STEVE GADD UP CLOSE TRANSCRIPTIONS BY STEVE GADD AND BOBBY CLEALL ber THRESS EDITOR/ADDITIONAL TRANSCRIPTIONS. ix WALTRIP BOOK LAYOUT/COVER DESIGN RC ERWIN AND JACK WALTRIP MUSIC ENGRAVING INTERVIEW {CARDO BETANCOURT COVER PHOTO UBLISHED BY MANHATTAN MUSIC, INC.™ STRIBUTED BY: PRODUCTIONS, INc™ IW YORK NY rot 1990 MANHATTAN MUSIG, INC, TERNATIONAL COPYRIGHT SECURED INTED IN THE USA..ALL RIGHTS RESERVED, 'Y COPYING OF TTS MATERIAL IN WHOLE OR IN PART WITHOUT THE EXPRESS. UTTEN PERMISSION OF MANTIATTAN MUSIC, ING.ISA VIOLATION OF COPYRIGHT LAI.SECTION 1: DRUM CORPS/RUDIMENTS: 3 VARIATIONS ON “CRAZY ARMY” 3 APPLYING RUDIMENTS TO THE DRUMSET 7 PARADIDDLE VARIATIONS 8 SECTION 2: JAZZ/RAB 12 ‘STRAIGHT AHEAD SHUFFLE 2 THE SOLO 13 SECTION 3: TIME/STUDIO PLAYING 20 MORE RUDIMENTS 20 ‘SEPARATING RIGHT AND LEFT HANDS. 2 SLOW GROOVE 22 BUADING A TRACK a CHART READING 26 Audio cues—text In grey boxes—bave been “FIFTY WAYS” 26 indleated for the convenience of synchro: LATE IN THE EVENING” 24 —_ ig written exercises to the sido tape. SAMBA 30 r Bass/Snare vr Toms « HeHat ir cymbals 1 : Gross open tay rast PA comet Sate Sticke CloseSECTION 1: DRUM CORPS/RUDIMENTS AVARIATIONS ON “CRAZY ARMY” [Aj > > | LR LR ERE REPRE, ob RU RRTE REL TRURERLR FETT Fie tte ee LOR RiRR VRERE RR Rhot oR PRL RUPR REL LER TRERREL REE PRR LR Ren 34 FeerPithe RP Foon or Frerotte r®iite "reer eee> > 7 pl ‘Rob oR LL RULER R FL > 7 Ry ot or RE REPRRFL LER > > > te y TR > = ® T R L R > > > > ROULRRILRRULR Ll etc. L > > = ® R R L RER ®URLE TRERRTLR LL > > R * > > Te Rien itee TRRRL LER RELL > 9 TR LRUR > > > T Ro ORRELR LLRRLL >>> REO >> LR ORLROWLRRILR > > a tee t eT Pet RRL. RRLL RRL RRL RREL RREL LL ORRLL RRL RRL RRLL | RRLL RRLL R u Zz te TL ORRUL RREL RRLL R ® a RRUL RRL RRL RRL RRUL RRL RRLLR EL ORRLL ROLL LO RRLGR LL RRE RRLQ What woul! you say you gained from working In drum comps Lan early age? - SG It's good for technique. teamed all the:rdiments and! got a better understanding of them. The fst past ofthe solo that atat- ced uth wan shin ealled "Crazy Army.” which f Teamned In drum corps and added some bass drum to it started wating pars for the comps that Fas in, which was the Rachester Crusaders, and swthling parts helped my reading. ‘We had four snare drummers and four tenor drummers, and we were graded on our ability to play with each other, You are marked off on any kind of rolls that don't end together, ete. It ets you into really Hstening ta the peaple yout are playing eth and oot just thinking abeut what yor are doing.4 APPLYING RUDIMENTS TO THE DRUMS QHow would you take some tudiments aid apply them in kets OF Nils ot the drums? 8G This ts the ratamacue alterritte: mo™rore FRort or rian "yet ow the way Tse it around the drums fs fo use the ah rtamtique Sating sith the right hand anc! encling with the foot (bass drum): 2 3 3 2 ROM RER “HERE R TERER FERER ‘Thats the patt of the ratamaque that Pm usiig ott the drums: 2 a 2 3 2 3 TER ER “Trem Petr Free Topen Prie foepn accel Accelermted, the ratamagiie hegine to soxind like this: 6 6 pa = ll LERLR LERUER Another rudiment that’s ike # ratamaque isthe slx-stroke roll. gets you around the drums in a sinllar way. > j>> 3> > i>> 3p a a a dallas, me RRR ER RRL OR PRRER RRL RLTRRERLURRE REERRULRLERRE S Wall céming around to the right hand, Bas SS RLERRERTOERRE 14 PARADIDDLE VARIATIONS Note: This example Is wren in cuttime to help you figure out the hi-hat and snare pattems. Ta actual tme—In Us cane 4/4-—the Iishat/snare patterns are actually 32nd-notes. See page 10) {Sl 7 ay ce exe tL a Ya lay ht eae” tne thet a ea (Count off isin 