Page 1

Jim Casella

Cop Drama

Cop Drama. Written by Jim Casella Š 2008 Tapspace Publications, LLC, Portland, OR. (ASCAP) All rights reserved. International copyright secured. Printed in USA. www.tapspace.com Notice of Liability: Any duplication, adaptation, or arrangement of this composition requires the written consent of the copyright owner. No part of this composition may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright act and are punishable by law. TSPCE-17


Program notes Cop Drama was written in 2006 as a commission for the Foster High School percussion ensemble from Richmond, Texas under the direction of Daren Jordan. During their performance season, they were awarded the state championship performing this piece. It is intended to be an homage to the groovy, retro sounds of classic American TV cop shows such as “S.W.A.T,” “The Mod Squad,” and “The Streets of San Francisco.” As a fan of the mysterious sound often heard in film noir, I also incorporated some jazzier elements to further develop the sense of drama that the title suggests. Overall, “Cop Drama” is a genre piece through-and-through which is one of the things that makes it a challenge to pull off in a strictly percussion-based performance ensemble. To help bridge this gap, an important rhythm section of guitar, keyboard, bass guitar, and drumset help provide the stylistic glue to keep the genre in tact. This piece is comprised of three main sections, each of which maintains its own stylistic personality. The first section is driven by a funky rock groove in a sort of 70’s cop rock style. At the start of this section, images of doppler siren effects, and freeze-frame action title shots are suggested which lead into the main title theme of “Cop Drama.” After an mixed-meter culmination, the mood is brought down into the second section which is a loungy and mysterious mood similar to that heard in noir detective films. This section transitions into a more modern theme of multiple meters layered textures where the primary melodic elements are heard in the guitar and Rhodes keyboard sounds, implying a more 90’s based crime drama theme. This morphs back to original theme followed by some action hits to culminate the piece with a rousing climax.

-Jim Casella

Instrument/Parts list This piece calls for 16 players.

Glockenspiel part glockenspiel, bell tree Xylophone part xylophone, crotales, sizzle cymbal, woodblock Vibraphone 1 part vibraphone (with motor) Vibraphone 2 part vibraphone (with motor), suspended cymbal Marimba parts (4 players) Two 4.3 octave marimbas (low A), two 4.5 octave marimbas (low F), and two suspended cymbals for players 2&4. Chimes, etc. part chimes, vibra slap, temple blocks, 10” opera gong, sizzle cymbal Percussion 1 triangle, ribbon crasher, large zil-bell, bowl of water (to submerge triangle in for “water triangle” parts), 2 concert toms, suspended cymbal, egg shaker

Percussion 2 wood guiro, bongos, congas, tam tam, djembe, concert snare drum Percussion 3 metal guiro, cabasa, 3 cowbells, 2 splash cymbals, suspended cymbal, flexatone, claves, high vibratone Keyboard keyboard with funky Rhodes, and Hammond B3 sounds. Volume pedal is also recommended. Guitar electric guitar with wammy bar, distortion pedal, wah-wah pedal Bass Guitar electric bass guitar Drum Set 5-piece drumset with, ride, 2 crashes, hihats, and china cymbals


Performance notes

Marimbas: This piece was written for four marimbas (2 low A and 2 low F), however you’ll notice there are only two marimba lines in the score. Marimba players 1 and 3 are intended to double each other, and marimbas 2 and 4 should also double each other. In cases where four marimbas (or four marimba players) aren’t available, this piece can be performed with two marimbas, though the intended sound may not be at its fullest.

ba

m

n

cy

2

Guiros: There are “up bow” and “down bow” notations used in cases where suggested scrape patterns were necessary. Generally, these can be left to the discretion of the performer, but take care to ensure long scrapes are distinguished from short scrapes and accents are emphasized when applicable. Percussion effects: There are several decorative percussion effects throughout this piece. Any other special techniques or notations are adequately described in the course of the score or the instrument list.

