aT iy Voted #1 Educational Book—Modern “ot bre Jungle/Urum'n' Bass Mee eee MCU aN cme Ve mabe ee Cem Ce la ee Ae ale 7 yi new — double-bass jungle grooves — linear and unison jungle grooves — transcriptions — multiple snare jungle grooves — advanced drum 'n' bass groovesTable of Contents _, Note: The two audio example CDs accompanying this book are designed to enhance your learning experience. ‘Audio example CD 1: Consists of tuning examples, book exercises, and advanced sound exercises from the individual chapters. You can use CD 1 in direct reference to the text. ‘Audio example CD 2: Consists of basic electronics, hybrid drum setups, breaking the rules, one track from Johnny's solo album Acoustic Machine, and groove loops. Groove Loops: Original jungle/drum a’ bass play-along tracks for you to practice any exercise from the book Introduction 3B CDitr1 ‘What Is Jungle/Drum ‘r’ Bass? 13 Where Can You Find It? 14 How I Got Started .. Samplers sown Sampling CDs ica we Contributing to the Future An Interview with Clyde Stubblefield Setup and Sounds D9 Drum Tuning Possibilities : = 20 CDI tr? Cymbal Setup 20 CDItr3 Practice Tips ‘ 22 CDItr4 Fragments Group A 2 Notation Key 23 Johnay’s Drum Setup and Sounds 24 Chapter 1: Preliminary Exercises 25 Eighth-Note Combinations wenn Eighth- and Sixteenth-Note Combinations .. Chapter 2: Eighth-Note Grooves Fragments Group A: Eighth Notes .. Eighth-Note Exercises: One Measure Eighth-Note Exercises: TWO Measures... Eighth-Note Off-Beat Exercises: One Measure Eighth-Note Off-Beat Exercises: Two Measures... Chapter 3: Sixteenth-Note Grooves 45 Fragments Group B: Sixteenth-Note Fragments: One-Note .. al. Fragments Group B: Sixteenth-Note Fragments: TWo-NOte wnssvnnnnmnenn Fragments Group B: Sixteenth-Note Fragments: Three-Note..... 46 Fragments Group B: Sixteenth-Note Fragments: Four-Note 46 Sixteenth-Note Exercises: One Measure .. AT CDI tr 12 Sixteenth-Note Exercises: Two Measures .. A9 CDI tr 13 26 CDItr5,6 28 CDItr7 31 3d 32 Cts 33 CDltr9 39 CDItr10 40 CDItr ilChapter 4: Basic Rolls and Buzzes 55 Fragments Group C: Buzz Fragments. ——— coe CDI 4 56 CDItr 15 Buzz Warm-ups: One Measure Buzz Warm-ups: Two Measures Buzz Exercises: One Measure Buzz Exercises: Two Measures Buzz Cadences: Two Measures .. Five-Stroke Roll os Five-Stroke Roll Warm-ups Five-Stroke Roll Exercises: One Measure Five-Stroke Roll Exercises: Two Measures... Nine-Stroke Roll... = na Nine-Stroke Roll Warm-ups = wo64 CDI tr 25 Nine-Stroke Roll Exercises: One Measure... Nine-Stroke Roll Exercises: TWo Me&SUrS cen Five- and Nine-Stroke Roll Exercises: Two Measures with Buzzes 58 CDItr 18 60 CDItr19 61 CDItr20 61 CDItr21 veve62 CDI tr 22 62 COT tr 23, 66 CDI tr 28 Chapter 5: Unison Jungle 69 Fragments Group D: Unison Bass Drum Fragments 69 Unison Bass Drum Exercises: One Measure nae 70 CDI tr 29 Unison Bass Drum Exercises: Two Measures ....... 72 CDI tr 30 Fragments Group E: Unison Snare Drum Fragments 15 Unison Snare Drum Exercises: One Measure '5 CDI tr 31 Unison Snare Drum Exercises: Two Measures .. saci 78 CD1tr 32 Fragments Group F: Unison Bass Drum Combinations.. =a 80 Unison Bass Drum Combination Exercises: One Measure 10 CDI tr 33, Unison Bass Drum Combination Exercises: Two Measures. 83 CDI tr34 Fragments Group G: Unison Snare Drum Combination Fragments nee 85 Unison Snare Drum Combination Exercises: One Measure 86 CD1 tr 35 Unison Snare Drum Combination Exercises: Two Measures 87 CDI tr 36 Chapter 6: Linear Jungle Grooves Fragments Group H: Linear Eighth-Note Fragments . Linear Eighth-Note Exercises: One Measure .. Linear Eighth-Note Exercises: TWO Measures sen Fragments Group I: Linear Combinations—Three Notes .. Fragments Group | (cont'd): Linear Combinations—Four Note: Linear Combination Exercises: One Measure Linear Combini Exercises: Two Measures 99 CDI tr 40 Chapter 7: Hi-Hat Exercises 103 Fragments Group J: Hi-Hat Opening Fragments, aia Preliminary Hi-Hat Exercise Feel Bars... aS 104 Hi-Hat Exercises see 104 CDI tr 41 Chapter 8: Multiple Snare Jungle Grooves 107 Multiple Snare Exercises: One Measure ~108CD1 tr 42 Multiple Snare Exercises: Two Measures 10 CDI tr 43 Multiple Snare Combination Exercises: One Measure... 3 CDI tr 44 Multiple Snare Combination Exercises: Two Measures... 5 CDI tr 45Chapter 9: Split Grooves Johnny's Split-Kit Diagram . Split-Groove Exercises Eighth-Note Combinations si Split-Groove Exercises: Sixteenth-Note Combinations vevneeenel21 CDI tr 47 Split-Groove Exercises: Eighth-Note Combinations 122 CD1 tr 48 Split-Groove Exercises: Sixteenth-Note Combinations 18 Split-Groove Exercises: Eighth-Note Combinations ....... 124 CDI tr 49 Split-Groove Exercises: Eighth- and Sixteenth-Note Combinations 124 CDI tr 50 Chapter 10: Ostinato Grooves 15 vow 126 CDI tr $1 swe126 CDI tr 52 127 CD1tr 53 Basic Ostinato Grooves. Eighth-Note Auxiliary Snare Fills... Eighth- and Sixteenth-Note Auxiliary Snare Fills... Chapter 11: Double! Bass Jungle Grooves ng Preliminary Exer 130 CDI tr 54 Eighth- and Sinieenth Note Exercises “One Measure...... wnunel30 CDI tr 55 Eighth- and Sixteenth-Note Exercises: Two Measures 131 CDI tr 56 Chapter 12: Transcriptions B3 Dj Goldie — “Manslaughter” aS Origin Unknown - “Valley of the Shadows’ 333 PFM - “Wash Over Me”. 134 Jungle Warfare Vol. 3 ~ “Standard Amen’ 34 Jungle Warfare Vol. 3 ~ “Scott BK’... Soul Coughing - “Rolting” Soul Coughing ~ “Blame” Soul Coughing - “$300” (basic groove) Soul Coughing - "S300" (solo) . i Chapter 13: Advanced Sound Exercises B7 Snare-Muting Exercises Snare Chatter Exercises .. Sixteenth-Note Exercises Using the Tip and Butt End of the Stick Sixteenth-Note Cowbell Exercises nevnnnnnnmnnnn Cymbal Choke Exercises Drumbals ... Jingle Stick Exe The RhythmSaw Chapter 14: Freehand Technique _ 45 CDi tr 65 ‘One-Measure Examples conl46 ‘Two-Measure Examples. 146 Chapter 15: Basic Electronics 147 Roland SP-303 Phrase Sampler : 147 CD2 tr 1 Roland SPD-20 Pad Controller... 147 CD2 tr 2 Roland HandSonic HPD-15 Pad Controller es 7 CD2 tr 3 Hybrid Drum Setup-Acoustic Drum Set with Roland SPD-20 148 CD2 tr 4 Writing Too! see Roland PMA-S Roland MC-505 Groovebox. 138 CD1 tr 59 smued4Q.CD1 tr 60 140CD1 tr 61 1 CDI tr 62 142. CDI tr 63 143 CDI tr 64 "W12 Chapter 16: Putting It All Together 49 Audio Example CD 2: Track 1 - Basic Electronics 449 D2 tr Track 2- Roland SPD-20 Example... vow l49 CD2 tr 2 Track 3 - Roland HandSonic Example . nnn 9 CD2 tr 3 Track 4 - Roland SPD-20 Hybrid Drum Set Example 149. CD2 tr4 Track 5 ~ Breaking the RULES evn sce MCD tS Track 6 - Gap Track - from Acoustic Machine = eneed49 CD2 tt 6 Tracks 7-13 - Groove Loops 149 CD2 tr 7-13 Appendix 151 Suggested Listening 151 Webography 152 Performing at Frankfurt Musikmesse 2007Introduction «~~ —«y his book should be used as a guide on how to play jungle /drum 'n’ bass on the acoustic Ter set. No matter what background you have, | _m hoping that you will be able to pick up a pair of sticks, get behind the kit, and begin to play as soon as you look at the 48 first exercise, This is not intended to be a history book. However, | am very interested in the history of this style of music and research it any chance | get, | am constantly learning new things about jungle and drum ‘n’ bass music. My mission is to show you how to establish a solid foundation in this style. “The exercises provided are based on my approach to playing these styles of grooves on the drum set. My goal is that when you listen to the music, you will be able to relate to the material in this ook. You will learn new techniques on how to make the music sound elec- tronic with little or no electronics at all. You wil! primarily be using the bass drum, snare drum. and hi-hat/tide cymbal as your main sources and can practice the majority of the book with this basic setup. As the book progresses, we will be adding different instruments anc accessories to the drum set, simulating what is heard on the recordings from today’s jungle/drum ‘n’ bass artists and Djs. Artists such as Ed Uribe and Robbie Ameen among many others have written Latin books that utilize the Cuban rhythm sections—congas, timbales, Bongos. bell, and so on. For example. there are exercises using the cowbell with the right hand, conga pattern on the rack tom, clave with the left foot, and so forth. | use a similar approach, taking the many parts of a drum machine or sampler and applying them to the drum set. Since thete are so many sounds layered, looped. and sampled in jungle/drum ‘n’ bass, my main objective was to simu late the electronics on the acoustic drum set. What Is Jungle/Drum ’n’ Bass? me jungle drum ' bass isa high-energy, fast-paced new trend of music that is | popping up everywhere. You hear it frequently on TV, on a lot of underground/college Fadio stations, and at many clubs, Since this music is so energetic, it i used in many TV commercials and on movie soundtracks. Jungle/drum 'n’ bass is comprised of several basic groove variations. It is like a dictionary of terms that make up each groove, The music is more instrumental, hence the term drum ‘n' bass. Its literally drums and bass—drum set or elec~ tronic drums with sub bass and low tones underneath, generally ranging from 140 to 180 beats per minute. Most pieces of music are accompanied by strong synthesizer or string lines as melodies, Even though the music is mostly instrumental, there are many groups and proj- fects that do use lyrics and vocals. Artists from pop to jazz have adopted these quick and catchy grooves and applied it to their own style. Jungle/Drum 'n’ Bass is the title | came up for my book. Even though these styles are similar, they do have their dferences. The difference between jungle and drum in bass is fairly simple, Jungle is more random and syncopated using sixteenth notes within the groove. Drum i bass grooves are much simpler grooves and usually slightly slower in tempo. When you get more involved in this style of music, you will realize there are many styles under the category jungle or drum 'r’ bass, such as jump up, hard step. and so on. The exercises in this book should give you a solid foundation covering both jungle and drum 'n’ bass styles. 