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TRACK CASSETTE SIDE I FUNK © R&B * POP-ROCK * FUSION ....ff1 #2 #3 4 #5 #6 a7 #8 "9 #10 #1 a2 #3 5 Na Me Nt Nae NaN STIN (BRAZILIAN/ AFRO-CUBAN) .....0..4H14 #15 CASSETTE SIDE 2 6 m7 #18. Ho #120 #21 #22 #23 6 24 #25 #26 #27 #28 #29 #30 1 Ng Sat Sa a San So a Na bout the Authors. PVCS ME (TING) Medium Funk (2:13) Pop Bunk #1 (2:22) ss. Pop Bunk #2 (1:57) nk (2:06).. Funk-Shufile (2:32: Eunk-Rock (2:51) «+ R& BML (2:26) R&B H2 (2:02) Rock & Roll (2:30) . Bright Cross-stick Fusion (2:27). Slow Fusion Vamp (2:27)... Fusion, 7/4 Vamp (2:11) 26 Raggae-Funk (2:43) 28 Bossa Nova (2:22). 30 Fast Samba (2:26)... 32 Medium Samba (2:58) . Slow Samba (2:27) Baion (2:43) 3/4 Samba (2:25) Cha-Cha (1:48) Mambo (2:16) Songo (2:15) 6/8 Afro-Cuban (2:24)... Medium Shuffle (2:32) 1- Bright Swing (2:44) 3/4 Swing (2: Broken Swing Fee Ballad (2:36)... Up-Tempo Blues (3:09) Man fon Nan Son, ESSENTIAL STYLES FOR THE DRUMMER & BASSIST * Book Qne 3 PERFORMANCE/ LISTENING SUGGESTIONS This medium funk groove requires that the drummer ‘The bass drum part should reflect what the bass player is playing. The snare drum on beats 2 and 4 is a necessity! Ac the end of measures 2 and 4 there is activity in the bass part, as well as in the drums (especially beats 3 and 4, which are long-sounding notes). As the track progresses, the intensity can be increased by moving from hi-hat to the dome of the cymbal. Be careful not to hat. overplay the fi “lock in” with the bass player. Fas | ‘The bass figures here need to be short for the most part. Notice the increased rhythmic activity at the end of each two-bar phrase leading to the next one. This corresponds with what the drummer is doing and helps give the rhythm section a unified feel, FUNK © R&B * POPROCK # FUSION 4 ee te) _ Widnes pias) claus c2ey Beau 02s) Bee eo ear Pee ty fee! nn f 3 VAR. A sae iD a Bea He 9 ». a anee Clots eter Blokus Gor eos obs Acris Bho 4 4 pase Cindss es) Phos Vay clas et — eiulus old) J i ee 7 fore, LOOT ST) wy & it A FUNK * R&B * POPROCK* FUSION 5