Hello, i've been playing the ritual from 1998 (on and off), ...i was used to practice it as a warmup so i usually started at 160 bpm and sometime went for 180 bpm, never tried for my best speed. Your rendition is superb and at that speed very very difficult...it needs a lot of determination and purpose...i don't know if many people really is aware of this...when you reach let's say 200bpm...it can take a month to go to 204-208...and your 240bpm...i think it is a record...not even Alan Dawson himself could play it at that speed
You're a polite quiet assassin the way you slayed the rudiments. There is a quiet and polite intro and then POW !! So inspiring, and I can hear music in your playing, which is most important. Awesome 👌
Great job man!! I know how hard this is. I'm practicing the ritual for about 2 years (with breaks). I'm currently at 160. Around 170 I fall apart. But its good to know where the issue is so you can work on it :) Cheers!
Sounds nice, great job. It is also worth mentioning that whole Ritual meant to be played over feet ostinato. I play it over samba and just started to learn it over rumba clave in left foot and tumbao in right and also recommend to challenge yourself.
Yes definitely! You’re right. I wanted to focus more on the hands exercise in this one. Sometimes I also like playing it with a 5/8 pattern on my feet like RLRLL have you ever tried? Good for the independence I think
it's so lively .. it's like you are playing on an entire kit / that diversity - not just a book and practice pad with a pair if sticks n another if brudhrs. so erll done 👍
Yes sir!!!! Great job! Congratulations. Learning this myself, I can only confirm how much work and discipline this asks. Well done. With sticks I'm getting there but brushes.. Still a long way! Nice explanation at the beginning as well. Greetings from Belgium
Holy shit...insane!! My brother Jeff was a direct student of Alan, he took lessons at Alan's home in Lexington, MA He can also do this ritual...only observation, you turn your left hand over on the singles, is that fatigue? or just your style of playing?...none the less, this was AWESOME! AMAZING...and with the brushes?? WOW!!! Bravo!!
Hey thanks a lot! Wow that’s amazing for your brother!! Would you mind asking him (if he’s still around) if 240 was really the tempo Alan was asking..? I keep hearing different rumors! About the left hand yes it was a bit of fatigue and also a way to preserve it for what’s coming up next (much more challenging!). Also, I usually play brushes with my left hand reversed so as a result I’m able to play the sticks easily in that position too. So, both preserving/fatigue and habits from brushes!! Thanks again:)
@@raphaelpannier7331 My brother Jeff studied with Alan for a year or so at his home...along with Steve Smith and a few other drum greats. Alan sadly past away in the late 90s. I will forward this video to my brother and you and him can message directly...he knew Alan well...I tell my brother I saw this video...but, once again Wow!!!...amazing job. You are a great drummer!
Merci pour cette video. C’est vraiment utile d’avoir la demo d’autant de rudiments avec retranscription. Une version lente aurait été le bienvenue quand même 🤪
Raphael this is great work maybe we could find a bassist in Paris and create a bass players rudimental ritual or give Dave Holland a call it worked out for Billy Kilson ❤
And another time I'm coming back to your great video to see how you tackle certain passages - Out of curiousity: which were the hardest ones for you? The flammed 5-stroke is giving me a hard time when LEFT is leading and also transitions in and out no. 231 are quite hard for me.. Quite a relief to see you also leaving out the two last (impossible) LL strokes on the six-stroke roll part before the repetition! :D All the best!
thanks a lot! The Mama-Dada on the last page is definitely the hardest specially coming after all the other ones..! About these transitions... YES... I definitely remember asking specifically to Ralph Peterson who said there was a mistake in the edition I was using (Ramsay's book)... so I'm playing it the way Alan wrote it, which is way easier! If you're using Ramsay's version I think there is a couple mistakes here and there..
@@raphaelpannier7331 Hey Raphael, thanks for your answer! :) I have not included the complete "chopbuilders" part in my practice yet - the further I get in the piece, the longer it takes to warm up what I have learned and to continue picking up new parts. So I cannot really talk about that last part. But surprisingly a quick try on the Mamadada did not give me problems at my current "global" tempo (the flammed 5s set the barrier: 168, sticks) but I can imagine that this seemingly simple pattern gets very hard to play clean with brushes at tempo. Easy to pick up, hard to master.. I'm also using the "Ramsey" version and I did not know that there existed a true "Dawson" version. It would be great, if you could post a link to that one, if it is online. Would be really interesting to see the differences! All the best! Malte
Absolutely amazing. Is there anywhere to see the videos separately? Would love to hear the detail of the stick video on it's own, it's incredible! Well done.
