Great instruction in the teaching style of Sturtze and Lyons. Although they would lean towards the quantized aproach. You stress the all important Details and Discipline. Hats off.
It sounds like John is playing more than Steve does on the Chuck Mangione album, Alive. Sounds hard. I really thought I was doing it right. Love those flams!
Could someone explain to me why the rolls are slightly longer? the downbeat at the end of the 7 stroke roll is "late". It sounds sweet but I am wondering if it's a stylistic quirk of marching drums. I have heard others playing this solo and doing the same slight pause at the end of the 7 stroke rolls. I am a jazz drummer form the UK so have no eperience in this environment.
Style and feel. 7 stroke rolls can be interpreted with a "lift". Take a triplet skeleton and then drag it out. You can find this interpretation in older literature like Haskell Harr Drum Method Book 2.
@@JayJohnson4x4 thank you for this really informative answer. I wonder how this works in relation to marching. I've matched samba in Rio and a steady tempo is a prerequisite to parading success. But then I've played a dirge in the street in New Orleans and that definitely has a lilt that's echoed by the walkers/mourners
Mami Blue look up the Old Guard and the Hellcats drumlines playing Crazy Army. They play it slower with an even more pronounced delayed seven. See if that helps.
That instructional video is great to learn how to play it, but the way it is spaced in an actual piece is what gives it the ancient sound. The way Dr. Wooton plays it correctly if you are playing a triplet-based seven in perfect time, but that is not the way it is played by ancient fife and drum corps. We delay it a lot more. It all depends on what style you are trying to play.
Very good advice but your execution isn't sounding relaxed and it doesn't have dynamics! Still, subscribed and still love your playing. I'm teaching over 45 years and I've met and spoken with Steve, like you a Great humble cat!!!
he's not playing it right. the 7 stroke roll is supposed to be played like double-stroked triplets, not like a 5 stroke roll with additional 2. playing the 7 like that causes a delay and the groove is all ruined. it's not actualy wrong but i'm sure you can all 'feel the fill' and realize that something is a bit "off". i personaly like steve gadd's variation on crazy army. i recommend you to watch it. great job anyway!
Dr Wooton is perfectly capable of playing the 7-stroke roll as an “accurately” metered 16th note triplet. Rest assured that if he’s delaying the time, he’s doing it on purpose. It sounds weird to those of us who are not used to it, myself included. But really. He knows what he’s doing.
its interesting noone yet mentioned about but this sounds not right to me. at the end mr. wooton talks about human element but at least in this piece that feels awkward.
Mr Wooton, I think you need to turn that metronome back on! Far be it for me to tell you about drumming, but if a pupil of mine played that piece in such a way ie. out of time, I'd tell him to go away and practice and not to come back until he had some semblance and appreciation of the tempo! Goodness me, that's just a joke.
Dr Wooton is perfectly capable of playing the 7-stroke roll as an “accurately” metered 16th note triplet. Rest assured that if he’s delaying the time, he’s doing it on purpose. It sounds weird to those of us who are not used to it, myself included. But really. He knows what he’s doing.
Clearly nobody firmly countered this arrogant comment, but it is absolutely the style of the piece. 7 stroke rolls are played with a “lilt” and always drag a little bit in this style. If your pupil played this solo like this, they would be smarter than you.
@@gianlucatartaro1335 I know, let's all be wrong together, then we'll be right! I might be arrogant, but I'm not ignorant. If you can't play it in time, you can't play it.
@@woldtop8922it is a traditional interpretation of the 7 stroke rolls as a grouping of three 16th notes rather than a triplet, so you are playing the part “in time” but essentially adding an “extra” 16th note to the measure. Go watch some videos of the Old Guard or West Point Hellcats playing this piece - I think there is even one with them both playing it together! (I had similar issues overcoming differing interpretations of ruffs in my early years - similar the way they are played in this piece. to be well rounded you end up trying to learn all the different interpretations and traditions you come across!) I’m not sure where this style evolved from or when, but these guys definitely know what they are doing and it’s not a “mistake.”
Great instruction in the teaching style of Sturtze and Lyons. Although they would lean towards the quantized aproach. You stress the all important Details and Discipline. Hats off.
To all of you in the comments hating... Imagine saying John wooton is bad 🤦♂️😂
It sounds like John is playing more than Steve does on the Chuck Mangione album, Alive. Sounds hard. I really thought I was doing it right. Love those flams!
Mangione wrote the Gadd version for Gadd's senior recital at the Rochester School of Music then became the opening drum solo for a Mangione recording.
The watch in behind is the biggest thing in the room. 🎶🎶
GREAT...thanks You give me inspiration to play this with swiss triol war marching...
Could someone explain to me why the rolls are slightly longer? the downbeat at the end of the 7 stroke roll is "late". It sounds sweet but I am wondering if it's a stylistic quirk of marching drums. I have heard others playing this solo and doing the same slight pause at the end of the 7 stroke rolls. I am a jazz drummer form the UK so have no eperience in this environment.
Style and feel. 7 stroke rolls can be interpreted with a "lift". Take a triplet skeleton and then drag it out. You can find this interpretation in older literature like Haskell Harr Drum Method Book 2.
