Thursday, July 25, 2024

Tailoring the game to your talents

An extended quote from the book Moneyball, about the baseball player Scott Hatteberg, and his approach to hitting, and his experiences with the lavishly funded Boston Red Sox and the meagerly funded Oakland As organizations: 

[Hatteberg's] cultivated approach to hitting— his thoughtfulness, his patience, his need for his decisions to be informed rather than reckless— was regarded by the Boston Red Sox as a deficiency. The Red Sox encouraged their players’ mystical streaks. They brought into the clubhouse a parade of shrinks and motivational speakers to teach the players to harness their aggression. Be men!

Hatty sensed he might be in for trouble when he saw how the Red Sox management treated Wade Boggs. He’d spent a lot of time with Boggs in the batting cage during spring training, trying to learn whatever he could from the master. Boggs, a perennial All-Star, famously never swung at the first pitch—or any pitch after that he didn’t love. Boggs was as efficient a machine as there ever was for acquiring information about opposing pitchers. By the time Wade Boggs was done with his first at bat, his team had seen everything the opposing pitcher had.

Boggs’s refusal to exhibit the necessary aggression led to his ostracism by the Red Sox. “They would get on him for taking a walk when there was a guy on second,” recalled Hatteberg. “They called him selfish for that.”

If Wade Boggs wasn’t allowed his patience, Hatteberg figured, he certainly wouldn’t be, either. When Hatteberg let a pitch go by for a strike— because it was a strike he couldn’t do much with— Red Sox managers would holler at him from the dugout. Coaches would try to tell him that he was hurting the team if he wasn’t more inclined to swing with men on base, or in 2-0 counts. The hitting coach, former Rex Sox slugger Jim Rice, rode Hatty long and hard. Rice called him out in the clubhouse, in front of his teammates, and ridiculed him for having a batting average in the .270s when he hit .500 when he swung at the first pitch.

When you're lavishly endowed with either money or talent— as both an organization and an individual, in this case— your money and talent can cover for bad doctrine. Or doctrine that doesn't work for people not similarly endowed:

“Jim Rice hit like a genetic freak and he wanted everyone else to hit the way he did,” Hatteberg said. “He didn’t understand that the reason I hit .500 when I swung at the first pitch was that I only swung at first pitches that were too good not to swing at.” Hatty had a gift for tailoring the game to talents. It was completely ignored. The effect of Jim Rice on Scott Hatteberg was to convince him that “this is why poor hitters make the best hitting coaches. They don’t try to make you like them, because they sucked.”


The following is about integrity— not in the usual sense of sticking to principles, but of doing something a certain way, even when you are not supported in it, because it's the only way you can do it, it's the only way you know to do it well: 

Each time Scott Hatteberg came to bat for the Boston Red Sox he had, in effect, to take an intellectual stand against his own organization in order to do what was right for the team. Hitting, for him, was a considered act. He didn’t know how to hit without thinking about it, and so he kept right on thinking about it. In retrospect, this was a striking act of self-determination; at the time it just seemed like an unpleasant experience. Not once in his ten years with the Red Sox did anyone in Boston suggest there was anything of value in his approach to hitting— in working the count, narrowing the strike zone, drawing walks, getting on base, in not making outs.
“Never,” he said. “No coach ever said anything. It was more, get up there and slug. Their philosophy was just to buy the best hitters money can buy, and set them loose.” The Red Sox couldn’t have cared less if he had waged some fierce battle at the plate. If he had, say, fought off the pitcher for eight straight pitches and lined out hard to center field. All that mattered was that he had made an out. At the same time, they praised him when he didn’t deserve it. “I’d have games when I’d have two hits and I didn’t take a good swing the whole game,” he said, “and it was like ‘Great game, Hatty.’”

Pro ball never made the slightest attempt to encourage what he did best: take precise measurements of the strike zone and fit his talents to it. The Boston Red Sox were obsessed with outcomes; he with process. That’s what kept him sane. 

The Oakland As took an ensemble approach that emphasized getting on base by any means necessary, including getting walked. By necessity; they didn't have the money to hire star talents, so they sought out undervalued players who were nevertheless very good at getting on base— the “Greek god of walks.”