So Colin McNutt mentions this thing I never heard of before and decide I need to look it up. Interesting, oh look a video. No. No. No. Drummers I know think I got chops, but this is insane. You know you really could embarrass the hell out of us by doing it with brushes and swizzle sticks - which I'm sure you can do. Looks like I've got some new homework for the next 6,000 years.Good job.😃
I've got a question about the foot pattern. Sometimes the rudiment requires you to play triplets in your hands and this can happen at the same time as the duplet quaver foot pattern, creating a small polyrhythm. I can't tell if Alan/you still keep the foot pattern as duplet feel at these points, or if you find yourself wavering to a more swung/triplet feel to better lock in with the triplet rudiment sections.
Haha! Je viens de finir toute une série de vidéos d’exercices progressifs... je vais commencer à poster tout ça bientôt!! Tu peux suivre la chaîne RUclips ou aller voir mon site drumsinstruction.com !
Christian Giritzer yes I do read it. So I created a video where the pages scroll automatically. For that I counted how many bars where in each pages and how many seconds each bar represents (in that case, easy: 240bpm so one bar of 4 beats equals one second). And then calculated like that how many seconds where needed exactly for each page... For the audio I just bounced a 10mn long track with just the metronome out of Logic. Hope it’s clear 😅
I think the goal is to make it sound like music and not like a machine although I do respect it that kind of mechanical practice could lead to actual music at some point
You're really doing this at 'half note = 120 bpm.' I saw Alan play it at 'half note = 140 bpm', & to a samba beat. I studied with him for 10'years, & at tha time, was one of only 15 students he ever had who could pay it "correctly", start to finish. Great job, & he'd be impressed! However, set your metranome to a half-note click, not a quarter-note click, & push it from there.
It's hard to say... I started studying it in 2010 but had a long period when I didn't practice it. I started again seriously mid-March when the confinement started haha!
Wow, sweet! Any particular reason you are using traditional grip for this? I know you can do this matched as well. Does it feel different or is there a difference in the way you are able to articulate when playing matched?
Thanks a lot! Yes, it is definitely very different. Usually, I use traditional more for the jazz-like contexts, when I need a very sensitive left hand, a darker sound, and the specific jazz vocabulary (for example playing all the ruffs and flams, I think it's a bit easier in traditional). I use match when I need more power and more fusion/rock kind of vocabulary and sound. Here I think this ritual is great to develop a more jazz-based vocabulary. That's why I practice this ritual in traditional. Also, following Dawson's idea of playing it with brushes... I'd never play brushes in matched grip honestly... so... that's all the reasons! Hope it's clear!!!
OMG just stop, ..... what you are teaching yourself to do is make sounds ... are not really musical, and in a combination that will not necessarily make you better drummer but a more mechanical one so congratulations
@neworleansbeats And would you also say this same thing to Alan Dawson, Tony Williams and all the other legendary drummers who have used this very challenging rudimental ritual? 🤦🏻♀️ And what would you say to pianists who practice scales? One doesn’t practice music, one practices technique so one can play music well.
@@raphaelpannier7331I recommend trying to play more musically and and not so mechanically... I realize that we all want to have great technique but when when playing mechanically becomes a habit it really is a problem in our musicality not saying that is the case with you but in some cases it is
Hello, i've been playing the ritual from 1998 (on and off), ...i was used to practice it as a warmup so i usually started at 160 bpm and sometime went for 180 bpm, never tried for my best speed. Your rendition is superb and at that speed very very difficult...it needs a lot of determination and purpose...i don't know if many people really is aware of this...when you reach let's say 200bpm...it can take a month to go to 204-208...and your 240bpm...i think it is a record...not even Alan Dawson himself could play it at that speed
Practising on the Philly Solo book is the real flex. That's a $70 book. (Amazing playing man!)
Incredible. His musicality at that tempo is impressive. So good
Best video i ever seen on youtube! Thumbs up for vour outstanding drumming!
Wow. I love the side by side with sticks and brushes. Amazing.
I couldn’t believe my eyes for a second !!! Crazy!!!!! 😮 one of the great drummer!
You're a polite quiet assassin the way you slayed the rudiments. There is a quiet and polite intro and then POW !!
