stanton moore clinic handout

8/2/2019 Stanton Moore Clinic Handout

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A Clnc Wt Stanton Moo Fatng: T Tadtonal and Modn Appoac to Nw Olans Dmmng

STANTON MOOreTA k e i T T O T h e S T r e e T



STANTON MOORE

Galactic, Garage-a-Trois& Corrosion of Conformity

Stanton's unique style, rooted in thehistory of New Orleans Second Line,Mardi Gras Indian and funk drumminghas been called upon by artists as varied asGalactic, Garage-a-Trois, the PreservationHall Jazz Band and Corrosion ofConformity. To incorporate the percussive

elements of New Orleans drumming intothe various musical styles that he plays,Stanton relies on Latin Percussion.

WHAT’S ON YOUR KIT?Stanton's kit includes: a 12" LP Pandeiro,LP ES-5 & ES-7 Cowbells, LP Cyclops

Jingle Ring and a LP ES-7 Cowbell or JamBlock on a Gajate bracket

See and hear our complete product listing on our website.©2005 Latin Percussion \A Division of Kaman Music Corp.Garfield, NJ

MUSIC IS A BRIDGE THAT

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D w i g h t M a r s h a l P h o t o g r a p h

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AbOuT STANTON MOOreStanton Moo s on of t most vsatl dmms on t scn

today. known fo s psonal styl of Cscnt Cty fn and goov, s a fondng mm of Galactc and s nvolvd n many sd pojctstat can ta m anyw fom Jazz to Fn to Mtal. in addton toGalactc, cods and pfoms wt gops as vad as Gaag-a-Tos, T Psvaton hall Jazz band and Cooson of Confomty. hs a popla clncan and s t pncpal stwad of t Nw Olansdmmng tadton.

atd 5 stas y Modn Dmm!

A Tadtonal Appoac to Nw Olans Dmmng

A Modn Appoac to Nw Olans Dmmng

Companon oo and CD to Stanton'sawad wnnng DVDs: Ta it to T Stt!

A Study in New Orleans Street Beats

and Second-line Rhythms as Applied to Funk

Avalal at yo local pnt msc dal

www.calfsc.com

TAke iT TO The STreeT!Stanton Moo awad wnnng Ss!



www.puresoundpercussion.com



5

The term “Street Beat” is an umbrella term that

refers to New Orleans second-line, Mardi GrasIndian, and parade rhythms.

CONGO SQuAre New Orleans was the

only city in America to allow African slaves to

practice their own ceremonies of religion, song

and dance on American soil. These ceremonies

were allowed to take place in Congo Square,

an open area just outside of the French Quarter

(now Louis Armstrong Park). The rhythms of West Africa, Haiti, Cuba and the rest of the

Caribbean that slaves were forced to migrate

to, were played and further developed in the

Square. From this rich rhythmic history arose

New Orleans second-line and Mardi Gras Indian

rhythms.

SeCOND-LiNe The traditional New Orleans

syncopated Second-line comes from a uniquecombining of European and Civil War marches

with African and Caribbean rhythms (namely

clave) kept alive in Congo square. So when brass

bands began leading funeral parades through

the streets of New Orleans (around the turn

of the 20th century), the snare drummers and

bass drummers eventually began infusing some

of the rhythms that crept out of Congo square.

While the front line of the parade was made upof the hearse and the family of the deceased, the

band and the group of dancers that would follow

were called the Second-line. Hence the term

“second-line rhythms.”

MArDi GrAS iNDiANS These groups,

tribes or gangs, were often befriended by Native

American Indians. To show gratitude the Mardi

Gras Indians adapted some of the culture of theAmerican Indians, namely their head-dresses

and costumes. These tribes sew their elaborate

costumes all year long to parade them on Mardi

Gras Day. The rhythms draw their roots from

African and Caribbean ideas kept alive in Congo

Square. The grooves are played on bass drums

(usually turned sideways and often without a

bottom head), tom-toms, snare drums (usually

with snares off), calfskin-headed tambourines,cowbells and sometimes congas and liquor

bottles. The chants that the tribes sing are ages

old and are usually non-English hybrids of

several languages. The tribe and the Big Chief

go back and forth with calls and responses (for

example, Tribe: “Hey pocky-a-way”; Chief: “Tu

way pocky-a-way”).

A brieF hiSTOrY OF STreeT beATS

DruM keY



The next examples are based off the sticking RLRR-LRRL-RRLR-RLRL. Notice that the second two beats of

this groove are just the RRLR-RLRL sticking.

When you alter the accents and/or change the sound sources that the stickings are played on you can come up

with an infinite amount of grooves and variations. Here’s one that could work in a Latin context.

One of the key elements to remember when playing this music is to accent the big FOUR. The big four is the

last beat in the second measure of the groove. It is also the last note of the underlying 2-3 clave. Notice the

clave and the big four in these next variations.

© 2005 Carl Fischer, LLC

CLiNiC TOPiCSTrADiTiONAL APPrOACh

The most common traditional Second-line groove is usually based off of the RLRL-RLRL sticking.

MODerN APPrOAChThis approach is based on different stickings. This is the RRLR-RLRL sticking.



With all of these grooves it is important to play with a feel that is in between straight and swung. Also don’t

forget to accent the big four (the and of 4 if you’re dealing with 1th notes). It is very important to check out

the masters of this style of drumming—Zigaboo Modeliste (The Meters), Russell Batiste (The Funky Meters),

John Vidacovich (Professor Longhair, John Scofield, Astral Project), Herlin Riley (Wynton Marsalis), Willie

Green (The Neville Brothers), Herman Ernest (The Neville Brothers, Doctor John), James Black (Eddie Bo,

Ellis Marsalis), Freddie Staehle (Doctor John), Idris Muhammad (Grant Green, Lou Donaldson, John Scofield),

Jenell Marshal and Lionel Batiste (Dirty Dozen Brass Band), and Ajay Mallery and Keith Frazier (Rebirth Brass

Band). Have fun and Stay Funky!

Here is a variation I use.

This groove is comprised of a two beat sticking that can emphasize a four beat clave. The sticking is LLRL-

RLRR-LLRL-RLRR. Notice how the 3-2 clave is split up between the hands.

This next groove works well with the previous grooves. I’ll often use one of the previous grooves as the main

part of a tune and use this groove as a fill. Again notice that the second half of the groove is the RRLR RLRL

sticking.




bONuS GrOOVeS!

Groove 1

Groove 2

Groove 3

Groove 4

Groove 5

Groove




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NOT EVERYONE HEARS IT.

stanton moore clinic handout

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