Another page of Three Camps interpretations for drumset, based on a 4/4 funk shuffle groove, with a normal jazz rhythm on the cymbal. These focus on pretty normal vocabulary for that type of thing. I wrote it to go with a practice loop of Ummh by Bobby Hutcherson, with Mickey Roker playing a nice deep shuffle groove.
The foundation groove is the B portion of each drill— practice that by itself, if you need to, before playing the drills. Unlike the other TCFDS pages, these all use the normal form of the piece— there are no starting-on-2 or syncopated versions.
Hey, it looks like one of my posts was a catalyst for a video by a semi well-known opaquely-named YouTuber. He has been the victim of some kind of smear campaign to make his videos seem negative, competition-oriented, and status-obsessed. Which they are, but he wants them not to be thought of that way.
At least the few I've seen. I tried to “research” this further by watching a couple more videos, but I couldn't hang with it. Clearly I am not the intended audience. Looking at the list of his videos en masse I'm getting a very similar vibe as some YouTube nitwits I've written about previously. Not good. I know he he's had an education, but I'm not seeing any evidence of any depth at all. If it's there I wish he would put it in his videos. But he doesn't. I'm starting to feel cheated for the 15 minutes it costs to watch them.
Sidebar: If you want to know what substantive, positively-focused content looks like, take a snoop through the archives of fellow bloggers Jon McCaslin and Ted Warren.
So, this new video is partly a reaction to my post Authenticity, which he quotes and screencaps, but doesn't mention this site by name, or link to the post. Normal etiquette would be to at least identify the subject of your quote, but YouTubing is not really about that.
My post was partly about my own experiences with the concept of authenticity, as a young white jazz student and musician from the Pacific Northwest; and it was partly about my reaction to his video “DOES AUTHENTICITY MATTER?”, in which goes at great length about authenticity in jazz as being about achieving supreme status, and surviving punishing combat, and people being mean to you— a lot of sturm und drang.
Anyway, here, because I link to things I talk about, is the new video:
Noted that it wraps up with a pitch for his method of learning jazz by learning hiphop instead,which I also reviewed in a previous post.
So, I feel I'm seeing a strange act of deflection; he argues against himself being perceived as a kind of mean, gatekeeping “music school jazz nerd” drummer, while putting that same criticism onto others, who presumably are guilty of it.
The opening is pure fear and adversary— the frame is that people are trying embarrass you for being interested in what they're interested in... jazz drumming... to which the natural response is to be scared and aggrieved and run away and give up.
Marketing adolescent fear is very popular on the internet. People love the idea that there are disapproving, purely ego-motivated jazz snobs who will correct your errors unapologetically, and to punish them by quitting and not listening to them is awesome. Hop over there and look at the comments. It's one big celebration of quitting jazz for the hatred of mythical jazz snobs.
He claims to be encouraging to newcomers, but saying I am encouraging is not the same thing as being encouraging. Especially when, in the very next sentence, he helplessly reverts to the old crucible of high performance competition business.
Arguing with that framing is like turning on Fox News and saying “well, at least they put their bias up front.” But it's influencing you in ways you don't even understand. You think “well, I know this is bullshit, so the truth must be the opposite of that.” But you're still living on their terms, while the real truth is in another country and time zone, speaking a language you've never heard of. Like, I'm talking about making wine and you're talking about clawing your way to the top writing an android app. Bringing the mentality of the latter into the former is a recipe for some fucked-up wine.
I'll close by saying I don't care about the superficial conflict aspect of this— beyond being a little bit irked at not being credited for my quote— none of this is personal, it is about the content of a line of video product, which happens to reflect some very common negative attitudes promoted on the internet. I only comment on it because we can learn something about being musicians, teachers, and media consumers from it. Today the lesson is beware of living in other people's narratives, doing so may mess you up in ways you don't expect or understand. And maybe don't sell fear and ego.
[h/t to Anthony Amodeo, an excellent drummer and teacher living in New York, for alerting me to this video]
Here's something sent in by Ed Stalling of Missoula, Montana. He mentioned being inspired by my ECM feel post from 2012— which definitely needs to be revisited and some links updated— but he's got his own thing happening here.
I like the idea of notating flam rudiments for two voices this way. Normally on drumset I would write them with two complete rhythms on one set of stems. Here you can ignore some of the notes, and just play the basic sticking pattern, and add the flams to make the more challenging overlapping independent rhythms. It really suggests some interesting possibilities for ways of practicing Stick Control. You could do that with the flam pages from Stone, but I don't find it real inspiring with the flams/unisons in the same place every time.