in

a

h as

ch

cr

cr

as

h

1

to

ha

 

hi

pe

se

cy

lo

ha hi

tc

fr

id

e

l ll o

be

d

m

ar sn ba

n

m

ko

cy e

rid

os

ss

tic

sh

ot

cr

um

rim

ar

e

dr

sn

e ar

gh

sn

m

hi

to

m

id

to m

w lo

to

m

ot m ru

/fo

kd

tw

 

kic

Keyboard: This part plays a critical role in properly characterizing the genre. Using a synthesizer with on-board or external sounds, the keyboard player must have access to quickly switch between classic Fender Rhodes and Hammond B3 organ sounds. They must also be able to control gradual volume changes, so a volume pedal is required.

l

e

Drumset: This part is occasionally written in a ‘lead sheet’ style, though there are certainly some things that have been written out to best illustrate the desired feel. Any ‘written out’ music in the drumset part is primarily supplied as a guideline, while the player is encouraged to inject his or her own fills and grooves to best suit the music. Depending on the independence and security level of the drumset player, the parts played on the included recording can supply a suggestion of the desired intent. The drumset part is written with the following notation in mind.

hi

Guitar: The guitar player is critical in bringing this piece to life. Important elements in the guitar rig are: wah-wah pedal for suggesting the funky 70’s feel, volume pedal for inserting gradual, seamless crescendi, a distortion pedal for the grittier sections, and a wammy bar for sections that require more dramatic vibrato effects. The guitar player should be able to quickly shift between a clean, jazzy guitar sound, to distortion, and back while also being able to use the Wah pedal on a moment’s notice. “P.M.” indicates palm mute. Certain phrases only indicate slash notation with chord symbols. In such cases, the player may voice chords to their preference. Sections which use the “wah chunks” aren’t literally pitched, so noteheads aren’t used. Rhythm is key in such phrases.

Bass Guitar: This part will alternate between a funky approach and a warmer, jazzier approach. During funkier phrases suggestions for slapping and popping techniques are indicated with an “S” or a “P” however this can also be left to the discretion of the performer

ha

Mallet sticking suggestions: In some parts, stickings have been suggested. However, players are welcome to use whichever 1 2 3 4 stickings feel most comfortable. For reference, the sticking numbers indicated use this numbering formula. In cases where both mallets in one hand are to be used as a doublestop (a.k.a. “double verticals”) a simple “L” or “R” is used to L.H. R.H. indicate the left or right hand.


Level - Med-Difficult Duration: approx. 6:00

Commissioned by the Foster High School percussion ensemble, Richmond, TX. Daren Jordan, director.

Cop Drama

Jim Casella (ASCAP) A

q = 121

Glockenspiel

 

Xylophone

 

 

Vibraphone 1

Vibraphone 2

Marimba 1&3 (low A)

   

f

   

    

   

 

  

Chimes etc.

Percussion 1

  

sus cym

pp

  

              

f

      Percussion 3                 

metal guiro

        

               f 

                                                      

              f  

f

pp

 

Guitar

Bass Guitar

f

pp

f

pp

 

 

 Drum Set  

Gm7

w/bar (slow bend)

Jazzy Clean Guitar Sound

 

p

cr.

   

 crosstick              

                         

f

L

32 32

R23

L

                

triangle

(8)

(4)

R23

f

32 32

(8)

(4)

 

 

                                                      

f

Keyboard

           

pedal each chord

wood guiro

Percussion 2

2 1 R 2 1 R etc.

f

mf

pp

 Marimba 2 & 4 (low F)   

 

2 1 R 2 1 R etc.

f

     f

 

f

mf

       

 

               f    

Funky Rhodes sound

© 2008 Tapspace Publications, LLC, Portland, OR (ASCAP). International copyright secured. All rights reserved.

  wah-wah groove

P.M.

  

      

  


Cop Drama – Casella

2 11

Glock.

