Magnifique conversation entre ces grands pédagogues du net. Ils cherchent à nous donner les clefs du langage de la musique à la batterie. C’est indispensable de les suivre et de construire son propre chemin dans cet univers de rythmes.
Hearing yourself while you play and everything else at the same time, in my NSHO is the most important thing, your sound, dynamics, slot within the group, etc. ability to change it all on the fly while your playing in the moment
It is a problem. Thanks for the reminder.. my real point is it would be nice to get it going all at once harder to unlearn stuff.. Hopefully that makes since@Neil21407
A funny thought because your discussing over the bar line playing. One of the Reasons Swing Dance looks so cool is "East Coast Swing" is that the dancers are in Six as far as their steps the tunes are in four. As for Garibaldi, that's where i learned all the over the bar line stuff a zillion years ago when i learned all of his tunes by ear on records. Also, Ansley Dunbar did a bunch of this a zillion years ago as well.
Oh cool, Ralph again. Hopefully you weren't too put off by my critique on music ed last time. Are you talking about thinking in 6 as you play four--keeping a 6:4 pulse in your head as you phrase everything? I've been working that into my jazz time, as well as 3:4 pulse for faster tempos, over the past five years. I wish the jazz guitar community would take about rhythm more--that's the source of my frustration.
@pickinstone lol, yea basically polyrhthmic playing they were discussing getting 3s into your body. So the dancing thought just came to mind. Just my opinion of why lots of swing dancing looks and feels so good. A lot of 12 bar blues forms in the old big band stuff. A lot of the dance steps are 3s or 6s. When I learned them when our kids were getting married I just felt like I was drumming. 😉. Not put off by people's opinions good to hear others thoughts to check out and try out for myself. Another growth Ave Happy Holidays!
@@ralphkolarik4115 I've said the following elsewhere, "Practice your quarter note triplets and half note triplets until you can tap those rhythms in your sleep. The mistake many make is to just practice the quarter note and half note triplets just to play those rhythms in performance. The point is that you practice 3:2 and 3:4 to inform everything else you play. The poly rhythm becomes part of the pulse that you feel through the entire performance. Let the poly rhythms emerge organically in your playing instead of forcing them as a parlor trick." I think the polyrhythmic pulse does more to contribute to swing then the oft cited eighth note triplet feel. I don't think that quarter note and half note triplets are strictly an "Elvin Jones thing" as I've heard before. Quarter note triplet and half note triplet feel is in bebop--and in swing as you said. I think I need to hang out with more drummers. I did take a lesson with Quincy Davis once--eye opening experience about my own rhythm. I almost got a lesson with Nate over here... Anyway, jazz guitarists around the internet think that talking rhythm is "overcomplicating things" and that talking complex harmony is the only way to go--scales, scales, scales. Shiiiiiiiit, it don't mean a thing if it ain't got that... well, you know ;)
BTW, after lear4ning all that stuff from Garbaldi by ear i thought where did this come from. for Garbalid it came from the Meters, and Basie big band music
the great painters talk about contraints all the gestalt principals negative space, rythm , no paint no good paint, no brush, yes this is esence of great art
Magnifique conversation entre ces grands pédagogues du net. Ils cherchent à nous donner les clefs du langage de la musique à la batterie. C’est indispensable de les suivre et de construire son propre chemin dans cet univers de rythmes.
For me this video really highlights the master full and unique approach JP has with teaching drums. His material is unmatched
Hearing yourself while you play and everything else at the same time, in my NSHO is the most important thing, your sound, dynamics, slot within the group, etc. ability to change it all on the fly while your playing in the moment
Lose the ego!
It is a problem. Thanks for the reminder.. my real point is it would be nice to get it going all at once harder to unlearn stuff.. Hopefully that makes since@Neil21407
Love this conversation
Awesome ..This is the best format for drum lessons well done..
Great stuff! Thanks
Garabaldi also made up all the early stuff in TofP with his Teacher Chuck Brown, a German Matched Grip Master. who also taught Bozzio
Real humans in real time. Thx!
Let's normalize broadening our conception of constraints.
A funny thought because your discussing over the bar line playing. One of the Reasons Swing Dance looks so cool is "East Coast Swing" is that the dancers are in Six as far as their steps the tunes are in four. As for Garibaldi, that's where i learned all the over the bar line stuff a zillion years ago when i learned all of his tunes by ear on records. Also, Ansley Dunbar did a bunch of this a zillion years ago as well.
Oh cool, Ralph again. Hopefully you weren't too put off by my critique on music ed last time. Are you talking about thinking in 6 as you play four--keeping a 6:4 pulse in your head as you phrase everything? I've been working that into my jazz time, as well as 3:4 pulse for faster tempos, over the past five years. I wish the jazz guitar community would take about rhythm more--that's the source of my frustration.
@pickinstone lol, yea basically polyrhthmic playing they were discussing getting 3s into your body. So the dancing thought just came to mind. Just my opinion of why lots of swing dancing looks and feels so good. A lot of 12 bar blues forms in the old big band stuff. A lot of the dance steps are 3s or 6s. When I learned them when our kids were getting married I just felt like I was drumming. 😉. Not put off by people's opinions good to hear others thoughts to check out and try out for myself. Another growth Ave
Happy Holidays!
@@ralphkolarik4115 I've said the following elsewhere, "Practice your quarter note triplets and half note triplets until you can tap those rhythms in your sleep. The mistake many make is to just practice the quarter note and half note triplets just to play those rhythms in performance. The point is that you practice 3:2 and 3:4 to inform everything else you play. The poly rhythm becomes part of the pulse that you feel through the entire performance. Let the poly rhythms emerge organically in your playing instead of forcing them as a parlor trick."
I think the polyrhythmic pulse does more to contribute to swing then the oft cited eighth note triplet feel. I don't think that quarter note and half note triplets are strictly an "Elvin Jones thing" as I've heard before. Quarter note triplet and half note triplet feel is in bebop--and in swing as you said.
I think I need to hang out with more drummers. I did take a lesson with Quincy Davis once--eye opening experience about my own rhythm. I almost got a lesson with Nate over here... Anyway, jazz guitarists around the internet think that talking rhythm is "overcomplicating things" and that talking complex harmony is the only way to go--scales, scales, scales. Shiiiiiiiit, it don't mean a thing if it ain't got that... well, you know ;)
@@pickinstone 🤣 look up George Marsh he was all about what you just Siad great player and teacher as well here on the West coast
BTW, after lear4ning all that stuff from Garbaldi by ear i thought where did this come from. for Garbalid it came from the Meters, and Basie big band music
the great painters talk about contraints all the gestalt principals negative space, rythm , no paint no good paint, no brush, yes this is esence of great art
A comment made a day ago on a video posted seconds ago…
@@WhatAreBippiesi got a pre link im on 80/20 drummer 'list' thats all
Not sure Jackson Pollock would agree, but hey, whatever.
"Pokemon term" JP? That's a new concept lol
New breed 1 and 2 is kind of like this?
kind of
The 8020 drummer because his teaching only makes sense to 20% of people
Where is your work at?