MI (Musicians Institute)에서 출판한 이 드럼교본은 락, 팝, R&B 드러머들이 재즈 스타일을 빠르고 효과적으로 배우는데 중점을 두고 있는 교본입니다.
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자세한 악보와 구체적인 음악적 형태, 드럼셋의 사운드, 솔로의 컨셉, 반주의 접근 방식들이 소개되어 있습니다.
재즈에 적절한 드럼셋 루디먼트 보이싱과 솔로악보, 단순한 브러시 패턴 등도 나와 있습니다.
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halleonard.com/mylibrary에 접속해서 책에 인쇄되어 있는 액세스 코드를 입렵하면 사운드 샘플을 온라인으로 듣거나 다운로드 할 수 있습니다.


- Contents -

Overview

Unit One: 12-Bar Blues
Chapter 1 : Lead Sheet Interpretation
Chapter 2: Timekeeping and Comping
Chapter 3: Ending and Balance of Sound
Chapter 4: The Chart and Play-Along

Unit Two: Turnarounds and Trading Fours
Chapter 1: Structure - Tag the Intro
Chapter 2: Rudimental Basics - the Flam and Flam Tap
Chapter 3: The Flam and Flam Tap on the Drumset in 4/4
Chapter 4: Trading Fours
Chapter 5: The Chart and Play-Along

Unit Three: Two-Feel and Walking-Feel
Chapter 1: Background - The Two-Feel and Sock Cymbal History
Chapter 2: Playing the Sock Cymbals
Chapter 3: Philly Joe Jones and a 12-Bar Solo
Chapter 4: The Chart and Play-Along Burks Daily Work

Unit Four: Two-Feel on Hi-Hat: Comping
Chapter 1: Comping the Head in Two (on the Sock Cymbal)
Chapter 2: Walking-Feel Time Clichés
Chapter 3: The Chart and Play-Along

Unit Five: Rhythm Changes Form
Chapter 1: 32-Bar AABA Rhythm Changes Form
Chapter 2: Trading Fours in an AABA - Four-Bar Concentration
Chapter 3: The Chart and Play-Along

Unit Six: ABAB Form
Chapter 1: 32-Bar ABAB Form
Chapter 2: Complng the Head - Long and Short Notes
Chapter 3: The Single Drag
Chapter 4: Trading Fours
Chapter 5: The Chart and Play-Along

Unit Seven: Triplets and Bass Vamps
Chapter 1: Vamp Bass Line Basics
Chapter 2: Trlplet Comping
Chapter 3: Comping Cllchés
Chapter 4: The Chart and Play-Along

Unit Eight: 6/8 Afro-Cuban Feel
Chapter 1: Origins of the 6/8 Feel
Chapter 2: Using the Naningo within 4/4
Chapter 3: Triplet Comping and Clichés Part 2
Chapter 4: The Chart and Play-Along

Unit Nine: Jazz Waltz
Chapter 1: 3/4 Waltz Timekeeping
Chapter 2: Applying 3/4 Feels to the Chart
Chapter 3: The Chart and Play-Along

Unit Ten: Broken Three Feel
Chapter 1: 3/4 Waltz Timekeeping II
Chapter 2: Applying 3/4 Feels to the Chart
Chapter 3: Flam Accent No. 1, Single Drag, and Paradiddle in 3/4
Chapter 4: Trading Fours
Chapter 5: The Chart and Play-Along

Unit Eleven: Brush Patterns
Chapter 1: Brush Background and Basics
Chapter 2: Brush Patterns
Chapter 3: Brush Patterns within an AABA
Chapter 4: The Chart and Play-Along

Unit Twelve: Brush Comping
Chapter 1: Conventional Stroke Brush Comping
Chapter 2: Bebop, Clifford Brown, and Max Roach
Chapter 3: Max Roach and Trading Fours with Brushes
Chapter 4: The Chart and Play-Along

Unit Thirteen: Max Roach Brush Solo
Chapter 1: Overview and Preliminary Analysis Exercises
Chapter 2: Two Choruses of Solo
Chapter 3: The Chart and Play-Along

Unit Fourteen: Jazz Mambo
Chapter 1: Background - Afro-Cuban Jazz
Chapter 2: The Mambo
Chapter 3: Art Blakey and a 32-Bar Solo
Chapter 4: The Chart and Play-Along

Unit Fifteen: Ballad Brush Patterns
Chapter 1: Using Eyes as a Ballad Pattern
Chapter 2: Traditional Ballad Pattern
Chapter 3: Using Both Patterns within an ABAB
Chapter 4: The Chart and Play-Along