TABLE OF CONTENTS RHYTHM CHARTS KINKY DEE... eee PERMANENT JET LAG . SERENGETTI PLAINS SLIDIN’ BY .......... STREET URCHIN TRANSCRIPTIONS KINKY DEE. o..eeeseeesee PERMANENT JET LAG SERENGETTI PLAINS SLIDIN’ BY .......... STREET URCHIN COMPOSITE MUSIC KEY yx Ride Cym. Crash Cym. > Splash Cym. eS open ina] [se Srare Rinsho fa) Ghost Note — (@ Low Tom Bass Dram 2 Bass Drum T° (efi foot) 4 Hi-hat (ight foot) Gwifoot)DRUMSET NOTATION HI-HAT OPEN AND CLOSED BILHAT: Strike the open hi-hat on circled notes. Strike the closed hi-hat on uncircled notes. a} L HI-HAT WITH FOOT: Clap hi-hat cymbals together with foot pedal. HI-HAT WITH SLUR: The open hi-hat is struck and then closed with the foot on the beat indicated by the hi-hat w/foot notation below, creating a shoop sound. 17S HI-BAT BARK: ‘The open hi-hat is struck and. is immediately, almost simultaneously closed so that the shoop sound is severely clipped. —S * CYMBALS CHOKE: Hit the crash cymbal and catch it immediately with the other hand, producing a short, choked crash sound. CYMBAL ROLL: Play a roll on the cymbal rapidly enough to produce a sustained, ‘uninterrupted shhh sound lasting for the number of beats indicated. BU831 DRUMS RIM SHOT: Anchor the tip end of the stick (on the snare drum skin at the eight o”clock position, two to three inches from the rim. ‘Then raise and lower the butt end, striking the rim at the two o'clock position, producing a clicky woodblock-type sound. FLAM: it the drum with both sticks, one slightly after the other, producing a single, thick-sounding note. = RUFE: Play the grace notes rapidly and as close to the principal note as possible. The grace notes are unaccented and should be played slightly before the beat. The principal note is accented and played directly on the beat CLOSED ROLL: Play a roll on the snare drum creating a sustained, unintemupted tshhh sound lasting for the duration of the rhythm indicated and with no break between the two tied notes. SS GHOST NOTE: Suike the drum extremely light in relation to the normal un-ghosted” notes. —sSLIDIN’ BY (Rhythm Chart) BILL. COBHAM Slldin’ By: One of the most important aspects of performing within the rhythm section Is to provide a good, strong pulse and consistent sense of ‘time’. This composition provides you with the opportunity to practice playing in the ‘pocket’. That is the terminology associated with this particular type of drumming. This is where a good drummer or percussionist will ‘make his money,’ by establishing a strong, secure rhythmic feeling throughout the performance of the composition. Yet, the feeling of the plece does not have to be metronomic as much as it needs to musically flow by allowing the spaces to eas important as the notes. The lesson to be learned here is that to play only what is mere important than displaying all you've learned, (Main Theme) Bl ae BL036s1 ‘Copyright © 1992 RHYTHMATIX MUSIC (ASCAP) Iimernational Cpyright Secured Made faU.S.A. All Rights ReservedtT = SI rapesreer Te te CET 036317 SLIDIN’ BY (Transcription) BILL COBHAM Terre Lj SS rtp rt - (Main Theme) a rr aGAB. pre Awl rere ps> SS (a == aededdace |‘ STREET URCHIN (Rhythm Chart) BILL COBHAM. Street Urchin is an up-beat type of composition in that it wants to provide you with a portrait of a character who, in his own little way, is always trying to find a way to survive. Ithas a bit of everything within it. There is the samba element, the funk element, and the rock element. The ability to perform welt within these Idioms Is based upon how well you control the dynamics that are required within the composition. It’s not a question of Playing loud as much as how to play with force and how to control it within the confines of the composition. The elements that are strong here for your support ts the bass and the ‘comping’ or accompantment of the keyboard player. Check them out as your rhythm section support elements. % o (SS “tate This section is very ‘in the pocket"! (Sit on it) fa 7 7 = > > ill 2x only) lt] Sj 2 aS = = ———— a LE LF FRE = tS yOfy $f ” FLO3a—_ Alto Sax entrance [p] tT: f +P ef + fll throughout (Fill, bur stay close to melodie rhythm structure.) > Sill throug) splash G] Drum Solo Pe LE aLonesST > Piano Solo~ (Always start from a point that fw) Sou ean build on, intensity wise.) 2 (This is just an example for you to follow. Try to put your own ideas in here.) ‘ SSS ee TH] Play with more drive, ELO3651‘Sax Solo —(on repeat more intensity) > > oo y if Vo SS TP ae a mucho drive throughout! > > {k) > fill throughout! Drum Solo DS. $ al Fine ELoM31STREET URCHIN BILL COBHAM=D ALG) ALI PLLA LL LOL — f for ise rp ep rr ofr re!” Piano Solo ue, - DEE AE apm - Tt? (atl aor tf tr ¢ or Peer Ceererecrecertes ae PTE “ier Cir er Cire, CF 7A) AR Te TA Lap, ae OP CP Er ep Penne pkGAG opm. r tar cr oT cr EPR PE gem! mms Tart * tren * EE ALTE Be Te sari Cr rors rer of repr °F fl fi, oF Tid FE yd Fa vfs A, he TROLL GT PPLE r “wor or B lb Dee Td TB Ab fd, PT oo, a ea a = : fo fh ADD AAS, ep To? trevor er ca Sor Te i fof 1 pi sn Tims SRT = ae = — “Tope pay ge perpen Lf BAL Pe Le mere eeenae “TT TP Ee Pr tar or Te LODETB ol BPA ALR, ABT SET. a crerogr 6 CUS) (ap repr ere “Sting [TH] BY [B06]. [ET] erp ie 9 ymca* PERMANENT JET LAG (Rhythun Chart) BILL COBHAM Permanent Jet Lag: | often wondered how it would sound to start the melody, harmony, and rhythmic sections of a composition off on their own, one beat apart. This, to me would bea good example of rhythmic displacement. / chose lo write this composition in 3/4 with a smattering of 9/8, which Is still strongly related to the concept of ‘3’, to force myself to leazn to interpret what is on the music paper for what (s written and not what had influenced the writing of the piece. Often, when music s read, it is interpreted by the observer as being patterns commonly seen in the same place and, therefore performed in the same way over and over again. This is not wrong as much as it tends to make me complacent, and assume that all music can generally be interpreted in the same way because all of the notes are falling in the usual places. This for me is not good, if / want to create something different. An interesting way to go about it [s to alter the rhythmic entrances and exits of the major elements that make up my composition. That's what | have done here. The drum solos are not always symmetrical in length, so you must think not ‘how many notes to play’ but how to musically infuse patterns whick have substance into the select space. | think that this is a situation where less becomes more important than more. ghost notes l= (lead into next nuti section) Drum Solo (7 bars) weghost notes 2 mom ou te i cr tT! AEs T The band plays this pattern in unison. (Tutti) To alter the level of interest and intensity, change the 6 8 Pattern slightly. 2 Lf Fe ee a 10 fill20PERMANENT JETLAG * BILL COBHAM. All snare drum ccept i i So are to be played very Tightly or as [A] shost notes except when indicated B —— > = PP EES nip 5 ert fh tr LP ALG Ae Oe a ae_—7, J TL A T tr 1 tt23 rt of eit pf PreSERENGETTI PLAINS * (Rhythm Chart) BILL COBHAM Serengetti Plains: 6/8 feeling is deceptively complex to play, because it can entrance you, the drummer, as well as everybody else, during the performance of a piece dedicated (0 this rhythmic configuration. It has an energy flow that is so in tune to the vibrations of the body politic that all involued in its presentation are committed to it in total. Serengetti is an ‘easy’ 6/8 ‘Afro’ pattern to work with, because the musical format that it governs has a strong western melodic and harmonic base as its support. The soto format is based upon the classic blues configuration, so there Is a strong point of reference for you when you work within this performance environment. Again, it is important that you provide every note with its full value in order to control your ability to work within the confines of the musical space and format. It will appear more complex than it really Is only because the musical flow provides that Impression, but the 6/8 feeling requires you ‘o perform. within it, as you would the simple patterns