INSTANT GUIDE TO < DDUNY, GROOVES A Ee eC mag By MARIA MARTINEZRUM EARS sisacomplee guide to drum muscanship through eas of a drummer, Topics inde phrasing, rs, key signatures, the Iesboard, the guia, ear ig, cles, and ho to sen we playing STUDIES IN SOLO PERCUSSION by Morris Goldenberg or iaverrediatet-adanced percussionists, his book designed to asi the soo player in combining groups instruments comulatve Instrument ince the sa drum, bass drum, tenor drum, fl drum, picol shed ee temple block, cowbell, bongos, tom-tom, wood block andy ore The bok stars of wise sides REATIVE TIMEKEEPING FOR THE {wo drums, eso te ses free drums, 3 DNTEMPORARY JAZZ DRUMMER ens te es ror ore ses fick Maing $750 mbining 2 vary of jazz ride qmbal fers with coornaton and reading exer: es, Creative Timekeeping develops troe pendence: the ability to play any tytn the ride gamba we pang any ym the snare and bass drums. 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Tbe Drum Perspective ws upon Erskine’s wealth of orice sod cere eras Te inate the mystery of making Fon Mone ieronwarion, SE YOUR Lochs Music DEAR, Jon Cohan sic thats aesthaicallysatishng io lstener and musician ‘On warte Te: This wel- researched book highligh the outstanding drum ses of rc juz, RAB, and county. Spann Seven decades, it features over 4 reat his payed by Buddy Rich, Gen ‘Krupa, Ringo Sarr, John Bonham, Hi Blane, Ginger Baker, Keith, Moon J The Dram Popul ke a sts of pate ons at canbe ened ayers at ar ie Nast ramets dese fo eke stoners {oss wo ork ith driers The CD incdes chs representing sone of Enkin best wor, td the ok includes transcriptions and chars of mary of the -_ fod coe A dagen dis dormanoes, pits Specie eres calc 2. aver’ abiy, creavy and sarenss, HAL*LEONARD® Ids, ses, clos, and vitae 8 cstoen specs th G00 Book Pack... $1995 7 alecects ea ees Sor tte an rae feces weneesereasea oosa0n 2295INSTANT GUIDE TO DRUM GROOVES By MARIA MARTINEZ ere aac pe ers EneDEDICATION | dedicate this book to Robin Wright and my entire family for their continued love and support. It is my wish that the Instant Guide to Drum Grooves book/CD inspires drummers to learn, play, and enjoy a wide variety of musical styles. ACKNOWLEDGMENTS Thanks to all my endorsers for their support. A special thanks to Rich Mangicaro at Paiste Cymbals; Carol Calato and Dan Schieder at Regal Tip; Ray Tregellas, Steve Nigohosian and Kimberly Redl at Latin Percussion; Ed Eblen at the E-Pad Company; Mike Fartiss and Stephen Bennett at Pearl Drums; Bill Carson, and Chris Hart at Remo; and Spence Strand at Rhythm Tech, AA special thanks to Rick Mattingly for his continued support and excellence in editing. Thanks to the staff at Hal Leonard Corporation for making this project possible. Special thanks to Eddie Roscetti for his friendship and continued support. CD CREDITS Drums and percussion: Maria Martinez Bass: Ed Roscetti Recorded and mixed at Groovetoons and BPM Productions, Studio City, California Engineer: Ed Roscetti ABOUT THE AUTHOR Maria Martinez was born in Camaguey, Cuba and raised in New Orleans, Louisiana. Maria has studied drumset and percussion with Alan Dawson, Alex Acuna, Steve Houghton, Joe Porcaro, Ralph Humphrey, Joey Baron, Casey Scheuerrell, and ‘many others. Martinez pursues an active free-lance career performing and sharing both stage and studio with such artists as Barry White, El Chicano, Rita Coolidge, Nel Carter, Angela Bofill, Kiymaxx, Emmanuel, Johnny Paycheck, Trini Lopez, and others. Her television and recording appearances include The Late Show, Sou! Train, The Drew Carey Show, Dukes of Hazzard, and the No Borders CD by Pear! Drums, Inc. Maria is a respected drummer, percussionist, clinician, and educator. She has taught master classes, conducted clinics, and played at events such as NAMM (National Association of Music Merchants), PASIC (Percussive Arts Society International Convention) and TCAP (The California Arts Project) just to name a few. Martinez is the author of several educational publications, including Brazilian Coordination for Drumset and Afro-Cuban Coordination for Drumset instructional videos and book/CD packages, all published by Hal Leonard Corporation.Page n 13 Introduction, Notation Key Chapter 1: Jazz Basic Jazz . ania) Jazz with Latin Flavor Two Feel. Jazz Blues Jazz Blues Shuffle - Jazz in Three Latin Jaz in Three. Afro-Latin Jazz Jazz Mambo. Chapter 2: Shuffle Basic Shuffle Chicago Shuffle Swing Shuffle . Upbeat Shuffle . Rock Shuffle . Rock Shuffle Variation’. Half-Time Shuffle Half-Time Shuffle Variation Chapter 3: Country Train Feel. Two Beat Two-Beat Variation Country Waltz Country Ballad. Country Swing... Country Rock. Chapter 4: Rock and Funk Basic Rock Half-Time Rock .. Eighth-Note Funk Sixteenth-Note Funk. Hip-Hop....... Chapter 5: New Orleans Street Beat a Dixieland Dirge... Second-Line #1. Second-Line #2: Second-Line #3 Bo Diddley... Swamp Groove . Blues... 12-Bar Blues... New Orleans Mambo. New Orleans Funk... New Orleans Funk Variation Generic New Orleans Groove New Orleans Gospel CONTENTS Each example in the book is demonstrated on the accompanying audio CD. The track number for each example is shawn on the CD icon next to the music. CD Track wavankone Page 17 Chapter 6: Reggae One Drop (Straight Eighth Feel) . ‘One Drop Variation (Straight Eighth Feel. One Drop (Swing Feel) One Drop Variation (Swing Ska (Straight Eighth Feel) Ska Variation (Straight Eighth Feel) Ska (Swing Feel) ‘Ska Variation (Swing Feel) 19 Chapter 7: Calypso Basic Calypso. i Calypso Variation 1. Calypso Bass Drum Vi Calypso Variation 2 Calypso Variation 3 Calypso Variation 4 Soca. 21 Chapter 8: Brazilian Bossa Nova . . Bossa Nova Variation . Medium-Slow Samba Samba...... «Samba Variation . . Batucada . - Batucada Variation |. ‘Samba de Partido Alto . Samba de Partido Alto Variation. Baiao..... Baiao Variation 3/4 Samba 7/4 Samba 7/4 Samba Variation ‘Afro-Samba el). 