Ae a Voted #1 Educational Book—Modern a teal Readers’ Poll Jungle/Orum'n’ Bass A GUIDE TO APPLYING TODAY'S ELECTRONIC MUSIC TO THE DRUM set i by Johnny Rabb a + : seve LS — 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 Vin direct reference to the text. ‘Audio example CD 2: Consists of basic electronics, hybrid drum setups, breaking the rules. one track from Johnny: solo album Acoustic Machine, nd groove loops. Groove Loops: Original jungle/drum 'n’ bass play-along tracks for you to practice ary exercise from the book Introduction 13 CDitr1 What Is Jungle/Drum ‘n! Bass? B ‘Where Can You Find It? 14 How | Got Started 14 Samplers 5 Sampling CDS ..... ay Contributing to the Future An Interview with Clyde Stubblefield 16 Setup and Sounds 19 Drum Tuning Possibilities 20 CDItr2 Cymbal Setup .. Practice Tips Fragments Group A Notation Key... Johnny's Drum Setup and Sound: Chapter 1: Preliminary Exercises Eighth-Note Combinations 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 .. Fragments Group B: Sixteenth-Note Fragments: Two-Note ..... Fragments Group B: Sixteenth-Note Fragments: Three-Note... Fragments Group B: Sixteenth-Note Fragments: Four-Note. Sixteenth-Note Exercises: One Measure Sixteenth-Note Exerci [wo Measures re sinned CDE 33 CDItr9 9 COI tr 10 40 CDI tr 1110 Chapter 4: Basic Rolls and Buzzes Fragments Group C: Buzz Fragments... 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 Five-Stroke Roll Warm-ups ... Five-Stroke Roll Exercises: One Measure saw57 CDI tr 17 58 CDIt 18 60 CDI tr 19 vn 62 CDI tr 23 Five-Stroke Roll Exercises: Two Measures. Nine-Stroke Roll 64 CDI tr 24 Nine-Stroke Roll Warm-ups 64 CDI tr 25 Nine-Stroke Roll Exercises: One Measure. 65 CDI tr 26 Nine-Stroke Roll Exercises: Two Measures 65 CDI tr 27 Five- and Nine-Stroke Roll Exercises: Two Measures with Buzzes 66 CDI tr 28 Chapter 5: Unison Jungle 69 Fragments Group D: Unison Bass Drum Fragments Unison Bass Drum Exercises: One Measure Unison Bass Drum Exercises: Two Measures ....... Fragments Group E: Unison Snare Drum Fragments Unison Snare Drum Exercises: One Measure ..... Unison Snare Drum Exercises: Two Measures Fragments Group F: Unison Bass Drum Combinations... Unison Bass Drum Combination Exercises: One Measure ‘Unison Bass Drum Combination Exercises: Two Measures. - Fragments Group G: Unison Snare Drum Combination Fragments Unison Snare Drum Combination Exercises: One Measure Unison Snare Drum Combination Exercises: Two Measures Chapter 6: Linear Jungle Grooves Fragments Group H: Linear Eighth-Note Fragments . Linear Eighth-Note Exercises: One Measure .. Linear Eighth-Note Exercises: TWO M@aSUTES reennnma Fragments Group I: Linear Combinations—Three Notes Fragments Group | (cont'd): Linear Combinations—Four Notes. Linear Combination Exercises: One Measure Linear Combination Exercises: Two Measures Chapter 7: Hi-Hat Exercises Fragments Group J: Hi-Hat Opening Fragments Preliminary Hi-Hat Exercise Feel Bars Hi-Hat Exercises Chapter 8: Multiple Snare Jungle Grooves 107 Multiple Snare Exercises: One Measure. 108 CDI tr 42 Multiple Snare Exercises: Two Measures .. M0 CDI tr 43 Multiple Snare Combination Exercises: One Measure 3 CDI tr 44 Multiple Snare Combination Exercises; Two Measures...... NS CDI tr 45 oD JO CDItr29 72 cD1tr30 83 CDItr34 85, 86 CDI tr 35 7 CDI tr 36 89 90 CDI tr 37 104 CDI tr 41Chapter 9: Split Grooves 19 Johnny's Split-Kit Diagratn ... z Split-Groove Exercises: Eighth-Note Combinations Split-Groave Exercises: Sixteenth-Note Combination: 12 CDI tr 47 Split-Groove Exercises: Eighth-Note Combinations 22.01 tr 4B Split-Groove Exercises: Sixteenth-Note Combinations 3 Split-Groove Exercises: Eighth-Note Combinations 324 CDI tr 49 Split-Groove Exercises: Eighth- and Sixteenth-Note Combinations 124 CDI tr 50 Chapter 10: Ostinato Grooves 125 Basic Ostinato Grooves..... os revenemsenel26 CDI tr 51 Eighth-Note Auxiliary Snare Fills ..... 126 CDI tr 52 Eighth- and Sixteenth-Note Auxiliary Snare snd 27 CDI tr 53 Chapter Tl: Double-Bass Jungle Grooves 19 ry Exercises .. 