He actually doesn't change the dynamics very much, and when he does he tends to change the 5-note phrase as a whole, rather than the constituent notes within it; even more variety and variation is available here!
This is the way to go. Having this "tools" in mind and practicing them in infinite ways makes more sense that learning from memory the rudiments for example. Rudiments=limitations, and for worst, not even limitations you have chosen, wich is the saddest aspect. The problem are not the rudiments actually, but the way they are overrated in the standard drumming education. Anyhow and gladly, Mark, Benny and other drummers are starting to change that and focusing in the main concepts (languaje, tools, etc) instead of the canned mini ideas.
As i said the problem are not the rudiments. But why to stick to 40 particular sticking ideas when they are not necessarily what may fit your music or style? In the Benny greb book he makes a cool thing, he uses diddles, flams, accents, drags as modificators of all of the sixtheen notes variants....this way you will be practicing all the rudiments at some point but without focusing in those someone stablished as "the ones". Obviusly it makes sense to start with some of the basic ideas, as singles and doubles, etc but they are no other thing that canned mini ideas actually. Of course you can do a lot with canned mini ideas combined. But you can do a lot more with not canned mega concepts. Take my word.
But that is what i'm saying....you don't need to practice the 40 rudiments....you need to know just what you said it, which are the buiding blocks as you perfectly defined above. Then you can come up with those 40 plus 1 million more. In any case i don't feel like argue about this anymore, i just don't care about the FUCKING 40 SNARE DRUM RUDIMENTS and i prefer to experiment with all sorts of variations of flams, accents, diddles in any subdivision and not what someone else thought was the "OH MIGHTY FUCKING SPECIAL RUDIMENT". You can keep practincing the rudiments all day long, is your time and your approach, i don't want to convince you but please don't try to explain me why i should love and practice the FUCKING 40 MINI CANNED IDEAS.
He is spot on but leaves out articulation and intonation it doesn't just apply to voice being articulate as example hi hat shoulder tip tip shoulder on your stick building a rhythmic pattern to build a rate of smooth flow
+funkman0811 I think that you can put what you called "articulation" and "intonation" into his broad "orchestration" category. If you think about it, you are using two different sounds when playing with the tip of the stick, or when you play the bow or the bell of the cymbal. So in a way it fall into his orchestration concept, and you can focus more if you focus on only this 4 things instead of 5 or 6.
He's already in Iron Butterfly territory at 5:30:p Love mark. Inspirational clinic.
Amazing, unique and inspiring. Mark is a timing genius as well.
Hi Doron,
Thank you so much for sharing this great video =)
Thank you very much for this upload! Really good to see Mark explaining his drum languaje.
thanx I have been teaching fo awhile snd never crossed my mind to call.subdivisions - rates. This was very interesting.
Nice thx for the upload. He seems like a really nice guy!
He actually doesn't change the dynamics very much, and when he does he tends to change the 5-note phrase as a whole, rather than the constituent notes within it; even more variety and variation is available here!
You are right on this one Max.
@@dorongiat Excellent clinic; Mr. Guiliana is a master!
Am a big Avishai Cohen fan
This is the way to go. Having this "tools" in mind and practicing them in infinite ways makes more sense that learning from memory the rudiments for example. Rudiments=limitations, and for worst, not even limitations you have chosen, wich is the saddest aspect. The problem are not the rudiments actually, but the way they are overrated in the standard drumming education. Anyhow and gladly, Mark, Benny and other drummers are starting to change that and focusing in the main concepts (languaje, tools, etc) instead of the canned mini ideas.
As i said the problem are not the rudiments. But why to stick to 40 particular sticking ideas when they are not necessarily what may fit your music or style? In the Benny greb book he makes a cool thing, he uses diddles, flams, accents, drags as modificators of all of the sixtheen notes variants....this way you will be practicing all the rudiments at some point but without focusing in those someone stablished as "the ones". Obviusly it makes sense to start with some of the basic ideas, as singles and doubles, etc but they are no other thing that canned mini ideas actually. Of course you can do a lot with canned mini ideas combined. But you can do a lot more with not canned mega concepts. Take my word.
But that is what i'm saying....you don't need to practice the 40 rudiments....you need to know just what you said it, which are the buiding blocks as you perfectly defined above. Then you can come up with those 40 plus 1 million more. In any case i don't feel like argue about this anymore, i just don't care about the FUCKING 40 SNARE DRUM RUDIMENTS and i prefer to experiment with all sorts of variations of flams, accents, diddles in any subdivision and not what someone else thought was the "OH MIGHTY FUCKING SPECIAL RUDIMENT". You can keep practincing the rudiments all day long, is your time and your approach, i don't want to convince you but please don't try to explain me why i should love and practice the FUCKING 40 MINI CANNED IDEAS.
@eshaysh - You're mostly welcome. Enjoy...
What aa sabian ride is that?
+Max Sergeant I think it's a 20" AA Raw Ride with a couple of rivets.
+handidrummed thanks man!
D ynamics
R ate
O rchestration
P hrasing
He is spot on but leaves out articulation and intonation it doesn't just apply to voice being articulate as example hi hat shoulder tip tip shoulder on your stick building a rhythmic pattern to build a rate of smooth flow
Yeah he forgot but def applies it.
+funkman0811 I think that you can put what you called "articulation" and "intonation" into his broad "orchestration" category. If you think about it, you are using two different sounds when playing with the tip of the stick, or when you play the bow or the bell of the cymbal. So in a way it fall into his orchestration concept, and you can focus more if you focus on only this 4 things instead of 5 or 6.
But dynamics does kinda of incorporate that, which he did mention.
9:51 lol