habs doch gewusst,das ich den quatsch schon mal gesehen hab.... http://www.petererskine.com/di…s/346/348.html?1095861628
Peter Erskine-Antwort auf dieses post:
Kelly,
With all due respect to Ruthard (and thank you for contributing to the Forum's exchange of information and ideas, Ruthard!), I would approach my answer to your question from a different point of view. While the idea and practice of reversing your set-up and/or switching hands, ETC., is a good and useful one, the ultimate goal here is to play music, and to provide the kind of beat for the band that the other musicians are really comfortable with ... the real inspiration for ideas will come if and when you are truly LISTENING to the music and interacting with it.
Music is a conversation. you don;t learn to be a good conversationalist just by doing linguistic exercises or looking through dictionaries for big or fancy words. You learn to be a good conversationalist by
1. READING, becoming knowledgable, and
2. Learning to set aside ego concerns and concentrate on LISTENING to what the other person or personas are saying.
Likewise, to learn to become a better improvising musician, we must study music by LISTENING to as much of the history of the music as we can (old and new), and practice basic timekeeping techniques so that we can enter the doorway of the music (conversation) and take it from there. For, believe me, if the time isn't happening, then you'll have a hard time getting anywhere on the bandstand.
Meanwhile, it doesn't hurt to work on improving your dexterity on the pad or around the kit ... but, in all of the gigs I've done, I was never complimented on my ability to play the rudiments (with good reason, I add with true humility!) ... rather, if the other musicians liked what I was doing, it always had to do with the time feel.
It's all about the song.
Hope this helps ... any other opinions on the subject?
Best wishes,
Peter Erskine
