either would be fine! Goal here not to have picture-perfect transcription, but to transcribe some ideas that I can use. Either one gets the gesture of that phrase. Good Q!
I’m at an upper age lol just starting. I got 7pc Tama SuperStar classic a month ago. I grew up with 70’s disco/funk. But 80’s metal, and classic rock etc. A bit of classical and jazz. So starting and learning fundamentals is absolutely essential. I watch a lot of videos from many drummers/ or music people in general. Thanks for this video. You completely nailed it. I was a math major back in the day but joined Army (from Humboldt) ultimately lol. But your message of step by step is on point. Throughout various colleges and cple universities the “How do you eat an elephant?” postulate always came about. “One bite at a time”. Thanks I will check out more of your vids.
Really respect what you're doing on this channel. There are few resources for jazz drumming on the internet that compare to yours in terms of practical advice and approaching this idiom.
It is remarkable that this topic can be approached in a thought provoking new way. It says a lot about how deep the topic really is... decades worth of mind blowing approaches to this already exist, and everyone who takes drumming seriously will look into all of them... And it says a lot about you. You have offered a refreshing new dish with the same ingredients that have been on the line since the place opened. If this were a Kitchen Nightmares... it would be one where Ramsay actually likes the food. ...heh... or something. Just doing my duty as a person on the internet heaping praise. I sincerely appreciate your insight here. You are a gifted educator and you are going to reach people who seek. Great job man. Keep it coming.
Great video, thanks for this. The thing you mention at the end (love, passion, drive, fuel) will be different in the two columns because of the different moments where people give up. For the left column, students will go through several stages before having to be challenged with embarrassment/confidence. With the right hand column, if you dive right in, you might get humiliated right away and quit. So I think that the left column is why there are a lot of career jazz drummers out there. They've gone so far, there's less temptation to quit. From a pedagogical sense, this support helps the student, which is why it's done that way. Thing is though, I agree with you. It's better to jump in and see if the love, passion, drive and fuel is there to get over being thrown into that first humiliation. Perhaps this would weed out the careerists to make more room for the artists.
Listen to all good music you are able to hear"The more extensive your acquaintance with those who have excelled , the more extensive will be your powers of invention" Sir Joshua Reynolds quote
Pretty cool! Reminds me of Tony Williams studying Max, Blakey, Philly Joe obsessively and then exploding onto the scene as one of the most creative drummers of all time
first step of the “better way” reminds me of wynton marsalis’s graduation speech, where he told a story of a man in his neighborhood gathering kids that want to play music, and having them all play together. then all of those kids (including wynton…) grew up to be great musicians
13:00 I'm learning drums in my late 30's today, but I studied classical painting and drawing (then digital media) when I was a youngster, and I used to work as an illustrator in the entertainment industry. It's funny how you say young people, end up getting really caught up in the details, and only very late in the process, after playing sometimes for years throughout their adolescence, that they finally get to the 'big picture' 'abstract' stuff... and learn _that_ is the stuff that actually matters. The exact same thing happens in visual art. Kids who are naturally drawn to art, they _love_ the details, there's always some detail that's just fascinating, and they want to draw that first. Youngsters learning to draw spend all this time and energy on the bells and whistles-100 difference shades of grey, drawing single strands of hair and the veins on leaves, getting obsessed with details of human anatomy (when I was 17 I was obsessed with tiny muscles like the rhomboid, a tiny diamond-shaped muscle next to your shoulder blade where only bottom corner is visible... or the the extensor digiti minimi in your forearm, which is only visible when you're flexing your pinky). It's just a natural tendency for people who love to draw, you want to get to the fun stuff. Meanwhile, you've never learned how to just lay-in a picture, and make sure it looks right on the page! I remember I had worked so hard, 40 or 50 hours, on a detailed figure drawing with a model, 8 hrs at a time every Saturday. I got lots of help. By the end of it, the details looked great... but the model wasn't even in the middle of the page! It looked like someone had accidentally snapped a photo. The model was occupying one half of the page, and I had all this weird blank space around him. I wanted people to see how I got the model's vascularity and the subtle way his skin folded at the elbow. Instead, half the page was a drawing of the studio. It was _not_ the effect I was going for. I finally became aware, people who are good at this stuff, they have mastered the basics. The basics are everything. And it was a long road after that, because the basics are a lot harder to master than the cool details. And if you get the basics wrong, they stick out like a sore thumb. Real masters have the basics down cold, _then_ they innovate on the details. Just wanted to share. Maybe what you've noticed here, it relates to other creative pursuits.
yeah infact i still do guitar nowadays@@Jameson-Scriver but its crazy cos then when u go back to ur first instrument its like u approach it differently. like i went from guitarist learning drums to drummer learning guitar
Hey man, this is absolutely amazing. I think intuitively I was already doing something kind of like this, but did not realize it. I will make this my default way of thinking about it now. Thank you for this, I also really like the format you are using. One take, almost no editing, it's great, feels like a real lesson
Interesting perspective. Just to add a point, I also think part of the reason why people don’t learn the way you’ve outlined is because they’re not aware that this is the way the masters and next generations (I think of the Marsalis brothers) learned as well. Outlining my own experience would be too long for a RU-vid comment haha, but one more thing I would add is trying to find a mentor figure/teacher who holds you accountable but also encourages you really helpful. I think going to a jam session without knowing how to play, at first, is a bit of gamble. I wish we were all more kind to people learning the music, but alas. Interesting video!
Great video! I feel like the way you laid out as the ideal way is pretty similar to my journey in jazz drumming. I started playing jazz after playing other genres for about six or seven years, so I already had decent coordination and everything, but when I got to college and started studying jazz my professor Entirely focused on listening and creating a feeling, not the technical stuff. I was also in big band from the very start of my learning process. Then I started to transcribe and work on coordination after starting to understand a little bit of what I was trying to accomplish Even now my professor advocates for learning how to create a feeling instead of learning exactly the phrase that someone else played. And now I am leading my own jazz group that gigs around pretty frequently
Not to mention I played my first ever paid jazz gig only about three months and two studying the genre with some of the best players in my city, I was holding on for dear life
Great subject, this makes a lot of sense, especially for those venue's that unmiked the drums sounded way different enough to through me . Your commitment to this wonderful instrument is very inspiring.
Man, my life story. 71 now and still playing but it was (is) one helluva long road to feel "free." I had developed this pain in both wrists/arms/fingers. I tried it all...ice/heat, wax treatments, hypnotherapy, acupuncture, cortisone, tons of aspirin, ibuprofen, doctors, including the doctor that treated Max Weinberg in New York (flew out from West Coast) but after losing drumming jobs and quitting for a couple of years I found my way back by studying technique with Murray Spivack and discovering ART (Active Release Technique). I do hand and arm stretches at least once every day.
As a MT and a hobbyist drummer, I am thankful for your video. I had both a wrist drum related injury and a MT related muscle injury in different periods of my life. One needs to take some time off, pain is there to protect us. Myofascial release techniques help a lot, rebuilding technique from the ground up is helpful. Listen to yourself, have fun, breathe, learn to relax. Practice to 75% of your capacity and not to 150%
@@Jameson-Scriverby the way, acupuncture and foam rolling really help as well. Acupuncture takes pain and inflammation away, foam rolling breaks down scar tissue - dry needling as well. Taking vitamin B complex and homeopathy may also help - give them a shot
