Autor : cdya Pedidos : cdya@fibertel.com.ar Songbooks , Metodos, Clinicas, Mp3’s , Videos y Softwares Musicales. Todos los Instrumentos. Solicita el listado completoa cdya@fibertel.com.ar Envios a Todo el Pais por Contrareembolso* hi) FUNKIFYING THE CLAVE an AFRO-CUBAN GROOVES : FOR BASS AND DRUMS | by Lincoln Goines and Robby Ameen Published by Manhattan: Music, Inc. DISTRIRUITD BY DCI MUSIC VIDEO $41 AVE, OF THE AMERICAS, NEW York, NY 10011 © 1990 MANHATTAN Music INC. INTERNATIONAL conrniciny SECURED PRINTED INTI ANY UNAUTHORIZED USE OR COPYING OF THIS MATERIAL IN WHOLE OR IN PART 18 PROUT pire BY LAW PERLE ER EERE LEE eka© DRUM AND CYMBAl. gutue Sore Gt 6 16 x 16 an ALE AA rey Spf. 5° AA th HT tin spash P20 AA Sinn Content Mike sar 2, er Neat . C Mime bet Be 20 hat we tow . eCheck bet batisntteck Ligh gel 1 Lene pels open toner retin | Feingen “step SoinRE UU Gita a UD at teak okey Tust as the mas ciuctal vl 4 ‘ ee Jd afk dh Dy reel tes ge anu ganas The solar tales Ak oe 28) ‘Son clave 2:3, Dl die J due ded de qh dl dy nuisle you snap yune ily speaking. then PTO 4. fo Lixin sie you eta clanye tyres andl anchadly gsuslly sinitoees with Eurapenn fmeies, alton 7 letermlae hun the anaste fits within the chive, ta the course of and hannonte forms also played a roe fn the ba k anise of th te te the clave enn eecasion- vit, #3, for camp, bn Kluex muse. bily change from 3:2 fer 23 tor 2 tor 321, This stil generally PB a)ccur by citer acing or dropping a bar, se that the two-bar 0, inanthe, gufira, homba, pleni, ere ved, By listening to the made of many overs whlelt today make up what Ie comnaanly knew agg yes will comme to understand how to hear whet ate sabe, . 2. st the clave tune ects better on, snl this will affect everythley, In xakut, the shython Revlon consis of conte, thubakt he Tran plays, Including the pereuison scctton, bass and hemgas, bees and pina, ‘The hear of the ensemble bet Ide lead vocals aed chorus, horn Haes anc vecents, and! finale fone Inthe bass funthan, A summer bs repeated fyguce Ceithg | sala pleasing. Poorly phrased rhythuns are referred to nx ern conga or bass} which creates the groove, Far the Gubans Edie. 07 cromsseel, she Dass wax a Ruropean instrament which could he used 6Qeg BOO) Pov she 19307, 40° ancl St, goat Latin Hl fevkrs hate the sound oft dan, playing» woke sb pevtasgy h ty been sceved hy the marinthut a large Altican huni planed cor a botlja (hase notes blows threwgh 2 bette, The music bir ‘Hiwve been played! on upright bane, elevates oe typically le salt onda n electle upg ht calle! a aly bas.” fingers te chap on 22° and hetween African preetousty. by vwtiten as they would be the conga time, The atiiude glven this arte by the bascsg, € folowing traditional examples . een In nn actual Laity bas chart; however, bute how in nome whl effeet the awing of the entire twnd. ‘Tr nvake th pf the audio examples the notes on the fouth beat are played and percussive, T usually use uhe tower, thicker sirlngs (8,A,0/Qe and extended over the bar. This Is done to match up with wherever posable. e e is Wa inintar yh Hires YieladSaaTH The pulse ts felt In cutie. e e rt : ot = = 2S SS ae =) «- Ce enesceabocteect Peuewvaeuwd; | 4 cath taht] » : Bdample 6 Giiajira, 32029 gy ‘One way to inlemalize the clavi Is to practice tapping H whh the wale (quarternote * 76), then ail the eave with your ‘your font while pliying a tunhao, This [x ¢ method uned hy fort smd grudually blend in the tumbao, The wick is to gct the many Tatin niusicians (nvest notably Bobhy Rodriguez the great tumbao syncopated with the 2-side of dhe clave, in sequential | assist with Tito Puente) and It an excellenl Intependence oer foptright hand, foot-ight trend (note: on the 3-skle of the: FS exercise which really helps lock In the groove. The emphasis clave, the Foot and baru! fll in unison). Shere Ison accuracy, not speed. Begin wih a mextium tempo on fi . “21 | ass tumbso independence exercise i Jem ny “Tap wht foot SS Ss ; 1 eanskler the haste chytiuos the perauitad