So inspiring, and I can hear music in your playing, which is most important. Awesome 👌
Thanks so much!! Haha
This so absolutely amazing and fantastic! You truly have honoured this amazing ritual!
Awesome. I wasn't aware of this ritual. I am a 60s Era marching snare drummer
Incredibly inspiring, well done!
Man, that's amazing! Well done!
Wow 🎉 good job nailin’ The Ritual
Superbe maîtrise de ces exercices ! Bravo Raphael ! pile poil ensemble les deux parties ! gros travail !
Magnifique
Great job man!! I know how hard this is. I'm practicing the ritual for about 2 years (with breaks). I'm currently at 160. Around 170 I fall apart. But its good to know where the issue is so you can work on it :) Cheers!
Very inspiring!!!
Sounds nice, great job. It is also worth mentioning that whole Ritual meant to be played over feet ostinato. I play it over samba and just started to learn it over rumba clave in left foot and tumbao in right and also recommend to challenge yourself.
Yes definitely! You’re right. I wanted to focus more on the hands exercise in this one. Sometimes I also like playing it with a 5/8 pattern on my feet like RLRLL have you ever tried? Good for the independence I think
@@raphaelpannier7331 great idea, definitely will check it out!
it's so lively .. it's like you are playing on an entire kit / that diversity - not just a book and practice pad with a pair if sticks n another if brudhrs. so erll done 👍
Thanks so much! Means a lot. I’m so glad you could hear some kind of inspiring music inside of this… this is rare… THANKS!
Bravo !! Vraiment top ! Quel travail derriere tout ça.Au plaisir de se rencontrer.
Merci!
No bossa nova foot pattern = cheating
Haha just kidding. That was awesome. 240bpm with brushes...crazy.
you are totally right tho
Master! You are the best!! More slow please!
Diego V haha thanks a lot!
Man! I know how hard it is! Great job!
Thanks!!
Absolutely incredible work!!!
Thanks a lot!
Wow Incredible man, so fast!
Bravo! Quel travail! Merci pour la vidéo, très inspirante. Je m'y mets dès aujourd’hui !
Germain Cornet ha merci beaucoup! On se verra à Paris bientôt j’imagine!
Wow!
So good! !
Thanks🙂
what a player
incredible control
thanks a lot!
That's absolutely amazing. I have a lot of work to do!
Really hard and well done!
Thanks!
Killer! So inspiring. Thanks for sharing! 🍻
Nice work
WOW CONGRATS MAN!
amazing
Amazing, great Job!!
Yes sir!!!! Great job! Congratulations. Learning this myself, I can only confirm how much work and discipline this asks. Well done.
With sticks I'm getting there but brushes.. Still a long way!
Nice explanation at the beginning as well.
Greetings from Belgium
Achim Bill thanks so much! Means a lot
Holy shit...insane!! My brother Jeff was a direct student of Alan, he took lessons at Alan's home in Lexington, MA He can also do this ritual...only observation, you turn your left hand over on the singles, is that fatigue? or just your style of playing?...none the less, this was AWESOME! AMAZING...and with the brushes?? WOW!!! Bravo!!
Hey thanks a lot! Wow that’s amazing for your brother!! Would you mind asking him (if he’s still around) if 240 was really the tempo Alan was asking..? I keep hearing different rumors! About the left hand yes it was a bit of fatigue and also a way to preserve it for what’s coming up next (much more challenging!). Also, I usually play brushes with my left hand reversed so as a result I’m able to play the sticks easily in that position too. So, both preserving/fatigue and habits from brushes!! Thanks again:)
@@raphaelpannier7331 My brother Jeff studied with Alan for a year or so at his home...along with Steve Smith and a few other drum greats. Alan sadly past away in the late 90s. I will forward this video to my brother and you and him can message directly...he knew Alan well...I tell my brother I saw this video...but, once again Wow!!!...amazing job. You are a great drummer!
@@francodrummer1 thanks so much!
@@raphaelpannier7331 truth...yw
Thank you Mr Pannier :) very inspiring :) Now we don't need to pay for music education anymore ahah Peace ! !
Vinc Drum haha well... let me know if you want real lessons! ;) thanks!!
Wow this amazing!
thanks!!
Merci pour cette video. C’est vraiment utile d’avoir la demo d’autant de rudiments avec retranscription. Une version lente aurait été le bienvenue quand même 🤪
You shred man !