25 Chapter 9: Latin Cuban Bolero, 75 Cha-Cha-Cha. 76 Cha-Cha-Cha Variation. - ‘7 Cumbia 78 Songo.... ese " 73 3-2 Mambo. 80 2-3 Mambo 81 Nanigo. _ ere s2 Half-Time Nafigo 83 New York Mozambique 84 Bomba 85 Bomba Variation... 86 Plena 87 Plena Variation 88 Merengue .. 89 Apanpichao...... 22... x 30 Charanga... ve I [IED coeooccoopaacoseo00c000 92 Beguine. 2.22 293 Joropo parce : 94 Aro ener 95 Conga de Comparsa . 96 Conga de Comparsa Variation. 7 Rumba de Guaguanco 98 "Rumba de Yambu. ... 99 “Rumba de Columbia. 99 “Rumba de Yambu and Rumba de Columbia are both a ea eeINTRODUCTION | began playing drumset professionally at age fifteen. Nightclub after nightclub, week after week, my parents would chaperon me while | played until the sun rose. While living in New Orleans | found myself playing many different styles of music: jazz, funk, rock, fusion, reggae, country, and many of the Latin styles from Central America, South America, and the Caribbean. | realized quickly the benefits of knowing and being able to play so many drumming styles. This knowledge and experience has afforded me the opportunity to make my living as a player and music educator. Instant Guide to Drum Grooves will take you through a variety of drum grooves you can learn, master, and use in everyday drumming situations. The book will enable you to reference specific drum grooves in ten different musical styles. In addition, the CD will give you the opportunity to listen to the rhythmic feel of the drum groove you have chosen, The book and CD will expose you to the different drumset interpretations of the styles listed. An important part of learning a specific drumming style is to immerse yourself in the music you intend to learn to play. A good way to do this is to listen, watch, and mimic what you see and hear when you go out to listen to live music. Purchase books, videos, and other learning materials that will aid you in your quest for conquering a particular style. Eventually, you will be able to develop your own rhythmic interpretations of these musical styles. NOTATION KEY — = = = = = = HiHat HiHet Bass. Large = Muted. «Open Large Snare. «Cross-_—Ghost (woot) Splash Drum Tom = Large Large. «= Tom = sDrum == Stick=—=——Note Tom Tom Shell Q * * 2 x — = AE = SS Small Small Ride Hi-Hat Open Cowbell_-—Cowbell-— Cowbell Tom Tom Cymbal (whan) «HH Shank Mouth FimCHAPTER 1 - JAZZ New Orleans is the birthplace of jazz. Some jazz-related styles are ragtime, Dixieland, bebop and swing, just to name a few. The jazz drumming style is rhythmically improvisational and is based on the quarter-note pulse with an underlying triplet feel. 1. Basic Jazz This basic jazz groove is sometimes referred to as a “straight-ahead! jazz feel. It works best while the bass plays four quarter notes to a bar, also referred to as a “walking bass line.” Make sure to drive the quarter-note pulse with the ride cymbal, and play the snare and bass drum with a light touch, Recommended listening: Departure, Gary Burton & Friends by Gary Burton, track 1: "September Song,” Moanin by Art Blakey and the Jazz Messengers, track 4: “Along Came Betty.” @ J=130 = Pan smack 2. Jazz with Latin Flavor This is a rhythmic variation of the jazz groove with a Latin flavor. This groove can be played to identify a particular section of a song or during the solo section, Recommended listening: ‘Live’ At The Pershing & The Spotlight Club by Ahmad Jamal, track 1: “But Not for Me.” Standard Time Vol. 1 by Wynton Marsalis, track 2: “April in Paris.” TRACK 3. Two Feel The "two fee!” is often played during the A section of a jazz tune, and the bass plays half notes on beats 1 and 3. Recommended listening: The Best Of Horace Silver by Horace Silver, track 8: “Soulville.” es pee @ dog ce 3 TRACKS 4. Jazz Blues This is another jazz groove that works well as a variation. Again, the ride cymbal should drive a strong time feel while the bass drum plays ghost notes. Recommended listening: Kind Of Blue by Miles Davis, track 2: "Freddie Freeloader.” @ J=120 8 - > — TRACK5. Jazz Blues Shuffle This groove works well for a blues shuffle and must be played with a strong driving quarter-note feel while the snare and bass drum play ghost notes. TRACKS 6. Jazz in Three This is a basic jazz groove in three that lends itself to many variations using the hi-hat, bass drum, ride cymbal, and snare. Recommended listening: Kind Of Blue by Miles Davis, track 4: "All Blues." The Real McCoy by McCoy Tyner, track 2, “Contemplation.” @ J=10 TRACKS 7. Latin Jazz in Three This two-bar jazz groove in 3/4 time utilizes the cross-stick and toms to give it a Latin flavor. Recommended listening: Blue Winds... by Robert Kyle, track 6: “Say What.” Departure, Gary Burton & Friends by Gary Burton, track 7: "Japanese Waltz.” @ J =100 TRACKT | 8. Afro-Latin Jazz This Afro-Latin jazz groove is based on the 6/8 Nanigo Afro-Cuban rhythm that is often played by some legendary jazz drummers. This groove can be played and thought of in 6/8, 12/8 or 4/4, Recommended listening: Thru My Eyes by Michel Camilo, track 9: “Afro Blue.” J =120 zl aia . 