Booklet: Yes (PDF) Size: Gb. Dave Download Dave Weckl – The Next Step free and other lessons from our site. Register or Login to view. You can Read Dave Weckl The Next Step or Read Online Dave Weckl The Next Step, Book Dave Weckl The Next. Step, And Dave Weckl The Next Step PDF. I believe that The Next Step was originally a VHS, later DVD, with a pdf component. However, there seems to be a dedicated book version: Link.
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Dave Weckl - The Next Step - Free download as PDF File .pdf) or read online for free. Dave Weckl 02 - The Next Step - Download as PDF File .pdf) or read online. Dave Weckl 02 - The Next Step. Dave Weckl - The Next Step. Document Cover Tower of inspiration dave weckl pdf Download Tower of Documents · Dave Weckl - Back to.
VHS Tape. Perfect for Beginning, Intermediate and Advanced Drummers! It's very important to have a good attitude and to give off a positive vibe in the working place. It's always good to be able to see the performance of something that is written and vice-versa, which is the reason for this mix. I guess I liked this video more than the other reviewers did.
I loved, for instance, his triplet exercises between the hands and feet.
When he does it up-tempo, you realize that that's basically all he does while he solos: It's still tough as hell, but at least we understand how he's doing it. Most helpful, though, is his explanation of how to approach odd time signatures.
Even advanced drummers typically can't "feel" nine, seven, or five, and Weckl offers some great tips on how to think of them in a musical, half-time feel. Good stuff. I still use the cowbell click track he uses when I practice odd meters. To all you drummers out there that need a new direction in their playing, this for me goes beyond your expectations.
He breaks it down and shows you the easier way to feel and count it. Also he has his solos and playing with trax. He also talks about "backwards" playing and playing dead on the down and going around the groove. You have to watch this in order to really appreciate this great video. If you are new to Dave or already know what he's all about tackle this one. Dave Weckl is a fantastic drummer without question.
This video however tends to really lack uniformity and direction and is aimed more at displaying Dave's phenomenal drum technique than illustrating his musical and instructional abilities. There is way too much performance on this video and all these performances tend have a very soloistic element about them. If you know anything about drum set playing, one should realise that drum soloing is probably the least important aspect of performance.
I don't feel Dave stresses this at all, in fact he seems to over-play in every performance on the tape quite easily misleading young drummers into thinking that the more fills and licks you play the better you are.
The music which he plays along to is also painfully tacky. Like most DCI productions, this was just another quick money making effort using one of the worlds great drummers. See all 9 reviews. There's a problem loading this menu right now. Learn more about Amazon Prime. Get fast, free shipping with Amazon Prime. Back to top.
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Mulai dari. To me, it means being able to play anything—fast, slow, loud or soft——with a great deal of control and finesse. Having good technique is, to me, the basis of good drum-playing. So to get into it, I want to say to match grip players that whatever goes for your right hand goes for your left hand.
I play mostly conventional or traditional grip because I spent most of my life learning how to play that way. I play matched grip as well, but not as much, and when I do it's an emotional decision. I don't feel that one grip is technically better than the other. Don't let it hang you up. If the stick doesn't bounce freely on the drum you are going to have problems, namely tension.
If you hold the stick too far towards the middle, it won't bounce well on the head. If you hold it too far back towards the end , it dies after it strikes the head. What you want to do is find the place where it bounces the most. Balance the stick on your forefinger and let it bounce on the head. Experiment with different positioning on the finger until the optimum placement is found. Then grip the stick with your thumb and place the rest of your hand around the stick in a natural playing position.
If you are having trouble with your playing, always take a look at your grip and make sure that your balance point is working for you. GRIP The next important thing is the grip itself. While holding the stick between your thumb and index finger right hand or left hand when playing matched grip , make sure that the fat part of your thumb never leaves the stick.
I see a lot of players with their thumb off to the side. The minute you do that, you lose all your finger control and you'll only be using your wrist and arms.
I'll explain more about the left hand traditional grip in the finger control section. Another important factor is to keep a space between the thumb and index finger. If that space closes up, your forearm will also tighten up.
To get the finger control movement started you should first be able to move the Stick with just your thumb and index finger.
