Cymbals - In drum sheet music cymbals and hi-hat are represented by a x- shaped note. Each note position corresponds to a specific cymbal type. Drum Patterns for Drum Machines - Free download as PDF File .pdf) or read online for free. Drum Grooves - Steve Mansfield - Free download as PDF File .pdf) or read online for free.
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This book contains over of the greatest drum beats and grooves ever performed Have fun playing these amazing drum beats and happy drumming to you!. Recording Drum Tracks. STUDENT ASSIGNMENT SHEET. 43 drum Beats. The following is a diagram of where to locate specific sounds on the MIDI keyboard. PDF | Music psychology defines groove as humans' pleasureable urge to Drum patterns of eight bars duration, chosen from popular.
However, it seems that another Funk Brother, Pistol Allen, was the actual drummer on this classic song. The Motown groove is characterized by quarter-notes played on the snare drum that create an insistent and driving beat.
A wide variety of bass drum patterns have been used underneath this simple hand pattern. Tower Of Power, "Oakland Stroke" - David Garibaldi David Garibaldi is the remarkably precise funk drummer who combined the influences of his predecessors with linear drumming ideas to create a wide variety of difficult and unique grooves.
Garibaldi uses a two-height approach: playing rim shots for the accented strokes and ghost notes everywhere else.
This groove demands incredible dynamic control and coordination. Note that he omits the first bass drum note as he repeats this incredible groove. Their classic song "Cissy Strut" both inspired and perplexed countless drummers after hearing it. This groove uses both hands on the hi-hat with the right hand moving to and from the snare.
I transcribed this groove from a live performance video so that I could include and accurately notate his stickings. In this version, Wrecking Crew drummer and session master Hal Blaine played a constantly evolving groove that puts his massive double bass drum set to good use.
James Brown, "Cold Sweat" - Clyde Stubblefield Clyde Stubblefield created this incredibly funky groove while messing around in a recording studio drum booth. The other players joined in and the essence of the song was created. This one swings hard! It percolates with ghost notes, tasty hi-hat openings and a funky bass drum part. This is the main groove, but his bass drum patterns vary slightly throughout the song.
I would be remiss not to include one of the funkiest and most sampled drum breaks in funk: The Amen Break. Sadly, G. Sing the bass drum pattern, and imagine a line played by the bass guitar.
Example 10 Next is a similar example to the previous pattern but with a little more actvity. In the following rhythms, the bass and snare drum should be equal in volume, with the hi-hat pattern, a little lower in volume, ticking away keeping time. Practice the following examples to get your kit balance right. Example 11 Example 12 Paradiddle 2 If you play some of the right-hand beats of the paradiddle on the bass drum and the left-hand beats on the snare while playing a steady eighth-note closed hi-hat pattern with your right hand, you can use the paradiddle as a rhythm pattern.
Bass and Snare 1 Watch out for the dotted bass drum rhythm on beat 1. Make sure all the syncopated drum beats fall exactly in between the hi-hat eighth notes.
Bass and Snare 2 When playing these rhythms, make sure the syncopated bass drum beats the E after beat 2 fall between the closed hi-hat beats. Try to keep the eighth-note hi-hat pattern as even as possible as you go.
Bass and Snare 3 This bass drum pattern is a little bit more complex than the previous patterns. Bass Drum Techniques for Hip-Hop Drums You may find some of these rhythms hard to play at first especially the sixteenth-note bass drum patterns , so try experimenting with the position of your foot on the plate of the pedal.
Some drummers prefer playing with their foot farther back on the foot plate in order to get a faster action, but whichever method you use, your foot should always remain in contact with the foot plate.
Never lift your foot off the pedal entirely. The height at which the beater strikes the drum can make a big difference in your playing, so experiment with different positions until you feel comfortable and in control.
But watch out for differences between the first bar and the second in the bass, the snare, or both. Remember to keep the rhythm tight across both bars, with no speeding up or slowing down. Busy Beats 1 Play this example slowly at first. Then pick up speed.
Notice that the bass pattern remains the same for both bars. Busy Beats 2 In this example, both the bass and snare patterns change in each measure. Hi-Hat with Foot Having practiced all these rhythms as written, try playing the closed hi-hat pattern on the ride cymbal and add the hi-hat played with your left foot on beats 2 and 4, also known as the offbeats. Hi-Hat with Foot 1 Hi-Hat with Foot 2 Try playing this pattern along with a metronome, setting the tempo from slow through to fast 80 bpm— bpm.
Open Hi-Hat 1 When playing these beats, let the hi-hat foot plate up just enough to produce the open sound, but do not take your foot completely off the pedal. For additional variations, try playing the example with a closed hi-hat for three measures, then add the open hi-hat as written for a four-bar pattern. This will work with all the examples in this section.
Hi-Hat Variations By not restriking the closed hi-hat after playing an open hi-hat beat, you allow the rhythm to have a more relaxed feel. Make sure you get to it on time. Hi-Hat Variation 2 This example includes two open hi-hat beats in the same bar.
These fall on the E after beat 2 and on the E after beat 4. Purdie 1 Bar two of this example shows a typical Bernard Purdie phrase.