This is a blog about jazz, jazz drumming and all things unrelated. Thanks for stopping by! A Bit About Me Jonathan began playing the drums at the age of nine. He progressed through the Regina Lions Junior Band and the music program at his high school, Campbell Collegiate, soon developing a passion for playing the drums and jazz.

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In this next section there are three different types of right-hand patterns: The staccato sweep, a three note legato pattern, and a tapping rhythm used for traditional swing. Advertisement As you did with the left hand, sweep back and forth with the right hand.

Using the German grip, start on the top left side of the drum. Sweep this three-note pattern, which I call the Funny 2, from top to bottom. It has three direction changes: Top, middle, and bottom. Each note equals a direction change.

Use the French grip, which is best for tapping, for this pattern. This grip, also called a timpani grip, has the thumb nail facing upward. Tap each of the notes with the tip of the brush.

Start this pattern on the right side then over to the middle area. Once you are comfortable set your metronome to 60 bpm. This pattern will be used for medium to fast tempos. Each hand moves in sync with the other. On the first eighth-note the left hand sweeps the left side of the oval as the right hand moves in a straight line from the left. This all starts again on beat 2.

The left-hand oval begins at the bottom left side of the oval. The right-hand Funny 2 starts on the upper left and side of the drum. With each note, each of the hands moves in sync with the other.

Oval And Traditional Swing Start with the left hand on the left side of the drum. If you are using matched grip use the German grip with the palm facing down. With traditional grip turn the palm facing right and as you sweep to the left the palm will turn down, and visa versa.

The right hand, using the French grip, taps ah 1 on the right side. The right hand crosses over to the middle and taps beat 2. The left hand sweeps from right to left. The left hand oval sweeps from the top left side. The right hand taps ah 3. This was true not only for the big bands but for trio playing as well. He often used the following left-hand quarter pattern to create a driving beat with brushes. With your left hand, place the brush on the left side of the drum then slide it straight across to the right side, then back to the left again.

Keep your hand very still while moving your forearm back and forth like a windshield wiper. This will give you a real smooth sound. Count 1, 2, 3, 4 and change direction with each count.

For faster tempos use shorter sweeps with turn key technique Figs. He used this pattern for medium to very fast tempos. His style was very fluid and we will try to emulate what we can observe of his playing on film.

Right hand taps beat 2 near the middle of the drum. Left hand sweeps back to the left on beat 2. Right hand taps ah 3 on the right side as the left hand sweeps back to the right on beat 3.

Right hand taps beat 4 near the middle of the drum. Left hand sweeps back to the left on beat 4. This means the left would start on the right side. The main point is to avoid entangling the wires and produce nice sweeps. Philly Joe Jones, drummer with the fabulous Miles Davis Quintet from to , was one of the most influential drummers of the post-bop era.

Having penned his own brush book called Brush Artistry, he led the pack with his approach. Each hand will stay close to the middle of the drum. Now you have plenty of techniques and patterns that will work in various musical situations. Share On.


Brush Methods Of The Masters

His mother, a piano teacher taught him the basics in music. In his formative years he also studied the drums with drummers the likes of Cozy Cole and Charles Wilcoxon, receiving valuable advise from Art Blakey and a then younger Max Roach. For a time they played standard Monk and pieces of Bud Powell, but reverted back to playing the blues for the sake of money. He was in the army for a short time and len left in taking a job up as a streetcar driver. He was supposedly fired from the job because he would stop the steetcar with people in it and go in to play a set at the jazz clubs on the way, sometimes forgetting about the people in the car. The most important association was that with trumpeter Miles Davis. The two would travel around the US stopping in cities to do a gig with the local talent.


Brush Artistry - Philly Joe Jones



Philly Joe Jones


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