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From the Inside Flap
INTRODUCTION
All drummers develop their own patterns, beats and methods of execution as they grow as musicians. However, when playing in the studios they come up against a variety of vastly different musical situations. During my many years in the studio I dealt with many different producers, some of whom played a little bit of drums, and some of whom wanted tricky and unique drum parts. I would take 15 minutes and write the parts out, then plaything in the studio, and then take the parts home and file them away. I accumulated quite a few of what I call “systems” things that weren’t based on normal, everyday drum playing. This book illustrates many of these systems, and is designed to develop coordination, musicality, reading ability, and confidence. It also provides drummers with new and exciting material to help them develop individual creativity.
These systems are not designed to be played strictly as exercises, but used as tools to develop new musical ideas. In the studio, you must be prepared to play an incredible variety of musical genres jazz, rock, Latin, fusion, country, etc. The material contained within these system can be applied to any and all musical styles.
Another aspect of studio playing is sight reading. You should be able to sight read anything without any problem. Of course, even if you are a great reader, if you come across some tricky patterns and you don’t have the coordination to go with the reading, it will throw you. Therefore, the systems in this book will promote advanced reading and coordination not only of single line drum parts, but multiline drum parts as well.
The main benefit of mastering these systems, however, is the development of individual creativity. All musicians need inspiration and material to continue their own musical growth. Hopefully, the information contained in these systems will provide you with the new possibilities and ideas for continued musical development. The systems will prepare you for things you might encounter in the studio reading, coordination, flexibility. They will also prepare you to be part of current musical trends, and to create music of the future.
Current trends in music allow these systems to be used more and more. Once a number of drummers master the systems and can sight read multiline drum music, it is possible that composers and arrangers will write music with this approach in mind. It is my hope that, by illustrating these systems, I can help drummers understand their instrument better and help them become members of the “new breed” of drummers who will take part in the shaping of modern music.
All drummers develop their own patterns, beats and methods of execution as they grow as musicians. However, when playing in the studios they come up against a variety of vastly different musical situations. During my many years in the studio I dealt with many different producers, some of whom played a little bit of drums, and some of whom wanted tricky and unique drum parts. I would take 15 minutes and write the parts out, then plaything in the studio, and then take the parts home and file them away. I accumulated quite a few of what I call “systems” things that weren’t based on normal, everyday drum playing. This book illustrates many of these systems, and is designed to develop coordination, musicality, reading ability, and confidence. It also provides drummers with new and exciting material to help them develop individual creativity.
These systems are not designed to be played strictly as exercises, but used as tools to develop new musical ideas. In the studio, you must be prepared to play an incredible variety of musical genres jazz, rock, Latin, fusion, country, etc. The material contained within these system can be applied to any and all musical styles.
Another aspect of studio playing is sight reading. You should be able to sight read anything without any problem. Of course, even if you are a great reader, if you come across some tricky patterns and you don’t have the coordination to go with the reading, it will throw you. Therefore, the systems in this book will promote advanced reading and coordination not only of single line drum parts, but multiline drum parts as well.
The main benefit of mastering these systems, however, is the development of individual creativity. All musicians need inspiration and material to continue their own musical growth. Hopefully, the information contained in these systems will provide you with the new possibilities and ideas for continued musical development. The systems will prepare you for things you might encounter in the studio reading, coordination, flexibility. They will also prepare you to be part of current musical trends, and to create music of the future.
Current trends in music allow these systems to be used more and more. Once a number of drummers master the systems and can sight read multiline drum music, it is possible that composers and arrangers will write music with this approach in mind. It is my hope that, by illustrating these systems, I can help drummers understand their instrument better and help them become members of the “new breed” of drummers who will take part in the shaping of modern music.
From the Back Cover
The Chester Interview On CD (or online)
It’s been more than twenty years since Gary Chester’s landmark work “The New Breed” was first published by Modern Drummer Publications. In that time, this innovative book has become a mainstay of drumming literature, studied by drummers the world over.
We were recently approached by Katrina Chester, Gary’s daughter, with the idea of including a CD with the book. She had obtained a recording of an interview with her father from 1984, done by Danny Gottlieb, a revered drummer in his own right and a former student of Gary’s. The interview is so informative and reveals so much about the late, great teacher’s concepts that we are MD and the Chester family felt it needed to be included in a new edition of the book.
It’s been more than twenty years since Gary Chester’s landmark work “The New Breed” was first published by Modern Drummer Publications. In that time, this innovative book has become a mainstay of drumming literature, studied by drummers the world over.
We were recently approached by Katrina Chester, Gary’s daughter, with the idea of including a CD with the book. She had obtained a recording of an interview with her father from 1984, done by Danny Gottlieb, a revered drummer in his own right and a former student of Gary’s. The interview is so informative and reveals so much about the late, great teacher’s concepts that we are MD and the Chester family felt it needed to be included in a new edition of the book.
It truly is amazing to hear Gary in his own words offering such helpful playing and career tips. We sincerely feel that you’ll be inspired by hearing from the master himself.
All the best,
Bill Miller
Editor In Chief
Modern Drummer Magazine
All the best,
Bill Miller
Editor In Chief
Modern Drummer Magazine
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