CREDITS Realistic Drum Fills: Replacements By Carmine Appice Edited by Joe Bergamini Book Design, Layout, and Music Engraving by Rick Gratton Executive Producers: Rob Wallis and Paul Siegel Audio tracks performed by Joe Bergamini Recorded at Joe Bergamini Drum Studio, Whippany NJ Engineered, Mixed, and Mastered by Zak Rizvi (
[email protected]) Front Cover Design by Rick Gratton Cover Spread Design by Mike Hoff Cover Photo by Charles Stewart Video clip included on the disc is taken from the Hudson Music DVD Classic Rock Drum Solos. Copyright ©2006 Hudson Music LLC All Rights Reserved Catalog HDBK29/HL321208 CD ISBN# 1458400174 All the examples in this book are in MP3 format and were recorded live with no Pro Tools editing involved. What you hear is what was played—no moving notes around or adjusting tempos. I used my Roland TD-12 module with Cakewalk Sonar software. For each of the chapters I used a different drumThanks set settingto from theGratton, TD-12. Rick Rob Wallis
PLAY-ALONG TRACKS There are 13 play-along tracks based on the many different triplet grooves and styles that are introduced in the beginning of the book. They are all approximately 2 minutes long. These are just exercises for you to try the many different ideas in the book to help develop your swing playing. Jam out andSiegel have fun! and Paul and all at Hudson
ACKNOWLEDGMENTS
Music and Hal Leonard Corp., Joe Bergamini, Zak Rizvi, Leslie, Nick,
All the tracks were recorded to a click at various tempos Listed below are the play-along examples and track numand Bianca. with a one-bar count off on the hi-hat. The track number bers from the CD. on the CD is written beside each example in the book. Some tracks contain multiple examples. 165: Slow 12/8 - 74 BPM. (Beats Per Minute) Carmine uses ddrum drums, SabianTrack cymbals, VicBlues Firth sticks, Evans Track 166: Blues Shuffle 100 BPM. drumheads, Shure micropohones, Roland products, Calzone cases, For the drum fills, I recorded one of the following arrangeTrack 167: Beach Shuffle - 125 BPM. Korg Wavedrum, Zoom products, Protechtor cases, and DW pedals. ments: Track 168: Funk Shuffle - 140 BPM. 1 One bar fill/one bar time Track 169: Medium Swing - 140 BPM. 2 Two bars fill/twovisit: bars time Please Track 170: Medium/Up Swing -160 BPM. 3 One barwww.carmineappice.com fill/three bars time Track 171: Jump Swing - 180 BPM. 4 Four bars fill Track 172: Up Swing - 200 BPM. www.slammusa.com Track 173: Hip-Hop - 190 BPM. I supported most of the fills with the various foot ostinatos Track 174: Afro-Cuban - 110 BPM. shown on pages 27 and 60. to the memory of my parents, Mary and Charlie Appice. Dedicated Track 175: Afro-Cuban - 190 BPM. in 6/8 time Track 176: Reggae - 130 BPM. To support the fills, I used many grooves from the various Track 177: and Reggae - 160 BPM. This book also dedicated my good friend fellow drummer Joe styles I demonstrated in the is Triplet-Based Grooves to section whose was so great to me growing up; then we as well as ideasMorello, from the Grooves andinspiration Applications chapter. Tracks 165,166, 167,168,169,170,171,172,175, became friends. He was one of the best! RIPwritten and performed by Richi Vetro and177 For all of the grooves I recorded four bars of each example. Tracks 173,174, and 176 written and performed by Casey Manierka-Quaile
INSIDE THIS BOOK ABOUT THE DISC __________________________________________4 BIOGRAPHY ______________________________________________5 INTRODUCTION____________________________________________6 DIFFERENT PRACTICE METHOD ________________________________7 KEY ____________________________________________________7
SECTION 1: EIGHTH NOTES Eighth-Note Combinations ......................................................................................................................................8 8-Bar Exercise..................................................................................................................................................................10 Play on Drums ................................................................................................................................................................10
SECTION 2: TRIPLETS Triplets ..............................................................................................................................................................................11 Triplet Exercises..............................................................................................................................................................11 6-Bar Exercise..................................................................................................................................................................12 12-Bar Exercise ..............................................................................................................................................................14 Replacements on Last Note ......................................................................................................................................14 Replacements on Middle Note ................................................................................................................................15 Mixed Hand and Foot Combinations with Accents ........................................................................................18 16-Bar Exercise ..............................................................................................................................................................20 More Hand and Foot Combinations ......................................................................................................................21 16-Bar Exercise ..............................................................................................................................................................23 Triplets with Accents Using Mixed Stickings ......................................................................................................24 16-Bar Exercise ..............................................................................................................................................................27 Review of Triplets ..........................................................................................................................................................28 Play on Drums ................................................................................................................................................................32 Eighth-Note and Triplet Combinations ................................................................................................................33 12-Bar Exercise ..............................................................................................................................................................35 Play on Drums ................................................................................................................................................................36
