Chords for Mushanga, Jeff Porcaro
Tempo:
106.3 bpm
Chords used:
Gm
F
Dm
Eb
Cm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[B]
[Bb] [B]
We've gone over the eighth note and 16th note grooves, especially the latter with the samba
feel.
I'd like to demonstrate on a variation of a Toto tune from the last album how I came
up with the beat.
So what I'll ask Mike and David to do is play a variation of that tune
and I will explain what I heard and how I came up with the pattern I did.
Gentlemen.
[Dm]
[F] [Eb] [F] [Gm]
[Dm] [Gm]
[D] [F] [Gm]
So the obvious beat that you may think of coming up with would be the traditional backbeat
on two and four, for example.
One, two, three.
[Cm] [Dm]
[F] Now, just for fun's sake, when I always hear
a tune, like I said earlier in the tape, I like to think of all the variations of that
groove that would fit in to leave space for something unique.
So when I first heard the
groove I was thinking of that King [Gb] Solomon's Mine type thing where I wanted the backbeat,
the beats to be much more spread out so the grooves would be much more half-time feeling.
It was more something like this.
One, two, three.
One, two, three.
Guys, can we play a taste of that with me demonstrating just this simple thing.
One, [Gm] two, three.
[Dm]
[F] [Cm] [F]
Now that I've established the groove of the song, it being the half-time [N] groove with the tom-toms
leading me into the third beat, it's time to fill out the rest of the bar.
So if you
refer to the back of the booklet, there's a snare drum solo written out.
And within
that snare drum solo you'll notice there's a paradiddle starting on the second beat and
a paradiddle diddle starting on the and of three.
And it should sound something like
this.
I'll play it on the hi-hat.
Now notice how I'm accenting on one and three, the third
beat being the snare drum, and there's a little ghost note.
So you'll notice now when I just
did that exercise I really was laying the accents on one and three.
The third accent
will land on the snare and there'll be a ghost note, a 16th note ghost note, right after
that third beat on the snare.
Now what I'll do is after you get comfortable with the exercise,
bring it over to the drums and orchestrate that pattern on the toms, the rim, cymbals,
whatever.
And it should sound something like this.
[Gm] [Eb] [Cm] [Dm] [Eb]
[Gm] [Eb]
[Dm] [Eb] [F]
[Gm] [Eb] [Dm]
[Gm] [F] [Gm]
[Eb] [Dm] [Gm]
[Bb] [B]
We've gone over the eighth note and 16th note grooves, especially the latter with the samba
feel.
I'd like to demonstrate on a variation of a Toto tune from the last album how I came
up with the beat.
So what I'll ask Mike and David to do is play a variation of that tune
and I will explain what I heard and how I came up with the pattern I did.
Gentlemen.
[Dm]
[F] [Eb] [F] [Gm]
[Dm] [Gm]
[D] [F] [Gm]
So the obvious beat that you may think of coming up with would be the traditional backbeat
on two and four, for example.
One, two, three.
[Cm] [Dm]
[F] Now, just for fun's sake, when I always hear
a tune, like I said earlier in the tape, I like to think of all the variations of that
groove that would fit in to leave space for something unique.
So when I first heard the
groove I was thinking of that King [Gb] Solomon's Mine type thing where I wanted the backbeat,
the beats to be much more spread out so the grooves would be much more half-time feeling.
It was more something like this.
One, two, three.
One, two, three.
Guys, can we play a taste of that with me demonstrating just this simple thing.
One, [Gm] two, three.
[Dm]
[F] [Cm] [F]
Now that I've established the groove of the song, it being the half-time [N] groove with the tom-toms
leading me into the third beat, it's time to fill out the rest of the bar.
So if you
refer to the back of the booklet, there's a snare drum solo written out.
And within
that snare drum solo you'll notice there's a paradiddle starting on the second beat and
a paradiddle diddle starting on the and of three.
And it should sound something like
this.
I'll play it on the hi-hat.
Now notice how I'm accenting on one and three, the third
beat being the snare drum, and there's a little ghost note.
So you'll notice now when I just
did that exercise I really was laying the accents on one and three.
The third accent
will land on the snare and there'll be a ghost note, a 16th note ghost note, right after
that third beat on the snare.
Now what I'll do is after you get comfortable with the exercise,
bring it over to the drums and orchestrate that pattern on the toms, the rim, cymbals,
whatever.
And it should sound something like this.
[Gm] [Eb] [Cm] [Dm] [Eb]
[Gm] [Eb]
[Dm] [Eb] [F]
[Gm] [Eb] [Dm]
[Gm] [F] [Gm]
[Eb] [Dm] [Gm]
Key:
Gm
F
Dm
Eb
Cm
Gm
F
Dm
_ _ _ _ _ [B] _ _ _
_ [Bb] _ _ _ _ _ [B] _ _
_ _ _ _ _ _ _ _
_ _ We've gone over the eighth note and 16th note grooves, especially the latter with the samba
feel.
I'd like to demonstrate on a variation of a Toto tune from the last album how I came
up with the beat.
So what I'll ask Mike and David to do is play a variation of that tune
and I will explain what I heard and how I came up with the pattern I did.
Gentlemen. _ _ _ _ _
_ _ _ _ _ [Dm] _ _ _
[F] _ [Eb] _ _ _ [F] _ _ [Gm] _ _
_ _ _ [Dm] _ _ [Gm] _ _ _
[D] _ _ _ [F] _ _ [Gm] _ _
So the obvious beat that you may think of coming up with would be the traditional backbeat
on two and four, for example.