@@JayJohnson4x4 thank you for this really informative answer. I wonder how this works in relation to marching. I've matched samba in Rio and a steady tempo is a prerequisite to parading success. But then I've played a dirge in the street in New Orleans and that definitely has a lilt that's echoed by the walkers/mourners
Does anyone else hear some similarities between this and the SCV cadence "Electric Wheelchair"
Electric Wheelchair was based on this when Gusseck wrote it.
I can finally play along with this!! Lol
I play the side drum but I can really appreciate this type of drumming.
Internet In Review side drum?
Internet In Review The who in the what now
@@nielsemilbechnaumann snare drum worn with a sling
@@JayJohnson4x4i have worn my marching snare with. Along for years before getting carriers
Never called it a side drum though
@@JayJohnson4x4 still normally just called a marching snare though.
Can you point me to the exact transcription of what you played? 2:28
human feel 👍🏻👍🏻👍🏻
The seven stroke rolls are started off on the left hand correct ?
Si Señor
Yes!
It's going to take a while to get my rolls sounding that crisp and clean.......
it would be really great to see you play the 7 stroke roll in real slow motion. I am trying to learn it
Mami Blue look up the Old Guard and the Hellcats drumlines playing Crazy Army. They play it slower with an even more pronounced delayed seven. See if that helps.
still too fast, I mean really slow motion so I can see and hear it
actually I found this helpful: th-cam.com/video/uB80Xhwmhp0/w-d-xo.html
Go to the Old Gaurd and Hellcats video, go to settings, select speed of 0.75 or 0.5. That should help.
That instructional video is great to learn how to play it, but the way it is spaced in an actual piece is what gives it the ancient sound. The way Dr. Wooton plays it correctly if you are playing a triplet-based seven in perfect time, but that is not the way it is played by ancient fife and drum corps. We delay it a lot more. It all depends on what style you are trying to play.
Wait, is THIS the old-time solo that Electric Wheelchair was based on?
I've got a transcript of Jay Wanamaker's Crazy Army.
Smooth as fuck
2:27 for people who just wanted to hear it played
2:28
Any of y'all DCI fans notice a "striking similarity" to Blue Devils 2017 opener...?
fairly certain the BD 2107 opener was based on the SCV cadence Electric Wheelchair, and that cadence was based on Crazy Army
Play it at a faster speed sounds like the blue devils metamorphisis I think 1.25 is a good speed
Very good advice but your execution isn't sounding relaxed and it doesn't have dynamics! Still, subscribed and still love your playing. I'm teaching over 45 years and I've met and spoken with Steve, like you a Great humble cat!!!
he's not playing it right. the 7 stroke roll is supposed to be played like double-stroked triplets, not like a 5 stroke roll with additional 2. playing the 7 like that causes a delay and the groove is all ruined. it's not actualy wrong but i'm sure you can all 'feel the fill' and realize that something is a bit "off". i personaly like steve gadd's variation on crazy army. i recommend you to watch it. great job anyway!
th-cam.com/video/vcNK0y8ta4Y/w-d-xo.html
Dr Wooton is perfectly capable of playing the 7-stroke roll as an “accurately” metered 16th note triplet. Rest assured that if he’s delaying the time, he’s doing it on purpose. It sounds weird to those of us who are not used to it, myself included. But really. He knows what he’s doing.
its interesting noone yet mentioned about but this sounds not right to me. at the end mr. wooton talks about human element but at least in this piece that feels awkward.
Sounds so much like Michael Shannon.
I agree the human element is important but I would add that we don't use the "human element" as an excuse to be lazy. Don't lose the discipline.
Sounds like me when i first started playing.
I like the solo, but the tuning of the drum seems a little washy and unprecise to me. Maybe pull it up a little ?
Mr Wooton, I think you need to turn that metronome back on! Far be it for me to tell you about drumming, but if a pupil of mine played that piece in such a way ie. out of time, I'd tell him to go away and practice and not to come back until he had some semblance and appreciation of the tempo! Goodness me, that's just a joke.
Dr Wooton is perfectly capable of playing the 7-stroke roll as an “accurately” metered 16th note triplet. Rest assured that if he’s delaying the time, he’s doing it on purpose. It sounds weird to those of us who are not used to it, myself included. But really. He knows what he’s doing.
I am beginning to think it's the style. I have heard others doing this. I severely doubt it is unintentional. Feels wierd to me though TBH.
Clearly nobody firmly countered this arrogant comment, but it is absolutely the style of the piece. 7 stroke rolls are played with a “lilt” and always drag a little bit in this style. If your pupil played this solo like this, they would be smarter than you.
@@gianlucatartaro1335 I know, let's all be wrong together, then we'll be right! I might be arrogant, but I'm not ignorant. If you can't play it in time, you can't play it.
@@woldtop8922it is a traditional interpretation of the 7 stroke rolls as a grouping of three 16th notes rather than a triplet, so you are playing the part “in time” but essentially adding an “extra” 16th note to the measure. Go watch some videos of the Old Guard or West Point Hellcats playing this piece - I think there is even one with them both playing it together! (I had similar issues overcoming differing interpretations of ruffs in my early years - similar the way they are played in this piece. to be well rounded you end up trying to learn all the different interpretations and traditions you come across!)
I’m not sure where this style evolved from or when, but these guys definitely know what they are doing and it’s not a “mistake.”
Get working on your flams. Otherwise good