3 TRACK 9. Jazz Mambo This two-bar Latin jazz mambo groove can be played straight or swung, The ride pattern derives from the cascara pattern played by the timbale player in Cuban music. Recommended listening: The Real McCoy by McCoy Tyner, track 1: Passion Dance.”CHAPTER 2 - SHUFFLE One of the most important aspects of playing a shuffle is the triplet feel. By combining swinging eighth notes (the first and third notes of a triplet) and the accented quarter-note pulse you'll create the correct feel for the shuffle style. Examples 1-4 work well with either a walking bass line (playing quarter notes) or a shuffied eighth-note bass rhythm. 1, Basic Shuffle This is a basic shuffle based on the triplet feel with an underlying quarter-note pulse. The pattern notated on hi-hat can also be played on ride cymbal Q TRACI 2. Chicago Shuffle The Chicago shuffle is widely used in the blues shuffle styles. The ghost and accented notes on the snare drum along with the quarter-note pulse on the bass drum are crucial in giving the Chicago shuffle the correct feel. Recommended listening: Keb’Mo’ by K. Moore, track 4: *'m On Your Side" and track 10: "Dirty Low Down and Bad.” @ J=120 Sos Rack 3. Swing Shuffle Here is a variation of the Chicago shuffle, sometimes referred to as the swing shuffle. It is interesting to note that by playing half notes on the bass drum (instead of quarter notes) this groove is sometimes referred to as a Texas shuffle Recommended listening: Keb’Mo' by K. Moore, track 10: “Dirty Low Down and Bad.” @ J=120 yh TRA 12 4. Upbeat Shuffle This shuffle rhythm is very effective when played during the high dynamic section of a solo or during the out chorus of a tune. It is important to play a strong quarter-note pulse on the bass drum while playing consistent backbeats on the snare rum, TRACK 135. Rock Shuffle This rock shuffle has a syncopated bass drum pattern and demands strong backbeats played on beats two and four. Ride cymbal can be substituted for hi-hat. Q ioe re 6. Rock Shuffle Variation This variation of a rock shuffle includes ghost notes on the snare drum. It is important to play strong backbeats with the snare while playing the ghost notes at a very low dynamic level. Ride cymbal can be substituted for hi-hat. J=n0 es TRACK 15 7. Half-Time Shuffle “ This is a basic half-time rock shuffle with a syncopated bass drum pattern. Some songs use the half-time feel for a section of the song such as the bridge or B section. 2 te 3 / C 3 8. Half-Time Shuffle Variation Here is a half-time rock shuffle with ghost notes played on the snare drum. It is very important to play the ghost notes at a very low dynamic level o J=120 ae 2 4 annaCHAPTER 3 - COUNTRY The country drumming style is based on either the straight or swung eighth-note pulse. The bass drum typically plays with the bass guitar on beats one and three. Some country grooves are similar to the shuffle and rock styles of drumming. Other styles related to country are bluegrass, southern rock, zydeco, rockabilly, and honky tonk, just to name a few. 1, Train Feel This “train feel" should be played with a loose feel so that it falls somewhere between straight and swung eighth notes. It is often played with brushes. @ = 100 TRACK 18 2. Two Beat This “two-beat" groove is based on quarter notes with an underlying half-note feel. The two-beat feel must be played with a strong sense of time and authority. The hi-hat part can also be played on ride cymbal. Recommended listening: Absolute Torch And Twang by k.d. lang and the Reclines, track 5: “Didn't " TRACK 19 3. Two-Beat Variation ‘A *two-beat" feel usually implies playing the bass drum on beats one and two and the snare drum on the “ands.” This two- beat groove utilizes ghost notes played on the snare drum at a very low dynamic level while playing strong beats on the snare and bass drum. The cymbal part can also be played on hi-hat. Recommended listening: Absolute Torch And Twang by kd. lang and the Reclines, track 1: “Luck In My Eyes.” @ é TRACK 20 10 4. Country Waltz This is a basic country waltz based on triplets with an underlying quarter-note pulse. The hi-hat part can also be played on ride cymbal. Recommended listening: Absolute Torch And Twang by k.d. lang and the Reclines, track 6: “Wallflower Waltz.” Q TAK10 5. Country Ballad This basic ballad groove in 12/8 is based on the eighth note with an underlying dotted-quarter-note feel. The hi-hat part can also be played on ride cymbal. It is common to count off a 12/8 ballad using three dotted-quarter notes and then playing @ fill on the last three eighth notes of the bar to bring the band in, Recommended listening: Absolute Torch And Twang by kd. lang and the Reclines, track 8: "Pullin’ Back the Reins.” @ J.-60 Track22 6. Country Swing This basic country swing groove is based on the triplet feel with an underlying quarter-note pulse. The bass drum plays @ slightly syncopated rhythm while the cross-stick plays strong backbeats. It is important to feel a strong quarter-note pulse while playing the hi-hat triplet figure (which can also be played on ride cymbal). Recommended listening: Absolute Torch And Twang by k.d. lang and the Reclines, track 2: "Three Days" and track 10: “i's Me.” J=90 ms > m3 > 3 Tacks 7. Country Rock Here is a straight-eighth-note rock groove with a country flavor. This groove is based on the eighth note with an underlying half-note pulse, The bass drum often follows the bass guitar rhythm. The hi-hat part can also be played on ride cymbal. Recommended listening: Absolute Torch And Twang by kd. lang and the Reclines, track 9: “Big Big Love.” @ J=tt0 TRACK 24CHAPTER 4 - ROCK AND FUNK ROCK Rock drumming is based on a consistent eighth-note pulse while the snare drum typically plays a strong backbeat on two and