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MUSIC[AJVS FNSTITL)TE

• PRIVA TE LESSONS

CHART READINS1BGo1

• for• drunrniersby Bobby Gabriele

•.çi

e6 Edited by Rick Mattingy

Oc

ISBN O-735-7126-X

HAL•LEQNARD®

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a R 1 C) R A T 1 c N7777W. BIUEMCUNS Rb. O.B5X 13919 MIL.WAUKEE, Wl 53213

Copyright © 1997 by HAL LEONARO CORPORATIONiniernalionai Copynght Secure Ali Rights Reserved

For ali works contained herein:Unaulhonzeci copying, arranging, adaptlng, recording or public perrmance is an infringement of copyright.lnfringers are liable under lhe Iaw.

Visit Hal Leonard Oriline at‘anas,a,_hnIInnnareI_nn,,,

Acknowledgments

My incere thanks to:

My porents, for everything:

My brother John, who kindled the spark to write this book;

Joe Porcaro, Ralph Humphrey, and Steve Houghton, who opened my eyes to drumrning;

The stoff and students of PIT, for their help and feedback in the writing of this book;

Inon Zur (the King of the Keyboards!) for the great musical performances, creativity, friendship and

strong coffee;

bole Adoms and Mark Kaufman at Shoelace Studios;

Brent and the folks at Zildjian West for the great sounds;

Joy Morreole at Mystique triggers for his excellent godgetry;

Rick Mattingly for his expertise editing this project (and answering a lot of dumb questions):

the staff at Hal Leonard, for their insights which allowed me to engrave and layout this book:

a

And to KeIly.

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Notation Key

CrashRide Cymbal Hi-hat

Cymbal w/stick Tom4

*

_____________________

Snore Low Bass

Hi-hat brum Tom brum

w/foot

.

.

.

.

.

.

.

.

.

.

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b

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êeeee.eee

Contents

Page Cb Track4 About The Author5 Introduction6 The oad Map 18 Section Or &isemble Figures?

Sefting Up One-Note Ensemble Figures10 On-The-Beat Accents12 Upbeat Accents14 Embellishing The Single-Note Set-Up16 Single-Note Erisemble Figures w/ brums 4>18 Single-Note Ensemble Figures #1 4>19 Single-Note Ensemble Figures #220 buration Of Notes21 Not Too Scary’ w/ brums 4>

“Not Too Scary” 4>22 TheRoadMapllSetting Up Two-Note Ensemble Figures

23 One Set-Up For Two Accents25 Right Next boor” 426 Using One Figure To Set Up The Next28 Sefting Up Each Note Separately (Starting On A bownbeat)30 Setting Up Eoch Note Separately (Starting On An Upbeat)32 “Cruising Along” w/ brums 4>

Cruising Along” 4>33 “Monster Beneath Your Bed” 4>34 The Road Map III35 “A Little Tougher” 4>36 nsembJe Figures in 3/4 Time37 Single-Note Ensemble Figures in 3/4 Time 4>38 Piece Of Cake” 4>39 Two-Note Ensembie Figures in 3/4 Time41 Two-Note Ensemble Figures in 3/4 Time 4>42 “To Three, Or Not To Three” 4)43 Three-Note Ensembie Figures46 “Two Left Feet” 4>48 Which Notes Are Important?55 “The Biggest Wagon”

-4

About The Author

Anative of betroit, Michigan, Bobby Gabriele has been playing drums for more 1P twenty-five

years. He studied percussion and music edu

cation at the Interlochen Arts Academy and the

University of Michigan, and graduated from the

Percussiori Institute of Technology (PIT), o division

of Musicians Institute (MI), where he was present

ed with the PT Humanitarian Of The Year award

and a Zildjian endorsemerit.

Bobby’s tolents were first noted worldwide

with the group Alliance on CB5/ Handshake

records. In 1991, bis band, The Neutrinos wos

voted one of LAs top new groups by KLO5. c

Since his move to Los Angeles, Bobby has written and/or performed in music for film and TV,

including Beverly IilIs 90210, Lois And Clark, Murder She Wrote, and the hit movie Men At

rWork Bobby is currently the drummer for the Alabama Theatre in Myrtle Beach, SC and maintains a

busy teaching, performing and recording schedule.4c4

c4

4

4

Introduction

There is nothirig mystical (or inherentiy evil) about chart reading.Sirnpiy put, a chart is the fastest Woy for the composer to convey musical ideas to the band.There is no substitute for a musicians ears in the finished product, but by reading the chart and following the composer’s ideas, we can sove a iot of rehearsal time.brumset chart reading can be broken dowri into three distinct categories: the “groove,” or the patterns that are ployed to establish the time; the “road map,” or overall form of the music on the page;and the “figures,” which are rhythmic sketches indicoting important musical accents.In simple terms, the drummer’s job is to:

• Keep time

• Follow the chart

• Support the figures

In this book, 1 breok down these fundamental concepts and reinforce them with comprehensive, eosyto-follow charts. Using this approach, you can zero iii on your difficulties, making you a confident readerand a soiid player.

The key to chart reading is repetition of the basics. You wiIl most likety f ind yourseif memorizingcertairi figures: this is a good thing. This is an esseritial process in building a repertoire of figures andideas. These ideas are your vocabulary; they are the tools you need to read any chart.This book is written in a swing or big band style: however, these concepts apply to ali styles andshouid be practiced that way.

