TheSoundof

by

ED THIGPEN

• Contains full-size stmkc dL.1.grams

• Exercises fon: rtf emalivc brnshes

• l\cldfd stwQkt·s and new inst uction

• S-wjng ... 'f~ -ODPI 'FlUlk/R&B 'pa.Uern~s

for brushes; ev;er- r attern l~' petformed on the CDs with pay-along tracks

The Sound of

~"r" ·:-'U· .. s'ILl, ,",'

by

~'

B'D THIG,PE '

F'r,oject Manage/: iMa:t ~i)~ '~1' M~ oOQa!i{; ~otljJ ~f1graver; Mall YOung

'[:e~ lE}jitor: N::;!dl~ ilt;.MQfOO proJeet CttOlfdifi8fC1r: 'ianu ~t:3T:I

The, S01Jnd Oil Brushes,@ 19$1, J~rlse~ '1 'Slfl9 ~'a Tlli~~r'1 PrbrlU~fl8 Oi!}1'rlbuI~ Wor~wl~e' IrrWarner~, pu~nt'3ili@ns, MislT>li. Florl-da. 1):$,1'1, All Rigl1'$ 1;'I$s,60:i¥ed

I'NT'ROD'UCTION

The use of ~ rush as is not new. I ~la\le 'bee n to~d that as early as. the Ul':2CJs '~he brushes we're' lJecomi'ng an iniegra'i part of '~he drummers," equipment.

It wlOuld be i rnposs ible for aJny of us lo develop without the infl uenee of others. I woul d like to' 8lcknr)'i.li.i'ledge some Qlf t~e people who bave had the greatest influence on my approach to p~aJying brushes: my father Sen Thigpen, Jo Jones, Oenzil Best, Art Blakey: Buddy Rl~c<h, Max Roach I Shell~{ Man ne I and E~vijril J1ones, One can not he Ip but be influenced by these Qlr~al: ertlsts,

S inoe ffle emergence of rock m usio, which for the most part requires heavy d ru film ing I the brushes we re set $$,ide or, fOil" rncst of the you n g players who beg1an playing d Ll ring 'tihiis period, h~v'€l ri1ev~.r been used ~Jt all,

!I n 196i5, I wrot.e a book €:ntitl€;d' cd Thigp¢fJ n~lkjrrg Dwms in wh ich was inc luded a few pages cd' di.a·'9 rammed br,u$,h $~:roke$ .. I'~' W~$ ~h€1l $U'~;lg€s.ted 'that I do a book totally devoted to brus 1"1 technique,

Th is book, is the resu It. All of' tile strokes incl udsc h e're! n II use I depeliilding, up,or:. th~ musical sltIJEf~lioril, It is my si [mere hope that TtU3' Sound at BrIJsll8S wi.l~ help you ,in d8velopilng ljff~dive brush tech n iq ue.

ED THIGPEN'

HE'll'!owned '~!he world over for h is ex~mp lar.r- musiGi@Jnsh~p:, brush artiistry, andl accls.ime,d teaching methods, Ed. lhigpe n is con side red by' musicians afl!d ,critics, al i ka to be one of the finest dll'il..imrnersfper(::us-si on lsts in ja!zz,

Born Deo~mber 28, 1'9'30, in Chi'caglo:, E:d was raised. however, in Los Angeles Wlheirei whi!e stlJdy~ng music wilh Sam uel 8Irov-m, h~ acqui red drumset expe rierllO€! with his school's SW~r.1g baliid., I Ii fact hLs u:nwa.vt€filng ded icatlon and ski lis earned t:Jim the Thomas j.e·freffi{J'n If-Hgl1 Soh 001 music award,

:I n 1: 95 t he moved to Ne'w York C~lV and jolned ths Cootie Wi !Iiams Banclr playi ng at the Sav,ij,y Bailimom. and IH~e;r tQU ring the U,. S- w~th a. fi urn be r of we~H~;nown 11.·&8 peniiolrmers"

