Gene Krupa Drum Method, edited by Rollo Laylan, published by Robbins Music Corp., New York, NY. Q. What is a back beat? What is the difference between a. You are holding in your hands the first drumset method ever written! In , as the drumset was first making its mark on the face of modern music, Gene Krupa. The Gene Krupa Drum Method, published in , was an important book when it comes to understanding the history of drum set playing. As Gene Krupa.
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Gene Krupa - méthode de batterie (). Uploaded by David Juárez Download as PDF, TXT or read online from Scribd. Flag for inappropriate content. Gene Krupa's 'Drum Method' follows a format that is divided into fourteen key methods sequence in Krupa's Drum Method, beginning with a focus on the snare. Jazz Drumming: 31 Drummers, Drummer Worksheet 15 Drummer Study Worksheet Gene. Krupa: Boogie Chart and Solo Excerpt 44 Etude 5d. Gene Krupa
Figure 2. These four bars in figure 2,which start at mezzo piano, are also the opening bars for the whole tune which gives the start of the drum solo a familiar feeling and thus places the listener in a position of anticipation for what is to follow.
Underneath the tom-tom pattern Carlson also lays down the trademark four-on-the-floor bass drum pattern that typified drumming of the swing era and was a huge break from the more military style of playing on beats one and three that had preceded the s.
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The listener is given a minor release from the tension when we again hear the accented rhythmic phrase of figure 1 but now played on the higher pitched rack tom-tom, see fig.
This shift in pitch heightens the expectation, and thus builds further tension for what the listener can expect next in the solo.
Figure 3. This shift to the rack tom lasts for only two bars, divided over last half of bar 8, bar 9, and first half of bar Here we see the classic compositional device of diminution taken to 17 The Century Project: Years of American Music from behind the Drums Directed by Daniel Glass. Produced by DrumChannel. Performed by Daniel Glass. Whether or not it is a limitation of the recording techniques of the era, Carlson appears to shift dynamically to mezzo forte when he plays the rack tom-tom.
Gene Krupa Drum Method
Carlson then moves back to the floor tom-tom by way of the same rhythmic phrase, see fig. From here the solo builds interest by again using diminution.
The phrases are now halved to one bar in length, and by the introduction of triplets in a rapid interplay between the high and low pitched tom toms as seen in figure 5, there is added rhythmic excitement.
Figure 5. This increase in rhythmic activity keeps the listener engaged and builds the tension for the release which occurs in bars 15 — 20 when we hear the two bar phrase using accented rolls on the rack tom-tom which is repeated three times, see fig. The section also marks the first time that the bass drum rhythm changes from the feathered four-on-the- floorapproach to supporting the hand part by punctuating the accents. In terms of listening, this break from the constant bass drum pattern is refreshing and can be likened to the taking of a much-needed breath.
This is the last rise in tension for the first section of the solo before the climactic accented rack tom-tom phrase in bars 21 and 22, see fig. Figure 7. Section B The opening two bars of the second section contain the only real space in the whole solo when we hear the first interplay between the snare drum and the Chinese cymbal, see fig.
The volume here takes another rise to forte over the next four bars. Figure 8. This is a refreshing break for the listener as up until this section we have only heard the lower end, in terms of pitch, of the drum kit. Suddenly we hear the crack of the snare and the crash of the riveted Chinese cymbal in a one bar repeated motifwhich unusually starts 7 with the floor tom-tom on bar 23, then leads into a military-style two bar pattern using rolls and accents over a base of swung eighth notes as seen in figure 9.
Figure 9. This two bar pattern serves the solo by setting up the next four bars of snare drum and cymbal build-up, see fig. This is now the loudest part of the solo at fortissimo. Figure In this four bar phrase we can hear the first two bars repeated with the slight alteration of the omission of the snare drum between the final two cymbal crashes.
This helps separate this musical idea from the next and final statement of the solo as up until these two crashes the snare drum had been acting as sonic glue between the crash 1, crash 2, and Chinese cymbal.
By leaving the space at the end of the phrase, the listener is being directed subtly to the next phrase. The bass drum once again is acting as a reinforcing agent behind the accented crashes which gives the added punch of low frequencies to the high frequency crash of the various cymbals.
This is a common device still employed by drummers today. The accenting pattern is interesting in that while the bar 31 has accents on beats 1 and 3, and bars 33 and 34 double this figure in an augmentative fashion on beats 1, 2, 3, and 4, the second bar of the final phrase restates an accented motif heard previously in bars 21, 26, Figure Drum solo by Ron Sandilands.
