skreg
Senior Member
Hi everybody,
I'm preparing for another round of woodshedding and am again contemplating what to dive into. I'm very happy with all of my coordination and phrasing for rock, pop, jazz, etc. At this point, I'm really just bringing things uptempo and refining my vocabulary within those styles.
With enthusiasm, I'm happy to say that it's time to jump into an advanced coordination system. I do not play metal but have spent time working on double bass technique using Dom Famularo's Pedal Control and the first 4 chapters of Thomas Lang's Creative Coordination and Advanced Foot Technique. I find an autotelic joy in practicing multipedal orchestrations. Now that I'm happy with the rest of my playing, I'm really looking forward to expanding my capacity in a modern and (albeit) superfluous way.
Beyond the simple pleasure of practicing this style of playing, I do have a few goals. My primary goal is to expand my vocabulary in a less traditional direction, and be able to utilize it in a jazz/fusion context. If anybody has seen Virgil Donati's recent work with Allan Holdsworth, this is the kind of thing I have in mind. Eventually, I would love to compose my own music which supports this style of drumming (much like Marco Minnemann).
For more traditional music (almost all music), I'd like to continue playing organically and not impose my chops unnaturally.
There seem to be a handful of systems available for advanced coordination work.
1. Thomas Lang's Creative Coordination and Advanced Foot Technique.
2. Marco Minnemann's Extreme Interdependence.
3. Virgil Donati's Double Bass Drum Freedom (although this is still double-bass oriented).
4. Any others?
I would love to hear any input or thoughts on your experiences working with this kind of material, your practice habits, rate of progress, etc.
How many hours per week do you need to dedicate to maintain momentum?
How does this kind of practice affect the rest of your playing?
One last note: Please refrain from comments such as "that stuff isn't musical" or "there's no good reason to practice that stuff." In music, we are entitled to our own opinions, and mine are pretty firm on this topic.
Thanks in advance,
-sheldon
I'm preparing for another round of woodshedding and am again contemplating what to dive into. I'm very happy with all of my coordination and phrasing for rock, pop, jazz, etc. At this point, I'm really just bringing things uptempo and refining my vocabulary within those styles.
With enthusiasm, I'm happy to say that it's time to jump into an advanced coordination system. I do not play metal but have spent time working on double bass technique using Dom Famularo's Pedal Control and the first 4 chapters of Thomas Lang's Creative Coordination and Advanced Foot Technique. I find an autotelic joy in practicing multipedal orchestrations. Now that I'm happy with the rest of my playing, I'm really looking forward to expanding my capacity in a modern and (albeit) superfluous way.
Beyond the simple pleasure of practicing this style of playing, I do have a few goals. My primary goal is to expand my vocabulary in a less traditional direction, and be able to utilize it in a jazz/fusion context. If anybody has seen Virgil Donati's recent work with Allan Holdsworth, this is the kind of thing I have in mind. Eventually, I would love to compose my own music which supports this style of drumming (much like Marco Minnemann).
For more traditional music (almost all music), I'd like to continue playing organically and not impose my chops unnaturally.
There seem to be a handful of systems available for advanced coordination work.
1. Thomas Lang's Creative Coordination and Advanced Foot Technique.
2. Marco Minnemann's Extreme Interdependence.
3. Virgil Donati's Double Bass Drum Freedom (although this is still double-bass oriented).
4. Any others?
I would love to hear any input or thoughts on your experiences working with this kind of material, your practice habits, rate of progress, etc.
How many hours per week do you need to dedicate to maintain momentum?
How does this kind of practice affect the rest of your playing?
One last note: Please refrain from comments such as "that stuff isn't musical" or "there's no good reason to practice that stuff." In music, we are entitled to our own opinions, and mine are pretty firm on this topic.
Thanks in advance,
-sheldon