Chords for Simon Phillips drum lesson: the importance of dynamics
Tempo:
81.5 bpm
Chords used:
Eb
B
E
Ab
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Eb]
[E] [Ab] [C]
Dynamics.
To me, dynamic playing is probably the most important part of playing any instrument
and performing music.
I love using lots of dynamics and I use it in many different ways.
I don't just use dynamics in terms of this section of the song is going to be loud, this
next section is going to be quieter.
That's one way.
But the way I use it is kind of constant
dynamic.
[A] For example, if I'm playing a song, a lot of my fills, they're not always at the
same level.
They may start off quieter.
Often when I go around the toms, [Ab] I actually make
a little crescendo.
[Db] Or if I'm going around doing a transition to a quieter part of the
song, I may make a decrescendo.
These little bits of dynamics are so important.
They really
add to the fluidity of playing a song.
I think it's very, very important.
Over the last few
years, I've really concentrated on trying to play very intensely but quieter.
[G] I probably
play in some cases half the level I used to play at.
It's also part of [E] getting old
and trying to save the years.
But it also makes the music breathe.
It gives you further
to go and then when you really want to explode and play loudly, then you've got it.
You've
got a huge dynamic range.
Now, it's kind of hard to demonstrate.
One thing I would say
is that playing a wide range of music from straight ahead jazz to heavy metal, let's
say, there are certain changes I would make.
Most of the time, I play with these sticks.
I can get pretty quiet with these.
But if it's a very quiet environment and more of
an acoustic [Gb] environment, maybe with an acoustic piano, maybe with an upright bass, no matter
how quietly you're playing with this round tip, the cymbal, especially the ride cymbal,
is always going to sound a little crass.
Now, I'm going to try and demonstrate this.
[F] I can't
demonstrate this because I don't have the right sticks with me.
We're going to have
to make a little edit [B] there.
Can we do that?
So, we had to just go and grab the right sticks
here.
So, [Eb] with these round tips, no matter how quiet I play, it's still going to produce
a certain type of sound, especially on the ride cymbal, like this.
Now, by changing the
stick and the different bead, I get a different sound.
[Gb]
It's quieter and it's a sweeter sound.
So, in a quieter environment, that really makes a big difference.
In a louder environment,
usually when there's a guitarist present, it's just the nature, you won't even notice
the difference.
It's all relative.
And this will sound [B] just as sweet.
But, [Gb] bring your
level down, this makes a big difference.
So, that's something I do do if I'm playing real
quiet and if it's a little bit more straight ahead jazz, then [B] it will be sweeter with these
sticks.
[A] [D] [Ebm]
[Ab] [Eb]
[B]
[E]
And then, we can get to the loud sticks.
[G]
[Db] [D] [Eb]
[N]
[G]
[Gm]
[E] [Ab] [C]
Dynamics.
To me, dynamic playing is probably the most important part of playing any instrument
and performing music.
I love using lots of dynamics and I use it in many different ways.
I don't just use dynamics in terms of this section of the song is going to be loud, this
next section is going to be quieter.
That's one way.
But the way I use it is kind of constant
dynamic.
[A] For example, if I'm playing a song, a lot of my fills, they're not always at the
same level.
They may start off quieter.
Often when I go around the toms, [Ab] I actually make
a little crescendo.
[Db] Or if I'm going around doing a transition to a quieter part of the
song, I may make a decrescendo.
These little bits of dynamics are so important.
They really
add to the fluidity of playing a song.
I think it's very, very important.
Over the last few
years, I've really concentrated on trying to play very intensely but quieter.
[G] I probably
play in some cases half the level I used to play at.
It's also part of [E] getting old
and trying to save the years.
But it also makes the music breathe.
It gives you further
to go and then when you really want to explode and play loudly, then you've got it.
You've
got a huge dynamic range.
Now, it's kind of hard to demonstrate.
One thing I would say
is that playing a wide range of music from straight ahead jazz to heavy metal, let's
say, there are certain changes I would make.
Most of the time, I play with these sticks.
I can get pretty quiet with these.
But if it's a very quiet environment and more of
an acoustic [Gb] environment, maybe with an acoustic piano, maybe with an upright bass, no matter
how quietly you're playing with this round tip, the cymbal, especially the ride cymbal,
is always going to sound a little crass.
Now, I'm going to try and demonstrate this.
[F] I can't
demonstrate this because I don't have the right sticks with me.
We're going to have
to make a little edit [B] there.
Can we do that?
So, we had to just go and grab the right sticks
here.
So, [Eb] with these round tips, no matter how quiet I play, it's still going to produce
a certain type of sound, especially on the ride cymbal, like this.
Now, by changing the
stick and the different bead, I get a different sound.
[Gb]
It's quieter and it's a sweeter sound.
So, in a quieter environment, that really makes a big difference.
In a louder environment,
usually when there's a guitarist present, it's just the nature, you won't even notice
the difference.
It's all relative.
And this will sound [B] just as sweet.
But, [Gb] bring your
level down, this makes a big difference.
So, that's something I do do if I'm playing real
quiet and if it's a little bit more straight ahead jazz, then [B] it will be sweeter with these
sticks.
[A] [D] [Ebm]
[Ab] [Eb]
[B]
[E]
And then, we can get to the loud sticks.
[G]
[Db] [D] [Eb]
[N]
[G]
[Gm]
Key:
Eb
B
E
Ab
G
Eb
B
E
_ _ _ _ _ _ _ [Eb] _
_ [E] _ _ _ _ [Ab] _ _ [C] _
_ Dynamics.
_ To me, dynamic playing is probably the most important part of playing any instrument
and performing music.
I love using lots of dynamics and I use it in many different ways.
