drummer who is credited with shifting time-keeping to the ride cymbal. This is a topic that many people are looking for. bluevelvetrestaurant.com is a channel providing useful information about learning, life, digital marketing and online courses …. it will help you have an overview and solid multi-faceted knowledge . Today, bluevelvetrestaurant.com would like to introduce to you Intro to Jazz Ride Cymbal Timekeeping Techniques – David Stanoch School of Drumming. Following along are instructions in the video below:
To the studio at the david stanek school of drumming going to go over some some variations in jazz ride cymbal technique for you today. Todays demonstration will be on this beautiful paiste master series extra dry ride 21 inches. Really makes for a nice sounding symbol for the purposes of this demo.
Another great asset for my demonstration is this beautiful stick by vic firth from their modern. Jazz collection. This is the mjc number 2 series check out the bead.
It has an elongated sort of teardrop and a more pointed tip and this is really advantageous for music where you want to get a lot of color out of a cymbal because the less mass you have on the cymbal gives you a certain kind of articulation and then if you flatten out to get more of the meet of the bead music. You get a lot more presents almost like the difference between like an unaccented phrase. Fully accented.
One so heres a breakdown of some techniques for playing the ride cymbal in a jazz context. Some traditional and maybe some non traditional. But theres a variety of ways to approach the cymbal and were gonna look at some of the more commonly effective ones.
The first thing is to establish a good quarter note. Pulse. And get a nice sound out of the cymbal.
A glancing blow may be more with the tip of the stick is for me kind of a good starting point sort of a sound that might be something like this music thumb is up. Im kind of using a wrist motion across the symbol. Because if i turn into sort of a german grip and play with the thumb to the side and straight down.
Im getting a lot more volume and overtone out of the cymbal. Then lets say i might need it first thats going to work really well if the big band is roaring and if you play on outside. And theres definitely ways to make that work but as a starting point thumb up glancing blow more of the tip than the meet of the tip.
Im also creating a sound chamber. Sort of a jimmy cobb kind of a thing where ive closed off air with the fingertips on the cymbal and the thumb here. But ive left the chamber open in here to get this sort of clicking sound.
And that brings out a different sort of focused sound in the cymbal. Then if i like say loosen the grip loosen the fingers or use another technique. Where i snap with just the fingers across the simple sort of a tony williams.
Thing. Heres jimmy cobb and now jimmy cobb into like a tony williams. With just the fingers.
The fingers sounding like this so. Here. We go one to the other music music.
You can hear more high end overtones come off the symbol. When i release the sound chamber. Because im letting everything vibrate one technique.
Thats sort of in between like if we say the fingers close up the fingers more of the sound chamber and the wrists music and then between there and like turning over to more of a up down with the wrists flat part of the tip maximum overtone out of the cymbal sound in between that is this technique attributed to sam woodyard with duke. Ellingtons band. Its sort of like a lasso swirling kind of thing.
And what it does is it helps you get more velocity into the cymbal. But youre still using the glancing blow. So youre not maxing out the overtones.
But like if i go from this type of grip playing across the cymbal rather than just going back and forth with the wrist motion music i throw in and move around music. So be right music. And thats thats a nice feeling thing it works for any temple like when you play with a brush.
You know the tempo and the size of the circle your sweeping need to be relative. Its the same thing up. Here you know youre making a rhythmic motion and the size music and relative to the tempo.
But if it gets too fast. It doesnt really make any sense. So one thing.
We can also do that changes from everything glancing down be wise in this direction inward across the symbol with the wrister fingers. Is the idea that when were going back to make the next stroke. Were using the wrist.
But we can also use more of a ball and socket kind of motion and that motion comes in handy. When you start to change from the quarter note. Pulse music to the gallop or the spangled on music.
I can still use the lateral motion. I can rotate my way back to one. Its not so much this kind of thing that you might see written down.
Sometimes. Where they say play across the symbol and the diagrams look like completely vertical like its music in practice for me anyway. Its more about the idea of when i get two to one.
I am going back that way a one two a three four a one two a three four. So like two and four would be this way one and im catching one on my way back to two and then bouncing the stick on the uh back to the one one and the wrist. And you know so its not like a hinge.
As much as it is the ball and socket music. Lets go find one coming lateral right. And theres a difference in the sound for sure using the ball and socket motion is a nice feeling way to approach the cymbal you can observe it in buddy richs technique.
When you watch videos of him. I notice he used that but as temples get faster. There is another technique that was taught to me by jeff hamilton.
So i like to call it the hamilton stroke. And i know a lot of drummers use it its effective at any tempo. And it basically is a bit more of a vertical stroke at faster tempos and it can vary at slower tempos.
But the idea is it involves now more of wrist and finger combination motion. Where you you snap the stick up on one and drop it on to sort of like a roll technique you know. But sort of backwards.
The down stroke isnt the first one the their starting with the upstroke and the reason you do that is so that you can get the bounce on the skip beat of the of the gallop on your way back to the snap. Because if you drop on two and four one music and get that extra bounce and then you pick the stick back up music. And that motion music has a nice loose bluesy kind of feel to it at slower tempos.
But at faster tempos. Its its very very effective for being able to play up tempo with clarity and good control and not sloppy in other words. Theres a difference between like maybe just dropping the stick and letting it bounce like a multiple bounce or triple stroke.
Without a lot of finger control. Theres that. But then theres this music.
Were down beatles. Snap give greater clarity to the quarter note. Pulse music.
And thats definitely something to check out it can make a nice transition out of the ball and socket motion into the into the hamilton stroke. As you would maybe build tempo balan saket like so .
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