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Author Topic: Has technique made you lazy?  (Read 431 times)
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Gaddabout
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« on: July 12, 2006, 01:00 PM »

Sat down to practice last night and it dawned on me after a few minutes I've settled in to doing things the easiest way possible. For example, I play diddles where I used to play singles. If there's a complicated exchange between the hi-hat and snare, my natural inclination is to work out some double-stroke combination so I don't have to move my hands. I've become so reliant on right-hand-to-bass-drum fill combos, moving my left hand to the toms has started to feel out of the ordinary (unless I'm on the chorus playing the ride).

Anyone else experience this? I almost feel like I should go back to the very beginning and play beginner stuff to refresh my body's memory what it was like to have to play and think about every stroke. It's like there's nothing conventional left in my playing, and it feels like acquired technique has made me lazy in my approach.
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« Reply #1 on: July 12, 2006, 01:32 PM »

Funny this should come up because I was thinking to myself this morning if I am playing patterns which are "too easy" in their execution as well but with a different twist:

My "problem" is I play everything very convential- RH lead, and a closed approach as opposed to an "open" playing of grooves when on the hats (LH on hats)... so I will practice my weak side for a portion of my practice time.

So on that note and in retrospect I think I make an honest effort to practice outside of my comfort zone.  There are a few fills I play quite a bit with left hand and left foot leads.  I also like to "cheat" and have a busier left hand but still keep the RH on the down beat. 

Stick Control is open and on my music stand... my click track is programmed to drop out 2 bars and I'm still the mental mess (albeit a more confident mental mess) as when I started playing.  I don't practice uber difficult patterns anymore and work on extremely solid and safe subdivisions and sticking for the most part.  I don't consider a paradiddle of any sort unconventional. Now a paradiddle groove or a quintuplet sticked as a paradiddle- yeah that's starting to get out there.

But yet on gigs I have a tendancy to really play it safe.  I don't want to blow the groove.  Whatever works that doesn't blow the groove is my motto. 

I play beginner stuff but then I usually add a twist- rudimental rolls with feet, LH hand lead, drop out the metronome for a length of time.  And I always try to get a good sound to my ears when I play this simple stuff.
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jameswalker
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« Reply #2 on: July 12, 2006, 01:37 PM »

I've experienced the same sort of thing from time to time - especially the "stay-at-home left hand" syndrome.

As long as it isn't having an adverse effect on the musical content of your playing, I wouldn't worry about it.  There's "laziness," and then there's "efficiency."  If I can find an easier (more efficient, more practical) way to express a musical idea, I'm all for it.  If I'm just being lazy, and limiting my musical options because my hands or feet think it's "too much work," that's something different.  When the latter occurs, that's when I berate myself to "get off my --- and stop being such a lazy -----."

That having been said, it's always good to go back and work those fundamentals, and it's often beneficial to revisit/review materials from the past.

Hmm...speaking of getting my left hand back in the action, where's my Joe Cusatis book?  Wink
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« Reply #3 on: July 12, 2006, 01:52 PM »

I don't see it being lazy or taking the easy way out.  I see it as using the optimal sticking to get the job done.  Doesn't need to be complicated. 

However, when I find myself getting stuck in a fill rut - then its time for a change!

And yeah, the Joe Cusatis book rocks!  I love the little arrows!

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« Reply #4 on: July 12, 2006, 02:06 PM »

Here's one: When I first started playing, if I had to play straight sixteenths on the hi-hat, I'd use two hands. I haven't done that since getting into finger control years ago. However, I play all eighth- and sixteenth-note hi-hat patterns (at all tempos) like this:

RrRrRrRr

First, that usually makes things groove. Second, it's a heck of a lot easier get the fingers going when you're alternating accents. Not that I can remember a musicial situation that required unaccented sixteenths in many years (it's become passe' with the passing of disco and Michael McDonald's pop career, I guess), but if I had to, it would feel awkard to use two hands.

Secondly, I think I have Chapin Syndrome. I play almost every snare figure with my left hand. There are moments that require the right hand, of course, but years of playing those wacky independence exercises has permanently lodged my brain into Advanced Techniques mode. If it doesn't have three lines through the notes or the number '6' over the figure, my right hand is lost in space.

I dunno. Maybe I need to go through one of those books you mentioned and approach it rigidly.
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« Reply #5 on: July 12, 2006, 02:17 PM »

Just make sure your technique doesn't limit your THINKING. It's one thing to rely on muscle memory and physical comfort when trying to physically execute your musical ideas, but don't rely on them FOR those ideas, if you know what I mean. That will limit your vocabulary, and with it, your ability to express yourself on your instrument.

Technique is language. But it's up to YOU to say something with it.
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Gaddabout
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« Reply #6 on: July 12, 2006, 02:33 PM »

Technique is language. But it's up to YOU to say something with it.

Good point, and I confess I haven't really been challenged to say anything lately. I think I'm maybe a little locked into getting the job done.
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« Reply #7 on: July 12, 2006, 03:19 PM »

Just make sure your technique doesn't limit your THINKING. It's one thing to rely on muscle memory and physical comfort when trying to physically execute your musical ideas, but don't rely on them FOR those ideas, if you know what I mean. That will limit your vocabulary, and with it, your ability to express yourself on your instrument.

Technique is language. But it's up to YOU to say something with it.

wow.  how aptly and succinctly put.  i agree 110%.
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David Crigger
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« Reply #8 on: July 13, 2006, 09:43 AM »

Gaddabout -

Seems like you just need to just up the stakes - particularly ear-wise. 

For instance - regarding doubles. On the surface, though they can make a pattern, lick, or phrase more effortless to play - - - they do _sound_ different than singles. No matter how much we practice to make them sound the same.

For me, doubles are used for the sound they make, most often for doing something that can't be played as singles; really never to make something easier to play.

To use your hihat example - there are a number of grooves (in certain tempo ranges) that just sound "right" played RrRr RrRr RrRr RrRr - but then there are others that really don't RlrL RlrL rLrL Rlrl for example (not an accent easily or convicingly played with one hand at any but the slowest tempos)

My advice - if you're feeling in a rut - find a CD of music that speaks to you musically - that you haven't learned how to play.... and learn to play it.  Maybe not note for note. But really strive to capture the sound and spirit of the playing on the recording.

And then, move onto another recording... and repeat.

No better way to put technique into perspective, than by seriously checking out how it is applied by the best and most musical (using your tastes and judgement to guide who you study and who you don't).

Have fun,

David
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