The moment he arrived in Oakland, the friction in his hitting life vanished. In Oakland, he experienced something like the reverse of his Boston experience. “Here I go 0 for 3 with two lineouts and a walk and the general manager comes by my locker and says, ‘Hey, great at bats.’ For the first time in my career I’ve had people tell me, ‘I love your approach.’ I knew how I approached hitting but I never thought that it was anything anyone cared to think about.” All these things he did just because that’s how he had to do them if he was to succeed were, in Oakland, encouraged. The Oakland A’s had put into words something he had only felt.

“When you go to the plate,” Hatty said, “it’s about the only thing you do that is an individual thing or seems like an individual thing. When you go to the plate, it’s about the only thing you do alone in baseball. Here they have turned it into a team thing.”


I encourage you to read the book— it's relevant on a lot of levels. The movie is fun, and a good hook for that, but the real stuff is in the book. Maybe the most important point is that there's more than one way to do all of this. Not everything has to be done through the obvious front door.  

Wednesday, July 24, 2024

Transcription: Jeff Watts - Housed From Edward - 02

Part two of Branford Marsalis's Housed From Edward, from the album Trio Jeepy, with Jeff Watts on drums. Let's do the whole thing. This begins at the top of Marsalis's solo, at 1:27. 
 


Most of the action is on the second page, enjoy. 


Tuesday, July 23, 2024

Embellishing Chaffee

This is why I can't get anything done, when I sit down to practice somethingpractice something I'll get two patterns in, and get involved in developing them as playing ideas, working out how to use them as part of a continuity. It's a different thing from playing a page of stuff like a drill. 

I'm not just fooling around, it's a legitimate way to practice. But it's not great if the goal is to have a total, 100% worked out and polished body of stuff, as packaged by Gary Chaffee, or me, or whoever.  

Anyway: some embellishments to try when practicing the Chaffee linear patterns and phrases me-style, playing a single pattern/phrase and developing it:


These all suggest other possibilities, which may work better for you. Try some things. 

Get the pdf [WORKING!]

Monday, July 22, 2024

Transcription: Jeff Watts - Housed From Edward - 01

Trio Jeepy by Branford Marsalis is a long time favorite album of mine, that was very influential on my concept of jazz. It's got Jeff Watts on drums and Milt Hinton on bass. This tune Housed From Edward was a big lesson on playing a form musically— 12 bar blues, in this case. 

This is the middle part, beginning at 5:15, where Branford takes a hike and Watts and Hinton play time— very lyrically— for several choruses. Tempo is about 122. 



Not much to say, the lesson is self-evident. There appear to be a lot of other transcriptions of this floating around— with videos of people playing them. 


Sunday, July 21, 2024

Playing Bellson

Here's a video I made yesterday— there was a slight online mishegoss over me not liking the Reading Text In 4/4, by Louis Bellson, and it was requested that prove myself by playing one of the harder pages in it: 


I played a lot of things of this level of difficulty, and harder, as a student, via the usual snare drum books, but don't normally practice this kind of thing now. For reading difficulty, this isn't the most egregious page in the book, but there are several measures of it that are offensively written, with quarter notes (including dotted) placed on the & of 2 in several spots— that is only acceptable/correct in a couple of special contexts. 

I practiced it for about 20 minutes, put in beat marks on the more wrongly notated measures, then made the video— this was the second take. Tempo is about 90 bpm. 


Let's analyze/critique it like I would somebody else's video:

Accuracy there is 100%, and my time is solid— there's no metronome or anything. I am guessing at the timing of the quarter note triplet— if I was reading ahead better, and practiced the page a little more, I would anticipate it better and have better awareness of where beat 2 falls during that rhythm. Still, the timing is tolerably accurate, I don't believe I would be dinged for that. I'm a little bit seat of the pants in lines 7 and 8— the time flexes just enough to not be purely metronomic, but I don't legitimately drag. For all musical purposes it ends at exactly the same tempo as it started. 

With my touch, I don't think I'll be mistaken for a concert snare drummer. It's a good touch— I don't play hard— but it's a percussive touch, it doesn't scream concert snare drum musicality at you. That's a pretty strong concert f all the way through. If I were preparing this piece further, I would be looking to add some dynamic motion, if not actual dynamic markings. The phrases should feel like they're going somewhere, even when played at the same dynamic level. The writing here is not conducive to doing that automatically. I don't find it easy to make music out of this piece.   