four. The bass drum figures vary depending on the pattern played by the bass quitar. Rock styles include hard rock, progressive rock, classic rock, punk rock, heavy metal, rack 'n’ roll, grunge, and speed metal, just to name a few. 1, Basic Rock This basic rock groove is based on eighth notes with an underlying quarter-note pulse. The hi-hat part can also be played on ride cymbal. The bass drum plays a syncopated figure while the hi-hat accents every other eighth note starting on beat one. Itis important to play consistent backbeats on the snare drum. J=120 = or E 2. Half-Time Rock The half-time rock feel is often used to play rock ballads. Sometimes this groove is played to identify a particular section of a song, such as the B section. This groove can be thought of in either 4/4 or 2/2. Recommended listening: Can't Take Me Home by Pink, track 6: “Let Me Let You Know." TRACK 26 FUNK Funk drumming is very syncopated and is based on an underlying eighth- or sixteenth-note pulse. The snare and bass drum often play syncopated figures while the hi-hat plays consistent or broken eighth- or sixteenth-note rhythms, The ghost notes ‘on the snare drum are very effective in making the groove feel danceable. 3. Eighth-Note Funk This groove is based on the eighth-note feel with an underlying quarter-note pulse. The bass drum plays a syncopated figure while the hi-hat accents every other note starting with the first eighth note. It is important to have a strong sense of the sixteenth-note pulse so the groove feels locked when you're playing it. Qo TRACK 27 "2 4. Sixteenth-Note Funk This sixteenth-note funk groove has a strong, consistent eighth-note pulse. The bass drum is syncopated and must lock in with the sixteenth notes played on the hi-hat. The snare drum plays strong, consistent backbeats. This particular groove—or any variation of this groove—would work well for a funk-style ballad. TRA 28 5. Hip-Hop This funky hip-hop groove is based on swinging sixteenth notes with an underlying up-beat eighth-note pulse. Make sure to play this groove with a relaxed feel. rRacK29CHAPTER 5 —- NEW ORLEANS The New Orleans style of drumming has elements from many different musical styles such as jazz, rhythm & blues, Latin, and funk, just to name a few. Military marches and Carnival street beats heavily influenced New Orleans drumming. The rhythms are syncopated and are based on either straight or swung eighths or sixteenth notes, depending on the rhythmic style 1. Street Beat This is a typical New Orleans street beat, which is sometimes referred to as a parade beat. Play the snare drum figures near the edge of the drum and with a relaxed, light, swinging sixteenth-note feel. The hi-hat splash is played on the “ands” while the bass drum plays a typical street-beat phrase. TRACK30 2. Dixieland This Dixieland groove is derived from the traditional way of playing jazz (on the snare drum) before the invention of the hi- hat. This groove is based on the quarter-note pulse with an underlying triplet feel. Play the snare with a light touch near the edge of the drum. The right hand maintains quarter notes while the left hand plays a buzz roll on the backbeats. Recommended listening: Best Of Preservation Hall Jazz Band, track 5: “St. Louis Blues.” Tas ROR U # f 3. Dirge The dirge is a slow, street funeral march, which precedes the second-line. Play the drum with the snares off and lightly tap the bass drum figure. Recommended listenin +t jest Of Preservation Halll Jazz Band, track 12, “Just A Closer Walk With Thee.” @ J =60 nares off fara Snares of 4. Second-Line #1 This is one variation of a second-line groove, which is typically played after the dirge. Play this groove with a relaxed feel and swing the sixteenth notes. Tap straight eighth notes with the hi-hat pedal while the bass drum plays the syncopated rhythm. The snare drum accents outline a clave-tike feel and should be played near the edge of the drum. @ J=90 TRACK 33 3“ 5. Second-Line #2 This second-line groove is one of many variations. The snare drum ghost notes should be played at a whisper volume. @ jo, . . ce TRACK 34 6. Second-Line #3 In this second-line groove the bass drum outlines the 3+2 son clave rhythm, which is derived from Cuban music. Swing the sixteenth notes along with the snare drum ghost notes, and notice the up-beat eighth-note accents on the hi-hat. This ‘groove is based on swinging sixteenth notes with an underlying up-beat eighth-note pulse. Q ne TRACK 35 yo iV 7. Bo Diddley This is @ typical Bo Diddley groove, which is played between the high tom, floor tom, and snare drum. The bass drum outlines the clave rhythm while the hi-hat pedal taps quarter notes. This groove is based on the sixteenth note, and the quarter-note pulse anchors the syncopated fee!. j= 100 ALRLARLALRULRLALAL R TRACK 36 > a = >> > ee 8. Swamp Groove This “swamp" groove outlines the quarter notes on the bass drum while the swung sixteenth notes are played on the snare drum, Make sure to play this groove near the edge of the snare drum. TRACK9. Blues This is a typical New Orleans blues ballad fee! played in 6/8 and based on the eighth note. The hi-hat pattern can also be played on ride cymbal. Recommended listening: Crawfish Fiesta by Professor Longhair, track 3, “Something On Your Mind.” d J.e76 TRA 8 10. 12-Bar Blues This 12/8 groove is a typical feel for a slow 12-bar blues. This groove is based on the eighth notes with an underlying dotted- quarter-note pulse, The hi-hat part can also be played on ride cymbal. Recommended listening: Crawfish Fiesta by Professor Longhair, track 7, " Q + TRACK 39 's My Fault, Darling.” 