This is perfect timing. I'm actually practicing paradiddles as a part of Zack Groove's 30 day chops on Drumeo. My paradiddles are about to level up. Thanks for the video!
These licks remember me to Gary CHafee's Time functioning patterns, where he explained linear phrases as a variable number of single strokes followed by 1 o 2 kicks. So u had patterns of RLK RLRLK RLRLRLK etc. This way u can build long complex phrases thinking each lick as a block instead of a bunch of strokes, all mixed up
Yes but the crucial detail for me is the symmetry. Think of this system I’m describing as taking the chafee thing and adding a “reflection” on the share. With a lot of linear stuff, you need a kick or double kick to get from the right hand back to the top of the kit.
Interesting concept. It's funny how this superficially relates to the syllabic system in composing poems. Long syllables, largely used by the Greeks, elicited legato-sounding phrases. And in contemporary poetry forms, like spoken word, the "berklee chops" more relate to that. Basically, the paradiddle concept explained in the video, to my eyes, is more advanced, because it calls for a classical touch instead of being immediately choppy (not to downplay the stellar street classism of gospel drumming); I did some classical symphony shows when learning drums back in college. Back on the drum note altogether (pun intended), thanks for this detailed look into the science of this chop formula. Personally, I like it better than gospel chops. It looks to show more patience and anticipation about how to sustain a musical journey...an aesthetic in its own right. Great video! & till the next.
I thought of this video again today, listening to a mix of 2Pac's classic Nothing To Lose by Knxwledge. The original is a straight 4/4 but Knxwledge creatively places 2Pac's vocals over a 6/8 rhythm, and we get to hear a totally refreshed performance from 2Pac even though it's the same recording. So I thought of the syllabic stuff in drumming you're talking about here, in the context of various subdivisions. I think rapping has a lot of potential, as a tool for music/drum education.
The "floaty fills"/legato/"long syllable" style clearly has a lot in common with those roll-based timpani passages in orchestral music which add a mood-heightening wash of sound rather than a strong beat or isolated sharp accents, right? Elvin Jones, IIUC, was a timpani fan from an early age, later took lessons, and then of course actually broke them out for _A Love Supreme_ , which seems significant.
Would it be correct to identify these as gospel chops? Just a thought. Anyway, very cool. Thanks for explaining a curious technique that’s actually hard to explain.
Your hands are sounding good… I think you sound way more fluid with this approach as a whole but I prefer this to gospel chops… am I aloud to say gospel chops? Yes yes we can!
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Babe wake up, new 80/20 video just dropped
I’ll get the coffee going
'...Syllable" is such a great term in this context. We use a lot of these ideas when we speak, often unconsciously.
This is perfect timing. I'm actually practicing paradiddles as a part of Zack Groove's 30 day chops on Drumeo. My paradiddles are about to level up. Thanks for the video!
Enjoyed this . Got a lot out of it. Cheers
These licks remember me to Gary CHafee's Time functioning patterns, where he explained linear phrases as a variable number of single strokes followed by 1 o 2 kicks. So u had patterns of RLK RLRLK RLRLRLK etc. This way u can build long complex phrases thinking each lick as a block instead of a bunch of strokes, all mixed up
Yes but the crucial detail for me is the symmetry. Think of this system I’m describing as taking the chafee thing and adding a “reflection” on the share. With a lot of linear stuff, you need a kick or double kick to get from the right hand back to the top of the kit.
@@8020drummer yes u're right. In that particular Chaffee's book the connection between phrases could only be the kick.
@@pablogugliotta Vinnie was Chaffee`s student in Berklee. and Bruner took lessons from Vinnie
@@riffjetsit didn't know that! Thanks! 😁
Interesting concept. It's funny how this superficially relates to the syllabic system in composing poems. Long syllables, largely used by the Greeks, elicited legato-sounding phrases. And in contemporary poetry forms, like spoken word, the "berklee chops" more relate to that. Basically, the paradiddle concept explained in the video, to my eyes, is more advanced, because it calls for a classical touch instead of being immediately choppy (not to downplay the stellar street classism of gospel drumming); I did some classical symphony shows when learning drums back in college.
Back on the drum note altogether (pun intended), thanks for this detailed look into the science of this chop formula. Personally, I like it better than gospel chops. It looks to show more patience and anticipation about how to sustain a musical journey...an aesthetic in its own right.
Great video!
& till the next.
Such a sick comparison! Nice comment.
loved the clarity in this one. thx for taking your time with explaining ❤
My sons drum teacher had him doing paradiddle between kick Tom hat and snare from his 3rd lesson. It’s a very cool sound imo!
I thought of this video again today, listening to a mix of 2Pac's classic Nothing To Lose by Knxwledge. The original is a straight 4/4 but Knxwledge creatively places 2Pac's vocals over a 6/8 rhythm, and we get to hear a totally refreshed performance from 2Pac even though it's the same recording. So I thought of the syllabic stuff in drumming you're talking about here, in the context of various subdivisions. I think rapping has a lot of potential, as a tool for music/drum education.
Methods, yay! Great "advanced meat & potatoes" -stuff, alongside the triplet language video.
Great episode
Ayyyyy he used my footage wooooo!
Ah that was your Bruner vid? Well thank you!
2 questions are you still in nyc and are you giving in person 1 on 1 lessons?
The "floaty fills"/legato/"long syllable" style clearly has a lot in common with those roll-based timpani passages in orchestral music which add a mood-heightening wash of sound rather than a strong beat or isolated sharp accents, right? Elvin Jones, IIUC, was a timpani fan from an early age, later took lessons, and then of course actually broke them out for _A Love Supreme_ , which seems significant.
Would it be correct to identify these as gospel chops? Just a thought.
Anyway, very cool. Thanks for explaining a curious technique that’s actually hard to explain.
You can't say that on this channel man...its the chops that can't be mentioned! ;)
ruclips.net/video/CMz7-TVWCi8/видео.html
No. It's a rudiment applied to the kit poorly.
@@8020drummer Well, damn.
I feel informed :) Sorry that happened to you though.
haha lol @ the outro
Your hands are sounding good… I think you sound way more fluid with this approach as a whole but I prefer this to gospel chops… am I aloud to say gospel chops? Yes yes we can!
now that ur affiliated is it not chill for you to play broken cymbals from random companies?
I try my best to play meinl on camera, and luckily it’s what I’d chose to play anyway
@@8020drummer those extra drys are fire
Kinda like a carlockian flow roll… no that’s not a sushi roll but it should be the serious shits!
Gracias