50 don’t be intimidated by ali those dots on the page. Use them to help you become a better drummerl

obby Gabri)&

5

The Road Map 1

First of ali, let’s break down a few of the most common symbols and musical shorthand f+ ore used in chart

r2ading. Once you understand the road map, it’s a iot easier to focus on the other elements of the chart.

2. Measure Repeat Sign

This is musical shorthand to repeat what you

played iri the previous measure. Again, it is com

mon to write measure numbers on top to remind -

/

you how many measures you have repeated.

3. Double Bar

The double bar is used to show the end of a

musical phrase. Understonding where phrases

occur is essential iri chart reading, as these

phrase points ore often punctuated by filis lead

ing into the next section.

e

4. Rehearsal Letters

a

These markers are usd to indicate the begin

nings of phrases, and hey speed up rehearsals

bygiving the bandpoints of reference.

.-So)netimes letters are used, sometimes num

bers, sometimes measure numbers; their pur

• pose is the same.

5. Section Repeat Signs

i

The thick doubie bariines with the dots facing inward are section repeat signs. When ploced oround a

phrase, the measures between the repeat signs are played again. In this example, you would play from meo

sures 1 through 5, then return to measure 2 and play through bar 5 one more time. Then continue on with

the chart (bar 10, etc.).

44

1. Time Slashes7

e

Instead of writing rhythmic patterns in every

measure, copyists often use slashes to indicate E’ / / / / / / /

time, continuing the groove that has been previ

ously established. Each slash represents one

beot in the current time signature. It is common to write measure numbers on top of each bar to remind you

how many measures you have played.

a

o

6

6. Multiple Section Repeats

When à phrase is repeoted several times, it iscommon to use standard repeat sigris and towrite the number of total times the section isplayed. (The notation “Xs” is standard .shorthand for “times.”) In this case, you would playthis phrase a total of four times before going on.

7. FiNs and Set-Ups

A fii is a drurn lead-in into a musical phrcise.Wheri a fui leads into a specific rhythmic figure piayed by the bond, it is called a set-up.The specific notes of a f iii or set-up are rarelywritten out; it is up to the drummer to decidewhat to play.

-

8. Slash Notation

Rhythmic figures supported by the ensembieare “sketched out” using siash noteheads. Thistechnique illustrates the rhythm to be playedwithout dictating the exact orchestration; thisallows the players freedom to create their ownparts within the structure of the arrangement and saves copyists a lotheads are wrifferi as diamonds.)

9. Fermata or Bird’s Eye or Hold

A note or a rest under the fermata is sustainedand time is suspended until the coriductor orbandleader directs the erid of the event. Thatending is called a cut-off.

Instead of writin each individual measure sep

____________________________________________________

arately, or writing time slashes ormeasure

_________________________________________________

repeats indicating a repeated groove, a commonmusical shorthand is to combine the phrase intoone numbered group. Here, you would plciy eight measures of time, then sixteen more bars of time.

11. First and Second Endings

The brackets above measures 5-6 and 11-12 are first and second ending markings. The first time throughmeosures 1-4, continue through meosures 5 and 6 (the first ending); then take the repeat back to measure 1.Then, after piaying bars 1-4 the second time, skip over the first ending and go directly to bars 11 and 12(the secorid ending).

(2PA1’

-I1

(mu.L’ zfrz/zl

10. 8 Bars X, 16 More

of time. (Half-note and whoie-note

//

1

ii 8 BAQ. I i Mou

7

Section Or Ensembie Figures?

Now that you understarid the basics of the road map, Iets look at the other important chart reading:

the figures. Written figures in o chart fali into two categories; the section figure, and the ensembie figure.

•. A Section Figure is a musical phrase or acceni played by a single section of the barid (i.e., trumpets,

saxes, trombones, etc.).

An Ensernble Figure is a phrase ar accent played by the entire band.

0bistinguishing between the two on the page is easy. e

4,

Section Figure

I)z/ZZH’ZZ/v d’li

II:///zLf///r’ 1

This.xampie begins tPi4ame way as the previous example, but the figures in measures 3 and 4 are different.

notes ore writer on the staff, not above it, replacirig the time slashes.

‘The abbreviation Ens. indicates that the entire ensembie wiII pkiy the rhythm.

The noteheads ore wriften as slashes, indicating an ensembie approach.44a4

Now that you’ve identified the different figures on the page, you must understand the differences iri C

terms of your drumming. 444

(trmbn.)

E:;’r ‘ - -

-

Ensembie Figure

O

In the above example, time skishes are wriften in the first two bars, indicating o groove is played. Bars 3 and 4,

however, have a rhyl+im wriften over them. You can teu this is a section figure by three important distinctions:

The rhythm is written above the staff.

• The instruction trmbn. indicates which section of the band wilI play this rhythm.

• The time sloshes continue through the figures.

1

___________

c

(Ens.)

________

_____

fJ•

8

Section FiguresWith section figures, the role of the drummer is to continue tPie time and süpport the figure. You don’twant to plciy too much or too loud, because you might overpower the section ofihe band you were meantto accompafly.

For section figures, the role of the drümmer is to:• Keep the groove going

• Play the figures on snare drum or bass drum

IMPOTANT! When performing sectiori figures, don’t play filIs or cymbal crashes that would overemphasize the importance of the figures (as well as drown out the band).

