tag:blogger.com,1999:blog-43946214539030267742024-03-17T20:02:30.513-07:00Trap'd :: Ted Warren :: Drums :: Music :: PizzaTed Warren's ruminations on teaching, playing, writing, and listening. And also pizza.Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.comBlogger738125tag:blogger.com,1999:blog-4394621453903026774.post-58987348099656252152024-02-05T13:52:00.000-08:002024-02-05T13:52:43.585-08:00Teaser/FreebeeHey folks,
I'm still promoting my <a href="patreon.com/drumjoy" target="_blank">Patreon</a> page . Let's face it. It's a material world, and without material, I'm streaking! So, here's a recent tidbit. I'm playing a sort of Faux rhumba beat derived from Pg. 20 of Steve Gadd's book. If you want help turing rudimental ideas into beats and so much more, for only $5 a month you can have all my stuff!
<div class="separator" style="clear: both; text-align: center;"><iframe class="BLOG_video_class" allowfullscreen="" youtube-src-id="HZAHlZaBpIA" width="320" height="266" src="https://www.youtube.com/embed/HZAHlZaBpIA"></iframe></div>
So come and join me on my <a href="patreon.com/drumjoy" target="_blank">Patreon</a> page so I can afford cymbals! Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-33569610282191927932024-01-04T05:31:00.000-08:002024-01-04T05:31:06.873-08:00Ted Warren, not dead or in witness protectionHi Folks,
Believe me, I haven't stopped writing. Far from it, in fact.
For a measly $5 a month you can get all my latest posts as well as some classics from the old days.
Go to <a href="https://www.patreon.com/posts/gift-my-printer-93819688" target="_blank" rel="nofollow">Patreon.com</a> and find out I haven't become Howard Hughes (especially the money part!) Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-4715110896394324472023-08-14T18:06:00.000-07:002023-08-14T18:06:10.776-07:00Lessons! Lessons! Lessons!Just letting everyone know that I'm available for online and in person drum lessons! Full details are available on my <a href="https://www.drumjoywithted.com" target="_blank" rel="nofollow">website</a> Or if that doesn't suit your schedule or budget, follow me on <a href="patreon.com/drumjoy" target="_blank" rel="nofollow">Patreon </a> for only $5 a month! Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-28716740401625962192023-07-20T17:27:00.000-07:002023-07-20T17:27:03.108-07:00Ted's Warren Commission at the Uptown Waterloo Jazz festival Saturday July 21st<div class="separator" style="clear: both; text-align: center;"><iframe class="BLOG_video_class" allowfullscreen="" youtube-src-id="fTU7M0Rt46o" width="320" height="266" src="https://www.youtube.com/embed/fTU7M0Rt46o"></iframe></div>
We'll probably be playing this one when Ted's Warren Commission takes the stage at the 30th annual Uptown Waterloo Jazz Festival on Saturday July 21st at 6PM! It's free (meaning it doesn't cost anything. We are generally playing tempos, chord changes and predetermined forms!) w/ Ted Quinlan , Mike Downes , and Allison AuTed Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-53550966055733031302023-06-11T11:53:00.003-07:002023-06-11T11:53:42.757-07:00Camera Pigeons at Jazz Bistro Tuesday June 13thCAMERA PIGEONS ARE RISING UP LIKE A PHOENIX!!!! (except they're pigeons……)
When: Tuesday June 13th. 8-10:30 PM
<a href="https://jazzbistro.ca/event/camera-pigeons/" target="_blank">https://jazzbistro.ca/event/camera-pigeons/</a>
Where: Jazz Bistro, 251 Victoria Street, Toronto, On
Who: Lauren Falls-Bass (the instrument, not the fish)
Michael Davidson- Vibes (and generally good ones!)
Kelsley Grant- Trombone ( He's from Winnipeg, so his playing is the coolest!)
Ted Warren- Traps (all kinds!)<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRHDWw286QbqBABJCgax6WD2MJurd_4l1m8p-1oSdxYoM6GChErlpB43eAiK9Lq2L9uXMIVOjzst1aesqsfS-u8eRyKCqJa2GJ2nb-awKppJT68P8-JSKLmIIxoKl-TsJ1wfQdroBn8671Q5xRaoNoxyijxA2uvyTbOHDQkavDgyKsQGmVUIXi2PRn/s275/Unknown.jpeg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="183" data-original-width="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRHDWw286QbqBABJCgax6WD2MJurd_4l1m8p-1oSdxYoM6GChErlpB43eAiK9Lq2L9uXMIVOjzst1aesqsfS-u8eRyKCqJa2GJ2nb-awKppJT68P8-JSKLmIIxoKl-TsJ1wfQdroBn8671Q5xRaoNoxyijxA2uvyTbOHDQkavDgyKsQGmVUIXi2PRn/s320/Unknown.jpeg"/></a></div>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-31274576535737651942023-05-29T02:14:00.001-07:002023-05-29T02:14:00.127-07:00More Swiss Army! <p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVHGb3GatBNtlE7jhgOkvMNIiLG-_WXGpANhHUF6ETdIrN3QqgM1uJE1yCSlIV64sn2ZMHz6oU4jq52pPZBAELAsINtoVFOuQWMlr9urkF9fuDMVma1T5OLnyzxsAGyASZgBNEMgq5ZnS8y7TrM7tLheQ3TDSNA4criFHIaI9W2Wbr17Yc0PeabVkz/s1066/Swiss-Army-Red-SwissChamp-Medium-Pocket-Knife-1_6795-X4.jpg.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1066" data-original-width="1009" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVHGb3GatBNtlE7jhgOkvMNIiLG-_WXGpANhHUF6ETdIrN3QqgM1uJE1yCSlIV64sn2ZMHz6oU4jq52pPZBAELAsINtoVFOuQWMlr9urkF9fuDMVma1T5OLnyzxsAGyASZgBNEMgq5ZnS8y7TrM7tLheQ3TDSNA4criFHIaI9W2Wbr17Yc0PeabVkz/s320/Swiss-Army-Red-SwissChamp-Medium-Pocket-Knife-1_6795-X4.jpg.webp" width="303" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"> You're in luck! I haven't figured how to post longer videos on my <a href="patreon.com/drumjoy" target="_blank">Patreon</a> yet, so it will be posted here as a freebie, for now.