B



      

    

mf

Xyl.

Vib. 2

Mar. 1&3

Mar. 2&4





      

Perc. 2

Perc. 3



Chim.

Perc. 1

Kbd.

Gtr.

Bass

Dr.

    

 11

TSPCE-17

R l R l R l l R l l r l r l r l

etc.

     

       

     

mf

   



mf

         

        

              

        

                       

R l R l R l l R l l r l r l r l

R l R l R l l R l l R l R L R

R l R l R l l R l l r l r l r l

R l R l R l l R l l R l R L R

                        

R l r L r l R l l R l l

mf

R l r l

R l r L r l R l l R l l

                                                                                                           

mf

etc.

 

vibra slap

ff

(4)

(4)

         (4)

  

        

etc.

                               

P.M.

R l R l R l l R l l R l R L R

                                                                                                                  R l r l

       

            

                      

R l r L r l R l l R l l

mf

        

 

                                                                                                                                    R l r l

xylo w/med plast

pp

Vib. 1

   

  

 sim.

(4)

(4)

(4)

  

(4)

(4)

 


Cop Drama – Casella     

18

Glock.

                    ff

                                            

Xyl.

Mar. 1&3

                  

ff

         

                    

ff

                                                

         

                                                    ff

Mar. 2&4

         

ff

Chim.

Perc. 1

                 

chimes

  

      

   

 

     

   

  

   

   

   

f

    

  

   

   

f

       f

  

   

   





 



f

          

    

     

 

        

 

Perc. 3



                     

Kbd.

Gtr.

ff

  

fill . . . .

Dr.

18

 

 

                     

mf

   

ff

     

       

  china             fill . . . .                     ff

mf

P

P

P

 

                 mf

S

S

 

  

     

f

  

     

f

  





   

 

 

 

sim.

 

 sim.

                          

f

                   

        S

      

                                   f  

P.M.

S

   f

                                      

wah-wah groove

      

            

               

               

ff

Bass

mp

       

      

        

               

 

   

Bongos w/hands Perc. 2

              

   

  

    

 

f

ff

         

  f

  

                     

            

ff

           Vib. 1   Vib. 2

  

C

3

(4)

              

 (4)

(4)

(4)

(4)

                     

(4)

 

        

   

TSPCE-17


Cop Drama – Casella

4 Glock.

Xyl.

 

     

                                

 

   

    

    

   

   

     

      

 

   

      

   

     

  

     



Perc. 2

           

Perc. 3



Vib. 1

Vib. 2

Mar. 1&3

Mar. 2&4

Chim.

Perc. 1

Kbd.

Gtr.

 

D

         

          

                                           

    

           

                              

    

         

    

   

   

        

                                       

        

             

    

   

                                       

        

             

   

 

    

     

 

        

vibra slap

(8)

             

    

             

             ff

(8)

(8)

(8)

            

Dr.

                          26

TSPCE-17

       

S S S



 

S S S

    

         

slide S

P

P

P

S

 

      

 

S

  

                 

            ff

mp

       

        

                     

       

ff

P.M.

Bass

       

f sc ast ra pe s

 

ta ps

26

 

 

 S S

S

    

      diamond=ride                    bell                                                                                                   


Cop Drama – Casella E

34

 

Glock.

Xyl.

      

             

    

 

  

 

  

    



 

  

             

                               Vib. 2            Vib. 1

 

 

Bouncy Swing q=h

    

5

      

 

  

            

  

Mar. 2&4



             

Chim.

 

                           

Perc. 2

                                               

Perc. 3

 

Perc. 1

Kbd.

Gtr.

   

 

cabasa

 

 

 

  

                

      S S S

slide

               Dr.      34

jazzy clean guitar sound

          S

P

P

P

S



 S

Cm9   

norm.

