Phil Maturano here!

Phil Maturano

DRUMMERWORLD PRO DRUMMER
Drummers Intensive day / Köln - Germany!!!

Vorwort
Der Drummers Intensive Day wurde gestartet, um die Bedürfnisse von Schlagzeuger rund um die Welt gerecht zu werden. Auf Grund meiner 17 jährige Erfahrung, weiß ich, dass Drummer das Verlangen spüren nicht nur ihre Fähigkeiten zu verbessern sondern auch ihr Horizont, technisch wie auch musikalisch, zu erweitern.
Die Frage lautet: Wie schaffe ich das? Wie kann ich mit Spieler zusammenkommen, die über eine langjährige Erfahrung, sei es im Latin, Jazz oder Funk, verfügen? Darüber hinaus lassen sich Termine oftmals schwer mit dem Terminkalender eines Profis koordinieren. Auch die Preise eines Einzelunterrichtes werden oft als eine Hürde angesehen. Um die Schlagzeuger Gemeinschaft zu stärken und um diese Hürden zu überbrücken wurde der Drummers Intensive Day ins Leben gerufen.

Zentrale Inhalte

Das Hauptanliegen der Drummers Intensive Day ist den Schülern die Möglichkeit zu geben vor einigen der besten Drummern der Welt zu spielen. In diesem Workshop haben wir die Gelegenheit erfahrene Drummer beim Spielen zu zuschauen und darüber hinaus Spielansätze und Inspiration zu vermitteln. Wie gestaltet man solch ein Workshop, um gleichzeitig Motivation, Konzentration und Lernerfolg zu fördern? Zwei Stunden nur zuschauen kann langweilig werden und auch noch viele Verständnissprobleme und Fragezeichen hervorrufen. Letztendlich ist oftmals keine Zeit für die Teilnehmer vorhanden, um zu spielen und Feedback vom Dozenten zu erhalten. Manchmal zögern Teilnehmer Fragen zu stellen, vielleicht weil sie zu schüchtern sind oder weil sie Angst haben. Die beste Lösung für dieses Problem: Drück den Schülern Sticks in die Hand und…. "lets hear where you are". In diesem Rahmen bekommen die Schüler Ratschläge der Profis, die sowohl das musikalische als auch das technische betreffen, was für optimale Ergebnisse sorgt.

Was sind die Themen?
In diese fünf- bis sechsstündige Reise, die uns durch das Schlagzeugspielen führt, leiten die Doozenten durch ihre Spezialgebiete.
Die Teilnehmer werden nicht nur zuschauen und lernen, sondern sich auch daran beteiligen. Wenn du beim Drummers Intensive Day bist….dann muss du bereit sein zu spielen! Wenn du dabei bist musst du bereit sein vor den anderen Teilnehmer zu spielen. Du wirst zu Playbacks und zusammen mit den Dozenten spielen und von ihnen bekommst du anschließend ein Feedback über deine Fähigkeiten. Wir haben genug Zeit, um alle Fragen zu beantworten und die wichtigen Themen sorgfältig zu behandeln- Genau das ist, was diese Veranstaltung einzigartig macht.

Wer erteilt den Workshop?
Phil ist einer der besten Workshop-Dozenten der Welt. Seine Lehrwerke und DVDs haben ihm die Möglichkeit gegeben tausende von Drummern zu erreichen- Schüler wie auch Profis- und dies mit begeisterter Resonanz. Als Workshop-Dozent Phil hat in den angesehensten Schlagzeugschulen und Veranstaltungsorte gastiert:

• Argentina Drummers Intensive days
• Marktoberdorf Drum Camp (DE)
• Cape Breton International Drum Festival (Canada)
• Drumteck (London)
• Drummers Collective - New York, USA.
• The Music Institute (London)
• Drummers Focus - Munich (DE)
• Masstricht conservatory - Netherlands
• Rigas Ritmi Music Festival - Riga, Latvia.
• 10th, 11th, and 12th Annual Drummers meeting - Salzgitter, (DE)
• Arnhem Conservatory - Netherlands
• Meinl Drum Festival - Gutenstetten, (DE)
• The Las Vegas Percussion Camp/UNLV - USA
• Drums Only with Vinnie Colaiuta in shorndorf, Germany
• Ed Thigpen and Steve Houghton - at WND Jazz Spezial
• Drummers Institute - Dusseldorf Germany
• Escola Civica - Milan, Italy
• Guitar Center - U.S. circuit - Featured
• M.U.G. Music House - Gothenburg, Sweden
• Zurich Latin Music - Zurich, Switzerland...as well as many
others in Austria, France, Spain and South America



Themen des Workshops

Jazz (Unabhängigkeit und Phrasierung)
Latin (Stilkonzept / Unabhängigkeit, Vokabular Und Phrasierung)
Contemporary Drumset Unabhängigkeit und Stile (Rock und Funk)
Handtechnik - Rebound Stroke Studien und Technik im Allgemeinen
Übungskonzepte
Inner Clock Studien
Notenlesen
Improvisationskonzepte
 

Attachments

Phil Maturano

DRUMMERWORLD PRO DRUMMER
Köln Drummers Intensive day special!!!!!!!!