Ensembie FiguresEnsembie figures are a different story. Your role changes to adapt to the importance of the figure,which is being played by the entire band. Now you must temporarily stop the ride cymbal pottern to pkiya set-up or fili leadirig into the ensemble figure. Then support the rhythms, crashing cymbals on theimportant notes.

These are the three keys to ploying ensembie figures:• Stop playing the ride pattern (as necessary)

• Pkiy a set-up leading into the figure

• Play the figure, crashir.g cymbals on the important notes

•..4.,-

•Train Wrecks

In my experience, the major utrain wrecks” in chart reciding occur not in the timekeeping part of thechart, but in the rood map and in the executiori of the figures. Leorning how to fol)ow the chart andorchestrate ensemble figures in a musical fashion is an ambitious goa!.So, fasten your seat belts and et’s take a )ook at the first examples of ensemble figures and how toplay them.

9

Setting Up One-mote Ensembie Figures

On-The-Beat Accents

When you cipproach an ensembie figure, two questions need to be addressed:

1. What do 1 play?

2. Where do 1 piay it?

1

The second question is easy. The typicai set-up is ON THE BEAT, just before the ensembie figure.

For example, if the figure falis on beat 1, a typical set-up wiII fali on beat 4 of the previous bar.

Pkxy a singie snare drum note QN THE

BEAT, just before the written figure—in

this case, beat 4. Then crash the written

ensembie figure on beat 1, supported with

the bass drum, and go back to time on the

following beat.

We can also invert the orchestration 50

the set-up is played y the bass drum (in

thiscase, beat 4) aridkhe ensembie figure on

1 be4t 1 is crashed ana ipported by the snare

drim.

This note—the one before the crash—is often

cailed the ‘send-off” note because it sends the band into the figure.

Set-up FigureHere\\ /

This concept of opposing sounds is very important, 50 remember:

1. If you piay the send-off note with snare drum, crash the figure with the bass drum.

2. If you ploy the send-off note with bass drum, crash with the snare drum.

The stickings in this book reflect a right-handed cpproach; left-handed players con reverse the stick

ings. However, many right-handed students have asked why they shouldn’t crash with the ieft harid. This

is simply a matter of consistancy and ecse of explanation. Once you feel comfortable with the techniques

of chcrt reading, you can appiy these techniques to best suit your pioying. However, during this initial

period of using and understanding set-ups, 1 think it is iiportant to “stick” with the exercises as writteri.

44

o

—JI

.

r rThe first question, what to play, is a little

the Single-Note Set-Up.more involved, so Iet’s start with the most basic set-up:

Set-upCrash

ee

5.b. \B.b.

j jzzjr

jX

CrashSet-up on

B.b.

H”. r

‘o

On-The-Beat Ensembie Figures.Praclice each of the following exompes of ensembie figures using single-note ‘-ups from the previouspage. Stort sowIy, and repeat each exercise until you are comfortoble at that tampo before moving on.

=116—166

Remember, play the set-ups both ways: set-up with snare drum, accent the figure with crash cymbaland bass drum: and set-up with bass drum, accent with crash cymbcil and snare drum.

1,) >[••[n1{ ‘ z’H ‘ z z

2>

ii

r

‘

I) tZZZL”zz/H-’J’ ‘‘r r

fl/ZJ’ZLf///H’Z/

4 >

II

4

11

Setting Up One-Note Ensembie Figures

Upbeat AccentsCo

When the writteri accent falis on ari upbeat,.the sarne rules apply. For excimple, if the ensembie figure is

on the “and” of beat 1, the set-up sf111 falis ON TF-iE BEAT, just before the “and”—iri this example, right

on becit 1.

A single-note set-up piayed on snore drum

Iooks like this:

Figure

Remember, if you pkiy the set-up with snare drum, you wili support the crash with boss drum.

If you invert the phestration so the set

ups played by the:ss drum (in this case,

bet 1), then the ensèrnble figure is crashed

ani supported by the snare drum on the “and” I/Z//

Set-up

Set-up on5.b.

oe

Crashw/B.b.

cc

Set-up onB.b.

4

4a

Crcish// w/ 5.b.

12

Upbeat Ensembie Figures• Pr’actice each of the foHowing excimples of ensembie figures using set-up ideasf6mthe previouspages.

Iemember, practice your set-ups bofh ways: setting up with snare drum, acceritirigand bass drum; then setting up with bass drum, accenting with crash cymbai and sriare

•

.,.-

=116—166

with crash cymbadrum.

You may have noticed that a set-up played cri beat 1 wiH work for em ensembie figure written on the‘and” of 1 or for a figure on beat 2. A set-up pkayed cri beat 2 com be used for a figure written on the“and” of 2 or for a figure on beat 3, and so on.With that in mmd, there are onJy four basic places te play set-ups: beat 1, beat 2, beat 3 and beat 4.These four places wiII work as set-ups for ALL downbeats and upbeats mn 4/4 time.

1

Li

2 > )JT >rH1 ‘‘“-‘L” ZZZZ7 ‘‘zzr

:-

r

;

ii{ / / z / / J / “‘Çç

13

Embellishing The Single-fliote Set-Up

Taking the single-note set-up a step further, you can embeiiish the set-up to fuher enhance the

ensemble figure.

Singie-Note Set-Up

Possible Orchestrations

1. Adding a grace note turns the singie-note

set-up into a fiam and gives it more power.