 

 

                                              

 

 

mf

   

  

   

  

      

   

   

 

Cm7

  



   

                  

         

      

   

Am11/C

Cm

  

 

         

Cm

   

    

   

            

 

  



(4)

          

  



    

     

                        

mf

P.M.

Bass



mf

           



 



   

Mar. 1&3

    

           

(4)

 

                 



 

 

   

   

    

          



 

 

   

  

TSPCE-17


Cop Drama – Casella

6 44

 

Xyl.

Vib. 1

  

  

Glock.

     

    

  

 

     

Mar. 1&3

  

  

        

          Mar. 2&4       

Chim.

Perc. 1

Gtr.

Bass

        

deadstroke

        

   



       

   

                     

         

    

                   

    

   

                                         



 

         

    

                   

  

   

                                              



                               

                           





                  

                

Kbd.

  

xylo

Perc. 2

Perc. 3

       

            

h = q

crotales     

        

          Vib. 2       

    

Straight cop rock

F

                 

 

(8)

           

       

       

(12)

       

   

            

 

Bongo solo (ad lib if desired)                                                           

                    

   Dr.   

TSPCE-17

     

    

44

  

    

f

      

   

   

   

  

   

  

  

  

   

   

(12)

               

  

  

fill . . . .

                                                                            



          

 

S S S S P               

 P

 

                           

sim.

  

 

  



 

                       


Cop Drama – Casella 55

     

Glock.

Xyl.

Vib. 1

G

                                   

     

 

      

 

     

 

        

   

 

f

Vib. 2

Mar. 1&3

 

   

   f

                                        

      

      

f

Mar. 2&4



 

 



     







  

vibra slap

Chim.

Perc. 1

ff



         

       f

   

   

  





 



chimes

f

 

                                            

  

 

        

   

 

  

      

   

   

  

      

   

   

  

   

  

f

   

        

   

                                       

   

                              

 

   

 

      

f

   

   f

   f

   

   

  





 



f (4)

 

mp

 Perc. 3 

 Kbd.

 

 

 

    

         

wah groove

        S

Bass

 

   

    

                                                                                                                  

Perc. 2

Gtr.



            

 

 

   

7

P

P

P

  

            Dr.      55

S

S

 

guiro

             

f

(4)

(4)

         S

                                                                         

P

P

          S

S

S

P

P

P

S

S

   

          

sim.

 

TSPCE-17


Cop Drama – Casella

8 63

     

Glock.

Xyl.

Vib. 1

Vib. 2

Mar. 1&3

Mar. 2&4

     

Bass

Dr.

                                    

 

 

                       

                   

 

vibra slap

 (8)

            

(8)

            

                  

                                                   



          

   



                      

                   

                  

 

temple blocks

                f  

            

             

             

  

f

    

 

cowbells

f

                                     

 

            

                                        

ff

(8)

            

                                                                                                  

                                         

            

                              

                                       

Kbd.

Gtr.

                                    

Perc. 2

Perc. 3

H             

                                     

        

Chim.

Perc. 1

 

 

  

                

                                     

 

 

             (w/distortion)

                       63

TSPCE-17

  

  

  

  

 

 

                                          

  

 

         

  

 



            

                           

  

f

  

 

  



 

                       

  

 

  



               

                         

f

             


Cop Drama – Casella 71

Glock.

Vib. 2

Mar. 1&3

Mar. 2&4

   

Xyl.

Vib. 1

 

   



x=e

 

   

 

   

 

       

                 

   

 

 

  



 

 



  

    

    

  

 

   

 

 

 

71

    

  

  

  

   

  





 

   



  

       

       

       

       

   

   

   

                

    

mute

   

   

   

              







 

   

 

   



             



               

 

    

           Dr.        

  

 

   

   

          

   

   





   

 

 

   

      

         

  

 

 

    

    



     

 

 

  

 

 

 

 

 

  

drumsolo-esque                              ff

 

mp

  

 

        

f

                 f

     

  

     

   

     

  

       

      

        

  







ll

                   

  

  

be il-

ez

rg

   

   

  

10" Opera gong

              

    

mf

      

 

 

la

as cr n

rib

bo

 

 

   

   

 

   

   

             

   

 

   

      

   

        

r

Bass

 

Kbd.

