"The New Breed" by Gary Chester.

bigbonzo

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I just received this book and have questions. These are for those directly familiar with this book.

He has RF/BD/Melody or LH/FT/Melody (amongst others) written before a line.

I understand what the abbreviations mean, but what melody should you be playing with the bass drum or floor tom?
And, how do I play a melody with these instruments?

Inquiring minds need to know.
 
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jmpd_utoronto

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I assume you're talking about the Gary Chester book, right? (Not Chester Thompson, as awesome as he is?)
The melodies are I believe near the end of the book - they get progressively harder I think. That's the one slightly annoying thing about the way it's set up - you are flipping back and forth between the different ostinato patterns and the "melody" pages.
 

bigbonzo

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I assume you're talking about the Gary Chester book, right? (Not Chester Thompson, as awesome as he is?)
The melodies are I believe near the end of the book - they get progressively harder I think. That's the one slightly annoying thing about the way it's set up - you are flipping back and forth between the different ostinato patterns and the "melody" pages.
Oops...yeah. I'll make the change. I seem to be making a lot of similar mistakes lately.

Yeah, the flipping back and forth seems to be a pain.
 
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Angelo Zollo

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I never could understand the book. I took it to a teacher and told him to teach me how to use the book. He did not know. I can do some basic stuff in it but I will never get through it on my own
 

Hop

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This guy gives a pretty good rundown on the the system. He states the main key is the singing part of the system.



In a nutshell, to get started, play any of the ostinatos (39 systems) against the reading "melodies." The 39 systems list which limbs play the ostinato pattern, and which limb gets to play the melody. Learn a system or ostinato so it can be placed on auto-pilot, then play that melody. Once you get the hang of it, try the singing piece of it to feel the grid placement a bit better and when signing the melody how it flows over the grid (it pays to be accurate with the actual notes values when signing which can be really challenging - i.e. singing the full note value and not just the quick short attack when you see the note on the page - think like a horn player!).
 
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Deafmoon

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The singing was always designed to help you internalize the time. Gary would have you sing the quarters, upbeats, each lead hand and the melody. The singing, the changing of the lead hands/feet and the ability to flow through two pages of reading as music and not as bars, is what gets you there. Book II by Chris Adams was even harder to pull off because their more elaborate systems to read against. Disco, Sock Talks, Funk... it’s all designed to get you to move effortlessly with each limb working independently and interdependently within the time context while reading fly-s**t on a page. I spent 3 years with Gary and miss him tons.
 

drummerfriend

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The singing was always designed to help you internalize the time. Gary would have you sing the quarters, upbeats, each lead hand and the melody. The singing, the changing of the lead hands/feet and the ability to flow through two pages of reading as music and not as bars, is what gets you there. Book II by Chris Adams was even harder to pull off because their more elaborate systems to read against. Disco, Sock Talks, Funk... it’s all designed to get you to move effortlessly with each limb working independently and interdependently within the time context while reading fly-s**t on a page. I spent 3 years with Gary and miss him tons.
I can't say anything more than this, since it's coming directly from the relationship with the teacher himself.

I will say that I have been using New Breed Book 1 and Book 2 since they came out. My favorite of all material. The addition of the 'human voice' is definitely a major component of the material. People go through it without adding the voice which will build independence. However the voice adds takes it to a totally new level.
 

bigbonzo

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This guy gives a pretty good rundown on the the system. He states the main key is the singing part of the system.



In a nutshell, to get started, play any of the ostinatos (39 systems) against the reading "melodies." The 39 systems list which limbs play the ostinato pattern, and which limb gets to play the melody. Learn a system or ostinato so it can be placed on auto-pilot, then play that melody. Once you get the hang of it, try the singing piece of it to feel the grid placement a bit better and when signing the melody how it flows over the grid (it pays to be accurate with the actual notes values when signing which can be really challenging - i.e. singing the full note value and not just the quick short attack when you see the note on the page - think like a horn player!).
Oh my. I just watched the video, and it's way beyond my ability. I may have made a mistake in purchasing this book. I suppose I'll just hang on to it for FUTURE use.
 
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Hop

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Oh my. I just watched the video, and it's way beyond my ability. I may have made a mistake in purchasing this book.
I'm not a huge fan of the book... bought it many years ago and couldn't get into it. However, that doesn't mean it's not useful and would be a waste of time. Also think of the old adage, how do you eat an elephant? One bite at a time! Also, consider that most of these are merely coordination exercises and not really musical ones (like many technique books).