Solo from , see appendix 3. Ron Sandilands has been playing professionally for the past forty years. This section will endeavour to compare and contrast the two solos as there are subtle and notable differences between the two solos. They both use one rack tom-tom, one floor tom-tom, and snare drum for the bulk of the solo.
Both drummers also use the bass drum to either feather a quarter note pattern under the tom- toms or accent under the cymbal crashes. Whereas Carlson opted for swung eighth notes see fig.
In bars 12 — 14, Carlson plays triplets on these figures between the tom-toms while Sandilands stays with the swung eighth note open rolls, see fig. In the rolled repeated section between bars 15 and 20, Sandilands opts to keep this phrase on the floor tom-tom whereas Carlson goes back up to the rack tom-tom, although on a closer listening it may be a mid tom-tom but as the recording is old and quality not as clear, it is difficult to truly ascertain.
The difference is in the choice of cymbals used for the accented crashes on beat three of bars 23 and Sandilands and Carlson both alternate between high and mid pitched cymbals but Carlson adds his Chinese cymbal to great effect on the accents on beats three and four of bars 28 and The final snare drum statement before the band re-enters is similar.
As previously mentioned, Carlson restates a rhythmic motif in the accents in bar 32 which Sandilands chooses to omit instead opting to repeat the accented pattern of bar 31 in bar 32 and then employ diminution in bar Sandilands ends his solo differently by accenting a quarter note on beat three on the snare drum and then a quarter note accent on the crash cymbal on beat 27 Aldridge, Vintage Guide to Drum Collecting, The other major difference is Carlson plays a syncopated accented sixteenth note motif, while Sandilands plays a much simpler figure accenting beats two and four in the first two bars before doubling this to every beat on bar three, see fig.
Both drummers play the last four bars of their respective solos straight, as opposed to the swung eighth notes used in the majority of their solos. Conclusion In comparing the two versions of the drum solo from Golden Wedding we can see that the Sandilands recording is saluting the original played by Carlson while adding a personal touch to the treatment.
Sandilands must have recognised that the structure and composition of the original solo was so well constructed that any drastic rhythmic alteration would only have diminished his performance.
Transcription 1 showing Section A and Section B. Appendix 2. Transcription 1. Transcription 2. Decker, Todd. Feather, Leonard. Book of Jazz. Press rolls were a fairly common technique in the early stages of his development. There were many other drummers Ray Bauduc, Chick Webb , George Wettling , Dave Tough who influenced his approach to drumming and other instrumentalists and composers such as Frederick Delius who influenced his approach to music.
In December , he joined Benny Goodman 's band, where his drum work made him a national celebrity. His tom-tom interludes on the hit " Sing, Sing, Sing " were the first extended drum solos to be recorded commercially  But conflict with Goodman prompted him to leave the group and form his own orchestra shortly after the Carnegie Hall concert in January He composed the song with trumpeter Roy Eldridge.
As an encore, he played a tamer version of the same song using matchsticks as drumsticks and a matchbox as a drum while Stanwyck and the audience sang along. In , after being arrested for possession of marijuana, he broke up the orchestra and returned to Goodman's band for a year. Krupa gradually cut down the size of his band in the late s, and from on he led a trio or quartet, often with Eddie Shu on tenor sax, clarinet, and harmonica.
He appeared regularly in the Jazz at the Philharmonic concerts. His athletic drumming style, timing methods, and cymbal technique evolved during this decade to adapt to changing fashion, but he never adjusted to the bebop style of jazz.
He continued to perform in famous clubs in the s, including the Showboat Lounge in northwest Washington, D. Increasingly troubled by back pain, he retired in the late s and opened a music school.
One such appearance occurred in at a jazz concert series sponsored by the New School in New York. Krupa appeared onstage with trumpeter Harry James and the saxophonist Gerry Mulligan.
!! RUDIMENTS !! – Chris Dave proves the point! (And Says IT)
The presumption was that the or so audience members were drawn by Mulligan's contemporary appeal, but when Krupa took a bar break during the second song, audience members leapt to their feet in appreciation.
The two drummers faced off in a number of television broadcasts and other venues and often played similar duets with drummer Cozy Cole. Personal life[ edit ] Krupa married Ethel Maguire twice: the first marriage lasted from to , the second from to her death in He remarried in to Patty Bowler and they were divorced within ten years.Metal Special Interest BIS-CD- Krupa appeared onstage with trumpeter Harry James and the saxophonist Gerry Mulligan.
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