There are numerous ways to apply stickings to drum set phrasing. In this class, we will examine different stickings as historically applied to jazz drumming: from the fierce crush rolls of Art Blakey, to the rolling 4-limbed approach of Elvin Jones, to the rudimental precision of Philly Joe Jones. These and other great drummers have distinguished themselves partially through their particular set of sticking choices. Let’s dig into this area and work towards discovering which approaches work for you.
Mondays 6:30 – 8 pm
9/17 – 11/26 (10 weeks) no class 11/19
Alan Hall • $415
COURSE TITLE: Jazz-Based Stickings
Objective: To gain facility with different approaches to drum set stickings in the jazz idiom, and to understand musical and stylistic reasons for choosing one over the other.
Prerequisites: The ability to play steady jazz time and hand to hand triplets.
Required Materials -‐ “Progressive Steps to Syncopation” by Ted Reed , drum sticks and regular access to a drum set
Week 1-‐ hand to hand swing 8th notes w/ accents
Week 2-‐ hand to hand triplets w/ accents
Week 3-‐ traveling accents
Week 4-‐rudimental rolls and crush rolls, stick shots, rim shots
Week 5-‐triplet rolls with accents
Week 6-‐mixing doubles and singles
Week 7-‐more mixing of doubles and singles
Week 8-‐linear triplets
Week 9-‐mixing linear triplets w/ doubles and singles
Week 10-‐soloing over a form with all of the above
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.