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  • It's 2014... what are you working on?

    I'm currently learning a bunch of `80s, 90s, and 00s pop tunes for a new cover band I'll be playing with this year. A big part of it is "adding some muscle" to these tunes, and I've been requested for a few drum pyrotechnics, so it looks like I'm heading back into the bag of tricks!

    I also started working on some weird half-time shuffle pieces that are a mind-$#%& and a lot of fun.

    How `bout you guys? What's on the docket currently?

    Music, music, I hear music

  • #2
    i just wanna put xmas away soze i can set up my kit again. living room just isn't the same without it.

    also working on making my peener bigger. need a stronger vacuum.
    i miss you, mark
    r.i.p. rudy

    Comment


    • #3

      Still the 3S es. Working doubles in as I get more calibrated with the caveman grip. Also trying to articulate more efficiently.

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      • Gremson
        Gremson commented
        Editing a comment

        With the turn of the year, I'm going to more actively search for a band to play drums with.

        Playing bass with commonly courteous is great, and recording my own music has been an aspiration for years, but nothing feels as good as playing drums with a live band. I've had my focus on a few different instruments over my career as a musician, but drumming is the one that really makes me feel something... moist and throbbing, you know?

        I've got an audition with a hard rock band this Sunday, and hopefully an audition with an R&B/funk band next week. Wish me luck!


    • #4

      The section of this video im working on is 0:00 to 3:20 ish

      I've actually been practicing this for some time and Im 80% there.  This year Im just going to get it down.  The trick for me was starting with my left hand...now its learning the different permutations and combinations.  You can start with 1, 3 or 5 on the snare and/or 1. 3 and 5 on the last tom and any combination after that...so there is a lot there to get in the muscle memory.  Great for getting around the kit smoothly.  Virgil Donati does this kind of thing all the time as well.  When will I use it?  maybe just at the flurry at the end of a song...haha but I dont care, I want to get it down 100%

      ___________________________________________
      Don't believe anything you hear and half of what you read.

      "My approach to odd times is no different from anyone else who can play it. I just sub-divide it in to groups of two and three based on what I heard other people do in the past"....... someone from the crowd yells: Do it !!! .........."Ok, I'll do it!"

      Yeah, I let, I let them go out front and pranch around a bit, while I provide the forward thrust .... " - Stewart Copeland

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      • 1001gear
        1001gear commented
        Editing a comment

        Single strokes are what drumming is made of. Fast or slow, smooth and steady is the rule. Requisite to passing your intermediate levels no matter how good you think you are.


    • #5

           For 2014 I'll continue my singing lessons. After 3 years of hard work I can now play and sing several hundred tunes, and that's not easy, as you drummers well know.
            Also, I'll continue to refine and develop my double bass technique, which I began to study years ago, but which seems to take forever. I guess it's the beautiful fact that double bass opens up a gazillion new permutations of rhythm and beat construction, like learning to play all over again. I have no love of Metal, forgive me all you head bangers out there, so it's definitely not the bam bam bam stuff you might think. But the DB really can put a drummer on a whole new level of playing, with subtlety and finesse being my forte. It allows doublets and triplets to flow effortlessly, and one must take care not to overdo it. But the real draw is creativity. I can now do things on DB I never would have thought possible before. The imagination is the limit, and mine has none! 
           Finally, it's time to get the latest band project out of the box. I'm working with the most talented bandleader EVER now! We need a bass player (who doesn't?) to round out the lineup, and Dallas will be astounded. We're doing some great originals that can't be defined, and I like that. No particular genre. Our sound is so full, even without a bass, thanks to my DB work, that we could go live with only the two instruments. Fantastic keyboard/guitar genius: Kudos to Chip C!

      Comment


      • 1001gear
        1001gear commented
        Editing a comment

        Neonguy1 wrote:

             For 2014 I'll continue my singing lessons. After 3 years of hard work I can now play and sing several hundred tunes, and that's not easy, as you drummers well know.
              Also, I'll continue to refine and develop my double bass technique, which I began to study years ago, but which seems to take forever. I guess it's the beautiful fact that double bass opens up a gazillion new permutations of rhythm and beat construction, like learning to play all over again. I have no love of Metal, forgive me all you head bangers out there, so it's definitely not the bam bam bam stuff you might think. But the DB really can put a drummer on a whole new level of playing, with subtlety and finesse being my forte. It allows doublets and triplets to flow effortlessly, and one must take care not to overdo it. But the real draw is creativity. I can now do things on DB I never would have thought possible before. The imagination is the limit, and mine has none! 
             Finally, it's time to get the latest band project out of the box. I'm working with the most talented bandleader EVER now! We need a bass player (who doesn't?) to round out the lineup, and Dallas will be astounded. We're doing some great originals that can't be defined, and I like that. No particular genre. Our sound is so full, even without a bass, thanks to my DB work, that we could go live with only the two instruments. Fantastic keyboard/guitar genius: Kudos to Chip C!


        Yeah right.


    • #6
      I have been working on linear beats a la David Garibaldi and Zigaboo Modeliste. I like the challenge of deconstructing my playing and exploring different sticking than I have been used to.

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      • #7
        Heck yeah FitchFY, if you find yourself in The OC, look me up!

        Comment


        • #8
          I went back to tom-oriented grooves and realized my bag of tricks was kind of sparse, so I'm trying to come up with some creative tom patterns lately. Which, as a drummer, is like stupid good fun.
          Music, music, I hear music

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          • #9
            Try arpeggios. One note per drum - Don Brewer triplets FI except continue onto quartlets, quints, seps etc. You'll find also that one note per drum makes it easy to separate the voices into quasi layers; a very cool trick.
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            • #10
              Originally posted by 1001gear View Post
              Try arpeggios. One note per drum - Don Brewer triplets FI except continue onto quartlets, quints, seps etc. You'll find also that one note per drum makes it easy to separate the voices into quasi layers; a very cool trick.

              Oddly, that's what I have to get away from. I'm such a fan of linear playing that most of my tom patterns follow some semblance of that, and I'm looking to include more combined stickings so I can better push accents and different feels. And, of course, be mindful of that right foot o' mine!
              Music, music, I hear music

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              • #11
                Fair enough. Not that odd either. If you're well into linear figures so much the better. The trick like I mentioned is not to simply stream the figure, although that can have a certain coolness in the raw. Good linear figures aren't just sequnces of drum/cymbal changes. They are interleaved matrices of rhythm. Playing them as such requires finding ways to group the different timbres into their own space; their own voice in the choir. This can be done by something Barorque players named terraced dynamics..Fancy term that entails simply keeping separate voices in their own dynamic space. Ie. kick at one level, snare at another, hats another etc. etc.. Doing so can reveal how the individual voices connect to themselves instead of the next interleaved voice. That's just the beginning. Articulating the hands and/or parts separately can further strengthen the illusion of complex coordination and musical interaction. Ultimately dynamics and articulation can be varied and even juggled to accommodate the desired feel. Now you're flyin' !
                Counterpoint, polyrhythms, all for the highliting of what's already in there It's another magnitude in performance values, hence the lecture. lol.
                Last edited by 1001gear; 03-14-2014, 10:16 AM.
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