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SOME EXTRACTS FROM

 

THE COMPLETE DRUMS' METHOD

by Massimo Aiello

 

FIRST PART AND SECON PART

 

(see too: "Author's Presentation" - "Conclusion"

"....metronomely  poetic...." - "The aim/purpose of a lesson")

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FIRST PART

 

 

INDEX   FIRST PART (THE COMPLETE DRUMS' METHOD - First Part)

 

˙             Presentation……………………....……………………………………………………….…………... 1

˙             Introduction………………………......……………….……………………………………….………..4

˙             Setting…………………………………………………………………………………..……....……...13

˙             Movement concept for the sound……………………………………………………..…………….…..24

˙            Exercises for the development of the hands and wrist muscles……….…………………………...….......27

˙             Applications for the TABLES 1, 2 and 3…………………………………………………………......…35

˙             Upper limbs study: movement concept for accents execution……………………………...………..……37

˙             Accents on the eighths……………………………………………………………....…………………..46

˙             Accents on the triplets…………………………………………………………………………..…....…48

˙             Accents on the quintuplets of eights……………………………………………………………….….....50

˙             Accents on the sixteenths……………………………………………………………………………….52

˙             Accents on the sextuplets……………………………………………………………………………….54

˙             Accents on the quintuplets of sixteenths………………………………………………………….…...…56

˙             ….between onomatopoeidicy and cantability…………………………………………………….......….58

˙             Two sounds concept……………………………………………………………………………....……60

˙             Binding of two and more strokes concept………………………………………………..………….......63

˙             Acciaccaturas……………….………………………….……………………………………….……...69

˙             Acciaccaturas on the accents…………………………………………………………………..……..... 76

˙             Acciaccaturas on accents and not………………………………………………………………….…....82

˙            Rolls (binary, ternary, etc….. and related exercises)…………………………..………………..……..…89

˙             Various interpretations on the eighths..……………………………………………..………...……..…..104

˙             Various interpretations on the triplets……………………………………….………..………….…...…106

˙             Various interpretations on the quintuplets..………………………………………………………..….....108

˙             Setting on the pedals (and related exercises)..……………………..………………………….....……...111

˙             ….between coordination and independence ……………………………………………..………..……121

˙             Some indications for the study of  coordination and independence’s sections………….……………........126

˙             Exercises for the coordination and independence ...………………………………………………..……129

˙             Section A – 1…………………………………………………………………………….…..……….. 129

˙             Section B – 1………………………………………………………………...……………..……….... 134

˙             Section C – 1…………………………………………………………………….…………….……... 139

˙             Section A – 2…………………………….........................................……………………………….... 147

˙             Section B – 2………………...............................................……………………………………….…. 152

˙             Section C – 2……………………………………….......................................…………………..….... 157

˙            ....metronomely  poetic....……………..……………………………………….......…………….........….164

˙             Section A – 3…………………………................……………………………………………..………166

˙             Section A – 4………………………………………………………........................…………..………168

˙             Section B – 3…………………………………………………………..……………………………….171

˙             Section B – 4…………………………………........................……………………………………...…172

˙             Section C – 3…………………………………………………………………………….………..……175

˙             Section C – 4………………………………………………………..……………….…………………182

˙             Exercises of reading…………………………..……………………………………………………..…..187

.         Tables 1, 2, 3 (See indications at pages 26 – 35)……………………………...........................…………171

.      Tables 1........………………………………………………………………....................................……172

.      Tables 2………………………………………........................................................................…………174

.      Tables 3………………………………………………………................................................…........…176 

.      TABLES CONCERNING THE GENERAL COORDINATION BETWEEN BASS DRUM, HI-HAT AND/OR RIDE WITH 

       CONSTANT SNARE DRUM FIGURATION

       Loops 1, 2, 3, 4, 5, 6, 7 and various HI-HAT, Ride, etc. figurations………….........................………..…179-189

.     2nd Part of the METHOD………………………….................................................................…………..…190

.       INDEX 2nd Part………………………………........................................................................................…191

 

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Written between december 2001 and january 2002

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PRESENTATION   (THE COMPLETE DRUMS' METHOD - First Part)

 

I wrote this didactic text with a spirit as student because I feel so all the time, even if the topics of this Course, which I learned and elaborated also through an introspective analysis and a constant musical and personal research, I try to transfer to many passionate persons from more than 15 years.

Every good student should try one’s best to transfer in the best way what he learns, this just like a further form of study. But it’s opportune, before making this, experiencing oneself, in studying and playing, every detail, elaboration, research, etc also for years. Not as unfortunately often happens, be about to "teach" without assimilating, in depth, the sense of learned things, propagating so not very clear or wrong information. Sometimes it also gives serious problems to who approaches himself to the study, not only didactic problems but unfortunately also problems to the philosophy with which we should live the music and its world. In this way one cherishes vain hopes or rough copies of "teacher", also at personality level. The true Teacher must not fear the "overtaking" of the student but better augur it and search it anyway and, above all, understand that this must happen with all the individuality and personality of the subject that does it, without many personal transfers by the teacher, just understand some things and then delete them soon after. Well it doesn’t happen a real overtaking but a different progress from who teaches him and also from student to student under the same teacher. Sure this is very rare because it’s difficult finding true Teacher. Basing myself on my experiences, but also on those one of many others, I can deduce that not always an excellent instrumentalist/musician can be a good teacher, indeed it’s often the contrary; it’s almost impossible that a famous musician could devoted himself in due manner to teaching with the proper responsibility, like presence, especially like generous, honest and sincere quality of this one. We always must give attention to the choice of the teacher, if we don’t want limit or, worse, trouble our expressiveness and growing musically in not very authentic way. I believe that, from the teacher of any category, one must expect an unexceptionable professionalism in the preparing, bringing oneself up to date and, most of all, devoting one’s life, whether the teacher practises this activity with and for passion, or for economical necessity. One must understand that this is an activity not only cultural but also social and the operators in this sector must always act with a conscience turn to a professional, sane and altruist ethics, more than to a commercial business, often fomented from the non-knowledge in which he lets himself go for thousand reasons, the students ....

Between the teacher and the student must be established a human relation, not only for talking about this and that or going to take a coffee, but it has to be, especially by the side of who teaches, a total devotion in the didactic aspect toward who learns, joined to other aspects as important as the sharpening of "empatic" perspicacity and the psychological aspect of the didactics, etc., very useful and necessary for developing more and more the intuition, understanding the various aspects of every subject, etc.

From here the idea of writing this book which, even if limited and limiting, I would that it was an input for an opener, more honest, more constructive and more authentic dialogue (often it’s false, individualistic and negatively selfish) among the net of all musicians and particularly, in this case, of the drummers.

If one continues to closing oneself behind the appearance, behind the quantities more than the qualities in the study; if one continues to block the road to the prepared and deserving persons, so preventing them also to develop in the sector, by the "teachers" or by those few or many (but always the same), it will not be much possibility to develop and not only as instrumentalists or musicians, but above all as people in the inside of the music and its world. So as it happens easier and in more natural way in other places of the hearth musically more evolved, at least under the profile of "cultural exchanges". In our country Italy instead, I often (nearly always) noticed a closure of these pseudo-institutions, which are run by few or many musicians more intent on "working" for themselves than exchanging what is of all of us. I don’t believe that it happens for shortage of places (or of "work" as many call it .. while it must be called "most excellent trade" …) but more for a strong lack of humility and willingness to the neighbour, as having fear of giving up maybe what treasure or what important place …. since for me, I wish also for many others, there isn’t neither the success nor the failure but the prestige, this in any trade; the "fame", if not followed by an intellectual coherence of thickness above all human, results vain and end itself. Yet, it can exist in realer way just the "prestige" of a person or at least of his action in the society (this last condition, without coherence of the person, is for me allowed only to the genius …), but if it doesn’t march side by side to an exaltation of the sense of Justice, Love and Freedom also in own trade, the true sense of this comes on a little less.

