John Riley: The Art of Bop Drumming 04: Transition from Swing to Bebop
Вставка
- Опубліковано 9 гру 2021
- In this lesson series, Zildjian artist John Riley provides a deep dive into many of the topics in his best selling book, "The Art of Bop Drumming".
In this video, John Riley demonstrates the swing playing style of the early swing era and how it evolved in the bebop era.
From discussions on creating the appropriate sounds to musical phrasing and song structure, this series will cover a wide range of topics that is sure to enlighten any student or teacher who is interested in improving his or her jazz playing.
In this particular lesson John demonstrates the swing playing style of the early swing era and how it evolved in the bebop era.
For more lessons on The Art of Bop Drumming from John Riley, visit: zildjian.com/education/john-r...
---------
CHECK OUT ALL THE FREE EDUCATIONAL RESOURCES AVAILABLE IN
THE ZILDJIAN LEARNING ZONE
zildjian.com/education.html
---------
FOLLOW US
Facebook: / zildjian
Instagram: / zildjiancompany
Twitter: / zildjiancompany
SUBSCRIBE
ua-cam.com/users/ChannelUCtfRJN37...
SHOP
zildjian.com/
#Zildjian #PlayZildjian #ZildjianLearningZone
John Riley is not only an extraordinary drummer and musician but a superb educator as well. He's done so much for the drum community.
John has really figured out how to make his money. By talking slowly and intentionally, he makes his information accessible to a wide variety of people. So everybody walks away feeling like they were actually taught something, versus being thrown a bunch of technical terms at a rapid pace. Anyone hoping to be a clinician or an instructor would do well to follow Mr. Riley's lead and train themselves to speak slowly and clearly.
And no jump cuts.
Great video:) I learnt a lot of coordination skills based on John's books along withn a lot of other concept books. But I would recommend to listen to a lot of bigband music Duke and Count B. Because if you listen to a good piano players left hand or a guitarist syncopated combing style it would somehow relate to the horns and brass of a big band. And then you just need to have a fast responds time to make your comping sound together with the pianoplayer´s left hand as a condensed bigbiand. - Thereby taking the secrets out of comping and what to play:)
Love all John Riley’s books and video demonstrations👍
Love John Riley. Loved his old columns in Moderm Drummer.
Sorry to echo what others have said but this series is absolutely awesome John - Thank you Sir.
so glad this guy's still alive ngl
Great lesson and wonderful sounds !!
GOAT of Bop EDU
Beautiful sound
I think he's wrong about bass players. I think the heavy four on the floor was because the bass was often drowned out by the brass sections and was needed to keep the tempo together.
Was taught the same in college
TY
huh I allways thought it was just lack of amplification but stand up bass being a new instrument from jazz and people being new to it makes sense like they could play but wouldn't have been able to master it like piano or the wind instruments
What ride cymbal is that?
Can you tell me what your cymbal set up is here…?
They sound like Ks with no definition.
I'd guess 20 and 22 K. Con Renaissance rides or Philly Joe Jones, hi hats look like some unlathed Ks, maybe some dry variation, or potentially prototypes.
Jim Riley
Jim Lahey
John lohanne @@QuueenGalaxy
TALK MYSTIFY TALK MAKE MORE OUT OF IT THAN THERE IS KEEP TALKING
NO MYSTERY TO JAZZ DRUMMING
USE FOUR BAR PHRASES
If bass players were that bad, why did the band leaders use them at all if the bass drum drove the band so much
John wasn't saying they 'all' not great time keeper's.. I've played bass all my life - 60 now and play drum's. I think my bass playing has taught me to keep great time.