acation kys dawa th a typead sala tune, Ping, thee He the fase cong rumba fr muasacel) played ont ne, toes or mond drone Cewxe ie Kaw drum on the ovkie of the clave) > Conga tunbao - 230 pesrrroo rHsoarag LERELEERR CRRRR LER“= ” - cd - a cd - Ld Ld a” - Cd tt Cy ” Cy cl Cy - Cy a pe ee eee ee ee ee ee ee | secre fo the: smartly with alternating slid eowserst pique Mew ail: j sage mariilfo patterey rerre ror with the shagger, whe fy Renn rrvrreoy RERURERL Hera the sung rene hes the montis or chorus Coon, the fuer plays "ange ma fell paet I pncs Inlo the maobo section, which be Uke a brass shout chorus, offen Folowed by a horn ar per Vell evo pay vm Tae Fl the yt wr ur (oxy sticky we he we core, the’ thubsiere enoves to hi nua bell nnd plays thie hale monte fb AHaeatem elton (the eymtea yg he easeaea pattera te areca the de dher hnpertnt finetion the timbales fs to annuance the begiankyg of the meni a cr acetone wily an abut, welt bs ste Feesed ty Jdeniteatenteeenll of varying tenga (depending om the tempo the thnhale playes-or ubeterewax playhry on the skle a fis belle: at enalingg wits onaber sdushet en “17 of she next hae, The atsvaten ts (rationally used ( siynat the Introucttan of 9 caw hell patiern ‘on the timbales, Interestingly enough, alvanica feveans “Tan,* nnd the roll actually seunclt 4 Hot tke a fan blog whisked apen with a Dlek of de wrist, : oF diese percursion examples have mo far been weinen fr 23 ve; for 3:2 clave, the measures are amply reversed, Ht aheutd o be understood that these are very hutsle versions of the sa these tnsdrimvats phy. There nee sls min vt an ces always being added hy each player, for example, with the tetera Jet hand important, bnrwever, to be Fomine ‘whl the husle parts and to ace Teow they can fre applied to the drumset, On the following pape I a skeleton transcription nf the fundamental percwsian section pairs phiyed during the ena of atypia aaa tuneTinbates uw Cante notes aw the pari . ; Tahalen hoamaise ts the Fe tht aot tet py cafe on ee weaack hao te ser Mannbot his fs he svetio chung whe the Bel at es fee, ling tween how ah nex om the ee shoe 1 Hue pen Wee tan Hi Ske vf the ees Woon mater ast; W ena De tagyetec even Fes corn H tear, Acenygle remeanher Wl 4 nthe Senko, Mamibo—the cones are nate plas bit free ae meme, sb few fil . Ranges i erage gte Pasian bx dhe frame of eference Kr die wig thal the bongeacens ays dag the wee, te nie and playling ff of Samim ten the berger wil wat for ane or wire cura to RO by Kelore pking up lhe hell inching sth the ft ow even sceond finpaehin—the Muamio—there me wel At of theee suystuns can be condensed one the drunsiet tn a warty of ways, despite Ube fed he Pople nolo meting. be wont iniptant coms the! ule ete bese lean whine evateat of tae here tae mipame. The deurnmer should rarely play an “1 hecaune the exaence of Lan ving eames fans“ hoy tel one te Feet trgeare, Quarternotes played on the beat ine reserved for the cowl, ala oF cyt patterns the otoun herden (toes, hae drums, conga, et eneealy don't play on #1." The ost comunon base drum pater i Bass drum pattern 23/312 Sete commen variations ext bes Bass drum varlatlons 23 ‘As forthe bass, fo keeping with the rhytme foundation, chunt chanqes are usuly sovcipatet onthe fouls eat of Uae Preveding ban Daaanp ery naar ties tastes pice,Baetabaariiaiin te ee ee | 3 kl de mate 7 true 9 cmon toms to make ne esp Tne Mac very fl ar otc “ing tumbao-tike lines through a sequence of chords; : 2 STR aI a BY —W Bie | | Degg =aNw played pia te edo clave lett Kael ate ase aun pater faa 2. Prete sie hc pl IAM Aerie nt EEDRpI TT CaRaAa pilzal with Wh rimibi CTE HHS Alene bia itis PHOS, 2:3 Rumba clave ’ > > . > o> on seth yup pga ow suet Init wh ae ene pst stn te 3:2 Sonctave + pcb yy the cena ater, hong thc moaned Bit elite ty ane: Left hand conga pattere io A Hore the cowbell ride gratoen aygtlost the ranulas clave played with erotik: Dissmaple Batre, ra with the kel hand Grogesikhe—sumba clave} sib Grea o, ‘The snare ean alu b mann, whic Fanks