Thursday, October 23, 2014

Florian Alexandru-Zorn brush technique

Hey there,
As well as my double pedal adventures, I've been working on this brush technique from Florian Alexandru-Zorn. What basically happens that's new to me is that we accent on the sweep up the drum (when the brushes are moving away from usas well as when the brushes are moving toward us. It's a little awkward for me, especially in the left hand, but it's slowly improving. Anyway, check it out and see what you think.

Wednesday, October 22, 2014

Couple of recent videos

The title says it all. This is a performance of my composition "Monksonic" filmed at a recent gig in Kingston with John Geggie's new band "Six Friends".

Tuesday, October 21, 2014

Muting the Bass Drum with Double Pedal

Hey folks!
I recently acquired a double pedal for my bass drum after many years without one.
As well as practicing single strokes between the feet (yes I know it's a serious cliche, but it's the most logical place to start ) I found that if I did the "normal" things with my left foot as if I was playing hi-hat I could mute the bass drum. In other words, if I keep the left foot pedal resting against the head I can mute and raise the pitch of the bass drum, which creates some interesting possibilities.......

Try this foot pattern with any bossa or samba beat. (Note: I've written the left side pedal on the hi-hat space.)

In the second example, which also works well with Brazilian style beats, the left foot is muting on beats 1 and 2, resulting in a quasi-surdo feel. Remember not to flam beat 1.
(Although you should work on foot flams as well.)                            

Example 3 is the same as example 1 except now we're swinging the 8th notes. I once heard Steve Gadd play this underneath a shuffle (during a shout section with a big band no less!)


Finally, example 4isusing quarter note triplets in the same shuffle setting.              Have Fun!

Friday, May 9, 2014

Pete LaRoca brush pattern

Hey all, here's a right hand brush pattern I stole from Pete LaRoca. The lines represent brush sweeps from side to side (I prefer moving to the left first) and the dots are regular taps. You can play this with any left hand comping with cross stick. I found it a bit challenging at first coordination-wise but it's a nice groove that works at a lot of tempos. Plus it has us incorporating different motions into our right hand repertoire, which aids flexibility. Have fun!

Thursday, May 8, 2014

Two Brush Patterns

Just 2 brush patterns today. You'll have to figure them out between the description and diagrams only. I'm unable to film the examples right now, even in my lowly phone book form, because my house is being renovated and I'm up to me ears in (Barney) rubble!

Both patterns use the concept of the left hand moving back and forth in basically a straight line. In Philly In 3 , the left hand is doing this in a triplet rhythm. The pattern is basically Philly Joe Jones' Trill, but in 3/4. This creates an extra wrinkle because the left hand keeps switching which side of the drum it's on. In other words, if you start the triplet sweep moving towards you on beat 1, in the next bar on the downbeat the left hand will be moving away from you. This will take a little getting used to, but with a little practice you'll have a nice flow of triplets in the sweep.

Also I should mention that all the right hand does is taps out a standard 3/4 ride pattern.

In the second example, you're going to be doing the same motion with your left hand, but it's now not going to be in any particular rhythmic grouping. Think of the left hand in this case as "vibrato" rather than timekeeping. You can experiment with how fast or slow the left hand moves as well. The right hand will keep the time with the one big half note circle it makes.

I hope you enjoy working on these patterns and I promise I'll post again soon.

Wednesday, November 13, 2013

Short Post

I ran across this the other day. This is a trio performance with Brad Turner and Mike Downes. We're playing the standard "Golden Earrings".

Tuesday, November 12, 2013

Introducing your children to the band

.....And by children, in this case I mean your compositions.
Drummers often get intimidated presenting tunes to a band so I thought I'd share a few thoughts to help make it go smoothly.

1) Pick your opportunities carefully:
If you're a sideman, there might not be that many chances to get your originals played.
If it's a cooperative band and you're asked to submit tunes, by all means. Don't, however, thrust your compositions on a band where they might not fit, or you would be seen as being overly pushy.

2) Have a way of communicating your tune to the others:
You either have to be able to play your compositions on piano/guitar or write out a chart for the band to read off of. I don't have enough piano chops to play both melodies and chords at the same time, so I usually write out a "lead sheet" with the necessary information on it. (I'll post an example of one of my lead sheets at the end.)

3) Learn everything about harmony you can.
Writing tunes is a chance for us to use all the information we've learned in theory classes etc. Pay attention and you'll be more likely to write something people can solo on ( in the case of Jazz compositions).

4) Go over the tunes before the rehearsal with someone you trust
In the early stages of my writing, I would often get together with the great bassist Mike Downes to get his take on my tunes. He would suggest ways of writing the chords so they would be easier to solo over, calligraphy problems etc. This helped me avoid a lot of confusion when I presented songs to the whole band. ...and with that in mind.....

5) Accept criticism with grace
If someone in the band suggests "this needs a bridge", or "this part of the progression doesn't make sense" or " this sounds A LOT like a Lady Gaga tune", they are trying to help you. You their advice (if you agree with it) to make your tunes better.

6) Make your written parts look as good as you can
A piano player I worked with years ago told me something to the effect that the better the music looks on paper (clear, isn't sloopy etc.) the more the players will treat it like important music and play their best. I think we've all experienced trying to read badly written music and how difficult it is to play it well, especially the first few times through.

and finally...

7) If you want to play a lot of your own music, it's time to be a bandleader
This way, if someone really doesn't like your tunes, they don't have to be in your band!

As promised here's a lead sheet and audio example of one of my tunes.

Drummers offer a lot in compositional terms. Their rhythmic acumen, their sensitivity to feels, tempo, and mood all can lead to excellent variety in the writing department. Now let's all get writing!