The Ten “Must-Have” Grooves foryour Rhythm Section

Barb Catlin

Two-feel swing:

Main focus:Pulse centered around half notes.

Good for use on A sections of AABA form or for first part oftune to break up the 4 feels.

DRUMS:Hi-hat on 2 & 4 w/ ride in half note patterns.Little to no comping on snare.

BASS:Copies pattern on ride cymbal.Bass “walks” a few measures here & there-usually at end ofphrases.

PIANO/GUITAR:comp in elongated figures. Be the harmonic “pad” – not too busy.

GUITAR:“Freddie Green” (four on the floor) works on slower to mediumtempos

Drums can do a hi-hat figure as variation:

Four-feel swing:

Main focus:Quarter note groove!

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Quarter note groove!Bassist and drummer are “best-friends” with the quarter note!

DRUMS:

Focus on quarter notes on ride. “Spang-a-lang” is secondary togroove!Cross-stick on 4.Variation: cross-stick on 4 - next measure toms on 4+Never comp with cross-stick.Variation: Can free comp on open snare.Always save 2 & 4 (open or cross-stick) to “drive” the band. Usesparingly.No (or VERY light) feathering( “four on the floor”) on bass drum.Change cymbals for color and phrase highlights.

BASS:Walks. Line up with ride cymbal.

PIANO/GUITAR:Piano/guitar comp with elongated, simple figures combined withshorter patterns.Compers should use space, especially on faster tempos.Always anticipate the chords; don’t get “behind” in the changes.Trade off comping for soloists. Stay with soloist for duration –don’tchange every chorus.

GUITAR:only use “Freddie Green” on appropriate tunes and tempos (like aBasie tune!), otherwise can get vertical, especially on fast tempos.Piano and guitar CAN comp together-one using pads (simple andelongated rhythmic patterns) and one using sparse, rhythmicpatterns.

Play the quarter note game: Have the bassist look at the drummer’sride cymbal where the stick hits; have the drummer look at thebassist’s pulling hand. Have the bassist play random quarter notes (orblues or rhythm changes) and vary the tempo widely and have thedrummer follow where they place the quarter notes exactly using onlyquarter notes on the ride. Have them switch roles. Then have themclose their eyes to do the same. Finally, go back to whatever tune youare working on – they will be tuned into the quarter note by now!

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Listen:

“Kind of Blue” by Miles Davis with Jimmy Cobb (drums) & PaulChambers (bass) or anything with Jimmy Cobb!“Soul Station” by Hank Mobley with Art Blakey (drums) & PaulChambers (bass)

Watch: “Miles Davis & John Coltrane: So What”http://www.youtube.com/watch?v=V1hT2u1jwcs

Jazz Shuffle

Main focus:4 feel swing with triplets highlighted-still quarter notes!

Strong backbeat feel on 2 & 4

DRUMS:Communicate triplet feel with hi-hat or snare.Mix up the shuffle pattern with straight ahead 4 feel –especiallyon solos.

BASS:Bass walks as in 4 – same as 4 feel swing.

PIANO/GUITAR:Piano/guitar comp to highlight tripletsLay into repetitive patterns to groove

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Variation for drums: Ride cymbal with quarters/spang-a-lang, triplets onsnare:

Listen/watch: Youtube video: “Drums Steve Gadd Shuffle groove”http://www.youtube.com/watch?v=H4ABE9gcKao

Bossa Nova (medium tempo Brazilian groove)

Main focus:Brazilian feel of light, acoustic guitar comping

Think sixteenth notes on a shaker -Dance-like!DRUMS:

Ride or hi-hat pattern eighth notescross-stick on snare with Brazilian rhythm 2 bar pattern.Kick drum: half note-emphasis on 1 & 3-Surdo drum

BASS:Bass centered around half-note pulse with kick drumAccent beat 3.

PIANO/GUITAR:Piano comp using Bossa rhythm (cross-stick pattern) or longerduration patterns

GUITAR:Guitar comps cross-stick pattern lightlyPlucked chords is traditional

Here’s another common Bossa 2 bar rhythm:

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Samba (faster tempo Brazilian groove)

Main focus:

Emphasis on 1 & 3-especially 3!Light-not heavy -Dance-like!

DRUMS:Emphasis on 1 and 3-especially 3Snare and ride play samba pattern-start w/ unison then addLight and low

BASS:Bass centered around half-note pulse w/ kick drum-beat 3!

PIANO:Piano comps within the same snare pattern (agogo) w/ drumsAnd/or elongated “pads” while guitar plays rhythmically

GUITAR: Guitar comps snare pattern (or long duration patterns)Plucked and light chords

PERCUSSION: Bossa & Samba:Shakers and triangle, not congas or cowbell – lightSamba: Pandeiro, Tamborim, Cuica, AgogoLook it up – DO NOT GUESS!