As part of a special promotion for the Köln Drummers Intensive days here is what I am doing.

If you bring 3 of your drummer friends to participate in the day and sign up on my website before the 8th...you get in free!!
So 4 attend and 1 gets in free! Cant beat that!!!

To sign up follow this link
http://philmaturano.com/drummersintensivedays.html

Here is a Drummers Intensive we held in South America last year, with percussionist Pete Locket (UK) and master teacher Frank Briggs (USA)
 

Drumbob

Member
Hi Phil! I think about it too. Being in my 40s, we did not have such access to people. I was just mentioning in the Steve Hass thread, that there's not enough online info on the guy.

Question. I think about all the easy access to so many great players. I believe that this leads homogenization of drumming styles though. I find these young players with great talent and technique, but they all sound the same. Because of this internet tool, there are more amazing players out there, yet less players with a voice. I think Ronald Bruner Jr is incredible, but honestly I would much rather listen to who he copies(dennis chambers, and billy cobham). I can name 40 or 50 known young players who all sound exactly like whom they admire. Coming from your generation, you have your own sound. That's rare today. What are your thoughts on this?
 

Phil Maturano

DRUMMERWORLD PRO DRUMMER
Hi Phil! I think about it too. Being in my 40s, we did not have such access to people. I was just mentioning in the Steve Hass thread, that there's not enough online info on the guy.

Question. I think about all the easy access to so many great players. I believe that this leads homogenization of drumming styles though. I find these young players with great talent and technique, but they all sound the same. Because of this internet tool, there are more amazing players out there, yet less players with a voice. I think Ronald Bruner Jr is incredible, but honestly I would much rather listen to who he copies(dennis chambers, and billy cobham). I can name 40 or 50 known young players who all sound exactly like whom they admire. Coming from your generation, you have your own sound. That's rare today. What are your thoughts on this?
Well...you are totally right.
The thing is ...no matter what kind of information there is available, music is deep. It takes a long long time to find ones own voice. To be honest i dont think anyone in their 20's has found their own voice. Great players have told me they dont like to play with anyone under 30-

The situation is also...for every RBjr there are 40 50 100 1000 just like him all over the world. You just dont hear about them in the states. Each country has their own version of him. Etc. And the whole GC thing....is not interesting to me. No one plays that way in NY. I dont know where those guys actually play? I have not seen ANYONE in NY play like that on a gig. They would be axed on the spot.
Its the same thing that happened with Gadd, with Vinnie, with any drummers that become well known...there are clones. Imagine all the Buddy clones back in the day? Remember all the Dave W. clones with the mullets? Hahaha

A great drummer said to me once..."When you are the second dog pulling the bobsled you still dont see the horizon. All you see is *'*
I never forgot this. I dont see any point at all in copying someone in the long run. It just shows that you are inexperienced still and searching for your own thing.

There is nothing wrong with that and its a normal process. But the ultimate goal is to be an artist. To be a musician and not a total off shoot of someone. Imagine this situation in the art world? You would get eaten alive by critics!

There is a process or learning and some say that all creative work is derivative. OK...when you balance out the basic functions of an art then yes but there comes a point where the vocabulary separates, the motifs become unique etc etc...that is a beautiful thing to hear and see. Also it takes guts of steel to be your own man. To play it how YOU hear it. Not like someone else heard it and ride the coat tails.

Then the flip side of all this is that there are drummers the young cats hear about like RB and TONS or cats that are constantly working that kids DONT hear about. The Industry doesnt promote them or they just dont care about that side of things. These guys FAR outweigh in quantity the "Dig me guys" as Pat Petrillo says hahaha

Imagine all the guys that have graduated from NTS in the last 10 years. And all the guys from U of M and all the conservatories in Europe and in South America ETC ETC. There are soooooo many musicians one doesnt hear about it creates the illusion that GC types are taking over the world. Couldnt be further from the truth.
Its just they are into putting themselves in that position of being in festivals and on youtube.