Position the thumb facing straight up and move the stick straight up and down while pivoting over the index finger. Try it in the air a couple of times before hitting the drum. When this feels comfortable, place the rest of your fingers around the stick and get it the stick going in the same exact motion—straight up and down.
Again, start by finding the balance point where the stick will bounce the most. A lot of times you may see me holding my left Stick way back towards the end of the stick, but it's only to gain more leverage when I want to get more of a backbeat.
I practiced the stick control method long enough that I can make the fingers work even if I am holding the stick back towards the end, but it is more difficult that way.
Start with your palm down facing the drum head and lift and throw the stick down on the head and let it bounce by itself your two bottom fingers only function to bring the stick back up after the initial stroke, and have nothing else to do with the finger control method. The idea is to continue the bounce with the fingers after the initial stroke. Master the repetitive rebound in this position palm down before you attempt to turn your hand over to the normal hand position. When you do turn your hand over, it should be straight with your arm.
There should be a straight line from your elbow to your back of your hand. Be sure to keep an open space between your index finger and your thumb. The stick is fairly loose. Remember, it's all bounce. The idea now is to get the sticks to become an extension of your body, and more importantly, of your mind.
Before you can expect your hands to work well together, they must work well by themselves, so some single-hand exercises are in order.
This particular triplet-based one is very helpful for both finger strengthening and warming up. The idea is to go from one to the next without stopping, repeating each ten times.
I usually use this as a fingers- only warmup no wrist with no accents. Be careful not to start at too fast a tempo.
The idea is to get through the whole exercise-—stamina! Keep in mind that this is only one example. Be creative and think up your own. Anything you can do to make the hands and fingers work so that the stick moves faster and more efficiently is going to be helpful.
Also, you don't have to be on a drum kit for technique practice. Good technique doesn't come instantly. Spend as much time as you can with sticks in your hands and you will see good results!
The next exercise is a good one for this. While using only the fingers, not the wrists, the exercise begins with 3-strokes in each hand, then to 6-strokes, 9-strokes and finally to l2—strokes, Nhile repeating each section ten times. The idea is to get the exercise as fast as you: Be careful not to start the exercise too fast on the easier groups of three.
Try a: This is a great chops-building exercise that l still use for warming up. I basically worked on trve strokes: When I used to practice single-stroke rolls I would usually get tense at a certain point and couldn't go any faster.
I wanted to figure out why this was happening. One day when I got to that point, I took one of my hands away and discovered that I could go faster with that hand alone when I used finger control. The problem, as it turned out, was that I wasn't converting from wrist to fingers as the tempo increased when I played with both hands.
There is a point in the single- stroke roll that you have to tell yourself, "switch to fingers. Again, we are taught to play a double-stroke roll by letting the stick hit once, letting it bounce, then putting both hands together and that's how we get a double-stroke roll.
Well, there's more to it than that. The mistake is that many people don't pay attention to the second stroke. What I do is a stroke and pull technique—snapping the second stroke back into your hand with your fingers. L L L Stroke Pull Stroke Pull Now take it a step further by accenting the second note of the double so that when you play the roll faster, the two notes will sound even in volume and attack.
I use a lot of doubles on the drumset. Your double—strokes have to be strong to get all those sharp and precise sounds. Paradiddles are simply a combination of singles and doubles. This stroke has many possibilities on the drumset.
The paradiddle is also the only stroke of this group that uses internal dynamics. What I mean by internal dynamics is that I accent the first stroke of each paradiddle, and all the notes in between are the same stick height and volume, and are played much closer to the head. The same stick height principles apply to double paradiddles as well: Now I would like to show you how paradiddles can be used on the drumset.
L R RLR Next on the list are flams and different flam strokes. Again, I just kind of made up my own exercises for practicing flams. I started out by learning how to play them correctly, which means starting with one stick lower than the other.
Then I just made up my own exercises. For example: For this stroke, I use only two fingers index and middle of my right hand, and I tighten up and close the space between my thumb and index finger. It is a press or pressure roll.
This is the only stoke that I play this way. With my left hand I apply pressure with the thumb. Then, When I play a press roll, I buzz on the drum as smoothly and put both hands together to make one smooth roll. If you start toward the edge, you will find that it is easier to blend the strokes together for a smooth, continuous sound. In a contemporary setting, I wouldn't normally use a buzz roll because it is difficult to play when you have to worry about staying in time.