1314 Where Can You Find It? ‘Ou can find jungle/drum 'n’ bass music almost everywhere you turn. Some people have Ye idea they are hearing it. It is on TY commercials (Sony, Nike, Volkswagen, Timex, Quaker Oatmeal). Itis fast-paced music that gets the product to seem more sporty and energetic, | have heard jungle and drum 'n’ bass music used for commercials, cartoons, movies, and other soundtracks, Everyone is catching on to the fad and realizing how cool and infectious it 8. There are many groups that perform jungle and drum 'n’ bass live. A few of them are Soul ‘Coughing, Jungle Funk, and LAKETROUT. Medeski, Martin, and Wood simulate dance/techno. music in a jazz sense live, and they are incredible. Even David Bowie added some jungle grooves on one of his past albums. One of my favorite recordings is from the Fiona Apple hit "Fast as You Can” played by Matt Chamberlain. He lays down a totally original groove that makes the song come alive, Start to listen to all types of music and see if you can pick up on people and places using these grooves because it is definitely worth checking out. How I Got Started proximately seven years ago, a friend of mine asked me if | had ever heard of jungle Aw Although it was already popular amiong the underground. | had not yet been exposed. My first listening experience came from a compilation album calted jungle Vibes featuring various artists. The first time | heard it, | became obsessed with the music and immediately started to imitate it on the drum set, | listened, transcribed, played along to it, and became addicted to the way it grooved and how it felt: It was mainly all programmed Using drum machines, sampling CDs, and loops. At that moment | realized I wanted to write a book about jungle/drum 'n’ bass drumming. | Began compiling transcriptions of the music, playing along to records, and introducing jungle/drum ‘n’ bass music when | was doing my acid jazz, hip-hop gigs with my old group, Stickboy, in Sacramento, California D) Goldie, who was the first Dj | heard of at the time, was my first purchase. From there I bought and checked out anything I could that had to do with jungle /drum 'n’ bass. The next thing | started noticing was that the music started popping up on TV jingles/commercials. | also realized when | toured Belgium that jungle/drum 'n’ bass was really hitting overseas. ! knew | was way out of touch from places like New York and abroad. | was playing hip-hop and acid jazz at my gigs back home. At that time, acid jazz was very popular in the San Francisco bay area—acid jazz being more half-time-oriented grooves of funky old-school loops with Djs and horns. Some of the acid jazz records in my collection were hinting at jungle by throwing double-time over the top of the half-time grooves, At the time | didn't realize this was a style. | just thought it was interesting and original drum machine programming! | played at the NAMM show in Los Angeles demonstrating my take on jungle /drum ‘n' bass. That is where | met Tony Verderosa, who is not only a monster drummer but also a one-man band. His approach to this style is amazing. At the same show I met Zach Danziger, who is another fantastic drummer. As | became more immersed in this style, | began to meet other drummers who love jungle/drum 'n’ bass. Jojo Mayer and Yuval Gabay (Soul Coughing) are ‘two other drummers i have met who are totally into this scene, Its always fun to see these guys and hear their take on this style, My hope is that in the future we will see a lot more guys and girls playing this style live. The most fascinating thing to me is that every player | meet has his or her own personal tech- niques that he or she uses to simulate jungle/drum'r’ bass grooves on the acoustic drum set. I have been studying and learning about this style for the past seven years. Although ! have a genuine passion for most music genres, {find myself infatuated with jungle/drum 'n’ bass music.Samplers he use of samplers is very important when writing/recording jungle and drum ‘ri bass Tee ‘A sampler is basically a digital recorder. It records sounds or beats that can be edited or looped. Looping a beat simply means recording a drum groove into the sampler and having it repeat over and over. The loop is edited to ensure itis the correct length so it can repeat or loop in time. A beat can also be cut into fragments, which are sometimes as short as one beat or as long as multiple measures. This will allow the composer to have multiple drum-set sounds in the same bar. (Check out Basic Electronics, DISC 2, TR} for an audio example of the BOSS SP-303 phrase sampler ia action) Many composers choose to use computers (Mac or PC) to exercise their songwyriting skills. Programs like Acid are extremely user-friendly. There is also a new program called Reason that really allows almost anyone to make a futuristic record! As soon as you download your sounds into the computer, you can start creating your own music with a click of the mouse. There is some learning that has to take place before you can actually compose a complete album, but most of these programs are relatively simple to get the hang of. | believe that technology is a great creative-writing tool when used in a musical way. Today’s music is advanced and does not require going into a recording studio all of the time. In my case, | use a sequencer like the Roland MC-505 and my SP-303 Phrase Sampler for the majority of my writing. They are very simple to use and have great internal sounds. These days computers seem to be the norm. If you don't have a computer, you should definitely get one. Finally, If you play drums, expand your musicianship and learn how to play keyboards {piano}, and start ‘writing! There is no reason not to express your musicianship to its fullest Sampling CDs ampling CDs are a major element in producing and writing jungle and drum ‘ny bass Sc i. There are companies such as Sonic Foundry and East West, to name a couple, that produce and distribute these CDs. Sampling CDs come in two versions, audio or CD-ROM, The audio format allows you to play the CD like you would any other album you ‘own. Then you can sample a measure and then loop it or chop it up. The CD-ROM version is formatted to work for specific samplers. You then can buy the CD-ROM for your specific brand of sampler, for example, AKAl, Digidesign, E-MU, Ensonig, and Kureweil. The samples ate then taken and used for songs. Since a sampler can hold multiple samples, the drum-set sounds can be totally different. in some songs it is normal to hear a variety of different drum set sounds, These CDs range in prices anywhere from $30 for a single audio sampling CD to $500 or more for a complete CO library. The CD-ROM format is generally more expensive since it is formatted especially for a specific brand of sampler. There are a ton of license-free sampling CDs available. The term Ieense-free simply means that by purchasing the CD, the owner has the right to use any sound co groove from the CD in an original piece of music without paying any royalties or licensing fees. Generally the distributor will give the artist @ royalty for each CD sold recorded an acid jazz sampling CD with my friend Scott Reams, a great engineer, singer, songwriter, and producer. For this sampling CD, we used many different drum sets and had about ten hours of tape. | am in the process of completing my own library of drum sounds and loops ranging from jungle to house and acid jazz. | would be very excited to have people use my original grooves on their projects. look at it as a way to drum on other people's songs without physically being there! ‘The first audio sampling CD | purchased was Jungle Warfare Ill. This CD consists of numerous prograramed jungle drum breaks. | transcribed the first few tracks of the CD te really under- stand what the programmer was doing 4 then realized that there was.a vocabulary of frag- + _rents and phrases. The fragments consisted of sixteenth, eighth, and quarter nates mixed, “sogether,When referring to the records | previously listened to, | realized that most of the DJs were using the grooves from the Jungle Warfare iti album 1516 Contributing to the Future An Interview with Clyde Stubblefield ¢ all know Clyde Stubblefield, John W. abo" Starks, and Bernard Purde as the original funk drummers. They are just a few of the many drummers who pioneered the way funk sounded and was played. A lot of the grooves found in today's jungle and drum ‘a’ bass music have been influenced by original grooves from the likes of these great players. In one specific exam- ple, | heard a James Brown groove sped up. This example can be found on the opening theme for “The Powerpuff Girls,” which airs ‘on the Cartoon Network. If you listen closely, you can hear that the groove is taken from “The Funky Drummer Re-Mix" (from the James Brown album in the Jungle Groove), on which Clyde Stubblefield performed, The exact groove was sampled and then sped up to approximately 160 bpm. i had the pleasure of talking to Clyde about this issue, and below are some of his own words. Johnny: Do you realize that your groove from “The Funky Drummer Re-Mix" is used in the theme song for "The Powerpuff Girls” only at a faster tempo? Clyde Stubblefield: You heard the cartoon playing this pattem and you knew it was me. That is some of the stuff that has been happening, They change the tempo on it and make it sound like something else. | am very happy and proud of people