SECTION 3: SIXTEENTH NOTES Sixteenth Notes ............................................................................................................................................................37 12-Bar Exercise ..............................................................................................................................................................39 12-Bar Exercise ..............................................................................................................................................................43 More Sixteenth Notes..................................................................................................................................................43 16-Bar Exercise ..............................................................................................................................................................47 Mixed Combinations of Sixteenth Notes ............................................................................................................48 16-Bar Exercise ..............................................................................................................................................................52 Hand and Foot Accents: Sixteenth Notes ..........................................................................................................53 16-Bar Exercise ..............................................................................................................................................................55 Play on Drums ................................................................................................................................................................59
SECTION 4: PUTTING IT ALL TOGETHER Replacements with Eighth & Sixteenth Notes ..................................................................................................60 12-Bar Exercise ..............................................................................................................................................................62 Play on Drums ................................................................................................................................................................63 Eighth-Note Triplet and Sixteenth Combinations ............................................................................................64 12-Bar Exercise ..............................................................................................................................................................66 Play on Drums ................................................................................................................................................................67 Replacement Drum Fills ............................................................................................................................................68 More Drum Fills..............................................................................................................................................................70 Shuffle Patterns..............................................................................................................................................................71 Conclusion ......................................................................................................................................................................72
REALISTIC DRUM FILLS REPLACEMENTS
PRACTICE METHODS/KEY TO BOOK
DIFFERENT PRACTICE METHODS
This book will develop your ability to play cool drum fills and solo ideas. I call this technique replacements. I’ve been using these concepts for many years and have seen many of my idols using them before me. Greats like Buddy Rich, Gene Krupa, Max Roach, Louis Bellson, and Billy Cobham (as well as many modern players) all use these kinds of replacements in their playing.
You can play all these patterns 3 different ways and then reverse the sticking. 1 - as written.
This book puts these concepts into a learning program that keeps progressing to the next (more difficult) level. We will move from eighth notes to triplets and sixteenths, which gets you playing different pulsations of these concepts. Once you understand the idea of what is happening with these, then you’ll see that you can use them in any playing situation. (That’s playing in a band!)
2 - alternate feet (for right-handed players, play bar 1 with right foot, then play bar 2 with left foot; left-handed players reverse this footing). 3 - Play with the left foot only (left-handed players play with right foot only).
As in my other books, I’ll always present 10-12 individual exercises, and then I will present a 6-, 8-, 12-, or 16-bar exercise putting all the patterns together side by side. This demonstrates how these patterns work together to develop solo ideas and create melodic drum patterns. These replacements can be used in rock, jazz, Latin, or just about any other kind of music.
Also play quarter notes on your ride cymbal (RC) while playing the patterns between your left hand and bass drum foot. Then reverse it: quarters with left hand and pattens between right hand and bass drum. The “alternating feet” method works especially well playing double bass drums because you will have different tones on each drum. A double pedal also works well, but you will have the same tone. When you have two notes in a row (in some of the later replacement patterns), having double bass drums or a double pedal makes it sound really cool—especially when the pattern gets fast.
The beginning of the book starts with eighth notes to introduce you to the concept and give you exercises to get started. Once the triplet section starts, things get more detailed and fun. Triplets are always more fun! After the triplets, we’ll move to sixteenth-note patterns. Some of these examples can be put to use immediately by picking out 2 or 4 bars of a pattern and playing them with your band. At the end of each section, we move to a series of exercises called Play on Drums. This puts the different patterns on the full kit played between the snare, toms and bass drum. This stuff is really great for you to use in your playing.