I encourage you to send in your own writings for inclusion in a “FROM THE ZONE” post— seriously, anything scraped off the floor of your practice room, where you wrote something out to figure it out. I don't care how bad it looks. I want it to look bad. Take a picture with your phone and send it to my email link you see in the sidebar.
Just a couple of solo 4s from Art Blakey, from the 1953 Miles Davis 10-inch release, Vol. 3. You'll most likely find it on a later Blue Note compilation. The tune is Well, You Needn't. Miles and Blakey trade on the first two A sections of the head out, Miles plays the melody on the bridge. The first drum break happens at 4:18.
He's mostly playing stick shots on the snare drum, as you can see. The normal snare hits are played with the left hand, the shots with the right. He feathers the bass drum throughout.
See, this is what I'm talking about— writing/organizing materials a certain way, you get practice ideas you wouldn't have gotten just practicing the books. I could have used this 30 years ago, but it came up yesterday when I was practicing my syncopation exercise with two notes per measure. It's totally impractical and pointless to do this with the regular exercises in Syncopation, and a pretty obvious thing to do with my two-note pages.
We're playing jazz time, with the exercise melody rhythm on the bass drum, and filling in the remainder of the quarter note triplet, or inverted quarter note triplet, on the snare drum. Creating an Elvin Jones-like texture.
Play through the examples on this page, then run the method with my two-note, one line exercises, and then yesterday's full page exercise. I left out the hihat for visual clarity— play the hihat on beats 2 and 4, or whatever you want to do with it.
Another syncopation exercise written with a special set of parameters— this one just has two notes per measure, with quarter note or greater spacing. Last year I did a page of one-line exercises that way. This is good for basic jazz comping at faster tempos. I always include a stems-down part in quarter notes just for tradition, out of respect for Ted Reed. I never incorporate them with any of my practice methods.
And a basic solo method this is good for: Hit the melody notes on a cymbal + bass drum, fill the rest of the grid on the snare drum with 8th notes or triplets, alternating sticking, playing the fill notes as taps or double strokes, or multiple bounce strokes.
“When I was 15, I spent a month working on an archeological dig. I was talking to one of the archeologists one day during our lunch break and he asked those kinds of “getting to know you” questions you ask young people: Do you play sports? What’s your favorite subject? And I told him, no I don’t play any sports. I do theater, I’m in choir, I play the violin and piano, I used to take art classes.
And he went WOW. That’s amazing! And I said, “Oh no, but I’m not any good at ANY of them.”
And he said something then that I will never forget and which absolutely blew my mind because no one had ever said anything like it to me before:
“I don’t think being good at things is the point of doing them. I think you've got all these wonderful experiences with different skills, and that all teaches you things and makes you an interesting person, no matter how well you do them.”
And that honestly changed my life. Because I went from a failure, someone who hadn’t been talented enough at anything to excel, to someone who did things because I enjoyed them. I had been raised in such an achievement-oriented environment, so inundated with the myth of Talent, that I thought it was only worth doing things if you could “Win” at them.”
— Kurt Vonnegut
Thanks to my former student Karen for sharing this.
File this in the same category as the recent “extended shuffle” stickings page— it's a unified set of patterns based on a simple idea, organized to make them easy to improvise with. They're not new patterns, but we haven't seen them collected as a single idea before.
These are right hand-accented, alternating stickings ending with a RRLL— or a RRL with the odd-numbered patterns. Get a feel for the premise by playing the first pattern on the first five lines— they all lean heavily on the strong beats. The last three patterns are really just inversions of the extended shuffle patterns, but I've included them so you can play them as an extension of this basic idea.
Practice tips:
Play them as 8th notes, 16th notes, or triplets in any time signature.
They are for soloing, for playing texturally, or for playing an ECM-type feel.
It's easy to play them fast, but they're meant for all tempos.
Play the hands on different instruments/sounds, and improvise moving them around the drums.
Play with the RH on a cymbal, with the bass drum in unison.
Add/vary accents with the left hand.
Try other stickings with the same accents, as in my harmonic coordination method. Best to start with straight alternating, and single-handed.
For my jazz students, here is a list of much loved, mainstream, historically important recordings to listen to in your first few years of learning.
I'm also in the process of updating the practice loop labels, to group them by genre or interest. So here is a link for all my loops, and a link for just the jazz loops.