using my drum patterns, Other people like you know that it is me even when I don't even realize that it is me. | have also put ‘out a sampling CD with DNA and it is possible that they used a track off of that for the cartoon. | made my sampling CD for the purpose of being used by people other than myself J.R.: in the past, people have taken your grooves without giving credit or without paying royalties and used them all over the place for hip-hop, rap, and other forms of music. Since you have recorded your own sampling CD, do you feel like you have gained back what was taken from you without your consent? C.S:No, not at all. This is just a litle drop in the bucket for my sampling CDs. I couldn't credit anything in the past because | did not own it. Even though they were my original drum patterns, I was never compensated for past grooves. My sampling CD has not even come close to what | feel | deserve from my grooves being used on other people's songs. If | could have gotten the press, credit, or acknowledgment from the artists that used my grooves, | would be happy. It means a lot more than money. If | was an important element to the music, please acknowledge me. Don't use my stuff and make millions off of it and look over me. | don't look at the money aspect, | just feel that it is very disrespectful to use my beats to make a song and not acknowledge my work J.R: Did you ever think that “The Funky Drummer” would be used for all of these styles, including jungle and drum ‘n’ bass? That beat sounds fantastic at any tempo. C.5:To me, I never thought any of our patterns or drumbeats would amount to anything. | just thought | was just laying down beats for James Brown. | never made a pattern to be used as a sample back then. It was just what I came up with at the time. | tell everybody [laughing] I don't even like “The Funky Drummer” that much because it was just something that | thought of at that moment that didn't even strike me, and it didn't have anything | wanted,but it worked. Everyone else seemed to like it and | didn’t understand it. | cannot understand why they chose that particular beat to sample so much! [chuckling] You know, there's 3 lot of other stuff! J. R: How does it make you feel to know that you have contributed to jungle and drum 'n’ ‘bass without even realizing it? C5: Right now if | turned on that cartoon, | might hear “Funky” [‘The Funky Drummer Groove’), but | am still not sure that it is me. | would love for something like that to be me, but | still have a hard time putting me in that picture. | think, man, that is a hot drum pattern; however, | don't sit and think that it's me. If | could get anything out of this, | would really appreciate getting the credit for my work. They use all of our stuff—me and “Jabo” Starks— and they aren't giving us any kind of thank-you or anything, Before the end of the interview, I told Clyde I believe it is definitely his groove at a faster tempo on “The Powerpuff Girls” theme song! I want to thank Clyde for being such an inspira tion to my playing and a true gentleman. His original playing style has influenced music in the past and the present, and it continues into the future. 1, John ‘jabo" Starks, Bernard Purdie, Clyde Stubblefield and me at the NAMM Show in Los Angeles, CA, 2001 17France 2001extremely quick, I needed to figure out the right drum sounds to simulate this high- energy electronic music. The drums sounded higher in pitch because the samples were sped up. I started to concentrate on how to obtain electronic sounds from my acoustic drum set. | decided to use three snare drums in my setup to achieve the sounds | was hearing. luse a 14- inch snare drum for my main snare positioned directly in front of me. This gives me a nice thick backbeat and a great sound when | detune it to sound low and trashy. | use a 10-inch snare drum to the left of my hi-hat so | have the correct pitch when playing at faster tempos. The snare drums are an extremely important element in jungle/drum ‘n! bass music. | feel that the three snare sizes used in my setup give mea colorful palette of sounds and a broad range of tuning options. Bes Jungle /drum’'n’ bass grooves are Often | will work on grooves using a small two- piece drum set (kick and snare) so I can focus on the speed and energy of the music. | have a 10- inch rack tom and 14-inch floor tom in my setup. | use these sparingly when approaching this style of drumming. | also have a single-headed I6-inch floor tom that | use as a hand bass drum. lse it to simulate the low tone of an 808 electronic bass drum. | have found that a IZ-inch single-headed tom with an EVANS Hydraulic head also sounds amazing! When | add electronics to my setup, | use the Roland SPD-20 and Hand-Sonic with the hi-hat trigger pedal and bass drum triggers. My different types of setups are as follows: a small acoustic kit, a large acoustic kit, a large acoustic “electronic hybrid kit, or all electronic, Each ‘drum set is used for different situations depending on what sounds | want or need. In addi- tion to the gear mentioned above, | also use the BOSS $P-303 phrase sampler and perform vocal percussion sounds using my AUDIX headset microphone. You have probably noticed by now that I use the DrumFrame {shown in the three photos on. this page) designed by innovative inventor/ drummer Bob Gatzen, The comfort is arnazing and allows my entire body the freedom to move about the drum set without discomfort ‘or question. | have a hard time with my posture, and the DrumFrame gives me the ‘opportunity to sit with correct posture, which aids my playing. Plus, it looks very cool and everything is exactly locked where | want it! 19We so a 20 Drum Tuning Possibilities hen simulating jungle/drum 'n' bass grooves, your Were: will usually be made to sound very unorthodox: ‘Snare Drum Try to detune your snare really tow so it sounds like a low, processed, slow-speed, low-resolution sample. Anather option is tuning the snare up to where it sounds high-pitched to simu- late previous grooves that have been sped up. When using three snares, I like to use the 10-inch and 12-inch high-pitched and my main snare low- pitched so | can have the choice to go among the drums and have it sound like | am playing a different drurn set. When appropriate for the style, | will place a T-shirt (old preferred!) over my snare rum to create a very muted snare sound. The Evans E-Ring is also a great way to mute the snare drum without completely choking it out. This works great when simulating this styl. Exring placed on snare deur Bass Drum | generally tune my bass drum three different ways, luse a wide open bass drum sound, dead bass drum sound, or an 18-inch bass drum with a jazz (open) tuning, | use a 20-inch bass drum the majority of the time. | use different head combinations to achieve the sound | am looking for. My all-around head of choice is the EVANS EMAD, This drumhead has an external muffling system that gives you the choice of a thin or thick foam ring for dampening. | almost always use one or two EQ pillows inside the bass drum to create a nice punchy sound with quick attack. In some instances | will leave it wide open without any dampening in the bass drum for a nice wide drum sound, The third way is to use my 18-inch DW bass drum and tune it like a jazz = kick. This creates a whole new feel and more 8 and 10" rumbals placed on snare drums. “boomy” sound. T-shirt mute placed on snare drum Hand Bass Drum ‘use a 16-inch single-headed floor tom with an EVANS two-ply clear hydraulic drumhead, This drum allows me to have an open bass drum sound played with my left hand, Once again. a 12-inch tom works amazingly. Just try to find the right sound you are looking for. Toms Finally, ! tune my toms in a fairly standard way using either EVANS GI single-ply or G2 two-ply coated batter heads and Gl clears for the bottoms. The primary drums you will use are your snare drums and bass drum, Listen to some jungle and drum'n'bass recordings and try to experiment with your own tuning ideas, Cymbal Setup he cymbals | have created with the Roland Meinl Teorey have enabled me to bring futuristic drum- ming to life. I needed to have a cymbal setup that allowed me the flexibility to play with a clean or trashy sound at any time, The combination of nickel-silver and brass cymbals gives me both sound options. Tightening the wing nut to change the pitch of the Safari crash and ride cymbalsSafari Ride - With its unique sound waves, the 8-inch brass cymbal mounts on top of the 18-inch nickel-silver flat ride. The Safari crash and Safar ride cymbals give me a flat ride sound with a splash bell to simulate drum machine clap/trash effects. The Safari ride was designed with the Tension Tuning System, which allows you to tune the cymbal using the wing nut of the cymbal stand, (Check out the audio example on CD1, Track 3). Safari Crash The quick decay achieved by the tno-cymbal combination Is perfect for creating white noise, for simulating loops, for programmed grooves, or for effects. The inch brass sound-wave splash ¢) yal mounts on top of the 16-inch nickel-silver flat crash. The Safari crash’s dec and sound can also be manipulated using the Tension Tuning System Safari Hi-Hats The Safari hi-hats give me the raw sound | am looking for to re-create old breakbeats and loops. The'bottom hat contains tambourine jingles, which enhance ‘the sound spectrum. The combination of both top cymbals atlows me to play in two different sound zones, These hi-hats provide a multitude of new sounds. Tension Tuning System (TTS) Using the wing nut of the cymbal stand, you can tune the Safari ride and Safari crash to sound anywhere from trashy to virtually no decay. The Safari Hi-Hats can also. be tuned to control the Safari HirHats amount of trash by increasing or decteasing tension of the hi-hat clutch. The specially designed tension waves pressed into the cymbals enhance the trash effect. | can use all of the cymbals stacked or individually. ‘Safari Crash ind Wave Splash on Sofori Hi-Hats Drumbals Drumbals are cymbals that | designed to be placed and played on the drums. They are perfect for imitating white noise, hand- claps, and other electronic effects. | believe the Drumbals, transform your drum set into an acoustic drum machine. THs (tension Tuning System) in action Practical Applications By placing the Drumbal on the snare drum you can 8 Drumbal 1. Hit the Drumbal with the stick, creating a clap similar to a drum machine. 