Saturday, July 24, 2021
Tuesday, June 15, 2021
The five stroke rolls from the original become flam accents, and the eleven stroke rolls become flam taps. When you get to the second and third camps with the pickup notes we're still going to play flam taps where the long roll would be, but in order to turn it around we'll cut it short by an 8th note and make the turnaround a pataflafla. Doing this puts us on the opposite hand on the repeats which is an added bonus.
Friday, May 28, 2021
Tuesday, May 25, 2021
Awhile back we applied flams to Stick Control. This is a similar concept that applys double strokes. The basic system is below, with all the 16th notes played as double strokes:
Thursday, May 20, 2021
I first heard it in 2007 when I went to Brazil and picked up the first album by de Holanda's now famous quintet. The album is called Brasilianos, and the groove came up in the song "Pra Sempre". It only appears for a few bars at a time at the end of the first A section. You'll find it in the melody at 0:16 and 0:58, and many more times throughout the solos and out head. Marcio Bahia is on drums.
Which just so happens to be exactly what is being played in the examples above. "Tamanduá" adds an additional layer of disorientation by starting on a pick up note, like so:
Edu Ribeiro has played this groove a few times as well, putting his own subtle spin on it. The first was in 2011 when, Jota P., a sax/flute player from Hermeto Pascoal's band released a self-titled solo album. The track "Que Fase!" features the groove.
Monday, May 10, 2021
Friday, May 07, 2021
Because we'll still be playing three notes for every two beats, we can use all the same voicing options we did on the two inner triplet exercises. If we start on the beat, then there's really only one note different in the whole thing: the first non-ride cymbal note will be on the downbeat, rather than the second partial of the triplet.
I've written it out again, however, with both the two and three voice versions on one page because A) it's easier to visualize if you're new to this, and B) to emphasize the placement of these notes, as it's far too common that this:
Wednesday, May 05, 2021
Monday, May 03, 2021
In gathering some material to send over to him I was reminded of this excellent post by Canadian drummer, Jon McCaslin on his long-running "Four on the Floor" blog. The whole thing is definitely worth a read, but today I want to focus on one exercise in particular that Jon saw Elvin demonstrate at a clinic in the late '90s.
Saturday, May 01, 2021
Tuesday, April 20, 2021
Friday, March 26, 2021
...and then read page 38 of Syncopation with your right hand on the ride cymbal. As Allison points out, this really helps to free up your right hand and allow you to break away from common patterns.
This is the same general concept as the Kiko Freitas samba ideas we looked at recently where the feet and left hand play common samba rhythms and the right hand improvises in a telecoteco style. Both of these are a really nice way to break out of the habit of thinking about ostinatos in your right hand and improvising with the left.
If page 38 is going by to quickly for you, don't forget that pages 34-37 are great to give yourself a little more time and repetition to get used to this, or any, concept. I often do this myself and recommend it to my students as well.
As you get more comfortable, experiment with different sounds on the ride. Play the bell, shoulder it a bit, etc. Or, if you prefer a bit more structure in the practice room, try this....
Play everything on the bell. But whenever there are two or more 8th notes in a row, start on the bow, and only play the last note of the group on the bell. So the first two lines become this...
Tuesday, March 16, 2021
Friday, February 19, 2021
The only good thing to come out of the loss has been the past week being absolutely filled with people posting Chick's music everywhere. A particular one that jumped out at me was this live video of a very early incarnation of Return to Forever. It's basically the first version of the band with Chick, Stanley Clarke, Joe Farrell, and Airto. Flora Purim is missing, though, and Bill Tragesser is on percussion behind a young Airto that we get to see on kit rather than his usual percussion setup. Those first two albums are my favorite version of the band, and some of my favorite Chick material period.
Friday, February 12, 2021
1. Don't be afraid of rebound. We're often fed the idea that we should be able to stroke out everything on a feather pillow. That's all very well and good, but that doesn't mean that we always should stroke everything out. The "syncopa" rhythm that Kiko plays in his left hand is imitating a few different instruments of the bateria, but mostly the repinique. Kiko points out that stylistically the repique is played with a group of three notes that come out of one motion, or throw of the stick. It's this rebound that actually creates that distinctive swing. So don't try to chop out each individual note. Throw the stick and let it do a lot of the work for you. Which brings me to my next point....
2. Don't think of the downbeat as your starting point. Initiate the motion on the last 16th note of the rhythm. So, rather than thinking "1ea, 2ea", think "a1e, a2e". Again, this will strengthen that characteristic swing feel.
Here is the whole interview. They had some technical difficulties, but it's worth sticking it out as they share some great information.
Friday, February 05, 2021
It's pretty much the same principal as my 3-5-7 exercise, in which you play odd groupings over duple meter. But as I said back then, resist the urge to think of this as 3/16 or 3/8 over 4/4 or 2/4. Just think in whatever meter the groove is in and play 16th notes with a RLL sticking in your hands.
Marcio takes this concept a step further by incorporating accents. Once you're comfortable with placing accents on each part of the sticking you can play some common rhythms that accompany the foot parts. The RLL sticking will give you some interesting orchestrations of those rhythms if you leave your right hand on the hi-hat or ride, and your left hand on the snare and/or toms. From there you can/should improvise with both the accent placements and the voicings around the kit.
Wednesday, February 03, 2021
Friday, January 29, 2021
Tuesday, January 26, 2021
Fast forward a few years and my buddy from college, Steve Bidwell, posted about Gaylord on his blog, which reminded my that I had never finished this post. Long story short, here we are. Gaylord is killer, there's a cool transcription below, and you should also check out Steve's blog.