What U All Workin On?

My awesome wife belatedly picked up the new MD 'Steve Smith/Superchops/Technique' issue.Fantastic job this month from the mag.Just wonderin in lieu of this issue,what are u all workin on in yer drumming at the moment?Are u workin on band material,workin yer hands?,workin a specific section of a book?,tryin a new lick out?refining concepts?,lookin for new setup ideas,workin kick patterns,working on a new style?Just curious where everyone is at in their present day drumset studies.............................beats.

All of the above. I have a rigorous practice routine that I work on throughout the entire day, and I concentrate on the kit for a good 4+ hours a day (sometimes up to 8-10 on the weekends). I work rudiments and hybrids with both hands and feet through the day at work, I work independence exercises, jazz, latin, african, fills, interdependence, speed, dexterity, double bass. I basically work on everything that I could possibly use throughout the week, and I split it up between a few days and rotate that pattern. Lotta work, but a lot of pay-off.

With my classical percussion studies here at school, I've had so little time to practice actual kit stuff. I do, however, attempt to work my hands every day. It sounds obvious, but doing all the classical snare stuff really helps your set playing. In fact, Timp and Marimba really help too. As far as hand development, I've lately been doing exercises involving moving between singles, doubles, and multiples. I'm experiencing frustration particularly in the left hand trad grip, moving from singles to multiple bounces. It's so hard to keep the stick moving in a straight arc. I find that the grip sorta goes to shit. Has anyone had any experience with this? As far as the little time I have for kit practice, I'm getting into chart interpretation for all sorts of situations. I gotta work someday! Transcribing big band figures and set-ups is something I'm getting into. I also enjoy coming up with independence exercises (jazz-wise) from Stick Control. Definitely though, I'm freakin' obsessed with my hands. I simply refuse to play with ugly technique, as ridiculous as that sounds.

Aww ya Manos,i hear you on the hard work-great payoff feeling.I posted awhile ago my practice routine when i had a rehearsal space of my own.It was very rigoruous,but man did i ever see great results,some results subtle,some obvious.Lately, because ive had to move from that space,and have not found an affordable lockout space(my kits are at my friends space,where i play in his band),my routine has been cut in half,AND ITS KILLING ME!!LOL!My developement on some of the things ive been working on has been slow to work on.So at home ive been working ALOT with my hands.Ive got cymbal silencers so ive also been workin my jazz-ride-pulse alot.But cuz of my restricted time at the kit,i am just getting my hands better....................................thx for the response...anyone else?............beats..............

Hey Nikk,its too bad we cant see yer hands to help out with grip maintenence.I have some ideas/theories about why yer stick is not moving the way u want it to.But i need to find out some info.What dynamic,tempo level is the stick crapping out at,at which stick height are u executing the stroke.Is the 'multiple'bounces u speak of doubles,or triplets,or buzz rolls.Do you play classical snare w. trad. grip?What sticks do you use?How big/small are yer hands? If u could elaborate in finer detail whats happening, i think some things to think about can be posted for you..................beats.

I got that new MD issue..Currently I'm working out the excersises ....As for current books, I'm studying out of Zoro's book ,The Afro-Cuban rhythms for drumset, and Chester's New Breed..

Nice one beats!

Well, since I don't play drums for a living, I don't have the time I need.

I do Stick Control stuff on the carpet as I keep watch over my kids whenever they play around. On the kit, I strive to keep healthy whatever I already know, attempting to make the groove/pocket feel good. Working on my own ideas, with metronome. I also use Kim Plainfield's method, as in working on his Latin stuff, tom-tom exercices etc... I use his ideas and build on them, making it my own.

I also listen to a lot, I mean A L-O-T of music...

And yes, I do find myself in the need of a good drum lesson... [img]wink.gif[/img]

Beats et al...

here're as many attributes to my left hand technique as I can conjure...
I've lately made the adjustment of keeping my index finger alongside and curled atop the stick at all times. In addition, I'm trying to never let the thumb leave the index finger. My hope is that the stick will move sraighter in doing all this. It's helped a bit I think. Nonetheless, I can't seem to achieve in the left hand trad grip the supple, refined bounces produced by my right hand. I used to be of the belief that the very tip of the index finger had to always be on the stick (my thinking was that the tip of the finger was the bounciest.) By the way, when I say bounces, I'm speaking of multiples like three or four, ala the concert roll. I have big hands, I'm using either Vic Firth SD1s or Graham Johns' signature concert model from Cooperman. Any suggestions would rule..

im currently practicing to Billy Asbaugh's "In The Way" and Bozzio's "Rhythm of Hell"

"In The Way" is a 16th note groove w/ 32nd note fills and a nice jazzy/prog feel.

"Rhythm of Hell" tests my speed a bit but with single strokes

I'm working on LISTENING to the musicians that I'm playing with and am constantly sorting out my TIME, FEEL and MUSICIANSHIP. Playing ridiculously fast single strokes with my hands and 5's and 7's with my feet whilst playing 3's in one hand and balancing a tray of drinks with the other doesn't interest me in the slightest. I don't and will NEVER get booked based on how fast my chops are or what 'interdependance' (or whatever the latest terminology is) I can do. I WILL however get booked if I can make the musicians I am playing with feel comfortable and if my ideas are CREATIVE and MUSICAL rather than excersices out of a book that I have meticulously practiced in my bedroom that I am playing, simply because I havr worked on them and can execute them.