2.Hit the snare drumhead, creating an electronic snare sound. 3, Use the snare head for ghost notes and the Drumbal for accents, atBy holding the handle of the Drumbal you can: 1. Lift the Drumbal off the snare and slam it down, creating trashy accents, 2.(with snares off) Lift the Drumbal off and on the drumhead (with the hand) to change the pitch, similar to a talking drum. Groove Tip: Drumbals can be moved to different drums, altering their pitch and sound. They will aso fit directly in the drum (for example: a 10-inch Drumnbal will fit perfectly in a 10-inch tom or snare), which will create the clap effect, or they can be placed on a larger drum, leav- ing room to play the remainder of the head. Drumbals are available from MEINL in two sizes. 8-inch and 10-inch. Practice Tips | recommend practicing with a drum machine like the Boss Dz, Rhythm DR-202 that has some dance-oriented music already preset as a practice tool, Another way is to practice to albums of ali sorts or purchase a cheaper sampling CD and simuiate it. fa sampling CD is ‘way over budget, then grab a compilation at your nearest record store and use it as a play- along. Its very important to practice at various tempos. All of the examples in this book sound good slow as well as at faster tempos. If you have any ballads lying around the house, put them on and play double-time over the groove and turn them into jungle or drum 'n’ bass tunes! Practicing away from the drum set is always a good idea. Practice any groove from this book along with my seven original groove loops from audio CD 2. Practicing Away from the Drum Set Try to check out different natural or mechanical sounds around you that can work for Jungle/drum 'n’ bass tempos. A basic idea isto listen for construction noises, city noise, a photocopier, anything! | use my turn signal in my car as a metronome and sing rhythms over it instead of singing to the radio. Anything that sounds percussive and thythmic can easily be Used as the basis for a groove. Please be careful if you do this in the car! Pay attention to what you are doing and drive safely. CFA ee cle ae Fragments provide a visual breakdown of rhythms used in each chapter. Some chapters contain a fragment group. Each individual fragment is a quarter note in length—one beat in 4/4 time. After you have practiced each fragment separately, you can choose any four fragments and combine them to create your own original one-bar grooves. Fragments will add to your orig nality and enhance your drumming vocabulary. There are ten groups of fragments presented in this book: Groups A through J. Fragments Group A: Al AD AB Aa AS AG AT Ag Fragment Groove Example: Check out the example below. | simply chose four fragments and added them together AT + A4 + Al+ AS = An original measure of groove! Its that simple. AT Ad Al AS. [Ea ]usd[o ie(EGER Once you have completed the book, you can go back and choose any fragment ffom any chapter and create endiess groove and exercise ideas. To do this, simply choose any four fragments from any fragment grouping, grab some manuscript paper, and begin to create your new grooves! Remember, you cannot mess up. All you do is select four fragments at random, write them down on paper, and practice. It is also a great idea to create a binder of your fragment grooves. So, essentially you have two books in one! These grooves can be played as funk grooves, jungle grooves, or even swung hip-hop-style grooves. Don't be afraid to slow the metronome down and experiment with different styles and feels using the fragments. Notation Key | i) bogies : | a = ——— a = —— = oe = Talat Wit ‘Ride Cran Share Aun Base Drum) Base bru TMB.” Gove thet pen Snore “Tigh foot ie oat vat woot 2324 er ee) Johnny’s Drum Setup and Sounds Cymbals and Percussion: Mein! 1. 18" One-of-a-Kind Thin Flat Ride w/Rivets (Champagne) 2.14" Johnny Rabb Safari Hi-Hats 3. 16" Johnny Rabb Safari Crash 4. 18" Johnny Rabb Safari Ride 5. 10" Classic Splash (inverted — bottom); 10" Classic China Splash (top) 6.16" Marathon Brass Mega Crash (bottom); 16” Classic China (top) Realplayer Steelbells (STB80B-CH, STB80S-CH, STB625-CH, STB45-CH) Tambourine (TMTB-BK) Drums: Drum Workshop Drum Heads: Evans ‘A.16" Hand Bass Drum Clear Hydraulic 2-ply (batter side only) B.5" x 10" Snare Drum G1 Coated (top) - Snare Side (bottom) C.5"x14" Snare Drum G1 Orchestral (top) ~ Snare Side (bottom) D.8"x 10" Rack Tom G1 Coated (top) - GI Clear (bottom) F. 5"x 12" Snare Drum GI Coated (top) - Snare Side (bottom) G.12" x 14" Floor Tom G2 Coated (top) - Gi Clear (bottom) E. 16" x 20" Bass Drum EQ3 Batter or EMAD — Black Logo Head with 2 Evans pillows Hardware and Pedals: Drum Workshop on the DrumFrame 5 - Straight Boom Cymbal Stands with Short Boom (DW-CP-9700SB) 3 - Snare Stands (DW-CP-8300) 1- Delta Il Hi-Hat Stand (DW-CP-5500TD) 1- Delta Il Accelerator Double Pedal (DW-CP-5002AD) 1- Tripod Throne (DW-CP-9100) 1- °48" Ball Joint 2- Brackets for Cowbells Microphones: Audix Electronics: Roland/MadWaves Headset Microphone SP-303 Phrase Sampler Snare Drums-D1 HandSonic HPD-15 (see pg. 147) Rack Tom-D3 SPD-20 Floor Tom-D4, Bass Drum D4XL MC-505 Overheads (2)-ADX-50 PMA-5S, MadPlayer Drumsticks: Pro-Mark Johnny Rabb Autograph SeriesGear needed for this chapter: kick, snare, hi-hat, and ride cymbal. You can set up a drum kit with only these pieces to practice this section: his section contains eighth-note and sixteenth-note Preliminary Exercises. These exer- T ises will give you the basic foundation before moving forward in this book. Because jungle/drum 'n’ bass music is played at such fast tempos, it is very important to practice these exercises to get your vocabulary together. Remember to START SLOWLY until you become proficient at each exercise. Then gradually increase the tempo once comfortable. Do rot let the simplicity of the exercises fool you since the goal is to perform them smoothly at a quick tempo. The exercises may not sound quite like grooves, but these are some of the standard patterns that we will be using in upcoming chapters. Make sure you practice all of the following options: Option I: Top line hi-hat or ride/bottom line snare drum. Option 2: Top line hi-hat or ride/bottom line bass drum, Option 3: Top line hi-hat or ride/bottom line snare drum and bass drum (in unison). ‘Option 4: Top line hi-hat or ride/bottom line alternate between snare drum and bass drum (beginning with snare drum). Option 5: Top line hi-hat or ride/bottom line alternate between bass drum and snare drum (beginning with bass drum), (QEGRERM When practicing these exercises, remember to start slowly and to always use a metronome or drum machine. Listen to the audio example CD to make sure you are on the right track. 2526 Eighth-Note Combinations fer Gyan Ay oy ranged J Ty “aa GL Ay HOLA on nAG, eS yay tal) PS ly gg JU SG Gy se GOA Gy “pS Ay ee ee ee sd I “gd I ty doy HOG: "win,ey 8 704 4 Hay HHL imi Ay oe Het ee \ ‘eo eaus pupa MAA ay & “mye Ay Hie GG mw Oy ipa Gly "Ha GGL, 38 tre at! th WAAAY ABALGA, 4 "Lo wd Ay 4G “nape LGJungle/Orum 'n’ Bass Eighth- and Sixteenth-Note Combinations These exercises are designed to allow you to get familiar with note groupings that will appear throughout this book. It is important to subdivide and make sure that all sixteenth notes fall in the proper place when playing the exercises, Try to remember that we are simu- lating a programmed groove, so alt notes should be short and staccato. ‘age Ly gy OL oy ‘apy eyo ATT py SOL CH amples 3 1852.44 ‘a9 Oy ‘a_olom, — : | th ak ‘wae Dy pg LT y eo y “ey OO Quint, "gull Soy ‘ep Sy Bade GG 28will xte Jungle/Orum ‘n' Bass gy my Ty "ao 4 “pl AAS gil Sy il gl AGFA gh Ty “aw LAG "aye Sy ‘spo Dy “noon, "ap Oy eno yea se Eighth- and Sixteenth-Note Combinations (cont'd) 39 ae 4 aged J) I 4 “na Thy aly woo. “da GG 4 wpe 4Gear needed for this chapter: kick, snare, hi-hat, and ride cymbal, ’ You can set up a drum kit with only these pieces to practice this section: format. It is important to practice the fragments by themselves before playing the exer- cises. Do not accentuate the downbeats or upbeats of the eighth notes on the hi-hat They should all be played at equal dynamic levels. All of the snare drum and bass drum notes should be played at the same level in order to simulate the sound of the drum machine, It is important to become familiar with the sounds, patterns, and groupings of notes that are in today jungle/drum 'n’ bass grooves. T: purpose of this chapter is to get you comfortable with the basic feels in eighth-note Lister the correct balance. Fragments Group A: Eighth Notes PRUE 8e sure to check out the audio example CD to get an idea of how to achieve 31Jungle/Orum 'n' Bass Eighth-Note Exercises: One Measure eel [as ee enfre)d[eahse sso ef] as [ed [a i | 2 ee = ll(ee eed Eighth-Note Exercises: Two Measures These exercises are designed to start getting your phrasing together. If needed, practice each measure individually and then when comfortable practice both measures together. Bat a CS tarps 17, 31,27, 31,3 4649.55 33GO ea eee) Eighth-Note Exercises: Two Measures (cont'd) 10.Jungle/Drum 'n’ Bass "pep lS GEESE « qb Ao 35Jungle/Orum 