I studied timpani with Saul Goodman back in the early 1960's, and both there and at Eastman a year earlier I heard some great snare drummers, both student and professional (eg Buster Bailey, John Beck, Bill Street, Harold Farberman, Michael Bookspan), but I have to say I don't think I've heard anyone with your control at all speeds and all dynamic levels. What you have is something that really cannot be "taught", though it can be worked on endlessly. The short version: this knocked my sox off. Bravo.
Practicing this for NYO auditions this year, and they're asking us to play it at eight note equals 198-207. No idea how that's possible if even you're taking it at 180 or so lmao but thanks a lot for a great reference video.
woah, wait where did you get this information? In the excerpts for NYO for this piece, it doesn't give "198-207". Did you perhaps hear this from another percussionist?
Great playing Rob. Thank you for sharing. It looks like you have some kind of sound projector or "scoop" on the bottom of your drum. Is this something you did specifically for the video or is it something you find useful in live performance and for auditions? Thanks.
i've used the scoop in auditions and this recording, and that's basically it. it just takes the sound and slightly compresses it, so that it's a tighter, punchier, more immediate block of sound.
Hey Rob. I have been taught that the grace note in ruffs/drags should always be played as a closed buzz, but I notice in here you played them more open, as a double stroke. How do you feel the ruffs should be played in this piece? Thanks.
good question - there's definitely no answer to it. but, i learned from delécluse when i interviewed him, the whole point of these is to experiment with new methods of playing and think about what you like. try different things and end up learning about what your musical personality is like. the reason i think i usually end up playing very clear grace notes - the exact number that is written instead of just a buzz sound - is that a lot of the time i'm working on this piece for auditions for non-percussionists. if non-percussionists are looking at two grace notes, they might consider it a mistake to have played a buzz. so, i want to make two grace notes clearly audible to them. does that make sense?
i'm using the thinnest remo drum heads out there. m5 on top and hazy diplomat on bottom. usually for this set up i tune the top head to a b, and the bottom head to the f above that. you can check out how to tune drum heads here: th-cam.com/video/5LwVY2CHTqY/w-d-xo.html and oh yeah, totally agree!! i also sometimes use my smaller 4x13 drum for that piece.
I bought a rob knopper Delecluse score and I'm playing it, but I don't think I can do 66 or 69 tempo because there are a lot of rolls. What tempo in this vid? 52 Tempos?
I can’t fully tell, but I’m curious to know if you were playing diddles on the 32’s I believe? I’m not currently looking at the music. I’m preparing this piece for an audition and am conflicted on whether or not that is stylistically correct?
do you mean doubles? i’ve seen it done either way…singles or doubles. there are challenges with both and that’s why we have to learn how to deal with both
rob knopper awesome, thank you for the response! I’ve just always heard that it isn’t “stylistically” correct to play doubles for concert etudes, but must have just been a misinformed instructor telling me this. Thanks again!
Steviesmiles96 Doubles are usually not used in concert pieces when rolls are notated. But they are a perfectly acceptable sticking for other various situations. The only time you usually would use diddles when a roll is notated is if there is a buzz roll notated, as well as a different looking roll in the same piece. Or sometimes in a march.
Next time shoot the whole clip with one camera so we can just see the sticking.. The camera changes were distracting..I would be nice to focus on one angle of view.... Oh when I close my eyes and just listen... "Yeah Buddy"...Buster would have liked this..
I enjoy your playing and wish you my best at The Met where I was Principal Percussionist for 37 years.. Herbert Baker
thank you herb, and great to hear from you. your name is still on many of the parts and your legend lives on....
I studied timpani with Saul Goodman back in the early 1960's, and both there and at Eastman a year earlier I heard some great snare drummers, both student and professional (eg Buster Bailey, John Beck, Bill Street, Harold Farberman, Michael Bookspan), but I have to say I don't think I've heard anyone with your control at all speeds and all dynamic levels. What you have is something that really cannot be "taught", though it can be worked on endlessly. The short version: this knocked my sox off. Bravo.
wait WHAT
@@silasreimer ?? Explain please...
@@MrKlemps Sorry, I was tired and thought of the "Saul Goodman" from Breaking Bad.
That drum sounds freaking phenomenal. Props
oh man, thank you!!
Those drags in measure 15 are BEAUTIFUL.
the quality of those rolls are a pleasure to hear.
The first 40 seconds scared me. All the intricacies, the peculiar little tid bits of stick control we all wish we had... Can't wait to learn it.
thanks! have fun :)
Best version I've ever heard, thank you for making me ask for more from this piece
Unbelievable.
Beautiful playing.
badass.
Great playing! Perfect sound quality
Increible maestro, disfruto su interpretación y videos muchisimo, lo mejor para usted! Gracias
Practicing this for NYO auditions this year, and they're asking us to play it at eight note equals 198-207. No idea how that's possible if even you're taking it at 180 or so lmao but thanks a lot for a great reference video.
woah, wait where did you get this information? In the excerpts for NYO for this piece, it doesn't give "198-207". Did you perhaps hear this from another percussionist?
@@kushb57 Well on the actual delecluse 9 piece, it says dotted quarter = 66-69. So 66 times 3 equals 198 and 69 times 3 equals 207
Good luck
Wow. That is world class.
thank you!!