So its totally normal to copy...the thing is now people see people "in process" and think thats the finished product. The culture...short term attention span...limelight culture...all that doesnt help. We see the result of all this by the situation the music industry is in. Its in the Toilet basically. Music is totally devalued. People want it for free.
 

Deltadrummer

Platinum Member
Great stuff Phil, you're killing me. :)

It's actually spot on to what I am going through in several ways, so it's a great read from that perspective as well.

It's amazing the amount of talent that never comes to the fore, and in my mind it has to do with celebrity culture, which is something that I really hate. I often feel like maybe that hatred is pretentious in and of itself. Truthfully, if Lady Gaga called me for an audition, I would be there in a minute. She just had auditions here in NY and a lot of the local kids went. I can't imagine it actually pays that much anyway.
 

Phil Maturano

DRUMMERWORLD PRO DRUMMER
Great stuff Phil, you're killing me. :)

It's actually spot on to what I am going through in several ways, so it's a great read from that perspective as well.

It's amazing the amount of talent that never comes to the fore, and in my mind it has to do with celebrity culture, which is something that I really hate. I often feel like maybe that hatred is pretentious in and of itself. Truthfully, if Lady Gaga called me for an audition, I would be there in a minute. She just had auditions here in NY and a lot of the local kids went. I can't imagine it actually pays that much anyway.
Those people couldn't pay me a million or ten million to play that tripe. What a waste of time.
All those acts are a rip off. I feel sorry for the players doing them. Its truly sad what those gigs went to. They used to pay really well. Now they got wise to the desperation of most kids out there. And take advantage. I wish musicians had more inner strength and made those companies pay them what they are truly worth! well...Im glad someone is reading this anyway! Hahaha!
 

Drumbob

Member
On the Lady Gaga gig. I can't say I agree. She may be a singer/songwriter turned entertainment spectacle for the worse, but the band I heard on the Grammy's sounded darn good. Rhythm section wise, there's not much difference between that job and let's say playing with John Mayer or any other "respected" pop gig. The grooves in pop are all similar whether you're with the late Michael Jackson, or some new artist. What I have heard about pay scale is that artists such as Lady Gaga who are new cant afford to pay the 7-10 g's weekly that more established artists pay because they have great debt to their record label. I'm pretty sure that any new artist who is the flavor of the year, can't afford to pay more than $2000 weekly. Most pay less than that from what I have been told. It makes sense though. Only successful artists with multiple releases have had the longevity in the music business to be able to pay decent wages. I find it interesting when people have negative words about this type of music. Even the Beatles were considered crap music when they first hit. If drummer's have this attitude about work, what's the point of clinics and lessons? I took lessons hoping to land a gig that could pay my bills. That's really the goal. I believe the only music that sucks is music being played by musicians that suck. Of course music is an art form, and I like hearing drummers with a fresh approach, but if being original and artistic was the only goal, then drum lessons and clinics would be useless. When you take a lesson, you learn the approach of your teacher defeating the purpose of your own voice. I always studied to learn the tools I needed to land a gig.
 

Phil Maturano

DRUMMERWORLD PRO DRUMMER
On the Lady Gaga gig. I can't say I agree. She may be a singer/songwriter turned entertainment spectacle for the worse, but the band I heard on the Grammy's sounded darn good. Rhythm section wise, there's not much difference between that job and let's say playing with John Mayer or any other "respected" pop gig. The grooves in pop are all similar whether you're with the late Michael Jackson, or some new artist. What I have heard about pay scale is that artists such as Lady Gaga who are new cant afford to pay the 7-10 g's weekly that more established artists pay because they have great debt to their record label. I'm pretty sure that any new artist who is the flavor of the year, can't afford to pay more than $2000 weekly. Most pay less than that from what I have been told. It makes sense though. Only successful artists with multiple releases have had the longevity in the music business to be able to pay decent wages. I find it interesting when people have negative words about this type of music. Even the Beatles were considered crap music when they first hit. If drummer's have this attitude about work, what's the point of clinics and lessons? I took lessons hoping to land a gig that could pay my bills. That's really the goal. I believe the only music that sucks is music being played by musicians that suck. Of course music is an art form, and I like hearing drummers with a fresh approach, but if being original and artistic was the only goal, then drum lessons and clinics would be useless. When you take a lesson, you learn the approach of your teacher defeating the purpose of your own voice. I always studied to learn the tools I needed to land a gig.
im not sure what you mean by that DB. Can you elaborate?
 

