drum perspec- live" of keeping the groove solid and working into catching the hits within those grooves. The one rule to remember is never sacrifice the time-feel for a fill or a rhythm hit; keep it grooving, no mattter what! The Chart The piece stots with cr full band intro, with homs, labeled tutti, which means everyone plays. I chose to voice this basically with tho snare playing everything except the accented notes, with those being played by the bass drum and crash cymbal. This leads into the drum groove. which you can see in the examples below. Letter A is the first melody, ‘with just sax and keys. The drums ae the “bottom” here, but not too loud: give them somewhere to build to. The crecented note in m, 10 could be caught with a snare and quick crash or splash. That phrase ends with a hit on the “and” of beat four of m. 14 into a piano-solo fill section for eight measures. The first groove for the A sections will work here, as will the one written for the B sections, or you can make up your own using either of the two as a foundation idea. Letter Al follows, now with the bass, so this section has a fuller sound. The hors will now enter with the hit in m. 26 and again at the hit/groove section starting with the pick-up into m. 31. Itis important to keep time going through all this, so my approach would be to keep the ‘A’ foundation groove going (left foot Dant10the main bass drum) cind catching the hits with the other bass dram and cymbal, keeping some six: th-note motion going with the left hand. got off the two bass drums and pleryed the hihat on the upbeats { pelow), which really changed the texture. I clways like to look for ‘There are hom hits to catch as well in m. 38, Tusually catch the accents start, into the tutt! ine agatin at m, 42, of beat four with either space or a big Gown Jetier B, the fee! changes up « bit. I the Perpetual Motion CD, written oul changes to help outline the sections. rhythm with the melody in m. 41, especicilly where qifill measure in m. 43, Try to ‘set up’ the hiton the “and” on beat four, into letter A2, with the horn hits in the: get an idec of what I played as @ basic ‘keeping the ht-hat going on splashing quarters so the tims at m. 58, into the piano sclo. should start soft to give it somewhere to go. Check the example below for my approach. There are ight measures, then the chora changes happen at the “Ist cue" for {vel moasures, then into the D sec- ee this is fainly difficult to play, as it reall isn‘ just straight tiplets as it is writen im the chat or in the Ghample below Itis impossible to “write” a feel, but what it Is supposed to be is that stretch between Gna f (oririplets and sixteenths} the pattem goes in cind out of thet too as written. in exercise 58. This Shanty needs to be heard, not written! But you can get the idea from that example. “tne ascent with the keys on the lost sixteenth of beat 4 of m. 71 leds into the sexx solo. Asit says, itis five ‘mes through the repeat section, with the sixth time at m. 76. Itis a threemecs¥ie phrase going into the section at m. 79. This differs from the first B section. in that the energy nd dynamic are up a notch, Sain hom hits to catch in m. 80, 82, 63 and 84, followed by the tutti again atm. 86, This Jeads into the drum. joie around the hits. There is a piano montuno going on undemeath you, s9 one ‘cool appreach—for this Soacie cection reaily-is to think like « timbale player. Try to listen to some really good, Latin bands with Mhnnale viayers_tTito Puente would be a good place to start! Agetin. there are hits 16 catch, so try and set (hem up with your solo fills And again, practice keeping the hi-hat going on quarters while you solo for ‘coordination practice. 16 a5 well. This will lead to the chorus section at letter C. You ‘below. The ensemble figure into m. 55 should be caught, but .e doesn't go away! Play the tutti intro figure ‘the figures in mm. 93 and 94 are very difficult to make flow. My approach wos to play the bass figures dretthor the bass drum or low toms and the top figures on the snare, playing the figure fairly as written, Sime keoping the hi-hat going on closed quarters. This leads into the Drum solo section, OFT & montuno ‘piano and bass figure. Check out the measures and the enclings There ore 3x4 measures, then the fourlh Ge hoods into the tutf! lick on the second measure of the phrase, starting with the hits in the keyboards, the tutt figure again, then a measure-fill ending with the hit on the “and” of beat four. This is the DS. (Del Geonc) which means go back to the sign, in this chart at lefter A2 The “al Coca’ part of the direction means you go to the Coda when you see this sign: So the chat! goes through letter A2, into the chorus at letter C, then the Coda sign at the end of m. 57, ‘s@ mousures are something an interlude, with some hits in m. Sehich jumps to m, 103 on the last page. Thes ouble bar. One more tutl/ lick ct m, 111, with your lest fill to set {04 leaciing back to the last chorus at the di ‘ap the last three notes. Thete itis, the CHART. Always remember fo use your cans joo, and try and memo- ze tas soon as you can so you are not tied to the chartHave Fun! Here are some very basic pattems I used throughout the song, It is in the Latin/salsat flavor, but as I di use your own ears. Learn some things about that style of music, and be creative and add what you hear to make it feel good! Intro/A sections 61 B sections (Basic) 62 B section hi-hat part options 63 oa 65 C Sections (chorus) > enrepeat a ~ eo fill Piano solo groove (beginning of solo; build to B section-type groovel) or =p D Section: this is difficult, as it goes in and out of triplets and sixteenths. 3 > 3 68 Sax Solo: The B section Basic is a good plaice to stort, or stat with piano solo groove and build. You can vary things by simply changing the hi-hatt patt too, as in the B section options above. DeMi0