A Section (Bars 1-4)This section fe

A 部分（<br>小节1-4）此部分具有半开式、另类踩镲模式，带有时髦的贝司和军鼓模式。<br>Bar 1 ~Rim-shot <br>Thc 基本的边缘击打技术是通过同时敲击小军鼓和周围的边缘来实现的，以获得更响亮、更明显的声音。如果您正在努力制作边缘击球，请尝试将军鼓的高度和角度更改为适合您的位置。小节<br>1（半开镲镲<br>穿过开镲标记的垂直线表示该部分中镲应该只半开。这可以通过将你的踩镲脚放在踏板上来实现。理想情况下，踩镲将始终相互配合并产生嘶嘶声<br>。Bar 4 I Fill<br>由于忙碌的低音鼓<br>模式，这种填充具有挑战性。专注于低音鼓部分演奏的 rh)chms 并确保第一拍中两个连续的 16"'" 音符准确。调整低音鼓踏板的张力会有所帮助。但是，一旦您掌握了这项技术，您就应该能够在任何低音鼓踏板上演奏它（图 I），<br>B 部分（第 5-12 小节）<br>A 部分的凹槽在这里继续，偶尔填充和切分推动在第 8 小节中。 第<br>8-9小节~切分推音<br>在第 8 小节的末尾有一个八分音符 s) 分音推音。<br>'我'他应该在第四拍中跟随火焰军鼓的碰撞和低音鼓一起演奏。小节 9 的第一个八分音符带有休止符，从接下来的另类拍子开始，凹槽继续。如果您使用带有咔嗒声的背景音轨版本，您会听到迪克设置为八分音符而不是四分音符。许多专业鼓手在录制或演奏速度相对较慢的轨道时使用此技术。<br>C 部分（第 13-18<br>小节）在此部分中，另类放克槽在骑行 c)mbal 的钟声上形成。'我'这里是第 18 小节的渐强填充，<br>为 D. <br>D 小节（小节19-24）<br>4 中的贝司独奏做<br>准备。<br>为了执行此技术，将<br>左手手掌放在军鼓鼓面上并用鼓棒敲击鼓圈 确保手掌的一部分与鼓面保持接触，因为在每次敲击前移开手会影响声音即产生。在尝试全槽之前，您应该练习此技术并找到横杆听起来最平衡和圆润的边缘区域。这个区域被称为甜蜜点（图 2）。<br>E 部分（25-28<br>小节）此部分将播放 3 次，鼓将在重复中发展为独奏。<br>F 部分（小节 29-37）<br>在第 29 小节开始的八小节吉他独奏之后，是 B 部分的重演，它导致第 37 小节的结束乐句。请记住，在演奏前两个带符号的小节后，您必须将鼓声部分与 st 保持一致）关于。<br>小节 37 I Choke<br>当 choke 一词出现在钹音符上方时，表示 thc c)mbal 的自然衰减必须 bc 停止。这<br>是通过在敲击钹后直接抓住钹来完成的。执行此技术的最有效方法是用与您用来敲击钹的那只手相反的手抓住钹。

