Real Jazz Comp Language You Will Actually Use!
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- Опубликовано: 19 авг 2024
- In this jazz drum Q-tip of the week lesson, I dive into the captivating world of real jazz comp language that you will actually use. Drawing inspiration from legendary jazz drummers like Art Blakey, Billy Higgins, Art Taylor, Elvin Jones, Tony Williams, Philly Joe Jones, and more, I explain how to practice my new Melodic Comping E-Book that offers a language-based approach to jazz comping, allowing drummers to fully immerse yourself in the genuine language of the masters. Whether you are a beginner, intermediate, or advanced drummer, this lesson will challenge you to develop your jazz comping skills to new heights. Get ready to infuse your drumming with the authentic jazz comping language that you will actually use in this jazz drum Q-tip of the week lesson.
MELODIC COMPING ETUDES E-BOOK
qsdigitaldownl...
WALKING BASS PLAY ALONG TRACKS
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ZILDJIAN CYMBALS
22" Bounce Ride
14" K Constantinople Hats
TAMA STARCLASSIC DRUMS
14X18 BD
14X14 FT
8X12 TT
6.5X14 Starphonic Copper Snare
DRUM STICKS
Vic Firth Quincy Davis Signature Stick (available on my website)
Yes! I’ve been trying to find a good book/resource for REAL jazz comping exercises! So many books focus on technique and the phrases end up being wayyyy to busy for me to ever use in actual contexts. This’ll definitely be something I’m gonna shed!!! 🙏🏽🙏🏽🙏🏽
Awesome LZ! Enjoy my man.
Currently applying to Eastman School for a BM in Jazz Drumset and your videos are helping a tonne
Glad my lessons are helping!
Wonderful lesson. Language first yessir! as Elvin Jones said: communication! Is the name of the game. Which has to do with community. If No language, no communication, no community, no communion, no music.
Amen Josito!
Purchased! I think I'll work through this for a month and then I'll get some private lessons.
Have fun!
hey! i benefited from the idea to mark every 4 bars with the accent at the end.. i'd enjoy to learn more how to mark the form / phrases of other musicians while comping. Thank you!
Noted! Good idea my man. I’ll keep that in mind for a potential future lesson.
大変勉強になりました😊ありがとうございます！今度ビリービギンズのレッスンお願いします😊よろしくお願いします。
相変わらず見てくれてありがとうございます。絶対Billy Higginsのレッスンをしますよ👍🏾
Thank you Mr. Q. Love this stuff. Wish I'd taken this up when I was young so I could do this kind of comping spontaneously by now. But For now I will read the music and try to make it sound cool....eventually... Great lesson.
You are very welcome Freddie. Never too late to add too what I’m sure is already a wicked arsenal of sweetness:) Cheers!
Thank you again for the excellent lesson!
All my pleasure my man T. 🚗:)
The master thankyou bro
My pleasure Bobby Web!
Super cool. I'm gonna grab a copy of the etudes. Thanks 😀
Enjoy Joey!
Am enjoying my download of Melodic Comping Etudes (Blues Form) - have already played through the first three etudes and I can hear the influences, especially Art Blakey. Once I’ve become fluent I shall try swopping the voices over and play the snare lines on the bass drum and the bass drum on the snare.
Awesome! Glad you're getting some value out of the etudes my man. Cheers!
What a great, true jazz drumming lesson, Quincy! Thanks for explain the importance of the jazz language.
My pleasure Marco!
Quincy !! So good to get yet another heaping helping of your tasty licks, sharp playing and excellent advice. I'm going to get into this right away. All the best from Spanish Ned and thank you.
Gracias for the check in. Have fun with this brother Ned!
Shout out to you! I Did the same with my blues études for piano in 12 keys
Awesome! Thanks for watching.
Always thrilled to see another video from you, Quincy. Comping has, in my experience, been the most challenging part of learning bop drumming, particularly incorporating the bass drum.
This is perfect for you then. Enjoy my man!
