Funky Beat - Cobra beats explanation

Here are some transcriptions of my own adaptation of the song Cobra from the book Funky Beat by David Garibaldi. Click here to see a video of these transcriptions (The vidéo is titled ‘’Cobra by Emmanuel Morin’’).

Key

Transcription of the Key in PDF file.

Section A

Transcription of Section A in PDF file.

This beat is based on the electric bass part. Almost every note played by the electric bass is also duplicated by the bass drum playing accented notes. To add even more power, the right hi-hat played accented notes at the same time. The left hi-hat is only filling in between the accents. The result is a busy beat that is still following the music fluctuations.

Section B

Transcription of Section B in PDF file.

The 1st part of Section B is based on the following rhythm pattern (image). New sounds from cowbell and tom tom create a totally different atmosphere (one that requires more empty spaces). The bass drum notes played in the 3rd and 4th beats have the same function as in Section A (lock in with the bass line).

Section C

Transcription of Section C in PDF file.

This beat (as the one played by Garibaldi in Section F) is based on the polymetric concept of Gary Chaffee. It is a 5/16 signature beat that has a Paraddidle sticking with an extra note added (except the 3rd time where the sticking is an Inverted Paraddidle instead). As the section is in 4/4, the pattern shifts with repetitions. To fit in 4/4, 2 sixteenth notes will be added at the end (2 bars of 4/4=32 sixteenth notes. 6x the 5 notes pattern=30 sixteenth notes. + 2 missing). All this is very mathematical at first but you'll feel it with time and practice.

Transcription of the explications of Section C in PDF file.

With this concept, thousand of combinations become possible. The alternate beat presented is a good example. It is made of the same 5 notes pattern repeated 4 times to which I added a 3 notes pattern that is repeated 3 times (the last note of the 5 notes pattern's 4th repetition is the same as the 1st note of the 3 notes pattern).. Again, we have to add 4 notes at the end for the beat to fit in 4/4 (5x4 notes=20 + 3x3=9 + the 4 added notes =33 -1 because of the last note of the 4 notes pattern).

Transcription of the explications of Section C (2e option) in PDF file.

Go ahead! Explore this concept by yourself and have fun!

Section D

Transcription of Section D in PDF file.

The beat in Section D has a lot of improvisation in it. As it is played during the keyboard solo, it is important to be flexible and to listen carefully to what's being played to create interaction. The presented beat is a frame through which we can mix ideas all along the build-up.

Section E

Transcription of Section E in PDF file.

Section F

Transcription of Section F in PDF file.

Finally, Section F mixes the polymetric and the rudiments concepts. The 1st bar plays with polymetric as a pattern of 6 sixteenth notes is being repeated twice (it starts on the second beat). For the rudiments, we find the Swiss Army Triplet sticking almost everywhere in the beat. The only difference is that flams are replaced by simultaneous notes (flat flam).

Transcription of the explications of Section F in PDF file.

Curriculum

Here's the curriculum of books and methods worked and mastered by Emmanuel

See the Curriculum