Hudson Music presents
AARON SPEARS: Beyond the Chops
Edited by Joe Bergamini Transcriptions and engraving by Willie Rose PDF Design by Joe Bergamini and Willie Rose Photos by Andrew Lepley DVD Produced by Paul Siegel and Rob Wallis
Copyright © 2009 Hudson Music LLC All Rights Reserved www.hudsonmusic.com
Aaron Spears: Beyond the ChopsPART 1:
Aaron Spears: Beyond the Chops SYNCOPATED FILL DEMO
One of Aaron’s signature concepts is his ability to place his fills in unconventional places. Here, he demonstrates some ideas for the placement of fills.
Aaron Spears: Beyond the Chops “GIVE THE LORD A PRAISE” GROOVE
Aaron plays ghosted double strokes in this groove, which is the verse of this tune.2
“SLEEPING DRAGON SHUFFLE”
This transcription shows the first 12 bars of this tune, which has a traditional blue shuffle feel, played with an organ player.
Aaron Spears: Beyond the Chops SHUFFLE GROOVE WITH OFFBEAT HI-HAT
In this groove, the left foot plays the hi-hat on the last partial of every triplet, to create a shuffle feel along with the ride. Aaron mentions hearingSteve Gadd utilize this concept.
Aaron Spears: Beyond the Chops SHUFFLE VARIATIONS
Aaron demonstrates different variations on his shuffle feel in this example. Note the use of ghost notes.
Aaron Spears: Beyond the Chops “I LOVE YOU (THAT’S WHY)”
Here is the introduction and main groove from this Motown-influenced tune. Note the use of quarter notes on the snare drum,typical of this style.
Aaron Spears: Beyond the Chops MOTOWN GROOVE CONCEPTS
In this example, Aaron demonstrates the basic verse and chorus grooves he uses on the Motown-influenced tune “I Love You (That’s Why).”
Aaron Spears: Beyond the Chops “HYPEJUICE”: REAL-WORLD APPROACH
On the DVD, Aaron plays this hip-hop song in two different ways. In this first example, heperforms the song the way he would if he was performing the song on an actual gig.
Aaron Spears: Beyond the Chops “HYPEJUICE”: PRACTICE APPROACH
Aaron makes the point that he finds playing along to songs is a very effective approach to practicing. In his personal development, Aaron says that he would use his favorite tracks in place of a click, and practice developing fills andphrasing concepts while playing along to the music. He stresses that he would not actually play this way on a real gig, but finds that he can develop new ideas for fills and licks, and place them in context this way. In this next example, Aaron demonstrates how he might practice along with this tune for fun, and to work on his fills.
Aaron Spears: Beyond the Chops HAND/FOOT COMBO
Aaron isasked on the DVD about some of the hand/foot fill combinations he plays. Here are some of the basic concepts that he employs.
Aaron Spears: Beyond the Chops “GOLDEN ROCK” MAIN GROOVE
Aaron plays a driving rock feel on this tune.
“GOLDEN ROCK” OUTRO
Aaron increases the intensity on the outro to the tune.
Aaron Spears: Beyond the Chops “STEREOTRONIC” MAINGROOVE
Although this tune is in 9, when Aaron performs it, it has a relaxed, laid-back groove. Here, Aaron demonstrates the main groove concept of the song.
Aaron Spears: Beyond the Chops
INTERVIEW WITH JOJO MAYER
Aaron Spears: Beyond the Chops “SEX MACHINE” GROOVE
Here is Aaron’s interpretation of the classic James Brown tune. The sixteenths are slightlyswung. Aaron performed this tune at the Grammy awards with Usher and James Brown himself.
Aaron Spears: Beyond the Chops BROKEN-TIME FILLS
Aaron demonstrates this example for Jojo when asked about the way he hears some of his signature fills, which have a very complex time feel, sometimes disguising the 1.
Locking into a deep pocket at a slow tempo can be...