Let's face it. The old lRRL sticking IS as useful as the knife in the pictire! ! </div><div class="separator" style="clear: both; text-align: center;">While experimenting in the practice room, I came up with 2 voicing around the toms utilizing this very adaptable rudiment. In the video I start with the feet playing a Bossa pattern, then play the RH Swiss Army Triplets in 8th notes. I then play the rudiment with the initial grace note on the snare with the left hand, the right hand starts on the floor tom and does a broken double to play the next note on the snare and finally the LH moves to play the last note on the small tom. In the second example the RH stays the same but the LH plays the grace note on the small tom and the last note on the snare. Have fun with it. Music is SUPPOSED to be fun! :) </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ZMqk8oJL6WU" width="320" youtube-src-id="ZMqk8oJL6WU"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/SuHR1ADX08c" width="320" youtube-src-id="SuHR1ADX08c"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Sorry about the ghostly low tom! </div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-85999008067424603742023-05-16T13:54:00.000-07:002023-05-16T13:54:06.429-07:00Patreon, Patreon, Patreon! A reminder to all that all new drumming/music info as well as archives from this page are available on my <a href="patreon.com/drumjoy" target="_blank">Patreon</a> page. Only $5 a month and you get to support me directly. First 30 subscribers get a free one-of-a-kind improvised drum solo, dedicated to YOU! :) Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-6646382406420914052023-05-03T02:19:00.017-07:002023-05-03T02:19:00.131-07:00Why I gave up all my endorsements<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4YRdk8U1_dtMgrUl7b7-xACoTZZhfmSZ9eu5UEyF_Uk31MbG2ZWfwZ_UfooBaSZAr91M_RK99S0bilFuska_BvIqDGfojGaoTmJS46ChHYH3SWZeT_tnr3iDi3gvwf00QUIJuSL4u5-8pVCu5J0nKGUOWSNdTANmjFBb1u9AbzxXreG5y5neYo9is/s275/Broken%20Contract.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="183" data-original-width="275" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4YRdk8U1_dtMgrUl7b7-xACoTZZhfmSZ9eu5UEyF_Uk31MbG2ZWfwZ_UfooBaSZAr91M_RK99S0bilFuska_BvIqDGfojGaoTmJS46ChHYH3SWZeT_tnr3iDi3gvwf00QUIJuSL4u5-8pVCu5J0nKGUOWSNdTANmjFBb1u9AbzxXreG5y5neYo9is/s1600/Broken%20Contract.jpeg" width="275" /></a></div><br /> <p></p><p><br /></p><p><b>A FEW THINGS BEFORE WE GET STARTED:</b></p><p>When I use a term like "all" don't want anyone to get the idea that stick/cymbal/drum/head companies have been beating down my door. Equipment companies have businesses to run (more on that later) and I reach a relatively small amount of people.</p><p>Even more importantly, my reasons for ending any exclusive relationships are mine and mine alone. I do not judge anyone else for what they're doing. Believe me, running my own life is difficult enough, let alone someone else's!</p><p><b>Part 1: Youthful dreams</b></p><p>When I first started playing, I would look at the pages of music magazines and see my heroes pictured with the sticks/heads/drums/cymbals of their choice and think, "That's what being a great musician is". I thought through talent and merit alone, these individuals earned their spot on the endorsee roster, and they had hot and cold running gear installed at their houses! So, my first motivation for getting an endorsement (besides the hot and cold running gear) was outside validation, especially because I wasn't getting any from within myself.</p><p><b>Part 2: The Way of the World</b></p><p>As I got a bit more experienced, I realized that artists rarely got gear for free, unless they were a megastar playing for thousands of people a night. Yet somehow, I thought that as a lone Canadian drummer playing mainly Jazz for a limited audience and teaching a handful of students, these companies should be giving me a key to their factories and an extra large shopping cart! This lead to some truly codependent behaviour around trying to get gear manufacturers to like me, and think that I was worthy. I went with one manufacturer purely because they pursued me (not a common occurrence, believe me) not because I was crazy about the gear, and certainly ended up regretting the decision. Later still, I started to realize that music companies are like any business, and that they are trying to make a profit and keep costs low. I don't reach enough people to make it worthwhile it invest much time or money in me, and I totally get that now.</p><p><b>Part 3: 10 cents a (drum) dance</b></p><p>I know a lot of people who have very strong allegiances to their drum/cymbal/etc. brand of choice. In fact a good friend that I went to university with has stayed with the same brand of drum that he was using almost 40 years ago! Although I remain happily monogamous in my personal life, in my drum life, I want to play the field! I would hate not to try something that looked/sounded interesting just because I stated I was playing another brand exclusively. I know some people work around this, especially some of the more famous "endorsees", but I feel it would be dishonest and inauthentic for me to do so. (See top of post.) Conversely…..</p><p><b>Part 4: The hear and now</b></p><p>I also feel at this point I can get my sound, for better or worse, out of whatever I'm playing. I like most drum and cymbals I hear, and lots of companies both big and small, make great gear. At this late stage in my career I don't want to have refrain from filming something I want to document because I don't have my "sponsored" gear there. I often play "drums du jour" as I never travel by air with drums
anymore, and even try to avoid taking cymbals in that situation. As well, even with artist pricing, most equipment is super
expensive, so I like the freedom of being able to shop for deals. I also think it's a very environmentally sound idea to
buy used gear. Finally, I have found I actually enjoy the experience of going to my local brick and mortar music store, and
buying as many or as few sticks as I want! It's no secret that actual music shops are really being hammered by the online
market, and I like to support them, just as they did me when I was a young drummer.</p><p><b>Part 5: In conclusion</b></p><p>Finally, the biggest reason I wanted to stop endorsing anything exclusively is because IT WAS ALL A BIG PERSONAL EGO
TRIP! It really had nothing to do with music, but rather that personal validation I mentioned earlier. I know that what I
compose/play/record is beautiful and worthwhile, and that belief comes from within now. I realize that some folks
need tour support etc. but as I stated before, they work in a very different end of the music biz street than I do. :)
Thanks for reading my rant, and I look forward to the next time I play, where you can see me with a drum set made of 6
different manufacturer's wares, a united nations of cymbals, and each stick in my hand made in a different continent!