Miles Davis Round About Midnight - Philly Joe Jones The New Miles Davis Quintet - Philly Joe Jones Workin' / Steamin' /Cookin' / Relaxin' - Philly Joe Jones Milestones - Philly Joe Jones Kind of Blue - Jimmy Cobb Bags' Groove - Kenny Clarke Walkin' - Kenny Clarke
Thelonious Monk Trio - Max Roach, Art Blakey Monk's Dream - Frankie Dunlop It's Monk's Time - Ben Riley Criss Cross - Frankie Dunlop Misterioso - Roy Haynes
Sonny Rollins Saxophone Colossus - Max Roach Freedom Suite - Max Roach Newk's Time - Philly Joe Jones
Another page working on normal jazz drumset vocabulary using Three Camps— we're sort of inverting the basic version, except I've taken a few liberties with it to make a normal Elvin-like texture out of it.
I really like this whole method, and I think it is really worth your while to learn it, figuring out all the correct form for each version. It's easy when you do it. It's really good for people who like clearly-defined lesson assignments, or for undisciplined people like me who tend to drift into creative practice rather than practice things thoroughly.
This question was asked on a drumming forum: “What makes a great ride cymbal?” I answered it for jazz cymbals specifically, because that's what interests me, and that's the music where the ride cymbal is most important:
Basics 20, 21, 22" are normal, full-voiced ride cymbals. 18, 19, 24" are semi-normal, but a little more limited— 18/19 are simpler, 24 is grandiose. Not every situation calls for the Gustav Mahler of ride cymbals.
<18" ride cymbals are specialty items; >24"... seek help.
Function A jazz cymbal should be multi purpose. It needs to handle well and sound great when riding, crashing, playing accents with the shoulder of the stick, and playing the bell.
Playability It should be well suited to your touch, so you can play in a way that is comfortable to you, and have it be the right volume— not louder or softer than you intend. It should be controllable and sound good played soft or loud, through the usual range of styles/settings you play. It should sound good with a variety of normal sticks for the music— it shouldn't demand special sticks.
Sound It should have a fairly complex sound— sought-after sounds are either warm/dark (a la K Zildjian) or bright/airy/musical (a la Paiste 602), or moderately bright/complex (a la pre-1960s A. Zildjian). The ride cymbal is your main voice, so it shouldn't be overly ear-catching or unusual by itself— just like any other normal instrument, an acoustic bass, piano, tenor sax. For their main voice, musicians typically seek sounds that are classically excellent. It's an instrument, not the main show by itself.
Inspiration It should make you want to play it. It shouldn't be annoying, or cause you to flinch because it did something you didn't expect. It should sound like a record that defined a great cymbal sound for you. You could sacrifice playability a bit if it leads you to play more thoughtfully, without being a distraction.
“Left side” ride cymbal The second ride cymbal is usually about forming an ensemble, complementing the main cymbal. You can make moderate compromises on the above criteria. Most often the second ride will be in the area of a crash/ride— a little lighter and airier than you might use for your main cymbal. It should contrast the main ride, and have a nice melodic interval with it. Usually smaller and lighter, sometimes heavier, it could also be a brighter or darker sound, too. Possibly with rivets, if the main cymbal doesn't have them.
Head over to my cymbal site, Cymbalistic, to check out some examples of cymbals that embody these qualities— including the blog, which has some posts looking at classic cymbal sounds for jazz.
Well, that was the longest week of my life. I'm still recovering, and after I've recovered I probably won't want to write about this. I hope everyone is celebrating the electoral defeat of the most destructive, abusive, fascistic, anti-American president the United States has seen in modern times, possibly ever. And I hope everyone has been radicalized by this experience to vote in every election, and vote effectively to deny power to the party that foisted him upon us, and enabled and exploited his abuses.
By effectively I mean voting for opponents who can win, which usually means Democratic Party candidates. I understand the attraction of voting for third party candidates who may be closer to your views, but if it is 100% impossible that they will be elected, what are you accomplishing? Unfortunately voting in the USA often means voting to mitigate harm. As more states adopt ranked-choice voting, it will be more realistic to promote very progressive candidates without sacrificing the one piece of political power you truly have.
Electoral wins have been happening on some very tight margins in recent years. The 2016 election was decided by less than 100,000 voters in three states— a population of 29 million people. If a few more people had turned out and/or voted effectively, we would have been spared this four year nightmare, and there would not be a hard core right wing lock on the Supreme Court— who are shameless and aggressive enough to not only block all future progressive legislation, but also dismantle what we have. And we would not have ~300,000 dead people, and hundreds of thousands more who are guaranteed to die because COVID-19 was allowed to get out of control. Go through the list of egregious acts by the current administration. Child abuse as official United States policy, separating refugee families.