130. CDI tr 54 Bh and Sixteenth-t Note Exercises: One Measure. w130-CD1 tr 55 Eighth- and Sixteenth-Note Exercises: Two Measures .. 131 CDI tr 56 Chapter 12: Transcriptions 133 Dj Goldie - “Manslaughter” . 133 Origin Unknown ~ “Valley of the Shadow: 133 PFM ~ “Wash Over Me” 4 Jungle Warfare Vol. 3 = Bt Jungle Warfare Vol. 3 ~ 34 Soul Coughing - "Rolling’ 135 Soul Coughing — “Blame” ..... 135, 135 Soul Coughing ~ “$300” {solo) “136 Chapter 13: Advanced Sound Exercises B7 ‘Snare-Muting Exercises ..... 57 CDI tr 57 138 CDI tr 58 138 CD1tr 59 140.CD1 tr 60 1OCDI tr 61 Snare Chatter Exercises .. Sixteenth-Note Exercises Using the Tip and Butt End of the Stick Sixteenth-Note Cowbell Exercises Cymbal Choke Exercises Drumbals Jingle Stick Exercises The RhythmSaw Chapter 14: Freehand Tecanique, 45 CD1 tr 65 ‘One-Measure Examples ... —_ Two-Measure Examples. Chapter 15: Basic Electronics 147 Roland SP-303 Phrase Sampler ..... 147 CD2 tr Roland SPD-20 Pad Controller 147 CD2 tr 2 Roland HandSonic HPD-15 Pad Controller 147 CD2 tr 3 Hybrid Drum Setup-Acoustic Drum Set with Roland SPD-20 ... BCD2 tr Writing Tools 8 Roland PMA-5 M48 Roland MC-505 Groovebox 148 W12 Chapter 16: Putting It All Together 49 Audio Example CD 2: Track 1 - Basic Electronics... 149 €D2tr1 Track 2 - Roland SPD-20 Example Track 3 - Roland HandSonic Example Track 4 - Roland SPD-20 Hybrid Drum Set Example ..... sentnnneecl9 CD2 te Track 5 - Breaking the Rules... 149 CD2 tr Track 6 - Gap Track - from Acoustic Machine 9 CD2tr6 Tracks 7-13 - Groove Loops 6... Appendix 151 Suggested Listening 1 Webography 2 Performing at Frankfurt Musikmesse 2001 149 CD2 tr 7-13Introduction == ~—=——«, his book should be used as a guide on how to play jungle/drum 'n’ bass on the acoustic | drum set. No matter what background you have, lam 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 1% rst exercise. This is not intended ta be a history book, However, ! am very interested in the history of this style of music and research it any chance | get. lam 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 ry 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 book. You will learn new techniques on how to make the music sound elec tronic with little or no electronics at all. You will primarily be using the bass drum. snare drum, and hi-hat/ride 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 and accessories to the drum set, simulating what is heard on the recordings from today’ iungle/drum nr’ bass artists and D)s. [Artists such as Ed Uribe and Robbie Ameen among many others have written Latin books that utlize the Cuban rhythm sections —congas, timbales, bongos, bell, and so on. For example, there are exercises using the cowbell with the right hand, conga pattem 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 there are so many sounds layered, looped. and sampled in jungle/drum ‘ni bass, my main objective was to simu late the electronics on the acoustic drum set. What Is Jungle/Drum ’n’ Bass? me jungle /érum 'r’ bass is a 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 radio stations, and at many clubs. Since this music is so energetic, itis used in many TV commercials and on movie soundtracks, Jungle/érum 'n’ bass is comprised of several basic groove variations. its like a dictionary of terms that make up each groove, The music is more instrumental, hence the term drum ‘n’ bass itis 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 mny book. Even though these styles are similar, they do have their differences. The difference between jungle and drum '’ bass |s fairly simple. Jungle is more random and syncopated using sixteenth notes within the groove. Orum 1 bass grooves are much simpier grooves and usually slightly slower in tempo. When you get more invoived in this style of music, you will realize there are many styles under the category Jungle or drum 'n’ 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 [t? ‘ou can find jungle/drum 'r’ bass music almost everywhere you turn. Some people have Ye Idea they are hearing it. It is on TV commercials (Sony, Nike, Volkswagen, Timex, ‘Quaker Oatmeal. Irs fast-paced music that gets the product to seem more sporty and ‘energetic, | have heard jungle and drum ri’bass music used for commercials, cartoons, ‘movies, and other soundtracks. Everyone is catching on to the fad and realizing how cool and infectious it &. 