If somebody doesn’t believe at least in the fact of making over an evolution, in this case musical so about the spirit and the intellectual and human thickness etc., therefore he doesn’t understand not only the effort of many persons in the world, in any field, for carrying on both the things for the common good, but he’ll can’t even dissect the music and at this point no trade to the limit of own personal potential. He’ll always be obliged to fill the gaps toward the musicworld, at this point also of the life, with fictitious attitudes, things and situations. From here to you the judge (and no the opinions … ).

A particular note of gratitude to the Master

ENRICO LUCCHINI

 

Because also through him I refound many of those lines of research and life to go (and go over again) with authenticity; he knew how gather my essence of person and make it living some more in balance with the Music. I believe that the great worth of a Teacher and his person, as Enrico was, recognized itself fundamentally from this; even if too many people find it difficult to accept.

 

Massimo Aiello 

January 2002

                                                                               

 

 

 

 

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INTRODUCTION   (THE COMPLETE DRUMS' METHOD - First Part)

 

On my opinion, a good student of drum must acquire at least 3 characteristic:

 

TIME – SOUND – ACCURACY

 

through a phase of preliminary study to the more deepened studies, but which allowed him to develop well also the basic studies so as to acquire such a knowledge and mastery to express himself with freedom.

Therefore, apart from the style or musical styles which everyone feels more near to the own personality, there are common ways of learning to all of us, like this, to which we must give attention.

Often, too often, who studies or worse who "teaches" disregards these types of setting study, you want for negligence toward the research or other, compromising the musical and ethical-musical training of that wants playing.

I recommend to whom is interested to want live the musicworld in global and constructive way, to be always shrewd in the choice of studying way and, above all, of the teacher. In the relations with him it’s obliged to claim a constant attention to the comparison, to the musical and ethic-musical personal research, to the minute control of our study, etc.; all must go on always in authentic way, that it come to make, in a word, a dialogue of thickness and no superficial. All this is fundamental to "be" in the musicworld with own personality, with own refined and strengthened disposition through an approach to the musical discipline which requires also to develop the own REPRESENTATION CAPACITY for spuring the fantasy and the individuality.

 

Þ      The chapter "Introduction" goes on with the explanation more detailed of "time" "sound" and "accuracy" with few notes on the "diaphragmatic breathing"….

 

 

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SETTING   (THE COMPLETE DRUMS' METHOD - First Part)

 

To position oneself toward an instrument means above all building oneself some means to use in the study and in the playing and make them the most possible effective. These means, of which one masters, go from the sticks handling, that is how hold them in the hands so that become the bridge between what we want say and what we’ll reproduce, to the arms, shoulders and hands settings, the posture on seat and instrument, the breathing, the setting of the foots, legs and pelvis on pedals, etc … So it will be not only interesting search and find in the best way a coordination among all these points, but it will result very relaxing and productive reach that general balance through an analytic-introspective approach, which will allow us not only to "drive" with security, but also, in a second moment, to personalize or better to interprete the settings and the postures.

I often noticed a lot of confusion, non-knowledge or worse omission by who "teaches" in transmitting, till the first rudiments, the information on the settings; as they’ll be the mean for communicating through them and the instrument is obliged put oneself, in studying them, in no superficial way if we don’t want to find us with some gaps and faults which will affect not only on the tecnique but also, unfortunately, in the expressiveness … unless a person didn’t have a particular natural gift toward all this. Maybe it happens but extremely seldom …

So if, as a rule, we must learn a setting in the more correct possible way, one must start, in my opinion, whether we want or not from comprehending well the more optimum fulcra, levers, weights, movements, etc. which allowed us to play with a good sound, control, execution, dynamics, expression, etc .., etc ..

From here I’ll try to explain the more possible in detail the knowledges on the settings.

There are various modes, for example, to handle the sticks, to have some postures with the arms, the legs, the foots, etc., but I want to propose those which are in my opinion among the richest of elements to exploit after having studied them; not only, but that, through them in particular, one can then range toward many other modes or setting methods and postures. I tried to study and develop them also a little at my way because I noticed that the very large majority of the more esteemed drummers and percussionists of all the world (that I had chance to see and analyse …) uses these types of approaches.

So: the types of sticks handling and hands and arms settings, used in very large part, are two. The first is ROCK or TIMBALISTIC or STRAIGHT, used in very wide way because maybe is the more natural position at the first approach. It’s used also in the conservatory for playing the symphonic kettledrum and the classic percussions, even if it’s exploited with a number of smaller shrewdnesses than to the drum, just because the two worlds are near and far at the same time like spirit, in the way of entering and living in the philosophy of each of these instruments.

Often, too often, one builds a wrong approach to the drum thinking, for example, that a charleston was a symphonic kettledrumhead …. that the tecnique and above all the spirit were equal for both the worlds. Maybe the interface is a little only on the tecnique of the snare; confusions, non-knowledges, didactic omissions, etc. at part … and it’s here that is much used the second setting, that CLASSIC or JAZZ which finds the differentation in the left hand (right for left-handers), in the mode of handling and in the evolutions of the movements for playing. It’s used widely by many jazz drummers but not only.

 

Þ     The chapter "Setting" goes on with the detailed explanation of the two tecniques of setting and their fulcra, pressures, etc …. with notes on "posture on seat", a physical exercise which I call "throw of the sound", etc ….

 

 

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MOVEMENT CONCEPT FOR THE SOUND   (THE COMPLETE DRUMS' METHOD - First Part)

 

The most important thing that who studies and/or worse who "teaches" tends to neglect is just the sound research. Often one confuses the sound with the volume and it’s wrong. The sound must be searched and assimilated, in my opinion, before with a sounding volume between the mezzoforte (mf) and the forte (f), then as one acquires tecnique, is able to control the sound whether toward loudest volumes (ff) and more (fff, sfz, etc.), or toward low volumes (mp, p, pp, etc.). The dynamics in the music are indispensable conditions and knowing use them in the appropriate moments and ways allow us to control and interprete, as well as one can, the various moments of an execution.

Other important thing, which is nearly always neglected, is that to give a quantitative value to the volume. Of course it can depend much from the type of situation in which one finds oneself to play, for example in a rock band with amplification system and in a wide night-club or back; or in a jazz band in acoustic in a small night-club or back; or in an orchestra of 50 or more elements and with or without amplification or back; etc., etc. … But also from many things depends the volume with which one must play. It’ s of course easier to tell than to do, but it’s just for this that from some part one must start to comprehend the importance of this subject if one doesn’t want to run the risk of playing with little or much impact … So one can start to calculate the volume between the mezzoforte (mf) and the forte (f) basing oneself on own voice, giving for example the equivalent of 10 to the volume of our voice while we speak in normal mode and/or in our mode .. The same effort we make for speaking we’ll try to emulate it playing. More we speak toward the "low voice" and more we’ll play softly and maybe the effort will be major … More we speak with a "loud voice" and more we’ll play forte also till shouting (fff, sfz, etc.).

