Welcome to my RU-vid channel. I'm Michael Nesi and and I've had the great fortune to study with a lot of amazing drummers over the years. I wanted to create a community where I can not only share things passed on to me but also my own ideas. Since I was young, I have taken musical assignments well beyond what was asked of me. A simple assignment in many cases has turned into lifelong pursuits, for example I have hundreds of Alan Dawson like systems that I have developed to assist me in learning a particular topic or area and I think these may also be found useful to others.
The more skills you have, the more interesting your music can be. John Riley, Declaration of Independence
I’m back to compliment you again. I continue to be in awe of you. I wish I had practiced more seriously but went on the road too soon. Are you playing any gigs? Would love to hear you accompany a band. Thanks for the vids. Keep them coming.
Thank you very much! I currently sub for a big band here on Long Island. I will try and get some videos, playing with that band leaves me little time to record anything, I am always focused on the chart. Next rehearsal I will set up my camera for the entire duration and then create a shorter video. Thank you again for watching.
That sounds great! Superb playing. What is going on exactly? Two on snare and toms (also split) and two in Bass Drum and the Hihat? Every 6th note..? Could you explain this pattern? Thank´s and best regards.
The right hand and right foot are playing a double stroke roll in 1/8 note triplets (split between right hand and foot), yes the right hand side of the double is being split between the floor tom, and snare. Hi Hat is on 2 and 4. The left hand on the small tom is playing the melody line from the book syncopation. I can write something out if it helps.
Thank You! I love Vic Firth AJ1 (American Jazz 1) and use them pretty much all the time. There was a period when these were unavailable, pandemic related, Vic Firth Signature Series - Peter Erskine "Big Band" Drumsticks are my second choice.
I have studied with a lot of teachers over the years, starting when I was 10 years old, I am now 52. A teacher is always a great place to start, if you have a local music store, in person is great at least for when you are starting. Books are great however don't be in a rush to turn a page. I have spent, months and years on exercises. When I started I would complete a page a week in various books with my first teachers. There is criteria that you should set before moving on to new material, 1. can you count out loud while playing. 2. Can you use it in a form, for example a groove be able to play it for three measure with a fill on the fourth measure and get back into the groove. Use a metronome for all practice however don't have the click play on all notes of the time signature you are practicing. In the case of 4/4, put the click on 1,3, then try 2,4, then 1, etc. This will teach you to know where you are. Listen to the music of the genre you are studying. Learn to read music if you can not, dum notation is not hard. I loop exercises at least 8 measures before moving on. The greats especially in the Jazz genre played all of the time, that is not easy these days, so practice as much as they would have played in that genre, playing with music, playing with musicians, playing with a click, create a set list that would be around the same time as they played on set with Jazz standards and play that through a few times per week. I can go on but I hope this helps.
I wanted to add one more item which is a conclusion I came to in the last few years. Don't spend too much time on a practice pad. Spend as much time as you can playing the instrument and working on your sound. Think about your sound ALWAYS, while practicing with a book, playing to records, and playing with musicians. Had I put all the time I spent on practice pads on the set I would be lightyears farther. Technique obtained on a pad does not automatically translate to the set. Work on your dynamics on the kit, the pad does not help in this area.
@@michaelnesi0827 Thank you so much for taking the time to answer so thoroughly. There's some real good advice in here, and I'll try out some of the things you've recommended! :) And probably share with whoever might ask me the same. What books did you use yourself?
@@patches4170 I did Advanced Techniques for The Modern Drummer, by Jim Chapin, I was fortunate to have studied with Jim, and worked on the book with him. I spent a lot of time using Syncopation with Alan Dawson like systems. This book has all of the systems, many I had just gotten from various teachers, who probably had gotten them through word of mouth from people that studied with Alan. The Drummer's Complete Vocabulary As Taught by Alan Dawson, by John Ramsay has all of Alan's systems. New Breed, Amazing Book, I highly recommend, pay attention to the singing. Future Sounds by David Garabaldi, I saw David perform a clinic from which I still have the handouts, I was 12, the handouts were the beginning of that book. Afro-Cuban Rhythms for Drumset Frank Malabe, All f Gary Chaffee Patterns Books, I studied with a Gary for a few years. Amazing concepts. If you want to learn more about Gary check out Steve Michaud, he was a long time student of Gary, (in person lessons for years), he knows Gary's material better than Gary. Portaits in Rhythm, Anthony Cirone. Charles Wilcoxon, Modern Rudimental Swing Solos. All of the books I listed you can spend a lifetime working on, I still work from them.
Thank you, yes I really love this album! I think I read some or all of this album was written while he was in prison at San Quentin. Thanks for watching.
Thank you very much! I started with many Alan Dawson systems using the book Syncopation. THE DRUMMER’S COMPLETE VOCABULARY as Taught by Alan Dawson, by John Ramsay, has all the system I used initially. I then moved to Ari Hoenig's book Systems. All along you begin to figure out your own systems to assist in your development, I have hundreds now myself. In my opinion this type of practice really works! Gary Chester's New Breed books as well, pay attention to the singing, that is the most important component. I loop measures 8 times before moving on, that gives you an opportunity to work on your sound as well, then I loop a line, 4 or 8 measures, counting is important as well. I have spent years on certain systems. If you ever run into a problem, reach out I would be happy to help.
@@ColtraneTaylor OK, I will do one explaining it. You can spend a lifetime just on Elvin's Latin feels. I love "We Kiss In A Shadow", Sonny Rollins, I have a Spotify playlist I am building of all his Mambo feels.
Hi Micheal,I enjoy what you’re doing but everyone doesn’t know the system from Ari, it might be good to explain what and how doing it if possible. Just a thought. Thanks
Thank you for the feedback, in the video details is a link to the first video I did on the topic which has a more detailed explanation. I have a few videos on the topic, I will create a playlist or something.
That would be good. You have to remember that people find your videos various ways and they don’t always have the time to go and check out your first videos. Great work!
Mike just subscribed to your station could you please show me a buddy rich lick to practice slow to up tempo I trust your expertise can help me with a buddy rich routine thank you
Elvin talked about how/what he practiced at a clinic, someone took notes and I took that and created other ways to practice it, taking it steps further.
@@alzhaimar Thank you! It is documented on a Website. There is one clinic online, it is at North Texas State, he speaks about music/hist story not his playing specifically, still amazing to watch.
@@alzhaimar Thank you! It is not on RU-vid unfortunately, it is documented on a blog site though, it is called Fouronthefloor. The drummer's name is Jonathan Mccaslin
Thanks very much! It is out of print, I found a copy on eBay, Amazon has a lot of older books as well. There is a pdf in the description, I plan to pdf the entire book at some point.