'n’ Bass Eighth-Note Exercises: Two Measures (cont'd) 30, BE 3 = las s37 ee ety # Fale. 2] fr=)b.sfica) fe) POE 46 )Eighth-Note Exercises: Two Measures (cont’d) 50, “py GGG GS.aa Eighth-Note Off-Beat Exercises: One Measure These exercises can be tricky. If you are not familiar with this ostinato, take it SLOWLY! IF needed, play the hi-hat and snare parts separately and then the same with hi-hat and bass drum, Finally, piece it all together into one groove, 1 (raza ay 10 {| PR ee S a) - CH enampies 3,217 BL i=] h h h ( GSS] Ss 39Eighth-Note Off-Beat Exercises: One Measure (cont'd) 1” Nee FI 20 aS ———s Eighth-Note Off-Beat Exercises: Two Measures s N wy TS examples 5 61.1, 25.27.31 2 40—_ 7 fe) : 1. on 4 6 ep SS Bg £3 \rT Er 5 rc Eighth-Note Off-Beat Exercises: Two Measures (cont'd) 19 42Jungle/Orum 'n' Bass an OooSixteenth-Note Grooves , Gear needed for this chapter: kick, snare, hi-hat, and ride cymbal. You can set up a drum kit with only these pieces to practice this section: Peres ‘tempo of jungle/drum 'n’ bass is so fast, itis important to get comfortable playing all of the fragments before moving forward. The other thing to remember is to be as precise and consistent as possible. Even though these grooves are meant to be played at hyper- speed, don't forget to play them cleanly. If you are sloppy, the groove won't sound good and will not work. | would rather hear these exercises slow and clean rather than quick and Tz chapter introduces grooves that integrate a ton of sixteenth notes. Because the sloppy. These fragments will give you the opportunity to polish up your sixteenths between your hands and feet. Fragments Group B: Sixteenth-Note Fragments: One-Note BI B2 B3 Ba 45(ey a ESET cubes oh ae oe lS rey oe ea peo ee ee qt eS ep Ssp = B22 B23 824 Fragments Group B: Sixteenth-Note Fragments: Three-Note B25 826 827 BB B29 B30 831 82 Fragments Group B: Sixteenth-Note Fragments: Four-Note BSS B56 BST B58 BS9 en fe ee ee B60 Bél B62 B63 Bos ae a 46Sixteenth-Note Exercises: One Measure The following exercises contain the same fragments you just practiced, so they should be famil- iar to play, Remember to approach each groove as a drum machine or {oop. Watch the accents! "ES, eee oo een lee el lo oy Ee = a] vy THE = = = es Sy pS Sy o E er eo fy = | 7 47Sixteenth-Note Exercises: One Measure (cont'd) 9 : am BB = 29 3 tA BA. i) A | ae 2 i 48ME ee ed Sixteenth-Note Exercises: Two Measures Roe ‘one beat at a time. For example: Play beat 1 and rest for beats 2, 3, and 4. Then add the next beat 1+ 2 and rest for beats 3 and 4, and so on. This will allow your brain and muscles to memorize the exercise faster. fay | a) panos 1,9. 18,15, 23, 29,32, 35, 40, 2 49ea ele es Sixteenth-Note Exercises: Two Measure (cont'd) 5 to fo | a i | f ndungle/Orum 'n' Bass = = = SE Ca ee a 5152 Jungle/Orum 'n' Bass Sixteenth-Note Exercises: Two Measures (cont'd) 25,Jungle/Orum 'n' Bass iS Se ee pam cas 7 er fae 53Basic Rolls and Buzzes , Gear needed for this chapter: kick, snare, hi-hat, and ride cymbal. You can set up a drum kit with only these pieces to practice this section: ont bass music. In this chapter we will simulate these sounds by buzzing with the left hand n the snare drum. (If you are left-handed, use your right hand} Getting a really tight buzz roll is important since they are usually electronically produced for this style of music. Once again, these exercises will prepare you for the upcoming chapters. These exercises will get your hands doing something that they might not have done before. Be patient and remember to start slowly and work your way up to tempo only when comfortable. R= and buzzes are very important key elements that can be heard in jungle/drum 'n! recommend listening to as many jungle or drum 'n’ bass CDs to study the sounds of different rolls created on drum machines and samplers. Once you have checked ‘out the music, you can work on crescendes and decrescendos. which will add dynamics to your grooves t ‘) Fragments Group C: Buzz Fragments My CH tramples 04 PSF 4 SRE SHAS GOSH eS,Buzz Warm-ups: One Measure igned to help you get familiar with playing the the short and long buzz Take it stowly and make sure there is a definite difference in sound long buzz strokes, Use the audio example CD for correct reference. These exercises are desi strokes within a groove. between your short and -~ oa \ S255, ‘eo Buzz Warm-ups: Two Measures a) 6 > coampies 5 ses) shulaiekete| 56Jungle/Orum 'n' Bass Buzz Warm-ups: Two Measures (cont’d) pbc epeo, 7 Buzz Exercises: One Measure , If needed, practice each limb separatly to get comfortable with each exercise. a ‘ Oe) s Ooo — —Tt eamples 6.10.18 SSS] =e Boe, yee, ie a ; SB Ea re eet ee HAE ea 7 = paeae Ey ano FRA = 87| | Buzz Exercises: One Measure (cont'd) 16 ng RS Buzz Exercises: Two Measures eae 5.9 2 58Been Buzz Exercises: Two Measures (cont'd) Ogee BAG, oa eee HW ay tl 4 h => eet60 a ead Buzz Cadences: Two Measures Buzz cadences can be heard during breakdown sections of jungle/drum 'n! bass music. Most of the time the bass drum is not played, leaving almost a jungle march similar to a snare line cadence. The tricky part is keeping the hi-hat constant while performing the snare cadence. 7 a CH tnamples 5,10 ‘po G-G BayFive-Stroke Roll BL % 8 Five-Stroke Roll Warm-ups SR RT LR *orLLRRL stening canbe used Play these exercises slow and get comfortable moving from the snare drum to the hi-hat. RRULR RRLLR a1Jungle/Drum 'n' Bass f Five-Stroke Roll Exercises: One Measure Be aware that you are now going to be performing multiple tasks. Take each exercise slowly and beware of new stickings and new movement! a ‘2 CH taamples 9 2) Five-Stroke Roll Exercises: Two Measures geil) Sey Fal Ce) ff E eee eee ae = is = wrarples 15,7 RRLLR RRULR RR CLR RRLELR RRLURCo RRLLR RRLLR RR LUR — TE TES pes ete : 3 Fis . ‘ag RO pm Ss aette 63Co OU RRUCRRILR Nine-Stroke Roll Warm-ups fa s E 2 campusio RREERRTLR 2 RRLLRALLR ‘pe SS RRLURRLLR LLRRLLR R 64T= "la Nine-Stroke Roll Exercises: One Measure ‘ Le ft fy & 7S od we siete CH eaamptes 15,9 RRULURRLLR 2 RRLURRLLR RRLLRRLLR 65a eee Nine-Stroke Roll Exercises: Two Measures (cont’d) (ans 2) HERE Ss @RULARLLM RRLLRALL R ea 10 Five- and Nine-Stroke Roll Exercises: Two Measures with Buzzes The following ten exercises put it all together. The goal is to have the rolls and buzzes become second nature in your playing, The more you practice, the more natural it will become. If needed, practice these exercises without the buzz strokes at first. Then when you're comfortable, add in the buzz strokes to complete the groove. gad RRLLR RRULRRLL pee RRLCRRLLFive- and Nine-Stroke Roll Exercises: Two Measures (cont'd) RRLLR RRLURRLLR RRULR RRLLRRLLR R RRUCRRLL RRLLR RRLLR RRLLRRLLR RRULRRLLR @) E io FZ = Fa: CH tamplest10 RRLLRRLLGear needed for this chapter: kick, snare, hi-hat, and ride cymbal You can set up a drum kit with only these pieces to practice this section: Seen Unison: At the same time; at once. ing exercises are one- and two-bar patterns where the hi-hat is playing in unison with either ‘the bass drum or snare drum. First play each exercise as written. Then you may use a cowbell, tambourine, or different sound source instead of the hi-hat. This will allow you to expand and explore new sound options for each groove. Don't forget to start at a slow pace! | i this chapter we will focus on playing two parts at the same time or in unison. The follow- SEERA When performing these exercises, try to play the two instruments in unison (precisely at the same time), The goal Is to sound like one individual attack, not a flam. Practice hitting the hi-hat and snare/bass drum together S-L-O-W-L*Y to avoid flamming Fragments Group D: Unison Bass Drum Fragments 1 D2 Ds ba Ds eS SSWoe sco Unison Bass Drum Exercises: One Measure ee TE) ile melee = | = =A C= Examples 110, 18,21 29,42 2 ff el fel a R 5 al i= | aMee a nmSEE Eta) Unison Bass Drum Exercises: One Measure (cont'd) Unison Bass Drum Exercises: Two Measures Remember that these exercises create a lot of open space within each measure. Try not to rush since the eighth notes normally providing a comfort zone are not being played. ow > amples 13.915 18.3 72EN een eee} Unison Snare Drum Exercises: Two Measures (cont'd) iS) z \ | = “eS = —— 7374 Unison Bass Drum Exercises: Two Measures (cont'd) %Sa Tet eee ‘agments Group E: Unison Snare Drum Fragments aia Unison Snare Drum Exercises: One Measure These examples will feel different since the unison instruments have changed. Your main focus should be on playing the snare and hi-hat at precisely the same time. Remember to. avoid flaming ant 8 CE eames 11.1, 2.2 7576 EE Unison Snare Drum Exercises: One Measure (cont’d) "yee -_ 1 rl = Wy) ad | 18BT Cee) 7aes Jungle. Unison Snare Drum Exercises: Two Measures an E CH trample 17.3.5, 3.3 Z | 78dungle/Drum 'n' Bass " eee a : Ae (BY z¢ ae = : = dy “ = SRS a 7 na = 4Unison Snare Drum Exercises: Two Measures (cont'd) a S FS F6 FT Fe F9 F10 a rn Unison Bass Drum Combination Exercises: One Measure ‘These exercises combine eighth- and sixteenth-note unison patterns. Any consecutive sixteenth notes can be a challenge. Remember to play cleanly and precisely. 