Level 3: F (Phrasing)
Now we can play the basic rudiment quite easily and with different accent. We want it to sound a little bit more differently. Then we come to rephrasing. The basic concept is, play leading note with every single note in a rudiment. One example is: RLRR LRLL is the basic form of paradiddle. Now we play leading with the second stroke, then it becomes LRRL RLLR, similarly, then switch to RRLR LLRL and then RLRL, LRLR, LRLL RLRR and so on. We basically apply the pattern to every rudiment. When we a re able to proficiently play this. A more free style fashion could be employed to rephrase them. In that case, what pattern you play is totally up to you.
第三阶段:F (Phrasing 排列组合)
现在,基础的rudiment已经可以配合不同的accent熟练地打出来了。我们希望能有一些更不一样的声音。这里我们就要引入Phrasing。基本理念就是,轮流以rudiment中每个note做起拍。我们就用Paradiddle作为例子。原本的paradiddle是RLRR LRLL,现在我们以他的第二个note作为起点,得到LRRL RLLR, 以此类推,分别是:RRLR LLRL, RLRL LRLR, LRLL RLRR, RLLR LRRL, LLRL RRLR, LRLR RLRL。将这个模式运用到其它rudiment中。 当可以流畅得play的时候,就可以采用一种free style的变换方式,这时候就靠你的想象力了。
Level 4: A (Application)
Up to now, you are pretty fluent with what you have. Then we are gonna push it into a completely different dimension. Maybe you all know that, playing solely on a pad or snare is a totally different story to playing a drum set and at most time it is more difficult to manage. Then the final stage is to make use of the rudiments and their derivations on a drum set.
Here, I wanna go back to the subject of groove. How to make a groove? There are some general algorithms. One of them is: 1, start with a rudiment, 2, try out the rudiment with different parts of the drum set, 3, remember the good sounded one or a few,, 4, add other components to them (ex. HH, Crash, Splash, TT, etc.). Respect to this we have our procedure.
As usual, we practice from simplest form to its hardest counterpart. Initially we just alternate with two drums or a drum and a cymbal, and gradually we apply the rudiments on more different parts and keep the ones you favored then make modifications.
第四阶段:A (Application 运用)
到目前为止,大家所掌握的东西就已经很熟练了。我们就要把这些推到一个完全不同的dimension上。大家应该都清楚,只在古板活军鼓play rudiment和在套鼓上play是完全不同的两样东西,而且同场在套鼓上难度会更大(除了extensive rudiment drumming)。这最后一个阶段就是要把rudiment和他的衍生物运用到套鼓上。
首先,我们先回到groove这个主题上。怎么样去create一个groove? 通常这是有一些方法可以套用的。其中一个比较有效和常用的步骤就是:1,选择一个rudiment,2,尝试以不同的鼓的组合打出这个rudiment,3,记录下听起来印象效果不错的,4,在这些记录下来的骨架上添加其它的辅助元素,诸如crash, splash, 修饰音等等。由此我们得到我们的练习步骤。
像往常一样,从简单向难由慢向快渐进。首先只在两个鼓或者一个鼓一个cymbal间play, 然后慢慢扩展到更多的部分尝试得到理想的音响效果。
These are the PEFA four stage model to master a rudiment. It’s not rigid, you can make alternation to them according to your particular situation. However, it aims to give a vision of what you are doing, why you are doing so and what’s the right way of doing it. Always keep in mind that practice rudiment is a literally infinite task because of higher level you achieve, the more difficult and uncertain it will be.
这就是PEFA四阶段rudiment mastering model. 但是这并不是死步骤,根据练习者自己特定因素的不同也可以灵活做出相应调整。更多它是给出一个概念,让我们更明确我们在做什么,为什么这么做,用什么方法可以做好。始终记得rudiment的练习可以说是无止境的,因为它的变化极多,并且越到高的等级,不确定性就会越强。
As we know, from macro view, music is constructed with different parts such as intro, verse, chorus, etc. and from an anatomy perspective we can also say it’s formed with different instruments, different scales, different chords, different notes or different techniques like a single string push. Drumming is the same. We have structures to fit the different parts of music, different grooves and fill for different emotion. And what is our basic building block? It is the rudiments that form the every single groove and fill. Or we can say, it’s every single stroke we play. To be a serious player, every single note matters. So, buddies, lets move to practice our rudiments.
如我们所知,从宏观来说,音乐是由不同的部分组成(intro, verse, chorus等等),若是再向细微解析,我们可以说是由不同的乐器(音色),音阶,和弦,技巧(诸如一个细微的推弦)所组成。对于打鼓也是一样的,我们也有不同的结构去配合不同的音乐部分,不同的groove和fill去配合不同的感情。那么什么是我们鼓手表现中的最基础的成分呢?是rudiment,或是说我们所打出的每个声音的质量。要成为一个打击高手,大家加油联系rudiment咯。
完了,希望大家积极补充和修正。^-^
Enjoy,困哦,睡一下觉了。
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[ 本帖最后由 hiddenface 于 2007-12-3 05:39 编辑 ] |