You will be overwhelmed, especially if you're not a strong reader, if you don't break the system down into pieces that you can manage by yourself... Don't think of the 39 systems or the extra ones in the Advanced Section & Composite Section. Just think of one system at a time.

For instance, just play system #2 on it's own. You probably can play this quite easily and can on auto-pilot instantly.
Now go to Reading 1-A, and play the melody on the bass. It's only eighth note patterns, but if you are not a strong reader DO NOT play the page all the way through. Play each individual measure 4/8/16... times before moving to the next. Or consider 7x's + a fill before moving to the next. After you have practiced each rhythm and are comfortable with the first line, then try playing a complete 4-measure line and repeat it 2/4/6/8/16...times. Rinse and repeat for the remaining rhythms and lines on the page. Don't, at first, get overwhelmed by reading through the whole page at first... Who plays a song like that anyways? Nobody.

If you're a solid reader then by all means read through the page, but I often prefer to focus on rhythms in a block fashion so they are more song form oriented (and sound more practical to my ear).
At this point don't concern yourself with the advanced systems or the composite systems (you're borrowing trouble from tomorrow!!!).
Go through this methodically step-by-step to understand/master the concepts before getting into those more complex versions.
Set a goal for a week or so, and just play System #2 and Reading 1-A and nothing more... Then set another weekly goal modifying which System and/or Reading page you use.
Don't try to blow through this book quickly or move into the Composite systems to soon.
 

Hop

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And all I wanted to do was learn to use the hi-hat more creatively. Well, I guess this'll do that, and so much more. Like you said, "one bite at a time". I'll get out of it what I get out of it.

Here's one more vid demonstrating the system. First with just the playing, then accompanied by the simplest vocalization.
The 3rd example shows him swapping feet, where the HH foot takes on the melody.



Don't despair if this book 'aint for you... give a go, but I think you'll find you can use any rhythm reading book (like the Bellson or Reed books) and play it with the left foot while playing against ostinatos with the other limbs. I gravitated towards the Benny Greb stuff because it was the most intuitive, and easiest for me to incorporate the left foot. I like playing time on the ride and a simple bass/snare rhythm and then going through "letters," with the HH/L Foot; the first four letters being the most important/valuable to me.
 

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I can't say anything more than this, since it's coming directly from the relationship with the teacher himself.

I will say that I have been using New Breed Book 1 and Book 2 since they came out. My favorite of all material. The addition of the 'human voice' is definitely a major component of the material. People go through it without adding the voice which will build independence. However the voice adds takes it to a totally new level.
Butch Miles told Gary back in 1985 that he ‘went through the entire book in 2 hours.’ Gary said. “ Did you do everything right and left hand lead and sing all the parts? Butch said, ‘Oh I have to do that too?’
 

drummerfriend

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Butch Miles told Gary back in 1985 that he ‘went through the entire book in 2 hours.’ Gary said. “ Did you do everything right and left hand lead and sing all the parts? Butch said, ‘Oh I have to do that too?’
The right hand / left hand lead along with the voice is the main point of the book!!
 

multijd

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And all I wanted to do was learn to use the hi-hat more creatively. Well, I guess this'll do that, and so much more. Like you said, "one bite at a time". I'll get out of it what I get out of it.
Start slow. Just one exercise at a time. Did you check out the other two books I recommended?
 

Roch

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I can only do the first few lines also. If you put it away for long you pretty much have to start over..lol
 

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Guys, don’t beat yourself up here. Ya gotta work at it. Dave Weckl used to say each lesson he had, he felt retarded. I felt the same way. It was like starting all over very week. I would sit determined to playing the pattern. Then slowly adding the melody. Beat by beat, measure by measure. This is serious stuff. I did this in my early 20’s and used to hit at around 9am and finish at 5pm. 5 days a week doing this for months and months and months. Other students told me it got easier for them, it never got easier for me doing this. What got easier was locking in the time and my reading got better. Plus Gary was my teacher who I could call anytime I needed encouragement and a kick in the pants. You don’t learn this without extreme patience and perseverance over at least 6 to 18 months. But don’t do only this, cause you will forget how to get around the drums.
 
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