After this smallest preliminary statement, I return to the MOVEMENT CONCEPT FOR THE SOUND which is a paper of various concepts, together others which you’ll find in the Course, almost indispensable for playing in optimum way.

The fundamental exercises are two and I called them simply 1° MODE and 2° MODE.

 

Þ     The chapter "Movement concept for the sound" goes on with the explanation of the two exercises which comprehend also the two phases "free fall" and "speedy raising", etc ….

 

 

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EXERCISES FOR HAND AND ARMS MUSCLES 

AND BASIC GENERAL CONTROL DEVELOPMENT FOR:

 

TIME – SOUND – ACCURACY – FINGERINGS – POSTURES – ETC..

TABLES 1, 2 and 3

(THE COMPLETE DRUMS' METHOD - First Part)

 

In these three separated tables I wanted contain the quasi-totality of the fundamental rhythmical subdivisions with which one can face many basing subjects of the study and the playing, concerning the "binary", "ternary", "quaternary" subdivisions, etc. (see musical theory). The reported fingerings are among the most basing, but they result sufficient for ranging on the instrument and in the music in due way. It’s clear that these exercises will must be applied, elaborated, fragmentized in numerous forms but they already contain many important concepts, on condition that they are performed and assimilated in the more possible exact way, not only from the subdividing point of view, but also under other aspects which are the control of hands, wrists, fingers, rebounds, sound, breathing, tecniques for the single alternate strokes (there are more than one), tecniques for the double alternate strokes (there are more than one also here), various interpretations and dynamics also, for example but not only, for the three fundamental " Paradiddles" (fingerings 5, 6 and 7 on the TABLE 1) and always fundamental the "Double Paradiddles" (fingerings 5, 6 and 7 on the TABLE 2). Follow also the written directions for the Tables to execute, for example, the exercises in various ways, likes in time 4/4 or in time 2/2; or as facing the speed’s increase.

Technically with the ROCK SETTING and for both the hands I propose two systems for the single alternate strokes:

WRISTED

FINGERED

and three systems for the double alternate strokes:

WRISTED

REBOUNDED WITH FINGERS CONTROL

FINGERS OPENING/CLOSING AND HAND MOVEMENT, WITH OR NOT FURTHER FOREARM MOVEMENT.

 

Another system for the double strokes with the left hand (right for left-handers) set in the CLASSIC SETTING is:

WITH THUMB OPENING/CLOSING

For both the settings I propose also another system which I called:

LARGE CONDITION

It derives a little from this other system which I called:

CONDITION

 

that is the first of all them which I propose to use, also because it must be used more like exercise for the control of the hand, the wrist, the rebound, etc. at low metronomic speeds or better with a certain number of strokes at the minute (if executed consecutively with a hand, about 340 strokes at the minute or quadruplets of sixteenths at speed = 85 BPM), than like a real system. As intention of movement, it allows to assimilate an optimum coordination in the movements for the sound, the nimbleness, etc … It will be useful also when, going faster (more consecutive strokes at the minute), one will lose the initial aspect of the movement, changing in a nimble and elegant control of the rebounds and moreover of the general technical balance.

The CONDITION consists in the elimination of the movement before performing the stroke, earning time but above all energy (at done accounts, almost twice as much!), with a psycho-physical yeld in the very good and relaxed performance.

 

Þ     The chapter "Exercises for hands and arms muscles development etc … " goes on with the explanation of the 8 systems, more other systems which I called:

-         Standard Mode

-         Complete Standard Mode

-         Elevated Standard Mode

-         1° soft plaied mode

-         Thumb finger control

-         Notes on "Finger control"

Etc …

 

 

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APPLICATIONS FOR THE TABLES 1, 2, and 3   (THE COMPLETE DRUMS' METHOD - First Part)

 

"In these pages I reported information of purely technical character, as modes, speeds, etc. which go applied at the three exercises tables, enclosed to the book, and that are about the chapter "Exercises for hands and arms muscles development etc …"

 

The tables are singly separated from the book, so for using them with more practicality …

 

 

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UPPER LIMBS STUDY:

MOVEMENT CONCEPT FOR ACCENTS EXECUTION  

(THE COMPLETE DRUMS' METHOD - First Part)

 

The accents, or better the strokes (the notes), with an accent put over (sometimes it’s put under for reasons of place in the writing), must be executed with a louder volume than the non-accented strokes (notes). There are fundamentally two types of accent which as a rule one executes with the percussions, each expressed graphically with a symbol. This first symbol put over a note: "    ’ " shows to execute that stroke (that note) with just a louder volume than those one non-accented. The second symbol: "   , " put over a note shows to execute that stroke (that note) not only with a louder volume but also in a "flat and clean" manner as intention, almost to result also louder than a "normal" accent ( ).

However the question of the volumes with which execute all the types of strokes is always pertinent to the type of musical framework where we find ourselves playing or to the type of interpretation that we want or must execute, etc .., as I tried, in part, to explain previously in the Course.

In the accents study I want to propose to you also another type of accent invented by me and which I called:

 

 

"PORTAMENTO ACCENT"   (THE COMPLETE DRUMS' METHOD - First Part)

 

Þ      The chapter goes on with the explanation of this type of accent …

For trying to make a little of clearness also on the ACCENTS, where there’s often the non-knowledge, confusion or, also here, omission of information, I’ll try to render how ampler possible the spectral analysis of the movements to make for accents execution (NORMAL and/or SHARP and STRONG and/or of PORTAMENTO).

I’m agree that could exist various modes of interpreting the movements’ evolution, but I can’t be agree on the results which often, wrong interpretations of these, have just on the accented strokes, being little coherent both with the study and with their identity, resulting also insufficiently effective.

The things, which are in the quasi-totality of the cases neglected, are those of the sound quality, the constant of the volume and its tone-colour both in the accented and not strokes (we add also in the strokes with the "portamento accents"); but also that one of the various phases in the inside of any movement which allow, if executed in the more correct possible way, to obtain an effective execution style for the sound but also for the control and the precise execution of all the various strokes in the inside of every type of the rhythmic subdivision’s interpretation.

So I believe exactly that, for creating a solid and valid basis on this discussion, followed by all its successive developments, is convenient studying always thoroughly the various problems and always with your personal spirit of research also introspective.

 

Þ     The chapter goes on with other fundamental explanations …

There are fundamentally four types of strokes or better typologies of movement’s evolution of these.

At a stretch I’ll expound them in standard manner and at my way, valid for both the most used settings but also for any other type of setting. Then for everyone I’ll propose some typologies of movement’s evolution, from the simplest to that most complete (with more difficulty). I recommend to study all of them and make them own because they are useful.

 

Þ     The chapter goes on with the basic explanations of the four types of strokes at which I gave a new name in italian and i.e.:

 

ACCENTED DOWNSTROKE

(in English on the international didactics: Downstroke)

 

NOT ACCENTED DOWNSTROKE

(in English on the international didactics: Tapstroke)

 

ACCENT’S PREPARATION STROKE

(in English on the international didactics: Upstroke)

 

ACCENTED STROKE WITH RELOAD FOR ANOTHER ACCENT

(in English on the international didactics: Fullstroke)

 

. . . .

