In Flames – Pinball Map

From the Swedish purveyors of “heavy metal hits” with drummer Daniel Svensson, Pinball Map is a classic syncopated In Flames banger.

Clayman was the fifth album from In Flames. Released in 2000 on Nuclear Blast, it was an exciting follow up to the Whoracle and Colony albums, all of which were on high rotation in my home at the time and were inevitably a big influence on the melodic death metal we were playing in the 90’s and early 2000’s.

Revisiting this album 20 years later has been a lot of nostalgic fun. The syncopated accents – on the ‘a’ of ‘4’ rather than an emphasis on the ‘1’ is something In Flames do a lot and it really keeps this track rhythmically interesting and in motion. The huge drum fill leading into the chorus is a highlight. I’ve interpreted this using a familiar linear pattern. In this case – four on the hands, two with the feet (4 up 2 down) repeated, then two with the hands two with the feet (2 up 2 down) repeated four times. Played as 32nd notes, it finishes back on the snare on the ‘&’ of beat ‘4’.

here’s a breakdown ;

In it’s simplest form : RLRLKK RLRLKK RLKK RLKK RLKK RLKK flam. This is orchestrated around the toms and snare – refer to the pdf transcription. I’ve written this for a 5 piece setup but interpreted and orchestrated it on a 4 piece setup in the video.

This is some classic metal drumming. Give the drummer, Daniel Svensson some. Give it a hit.

The link to the complete transcription is here ;

Downloadable PDF : Pinball Map

Pinball map, Daniel svensson, drums, hutch, drum transcription, clayman, in flames

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Aphex Twin – Ambient Works Drumset Interpretations

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Aphex Twin’s Heliosphan and We Are the Music Makers – Interpretations for the drumset.

Aphex Twins Ambient Works album is a masterpiece. The recording quality could be described as shit, apparently it was recorded onto a cassette damaged by a cat. It doesn’t matter when the melodic components are as tasteful as this. The album is also rhythmically interesting – quirky and beautiful. It’s a challenge to interpret and play with. The album makes for a great playalong exercise in improvising, packing the groove or comping with the melodies.

Downloadable PDF : We Are the Music Makers
Downloadable PDF : Heliosphan

drum transcription, aphex twin, we are the music makers, heliosphan, drum lessons, hutch, Andrew Hutchings   drum transcription, aphex twin, we are the music makers, heliosphan, drum lessons, hutch, Andrew Hutchings

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Modulating Drum Licks

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Triplets to 16th Note Patterns + Inverted Paradiddle-Diddle Orchestration. Advancing a stock pattern to develop solo concepts.

The focus here is on re-configuring the paradiddle-diddle – RLRRLL or LRLLRR. The simple, familiar sticking pattern will be advanced by substituting the bass drum, switching between “rates” or note values (modulation), inverting the sticking by starting with one of the singles (RLLRRL) and moving the rudiment around the kit.

Modulation is the process of changing from one form or condition into another. In this case, modulation is referring to playing the same pattern across different note values, or, the exact phrase applied across different metrics of time – 8th note triplets to 16th notes, 16th notes to 16th note triplets and 32nd notes, for example.

These patterns have the potential to be used as fills or ideas for solos, to generally push the boundaries of your own sense of rhythm and to eventually unconsciously enter your improvisation vocabulary.

A) These exercises explore various sticking patterns modulated from eighth note triplets to sixteenth notes. An additional 4 single stroke semiquavers fills out the second bar where the pattern modulates from 4 beats (triplets) to 3 beats (semiquavers).

Downloadable PDF : Modulating Drum Licks

B) The following phrases explore substituting and modulating a sticking based on a paradiddle-diddle inversion.

Downloadable PDF : Paradiddle-diddle Drum Lick

 

Paradiddle-diddle Drum Lick _New

Playing Examples :

https://www.instagram.com/p/Bw1ZBUuBhFt/?utm_source=ig_web_copy_link

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Black Sabbath – War Pigs

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War Pigs, Black Sabbath, Drum Transcription, Bill Ward, 70's rock, drums, drum lessons

Jazz roots and power – Bill Ward was a pioneer of heavy drumming.

