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- The majority of drummers, including
In this lesson I'' m gon na.
(jazz drum established playing in 4/4 swing time) So in this lesson where I'' m. gon na damage down traditional versus modern-day comping for drums, I'' m gon na contrast as well as contrast the two. As well as very first I wan na start with standard, the typical approach to
.
typical jazz comping) So as you can hear my ride.
cymbal isn'' t truly changing. Right? At the very least that'' s the objective. Possibly it is changing, I simply.
wear'' t understand it.( laughes) Yet the idea is that regardless of.
what I play in my left hand and also my appropriate foot, for my comping, it doesn'' t affect or.
eliminate from the groove that I'' m with any luck. developing in my ride cymbal.This is standard. More of a standard. method to comping in jazz. Sort of sealed by the. terrific as well as essential drummer, Kenny Klook. Clarke. So if you can ' t do this, you have no company trying anything else. This is where you need to start. At different tempos. You got ta have the ability to make it. feel proficient at various tempos without transforming the trip cymbal. Since this ability of. being able to not have your trip cymbal impacted by your comping, it ' s an ability, it'' s a independent.
ability that is sort of, it crosses designs, it'' s. not just usable in jazz.It ' s any type of design, anything.
you play on the drum collection involves some sort of freedom. So you wan na invest a.
great deal, a whole lot, a great deal of time dealing with that. I'' ve made some video clips, I.
believe my latest one was "" Independence,"" I.
talk about, you understand, developing and dealing with your self-reliance utilizing the syncopation book by Ted Reed. So I invested a great deal of time.
functioning out of that publication and it simply kinda frees.
Once more, I ' m just gon na. Currently I ' ll do it two times.I ' ll
do it one way method I ' m. not changingAlteringmy ride trip, then After that ' ll do it another one more where I am changing my ride flight. As well as I say modern-day, we ' ll get into specifically what I ' m speaking about when I claim that.Hey, by the method, thank you.
a lot for stopping by as well as taking a look at this lesson. If you'' re enjoying it,.
proceed and let me understand by wrecking that like button.
and also leave some comments. I like listening to from you, and.
If you'' re not already. A lot of drummers have discovered.
All right, back to the lesson. Okay, so I'' m just gon na swiftly talk about some of the points that I associate with more of a standard technique to comping that will certainly differ from the.
modern-day method to comping that we'' ll obtain into later on. So one is something I'' ve. currently spoken about, limb independence, which is.
something you have to function on.You obtained ta hang around functioning.
on your arm or leg independence in various means. Look into a video clip, a lesson I.
did, I'' ll placed the web link there, on self-reliance. I think it was my last.
lesson on independence, where I damage down, just how I.
deal with and use freedom to the Ted Reed syncopation publication. It'' s a fantastic way to work. on your freedom. One more point I associate.
with conventional, with even more of a traditional.
approach to comping is, you know, when you'' re. playing the flight cymbal beat, when you'' re just, you'' re having fun time as well as. you ' re not changing
it, it produces a groove.It develops more of a clear.
as well as super simple to adhere to as well as hear and see.
groove on the ride cymbal that'' s regular. So I think about it as more.
of a trendy strategy. Not saying that you can'' t groove. when you ' re playing modern, but this is a really direct.
way of developing a groove. Another point that I connect.
with even more of a typical strategy to comping is, you.
are reasonably interactive. You can moderately.
interact with musicians. What I indicate by that is you.
are cost-free to some degree in your left hand and also.
your appropriate foot, right? And also your high hat, you know? You can listen to Blakey having fun.
points with his high hat, that'' s, you know, extra. interactive than just maintaining 2 and also four.So, what I mean is, even if I'' m. playing the ride cymbal here and also I'' m not changing it, if I hear rhythm in the band ... (vocalizing) You recognize I can ... As well as I'' m not transforming the flight cymbal. You understand, so, I'' m interacting.
with the musicians and also with the songs easily, however.
I'' m still keeping that beat and keeping that groove.
in the trip cymbals. So that'' s another thing I relate to even more of a traditional. technique to comping.
One more point I link. It ' s not, it ' s a language. You ' ll listen to the same language
,.
with all the master drummers.You understand, Art Blakey or. Art Taylor or Mel Lewis or Kenny Clarke, you ' ll listen to a great deal of the.
It'' s not just random chatter.
as some individuals call it, or random rhythms, you obtained ta.
Not all rhythm swing, keep in mind that. I can go ... I wish you didn'' t like that. I wish you didn ' t like it too a lot.
trying not to play rhythms that really felt excellent, that were idiomatically kind of pertaining to jazz.
and also associated to jazz.I was deliberately playing.
things that simply didn'' t actually propel the time or the feel. Currently I'' m gon na do, I'' m gon na attempt to ... I ' m gon na attempt to play rhythms. that are more colloquial to the design as well as feel great, make the time type of. progress so to speak. So, one, two, three. Right, as well as several of the rhythms, a great deal of times it ' s about being basic, maintaining your concepts straightforward. Ah, a little triplet activity. Uh, uh uh.