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 itis definitely worth checking out. How I Got Started proximately seven years ago, a friend of mine asked me if | had ever heard of jungle Am Although it was already popular among the underground, | had not yet been ‘exposed. My first listening experience came from @ compilation album called 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, sempling COs, and loops. At that moment | realized | 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 | bought and checked out anything | could that had to do with jungle /drum 'n’ bass, The next ‘hing | started noticing was that the music started popping up.on TV jingles/eommercials. | also realized when | toured Belgium that jungle /dram ‘a’ bass was really hitting overseas, | knew | was way out of touch from places iike 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 or 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 Verderesa, who is not only a monster drummer but also a one-man band. His approach to this style is amazing, At the seme 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 druramers ! 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 gils playing this style live. The most fascinating thing to me is that every player I meet has his or her own personal tech- niques that he or she uses to simulate jungle/drum 'h’ bass grooves on the acoustic drum set. have been studying and learning about this style for the past seven years. Aithough ! have a genuine passion for most music genres, | find myself infatuated with jungle /crum n’ bass music.Samplers 1¢ use of samplers is very important when writing/recording jungle and drum 'n’ bass music. 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 loap is edited to ensure it is the correct length so it can repegt 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, TR1, for an audio example of the BOSS SP-303 phrase sampler in action). Many composers choose to use computers (Mac or PC) to exercise their songwriting 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 piay 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 drurn bass Sm ‘There are companies such as Sonic Foundry and East West, to name a couple, chat 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 leap 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, &-MU. Ensoniq, and Kuraweil. The samples ave then taken and used for songs Since a sampler can hold multiple samples, the drum-set sounds can be totally different. in ome songs itis 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 CD library. The CD-ROM format is generally more expensive since itis formatted especially for a specific brand of sampler, There are a ton of license-free sampling CDs available. The term Feense-free simply means that by purchasing the CD, the owner has the right to use any sound cr groove from the CD in an original piece of music without paying any royalties or licensing fees. Generally the distributor will give the artista royalty for each CD sold, I 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 tise my original grooves on their projects. | look at it as a way to drum an other people's songs without physically being there! The first audio sampling CD | purchased was Jungle Warfare iif, This CD consists of numerous programmed jungle drum breaks. | transcribed the first few tracks of the CD to really under- stand what the programmer was doing 4 then realized that there was a vocabulary of frag- _reats and phrases, The fragments consisted af sixteenth, eighth, and quarter notes mixed “together, When referring to the records | previously listened to, | realized that most of the DJs were using the grooves from the Jungle Warfare i! album. 