Morello: Master Studies

Roch

DFO Master
Joined
Aug 5, 2005
Messages
4,601
Reaction score
363
Location
Ottawa Valley, Ontario
I’m having a hard time interpreting this book kand how to do the exercises. The Stone Killer section is great because it is straight forward. Some of the other stuff, I’m not sure I am doing it as intended. Unfortunately, I’m too busy to seek an instructor so if anybody cares to discuss this approach to help shed some light that would be great.
 
Last edited:

ARGuy

DFO Master
Joined
Sep 4, 2006
Messages
4,005
Reaction score
448
Location
Minnesota
Without knowing which things specifically you're referring to, one thing I would say is pay attention to the rhythm that he uses. One example - he has a series of exercises of single strokes into double strokes, back and forth. There's a natural tendency to want to play the doubles twice as fast - but it's all written as 8th notes, so part of the challenge is keeping the rhythm steady and even, no matter what the sticking. He does a lot of that throughout the book.
 

Hop

DFO Veteran
Joined
Feb 11, 2012
Messages
1,867
Reaction score
357
Location
L.A., CA
I’m having a hard time interpreting this book kand how to do the exercises.
The Stone Killer section is great because it is straight forward. Some of the other stuff, I’m not sure I am doing it as intended.

You mention the "SK" section as being straight forward but not the other sections...
Is it the use of common/cut time (alla breve) symbols on the bulk of the exercises that is throwing you off?
Or is it something else like taking the exercises off the pad and applying them to the kit?

If you can cite a page number & exercise number here, or more specifics about what you'd like to accomplish, I'm sure you'll get more than a few helpful tips in reply.
 

RIDDIM

DFO Master
Joined
Aug 5, 2005
Messages
3,569
Reaction score
433
Location
MD
Treat it like you would a page from Stone.

Interpret a given page however many ways you can think of it - 8ths as triplets, right as kick and left as snare under a swing or cascara groove, with various other (e.g., samba, tumbao, or sudivisions of 5, 7, etc.) ostinati underneath, and all dynamic levels, German/French Grip, with individual fingers controlling the sticks, with your feet, etc. Be consistent, ruthless and patient; don't expect instant results. But with time, you'll notice development. Then it's a matter of employing it musically.

Also, go to YT and see who has done what there. You might find something you can use.
 

Roch

DFO Master
Joined
Aug 5, 2005
Messages
4,601
Reaction score
363
Location
Ottawa Valley, Ontario
You mention the "SK" section as being straight forward but not the other sections...
Is it the use of common/cut time (alla breve) symbols on the bulk of the exercises that is throwing you off?
Or is it something else like taking the exercises off the pad and applying them to the kit?

If you can cite a page number & exercise number here, or more specifics about what you'd like to accomplish, I'm sure you'll get more than a few helpful tips in reply.
I suppose I am finding it a lot to take in..but, I am going to isolate the earlier pages and get a feel for them..Riddim explains it well, I suppose I just need somebody to tell me where to start..I've been with it a couple of nights ago and started to noodle a bit..thanks for your input, buys!
 

RIDDIM

DFO Master
Joined
Aug 5, 2005
Messages
3,569
Reaction score
433
Location
MD
I suppose I am finding it a lot to take in..but, I am going to isolate the earlier pages and get a feel for them..Riddim explains it well, I suppose I just need somebody to tell me where to start..I've been with it a couple of nights ago and started to noodle a bit..thanks for your input, buys!
- How do you eat a seven course meal?

For most of us, it's one bite at a time. If we're full, we get the rest to go and work on it later.
 

Roch

DFO Master
Joined
Aug 5, 2005
Messages
4,601
Reaction score
363
Location
Ottawa Valley, Ontario
- How do you eat a seven course meal?

For most of us, it's one bite at a time. If we're full, we get the rest to go and work on it later.
You've never seen me eat, obviously..it's horrifying..don't get too close, you may lose a finger..;p
 

Hop

DFO Veteran
Joined
Feb 11, 2012
Messages
1,867
Reaction score
357
Location
L.A., CA
I suppose I am finding it a lot to take in..but, I am going to isolate the earlier pages and get a feel for them..Riddim explains it well, I suppose I just need somebody to tell me where to start..I've been with it a couple of nights ago and started to noodle a bit..thanks for your input, buys!
- How do you eat a seven course meal? For most of us, it's one bite at a time. If we're full, we get the rest to go and work on it later.
HA! I was going to use a similar response that a colleague used all the time, "How do you eat an elephant? One bite at a time!"
Your right it is a lot to take in and can seem very overwhelming and at times a bit discouraging.
However, I believe structured goal setting is extremely important. I use a "Goal Sheet" that I created at work (based on SMART goal concepts) along with a journal. Both of these tools help manage expectations (I no longer think I must instantly master the material as I did in my younger years), measure progress by comparing past/current skill levels, provided rewards for accomplishment, etc...

I also think it's important to understand that you are trying to build "fluency" by practicing technique and mechanics (this is applicable to almost all practice material). Joe mentions that the idea isn't to be able to Ex. #42 strictly as you're transitioning from one part of the song to the next (or as he stated, not a "how to" or "hot licks" book). Truth is you may be done with the material after a few pages/sections. You could spend a lifetime in just pages 7-19 alone. So, to prevent that sensation of drowning, I'd just pick a small section or a specific set of numbered exercises and get really familiar with them on the pad/snare, then challenge yourself to see just how many different ways you can transition them to the set. Eventually you'll just start playing your own unique voicing's based on the work you've put in. I heard the late, great Murray Spivak say in a lesson, "Practice the way I'm telling you, but "play" the way that you play. Eventually the practice will cross-over into your playing and you'll be able to play exactly what you want with the technique."
 
Last edited:


Top