My whole issue with the Bellson book, of course, is that it doesn't work well for what I want to practice on the drum set, which is my main purpose for that kind of book. I have a half dozen similar books I also do not use. Even with Syncopation, which I use all the time, I'll rewrite things, mark it up, and write new stuff to fill in the gaps in it. For the type thing in this video, I'll use any of 6-8 regular snare drum books.  

Saturday, July 20, 2024

Chaffee linear phrases - beginning with LH double

Getting back into Gary Chaffee's linear materials a little bit— originally outlined in the Time Functioning volume of his Patterns series of books. Since first working on this system as a student, it has been a little problem fitting the patterns into a regular musical phrase. That's what we do here, write up solutions to things that kind of bugged me 35 years ago. 

So here are some fill phrases in 4/4, beginning with a cymbal accent on 1, a double left on the e&, with the linear phrase beginning on the a of the beat. That's a natural entry. 


We have a choice with these: on the phrases ending with two bass drum notes— which makes three in a row including the 1 of the repeat— you can play that as a single 8th notes. That will be more playable for more people.  


Once you've learned a pattern repetitively, play it as a fill during a regular funk phrase, move your hands around the drums, and have a good time. 

Get the pdf

Thursday, July 18, 2024

Reed tweak: RH lead with single cym / flam

Yet another right hand lead Reed tweak— YART, or YARHLRT, for short. It's a little convoluted, but works out a slightly different thing from the other systems/tweaks we've done, and I think it's worthwhile. 

The plain straight 8th right hand lead system involves playing the melody rhythm from Syncopation on a cymbal* with the right hand, with the bass drum in unison, while filling in the spaces with the left hand on the snare drum, to make a full measure of 8th notes. 
* - You can also play the right hand on the toms, with no bass drum— most of my systems are written for the cym/BD way. 
Here, where there are two or more melody notes in a row, we'll hit the cymbal on the first note only, with the bass drum playing the full melody rhythm. We'll also add some flams. Play these warmups to get a feel for the kind of movement that creates:


Taking it in steps, here is how the first three lines of p. 38 in Syncopation would be played, with cymbal on the first note of any run of bass drum notes: 


Then add a flam right after each last unaccompanied bass drum note: 


Before, we added a flam at the end of the runs of multiple lefts, and there are several spots where we can do that in this system: 


Sight reading that gets a little silly, so you might just want to work out some one line exercises, and the p. 38 exercise. [UPDATE: Having played it a little more, it's not that bad, just do it.] 

Tuesday, July 16, 2024

You should get drum lessons from me

Making my periodic public observance that I don't get enough drum students through this site. 

I know everybody doesn't instantly get everything I post on here. And I know people are overloaded with information about how they should be focusing their practice lives— you could spend the rest of your life working things alleged to be “crucial” by some youtuber, and still never get to a satisfactory place with your drumming and music making. 

It's not about getting more information, it's about talking to somebody like me, who can figure out where you, an individual person, need work, and who can tell you what to do now to take where you want to go. 

Hopefully by now it's clear that I cater to all levels of players. I'm actually most interested in people who are having difficulties. This instrument is playable in a creative, controlled, musical way, by anyone— proportionate with their ambitions, and the time they have to dedicate to it. 

I'm not offering a special or anything— the special is, I show you how to do this, in a way you will find very rewarding, I believe. Shoot me a note— over there in the sidebar, it says “Email Todd.” Lay it on me, let's do something. -tb

Triplet burnout with the jazz waltz telephone page

Here are some things I do over the course of 15-20 minutes playing that jazz waltz telephone page, in addition to just playing repeating measures as written, in 3/4 time: 

1. Play each measure in 4/4 by adding the first beat of the following measure. 
2. Play each measure in 4/4 by adding the last beat of the previous measure.
3. Play in 2/4 by playing just the first two beats of each measure.
4. Play in 5/4 by adding the first two beats of the next measure. 
5. Play each two beats of each line, moving ahead one beat at a time. 
6. Play each 3/4 measure within 4/4 time. 

 


The page is just for illustration, you do these looking at the original page. I won't necessarily rigorously play through the entire page each of those ways, but I'll do them for awhile, moving quickly from thing to thing— it's a lot to play through. Obviously you have to have this stuff together already pretty thoroughly, so it's about conditioning, rather than learning new stuff. It's a triplet burnout drill. 

I play the cymbal as written through all of those changes, and add hihat as appropriate for the time signature. 

Get the pdf