< PreviousModern Drummer February 2022 58 Breaking Down “Lightning in a Bottle” By Jess Bowen W hen I start the Summer Set’s “Lightning in a Bottle,” I like using the rim. In the recording, it sounds like there’s a hi-hat, but when I play it live, I change it up. I like to add ghost notes with my left hand to fill it out a little bit. The ghost notes add a little more to the verse. In the second part of the verse, I change again and go into the hi-hat beat to bring it up a little bit dynamically. To do a fill for that, I play an open hi-hat hit with the snare drum. I continue ghost notes throughout the whole verse. When I go into the pre-chorus, I’m opening it up by going into a tom rhythm. I think the tricky part about it is there’s one part where you are hitting both toms at the same time, and I think that might be a little bit tricky for some people, because you kind of want to go back and forth. At the very end of it, I’m building up on the toms to go into the first chorus. In the chorus, I like to change the kick/snare pattern a little bit when I play live. I like to add a lot more kicks to it, so that it’s going with the guitar and bass pattern in the song. I do a fill at the begin- ning and the end of the chorus. The second verse is the same as the second part of the first verse. I don’t go back to the rim. I keep it on the hi-hat. It’s a very solid pat- tern. It goes straight into that same open tom pattern that I do. The pre-chorus is also the same—it’s the tribal sort of drum beat I like to do. I think it sounds cool live to open it up from a hi-hat pattern to a tribal beat. I think it’s something that’s really catchy to the ear. The bridge is another tribal pattern broken down on the tom. It’s basically the same thing that I do in the pre chorus. The one thing that I leave out are the accents on the hi-hat. In the bridge it’s simple—you’re just using the toms and your snare. I’m building up on the floor tom before I go into the very last chorus. The very last chorus is exactly the same as every other chorus. It has those fills at the beginning and end of it. I hope you guys have fun with it! 4 4 / Intro Groove 2:06 / 2nd Verse Groove 2:33 1122 7 œ j œ ¿¿ œ ¿ 7 œ ¿ 7 œ j ¿ œ ¿ œ ¿¿ œ ¿¿ œ ¿ 7 œ ¿¿ œ ¿ œ ¿¿February 2022 Modern Drummer 59 ° ¢ ™ ™ ü † ™ ™ RLRRLRBLRRLRBRL / Chorus Fill 5:12 >> 55 / Bridge Tom Groove 7:09 > >> > >> 66 V œ ¿ ™ ™ œœ œ œ œ œ œ ¿ ‰ œ O j œ ¿ VV ‰ œœ œ œœ œ œ œ œ œ ™ ™ œ œ œœ œ œ œ œ œ œœ / Chorus Groove 4:26 > >>>>>>>>>>>>>>> 44 / >>>>>>>>>>>>> >> >> ¿ œœ ‰ œ J œ OO æ œ œœ ‰ OO œ J œ OO æ œ œœ ‰ OO œ J ‰ œ OO æ œ œ J ‰ OO œ J ‰ œ OO æ œ œ J ‰ œ J OO œ OO œœ ‰ OO œ J œ OO æ œ œœ ‰ OO œ J ‰ œ OO æ œ œ J ‰ OO œ OO æ œ œ J ‰ œ J ‰ œ J OO œ OO œœ ‰ œ J OO œ OO œœ ‰ œ J ‰ OO œ OO œ J ‰ œ J ‰ OO œ OO œ J ‰ OO œ J œ OO æ œ œœ ‰ œ J OO œ OO œœ Œ OO ‰ ™ œ ¿ ™ ™ œ œ R ‰ œ œ œ œ J ‰ œ ¿‰ œ J ‰ O j œ ¿ œ J œœ ‰ OO œ OO œ J ° ¢ ™ ™ ü † ™ ™ RLR/LLRLBRLRRLRRLR / Pre-Chorus Groove 3:07 > >>>> > o >> 33 ‰ œœ œ ¿ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ ¿ œ œ ¿ “Lightning in a Bottle”Modern Drummer February 2022 60 Play “Sole Survivor” by Asia Excerpted From Applied Rhythms by Carl Palmer “S ole Survivor”—from Asia, 1982—was one of the first pieces of music Asia record- ed. The drum part is quite interesting because it has various sections where bars of 4/4 go into bars