James Brown Tablatures

<body> <p>Cette page utilise </p> <div align="left"><table border="1" cellpadding="3" cellspacing="1" width="551" bordercolor="#000000" bordercolordark="#808080" bordercolorlight="#808080"> <TBODY> <tr> <td valign="top" colspan="2" width="740"><font color="#000000" size="4" face="Arial"><strong>JB's GROOVE</strong></font> <p><font size="2" face="Arial">Melvin Parker, Clyde Stubblefield, and John "Jabo" Starks added an intangible that helped ignite James Brown's music. The following patterns, taken from some classic JB tunes, give a good example of how each propelled the band in their own way. (These tunes all appear on the highly recommended Polydor compilation Star Time.)</font></p> <p><font size="2" face="Arial">In listening to these three gentlemen, you can hear certain elements in their playing that separates them from each other. Melvin Parker, with his lighter touch, had a nice groove and a penchant for riding on the hi-hat and playing rimclicks, adding that "cool" element to the musie.</font></p> <p><font size="2" face="Arial">Clyde Stubblefield, the funky drummer, had a heavier approach than Parker. That s not to say that he was overpowering-his dynamic range was terrific. Clyde's playing grooved hard of course-and he added a lot of excitement to the feel by playing on the front edge of the beat. Many of his patterns were two-bar phrases, based on straight 16th notes, and very syncopated. While keeping to the spirit of the original pattern, he would embellish on them with many flams, ruffs, and tom hits. Hiss patterns would become a churning rhythmic force that Would groove and punctuate the horn hits dropping in and out.</font></p> <p><font size="2" face="Arial">Of course all these men had a strong groove, but John "Jabo" Starks had one of the deepest "pockets." While not as subtle as Parker and maybe not as rhythmically exciting as Stubblefield, Starks had an infectious feel that just worked. He didn't need to vary it up -he'd just sit on a pattern and create a solid pulse.</font></p> <p><font size="2" face="Arial">The following patterns should give you a good idea of these excellent musicians' personal style. They all have something worth checking out. While looking at the notes might tell you a bit about the playing, be sure to hear these tunes-it could change your drumming.</font></p> </td> </tr> <tr> <td valign="top" width="488"><font size="2" face="Arial"><strong>"l Got You"</strong>-recorded September 1964. </font><br> <font size="2">Drums: Melvin Parker </font><br> <font size="2">Notable on this track is Parker's syncopated bass drum.</font> <p align="center"><font size="2" face="Arial"><img src="images/scigotu.gif" alt="scigotu.gif (7757 octets)" border="1" width="240" height="63"></font><br> <a href="sound/IGotU.ram"><font size="2">Real Audio 5.0 sample</font></a></p> </td> <td valign="top" width="242"><font size="2" face="Arial"><strong>"l Got The Feelin"'</strong>-recorded January 1968. </font><br> <font size="2">Drums: Clyde Stubblefield</font><br> <font size="2">In this incredible performance by Stubblefield, the two-bar phrase just percolates, accentuating horn hits along the way.</font> <p align="center"><font size="2" face="Arial"><img src="images/scGotFelling.jpg" alt="scGotFelling.jpg (18052 octets)" border="1" width="240" height="137"></font><br> <a href="Sound/IGotFeelin.ram"><font size="2">Real Audio 5.0 sample</font></a></p> </td> </tr> <tr> <td valign="top" width="488"><font size="2" face="Arial"><strong>"Papa's Got A Brand New Bag"</strong>-recorded February 1965. </font><br> <font size="2">Drums: Melvin Parker.<br> On this huge hit for James Brown, Parker's signature rim click and "cool" feel shine through.