Experiment with sounds by moving the grace

note to different toms. (Usual sticking of the

fiam is rL, to prepare the right hand for the

impending cymbol crosh.)

2. Addirig two grace notes turris the sirigle note

into a 3-stroke ruff, further enhancing the set

up. Agciin, experiment with moving the grace

notes onto other toms for different possibili

ties. (Usual sticking of the ruff is lrL, to prepare

the right hand for the cymbal crash.)

2a. The inverted 3-strke ruff, Ieading into a

bassdrum set-up on bet 4. Now the ensemble

figire is accented witPr the crash cymbal and

.nedrum.

3. A swing 8th note leading into the send-off

note is very typical of the big-band style. End

the set-up with the left hand to facilitate a

right-hand crosh.

3a. A swing 8th note with an inverted11 orches

tration.

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O

1 J)I )Ç ?Ç)>r:’—

1I 7/J’ áix

RL

LRL

2a

I, Z/Z .

LR

3

H ; r

3a

‘I / / 7 •

44

R

14

44. Expanding the set-up further, play 8th-notetriplets Ieading into the send-off note. (Endthe set-up with the Ieft hand to prepaçe forthe right-hand crash.)

4a. The sarne triplet rhythm now orchestratedIeading into a bass drum set-up. Remernber toexperiment with differerit orchestratiorisoround the torns.

5. This is a variation of the 3-slroke ruff, leading with a strong punch on the send-off beat.(The sticking here ends with the Ieft hand toprepare for the right hand crcish.)

50. Sarne as above, inverted so the erisemble 5afigure is supported with the sriare drum. j é

II d

F RLR

3

4a

‘I ZZRLR r

3

5

H’))

RLRL

3

-

>*• )‘ )E )*

R LR lx

;-

6 : 1h .

Hizd’RLLRL

6a

II ZZ.

LRLRF lx

6. Playirig a lóth-note set-up against the swing8th note creotes a feeling of rhythmic terisionthat can be ci veryeffective tool. (End the setup with the Ieftjd.)

6a. The sarne I6th-note rhythrn as above withcm “inverted” orchestration, plciying the sendoff note cm bciss drum.

75

i-tO1’ h4LI ÇiQ /Dg

To demonstrate these set-ups and embellishmeflts, Track 1 on your Cb is a version of 4ie chart on page

17 with drums. 1 utilized each of the figures on pages 13 and 14 so you can hear them with music. Following is

a transcription of the orchestratiorS and an explanation of each figure.

e..

‘CD

15

.

.

.

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.

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39

4143

45

Meas. 3-4

47

Meas. 7-8

Meas. 11-12

Meas. 16

Meas. 20

Meas. 23-24

Meas. 27-28

Meas. 31-32

Singie-note set-up: set-up on sncire drum, crash with bass drum.

5inge-note set-up; set-up on bass drum, crash with sriare drum.

Fiam set-up: played on snare drurn, crash with bass drum.

3-stroke ruff; set-up on sriare drum, crash with bass drum.

3-stroice ruff: set-up on bass drum, crash with snare drum.

Swing 8th nots: set-up on snare drum, crash with bass drum.

Swing 8th nt; set-up on bass drurn, crash with snare drum.

Sth-note tripiets; end on snare drum, crash with bass drum.

8th-note tripiets: end on bass drum, crash with snore drum.I1 [*1[I]

Varialion on the 3-stroke ruff; end on snare drum, crosh with bass drum.

Variation ori the 3-stroke ruff; end on bass drum, crash with snare drum.

l6th notes: ending on snare drurn, crash with bass drum.

Meas. 35-36

Meas. 44

17

iL..-NO1’ FII i

Track 2 is the sarne music as track 1, without drums. This is the first ‘chart” you wiII play with the

accompanying Cb. Each pkiy-cilong exampie has two measures count-off up front to estabtish the time.

Most big-band charts are copied by hand; each pay-aIong chart in this text has the harid-written Iook os

we)I to help you get comfortable readirig in that style,

rn the following chart, play each Une three times, using different set-ups from the previous pages.

Try not to rey on any one setup too much. Also, make use of the inverted” set-ups, using bass drum

and supporting the ensembie figure with the snare drum. .

3 Wi

-. / / / / / / / /

HILj/ / / / / / / / / / / /

r3t

HILL / / / / / 0 / / / i’ / /

;i

1

..

i

.aaOO1aaa114

aaa

18

iNG1i..f-NOi’

PIay each une three times, usirig differnt set-ups from the previous pages. You wiII f ind that certoinset-ups work better at specific tempos. Again, try not to rely on any one set-up too much.

/ / / /4r’

:ii

s’t

[iII’ / / / / / / / / / / / /./ ‘dÇ)/ ‘11

iILJ’ / / / ///// / / / H / /

‘

L2.. II&4Hii’ / / / / / / / / / / ç 1;

In most situations, short figures Iend themselves to short set-ups; don’t pkiy a ong, protrocted setup for a single 8th-note accent. (It over-emphasizes the figure.) Coriversely, Ioriger figures usuallyrequire longer set-ups. A good rufe of thumb is that the set-up shouid be roughly as Iong as the figure itis meant to support. (A quarter-note accent wilI get approximately one beat of set-up: a dotted haffnote accent shoufd get approximateiy three beats of set-up, etc.)

