Antonio Sanchez PDF

Master Series: Antonio Sanchez

Copyright © 2008 Hudson Music LLCAll Rights Reserved

www.hudsonmusic.com

Hudson Musicpresents

Master Series

ANTONIO SANCHEZ

Transcriptions & Text by Joe Bergamini

Engraving by Willie Rose

PDF Design by Joe Bergamini and Willie Rose

DVD Produced by Paul Siegel and Rob Wallis

DRUM KEY:


2

Here are some of the areas that Antonio recommends drummers devote attention to dur-ing practice, as discussed on the DVD:

1. Identify and work on your weaknesses. Don’t just stay with what you are already com-fortable with.

2. Work with a click track:A. Use click on all four quarter notes of the bar.B. Click on half notes only.C. Click on whole notes only.D. Move the click around so it only plays beats 2, 3, or 4 in each bar.

3. Hand Technique:A. Don’t rely completely on bounce.B. Practice on different surfaces.C. Split hands with right hand on one surface, left hand on another.D. Practice rudiments on various surfaces.

4. Practice playing simple.

PRACTICE: AREAS OF FOCUS

“CHALLENGE WITHIN”

This is the 5/4 clave that underlies this tune:

And here is the 5/4 clave with cascara pattern:

1

2


3

To develop independence between the limbs, practice the following ostinatos with varioushand/foot patterns played against them. This will give you the physical capacity necessaryto express ideas in various styles.

To develop jazz independence with the left hand, play the following ostinato:

And against it, play various patterns with your left hand to develop independence. On theDVD, Antonio plays the following phrase as an example:

Antonio recommends using the book Syncopation by Ted Reed as a source for left handpractice rhythms. Almost any book with eighth-note rhythms could be used. The Art of BopDrumming by John Riley and Advanced Techniques for the Modern Drummer by Jim Chapinare also great resources.

You can then move on to working on independence with the bass drum. Play the followingostinato with right hand, left hand, and left foot:

And then play patterns from Syncopation (or other books) against this ostinato with yourright foot on the bass drum. For clarity, here is what this example would look like if all theparts were written out together:

INDEPENDENCE: PRACTICE ROUTINES

3

4

5

6


4

Sometimes it is helpful to write the exercises out in this fashion so you can see wherethings line up.

You can also work on independence with your left foot on the hi-hat. Play this ostinato:

And then play your independence figures against this with your left foot on the hi-hat.

You can also approach independence in other styles in the same fashion. For Samba, play the following ostinato:

Against this, play independence figures from your books both as written (with a half-timefeel), and in a double-time feel. Antonio demonstrates the same 4-bar phrase (from Exam-ple 4) against the Samba ostinato in this manner. Here’s what the snare part looks like:

7

8

9


5

Here is an ostinato to achieve independence in the Afro-Cuban style. It consists of theBongo bell pattern played on the ride, with a 3-2 Rhumba clave played by the left foot anda tumbao played by the bass drum:

On the DVD, Antonio plays the Syncopation phrase (Example 4) against this ostinato withboth a half-time and double-time feel on the snare:

Again, use the figures in various books like Syncopation to practice against these ostinatos.

10

11


6

Another effective way to work on independence is by playing rhythmic permutations thattrain you to be able to play on any beat in the measure. For instance, when working onSamba independence, use the following ostinato:

On the DVD, Antonio plays the following excercise, which uses sliding/displaced rhythms,and gradually adds more notes until the entire measure is covered. This is played on thesnare drum along with the above ostinato:

INDEPENDENCE: USING PERMUTATIONS

12

13


7

Below is a left-foot hi-hat idea that Antonio demonstrates which was inspired by the greatRoy Haynes:

ROY HAYNES LICK

Use the same sliding/displaced excercise with ostinatos in the Afro-Cuban and Jazz styles.Here is an Afro-Cuban ostinato against which the above patterns (Example 13) can beplayed on the snare:

Here is an Afro-Cuban ostinato against which the above rhythms (Example 13) can beplayed on the bass drum, to develop independence with the right foot:

14

15

16


8

Here is the basic 3/4 Samba groove that Antonio uses under the guitar solo:

Antonio builds his closing solo on various clave patterns, some in odd meters. Here is thebasic 3-2 Rhumba clave, which the odd-meter patterns are based on:

Here is the first odd-meter pattern, a clave in 5/4 time. The right foot plays the downbeatof each measure on a cowbell played by the right foot. Antonio solos over this pattern.

