THE NEW BREED GARY CHESTER PDF

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The new breed (gary chester). H Carlos Figueroa · Rick kettner - _drummer_essentials. Rick kettner -_drummer_essentials. leobatera3. Home · The New Breed (Gary Chester). The New Breed (Gary Chester). April 15, | Author: Rhuan Mendes | Category: N/A. DOWNLOAD PDF - MB. Gary Chester - The New Breed I - Free download as PDF File .pdf) or read online for free. Gary Chester the new breed.


The New Breed Gary Chester Pdf

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Gary Chester. Modern Drummer Publications, Inc., Gary Chester was one of the busiest studio drummers of the '60s and '70s and played on hundreds of. The New Breed I - Gary Chester. p. 1 / Embed or link this publication. Popular Pages. p. 1. [close]. p. 2. [close]. p. 3. [close]. p. 4. [close]. p. 5. [close]. p. 6. Sorry, this document isn't available for viewing at this time. In the meantime, you can download the document by clicking the 'Download' button above.

It's well worth the effort. I played one part a week.

Gary Chester - The New Breed.pdf -

Besides, are you in a hurry? Good luck The first exercise, playing 16ths on the hats, they are played Simutaneously, not alternating. If you look at the next 2 exercises, you can see that the snare and hat are played together, not in place of.

Isn't Ex1 supposed to be both hands playing similtaneously without creating a flam effect? Definitely a yes from me. Very curious about it, which is your fault, guys! You won't be going anywhere near New Breed II until you finish the first one. Better put it away safe until Slightly confused about Systems I like most people, have just one hi hat.

So, for example, System 2, I play 16ths with my right on ride instead of a 2nd hi hat , and a chick on the hi hat with my foot. What about System 3 then, where I am supposed to play 16ths, and the quarter note chick on the same hat?

Is it an opening of the hat? The left-hand lead exercises such as System 2 assume you have an additional auxiliary hi-hat on your left. A total of 3 hi-hats on your kit. However, you could use any other sound source on your left so you can play the hi-hat quarters with your foot.

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Try using your crash cymbal. The possibilities are endless. You could even use a remote floor tom. Some later exercises in New Breed call for a left-side floor tom for left hand-lead grooves. Check out the picture of Gary's kit in the book. That should clear things up a bit. So, ridiulously old thread here but some farmiliar names in here and I did search for my answer but didnt find it so here I am.

This book is a killer. It requires that you do the opposite of everything you have and I havent turned past the 2nd page of exercises but I have a couple questions and hoping someone can help. Am I supposed to be inserting a kick pattern under each of these?

I an R handed and play the LH hand ride patterns on my hats- nothing wrong with that is there? First pattern is not alternate sticking right?

He wants both hands simultaneously playing 16ths? Seems like a great book and forcing me to play open is great. I can officially play a bar open and a bar crossed just money beat and switch like its nothing. Lots of fun! Yes, for most of the systems, the kick drum is the melody. But there are many later systems which call for different limbs to read the melody. No Problem playing LH pattern on left hat if you have the ability to play the hat with the foot without it screwing you up.

Yes, the fist pattern is both hands. He talks about no flams so that one is pretty obvious. Right on, and if i remember right, the first few pages of the book give a good background and understanding to what's going on.

OK thanks.

THis is an OLD thread but a good one because this book is such a work out and takes the total opposite tact of any I have seen which is great.

I do feel though, that some of it may be beyond the music I might ever play. Not that I wouldnt be a better drummer for having learned it but there are patterns that are so difficult for me to feel, so far anyway. Still working. Which systems are you working on? I find that it's effects make you more comfortable on the kit and more fluent with coordination. It's also good for reading purposes, bass drum technique improvements, time in general.

Just starting in but the hi hat work on just the first 2 pages is so counter intuitive to me. I am just a couple yeears into drumming. I agree that each exercise helps in me feel comfortable at the kit and once you get the feel of one of those exercises you can make it work but I struggle to see how I will make it into a song with some of it.

Maybe a fill or solo but I am not trying to make that the point of what I was asking.