:) </p><p><b><br /></b></p>
P.S. Trap'd is going into hibernation at this point, perhaps permanently. For new posts, see my <a href="" target="_blank" rel="nofollow">Patreon</a> page.Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-28948575945610253772023-04-24T02:12:00.000-07:002023-04-24T02:12:00.178-07:00The Who - WOODSTOCK 1969 (Full Concert)<p> Although I try my best to break up my drumming exercise, opinion, and video posts, it's 2 in a row after last weeks Bill Bruford footage. This is the Who in '69 at their ferocious best. There is some missing video, although all the audio is present. We, unfortunately miss the historic moment when activist Abbie Hoffman interrupts the performance and gets a guitar in the head for his trouble! Moon sounds fantastic, and has me seriously considering a set up with no hi-hat and two bass drums! Enjoy….</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/E1Y-QKgmYYQ" width="320" youtube-src-id="E1Y-QKgmYYQ"></iframe></div><br /><p><br /></p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-46344545715490254912023-04-17T02:18:00.013-07:002023-04-17T02:18:00.222-07:00Bruford and the Beat<p> Here's a great instructional video that Bill Bruford made in 1982. I remember hearing about it when it came out but I don't know if I would have gotten much out of it at the time. Now, however, I am very pleased with the many nuggets of wisdom contained within, as well as the beautiful solo Mr. Bruford plays at the beginning. Note: the tunes with King Crimson are muted for copyright reasons, but you have all those albums already, right? :) Enjoy! </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/7BiYQt5cLgU" width="320" youtube-src-id="7BiYQt5cLgU"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">P.S. Just a reminder that I am slowly moving all my Trap'd archives ( as well as constantly creating new content.) over to my <a href="https://patreon.com/user?u=35106457&utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_link" target="_blank">Patreon</a> page. Only $5 a month! </div><br /><p></p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-70902452687032340182023-04-14T01:19:00.001-07:002023-04-14T01:19:00.212-07:00My Patreon is Live! <p> Hey all,</p><p>Eventually I will be moving most of my posts to my <a href="https://www.patreon.com/posts/variations-on-ed-81377666?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link" target="_blank">Patreon</a> site. It's only $5 a month and I promise you'll get a lot for that! I realize for those of you that prefer this free format it's a bit of a drag but let's face it, we're living in a material word and I'm a material girl/boy/whatever……..</p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-27962707325731995302023-04-10T02:14:00.000-07:002023-04-10T02:14:00.217-07:00A Philly Joe lick<p> This week I was playing around with this idea (and some variations)……</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiblVHJbNl62FZ8kcexhg0R5WdLKYeXIgcqfBlh1OJK8xa1aPM_TOxwHwu2Ny8FlF3A_KG5SMX7-OyzPjtlmxhe8_65iyvVegL_eBcm0aJrUCVWiglLW__x_HIedUT-dun18IKdpplpL8TQ_JupA90mggm5hKfL60MCWO1_6GRK9u9CupTUkO6AII60/s4032/Philly%20Lick%20.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiblVHJbNl62FZ8kcexhg0R5WdLKYeXIgcqfBlh1OJK8xa1aPM_TOxwHwu2Ny8FlF3A_KG5SMX7-OyzPjtlmxhe8_65iyvVegL_eBcm0aJrUCVWiglLW__x_HIedUT-dun18IKdpplpL8TQ_JupA90mggm5hKfL60MCWO1_6GRK9u9CupTUkO6AII60/w300-h400/Philly%20Lick%20.jpg" width="300" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Truth be told, it's only HALF a Philly lick really, It comes from one of his trades on Miles' "Dr. Jackle" from the <i>Milestones</i> album. Here it is at 1:33.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/QHk9Cgqa3yI" width="320" youtube-src-id="QHk9Cgqa3yI"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">It's a very simple idea, really. Sort of 3/4 of a paradiddle. That very simplicity is why it's so ideal for variations. Here's me doing a few…..</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">The first one is playing it as a seven beat figure (the lick plus one 8th note triplet rest) over a 3/4 pattern with the feet and I'm warbling Toots Thieleman's "Blusette" so we can really feel the waltz time…</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/qqU82E3hB2o" width="320" youtube-src-id="qqU82E3hB2o"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Next up, I'm still playing it as a seven beat idea, but in str. 8ths and dead stroking the first 2 notes as I head around the drums, giving it a nice pitch variation….</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/E4-KSFcvNTo" width="320" youtube-src-id="E4-KSFcvNTo"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Finally, here's the same idea spread out between hi-hat and cross stick, with the hi-hat also being playing in quarter notes with the LF…..</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/EhFPT5sOtsI" width="320" youtube-src-id="EhFPT5sOtsI"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Obviously, I worked on just using the idea in 4 and moving it around the drums and the carline before I did anything else (see notation at top of the post) but I hope I've demonstrated some of the many possibilities contained in this one little idea. Also, learn all the Philly Joe trades from Dr. Jackle! Only good can come from it…….</div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-84585548763788654492023-04-03T02:41:00.004-07:002023-04-03T02:41:00.210-07:00Put your hands in the air, like you just don't care!