things up conser: EERIE SBA ee athe tuinklez Veravaa WIRE TEN iid Oa a Bae aga Practice all ofthe above syste with the hi-hat playing quarters and hall-notes, 12 ‘ a - - - -”- - a a - - a a a « cd a Cl oa - - Cy - - a Cy = - Cy - - Oy a Cy ts JJ 2 thee dam ty st re wel lang nen, ek om mune. | ave fond that a single Teckel on the 2-akde of the clave can wonk preity well: a8 aa i SS See sg 1 A" aie ye agli the gra et hie Keep in mind that when we are talking shout backheats, slnce we are nd in cutime, the Backbeat Is really ere ls 2 gioowe for the drums, mostly playing clave, which fs ia clef i et Hw tying i eR ERE RRB eee ee Oe3 y 2 2 9 bs: ieee ee ee er rr thrythinte foro deve cisalonit Jose “te Ug iy Latin aml Ty beh sean yt finally ut the dune om erg sdrumonts, Hor the Is, song repre rut mege rue and open atyk: of playing. Unimately, sano nef the Influgnee of ruck and funk Irom the TLS. and that of ter perensson tivemeake of congas, Caribbeab-hased syler, on Cuban muakclans, Hxample Palins the Tintste players ha Dec Reet aul bass rum on even 2 bats ‘hipten on the eemet: jPzimple 4, Rasle soigé rhythm Wilh thé Joh Sid Gross GUESS dlferenit basi dria Fistatleind ,j ANE of these song sytbins souk be peatked wit the hha playing falfnokex and quaner-notes. The Fell hand can ase he orchestral Ierreen the snare, tom open iat chokes, el and ewe, ete, preiding a man une of eats: Example Threcbaslcvongo peters wihthe eh hand orchesinied wrouad thet 23 4x 8 Fumple3 Vere Iva slower versfon of these rittatons_ } (same vensl ey : I. ! 15ue una ct simp rent cowbels} use with Michel Canin, te played between the ett tuned iat are the create the acaind of te song paler peter mple Y Now a slower version of the guiro hi-hat] (saine as 2nd part of| vay thi hn ats caper ae comply compat with of ae yn) en T fist started playing songo behind different groups, 1 ston breakdowns, or sotoiagt 1 then deciled to mee mest of the Fabways founel tha antes VT stuck to the beft Rand ereaueaticle type ket ane! to dhe i Lat whthe Witting the aneare om a Kline of stings eave, the ahave warkilons often sud too husy or dutcecd hackbeal. This erated a much fnkler and more versatile groove: yy work oer when dia to ack pate Ones pene rample'8"Here's | funkler verslon’of the songo'wlthibeleh hand 6 the hivhar, with’ 3 different snare drum variations] ny Rh 4 Lean 7 a & Pho & beet hr | fe} ® tn dis 1 “ot thadsonga] (same es Example #) Ooo eee ee ee ee ee ee ee ee ey sreenagneasansnesg@ecsenenenEane teot whch he nnn ave cong THE pen chang dani i He Hee seo dum fl are expandaal and mneexticshythm, Here sa atrippalowa version af vibe conga pater played between Note that different 23 = tune isin Soni paterns >> 2nd baw, | Meanwhile, doing sway wih the cowbell akageihe, 1 is posstte to’ simply rlde on the fi ‘and ereang thi Tonk yeonve. Ths examples shown wih (we snare dean vara, Pxample 12,This ten unk groove which Lindo#piatéa thé pongo backbeat 2] ns may be xnbstitited on the fourth heat of ‘ LoL RRELR LOR aime ua Example 10) sks the nba, playing the sang pattern my on he srg ra wth cen eens, eet a le Enact 13, Here'ndeoutsones peri Hie one crmba A Mant. ‘anak Ht So 1 tie agee beeen glvent In 28 ch they cau alsa Ty Mayedd In 3:2 clave, ax always, fry beptnings wih the sex. 17Jo congo, wile the juinbae for the hast remains ivct{or implied, ether Iflecdoas ean be ude. Mere are # few exannps of Ne Possibilities for songo ba i senceaasaes areaaaerion SELApIS BT Lie Vor Yay wHO May This patten Invite ve bassist to occastonaly fil a the space prove by the last two bars. . 