Se rvinQI in the army b€!hIileen 1952 and 1 9541 Ed gain ed his irllilial experi~nce as a d Fum in struo'tor with ~he Sixth Army Band Train ing Unit be·'fore doilng a tour of duty in Korea wi~h the, Eigihth Army Band.

lit was between the years 11954 and '~9S8- whUe 'worki'n'g wilth such a rti sts as [)i:nalh Washling!:o n, G,i I Mellie" Sud '~\C)ilN€.II, J uUa Hipp, and '~!he 8 illy Tayl,or Trio that Ed ~a.id the· fOiJJJl1dation for what ,has become one of the· most '~ndu r.il1g and respected ca reers in [azz, It wa.s dtJ~~n,g the p~riod willh th~ Bilily li.'tylior Trio ~nd working on the TV &E! riss "'The SubJect 1:$ Ja.zz.'" 'Wlhel1 he decided to' IP u rSUJe his concepts in jazz education,

Ed filffit gai ned worldwide acclaim thr'Gu'g h ih is, Wt1 rk with Oscar IPe~,e'r60nt and Ray Brown irt! Wh3t many 'Bti III be~ierve to be· Ilhe g reat,e'~1 plano-bass-drums trio in the h istmy ()f jazz. Hi,s contri bulion to '!!hiis trio earned him. the '~95'9' D'CJwn B'~a:t ,cmiics' N,s'W Starr Award'. Ed's association with '~he, tr]f) I~$ted sgxand a, hal:f y€ars (Janu.ary' 1959=J une 1965).

in Ju ne t 966 he accepted ani irtiv,ira:ti'cm to tau r with the' glreat jazz: vocalist, Ella Fitzgerald" w.ifh whom he wo rked unf I Jan ua ry 1967" Ed 'then, moved to LO$ Angeles where he became 8.CtiV'8' un stu clio FHCOming sessions. as weI,! as workingl wHh liiol;abl~ s,ingl~m Pat SQQne" John ny Mathis, and Peggy' Lee and th e' 0 rch estras af Olliv,er Neil$oli! ,and G erald Wi lson,

In 1968, Ed rs-lolned Ella F,itz,g:erald iin a trio :Iea by Tommy Flanagan. Hoe remained wi~h E~la and Tommy untill SeptembelF '~97'2 i when tie seWed in his current home end base- of operation, Copenha91en~ Denmark, From there he has maint.ained a busy schedulle of international performa noes. With b'o~h European an d, .A.nterican art~st.$- Additi'onall~t, hi's role as an educator has centinued to ,expand with leaCihiing pO$i~lons, the publlcatlon of seve ral high Iy acetal med method books, and ed~catil(JlJiaJ videos, as well as written articles and advusor!l CQI'iII:riibutions fo r Modem Drummer magazine~ The Jszr Educaiors J'o,um'aJi, and the Pe rcuss~ve Arts Society" AH of wh idh m.lFtherserve to IUllIdelWlriite 1he undeniaale value of Ed Thlqpen's oontinuling contnbuflons to the art ot jazz drumnn ing-past:, p resent, and frnure,

r:

TA'BLE OF' CO'NTENTS

,I ntroc uetien ..;., ,; ; . ; ; " _ " , _ . ' , " . , , , _ . , .' .:2

Siog raphy ......., .. "".", .. ", ... """.;,.3 'The Brush ,..,..,', _ . ; , _ _ , , _ . , " e " , " • • " , .6