Important Brazilian percussion roles:

(Samba continued) Good “starter” samba-unison in hands for drums:

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Have drummers play these with any two voices/percussion and

piano/guitar comp same pattern: Ex.1

Ex. 2

Ex. 3

Ex. 4

More challenging patterns for drummers:

Ballad

Main focus:longer durations & space

Beautiful, expressive sounds; not boring!Round/horizontal, not vertical

DRUMS:

Use variety of patterns with brushes, mallets etc. Use cymbals forcolor and move around kit.Side to side, lateral motions, leave one brush on head at all timesUse articulation on snare to create rhythmic information for theband, not only the hi-hat.Make hi-hat “fluffy” & open, not vertical/clickyNeed a coated head (or etched - Evans J1)

BASS:Long sustained notes in bass with vibratoJoel DiBartolo said, “Love every note. Make every note asbeautiful as possible.”

PIANO/GUITAR:Piano/guitar comps with simple sustained figures.

BALLAD TIPS:

ALWAYS morph gently into double time and back-it’s still a ballad.Never go directly from a ballad/brushes to straight 4 – ease into 2feel, then 4 feel.Always feel free to STAY in ballad – you don’t always have to go todouble time! Let your set breathe with space, color, and beauty.Excitement comes in many formsJ

WATCH: “Jeff Hamilton Brush stroke technique and demo song”http://www.youtube.com/watch?v=MMlbw0VbVuc

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http://www.youtube.com/watch?v=MMlbw0VbVucWatch: Peter Erskine Brush Lessons #1-6: Developing a Legato Soundhttp://www.youtube.com/watch?v=zeMhe0CT-wMWatch: Vic Firth’s “Drumset 101” with Steve Houghton for lots of tipson all styles!http://www.vicfirth.com/education/

Jazz Waltz

Main focus:Swing in 3!

Emphasis on two main rhythms:

DRUMS:

Hi-hat on 2 (or 3)

BASS:Bass patterns between dotted half, dotted quarter, and walking

PIANO/GUITAR:

Piano/guitar feels comping in one – longer durations Drum Ex. 1

Drum Ex. 2:

Listen: Miles Davis “Someday My Prince will Come” Bass pick-up info: Underwood Fishman Full Circle ($225-250) Wilson ESP (more $$$)

Cha-Cha (Cuban medium tempo groove)

Main focus:Cuban - medium tempo based on Danzon

Emphasis on all four quarters (cowbell)DRUMS:

Imitate cowbell with cross-stick on all quarters

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Imitate cowbell with cross-stick on all quartersBASS: Variation of Tumbao pattern-using V7 chord (even over ii7)PIANO/GUITAR:

Play “cha-cha clave” (Danzon 2-3 pattern)PERCUSSION: congas, timbales, bongos, guiro, cha-cha bell

Another piano cha-cha pattern:

LISTEN: “Oye Como Va” Tito Puente, “Morning” Clare FischerMambo (Cuban up tempo groove)

Main focus:

Emphasis on beat 4, not 1!Piano plays montuno

Son clave (2-3) or (3-2) depends on melodyDRUMS:

kick drum does a tumbao related patternalternate toms

BASS: Traditional bass tumbao. Reset on 1 if needed!PIANO:Piano comps a montuno (arpeggiate chords 2 octaves apart)GUITAR: Guitar comps clave

Mambo 2-3 son clave:

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Listen: “Mambo #5” Perez Prado, “Manteca” Dizzy Gillespie

Songo (Cuban upbeat groove)

Main focus:Contains many rhythmic styles & variations

DRUMS: Kick drum w/ bass on tumbaoBASS: Bass tumbao w/ variationPIANO: montuno patternsGUITAR: clave patterns

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Books:

“Salsa Guidebook for Piano & Ensemble” by Rebeca Mauleon (Sher Music)“Latin Percussion for Gringos” by Dom Moio (website) or any of his books“Rhythm Section Workshop for Jazz Directors” by

Shelly Berg, Lou Fischer, Fred Hamilton, Steve Houghton (Alfred)“Jazz Piano” Mark Levine“Voicings for Jazz Keyboard” Frank Mantooth“Serious Electric Bass” by Joel DiBartolo“Rufus Reid Bass Lines” Jamey Aebersold Transcriptions of Play-a-longs“Ray Brown’s Bass Method” (Hal Leonard)“Joe Pass Guitar Method” or anything by Pat Martino or Joe Diorio

Many thanks to my good friend, Dom Moio, who helped with the drum parts. Dom is thedrum professor at Arizona State University. He is a well-respected educator and performer.Please check out his books: Latin Percussion in Perspective Available Mel Bay & websiteBebop Phrasing for Drums Available Mel Bay & websiteLatin Percussion for Gringos Available on websiteThe Jury’s Out Available on websiteThe Language of Jazz Available on website30 Duets for Snare Drum Available on website30 Duets for Sightreading Available on website50 Ways to Syncopation Available on websiteJust Duet w/ Steve Gadd Available on websiteDeep Grooves II w/ Steve Gadd Available on websiteDeep Grooves Available on website

www.dommoio.com1

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