Gtr.

 



Perc. 2

Perc. 3

 

he

Perc. 1

Chim.

9

 

          

    

   

 

              2 splash cyms   



  

 

   

  

 

 

 

 

 



  

                    

 

   



 



   

       

 

f





        



f

    3 3                               

                  

TSPCE-17


Cop Drama – Casella molto rall. 78

Glock.

    

Xyl.

Vib. 1

Vib. 2

Mar. 1&3

  

  

Perc. 1

Gtr.

Bass

Dr.

             

   



 

    

Solo line

  

 

 

 

 

    



 



 

turn motor on (med)

 

  

sizzle cym. w/yarn



mf



  

 

fff

  

         

turn motor on (med)

       

 

       

     

     

         

     

       

       

        

 

  

   

f

    

   



Loungy and mysterious q.= 86

      











    



 

 

     

 



 

  

 

 

 

 

sus cym

 

 

  



mp



 

 

       

 

 

 78

TSPCE-17

  

   

          

            



finger bass



        

 



     

    

  

  

 

  



   

mf

     

gliss down

 

   

    

Kbd.

   

    

Perc. 2

Perc. 3

 

    

  Mar. 2&4   

Chim.

   

I



10

  



 





 

3

  

   


Cop Drama – Casella 86

Glock.

Xyl.

Vib. 2

Mar. 1&3

Mar. 2&4



    

Chim.

Perc. 1



         

mute

      

   

p

 

      

p

ripple roll      

soft mallets

  

woodblock w/rubber (rubato)

      

f

    

gliss down (all 4 mallets)

f

soft mallets

 

bell tree



 

 



Vib. 1



11

   

gliss down (all 4 mallets)     

gliss down (all 4 mallets)     

 

p

              

water triangle (rubato)

conga w/elbow rubato

Perc. 2

       Perc. 3         flexatone

Kbd.

Gtr.

Bass

Dr.

guiro

  slow scrape



      quick

  

 86



 



  

  

  



     







  



 

  

  





 

dry wah chunks

    

 



 





  

 

       

   

p

TSPCE-17


Cop Drama – Casella

12

J 92

      

glock w/plastic

Glock.

       

   

    3

xylo w/med plastic

Xyl.

Vib. 1



sizzle cym. w/yarn

                 

  

f

f

Mar. 1&3

Mar. 2&4



Chim.

Perc. 1

   

              

   

 

Gtr.

Bass

Dr.



            

        

          

      

            

            

mf



    

motor off

    

                 

                 

gliss down

crotales

mf

           

 

         

chimes

   



 

  

p

 

 

Jazzy clean guitar

 

 92

TSPCE-17

     

       

     

        

 



RS      

 

           

Gdim7

  

        

       

p

     

 

 

   

    

Gmin9

 

    

   

Gdim7

    

     

     

 

 

 

 

     

    

 

  

Gmin9

   



    

 

    

  

 

        

mp

        

           

concert toms p

congas

            pp

  

         

 

f

D

f

 

     

  

f

  

      

A

 

f

                   





mp

Gmin

mp

f

    



f

E¨7

mp

                   

      

 

                   

f

 



mp

xylo

                                          

     

                        

Hammond B3 sound

     

     3        

   

  

                              

 3

            



     

ripple roll

pp

         



     

traditional roll

pp

gliss down

 

 

gliss down

   



mf

Perc. 2

Kbd.

gliss down

vibra slap

bongos

Perc. 3

              

3





      



Vib. 2



   

                

     



                                       

f

mp


Cop Drama – Casella

K

  

100

Glock.

ff

 

 

           

Xyl.

ff

Vib. 1

             

           Vib. 2       ff

Perc. 1

Gtr.