3:2 Rumba clave co 5Ee aa aay 1S pe aqictanisttemectass ca : a DAT APA ARBBWAAAM TATA nea ana gaseee oP ROO ORO ROPER RBBB BORO BRR eRe eee oboe eee . The hat hes of Andy Gonste Fldle Palmlet Ure, Fort Apache and re definkive exepes of how pe flrs elemenme ccan be used ta create funky modern Hines, PRT any SY FA RO Since all rythm and melodie Rigures in Latin music are drum or ented, asa hase 1 found it very fensefit! to at down ant team some patterns on the drinwet and congas—not only songe, but rnst of the other rhythms covered In this hook as well, a Tat teas had a hasle tex of how they are played, Thla helped me 43 hear how the patems were pitched and fo build penmtsted tes > accontingly. ere are some examples of how the slp technique can be used to Farther emelish a bass mimhao and build Inceney In the rhythm sectlon. This sa style developed by Latin session great Sal ‘Guevas. These Ines are essertally “double fines” tumhao-on the brotom atid fngmented plano (ontine) or conga pte or the assists com personal funk phrasing) om the top. While the foil stuck should he slp nnd percuadve, the tutta roles should ring aver into exch viler In a Yegato fash the Tet hand relaxed and spread over the aves to he phyed. Keep the emphasis on the tumban, and dont fet the sym ‘opations throw of the groove. Make the fines ameoth fxn apres sive, Examples 6 and 7 begin with eight urs of bist hiro:iple'7"Sinp tumbav, ala Sal Cuevas}: ; CHAPTER THREE: GUAGUANCO : ° i wane Ie properly defined! la AfteeGahn minke wa vine of. fell Gale pattern, vould ane nen nlm* Kovany= swung, remanence, wud sucntne tyaikated| AY the Forevont a cohambie, Youu by pkayetl at slower temps and basically Intlvduadly of an couples. th nn Hee inet ever are the dawers, elihee performing! ighest pitches! conga (the quinei| involves the same parts as the guiaguanco, while the rum Is constjnily elfing dthe repigne), alus taking. bk eves fren the couhunbla Is phiyed af fast feupes, wits sever triple Fee dancer. A typleal song beats wih the clive ancl palita, folernedl ‘The srudienal samba geo inches three congas, clave, by the drums, vere, comes, ee elo, che ae the hase paterns of the percusson easomble, The clave 0 ed. dL runjia elaver 1 az wee Palit See sees Sathtor or how cen tnptied ae “Fre gol pesca wlelle dene a2 Foal, the qinte seas ever the svhole ensemble, often weaving In and ont ’of the linplied quarter-node triplet and Halve (oe triplet anil Hala) feels ofthe ether leans, Example 1 Here's « direct application of the guaguanco conge patterns ag played on the drumset, with thé,clave tn the | ight hand { | ' Wsomple 2 This tv nlower verston ofthat guaguance , (atane av Exaile 1) : 21 BERLE EDPEEECEEPTE PELE EE EERE R EERE REER EERE EEIl nv cas be atkled te sedntones the Joside ofthe clave, tic we wil sev gvcatfy erfeanced fry the hase players sl nn le taped pee gut, bat the foft hand eam bse cP acne sect nett ~Now't would tike'to play'some-guaguenco’on the drums; orchestrating the Left fsand around te ki, rita cally. Note the floor tom substitute on the Salde of te clave, |hic at exams work pe wel el qulter sethaon a, ong pecunalon plaual aee Reample 4,1fcre's 2 gusguanco pattern. whlch Incorporntes the left hand on the cron | leu OPO See Once agin, by ce-onhesteang the sound sources by moving the Ief hand over fo the hi-hat, wth the-rght heel eon the snare funkler smd ex be realize: not Xxample $ Now al fonkler version of the guaguanco which basleally,tracispoiea,whol was happening whh the Je baad ‘orbs to the REhat . Ro RR ROR Le > °we LER b RL pe Fitasiple'7 Mere's'a faster’ version of this kind of Funke puagusincsy poe yi 24 RER RE RRL HY OOAHAADPAVABMHADAATMTAR IAM AABADVWI SHS“phe mde the fawe petbatng ae og Ustad evn bo _Roxki, ba Hu it excuple nae nan uy toile Te caguance, This iva nple af ploy seveloped by Cachan, tee gulpes ofthe mussmnanc, Yh ine SEN yy wea eth in ‘wn ten to playing wth 2 fall and, oles recente! wel afl rulers Wa the tees tps, Jost congaa and vocats, alung with ie qultarist Atsento t Cachao ts maiter at ilfing arontnd 6 the foass within ihe contest of the clave, én much the same way a8 the quinte follass: ead socal orthe movements ofthe dancers In trade rare: : Lal 5 WORD (expe 2 Dincivgs Cabins C97] , fy ak PExappleyTAsaiber Cuba DEN OBNT 23 Tovet Ix Ax Tae ; | iver dram the Ise en a el Tmt Do lyMew Orleans” pre Py ining th Jat dave in the Following mmner: ZOnledin Vaetnid MAE feel TB esa ShAGITA