You’re awesome, professor! 🙌🏼🇧🇷
That’s very kind of you. Thank you🙏🏾
The only boss here, is you, Q! Another awesome one, my brother ✌🏼
Awe shucks☺️. You’re too kind🙏🏾
Love how you’re developing the play along tracks to work w/ these fantastic etudes 🙌
Thanks Mike! Trying to make as user friendly as possible:)
Thanks for another gem MrQ. Really like the overhead POV - really helps‼️✌️
Thanks as always Markie Mark 🙏🏾
Very cool “ language “ helpful again Sir . Btw working on your jazz vocabulary & diddle stuff daily. & this reminds me of the songs ! in the old Chapin blue book . 🙏
Thanks Jeff! Have fun my man.
Professor Q, I would love to hear you speak on the "Art of Listening" such as was told to Tony Williams back in the day by Miles Davis as the story is told. Thanks!
Good idea!
Yeah Quincy! Happy Thanksgiving.
I appreciate that my man. Happy T Day to you ask well!
Music from the body
Great lesson, Thank you.
Glad you liked it!
As always, this is wonderful!
I appreciate that Pete!
Great lesson as always Q! Thanks!
My pleasure!
Magnificent.
Thank you🙏🏾
Beautiful ! great work, as usual !
Thanks Tony! Enjoy the download my man.
Hello Quincy,I have just practiced the Blues comping, and discover that every ONE page (32+4 bars)fit perfectly with "ALL THE THINGS YOU ARE" .I play it with the PlayAlong from "the Art of Playing with Brushes" (Bright Medium Swing 196).You surely have it, but if not , I can sent you the mp3 of this tune ;-)....Cheers,@@drumqtips
Thanks for another great lesson! These etudes really sound natural & musical, which makes a nice break from all the technique exercises I usually see.
My pleasure! Glad you can hear the musicality in these etude. That’s the idea for sure. Cheers!
I really want to learn this, thanks for this lesson, I just ordered the e-book! By the way, is it normal that comping “distracts” from playing the ride pattern? I have a hard time maintaining a consistent ride pattern while comping a certain “sentence” or counterrhythm.
beautiful
Thanks David
Looks like fine! Ordered. 🙂 (Edit - “fun”)
Cheers my man!
When I was young I spent lots of time working all the comping and fill literature. Uhh I cut to the chase and ,to this time, use a simple warm up. Right hand plays walk the dog and in succession l hand 1234, and and and and, uhh uhh uhh uhh, one and...and uh..., shuffle and finish with triplet, then repeat with the right foot. Then the left foot. All against the walk the dog. Then I can pull anything out of the blue.
Simple and smart ALWAYS does the trick. Much respect Russ!
Great stuff brother! Love how you describe this as a language not technique. 👊🏾
I appreciate the love my man. And yeah, this is definitely language. A lot of drummers don’t get that.
Thanks professor. That is exactly what I was looking for. There's nobody out there teaching language... it's all technique. I just purchased this and the walking baselines.
Awesome Larry! Enjoy my friend.
I've been looking for the rhyme and reason of comping and ways to mark the form. Thanks! Please do more on musicianship like this.
Glad you like these kinds of lessons Scottie. More to come!
Bought the PDF. Nice material but why on earth did you beam it like that, Quincy? There's also errors in it if you're supposed to keep the ride pattern constant.
Thanks for checking it out Fredrik. Are you speaking about using 8th notes in the ride? If so, I address that in this video. If you’re talking about the beaming in general, we’ll that’s how my program does it. Everyone has different preferences. As far as the ride, I purposely broke it up in some of the phrases because it’s much more natural with those particular comping patterns than keeping the ride consistent. I explain this a bit in this video but I may do another video talking about this so there is less confusion with how to break up the ride. Thanks for the feedback.
@@drumqtips Well "Everyone has different preferences" but the beaming isn't even consistent. If your notation software cannot handle consistent beaming then I guess it's not very good. As for the ride it's nearly consistent with a very few exceptions which makes me think it's errors. Varying the ride pattern is improvised you say so ...should it really be notated then? Probably better to leave it out altogether. I think that if you charge 11 bucks for it it should really not be in this state. But nevermind, I'll just stick to Riley's book. The walking bass play-alongs are good though.