4/4) > > oO > o RUERRLRRLR ERR VR ORRR LL RURRURRER TR R LR OT LUR™LR RELL RLR RE RRRLLLR LR REL RER RE LR LELR™LR RLLRLR RL RL LLR LORE RE LR LER TRRERRLRERRERLEL RERRERRERERRERTL See S=hERRELRRERLRRELRRL RLELRRERRLERERRELE LRRLEL L borer” 2eR RLL RL OR RSame as previous example except notated in 4/4 time, >, >, > > RLRRERRER ERR LR LRR LL RLRRERRER LE RR LR LLLR LR i ae RLL RELR REL REL RLER RL RL LER Lo oRL RL LR ELR LRRERRERURRERELRERRERRERERRERLE ROLRRLEL OR OLRREL oy LRRERRERLRRERRL CRRERRERLRRLLE URRLL LLLP LR 10> 9 * RLALLR Ht RLL RL RULER LRRED > g RLL RE RLLR™LRRLE RLRELR Q You seem to be holding your breath in some places and brenthing in others. Are you consclously aware of your breathing? SG 1 think ultimately Wis better to Ireathe evenly. I was aware of holding my breath, 1's better to try and breathe normally. W's sometliing that you have to concentsste on, The nattiral thing that happens when you do something on the drims that’s harder physically, isto hold your breath, as you would if yort were pick- ng up something heavy. The only way to werk on It (0 fast think abont tt Q Does It helps you relax If you hreathe regulary? 86 W does help you relax, F dont know iF affects the Feel that > 3 ER ORES ll much. W helps your encurance, though. ¥ tink that i yon breath ing Is relaxed, then by the end of a show yont siukint he as Heed as you would if you had een holding yowir breath and staining, @ Do you postion yourself # certain way for different types of playing? ‘86 No, 1 don't have certain postions that I get myself Into for ai fefent things. { do know that your body plays an impeatatt past int ‘getting around the drum—the way you move. I think when T rictice getting around the drums T would do exercises slowly find gradually work thent up to speed. 1 guess my bexly woukd fust move natutally as the tempo got faster UR REL RER QT once saw you play a real slow and relaxed grove and you ‘bad your ethows tucked Inte your sides and your whole hoy Jus, seemied to Tock the tlme in SGI press the way T sit has an effect on the feel of the musi, Wit ‘was a slower, lalc-back kind of plece that didnt require a lot oF ‘cherry, F would probably sit more relaxed, 1 ke to sit low any- way. If twas a more straight ahend or Iehop kind of feel, 1 would probably approach ihe drums hy sling @ title more on top, One fs kind of a down feel, and the ether ean np, or dane- Hetteel tT “TU I'm playing the downbeat with my heel and the ipheat sith the toes. Tin not really going for every heat, 'm going for the down heat with the heel. ‘Thar's che pulke 1 feel and when I yet ready to go for the other one I hit the upheat with the te. QF saw you sole once and you were getting a sexind! out of the chat cymbals almost like marching hanx! cymbals, 8G 1 hokl the hichat open about # quarter of an inch with my toe, and when Tring the heel down bard, the cymbals hit and ing approach. 1 guess the way ait for different kines of muse ‘would affect the say T play ft, @ Do you feel that your tap dancing as a child has helped or have you incorporated some of the tap dance into playing drumd 8G. 1 think it had to help—any kind of coordination stu Whe that word have to have some affect. {found « way to play iy hae drum that might be an extension of something that happened when I was tap dancing. wT ‘open back up again Q Wher: you were young, how did you Gest Ret inter drums? Why did you want to he a ddninener? 