A Section (Bars 1-4)This section features a half open, offbeat hi-hat pattern with a funky bass and snare drum pattern.Bar 1 ~Rim-shotThc basic rim-shot technique is achieved by striking the snare drum and surrounding rim at the same time in order to achieve a louder, more pronounced sound. If you are struggling to produce the rim-shot, try changing the height and angle of your snare drum to a position that suits you.Bar 1 ( Half open hi-hatThe vcrtical line through the open hi-hat mark indicates that the hi-hat should be only half open in this section. This can be done by tightening your hi-hat foot on the pedal. Ideally, the hi-hat cymbals will be consistently dose to each other and produce a sizzling sound.Bar 4 I FillThis fill is challenging because of the hectic bass drumpattern. Focus on the rh)chms played in the bass drum part and ensure that the two consecutive 16"'" notes in beat one are accurate. Adjusting the tension of your bass drum pedal can help. However, once you have mastered this technique, you should be able to play it on any bass drum pedal (Fig. I),B Section (Bars 5-12)The groove of the A section continues here with occasional fills and a syncopated push in bar 8.Bars 8-9 ~Syncopated pushAt the end of bar 8 there is an eighth-note s)mcopated push.'I'he push should be played with the crash and bass drum which follow a flam snare on beat four. The first eighth note of bar 9 is marked with a rest and from the following offbeat the groove continues. If you are using the backing track version with click you will hear that the dick is set as eighth notes rather than quarter notes. This technique is used by many professional drummers when recording or playing along to relatively slow tempo tracks.C Section (Bars 13-18)In this section the offbeat funk groove develops on the bell of the ride c)mbal. 'I'here is a crescendo fill in bar 18 thatprepares for the bass solo in section D.D Section (Bars 19-24)4 'I'his is the bass solo section and the drums are expected P.Bar 19 ( CrossstickIn order to perform this technique, place the palm ofyour left hand on the snare drum head and strike the rim with your stick Ensure that part of your palm remains in contact with the drum head because removing your hand before each stroke will affect the sound that is produced. Before attempting thc full groove, you should practise this technique and find the area of the rim where the cross stick sounds most balanced and rounded. This area is known as the sweet spot (Fig. 2).E Section (Bars 25-28)This section will be played three times and the drums will develop to a solo on the repeats.F Section (Bars 29-37)Following the eight bar guitar solo that starts in bar 29, there is a reprise of section B which leads to the ending phrase in bar 37. Remember that after playing the first two notated bars you must dcvelop a drum part in keeping with the st)Re.Bar 37 I ChokeWhen the word choke appears above a cymbal note, it means that the natural decay of thc c)mbal must bc stopped. Thisis done by grabbing the cymbal straight after hitting it. The most efficient way to perform this technique is to grab the cymbal with the opposite hand to the one you used to stroke the cymbal.<br>

截面(条形1-4)这一部分的特点是半开放，与众不同的高帽模式与时髦的低音和小鼓模式。酒吧1 ~边缘拍摄Thc基本的边缘击球技术是通过同时击打小鼓和周围的边缘来获得更大、更明显的声音。如果你正在努力制作边缘击球，试着改变你的小鼓的高度和角度到一个适合你的位置。酒吧1(半开高帽穿过打开的高帽标记的垂直线表示高帽在该部分应该只打开一半。这可以通过在踏板上收紧你的高帽脚来实现。理想情况下，高帽钹会不断地相互撞击，发出咝咝的声音。第四栏我填由于忙乱的低音鼓，这种填充很有挑战性模式。关注在低音鼓部分演奏的右(CHM)音符，并确保第一拍中两个连续的16个“’”音符是准确的。调整低音鼓踏板的张力会有所帮助。但是，一旦掌握了这个技巧，应该可以在任何低音鼓踏板上演奏(图一)，乙区(第5-12栏)A段的凹槽在此继续，偶尔填充，并在小节8中进行切分。小节8-9 ~切分音推在第八小节的末尾有一个八分音符的推动。I'he push应该与碰撞和低音鼓一起演奏，低音鼓在第四拍跟随一个flam圈套。小节9的第一个八分音符标有休止符，从下一个不规则音符开始，凹槽继续。如果您使用的是带有click的背景轨道版本，您会听到迪克被设置为八分音符而不是四分音符。许多专业鼓手在录制或演奏相对较慢节奏的曲目时都会使用这种技术。截面(杆13-18)在这一部分中，另类的放克凹槽出现在骑行的钟形上。在第18栏有一个渐强的填充准备d区的低音独奏。截面图(第19-24栏)4 'I'his是低音独奏部分，鼓是预期的p。杆19(横杆为了执行这项技术，请将手掌放在左手放在小军鼓头上，用手杖敲击鼓缘确保手掌的一部分与鼓头保持接触，因为在每次敲击前移开手会影响产生的声音。在尝试全凹槽之前，你应该练习这个技巧，找到横杠听起来最平衡和圆润的边缘区域。这个区域被称为最佳位置(图2)。截面(杆25-28)这一段将演奏三次，鼓声将发展为重复的独奏。第六节(小节29-37)在从第29小节开始的八小节吉他独奏之后，有一段B小节的重新演奏，这导致了第37小节的结束乐句。请记住，在演奏完前两小节之后，你必须发展一个与第一小节一致的鼓部分。我窒息了当“呛”这个词出现在钹音符的上方时，意味着钹的自然衰减必须停止。这敲击钹后直接抓住它。执行这种技术最有效的方法是用你用来敲击钹的相反的手抓住钹。