19

Duration Of Notes

The durotion of a written accent helps to determine its orchestration on the drums. The Jrger the note,

the [onger or more legato the sound should sustain. Conversely, the shorter the duration the shorter or

morç staccato the orchestration should be. We rnust choose the orchestrcztion that best suits a figure.

Iri the case of a longer note, we would probcibf use a larger, longer cymbal sound to emphasize the impor

tance of the note. Figures with a short duration ore best played on cymbals with a quick decay time.

1. In this example, the accerited figure is a dotted half

______________________________________

note, which hos a long durotion. When orchestrating this

____________________________________

note, choose a sound that sustoins (e.g., Jarge crash cymbal

with bass drum, ride cymbal, etc.).

2. Wheri the ensemble figure Fias a short duration—like an

_______________________________________

8th note—choose a sound that matches that duration (e.g.,

splash cymbal with snare drum, beli of ride cym., closed hi

_______________________________________

hat with bass drum, etc.).

3. Other woys of nototing the duration of a note are to

write expression and articulation markings obove the note.

_______________________________________

The Une drawn over these notes is a legato morkirig, iridicat

_______________________________________

ing they should be played with a longer duration.

4. A dot mearis that the note is to be played staccato, or

with o short duration. Both notes in this example would be

playe4 with a staccato oi’destration.

5. A cap” accent iliustrates a stronger, shorter accent

than a normal accent markirig.

_______________________________________

6. A slurred note (o note followed by a phrase marking as

shown) hos an increased duration. In this exampie, even

though the 8th note is usually played as a “short” note, the

______________________________________

markirig after it gives it more Jength.

c

acco

...

c

7 J,

1’

5it ‘/ / / 7

r/// 7

1144444

4444444é44

v

20

NOl” 1oo AQ’i’ii/ D2uM-1”2Aa UilO DwI41’gAØ

a•••4., J

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1’

1 have included a version of this chart with drums so that you cmi hëar how these set-ups and enibeilishments are used in coritext. bo not copy the exact set-ups on the Cb, instead use it to iflustrate theimportance of voriety and color in your orchestrations of the figures.

L LL1/ / / /

Li’ / / / / / / H / / / / / /

Li’ / / / /// H / / /

Li’ / / / H / / H / / / ‘ /

,,

:‘‘

/ , / / / H / / /

/ / / r’’’ ‘ /‘ /

L’ / / / ? ‘ / / / / /

21

lhe Road Map II

Now that you’ve pkzyed your first chart, Iefs cdd a few more terms to your chart-rding vocabulory.

Thse ternis are essential in following charts. As r mentioned before, a big robiem iii chart reading is

gettirig iost in tke “road map.’ Make sureyou uriderstcrnd these items before going on.

1. D.C. or Da Capo

Iridication that the piece is to be repeated from

the beginning Cor “top”).

2. D.S. or Dai Segno

Return to the sign (found previousiy in the

piece).

a..

_

The Codo is the conciuding section of the piece.

It is indicated by .

4. D.C. ai Coda

íeturn to the be9inning of the piece, and piay

until you reach the Cada sign. At that point,

jump to the Cada (marked by a matching Coda

sign).

In this example, play through measures 1-8,

where you wouid b.C. back to the beginning. At

this point, play from4measure 1 through the

Cada sign at the endo’measure 4. Then, take

thecoda” by jumpirigio the Cada sign ot the

1Iaslline and play measui’es 13 through 14.

L 1 c..

r O.tL

II

14 1

The sarne as b.C. aJ Coda, but instead of returning to the beginning, OU 90 back to the sign . Then

take the Cada and pIay to the erid of the piece.

6. ... ai Fine

Fine means end; this term is most often used Fwith a b.C. or b.S. markirig. For exampie, when i

used in conjunction with a b.C. (b.C. ai Fine) you.

return to the beginning of the piece and end at

the Fine marking.

,, 4

.7 8(0 A. lt4i

4

aa

ccc

411

‘a

4(

5. D.S. ai Coda

7 Ai.. ODA

44a

22

Setting Up Iio-IUote Ensembie Figures

Now that you’re comfortable with onenote figures, the next step is Iearnirig tset up two-note ensem

bie figures. There are three distinct ways of handling these figures, depending n the figure itself:

• Pay one set-up for both notes.

• Use one of the two notes as a set-up for the other.

• If there is enough space between the notes, use a separote set-up for eoch note.

Let’s Iook at some examples of each of these possibilities.

One Set-Up For Fwo Accents

When there is not a Iot of space between the accents, it is common to play one set-up to handie both

figures, Ieaving the space between the figures empty. This is typical for consecutive dowribeats or con

secutive upbeats.

The Figure

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Since there is not a Iot of space between consecutive ori-the-beat quarter notes, you canplay one set-up for both notes. Here, a singlestroke ruff is pkiyed on beat 4, setting up thecrashes on bea1s1 and 2.

The Figure

Possible Orchestration

With consecutive upbeats, there is still riotenough space between the accents to set upthe second 8th note. Here, a set-up beforethe first ciccent takes you from beat 4 tobeat 1, and prepares the and” of 1 as well asthe “and” of 2.

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Possible Orchestration

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Remember, this “one set-up for’two notes” principie works regardiess of which beats the accentsbegiri on, as Iong as they are a quarter note apart.

Usin9 the one set-up for two notes concept, pIay set-ups for the following ensembie figtr.s.