<p> Independent coordination is a funny beast. One level of challenge is to play 2 or more rhythms simultaneously. Another challenge is to play differing accents or dynamic levels between limbs. The issue I want to deal with in this post is when the hands are moving to different drums or cymbals at contrary rates or distances.</p><p>Here's the first example, that I posted awhile back on Instagram. In it I'm dividing the Jazz Ride rhythm with the RH between the hi-hat and ride cymbal (ride cymbal on 2 & 4) and the LH is filling in the second and third triplet of every beat and moving surfaces every quarter note.</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/tEARJ-qHI9I" width="320" youtube-src-id="tEARJ-qHI9I"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">#2- LH Shuffle between Hi-Hat and snare, RH Jazz Quarter note triplets between the toms.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/KO7JqPll7PE" width="320" youtube-src-id="KO7JqPll7PE"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">#3 Same as above, except RH moves between bell of cymbal and small tom.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/x-zSjPsBuew" width="320" youtube-src-id="x-zSjPsBuew"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">#4 Both hands play consecutive str. 8ths. LH moves between hi-hat to snare drum on 2 & 4, RH plays downbeats on cymbal, upbeats on large tom.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/gw0AHlgh9Ng" width="320" youtube-src-id="gw0AHlgh9Ng"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">#5 Same but with order of downbeats and upbeats in RH reversed.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/0BmRCLabvP8" width="320" youtube-src-id="0BmRCLabvP8"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">#6 Back to shuffle, but it's in the RH between cymbal and snare, and the jazz quarter note triplets between hi-hat and small tom in LH.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/BQEZ_-6cj6M" width="320" youtube-src-id="BQEZ_-6cj6M"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">#7 A little more challenging. Nanigo bell pattern12/8 beat in RH moving between bell of cymbal and snare, LH fills in the rest of the rhythm and alternates between cross stick on snare and small tom.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/PoL1KJS_sAw" width="320" youtube-src-id="PoL1KJS_sAw"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">#8 Same as above but both hands basically move randomly. This is a great way to check if a sticking or rhythm is internalized.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/AI5O5uBJcSc" width="320" youtube-src-id="AI5O5uBJcSc"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">#9 Cascara w/RH moving between rim of snare and floor tom, LH filling in on cross stick and moving to small tom on beat 4 of second bar.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/gwqGtnkPfPY" width="320" youtube-src-id="gwqGtnkPfPY"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">#10 Both hands play 12/8 rhythm. LH moves from hi-hat to snare on 2 & 4, RH alternates between ride and small tom.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/X4lQ8x_S328" width="320" youtube-src-id="X4lQ8x_S328"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">#11 Similar to above, but RH plays the back beats.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/g94hbCtYBz0" width="320" youtube-src-id="g94hbCtYBz0"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">#12 Another shuffle vs jazz quarter note triplet variation…</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/w8h1XSBXwCg" width="320" youtube-src-id="w8h1XSBXwCg"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">#13 Back to cascara, and only the RH moves, but I just like the sound of it! :) </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/PQugFNxR5M4" width="320" youtube-src-id="PQugFNxR5M4"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Finally, the last 2 were inspired by an exercise Bellarmine University's Terry O'Mahoney originally wrote for tympani, and involved the hands playing in 2 different time signatures and rates. In both of the videos below, I'm playing dotted quarters with my RH while I play a seven beat on/off pattern with the LH. Add a bossa foot pattern, and it creates a nice challenge and some interesting textures. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/WpHhe7zQ6JE" width="320" youtube-src-id="WpHhe7zQ6JE"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Vojt0fABHvM" width="320" youtube-src-id="Vojt0fABHvM"></iframe></div><br />The great thing about moving our hands about is we can breathe new life into anything we play, simply by creating new combinations of tones and thusly, new drum melodies. Have fun! <br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p><br /></p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-19710760737885279042023-03-27T02:15:00.004-07:002023-03-27T02:15:00.215-07:00Quality! <p>It seems like a lot of what I see online involves <i>what</i> someone is doing, (e.g. the fastest, the loudest, etc.) rather than the <i>how</i> or <i>why. </i>Cue my good friend and Pianist/Journalist Peter Hum, who alerted me to this wonderful Tommy Flanagan recording <i>Sea Changes</i>, apparently the last one he made. Here's a great tune from it, the wonderful "Eclypso".</p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/pT8OuvpBLEE" width="320" youtube-src-id="pT8OuvpBLEE"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmVEn7_kft1F2EMGbG0JRhGIFx4WRdZd3p3TB4QAx7RdkrOq2BE6u2wNxEZO45dPQy8pQLR12HLm3SXA-XMCDRRe9wi-qWkQ1rWLGewA9i4vFT_wgMMLk2W6J9e9kpJ1xQaUhPbwYlqxghGkJrJCTWTezQSY3D4JSIQJz5hNj2kQvGP01TVBXV8ly2/s2560/Lewis%20Nash%20Beat.