BnJS~l Techn~que _,,; _ _ , ; .. " . . . , " . " , , . . , , ..7 Grips. f(~r Pb3.ying 8rush~s, , _ . , , __ , " . " , " .. , , .. ] Brush Sa unds and IRhythmic: F~ells , , . " , , . . , , ,8 Rhythm ie FeelsJG. round ;p ulse

aJna Mini- P'u 1&9 ,',...".. i ; _ _ , ; _ _ , , _ • ' , ,,9 llieoomt:nended Study'

aJnd Practice IProoedure, " , " _ " , __ . , " , , , , .10 SW'9<9P" liia, ana lickflap Sigmi. _" _ . " , , e " , ,"1 [Aide Rhyth m, mrli Jazz _"" - - , " - . , " , , , , . . , , ,12r Bru:sh Stroik€$, for P~ayung TIme "',.."...,",., 3 Basic L~fl:~Hand StF·ok~ "..,',...,"..."..." .. 13 El~$ic Right-Hand Stroke ..."..,',.,';;..;'" 14 Combi ned ISasi'c Aiglht-

and left-Hand lime S~:rll)~kes " , " _ _ , , " _ " , ,,15 [Ph rasiln91 in Time (Tempo) .;; _ _ , , " _ , , " . " , ,,16 Right-Han d! lPuniCluati·Qln

(on "let" OOU nt O'~ lh,iira e _ P: be~d) ,..."..,' '] '7 Combined Right·,Hand Punctuation

'With Basic Left-Hand 8 rush Stroke " , " . , ,! ,'~ 8 Left-Hand [P unetuation

(on "1e-1.'; OOIJ nt ot '~h'im G. p, bea:~) ;. _ , , __ " ,1 '9, Calm hi ned left-iHaJl'1Id Punctuation

With Ba::dc Right-lHand R~de. Pattarn " .. " 20 ,Areenl~d FUght tHana

(on "1~91H count of 'ffiirst G "P .. beat} , ; ;, , ,; ; . _ . ,2:1 AccE!ol11Bd left Hand

(on "Ilftt'" count of ~urst G, p" beat) " , , ~ _ , " _ . ,22 AtXarned lRight Hand

(on "il'st'i co Urlt of second G; P. beat] _ _ , , . . ,2'$, Accented Left Flla.n,rj

{onl "let" CiOUlt 0·1 second G, P. beat) . • ' , . . ,24 Aooen,t.ed Rnghrtr Hand

~.onl ";I~t" count of fourth G. p, ibeEIJt} , •• " , ; • ,,25 AC¢~~r'!ted left Hand

(on ~;liI3t!! count of fourth G. P; beal) " . _ . , ,_. ,26

Basijc' Left- Hiand Sweep

W~th R ight.-Hand ""rapt or ~Trck,'" . " , ,. . . , " .. 27 l€ft--Hanoi Half Ci rd,i;J' "'..,...,',.,,',..,'" .28 ~'f '--Han ell F'tlIlll Ci rcls "..,..."',.,,",..,, .. 29 ~ iglht~Hand Hook. Stroks .,...,',..,',..". ,30 CO(mbinatiof!l left-Hand Halt C'irels

WilJh RiigM'-Han d Hoc k Stroke , .. " , " . , , , .31

Combi nation Left-Hand Fulil' Ciircle

With Rig ht -Hand Hook Stroke , .. u , , • , , • • ,,:32 R:ight~Hand Zorro Stroke ..,.."..;, _ " , . . ,33 RigMmlHand Zorm Slrok·e,

W~h Left-Hand Ha~f' Ciir·de ,_ _ , , _ _ , , e " , • , ,.34,

Rigilt·-Hand Zorm Slr1Q:k,e'

Wm:h Left-Hand Fu:U Ci riC I)€: •• " , " • , , • " , • • ,35 Combination lRiiglht-

I8Jnd l·~fl:~'H~nd Fu II Oi relies " . " i , _ ; , _ _ , , _ ,,36 Ba$~C ~jde IRhyljhm in 3/4 lTme ,;, _ , , " _ , . _ ,,3.7 Accent€ld "tef Caunl:

of 'F'i r.s~: Seat ln 3/4 Ttme " __ " , .. " , " . " , .. 38 SLxteenth- Note Tnip~et PII,)lnctuatuon ,.,,',.,', .. 3,9 Sixteen~tJ- Note, TrliphM iin 314 Fllnythm .".," .4-0 StJolke for DOli,JIbl:~ml1ma Fae~ing "', .. ,' _ , ; . _41

AI'ter'ed Tripl~~' Shuiffl:e . " , , . , , ... " , " , , s, _ , , " .4:2,

lighU3h uff~e SWi;ll~ p .. " , , . " , " . " , . . ; ;, _ , , " .43' light SW;6ep' and Taps .. ; i _ " , " _ " , _ • , " • , , " .44,

St "8" ita S- iI- k' lAS H;lmml ng ,': UI alf 'II.rGei ..,; _ ,; , " _ " , _ _ , , _ ....