Bass



100

        

ff

ff

  

      

  f

 



          

 



E¨6

    ff

Dr.

mp

             

ff

        

               

          

    

ff

      

ff

    

ff

  

      

     

Kbd.

    

  

ff



 

    

2 splashes Perc. 3

 

   

  

Perc. 2

mp

 

 

          

           

   

       



             

         Mar. 2&4        

Chim.

           



           

ff

Mar. 1&3

                       

    

          



 

 

 

ff

mp



ff



p

      

                                  D

mp

ff

     

        

mp

D

           

     

pp





f



   







  f

   

 

gliss

.

 

        





       





    





   3                                mp

E¨7



 

  

              mp

   

          

13

 

mf

   

   

   

 





 

 

 

  

         

     

 

 

 

  

         

mf

mf

    

  

                  

     

                   

turn motor on (med)

                                                     

  

   

                

mp

   

   

   

   

mp

   

                   mf

ff

mf

ff

 

mf



 

                              p f mf

       

pp



 

f



   

mf

 

     

   

    

 



 



D

       



 



  

f



 

   

   

guiro (delicately)

   



choke

p

   



D    

   

 

ff

gliss down







mf

mf

 

 

 

 



  

  



 



 



      3                                                f

  

    

     

 

  

  

 



         

          



E¨6





                                    ff mf

                        

  



mp

f

         

             

 

  



 



ff

  

      



ff

ff



                                                ff

    

mp

TSPCE-17


Cop Drama – Casella

14

Glock.

Xyl.

Vib. 2

Mar. 1&3

Mar. 2&4

 

           

    

      

mp sizz cym.



     

mf

       mp

   

      





       



 



 



sus cym (warm/dark)

 

 

Gtr.

Bass

Dr.



108

TSPCE-17







motor off































p

     

     











 







 

 





mp

  



    

      



       

mf

   

   



 

  

  

clave (rubato)

              

      

 

     

roll lightly on ride cym.

  

      

 

Gdim7



motor off





 







         





















            



  

    

Gdim7

       

     



water triangle (rubato)

     

ripple roll

mp

   

     

traditional roll

  

q = 190

       

    

Rhodes sound

Kbd.

    

f



    

    

L

f

f

Perc. 2

Perc. 3

turn motor on (med)

        

Chim.

Perc. 1

f



woodblock w/rubber (rubato)

       



Vib. 1



108





  







  

























     

 

          



hi vibratone w/vibrato





                              


Cop Drama – Casella 117

Glock.

 

Xyl.

 

Vib. 1

Vib. 2

Mar. 1&3

Mar. 2&4

M 



  

Chim.













N 







   

 



   

 

   

  

 

   

 

f

crotales

 

Perc. 2

Perc. 3

 

 



















Gtr.

Bass



  

 









  

 



    



 











                                                           







                                          



mf



                                    mp

mp

sus cym

 







  

 













   

Kbd.

mf





   

chimes

f

Perc. 1



                                                                                        f

 

15

 

 



 

 









mp tam tam

mp



  

 

   

 





  

 



































 

 

























 

























Note: these swells should fade in from nowhere as with a volume pedal. Should be very atmospheric and non-intrusive to other players.

 









 







 

                        Dr.  

 slide down to F

                  

Rock guitar sound (w/slight distortion)



 





 



 





 

  

   





 



 

 

                                                                                

117

TSPCE-17


Cop Drama – Casella

16    

    



  

    



129

Glock.

Xyl.

    Vib. 1  



 

    



 



     



    

 

    

  



  

 

 



    

 



  

 

 



    

 



  

             

f

f

                    Mar. 2&4  

             

    

  

Chim.



 

    



sizz cym

         

f

 

    

          



  















  

 

















 

 



f

sus cym

  

 

mp

  



   

 

sus cym

Perc. 3

Kbd.