While metal drumming today is typically a rigid, straight, aggressive onslaught , Bill in comparison had a unique free flowing groove. He grew up listening to big band drummers of the 1940’s and based his drum sound off Gene Krupa and Buddy Rich. He was also influenced by other players of the time – Bernard Purdie, John Bonham and Joe Morello. These roots, combined with the forerunners of heavy music in the 70’s, made for an interesting revisit of this classic. I sat down to transcribe the piece from the 1970 Paranoid album for one of my classic rock enthused students.

“Without the jazz influence, the Black Sabbath drumming would be very different. The feels and jazz feels and rock feels were exactly, to me, what we needed…“ – Bill Ward

Focus here was on the 8 bar drum features, rather than every note Bill played through the groove sections during the verses and guitar solo.

Downloadable PDF : War Pigs – Black Sabbath – Drum Transcription

War Pigs, Black Sabbath, Drum Transcription, Bill Ward, 70's rock, drums, drum lessons

Find more 70’s rock in the pdf summary.

Hip Hop & Neo Soul Grooves – Changing Space

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An interpretation and analysis of the rhythmic “swank” of artists such as J Dilla, Questlove, D’Angelo and Chris “Daddy” Dave.

Specifically, swing is referring to shifting normally evenly spaced notes to the first and third triplet partials. The idea of swing also refers to the fluidity of all beat subdivisions. Notes can be moved and positioned between the cracks in anyway as is suitable to the musical situation.

All the beat subdivisions within this exercise are written with 8th notes, 8th note triplets, 16th note triplets and 32nd notes. Flams are used to represent the more extreme placement of overly swung feel while 32nd notes are used here to enunciate hi hats after the beat. It is the musicians responsibility to perform what’s on the page with expression and “feel”. there will always be some reliance on the players own swing interpretation. However, the purpose here is to gain precise control of placement before or after the beat – most particularly the hi hat around a strong 8th note pocket. With some exceptions within these groove exercises, the quarter and 8th notes remain strictly in their fixed place – the fluidity is in the shorter notes around these anchor points.

Also included in this pdf, is a transcription of D’Angelo’s “Left and Right”. This is a good example of using space between triplet partials and straight 8th notes. Also herein, is an excerpt from a Chris Dave performance of “Find a Way” from hip hop legends A Tribe Called Quest. Take note of his sticking pattern. The Left hand plays the backbeat as well as the “&’s” on the hi hat. It’s bad arse.

Tips :

  1. Make sure you understand the relationship between 8th notes, 8th note triplets, 16th note triplets and swung 16th notes. There are many more to get to know.

2. Also spend time practicing after the beat. Allow the downbeat or backbeat to fall after the click. You can even shift the phrasing of the entire beat, where the metronome for example, will click a 16th note triplet before the “1”. A good exercise to embolden your sense of time.

3. Listen to the real deal : J Dilla’s Production on A Tribe Called Quest – “Beats Rhymes and Life”, “A Love Movement”, The Roots – “Dilla Joints”, D’Angelo – “Voodoo” co-produced by Questlove, The Drumhedz (Chris “Daddy” Dave), Hiatus Kaiyote (Perrin Moss) and Nate Smith. Play along to the records.

4. Timing and listening is everything.

Downloadable PDF : Hip Hop + Neo Soul Grooves

chris daddy dave, questlove, a tribe called quest, nate smith drum transcription, notation, drum lessons  chris daddy dave, questlove, a tribe called quest, nate smith drum transcription, notation, drum lessons

chris daddy dave, questlove, a tribe called quest, nate smith drum transcription, notation, drum lessons   chris daddy dave, questlove, a tribe called quest, nate smith drum transcription, notation, drum lessons

 

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Groove Modulation Part III – Using Dotted Notes to Modulate Between Relative Tempos

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Metric modulation is a change in tempo or pulse based on a relative note value or subdivision. My previous modulation posts on this site have used different triplet and quintuplet values to create the perception of tempo changes. These groove exercises use dotted note values to stretch or contract the backbeat to create a tempo change without adjusting your inner clock.

Downloadable PDF : Groove Modulation pt. III – Dotted Notes

 

Metric modulation drum lessons Metric modulation drum lessons Metric modulation drum lessons

 

Noodling with the concept :

 

In this video with HUTCH + REHAN, I shifted the backbeat across the dotted crotchet [1:30] before shifting gears again with two more bars of the kick and snare across the dotted eighth note, in unison with the synth accents, to set up the next section. In this instance, the hi hat or right hand maintains the eighth notes and the left foot maintains the original beat 2 and 4 while only the kick and snare shifts the gears.

