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Fundamental Concepts for Drummers: The Knowledge of the Pros. A reader
Ações de livro
Comece a ler- Editora:
- Leu-Verlag
- Lançado em:
- Jan 15, 2014
- ISBN:
- 9783897751491
- Formato:
- Livro
Descrição
Ações de livro
Comece a lerDados do livro
Fundamental Concepts for Drummers: The Knowledge of the Pros. A reader
Descrição
- Editora:
- Leu-Verlag
- Lançado em:
- Jan 15, 2014
- ISBN:
- 9783897751491
- Formato:
- Livro
Sobre o autor
Relacionado a Fundamental Concepts for Drummers
Amostra do livro
Fundamental Concepts for Drummers - Stefan Schütz
Stefan Schütz
Fundamental Concepts for Drummers
The Knowledge of the Pros
Translated from German by Gert Sass, M. A.
Inhaltsverzeichnis
I Acknowledgments
II Introduction
II.1 The educational Approach, or, How can he know?
II.2 Music as a Language
II.3 Three large Areas
II.4 The Limits of a Book
II.5 Sound vs. Artistry – What I pay Attention to
II.6 Patterns of Thought
III Technique
III.1 Technique and Speed, two Sides, one Coin
III.2 Seeing and Hearing have much in Common
III.3 Sticks, the Extensions of our Arms
III.4 Hand Technique
III.5 Foot Technique
III.6 Parallelisms, Antagonisms, and other Things
III.7 Another technical Aspect: The Setup of the Drum Set
IV Rhythm
IV.1 What is Rhythm?
IV.2 Measures
IV.3 Note Value Tree
IV.4 Rhythmical Basis of the binary and ternary Structures
IV.5 Subdivisions which cannot be found in a Book
IV.6 The hierarchical Structure of applied Rhythmics, or, the End of Correction
IV.7 Mathematics, or, the Limits of Theory
IV.8 Separation of Sounds, or, the End of Parallelity - Horizontal and Vertical Patterns of Thought
IV.9 Groovy Exercises which enter our Consciousness
IV.10 Switching off for a Change
IV.11 The Internal Clock
IV.12 Another Style, another Basis, or, Why does our Salsa sound so bad?
V Stylistics
V.1 What Parameters we have
V.2 Orchestration, or, How do I make it sound?
V.3 Flow Exercises
V.3 Paradiddles, the underestimated Rudiments
V.5 Hand-and-Foot Combinations
V.7 Laid Back, Feeling, and the End of Legends
V.8 Hi-Hat or sounding Meter
V.9 Grooves
VI Miscellanea
VI.1 How many Limbs do we have, actually?
VI.2 Everything according to Plan
VI.3 Reading Music and Charts
VI.4 Musical Styles
VI.5 Copying allowed and expected
VI.6 Fill-in Concepts
VI.7 Improvisation, or, the Art of Talking Freely
VI.8 Creativity - An Excursion
VI.10 Why always by Oneself? A small Discussion Panel of Two
VI.11 Odd Times, Metric Modulation, Groove Displacement, and what have you!
VI.12 What’s my Task in a Band?
VI.13 Final Remarks
I Acknowledgments
First of all I would like to say thank you to all my students. Without their intense interest and their capability of asking even the least likely of questions, I would certainly have failed to recognize some of the most basic principles and concepts. Their passion for learning to play the instrument has inspired me time and again, and this is why they are the first to be mentioned here. I would also like to express my acknowledgments to my colleagues from the drum department. They all kept motivating me to write this book. Thanks to my wife Jutta for her opinion on the texts. She was the first to read and correct the manuscript, and she did an excellent job. Thanks to my children Kaja and Jannick, who keep on challenging me and providing me with new and interesting educational insights. Thanks to Diethard Stein for his great support and, last but not least, Wolfgang Leupelt and his wife Ursula, who were instantly enthused about the idea of this book and did not hesitate to publish it.
II Introduction
I took a long time wondering whether it would make any sense to write yet another book on drumming. The market is fully saturated, and for any conceivable topic you will find more or less sophisticated literature. In the course of my activities as lecturer and director of the drum department, I was granted many really astonishing experiences. I have developed many concepts of my own, some of which are based on the support and suggestions provided by my colleagues¹. Intensive encounters with some of the world‘s best drummers² have helped me analyze and understand the most various approaches to drumming directly at the source. Realizing the fundamental structures of today‘s drumming practice has inspired and encouraged me to start this project.
