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Small Band Jazz - History And Development Drummers Guide Part Two. by Eric Starr
Though Avante Garde utilizes the ideas of the previous two styles, it requires more technically advanced drumming, because the time pattern is usually less apparent, and is sometimes deliberately obscured or even omitted entirely (as with much of the music of Cecil Taylor). As well, tempos may exceed even those of Be Bop; Avante Garde drummers often use polyrhythmic figures; and the form of a song is sometimes abandoned entirely-if there was a form to begin with (that is, if the playing isn't based on pure improvisation). Finally, with the popularity of FunkandFusion, jazz came to include straight as well as swung feels (e.g., Herbie Hancock's "Maiden Voyage").
Today, a jazz drummer may utilize any of the styles and ideas of the previously mentioned eras. The role of the drum set player in jazz continues to be to establish the swung or straight feel, with improvisation on the drums complementing the other instruments. The following patterns, featuring time variations and bassand snare drum variations, are only the beginning of countless possibilities for improvisation. To increase your improvisational vocabulary, refer to books such as Modern Reading Text in 414, by Louis Bellson and Gil Breines, Syncopation for the Modern Druinmer, by Ted Reed, and Advanced Techniquesfor the Modern Drummer, by Jim Chapin. The tempo range in Small Band jazz is wider than that in any other jazz genre with quarter note equal 60-304 beats per minute. (The only exception is the jazz Ballad which is played very slowly).
The primary musical characteristic of the jazz Waltz is the 3/4 time signature, though it's almost always played swung. The jazz Waltz is found in both Big Band and small band arrangements with Max Roach's "The Drum Also Waltzes" among the most prominent drum compositions. In addition, any of the improvisational figures found in the preceding section can be applied (suitably modified for 3/4 time, of course) to a Jazz Waltz. As with the previous styles, there are countless variations on both time and improvisational figures. Below are some of the most useful for the jazz Waltz. The large tempo range is quarter note 100-255 bpm.
One of the distinct sounds of jazz drumming is achieved with brushes, which are commonly used in both standard tempo songs and, especially, in ballads. The primary brush technique is to drag ("swirl") the snare hand in a clockwise circular motion on the snare while playing a consistent time pattern with the ride hand on the same surface. This requires proper coordination between the two hands. The snare hand, circling as a hand of a clock, will arrive at ten o'clock on beats 1 and 3, and four o'clock on beats 2 and 4. The time pattern of the ride hand will strike beat 1, the + of beat 2, beat 3 and the + of beat 4 at four o'clock and beats 2 and 4 at ten o'clock, crossing over the circling snare hand. When performing a ballad with brushes, another way to play is the "figure eight" method. Both hands perform a figure eight on the snare drum, swirling and rarely leaving the surface. Generally, the ride hand starts on beat 1 at the upper portion of the drum while the snare hand is placed toward the lower portion on the same beat. The hands move in contrary directions to each other, both in figure eight patterns, and end up on opposite sides of the drum on beats 2 & 4. This enables a drummer to lightly accent all four beats of a measure with both hands simultaneously. (Note that a left-handed drummer would reverse motions for the following patterns). Tempos are slow for jazz ballads with quarter note starting at 50 bpm.
Eric is using Snare Drums manufactured by Gretsch Drums and Slingerland Drums. Eric is a member of Drum Solo Artist where he is answering drum related questions, and helping drummers with tips and advices.
Article Source: http://www.earticlesonline.com/Article/Small-Band-Jazz---History-And-Development-Drummers-Guide-Part-Two-/264540