Try different orchestrations for your set-ups:

• Set-up boss drum, crosh w/ sncire.

• Use fkims and 3-stroke ruffs.

Set-up sriare, crash w/ bass drum

Use triplets, swing 8ths and l6th notes.

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Using One Figure To Set Up The Next:

In some instances, wheri there ore two corisecutive notes in an ensembie figure, second note

requres more emphasis than the first. In these cases, the first note can be used to sef up the second.

The importarice of the notes is decided by:

• a written accerit

an impHed czccent

duration

The Figure

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Possible Orchestration

The Figure

-

Possible Orchestration

buration has a lot to do with the orchestra

tion of notes; here, the dotted half-note on

beat 2 gets more emphasis than the quarter

note on beat 1. In this orchestration, the

8th-riote triplet Teads into beat one to set up

the more important figure on beat 2.

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An implied accent is stress giveri to a note

because of musical markings that imply its

importance to the phrase. These moy include / 7 / /

dynamic markings and articulation markings

(ties and slurs). Here, the siur marking on the

second note implies its importance without a

written accent.

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• In the following exercises,’ use the first note to set up the longer second note.

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27

Setting Up Each Note Separately

Starting On A Downbeat -

Tht third possibiiity for twonote ensemble fig.ires is lo piay a separate set-up for ecich note. This hap

pens wheri there is more than one beat between lhe figures, which gives us time to play a set-up before

lhe second accent.

As before, when the first note of a two-riote ensembie figure faUs on the beat, the first set-up wilI

be pkiyed on lhe previous beat. In addition, we wiIl play a second set-up before the second figure, and

crash it as welJ. For example:

The Figurea

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Possible Orchestrations

A simpie fiam set-up piayed on beat 4 sets

up the first accent on beat 1. The second

set-up, a snare drum note on beat 2, seIs uplhe 8th note on lhe and” of 2, which is L

crashed and supported by bass drum.

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In this exampe, a triplet set-up is payed

from beat 3 to 4, ending on bo.ss drum. The

quarter note figure cri beat 1 is subsequent

Iy croshed, supported by the snare drum. A

3-stroke ruff is played to set up lhe “and”

of 2, which is crashed with sncire drum.

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Setting Up Each Note SeparatelyStarting On An Upbeat

Wheri the first note of a two-note ensembie figure falis on an upbeat, the set-up for’ that note falis on

the beat, just before the figure (as before). Then we play a separate set-up for the second figure, and

crash it as weii. However, it is important to note that you shouid not start your second set-up on the

beat immediately following the first figure (in this case beat 2). By leaving a small amount of space after

the first figure, we give it more emphasis.

I1i

Possibie Orchestrations

Here, a fiam on beat 1 sets up the accent crithe “and” of 1. The second accent on beat 4is set up by the swing 8th-note doubiestops on snare and floor tom. Note thespace on beot 2

This orchestration l,as a l6th-note setup begirining on beot 4, ieading into thefirstccent. A 3-stroke’uff on beat 3 sets.up tl4e second accent on4. Again, beat 2 is.Ieft iinp?ayed so as not to detract from theftrst figure.

1

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Setting Up Each Note SeparatelyUpbeat Examples

You may notice that in examples 1 and 5 there is riot much space to play a set-up before the second figure. Ii, these cases, it is acceptable to not pkzy a set-up (ar to play a swing 8th on the upbeat) beforethe second figure.

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Here are a few more musical terms that ofteri appecir iri charts.

1. Muftiple Measure Repeat Signs

Similar to the measure repeat sign, this fig

ure means that you should repeat the mdi

cated number of measures (most likely 2 or

4) QNCE. Iri this excimple, repeat the previ

ous two bars orie time.

2. lst X Only

In a repeated phrase, section and ensembie

figures are not always ployed both times

thróugh. This abbreviation teus you which

time during a repecit to play the written fig

ure. In this case, the figure is played the

first time only.

bon’t play. This notation is often followed by

a specific number, as in Tacet 16 bars or -Tacet lst X. Note the thick black une sur

rounding the number of measures; it could

olso be written as a number above a whole

note rest.

I• Vamp (or Vamp til Cue)

Re4at a section or phrse until the conduc

tqr signais the band to 90 Ofl to the next

Íection. (That signal is called a cue.)

5. Open (or Open For Solos)

“Open” is a term applied to a repeated sec

tion during a solo, where the band wilI

repeat fhe phrase indefinitely until the

soloist (or the conductor) signais the band to

go onto the next sectiofl. Here, you would

repeot four measures of time until the

solo(s) are finished.

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Ensembie Figures In 14 Time

Nõw thcrt you have an understanding of basic ensembie figures in 4/4 time, the next section oppiies these

concepts to 3/4 It begins with singie-note ensemble figures against a 3/4 swing pattern, then moves on

to two-note figures.

3/4 time is a common meter for big band as weII as jazz and other styles of music. There are three

beats in each measure, and the quarter note gets the beat.

Approach the figures the sarne way you would in 4/4 time. Once you feel comfortable with the single

accents, move on to the two-note figures.

Notice that in 3/4 time there are six counts as a pick-up instead of eight. It is typicol to hove two

measures of count-off Ieading into any song; in this case, that equals six counts.

The biggest chalienge in this chapter is keeping a solid three feel while hitting the figures. Keep

counting in your head; it wiII get easier, and ultimately you wiII feel the three beats without having to

rely on counting.