8G F retnemher when Twas a file Kid, my tancle see te he drummer, and 1 remendber seeing this ted peace cram con chair in my grandparents house. My uncle was playing in 3 prick: ane dont know...'s been drums ever see: 11ii 36 My parente sed to take my brother and I out heat fot of diferent bands: Dizzy Gillespie, Oscar Peters, Stan Getz, At Blakey, Max Roach. There was a club in Rochester called the Ticherest Inn, and on Sunday aflemoons they had fu. rersons and they went Tet me st. Chuck Mangione is from Rochester, and a Jot of Sunday afternoons his family would he down at the «lab wth my far {QHow old were you then? 86 Probably about seven oF elaht years old. There were a few clus ip tow that had organ groups in them: Gene Ludwig, Hank A STRAIGHT AHEAD SHUFFLE at 2 2 PY SFA Mart, Gronve Holmes and Jnck Mefuif wend come in, After aioum corps rehesrats, my father and Two! geo denen fo these dubs and hang out. We got to know people who worked there and they used to let me alt in. Fhad a god time, 1 What hifid GF grouived were the ofan gtoupe ptayiny NG ft tas sonite shuiTle stuff, but f ea este ean they tied to oalf ft saiictified mute, ft wan closely related to. 15 was 18 Beco, WAH A backbeat and the bade cuit van firey buny. They ac played a abaight seal abe tat me to! ttf‘When I was young, my tendency was to approach everything very fechnically, but with the organ groups the groove was a0 strong, that i didn't make any sense to do anything to get in the way. Thone guys were very tnluental fo me in terms of whe they Wels the hackheat and their Foot, Tey were really ston thie play (8, That t0 me Is more like what Is happening in poplar muste ‘now. Kedefintely wasn't what people considered to he faz. 4 THE SOLO ‘The People who inifuenced me in terms of farm Wete Att Blakey, ‘Max fioach, Jack Pranklin, who used ts play with Kal Winding’s band, he sounded nlcé—tuned his drums real nlee—Elvin ‘Gones), ony (Williams), and atother person who was 4 big fihuence to rme,-who whee T an him play 1 atarted te under ‘and lot of things that I read ‘Tony do ort record that wete 80 ‘beattiul, atic ample, but teal hard to figure but, that person wa ‘Chicle Corea, who las feal nice Ue Oh the drums, RURLRERL LRERERE URERERL LRERERE LR RE LRERE LRLR® ' RLRT LRERE RL RLLRUERRERUL RL RRL RLERRT 13 RLERELRRLLRRL Ri 1 TRRL RURRL TRRE RURREdeb sp aes he pepe as EERRL RLL ORLL REL RELR LERRLLR RULR LERRLRELRIR gs SIS > RUR WLR OL OR 1 R LERREDRERLER > > D2 tana ae LR LR LR LR LR LR ER LR LR UR CR ER R LERRES 15LR LR LR LR LR R OLR TERER LERLL RER RLR R RER RER ORLR ALR RL RLERALRERL RL RL LR LEREE LLRLLR 3> >>, RLTRETRREL LER REERELRAL >a a> RLURREREERTR 16 RLR OLR ORLERRE RERRL RUERREL LRRL LR LR TR ER LR LR OLR ERRt LR ERRL ERRD LR LR ER LR LR LR LR ER LR LR LR OLR TR oon 17(lub 1956-57 seascn,Pi titel E/STUDIO PL 4 MORE RUDIMENTS (What ld oF tgs dd you peicile when jou Were Youre eee eee drmek oft te clberguye 1 cron ep. There de ote Ridin hat art tal good for entering ‘your haride that 1 would use 10 help loosert up. alatsagive ending eth afta: 3 2 R FPRERFL RRERLER accel Plant patudidie didi wtemateds > > TR eR R t & AL R Lo L RR lant accents are real good to work up to speed: (On the drum se, would practice playing the bass drum whi ti iting the right of left hand, { would figure out pater oF rude Peat nectd el whiveter hand we keeping the bas cha como A RUDIMENTS WITH THE BASS DRUM. RoR ROL R R £ ft R RLRRL TREE R ORERRE LRLL ia RRL LOR RAL LLTR REL LER REL Treo RRL LL RRL UR ROL 20RERELTR OE REL R ERR TE ROR LR LR PL AT PRURFLURERTLERURALERIRR RUREORPL RL RRLRLRTLREL A tt ofthe thes that would practice on drumset Would be things for coutdintion to free wp your eet fr your haf. Ws eal ‘hatural For a right-handed deunmer to