 

DNB Groove Modulation Part II – Quintuplets
DNB Groove Modulation Part I – Quarter Note Triplets

 

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Q&A with Inna Riddim

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Five questions with our label mates, Inna Riddim leading up to our show at Sydney’s premier Drum and Bass night

….

Q: You guys aren’t DJs, you play live. For those who haven’t seen you perform, tell us briefly about your setup – what equipment, who plays what?

A: We’re a drums and synths duo. Completely electronic and entirely run through Ableton Live. I hit the amen’s, Rehan turns the knobs. We use a customised v-drum setup triggering a host of Ableton drum racks, layered with the on-board acoustic drum samples. Using more cables than world diplomacy, the entire kit is routed into a second host Ableton session to control live processing of the drums – filtering, pitch bending, automated changes and additional sample layering. Rehan is controlling the entire live mix, mashing the live drums and playing bass and synth lines.

 

Q: How does the experience of live electronica differ from a DJ set – from your perspective and/or from the audience’s? Is there a different kind of connection?

A: It’s far more physical. It puts musicianship, instrumentation and all the blood, sweat and grit that goes with live performance back in the club. While our sets are one seamless mass of non stop tunes, we’re not beat mixing the tracks together like a DJ. It’s all pre arranged. We play to the Ableton clock and with a lot of rehearsals and preparation, it all comes together. There is some compromise working this way, you’re not hearing a final mixed and mastered track through the speakers as you will from DJs playing bangers before and after us. It’s a little rawer than that. But in electronic music these days, it’s all about fidelity, the cleanest punchiest mix possible and there’s little acceptance of anything less. The average punters ears are well tuned in, so we chose to run the complicated setup that we have to keep our sound as authentic, clean and mean as possible while still using our musicianship and keeping complete control at our own fingertips.

 

Q: Kobra Kai fans will know you two as erstwhile core members of that (now disbanded) live electronica group. Has your music changed since the Kobra Kai days?

A: Kobra Kai was always about different styles of beat driven music. A purposely constructed conglomerate of different artists. We started this duo with the intention to produce more authentic drum and bass, to dive deeper into the drum and bass production manifesto. Unforeseen, it quickly became another live project. But this time, we took a completely different approach to our live show and we came up with the setup we’re currently running. I’m far more at home behind the drums than a computer. I can’t live without improving my playing. I sometimes feel my production is done out of necessity, it’s a means to assist my playing and open creative doors but never to replace the art of drumming. Rehan and I did also delve into some other styles. We released some of Rehan’s glitch funk monsters on Adapted Records.

 

Q: So should we expect a straight drum&bass set or are you going to stray into other genres?

A: It’s Afterlife. We’re playing drum and bass! Jungle, neuro, minimal, jump up. Nothing but. All original works apart from one cover version – a tip of the hat to one of the most revered instrumentalists in electronic music.

 

Q: Hutch, you’ve spent time recently on the road with Mr Bill in his tour of the US. Anything you’ve learned along the way or influences that may feed back into your music as a duo with Rehan?

A: I learned quite a lot from Mr. Bill before I ever met him. His website mrbillstunes.com and YouTube videos are distinguished educational resources. Bill lives in Colorado, so he has been leaving his big glitched skippy scent all over the Americans for quite a few years now. I was lucky, stoked to spend two months there with him. We’ve knocked up a solid 60+ shows in Australia, Canada and USA since 2016 and in between those tours, he has also been doing his own solo tours, keeping up with is own prolific releases, collaborations, Electrocado side project, scoring Hollywood flicks, video tutorials and website updates. I love working with artists as dedicated to their work as Bill is. I drew so much inspiration and drive from the experience which I’m sure will come through in my work with Rehan. There were a lot of people I met and artists we played with who gave me a huge boost. Eoto, another electronic duo who we played with in Denver and Boulder were insane. A different approach on electronic music to my work with Bill or Rehan, very improvised, to the point where they would construct synth patches during the performance. Executed seamlessly, flawlessly, never disruptive to the dance floor. No two shows from Eoto are the same. Killer live show…. It feels good to be working on some of my own material again while Bill wraps up some festival dates in the US and knuckles down on a new album. Playing with Bill, I was being constantly confused with his previous live drummer. Everywhere we’d go, in Australia or USA, someone would think I’m Pendulum’s drummer. Now, surely I can’t be mistaken for KJ Sawka again. Not on this gig…

 

Afterlife is on Saturday 2nd September at the Porugal Madeira Club in Marrickville.

