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  #1  
Old 02-15-2010, 09:03 PM
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larryace larryace is offline
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Default Endings

A good majority of my bands songs have "held out" endings. They all end up being slightly different from night to night.You know the kind I mean right, everybody just taking a balls out attempt musically and hoping to make something coherent out of it? It's the one place where you can sort of show off and get away with it easily. There's really no "how to" on endings as far as I know. It's all you and just make it all up, is that how everybody does it? Or was I absent that day?

A couple things I learned the hard way:

It's important to follow the leader of that particular song, be it the singer, or whoever, and end it when they signal it, so you aren't in your own world he he

Beware of the leaders quick signal to cut it. It's great when everyone feels the ending as a unit, but it doesn't go like that all the time.

Keep eyes on the leader.

Endings are no time for half hearted playing.

Sometimes my endings tend to sound similar, any tips on how to approach that?
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Old 02-15-2010, 09:29 PM
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dairyairman dairyairman is offline
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Default Re: Endings

if you're talking about blues jams then yeah, there's no planned endings for those. there's more like a general format they tend to follow. if i hear the lead guitarist launch into one of those formula type endings, i know more or less what to play. i tend to play a similar thing every time so i'm also worried about being redundant and repetitious. i may sit down at home and try to work out some more creative ways of playing those standard blues endings.

other non-blues cover songs and originals usually have a structured ending, so i play those roughly the same every time.
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  #3  
Old 02-16-2010, 04:15 AM
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geeza geeza is offline
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Default Re: Endings

I have about three tricks when it comes to doing what i call the big wank ending. It is definitly my week point. I wish someone would post videos on this matter playing all ideas slowly so you can see whats going on. I get bored ending songs the same way. I need someone to light a fire under my throne.
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Old 02-16-2010, 04:31 AM
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Pocket-full-of-gold Pocket-full-of-gold is offline
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Default Re: Endings

I hear you. I've found triplets or sextuplets can provide some diversity. There's so many ways of playing them they can look (and sound) like you're doing something vastly different each time......even though we know all we're doing is grouping 3's or 6's. Whether it be triplets played on each tom around the kit, accenting the '1's' on toms or cymbals and the 2nd and 3rd strokes on the snare, 'Bonham' triplets, six stroke rolls played as a continuous pattern, paradiddle-diddles. It's all based off the same 'feel' but lends itself to looking very different when played. I've even managed to work a paradiddle pyramid in once or twice.....I think I'd struggle to do that over anything but a drawn out 'rock and roll' ending!!
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Old 02-16-2010, 12:59 PM
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keep it simple keep it simple is offline
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Default Re: Endings

Interesting one this. Structured endings are easy. Same every time. Just arranging them so they work is where the effort's required.

Freestyle endings are muso play time. Again, the short ones are easy, the long drawn out stuff needs a bit more imagination and unstructured structure. As Larry said, there's normally a lead instrument in the wall of sound. Endings of this type need to breathe in the same way as the rest of the number.

As far as drumming parts are concerned, I like to think in terms of the kit becoming more of a percussion set in long endings. You no longer need to deliver groove so the whole palate of sounds & textures is at your disposal. You can be as disjointed as you like. Endings purely using cymbals or flurrys of ascending crashes backed up with kick work are often effective. Isolated tom fills with varying length spaces between them can build tension & drama.
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  #6  
Old 02-16-2010, 05:52 PM
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Default Re: Endings

Most bands I've been in, we work out the endings to all the songs, and only do the big wank ending for the last song of the set.

Because, as you said, otherwise all the endings end up sounding the same. It doesn't really matter how well you vary up the licks, to the audience, it's all going to sound like a barrage of drums and cymbals.

And while I never work out an exact wank ending, I've noticed I tend to follow a pattern of ideas:

(Accents are hitting the crash, with the other notes on the snare):
Parradiddes:
which flows into
6 stroke rolls (R L rrll)
which flows into a call and response of
4 16ths on the snare 4 16ths on the crashes with double bass roll underneath

And then throw in some quads around the toms, salt to taste.
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Old 02-16-2010, 06:33 PM
jon e rotten jon e rotten is offline
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Default Re: Endings

Watch Anton Fig on Letterman's show. They end alot of their songs like this, and he uses
alot of cool diddle variations.

This is about the only time I get to use my double pedal, so I have to keep myself in check.

The band wraps up an Eagle's tune and I'm back there sounding like I'm suddenly playing in a Slayer tribute band.
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  #8  
Old 02-16-2010, 06:44 PM
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Default Re: Endings

Quote:
Originally Posted by jon e rotten View Post
Watch Anton Fig on Letterman's show. They end alot of their songs like this, and he uses
alot of cool diddle variations.
YES! After I made my last post, I thought I should have mentioned Anton Fig.

I remember when I was a younger drummer, I'd stay up late just to see Anton and his "endings".

Also, the 2nd set of Buddy Rich tributes, Steve Smith and Marvin "Smitty" Smith do a wild ending, that sounds very much like a made up wanking, but they do it in unison, to it's clear that they worked it all out before hand.

That segment and years of watching Anton Fig certainly developed my ideas for endings.
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