want to play hid foot Wher he's accent with his Hight hind. 4 SEPARATING RIGHT AND LEFT HANDS -Playltg your bags drm on the bf ells that takes sce tine to get Ht fel connfortable, cnordinationawise, It's go exay and natural, ‘eapettaly for right handed cruminsa, to play the fob on thie dolwiibedt, Soto play te downbeat withthe right lrand andl the off heat ‘With the foot, tsa Ile medeward—fust sat out slowly. accel QWhat weld you Hse to practice keeping time? 8G The way to prictce time Is to just think ahout dine and! give yourself a pont of reference with either @ ick Inick orem machine. {evenld practice technical things for coordination, tn different tempes 22Qilow would you suggest practicing 4 hice, slow protved 8G Stat out playing “I andl 3," on the bass dru, and “2 and 4," of the snare chm, andl 16ths on the hist 4 SLOW GROOVE ‘RR $6 Once you lock to the “I and 3," while playing, 16ch-notes on. the hi-hat, you can use that as a reference point. You are playing ‘more notes with less space hetween each beat. Once you Feel (_Somnforle with I, then tay Bilenotes, Try ping fale ane! forth net_yoxt will feel where you will have to adjast ane have 10 let cuit a hreath of air atid rele. Q Do you think it's good to do an exercise tke that with a ‘metronome? 8G Yes, definitely, Put 1 think its good to do if yout dot have a metronome, by just thinking about it. Then go In quarter nntes, thats aneither feel, They are all adjustments, The adustinents dont ‘op happening the longer you play, yout just are able tor make the adjustments more comfortshly, The other thing that takes a fot of thought is IF you have estah- Aisheel a halftime fee! and all of a sudden you want to gov intr a much fister Feel on top are stil keep the: same thing on the but tom: youll he suprised hin far dich yor have to hay. ‘The ten. dency i when yon leno yout are ge ey have to Another section, the adrenaline starts going, Yeut have ty make yourself wait until “one” comes, md if ean seth ike 9 eng Ancl once yon start the mew: coulle-time feed om top and the see Feel on the horton, you fave to tell yate hails that “tne” desert ‘come that fast afer fone.” You have to ney that. erase tt yee don’t know il, and! you stan playing the eouletime feel, Be halftime teen fect that yom wore paving, hee is pain 19 cir) up on you. The only way T know 101 Vi is ts about #1. You have 10 think about the timc. ‘The tine is heslealy what the caimmer is there for, He's not playing any pitches anil stuff ke that 23Q.Gan you demonstrate a groove and ff play plédhieet wad well change the groote a bit. Stating wth a asic groove. 3G All Hpht; we'll start with the simplest thing: . it Sth Ge HOHE IRNEAIIGE NUKE would yous add, lets hay, iF we were Ao Hit the toil ts emi ps, lat Weal jd ded to the Heth tote peter? ‘8G Ht play Ro Bata OF tpretioun soe}, bh che dene Mt playa Ml diel gt to Ue bake, Lea TREURELER RE RERE — RARE EV RUREREEER EL RERKEERERERELEREaa. RURELLGRERERE Sort kept prety rmich the 16th-nete feel happening and aided the belt ofthe cyst, to ave It anather colot an 1 HAL up bt {Can you demonstrate sone hls that yous could play thal ould Fa ‘Could you play the same groove une! chatige the fill ‘86 These willbe teal basle ways of how to cliange, Different Fills Between the A Section and the B Section 1 ise the tntensty level between the A section and the B section? ‘yoo wate ito bulla Ile bie more you could Hy using tiple: > red ed He 2 LR LEROERERLRERLER ‘Tt you tanked 13 bulld t even mee Gnd hotes): 3 L (rm tate Pov at gnu feel ther © hes one that una ae fe fess ete i iC Foe agente ly se