so that's the different style and different requirementsI try to learn it as best as and as close to groove and feel of the original, but for example I feel its usless and hopeless for me to try to copy Elvin Jones beat for beat if I want to do a Coltrane song like My Favorite Things.
no one suggests playing EJ or any other jass note for note; that's the freedom I'm talking about- to create- (some limits but leeway's wider whereas Top 40 (or watever varia of pop) (unless it's an original) (yur) Boxed in Way more- and not really "creating (as much) in the moment" (as) much; less decisions to make aka auto-pilot or monotonous wood chopping. Unless one enjoys being a background player and there's plenty of them that appear content. ; ) I like to be involved a little more. aka improvising within an any structure; juggling my own balls one could say. (haFake it until you make it. I got a way to go to be playing Elvin Jones note for note.
- in a jazz context you're not going to be asked to play what Elvin played - the expectation is that you'll know the tradition, but play you.I try to learn it as best as and as close to groove and feel of the original, but for example I feel its usless and hopeless for me to try to copy Elvin Jones beat for beat if I want to do a Coltrane song like My Favorite Things.
- And you have to play with the folks you're with, in the room you're in. It's all about playing nicely with others and keeping the gig.I play along with original recordings and learn to play a similar rhythm. I rarely learn it exactly, but no one seems to care. My intention is to support the other musicians. They don't always play things the way it is played on the original recordings.
I noticed this too. When the same band does the song live, the drums parts are often somewhat different.I used to until I started listening to live recordings and the drummer most of the time plays it different live than the recording even at what I call the "pro" level. Mostly this could be because something worked better live, sounded better or is a different drummer all together than the recording. This especially with Nashville stuff where it's mostly the studio guys laying it down and somewhat playing it safe to get it done and to appease the producer. I will nail down signature stuff for covers and the basic groove, but if I hit an extra crash or omit one I don't see where it matters much.
You wrapped that up very well.Interesting discussion. I spend no time trying to memorize a drum part note for note. Like others have said, I learn the overall feel of the song and figure out where the band hits and transitions are. If there is a characteristic fill to a song (for example, the tom fill after the first verse on "You're Just What I Needed), then it makes sense to just do that.
When bands play live, how often do drummers play the same beats and fills they did on the recording? Neil Peart plays note for note. On the other hand, Stewart Copeland never plays the same thing twice.
I think part of the fun in music comes from improvisation and playing to your own style. There's no such thing as the "correct" beat or fill. I wouldn't expect any cover band to match the original recording perfectly.
Now, if you are a TRIBUTE band, that might be a different story...
I think adding your own flair to parts is fine as long as you dont overplay to the song. I mean you wouldn't wanna be playing like chris adler over an ac/DC cover.When you learn cover songs, do you make an effort to get the drum beat correct to the original?
I used to try and match the original beat, particularly the bass drum, since snare is usually just 2 and 4, when playing rock/pop.
However, I've found that a lot of times, I feel the rhythm differently than the original, based mostly on the other instruments playing (bass guitar mostly).
So, in these cases, I just do my own thing, and I don't think anyone even notices that it's different. In fact, it may even sound "better".
The exception is when the drums are playing alone, like in the beginning or a drum break in the middle.
Then I try and match the original, since it is a stand out part.
However, my tom fills almost never match the originals.
Quite honestly, when learning 3 sets of covers, trying to "think" like all of those different drummers can give me a headache.
How about you?
That reminds of an old interview with Copeland. He said something about doing multiple takes of one particular song in the studio. Each take might have a different tempo, different fills, different feel, yet it was just that one song. Then they pick what the whole band (plus whoever else) thinks is the "best one." Then that one recording gets embedded in everyones brain after hearing it over and over again. Yet their other versions may be just as good or maybe even better, and hardly anyone gets to hear those different versions.When bands play live, how often do drummers play the same beats and fills they did on the recording? Neil Peart plays note for note. On the other hand, Stewart Copeland never plays the same thing twice.