A Clinic With Stanton Moore

Stanton Moore
Ta k e i t to t h e S t r e e t
A Clinic With Stanton Moore
Featuring: The Traditional and Modern Approach to New Orleans Drumming
Dwight Marshal Photographer
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Stanton Moore
STANTON MOORE
Galactic, Garage-a-Trois
& Corrosion of Conformity
remo.com
MUSIC IS A BRIDGE THAT
CONNECTS MY ROOTS
TO MY ASPIRATIONS.
Stanton's unique style, rooted in the
history of New Orleans Second Line,
Mardi Gras Indian and funk drumming
has been called upon by artists as varied as
Galactic, Garage-a-Trois, the Preservation
Hall Jazz Band and Corrosion of
Conformity. To incorporate the percussive
elements of New Orleans drumming into
the 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 Jam
Block 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
About Stanton Moore
Stanton Moore is one of the most versatile drummers on the scene
today. Known for his personal style of Crescent City funk and groove,
he is a founding member of Galactic and is involved in many side projects
that can take him anywhere from Jazz to Funk to Metal. In addition to
Galactic, he records and performs with groups as varied as Garage-aTrois, The Preservation Hall Jazz Band and Corrosion of Conformity. He
is a popular clinician and is the principal steward of the New Orleans
drumming tradition.
Take It To The Street!
rated 5 stars by Modern Drummer!
Stanton Moore award winning Series!
A Traditional Approach to New Orleans Drumming
A Modern Approach to New Orleans Drumming
Companion book and CD to Stanton's
award winning DVDs: Take It to The Street!
A Study in New Orleans Street Beats
and Second-line Rhythms as Applied to Funk
Available at your local print music dealer
www.carlfischer.com
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8/9/05 7:56:19 PM
A BRIEF HISTORY OF STREET BEATS
The term “Street Beat” is an umbrella term that
refers to New Orleans second-line, Mardi Gras
Indian, 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 unique
combining 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 up
of 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 the
American 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”).
Drum Key
Clinic Topics
Traditional Approach
The most common traditional Second-line groove is usually based off of the RLRL-RLRL sticking.
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.
Modern Approach
This approach is based on different stickings. This is 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.
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.
© 2005 Carl Fischer, LLC
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.
This groove is comprised of a two beat sticking that can emphasize a four beat clave. The sticking is LLRLRLRR-LLRL-RLRR. Notice how the 3-2 clave is split up between the hands.
Here is a variation I use.
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 16th 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!
© 2005 Carl Fischer, LLC
Bonus Grooves!
Groove 1
Groove 2
Groove 3
Groove 4
Groove 5
Groove 6
© 2005 Carl Fischer, LLC
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