Tap-S'w'9ap=Tap' (.lime Stroke) ,_'" ''' .. , .. , " .46 D.i~-Dash I' Dit-Dastil, Dot .. Dash , , . , , , . " , .. . , , .4 j Aclapti ng B rushes to

LaUn ,Arne rlcan Music "." .. ,'" _ , .. _ , , .48 Brush Sw~,~ p Exa rclees

'~O r Samba or Sossa Nova , , .. " , ; _ , .. _ , , .48 BtJlilQ" Cabasa (SimUilations.):,

Ex.s, . .2: and 6 :" - 'I I I' r. r'I I I Il II I 11 • II • 11 • I I .. I I .,49

Nota.te,d Brush SW~8'P' ~'atl.ems i...,,, _ , , . . , ,49 S ingl e' <)I1iO Dou ole Strokes and

F=!la~' Sound (Ex:ecuti<l,n S ugget:jti.o n:5)1 ". _ ' ,50 New ~d Thi,gpen S~gnature

'::M 1lIo' Inl~ I~ _ 'h - ,

f._ IJ~~~- r I;Iorus ."..,';.,'," _ " , , _ , . _ " ,50

S ingl,e-S1trQ ke iExer·ciises _ ,; , , _ . , , _ " , , u , , • , ,51 DOUible-Stroke Ex€: relses .".,",." .. "".,,52 Flex and MUiltiple-,Bou no!;: Strokes.

(Wiire Bmsties) -"", .. ,',.." .. "',.,,..,53 The Ed Thigpe,n !<Alt" Mod~1 Bmsh , . , , . ,i , • , ,0.4" (lEd Thigpe;n .S.igfil~l:u re Wi reo BnJlsh)

Action Photos Showing Wire Flex and

Use, f,br BriLl sh and Cross Stick "Claive" FunrkJR&H and If usion

PatIJ,e nns for Brush~s ... , " . " , , . , , . " , . . ,5,s, ·4./4 Grooves" . _ , , " _ , , " .. , " . , , , . , , .. , ... ,5:7 8/8 G roovE!$ , " . , , , . , , , . . , , . " , , ,. " ; . . , . _ ,,5,8.

Ar4' t . C- t

._! ,liS, S· .. ommen:s .,', .. ,"".;;. _ , " _ , " . . , 5<8

R_8iviews !' • '! ' , • ,i i , , • ; , • _ " , _ _ , , _ • , , _ " " , .5,9

SOUN D Of lUU..iSHE..li - CD 1

lir,p.£k 01 _ . in~·o:i:rJction , ,,80Llr.OO .;)l 13rY$'I'~

i'r,Etlik 00, , , p.9.~ 18 , , , , - .. Brush SlrokeE. r,or PIEiying Time {L..alil i-I;).r;(1I'

riEk 00 , ,. p.?~1l! 14 .... _ .. BEisic RiWi -Hand Rioo I?al,'~m

nack (14, .. F'e~e 15 , , , • , , ,0:;t.inbir'r;j.-.;:l Ei~h:; Fil9I1t·- and Left-Hand Time S~r'oKe; Tre~ 0,5 .. PEigE! i 6-17 •. , ,Phrasing i['l iil'll;e. (TefTtpo) E:.:plaM1ion and Delillo

fr@~;.: ~ .. F-IEige '118 .. __ . , ,R~i"H'lai'ld P\.it1eilJ~ICln _ BEi~i;:; L~f!i-Ham::l Elru:;R Sweep Trec.k: '07 . , IPEigEi liS , , • , , , ,[i(::U"Ifl. and IF'lar-Aiong Wi1h Pia!la·~nd 8~~