Gtr.

Bass









       

 









 









 



  

 

        Dr.   129

TSPCE-17



 



 

  

 

  

                              

 

   

p

   

  



 

                    





     



      

    



  

  

p

op

ed

w

ut

lo

mp



                  

    



  

 

cabasa (tap w/fingers)

mf

      

   f



  

 



 

 

 

                    

m

djembe

en

                                pa

Perc. 2

sla

ts

ba

ss

to



                                       f                               

s

            

Perc. 1

 

                                                                                                                           

Mar. 1&3

  

 

ne

Vib. 2

       

  

mf

f







    

 

   

                                  


Cop Drama – Casella   

 

O 

  

 



140

Glock.

Xyl.

Vib. 1

Vib. 2

Mar. 1&3

Mar. 2&4











P   

 f

  



 

 

 



 

 

 



f

                                                                         

                                                                          

 

      





 



                          

  

Chim.

   

    

sus cym w/stick

     

     



dome







        

  

 



         

 

 

 





 



                          









                                       

 

 

  

               

 f



                             

 



groovy egg shaker

   

Kbd.

Bass

      

    

     



        Dr.    140

                





  

 

     

          

              



  

            

  

  

gliss.



 

 

         

   



 

      

op

ba

  

    

  



en

                                                                        

ss

 

f

f

Gtr.

str

ne

   

           

Perc. 2

Perc. 3

              

to

                                                                        

ok

e

Perc. 1



17

   

 

   

   

f



 

 

 

 

     

  



f



 

  

   crush                                      f

  

  

    

 



   



  

 

                   

TSPCE-17


Cop Drama – Casella

18 148

Glock.

Xyl.

Vib. 1

Vib. 2

Mar. 1&3

Mar. 2&4

 



 



   



 



 

 







    

 

 

 

 

 

  

  



 

 

 

 

 

(4)

 

                                             

 



 

Perc. 3







 

  

(4)

(4)

   

  

 

 



  

   

 

   

  

       



   

 

 

  

  



f

 



 

(4)

  

  



 

 

  

                                                     



Perc. 2

Kbd.

  

(4)

f

Bass

 

f

Gtr.



Chim.

Perc. 1

 

  

  

TSPCE-17

 

     

  

     

  

    



 

 

 

 

  

 

 



(8)

(8)

 

 

 



 

 

 

 

 



                                             

 

 

 

 

                                               

    

  



cr.                                                Dr.                  148



 



gliss.

 



  



(8)

(8)

  

 

  



 

 

 

(8)

   

     

 



 

 

 

   

   

  



 

        f

    

                                                          


Cop Drama – Casella 154

Glock.

Xyl.

Vib. 1

Vib. 2

Mar. 1&3

Mar. 2&4

 

  



  



 

  



  





 





   

 



   

 





  



  





 





 





 









   

    

Chim.



               



             

 

             



             

  





  

Perc. 2

Perc. 3



Perc. 1

Kbd.

Gtr.

Bass

   

        

 

 



  

  



 

  

(12)



              

 

              

  

 









   

 

    



                   

 



slight vibrato

 



 

   















 



  

  

 

  

 

(12)

  

 

sus cym

 

       

(12)

    

(12)

  

               Dr.        154



     



19

    



 





 



  

















 

 

 

 

   

 

  

 

  

 

pp



         

                                    

 



 



 



                                             

TSPCE-17


Cop Drama – Casella

20

Glock.

 

 



  

Xyl.

 

 



 

161

Vib. 1

Vib. 2

Mar. 1&3



 

                                           

   



Q q = 121    

 

   





   







   





medium mallets

                                                  

pp

Mar. 2&4





    

  



 

  

 

 

 Perc. 3  





 



 



 



Gtr.

Bass

 



        Dr.   161

TSPCE-17

concert snare

ppp

   

pp

  

Perc. 2

Kbd.







medium mallets

cresc. poco a poco





 

 

   triangle                f

 

pp

                                                  

pp

 

Chim.