mo Me gio 1 8scey Hngst healt by pet ring youn fee the take. Your have: + poy alterem tr owe everything seme inthe hadphones-—how close yon feel everstwoely elke isto poling fora take. Knowing when the producer fs swhig fo be ready to p> fr ies Important, bec there's ne sense hy eeallyhiting Be hard A year: ping to have 1 hi I atl five mie tines ot ive {0 How wont ve approach HF yore el fut played + HM hat Svan fed an 0 gschicer sae, “Mes shat wa he one S61 feleceathe sendy abot ston Upbyged, Fel fr thea vane. Nt ia Tue sy, now the easel thought that it ciel werk. HF dhe prostacce was atl opprsed to a, then Td have to ger with the prechicer. ‘They have an let asm chat the end restit Is going fo be, bnetueling overtly set sta before you do, 25A CHART READING: Q What are the fist things that you look for in a can? 8G You Hook at the “roadmap,” where are the repest signs, f there a D.S. or D.C, where is the coda, first and second enclings, Tak for feters at the beginning of phrases, check out how many brs are in letter A—anything that you can do to Keep yout from felting lost. The frst thing Ido Fs look aver the whole thing see where Tim ging te benin, where Fem going and swhere Tm ong to 0 back to. Someone who's experienced in siting chants for drums doesn't alte a whole lot. At the end of phrases there will he things that wl say "Fill going into letter 8," or Wf there fs a Past figure that he wants you to play during the fill, there will be a brass figure at the end of a phrase. Took to ce how well the chart Is written, Rather thaw trying to figure out all the diferent combinations of bass drum and snare dram, woold just find out what the tempo is, and fooke at the chart bar-wise ard phesse-wise. If you've got a figure written atthe end of a phrase that you are supposed to play with the guitars or brass, and ye can't fe UA “FIFTY WAYS” Lure itt, fs hetter to Fister te then you can figure out the best way 19 se it up and get throng tthe next time, thinie the best thing te cha abont reading & to make it as sine pleas possible, and If yr cant decipher evervthing in each hat, W's okay, Try to play the time so everyrmne else can play the fle tures comfostaly. If you don't read and! you alll play the figures well, it doesnt make any difference, hecause the onty thing yet are there for 6s 40 play the muse, HF you just tise yeni ers, that will determine what you're goioye te cr pF yest at Rtn, things will stat makings watels the iuisic and see how everything cvincclee—if you dp that enough, you't end up starting 10 fea horw to read Qo you fee! that reacing is an importent sepect of playing? 8G The reason reading & mprton fs a9 that someane can write 2 really gone piece of music and write a really. good part, and ave a good shor at recording or hearing played by the least Amount of tine, with the Feel and the notes, {Q.Gan you demonstrate and explain the Paul Simon song "Pity Ways to Leave Your Lover," and did the rong come frst or the groove? 8G The song came frst and we ted Ita feer diferent ways and came up with the feel. or RRLL 11 play the hishot by Reel 8G “Fifty Ways" was Jus a resi of siting al the drums and playing the hi-hat sith my left hand. When playi the hi-hat will play ip four, or in diferent places, rather than just “wo and four.” $0 “Fify Ways’ sias a result of ising the hi different places and using the let hand on the hi-hat Q Can yeu expat hor you caine 8 Paul (Sliiony is only goth Mozamaraut Basic PATTERN’ be-hop, sometimes tn th the Fourtckplaying in “Late inthe F eS, nlf sounded Ike ce han one deanery al the same Ue ET ET, “Por