Uh-oh, uh-oh, uh, uh, uh,. uh, uh, uh, uh, uh-oh, ow.Right, and sometimes when. you'sing you ' re comping notes or you sing your rhythms, it engages you with what you'' re playing a great deal a lot more.
You ' re more invested in it. When you'sing it, you ' re. I'wear ' t, I ' m just throwing it out there.
And also the very first point is, I ' ve. already kind of stated it, yet limb dependence, as. opposed to arm or leg freedom.
And also I'' ll just show. Initial I ' ll start. Okay, now I ' m gon na start to interact, have my hands interact with each other.
You can either just play quarter notes or you can play your flight cymbal beat. Once again, I ' ll do it slower And also you can even, like Elvin, Elvin Jones would actually. You see how it'' s beginning.
sensation, hopefully. Okay? To make sure that'' s an excellent. location to begin to service your arm or leg dependence, as well as you can do the same.
thing with the bass drum.If you incorporate them keeping that Elvin accent ... We place ' t even added the'Elvin triplets, yet that ' s one more lesson for one more day. Okay, to make sure that type of leads. us right into even more of a suggested approach to grooving, which is, once more, this is more of a contemporary. method to playing time where you ' re not keeping the very same thing, you'' re not repeating the same thing, you'' re attempting to open. up a little much more, opening it up, but still.
trying to preserve the feeling of swing, that standard.
swing feeling, right? So it'' s comparable to what I was just doing, yet I wan na show you at a different tempo that I can obtain the same.
feeling, yet I can open it up at the exact same time. So ... More of a traditional strategy. Currently it'' s gon na open. Currently I'' m adding some accents. Right? Some accidents. Right, so you can hear I'' m starting to ... Not only am I type of.
opening up the rhythm of what I'' m carrying out in the flight cymbal, I'' m additionally opening exactly how I play the cymbal.Suddenly I ' m
starting.'to utilize it as, you know, a large collision, so to speak. And also I'' m using what we call.
a cymbal shank, right? Where I'' m shanking ... I ' m shanking the cymbal right here, to get those notes to kinda. pop or to sound accented. However it ' s not a full on crash.
If I complete on accident the. cymbal, after that I lose control and also I can ' t continue with my trip beat.So that'' s an additional point that. sort of adds more measurements to the modern-day noise, right? Which combined with what.
I'' m playing in my bass drum and snare drum, truly. opens a great deal of things. You can actually take your.
hand off of the cymbal. Take your hand off the cymbal. You can obtain away with doing.
I'' ll demonstrate that. That kinda leads us to this last point that distinguishes the more conventional method to comping, to the a lot more contemporary method to comping, which is it'' s a little bit, or a lot a little bit a lot more rhythmically daring?
of the contemporary drummers, modern-day, I must specify that likewise, yet like Tony Williams, Jack.
DeJohnette, Joe Chambers, as well as, you recognize, someone like Mel Lewis, even though he'' s even more of a. traditional-sounding drummer, he utilizes more of a modern. strategy to comping sometimes.And this kinda brings me to an additional factor, that it doesn ' t have to. be either, or, you recognize.
You wear ' t have to be an. either or kind of drummer.
This particular day as well as age it would certainly. befit you to be both, to be able to do both, right? You pay attention to Roy.
Haynes, very early Roy Haynes, or you listen to early Elvin Jones, and they were playing solid time, not truly breaking up the ride cymbal. After that you hear them develop.
and they began opening a lot extra. However they can do that right? This particular day and also age you'' ll. just work a lot more if you can do both. A great deal of the contemporary.
songs that you hear now, it grows off of that even more of.
a contemporary method to comping, so you definitely wan na.
get that under your belt.But after that there
' s various other times.
when you might have fun with individuals who play even more typical, appropriate? And if you approach it.
with the very same state of mind as you approach an extra modern.
gig, modern-sounding job, you'' re gon na sound out a location,.
it'' s not gon na work, all right? So you wan na have the ability to do both as well as you obtained ta identify.
when what is required, when it'' s best to use this.
You know, you might begin up with even more of a typical technique as well as after that it kinda opens up and also morphs into more of a modern-day point. All right, so that is the lesson, standard versus.
contemporary comping for drums. And again, I wan na stress the.
significance of finding out even more of the traditional technique first and dealing with your independence, obtaining actually comfy with that, prior to advancing to more.
of a contemporary method, all right? I hope you taken pleasure in the lesson.
and also up until the following time, practice hard but practice smart.Take care.
Bye bye.
And I state contemporary, we ' ll get right into exactly what I ' m talking regarding when I claim that.Hey, by the way, thank you.
It ' s not, it ' s a language. Currently I'' m gon na do, I'' m gon na attempt to ... I ' m gon na attempt to play rhythms. I'put on ' t, I ' m simply tossing it out there. Where I'' m shanking ... I ' m shanking the cymbal right here, to obtain those notes to kinda.
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