I was ready, but I was not ready for 0:59
I’m sorry of that was your first time experiencing my loud and obnoxiously silliness🤣🤣. Hopefully it hurts your ears a little less next time:) Thanks for stopping by!
Found it hilarious -- spit out my coffee.Thanks for the great videos! @@drumqtips
Hello Q! Great content, advices and insights as always! 🎉
For me, the game changer in vocabulary comping was "The Art of Bop Drumming" by John Riley!
Have a nice week!
That’s a great book for sure! Thanks as always for dropping me a note brother JCG👊🏾
Hi Quincy I’m in a semi pro big band. Apart from when written in big band context & ensemble figures, how do you support the band groove ‘comping’ Without getting in the way of the flow of the whole band?
You have to listen to how great big band drummers do/did it and mimic that. After a while or mimicking them you will start to learn how to be more musical and strategic with when and how you comp without getting in the way. Cheers!
if the drummer got those tree trunk arms you know you bouta get wrecked
🤣🤣🤣💪🏾💪🏾💪🏾
Thank you! When you speak of language, it makes me think of dialogue? Would you say you are in a dialogue with the comping of other instruments?
Very kind of you! Yes there is definitely a sort of comping dialogue happening within groups.
Thanks Q! I picked up the 32 bar form pdf and play-along. It's great stuff! I was only wondering if it was possible to have separate tracks for the rhythm changes play-along with tempo markings as you did for the 12 bar blues play-alongs? Let me know :) Thanks!
Hey my man. Thanks for checking out the downloads. The Rhythm Changes play along has been updated with approximate temple markings and separated tracks. In addition to the one long, continuous track going from the slowest Temple to the fastest. If you did not get the update, let me know.
Much appreciated! Big love. @@drumqtips
I'd love to try out your sticks too but they're a bit tricky to get up here in Canada..@@drumqtips
Thanks teacher for making up this etude! Just bought and printed them. As in the video, you said that some triplet ones sounds better at slower tempo. Are there any suggested tempo range by your taste/feel of each one?
I suggest temples that you feel you’re able to make the etude sound good at. That’s going to vary depending on the player. Thanks for checking them out and have fun!
@@drumqtips Thanks for reply! ok~ I will! :D
I can't tell you enough how refreshing it is to actually see a drummer on RUclips playing with traditional grip. Mostly all of these wannabe drummers on RUclips , only no match grip only. I mentioned to all of them that they should be comfortable using both match and traditional grips. But they all seem to have an excuse why they only know match grip. They're just a bunch of drumming hacks that are trying to make some money on youtube. Once again, Bravo to you!
There are plenty of drummers who are amazing and renowned and aren't comfortable with traditional, even in the jazz. Don't judge the brushes a painter uses, judge the painting 🙌.
@@jacobchris356 I disagree with you, amazing drummers like Dave weckl, Steve gadd, Vinnie Colaiuta, Thomas Lange , Simon Phillips etc. are all versed in traditional and match grip. If you're a drummer, I suggest you know both grips as well....
@@muffinman4353 billy cobb/larnell lewis/bill Stewart/John Bonham. All made a name for themselves using primarily match grip. Now of course they probably "can" play traditional grip but they are more focused on the sound and touch they can get. Even John Riley in an interview recently said he doesn't focus too much on his students technique rather their touch and sound. I know both grips and I recommend my younger students to do both because why not, but if they are already at a decent playing it's very rare that changing their grip to please jazz purist is going to help them
@@jacobchris356 While attending Berklee College Of Music, my instructors made sure that All of their students were well versed in both....My point is that Cobham, (who I had the pleasure to meet and attended his drumming clinics) made it emphatically clear that all pro and educators in percussion should know all grips, especially when educating. Once the student mastered both grips, then it's up to the student on how he or she wants to continue executing their instrument.
@@muffinman4353 agreed, I have both mastered and can say they both open up different parts of my playing so what cobb said definitely has helped me personally. But I was more addressing the first comment. Someone shouldn't need an excuse for why they don't know both. it's just what they chose for them, and it doesn't make them a hack. Even buddy frickin rich said that he "can't do anything using match grip"😂
Thank you for another excellent lesson!