"The New Breed" by Gary Chester.

drummerfriend

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I've been working out of Book 1 since 1985 and Book 2 since 1990.

Small chunks over time all accumulate and become huge victories!

These were not designed to be something you'd complete within a year or so.. These are lifetime studies.
 

gwbasley

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One thing that wasn't mentioned here is working with a click. Even if you had good time Gary would insist that you practice with a click. You quickly learn that your time isn't as good as you thought. This is especially important when you do system #1

 

osw000

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What is supposed to improve over time let's say compared to Dawson's 40 ways to work Syncopation? You also have different lines that you can play over any ryhthm
 

drums1225

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I started working through the The New Breed when I was around 19, when I was studying privately and seriously, while beginning a career as a working professional drummer/instructor. I diligently worked through the first half of The New Breed, using all systems and all levels of the melodies. I was already a pretty good reader, so reading the melodies wasn't an issue for me. My main issues were my left foot, leading with the left hand, and using the voice as the "5th limb".

Working through the New Breed tore my mind apart and then I had to put it back together in a more organized way. It was almost like "defragging my hard drive". In addition to the obvious physical benefits, the process forces you to learn everything from several different mental "angles", where you can easily control your consciousness to focus on any single limb or your voice, but the most valuable skill is the ability to take a wide view and see everything as ONE overall thing.

The New Breed was instrumental in my development of the 5 way independence required to sing and play drums at the same time, but even if you never sing a note, the 5th limb concept will burn some very useful pathways in your mind.


Chris
 
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Old PIT Guy

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If you have old issues of Modern Drummer you probably have articles containing the basis for the Chester system in the sections at the back alongside the small ads. Those older issues are a treasure trove of instructional tidbits.
 

Hop

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Haven't touched it. Been working on learning the marimba.
I get it. Only so much time to practice and you've got to set priorities.

I've been working out of Joel Rothman's "The Compleat Rock Drummer." It's a 700+ page whooper. But I've set a goal to work through it, and by golly, will make it.
I usually peter out on books fairly quickly, either from distraction, difficulty, looking for new things, wanting to try another approach... etc.
But with this book I decided to make a real commitment to practice all the content and really look forward to it during my practice sessions. Granted, there are sessions when I do think "What the hell am I doing?" or "I'll won't use this 'one' very much if at all" kind of negativity. When I do, I just reset my mind, remember the commitment, review my goal sheets & daily practice journals, celebrate the progress and improvements, realize I'm playing stuff I would have never had otherwise without this structure, and most importantly reward myself for the work accomplishment.

Glad to hear you're working on the marimba. You may find far greater value and satisfaction in that process through the improvement of your musicality and hand development in favor of the independence of GC's TNB... especially if the book seems only like drudgery with little payout.
 

mkelley

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I use to study the two Garys, Chester and Chaffee. It was helpful once I broke the code and found it useful but I felt so stupid after practicing all week and still playing like s**t for my teacher who could and still can nail all the linear drumming.

It made me look at how to approach drum parts differently.
 

Deafmoon

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I use to study the two Garys, Chester and Chaffee. It was helpful once I broke the code and found it useful but I felt so stupid after practicing all week and still playing like s**t for my teacher who could and still can nail all the linear drumming.

It made me look at how to approach drum parts differently.
Chafee stuff is completely different than Chester. You are correct about linear drumming that’s what Chaffee was about. Not Chester, that is 5 way coordination; You have to sing those parts as well!
 

mkelley

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Chafee stuff is completely different than Chester. You are correct about linear drumming that’s what Chaffee was about. Not Chester, that is 5 way coordination; You have to sing those parts as well!
Absolutely correct. The singing is based on Gary Chester's tabla training, but not quite as intense.

 

Matched Gripper

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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 spent about 2 weeks on book 1 and decided that the benefits didn’t justify the investment in time. There are only so many hours in a day, days in a lifetime, and other aspects of drumming and styles of music of more interest to me.
 

Roch

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I'm back into it...having more success this time because I started from the very beginning and spent a few days with page one trying to get the rhythm of the exercises... I am going back to it every evening and recording my progress...still on system 1 and started 2 so I don't get too bored with the repetition..Long way to go, but it's nice when I find a few bars of melody that really groove on their own and thenI veer off and change the ostinato with the hats or rides and add some toms in there...then, I catch myself digressing and return to the page...So, I may not get it, but it is still taking me places I've never been before..
 

Roch

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There are a few notations that I’m not sure if I’m playing correctly. Starts in V-1. Not sure if triplets are introduced. Hop is right. You can only go so far without a qualified teacher to help with these things.
 

Hop

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I've got an older copy of the book from when it was first released. I don't have a V-1 section (reading/melodies) but do have a V-A on page 22, and there is no triplet notation.
Here's a pic of that section of the my copy of NB:


NB_V-A_p22.jpg



I scaned the book and didn't see any triplets at all (not that you couldn't transpose to triplet/swing feel).
The notation is 'standard' and accurate, so you should see a triplet arch/bracket with "3" above the group of notes to indicate they should be played as triplets.
 

Piggpenn

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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 suppose I'll just hang on to it for FUTURE use.
I was thinking the same thing. If I had to do this to play drums, I probably wouldn't have. Lucky us, huh?
 

Roch

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I was thinking the same thing. If I had to do this to play drums, I probably wouldn't have. Lucky us, huh?
Just don't look ahead too far..That was a problem with me when I first started..I can't tell you how many times I put this away..lol...One bar at a time...that's how I still do it...it starts to make more sense even though I can't get my limbs to do what am reading..my head is going faster than my appendages.
 


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