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7ivo-flIote Ensembie Figures In 3/4 TimeOne Set-Up Examples

As in 4/4, wheri two Gccents faH ciose.together, it is common to ploy one set-up to horidle both figures,Ieaving the spoce between the figures empty. Proctice these examples of two-note figures in 3/4 time.

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Three-mote Ensembie FiguresOne Set-Up Examples

Expanding on the concepts provided in tke two-riote ensembie figures, we can now create cohesive, musicalset-up5 for three-note erisembie figures 1 have broken this into two parts the first consists of figuresnext to each other the secorid is combinations of ciccents spread across the measure

The first group of figures is similar to the two-riote figures pkzced next to each other. Use one setC up to handie ali three figures..

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Three-Nóte Ensembie Figures

Multiple Set-UpS

In the next exampIeS the ensembie figureS arepread acrosS the measure and wiII require muItipe set

ups. The key is to decide where to put the set-upS remember, not every note wiII get one. The more you

practiCe these, the more comfortable you wiII become with creating musical set-ups.

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Which Notes Are Important’

Upto this point, we have deait with simpie ensembie figures, where every note has’been important.

However, when reading more intricate phrases, not ali notes are given the some importance; indeed, cer

tciin notes in each phrase need to stand out. IfaiI notes were pioyed equclly, ensembie phroses would be

drowned out by drummers bashing every note ori cymbais.

To avoid that, there ore rules we can use to identify which notes are important in these situations.

FtiI

Any note larger than an 8th note is important.

This means we can crash quarter notes, dotted-quarter notes, haif notes, etc., anything larger iri

value than an 8th note. This also inciudes ari 8th note tied to another note, since its value is greater

than an 8th note.

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Possible Orchestrations

By playing two swung 8th notes on snare

drum, we cari set up the more important

notes that foliow—in this case, the quarter

note and the dotted quarter.

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±r tiiis exampie, a fiam is piayed on beat 1

followed by two 8th notes, with the crashes

on the “and” of beats 2 and 3 supported by

the bass drum.

In this case, a triplet set-up beginning ori

beat 1 takes us to beat 2 on bass drum. The

upbeats are both croshed, supported by

snare drum.

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IMPORTANT: Even though some notes moy be more Jmportant than others, every note written in ari

ensembie figure shouid be piayed.

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5ince anything larger thcin an Bth note is important, the notes requiriny the most editing are lhe 8thnotes themselves. This brings us to Rule #2.

An 81h note immediately followed by ANY note (includirig onother 8th note) is NOT accented.

H->>+i 4/ / / / / z z / / zr

In this phrase, lhe 8th note is immediately foNowed by a dotted quarter. The dotted quarter, beinglarger than an 8th note, is accented (iri other words, crashed). The 8th note is not importarit enough tobe crashed, but still rieeds to be ptayed. This technique uses “unaccented” notes to set up more important notes—in this case, the dotted quarter.

— —

Possible OrchestrationsIn this example, the first 8th note is

____________________________________

flammed oh snare drum and used to set up

______________________________ _________________

the dotted-quarter note, which is crashed onlhe “and” of 1.

Here we start our set-up on lhe beot before

____________________________________________________

the figure begins Cm this case, swung 8th

_________________________________________________

notes startirig on beat 4). This gives lhe seIup more Iength çn power.

This islhe sarne idea

as above, but usesa

_______________________________________________

l6th-note variation ending on beal 1 in the

_________________________________________________

bass drum. The dotted quarter is thencrashed, supported by the snare drum.

IMPORTANT: Even though some notes may be more important than others, every note wriften in anensembie figure should be played. Later, if you choose lo leave certain notes out of a figure, it wiIl befor musical reasons, foI technical ones.

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Ali that remairis now are 8th notes followed by rests. This brings us to luie #3.

An 8th note immediately followed by any resf is importont.

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In this example, the first 8th note of each group is irnmediately foliowed by other 8th notes. The

third 8th note is foilowed by a rest. Therefore, the third 8th note is the important one, and is accented

with a crash. (Notes followed by time slashes are also interpreted as important.)

Possible Orchestrations

ce

The first two 8th notes are played on snare

drum and are used to set up the last 8th

_______________________________ _____________

note, which is crashed, supported by the

_________________________________________________

bass drum. Notice the space foliowing the

___________________________________________________

accent on the “and” of 2.

For a longer set-up, we can start before

the figure itseif. Here, we begin ori beat 4

__________________________ _____

_____

with 8th-note triplet leading into beat 1,

_________________________________ ____

piayirig the “and” of 1 nd beat 2 and crash

ing,bn the “and” of 2:

Iri this example, l6th notes are used to set

up the figure, ending with bass drum on

beat4, and

crashin

gth

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2 sup

_________________________

____

____

ported by the snore drum. a

IMPORTANT: Even though some notes mcy be more importarit than others, every note written iri an

ensembie figure should be played. Loter, if you choose to ieave certoin notes out of a figure, it wifl be

for musical reasons, not techriicai ones.

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What’s Important?Examples #1

Eoch of these meosures is a typical syncopated ensembie figure. Using the rules on the preious pages,write accents over lhe importcint notes; theri come up wíth possible orchestrations for eoch example.Remember to use lhe unaccented notes to help set up the more important accents.

12

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51

Which lUotes Are Important? (cont.)

uIe #4 deals with a very specific figure found in many big bcind erisembie phrases.

