The jazz drummer’s main job is comping and establishing a comfortable, appropriate “groove” upon which the tune and musicians can “float,” “rip” or “explode.” But without the glue provided by fills and set-ups, we can only do part of our job. Though statistically less frequent in any given song, fills and set-ups are no less important than comping. We’re going to work on techniques and strategies with the goal of holistically mastering all three of these elements.
Mondays 8:15 – 9:45 pm
9/17 – 11/26 (10 weeks) no class 11/19
Alan Hall • $415
COURSE TITLE: Jazz-Based Stickings
Recommended Material: Bobby Gabriel’s “Chartreading for Drum Set “ or Steve Houghton’s “Studio and Big Band Drumming”
Week 1-‐time to a one-‐beat set-‐up/ down-‐beat hit
Week 2-‐time to a one-‐beat set-‐up/ up-‐beat hit
Week 3-‐consecutive upbeats
Week 4-‐mixed hits, lead sheets
Week 5-‐catching articulations, stop time
Week 6-‐musicality, marking, pedal point, broken time, song forms
Week 7-‐setting up groove changes
Week 8-‐setting up ½ time and double time changes
Week 9-‐appraoches in Latin and Funk settings
Week 10-‐ big band charts, section figures, ensemble figures
Alan Hall (drums)
Advisor, Drum Program. Former assistant professor at Berklee College of Music; adjunct faculty at UC Berkeley; clinician; author; performed with Ernie Watts, Paul McCandless, Eddie Harris, Bruce Wilamson, Art Lande, Tom Coster, Kit Walker, Rebecca Parris, Kai Eckhardt, Stuart Hamm; artist endorsement with Zildjian Cymbals, Vic Firth Sticks, Aquarian Accessories.
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