In this book I will try to introduce these concepts to the reader. I want to show how people can learn and experience drumming in a way that is different from what is perceived and described in the existing literature on drumming. The whole book is free from any musical notes, because it is not about learning yet another set of licks, patterns, and combinations, but instead a fundamental approach to the instrument we all love to play so much. Some colleagues may consider the one or the other issue from a completely different point of view and tend to a different approach. But that doesn‘t mean in turn that my concepts are insufficient. They are just different, and they may seem odd in certain respects, but in fact they have been shown to be highly efficient. Many roads lead to Rome, but one definitely doesn‘t: Following a path and then turning around and going back, then going forth another path, only to return again, and so forth. This would definitely not be recommendable for pursuing a goal. The important thing is to decide for a path and then follow it all the way through. I have made a decision for myself and want to ask the interested reader to join me on this journey, which will lead us to the very core of this instrument, its very substance and basis. It will soon become clear that this is not about abstract ideas and concepts, because the active musician will always remain in focus. A human being with his or her own emotions, conceptions and ways of thinking, with his or her personal traits and individual body awareness. With hopes and joys on the one hand, and fears and insecurities on the other. This is where all the work needs to be aimed at: The very basis. I am sure and have often been assured that the fun you can have with your instrument rises, that the rhythmical skills will improve, and that you will simply sound better as a musician. And that‘s what it‘s about for me.
1 It goes without saying that this book is directed at both male and female readers. For better legibility, however, I have decided to largely do without bulky „he or she and „his or her
formulations only to stress an inclusion which is self-evident. I am confident that female colleagues and readers of this book will understand and accept this decision. 2 E. g. Ricky Lawson, Dave Weckl, Virgil Donati, John Riley, René Creemers, Jojo Mayer, Chester Thompson, Chad Wackermann, Billy Cobham, Curt Cress, Armin Rühl, Billy Ward, to mention only a few.
All ideas are based on our Western culture and do not raise any claim to be universal applicable. There are completely different rhythm structures in Indian, Arabic, and African regions which I will not expand on. I will focus on those rhythm structures which we find in contemporary popular music, and which contemporary drummers should be able to handle. It goes without saying that only the outlines will be dealt with, and that there are exceptions to each „rule". As a principle, anything that pleases is approved. Every individual is free in his or her personal artistic expression.
As far as I am dealing with musical rules and principles, I am actually referring to patterns of listening. There isn‘t such a thing to our instrument as an academic domain, an absolute doctrine which everybody would be expected to follow, as we know it to be a usual case in the context of empirical science. It is all about the listening habits of fellow-musicians and consumers: That‘s the standard. Somebody who is not headed at gaining an audience may of course feel free to do whatever he or she likes - there are no borders set to his or her freedom. But those who are striving to improve their drumming according to our listening patterns will certainly find some new approaches for doing so using this book. That‘s the idea: I want to help us all become better drummers, and I‘ll be happy to help us all to enjoy our instrument even more. And I am confident that I will succeed.
II.1 The educational Approach, or, How can he know?
My main activity is teaching. I am a performer myself ³, but I have always been teaching intensively, and with joy. Bringing this incredibly beautiful instrument closer to others has always been a great pleasure to me. This may be because for me, a student is not just another student, but I conceive of him as a person who is trying to express his feelings by means of the instrument. And this is something which I like to support. I have always been looking for ways and concepts in terms of how to facilitate drumming in a most simple and efficient manner. This is my key motivation: The search for the most fundamental structures. And not only for me, but for anybody who want to develop their skills at playing this instrument, together with their personality. Most of the exercises are conceptionally simple, and perhaps very efficient for the same reason, as they help increase the fun you can have with drumming. No fun, no success. Forced practicing and a dogged attitude are in sharp contrast to my concepts. An educational approach is thus always the top priority, and the resulting didactics will be assessed according to individual success and applied in this way only. That is the difficulty with these processes, since talents and interests, skills and insufficiencies can individually vary to such an extent that any overriding didactical concept is very likely to fail unless taking into account those principles which concern and govern all persons involved. Revealing these principles and helping individuals learn, improve or perfect and groove their drumming is my profession and my vocation. This is why I never settle for an exercise X or Y, but instead keep trying to understand the principles of this exercise and its effect on an individual. This is necessary because learning how to play an instrument cannot be compared with usual learning as we know it from school or higher education. Learning an instrument is always a highly individual and intimate process. At some point during his development, a music student enters a relationship with his instrument, which is to last for a long time or even a life time. Just like in an interpersonal relationship, there will be ups and downs. At one moment, one may perceive oneself as an absolute master, while at another your frustration makes you want to burn your instrument. That‘s perfectly normal, and I think it‘s inevitable. Because this is a precondition for the development of a strong relationship over time.
3 Unfortunately, many musicians consider teaching a necessary evil only. They would prefer to live exclusively from performing. Because only a happy few manage to do so, many colleagues
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