Mr. Bill Live Set – Audio & Transcription

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PDF drum chart I used with Mr. Bill during the 2017 Australia tour dates + live recording.

Mr. Bill’s Australian Winter 2017 tour, accompanied by Ryanosaurus and Bill’s side job, Electrocado, had us all take on Coffs Harbour, Airlie Beach, Melbourne, Perth and Canberra. Mr. Bill’s complete live set from our final show of the run, Psyland Festival, is up for download exclusively from Clyp. Features a shit load of remixes, VIP mixes and unreleased material with live drums. Check out the drum parts from all 6 sections of the 80 minute set. All up for free download. Get on it.

Download the Audio MP3 :

Downloadable PDF : Mr. Bill – Psyland Live Set 2017

(1 page example, download the complete pdf)

 

Transcriptions for Educational Purposes

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Stretching Beats – Funk Modulation // Quintuplet Beats & Exercises

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These exercises use an AABA form in a 4 bar phrase, shifting gears from the 16th note funk beat to quarter note triplets, quintuplets and eighth note triplets. Check out drummers such as Nate Smith and Jojo Mayer using this to great effect.

Downloadable PDF :

Funk Modulation – 4 bar AABA Forms

Further exercises in playing with 5’s :

Quintuplets
Quintuplet Grooves

jojo mayer dnb drums polyrhythms modulation drum and bass drumming nate smith time changes

Read through and apply the modulation to any old beats. The below example uses the half note triplet as the new quarter note :

Funk metric modulation drum lessons Gary Mcdonald The drummers Vade Mecum
(16th note rock and funk grooves from Gary Mcdonald’s “The Drummers Vade Mecum”)

 

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Nate Smith – “Skip Step”

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Funk in 17/8. An of example of Nate Smith “finding the 4” in odd time signatures.

An interpretation of the first released track from Nate Smith’s album, “Kinfolk : Postcards From Everywhere”.

Every second bar has an extra quaver to the count, making the rhythm 4/4 and 9/8 repeated throughout the song. This can also be felt as 17/8 time, with the back beat placed in the bar to “feel the 4”.

3 bars of 4/4 and a bar of 5/4 would also be appropriate and avoid switching between counting the quarter note and 8th note within the phrase. In this case it’s written in cut time to create 17 quarter notes.

Funky as f#@*k!

It’s not what you play, it’s how you play it.

Buy The record. Kinfolk : Postcards From Everywhere. Out through Ropeadope, 2017.

Downloadable PDF :

Downloadable PDF : Skip Step, Nate Smith Groove

Ira Nathaniel Nate Smith Drum Transcription notation chart Skip Step funk jazz drums kinfolk postcards from everywhere  Ira Nathaniel Nate Smith Drum Transcription notation chart Skip Step funk jazz drums kinfolk postcards from everywhere

 

This is a brief summation for educational purposes only

 

Mr. Bill USA/Canada Tour – DRUM CHART

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Download the drum chart I used with Mr. Bill during the 2016 North America tour.

An incredible tour with Mr. Bill through the USA and Canada has all wrapped up.  24000kms (15000 miles) on the road with an awesome crew taking on 30 shows from California to British Columbia, New York to Florida, Louisiana to Colorado all book ended in surreal fashion by time spent with Patrick Leonard in the bizarre Simi Valley outside Los Angeles. Thanks Pat, for the wisdom, hospitality and legendary DW drumkit I was lucky enough to take on the journey. Previously used in sessions by Vinnie Colaiuta, Jeff Porcaro, Kenny Aronoff and more. The same kit used on Madonna’s “Cherish”. Amazing.

Mr. bill drums Patrick Leonard drumset drumkit dw drums

Here’s the transcription in full that I took with me and referred to at every show to aid locking in with the programmed drum sections in Bill’s crazy, constantly morphing instrumental set (refer to the PDF for the full chart).