 

Before burying myself in the explanation of the typologies of movement which I want to propose to you, I expound a simple concept which will help us then to understand better the physical dynamics of them:

 

 

EVOLUTION OF A VERTICALLY THROWN OBJECT   (THE COMPLETE DRUMS' METHOD - First Part)

 

Þ      The chapter goes on with the explanation of this concept …

 

A little more exacting is applying the concept playing some accented strokes and with the sticks. But let’s start from the simplest movements for as arriving to study the evolutions to execute the accents in more complete way. I contain them in four different and fundamental typologies, here on end from the simplest to the most articulate one.

I propose to you 4 TYPES of movements for both the SETTINGS ROCK and CLASSIC:

 

TYPE 1: hand

TYPE 2: hand (or wrist) and forearm

TYPE 3: hand, forearm and shoulder with short limb movement

TYPE 4: hand, forearm and shoulder with wide limb movement

 

Þ      The chapter goes on with the detailed explanation of the four typologies of movement …

 

. . . .

 

Þ      Then one goes on with 12 exercises tables with accents …

 

 

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….BETWEEN ONOMATOPOEIDICY AND CANTABILITY   

IN RUDIMENTS AND GENERALLY RHYTMIC FIGURATIONS

(THE COMPLETE DRUMS' METHOD - First Part)

 

The melodic instruments like the trumpet, the flute, the saxophone, or the voice etc. can execute as a rule one note at the time and, for this, make only melodies.

The armonic-melodic instruments like the piano or the guitar etc. can execute both melodies and harmonics and that is playing, simultaneously in both the situations, more notes at the same time. It’s just their physical structure which is formed to produce well definite sounds, those which then are called "notes"; they are seven (or better say: twelve including the intervals of semitone …) and form the musical scales. These last are exactly the means through which one can "build" a determinate music with these instruments.

The drum and the percussions at not definite notes (or better not melodic or harmonic-melodic) can’t as a rule use these scales, since their physical structure has been formed with an identity mostly set above the accompaniment’s rhythm (I prefer forming it with a role also of "assembling" that only rhythmical). So, for creating a way to make them "speaking", one uses some phrasings or some fragments of these and we find many of them in the rudiments for the snare, in which are contained some rhythmical formulas moved by precise fingerings generally predetermined. At international level many have been created and catalogued, in form exactly of rudiments, by the PERCUSSIVE ARTS SOCIETY (U.S.A.) [Copyright MCMLXXXIV] and they are always aspired reference points for the study and the playing, almost obligatory. They are studied one for one and are applied then also on various real excerpts for only snare, using them in the inside of these like real phrases and/or words that are those which after all replace the musical scales and their notes. From the snare these phrasings can be used also on all the drum amplifying the games on the instrument. There are some specific books which you find in sale with only excerpts for snare (generally they are called "marches") where these rudiments are fitted just at didactic aim and not only. These rudiments have exactly their own well-precise and predefinite fingering which is nearly always rendered onomatopoeic and that is that, if it’s spoken (or better sung …), gives to the figuration which one performs a particular musical "touch" due just to the onomatopoeidicy of the word built over it (or better "inside" …).

It’s at this important purpose that I want to explain my reflection about this ONOMATOPOEIDICY, given to many of these rudiments (or small phrases and/or words) and that is that whole of vowels and consonants which give, through the interpretation with the voice (or with the only thought …), a certain musicality or sonority or speech to the rhythmical figuration predefinite in its fingering which is then that draws the typologies of the figure itself, rudiment, phrase or etc.

 

Þ      The chapter goes on with the conceptual explanation and some practical examples …

 

However it’s only my intention trying to talk you about this conception of rhythmical figurations, wishing that it could result in some way useful to you apart from studying them with the classic mode.

From here I construed some simple concepts which I want to propose taking into consideration just because to me and many others to whom I explained them, are resulted useful and effective:

 

 

TWO SOUNDS CONCEPT   (THE COMPLETE DRUMS' METHOD - First Part)

 

This concept is the starting point of this simple method which I explain to you.

 

Þ     The chapter goes on with the explanation of the concept and some practical examples …

 

This can be a first step to introducing oneself to the analysis for the interpretation of the rhythmical subdividing (and not only …)

I propose to you other steps through other simple concepts like for example the:

 

 

BINDING OF TWO AND MORE STROKES CONCEPT   (THE COMPLETE DRUMS' METHOD - First Part)

 

Þ     The chapter goes on with the explanation of the concept, passing shortly also through other important concepts (see also DIDACTIC PROGRAM on various subjects …)

 

So I wish that also this BINDING CONCEPT could result useful in your training.

You can develop with this system all the exercises on the snare of this book and/or any other one, including those with the accents (for example: accenting the syllable on the accent stroke …)

Therefore, the same concept can be applied also to the

 

 

ACCIACCATURAS   (THE COMPLETE DRUMS' METHOD - First Part)

 

Þ      The chapter goes on with their explanation …

 

I propose you some simple solutions with my as many simple

 

ONOMATOPOEIC CANTABILITIES

 

which you can always use and/or find also of yours:

 

Þ      The chapter goes on with practical examples, bases and applications…

 

Also on these various examples you applied the various letters and/or syllables of the various ONOMATOPOEIC CANTABILITIES and find them also of yours. This you can make also in the exercises of the book where you’ll find figurations with ACCIACCATURAS.

At a stretch I explain you a simple but effective system for the

 

ACCIACCATURAS DEVELOPMENT

 

Þ     The chapter goes on with the explanation of the development and with 6 exercises tables on the acciaccaturas.

 

 

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ROLLS   (THE COMPLETE DRUMS' METHOD - First Part)

 

The ROLLS study is faced after having developed quite the basic tecniques which I proposed on the TABLES 1 and 2 and particularly those for double strokes execution, which we make use to introduce us just to the knowledge of the ROLLS. I propose to you two fundamental types:

-                NUMBERED STROKES ROLLS

-                PRESSED ROLLS

… with their interpretations (as much fundamental).

 

Þ      The chapter goes on with: the explanation of the two roll types, some lists of rolls and various interpretation types, exercises for the development and the reading of various roll types, a particular list, original by the author, which can give a new vision for the rolls study on ternary base and a subchapter ("Shifts of rolls") of practical exercises with unusual writing to develop…

 

 

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….BETWEEN COORDINATION AND INDEPENDENCE

AMONG THE FOUR LIMBS

(THE COMPLETE DRUMS' METHOD - First Part)

 

The subject maybe most complex is just that which sees involved all the four limbs in the simultaneous execution of more rhythmical designs, each with a different figuration or rhythmical line.

So it’s well facing the study of this subject with the maximum attention also because it will be that which will let us playing or at least facing any musical situation with a certain security just in basis of the type of knowledge and also of the quality and the amplitude of this.

I would divide, therefore, what I mean for COORDINATION and what for INDEPENDENCE.

Þ     The chapter goes on with the explanation of these two points, with notes on "halos" and "curves" in the music …

 

 

Here I should open a subject much complex but as much fascinating, that is the

 

DNA OF THE MUSIC FORM

 

which is then the pith of speeches on all our studies and researches. But at least for now I find it a very complicated undertaking writing didacticly the infinite interlacements of concepts, systems and other, also because I think that this complicated subject come faced more on the field if one wants living it in appropriate manner. But for how is possible to me, I wish to have transmitted in this book, even if in limited and limiting way, at least an input for the study and the research of these necessary subjects, almost of all neglected often by the side of who "teaches", for who wants make music.