amnat (Raving 4 rT cl - a cd Ct - cd - o- ca - - - cy Cd - - - - cd - - a - - ~ men nm er nen ett BOs4 alt ate adr te tne meway iter est Ron Garter ured An playing, W: tiles Davis ATM TESS > love soles Feel Sirol, with the dented quoter becoming quaeter-noten yout can play Balmer ever he pase, ereattng a chaubleth >-J Meanwhile, the ilsnotes ofthe 6/4 can becume 3/4 quurter-sones, creating a faz-walts fects Mo, HANH ME ERADADAATATAAR STE TTr — Bee These fects make upp the ns ct a tall santa groove Cr the: erin, 2 aap TRENT SP oor ERFPOEAUNG WE BARTE 8i pegea seat are tune oF aise, sun ae, Oe net atyem cH Fea coobinatten: mune by Hae ¢ any vat rr one ted a hese Femens chs as stig diferent trae tr pal font heat sates. OF teoen Fevelne younel€ up He pe on 7t7 a eae pattea, Nene etl ttn ty Keeping th cry psi To mare aid a heard and felt fn ay very Py An ng cm ul Fah tte mH Ge madonna EY anke Rake shown ta thls fogin deted quarters nd Wsike fe elements From the “These Urea ae Bass ihe wh all the other Afro-Cuban isa Fook, the 6/8 bass numba takes hon ‘Srna thn ent ecco won HAYy . % [tscinpté 2.6/0 ating wlth 3 Tuy juvoves within en HC Keene the emly Bask eu Kea amy 2" st tecopatred byl tempe, ann sounties bass ah ue USE ever Ihstenwdl ter Satan ek o8 IED Here'G the same rhrytheny indving thé righ hand ovez 15 eo se. 9e 52 oo Sager ¢ ye Wiha the fatin cuntest, the chucha is host characterized by she constant quaternotes the fimbale player plays, the swell eter cha bell, agi Soul cleascha b Lf on dram the ela-clia ean also be played In 3:22 te ee Pb ale Ske bY Oils LJ I b Dor y Dos att Wat ave ) aviv vl vi mid a: i SB £jpe£D st oie 8 yids » xx x x le irk x x : Beduas Chis Mt: cha = dha oud morality 4063 Einnf as Adon te de fins te > < L > =z Stade, 3, 4 ay Uabidintes Kate J 7] ee don yay Pee TDEDLIL DEM LG y x aE pe SRT PE at. Df 4} Mo Mu ey “E4 » WA t WA 4 fw fy yl‘The bass tumbaas in the cha-che often resemble the tumbsos of Chapte fend nthe pnts gave (Chapter, Example 6 Sip wm Bs cen ee are some examen, 1 played at x slower tempo, A good example of dls Is ‘work well at the cha-cha tempo. MOZAMTIQUE, {esrinbiopas tx anaer dythin whic haa often been ured la cock ama Kok context, W fore the henaheat of quite a few of Stove Gouht's Latin prowives, acts asthe die part on Paul Sven's Late tr The: Here kthe baste morambtqve played on tanhales qeet= | IT ate 00 eum ‘Once stn, we sew the heavy accent on the Zand” of 2" Inthe 3.pan of tie chive. Here i a funky version ofthe meanest _xroives nicely aver 9 brow! apecsnim of tempos. Part af the funk eames from the feav'devnt playing hel “1 Inne of the ever " “Also see Steve's Inston hel vdoan “iy Clase and hn Seaslon,* availa ‘aul *2* of the First Musle Vien,SER ee | Frenple $ This ts avether nvornmntlque pattern) Iwbich ance a enincept of Roberto Pettacta's, wiete yo and the right hand on the ieee vp {| ike the drums, the fan Hine for she mivzambique 6 tern of the first ae sana the 7a abe eon a th [example 3 Tredttonal maxombique tine * 23 5 = Y tgxample 4 This Is x madern variation on the seanmbique * buls'e Groove” ce strane seca of the 233 eave, Als ciaraterle bs he ( Hiluamde preeceaing the second het ve 7 i |FT “Tht next Hine matches up withthe mazaniblqve inate pater Funk-Mozamblque 23 i ae : poe In certain chaccha and mezambkyue grooven the downheat wilt Orlea he incurred, whither un the 2askke or ihe Sue of the ele, a de Hy aed large. we have only.ceen thls tir Geete in the Newi - - ry ry Cy - ” - = _ rs Cs Cy rt a cy - J ” o cy - Po ” rs cI Cd - CI - - cy - - - - - - - ry - - Lt NOTES ON ‘TUE TUN! °Mambo For Tajrid” (Oscar Hernandex. wrote this for us as an example of a tye stb atracture iif verse tenelou), cout. Deskles being a welbedtablished saket plinist anel (eanger, Oncar ie aber known for beinghig oirne progressive sh le ts ‘ering, meet natably fy ble seraryennerte fer Hula, Bales Drums: I The drum grooves demonstrate sume position on the kit ‘within the klions, while net playing sim, The vense fe silat ceaecara