Perc. 1

 

f

f

pp





































           

            

           

            

wah groove

    

 

                       

             

 

                 

                      

  


Cop Drama – Casella R 170

xylo R l R l R l l R l l r l r l r l

mf

        Vib. 1    

R l R l R l l R l l R l RLR

                     

mf

Mar. 1&3

           

                                                                                          

Xyl.

Vib. 2

      

Glock.

               

          

mf

       

          

                

                        ff

ff

          

                    

ff

R l R l R l l R l l R l RLR

mf

                          

ff

                                                                                                            Mar. 2&4               mf       R l R l R l l R l l r l r l r l

R l R l R l l R l l R l RLR

ff

Chim.

Perc. 1

 

vibra slap

ff

                     

           

         

   

           

                 

         

   

 

 

   

    

   

 

  

  

   

   

   

  

  

   

   

      

   

   

  

   

  

   

  





 



f

   f

f

ff

  

                 f

chimes

 

ff

                     

                                                                                                 R l R l R l l R l l r l r l r l

21 S

f

        

     

 

           bongos w/hands

Perc. 2

Perc. 3



Kbd.

Gtr.

Bass

ff metal guiro

          

mp



        

 

        

 

        

 

        

 

Dr.



170

f

            mf

              

      

Funky Rhodes sound

                     

ff

                  

ff

              ff

  

 

                mp

 

 

 

  

          

wah groove

           

S P P              

f

 P

 

                   fill . . . .                                    ff

mp

f

S

 S

 

       

sim.

 

                          

TSPCE-17


Cop Drama – Casella

22 178

     

Glock.

Xyl.

Vib. 1

Vib. 2

Mar. 1&3

Mar. 2&4

   

 

Kbd.

 

178

TSPCE-17

   

   f

          

 

   

   

  

      

      

   

   

  

                                    

    

   

   

  

                                    

    

   

   f

  

   

   





 

 

     

 

      

       

        

      

(4)

   

 

           

(4)

    

 

           

  

(4)

    

  

(4)

        

 

   

(4)

   

                           

f

        

f

              

  

     

 

f

    

Perc. 3

Dr.

       

                               

Bass

 

 

                              

Perc. 2

Gtr.

           

        

Chim.

Perc. 1

   

            

             

    

    

             

 

      

(8)

 

                     

         

ff

(8)

(8)

            

 

            


Cop Drama – Casella 185

Xyl.

Vib. 1

Vib. 2

Mar. 1&3

Mar. 2&4

Perc. 3

                                                                      f

   

   

  

     

  

   

  

   

  

   

  

   

  

     

     

Bass

                                                     f

   

                                                            

f

 

vibra slap

               

     

ff

    

      

  

   

 

  

                                      

   

fp

 

f

  

  

   

    

  

    

  

               

    

     

 

 

 

   

 

 

slide

   

  

 

 

           



    

 

 

 

 

 

        

   f

         

   

    

P  

P   

Gmin7

  

        

f

 

C7

  3         

       

    fp     

   

P   

  3          

        

f

        

 

        

f

 

        

 



 

 

 

    

       

P    

  3      fill . . .               ff

   

  

       

      

      

  

fp

    

    



F7/E¨

    

f

mp

     

f

 

    

sus cym

   

          

       

  

   

     

  

    

                      3                                                   Dr.          185

  

   

fp

fp

chimes

   

f

   

                                                   

 

f

                                                               f

Gtr.

 

 

 

Kbd.

 

 

Perc. 2

    



 



 

 

         

Chim.

Perc. 1

           

 

Glock.

23

    

       

   

                      

TSPCE-17


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Cop Drama  

www.tapspace.com Cop Drama. Written by Jim Casella © 2008 Tapspace Publications, LLC, Portland, OR. (ASCAP) All rights reserved. Internation...

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