TRlI;!~, {J8 .. 1P8ge 19 . __ .... Left:-H:and PLnctu~ti~TI

Track 09 .. fags .20 •• , , , , ,~I-HttfL(I pijr,o:::tlJat~ _ Rigr.i-HElnd Ride R1,ylhm

Track lO , , P?!Qc ~ - ' Demo· Eioo I?IEiy-Aiang \-/Hh Pi~_nO ,a,M sass

T"itl:k 11 . _ Pa\~e· 211 _ Acc>3n~ed Rt'lltit ~fl{1 i:J)1'I '1er; OCiIJnt of tlrst Gi.IP-: bSEit)

Tll"aCk 12 __ Paga- 21 '" , , , .Play-AIQ~

ir.R.Ck 13 __ Page 22 , .. , , _ ~A<;()B;~~~ Lf.ll'l He."'~ ~C1n ".Ie'.t CDU 1 oj lir5t G_P_ hEIst}

irillt:k 14 _ . Page 2::; ... , hlJ@iiM R~~ lHeliXl ~C1n '\eit' CD' • oj sfIQlnd G. P; bea(~

T'raek 15·. , Pa~~~.:I. , , , . - - _A~ce:",jejj ILeA Hand {an 1Et1' COLLI"I1 ".;I! $.~oond G,P, b<Mt~) 1"r~1!; 1 ~ ... p~ 26 .... _ .. A-GC·eriled lRi;~ H~nd ~i;I!i ·'".!'f' f:CnJI~l 611oLJrl.h ,G,.P. bM.-) Tr,Eicl;: 1 f' .. Page 26 , , , , •. -,Ae(a~n1ed Lei'1 Hand (on 'Ie'l.' count of 'foultli G,P, b8MJ

r~clo; 18 , , p~~ 2.6 DemD and Play-AU1g

ire.;fo; t~ _ ..... _ _ ; . ;~',drjri" T\'iTj.-6ar iPhf;;t:::e· Play-AID~ !J.!Jith Piano and Bass

Tredo!; :20 .. Pege 27 , " ",EhlEii;:; ILP.ill-HS.M 5v~l3ap With Right-Hand TOIp-T1ck Souoo

TraD~~. :2'~ , . Page 2S , , , • , , ,L(!I'I-H~t1.;i H;;tif Clrc:le

Track ,2,2 , e P:;1!).e 28 .. __ ItIa.H-Circle lima· S-'.rE!8P; 2 KG:1'i'Vilh Piaflg ,fJlfI(;j BI:'.3!}

Ttl:.ck .23 .. Page 29 . _ " eft-Hand Fyll Cin;l(: (lfI$'ifi.Ji:tal)

Track 24 , , . ;lIge .~ .' - Derma .I!!r.dl Pi&ry-Along lan-Hand Full Cir.;;le WHh ~.rltI oi:fjn;:!l d.__,'4 Wa!k:ir"l§ Ba.8g,

Tr"fJek 25 ... j:'age· 30 __ .. , , ,Right-Ha!!Id I-'Itltlf;. SlrtJkol} (1r.\8'ltuC;i;IDi"IJ

Track 26 . _ PagE! 3<i) • , , , , , ,Dorll':; e.~ I?ley-A!ong With Plana .llJrd Bass Track 27 , • Page 31 • , e e e e .Rlght-tiaJ,n.,d Hook Stri"okelLeft-lHaoo ,..~. Cirtli3 T ack 28 . _ fJ'a.ga 3~ , -' , , ' . _Dem\;' and Pley-Along (2: Feal)

T iJ.C k 29 .. - ~ g;e. 32 - . . . . . .Lelt -1-l8i rd IFulI Cire!9lRi 9 h i). Haii.(1i M (a) k S l)ft)l<le Tlf,fJ.(:k :30 __ i'-a.ge- 32 .... _ . .Dsrnc 'MJih PiotM ,£IllI~t4/41A\ilr,;ln!J Bas.:a Una