We just dodged a very dire situation— people like Donald Trump destroy nations— but all the people who enabled him and supported him are still around, still trying to do all the same things. I hope everyone is radicalized to never forget, and show up and vote in all future elections.
A thing we do here is to rewrite/re-organize existing materials to make them better for practicing certain things. I hate hunting around the page while I practice, flipping pages, dodging things that are no good for what I'm practicing.
Playing with a loop from a Meters song, I played some Stick Control combinations on the drumset to make a funk texture— I combined all the four-note patterns starting with an R with all of the four note patterns starting with an L. So beat 1 was an R, beat 3 was an L.
You could just memorize the first thirteen patterns from Stone and figure out the combinations in your head while you play, as I did— or I can write them out so I have something to post on the blog, and maybe a few people will actually do it. Some of these combinations are already in the book, others are not. There are two pages, the first is most useful.
Play this in 2/2, with the Rs as cymbal + bass drum, Ls as snare drum— with the appropriate hand. I put an accent on the cut time beat 2; or beat 3 if you're counting in 4/4... look, do this:
I played quarter notes on the hihat with my foot, and played the unaccented snare drum notes pretty strongly— I wasn't ghosting them. It's an ordinary orchestration we do with Syncopation all the time, but it's hard to do this exact thing without using Stick Control-type patterns.
It's similar to what Zigaboo Modeliste does at times, de-emphasizing the cymbal rhythm. And it's a lesson in a certain un-intricate concept of funk. I like unintricacy in funk. We're playing an 8th note grid, but it's a grid of interlocking parts, which creates a strong groove. To me, groove-wise, plain 8th notes played on a single sound is a weak structure; interlocking parts is a strong structure. You may not play this way all the time, but it sets you up to move some different directions— especially if you're used to playing funk with a repeating cymbal rhythm, or a linear cymbal rhythm.
UPDATE: Feedback from the buyer of the cymbal: “I think perhaps I've never owned a nice sounding cymbal before b/c all my current cymbals sound like garbage compared to the Hassan.”
Please forgive the light posting— I think we're all a little frazzled waiting on this election to finally be over, and some balance of sanity restored. So, just a couple of items here:
Congratulations to Casey in Illinois, who just bought an excellent 22" Cymbal & Gong Holy Grail Jazz Ride, “Hassan”— a particularly clean and pretty sounding K-type cymbal. Another cymbal you could play your whole life.
I've been reading a book recommended by Casey, which every teacher and serious student should read: Peak, by Anders Ericsson and Robert Pool. Apparently they are the researchers that Malcolm Gladwell relied on to make up his 10,000 hour nonsense. This book is about high performance, and how to achieve it. The message is that you can achieve remarkable feats of performance with the right kind of focused practice. Talent is practiced and acquired, basically.
The first example they use is a study they did on memorizing numbers. Previous studies showed that people generally can hold a series of eight or nine numbers, and no more, in their short term memory. Ericsson and Pool's study participants were able to recall strings of 80-100 numbers with a certain kind of focused practice. They give similar examples in sports and music, and obviously the methods the book describes are very powerful.
You probably know by now that I'm not enamored with feats of amazingness in music— but we should know what are effective practice methods, regardless of our performance goals.
The thing to remember is that high performance does not equal high artistry. Without something to say, high performance chops are totally meaningless. What you have to say still comes from loving music, listening to it, and playing it— from being a committed, enthusiastic music centered human being. Anyone can be that, but it can't be acquired like learning faster paradiddles.
The other thing to remember is that you need to know what to practice. Novice drummers often have strange ideas about what they need to practice to learn to play. Applying these methods people like that are destined to become like the guy who became a champion Donkey Kong player— freakish masters of something utterly useless. See the “World's Fastest Drummer” competition, if that's still going.
So, it would be easy to read this book and be evangelized into just thinking in its terms, where improvement = statistical performance gains, but the inherently messy process of becoming a player really can't be avoided by just practicing more and better. You still have to go and play in situations where you don't know what you're going to do, you still have to have favorite records that you wear out from repeated listening, you still have to learn human interaction with other performers via the live playing of music. You have to have a visceral emotional idea of what you want to say. Hopefully this book encourages us to do more uncomfortable practicing, to help us get over the technical considerations faster, so we can get directly to making music.