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="2560" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmVEn7_kft1F2EMGbG0JRhGIFx4WRdZd3p3TB4QAx7RdkrOq2BE6u2wNxEZO45dPQy8pQLR12HLm3SXA-XMCDRRe9wi-qWkQ1rWLGewA9i4vFT_wgMMLk2W6J9e9kpJ1xQaUhPbwYlqxghGkJrJCTWTezQSY3D4JSIQJz5hNj2kQvGP01TVBXV8ly2/w640-h400/Lewis%20Nash%20Beat.jpg" width="640" /></a></div>Flanagan and bassist Peter Washington play so beautifully on this and Lewis Nash (as always) sounds creative while still swinging and always appropriate. Above is the beat he plays at the beginning of Flanagan's solo.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">RH is playing the bell of the cymbal, the snares are off, and the bass drum is pretty quiet relative to everything else. It's not a super hard beat to play, but works great at a lot of tempos, including very bright. Try it with different BD/HH parts and orchestrating the LH around the drums. Voila! Instant new vocabulary for Calypso-style tunes! </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://drive.google.com/file/d/1fVEFF09qskJEUpNetBI21e5bSuLfwIYH/view?usp=sharing" style="text-align: left;" target="_blank">Link Here</a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p><br /></p><p><br /></p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-75036562000138694672023-03-20T02:44:00.008-07:002023-03-20T02:44:00.216-07:00Don't let colours get in the way of content! <p> This is another one of those "Cautionary Tale/ Don't Be Like I Was" posts. :) </p><p>As most people who have heard me would surmise, I am fascinated with pulling as many colours out of the drum set as possible, and have devoted a fair amount of time to this. That's all well and good, but it's important to know when and where esoteric sounds fit the music. I remember one time a great trumpet player in Regina, Ron Brooks, telling me that I wasn't "minding the store". I'd like to say that I immediately took his comment to heart, and worked on being as solid, as I was being colourful, but I was young and foolish. (As a sidebar, let's all give thanks to the more experienced musicians in smaller communities all over the world that guide, encourage, and tolerate younger players!) It took me a long time to realize what he meant. Listening, as always, is key. Not only listening to great examples, of solid, groovy, and often deceptively simple playing, but also listening to the band that one is playing with. It's always good to ask yourself, "Is the band getting what it needs to do its job?" "Does the beat feel firm, or am I not giving the band confidence in the time?" I'm not suggesting anyone not to try to explore interesting sounds and shapes, but as with all things, balance and taste is the key.</p><p>Here's a great example of someone who really explored the drums, but never at the expense of groove and feel. Mr. Blakey! </p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/-1ijhG4kuwM" width="320" youtube-src-id="-1ijhG4kuwM"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">NOTE: The last couple of weeks have featured recordings with Wayne Shorter, yet these posts were written long before his passing. It just goes to show what a huge force in music he's been to all of us! </div><br /><p><br /></p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-86784291347312616952023-03-13T02:22:00.009-07:002023-03-20T07:48:25.957-07:00More on playing to recordings<p> As I've mentioned before, playing to recordings is the closest we can get to performing with actual live musicians. I make "playing along" a regular part of my practice, and I would like to share a few thoughts relating to that…...</p><p><b>1. Don't only play along to what you already do well.</b></p><p>This may seem obvious, but it's easy to get lured into exclusively playing with recordings with feels/tempos/forms that are comfortable. Stretch yourself! If speed is your thing, play along with slow tempos. If you usually play along with Country-Rock, learn a fusion tune etc. And more about forms….</p><p><b>2. Try to play with whole tunes rather than loops.</b></p><p>I've mentioned this before, and I don't want to step on anyone's toes around this, but I feel playing with loops never gives us the whole story. By loops I mean just taking a small section of an already existing tune and have it playing endlessly. When we do this we miss out on a lot of form. Not only the structure of the tune (AABA, 12 Bar Blues etc.) but the form of the whole performance. How do we differentiate between sections of the song like in head to solos, different solos, and last solo to out head? Does the tempo of the tune change from beginning to end? What about the relative volume of the drums at differing sections of the tune? These are important issues!</p><p><b>3. Try to play with contained passion.</b></p><p>By this I mean, always remember when you're playing with recordings your first job is to keep in sync. Your second job is to outline the shape of the tune ( see above ). It's very easy to play loud enough that you drown out the recording and get out of time. It's also easy to focus on the spectacular drumming of whoever is on the original recording and not pay attention to the form soloists etc. Additionally, getting the intensity required for the performance with less volume is a great thing to strive for.</p><p><b>4. Do not obsess about details</b></p><p>I mentioned this briefly in #3. Especially when playing with Jazz recordings, try to get the <i>essence</i> of the performance rather than the minutia. The feel, relative mix of your four limbs, and structural elements (see #2) are more important than playing EXACTLY what has been played. If you like, go ahead and learn exactly what was played, but realize that's a separate endeavour.</p><p><b>5. Play along to quantized and unquantized material.