I don't just use dynamics in terms of this section of the song is going to be loud, this
next section is going to be quieter.
That's one way.
But the way I use it is kind of constant
dynamic.
[A] For example, if I'm playing a song, a lot of my fills, _ they're not always at the
same level.
They may start off quieter. _
Often when I go around the toms, [Ab] I actually make
a little crescendo.
_ [Db] Or if I'm going around doing a transition to a quieter part of the
song, I may make a decrescendo.
These little _ bits of dynamics are so important.
They really
add to the fluidity of playing a song.
I think it's very, very important.
Over the last few
years, I've really concentrated on trying to play very intensely but quieter.
[G] I probably
play in some cases half the level I used to play at.
It's also part of [E] getting old
and trying to save the years.
But it also makes the music breathe.
It gives you further
to go and then when you really want to explode and play loudly, then you've got it.
You've
got a huge dynamic range.
Now, it's kind of hard to demonstrate. _ _
One thing I would say
is that playing a wide range of music from straight ahead jazz to heavy metal, let's
say, _ there are certain changes I would make.
Most of the time, I play with these sticks.
I can get pretty quiet with these.
But if it's a very quiet environment and more of
an acoustic [Gb] environment, maybe with an acoustic piano, maybe with an upright bass, no matter
how quietly you're playing with this round tip, _ the cymbal, especially the ride cymbal,
is always going to sound a little crass.
Now, I'm going to try and demonstrate this.
_ [F] I can't
demonstrate this because I don't have the right sticks with me.
We're going to have
to make a little edit [B] there.
Can we do that?
So, we had to just go and grab the right sticks
here.
So, [Eb] with these round tips, no matter how quiet I play, it's still going to produce
a certain type of sound, especially on the ride cymbal, like this. _ _ _ _
_ _ Now, by changing the
stick and the different bead, I get a different sound.
_ _ _ [Gb] _ _
It's quieter and it's a sweeter sound.
So, in a quieter environment, that really makes a big difference.
_ In a louder environment,
usually when there's a guitarist present, it's just the nature, you won't even notice
the difference.
It's all relative.
And this will sound [B] just as sweet.
_ But, [Gb] bring your
level down, this makes a big difference.
So, that's something I do do if I'm playing real
quiet and if it's a little bit more straight ahead jazz, then [B] it will be sweeter with these
sticks.
_ [A] _ _ [D] _ _ [Ebm] _
_ _ _ [Ab] _ _ [Eb] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [B] _
_ [E] _ _ _ _ _ _ _
_ _ _ _ _ _ _
And then, we can get to the loud sticks.
_ [G] _ _ _
_ [Db] _ _ _ _ [D] _ _ [Eb] _
_ _ _ _ _ [N] _ _ _
_ _ _ _ _ _ _ [G] _
_ [Gm] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [E] _ _ _ _ [Ab] _ _ [C] _
_ Dynamics.
_ To me, dynamic playing is probably the most important part of playing any instrument
and performing music.
I love using lots of dynamics and I use it in many different ways.
I don't just use dynamics in terms of this section of the song is going to be loud, this
next section is going to be quieter.
That's one way.
But the way I use it is kind of constant
dynamic.
[A] For example, if I'm playing a song, a lot of my fills, _ they're not always at the
same level.
They may start off quieter. _
Often when I go around the toms, [Ab] I actually make
a little crescendo.
_ [Db] Or if I'm going around doing a transition to a quieter part of the
song, I may make a decrescendo.
These little _ bits of dynamics are so important.
They really
add to the fluidity of playing a song.
I think it's very, very important.
Over the last few
years, I've really concentrated on trying to play very intensely but quieter.
[G] I probably
play in some cases half the level I used to play at.
It's also part of [E] getting old
and trying to save the years.
But it also makes the music breathe.
It gives you further
to go and then when you really want to explode and play loudly, then you've got it.
You've
got a huge dynamic range.
Now, it's kind of hard to demonstrate. _ _
One thing I would say
is that playing a wide range of music from straight ahead jazz to heavy metal, let's
say, _ there are certain changes I would make.
Most of the time, I play with these sticks.
I can get pretty quiet with these.
But if it's a very quiet environment and more of
an acoustic [Gb] environment, maybe with an acoustic piano, maybe with an upright bass, no matter
how quietly you're playing with this round tip, _ the cymbal, especially the ride cymbal,
is always going to sound a little crass.
Now, I'm going to try and demonstrate this.
_ [F] I can't
demonstrate this because I don't have the right sticks with me.
We're going to have
to make a little edit [B] there.
Can we do that?
So, we had to just go and grab the right sticks
here.
So, [Eb] with these round tips, no matter how quiet I play, it's still going to produce
a certain type of sound, especially on the ride cymbal, like this. _ _ _ _
_ _ Now, by changing the
stick and the different bead, I get a different sound.
_ _ _ [Gb] _ _
It's quieter and it's a sweeter sound.
So, in a quieter environment, that really makes a big difference.
_ In a louder environment,
usually when there's a guitarist present, it's just the nature, you won't even notice
the difference.
It's all relative.
And this will sound [B] just as sweet.
_ But, [Gb] bring your
level down, this makes a big difference.
So, that's something I do do if I'm playing real
quiet and if it's a little bit more straight ahead jazz, then [B] it will be sweeter with these
sticks.
_ [A] _ _ [D] _ _ [Ebm] _
_ _ _ [Ab] _ _ [Eb] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [B] _
_ [E] _ _ _ _ _ _ _
_ _ _ _ _ _ _
And then, we can get to the loud sticks.
_ [G] _ _ _
_ [Db] _ _ _ _ [D] _ _ [Eb] _
_ _ _ _ _ [N] _ _ _
_ _ _ _ _ _ _ [G] _
_ [Gm] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _