improve your time and your time will improve … · 4 chick corea, now he sings, now he sobs, 1968...
TRANSCRIPT
IMPROVE YOUR TIME AND YOUR
TIME WILL IMPROVE YOU
Presented by
Rodrigo Villanueva Conroy
PASIowaDayofPercussion2018Saturday,March24,2018
Sponsored by:
2IMPROVEYOURTIMEANDYOURTIMEWILLIMPROVEYOU
Timekeepingistheprimaryresponsibilityofthejazzdrummer.However,contemporarydrumminghasevolvedinmanyareasbeyondthis.Awell-roundedjazzdrummerprovidestheframeworkforrhythmicsubdivisions,dynamics,style,phrasing,balance,interpretationandeventheattitudeandvibethatcreatesthesparkthatmakesjazzmusiccomealive.Adrummerisinmanyways,themusicaldirectorofthejazzgroup…theleaderoftheband.
“IfIwastheinspiration,thewisdomandthelinkforthisband,Tonywasthefire,thecreativespark…ThebandrevolvedaroundTony.”
~MilesDavis
InthissessionIwillprovidetoolsandbasicpracticetipstoimprovetimeawareness,timefeel,rhythmicsubdivision,dynamics,orchestration,articulations,internalbalanceofthekitandrhythmicimprovisation.InadditionIhopetoinspireyouto lookintothehistoryofjazzdrummingandtheimportantrolethatdrummershaveplayedthroughoutit.
“Workonyoursenseoftimeandyourfeelingforthebeat.Thatistheimportantthingindrummingandwithout itallthetechnique intheworlddoesn’tmeanathing.”
~“Big Sid”Catlett
Improving your TIME
• TIME KEEPINGo Listen toyourself.Recordyourpractice sessionsandperformanceso Be aware of your tendencies: Rushing/Draggingo Knowyourtempos:Howfast/slowcanyouplaygivenstyles
o ConsistentMOTION=Consistent SOUNDS= CONSISTENTTIME
o Use themetronome indifferentways:upbeats,wholenotes
o Subdividethepulse inorderto internalizethegrooveso Playwithmore experiencedmusicianso PracticeatvariousTemposandDynamicLevels
“Imitate,Assimilate, and then… Innovate.”~Clark Terry
• IMITATION AND ASSIMILATIONWorkingonyourtimefeeland jazzconceptionbyanalyzinggreatplayers
o Listen toSignificant JazzRecordingso PlayalongwithRecordings
Startplayingbyear.Letthemusicgetinyoursystemandfallinlovewith it.UseyourEARS. Alotoftheinformationshouldbeimitatedandassimilated inthesamewayyoulearnalanguage.
3o Transcribe and Imitate: Sound, RhythmicArticulation, Internal
Balanceofthekit,Stickings,andToucho Findrelated footageonYouTubetoexpandyourresearcho Learnasmanystylesaspossible.Focusononeplayerorstyleat
atimebyLISTENING, TRANSCRIBING and ANALAZING historicallysignificant recordings.
o Userecordsasa“play-along.”Includingdrum-lessrecordingso Learnhowtoplay indifferentwayswithinastyle:straightahead,
twofeel,brokentime,etc. o ExperimentplacingthegrooveCentered,BehindandOnTopofthe
beato Listentoandanalyzedifferent “ signature”Ridepatterns.
SuchasBillyHiggins,JimmyCobb,RoyHaynes,ElvinJones,TonyWilliams
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Chick Corea, Now He Sings, Now He Sobs, 1968 ~ Solid State Records
• TECHNIQUEInordertobeabletoperformwithconsistentmusicaltime,onehastodevelopa
consistenttechnique.WorkonthedrumrudimentswithALLyourLimbs,inallsortofcombinationsand
dynamiclevels.Tryperformingthemwithdifferentimplementsandwithdifferenttypesofmotion.Itisimportanttohavedifferentwaystoplayanygivenpattern,styleorgroove.
ü Hands:Wrist,Fingers,andMoellerVariousGrips:French,German,andTraditionalDifferentFulcrums:Back,MiddleandFront
ü Feet:HeelDown,HeelUp,RockingMotion,SidetoSideDifferentBalancepoints:MiddleandFrontsideofthepedal
o Apply the SnareDrumRudimentso Practice makes PERMANENT
5o PracticeSlow--focusonquality
o Improviseusing newlylearnedmaterials
o Balance the dynamicsof thekito ExperimentwithBrusheso DevelopdifferentBass DrumandHi-hat Techniques
• LearnthemostcommonstyleswithintheJazzDiaspora,alwaysrefertorecordingsand liveperformances.AskandLearnfromothermusicians
o Dixieland, Chicago, Swing, BebopandBeyond o EarlyLatinElementsinJazzo Brazilian Styleso Afro-CubanStyleso JazzRocko Fusiono ECM
• JAZZDRUMMINGHISTORY
Gettoknowthemasters,fromtheearly1910’stothepresentday.Onlythenyouwillbeabletounderstandthehistoricalprocess,theevolutionofJazzandJazzdrumming.ItisalsoimportanttoknowhowtheJazzRhythmSectionworksandhowitsrolehasdeveloped.Tobeabletointeractwithothermusicianswealsoneedtoknowthejazzrepertoire.Inotherwordsweneedtoimmerseourselvesinthiscraft,getacculturatedanddevelopapassionforit.