Four 8th notes becimed together: accent first and last notes.

1fl4 1/ Z Z / / / / “ii1 4

In this exampie, the first 8th note on beat 1 is accented, the “and” of 1 and beot 2 are played, and

the “and” of beot 2 is occented. (emember to swing the 8th notes.)

Possible Orchestrations

The first 8th note is accented with a crash,

and the middie two 8th notes are piayed on

sriare drum. The last Bth note on the and”

of 2 is crashed, supported by the bass drum.

Using a simpie set-up, we can start before

the figure itself; here, we begin with a fiam

on beat 4 leading into the figure on beat 1.

r’

fl4this exampie, a tripiet set-up is piayed

from beat 3 to 4, ending on bass drum. The

8th note on beat 1 is subsequentiy crashed,

supported by the snare drum. The rniddle

notes of the figure are then piayed, with the

Bth note on the “and” of 2 being crashed.

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Rule #5 is o specific cose that contradicts Rule #1.

•: Consecutive on - the - beat quarter notes may be p(ayed, not crashed.

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Iri this exampie, qucirter-note accerits fali ori each beat in the measure; however, crashing each one ofthese quarter notes wili probably drowri out whatever the band is plciying. Thus, whenever we have consecutive on-the-beat accents, we may play them without crashes.

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Ecich of the quartei’ notes may be interpreted as the sarne sound: in this case, ali notesare piayed on snare drum.

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Example B uses a drag on beat 4 to set upthe figure. Qri beats 1 and 2, the first twonotes of the ensembie figure are piayed withthe bass drum; the iast two, on beats 3 and4, are played ori snare drum.

,-.

In this example, a tripiet set-up is pioyedfrom beat 3 to 4, ending on bass drum. Thefirst quarter-note ensembie figure is playedon snare drum, aiternatirig the subsequentquarter notes betweeri bass and snare.

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What’s lmportant?

Examples #2

Eàch of these meosure is a typical syncopated ensembie figure. Using the rules on the previous poges,

write cccents over the important notes; then come up with possibe orchestratioris for eoch example.

emernber to use the unaccented notes to help set up the more imporfant accents.

The Musical Question

Now that you have developed the technique to pkiy a voriety of ensembie figures, perhaps the most

important concept is wheri NQT to ploy o figure. bon’t feel that you must play every figure, especiaHy at

the expense of timekeeping. First and foremost, our job as drummers is to establish and maintain the

time. Many students get so involved hitting the figures that the groove goes out the window.

Once you have the developed the ability to set up figures cornfortobly, deciding which ones to set up

becomes a musica’ question. This question can only be onswered by experience, both ptaying and listen

ing. You must use your eors and your musico experience to take the techniques you have Iearned in this

text and appiy them to best suit eoch music& situation you encounter.

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Texas Elues Guitarby Robert CalvaPrivate Lessons00695340 Book/GD Pack $14.95

KEYBOARD

Funk Keyboards—The Complete Method

.4 Conlemporary Gute lo cords, RPsylbrns, and Lkks

hy GuilJohnsrmMasfrr f.Iasa00695331 Book/CD Pack $14.95

Music Reading for Keyboard

by lany ,StvelmunEssentlal Concepis

00095205$12.95

R&B Soul Keyboards

by HenryJ. BrawerPrlvate Lessons00695327 Book/CDPstzk $16.95

Salsa Hanonby Pelar DsneffPrivate Lessons00695226

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DRUM

Afro-Cuban Coordination for Drumset

byMarla MartinezPrivate Lessons00695328 BookfCOPack $14.95

Brazilian Coordination for Drumset

yMarlaMariinezMaster Class00695284 Book/GO Pack $14.95

Chart Reading Workbook for Drummers

byBobby GabrielaPrivate Lessons00695129 Book/CO Pack $14.95

Drummer’s Guide to Odd Meters

by EdRoscebiEssentlal Concepis00695349 Boolc/coPack $14.95

Working the lnner Clock for Drumset

by Pbil MalaranoPrivate Lessons00695127 Book/C1) Pack $16.95

VOICE

ALI INSTRUMENTS

An Approach to Jazz Improvisation

bji Dava PozziPrivate Lessons00695135 Book’D Pack $17.95

Encyclopedia of Reading Rhythms

by Gary HessPrivate Lessons00695145

$19.95

Going Proby Kenny KernerPrivate Lesavas00695322

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Harmony & Theory

by Keltb Wyail & CarlScbroeder

Essential Concepts00695161

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Lead Sheet BiblebyRobin RandailPrivate Lessons00695130 Book/COPack $19.95

WORKSHOP SERIES

Transcribedscores oflbegreatest soags ever!

Blues Workshop00695137

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Classic Rock Workshop

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FOR MOCA INF000ATION, SER VOUR LOCAl. MUNIR OCALER,

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SightsingingbyMlke Campbel?Essential Concepts00695195

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CHART READ:1N6.DR.KBOO.K

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• CD includes 16 fuli-demotracks

• Common symbols, musicalshorthand, following the“roadmap”

• Section figures andensembie figures

11 Açcents, set.p ideas,,embellishments

•Swing, big band, and otherstyles and grooves

300k $4.99 CD $11.DPkg 1iS. $l5.il1

ISBN O-7935-7126-X

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MUSCIANS IIiST[FUT[ PBE$Sis the official series of Southern California ‘s

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