Thanks all.

“Hoping to find success in this incredibly competitive business without an understanding of the language it’s written in is equivalent to sitting down to write a best selling novel without knowing the alphabet.”

– Ron Spagnardi

Downloadable PDF ;

Mr. Bill 2016 Fall Tour – DRUM CHART

(Page 1 of 30) :

Mr. Bill drum transcription fall tour 2016

 

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DNB Beat Repeat – Playing 3 Beat Loops

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Rhythmic hemiola is a subdivision of the beat that differs from the time signature, with the intention of playing on our expectations.

These Jungle grooves take any three semi quavers of the beat and loops the pattern repeatedly, stretching across the barline before opening up to restart on beat 1 of the 4/4 time. I’d play these all the time, as fills or turnarounds, or to sit on for several bars as if a loop marker has been left on repeat giving a 3 against 4 poly meter or hemiola effect. They’re quite natural patterns and you hear them often in drum and bass. The Paradiddle-diddle, played repeatedly across 8th and 16th subdivisions is king here.

Downloadable PDF ;

D’n’B Beat Repeat / Hemiola

dnb drumming lessons lesson drum and bass transcriptions hemiola poly meter meters jungle drums jojo mayer  dnb drumming lessons lesson drum and bass transcriptions hemiola poly meter meters jungle drums jojo mayer

 

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DNB Groove Modulation Part I + Polyrhythm Exercise

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jojo mayer dnb drums polyrhythms modulation drum and bass drumming time changes

The following groove exercises take 8th note drum and bass patterns and modulates the groove over quarter note triplets. Keep the metronome at 172bpm. You’ll feel the groove switch to a triplet feel, while the dance floor feels as if the tempo moves from 172bpm to 129bpm before the groove reverts back to the start of the phrase 2 beats short. Eighth note time modulated to quarter note triplets gives the impression of winding down the tempo by one quarter. These are cool as fills or turnarounds at the end of phrases.

The additional exercise is a 3 over 2 polyrhthym, or 8th note triplets over straight 8th’s. Play the triplets with your right hand on the ride cymbal and the straight 8th’s with your left hand on the high hats. Drop out the 8th’s to free your left hand and modulate a kick and snare rock pattern with your right hand’s triplet time. Repeat the polyrhthm, then modulate the back beat across your left hand’s straight 8th’s. With your metronome set to 180bpm, this equates to reducing the tempo to 120bpm, without adjusting your inner clock.

Use a metronome!

Downloadable PDF’s ;

DNB Groove Modulation
Modulation Exercise

Drum & Bass Quarter Note Triplet Modulation ;

jojo mayer dnb drums polyrhythms modulation drum and bass drumming time changes  jojo mayer dnb drums polyrhythms modulation drum and bass drumming time changes

3 over 2 Polyrhythm / Tempo Shift ;

jojo mayer dnb drums polyrhythms modulation drum and bass drumming time changes

 

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Metal – Double Bass Drumming Coordination & Triplet Meter Grooves

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The Following 4/4 triplet based groove exercises and 6/8 double bass exercises are valuable in developing precision, control and musicality in heavier double bass drumming situations.

Downloadable PDF’s ;

Triplet Metal Grooves – One Bar Exercises
6/8 Double Bass Drumming Exercises
Double Bass Drumming Coordination – With Ted Reed’s “Syncopation”

4/4 Triplet Based Grooves, including halftime feels, quarter note, eighth note and sixteenth note triples and blast beats ;

metal drum grooves double kick triplet blast beats transcription lessons metal drum grooves double kick triplet blast beats transcription lessons metal drum grooves double kick triplet blast beats transcription lessons metal drum grooves double kick triplet blast beats transcription lessons

6/8 Double Bass Exercises. Combine the basic hand pattern with the written one bar foot rhythms ;

metal drum grooves double kick triplet blast beats transcription lessons  metal drum grooves double kick triplet blast beats transcription lessons metal drum grooves double kick triplet blast beats transcription lessons metal drum grooves double kick triplet blast beats transcription lessons

Double Bass Coordination using Ted Reed’s Syncopation ;

Double kick drum lessons ted reed syncopation

 

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Mr. Bill – “URL”

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Drum transcription of Mr. Bill’s heavy shuffle – “URL”.

