Chords for SABIAN Players' Choice - Drummers Discuss Cymbals while Dave Weckl Demos
Tempo:
87 bpm
Chords used:
Eb
Ab
B
C
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C]
[Eb]
[Bb] Man, I'll just say it's [F] hard to even think about the symbols because you play so beautifully.
Distracting.
Thank you for the lesson.
I got choked up and had to leave.
You know, it's interesting, as you described them, the only one you're reserved about is
the ride and the only one I didn't think was successful for you in the array, you know,
that a ride tended to overwhelm your articulation.
And I think it, like I said, would work really well for light stuff.
[Ab]
Very pronounced and very articulate at a soft level.
The Zen ride sounds beautiful.
The Zen China that you were, and yesterday I was fooling around with that as well and
I really like that symbol as well.
I thought that's a home run for me.
That's my test for a symbol, you know.
Can [Ab] I touch it and have it, you know, just go like this, you know, or is it going to
resist me a little bit?
And [Ebm] all this [N] music right there.
You know, the other thing I want to say is, I don't know if it's because of the angle,
but you, out here, they sound much different than anybody else who's played them.
You know, to me, to my ear, when I hit the arrow, I hear a certain thing.
From out here, I heard a different thing from Neil and a different thing from Tony and a
completely different thing from you.
Well, I think that's the beautiful thing about, I mean, just to say it to any young players
watching this, is the beauty of being yourself and realizing that you are yourself, you know,
you make, you know, it's a funny story.
I don't know if you know the sax player George Coleman, who that is, came off the stage and
his saxophone was on the stage and somebody was talking to him and he said, man, that
saxophone sounds amazing.
And he looked at him and he said, yeah, well, how does it sound now?
[E] Because the point is, is that, you know, an instrument by itself doesn't make any music,
you know.
It's the person hitting it and the sticks of choice, the emotion put into it and the
touch of the person and that's what makes us all different.
So of course the drums and a cymbal is going to sound, you know, completely different.
I love those [D] hi-hats really sing [B] your particular touch.
This is probably my favorite component out of the entire group here.
These give me ideas.
This is inviting.
It makes you play a certain way because of the way the cymbals respond.
You know, you're the first one also to play a splash today, right?
Yeah, like I said, I have a 12, a 7 and a 10 sometimes.
I'm a big component of splashes and most of the time they're too heavy.
And this design is kind of following line.
Do I get a percentage on this by the way?
They're following in line with the concept of it being thin and airy and very responsive.
So, and I know the holes have a lot to do with it as it was explained to me by Mark Love.
When you mess up the molecular structure of a cymbal like this, it actually A, makes it
stronger and B, makes it obviously thinner [Gbm] and that's [B] beautiful.
[Eb]
[Eb]
[Bb] Man, I'll just say it's [F] hard to even think about the symbols because you play so beautifully.
Distracting.
Thank you for the lesson.
I got choked up and had to leave.
You know, it's interesting, as you described them, the only one you're reserved about is
the ride and the only one I didn't think was successful for you in the array, you know,
that a ride tended to overwhelm your articulation.
And I think it, like I said, would work really well for light stuff.
[Ab]
Very pronounced and very articulate at a soft level.
The Zen ride sounds beautiful.
The Zen China that you were, and yesterday I was fooling around with that as well and
I really like that symbol as well.
I thought that's a home run for me.
That's my test for a symbol, you know.
Can [Ab] I touch it and have it, you know, just go like this, you know, or is it going to
resist me a little bit?
And [Ebm] all this [N] music right there.
You know, the other thing I want to say is, I don't know if it's because of the angle,
but you, out here, they sound much different than anybody else who's played them.
You know, to me, to my ear, when I hit the arrow, I hear a certain thing.
From out here, I heard a different thing from Neil and a different thing from Tony and a
completely different thing from you.
Well, I think that's the beautiful thing about, I mean, just to say it to any young players
watching this, is the beauty of being yourself and realizing that you are yourself, you know,
you make, you know, it's a funny story.
I don't know if you know the sax player George Coleman, who that is, came off the stage and
his saxophone was on the stage and somebody was talking to him and he said, man, that
saxophone sounds amazing.
And he looked at him and he said, yeah, well, how does it sound now?
[E] Because the point is, is that, you know, an instrument by itself doesn't make any music,
you know.
It's the person hitting it and the sticks of choice, the emotion put into it and the
touch of the person and that's what makes us all different.
So of course the drums and a cymbal is going to sound, you know, completely different.
I love those [D] hi-hats really sing [B] your particular touch.
This is probably my favorite component out of the entire group here.
These give me ideas.
This is inviting.
It makes you play a certain way because of the way the cymbals respond.
You know, you're the first one also to play a splash today, right?
Yeah, like I said, I have a 12, a 7 and a 10 sometimes.
I'm a big component of splashes and most of the time they're too heavy.
And this design is kind of following line.
Do I get a percentage on this by the way?
They're following in line with the concept of it being thin and airy and very responsive.
So, and I know the holes have a lot to do with it as it was explained to me by Mark Love.
When you mess up the molecular structure of a cymbal like this, it actually A, makes it
stronger and B, makes it obviously thinner [Gbm] and that's [B] beautiful.
