Brushworks: The New Language for Playing Brushes (Book & CD) Paperback – December 22, The Complete Guide to Playing Brushes: Brush Skills for Playing Jazz. I'm not going to adopt Cameron's stirring soup (which he calls "sweeping") notation. I own all of the main instructional DVDs (The Essence of Brushes (DVD),Clayton Cameron: Brushworks - The DVD,The Art of Playing with Brushes DVD/Play. Brushworks: the new language for playing brushes. Front Cover · Clayton Cameron. Carl Fischer, L.L.C., - Snare drum - pages. 0 Reviews. Skole for.
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An innovative study of the art of playing brushes by the "Brush Master" himself, Clayton Cameron. This anthology of brush strokes, sweeps and patterns features . Jan 12, Download Free eBook:[PDF] Clayton Cameron - The Living Art Of And instructional material that concentrates on brushwork is rarer still. In this extraordinary double DVD set, Clayton Cameron brings to life the methods and concepts presented in his award winning book/CD Brushworks. The DVD.
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Edited by Damon Murray, Stephen Sorrell. Essay by Owen Hatherley. A lot of young players avoid brushes because they dont know what to do with them. There are many approaches to playing the brushes, and I will give you some insight into my thoughts on the subject.
I generally use an up-and-down stroke with sticks, while my movement with the brushes is from side to side. That side-toside brush technique has influenced my stick technique, giving my phrasing more flow.
My beginning brush playing was like that of most drummers when they get their first pair of brushes. I moved my left hand around in a sweep and played all of the rhythm patterns with my right hand. I had listened to records of Louis Armstrong, the Basie Band with Jo Jones, and other s and 60s popular records that had a lot of brush playing, and I wanted to get that fat sound.
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Just moving my hands around didnt make it, but then I realized that I used both hands with the sticks when practicing the rudiments, so why not use both hands equally with the brushes? Thats how I incorporated some of the rudiments into a smoother approach to the brushes.
Of course, I didnt have the chops to play rudiments with brushes like I did with sticks. I would use the left hand to fill in some things, but the phrases were mostly right-hand based. A few years later, after struggling, I got my lateral motion from watching Mel Lewis as he would kind of slash back and forth with the sticks on the cymbal, then go to the mounted tom, then go from right to left toward the smaller cymbal and to his hi-hat.
He would use kind of a back-and-forth motion to get around the kit.
That lateral stroke, as well as what he was doing with the brushes, made sense to me in terms of getting the roundness out of the phrasing that he got with the sticks. So, I found in my playing that there is more influence from the brushes to the sticks than from the sticks to the brushes.
I approach brushes and sticks as two separate instruments. Its almost like upright bass and electric bass; you have the same four strings and the same pitches, but its a different animal in terms of the way you pluck them. The same goes for brushes. You need to view them as a different instrument than sticks, learn all there is to do with them, then bridge the gap between sticks and brushes.
Im not a big fan of trying to play everything with brushes that you can play with sticks, using stick technique. I am a fan of trying musical ideas that you play with sticks with the lateral concept, using brushes. Continuing my quest for that fat brush sound, watching John Von Ohlen playing that floppy sort of fish by the tail right hand, like he was throwing the head of a fish at the snare drum, is when the lightbulb came on.
You get the fat sound by letting the brush do the work instead of controlling the brush. I think a lot of players over-control the brush with finger technique. You have to let it bounce; you cannot over-control it. I do the same with the sticks. Let it happen; dont make it happen.
In regard to lateral motion, that sideto-side thing is about getting motion going with your phrasing. It keeps you moving toward the next instrument you are going to play. It doesnt keep you just on the snare drum, which is what a lot of drummers fear when they start playing brushes: They think brush playing is limited to the snare. If they decide to expand their phrase and go to other parts of the drumset, their stick technique comes in, and it sounds like they are playing with sticks rather than brushes.
We often forget the reasons behind all of these options -- it all gets down to choices in sound and feel. Steve Smith comments, Sometimes I use up to 3 or 4 different pairs of brushes on a gig or recording session.
With sticks, I may switch between a 5A and a 7A, or use a maple stick or a hickory stick to get differ- ent sounds and feels. I do the same thing with the brushes.
The Jeff Hamliton Regal Tip Calato brushes have a heavy gauge wire for a bigger sound and more rebound. Both Ed Thigpen and Clayton Cameron have their own Calato signature brushes with unique character- istics. The Zildjian Russ Miller brush is similar to the Hamilton brush in weight but with a sharp upturn at the end of the wires, which adds more volume to the sound.
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The Vic Firth Steve Gadd signature brush also has a bend in the wires, similar to the curve of a well broken-in pair of brushes.It keeps you moving toward the next instrument you are going to play.
Despite what I said about Philly Joes Palm Up technique, keeping the hands close to the head is usually better; dont make unnecessary motions. Youve got to have some width to your beat so they have something to hang onto and play with. We do not ship any items from overseas so if you are in the UK or EU then you won't experience any customs fees or delays with your order.
Many years ago, there was not as much variety available when it came to brushes.