The Joy Of Text (Modern Reading)!

[jonescrusher]

Well, it seems to me that the technique section of DW has fallen somewhat quiet in recent months, what with some of the technique regulars having moved on. I've never had much of an imagination for coming up with new and original technique exercises myself, so though i'd try and get the ball rolling with a recommendation: 'Modern Reading Text in 4/4' by Louis Bellson and Gil Breines.

This book is a wonder, versatile and seemingly underestimated. First of all, this is a great resource for anyone looking to improve their sight reading. Ranging from simple quarter note studies to studies involving rhythmic mixtures, the book covers just about every rhythmic figure you'll commonly encounter. Better still, the studies explore the different ways one figure can be written, using differing note and rest values, and ties.

By simply taking each page one at a time and playing alternate sticking over a variety of tempos, over weeks and months the book's allowed me to reach a point where i can recognise and play a written figure almost instantly. Once that point's been reached you can apply the studies as reading material in any way you see fit. A la New Breed, simply choose a 3-limb ostinato, choose a page to your liking and get working on some independence.

Similarly, if you wish to improve your fill and phrasing vocabulary, choose a page, set up a foot ostinato and apply the studies on which ever voices you see fit. Almost garaunteed it will throw up a rhythmic idea you hadn't thought of before.
I'm sure there are many other technique applications that others familiar with the book would be willing to share. Even these simple ideas have improved my playing vocabulary no end. Sure, there are similar and perhaps more well known materials out there, but i've yet to see one that has such a depth of coverage.
I'm rambling, but this book is simply a must have, whatever ability you are.

[jackothedrummer1]

I've wanted to purchase that book... I think that Syncopation is similar in this aspect. There are tons of figures and different variations with ties, etc. The only thing written are the rhythms, so it's up to an instructor or yourself - or maybe this forum - to come up with ideas of using them.

I started around pp.34 and played a swing pattern. I played the "melody" or rhythms on snare, than bass. Then I split "long" notes on bass and "short" notes on snare - vice versa. You can also play a simple rock groove and play the left part on hats/block. OR, 2-3 son clave (left foot) tumbao (right foot) and cascara (right hand) then play melody with left hand - short on snare long on toms in a descending manner. I mean, this book can be really wicked if taken out of the box!

[jazzsnob]

Yo, jones, the reason no one's been posting good excercises is because everyone get's mad at people telling them they need to work hard if they want results. It sucks to spend an writing up an exercise that has helped me so much I love it like a child and then have some dumb kid ask if they should do it on pillows or if it will work if they make it easier. It sucks a lot.

Anyway, you are right about Belson's book. No one want


The book's amazing. But I don't think anyone should worry about different practice methods for it. Just start it, and go through it start to finish. They way I practice is I play through the page about 10 times at 100 bpm, then ten times at 104, up till about 132 or 144 generally. Spending a lot of time with it really embeds the rhythms in your system. This book isn't just about reading, its about rhythmic creativity. I am MUCH more confident soloing just because I'm so confident about my control of rhythms then I play musically without even thinking of "chops."

Just go through the pages. All the little practice methods are great, but damn just going through book straight is an amazing help.

[sloppyn9ne]

Yo, jones, the reason no one's been posting good excercises is because everyone get's mad at people telling them they need to work hard if they want results. It sucks to spend an writing up an exercise that has helped me so much I love it like a child and then have some dumb kid ask if they should do it on pillows or if it will work if they make it easier. It sucks a lot.

Anyway, you are right about Belson's book. No one want


The book's amazing. But I don't think anyone should worry about different practice methods for it. Just start it, and go through it start to finish. They way I practice is I play through the page about 10 times at 100 bpm, then ten times at 104, up till about 132 or 144 generally. Spending a lot of time with it really embeds the rhythms in your system. This book isn't just about reading, its about rhythmic creativity. I am MUCH more confident soloing just because I'm so confident about my control of rhythms then I play musically without even thinking of "chops."