The last two examples show the 7/8 clave. This clave is composed of two bars of 7/8. Thefirst example has the bass drum playing the downbeat of each bar of 7. The second exam-ple shows the right-foot cowbell playing only the downbeat of the first bar.

“THE GATHERING SKY”

17

18

19

20

21


9

PROFESSIONALISM

As Antonio points out on the DVD, your playing skills must be complemented by your pro-fessional skills in order to succeed in the music business. Some of the things that top-levelmusicians and bands look for are:

- Punctuality. - Returning calls and e-mails promptly.- Having reliable equipment.- Being humble and easy to work with.- Having an approachable and friendly personality.- Having a good attitude and respecting the music.

ANTONIO SANCHEZ SELECTED DISCOGRAPHY

Antonio Sanchez Migration (CamJazz)Pat Metheny Group Speaking of Now (Warner Bros)

The Way Up (Nonesuch)Pat Metheny Trio Day Trip (Nonesuch)Chick Corea Trio

w/John Patitucci Dr. Joe (Independent)Michael Brecker Wide Angles (Verve)Gary Burton Quartet

w/Pat Metheny, Steve Swallow Live at Yoshi's (Concorde)David Sanchez Travesia (Sony)

Melaza (Sony)Danilo Perez Motherland (Verve)Miguel Zenon Looking Forward (Fresh Sound)

Ceremonial (Marsalis Music)Jibaro (Marsalis Music)

Avishai Cohen Unity (Stretch)Colors (Stretch)

Scott Colley Architect of the Silent Moment (CamJazz)Donny McCaslin Soar (SunnySide)

In Pursuit (SunnySide)Alex Sipiagine Out of the Circle (SunnySide)

Returning (Criss Cross)Prints (Criss Cross)

Rodriguez Brothers Conversations (Savant)Diego Urcola Viva (CamJazz)Victor Mendoza Black Bean Blues (Ram)Paoli Mejias Transcend (independent)


10

Copyright © 2008 Hudson Music LLCAll Rights Reserved

www.hudsonmusic.com

RECOMMENDED LISTENING

Miles Davis Kind Of BlueThe Complete Concert 1964

John Coltrane Dear Old StockholmGiant StepsA Love Supreme

Charlie Parker At BirldandChick Corea Now He Sings, Now He Sobs

Elektric BandMichael Brecker PilgrimagePat Metheny Bright Size Life

Trio 99-00Question and Answer

Kenny Garrett Black HopeBranford Marsalis Crazy People Music

The Beautiful Ones Are Not Yet BornDanilo Perez The JourneyDavid Sanchez Sketches of DreamsChris Potter Traveling MerciesGonzalo Rubalcaba SupernovaTito Puente Top PercussionJoshua Redman Back EastConjunto Clave y Guaguanco Vale TodoMichel Camilo Through My EyesKenny Werner Lawn Chair Society

RECOMMENDED BOOKS

Syncopation by Ted Reed (Alfred Publishing Co.)Rhythm and Meter Patterns by Gary Chaffee (Alfred Publishing Co.)The Essence of Afro-Cuban Percussion and Drum Set by Ed Uribe (Alfred Publishing Co.)The Art of Playing Timbales by Victor Rendon (Music in Motion Films)Stickings and Orchestrations for Drumset by Casey Scheurell (Berklee Press)The Drummer's Complete Vocabulary as Taught by Alan Dawson by John Ramsay (Alfred Pub-lishing Co.)

Antonio Sanchez PDF

Documents

Transcript of Antonio Sanchez PDF