 

Þ     The chapter goes on with further deepenings on the two previous points, passing through concepts such as the "interval of weights" and some concepts of the author on the various independence types …

 

 

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….metronomely poetic…. (THE COMPLETE DRUMS' METHOD - First Part)

 

The Man was able to stow the Time in more or less 365 Days in that which is called Year, which at its time is subdivided in Months, Weeks and exactly in Days; these last one contain each, as we know, 24 Hours, each of which is divided in 60 equal parts called Minutes that contains each 60 moments said Seconds which at their time can subdivide themselves further in various splits.

They are very common things, maybe less common is the idea of "living space" with which one conceives the Time…

I think that the Time is (and becomes) an illusion just when we fool ourselves to live it.

So as maybe it’s true that the Colour is only Light (one says "the Light of the Sunset" and never "the colours of it" in case "of its Light …"). Also this situation could be illusory.

If we were able to limit the Space in the "cage" of the Time, created by the Man, is only because the Nature allowed it; only She possesses the sense more or less real of the Time’s following, absolute or relative that was, but making us paying, as cost, the human fear of the "Time that passes"!

One says that the Metronome stresses the Time, but personally, comparing it to the "theoretical abstraction" of the Music, I think rather that it "stresses" the Space, or better, "defines" the temporal Space.

In short, I could define the Metronome like a tangible instrument definer of the Space-Time.

So like the emblematic Sun-dial, milestone in the times for the discovery of a method of the Time’s stressing, existing in Nature.

I like to think that the metronomic Time, used in the Music was nothing but an unit of measure which, between a ticking and the other contained the "Time of a Space" …

It’s just this the poetic side which we could give at the Metronome for the fact that, through its identity, we can compare that ours with the foreign Time (apparently and subjectively …) to our nature; to our hearth which instead breathes in the Space with its archaic and natural way to evolve the splits of the Time knowing that they are nothing but the following of the "before" and the "after" (in relation to any "starting point", however pre-existent ...); creating with its motion that fascinating sense of "suspension" capturing and rendering them almost contrapuntal that ones which I believe were the three main breathing of the Universe:

 

TIME – SPACE – MAN

Like almost a "tachycardiac arrhythmy" among three hearths:

 

NATURE – MUSIC – INFINITY

 

From always the humanity for finding existing reason, also with the Music and through the Nature sweeps to the Infinity searching (or seeking …?) in the Time a reason for "“his" Time.

I dare say with paradox .. that for go at Time with and in the Music without particular effort and maybe in the nearest way at the Nature of our hearth, one must be just … "out of the Time"!

Because just the moment in which we start the Metronome or we find ourselves to coincide with the start of a musical excerpt (or "Space"), we enter dimensionally in another Time and then so not much abstractly …

So one comes to create that fantastic Space, all our, to live intensively and deeply and which we can (and must) share at the same way also with our "accessories" of performing: the other instrumentalists.

And all of us were able to entrap also who hears us, transporting them with us out of the Time and in another dimension …that of the …

 

MUSIC

                                                           1996  Massimo Aiello

 

 

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Þ  It goes on with various technical directions to apply at the exercises of the sections on the coordination and the independence …  

 

 

THE COMPLETE DRUMS' METHOD

closes with 20 exercises of rhythmic solfeggio of modest and medium difficulty

 

and

 

- TABLES 1, 2, 3 (See indications at pages 26 – 35)

- TABLES CONCERNING THE GENERAL COORDINATION BETWEEN BASS DRUM,

HI-HAT AND/OR RIDE WITH CONSTANT SNARE DRUM FIGURATION

 

 

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SECOND PART

 

 

 

INDEX   SECOND PART (THE COMPLETE DRUMS' METHOD - Second Part)

 

Premise…..………………………………………………………………………...…..1

Presentation...………………………….………………………………….………...….2

The aim/purpose of a lesson…...………………….…………....………...……….....…..4

Introduction……………………………………………………….………………….…5

Execution’s analysis of the “Swing Cymbal”’s rhythmical design…….……………............9

Execution’s way for every single stroke………………………………..…………….....10

The “Swing Cymbal”’s cantability……………………………………..…………….....12

“New Cantability for Swing”………………………………………....……………...…18

Swing rhythmical figurations to apply on the various exercise’s groups.…………….........22

Other ways to execute, develop, etc. the exercises…………………………………......25

TRIPLETS 1…………………………………………………………...……………...27

TRIPLETS 2…………………………………………………………...……………...27

TRIPLETS 3………………………………………………………...………………...28

TRIPLETS 4…………………………………………………………….…………….29

TRIPLETS 5…………………………………………………………….…………….30

TRIPLETS 6…………………………………………………………….…………….34

TRIPLETS 7…………………………………………………………….…………….37

SIXTEENTH NOTES 1……………………………………………...……………….39

SIXTEENTH NOTES 2……………………………………………...……………….40

SIXTEENTH NOTES 3………………………………………………...…………….41

SIXTEENTH NOTES 4……………………………………………...……………….42

SIXTEENTH NOTES 5……………………………………………...……………….43

SIXTEENTH NOTES 6……………………………………………...………………46

SIXTEENTH NOTES 7……………………………………………...……………....48

EIGHTH NOTES 1…………………………………………………………………..50

EIGHTH NOTES 2…………………………………………………………………..51

EIGHTH NOTES 3…………………………………………………………………..52

EIGHTH NOTES 4…………………………………………………………………..54

EIGHTH NOTES 5…………………………………………………………………..55

EIGHTH NOTES 6…………………………………………………………………..60

EIGHTH NOTES 7…………………………………………………………………..61

QUINTUPLETS 1…………………………………………………………………...63

QUINTUPLETS 2…………………………………………………………………...65

QUINTUPLETS 3…………………………………………………………………...67

QUINTUPLETS 4…………………………………………………………………...68

QUINTUPLETS 5 – First Part………………………………………….…………....70

QUINTUPLETS 5 – Second Part……………………………………….…………...73

QUINTUPLETS 6…………………………………………………………………...78

QUINTUPLETS 7…………………………………………………………………...81

….MY CAMP 1 ?!…………………………………………………………………..82

….MY CAMP 2 ?!…………………………………………………………………..83

….MY CAMP 3 ?!…………………………………………………………………..84

WARM-UP 1………………………………………………….…………………….86

WARM-UP 2………………………………………………….…………………….87

WARM-UP 3………………………………………………….…………………….88

WARM-UP 4………………………………………………….…………………….89

RHYTHMS………………………………………………………………………….90

CONCLUSION..........................................................................................................91

 

 

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Written between July and August 2005

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PREMISE   (THE COMPLETE DRUMS' METHOD - Second Part)

 

We can’t talk about “Independence” between limbs if we don’t talk also about “Jazz Independence”.