Track 3,'1 _ . Pages 2:7-32 ,Dijr!f":) aM Pla~"'_AI(mg (2 Feel Eind ~,i4 ~~lBllUng Bass,) Tr.;.o;:k :'12 • , P.a.~~ :2:7'-;J~ - - .PIP.~-Alortg ro' Belled Strc&;,e<s

SOUND Of BRUS·H 1::5 ,. CD 2,

Tr·&ck 0'1 .. P.cge1(l , , , , , ". ~h~-HaFid ZQt.ro strok<e

l"m!;:lo; 00' , , P~i)e ~ .... - ... Ri;t1~-HEind Z'DrI'D S~rok-8 and 'Li~i-I-n0~'ld M;;Ilr c;:irt;;l.;!! Tra~ 00 .. Page.:;!;.;!I . ; , _ , , ,(4;,rno .:.J.fllj Pli1y-I'I.IG!~

Tram;, 04, , . POlge 35 , , • , , , ,8'i;ig t-Hsnd Larr,Q Strd.:.;e. Wilh lejt-fila nd Full CirGie

Track 05 , , I?~gc 3-'; .. , _ !Dema and Play-AIDng

TFe.Ck 00 .. ~age :M. _ lPlay.-A!bng Med 10 'FiI~t T(;:;:"J'Ij)1)$

Track" m .... __ _ , ,Play-A.c.ng Tr{Lc!-;. !Mtt"-.:)l. ~ nrums

Track ,08 .. !PagE! 37 , _ , , , , ,IB<:IS~~ Ride RI)ythm IA Ji4 'Time

Track 09 , -' IP(ilg~ 'if] - - Damo .EiM PIEiy-Along Wilh Pfu.n;;:; ~rr::lI !11i~~::5

T~r;;k; 1 D ... ,P·a.ge· 36 _ ' a .AcC>iln~,~1 'Lerl· Cl;Jwil. gf Qn~ in 3f~ Time

Track 'i i . _ Page 38 • , , , DeFM an,n Play-·Along With Piam.o. Bass, and Vob.e

li iJ.Ck '12 , • Plig;i! 39 ..irls1ru::tio.: ot Si;.(ieBlrh-No~' Trip~ P'1l riI:::!Y1:~li(1n - ~ Jl4 'iTi"llf!

T acK 13 . _ ~g~ 4;0 _5ixteenth-,Ncrie Tf,pliit PUne-lUl:li1!Of! In 4/4, lime

Track; 1.::1 - _ ~~e t,;; __ Slrof;:oa, 'fQ;- lJ,;)ubl~-'"iif"!1;) p'eeli~ ~1i18I:rUGlion~

Tr ~t_: k 1!;i _ ,. p.age 411 . . . . 0 a·f"Tri) OIIi d Pl<'I r,- Akflg

Track 16 , •• , , , , - , , e e e __ •• BfIi'Ius Tr.!rei'.! AfiernE!Joo Double-Time Feel, .lorro StJGke Tt,a<:'k 1 T . . P.BJ;i}2 .::; 1 . . .. _ .. . Oem D and P i3.~ -Ab'lg

Tr,EoCk 1 a. _ .... ; • , , , , , , , , .FI~J1t10r'fl Pli'.Iy"-AIClI'IfI Tract.; lor DDLbt-e- lime Feeling

r&ek 19 , , P&g~ 4~ _ Altered rnj:4et Shufiile ~~rn!PJc1ion~

l"fer& ~ .. Page'::;2 _ Play~AJong

ni"J~ 21 .. I=',ege <:i3 _ , , ,light Shulfla. S ..... '(,<{!f) (IM~n~Il-on)

