Duple Chant in 5 #3

I grew up in front of a turntable and listened to James Brown in the 70’s and 80’s. Cylde Stubblefield and John Jabo Starks propelled James Brown’s music to unparalleled influence in music history. It is accurate and honorable to say this lesson is inspired by Stubblefield and Starks. Duple Chant in 5 #3 takes shape demonstrated in slow, medium, fast and high velocity tempos. It is important to vocalize the chant with the click track while playing and not under your breath, but loudly. This increases memory necessary to playing the form at all times especially while improvising. Vocalizing is how most successful rehearsals happen backstage by the way! As with most chants, you can break the chant up into two parts. 1) Kick and snare. 2) Pedaled hat and ride. Notice the dynamics from low stick volume control to moderate during the performance.

Triple Chant in 3 #2

Simple in nature and complex in reality. The kick lands on the downbeat one time in measure one on the first beat. The hat comes in on beat two in the first measure. The ride cymbal creates a layer of off beats. The snare is always on beats two and three of every measure as in a waltz. Playing this in repetition requires consistent mental focus. The slightest drifting thought can throw any limb off especially the ride cymbal. This is the ultimate chant that builds synchronicity.

Duple Chant in 3 #2

Performing in 3 is amongst my favorite of meters. The chant is simple in nature. Notice how the kick drum only strikes the down beat in the first measure. The kick pattern plays on the “and” of every other beat. This creates an illusion that does not sound like a three beat phrase. The tempo from slow to moderate changes the musical atmosphere because the faster the tempo, the more the chant sounds unlike 3.

Craig Taborn On Drummers

Craig Taborn picPianist/keyboardist Craig Taborn gives us a great interview explaining highlights of his experience with his favorite drummers. Craig is from Minneapolis and brings brilliant perspective to how drummers from his area are to perform with as well as how they react to the music and what they do to create the landscapes. Being that piano and electronic keyboard are percussive instruments, Craig analyzes each drummer’s approach to contributing and supporting the music. He has a vast history and experience of drummers he shares here with us in this informative interview.