Then you have drummers like Stewart Copeland...who know that chops mean nothing as long as you've got the feel of a musical jazz drummer (who wears gay gloves).
HA!
2020202020202020
Then you have drummers like Stewart Copeland...who know that chops mean nothing as long as you've got the feel of a musical jazz drummer (who wears gay gloves).
Two guys are listening to a band. One guy says, "I really like that drummer's feel." The other guy says, "Are you kidding? I don't think he has any feel at all."
Feel is something that's percieved. No matter how hard you try you're just not going to look or sound to others exactly the way you see or hear yourself. So your best bet is to get your technique down, play musically and let others decide how good your feel is.
Steve Gadd has good "feel" because he is a technical master. A
Is that because the drummer is playing doulbe inverted flamadiddles or because the song just has a great groove? Or one could say, a great feel. The word feel and groove overlap in a musical sense.
Definitely both. When I first learn a song I concentrate on just getting the feel of it, getting a pleasant back-beat. Once I have a good feel, then I focus on the specifics and the technique. I like to learn songs with every note perfectly in sync, but I'd rather play simple and with soul then perfect like a robot.
Heh, then a drum machine would have awesome feel Or maybe by "great" time you don't mean perfect time but timing that just sounds good, with the little pushes and pulls in the right places?Being solid and having great time is a feel thing.
Everyone has feel (good, bad or in the middle) and everyone has technique (again, good, bad or in the middle). It's all a matter of degree.
Good feel with bad technique is still good feel, who cares about the technique. Good technique with bad feel, is still bad feel, so I think of the two, I'd rather have good feel, if I had just one to choose.
Since I don't have to choose, I work on technique, and hopefully my feel improves in direct proportion to my musical maturity.
Which raises the question, can one really "work" on feel? Is it directly tied to our personality?
I think so. Some people are more expressive, listen better to others, don't let ego or negative emotions get in the way, etc. The more you listen to others and play with others, the better you will be able to develop your feel, assuming that is something you want to do. There are some drummers who don't play with much expressive feel but they are in genres where that isn't valued or wanted so much. As with everything, it all boils down to the context of the music and what you need to play for it at that time.
The constant inner-chatter where you're asking yourself, "Am I playing the right thing? Am I overplaying? How are my dynamics? Is my time tight enough...I sure hope my pocket sounds deep..." - is self-destructive and stressful.
Very good input. Drummers such as Ian Paice, John Bonham, Bill Ward and Carmine Appice, do they have feel and technique?
When playing "in the moment", I think you have to let go and trust that all of your practice will come through, while you play with your heart. That's where the "feel" is.
unless we break it down to the technical workings of one's brain chemistry.
more accurately neuropsychologically, there are chemical and structural components and they interrelate and can change in all kinds of ways (even your immune system is part of the show!)
It's one that's easy to discount as "beyond the scope of the conversation" and that may very well be why these convos come up (and it ain't just drummers) and with the tone they do and.
in a way, it could discount a real good platform for looking at the musical experience (as a perceptual/cognitive event...there are people with amusia for instance) and can take us from "This or That" discrete system view to a more highly interrelated type view.
QUOTE]
Huh? 2020202020202020
more accurately neuropsychologically, there are chemical and structural components and they interrelate and can change in all kinds of ways (even your immune system is part of the show!)
It's one that's easy to discount as "beyond the scope of the conversation" and that may very well be why these convos come up (and it ain't just drummers) and with the tone they do and.
in a way, it could discount a real good platform for looking at the musical experience (as a perceptual/cognitive event...there are people with amusia for instance) and can take us from "This or That" discrete system view to a more highly interrelated type view.
QUOTE]
Huh? 2020202020202020
I'm gonna go ahead and second that "what?"
Thanks Jonesy. I'm not alone ha ha. Don't want to appear stupid,