One, two, three. _ _
_ [Cm] _ _ [Dm] _ _ _ _ _
_ _ [F] _ _ _ Now, _ just for fun's sake, when I always hear
a tune, like I said earlier in the tape, I like to think of all the variations of that
groove that would fit in to leave space for something unique.
So when I first heard the
groove I was thinking of that King [Gb] Solomon's Mine type thing where I wanted the backbeat,
the beats to be much more spread out so the grooves would be much more half-time feeling.
It was more something like this.
One, two, three.
_ _ _ One, _ _ two, three.
_ Guys, can we play a taste of that with me demonstrating just this simple thing.
One, [Gm] two, three.
_ _ _ _ _ [Dm] _ _ _
[F] _ _ [Cm] _ _ [F] _ _ _
Now that I've established the groove of the song, it being the half-time [N] groove with the tom-toms
leading me into the third beat, it's time to fill out the rest of the bar.
So if you
refer to the back of the booklet, there's a snare drum solo written out.
And within
that snare drum solo you'll notice there's a paradiddle starting on the second beat and
a paradiddle diddle starting on the and of three.
And it should sound something like
this.
I'll play it on the hi-hat. _ _ _ _ _ _ _
_ _ _ _ _ _ Now notice how I'm accenting on one and three, the third
beat being the snare drum, and there's a little ghost note.
_ _ _ _ _ _ So you'll notice now when I just
did that exercise I really was laying the accents on one and three.
The third accent
will land on the snare and there'll be a ghost note, a 16th note ghost note, right after
that third beat on the snare.
Now what I'll do is after you get comfortable with the exercise,
bring it over to the drums and orchestrate that pattern on the toms, the rim, cymbals,
whatever.
_ And it should sound something like this.
_ [Gm] _ _ _ _ [Eb] _ [Cm] _ _ [Dm] _ _ _ [Eb] _ _
_ _ _ [Gm] _ _ [Eb] _ _ _
[Dm] _ _ _ _ [Eb] _ _ _ [F] _
_ [Gm] _ _ [Eb] _ _ _ [Dm] _ _
[Gm] _ _ _ _ [F] _ _ [Gm] _ _
[Eb] _ _ _ [Dm] _ _ [Gm] _ _ _
_ [Bb] _ _ _ _ _ [B] _ _
_ _ _ _ _ _ _ _
_ _ We've gone over the eighth note and 16th note grooves, especially the latter with the samba
feel.
I'd like to demonstrate on a variation of a Toto tune from the last album how I came
up with the beat.
So what I'll ask Mike and David to do is play a variation of that tune
and I will explain what I heard and how I came up with the pattern I did.
Gentlemen. _ _ _ _ _
_ _ _ _ _ [Dm] _ _ _
[F] _ [Eb] _ _ _ [F] _ _ [Gm] _ _
_ _ _ [Dm] _ _ [Gm] _ _ _
[D] _ _ _ [F] _ _ [Gm] _ _
So the obvious beat that you may think of coming up with would be the traditional backbeat
on two and four, for example.
One, two, three. _ _
_ [Cm] _ _ [Dm] _ _ _ _ _
_ _ [F] _ _ _ Now, _ just for fun's sake, when I always hear
a tune, like I said earlier in the tape, I like to think of all the variations of that
groove that would fit in to leave space for something unique.
So when I first heard the
groove I was thinking of that King [Gb] Solomon's Mine type thing where I wanted the backbeat,
the beats to be much more spread out so the grooves would be much more half-time feeling.
It was more something like this.
One, two, three.
_ _ _ One, _ _ two, three.
_ Guys, can we play a taste of that with me demonstrating just this simple thing.
One, [Gm] two, three.
_ _ _ _ _ [Dm] _ _ _
[F] _ _ [Cm] _ _ [F] _ _ _
Now that I've established the groove of the song, it being the half-time [N] groove with the tom-toms
leading me into the third beat, it's time to fill out the rest of the bar.
So if you
refer to the back of the booklet, there's a snare drum solo written out.
And within
that snare drum solo you'll notice there's a paradiddle starting on the second beat and
a paradiddle diddle starting on the and of three.
And it should sound something like
this.
I'll play it on the hi-hat. _ _ _ _ _ _ _
_ _ _ _ _ _ Now notice how I'm accenting on one and three, the third
beat being the snare drum, and there's a little ghost note.
_ _ _ _ _ _ So you'll notice now when I just
did that exercise I really was laying the accents on one and three.
The third accent
will land on the snare and there'll be a ghost note, a 16th note ghost note, right after
that third beat on the snare.
Now what I'll do is after you get comfortable with the exercise,
bring it over to the drums and orchestrate that pattern on the toms, the rim, cymbals,
whatever.
_ And it should sound something like this.
_ [Gm] _ _ _ _ [Eb] _ [Cm] _ _ [Dm] _ _ _ [Eb] _ _
_ _ _ [Gm] _ _ [Eb] _ _ _
[Dm] _ _ _ _ [Eb] _ _ _ [F] _
_ [Gm] _ _ [Eb] _ _ _ [Dm] _ _
[Gm] _ _ _ _ [F] _ _ [Gm] _ _
[Eb] _ _ _ [Dm] _ _ [Gm] _ _ _