with thy rumba clive, which seems to swing a tol betier at this tempo and! sitheut peretession. The [IH] section of the ‘eerie nove tu the son chive with the hackbeat en the 2eskle of the clave. The min ase the Tuasle dade bel Fase “Hee tune Beyive wh gt fae tbe The ade ht his De une gives it fir favor, Scesiun [18] In a hrenkdown fexture for the faweiry (0 feel the clave when pleasing your www fils. (Oxcar's synth soto at 3] fs the teailonat mantun scetion-bere ! Example Breakdown (from Chapter 1) ; Drumt " : Inve ts example 1 played on the cymbal bell, | [alte aban tts example Mtenanes ""¥o Me Songo” i hin ‘oped ener the yeu thon section fr Dave Vuketin Drums: : Tie drones bein at [A] with the hainle some eremuealick pattern, the bass drum eaiching some of the movements within the bast _ sumbao, ‘Thee second tne areal, the right Ind hisaat fs acded to the hell, spicing Ht up without getting in the way. At [1] . 9 funkier mind anit tn fw ple aod the astra ana fi a sed fn unison with same ofthe fess skips, The Pretkekowe tt the song hackbeat, riding on the hiatal ‘Eepping the quasterenates on the ell, wel Aral, ead ints Bass Tut fan te tn the [A] section, the bass plays a almple melody thal watches ty with Rabloy'e ates den. P vente ter how Dore Tha et Fase can curry a melody while tit playing a tumnbao. (1) te ‘sap rongo, Note thot te the 17h bae of thie section, aer Tine to make a hit with the anare, in the breakeow 1 lotta Example Breakdown (from Chapter 2) Brune . [A] First tine ts from Rxarnpfe 1 FA] Second time ures the right land of Example 6 JU) Derived frusis Example 8 Rxamnpte 12 LF rian site is derived from Exarmpte (3 38 fide, whihe fa tee meat his pet ttle Hanser wet the hand playing spain # exsescs Uke poattcen et the evi 1% Bits during the hand breaks alnwest heeeame part of tee hecake fhe like filing whille playing a prove. The key Here Ie ot 1 SH srcmund the Bae, ut etter wie the 1 just ay on a atealght tuniboes, A ype dhvley for the stunts Includes a strong unison Nine wlth the other fnsteuments, Gemnetrated how at ecto . "Blind on Be c aber a 9 pron elfen wh AML OCH, We wt Uw aow w ange kyle whch Ul 1 trait uckdoeat us Tne frost Hine gots payed yen “This Hine Bx cally Fur, but ts) fave, an fe song. By catching parts of the ise with the kick snd a bi groave, you can alll add the hackbvent wht the siyht kine ¢ freae line oveout minal he yon katate eye *2" nn #4" to make a Latin prowwe sound funky. The prone the moves hack fo the sonpe Imckbcat ever the plasy meant wlich ocr Ine the eben eng for Hs alo 44 Bre whieh bx developed ner funkier Bice wt Epa] as aie Tavs, P wane ts ehernontate Bere: fae Un Pas Aire tu stays seh the chive did keeps tbe sphet ef sermg Ae bad gee Front Last te funk ne Teac itn, Raw * [a}isan etaboratian of example 1. Sections {15} and [BR] ore similar to Examypte 8 i the last Bih-nee front the Zside Us thed over to te Ist note 0 salle,rT Motel Natlonal™ (guage) UW tone we wanted Ue liek up the more textional guaggancts with the Funke RisAMNE, ao HE MUKA! back and forh hewn te te fete r The eight land ileal sete clave the flea (ime through TR} piano sot there's more af a biick chord montuneetke feet thon ake the cong pas on the toe the second tne theoog, going. on.|T Fe thie necked slight change, sa Twent te the Sean, the clave In limpec with te ght hand glvoaing cymbal 19 open it up. Finally, we go back to the original vn the snare sing the funk sextkans, For the necro haifa the jruaaanet, with aweepre on dhe hit the Ut tye arent drumar FB this ine the Ins plays fotkdoric style Cnc xtettid ene to BE uae} funk Hines. 