Any test of coordination is good and advances my drumming. I visited my friend i haven't seen for almost two years. He said he is practicing new breed for a long time, in slow tempo I guess I can say all the best for this book! Just thought I'd pull this thread out from the Depths Must say New Breed is a brutal book and it does take some dedication to get through it.

I remember wanting to throw my snare through a window half the time. It has been a few years and now I don't think I feel like I want to hide in a dark room shaking whenever I see the cover.

I'm tempted to crack it out this week and see what I can do! Has anyone else recently got back into New Breed? I bought New Breed 2 too, but there is honestly no point until you have worked through The New Breed dovetails beautifully with my masochistic tendencies. I find it spectacularly difficult and frustrating, and I've only done the first section, at snail-pace. I must admit, though, I'm not sure what to do with it in terms of the bigger drumming picture.

I think in terms of coordination it would definitely open some avenues, especially where some accents my deem it necessary to lead with the left hand. Some grooves and stabs listed in the book make it difficult if you're leading with the right hand on the kit. I've been working through New Breed for a while. The way the book has benefited me, and the way I like to explain it to pupils, is that it helps you line up all of your limbs together which will in turn make your playing sound tighter, groovier etc.

My default is now that all my limbs are together when I want them without thinking about it, before they weren't It's worth remembering that some books aren't exactly there to give you patterns that you would use verbatim more that they give you concepts or skills that enhance the rest of your playing D.

My default is now that all my limbs are together when I want them without thinking about it, before they weren't It's worth remembering that some books aren't exactly there to give you patterns that you would use verbatim more that they give you concepts or skills that enhance the rest of your playing D That's good to know.

I keep hearing good things relative to this book. I'm more interested in tightening up my groove, tempo, not really into all that metric modulation stuff which in honesty I believe it's a good exercise but with no real application in the world of pop context.

Do you guys reckon it's a good book for groove, tempo, pocket playing? So far the best for, and a book I use every single day is the Time Functional Patterns from Gary Chaffee for all the fat back grooves and jazz independence. There's so much in that book, I love it. If you want to tighten up your groove then its perfect for it.

Do it slow and with a metronome and try to ensure theres no flamming. Also I keep reading from many people that they don't really understand how to work with a bug, which is a clear sign that it's not totally clear. Is it self-explanatory?

A bug? Its self explanatory if you can read but even then you can work out the rhythms slowly. The basic principal is that there is a 'system' which is a pattern using 3 of your limbs and underneath that system you read 10 sheets of rhythms on the other limb.

With stuff like this just take it slow and you'll get it. If you are wanting to work on your time play along with a subdivided click as this will allow you to play all the notes in the correct place. To be honest a vast proportion of exercises shouldn't really be within a so called 'context' unless you're practising specific licks etc, which IMO reciting licks in songs just limits creativity.

Practising with a book like NB or even the Chaffee books, is about practising all possibilities within the bar. Even with Metric modulation, it allows you to modulate different feels within a piece of music that previously you thought wouldn't sound good There is a purpose for everything and sharpening all tools in the box can't be so bad.

I do agree though, all of the Chaffee Patterns books should be the books to go to for a lot of drummers. D Bug was a typo, sorry I meant working with the book, meaning to understand what you're supposed to do. Bug was a typo, sorry I meant working with the book, meaning to understand what you're supposed to do It's fairly clear how to use the book as long as you read the instructions at the beginning.

Gary Chester

There it explains the concept about playing the system with 3 limbs and playing what you are sightreading with the other. Just a question for other users: What do you sing when practicing the system? Is it the rhythms you are playing on say the bass drum or whatever is the main melody or something else?

I tried singing the quarter note while playing and find it adds to the difficulty. It's like another layer of independence. Am I meant to be doing this anyway or is there any hard and fast rule on singing? Ah, I was going to ask about the singing but I forgot. I absolutely can NOT sing the melody. I sing 16th notes or 8th notes but I'm pretty sure the intention is to sing the melody. You're supposed to sing everything, every line, including the melody.

