A drumming blog written by Todd Bishop.
. There's a strong quarter note pulse on the hihat throughout, and no comping at all in the modern sense. The sketchy arrangement has some drum breaks, and Jones plays some interesting linear things on the later ones. We can assume he's playing the bass drum all the way through, though it's only audible on the punctuations.
by William S. Burroughs"When Anthony Burgess was teaching a course in creative writing, a student asked him: "Why should you be up there teaching writing and not me?" A good question; and I wish I could give as definite an answer as can be given in regard to other subjects where the technology is more defined. No one, unless he is an experienced pilot, asks why the pilot of an airliner should be in the cockpit and not he. The answer is that the pilot knows how to fly the plane and you don't. Nor would a student of quantum mechanics, engineering, or mathematics ask such a question; the teacher is there because he knows more about the subject than the student. To say he knows more presupposes that there is something definite to know, that a technology exists and can be taught to qualified students.
How many writers have taken courses in creative writing? James Joyce for one, took a course with some literary lady who had her students imitate the styles of well-known writers ... write Hemingway for a month, Graham Greene for a month, and so forth. A good exercise I think. But there are certainly, I think, more writers who have not taken courses in writing than writers who have. How many pilots have taken courses in flying? All of them, we hope. How many physicists have taken courses in physics? All of them. Which brings us to the question I intend to raise in order, I hope, to arrive at some answers: Is there a technology of writing? Can writing by taught?"
by Kimon Nicolaides"Sit close to the model or object which you intend to draw and lean forward in your chair. Focus your eyes on some point- any point will do- along the contour of the model. (The contour approximates what is usually spoken of as the outline or edge.) Place the point of your pencil on the paper. Imagine that your pencil is touching the model instead of the paper. Without taking your eyes off the model, wait until you are convinced that the pencil is touching that point on the model upon which your eyes are fastened.
Then move your eye slowly along the contour of the model and move the pencil slowly along the paper. As you do this, keep the conviction that the pencil point is actually touching the contour. Be guided more by the sense of touch than by sight. This means the you must draw without looking at the paper, continuously looking at the model.
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| My man Willie Blair, the only person I know who could get away with flouting most of the non-musical rules. |
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| Miles is going to have to ask you to CTFO. |
by Joe Morello, Rudmiments Around the Drums by Joel Rothman, Drum Set Warm-Ups
by Rod Morgenstein.
, and "the pink book", Basic Drumming (read my review), as well as the massive c. 2500 page "compleat"
series of hard bound books. He has sold well over a million books through his publishing house, JR Publications. For other publishers he has also written approximately 35 humor books for both children and adults, a dozen or so hardcover children's books, as well as several crossword puzzle and quiz books. He has nevertheless remained largely unknown personally, keeping a very low profile into the Internet age, with virtually no personal information available on line. 
in ways not found in that book or in its other successors. He deals with more familiar material with a unique player's logic I believe is very well adapted to the practical needs of drummers. It is not difficult to fill many volumes with variations on familiar materials ("now play the accent on the LOW tom"), or by mindlessly reeling off mathematical/logical permutations, as many have done; so creating such a large volume of work of continuing value, with minimal redundancy, is a major writing feat. Writing even one good book is beyond the capability of most authors.
The evening began inauspiciously. Some of Ellington's band members showed up late. The earlier numbers in his set were met with tepid, if pleasant, applause. As Ellington announced the next numbers, Diminuendo and Crescendo in Blue and the soloist, tenor man Paul Gonsalves, there was no indication that something very special would happen within the next 10 minutes. The band made its way through the Diminuendo section in about 4 minutes when Gonsalves approached the mic and IT happened.
- Primarily a book of drum fills including the bass drum, much of this is more like Stick Control for three voices. Very valuable. - The big one, 500 pages of materials, with some very unique stuff. Review coming soon. I personally think every student of jazz should own this book.
Brazilian music in all its forms has enjoyed tremendous popularity in recent years, especially among jazz musicians who appreciate its rhythmic complexity coupled with its harmonic sophistication. Almost every contemporary jazz performance features tunes with a Brazilian flavor, either a composition by a Brazilian composer or a jazz standard set to a samba or bossa nova feel. However, with notable exceptions, the musical results fail to achieve the essential characteristics which define those Brazilian styles. This is most often caused not by a lack of musical ability, but by an improper understanding of the rhythmic essence of the styles. In Brazil, this most subtle aspect of groove is often known as ginga (with a soft g as in ginseng). It refers to the way in which a dancer moves, to the way a beautiful woman walks and to the way that music incites motion in the listeners. The purpose of this paper is to provide rhythmic information in a practical and concise way, leading to the development of ginga in the performance of Brazilian-based music. We will be looking at 4 distinct grooves: samba, baião, marcha and maracatu from that perspective, hoping to create a deeper intuitive feeling for their rhythmic nature.
by Burns and Farris has that in spades. Written in 1981, and revised in 1994, this book focuses on functional grooves in the style of the 70's and 80's, before the ghost note explosion that followed the massive sampling/rip-off of Clyde Stubblefield, and before David Garibaldi's busier style became dominant (particularly among students and hobbyists). Think instead Jim Keltner or Rick Marotta. Jeff Porcaro. Doing last weekend's Roberto Silva transcription also reminded me of this book.
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| Gah! What? |