Raphael this is great work maybe we could find a bassist in Paris and create a bass players rudimental ritual or give Dave Holland a call it worked out for Billy Kilson ❤
Brilliant well done.
Dude... you played FlamaFlamFlamFlamFlam at q=240... I'm in awe, I'm topping out at 192 with sticks right now.
Awesome ❤️🥁
nice job!
3:30
How many years have you been drumming?It is incredible!
Thanks! Well… I started as a kid so… around 26 years haha!!
And another time I'm coming back to your great video to see how you tackle certain passages - Out of curiousity: which were the hardest ones for you? The flammed 5-stroke is giving me a hard time when LEFT is leading and also transitions in and out no. 231 are quite hard for me.. Quite a relief to see you also leaving out the two last (impossible) LL strokes on the six-stroke roll part before the repetition! :D
All the best!
thanks a lot! The Mama-Dada on the last page is definitely the hardest specially coming after all the other ones..! About these transitions... YES... I definitely remember asking specifically to Ralph Peterson who said there was a mistake in the edition I was using (Ramsay's book)... so I'm playing it the way Alan wrote it, which is way easier! If you're using Ramsay's version I think there is a couple mistakes here and there..
@@raphaelpannier7331 Hey Raphael,
thanks for your answer! :) I have not included the complete "chopbuilders" part in my practice yet - the further I get in the piece, the longer it takes to warm up what I have learned and to continue picking up new parts. So I cannot really talk about that last part. But surprisingly a quick try on the Mamadada did not give me problems at my current "global" tempo (the flammed 5s set the barrier: 168, sticks) but I can imagine that this seemingly simple pattern gets very hard to play clean with brushes at tempo. Easy to pick up, hard to master..
I'm also using the "Ramsey" version and I did not know that there existed a true "Dawson" version. It would be great, if you could post a link to that one, if it is online. Would be really interesting to see the differences!
All the best!
Malte
🤯🤯🥇
So sweet 💕
Absolutely amazing. Is there anywhere to see the videos separately? Would love to hear the detail of the stick video on it's own, it's incredible! Well done.
Ha thanks! I haven’t posted it separately but I can send it to you (hope I still have it somewhere haha!) if you send me your email
@@raphaelpannier7331 Thanks a million, have mailed your contact address! :)
@@Steeplehammer1 yes! Got it
WOW!
Amazing work!
How are you playing those flamadiddles? They are so hard for me at the moment.
Would you be able to send me the drumstick only version?
you're a maniac...
thanks
Finally at 200. I still can't get those flamadiddlediddles and mamadadas at 220. It will probably take another year or two. Crazy stuff!
Haha yes the mamadadas are a nightmare……!! Good luck!!
What is the title of the book on your snaredrum on wich you play with brushes?
It’s the Philly Joe Jones complete solos book haha!
@@raphaelpannier7331 thnx for the quick answer, great! What other drum books do you reccomend?
So Colin McNutt mentions this thing I never heard of before and decide I need to look it up. Interesting, oh look a video. No. No. No. Drummers I know think I got chops, but this is insane. You know you really could embarrass the hell out of us by doing it with brushes and swizzle sticks - which I'm sure you can do. Looks like I've got some new homework for the next 6,000 years.Good job.😃
Fine playing, but your description of the exercise is even better.
Thanks a lot!
the footage looks like its sped up XD if it's not then you sir are seriously a beast
Carson Fratus lol it’s not I swear! Haha thanks!!
How slow can you play it, and make it swing?
Really good ! Which part/rudiment is the most difficult for you? :)
Thanks a lot! Definitely the last page when you have all these flams all together... the "mamadada" part for example... ouuchhh
I wish I had that much endurance!
ha well that's also a great reason to practice that!!
I've got a question about the foot pattern. Sometimes the rudiment requires you to play triplets in your hands and this can happen at the same time as the duplet quaver foot pattern, creating a small polyrhythm. I can't tell if Alan/you still keep the foot pattern as duplet feel at these points, or if you find yourself wavering to a more swung/triplet feel to better lock in with the triplet rudiment sections.
Good question. I try to stick as much as I can to the written version and create a polyrhythm in these points.
Damn dude...what would Jim Keltner say about this? A Virgil in the making...
O....M....G
Géant! Merci beaucoup, certaines phrases étaient un peu abstraites à lire sur le papier, avec la vidéo ça va beauuuuuucoup mieux !