</b></p><p>Definitely work with material that was created with a click track, sequencers, or drum machines. In fact the art to playing loosely along with music that has some sort of machine keeping the tempo exactly the same is challenging indeed. Steve Jordan, Phil Collins, and JR Robinson are some of the players that have mastered this approach.</p><p>However, playing music that was recorded "without a net", which basically means any recordings before the 1970s, requires us to "ride the wave" of the time. When humans play music without an artificial timekeeper like a metronome, there are all sorts of little micro peaks and valleys in the time. There is nothing wrong with this, in fact this is what gives a lot of music its humanity. Even recordings that noticeably speed up or slow down are okay to play along with, as long as we're aware of this and it isn't the only way we work on keeping time.</p><p>In conclusion, let's listen to Elvin Jones on Wayne Shorter's <i>Night Dreamer </i>where Mr. Jones manages to keep his lovely laid back feel even though the tune also speeds up! It almost seems like he's defying gravity, but this is just one of the many things we love about Elvin! :) </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/JOdyEWvXpIg" width="320" youtube-src-id="JOdyEWvXpIg"></iframe></div><div><br /></div><div><br /></div>UPDATE: Todd Bishop at Cruise Ship Drummer wrote a very thoughtful <a href="http://www.cruiseshipdrummer.com/2023/03/limitations-of-loops.html" target="_blank">post</a> explaining his use of loops in his teaching method as well as his personal practice, and I agree with his points completely. He also mentions the limits of playing to recordings vs. live playing, which I will address as well in a future post. Thanks Todd, you rock (and swing!) <div><p></p><p><br /></p></div>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com1tag:blogger.com,1999:blog-4394621453903026774.post-58210595005308695452023-03-10T02:04:00.001-08:002023-03-10T02:04:00.212-08:00Ted Warren interview - Avi Granite 6<p> The Avi Granite 6 just completed a run of shows to support the newly released recording "Operator".</p><p>We had a great time and the band's sound continues to evolve.</p><p>Avi is great at finding interesting ways to promote his music, so here's a short interview with me discussing the project.</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/PnLk_yD_JjE" width="320" youtube-src-id="PnLk_yD_JjE"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Special thanks to interviewer/videographer Jill Stella for setting me at ease. :) </div><br /><p><br /></p><p><br /></p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-35209660870861406552023-03-06T02:33:00.000-08:002023-03-06T02:33:00.220-08:00 Swiss Army Knife Triplets<p>So, recently I heard a great Pipe and Drum band here in Guelph. I just loved how lightly and fleetly they played. Also what was interesting was that even though the instrumentation was only the pipes, bass, tenor and snare drum, it was a very full and complete sound. Even more interestingly, because all the tonality was over a drone (sounded like C to me) it almost sounded like the bass and tenor drums <i>were tuned to that pitch.</i> Any Pipe band people who can clarify this for me?</p><p>Anyway, this experience got me thinking of other drum systems "across the pond" and I started fooling around with Swiss Army Triplets (RRL or LLR with a flam at the beginning.) I combined this with a 3-5-7-9 grouping exercise I borrowed from guitar great Reg Schwager and came up with this….. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2-NNuAyEIAuNuE-5fmJcgW4_8zoMIyS7SChAKTWzi1Hgui6gfIbzysvCvtkr5XV57N_uypMZ0nRHQ6YW_9qV9wegjuWiZMiCxdyAnsLffJe4tcXSiUOwEawPNuLK6Xxedr8UtlZ6aeGacL0K0Oq0YOYHUUBQ-3ESH4QhpovrRdGYLahpefELQegBe/s4032/Swiss%20Army%20Knife%20Triplets.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2-NNuAyEIAuNuE-5fmJcgW4_8zoMIyS7SChAKTWzi1Hgui6gfIbzysvCvtkr5XV57N_uypMZ0nRHQ6YW_9qV9wegjuWiZMiCxdyAnsLffJe4tcXSiUOwEawPNuLK6Xxedr8UtlZ6aeGacL0K0Oq0YOYHUUBQ-3ESH4QhpovrRdGYLahpefELQegBe/w480-h640/Swiss%20Army%20Knife%20Triplets.jpg" width="480" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Notice that once you get past the 3 subdivision the rudiment starts going over the barline which gives it an interesting sound. Here's me playing it. Sorry the click isn't louder. Believe me, it was blowing my head off when I was filming. :) </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/nqVDsuozQNw" width="320" youtube-src-id="nqVDsuozQNw"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">So, for this hybrid rudiment, I came up with the very-not-gimmicky name Swiss Army Knife Triplets. I don't know if I can claim this exercise is as useful as a Swiss army knife, but it is excellent for timing and concentration. Have fun and be good to yourselves! </div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p><br /></p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-8847724383339381892023-03-04T06:00:00.001-08:002023-03-04T06:00:31.694-08:00Thank you Wayne<p> A creative life well lived. Thank you for fearlessly leading the way. There will never be anyone like you……</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/9o7ihqR2pDE" width="320" youtube-src-id="9o7ihqR2pDE"></iframe></div><br /><p><br /></p><p><br /></p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-12043421733519513072023-02-27T02:30:00.004-08:002023-02-27T02:30:00.214-08:00More brushes, because, why not?<p> Here's another straight vs. swung brush pattern, very creatively named, "Straight Vs. Swung #2"! </p><p>No, please, we must continue……….