1516 Contributing to the Future An Interview with Clyde Stubblefield e all know Clyde Stubblefield, John Wi Starks, and Bernard Purdie 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 Stubbtefield 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: De 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 pattern and you knew it was me, That is some of the stuff that has been happening, They change the teripo on it and make it sound like something else. | am very happy and proud of people using my drum pattems. Other people like you know that it is me even when I don't even realize that itis 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 CO 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? ©. S: No, not at all. This is just a little drop in the bucket for my sampling CDs. | couldn't credit anything in the past because | did not own it. Even though they were my original drum patterns, | was never compensated for past grooves. My sampling CD has not even come Close to what I feel I deserve from my grooves being used on other peoples songs. If !could have gotten the press, credit, or acknowledgment from the artists that used my grooves, | would be happy. it means a lot mare than money, F | was an important element to the music, please acknowiedge 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 itis very disrespectful to use my beats to make a song and not acknowledge my work, JR: 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. . 5: To me, 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 | came up with at the time. | tell everybody [laughing} 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. i cannot understand why they close that particular beat to sample so much! [chuckling] You know, there's a lot of ‘other stuff! JR: How does it make you feel to know that you have contributed to jungle and drurn'r’ bass without even realizing it? CS: Right now iF | turned on that cartoon, | might hear “Funky” ["The Funky Drummer Groove’), but Lam 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 patter however, I don't sit and think that it me, (Fl could get anything out of this, | would really appreciate getting the credit for my work. They use all of our stuff—me and “abo” Starks— and they aren't giving us any kind of thank-you or anything, Before the end of the interview, | told Clyde | 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. we. i ER: Ed Sargent. John ‘Jabo" Starks, Bemard Purdie, Clyde Stubblefield, and me ‘at the NAMM Show in Los Angeles, CA, 2001 17Performing at Percu-Toursextremely quick, | 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. | 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 I was hearing. | use 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 I detune it to sound low and trashy. l use a lO-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 clement in jungle/drum’'n’ bass music. Ifeel that the three snare sizes used in my setup give me a colorful palette of sounds and a broad range of, tuning options. Pees bass grooves are Often | will work on grooves using a small two- piece drum set (kick and snare) so | can focus on the speed and energy of the music. | have a 10- inch rack tom and -inch floor tom in my setup. use these sparingly when approaching this style of drumming. | also have a single-headed 6-inch floor tom that | use as @ hand bass drum. luse it to simulate the low tone of an 808 electronic bass drum. | have found that a T2-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 ard 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 SP-303 phrase sampler and perform vocal percussion sounds using my AUDIX headset microphone. ‘You have probably noticed by now that | 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drumset will usually be made to sound very hen simulating jungle/drum ‘n’ bass grooves, your Wer Snare Drum Try to detune your snare really tow so it sounds like a low, processed, slow-speed, low-resolution sample. Another option is tuning the snare up to where it sounds high-pitched to simu- {ate previous grooves that have been sped up. When using, three snares, | lke 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 drum set. When appropriate for the style; { wil place a T-shirt (old preferred) over my snare drum 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 ths style. 