1 3 CH baamples 1921297 80Jungle/Orum 'n' Bass 20 eel AG 8182 “> (a Jungle/Orum 'n’ Bass Unison Bass Drum Combination Exerc’ 39 4) : One Measure (cont'd) al iwPTT "1a sled 48 b. ms Unison Bass Drum Combination Exercises: Two Measures (=) EEE CH aarples 2 y <> eit re By = ee q 8384 Me eo) Unison Bass Drum Combination Exercises: Two Measures {cont’d) a samples 15.1 hima y \ 2 ap 87dun Unison Snare Drum Combination Exercises: Two Measures (cont'd) aGear needed for this chapter: kick, snare, hi-hat, and ride cymbal. You can set up a drum kit with only these pieces to practice this section: croton instruments are played at the exact same time. All of the notes are on separate planes. If you have studied linear funk patterns, then you will be very familiar with these exercises. It is important to practice the fragments first to become comfortable playing them by them- selves before moving on, Once youre comfortable, begin practicing the exercises slowly and gradually speed up the tempo. Think of each exercise as a linear funk groove when practicing at a slow or medium tempo. | this chapter we will focus on linear jungle grooves. In the following exercises, no two ‘ombine any four linear fragments to create your own original linear jungle grooves. Always use a drum machine or metronome to keep your time and groove solid! ‘ragments Group H: Linear Eighth-Note Fragments HI H2 HB _ | ™ | ———— H7 HS H9 HI0 89Ga) inear Eighth-Note Exercises: One Measure ‘These exercises are harder than they look. They are basically fragments combined into grooves. Try to remember that no two limbs are playing at the same time. Each note has an individual place in which to be played, Take it slowly and become comfortable with each measure (7) CE tramples 110.17, 25,38 4 g 3 eSJdungle/Drum 'n' Bass a1Boa [la sad Linear Eighth-Note Exercises: One Measure (cont'd) 39 tate a 40 SS] Linear Eighth-Note Exercises: Two Measures When you're practicing these exercises, try to do it one measure at a time. Then When youre comfortable, add the second measure and create the two-bar loop. Bi 1 a) CH cramer 15.0, 19 2.25.28 =94 erie Er Linear Eighth-Note Exercises: Two Measures (cont'd) = 19 ‘A ea een) Fragments Group I: Linear Combinations—Three Notes The fragments below should be played individually and then combined to create your own beats. Remember that these fragments also sound great slow as linear funk grooves. ro 2 13 4 = al 7 = a = FO j Fl = Soe ee ee See ee ea = pes = = ng = 1 12 1B 14 eae ee o_o Pe a 125 126 7 128 129 130 TF) 132 Ss pa SS Sa 133 134 135 136 37 3 139 140 pS) pS see A 141 142 143 14 145 146 147 148 GB Zim el — pS pS A] 149 180 1st 152 153 14 155 156 os ce pm Foo . Py pS Sa ap ee 1s? 158 159 160 161 162 163 aa pee eee es ee cee 165 166 167 168 169 170 in in : a : eS Se poy In 1% 175 176 v7 178 SS 9596 Jungle/Orum ‘n' Bass Fragments Group I (cont'd): Linear Combinations—Four Notes 180 ta 182 183 aoe aera 185 186 aoe Meae Ann fan — I an I = sPEFEN EPETHEEETEED) 1104 105. 1106 1107 1109 ino Bhs ae im im iB m4 ins i = a5 fae ee ay ig 10 im im 1123, ina 115, 1n6 SSP | in7 1128 ing 1130 131 1B2 1B 1B4 So f= = oe Se P| 1135 16 137 Bs 1B9 140 ae SyLinear Combination Exercises: One Measure “The following exercises utilize both eighth- and sixteenth-note fragments, These really begin to sound like the jungle/drum 'n’ bass grooves that are heard at clubs, on albums, and on TV. Start to concentrate on the sound and feel you are creating on the drum set. ABS ab GQ @) HE > trample 1.2.9.1. 25.7 z 10. 97Mae Linear Combination Exercises: One Measure (cont'd) 9 eel Ty 2» = 28 Ee 98HEE Linear Combination Exercises: Two Measures Try to create a loop feel when practicing these exercises. Notice how the phrasing goes over the bar line in some of these grooves. It creates the illusion of playing an odd time pattern a = tramps 7.815,1227 AL 5 o ie a] wit wldungle/Orum 'n' Bass Linear Combination Exercises: Two Measures (cont'd) 100dungle/Orum 'n' Bass aal7 WweHi-Hat Exercises . Gear needed for this chapter: kick, snare, hi-hat, and ride cymbal. ‘You can set up a drum kit with only these pieces to practice this section: creat exercises throughout this book. To achieve the open hi-hat sound, strike the top hi-hat cymbal and lift your toe off the footboard. To achieve the closed hi-hat sound, keep your foot firmly on the footboard while you strike the top hi-hat cymbal. If you are familiar with opening the hi-hat for funk or rock grooves, you should be able to execute the follow- ing exercises. Start by practicing each exercise individually. Start slowly as usual! (GERRI Master each hi-hat exercise by itself, and then choose a basic feel bar and play the hi-hat exercises on top. Fragments Group J: Hi-Hat Opening Fragments Te: following hi-hat techniques and exercises will expand your sound possibilities for all i j2 103ATE ea) Preliminary Hi-Hat Exercise Feel Bars ea we ae rs tis fel bars payed wid hihat exerci Tand beinJungle/Orum 'n’ Bass Hi-Hat Exercises (cont’d) 6 105106 HEE) i-Hat Exercises (cont’d) 35Note: You should be comfortable with all of the exercises in the previous chapters before beginning this section. Gear needed for this chapter: kick, snare, auxiliary snare-left, hi-hat, and ride cymbal. You can set up a drum kit with only these pieces to practice this section: crson cat auxiliary snare-left to.use more than one snare drum, This will enable you to simulate the sampler by play- ing two snare sounds live and acoustically. Your hand will be required to move between your main snare and auxiliary snare. So, please don't be frustrated if this is your first time playing with two snare drums, Be patient and take your time on each exercise. Start slowly and get familiar with the motion between snares. Take your time and have fun! Ss many different samples are used to create these high-energy grooves, it is necessary Note: If you do not have an auxiliary snare, use another sound source such as a cowbell, tom, ‘or tambourine. | suggest mounting the instrument to the left of the hi-hat (right of the hi-hat for left-handed players). TETRA Be sure to check out the audio example CD for an accurate reference. Remember that the circled notation is to be played on the auxiliary snare drum! 107108 SEEGER Multiple Snare Exercises: One Measure Ay) [ees] 2 fe [eal] n fed afer) Ie) (*) aE ri —— E ] expen 4422.25. zeSa) 109110 a i = samples 5,1, 1828.25, are Exercises: Two Measures 2 ¥ |] HI - Wo o ( Wo of Fa x ft |@x4 Cf \Q eS kdungle/Orum 'n' Bass i Sige) el Ie eee SS eee ll aqpeG-G-5 a Ho tH I hid in J WW 411112 Jungle/Orum 'n' Bass Multiple Snare Exercises: Two Measures (cont'd) 2,eT a Multiple Snare Combination Exercises: One Measure These exercises contain both eighth- and sixteenth-note fragments. Keep in mind that more notes usually means more challenging. Be sure to [ook out for the circled auxiliary snare notes. Take it slowly! os oe eo TS ie 2 W = Ey 113114 een Multiple Snare Combination Exercises: One Measure (cont'd) z= (129 SUSU Er % eS 1) aa a «| = I FA a 30 Pao “sglEEA eae 39 Multiple Snare Combination Exercises: Two Measures 1 “geen Ht EG AG. 115116 1 y seAT "eed \ a, eel im) 4 —# CAO Pgs eS q ‘| rn I ‘ I ics ‘Wy ‘coy ct ER) cl Co) eat ee Cl N > N hy A A L A co li 2 BS a a 117Gear needed for this chapter: kick, snare, auxiliary snare-left, i-hat, and ride cymbal. You can set up a drum kit with only these pieces to practice this section: rear Per d drum set change throughout each song. To make this possible in a live situation, itis important to practice switching up the sounds of the drum set. The following exercises will allow you to get familiar with splitting up your drum set. it is my version of being a human drum machine or sampler. | virtually split up my drum set into three different drum sets, (See Johnny Split-kit diagram below), This enables me to cut up my grooves as a programmer would. Practice each exercise individually and get familiar with the motion between hi-hat/main snare and ride/auxiliary snare. There is even more movement in this chapter, so remember to take it slowly until youre comfortable. Johnny's Sp! NOTE: Main Bass Drum is applied to all three kits—A.B, and C ‘Ae(Main Bass Drum), Hand Bass Drum, Auxiliary Snare Left, Flat Ride, Hi-Hat B= (Main Bass Drum), Hi-Hat, Main Snare, Crash Cymbal, Rack Tom, Cowbells, Ride Cymbal, Auxiliary Snare Right C={Main Bass Drum), Ride Cymbal, Auxiliary Snare Right, Splash and China Cymbals, Floor Tom, Cowbells, Tambourine Bex of the programmed nature of jungle/drum 'n’ bass grooves, you will hear the Check out any jungle or drum 'n! bass CD and listen for split grooves. Once you are familiar with a track, try to play along and simulate the groove on your own split-kit! For the following set of exercises be sure to listen to the audio example CD to hear how these exercises should sound. Remember that the first measure uses the main snare drum and the second measure uses the auxiliary snare. 119ea" ead Split-Groove Exercises: Eighth-Note Combinations ‘Two-measure patterns switching sound sources every measure fas 1 4 (CS erampless7 ce "ae a FA 120Jungle/Drum 'n' Bass Split-< :Groove Exercises: Sixteenth-Note Combinations measure patterns switching sound sources every measure ei Jo LEG (7) : = 4 oF ar 2 a is *h J ll | Oy y \Ot ea Bao Split-Groove Exercises: Eighth-Note Combinations ‘Two-measure patterns switching sound sources on beats 3 and 4 of the second measure Note: Be aware that the motion is much faster “C= teamples:.7 between snare drums since the sound sources switch on beats 3and 4. 122a) Split-Groove Exercises: Sixteenth-Note Combinations ‘Two-measure patterns switching sound sources on beats 3 and 4 of the second measure 1, SI wi] [} CAB p. 123Jungle/Orum 'n Split-Groove Exercises: Eighth-Note Combinations ‘One-measure patterns switching sound sources every two beats 1 A ee ‘y= 3 pe d EE ae rs HE al 4 25h = [=] 4 cy yoo = Gp 5 = A = ee) ee Ce A Split-Groove Exercises: Eighth- and Sixteenth-Note Combinations ‘One-measure patterns switching sound sources every two beats Pea 6 feat C= eagles, 10 2 cue TT Sy 4124 a aOstinato Grooves —éi«sS Gear needed for this chapter: kick, snare, auxiliary snare-left, hi-hat, and ride cymbal. You can set up a drum kit with only these pieces to practice this section: conn PORie cad sy combining the basic feel bar with the auxiliary snare fills. Your right hand will play the hi-hat and main snare drum for the basic feel. Your left hand plays snare fills on the auxiliary snare drum. Practice the ostinatos first and then add in the basic feel bar. It is very important to start slowly so you can get yourself coordinated before increasing the tempo. T chapter is definitely a coordination challenge. The goal is to create layered grooves b (GEERT ereek down each measure into quarter-note sections to get familiar with each exercise. Dont forget to use a metronome or drum machine! 