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Poster Re:How many can play any sequence without thinking? [Re:Singlestroker]
Singlestroker





Posts: 517
Joined: Apr 7, 2010
No. 14 Posted on Jun 30, 2013 3:11 PM Profile | PM | Email | Quote | Search | Copy | Favorite
Brad, thanks again. Now Iím just about ready to reply to a couple of your interesting posts. I wonít always follow the order in which you wrote them
brad_leishman wrote:...If... specific mixed sticking were actually written... by the composer, I would respect that the composer was familiar with the different accentuation that the mixed sticking would produce...
and
brad_leishman wrote:... I'm sure sight reading would be part of the audition. Further, I'm sure the piece would involve mixed sticking involving leading with the left hand at times.
It sounds as if, compared with you, Brad, I have limited, and parochial, musical experience. The written drums parts that I have used have all been for British brass bands or concert bands. In none of them has the composer or arranger specified an order of sticking. The only place where I have seen sticking specified has been in tutorial material or examination papers, and in both of these the sticking has been omitted at the higher competence-levels. In British examinations, rather than specifications of sticking, the pieces are usually accompanied with a brief description of the style and feel being looked-for. Although the parts from which I play in the brass band rarely have any indication of sticking, style or feel those are the factors that I nevertheless use when I decide whether actually to play whatís written. I have make that decision all the time, as the parts are very frequently mundane, written in guide-form only or just plain dreadful. It seems that few brass band arrangers understand the drums. I suspect that some of them also consider them insufficiently important to spend time upon, whether in learning about them or seeking appropriate advice.

Are you saying, Brad, that sticking is specified for television-industry auditions, or in the charts that those drummers use?

The left hand certainly is going to be used to start many fills or other sequences; if not, a lot of combinations of snare, tomtom/s and other playing surfaces would be impossible.

Of course, there are different levels of drummers Ė and, I am absolutely certain, way, way above me. However, I still havenít read anything that convinces me that there are many drummers who will know instantly, in every case, what combinations of surface and sticking and footwork will produce whatís written without tripping up and finding they are off on the wrong hand. I am still erring on the side of believing that even the best will need a run-though in many cases, and, in some cases, also time away to learn the sequence unless something is changed. In other words, Iíd be very surprised if, when playing auditions, they didnít sometimes have to approximate to whatís on the sheet.
brad_leishman wrote:... I have a natural tendency to strive for a powerful roll when playing a fill involving descending toms; and I find that (for me) single strokes are the best tool for that effect. When playing paradiddle combinations, I have a tendency to "ghost" the diddle on the snare. So If I played the fill with the mixed sticking in your original post, I would naturally ghost the 3rd and 4th 16th notes on the snare, and I suspect the last two 16th notes on the floor tom would have somewhat of a different sound as well. The effect may not be as noticeable in the driverís seat, but if you were to record the two different fills at, say 140 bpm, they would sound quite different. So, which sticking would make the more effective fill...
I do fully respect your view, Brad, but I still prefer playing my original mixed sticking as powerfully as possible to incorporating those two bass-drum strokes. Both your method and mine include breaks from a continuous single-stroke roll, and I still think that the mixed sticking makes for the better solution. As weíve already agreed, though, itís contextual. I also think that, to a significant extent, itís a matter of preference.

Having said the above, your insight has introduced valuable new thinking to the way I shall approach these things in the future.
brad_leishman wrote:Speaking of Buddy, have you tried bouncing the 16th note diddle between two drums ?
I definitely do that in some of my fills, but Iím not sure if youíre asking whether Iíve tried it within this particular fill. If so, I havenít figured out where in the present fill youíre suggesting that I place the bounce.


Singlestroker edited on Jun 30, 2013 3:19 PM


Topic thread
Hits Subject Poster Chars Posted on
1624 How many can play any sequence without thinking? Singlestroker 1952 Jun 17, 2013 6:30 AM
1440 Re:How many can play any sequence without thinking? pgdrums 738 Jun 17, 2013 9:37 AM
1434 Re:How many can play any sequence without thinking? Singlestroker 520 Jun 17, 2013 10:07 AM
1430 Re:How many can play any sequence without thinking? pgdrums 727 Jun 17, 2013 10:22 AM
1402 Re:How many can play any sequence without thinking? brad_leishman 829 Jun 18, 2013 3:02 PM
1397 Re:How many can play any sequence without thinking? Singlestroker 2188 Jun 19, 2013 3:07 PM
1401 Re:How many can play any sequence without thinking? Singlestroker 1248 Jun 20, 2013 5:39 AM
1367 Re:How many can play any sequence without thinking? brad_leishman 1614 Jun 20, 2013 4:06 PM
1384 Re:How many can play any sequence without thinking? Andy 443 Jun 20, 2013 1:04 PM
1369 Re:How many can play any sequence without thinking? Singlestroker 741 Jun 21, 2013 12:29 AM
1352 Re:How many can play any sequence without thinking? brad_leishman 197 Jun 22, 2013 7:37 AM
1377 Re:How many can play any sequence without thinking? Singlestroker 757 Jun 22, 2013 1:02 PM
1317 Re:How many can play any sequence without thinking? brad_leishman 225 Jun 26, 2013 5:30 PM
1595 Re:How many can play any sequence without thinking? Singlestroker 4501 Jun 30, 2013 3:11 PM

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