Been stopped for speeding by the police said not my fault I was watching Quincy then they discovered my ride was a crash and feds came to tighten my tom tensions
"You don't have to be a perfect drummer to be a good one" Thanks for always demonstrating that in real time, especially on RU-vid Quincy! Awesome lesson!
Ted Reed's Syncopation is a great book with unlimited material for those who know how to be creative. Another great lesson from our sensei Quincy. Oh my God! I just ran a red light!
Quincy is not kidding about the speeding tickets... He got one while driving back to Canada, and told me during my lesson that same day. Great lesson like always Professor!
Ha! You have a great memory Tety. I don't even remember that. But I made it to your lesson. Now that's dedication:) But no more damn speeding tickets for me...except on the drums:)
These are absolutely brilliant maestro. Half time Syncopation with double time ride and hat. Notice the bass drum feathering with the ride as well. As always kudos for a very clear explaination and sublime touch. Back to the shed.
I've been working on these exercises for 10 days: 1) and 2) seem the most challenging to me, especially when the tempo is equal to or less than quarter note = 280 because the notes are swung, and the ride cymbal has swing too, making it very difficult to interpret. 3) is also very challenging; feathering the bass drum at high tempos is quite difficult for me, but it's an excellent exercise to work on "4 on the floor" at a tempo in which I am completely relaxed with the bass drum 4) I misunderstood initially and accidentally played the fourth beat on rimclick at double time at qn=240, very very difficult at the beginning, (I started at qn=40 🤣) but at qn=240 sounds pretty nice, then I practiced also playing the "two" on rimclick. Now I'm going to practice it as you do, with "4" at half time and I will also practice with "2" at half time. 5) Unisons are not a major issue due to Riley's "uptempo studies" that works on snare and bass drum unisons. These exercises are difficult but excellent thank you very much !!
Great Stuff Quincy! Another very musical application is to play all 8th's Notes on the Snare drum and all Quarter Notes on Bass-then turn it around- Alan Dawson style. Also play all Snare Notes as Buzz Strokes. At slower tempos play figures between Hi Hat and Bass Drum while Snare drum fills in 8th's Note Triplets. Greetings from New York!
so grateful I found these videos. only thing I wish is that the audio of your voice was more level with the drums. I have to have the volume up to hear you talk but when you play it’s really loud.
Excellent exercises. For me, these exercises are great. They are exactly what I was looking for, because I have page 37 of Syncopation memorized, so I don't have to read, and I can focus on the sound. It's a good complement to John Riley's 'Uptempos Studies' from 'Beyond Bop Drumming' (pages 23-29), which are very very difficult. Additionally, with Riley's 'Uptempo Studies,' I can't reach the speeds that the exercises you propose allow. So thank you very very much ❤❤
I love this, brother. I will make this a part of my daily workout, starting way under your BPM but I’ll get there - sincere thanks for the inspiration and great ideas!
Thanks Quincy Davis! Great lesson as always. I just wanna ask you to do a lesson on how to improvise over jazz standard AABA (Caravan, Night in Tunisia) and not to loose the form. Hope you could it in future lessons. Big thanks!
Nice lesson! I had to take back my syncopation from the drawer, just realized I no longer remember that p.38 by heart! Those exercices will be really nice to stick it again in to my brain! Thank you!
As far as controlling tension I notice that Buddy Rich will often close his eyes as if he is in another world during many of the off tempo and faster tempos.
Wow! Your videos are always great! So much valuable information. Again, thank you Quincy for making them. You are a wonderful teacher and an amazing player and writer!!
Quincy my man, This is just what I have been looking for! Awesome lesson! Thank You! I have been playing these pages for some time now on the snare to help my comping and at a medium tempo. My tempos have gotten a little fast but a long way from the fast tempos I am looking to achieve. Now you have shown yet other ways to improve on this with playing it in the bass drum, etc, etc. I can't wait to get to my drums and start working on this. Thanks for everything Quincy!
Always nice to hear from you Rich. Be patient with the tempos and as long as you are working on them every day, the quicker tempos will start to feel easier and easier. Have fun!
@@drumqtips Hello again Q, The problem I have run into now for example when playing between the snare and bass drum my Ride Pattern turns into a Shuffle. What do you suggest I do? Thanks, Rich
@@drumqtips I am happy to say my tempos have increased and after a couple of days I was able to get the coordination to play pg-38 of Reeds book with bass and snare playing the figures together while keeping the Hit Hat and Ride cymbal going on 2 and 4. :) Thanks for your encouragement Q ! :)
Excellent Quincy 👏 . Yet another fantastic method to use syncopation. I need to digest the half time part in my head and probably notate the ride and snare to see where the half time occurs 🤔 my head hurts right now 🤯
@@drumqtips been watching your videos for years and they always help a great deal! You have one of the best channels here man, keep it up, you’re doing something very nice for all the drummers around the world! 👏🏻👏🏻👏🏻 big hug from Brazil 🇧🇷
Would this book be good for non-drummers to cop some comping and phrasing rhythms, or do you think Louie Bellson's book is better for that application? Also, would you ever consider doing a whole video on "play fast, think slow"? Kind of around the concepts of macro time and big beat?