D'accord mais sinon as-tu des exercice fait pour les être humains ?
Haha! Je viens de finir toute une série de vidéos d’exercices progressifs... je vais commencer à poster tout ça bientôt!! Tu peux suivre la chaîne RUclips ou aller voir mon site drumsinstruction.com !
Impec, je préconise quand même 20 min d'échauffement avant hein ! surtout le matin a froid ""
Ola oui bien sur !! Haha. On peut meme en faire un ou deux plus lentement avant de se lancer dans ce tempo !
Do you read the .pdf on the laptop? And how did you sync it with your metronome?
Christian Giritzer yes I do read it.
So I created a video where the pages scroll automatically. For that I counted how many bars where in each pages and how many seconds each bar represents (in that case, easy: 240bpm so one bar of 4 beats equals one second). And then calculated like that how many seconds where needed exactly for each page... For the audio I just bounced a 10mn long track with just the metronome out of Logic. Hope it’s clear 😅
@@raphaelpannier7331 That was very very helpfull. Thank you very much. I hope that you never stop making videos. Keep up the good work!
Christian Giritzer thanks!!
I think the goal is to make it sound like music and not like a machine although I do respect it that kind of mechanical practice could lead to actual music at some point
Do you also play with matched grip?
yes, both. I have another great ritual for the matched grip... I'll make videos soon about it!
Duuuude! How much do you practice?
everyday haha! depends... but consistency is key:)
You're really doing this at 'half note = 120 bpm.' I saw Alan play it at 'half note = 140 bpm', & to a samba beat. I studied with him for 10'years, & at tha time, was one of only 15 students he ever had who could pay it "correctly", start to finish. Great job, & he'd be impressed! However, set your metranome to a half-note click, not a quarter-note click, & push it from there.
Why the book on the snare ? Mute ?
Yes
How long did it take you to master the whole ritual?
It's hard to say... I started studying it in 2010 but had a long period when I didn't practice it. I started again seriously mid-March when the confinement started haha!
@@raphaelpannier7331 You are a doing a fantastic service to the drum community man! Well done! I'm just compelled and inspired by your prowess!
wow thanks so much, means a lot really.
how long did it take you to learn that?
It's hard to say I did it over years with many stops....
I always practice this but can not so fast like this.
Take your time! It’ll come with the years…
I could hit all this tempo with sticks but not brushes. 240 is my limit for 16th on singles and my traditional grip would fail first
Try playing it at 80 bpm whilst keeping the straight 1/8ths on the kick whilst playing the triplet patterns. Challenging in a whole different way.
Wow, sweet! Any particular reason you are using traditional grip for this? I know you can do this matched as well. Does it feel different or is there a difference in the way you are able to articulate when playing matched?
Thanks a lot! Yes, it is definitely very different. Usually, I use traditional more for the jazz-like contexts, when I need a very sensitive left hand, a darker sound, and the specific jazz vocabulary (for example playing all the ruffs and flams, I think it's a bit easier in traditional). I use match when I need more power and more fusion/rock kind of vocabulary and sound.
Here I think this ritual is great to develop a more jazz-based vocabulary. That's why I practice this ritual in traditional. Also, following Dawson's idea of playing it with brushes... I'd never play brushes in matched grip honestly... so... that's all the reasons! Hope it's clear!!!
@@raphaelpannier7331 Yes. Thanks much!
Putting Mama Dada near the end was probably a little joke for him.
haha yes its killing me everytime...!!
Actually I should apologize my friend I got a lot of ideas from watching you do this.....
OMG just stop, ..... what you are teaching yourself to do is make sounds ... are not really musical, and in a combination that will not necessarily make you better drummer but a more mechanical one so congratulations
What else do you recommend to practice technique..?
@neworleansbeats And would you also say this same thing to Alan Dawson, Tony Williams and all the other legendary drummers who have used this very challenging rudimental ritual? 🤦🏻♀️ And what would you say to pianists who practice scales? One doesn’t practice music, one practices technique so one can play music well.
Actually no because the way they play it sounds like music@@terricakleinknecht9383
@@raphaelpannier7331I recommend trying to play more musically and and not so mechanically... I realize that we all want to have great technique but when when playing mechanically becomes a habit it really is a problem in our musicality not saying that is the case with you but in some cases it is
Nice work
Nice work