I recently played a few shows as Mr. Bill’s drummer on his Australian “Corrective Scene Surgery” tour, complete with giant inflatabill and visual show. I transcribed all the fundamental grooves for each track to make up a simplified chart to cover his 1.5 hour DJ set and assist in committing some often complex parts to memory. Here’s one of those tracks from the set, “URL”, which I have transcribed here in more detail.

When faced with a mass of material to learn, taking the time to write out the main sections of the songs is invaluable. I use three parts to memorise these things – aural, visual and muscle memories – hear it, see it and feel it. Go to the sign for the main 4 bar groove. It’s basically a Purdie style shuffle, but there are two programmed bass drums which gives it a slightly different nuance and challenge. I also initially notated the synth hits to commit that pattern to memory and play off of it as I liked on the night.

If you’re going to tackle more complex pieces or someone’s solo, it’s extremely useful to reach for the pen and paper. Even if you never play a chart gig, dissecting and analysing music in this way will only build your own drumming vocabulary.

Check out Mr. Bill’s Tunes, for “Hardcore Abletoneers”.

Downloadable PDF ;

Mr Bill – URL

Mr Bill Drums   Mr Bill Drums

Mr Bill Drums   Mr Bill Drums

 

 

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Warm Ups – Single & Double Stroke Descending Rhythm

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Drum Rudiments

This pattern was scribbled down in my practice notebook as one of my very first drum lessons. I still run through it on a practice pad back stage before a show as part of a stretch and warmup routine. Accent the first stroke of the bar, descending through 8 strokes down to 1. Make sure you repeat the cycle without stopping.

The double stroke version is a more recent addition I made. The accented notes shift position between the first stroke of the double and the second stroke. It might take some getting used to. Of course you can continue on and apply any sticking pattern to this descending accented cycle.

Easily committed to memory, I find these to be a valuable warmup tool.

If this exercise is sourced from a particular book that I’m unaware of, let me know.

Downloadable PDF’s ;
Warmups – Single + Double Stroke Descending Rhythm

Drumming warmup warm up exercise descending rhythm drum lessons

 

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Mark Guiliana – “One Month”

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One Month

A great example of Mark Guiliana’s seemingly arbitrary rhythmic figures. I included the unison rhythmic figure as an additional sheet.

Love the track.

Buy the record, Family First, through Beat Music Productions 2015.

Downloadable PDF’s ;

Mark Guiliana – “One Month”
Mark Guiliana – “One Month” – Unison Rhythm

 

Mark guiliana One Month drum transcription chart notation music score  Mark guiliana One Month drum transcription chart notation music score

Edit : I reduced this to an extraction of the piece. For educational purposes only.

 

 

 

Max Roach – “The Drum Also Waltzes”

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Transcription ~ Max Roach’s classic 3/4 solo.

Here’s a transcription of Max Roach’s opening solo track from his 1965 Drums Unlimited album.  Played in 3/4 over a consistent foot ostinato, there are no repeats. Max plays a repeated motif but it also varies. The one bar foot pattern consists of the bass drum on ‘1’, the high hat on ‘2’ and a rest on ‘3’. It remains virtually unchanged throughout. Get comfortable playing basic rolls and sticking patterns around the kit with the foot ostinato.

Max plays it fairly freely with some sections a little ambiguous and bit of a challenge to transcribe. I think septuplets and quintuplets from bars 160 are a fair interpretation. I’m open to any other suggestions or fixes.

And of course, swing the eighth notes.

Downloadable PDF’s ;
Max Roach – “The Drum Also Waltzes”

Max Roach The Drum Also Waltzes Transcription chart score notation Max Roach The Drum Also Waltzes Transcription chart score notation Max Roach The Drum Also Waltzes Transcription chart score notation Max Roach The Drum Also Waltzes Transcription chart score notation

 

Nitin Sawheny – Remix Grooves

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Nitin Sawhney all mixed up

I was put onto Nitin Sawhney’s music when Kobra Kai was starting out, when we were still mixing some eastern sounds with different UK style dance beats. These grooves were scribbled out amongst my notes from this period, They’re some cool examples of garage / 2 step style UK grooves backing up some awesome songwriting with real depth.

