The stick to brush switch

I generally have this problem in jazz. I really like to start out a lot of song playing brushes so that I can build with the soloist. My problem is that I don't know how to make a clean transition between the brushes and sticks. Sometimes I'll play a left-handed brush/bass drum fill (they usually sound awkward) when the head comes while I grab a stick with my right hand so I can play the ride. I've also tried silence in the place of a fill at the head, which usually sounds awkward as well. After this, I usually stick with a brush in my left hand for a little while before the next head when I will switch to sticks in both hands. I don't really have time in either situation to throw my brushes anywhere except the floor so I can't get them back easily if I also want to play the end of the song with brushes.
What is the best possible way to switch sticks/brushes/mallets during a song? I posted this in technique because I am hoping that there is some kind of art or trick to this. Thanks in advance.
 
I generally have this problem in jazz. I really like to start out a lot of song playing brushes so that I can build with the soloist. My problem is that I don't know how to make a clean transition between the brushes and sticks. Sometimes I'll play a left-handed brush/bass drum fill (they usually sound awkward) when the head comes while I grab a stick with my right hand so I can play the ride. I've also tried silence in the place of a fill at the head, which usually sounds awkward as well. After this, I usually stick with a brush in my left hand for a little while before the next head when I will switch to sticks in both hands. I don't really have time in either situation to throw my brushes anywhere except the floor so I can't get them back easily if I also want to play the end of the song with brushes.
What is the best possible way to switch sticks/brushes/mallets during a song? I posted this in technique because I am hoping that there is some kind of art or trick to this. Thanks in advance.

I agree that this is a hard thing to master, and as far as I am aware, there isn't really an art to it, just practice. If you listen to records where they make this switch - even the old masters, you can definitely hear they're stopping playing time for a while. The real art I think is figuring out what to play during that switch.

In my opinion, a really decent way is to stop both hands (2 hands or no hands when it comes to brushes IMHO), and just keep the hi-hat on the 2 & 4. I like to splash the 2 & 4 as I find this fills out the space quite nicely (almost like a ride cymbal), and it's a nice way to build into the new texture (in the same way a fill would lead into a chorus in a pop tune). Try to fit it all in one bar though, so stop the hands at the start of the bar and get to the ride cymbal by the start of the next bar - it sounds very purposeful this way.

Yeah, try that.

Lloyd
 
I think that its important not to be afraid of space in those situations and with jazz drumming in general. I know that as we analyze the hell out of it, we tend to get very drum focused here, but the truth is, the drums are only a part of the whole conversation. Really, there should be a breath between the head and solo section. If it feels odd to have a huge gap, try splashing your hats, or if you have a sizzle on your ride, give that a good tap and take a breath while calmly switching to your sticks. I often find myself with just a stick in my ride hand for the first few bars of a solo when I do the switch. Try not to feel rushed, if you are rushing, then wait until it feels right to switch. It may be even more dynamic to switch to sticks between solos rather than right at the beginning.

I personally never make it back to brushes when I do this. Usually the vibe is so excited after all the solos, that the dynamics tend to stay there. Probably partially my fault, but even when I am ultra aware of that, there are usually 2 other folks who aren't...

Just keep listening for that space.
 
In my opinion, a really decent way is to stop both hands (2 hands or no hands when it comes to brushes IMHO), and just keep the hi-hat on the 2 & 4. I like to splash the 2 & 4 as I find this fills out the space quite nicely (almost like a ride cymbal), and it's a nice way to build into the new texture (in the same way a fill would lead into a chorus in a pop tune). Try to fit it all in one bar though, so stop the hands at the start of the bar and get to the ride cymbal by the start of the next bar - it sounds very purposeful this way.

Yeah, try that.

Lloyd

Right, I like adding feathered four (very very light feathering) on the floor and 2 & 4 hi-hat splash give just enough texture to make the switch without dropping the beat and sometimes just a little brush sweep on the 2 + "&" help keep time and texture.
 
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Just like Garvin said, DON'T be afraid of space! A pretty fair percentage of the time, the most musical thing that a drummer can do it drop out, or just have a hihat going lightly somewhere in the background. On most medium-tempo jazz tunes, if you can't find room to switch to brushes, you're too busy-minded. Uptempos are, of course, an exception. But you don't really need to switch sticks for anything above 300 bpm.
 
John Riley here:

Pretzel - you are on the right track. We change from brushes to sticks because the music is at a turning point. Silence or spashing hihats is not usually going to propel the music forward. Try keeping the left brush on the head as long a possible - until the exact moment you begin playing with the stick on the ride cymbal. So, while sweeping with your left hand pick up the right stick. Once the right hand is playing the cymbal, put down the left brush and pick up the left stick. When convenient, drop the brushes into your stickbag.

Practice this at all tempos.

Good luck,

John
 
John, it's great to see you taking time to post on the forums. Your books have helped me so much in jazz and just about everything else. Keep up the great work.

Thanks for the advice everyone.
 
FWIW - Have you seen this video by Zack Albetta? Great brushes video, and he recounts a technique he saw Jeff Hamilton use to switch between brushes and sticks. See around 12:00-15:00.

http://www.youtube.com/watch?v=87FurYBjM1A

Steve
 
I saw Jeff Hamilton demonstrate this very concept at a clinic.

Couple of tips:
1. Sit on your sticks/Brushes. Easiest place to grab 'em.
2. If you have a sizzle cymbal, you can whack it with your bare hand. Actually a regular cymbal will work too, try using the back of your knuckle.
3. Master the crash with your hi-hat foot trick. Philly Joe does this great on Billy Boy when he switches back.
4. One hand at a time, get the ride stick going first, obviously
5. Practice. It's just like anything else, try switching every 16 bars.
 
John Riley here:

Pretzel - you are on the right track. We change from brushes to sticks because the music is at a turning point. Silence or spashing hihats is not usually going to propel the music forward. Try keeping the left brush on the head as long a possible - until the exact moment you begin playing with the stick on the ride cymbal. So, while sweeping with your left hand pick up the right stick. Once the right hand is playing the cymbal, put down the left brush and pick up the left stick. When convenient, drop the brushes into your stickbag.

Practice this at all tempos.

Good luck,

John


Welcome Johh ! Glad to have you here among us ! It's definitely a PLUS for all DW community.


That's what I meant when I wrote about when I said little brush sweeping while changing to sticks.
 
Hi
In addition to the comments in the thread...in this application of switching from brushes to sticks I use a combination brush/stick. Also treat the between the change are a musical feature. Denis
 
Apologies for summoning this thread from the dead, but I had a little bit of a revelation such that I had to register to post this and hopefully see if there's any insight.

So, when switching from brushes to sticks, the intensity is usually increasing, so I try my hardest to catch the one of the next chorus. However, when switching from sticks to brushes, it's just the opposite (intensity decreases) and hence I tend to let the cymbals ring out and the groove decay, and come in on even the 3rd bar with the brushes. I find this effective.. thoughts?
 
when switching from brushes to sticks, the intensity is usually increasing, so I try my hardest to catch the one of the next chorus. However, when switching from sticks to brushes, it's just the opposite (intensity decreases) and hence I tend to let the cymbals ring out and the groove decay, and come in on even the 3rd bar with the brushes. I find this effective.. thoughts?

That's what I generally do-- the third bar or maybe the fifth. Wherever it sounds good. But I'll often come in a couple of beats late with the sticks, too-- depending on how loose things are. In either case I'll either sneak in or come in big-- usually big.
 
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