of 3/4 and 2/4. Normally, the music with Asia was quite consis- tent—always in 4/4 meter—but on this particular piece there are some interesting time changes. It’s quite interesting to play and will probably take a little time to learn. Also, as you can see on the part, there are two bass drums at the end, which is something that has become quite popular over the years. When playing this double-bass part, I lead with my right foot. I find it quite enjoyable to play this particular piece. I think it speaks for itself once you see the actual music—a very, very good piece of music in general. ÷ 4 4 Ó 3 ŒŒ œ q = 126 3 œ Œ œ 3 œ Œ œ j œ ‰Œ 3 ŒŒ t œ > > > > > > > ÷ 3 t œ Œ t œ 3 t œ Œ t œ j t œ ‰Œ 3 ŒŒ œ œ 3 œ œ Œ œ œ 3 œ œ Œ œ >>>> > > > > >> ÷ 4 3 4 4 t ttttttt œ œ œœœ œ œ tttttttt œœ œ œœœ œ œ tttttt œœ œ œœ t ttttttt œœ œ œ ‰ J œ œ > >>>>> > > > ÷ 4 5 tttt ŒŒ œœ . œœœœœœœ œ t ttttttt œ œ œœœ œ œ tttttttttt œ œ œœœ œ œœ > > >>>> ÷ 4 4 t ttttttt œ œ œœœ œ t . t . tt . t . t . tt œ œ œœ œ œ œ œ œœ t ttttttt œœ œ œœœ œ œ tttttttt œœ œ œœœ œ œ > > > > . > . > . > > > > > February 2022 Modern Drummer 61 ÷ 4 3 4 4 tttttt œœ œ œœ t ttttttt œ œ œ ‰ J œ œ œ t Œ Ó œ œœœœœ œœœ œœ > > >> ÷ 4 5 4 4 t ttttttt œœ œ œœœ œ œ tttttttttt œœ œ œœœ œ œœ t ttttttt œ œ œœœ œ œ > >>>> > >> ÷ tt t Œ ≈ . j t œœ œ œœœœœ . œ t yyyyyyy œœ œ œœœ œ œ yyyyyyyy œœ œ œœœ œ œ ‘‘‘‘‘ >> > > >>>> ÷ ‘‘‘‘‘‘ yyy ŒŒ œœ œœœœœ t ŒÓ œ o > >>>>> > ÷ œœœœœœœœœ œ œ œ œ œ t ttttttt œœ œ œœœ œ œ tttttttt œœ œ œœœ œ œ ‘ tttttttt œœ œ œ œ œœ œ œ œ >>> > >>>> >> ÷ 4 5 tttttttt œœ œ œœœ œ œ ‘‘ ttt ŒŒ ‰ J œ œœœœœœœ œœœ Œ tttt ‰ j t œ œœœœ J œ >> >>>>> >>>> > ÷ 4 4 4 2 4 3 t yyyyyyy œ œ œœœ œ œ yyyyyyyy œœ œ œœœ œ œ yyyy œœ œ œ t yyyy œ œ œœ > >>>>> > > ÷ 4 4 t yyyyyy œ œ œœœ œ œ yyyyyyyy œœ œ œœœ œ yyy Œ ≈ . j t œœ œ œœœœœ . œ > >>> > o > > > A 812 4Modern Drummer February 2022 62 ÷ t yyyyyy œœ œ œœœ œ œ yyyyyyyy œœ œ œœœ œ œ ‘‘‘‘‘‘‘‘‘ > >>>> ÷ ‘‘‘ t ŒŒ‰ . r œ œ œœœœœœœœœœœ œœœ ∑ t ttttttt œœ œ œœœ œ œ > > >>>>>> >>> > >> ÷ tttttttt œœ œ œœœ œ œ ‘ tttttttt œœ œ œ œ œœ œ œ œ tttttttt œœ œ œœœ œ œ ‘‘ >> >> >> ÷ 4 5 4 4 tt t ŒŒ ‰ J œ . œœœœœœ œœœ ttttt ‰ j t œœ œœœ J œ t ŒÓ œ >>>>> ÷Ó 3 ŒŒ t œ 3 t œ Œ t œ 3 t œ Œ t œ t œ ŒÓ∑∑∑ >>>>> > ÷ÓŒ yyyyyyyyy ∑ ‘‘‘ yyyyyyyy œ œ Ó yyyyyyyy ∑ ‘ > > > ÷ yyyyyyyy œ œ ŒŒ yyyyyyyy ∑ yyy ŒŒ œœ . œ œœœ œœ y œ > > ooooooo ÷ œœœœœœœœœ œœœœ Œ y Œ y t ttttttt œ œ œœœ œ œ t ttt ŒŒ œ œœœœœœœœœ > >> > B 4 8 (keyboards) C 12 February 2022 Modern Drummer 63 ÷ 4 3 4 4 t t . t . t . t . t . t . t . œœ œ œœœ œ œ t . t . t . t . t . t . t . t . œ œ œœœ œ œ t . t . t . t . t . t . œœ œ œœ t t . t . t . t . t . t . t . œœ œ œœœ œ œ > >>>>> > >> ÷ 4 5 t . t . t . t . t . t . t . t . œ œ œœ œ œ œ œœ œœ t t . t . t . t . t . t . t . œœ œ œœœ œ œ t . t . t . t . t . t . t . t . t . t . œœ œ œœœ œ œœ >>> > >>>> ÷ 4 4 t t . t . t . t . t . t . t . œœ œ œœœ œ œ t . t . t . t . Œ ≈. j t œœ œœœœœœ . œ t yyyyyyy œœ œ œœœ œ œ > >> > > >> ÷ yyyyyyyy œœ œ œœœ œ œ ‘‘‘‘‘‘‘‘‘‘‘‘ >> ÷ t œœœœ œœœœ œœœœœœœ œœœœ œœœœœœœœ œ œ œ œ œ œ œ œœœ t ttttttt œœ œ œœœ œ œ > >>> > >> ÷ tttttttt œœ œ œœœ œ œ ‘ tttttttt œœ œ œ œ œœ œ œ œ tttttttt œœ œ œœ œ œ tttttttt œœ œ œ œ œœ œ œ œ >> >> > > >> ÷ tttttttt œœ œ œœ œ tttttttt œœ œ œ œ œ œ œ œ œ œ tttttttt œœ œ œœœ œ œ tttttttt œœ œ œœœ œ œ œ >>> > >>> > ÷ tttttttt œœ œ œœœ œ tttttttt œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ tttttttt œœ œ œœœ œ œ > > >> >> D 4 8 12Modern Drummer February 2022 64 ÷ tttttttt œœ œ œ œ œ œœ œ tttttttt œœ œ œœœ œ > > > > ÷ . . . . tttttttt œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ tttttttt œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >>>> Repeat and fade out ÷ ÷ To purchase the complete Applied Rhythms by Carl Palmer—as well as to peruse other Modern Drummer Publications titles—click to moderndrummer.com/carlpalmerappliedrhythmsModern Drummer February 2022 66 Kenny Aronoff Excerpted from Modern Drummer Legends Vol. 5: Kenny Aronoff Music Transcriptions by Terry Branam Interviews by Mark Griffith “Paper in Fire” John Cougar Mellencamp, The Lonesome Jubilee I always tried to come up with new innovative and creative drum parts for all of John’s songs. After the success of “Jack and Diane” John expected me to come up with cool drum parts for all his songs to ultimately get them on the radio and hopefully become #1 hits. Whenever John played the band a new song on his acoustic guitar, he would look at me and say, “What do you got Kenny?” When we started arranging “Paper in Fire” I played quarter notes with my kick drum (four on the floor,) and quarter note cross sticks on my snare drum, while I played accented eighth notes on my hi-hat. Toby played an eighth note bass part while the guitars, accordion and violin laid some simple parts on top of what Toby and I were playing. The bass and drums created a percolating and driving feel, so we had a foundation: Beat, Time, and Groove. But I felt the song needed a little something more to create some excitement to what we were already playing. I started improvising with my cross stick by playing a 3 over 2 rhythmic pattern, which was heavily inspired by Stewart Copeland from The Police. This created a cool tension in the intro and the verse sections of the song which set up the Chorus sections perfectly. John didn’t like my 3 over 2 cross stick pattern at the beginning of the song, and he said to wait until the end of the song to play that stuff. I disagreed, and when I went back to recording the song, I played it the way I had been playing it. I expect- ed John to stop me while we were recording, but he didn’t. That told me that someone in the control room probably liked it and convinced John that it was cool, or John realized that IT WAS COOL. I had never played that beat or pattern on John’s music before, so this helped set “Paper in Fire” apart from the rest of John’s tunes, which is exactly what John loves. ã4 4 M z () M z MM z MM z M œœœœ q = 142 M z + MM z MM z M z M œœœœ > o ã 3 M z MM z MM z MM z M œœœœ M z MM z MM z MM z M œœœœœ ã 5 M M z MM z MM z M œœœœ M z MM z MM z MM z M œœœœ > ã 7 M z M z MM z M z M z MM z œœœœ M z MM z MM z MM z M œœœœœ o +February 2022 Modern Drummer 67 continues on the next page ã 9 M M z MM z MM z M œœœœ M z MM z MM z MM z M œœœœœ > + o ã 11 M z + MM z MM z MM z M œœœœ M z MM z MM z MM z M œœœœœ ã 13 M z MM z MM z MM z M œœœœ M z MM z MM z MM z M œœœœœ o ã 15 M z + MM z MM z M z MM z œœœœ M z M z MM z M z MM z M œœœœœ o ã4 4MMMMMMMM œ œ ≈ œ () œ œ œ œ M œ M œœœœ Œœœœ > > > >> >>>>>>>> ã 3 M M œ MMMM œ M œœœ ‰ J œ MMM œ MMMM œ M œœœ ‰ J œ > >>>> Ex. 2—He comes in on the chorus with a powerful groove that lifts the song up as the notes practically burst with energy. (1:35)Next >