1 play Bike dn the bans Unfime acct fe mele wie kecplng neha, Thee ane aerated ih nd [Dany antepre Fak fect and srt The wonton Naw i derived from example 2 begining un the Side [in] ke he Zou pare xa 5 [ec] is siuntkar > Examaphe 3 + As de fot part of xampte 5 fefeime example = ~ “Afro Waltz" . . wt Tas tune, wvinen hy 1 O*Gunnet, bea fone! vehicle for explore varlenes thane feels which can Alro-Casny 6% prow ly in the free and Wiues vein, Rill isan exciting Inipruvinee and we hope yo fim a much as we de, speelnparcdl ewer Yhe nin playing with Drums Done you jet pas the 6 yauENe, yHe can Dein to think buat” thesé feel singed ae nti aia planne In aelvance; concentrate swlstese tne foe fs coin nest se ea the eanhlont eit Roel on neiking youre eesnfitable meni Pack andl foah betwen conforable amet the sections will Naw Inte exch alee, Neturlly, them, depending on what the rb ts dein, Baer: | The puube in beats the “pce Faw” andl able raves én quater: slightly antes, E distiogwish berseen the two feoks hy ade mane ack wale dhe 1 reeuwet in the fave seetlen, while ty the Sluts 1 kee mosaly so a pemtatonle appresich, Simitarly, Miferent nitude berween the 6 heute and the faz the wall Tut a fuke BIC of faewanl aienien si be probes, while in the 678 1 fesse unary on di mia a Example Neesksowa (from Chapter 4) Bovine : Hint thy Hhroup chart bs version of (comple 2 | hee Beannple # Ast cartaion Br 0 edd Example 2 far sltfle retin {4s fasially playing clave thraighoot the cane: phyes fn union wie ae Ia Finally, when F ge up to the whuther as cense-stick (far the heal aad plan sola, a snare fee clave gut into a stall ook stem ho ty rea Wy teat tr lo aif ai the Fen kbs Y the neta thane dae tcl anal panes gol, The tat ‘out on a chavcler groove, but phiyng the sehiske sole stants ct rock, mixing single hatckbeats with part of the clave on the snare cun alvo xen pretty strung fest a se bison the 2d oF he eave, “The dimbtetine ick ane liercat ppaeach. 39cy ae ay Raver i.” : A These ane yp exe? Tote 9 Fonketick otyte at expectslty whem suing, fra a pen ww a sip tine None oF Mike's si, these shiner kine oF jg Sonera em dete ite wis May tre 9 and 1804 the pnt st strays, even mute thay ke bickine up, tara (A "ana net 2t (be Pa Bunt fall ys sit Hae i BaJeecriveet nom | Mike's sates best “Metal Mozambique” oy We wanton tes oh OFF be ph py We ene up ate 9 be meraunlque cytton and decal ist foc on 8 haw 1 mere com he Iaenyht ito ck power teh frat. The tone katate Ua a eveyone te Saye at tte till make W work, Mike Story was the prefect ctwake For romlinn tthe bie ah fever soloing tye and bait Gor being r cexence of the prone, Drums | or Thraughewt this hes rans and fois are shut ateayy fer the stare. Tee suka section EE] is an . fa, The Hl rita the genae at [AJ ure played of the vighedl graave, with ihe tone thay wsether ara ue te ot Cf) enter sadn acters tat ean pa Daas These es ave thahtly lockeal hy wits the dum pers. 1 use . (3s ‘the skysping technique all the way thasang to get at fear dfn, Sho to msc Anand Raby Inne, Example Brea feo Chapter 5) ' #8 trams, : * “THe [Jase fe an etaenation om Esamphe 2 | 6 ow . | 4 ‘The [A]ertinn uses txample 6 : mo es CLOSING " uke oF tain ane prewitex at wee ance cyt gan gen Hane here sre a wy. dliserneri FE Hiton, fot te aici howe ef yrms shold feel five te take then semewter Bev, Mail, The Douninlean: Repal tiny amber Sauth new: groves that work well ia four on 2 Aivetian al Canta erumies, Also, we fet tna le le way tr hee te nce somnvtog: hy uealertane onthe Pet wns, whee Aloe Cah lt ‘cond a nesting the Integy of Ws vos while a hae ame ts mmeske up a ffetime of gusty. : ! © doing way with preconceptions, allowing the: Ww re dr chen te hegre thi ore Tinwe provkke ska af cape wie aod wore people, = tering the atituke af seme comion AftusCuban qiaves, wel shower ho they ean complement soune of texkays contemporary ssl niyhes, What have heen prover! bere are fam sone dle “Ube teacler should realize th 4 : 63 iee ee ee ee ee ee iy ae og 1 . , Torn Be on oe fal “ | = ipenl | J Light it Pel D al La al a | | | == fe Hesse | Uo) aaa pee ee ee ee c= ===‘ 2 2° : tr |p =F = = aT. = oe “TO Tacel Ind x= | : : 4 traded Be —< i on oe B pctietictl Aichi ERR eee eee eee eee RRR eee ee ee ee ee ee ae Und a Pe) 2 -o we SY El FY| = te She i aes ‘iat. Av === iL (RRR eee RRR RRR eee eeeMontune fr wee aa it eee Ree eeSOR REO ROO OEE OBB BaRett PRR HHH ELE AERS \ee ee ee ee ee HOTEL NATIONAL ® Lincoln Goines: Rohby Ameen BIN O'Connell YB? - w Ey roy pr Ay a Tat ee Zp. ——r it - pee 5 2 Fy 2 tt We | = | : 9¥ . H fanetoedesteeytt ¢r yo Ln Ln Oa Le od Ca Ln - Cd ™ 4 Ld cd . 