11, New Orleans Mambo This New Orleans mambo groove is sometimes referred to as the New Orleans cha-cha or rhumba groove, It has a strong quarter-note pulse played by the cross-stick, while the snare and high tom emulate a typical conga rhythm, Recommended listening: Crawfish Fiesta by Professor Longhair, track 9, “Cry To Me." TRACK 40 12. New Orleans Funk This is a typical New Orleans straight-eighth-note funk groove with a syncopated snare drum beat. The combined rhythm of the syncopated bass and snare drum pattern adds a Latin flavor to this groove. @ J=10 TRACK 4 1516 13. New Orleans Funk Variation This funk groove is a variation of example 12 with added ghost notes on the snare drum to create a syncopated feel. This, groove is based on the sixteenth note with a quarter-note pulse played on the hi-hat. Q TRACK a2 14, Generic New Orleans Groove This is a typical New Orleans-style rhythm. This groove requires a consistent staccato eighth-note feel played on the hi-hat {or the shell of the bass drum or floor tom) while strong syncopated rhythms are played on the snare drum. The buzz stroke indication on beat four refers only to the snare drum. Recommended listening: Crawfish Fiesta by Professor Longhair, track 1 @ J TRACK 43 "Big Chief.” 140 15. New Orleans Gospel This typical New Orleans gospel groove is based on the triplet feel, Make sure to play the unaccented notes with a light touch. Recommended listening: jest Of Preservation Hall Jazz Bond, track 9: "Joe Avery.” TRACK a4CHAPTER 6 —- REGGAE The ska and reggae styles of drumming are based on straight or swung eighth- or sixteenth-note pulse. The hi-hat typically accents the up-beats, which match the traditional rhythm parts of the guitar and keyboard. Typically, the backbeats are played simultaneously with the bass drum and cross-stick, referred to as the “one drop.” The bass guitar patterns are usually rhythmically sparse. 1. One Drop (Straight Eighth Feel) This is a “one drop” reggae groove played with straight sixteenth notes. Keep your wrist loose to get a consistent feel while playing the up-beats on the hi-hat. Recommended listes rue Democracy by Steel Pulse, track 6: "Leggo Beast.” TRACKS 2. One Drop Variation (Straight Eighth Feel) Here is a variation of the “one drop” reggae groove. Remember to play strong backbeats with the bass drum and cross-stick. Recommended listening: True Democracy by Steel Pulse, track 9: "Man No Sober." TRACK a6 3. One Drop (Swing Feel) This “one drop” reggae groove is based on the triplet feel. Recommended listening: True Democracy by Steel Pulse, track 2: "Raver The Woilers, track 4: “Lively Upyourself” and track 6: *Roots, Rock, Regga " One Love: The Very Best Of Bob Marley & TRACK ee Sd 4. One Drop Variation (Swing Feel) This is a typical reggae two-bar groove. Recommended listening: True Democracy by Steel Pulse, track 4: “A Who Responsible?” @ = 60 -i TRACK 48 "718 5. Ska (Straight Eighth Feel) This reggae groove is sometimes referred to as ska, rockers, or the militant style. Recommended listening: One Love: The Very Best Of Bob Marley & The Wailers, track 7: “Exodus.” Q inn TRACK 49 6. Ska Variation (Straight Eighth Feel) Here is a variation of a straight sixteenth-note ska rhythm, @ d=70 TRACKSO 7. Ska (Swing Feel) This ska groove is based on the triplet feel, and the bass drum part is sometimes referred to as “four on the fioor.” Recommended listening: One Love: The Very Best Of Bob Marley & The Wailers, track 8: “Jamming” and track 18: "Buffalo Soldier.” 2-65 3 m3 3 ae TRACKS ——— 8. Ska Variation (Swing Feel) Here is a variation of a two-bar ska groove based on the triplet feel with a strong quarter-note pulse played by the bass drum. Recommended listening: One Love: The Very Best Of Bob Marley & The Wailers, track 13: "Is This Love.” @ oan TE > TRACK 2; CHAPTER 7 - CALYPSO The island of Trinidad is the birthplace of the calypso. The principal instrument of calypso music is the steel drum or steel pan. The feel of the calypso is based on the sixteenth note and the underlying quarter-note pulse. Both the tempo and bass ‘drum patterns vary depending on the music. The snare drum (with or without the snares) is typically played with light, timbale-like rimshots. The junkanoo and soca rhythmic styles are related to the calypso style. 1. Basic Calypso Here is a basic Calypso groove in which the bass drum plays a strong quarter-note pulse. The hi-hat is played hand to hand with an open hi-hat on the “and” of each beat. The snare drum can be played with or without the snares. @ J =110 Snares off TRACKS Ae pene Aba Cane A ° S 2 2 2. Calypso Variation 1 The sixteenth notes on the hi-hat are played by one hand while the busy snare drum part includes ghost notes. @ J=10 “ pane RAR RAR RAR RAR 3. Calypso Bass Drum Variation This calypso groove has a variation on the bass drum, which is typically played in unison with the rhythm of the bass guitar. The hands play alternating strokes between snare drum and hi-hat. @ J =100 Snares off Tucks GUARDED RRR a 1920 4. Calypso Variation 2 This example is played by one hand on the hi-hat while the cross-stick plays on the snare drum. TRACK 56 5. Calypso Variation 3 This calypso groove utilizes a syncopated bass drum pattern while the cross-stick plays the underlying quarter-note pulse on the snare drum. Recommended listening: Potato, Changuito, Orestes, Ritmo Y Candela, track 7: "Calypso En Las Nubes.” @ J=100 TRAST 6. Calypso Variation 4 This example combines bass drum patterns that are familiar to the calypso style. The ride cymbal