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 a kick This creates a whole new feel and more & and 10" Drumbals placed on snare dius. “boomy” sound. 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 locking 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 Te cymbals | have created with the Roland Meinl E-ring placed on snare drum T-shirt mute placed on snare drum ae ad} Company 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 —_/ghtening the wing mut to change the pitch of the Safari crash and sound at any time, The combination of nickel-silver and ride cymbals brass cymbals gives me both sound options.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 Safari 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 CD 1, Track 3} Safari Crash The quick decay achieved by the two-cymbal combination is perfect for creating white noise, for simulating loops. for programmed grooves, or for effects, The 8-Inch brass sound-wave splash cymbal mounts on top of the Té-inch nickel-silver flat crash. The Safari crashis decay 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 allows 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 ‘sofort Hi Hats amount of trash by increasing or decreasing 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 ‘Sound Wave Splash on Safari HieHats 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 (rension Tuning System) in action Practical Applications By placing the Drumbal on the snare drum you can: 1. Hit the Drumbal with the stick, creating a clap similar toa 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.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 also fit directly in the drum (for example: a 10-inch Drumbal 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: B-inch and 10-inch. Practice Tips recommend practicing with @ drum machine like the Boss Dr. 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 simulate 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 tying around the house, put them on and play double-time over the groove and turn them into jungle or drum ’r 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/drurm 'n’ bass tempos. A basic idea is to listen for construction nolses, city noise, a Photocopier, anything! | use my tum signal in my car as a metronome and sing rhythms over it instead of singing to the radio. Anything that sounds percussive and rhythmic 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 safel Fragments Group A Fragments provide a visual breakdown of rhythms used in each chapter. Some chapters contain 2 fragment group. Each individual fragment is a quarter nate 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 origi- nality and enhance your drumming vocabulary. There are ten groups of fragments presented in this book: Groups A through J. Fragments Group A: AS AG AT Ag Fy yf pepe Sy Fragment Groove Example: Check out the example below. | simply chose four fragments and added them together. AT Ad Al+ AS = An original measure of groove! Iti that simple. AT AS ALASOne you have completed the book, you can go back and choose any Fragment jom any chapter and create endless 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 nevr grooves! Remember, you cannot mess up. All you do is select four fragments at random, write them down on paper, and practice. i 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 3s 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 & 1 ‘Snare Buzz a a J = a ow oe = = — wi Wiot Ride Gash ‘Snare Aux.” Bass Drum Base Drum Tomb. Cowbol iii Snare “right foot Tet foot eee Hitat w/toot 2324 Jungle/Drum 'n' Bass Johnny’s Drum Setup and Sounds Cymbals and Percussion: Meint 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 . 