Downloadable PDF’s ;
Nitin Sawhney – Remix Grooves

Nitin sawhney all mixed up drum transcription electronic drumming UK beats

Nitin sawhney all mixed up drum transcription electronic drumming UK beats

 

DNB Drum Grooves – Icicle / Roni Size / Shapeshifter / NOISIA

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inthemode

Roni Size’s In the Mode LP (2000) was the first drum and bass album I got into. I wrote out these grooves when Rehan first introduced me to the album, to get my head around everything going on with the grooves. Kobra Kai were lucky enough to support Roni Size and Dynamite MC at Home Nightclub in Sydney during our early years.

Also Icicle, Shapeshifter and Noisia. All beastly, heavy grooves…

Downloadable PDF;

D’n’B Grooves – Icicle / Roni Size / Shapeshifter / Noisia

Dnb drum and bass transcriptions icicle roni size shapeshifter drum lessons Dnb drum and bass transcriptions icicle roni size shapeshifter drum lessons

Icicle’s “Dreadnaught” :

 

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6 Famous Drum Breaks

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A brief selection of classic drum breaks every drummer or producer should know.

I got listening to hip hop when I joined Debasa around 2002. Prompting me to research and listen to a lot of music that I wasn’t previously very familiar with. It was a lesson in stripping things right down, keeping it super simple, but right in the pocket. Like our bassist used to say – “focus on the good stuff!” It’s not what you play, but how you play it.

It was also a history lesson and it took me back to some of these drumming greats – Clyde Stubblefield, Jabo Starks, Zigaboo Modeliste and Bernard Purdie to name a few. These dudes have been sampled again and again – including by myself. I still often reach for Gregory Coleman’s amen break when producing tracks and I keep a few mix versions cut up in an ableton drum rack to play back on my live electronic setup. Standard. It was the production qualities of these recordings that originally drew hip hop and electronic producers to rip the samples, the fact the drum features were isolated from the rest of the mix and most importantly to me and too often overlooked – these drummers performances were so damn good.

So here are my old transcriptions of some of the more obvious hip hop breaks in their original glory as a funk and hip hop workout and history lesson. Some of them very basic, while some probably far harder to get feeling right than you’d imagine.

Downloadable PDF : 6 Famous Drum Breaks

Clyde Stubblefield Jabo Starks Zigaboo Modeliste Bernard Purdie Drum Breaks Sheet Music Lessons  Clyde Stubblefield Jabo Starks Zigaboo Modeliste Bernard Purdie Drum Breaks Sheet Music Lessons

 

– Andrew Hutchings

THE ROOTS – “Things Fall Apart” Grooves

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The Roots Ahmir Thompson Questlove Drumming

A selection of Questlove’s grooves from a masterpiece hip hop record.

The Roots were one of the first bands to draw me into hip hop. Still one of my all time favourite acts. Here’s a selection of grooves taken from the “Things Fall Apart” album. The track “Without a Doubt” is sampled from a Schoolly D track, which was also sourced from Wild Magnolias (Zigaboo Modeliste) and Melvin Bliss. I dig the sixteenth note triplets in “Aint Sayin’ Nothin”. It’s all in the feel. Swing the sixteenth note subdivisions.

Downloadable PDF – The Roots “Things Fall Apart”

The roots Ahmir Thompson Questlove drum groove transcription The roots Ahmir Thompson Questlove drum groove transcription The roots Ahmir Thompson Questlove drum groove transcription

 

REWIND! DNB Groove Exercises Part I

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These are Jungle grooves repeated in the consecutive bar/s as a mirrored image – played in reverse. They’re a good variation on any looped beat you’ve been sitting on and a good exercise in shifting the backbeat off the ‘2’ and ‘4’ and moving the accents around the bar like a cut up sample.

Note: Drum ‘n’ Bass means we’re working at 174bpm or thereabouts. But start slow! Always start slow.

Downloadable PDF’s ;

REWIND! – DNB Groove Exercises
Rewind! DNB Drum Exercises – 4 Bar Patterns

 

Dnb drum and bass drumming drum grooves exercises transcription Dnb drum and bass drumming drum grooves exercises transcription

 

Transcriptions for Educational Purposes

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