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Technique(s) / My first videos for warm up: The Ex. Pad Session
« Last post by Frankie Azzariti on March 24, 2015, 06:48 PM »
Hey guys! How are you doing?
I wanted to check with you what do you think of these videos I'm doing. The idea is to have a digital list of exercises to pick from so that you can create your own daily routine. And it would be visual too because these are going to be short videos explaining the exercise. Plus you can download the transcript. I uploaded four for now. Just to see how it goes, you know... but my goal is to have like a bunch of them.
Here's one. I called it Triplets Accents Change. I saw it in many books and many teachers gave it to me too, as an exercise.
The concept is to play each triplet with one hand, changing hands each bar. Plus you'll be accenting each 1/8 note of the triplet every 4 bars. Maybe it's easier to see it that to write it down

Check it out and tell me guys what you think of it



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Hi everyone!

I'm new to the Forum!

I'm excited to share my Hit Like A Girl Contest Entry! I hope you enjoy it, and all feedback is appreciated :)

Thank you!



General Board / Lee Pearson
« Last post by Steve Phelps (Shoeless) on March 20, 2015, 12:15 PM »
Okay, how badass is this? Watch the whole thing, there are a number of things I've never seen anyone do before. Such an impressive showman!

General Board / Re: notation for brushes
« Last post by Bart Elliott on March 20, 2015, 10:11 AM »
I, like you, have notated the sweeps with ties in the past.

What I do now is use the legato mark over the note. This allows the rhythmic notation to remain intact and accurate, while allowing the performer to know (assuming they have already been told to use brushes) that the legato mark (horizontal line above the note) is for sweeps or stirring.

What I like about this approach is that there is no need for a legend or nomenclature key. Legato means giving the note it's full, long value; smooth and connected. You could use any symbol you want to achieve the end result, but again, you'd need to have a key to clue the perform what it all means.
General Board / notation for brushes
« Last post by John Kerr on March 20, 2015, 09:46 AM »
Other than a slew of quarter notes, it occurs to me that I have never really seen specific notation for jazz brushwork, for a groove in particular.  Is there any particular way that anyone notates the sweeps and the taps in the same measure?  I've used ties for sweeps but that becomes impractical when overlaying rhythmic notation for the other hand, in which case I suppose you might just notate the taps and leave the sweeps as an implied.

And have I just answered my own question?

Wow, I should do this more often...

Percussion Parlor / Re: My Conga Is Stuck! Help!
« Last post by Chip Donaho on March 18, 2015, 11:43 AM »
Barts suggestions are good. I've been through this problem and I would have another person grab the bottom stand while you slowly wiggle it loose. Don't let it sit with soap too long or the soap will dry and glue it too the stand. Grab the stand and wiggle it loose while pulling it upward.  ;)
Percussion Parlor / Re: My Conga Is Stuck! Help!
« Last post by Bart Elliott on March 17, 2015, 08:16 AM »
If I understand your situation correctly, I would recommend liquid soap ... like Dawn. It's environmentally friendly, won't attract bugs, and won't leave a long-term residue.

I would start with just a little application around the entire drum where the instrument meets the stand/holder.

Let me know if that works!
General Board / Re: I'm New Here ... (introduce yourself)
« Last post by Ruddy De Leon on March 17, 2015, 06:20 AM »
I am a Los Angeles based drummer. Currently, a little out of practice on the kit...idiophones are what I am perfecting, currently.

I studied for a year at the Musician's Institute in Hollywood, California. Great place! Good info. and friendly folks. Though, you must be prepared for the rapid pace and various class assignments. Grasping how to read drum notation was a bit tricky for this 1st timer!

If you have the cash, I recommend the experience. There's nothing like bonding with percussive bretherin in a class setting taught by top professionals in the biz! It's also great place to network and meet musician's of varying instruments. It's also cool, because you get to find yourself as an artist. You're not limited to what you normally listen to, the music scene there is so grand, you may go in a rocker but come out a aspiring country artist or world music master!

Plus: drums, drums, drums 24/7! It's heavenly! You'll never forget the simultaneous sound of various drummers attempting to master their craft. It's like the majestic roaring from a pack of lions. Nice!  =-)

Currently, I live in an apt. complex and don't have the freedom to play as I'd like.
As a way to keep the musician in me satisfied, I have made a few purchases in the hand percussion dept.
I have collected a few idiophones. I have others, smaller versions of some, this is what I use:
*Meinl Nino mini-conga
*LP Rock Shaker
*Trophy 8" triangle
*Meinl Nino Jingle Sticks
*Tycoon Percussion guiro
*Meinl Percussion 8.25" Claves.

I also have what I believe is an Indian Tumbaknaer Drum. Been with me a while, before I considered myself a percussionist, it's a little damaged. Still has a lovely sound, though.

Out of the idophones I have, I find teh guiro is the hardest to understand.
Jingle sticks are a sort of tamborine with a handle. They are very cool, don't see them used often in mainstream music. Though, they work really well in many radio-friendly tunes.

I have a variety of egg shakers, also. Since I've gotten the rock shaker, though, it's my 'go to' for shakin'. I used to be quite good, not so much anymore.

This is due to what I believe are electro-magnets surrounding me and a group of Mexican gangsters that are quite irresponsible with how they use them! I seem to have trouble getting the local authority to take me seriously. Hopefully, this will change soon.

Aside from the musicianship, I also write. I like writing poetry and have recently began creating my own conga exercise charts.
At some point, I also plan on getting started on charts for other idiophones.

And I looooove cats! Animals, in general, really.

That is me in a nutshell. Hope to learn some insightful stuff from ye in the future. I have browsed this forum before and find it quite cool, I usually frequent pop culture forums. Nice to find a place for the keepers of time!

Check out the 1st conga exercise chart that I created. It's meant to inspire creativity.
The time signature and lack of a 'true' pattern is meant to help you develop how to create your own drum solos. The time and lack of pattern is also meant to aide you 'break free' and move your hands in alternating strokes for creating the best beats and solos.

Of course, don't rush and start at a slower tempo to have your hands, wrists and other essential body parts develop all the right muscles that will help you be the fastest and strongest player you can be!

The exercise is derived from a text book: "Encyclopedia Of Reading Rhythms" by Gary Hess. Recommended!
Let me know what you think! I like the feedback.  =-)
Happy day, to ye! 

Percussion Parlor / My Conga Is Stuck! Help!
« Last post by Ruddy De Leon on March 17, 2015, 04:40 AM »
Long time reader, first time poster.
I am having a problem with my conga drum...
Through my playing, the conga has gotten stuck in the holder.
I am without a helping hand, currently. I have tried and tried to remove it by myself, seems like a 2 person job...
Anyone ever been in a similar situation?

I am thinking of trying cooking oil, but before I attract bugs I thought I'd ask ye kind people here.

Any tips on how to get the drum loose?
Would appreciate the help!
Thank ye, in advance!  =-)
That's smooth indeed, I dig it!
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