Fundamentally the study of Independence applied to Jazz and to its various mixing in various world’s musical cultures, like in Latin (Latin-Jazz), Afro (Afro-Jazz), Rock (Jazz-Rock), etc….generally provides that one or two limbs, playing on one or plus definite drums’ components (cymbal, snare-drum, hi-hat, etc.) and/or on a percussion  set (cowbell, conga, tambourine, bongos, etc.), execute and/or develop a definite rhythmic design (melody) while the other limbs suggesting the rhythmic counterpoint to the  melody, so underlining just rhythmical and/or armonic and/or melodic moments in a piece, adding, if and were is possible, some consistent musical filling. Because of the extensiveness of this subject it’s only right learning very well the basis, that require an in-depth study never approximative, as on the contrary teachers often tending to advise the students, penalty the usual and inevitable “limbings” and/or expressive flatness given, that’s so, by the non-control of the Independence’s rudimental basis. So it’s better understanding  immediately the difference between Coordination and Independence (see also the respective chapter in the Orientative Drum Course-First Part) that is don’t neglect (or thinking to study….) the second, wich provides a limbs control not only in the Independence between them but especially in the contemporaneous control of every limb in each its aspect or at least in much aspects as possible, that is the control of sound, colour, volume, timbre, duration of a sound, controlling the subdivision of a rhythmic melody and its most appropriate interpretation, etc., etc., etc….. So I reaffirm the fundamental importance to understand well the difference between the limbs Coordination (that provides a less complicated control, even if it’s in much aspects not less articulate than in Independence) and the Independence. In short, there’s a fine line that divides these two things and it’s important to identify it consciously by yourselves but also with your teacher, always if he also had (or wanted to) understand it…. And I really don’t believe that it don’t needs or it’s not worth to study at least the Basic Independence (not only the Basic Coordination, see the Course’s First Part), even if only on Rock, Pop, etc. and not purely the Jazz Independence that it’s generally marked on the Ride cymbal (or similar) with “Swing”’s rhythmic design. Even if I am very sure that studying well also the basis of Jazz Independence (also there, not only the Jazz Coordination wich remains in the scholasticism’s limits….) can give a remarkable technical-musical contribute also to who will never play Jazz. Dutifully given that, I will try also in this Second Part of my Orientative Drum Course to expound to you (with the more words, examples, concepts and other I can), the things that I obviously know up to now  about Jazz Independence.

 

Massimo Aiello

August 2005

 

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PRESENTATION   (THE COMPLETE DRUMS' METHOD - Second Part)

 

Is not my intention nor capability to take the place of those excellent Jazz Independence’s methods, but is my only wish beeing able to give a little contribute, as in the Course’s First Part, doing a bit of more clarity in drums’ didactics world were I think you can still find much confusion and/or carelessness or, worst, much omission….

Massimo Aiello

August 2005

 

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THE AIM/PURPOSE OF A LESSON   (THE COMPLETE DRUMS' METHOD - Second Part)

 

Especially the “teacher” but also the student (even if doesn’t existe neither of them, in my opinion, with certain  rare exceptions….) almost always don’t consider an aspect that I think is fundamental and I take for granted, even if it’s very subtle from the individual’s psychologic profile, and wich assume a considerable importance in personal develop of both persons; that’s the comparison between the lesson’s level/degree that who is studying is/can/have to tackle, and that it can’t doesn’t be reflected on the “teacher” at the same level or almost….that is: all are to look at the same aim but the lesson/exercise have to be well proportioned not only simply with the student’s level (and so the teacher mustn’t  turn only around that….) but it have to “look” also and especially to the self-consideration’s  level/degree that mature or not as regards the capacity to face up, that’s  so, the lesson/exercise at  his own level/degree.

More simply: the student’s psychological aspect, considered and managed on empathetic and human level as well as technical and not purely “medical” (obviously!), must to be supervised almost more of the rest. And the self-consideration, in my opinion, doesn’t spring from how much the student will can do but from the how (having, from the beginning, educated or also simply carried him to the self-discovering of this value also in music), it will always carrie both the teacher and the student also to the self-evaluation/consideration that enables, no doubt  always, an optimal evolution with themselves and so with music.

This is the principal aim/purpose of each lesson.

 

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INTRODUCTION   (THE COMPLETE DRUMS' METHOD - Second Part)  

Considering that before begin to study the Independence (expecially Jazz Independence), you have quite well mastered all the fundamental techniques, wich are handling, setting, the various types of movements for single strokes, double strokes etc., for the accents, etc.. And after applied them for a long time on rudiments (the fundamentals at least), on rolls, on accents’ exercises, on coordination, on acciaccaturas and so all that included in the basic technics’ development (largely described in my Orientative Course-First Part), is appropriate knowing wich all that (taken for granted that it was learned well), will be apply nearly word for word and so furtherly developed studying Independence (especially Jazz Independence, even if only the basic). Unless you decide to play, in  future, with a technically approximate way, and so (considered the limited expressive’s potentiality given by the non-control of the Independence’s base) musically the same. Of course you can amuse yourselves a little bit all the same, like most others do, but you have to know that you can’t expect to “make music”, like most others expecting to do!

So, the drums, like the other instruments, needs to be played and not hit….every single element can “sing”, producing melodies and all together, if well seered, they can integrate into music in all its aspects, both rhythmic and melodic and harmonic. This last concepts is a little more structured but achieveble, that’s so, only after a meticulous study, and anyway you must deal it (and you can do it only that way) with a precise basic control derived not only from a virtuousistic technique that often be an end in itself, like many examples unfortunately you can take from various drummers (and musicians in general) around the world….

So is advisable and fundamental to not neglect the study’s musical aspect and prefer it to that too much technical or, making myself clear, “circensian”.

 

So I propose to you some Jazz Independence’s basical studies and their various connections with the First Part of my Orientative Drum Course. Some steps we’ll do they will be a bit “backwards” (!?!?!)….all this for connect some concepts of the Course’s First Part, but especially for give them a new viewing part or at least a bit different, both in the concept and in the gesture and in the interpretation and application of that….

Once you have sufficiently well studied the Basic Jazz Independence you can begin to apply the concepts that you’ve reached even in the Coordination and Independence inside the Orientative Course’s First Part, chapter called “….between Coordination and Independence….”.

So:

The principal characteristic of Jazz Independence (at this point: “of Jazz”….) is the so-called

 

“SWING CYMBAL”   (THE COMPLETE DRUMS' METHOD - Second Part)

 

wich is a standard rhythmic figuration that is played generally on the Ride (or accompaniment) cymbal (you can play it also on the hi-hat, but with other implications that we’ll discuss after….).

This rhythmic figuration is fundamentally wrote like this: 

=θ detailed explanation follows, also with some new lesson concepts….

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EXECUTION’S ANALYSIS OF THE “SWING CYMBAL”’S RHYTHMIC DESIGN

(THE COMPLETE DRUMS' METHOD - Second Part)

=θ “Swing Cymbal”’s detailed explanation follows, also with some new lesson concepts….

 

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EXECUTION WAY FOR EVERY SINGLE STROKE

(THE COMPLETE DRUMS' METHOD - Second Part)

=θ detailed explanation of each stroke follows, also with some new lesson concepts….

 

….CONTINUE:….At this point I counsel two things:

first:

revise in depth some fundamental and important concepts-exercises of the Course’s First Part namely:

-         THROW OFF THE SOUND

-         1st MODE

-         2nd MODE

-         EVOLUTION OF A VERTICALLY THROWN OBJECT

Obviously besides all accents’ movements and their entire chapter, especially for remember that, after all, really exist only some type of strokes and others not…

second:

I propose to you a very useful (if not indispensable) exercise for training the hand on the Ride cymbal to come back quickly

=θ exercise with its detailed explanation follows, and also with some new lesson concepts….