I would recommend getting copping language from albums and transcribing with you here. This is more of a technical thing just like most books. Play fast, think slow could possibly make a good future video. Thanks for the suggestion.
Hello again Quincy, Can you explain more on exactly what you are playing in the first two lessons here? You said you were alternating between the snare and the bass but I am not sure what you mean. It goes by so fast I just want to be sure I am doing it right. If you are playing the figures on the snare, what is being played on the bass drum. I realize in the second lesson it will be reversed. Thanks for your time in clearing this up for me Quincy.
Well, I had to go back and LISTEN to what you said and you clearly said you are ALTERNATING every other note between the snare and the bass drum so now I know what you are playing. Sorry for the confusion Quincy. I REALLY need to slow that down to get it right! :)
I just raised my snare height after watching this, since I just noticed that your snare is just above your waistline. It appears your floor toms are as well, is that correct? Same height (approx) as the snare? I liked the height adjustment of my snare!
Absolutely peter. And actually I wouldn’t limit it to just the syncopated notes. Sometimes you want the notes on the beat to be accented as well. Thanks for watching!
Can I be nosy and ask: You’re at about 320 clicks and playing the eighth notes as quarter notes. If you play the eighths as eighths, as in John Riley’s book or a samba, what is an acceptable “fast” tempo then?
That’s a tricky question for me to answer honestly since I’m not familiar with your level. However, I would say always start slow and push everything you do to the maximum speed you can do it and maintain a good sound and feel. Thanks for watching as always Robert!
First off thank you. About 2 wks. Ago I asked where I could ask questions because this is the comments section and you said I could do so here so thank you. here goes nothing. I'm currently heavily working on my reading, using syncopation and odd time reading text (Louis bellson/gil breines), the chapin book, the new breed and other books. also Books with playalong c.ds. I play all styles. I want to tackle reading and sight reading once and for all. I gave my self 9 months so my deadline is July 31, 2024 and the goal is to go to auditions that I know will require reading and hopefully get the gig. Now that you know the goal, here be the question..... Years ago I studied at Drummers collective in NYC. (I'm sure you know them) my instructor was Michael Lauren and one day in class I was playing through an exercise that I was playing mostly right but I kept making 1 or 2 mistakes so he had me try again a few times but I couldn't get past the 1 or 2 mistakes. After awhile and out of the blue he asks me Ray do you want to move on to the next exercise or do you want to try this one again. I was surprised by the question. I thought why is he asking me? Not wanting to look like a quitter I said I want to keep working on this one, he said ok. After a couple more tries still not getting my perfect play through he asked me again. Again, I thought, not a quitter, must to get that perfect play through, I said I want work on this one. Although I didn't want to look like a quitter he looked like he thought like it's ok to move on but he kept leaving it up to me. And my feeling was I don't want to look like a quitter I want to look like someone who's going to fight hard to till I play it perfectly and since I don't know exactly what he thinks I feel I should continue trying. In the end my time ran out so I left without succeeding. And I asked him do you think I should move on because if you do I trust your opinion and I'll move on, what ever you think I'll do. But he continued to leave it up to me. I sensed that he was following some teacher protocols or D.C's protocols, I don't know. Me, I just don't want to look weak. I got robbed that week and called home and told them what happened and I left the city. So I never went back to class. I'm happy that I lived through the ordeal. Happy to be alive. But now I'm left wondering if there's a time to move on from a difficult exercise even if you haven't achieved 100% perfection. If I move on will it affect me at the gig because I should've been more persistent? Drummers are handed charts and expected to play it right the 1st or 2nd time around. These are the questions bouncing around in my head and the reason I was reluctant to move on. I also wonder, what if I don't move on and it affects me negatively to pursue perfection? What is the best course of action in your opinion. I just want to move forward in the most efficient and best way possible and leave this fork in the road in my rear view mirror. Thank you in advance And happy drumming.
I apologize for my extremely long question. This is a hindrance to me, I'm an idiot 🤪. I could really use the help. So, basically if I'm stuck on an exercise in a book and can't execute it perfectly should I move on to the next one or should I keep trying until I play it perfectly at least once then move on.
Thanks.You're an amazing drummer! My father nearly drowned once. the guy that saved his life said that he told him I'm here to help you, work with me don't grab me and pull on me, work with me, and my dad said ok. The guy was a competitive long distance swimmer. he then said as soon as I approached him the 1st thing he did was to grab me and pull me under so I had to struggle hard to save him.i had to grab him by the hair and pulled him out that way because he was so desperate. My dad said that he was surprised to hear that because in his mind he was working with the guy and not grabbing or pulling. But he was drowning and try as hard as he may his instinct was to survive by any means possible. I may be unknowingly trying to hard and grabbing and pulling to hard to try and succeed (pay attention everyone, I never thought this would be me but it is). If that's the case I apologize. Your an amazing drummer and I saw a light at the end of the tunnel. Thanks.