125Jungle/Drum Basic Ostinato Grooves 2 eo Eighth-Note Auxiliary Snare Fills ‘When practicing auxiliary snare fills on top of basic ostinato grooves, first play just the hi-hat and both snare parts. When youre comfortable, add the bass drum pattern to complete the groove. 1 7 rw OA = teamples:2, Played in conjunction with Basic Ostinato 1 126ST eae Eighth-Note Auxiliary Snare Fills (cont'd) B fr i oo K W rE | rN é {CS stayed in crjnction ith Base Ostato 5 A “Guetta “pgp Sy Eighth- and Sixteenth-Note Auxiliary Snare Fills Bul 6 —_— ( ? > tae "| pe * oF z C= amples 118 "Played in conjunction with Basic Ostinato 2 oo z mah ss = pee SS] 127128 ey ea so Eighth- and Sixteenth-Note Auxiliary Snare Fills (cont’d) "at = ou B C= “Played in conjunction with Basic Ostinato | 4 ieGear needed for this chapter: kick, snare, double-bass drum pedal, hi-hat, and ride cymbal. You can set up a drum kit with only these pieces to practice this section: ono Many are possible to execute with only one foot, but some require the use of double-bass. The following exercises should be practiced using alternate strokes with your feet as notated | some cases you will hear multiple bass drum attacks in jungle/drum 'n! bass grooves. Note: These exercises are written with the assumption that you have basic double-bass tech- nique under control. If you are not familiar with playing two bass drums or a double pedal, 1 suggest you study some double-bass basics. There are many books and videos available to get your feet under control. EERE Remember to alternate your feet. When performing sixteenth notes, you should either play them RLRL or LRLR, always alternating each foot stroke. 129Jungle/Orum 'n' Bass Preliminary Exercises Play cach exercise precisely and remember that we are simulating machine-style grooves. Don't kill the bass drum parts. Play with authority; however, be sure not to overdo it! Ja iaiean, oi (3) (HE SESS HE ae dl | ip 4 Eighth- and Sixteenth-Note Exercises: One Measure ie. an ' 8 oe CS exapes.2 ‘eS i 1 HA | APA Soi a \ \ 1 ul n i 1 : 1 1A Cee Eighth- and Sixteenth-Note Exercises: Two Measures g t in fo ta A SS e Hy WH hy i, | {1 | 4 Hy sy th ay = n | hee a aGear needed for this chapter: Ears, speakers or headphones, turntable or CD player, and vari- us jungle/drum 'n’ bass recordings. fan of both programmed and live jungle/drum ‘n’ bass drumming. Even though | have showcased only one live drummer, remember that there are many other live jungle/drum 'n’ bass drummers to check out. | have learned the most from listening, and | ‘want to stress that along with practicing the physical exercises, listening to albums by differ- ent jungle /drum '’ bass artists will enhance your understanding of the music. | assure you that listening will become your reference and guide to what this amazing music is all about! T=: transcriptions are taken from recordings of grooves from various artists. | am a big ‘Transcription 1: D) Goldie - “Manslaughter” (programmed drum track) Goldie was the first drum 'n’ bass artist | was turned on to. This track contains a very catchy and syncopated drum groove. Be sure to check out other albums by Goldie! Transcription 2: O1 This particular track is harder than it looks. The tempo is extremely fast. When | first heard this groove, | found that beats 3 and 4 are what gave me a challenge. Take it slowly and really play it precisely. Once you increase the tempo, you will see what | mean! 133SEAS ‘Transcription 3: PFM ~ “Wash Over Me” (programmed drum track) This groove really has a great trashy hi-hat/cymbal choke on the “and” of 4. usually practice this one first using an open and closed hi-hat. Then when lam warmed up, | substitute the hi- hat with a cymbal choke. Dor't kill yourself! Groove A: basic feel; Groove B: basic feel with hi-hat or cymbal choke. * pe = i ad en a “—s ‘Transcription 4: Jungle Warfare Vol. ~ “Standard Amen’ (programmed drum track) “This transcription is taken from the Jungle Warfare sampling CD. itis extremely challenging to play all the notes accurately and precisely. This isa fantastic warm-up exercise and should be started slowly to ensure proper groove and feel. FT a Le ‘Transcription 5: Jungle Warfare Vol. 3 - “Scotti Bk” (programmed drum track) “This is another groove transcribed off of the jungle Warfare sampling CD. it has the best of all worlds. It creates the stop-start effect on the drum set. It is the perfect groove to simu- late on the drum set, Notice the hi-hat part played with the foot. This is played by closing the hats using the footboard of the hi-hat stand. Remember to start slowly! J=s65 134‘Transcription 6: Soul Coughing (El Oso) ~ “Rolling” {Yuval Gabay—tive drums) Here is an excellent example of a drummer performing drum ‘n’ bass live. The groove is simi- lar to the exercises found in Chapter 3. l recommend that you check out this album. It is not entirely drum ‘n’ bass-oriented: however, Soul Coughing is a killer group. ‘Transcription 7: Soul Coughing {El Oso) - “Blame” (Yuval Gabay—live drums} In this example, Yuval does a great job simulating the electronic sounds of drum 'n’ bass. itis a basic groove but has an amazing feel. This groove demonstrates how a standard eighth- note pattern can be enhanced by playing a tambourine stick in the right hand *see Advanced Sound Exercises for a full explanation on the jingle stick. Jeane FES SS ES BSR r a r ‘Transcription 8: Soul Coughing (El Oso} - “$300” (Yuval Gabay—tive drums) ‘Once again, Yuval uses a tambourine stick in his right hand, which creates sixteenths on top Of the groove. Check it out! 97158 135dungle/Orum 'n’ Bass Transcription 9: Soul Coughing (El Oso) ~ “$300” solo (Yuval Gabay—live drums) In this solo break, Yuval plays a tambourine stick and really keeps this solo very syncopated. ‘When practicing this transcription example, break down each measure slowly before moving up to tempo, J=158 (REGRETS ston like CRAZY! Just like learning any other style, the best way to learn this. style is to immerse yourself in the music. Buy as many jungle and/or drum 'n’ bass records as you can. The more you hear it and play along with it, the more you will understand the vocabulary. Remember that compilation records of various artists give you more bang for your buck! The internet is a great way to check out jungle /drum ‘n’ bass at little or no cost. (See Discography and Webography.) 136Advanced Sound Exercises , Gear needed for this chapter: Go extreme! Play whatever you have. Be creative, but remember to stay musical! ‘Accessories needed for this chapter: MEINL jingle Stick, MEINL Johnny Rabb Drumbals, johnnyraBe RhythmSaws, and a cowbell Snare-Muting Exercises Snare-muting exercises are designed to dampen the snare head and simulate machine or programmed grooves. The butt of the stick in your right hand will rest on the snare drum head (see photo on next page). When eighth notes are played on the hi-hat, you will achieve a combination sound of hi-hat and muted snare drum, Backbeats should be played with the 34. left hand on the open section of the snare drum. First listen to the audio example track and {3 ) then work through the exercises. i Bae 137Jungle/Orum 'n' Bass (EEEIEREGA ter listening to the audio example CD, Go back through all of the exercises using the snare-muting technique. Snare Chatter Exercises Snare chatter exercises use the same hand position as the snare-muting exercises. The goal is. to create sixteenth notes on the snare drum with the butt end of the stick. Your palm should be resting on the snare drum head. While playing eighth notes on the hi-hat, the butt of the stick should rebound up and down, creating sixteenth notes on the snare drum, The end ‘'s\ result is eighth notes on the hi-hat and sixteenth notes on the snare drum. The left hand will play the backbeats on the open side of the snare drum. ) = Examples: 1,2 {improv iE *Snare played with ri (EGHEGMITE Listen to the audio example CD to understand the sound of the snare chatter. Don't get frustrated: use the photos to make sure you are in the correct playing position. Sixteenth-Note Exercises Using the Tip and Butt End of the Stick Because jungle /drum 'n! bass grooves are played at such fast tempos, it was necessary to find a way to play sixteenth notes on the hi-hat or ride cymbal. The following exercises use the tip and butt end of the stick. The tip will play all eighth notes—1 & 2 & 3 & 4 &—while the butt end will play all the es and a's. The easiest way to get started is to choke up slightly on your grip, and then play eighth notes with a normal stroke. While doing this, look at the end Of the stick. You will notice the butt end will be playing the e's and a's in the air. Next, move ex_ the stick across the hi-hat. Make sure you place the stick on either side of the hi-hat clutch. “Now play the eighth notes on the backside of the hi-hat and the es and a's on the edge of (yu) the hichat closest to you. (See photo next page) > erarples1 4 finprovisation) 138a iS Shoulder plays 1+2+3+4-+ Butt end plays the e's and a's When practicing these exercises, do not try to force a stroke from the butt end Of the stick. It should happen almost automatically as a rebound preparing for the next, eighth-note stroke. 