</p><p>In both versions I filmed (one on the snare, and the other one divided between the toms) the right hand is sweeping straight 8ths, the downbeats heading to the right and away from us, the brush on the head the whole time. The left hand is also constantly on the drum and is making clockwise circles in the "Jazz quarter note triplet" rhythm.</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/sr4OI6Z78vA" width="320" youtube-src-id="sr4OI6Z78vA"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/yzwsMRIM0_Q" width="320" youtube-src-id="yzwsMRIM0_Q"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p><br /></p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-84985554649587330272023-02-25T09:29:00.001-08:002023-02-25T09:29:32.613-08:00Keith Jarrett- Rick Beato interview<p> So much to learn here…..</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/xgL30jDhoQU" width="320" youtube-src-id="xgL30jDhoQU"></iframe></div><br /><p></p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-28862752823683279142023-02-21T10:40:00.001-08:002023-02-21T10:40:39.057-08:00Avi Granite 6 Tour<p> If you're in Western Canada, Toronto, or Ottawa, come see us! It's a super fun band and this release is our best yet! </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvaR-97eciHhKJsMkSG2_-zLJoeFD6arONFGhBOUf5YmMRkYNblUWlXcCnDHL8kxiFoALuS8Ct1o94cRZWSgZAKDIv3ZhXQEUjMwdy25XxsA9tfHQfAYHxWIoMi3d0WdsucBD0Dr7_7nowyjQpua9WwzJuq3UDWhUulnxBzj9tEZnNHHBtPdHmu-vY/s3300/OperatorTourPoster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2550" data-original-width="3300" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvaR-97eciHhKJsMkSG2_-zLJoeFD6arONFGhBOUf5YmMRkYNblUWlXcCnDHL8kxiFoALuS8Ct1o94cRZWSgZAKDIv3ZhXQEUjMwdy25XxsA9tfHQfAYHxWIoMi3d0WdsucBD0Dr7_7nowyjQpua9WwzJuq3UDWhUulnxBzj9tEZnNHHBtPdHmu-vY/w400-h309/OperatorTourPoster.jpg" width="400" /></a></div><br /><p></p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-2794284849519663692023-02-20T02:13:00.000-08:002023-02-20T02:13:00.211-08:00Left Hand Lead Hi-Hat 16ths<p> The other day I was watching another instalment of John Christopher's great interview show, <i>Live From My Drum Room, </i>this episode was with Clem Burke. ( See below.) </p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/hRlwRlueR34" width="320" youtube-src-id="hRlwRlueR34"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">It's a great interview in general, but one of the things I twigged onto was when Mr. Burke mentioned that often when he's playing hand to hand 16th notes on the hi-hat, he leads with his left hand. Like Clem Burke, I am a left handed person playing a right handed drum set up, so when I first started playing, I would play 16th notes this way myself. I later trained myself to play this idea the "conventional way", meaning playing the down beats with my right hand, but this interview got me thinking….</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">If one plays a hi-hat pattern with both hands and leads right handed, all the backbeats on the snare drum (meaning beats 2 & 4) are played with the right hand but in almost any other situation, this is played with the left hand. I've always found it challenging to get the same sound on the snare with my right hand as with my left, and if one isn't leaving the hi-hat that much, I find moving over to the snare much more comfortable with my left hand. So, I started experimenting with this, and even trying beats where the the toms or cymbals are involved. I'll enclose some examples to try below but generally I found if we consider the LH facing "in" in this situation and the RH facing "out' , as most RH players turn to their left slightly when using both hands on the HH, beats where upbeats are played on the "outer" part of the drum set work better with left hand lead, and rhythms with downbeats on the toms and/or cymbals work well the other way around.</div><div class="separator" style="clear: both; text-align: center;">Before we get to the examples I've written, a great way to practice this is to play along with the song Clem Burke made famous, Blondie's classic "Heart of Glass" .Even though the original groove is mainly 8th notes played with the right hand, you'll notice most of the fills are left hand lead, so it's a perfect song to introduce oneself to the concept. You can even try it with 16ths on the hi-hats with your left hand leading, as it's not too fast and the hands don't move around that much. Check it out.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/AsYbMnQd6c8" width="320" youtube-src-id="AsYbMnQd6c8"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">And as promised, here's a couple of ideas where the hands are moving around a bit more.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOPmr0xnEPQUsODtu8VtHwHmWnvlDnwAauXb6gk-8HkxADDOcf06P44aIUI5orr8LfQu244f9I5jAVl-C_Sb0ADn5Wioc9TQxS8iHb__YEaAaq9zh8FAxPOSRyOodsLucIcfPrlYOMTtCCtoqjE2ux7MfgsIfk71182uoZag9wUMhtd5Abt42Xcf9N/s4032/Hi-hat%2016ths.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOPmr0xnEPQUsODtu8VtHwHmWnvlDnwAauXb6gk-8HkxADDOcf06P44aIUI5orr8LfQu244f9I5jAVl-C_Sb0ADn5Wioc9TQxS8iHb__YEaAaq9zh8FAxPOSRyOodsLucIcfPrlYOMTtCCtoqjE2ux7MfgsIfk71182uoZag9wUMhtd5Abt42Xcf9N/w480-h640/Hi-hat%2016ths.jpg" width="480" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">My apologies for the "natural font', I just jotted these down in a hurry. The open note with a dot in the middle is the snare, everything else should be self-explanatory. Examples 1 & 2 are left-hand lead, 3 & 4 lead with the right. For extra practise, try a bar of either 1 or 2 followed by a bar of 3 or 4, sticking in a double stroke near the end of the bar to change the hand leading. I find this greatly increases flexibility with this, and then the decision of whether to lead 16ths with the right or left is purely a matter of what works best for the particular piece one is playing. Have fun! </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">P.S. The inclusion of "Heart of Glass" the day before Valentine's Day is no reflection on my current personal life or my strong belief in love! Have a great day tomorrow everyone! </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p><br /></p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-23564064621121609722023-02-13T02:29:00.007-08:002023-02-13T09:29:40.183-08:00Believe in yourself!