I'm so glad you mentioned that jazz is triplet driven. So many rock drummers transitioning to jazz need to hear and understand this. It's like flipping a switch in your brain. I had to learn this the hard way when I started playing jazz many decades ago. Then there is the "less is more" thing....
Toro thanks for the kind words and for watching! I'm glad the video was helpful. I hope this helps you have even more fun playing ballads. Keep swinging my friend 🤙
Thanks for the question! Absolutely. Drum brushes are your opportunity to create your own style and patterns. In my Brushes Mastery Course, I help drummers learn to "master" their own style of brushes playing. In the end, it's all about you playing like you. Go for it my friend and let me know how it works out. 🤙 Here's the link to my course in case you want to take a look: jazzdrumschool.com/course/brushes-mastery-course
@@jazzdrumschool I agree. I don't know that I have actually seen any two drummers play the same brush movement in order to get the best sound. In my opinion, the actual physical pattern is not as important as getting the correct sound. The audience does not care what it looks like, they care what it sounds like. They want to "hear the feel" which moves them internally, whether dancing or just grooving to the sound. Speaking for my self, I don't think there is any one correct way to do it as long as you accomplish the end result. Then there is the hi hat sound. I can't stress enough how important it is to not only keep it on point, but to also use the same magic touch on the cymbal sound. There are so many different sounds you can make with the same cymbals. Again, I don't think there is any one correct way to do it, as long as you accomplish the correct sound. I really hope this makes sense. Von Baron is on top of this. Please pay attention to him, especially on the emphasis on the "1 and 3"! . Dancers need to FEEL this, as well as hear it.
I'm so glad you mentioned that jazz is triplet driven. So many rock drummers transitioning to jazz need to hear and understand this. It's like flipping a switch in your brain. I had to learn this the hard way when I started playing jazz many decades ago.
Then there is the "less is more" thing....
Yes indeed! Thanks for checking out my old videos too 🤙
Amazing. Great teaching 👍🏽👍🏽👍🏽
Toro thanks for the kind words and for watching! I'm glad the video was helpful. I hope this helps you have even more fun playing ballads. Keep swinging my friend 🤙
Super pattern! John riley showed me the same 👍
Yay! Thanks for watching and commenting! It’s such a useful pattern!
Ah Von..Great lesson you are a really good teacher!👍🏻...More videos please 👌🏻🤛🏻
Charlie, thanks so much! I’m so glad you enjoyed! Yes, more videos coming!
Great lesson and great teaching! I will.be practicing this for sure
Thanks so much for watching Bhavesh and for your kind comment!
And there's no problem if you don't move your hands from the top to the bottom, but just play two circles, right?
Thanks for the question! Absolutely. Drum brushes are your opportunity to create your own style and patterns. In my Brushes Mastery Course, I help drummers learn to "master" their own style of brushes playing. In the end, it's all about you playing like you. Go for it my friend and let me know how it works out. 🤙
Here's the link to my course in case you want to take a look: jazzdrumschool.com/course/brushes-mastery-course
@@jazzdrumschool I agree. I don't know that I have actually seen any two drummers play the same brush movement in order to get the best sound. In my opinion, the actual physical pattern is not as important as getting the correct sound. The audience does not care what it looks like, they care what it sounds like. They want to "hear the feel" which moves them internally, whether dancing or just grooving to the sound. Speaking for my self, I don't think there is any one correct way to do it as long as you accomplish the end result.
Then there is the hi hat sound. I can't stress enough how important it is to not only keep it on point, but to also use the same magic touch on the cymbal sound. There are so many different sounds you can make with the same cymbals. Again, I don't think there is any one correct way to do it, as long as you accomplish the correct sound.
I really hope this makes sense. Von Baron is on top of this. Please pay attention to him, especially on the emphasis on the "1 and 3"! . Dancers need to FEEL this, as well as hear it.