an in-depth study of traditional Afro-Cuban shythms, including a glossary, biklography, nel discography, refer 10 Afho-Crbian Rhythms for Drumset, by Frank Malabe avel Bob Weiner, alan avaitahle from Manhatan Music/TC! Music Vidco, 26ATE, A AE Dy A pe MOZAMBIQUE IN 4/4 TIMEa To next auwlio cue ———» What kine of ehythe fe thaw? 86 1 ee ton a mozamhire, In the mozambigue patter the bess player doesnt play “one.” He plays # tumhan patter ean the “at ff ees on bent fo ee ke ap the omblene seat player Tet green notes oo te hase eae ed sone played ae the ren gt 29SAMBA ‘When 1 play a samba I always try to keep (his rhythm happening on the bettom: You can play the hb-bat on ‘to and four” OF play dowenbeats: Sen Soro! Bar ‘Once you get tht happening, you car use that as ah exercise fs practice independent things. You have a nice tte groove happening to play off of. QSo you would break things up between your left and Hght hanels? 9G Yeah. Just Agure ott different things to ud hubt foot your felt hand. Al > > 30When | first started recording, my tendency was ty want to phy ‘more than | should, tt was lke Iwas going to die ater that partic- lar song $0 1 had to get all my stuf in, The mone dates fdid, the more | found it challenging to try and play fess. IF you can statt ‘out simple and they want ito Dulld, then you really have some= place to go, ‘That was just a way of playing that was a result of the fick round that Thad before T maved to New Yorke Here, 1 heart Steve with his brether ane parents 32 ome onler stuff that just Killed me, andl Team it fst as ef a challenge to sit at home phiying "one and three” on the bass dam and quarter-noxes on the hha, and “we snd Four” on the snare drum, slow ‘You have to find a way to use these lets musically, In 9 way that’s comfortuble, When what you play is relayed that's when ‘you can really put itn the pocket, and thars shen As fir to playLR R RERERERE LRERERL “LRERERE LRERLRE LRERELR EL LRLRERL LRLERERERERERERL DRERERL LRLRERL LRL LRERER&L LR RORE LRERUERE LR RERERERL LCR LR LERRL RLERERRERELL RERRE RLERLR® © 1990 MANHATTAN MUSIC, INC, INTERNATIONAL COPYRIGHT SECURED. PRINTED IN THE USA. ALL RIGHTS RESERVEDRELRERREREL REERRE REEL RERER LR RL REL > > rg aes 5 > > ra RELERLRRLEREL RLLRRI i REERERREREE REREL ERUERL RURLERRERE ® RLLRLERRL R , : URRE RERRL LRRL RERRE TRRE RERRE TRAE OR RE> > > eaac3% >> > Prana 4 F gargs ele srs ahah 9s > hand An, LLRRL REL REL REL RLER LERRELR RELRELRR EL RESRER ra bran RER RLR OLR L Ro LERRELRERELRLER RE RELRLR Fat i] RRERLERTR Faas beret) RETRREREER EL Bp Sardar 8p ats danas ER LR LR LR TR LR LR LR LR UR ER OR RoberReBde Sop for dsp sor ga 5 ia LR LR LR LR TR LR LR LR BERER LURLL RLR RER RE R RVR Rin REM : 7 RELR LURLLOpt SOS or Fc ar ae 9 Hoar a aa gs RE OLRRE LRRE LRRE OR > CG) pepe ea aerate eI tT eee at ee CRRL RERRL LRRL RERRT gS a a ok ee oe ee oe te ERRL LRRL LRRL LARL LRAL OERRL LRRE R on Pa or Pe Foe Fae ea ear gas FROLR LR ER LR LR ER OLR oth LR UR UR LR TR LR LR v2 3a 2 3a 9 9 9 9 LR LR DR LR LR LR LR OERVARIATIONS ON “CRAZY ARMY” A “Riri re ecu Re Rime we od te why, TRERR®E REL Pram ire a >> ’ al] Te Wa Ree REL LPR Tenia ie etry © 1990 MANHATTAN MUSIC, INC, INTERNATIONAL COPYRIGHT SECURED PRINTED IN THE USA, ALL RIGHTS RESERVED> > > 7 TL ok OR PRE REPRR®L LTR TRERR®LR TL oR E > > > > o> > > , oR RL R R Ry > > >. > > ® T ® R L R R R L RORRLER LERRE > > > > > > ROLLRRULRRLER LL etc, R L R R > > > > > >RELRR INI 4, ae: RRLL RRL RREL ARLE RRM. RRLL R LL RREL RAL RE, HRI RRL RRL u. 4 RRLL RRL gb et RRUL RRL RRL RRLL TORRID ROLL RAL RRL REL RRE RREL RRLL RRELR LL RREL ROLL