“Consecrated 爵士乐 drummers have less accurate 时间 than rock and fusion drummers for a reason. The beat is connected to the cycle of life and 玩ing with an ensemble. It has warp and woof and slip and slide.”
I've transcribed Max's 玩ing during the tenor 独奏 , starting 在 1:06 in the track. Infinity Promenade is a cool West Coast-y tune by Shorty Rogers. I don't know what tune it's based on, but the 独奏 ing changes have a bright Duke-like feel. There's a nice groove happening, which is what 在 tracted me to this track.
Max uses a few basic 压缩 ideas here, and 玩s very crisp four-bar phrases without being too obvious about it. You can get a sense of what he's thinking phrasing-wise by checking out the bass drum— he 玩s it sparsely, mostly on downbeats, and doesn't put it in the same place in the phrase all the 时间 . He often 玩s the busier things 在 phrase endings a little louder, acting like a conductor.
另一个调整与我们使用的相同基本方法 我上周发布的调整: right hand 玩s rhythm on cymbal + bass drum / left hand fills in. That basic method is a super-standard piece of 现代 drumming language, useful any 时间 you're improvising, 独奏 ing, or doing more dense, textural 玩ing. So we want to be able to go some different places with it. The thing we're going to do today will be good for adding some texture when 玩ing 在 moderate tempos.
• RH 玩s book rhythm on cymbal, plus BD in unison
You would 玩 this:
Here we will make some of the 8th notes in the 旋律 rhythm into two 16ths, 玩ed on the snare drum, with a RL sticking. We'll do that on 四分之一音符或并列音符之前的任何第8个音符。在上面的示例中，这将是第二至第四部分中所有书面的第8条注释：
正常的RH / BD部分为：
You can work out for yourself (or hey, write me for a Skype lesson) how to approach learning to sight read this. The two major goals for any Reed method are to be able to apply it to the full page 晕厥 演习 , and to be be able to improvise a texture based on the method. It's up to you how far you want to take that for your own 玩ing needs.
Play the foot part with the bass drum or hihat. These are not necessarily intended to be 玩ed in the written 时间 signature— that just indicates the length of the complete idea. You can 玩 them in 4/4 or 3/4, running over the barline. You can also start them on any beat of the pattern. Add hihat and vary the cymbal rhythm however you like.
这些都很棒。的 三个更轻的圣杯 真正炫耀Cy&Gong的一贯性，而且经典超赞；它们是真正的爵士，具有轻盈复杂的声音，可以很好地碰撞，但也可以控制，具有良好的摇杆清晰度和良好的铃音。我很难为自己选择一个。的 美国艺术家，以50平方“A-type”钟声处理非常相似—那些往往会更激烈一些，但是这一首非常优美。它也是一个出色的爵士c，与所有HG一样。的 中游 is quite a beast. It has a lovely overall sound and accents well, but never fully opens up when crashing. It would be a 大 big band cymbal, but I believe it would handle softer 玩ing really well, too.
A page I'm using with some of my students, to learn to fill, and develop basic facility on the drum 组. We've been doing a lot with parts of my harmonic 协调 method—事实证明是 更普遍的事情 than a mere advanced 协调 system. You could do these on snare drum as in 结石 , but I think that would be a little dull. They're written to be 玩ed on drum 组, en masse.
I'm still having a hard 时间 writing anything, so here's a really 大 open 鼓独奏 玩ed by 托尼·威廉姆斯, in a concert video with Jean Luc Ponty and Stanley Clarke. This is in 1972, and he's doing his power thing, but he's not using the 24" bass drum and three floor toms yet. Later on his 玩ing seems very “set”，在这里您会觉得仍在进行一些探索。托尼的独奏从7:00开始。
So let's talk about DRUM HEADS today. This is by no means a complete overview of what's available, it's just my personal impressionistic idiosyncratic list of what I've 玩ed and recommend, and for what purpose. Or what I recommend against.
Drumhead of the 80s, for that full-on post-Gadd fusion sound. They have a particular timbre that sounds quite dated. But they also have a promising full sound tuned high, and I do know one or two 爵士乐 drummers who still use them. I used them on my Sonor 组 recently, on a lark. 在80年代，它们是鼓乐队中的标准次中音鼓头，音调极高。
Evans coated single 玩 bass drum head with the changeable muffle rings
再次，请给我起一个我记得的名字。头部出色，音调优美；他们听起来也 漂亮 对我来说。这是一种礼貌的声音。年轻的爵士鼓手会喜欢他们。我需要更多优势。我相信这很容易记录。随附三种尺寸的消音环，我从未使用过。单独的环支架足以使鼓消声。
You know these muffled 头 don't sound to the audience the way they sound to you, right? Specialty snare drum head, with an extra ring around the edge on the inside, pinholes around the edge. I normally don't muffle my 鼓 在 all, but I have this on one of my 鼓 , and I liked it for low volume 玩ing. Good for maintaining definition if you 玩 a lot of dense stuff on the snare drum. Probably 大 for recording, once again.
These came installed on my first drum 组 back in 1982, and I've tried them a few 时间 s since then, and they just don't make it. They have a stiff feel, and I could never get a deep sound with them, or a good high sound—任何好的声音。这是非常表面的声音，带有有趣的耳光， 和一种奇怪的纸质吼声
“Mingus use to say the damndest thing about me years ago. He'd say, 'Well, 罗伊·海恩斯. You don't always 玩 the beat, you suggest the beat!'
I didn't know what the heck I was doing. But I know that the beat is supposed to be there. If I leave out a beat, it's still there. If I'm 玩ing 8 or 12 bar fills and I 玩 four and a half bars then leave out a bar and a half, that doesn't mean I don't want it to sound like that! But if I'm 玩ing with a horn 玩er sometimes they may get confused. They get hung up because I didn't fill in that bar and a half.
You've got to have that ding-ding-da-ding within yourself. Coltrane had it! Pres had it. Miles has it. So, it's beautiful to 玩 with them, but there are so many other people who don't have that thing and you've got to carry them. How you gonna be inventive and create when you're trying to lift them up?”
This is a small tweak on a common 放克 实践 method for Ted Reed's Syncopation, adding 烈焰 to the method in which the right hand 玩s the book rhythm on a cymbal, and the left hand fills in. To me it's a 70s 放克 flavored thing, and brings this method a little closer to my 重放克演习 ， 和我的 谐波协调型方法.
我是左撇子— that means the right hand 玩s the grace note, and falls first. Usually the grace note is only a little softer than the main note; I don't try to make them correct concert snare drum 烈焰 . The left handed 烈焰 convert easily to RH-lead 16th notes, with a small adjustment to the timing.