Tra~ 22 .. Pege 43 .. __ ... Demo illtd PIa~"AIi)fUI

Trac.iC 2-3 .. !fIages 4,2; 43 ",IPI~:rAl{!(lg i'gr ,S~it1le S1r'okes Track..24 , , Pt:lge 44 , __ .... Eir1.15;i't- T.ap- rl:ik-Bru!!h (Ins1ruc:l:io ) TF;;if:k: 2£ .. Pegs .oj.ll, __ • ; , , ,Short . 1;;'Iy-AJon~

Track 26 .. P!3g;;! 45 , • , , , , ,Smjf·"ltl'Jo"i.Q _ Guitar Strcke (I 81ruC!iiDr~)

Trac:~, ~7 , . [P.'~ge .45 __ S!: Cf'il Play-AJang

T..-ack: 2B .. , ,rage, d,f, _ , , ,Tap·S1.\!eej;l·T~p Wr;.; Str\.t<e {iMtIi" c:1lan)

T~.ok; 29 . - P\3ge·4-S - ., . S1~oo Damo and Pli:!I1-Alo!'!9

TI";3,ck: :30 .. _ i""aga' 4.., .. ; , , , .Di~<D~~!i, 1D~·Oa$l" .. DtI:-OEiiSh

T i3.ck 91 • _ Page 49 . e e e • __ Bfi.!SI·) S:lrok.es fm Ledn ArrtEfic.a..n M .sic (Instrll.::tion.and [>.;mol Tot.ar::k ~12 _ . Page 65 ..... __ Funk, A&B, Fu&tx1 P.~lb@f IS ~1f'L,;IIi'i,H:;:li';'i"I ~ If I Del'll!'1o)

Track aa _ . P.3.Q.15G :fi§-5.8 ,(lillr'li(:; @(I~ Pli"J:t-MOfig'- Siow UirOO\'e

5

The Brush

The wire brush gS 'constructed with 'thin wires· boun d' toqethsr in the shape of an o pen tan. There are diJi1f€'F'e'nt ty~e:s. of halild~e'$ made, to which th e· b rush is conn~!;.te.d, Below are pbc· tlJif$'$, of two types: one wuth a wood handle al1ld the other with a, ham aJumin um shaft covered with a rubber sleeve.

MO$~ models are made wi~ all open shaft handle so 'U!la:~ wires can be retracted irlilo, the handl@;s lor protection whe.n not in use.

P~aJ:Eiti:c and nylon materials ar~ also be.ing used for maldn,g brushes alld; as an alternative sQund an dI f~ell aou Fee, are q u:it~ effective ,. As, willh sticks" th e· choice of the ty.p~ of brush you usa is a pe rsonal one.

II pre'fJ'er a btush willh thin, v,e.ry fiexiible wire.$ as my main brush, Ne.verthe.less., II use. stiff~1i" wina alild plas·tioll1y~on types as 80!UU"GeS for .alt9rnative sou nds and feens as we' I.! ,

Brush Te,chniique

Both 5,ti:df~$' aJrild brushes should be '~'hQ~ght of tllS an 9'xtelllSiQn of the hand when iln use, The. one dmar.~r1;ce loS the.!. the w.ires af the brush are flexible! wihelreas. the stick remains rigid sirlcl9 it is made from a single piec;e of wood,

The 'flexibility of the brush affords !!.IS Cith~r effects and sou nds that cannot be madle '!Mi~h a. snek, BeCEtUcSe of the 'flex of the \!Vli~s I an additi'On.a,1 ~edhl'il~qjj;e, mu,s:~, be dev,eloped 10 gel th e' rnaxrnu m use fro m tne brushes.

__ .----..J~ - -._ -,' ,

~ .,

"-.!'.

-. ::-

The brushes are held baslcally the sern e as the sticks. Elther the. conventional gr,ip or t~e :m~lchf3~ Qri p can be u sed. I use the C>OrJIlentloi18JI'g rip most ,af the '~.ime. II have. 'found sl.ight alterations iin l'he posinon of' the left haJi1Id necessary tor some strokes. (This point wi 1[1 be mentlonad h .. _. . .j;iI-.- "-,do· -t·'n~' 'cn )

done', w en n'60i3',5StUY QUl ~! ie m:;;'~I[1IJC:, !o .. a .'_ ,$ •.