Drumbob

Member
Oh I was replying to both you and delta drummer. On the pop gigs I said that the salaries reflect where the artist is in their career. A new artist like LGaga cannot afford to pay out what an artist like John Mayer or Sting can. From a musical standpoint I was saying that many of the grooves on a so called rubbish gig like Lady Gaga, are similar to those on a reputable pop gig. If the band sounds great, why not take a gig like that? You're basically playing the same thing behind the drums, to different songs. It's great exposure and you are playing music. There are top musicians on that gig, and honestly even $1500per week which is the lowest end of the spectrum, is more than what most people earn. So I don't believe the money is crap. You're still playing grooves. Something we would all do for free. Personally I dont feel sorry for the guys with that gig, they are making a living playing great grooves. If it fell into my lap, I would take it. I'm sure anyone who wasn't already touring with something steady, would also take it.
On the teaching thing what I said is that teaching and clinics in a way are oxymorons in the world of music. Let's take any style of music. Within the music there are all these grooves we must know. Why? So when we're playing music with a band, there's an understanding when the composer says, this groove is salsa. These title to these grooves exist for the sole purpose of playing ensemble music. But if the goal is to be yourself, then playing an already existing groove, like the kind you teach, would be anti-artistic. Because that is you, not me. Part of the reason we have clones is because of the teaching world. To play the drums there are certain techniques we all learn. But when you start learning someone else's grooves, that's where the cloning begins. So really, if the world is to begin seeing original approaches, teacher's need to stop teaching grooves and begin nurturing student's creativity so they can create their own. DVD's should not have patterns, they should have concepts. And music shouldn't have so many rules. Can you imagine what Keith Carlock would sound like if at North Texas he was taught to play like Ed Soph?
That was my point with that one. I believe it strongly.
 

Phil Maturano

DRUMMERWORLD PRO DRUMMER
The gigs i am referring to pay wayyyyyy less then that and the so called artists I am referring to have millions and generate millions more with merchandising and clothing lines etc etc.

That sickens me. At this stage in the game for me personally. It makes no sense to play with someone for that kind of dough. I went through the thing where I played every and any gig you can imagine. And I agree that you should! To survive as a drummer. But there comes a point where you have to stand up for all musicians. Not take crap from these people and get paid what musicians should be getting paid. But there are too many people with no morals who only care about making the measly money and have no sense of the big picture or the desire to have the sense.

I dont play music I dont like anymore and I dont play with people who promote mediocrity and the most vapid of all values into a system or culture that is already as stupified as it can be. There is no need for that. There are many ways to live and many paradigms.

Teachers and teaching systems aside....it doesnt hurt for people to know about drumming at any level. Personally though...I cannot teach something that I dont know what I am talking about in the deepest sense. That is unforgivable to me. Taking someones money and delivering basically ...lies. It happened to me as a student many many times. I hate it.

Finding your own voice as a musician....eventually people hire you because of that. Not because you sound like someone else. (well...in a perfect world anyway)
Bill Stewart, Ari, Kieth, Cliff Almond, the list goes on...GADD...should I continue? Its your ability as a musician (not only drummer) that allows you to function in an ensemble.

Teaching is complicated....it imparts the deepest of personal knowledge into a person that has dreams of doing something very special with their lives. A huge responsibility. I cannot understand...why anyone would watch expert village or all these yahooos claiming to teach songoow or sam-bah on youtube. I would be totally ashamed if that was the depth of knowledge I was pushing.

A gig is a gig...but when it affects musicians and the music community as a whole...devalues music and skill in music...to make some record execs more money....no no....not my thing.

I think in general you have to make sacrifices to live this way. if someone has kids...you cant afford to think the way i do maybe. if you depend strictly on drumming.

I hope I am covering your points here somehow
Its a very very open discussion and one that can vein off into philosopphy. morals and life choices etc etc
 
Phil,

I must say that your musical style, drumming background and experience are mastery strong led by example. Please continue with your great contribution to this forum, I am learning new things here.....from you!

Thanks,

Ian
 
Asi es! Musica como la Salsa, Merengue, Llanera, Calipso, Steel-pan, Chinbanguele (tambores tradicionales del Santo San Benito) principalmente.
 

Phil Maturano

DRUMMERWORLD PRO DRUMMER
New Online lesson Video!! Specialty Phrasing Series- Groups of 5 using 16th notes!!
After lots of emails and questions about how to create vocabulary, I decided to start tackling the issue on video. I hope you guys have a look at the stuff and if you have any questions about it, dont hesitate to write.


http://philmaturano.com/onlinelessons.html
Video preview:)
http://www.youtube.com/watch?v=ev6STfjSl_w
All the best
PM
 
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