Sorry folks, this post is about commerce. Pure and cymbal! ( Ha! Typo, and I'm keeping it.) I currently own too much metal and have obtained enough old K. Zildjians to keep me happy for the rest of my existence! ( I currently do not endorse any brand of cymbals.) So I'm posting some video of the suspects in question, along with prices. ( In Canadian dollars). All reasonable offers will be considered. The videos are in the order that the cymbals are listed. If shipping is required, I'll look that up and add it to your total. Any questions? Put them in the comments section, email me at twarren@gto.net, or find me on Facebook or Twitter
For Sale: 20" Zildjian K. Constantinople Medium Thin ( High ) - $350 (Sold)
Murat Diril Renaissance 22" Prototype Ride- $250
Murat Diril 18" China Type Renaissance Light- $200 ( Sold)
Murat Diril 20" Renaissance Light Ride- $200
14" Murat Diril Renaissance Regular Hi-Hats- $200
14" Murat Diril Renaissance Dark Hi-Hats- $200
Also selling some Tamburo drums. Italian made. 10",12"14" toms. 18" bass drum. Black. $600
I don't think it even really matters if you're a Def Leppard fan or not. Just what Rick Allen went through ( which he speaks about very candidly here ) shows what can be achieved with hard work and a positive mindset. THERE ARE NO EXCUSES FOLKS! For the record, I'm saying that to myself just as much as to anyone else!
Hey all,
I'm just going to explain this without a video because I'm a bit pressed for time, my apologies.
First take George Lawrence Stone's venerable classic "Stick Control". The first page is as good a starting point as any...
Play all Rs on hi-hat, all Ls on snare drum. Then pick a time signature you want to work in 5, 7 etc. and add in a fairly simple bass drum part to start with. For example, if you decide to play in 7, two half notes followed by two dotted quarter notes works well. Now the sort of tricky part ( for me at least ) is to keep the 4/4 sticking going while still playing the bass drum, and hearing the whole thing in 7. The sticking pattern will come back to the beginning of the bar after 4 bars of whatever time signature one is playing. It's interesting to note, that for me, I find it a lot easier to superimpose odd numbers notes in 4/4 rather than playing 4/4 rhythms that go over the bar in an odd time signature. This is also part of my ongoing work on trying to play more effectively in linear types of patterns. I hope some of you find this helpful.
Now, just because it's awesome, is Mark Guiliana talking about improvising. Lots of great stuff to chew on here.