Hello Rob, this is Di from your class.
hi di!!!! great to see you yesterday.
Hello Rob, you look like “impossible” in this video. The posture, the focus...the everything. I played this video to my student and we were like :0
excellent...and hello to your student!
Yo, that 0:17 part reminded a lot of the Scheherazade Movement IV pattern...
This is going about eighth = 180. I can hardly get it up to eighth = 160. Incredible work!
Your hands are Amazing!
*blushes*
Damn that part at 1:27 where the drum roll fades to a low volume is cool as hell.
Beyond awesome playing..
thanks :)
Very musical!
thank you very much!
That is amazing, Rob, I thought clavichords were difficult instruments !!
Amazing 👏 Amazing 👏 Amazing 👏
0:08
Great playing Rob. Thank you for sharing. It looks like you have some kind of sound projector or "scoop" on the bottom of your drum. Is this something you did specifically for the video or is it something you find useful in live performance and for auditions? Thanks.
i've used the scoop in auditions and this recording, and that's basically it. it just takes the sound and slightly compresses it, so that it's a tighter, punchier, more immediate block of sound.
How did you develop your drags? They sound immaculate!
Hey Rob. I have been taught that the grace note in ruffs/drags should always be played as a closed buzz, but I notice in here you played them more open, as a double stroke. How do you feel the ruffs should be played in this piece? Thanks.
good question - there's definitely no answer to it. but, i learned from delécluse when i interviewed him, the whole point of these is to experiment with new methods of playing and think about what you like. try different things and end up learning about what your musical personality is like. the reason i think i usually end up playing very clear grace notes - the exact number that is written instead of just a buzz sound - is that a lot of the time i'm working on this piece for auditions for non-percussionists. if non-percussionists are looking at two grace notes, they might consider it a mistake to have played a buzz. so, i want to make two grace notes clearly audible to them. does that make sense?
rob knopper That makes a lot of sense! I'll continue experimenting with different ways of playing this piece. Thanks for your reply
Can someone explain me why the towel placement I know it’s for dampening I’ve never seen it like that before though
Awesome video! What brand and model of sticks are you using?
thank you for watching! those are innovative chris lamb cl-1l sticks
rob knopper wow I just had several clinics with Chris lamb a few weeks ago
Sounds great! What drumheads and tuning interval are you using in this one?
***** Thanks! I was just thinking about how well that sound would fit with Scheherazade's 3rd mvt.
i'm using the thinnest remo drum heads out there. m5 on top and hazy diplomat on bottom. usually for this set up i tune the top head to a b, and the bottom head to the f above that. you can check out how to tune drum heads here: th-cam.com/video/5LwVY2CHTqY/w-d-xo.html
and oh yeah, totally agree!! i also sometimes use my smaller 4x13 drum for that piece.
Is that a piccolo Snare? It sounds greattttt
it's a pretty small drum, but it's not a piccolo! it's a 14x4
Which snare drum are you using for all the delecluse etudes? Love the sound!
it's a pearl philharmonic 4x14 brass drum. thanks for watching!
Amazing!
thank you!!!
I bought a rob knopper Delecluse score and I'm playing it, but I don't think I can do 66 or 69 tempo because there are a lot of rolls.
What tempo in this vid? 52 Tempos?
it's about 60! no problem taking it a bit slower than what's written... it's basically impossible to play clean at that tempo.
this is a rather specific question, but what music stand did you use?
those are the in house stands at the new world symphony performance hall. i’m not sure what brand they are but they’re pretty nice
@@robknopperstudio ok, ill see if i can find them somewhere
I can’t fully tell, but I’m curious to know if you were playing diddles on the 32’s I believe? I’m not currently looking at the music. I’m preparing this piece for an audition and am conflicted on whether or not that is stylistically correct?
do you mean doubles? i’ve seen it done either way…singles or doubles. there are challenges with both and that’s why we have to learn how to deal with both
rob knopper awesome, thank you for the response! I’ve just always heard that it isn’t “stylistically” correct to play doubles for concert etudes, but must have just been a misinformed instructor telling me this. Thanks again!
Steviesmiles96 Doubles are usually not used in concert pieces when rolls are notated. But they are a perfectly acceptable sticking for other various situations. The only time you usually would use diddles when a roll is notated is if there is a buzz roll notated, as well as a different looking roll in the same piece. Or sometimes in a march.
Steviesmiles96 Sticking should always serve the music. It can be whatever you want it to be...so long as it gives you your best possible sound.
WOW!
Wooooow
Next time shoot the whole clip with one camera so we can just see the sticking.. The camera changes were distracting..I would be nice to focus on one angle of view.... Oh when I close my eyes and just listen... "Yeah Buddy"...Buster would have liked this..
Great presentation of music and technique.
Do you feel any mistakes were made in timing anywhere in this piece and if so where?
i can neither confirm nor deny if there are any mistakes here... 😅
Alguien me podría decir que redoblante es el que usa?
haga clic aquí para ver todo el equipo que eso: robknopper.com/audition-ready-snare-setup
rob knopper Rob speaking Spanish
SUDDENLY
Hahahah those pinkies tho
Holy shit
Piclo snare