[Eb]
Key:
Eb
Ab
B
C
Bb
Eb
Ab
B
_ _ _ _ [C] _ _ _ _
[Eb] _ _ _ _ _ _ _ _
_ [Bb] _ _ Man, I'll just say it's [F] hard to even think about the symbols because you play so beautifully.
Distracting.
Thank you for the lesson.
I got choked up and had to leave.
You know, it's interesting, as you described them, the only one you're reserved about is
the ride and the only one I didn't think was successful for you in the array, you know,
that a ride tended to overwhelm your articulation.
And I think it, like I said, would work really well for light stuff.
[Ab] _
_ _ _ _ _ _ _
Very pronounced and very articulate at a soft level.
The Zen ride sounds beautiful.
The Zen China that you were, and yesterday I was fooling around with that as well and
I really like that symbol as well.
I thought that's a home run for me.
_ That's my test for a symbol, you know.
Can [Ab] I touch it and have it, you know, just go like this, you know, or is it going to
resist me a little bit?
And [Ebm] all this _ [N] music right there.
You know, the other thing I want to say is, I don't know if it's because of the angle,
but you, out here, they sound much different than anybody else who's played them.
You know, to me, to my ear, when I hit the arrow, I hear a certain thing.
From out here, I heard a different thing from Neil and a different thing from Tony and a
completely different thing from you.
Well, I think that's the beautiful thing about, I mean, just to say it to any young players
watching this, is the beauty of _ being yourself and realizing that you are yourself, you know,
you make, you know, it's a funny story.
I don't know if you know the sax player George Coleman, who that is, came off the stage and
his saxophone was on the stage and somebody was talking to him and he said, man, that
saxophone sounds amazing.
And he looked at him and he said, yeah, well, how does it sound now?
_ _ [E] Because the point is, is that, you know, an instrument by itself doesn't make any music,
you know.
It's the person hitting it and the sticks of choice, the emotion put into it and the
touch of the person and that's what makes us all different.
So of course the drums and a cymbal is going to sound, you know, completely different.
I love those [D] hi-hats really sing [B] your particular touch.
This is probably my favorite component out of the entire group here.
These give me ideas.
This is inviting.
It makes you play a certain way because of the way the cymbals respond.
You know, you're the first one also to play a splash today, right?
Yeah, like I said, I have a 12, a 7 and a 10 sometimes.
I'm a big component of splashes and most of the time they're too heavy.
And this design is kind of following line.
Do I get a percentage on this by the way?
_ _ They're following in line with the concept of it being thin and airy and very responsive.
So, and I know the holes have a lot to do with it as it was explained to me by Mark Love.
When you mess up the molecular structure of a cymbal like this, it actually A, makes it
stronger and B, makes it obviously thinner [Gbm] and that's [B] beautiful.
_ _ _ [Eb] _ _ _
[Eb] _ _ _ _ _ _ _ _
_ [Bb] _ _ Man, I'll just say it's [F] hard to even think about the symbols because you play so beautifully.
Distracting.
Thank you for the lesson.
I got choked up and had to leave.
You know, it's interesting, as you described them, the only one you're reserved about is
the ride and the only one I didn't think was successful for you in the array, you know,
that a ride tended to overwhelm your articulation.
And I think it, like I said, would work really well for light stuff.
[Ab] _
_ _ _ _ _ _ _
Very pronounced and very articulate at a soft level.
The Zen ride sounds beautiful.
The Zen China that you were, and yesterday I was fooling around with that as well and
I really like that symbol as well.
I thought that's a home run for me.
_ That's my test for a symbol, you know.
Can [Ab] I touch it and have it, you know, just go like this, you know, or is it going to
resist me a little bit?
And [Ebm] all this _ [N] music right there.
You know, the other thing I want to say is, I don't know if it's because of the angle,
but you, out here, they sound much different than anybody else who's played them.
You know, to me, to my ear, when I hit the arrow, I hear a certain thing.
From out here, I heard a different thing from Neil and a different thing from Tony and a
completely different thing from you.
Well, I think that's the beautiful thing about, I mean, just to say it to any young players
watching this, is the beauty of _ being yourself and realizing that you are yourself, you know,
you make, you know, it's a funny story.
I don't know if you know the sax player George Coleman, who that is, came off the stage and
his saxophone was on the stage and somebody was talking to him and he said, man, that
saxophone sounds amazing.
And he looked at him and he said, yeah, well, how does it sound now?
_ _ [E] Because the point is, is that, you know, an instrument by itself doesn't make any music,
you know.
It's the person hitting it and the sticks of choice, the emotion put into it and the
touch of the person and that's what makes us all different.
So of course the drums and a cymbal is going to sound, you know, completely different.
I love those [D] hi-hats really sing [B] your particular touch.
This is probably my favorite component out of the entire group here.
These give me ideas.
This is inviting.
It makes you play a certain way because of the way the cymbals respond.
You know, you're the first one also to play a splash today, right?
Yeah, like I said, I have a 12, a 7 and a 10 sometimes.
I'm a big component of splashes and most of the time they're too heavy.
And this design is kind of following line.
Do I get a percentage on this by the way?
_ _ They're following in line with the concept of it being thin and airy and very responsive.
So, and I know the holes have a lot to do with it as it was explained to me by Mark Love.
When you mess up the molecular structure of a cymbal like this, it actually A, makes it
stronger and B, makes it obviously thinner [Gbm] and that's [B] beautiful.
_ _ _ [Eb] _ _ _