139Jungle/Orum 'n' Bass Sixteenth-Note Cowbell Exercises This next exercise is something I have found that works very well for creating even sixteenth notes in the cowbell. First place the tip and shoulder of the stick in the mouth of the ‘sax. cowbell. (See photo) To get a feel for basic movement, simply move the stick up and down ‘wa inside the bell. The next thing to do is use it in a groove. All downstrokes will create your (Ea) eighth notes and the up-strokes will reate the eS and a = examples Vingroviation) VAVAVAVAVAVAVAYA + VAVAVAVAVAVAVAVA pp TE ye ey Downstroke Upstroke ‘oncentrate on the downstroke eighth notes being your timekeeper. This way your sixteenth notes wil fall into the groove. Check out the audio example CD to see how it should sound and feel. Definitely start slowly until you are comfortable. Cymbal choking is often heard in jungle/drum ‘n’ bass drum grooves. Below are some simple exercises to get you started. If you have never attempted to choke a cymbal, please take it slowly. Refer to the photos on the next page and notice the way the stick is being held in the left hand (choking hand). The cymbal should be grabbed using the thumb on top of the cymbal and the index finger on the bottom of the cymbal. The right hand strikes the cymbal while the left hand chokes it. Practice this VERY SLOWLY! WARNING: Do not attempt any cymbal chokes if your cymbal is cracked or broken in any way. This can cause serious injury to your hands. Remember that you need your hands. | will not be responsi- ble if you rip off a nail, cut your hand, or even slice off your head! Believe me, | have had my share of cymbals under my index finger- . (IT HURTS!) PLEASE BE CAREFUL! = Examples: audio description . . , , . , | SSS eS SS 140We Neer) EGEEERLEE “ter completing the exercises, go back to the beginning of the book and try to choke the cymbal on the downbeat (beat 1 of each measure). When proficient with this add cymbal chokes anywhere you desire to spice up your grooves. Drumbals Drumbals are cymbals that were designed to be played on drums. | developed these instru: ments with the MEINL cymbal company. They are perfect for imitating white noise, hand «ax claps, and other electronic effects | believe the Drumbals transform your acoustic drum set (ist) into an acoustic drum machine. Be Sure to listen to the audio examples CD to hear musical (1a) applications of the Drumbal C= trample sud description 141Jungle/Orum 'n' Bass Jingle Stick Exercises Using my MEINL jingle stick allows me to create sixteenth notes at the same time | am play- ing eighth notes on the hi-hat. Hold the jingle stick in your right hand and play eighth notes on the hi-hat as you normally would. You will notice that on the way back to hit the next ‘x eighth note, the halt will cause the jingle stick to play the es and a, Another way to look at (a8 itis to play the jingle stick like a standard tambourine. First play sixteenth notes and then a] simply play eighth notes on the hi-hat Pent, ._ me phopmn (ZEEE Once you get comfortable playing sixteenth notes with the jingle stick, go to the beginning of the book and play all of the eighth-note exercises with the jingle stick. It will create a whole new feel for each exercise! thicker handle. This can cause cramping in your hand if your chops aren't up to par. If this is a new exercise for you, | advise that you build up your stamina before going nuts! 142Jungle/Drum 'n' Bass The RhythmSaw I developed RhythmSaws for simulating D) scratches, Latin effects, and nearly endless sound possibilities. You can experiment on cowbells, woodblocks, tambourines, rims, hi-hats, and ga__drums. Check out the audio example CD to hear how RhythmSaws can enhance your playing, Be sure to check out the RhythmSaw Techniques video available from johnnyraBB ‘i (09) Publications (www johnnyrabb.com) tapes ai description (ZEEE Open your mind and have fun with RhythmSaws. You can't play them wrong! 143Freehand Technique _, Gear needed for this chapter: kick, snare, hi-hat, and ride cymbal. You can set up a drum kit with only these pieces to practice this section: ona normally be played with two. This chapter focuses on this technique that | have devel- oped using the rim as the fulcrum. For a full explanation on how to perform this method, please check out The Freehand Technique book/DVD soon to be released by ‘Warner Bros. Publications. (ESERIES Take @ listen to the audio example CD to hear how the freehand technique Tan open new doors for your playing, It allows you to keep the eighth-note hi-hat pattern constant as sixteenth notes are performed with one hand on the snare drum. Ts freehand technique allows you to play quick rhythms with one hand that would 145Jungle/Orum 'n' Bass One-Measure Examples as % a 2 vtt Two-Measure Examples 1 vtt VTUT OTT TIT IT VTUTUTET vit Qo SE Tron J * fe A i =a “ht tet re | 146Basic Electronics perform with all of the equipment listed below. Roland electronics are user-friendly Te section will give you a basic foundation and understanding of basic electronics. | and an easy way to dive into electronics for either live or recorded performance. Please listen to the audio example CD for examples and basic instruction to get a better understanding of how these instruments work. Boss DR-303 (Phrase Sampler) ~ A phrase sampler is @ sort of digital recorder that will capture sounds or grooves that can be played back by pressing one of its eight’pads. This piece of equipment allows me to cut up my own grooves or record a sample from an outside source. From there | can create my own original music. 24, Roland SPD-20 (Pad Controller) - This controller is very cama (,7 ,) simple and fun to use. ust by plugging it in, you can ag 2S perform on many different preset drum sets. itis capa~ ble of triggering external sound sources via MIDI. A hi- Boss DRO hat trigger pedal and bass drum trigger pedal allow you to play this just like a drum set. It is great for quiet practice or live/studio performance. All of the audio examples use the SPD-208 internal sounds. They work great for jungle/drum ‘n! bass grooves. Roland HandSonic HPD-15 (Pad Controller] - The HandSonic was designed to be played with your hands, It has a ton of internal sounds including world percussion, drum-set sounds, special effects, bass, synth, and even bird calls. This tool alone can sound exactly like a programmed jungle/drum 'n! bass groove. By plugging in a hi-hat trigger pedal and bass drum trig- ger pedal, you can play it like a dram set. it also has the ability to control outside sound sources via MIDI and has a built-in sequencer and preset groove patterns. You can either write your own grooves or practice along with the presets. Play this by itself or make it part of your acoustic drum set. Hybrid drum sets give you the best of both worlds. Using the acoustic drum set along with either the HandSonic or SPD-20 will open your mind to new creative sound options. ‘Roland SPD-20) Roland HandSonic| 147Br =) Hybrid Drum Setup - Acoustic drum set with Roland HandSonic HPD-I5, (See Photo A) Hybrid Drum Setup ~ acoustic drumset with Roland HandSonic HPD-15 and Roland SPD-20. (See Photo B) Writing tools are so important for all of us to have. | urge any drummer to pick up an instrument other than just the drums. If you are unfamiliar with melody, chords, harmony, and theory, you should try to learn about all of it. Learning to play many other instruments besides the drums allowed me the freedom to read and compose music. Below are ‘examples of some basic equipment that is simple to oper ate and full of wonderful sounds. Roland PMA-5 — This personal music assistant is fantastic for travel, vacation, and general porta- bility. lam able to compose no matter where Iam! It comes with an adapter and also runs on AA batter ies if needed. It is fantastic for plane ce Photo B Roland MC-505 ~ The groovebox is killer! If you like Roland PMA-S aha soured of the Groove Loops CD, then you will love this. piece of gear. It has grooves ranging from jungle, drum’n' bass, hip-hop, house, you name it. It also is a fantastic way for me to compose my original jungle /drum 'n’ bass music. All of my tracks were recorded using the MC-305S internal sounds. Investing in a good drum machine is important for practicing, Another inexpensive and user-friendly rum machine is the Boss Dr. Rhythm (OR-202}. This machine is perfect to use while practicing, The MadPlayer” from MadWaves" puts you in total Roland MC-505 control of the music. MadPlayer creates copyright-free music you can change to make uniquely your own with the simple touch of a button, in 20 of today’s hot music styles. The music is always brand new. Every single time. You pick the style. MadPlayer creates the song. The MadPlayer also is an MP3 player and FM radio! 148 MadPlayerPutting It All Together _, is final chapter provides you with audio examples to listen to jungle/drum 'n’ bass Teco in a musical context. This is the real application of all of the techniques that you have just studied. When dealing with the history of jungle/drum ‘a’ bass, there seems to be a series of unwritten rules. In my view, these rules are meant to be broken in ‘order to develop your own style and approach to this music. My idea is to take any form or style of music and apply jungle /drum ‘n’ bass grooves to create my own hybrid musical style. That is why | call this chapter Purting it All Together. Check out audio example CD 2 to hear some of my ideas; then work on creating your own grooves while playing along with Tracks 7-28, the groove loops. sa G ¥) Track 1 - Basic Electronics ay Gy Track 2 - Roland SPD-20 Example Be Va Track 3 - Roland HandSonic Example au a \s ‘ Track 4 - Roland SPD-20 Hybrid Drum Set Example ey (V3 Tacks - Breaking the Rules ce Be G § |) Track 6 - Gap Track - from Johnny Rabb’s Jungle/Drum 'n’ Bass as Solo Album Acoustic Machine, available from johnnyraBB Publications (wwwjohnnyrabb.com) a (773) Tracks 7-13 - Groove Loops 149