<p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvR3PN-ty9z7LOX5SX0dZLAn1UnADQASwe5Xq15dQFpDDuaUQBfBgdSAIN8A8zMOe8WD0M06e4J5jHVCva1QlNINa1l9AFHmXS520Ih04V65Mgt9wDsunwET-ZTlXKwKX-yOon3_EJQpSRRKzhFpl301UUSqrkqUmk7M5ZdPh6BgKixFHA1DECo-U5/s1588/il_1588xN.4205810369_6nod.jpg.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1310" data-original-width="1588" height="330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvR3PN-ty9z7LOX5SX0dZLAn1UnADQASwe5Xq15dQFpDDuaUQBfBgdSAIN8A8zMOe8WD0M06e4J5jHVCva1QlNINa1l9AFHmXS520Ih04V65Mgt9wDsunwET-ZTlXKwKX-yOon3_EJQpSRRKzhFpl301UUSqrkqUmk7M5ZdPh6BgKixFHA1DECo-U5/w400-h330/il_1588xN.4205810369_6nod.jpg.webp" width="400" /></a></div><br /> The current population of Sydney Australia is about 5 million people, which may seem like a lot, but the current world population is 8 billion. What does this have to do with these wise words from Mr. Big Foot? Well, current estimates tell us that there are approximately 5 million drummers in the world. Again, that may seem like a large number but it actually accounts of only 0.06% of the world's population, like Sydney compares to the rest of the world. In other words, individuals like us that can create magic with 2 pieces of lumber and make inanimate circles of wood and metal sing are quite rare indeed. You are special and what you do is unique and needed in the world. Keep at it! :) <p></p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0tag:blogger.com,1999:blog-4394621453903026774.post-44859540641924917032023-02-06T01:34:00.003-08:002023-02-06T01:34:00.226-08:00Drama! <p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyFNGVnzqCV2DTXzUiDleZ8wD4j4HUCxKv7SEVCEIGgV5eVhtTNfsYqbRrmt3_pBkm1HI7-8eW0ctlDzsPLwg9oWpTayJMTc_MSvvRm8XT34Dq7iCfvHbHP-ofIMu8Y4xarH5rU0edp-mGB95jqbykf7PYAW_vsv1_Xj3y9tB-mIlGS5RiYqWvL8Uq/s1024/rev1-1-b20504d6651451a7.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="858" data-original-width="1024" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyFNGVnzqCV2DTXzUiDleZ8wD4j4HUCxKv7SEVCEIGgV5eVhtTNfsYqbRrmt3_pBkm1HI7-8eW0ctlDzsPLwg9oWpTayJMTc_MSvvRm8XT34Dq7iCfvHbHP-ofIMu8Y4xarH5rU0edp-mGB95jqbykf7PYAW_vsv1_Xj3y9tB-mIlGS5RiYqWvL8Uq/s320/rev1-1-b20504d6651451a7.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">It's interesting. I don't have much patience for excessive drama in my personal life, but I often feel like it's lacking in some drumming. What do I mean by this? Oxford defines drama as an exciting, emotional, or unexpected series of events or set of circumstances. So, to keep an audience engaged, let's think about ways we can create these types of events or circumstances.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><b>1.</b> <span style="font-size: xx-small;"> </span><b><span style="font-size: xx-small;">Dynamics! </span>Dynamics! <span style="font-size: large;">Dynamics!</span></b></div><div class="separator" style="clear: both; text-align: center;"><span>The drums have a massive dynamic range, and we rarely use the extremes, or vary them as much as we could.</span></div><div class="separator" style="clear: both; text-align: center;"><span><br /></span></div><div class="separator" style="clear: both; text-align: center;"><b>2. Strength of time feel</b></div><div class="separator" style="clear: both; text-align: center;"> The music doesn't reach its full potential if the time feel is off. If it's erratic or sluggish, it will lack the intensity to be truly dramatic.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><b>3. Use of space!</b></div><div class="separator" style="clear: both; text-align: center;">Music becomes dull if we always play with the same density of sound. Just because we can play super fast and use all 4 limbs doesn't mean we should all the time! Using space in the music creates interest.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><b>4. Clarity of ideas</b></div><div class="separator" style="clear: both; text-align: center;">If we are telling the story of the music without unnecessary ornamentation we can get our point across much more effectively. Better storytelling = more excitement. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><b>5. Big Picture Thinking</b></div><div class="separator" style="clear: both; text-align: center;">If we are just thinking about playing an impressive lick rather than the architecture of the tune/solo/set/evening of music/recording in it's totality, the whole thing isn't going to hold together very well, and thus will lack, you guessed it, drama! </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">So, next time you play, think about how you can create more drama. Just leave it on the bandstand though. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/KqOsrniBooQ" width="320" youtube-src-id="KqOsrniBooQ"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><b><br /></b></div><div class="separator" style="clear: both; text-align: center;"><b><br /></b></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p>Ted Warrenhttp://www.blogger.com/profile/17655227337670232574noreply@blogger.com0