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Yepper Dazzler!
Serving and making music... That's what it's all about. That's what I strive for as well.
Although, nothing wrong with having fun practicing the flashy stuff too if that's what you're into, it may be used within its proper context (as in clinics). There is a time for everything... It can also be a nice personal challenge. Should it be used inproperly though, you just won't get calls.
Currently working on various odd meter stickings on my feet, while playing backbeats in four or within the odd phrasing. Also playing fill ins for the doubles on my feet.
Working on various clave rhythms on my left foot and practicing three way independance against it, RLfoot etc... And playing triplet rates against them as well.
As far as books go, Marco's book is the best book out there for getting the independance thing.
Our expression of creativity is very short-sided when we do not have the physical skills to play in challenging musical situations. I read some comments that seem to be taking a shot at people having and pursuing having great physical capabilities. I have never met or heard a drummer ie: a chambers or weckl or hernandez
and on and on who has ever said that it is not important to push and push your physical abilities to a new level because it enables you too express yourself freely in what ever manner and musical situation that you desire(not just clinics I might add)I can think of dozens of GREAT drummers who all continue to practice hard to be able to continue to change and adapt they do not sit on their laurels and say oh that is good enough for me. In fact the whole area of time and feel and taste are much more mental and emotional issues than physical and if you ask many guys these elements come through repetition of playing and are somewhat inherent. The physical stuff as I just heard Weckl state,takes working your butt off it does not come by wishing it. I listen to and admire Colaiuta and phillips and weckl and Bozzio and Donati and Lang and Minneman and smith and hernandez because they are ground breakers and can play with different guys in different situations and continue to want to grow and they no it takes more than feel and time to do what they do of course,and they have I am sure had to practice independence exercises and speed also to accomplish what they have.
Digital
Good points Digital,
You're right, not only in Clinics... Like in a Planet X type gig is another example.
I know you'll agree that there are other dimensions of drumming. Dazzler didn't say that one should not practice hard. I think he was simply pointing to other aspects that must be worked on as much, if not more.
It is also fair to say that, with only 24 hours in a day, one must make a choice as to what he'll concentrate on when practicing. You spend too much time in one dimension, you have less time to work on the rest. Balance between ALL dimensions should be emphasised.
Won't mention his name but I have had interesting conversations with a keyboard player that has played many times with Vinnie, Dennis Chambers etc. What really floors him in a drummer is his spontenious musical interaction. How the drummer listens, holds back and talks back musically. Those ideas won't necessary be technically demanding, but musically delighting.
Did Jeff Porcaro work less hard because he had less chops and tricks? He worked hard on other things and some have rightfully called him "the drummer with the golden grooves"... LOL!!!
I am not saying that you're not aware of all that either, I am simply commenting.
Peace,
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I agree with you Beat Hit, I guess there needs to be a greater clarifying of points, because all aspects of drumming are all neccesary if we want to be multi-dimensional. If you do not have very good technique and fairly killer chops you will not play with the majority of major jazz and fusion players out there that is my main point. Of course feel and time and taste are very important but they are not an island unto themselves. In fact it takes much more physical labor to develop excellent technique and ORIGINAL chops than to have good time and feel many great players have said so, that is why feel and time to a degree are internal qualities. As Weckl said you HAVE to practice hard to develop the facility so you can get to the point where playing in a challenging setting becomes second nature. And Jeff porcaro and others had their niche and they excelled in it but Jeff was not a major player in the jazz-fusion realm could he have, maybe. And if you ask many guys Porcaro and Vega had an inert quality that did not come through practicing feel over and over much of it was natural they could sit down and nail it. IMO the best way to develop good time and feel and develop dynamics is through repetition of gigging(my experience in college anyways) not practicing. Vinnie is wonderful because he has an inert sense of taste when playing which is why he is so musical BUT if he did not have great technique and killer chops and had not practiced hard to develop those qualities he would not be able to pull off what his twisted(genius) mind thinks of at the time. This can be said of other players also.
Again good points Beat Hit I agree with much of what you said and it sounds like you live in somewhat of the same reality I do, having a couple kids and still finding time to practice and play like you want to. Good Luck Man. But nothing compares to having a great family. My kids are better than music anyday, would not of said that in college years ago, had to learn a few things.
Regards Digital [img]biggrin.gif[/img]
Practicing independence exercises and building speed doesn't mean you can't play well with the music, either. As I've always said, you can't decorate a house without having a proper foundation and solid structure to begin with.
It's very important to keep a balance. Sure, Johnny Rabb has amazing technique that enables him (and Adam Dietch) to accurately emulate a drum machine for D & B rhythms. Dennis, Vinnie, Dave and company can kill you with chops, Elvin can swing rings around you... but the music should always be king.
I don't worry about reaching the drummer in the crowd, frankly. I've been bored by Mike Stern and floored by Jason Finn because of the emotional connection. I admire musicians who serve the music first.
This being said, technique servesthe servant. Bonham was one of the only drummers of his day who had true command of his feet. Tony Williams killed on all his shit. And Elvin,is loose and a master. Bottom line, you can't play, you can't say.
The idea is all. You must have the vocabulary to speak your heart.
Yes Josh, but Virgil does not have enough mouths to sing his drum parts! lol
There are drummers like Richie Hayward, John Molo and many others who just have this unexplainable fire and intensity to their grooves. I saw Fred Coury with Cinderella, who by the way are excellent live, and he had that sound. It's basically the sound of drummer who is tight and very conifidant in what they play. But I also think it's a power to summon the rhythm gods.
Just got Weckl's Practicing & Technique videos, as well as Garibaldi's video. Dave is so smooth it's ridiculous. So inspiring to see and witness.
I love the funk stuff--the pop/rock groove with that extra flare. I pick & choose from the videos for inspiration and create my own exercises. Funk has an impact that is intense for me...so I lean towards that expression. Yet, I love a loose feel. What's great about getting to a point of confidence it incorporating your own set of dynamics. I guess that is art!
Hey Flam, do not know if you have seen the TUDW video from Australia, the one with Virg and Weckl. Speaking of exercises to work on, Virgil gives some exercises of layered grooves as he calls them. They are very complex but yet they groove and are very musical "what do you know"!
These patterns can be applied in band situations it just takes a little more effort than usual and of course in a solo context.
One such exercise is using rudiments in tandem playing them in unorthodox ways. He plays a double parradiddle using his left foot and left hand and plays at the same time a single parradiddle using his right hand on two different floor toms and his right foot on bass.
Then he inverts the parradiddles on both sides to give it a different sound then swithches the double to the right and the single to the left.
These patterns create very complex yet grooving and uniquely musical sounds. And of course it greatly develops your dexterity and fluidity in playing more challenging parts. I am working my way up to these starting with simpler patterns( it will be awhile for sure before I get to those more whacked patterns!) but I love the different dimensions(sounds) they bring to the drumset. This is what I love about guys like Virg and a few others they not only have great physical abilities but they have great imaginations, their minds are always searching out something new and fresh sounding, which we need in drumming.
Digital