So it looks like we are ready to go. Have fun. LET’S ROCK !!
oo
Like all things in learning, practice is the key. The more you practice these, the better you will sound, and the more able you’ll be to use them in a musical setting. Always practice the exercises slowly at first, then build up speed in order to get the patterns really solid. At the end of the book there is a section called Replacement Drum Fills in which there are 2 or 3 bars of time followed by a 1- or 2-bar replacement fill. In addition to straight-time grooves, I’ve also included shuffle grooves with shuffle replacement fills. This Replacement Drum Fills section is just to open up your mind into what can be done with these concepts and patterns. Remember to change some of the sticking to your own sticking and see what happens.
KEY TO THE BOOK
Signs in the book:
>
o
= Accents: I like to use rim shots for accents on the drums and pad.
F = Bass Drum
Most of all HAVE FUN with this book! I love using these kind of patterns while playing at my concerts, sessions, and clinics. I hope you do too!
R or L = the strokes being replaced.
HH = Hi-Hat RC = Ride Cymbal SD = Snare Drum TT = Small Tom FT = Floor Tom
o
EXAMPLE
o
Whenever you see an F in the sticking, this indicates that you should leave out the hand stroke and replace it with a note on the bass drum. Play the note with the F under it on the bass drum while playing the original sticking. The F replaces the right hand on beat 1.
o
1
So on beat 1, instead of playing the right hand, you will play the bass drum instead. Then the sticking continues and plays the L R L on the counts of 2, 3, and 4. This repeats 3 times to make it a 4-bar phrase. Many exercises have 2 or more stickings to practice. Be sure to practice all of them carefully.
6
REPLACEMENTS
REPLACEMENTS
7
REPLACEMENT TRIPLETS
SECTION 1
11
SECTION 2
6
o
Here we continue our studies with the replacement concept. On these exercises we are just using the F on the count that is being replaced. So, in a triplet pattern it looks like this:
Example: 12
The foot is on the count of “1” while the hands play the triplet with alternate sticking. These triplets sound great. Watch for the patterns with the accents (>); they are really cool and very melodic.
EIGHT-BAR EXERCISE
Have fun. Play slow at first and build speed.
TRIPLET EXERCISES
7
1
10
2
11
PLAY ON DRUMS This section takes the exercise concepts from the previous pages and puts them together with different combinations on the drumset. Notice that the key has changed to TT=Tom, SD Snare Drum, FT=Floor Tom and BD=Bass Drum.
3
This section really gets you ready to play these in a performance situation. Here is where you get to play some cool replacement patterns that can be used as drum fills.
1
4
TT
8
SD FT BD
2 5 TT
9
SD FT BD
10
REPLACEMENTS
REPLACEMENTS
11
COMBINATIONS
PLAY ON DRUMS
EIGHTH NOTES AND TRIPLET COMBINATIONS
PLAY ON DRUMS
Here we start mixing different pulsations with eighth notes and triplets. Be sure to practice both written stickings. Once you are comfortable, make up your own mixed replacement patterns. As always, start slow and gradually build up speed. Watch the triplets for changes in the replacement pattern. These combinations will give you a taste of a different feel.
Play these around the kit to have fun and start developing melodic ideas.
1
As mentioned in the key, the strokes shown in boxes are the ones being replaced. An alternative way to play the replacements is to take the replaced R or L stroke (shown in the box) and play the stroke on the bass drum but with the replaced hand stroke on a china or other short-sounding cymbal at the same time. This will give you a real workout moving your hands up to the china cymbals and creating some cool sounding (and looking) licks using the china and bass drum sound together. You can try this technique throughout the book.
TT SD FT
47
BD
Note: Once comfortable, apply your own sticking combinations at various tempos.
2
1
TT SD FT
48
BD
2 3
TT
49
SD FT BD
3 50
4
5 51
32
REPLACEMENTS
REPLACEMENTS
33
PLAY ON DRUMS
COMBINATIONS
SIXTEENTH TRIPLETS--TWELVE-BAR TWELVE-BAR EXERCISE SIXTEENTHAND ANDEIGHTH EIGHTHNOTE NOTE TRIPLETS EXERCISE
PLAY ON DRUMS
Here we will put together a melodic twelve-bar exercise using replacement sixteenth notes and triplets.
.
Put these together and use as a solo. Play slowly and build up speed.
1 TT SD FT
86
BD
2 TT SD FT
87
BD
3 TT
88
SD FT BD
66
REPLACEMENTS
REPLACEMENTS
67