plays a straight sixteenth- note groove while the snare drum part includes ghost notes and a buzz roll. This is a jazz-like approach to the calypso. Recommended listening: Grand Slam by Jim Hall, track 4: “Say Hello to Calypso.” Q he i LEE EA Wedd 7. Soca The soca (sometimes spelled socca) rhythm derived from the calypso style. The bass drum plays “four on the floor” (quarter notes) and the hi-hat plays on the “ands” of the beat, while the snare drum and toms combine to create the soca feel. TRACK 59CHAPTER 8 - BRAZILIAN There are many drumming styles from different regions of Brazil. Some of the more popular styles include the bossa nova, samba, samba de partido alto, and baiao. The rhythms are based on the eighth note in 2/2 or cut-time, or the sixteenth note in 2/4. The underlying pulse is the half note in 2/2 or cut-time; however, the feel of the bossa nova is based on the eighth note in 4/4. 1. Bossa Nova In this basic bossa nova rhythm, play the bass drum without any accents and keep the eighth notes consistent. For a different effect, try slightly accenting the ride cymbal in unison with the cross-stick. Another popular way to play this, pattern is to play the straight eighth notes by swishing a brush across the snare drum head, imitating the sound of a shaker. Recommended listening: Piquant by Tania Maria, track 3: “Triste.” TRACK 60 110 2. Bossa Nova Variation This bossa nova example has an interesting placement of the hi-hat openings, which makes the groove sound fuller. Recommended listening: Piquant by Tania Maria, track 3:*Triste.” @ de10 | cot 3. Medium-Slow Samba This medium-slow samba groove is based on the sixteenth-note pulse. It is important to slightly accent beat two on the bass drum; this emulates the surdo drum, which is a large low-pitched drum used in the street parades of Brazil, better-known as the Carnavals. Recommended listening: Piquant by Tania Maria, track 4: “Chiclete Com Banana.” TRACK a22 4. Samba This samba groove requires a straight sixteenth-note pattern with a loose feel on the ride cymbal. It is important to allow ‘the groove to breathe and not sound stif. @ J=90 TRACKS 5. Samba Variation Here is a samba groove with the hands playing in unison and some additional ride-cymbal notes to fil between the cross- stick rhythm, Recommended listening: Piquant by Tania Maria track 1: "Yatra" and track 8: "Ven P'ra Roda.” @ J=90 TRAKA 6. Batucada ‘A batucada is a percussion jam or a samba played with percussion only. The interpretation of the feel is the most important. part of this drumset batucada. Do not play this groove with a straight or military approach; instead, play the sixteenth notes with a loose approach. TRACKS 7. Batucada Variation Here is a batucada groove that involves playing the floor tom on beat two. This helps support the pattern played by the surdo drum, which is a significant part of the samba feel. ® wo lee gs8. Samba de Partido Alto This is a basic samba de partido alto groove without the pick-up bar. Play the hi-hat with a loose feel while accenting the snare and bass drum parts. Recommended listening: Brazilian Moon by Robert Kyle, track 8: “The Scent of Memory." Q + FT FRR 9, Samba de Partido Alto Variation Here is a samba de partido alto groove with the pick-up bar and at a faster tempo. Recommended listening: Brazilian Moon by Robert Kyle, track 8: “The Scent of Memory.” 10. Baiao This is a basic one-bar baiao groove, which works well in most situations. TACK 69 11. Baiao Variation Here is @ two-bar baiao groove that involves ghost notes and buzz rolls. @ J=100 TAK 70 : J | SS z = 4 2324 12. 3/4 Samba This is a samba in the 3/4 time signature. This same groove played at a slower tempo could be thought of as a bossa nova in 3/4. TRACK TI 13. 7/4 Samba In this 7/4 samba, play the snare drum figures near the edge of the drum for an open snare drum sound. The middle of the drum will create a dry or staccato sound, which is less desirable for this style of music. Q Track 72 14. 7/4 Samba Variation This 7/4 samba groove has a variation on the bass drum that is more syncopated, TRACK 73 15. Afro-Samba Here is an Afro-samba groove, which involves playing the snare drum, floor tom, and high toms. The bass drum and hi-hat anchor the rhythm with a strong quarter-note feel. Recommended listening: Brazilian Moon by Robert Kyle, track 5: “Flight of the Urubu.” TmACKTA foe a >> p> ===CHAPTER 9 - LATIN The term ‘Latin styles” is a general reference to all musical styles from South America, Central America, Mexico, Spain, and the Caribbean. Most Latin drumset grooves are hybrid rhythms from the traditional instruments played in the percussion section. Many of the Cuban drumming styles are based on the eighth note with the half note anchoring the pulse and the underlying rhythm of either the 3-2 or 2-3 rumba or son claves. 