Earlyjazzrecordingscouldnotincorporatethedrumsastheywereplayedlivebyearlyjazzdrummersbecausetheyaffectednegativelytheoverallmix.ThereforethereisnotenoughevidenceofexactlyhowthedrumsetwasusedduringtheNewOrleans-Dixielandyears,earlydrummershadtoadapttheirplayingstyletofitthelimitationsoftheincipientrecordingtechnology.
Paycloseattentiontodetail,takenotes,imitate,assimilateandthencreateyourownexercisesandpatternstodevelopyourownapproach.Alwaystakesometimetoimproviseusingtheelementsyouaretryingtolearn.
“Wejustkepttherhythmgoingandhardlyevertookasolo.”~ZuttySingleton
Theseareverybasicsamplesofsignificantjazzdrummersandtheirtimekeepingstyle.Ofcoursetherearemanyotherimportantjazzdrummersthatcanbestudiedindepth.Takeyourtimeanalyzingsignificantjazzdrummersandenjoytheride!
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Warren“Baby”DoddsKingOliver’sCreoleJazzBand
“I’mGoingAwayToWearYouOffMyMind”
Anthology of Jazz Drumming Vol. 1 (1904-1928) 1997 ~ Média 7
Otherearlyjazzdrummers:TonySpargo,ZuttySingleton,SunnyGreer&PaulBarbarin
“Papa”JoJonesBennyCarter&hisOrchestra
“CottonTail”
Benny Carter and his Orchestra, Further Definitions, 1961~MCA Impulse
Othersignificantdrummersfromthe1930’sChickWebb,DaveTough,GeneKrupa&CozyCole
7Big“Sid”CatlettCharlieParker“SaltPeanuts”
Charlie Parker, Yardbird Suite: The Ultimate Charlie Parker Collection, 1997~Rhino Records
Additional jazzdrummersfromtheSwingandBoperas inthe1940’s:BuddyRich,ShellyManne,SonnyPayne,LouisBellson,MelLewis,KennyClarke&MaxRoach
PhillyJoeJonesMilesDavis’Quintet“ICouldWriteABook”
Miles Davis, Relaxin’ With The Miles Davis Quintet 1956~Prestige Records
Other jazzdrummersfromthe1950’s:ArtBlakey,ElvinJones,ArtTaylor& Jimmy Cobb
8• RECOMMENDEDBIBLIOGRAPHY
o Drummin’Men:TheSwingYearsbyBurtKorallo Drummin’Men:TheBebopYearsbyBurtKorallo Traps,TheDrumWonderbyMelTormeo Rifftide,TheLifeandOpinionsofPapaJoJonesby
PapaJoJones&PaulDevlino HaroldJones:TheSinger’sDrummerbyGilJacobso AdvancedTechniquesfortheModernDrummerbyJimChapino ModernRudimentalSwingSolosbyCharleyWilcoxono StickControlbyGeorgeLawrenceStoneo MusicalTimebyEdSopho ProgressiveStepsToSyncopationbyTedReedo TheArtofBopDrummingbyJohnRileyo TheNewBreedbyGaryChestero AdvancedConceptsbyKimPlainfieldo JazzDrummingbyBillyHart
Rodrigo Villanueva is a professor of Jazz Studies at Northern Illinois University where he teaches Jazz Drum Set, Jazz Arranging and directs the award winning NIU Jazz Ensemble. He has played and/or recorded with several jazz, classical and pop artists from Mexico, Peru, Brazil, Korea, Japan, Singapore, Malaysia and the U.S. Among them are Stefan Karlsson, Lynn Seaton, Eddie Gomez, Fareed Haque, Ed Saindon, Clark Terry, Eddie Henderson, Jimmy Owens, Liam Teague, Rodolfo Sanchez, Lee Tomboulian, Hiro Morozumi, Jangeun Bae, Carlos Guedes, Takayoshi Yoshioka, Jon Anderson, Carlos Prieto, Roberto Limón, Sandra Kaye, Carla White, Ben Sidran and the Mexican Pop singers Lucero, Shaila Durcal, Gualberto Castro and Alejandro Fernandez.
Rodrigo performs regularly with the legendary jazz bassist Eddie Gomez, the NIU Jazz Faculty Group NUCLEOUS, led by Reggie Thomas, PANORAMIC, led by pan virtuoso Liam Teague, Anders Svanoe Trio and his own jazz projects. He holds a MM and a BM from the University of North Texas, and he endorses Vic Firth Drum Sticks, Sabian Cymbals, Yamaha Drums, Latin Percussion instruments, Evans Drumheads and Reunion Blues cases. In addition, he teaches at Birch Creek Percussion and Steelpan Summer Program.
Improve Your Time © Rodrigo Villanueva ~ 2018 PAS‘18
9NOTES:
e-mail:[email protected]
www.rodrigovillanueva.com
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