Drum Technique Tips - Tricks - Practice - Rudiments - Educational DVDs & Books.....

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Old 04-18-2019, 04:04 PM
BrandonGoodwin BrandonGoodwin is offline
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Default Re: Sacrificing concepts during practice.

Lots of great information here!

I would just add that when I read your original post about your practice routine, I see mostly technical exercises involving the hands, and little else that works towards playing infectious grooves. That is our main job as drummers and so I would allot a serious amount of time to this. New Breed, Future Sounds, Time Functioning Patters, The Commandments of R&B drumming, The Art of Bop Drumming, anything that Steve Gadd played on, check those things out as well and you'll be groovin' in no time!

Also, the way I find what I need to work on is that I record myself practicing, jamming with other people, and on gigs and then analyze what I'm doing. After a couple of minutes of listening it's quite clear as to what my weaknesses are and then I hit the shed and focus on those things. I take whatever exercises I'm working on at the time and apply them to my weaknesses.

Working on the same things every day for years won't yield the results you want. You need to grow not only your technique, but also your rhythmic vocabulary, which also, from my personal experience, comes from moving forward to work on new things on a regular basis, and not sitting on repetitive ideas forever.

Best of luck!
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Old 04-18-2019, 04:32 PM
Push pull stroke Push pull stroke is offline
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Default Re: Sacrificing concepts during practice.

Originally Posted by benthedrum View Post
Actually push-pull, this study that you've read, did it mention anything regarding the disparity between the concepts?

For example, as you've suggested, a buzz roll is vastly different than a half time shuffle at 60bpm.

Compare that to say playing a samba pattern spontaneously while laying down a basic jazz pattern.

I wonder if it's the degree of difference in concepts that improves musicality.
It didnít get that deep into it, but Iím sure youíre right about that.
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Old Yesterday, 02:00 AM
Odd-Arne Oseberg's Avatar
Odd-Arne Oseberg Odd-Arne Oseberg is online now
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Default Re: Sacrificing concepts during practice.

I've ben through periods of not following my own advice. That's about other stuff though. Work, mental health, legal stuff etc.. I shared some of it a while back. Basically, too tired and feeling too abused to focus.


Taking it slow I've made my own list of stuff to work on and it started something like this:

1) Practicing technical exercises only in 7.
2) Practicing coordination only in 5.
3) Working on fast swing.
4) If I do fall back into some old stuff I play with the click in other places than on the beat. I started by actually taking my RH away and playing with the click on the ands. Not as easy as it sounds, but a very healthy exercise.

First. I didn't loose any ability. I gained a lot of control.

Second. I'm doing lots of stuff that's considered advanced pretty effortlessly and in a creative way. Pretty much nails it in regards to the old "Nothing's hard, you're just not used to it."

I don't even spend 2 hours on the kit every day, but I have a bunch of short sessions on my little practice setup in addition.

Obviously, things have evolved the last few months, but this was the start of it.

Don't necessarily do the same thing every day. Actually I don't. I just keep a log and stay within the parameters I've set.
So, kick drum...or...bass drum? I'll tell you what. If it's 18" or less, it's a FOOT TOM.

Last edited by Odd-Arne Oseberg; Yesterday at 02:37 AM.
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Old Today, 12:14 AM
bonsritmos bonsritmos is offline
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Default Re: Sacrificing concepts during practice.

pretty much every day, i do what i call "the sequence".

its a bunch of ketu candomble rhythms and some other afro bahian rhythms that i have transferred to drumset.

i brought in a thread about the origins of rhythm and phrasing in jazz history and how ketu candomble rhythms are almost a blue print for the evolution of innovations rhythmicly in jazz history from joplin , jelly roll, armstrong , ellington , bird, miles, trane , wayne etc. there are powerful connections in grooves and phrasing in solos and melodies written by the masters. i call them ketu codes.

so , i play them left handed , right handed, i put a back beat on each one as well as with out one . differant tempos. the bass drum follows the bell sometimes but it also solos. these rhythms stand alone, not like lots of drum grooves that are better expressed with other instruments playing with them.

these beats have natural flams and ruffs ingraned and , i use flams to embelish and solo but always anchored by the groove. they call the solo in ketu "rum". so, it builds huge chops, it uses massive concept, and the foot gets educated to always go for groove so it starts to stick. i used to do a lot of rudimental tricks with hands and feet. but "the sequence" gives my chops all they need , to take right to the bandsand.

after a half hour or 45 minutes of this, i then go to mccoy tyner super trios and the up from sahara and elza soares hard sambas for a great workout hopefully to match the high intensity live playing. of course any gig that has stuff i have to work on gets priority, but i book most of my gigs so "the sequence " is the priority
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