</font> <p align="center"><font size="2" face="Arial"><img src="images/scnewbag.gif" alt="scnewbag.gif (16095 octets)" border="1" width="240" height="137"></font><br> <a href="Sound/PapasGot.ram"><font size="2">Real Audio 5.0 sample</font></a></p> </td> <td valign="top" width="242"><font size="2" face="Arial"><strong>"Funky Drummer"</strong>-recorded November 1969.<br> Drums: Clyde Stubblefield<br> With constant 16ths on the hi-hat, Clyde locks the band in tight.</font> <p align="center"><font size="2" face="Arial"><img src="images/scFunkyDrm.jpg" alt="scFunkyDrm.jpg (10496 octets)" border="1" width="240" height="70"></font><br> <a href="Sound/FunkyDrum.ram"><font size="2">Real Audio 5.0 sample</font></a></p> </td> </tr> <tr> <td valign="top" width="488"><font size="2" face="Arial"><strong>"Cold Sweat"</strong> recorded May 1967. </font><br> <font size="2">Drums: Clyde Stubblefield </font><br> <font size="2">Heavily syncopated using accents and ghost strokes, this is the classic that contains JB saying, "Give the drummer some!"</font> <p align="center"><font size="2" face="Arial"><img src="images/sccoldsw.jpg" alt="sccoldsw.jpg (17088 octets)" border="1" width="240" height="144"></font><br> <a href="Sound/ColdSweat.ram"><font size="2">Real Audio 5.0 sample</font></a></p> </td> <td valign="top" width="242"><font size="2" face="Arial"><strong>Sex Machine"</strong>-recorded April 1970. </font><br> <font size="2">Drums: John "Jabo" Starks</font><br> <font size="2">Starks slightly swings the 16ths on this one, creating a deep groove.</font> <p align="center"><font size="2" face="Arial"><img src="images/scSexMachine.jpg" alt="scSexMachine.jpg (9118 octets)" border="1" width="240" height="68"></font><br> <a href="Sound/SexMachi.ram"><font size="2">Real Audio 5.0 sample</font></a><br> </p> </td> </tr> <tr> <td align="middle" width="488"><p align="center"><img src="images/score.jpg" alt="score.jpg (3578 octets)" align="middle" border="1" hspace="50" width="73" height="81"></p> </td> <td valign="top" width="242"><font size="2" face="Arial"><strong>"Talkin'Loud & Sayin' Nothing"</strong>-recorded October 1970.</font><br> <font size="2">Drums: John "Jabo" Starks<br> This pattern loots simple, but the feel is undeniable.</font> <p align="center"><font size="2" face="Arial"><img src="images/scTalkingLoud.jpg" alt="scTalkingLoud.jpg (9583 octets)" border="1" width="240" height="66"></font><br> <a href="Sound/Talking.ram"><font size="2">Real Audio 5.0 sample</font></a></p> </td> </tr> <tr> <td align="middle" colspan="2" width="730"><font size="2" face="Arial"><strong>"Gimme Some More"</strong>-recorded 1971.</font><br> <font size="2">Drums: John "Jabo" Starks</font><br> <font size="2" face="Arial">Transcription Jim Payne</font><br> <img src="Starkdrumbeats/funkbeat3.gif" alt="funkbeat3.gif (917 octets)" border="1" width="285" height="84"></td> </tr> <tr> <td align="middle" colspan="2" width="730"><font size="2" face="Arial"><strong>"Get On The Good Foot"</strong>-recorded 1972.</font><br> <font size="2">Drums: John "Jabo" Starks</font><br> <font size="2" face="Arial">Transcription Jim Payne</font><br> <img src="Starkdrumbeats/funkbeat4.gif" alt="funkbeat4.gif (969 octets)" border="1" width="285" height="84"></td> </tr> <tr> <td align="middle" colspan="2" width="730"><font size="2" face="Arial"><strong>"SuperBad"</strong>-recorded 1971.</font><br> <font size="2">Drums: John "Jabo" Starks</font><br> <font size="2" face="Arial">Transcription Jim Payne</font><br> <img src="Starkdrumbeats/funkbeat1a.gif" border="1" width="527" height="139"></td> </tr> <tr> <td colspan="2" width="740"><h2><font color="#000000" face="Arial,Verdana,Helvetica">Clyde's Groove<br> </font><font size="2" face="Arial,Verdana,Helvetica">by Jim Payne</font> </h2> <p><font size="2" face="Arial,Verdana,Helvetica">Fortunately Clyde Stubblefield is getting more and more recognition for many of the unique grooves he created during his six-year stay with the James Brown Band (1965 - 1971).