 

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Now we pass to the more complicated part, but no dubt the more fascinating because it concern the musical aspect (or at least one of aspects….), that’s

 

THE RIDE CYMBAL CANTABILITY   (THE COMPLETE DRUMS' METHOD - Second Part)

=θ detailed explanation follows, with also some new lesson concepts….

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“NEW CANTABILITY FOR SWING”   (THE COMPLETE DRUMS' METHOD - Second Part)  

Since I consider the triplet the more difficult rhythmic figuration to play exact in its subdivision, I would want to propose to you my idea for write it (and just to interpret its subdivision) in a different way from the standard wich is always proposed (and written, that’s so….), that’s like this:

=θ detailed explanation follows, with also some new lesson concepts….

=θ about 850 exercises of Jazz Independence follow with various different Ride Cymbal figurations (from 5 to 10 for each exercises’ group) that can be developed also in the about 15 following ways….

 

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OTHER WAYS TO EXECUTE, DEVELOP, ETC. THE EXERCISES

(THE COMPLETE DRUMS' METHOD - Second Part)

=θ about 15 various ways to execute, develop etc. the exercises follow.

Basic original exercises’ total: about 850….developable in some dozens of thusands of further exercises, 

so you have a wide range among that you can choose.

=θ follow: 4 hands's and 4 limbs’s warm-up exercises, and 3 “camp” always by M. Aiello

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RHYTHMS   (THE COMPLETE DRUMS' METHOD - Second Part)

I’ve inserted, like example, only these rhythms because they are between the principal and most articulated at international level, and they’re interesting for applying Indipendence to them. All other rhythms that you’ll want to play you will find them into records, concerts and/or specialized methods, if you will have studied Coordination and Independence more than sufficiently….

=θ some few international basic rhythms follow, with applied Independence with well specified interpretation one of those by M. Aiello….

Have a good time….!!!

 

 

CONCLUSION   (THE COMPLETE DRUMS' METHOD - Second Part)

 

More as a duty than for pleasure (but of course in both cases!) I write the following:

There is no doubt that in the last decade or little more than a decade, we have observed a remarkable drop in the quality of education concerning music in general and also in the majority of places where music lessons, at any level, are held.  This is due to an increase, on behalf of those who teach, in the lack of interest towards those who study with little curiosity, devotion and great superficiality. (in other words towards those who have little knowledge of the subject). It is also true that in recent years we have seen, often and relentlessly, many (too many) music students who approach the study with a lack of intellectual dedication,  but it is worse seeing that more and more teachers show a social-educational detachment, not showing interest and often not knowing what they are talking about because they don’t take on the job seriously. From these people instead, we should expect and require more presence, didactic preparation or at least passion for his/her work, especially in the periods when there is social “distraction”.

Taking into consideration every aspect of a teacher’s job, we must remember that in essence he or she is always a social operator and subsequently must not loose the possibility to help solve problems or to exalt a person’s merits not only musically. It is important for a teacher, who goes beyond studying this method may it be for a hobby, for passion or maybe as a job, etc., to be able to make the individual realise, with all tools available, not only about the knowledge of the subject but more importantly  to have a sufficient awareness of it, in relation to the individual himself. This is one of the fundaments that will constitute not only his/her level and the kind of devotion to the matter itself but it also constitutes an important part of his/her artistic personality.  He or she will not only develops the different aspects of the study but can take into consideration his/her musical temperament which could constructively weigh on his or her own personal and philosophical self evaluation. One of the contradictions to immediately eliminate, even for who teaches, is that if a subject is complex, articulate and difficult to understand it needs a long time to be assimilated. On the contrary, it is very important not to interpret it, unless we want to do it in a superficial and detached way, without important evolutionary demands (an exception is the therapeutic applications that in my Complete Method for the Drums are not at all implicated and would require only expert personnel).

In my conclusion I want to underline a few points which I dissent and at the same time I battle against  even through my teachings, which are however part of the “job”. Going back to the current general "distraction" period, that is also due to the historic phase that we are currently living (but that we are not obliged to live if we don’t want to...and for sure I do not oblige myself...!), we can notice a "distraction" (indifference) in many operators in this sector, they are different from the musicians that are the phonics, discographers and managers, etc. They are often careless people more than those who play (most of the time with the "approval" of who plays...). So if there is no longer a strong synergy and respect between operators, we loose professionalism both in the execution of the music and in the live amplification of it  and above all in the mixing of records and so there is a show with no great success. There is an increasing frequency with which one sees his own work defeated, often caused by an indifferent or even worse incompetent and presumptuous phonic. This amounts to a decrease in the paying of attention on behalf of the last listener, reducing the quality level of information. Very often the real sense and “working” with dignity is lost  and it is a good idea never to be an accomplice of this...! However, in my opinion, the most degrading thing is that too often when this happens, people just "grin and bear it",  because they are afraid of risking their own and other people’s dignity. Operating, building, acting and offering to the public, "products" based on principles such as; incoherence, indifference, and so on, in the end makes the sense of the job, the giving and receiving of the people involved, the education and learning of the music; all things that will vanish.

A greater emphasis on a joint effort would be more appropriate when taking into consideration this type of job. For example: dedicating more time to each phase of the learning process, integrating  more intellectual activities, having courage to show initiative, creating interpersonal relationships based on a confrontation of the different opinions that exist in the whole of the music world overall remembering that the thing to keep in mind is the fundamental value of music!

  pure and essential expression of man

should never be subject to compromises and unjust mediation; only in this way we give ourselves and the music importance and this also applies not just to music but to all fields. Who disagrees with these fundamental thoughts and actions reflects, as it is well-known in the history of mankind, his own frustrations, unwillingness, indifference, incoherence (almost always  these things are transform into stupid envies and much more...that I have difficulty even writing!). Instead who tries, even having all sorts of doubts, to find new energy to donate to the music (see above...)  those who don’t use this as an excuse, it would however be better to seriously revaluate his own ideas and opinions about music so to improve his quality of production.   

Remaining on “light-hearted” topics (but nevertheless important) sometimes for me “it’s funny” to underline the absurdity of many (too many) musicians who do not value, the difference between playing softly and not having passion for music! If we play, especially the drums, too softly, the instrument has difficulty vibrating and therefore in emitting a sound. Surely this can “please” the ears of many of those who don’t understand music and so they aren’t even able to appreciate it (and I refer basically to musicians…) but, other than being musically wrong and disrespectful on behalf of musicians themselves, the music that is being played is never fully exposed, and it can’t “breathe” the character, the personality of the musician “obliged” to play too softly. It seems a very complicated concept for most minds but if you want to solve the “mystery” and understand it and not fall into the trap (so remember not to play with foolish people…)all you need to do is just look at the gestures of those who play well and/or listen to concerts and/or talk about it and/or study; do exactly like the real and high level musicians do.

Unfortunately to do this we need to orientate ourselves almost outside of Italy…and, as far as I hear “blabbing”, that we  should not interact with those “real” musicians, I all along, can’t help doing this, so as I suggest you do the same. I have tried to make known and bring awareness indisputable facts to many musicians and students.

Anyway: instead of playing or studying badly and/or with musical constrictions of this kind and/or worse, limiting our dignity; it is better to stay at home!