in Slldin’ By. in the saxophone solo, listen to how the solo starts in comparison to how it is concluded. it's a very simple statement that is made by the saxophonist. The call and response mechanism installed by the rest of the musicians gives strong credence to support the ‘dea that you must be able to listen and extract from the players around you, the musical information that represents their impressions of what you are doing. [1] Drum soto ger! BL, aL ous er cr oerer Ge eo i cour Ceo GE fill rt aC [a “grerereteter 210383126 Drum Break J. —— Sax Solo (note that the form is a blues form of 12 bars here) note change in feeling as we continue in 6/8. fill fill LOSES27 Drum Solo -> (Note: Follow the “Blues 12-bar form” while developing your soto. It shows continuity to the WALTZ piece/composition.) DS. % al Fine FLOSERENGETTI PLAIN; Ss BILL COBHAM [7] Drum Solo eLo3s331 Drum Solo a. 208) * (keys) +e secon [27] [FH] «and [405] conan when on yh che +n naps. 9 ine nd chet from open o closed afer appro. 4 soso sLo3s31 pe 2p ns. KINKY DEE (Rhythm Chart) BILL COBHAM Kinky Dee is a typically fusion-oriented plece where one must be very selective in which combination of drums to play in support of the band and various soloists as the different performance situations arise. Here I utilize the double bass drums to add greater support to the band within certain parts of the composition but, single bass drum players can also take adeantage of this situation by playing an altemate pattern to sult, where necessary. There are lots of places to play drum fills, as you will see, during this performance session. Use these spaces to incorporate your own ideas into the music. There is also the opportunity for you to utilize the dimension of dynamics, as this element makes the music multidimensional nits presentation. All musicians must have a strong understanding of dynamics, and they should be very imaginative In their application of this musical dimension. Pade PTE CEE Ceer fe) Pog $j ‘on Snare = rim shot BL03831fil in bere a | NSM, dpb fol “Tor rt (Double Bass Drums) a ceereersr pf” [D] Saxophone Solo: Note the way thatthe rhythm section establishes a foundation, mone et 2 ‘ ‘ qe ear e eae | PAI TT re ; then builds with the soloist gest to make the improvisational entrance at [DI]. ip pp 0383)34 a Bass Solo fll 2x only, [G] Keyboard Solo = zh D.S. Bal Fine Solo Drum break/fill — L038:35 KINKY DEE (Transcription) BILL COBHAM 2 f g f € ,-S226 FS DACP Pee i i ss rr rs a hi ro rotor re ore r= pt dd Ld “Terr tr tt tee, tr Rhye gt ty td ALI, Ppt pp = PP Uf Er eT RR tt = + t = TH = to = er — trey pf Fer g= rr y= or FG ———— ro al Am, ps O_o. cr "DT TEBE "or er CeErTe owt * 7 Ser Per p r re Serge 4 sates = (pi) 0.5 OPBR pop pos, rrp g ELOse31 Tor errr? ce rere“T Core oor? Cer Ty cs rr * EF AA. Sap BRA, “aor Of or © fer 77 = ALE Ga Ae, oer oer oer oir we _AAB, G1 Fe BASRA, wor or Cor OTe ep ~2o fF So Of 5 FO ro of Ser COCO Cee 0, f A OL Cree ret ARIE Lal SE Ear ae CTL Cerca [G| Keyboard Solo OR GR eh. “Terre ft Ce oie ora (SRG Be) mae tel aR “SU? eas oars oye? FLOSSa8 ee ror? cpr * 7 fr wear or F qe 2 “tr een Cte wr ne es on hi-hat w/foot (ll Seetion H wifoot is notated) TARE Cue ee HTT eo? CT ARAM) On 2 Oe EO Ter er Poor peeApo eT Te : (As) 2fT le} TDR USe NG um eas renee cit Reuse Pees ti Came eae Meee ics eR uence Cmte M cuties) eet eee ou ncaa uate! Ene ACS eee eee eee Tae cea ee Pome Me Linton cet ON tac ut iLike Cl CT een en ecient eR eee cs eRe MAIC Las AC eae Steen RC Sent else eee ts) Se aun cen ae eM More CT nen eae oie haem ae Reo) RS RM eee eee Ch mercies ROME enters es dal eel} rcs Bet eee pei ca le 2. Slidin’ By eee ia ee cuca et) Caco BCR et eget eu oe Ue ere Ue PSC ro nciccnrM gee e tin mee tales eum UCM aan R ni aCe icin satis) changes in musical intensity inherent within each piece. Listen PoC eprom nus tac ueecerecur lack ml age lets ieur hac CRMC Cmca a ie Neier tee ie kes einem catia , J I | 129156"07360' "7 o M2915 aa | $21.95 ELO3831AT (PP1440) $24.95 ELO3831CD | i 1 (with Cassette) (with CD) I j uBisea Aq