7 . . . . Ca . ry “ cy La ” ” . ” id Cy Ce: Cf Oa . Cd - ” Cf Cy - id Cd Pee© BL O'Connell & sto WALIZ |ay nD? ar cr . ESSE = 7. i ——————— = Solow: AAT 1 - ' tsex died jazz fect, 2ndx double x azz feel, 3rchx shuMe Fee, Pconta - 7x f- -- ft Tess z@ Lincoln Golnes Robby Amect Oscar Hernandez, ©] a a - .- - - ra J rd Cd Co Cd . Cd Cd ar . id ar o> . cy i . - ar ry rf cd - - cd a - - a[B] rane soto ‘AT rah at f eee eee ee i J' if ae ee aii SpE pee. : aR he a ey Ness spepecpmpalial bas. C r.ae rg ae Pare. ar ec 7 a: ' eee ee eee eee eee eee ee! RERREBEEE aMEVAL MOZAMBIQUE rrepeye Gyn, bet onlybe rrreeceteeseage a2 4Allrums are referenced according te thelr general chapter: J-Chave onal Thanh; 2-Songey 3-Guryguance; 4~Aleo-Coban 6/8; 4-Cha-Cha ant Mozambkye, “ive atthe Be Note* (all chapters) . - ” 7 ‘Afro Guha “Aro Guba" fchaptesk 34 Ca acretto, Rey . Qe View La Musica 1,5) a: “Rucomstrictlon” (1,5 wilh Sal Cuvvand - Batacumbete "Cain tin Bice de Song” (2,355) ‘Meramn : em Aquetis Thempeat (21 Tiewsra . “ive the Univer of fre Ru" (21 Wertam cd lsdex, Ruba and Sele del Solar etra/Asytom s lade, Rubén and Wille Cote tools 7 Cachan Fy s0 Ritmo Cattente “Cuban Jam Sessions Ip Mintatue—Desearpas’ (1 Pana = ‘Camilo, Michel “Michel Cait" 1,2 bad Coltrane, John “Live at Hirdlland 61 Impubse . Draven, Paquin “Why Not 2.9 Coun 7 to, Gonzaler, Jerry & Fort Apiche Rand “Obata Call cuaptersvih Andy Gonzaten) En - . Ya Yo Me Cure” (34 with Andy Gunzathend Panne il tears ! asia . i is Tae van Yon Que Pista 01.2 with Changultar peat . ‘ ‘Andi Ven y ASueeete C12) Fyrom i bd Machito _ “Alro-Catan faa 1) Vere fy . : ~ z Meters, The “sini” (3 Chadey & . Patenteet, Halle tesencrainmul 439 a Coco. - . “Senthio” (1,5 wih Andy Gonzalez) Coca. be “Patato aunt Totten” “Patata y Tenlou we . . (3, wth Coctioo and Aisenin Rodregucn Puente, To “Piance Manta” (15 wih Babhy Redlelgucz) RCA Toteenational Ld **Goxa MI Timbal” 1,2} : Cone . Rentriguen, Tin = “Tho,Tho, Tho* Cl wit Cachaod "+, © Ses Side File - Rubatenta, Ganrate “Cirle Call cheapteryd Monidoe « Ursin ttavane’ | Messidor . “Grupo Proyecto de Gonzalo Rubalcala (2) Arche . Santamaria, Mongo > “Creatent Wt (14,5) “ frouany - Taser, Cal *Sonla Ube” (2) verve os Tolleo y sits Rumberon - “Totleo y sus Rurmheron" (3 with Andy Gonzalex) Manian = mT Valentina, ave “Kalahari” (2,5) or Sf a * of ” . ] - oy ST a| LINCOLN GOINES te Barber Tob ters ‘Vola Marla endar Boh Mintzer Boh atoses fill OConnett Mark Soskl Lent Stee Uncodn Goes ereogner FSI oer, SELECTED DISCOGRATITY tra tame Austr Veet bare “ta Th Steen” atch Canale” "swhcliack™ Why New seelebraion” oNete Een POU OF he Stetken” “Night Lie “Hizn Drive” “tate Hew aa “Cds Whee Me *Mapke Bs New Yok? estate Hew" toby Centon” “incredible Jaumey™ spectrum" Jen cy Poy Cayo Sorneny tomy Gage secret tne Cheer he Use? “Yre Vateavtke Mann Hae Sumit “Uy te a ete “Mia Th Light Sirk” “jue Cae” “Kalabist “AGH CleanseSet et ALSO AVAILABLE FROM IHATTAN MUSIC. * . BOOKS WITH AUDIO CASSETTES FOR DRUMS “Afro-Cuban Rhythms for Drumset” by Frank Malabe and Hob Weiner raaiflan Rliythnys for Drumset” by Duduka Fonseca ancl Bob Weiner FOR Jaco Patodlus *Modern Electr Pass" (revised edition! Jobn Patitucel “Electric Bass” (DC! Video ‘Transcription Serles) . Steve Gadd, “In Session” ‘ Dave Weck, *Back) to Basics” by Benen oe sto Dave Weckl,-“Ihe Next Step”. * Bi . _ Steve Smith, "Baft One® : ‘Steve Smith, *t Two" as . BASS vinzos . Jolin Patilueci, “Plectrie Bass” John Patiueel, *Bkedtrie Bass 2° 8 Mark Egan, “Bass Workslap” w/ booklet Jaca Pastorius, “Moder Hlectric SBass* w/ booklet i For more information on these or other «juality instructional videos anel books contact: DCI Music Video SAI Ave. of the Americas New York, NY 00H 1 (800) 342-4500 in NLY. 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