10" Classic Splash (inverted — bottom); 10" Classic China Splash (top) Marathon Brass Mega Crash (bottom); 16" Classic China (top) Realplayer Steelbells (STB80B-CH, STB80S-CH, STB625-CH, STB45-CH) Tambourine (TMTB-BK) Drums: Drum Workshep Drum Heads: Evans ‘A.16" Hand Bass Drum Clear Hydraulic 2-ply (batter side only) B.5" x10" Snare Drum GI Coated (top) — Snare Side (bottom) €.5"x 14" Snare Drum Gi Orchestral (top) ~ Snare Side (bottom) D.8" x 10" Rack Tom GI Coated (top) - G1 Clear (bottom) F. 5" x 12" Snare Drum G1 Coated (top) — Snare Side (bottom) G12" 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- 246" 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-S Drumsticks: Pro-Mark MadPlayer Johnny Rabb Autograph SeriesPreliminary 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: crema his section contains eighth-note and sixteenth-note Preliminary Exercises. These exer- Tes 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 not 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: 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). EGER 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.eee ee Eighth-Note Combinations cam 2 va pes, peo — Vay QR Hl moo oA, manny oOoG,y tt moo, Fp, AAG ‘O4t Lh wo GAG | monary Hie Gy rao, Hi 4 Ay psa Gy Panny His -G Gy wooo, AAG Ht “ae 4 Goad,"4 Ca oo "Oy wooo, “pO Oy Co Oy “eo, “wooo, “ODO, woo, “HOA, “ooo "OO y ps oo oy “Oy Tool Twi oon, ‘was “eI OOOy “ponyEar ata =r 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. Ty to remember that we are simmu- lating a programmed groove, so all notes should be short and staccato. Wy Ty “py OO oy ape Ey “pgp OO y a “Ty ao moy xapes3 18 32.44 ‘spear fe Ly gy Oy = \ wey “yw y ‘onS Dy “ep omy ‘eH OM Oy “py Oy ‘apo oy “gy So oy i ‘po Oy a My ‘aHiya GG wi 35, eo,ae eta Eighth- and Sixteenth-Note Combinations (cont'd) “aad Ty “ip GGL y “ap Toy “py “ap Gy “pgp SG Ty VOM, ya ooM, & qe FUL Cn ALG 4 Hid I Ey & ee in]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: creel he purpose of this chapter is to get you comfortable with the basic feels in eighth-note Tenet 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. TRIPP sure to check out the audio example CD to get an idea of how to achieve ‘the correct balance. Fragments Group A: Eighth Notes Al AS AG AT Ag pS GS Sa 31Jungle/Orum 'n' Bass Eighth-Note Exercises: One Measure oul re vo Oo a CR Sy pep tact 2 32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. ae Wu) (CH eeamples 173,09, 2731 7,46 49.55,Eighth-Note Exercises: Two Measures (cont'd) 10WU eenea a Eighth-Note Exercises: Two Measures (cont'd) a ‘Jungie/Orum 37EEE Eighth-Note Exercises: Two Measures (cont'd) 50, a “f a ‘a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 "oF mo F.. N y 39EE aEE Eighth-Note Off-Beat Exercises: One Measure (cont'd) 9 20 Eighth-Note Off-Beat Exercises: Two Measures as) b ‘i _ samples 5,9 17 25,2731 2 40at Fy A Gi e a42 Para Eighth-Note Off-Beat Exercises: Two Measures (cont’d) 19.Jungle/Orum 'n' Bass Pas Wy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: cece tempo of jungle/drum 'r’ bass is so fast, it is 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 wor't sound good and will not work. | would rather hear these exercises slow and clean rather than quick and sloppy. These fragments will give you the opportunity to polish up your sixteenths between your hands and feet. Tz chapter introduces grooves that integrate a ton of sixteenth notes, Because the xteenth-Note Fragments: One-Note Fragments Group46 Jungle/Orum (Fu CLK ixteenth-Note Fragments: Two-Note Pes ye a 2 Bn = Fragments Group B: Sixteenth-Note Fragments: Three-Note Bas B26 87 828 B29 B30 Bu B32 a aul? = B33 BM B35 836 837 Bas B45 B40 Bag pope pay ey Spe pape ote oes) 857 lote Fragments: Four-Note Bel Se Tryp feyMEE Sixteenth-Note Exercises: One Measure “The following exercises contain the same fragments you just practiced, so they should be famil- jar to play. Remember to approach each groove as a drum machine or loop. Watch the accents! . - on . 