1. Cuban Bolero The Cuban bolero is a slow ballad, which is typically played with congas, bongo, guiro, and timbales. This bolero groove is a standard drumset approach, based on a straight eighth-note feel. The hi-hat emulates the eighth-note cascara (shell of the timbale) traditionally played by the timbale player. Recommended |: Fuerte! by Poncho Sanchez, track 7: “Siempre Te Amare.” = _ Jao ooo i € ff € 2. Cha-Cha-Cha The cha-cha-cha originated in Cuba and utilizes cowbell, guiro, clave, congas, and timbale. The rhythm is based on the eighth note with a strong quarter-note feel, which is played on the cowbell. This drumset groove substitutes a cross-stick for the cowbell Recommended listening: Fuerte! by Poncho Sanchez, track,1: “Fuerte” and track 5: “Ixtapa.” TRACKS 3. Cha-Cha-Cha Variation This cha-cha-cha groove is a variation of example 2. The hi-hat emulates the traditional guiro pattern. Recommended listening: Fuerte! by Poncho Sanchez, track 1: “Fuerte” and track 5: “Ixtapa.” @ Jeno TRACKTT 4. Cumbia The cumbia rhythm originated in Columbia and is a popular dance style. The cumbia style has been popularized in Mexico by many commercial dance bands, This groove is based on the eighth note with the underlying half-note pulse on the bass drum. Recommended listening: Palacio De La Salsa by Original de Manzanillo, track 9: “Un Poquito De Muchacho." @ d= 80 TRACK 78 bo 2526 5. Songo The songo style originated in Cuba and incorporates the improvisational aspects of jazz with the syncopation of funk. This songo groove is based on the eighth note with a heavy emphasis on the half note, while the 3-2 clave carries the underlying pulse. 10 6. 3-2 Mambo The mambo style originated in Cuba, and this example is based on eighth notes with the underlying pulse of the 3-2 son clave. Use the half-note pulse to anchor the syncopation while playing this groove. This mambo can be played on the hi-hat during the low dynamic sections or on the ride cymbal during the high dynamic sections of a song. 7. 2-3 Mambo Here is a mambo groove in 2~3 clave, which would work well during the high dynamic sections of a song. This rhythm involves the left hand playing a cross-stick, which emulates the conga slap, and a tom-tom, which emulates the open tone of the conga drum, Recommended listening: Fuerte! by Poncho Sanchez, track 1: “Fuerte,” track 3: “It Could Happen to Yoi "Co Co My My" and track 9: "Daahoud.” oO J=90 TRACK track 6: 8. Nafiigo ‘The nafiigo evolved from the percussion section of the guiro, a folkloric Cuban style of drumming. This drum groove is based ‘on eighth notes in 6/8. The emphasis is on the dotted-quarter note, which anchors the rhythm. The underlying pulse is the 3-2 rumba clave, which is stated by the cowbell accents. Recommended listening: Fuerte! by Poncho Sanchez, track 8: "Alafia." 0d J.=120 mack 829. Half-Time Nafigo This is a half-time nafigo groove with a strong backbeat on the first note of the second bar. This groove would work well during the high dynamic sections of a song. Note: Cowbell or hi-hat can be substituted for the ride cymbal. @ d.= 120 TRACK 83 10. New York Mozambique The mozambique is a traditional form of Carnival music from Cuba. The New York mozambique is a hybrid of the traditional approach combined with elements of funk. This groove has a 2-3 rumba clave underlying pulse, which is implied but not stated in the rhythm, Recommended listening: Mozambique by Eddie Palmieri, track 4: “Que Suene La Orquesta.” > > wo oe TRACK 84 11. Bomba The bomba originated in Puerto Rico and is based on eighth notes with an underlying half-note pulse in 2/2 or cut-time. This groove is a two-bar phrase utilizing a cowbell or woodblock and the cross-stick and tom-tom combination, while the bass drum plays the tumbao (a repetitive rhythmic phrase) Recommended listening: Legado de Bomba Y Plena by Modesto Cepeda, track 3: "Prendio Candela,” track 5: “Juventud Boricua” and track 10: "Cuco Mandinga.” aren 12. Bomba Variation This bomba groove emulates the parts played by the conga and requinto (the lead drum in the bomba style) with the snare and tom-tom. The cowbell emulates the cua (an instrument that produces a hollow wooden sound), while the bass drum plays the tumbao (a repetitive rhythmic phrase]. This groove is @ hybrid of the traditional approach with contemporary adaptations. Recommended listening: Legado de Bomba Y Plena by Modesto Cepeda, track 3: “Prendio Candela,” track 5: “Juventud Boricua” and track 10: "Cuco Mandinga.” 9 d= 100 a 2728 13. Plena Here is another folkloric rhythm from Puerto Rico called the Plena. The half notes are the underlying pulse and the groove is based on quarter notes in 2/2 or cut-time, This groove emulates the sounds played by the traditional percussion instruments called panderetas (tambourines with no jingles). Notice the floor tom is played with muted (+) and open (0) tones. Recommended listening: Legado de Bomba ¥ Plena by Modesto Cepeda, track 1: "Conde Kirico," track 2: “Flores A Don Rafael,” track 4: "Bello Es Puerto Rico,” track 6: "Quiereme Josefina” and track 7: “Los Pleneros de Nueva York.” TRACK 87 22120 14, Plena Variation This variation of the plena rhythm is played with cowbell, cross-stick and high tom. The strong half notes played on the bass drum gives this rhythm a solid pulse. Recommended listening: Legado de Bomba ¥ Plena by Modesto Cepeda, track 1: "Conde Kirico," track 2: “Flores A Don Rafael,” track 4: “Bello Es Puerto Rico,” track 6: “Quiereme Josefina” and track 7: “Los Pleneros de Nueva York." oO d= 120 J 1 J Track 68 15. Merengue The merengue originated in Dominican Republic and is traditionally played on the tambora (a small two-headed drum), metal guiro (usually played with an Afro-comb type instrument) and congas. This groove is played on the mounted tom, tom rim, and cross-stick on the snare drum. Both the head and rim of the tom are used to emulate the traditional tambora part. The merengue has a heavy emphasis on the half-note pulse. Recommended listening: Merenguisimo 2, track 7: "Palante Y Con La Careta" and track 8: “Morena.” @ a= 140 TRACK 88 Dope eS E 16, Apanpichao ‘This groove is the third section of the merengue song style called apanpichao and sometimes referred to as pambiche. This is a heavily syncopated groove utilizing the tom rim, mounted tom, and