If you don't, you're kind of missing the whole point of the book. I believe you, but what is the singing supposed to do? Purpose of singing: Adds another level of independence. So when you put all four limbs together, this results in everything you play becoming 'tighter'. Just wanted to share something I did today. When singing each individual part, I actually sang each note to correspond to a I-ii-IV-V chord progression, which is the same chord progression used in songs like "Heart and Soul" or the chorus of Elton John's "Crocodile Rock" the part where he sings 'La One chord per measure.

It was much more fun singing this way, instead of just singing 'boom', or 'chick' over and over again. It's also more motivating this way, I'm actually looking forward tomorrow's New Breed practice session!

I'm also planning to try out other chord progressions like I-V-ii-IV, the chord progression for "Don't Stop Believing" and countless other hit songs. I plan on practicing 1 system per week, doing 2 pages of the Reading exercises a day. It's easy to divide this up since there are 10 reading exercises I started practicing out of The New Breed back in and got up to System 19, then stopped because I got real busy. Because of this thread, I got inspired to return to the book.

I have the Drummerworld Forum to thank for that! Right, I'm going to try that! I'm assuming you're referring to my previous post about singing in chord progressions, yes! It's great fun and it totally changed my mind about the singing aspect! Because I can sing the words to a song while I play, but I have real trouble with atonal "dum de dum" stuff, so having a series of actual notes might give a bit of context.

When I say sing, I mean "sing", of course. I'm looking forward to giving it a go!

For the bass drum, I sing the word "boom", snare is "keh", hit hat is "ta", ride bell is "ping", click pulse is "click". Now that I have assigned these words to pitches, it makes the exercise sound kind of like I'm playing with another musician, it's pretty awesome.

As I brought this thread back from the depths of the forum, you have me to thank for that ;- ahahaha. On the topic of singing, I've been doing some chart reading with specific horn stabs which I've been following on the snare to help my reading.

I've been singing these out loud, my girlfriend thinks I'm an absolute looney ahaha. It just mattered within yourself. I love you Dad, and your strength will live inside m6 forever. Mandy Chestu One of the greatest loves my father and [ shared. Having shared. It still makes me feel really warm to hear his name mentioned in the smdio. He always played a nice bus drum and even today, my favorite. His contributions will l ive a lot longer than we will. Oary Chester, Jr. You taugbt me 80 much, you ' U never know.

I kicked and I screamed when things weren't my way; always managing to ruin your hard working day. I'm sorry for being such a difficult child, but yOU rules and discipline fmally calmed.

I I As I grew older and moved out on my own, I was an by myself, but never alone. I heard your words echo loud and clear in my mind, I fought, I rebelled, but l leamed in time. Everyone tries to tell me what's right and what's wrong. I Daddy. I'm so proud of you Daddy. O grieve. I Daddy, oh Daddy. I t you to know that my love is sincere. While there are exceptional people who are diver80 and e:x.

Janice Chester ; The degree of my father's strength was based on I. The attitude lhat he iutilJed in regard to one's penooal being Will given freel y to anyone who asked for it. His general phllosopby, u a father Md a teacher, created a full spectrum of sincerity and application of action.

I Music was part of hia soW. The aeachtns of hill art wu baed on his lifo experience, along with his mWlical experience. My Dad. Gary Chester. Retrieved November 19, Retrieved 7 October Danny Gottlieb website. Drummer Cafe. Retrieved October 9, Groovy, Baby. Ostinatos, Part I ". April 20, Archived from the original on June 20, Retrieved May 27, Modern Drummer 13 February ". Archived from the original on 24 May Retrieved 24 October Authority control ISNI: Retrieved from " https:It's that important of a book to me.

At this point, I'm just making my own ostinato patterns and playing the melody patterns with all of my free limbs rotating between all four for a given ostinato.

Here's a fun exercise that I like doing: play some ostinato pattern between two limbs, then put straight, alternating 16th notes with the other two limbs and play the melody figures with them.

Gary Chester Just recieved this book and after looking through it, I can tell I am going to need a lot of patience. I'm the least experienced member of my band and I lack confidence a lot of the time, but I felt as if I had a right to be there, which was a First for me, I can tell you.

Working through Syncopation is great too. Your life mut become your goal in order for you to become a success. Any test of coordination is good and advances my drumming. Clean, Drive and Lead, EQ