1 10 a Ora FAR 2 a a FQ Ge A a] Yee i] SS cami Dopo es _ ao z ie ae a a 47Jungle/Orum 'n 9fle ma q Sixteenth-Note Exercises: Two Measures ERIERREE ce one bent st atime For ‘example: Play beat 7 and rest for beats 2, 3, and 4 Then add the next beat | + 2 and rest for beats 3 and 4, and so on. This will allow your brain and muscles to memorize the exercise faster. fa Qa amples 8188, 2 22,35 40 1 2 49Sixteenth-Note Exercises: Two Measure (cont'd) 5, oh mY oR \GEES (D 51Jungle/Orum 'n' Bass Sixteenth-Note Exercises: Two Measures (cont'd) 25, =F: (a (ee i \ 52EERE 36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’ Ceo lis and buzzes are very important key elements that can be heard in jungle/drum ‘a! bass music, In this chapter we will simulate these sounds by buzzing with the left hand nthe 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. 8e patient and remember to start slowly and work your way up to tempo anly when comfortable, recommend listening to as many jungle or drum’ bass COs to study the sounds of different rolls created on drum machines and samplers. Once you have checked out the music, you can work on crescendos and decrescendos, which will add dynamics to your grooves, faa Fragments Group C: Buzz Fragments CH bramoles 4 _o3 ol a. . ca as ci. , 3 jo | Spas popes pe ay cn cn cB cu In SR ERAS GE eRe, |Buzz Warm-ups: One Measure These exercises are designed to help you get familiar with playing the the short and long buzz strokes within a groove, Take it slowly and make sure there is a definite difference in sound between your short and iong buzz strokes, Use the audio example CD for correct reference. aad 7 4 CH eaamples. 8.10 =< os 7 a Buzz Warm-ups: Two Measures As) f re CE eranpesns 56Buzz Warm-ups: Two Measures (cont'd) 4 ae a Buzz Exercises: One Measure d If needed, practice each limb separatly to get comfortable with each exercise. Ce Soy samples 18, 10.8 We Gay 2 57ea Buzz Exercises: One Measure (cont'd) 6 ny Buzz Exercises: Two Measures a CS crane 5.9 58wr eae Buzz Exercises: Two Measures (cont'd) 5 (iat:60 Se iT) 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 Bad, hy "3 Eeamples 15.1024.10 a Five-Stroke Roll = Cc TR tor LLRRL sticking can be used Five-Stroke Roll Warm-ups Play these exercises slow and get comfortable moving from the snare drum to the hi-hat: asd Ay CH eanptes129 8 BLUR RRLLR RRLLR RRLLA RRULR RRLLR 61 TER RRHa 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 movernent! al & (CS caampies 9 RRUUR RRLLR RRLLR RRLLR RRLLR RR LLR RRLLR RRLLR 62Five-Stroke Roll Exercises: Two Measures (cont'd) Aes 3 4 cS RRLLR RRLLR ca RRLLR RRLLR RRLLRJungte/Orum 'n' Bass Nine-Stroke Roll a us Nine-Stroke Roll Warm-ups 2 oe RST S 3 amotio RRLERRTLR RRCCRRLUR 2 RRLLRALLUR RRLURRLLR el RRLLRRLLR o CURRLLR RROne Measure a sf Ee & > eaampler a 3 HEE Nine-Stroke Roll Exercises: Two Measures ad a CS amples 15,9 RRUCRRLLR 2 R RRUURRLL RRLCRRULR RRLLRRLLR 65ERE [ae mele Nine-Stroke Roll Exercises: Two Measures (cont'd) AX, a c RRLLRRLLR RRLLRRLL R (ney? es to Five- and Nine-Stroke Roll Exe es: 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 youre comfortable, add in the buzz strokes to complete the groove. CH amples 10 R RRULR RRLLRRLL RRLCRRLLea Five- and Nine-Stroke Roll Exercises: Two Measures (cont'd) RRLLR RRLLRRLLR RRLLR RRLLRRLLR R RRUERRLL RRLLR RRLLR RRLLRRULR RRLLRRLLR G, a 4 amples 10 R RALURALL 67Unison Jungle =— wy 18 RE Yad on ‘45 ev78 eal Unison Snare Drum Exercises: Two Measures (a (aaBG Gaed ele ee -— xh) 2. \q 79EE Unison Snare Drum Exercises: Two Measures (cont'd) a Fragments Group F: Unison Bass Drum Combinations ~ FS Fe a _ Fe fF FO au Fo ee ca eee FR Fa FIs FI6 fv FIs Fy = = at. TR. _7. 