Just go through the pages. All the little practice methods are great, but damn just going through book straight is an amazing help.


i jumped like 10 clicks in my hands today by using a pad.

its just that alot of those people took up a hobby but dont want to work at it.

but i know i have a passion because i enjoy working hard at it. to me thats a great love for the nature of what we do.

[jonescrusher]

Yo, jones, the reason no one's been posting good excercises is because everyone get's mad at people telling them they need to work hard if they want results. It sucks to spend an writing up an exercise that has helped me so much I love it like a child and then have some dumb kid ask if they should do it on pillows or if it will work if they make it easier. It sucks a lot.

Anyway, you are right about Belson's book. No one want


The book's amazing. But I don't think anyone should worry about different practice methods for it. Just start it, and go through it start to finish. They way I practice is I play through the page about 10 times at 100 bpm, then ten times at 104, up till about 132 or 144 generally. Spending a lot of time with it really embeds the rhythms in your system. This book isn't just about reading, its about rhythmic creativity. I am MUCH more confident soloing just because I'm so confident about my control of rhythms then I play musically without even thinking of "chops."

Just go through the pages. All the little practice methods are great, but damn just going through book straight is an amazing help.

All agreed. I've only recently moved on to applying pages as drum-kit studies, more or less inspired by Chaffee's suggested approach in 'rhythm and meter studies'. But yes, getting the rhythms drilled in on the pad/snare is definitely the initial approach.
Yes, it's a shame that the technique section seems to suffer from monotony. God, even MXDP seems to throw up more inspiration (eek!). Surely there's still a hardcore of technique guys hanging around here to put some stuff together.....

[Drums558]

Yo, jones, the reason no one's been posting good excercises is because everyone get's mad at people telling them they need to work hard if they want results. It sucks to spend an writing up an exercise that has helped me so much I love it like a child and then have some dumb kid ask if they should do it on pillows or if it will work if they make it easier. It sucks a lot.

Anyway, you are right about Belson's book. No one want


The book's amazing. But I don't think anyone should worry about different practice methods for it. Just start it, and go through it start to finish. They way I practice is I play through the page about 10 times at 100 bpm, then ten times at 104, up till about 132 or 144 generally. Spending a lot of time with it really embeds the rhythms in your system. This book isn't just about reading, its about rhythmic creativity. I am MUCH more confident soloing just because I'm so confident about my control of rhythms then I play musically without even thinking of "chops."

Just go through the pages. All the little practice methods are great, but damn just going through book straight is an amazing help.
JazzSnob,

Your posts and the posts of some of the other guys like Jeff, Finn, Lutz etc... Have helped alot of us improve our playing and practice habits. I don't respond very often because what needs to be said has already been said by others.
The efforts of your posts are appreciated by many that may not post a response.
I'm 46 and my playing has improved VERY dramaticly over the past year and a half, and alot of the credit goes to people on this board who share their knowledge. Most of you guys that have helped me are half my age and have been playing half as long as I have.
Anyway.....
Thanks to all that share, it is very appreciated.

Mike

[mr_hayward_99]

"All agreed. I've only recently moved on to applying pages as drum-kit studies, more or less inspired by Chaffee's suggested approach in 'rhythm and meter studies'.


what aproach does gary chaffee sugest in rytham and meter studies?

[jonescrusher]

"All agreed. I've only recently moved on to applying pages as drum-kit studies, more or less inspired by Chaffee's suggested approach in 'rhythm and meter studies'.


what aproach does gary chaffee sugest in rytham and meter studies?

You're given a page of reading e.g mixed odd groupings, mixed meters, metric modulation, and after accomplishing the piece on one voice, eg. snare, you then apply it to the kit, between two voices, then three and so on until you're competent in applying the reading spontaneously around the kit observing dynamics and with relevant foot ostinato. No great revelation, just a good, gradual way of reading in a solo mode. Challenging book, and is great to use along side Modern reading text.