Briefly to who studies and/or plays the drums (or not tuned percussions):

It is very important not only to learn to know each type of wind instrument or chord instrument, so to understand music better, but it is desirable and almost mandatory to study side by side at least one of those melodic or harmonic-melodic instruments, even if in a recreational way. This will make you more aware of all the aspects of the music and it will improve “musically” our way of playing the drums (and the percussions)…

It is consoling to know that at least in rare cases, calm, a lot of respect and serious professionalism exist, therefore well-being in working, that rightly excludes approximation and philistinism. The only thing is that we have to take it to a very high level…but even if we reach a slightly lower level it is possible to live this condition only when we are authentic…

And after these final, sometimes “funny” points, even if I would have exposed to you much more (but it is better I stop here and I would prefer, always, to talk , discuss and act face to face…), I end once and for all this Method (not the rest!) by saying “see you” in the future, maybe with the next publication…

 

THANK YOU!

 

Massimo Aiello

March 1st 2006

A thought of mine:

The mediocrity of the man depends

On own will to acquire wisdom.

(1997)

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THE COMPLETE DRUMS' METHOD

International Copyright & Printed 2006 by Massimo Aiello

 International Copyright Secured - Made in Italy - Used by Permission

 

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and in some following Webstores

 

Youcanprint: http://www.youcanprint.it/youcanprint-libreria/didattica-e-formazione/metodo-batteria-aiello.html

 La Feltrinelli: http://www.lafeltrinelli.it/products/9788867518197/The_complete_drums%27_method/Massimo_Aiello.html

 Libreria Universitaria: http://www.libreriauniversitaria.it/ebook/9788867518197/autore-massimo-aiello/the-complete-drums-method-ebook.htm

 Deastore: http://www.deastore.com/e-book/the-complete-drums-method-massimo-aiello-youcanprint-self-publishing/pd88867518197.html

 Ibs: http://www.ibs.it/ebook/aiello-massimo/complete-drums-method/9788867518197.html

 Unilibro: http://www.unilibro.it/ebook/massimo-aiello/the-complete-drums-method-e-book-formato-pdf/9788867518197

 Webster: http://www.webster.it/libreria/ebook-italiano/9788867518197/massimo-aiello/the-complete-drums-method-e-book.htm

 Cubolibri: http://www.cubolibri.it/home.php/ebook-the-complete-drums-method-massimo-aiello-youcanprint-9788867518197.html

 Hoepli: http://www.hoepli.it/ebook/the-complete-drums-method/9788867518197.html

Ultimabooks: http://www.ultimabooks.it/the-complete-drums-method

Bookrepublic: http://www.bookrepublic.it/book/9788867518197-the-complete-drums-method/

 Ebookizzati: http://www.ebookizzati.it/ebook-the-complete-drums-method-massimo-aiello-youcanprint-self-publishing-idprd172053.html#PrdAnc

 Net-ebook: http://www.net-ebook.it/ebooks/44049/The-complete-drums%27-method.aspx

Ebook: http://www.ebook.it/S/Youcanprint_SelfPublishing/Massimo_Aiello/Musica_e_Spettacolo/PDF/The_complete_drums%27_method.html

 

and more....

_____________________________

 

The Italian paper version in the same web store circuits and in 1.200 physical libraries in Italy

Nice Price EUR 14,00 homage annex CD 

"Tribute to Beethoven-Drums in the Symphony No.9" (Italian paper version)

 

 

physical libraries list: http://blogs.youcanprint.it/self-publishing-archivio?did=1

elenco 9 librerie fisiche IBS: http://blogs.youcanprint.it/una-nuova-grande-opportunita-i-libri-di-youcanprint-ordinabili-nelle-librerie-di-ibs-it

 

_____________________________

 

For all other INFO contact Massimo Aiello

info.massimoaiello@tiscali.it - PHONE: +39 347.8752063

 


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THE COMPLETE DRUMS' METHOD

International Copyright & Printed 2006 by Massimo Aiello

 International Copyright Secured                           Made in Italy                           Used by Permission

 

DEPOSIT S.I.A.E. O.L.A.F. section  since   March – 10 – 2006 NR. 061180  to  March - 03 - 2011 

and SUCCESSIVE RENEWAL DEPOSITS since  March, 2011 on (COMPLETE METHOD with First and Second part)

and DEPOSIT to the COPYRIGHT OFFICE of WASHINGTON (U.S.A.) SINCE AUGUST, 2006 on.

 

METODO COMPLETO PER BATTERIA (THE COMPLETE DRUMS' METHOD - First and Second Part)

 

PREVIOUS DEPOSIT S.I.A.E. O.L.A.F. SECTION since   August - 26 - 2005  to  August - 25 - 2010   NR. 0503756 (SECOND PART OF THE METHOD)

and Ex Corso Orientativo per Batteria-Parte Seconda (Ex Orientative Drums Course-Second Part)

and SUCCESSIVE RENEWAL DEPOSITS since  August, 2010 on

 

PREVIOUS DEPOSIT S.I.A.E. O.L.A.F. SECTION since   January - 28 - 2002  to  January - 27 - 2007   NR. 0200347 (FIRST PART OF THE METHOD) 

and Ex Corso Orientativo per Batteria (Ex Orientative Drums Course)

and SUCCESSIVE RENEWAL DEPOSITS since  January, 2007 on

 

PREVIOUS DEPOSIT S.I.A.E. O.L.A.F. SECTION since   March - 14 - 1997  to  March  - 13 - 2002   NR. 9700837 (FIRST PART OF THE METHOD) 

and Ex Corso Sperimentale di Orientamento allo Studio della Batteria

 


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International Copyright & Printed 2006 by Massimo Aiello

 

 

The first method in Italy (and not only in 

this country) presenting textual pages with 

detailed explanations very useful in order 

to orientate the player in the 

world of the drums and in the 

choice of the teacher, through 

the comparison between 

drumming techniques and

 didactics referred to authenthic 

and no commercial ethics.

 

THE COMPLETE DRUMS' METHOD

 

Nice Price EUR 6,99 (USD 7,64) 

.PDF Version

 

_____________________________

 

       

 

International Distribution   

     

THE COMPLETE DRUMS' METHOD

 

ALL THE FUNDAMENTAL TOPICS FROM THE BASIC ELEMENTS TO JAZZ INDEPENDENCE

Treated above all is the basic level leading towards a presentation of an intermediate and advanced level  

 

(Over 260 pages) 

 

The text is defined as unique in its kind and its target is the orientation in the drums’ world and in the choice of the teacher; how to interact with him better....it has many text pages that explain 

in detail many steps concerning the exercises, the movements, the gestures, etc. that are not present in any other method of this kind and substance.

 

 

It includes the fundamental exercises for jazz independence and a lot more.…

It contains more than 100 text pages with explanations on how to tackle

and to play the exercises with some new effective concepts;

More than 150 pages with hundreds of exercises

(rudiments, coordination, jazz independence, hands, rolls, rhythms, applied practice solfeggio, etc.) that can be developed, 

through the manifold included versions, in a dozen thousand exercises…

This is done with the purpose to have a wide range of exercises that you can choose from.

 

I didn’t want to include a cd with the exercises because I thought it is always

better to face each problem with your own teacher and to think it over at home.…!

 

Massimo Aiello

Marzo 2006

__________________________________________________________________

 

The Italian paper version in the same web store circuits and in 1.200 physical libraries in Italy

Nice Price EUR 14,00 homage annex CD 

"Tribute to Beethoven-Drums in the Symphony No.9" (Italian paper version)

 

"METODO COMPLETO PER BATTERIA"

 

 

Guarda Librerie fisiche e Webstores

 

 

 

 

 

 

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