7B. SF Sq Sy Se eee 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 (yg HEHE SS epeeA Ye} 81Ba Orum 'n' Bass Unison Bass Drum Combination Exercises: One Measure (cont'd) 7 = a ae 82Unison Bass Drum Combination Exercises: Two Measures As (yy) Hie Scania TA 2 eT) si ae \ 83Unison Bass Drum Combination Exercises: Two Measures (cont’d) 9Mee ie sf = “ me \ a 85eel Unison Snare Drum Combination Exercises: One Measure Practice all fragment exercises individually to get familiar with the note groupings. " — > > wpe ae = 10 " 3 mee oe = ee > 86Al ae ld Unison Snare Drum Combination Exercises: One Measure (cont'd) N ay Unison Snare Drum Combination Exercises: Two Measures ae = ee 2 = 8788 MERE Unison Snare Drum Combination Exercises: Two Measures (cont'd) 7,Linear Jungle 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: 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 ata slow or medium tempo. [EERE Combine any four linear fragments to create your own original linear jungle | n this chapter we will focus on linear jungle grooves. In the following exercises, no two grooves. Always use a drum machine or metronome to keep your time and groove solidi Fragments Group H: Linear Eighth-Note Fragments 89eal Linear 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. (Bp) —) (ase, v = a Woe sy 1 90yE 1 igs 1Linear Eighth-Note Exercises: One Measure (cont'd) =] Linear Eighth-Note Exercises: Two Measures JWhen youre 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. vy CS erarples 15,819,225, 39 40 -Jungle/Orum 'n' Bass 93Jungle/Orum 'n' Bas Linear Eighth-Note Exercises: Two Measures {cont’d) f e i a \a i a” 94TT ease a eli See ti oh ments below should be played individually and then combined to create your own fragments also sound great stow as linear funk grooves. 3 € 9 uv 5 o £ 's Group beats, Remember that these The fragt ey US =] = 14 = in = 164 cere as 12 = f= Ey B90. cS vale 139) 8 ra ip 120 mn a FZ pees 128 129 cS B iB CA 136 Fr 182 16 aa he un Fr, FT 170 pp 169 Pa Se —E a a = ae J 118 an a 135, Ca Fp hyp ae 160 168 Sp 167 Fr FT eS a cas Ww fall ipa 125 = aa is it 49 c= z 157 POTHa (eT = =F Fragments Group | (cont’d}: Linear Combinations—Four Notes aoe = = 184 85 186 pnp = = wo TR yoy SB SEE ea Oo rosie a Es = = ae Pa yep apy Pee ee ee ey Se ee peasy Fp ae aAMN eee) 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. BS propo 5 = = = 2 = OS Examples: 7, 9,18, 25,37 10 9798 a ed Linear Combination Exercises: One Measure (cont'd) ae Dy Ka oe \ea 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 pattem. Jaen) ‘3 CS baamples L714, 15,182.27100 SEE ii ation Exercises: Two Measures (cont'd)101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: Crem the following hi-hat techniques and exercises will expand your sound possibilities for all Tews ‘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 usuall SRI ste 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 103104 Me Preliminary Hi-Hat Exercise Feel Bars 3 I CS sel baris layed with sha neces 1and 6 below: 2 S Hig ay Hi-Hat Exercises eel CS bamples 1.6 2 pooSEES Hi-Hat Exercises (cont'd) 6 105Hi-Hat Exercises (cont'd) o + + 0 + oO oF oF tos 35, 106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: Crotsn Perce cad ince many different samples are used to create these high-energy grooves, itis necessary Se: 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! 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). SURI 8¢ 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a Multiple Snare Exercises: One Measure qu aenpas:11,22,25.4 2 : i i \ ° jo oo ie. aSa) fe -_ a \q an byRee Multiple Snare Exercises: Two Measures 1 (oy 2, 110Be ey" Aa atJungle/Orum 'n' Bass Multiple Snare Exercises: Two Measures (cont'd) a 2 ap ee 112eee 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 look out for the circled auxiliary snare notes. Take It slowly! aul Oreo anes 113Bea Ene) Multiple Snare Combination Exercises: One Measure (cont'd) Sarai 5 ae Gy ———! ce Gy 30 9 2 1 | | 1 tH A i = Hl a K ftMultiple Snare Combination Exercises: Two Measures 1 %s (CE cartes 915.2127 118116 BT =e ers Multiple Snare Combination Exercises: Two Measures (cont'd) 10,"ee eed a (ee 7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: Presa peered 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's 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 Split-Kit Diagram NOTE: Main Bass Drum is applied to all three kits—A.B, and C A=(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 Bess of the programmed nature of jungle/drum 'n' bass grooves, you will hear the EGEEEIT 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