cross-stick while the bass drum plays a heavy half-note pulse. Recommended listening: Merenguisimo 2, track 7: “Palante Y Con La Careta" and track 8: “Morena.”17. Charanga The charanga style of music originated in Cuba, and the violin, viola, and flute are the principal melodic instruments of the style, This charanga groove has an underlying half-note feel with an implied 2-3 clave pulse. This groove works well during hhigh-dynamic sections. Recommended listening: Lo Charanga de Cuba, track 2: “Azcar Con Chocolate” and track 7: "A Cualquiera Se Le Bota.” 18. Pilon The pilon originated in Cuba and is similar to the songo in that it has elements of funk. The half notes anchor the pulse while the groove is based on eighth notes, The underlying 2-3 clave is implied but not stated in the rhythm. Recommended listening: Palacio De La Salsa by Pachito Alonso y sus Kini-Kini, track 2: “Ritmo Pilon.” @ J=90 ack? 19. Beguine The beguine rhythm closely resembles the Cuban bolero. Cole Porter popularized this music style in 1935 and the beguine continued to gain popularity worldwide. oO Jeno TRACK 93 20. Joropo There are many different versions of the joropo rhythmic style. This particular joropo groove is popular in both Venezuela and Columbia. TRACK 34 2930 21. Afro The Afro rhythmic style originated in Cuba and was popular during the 1940s through the 1950s. This groove is usually played in unison with the bass and percussion. In contemporary music, the Afro rhythm is sometimes used to introduce a new section of a song. Cowbell or woodblock can be substituted for the ride cymbal. @ J =100 TRACKS 22. Conga de Comparsa The conga de comparsa originated in Cuba and is traditionally played during Carnival. This groove is an adaptation from the traditional percussion instruments used to play the conga de comparsa. It is a syncopated two-bar phrase based on the eighth note. The underlying pulse of the 2-3 rumba clave is implied but not stated in the rhythm. Recommended listening: Mozambique by Eddie Palmieri, track 8: “Camagueyanos Y Habaneros." @ d=10 L ROL LOROL L TRACKS aT —_2 23. Conga de Comparsa Variation This variation of the conga de comparsa states the 2-3 rumba clave, played by the cross-stick and accented floor-tom figure. ‘The cowbell part is one of many different possible variations, which must be played with open (0) and closed (+) tones. The tempos are typically moderately fast to fast Recommended listening: Mozambique by Eddie Palmieri, track 8: "Camagueyanos Y Habaneros." TRACK 97 24. Rumba de Guaguanco Here is a folkloric rhythm from Cuba called rumba de guaguanco. This syncopated groove is based on the cighth-note pulse and states the 3-2 rumba clave with the cross-stick. The side of the floor tom is emulating the palito pattern (the name given to the pattern played on the gua-gua~a piece of hollow bamboo that produces a wood sound when played with sticks). The bass drum plays the bombo note (the “and” of beat two on the three side of the clave rhythm). The hi-hat ‘emulates the shekere (a gourd wrapped with beads). Recommended listening: Vacunco by Los Munequitos de Matanzas, track 1: "Vale Todo,” track 2: "Ese Senor” track 4: "No Quiero Problemas,” track 7: "Saludo A Nueva York,” track 9: “El Jardin” and track 10: "Sarabanda.” Qo = TRACK 8825. Rumba de Yambu The rumba de yambu is another folkloric rhythm from Cuba. The palito pattern is played on the shell of the floor tom while the 3-2 rumba clave is played by a cross-stick on the snare drum. The bass drum plays the low-pitched sound of the large cajon (wooden create) on the “and” of beat two, and the hi-hat emulates the shekere part. Recommended listening: Vacunao by Los Munequitos de Matanzas, track 3: “El Tahoner” and track 8: “Lengua De Obbara.” oO dem "TRACK 99 26. Rumba de Columbia The rumba de columbia is a folkloric rhythm from Cuba. The dotted-quarter note is the primary pulse, which is played by the bbass drum. The underiying pulse of the 3-2 rumba clave is played by the cross-stick on the snare drum, while the hi-hat emulates the shekere. Recommended listening: Folklore Matancero by Los Munequitos de Matanzas, track 7: “La Calabaza.” @ d= 190 TRACK I9 * Patterns 25 and 26 are both demonstrated on CD track 99. 3From traditional Dixieland to cutting-edge Hip-Hop, Instant Guide to Drum Grooves is a handy source featuring 100 patterns that will prepare working drummers for the stylistic variety of modern gigs. This book is also valuable for anyone preparing a drumset audition for a college music program or professional band. ee eee Cee teat © JAZZ Baraca Se Ugges © CALYPSO Reel S Savalas e ROCK AND FUNK —@ LATIN Peay Every pattern is demonstrated on the accompanying CD so that one can absorb the proper feel and nuances that make CO Se emg ee RU eC aaa rs 3 Use the book to develop a fluent drumming vocabulary or just throw it in your trap case so that no matter what the gig, ‘you can find the groove you need for any style. Either way, Instant Guide to Drum Grooves will help you become a more versatile drumset player. Ned eee clinician ond educator who has performed with Borry et en ee eee Kiymaxe, Emmanuel, Johnny Poycheck, Trini Lopez and others Shes the author f the Brazilian Coordination for Drumset and Afro-Cuban Coordination for Drumset instructional videos and book/CO packages published by He! Leonard Corporation eet ee A re peter ee eee See “Drummers will never have to worry again about not knowing ‘particular style or groove. Maria takes you inside the core ofevery style. This the drum guide that every drummer must have in their Ceca Sr