</font></p> <p><font size="2" face="Arial,Verdana,Helvetica">Probably the most famous song he played on was "Cold Sweat" (1967), which reached #1 on the R&B charts and #7 on the Pop charts. Among drummers, "I Got The Feelin'" (1968 - #1 R&B, #6 Pop) is probably his most well-known song because of the incredible syncopation, displaced backbeats and rolling second measure. "Funky Drummer" (1970 - #20 R&B, #51 Pop ) is known among pop aficionados because of its use as a sample behind several current hits.</font></p> <p align="left"><font size="2" face="Arial,Verdana,Helvetica">But what about "Mother Popcorn?" This song reached #1 R&B and #11 pop in 1969. On this cut Clyde developed another completely new style, the quarter note hi-hat style. At this time most R&B rhythms had a steady, eighth note pattern on the hi-hat. Clyde decided to use quarter notes instead. This created a distinctive feel, and also created some distinctive problems for those of us who were trying to duplicate it.</font></p> <p align="center"><font size="2" face="Arial,Verdana,Helvetica"><img src="images/motherpop.gif" border="1" width="500" height="44"><br> </font></p> <p><font size="2" face="Arial,Verdana,Helvetica">To execute this style, all the 16th note independent figures between the snare and bass drum must be re-learned. And this isn't easy. The snare and bass drum have to work all by themselves because there is less support from the right hand playing steady eighth notes. The resulting feel is worth it, but it takes some time and effort to practice all the snare and bass drum combinations with the quarter note hi-hat pattern.</font></p> <p><font size="2" face="Arial,Verdana,Helvetica">To make things more interesting (or difficult, depending on how you view it), Clyde plays three 16ths in a row at beats 2 and 4 of the second measure, accenting the second note of each group. And the accent is loud! Many people think he simply brought his right hand off the hi-hat to play the accent on the snare. I was fortunate enough to stand right behind Clyde as he played this beat at a session we were both playing on, and he did it with one hand, honest! And of course, needless to say, the pocket was very, very deep.</font></p> <p align="left"><font size="2" face="Arial,Verdana,Helvetica">Clyde used the same style on one of my favorite James Brown songs, "Since You've Been Gone." Believe it or not, this song was a remake of a triplet ballad James had done many years earlier. When he dressed it up as a funk tune, Clyde supplied the groove.</font></p> <p align="center"><font size="2" face="Arial,Verdana,Helvetica"><img src="images/since.gif" border="1" width="500" height="48"></font></p> <p><font size="2" face="Arial,Verdana,Helvetica">This beat really holds together as a two measure phrase - the 16th note triplets on the first beat, the displaced backbeats in the first measure, and then the "Mother Popcorn" treatment of the first half of the second measure, followed by the characteristic funk accent on the "e of 3," and then "4" and the "and of 4" imitating the traditional conga pattern. There's no doubt. It's a mother!</font></p> <p align="left"><font size="2" face="Arial,Verdana,Helvetica">One more: Clyde used the same style on "Soul Pride - Part 1," released on the King label by James Brown"s band leader, saxophonist Pee Wee Ellis, the co-author of "Cold Sweat," and "Say It Loud, I'm Black and I'm Proud."<br> </font></p> <p align="center"><font face="Arial,Verdana,Helvetica"><img src="images/soulpride.gif" border="1" width="250" height="42"></font> </p> <p align="right"><font size="2" face="Arial"><strong>Find more scores and samples in the book <br> "Give The Drummers Some!" by </strong></font><a href="http://www.funkydrummer.com" target="_blank"><font size="2" face="Arial"><strong>Jim Payne</strong></font></a></p> </td> </tr> </TBODY> </table> </div><p>des cadres, mais votre navigateur ne les prend pas en charge.</p> </body>