7

a,rush S,o,unds and Rhythmliic [Feels

'fher'$ is r!() startcard notation 0 r s"ign tor a spscltlc brush iSOU no, When bru shes are 'dle'si red ilil an arrnngamenrt" 1he worn "t:mJshes!! 011 iniitials 'Br," or "W"B." are gll;:'n~'ra,lly wrtUen in atths 1:)$9i fin ing or th 8' sao'ion <of 11119 arrnl1g,9,memt in which their use is de~ired_ 'I n rnost cases, it' is up to tlhe drum mer to decide when '~he brushes wi I~ provide th,e, best ~tf~ct

As a gli,.!ad~" ~ $u,Q!Qlest you 'IN ill b9 safe in u,sing brushe s whenev€ r the music, calls "ft~r v~u'Y sof~: playing:: piano, pi'emls$~mo, and so 0 n. 'The rs .arB times! h,oweve r'i wh,en brushes c'an b-e very effective in a forte (loud) dynarn le range" The so uno and special fssl ilng the brushes glel1srrate ls q u ita netteeab Ie I pariticl!Jla.rly w'h,e iI they are· be·j,FlQI used to play a sirol1lg baste swung ri'diE!' mythm.

Sirx basic sounde will be applied when practicing fhe strokes and p~ttams i l:Iustrated ~n fhe Slwnd ot Brvsl;les bock and on the a¢companrY~!1.g, CD,: th et "tuclk" sound, the: "tap" sound, the "slap" or "flat" soun d, and th~' "'sh,h hhh," "brushh h ." or ':~ahtl" so unds

II ,~llIgg@lSt you speak or si ng each of 'Ilhese sounds VOCEiJlly filrst a.nd then '~lry to d up lic~te' y'ow VQc~1 ,sQ~nd with the bru sh on the' dWITi or whatever su rtace ,an which 'Yo!!"!' F-i~l ~t:la!Yli~g. Good ,dynamic ret,erence polnts to use for each ,o,f the sounds could be' the follow~ng:

Next, i speak and/or sin'QI "',$hhhhlh,'" ~;$wishh,!! and "brushhh," VOCCiJ~ly derrUln:51Hat,e.di on CD 1, Track 1.

lhe ,styl.a and mythmic 'fee~ 01: music willen played iin tempo can be detefm i:ned and ex-eCl:Jl~:ed. by the U S9 of' 1\1\1'0. fu ndamental pulse beats: We wiU call these two baste pulse beats lhe ground pulse and its dominant m.fni~p'JJlse.

The ground pu Iss, is des~gnated tty the lower ~~mber i!! ~h!e time. signatu.re" for example:

14 = qua rter note G .P, 18 ;::; eighth note G- ~_

Th~ dominant !iT! illi·pullse can be aJny note Or r,es1i: s~gn of a short~f dJu ration than the G, POI' f,or' ,~,~al!Tip le:

1 ~fli 2 an
! I
~ i
I an

-4

aJrI '1 trip - le~ ~ !rip ,_ Jet S trip -Iet 4 tnp • ~9l
:j ;~ ,::! J
I I I I
i i r til
I j,

-

'11 "" an ah .2 a an ,!':lit] 3 e all! ah 4- 9 ,@in an ~ :2 s -4 5 6
i: I I ~I a I
j' j' r i 1-· i~ Rhythmic F'eelsiGround Pulse and Minli-IPulse

Whereas, alii of ~he va.rlOIlJ~ notes, rest siglns, Of combinations ,of mini-pulse beats C9.'n be usad to oreate va rieus [rhythms, the overall myth m~c lntsrpretaton ,ryf a musical sty.le or ,segment of any music be'ing pefl'io rmed can be determ mad by activ.a.I~n1Ig a basic ground pu I~ baa;' alnd its

_ .

dominant mi n i-pulse 8ilft"l'u.ltaneously',

eount '1 an 2 an J ,M 4 <L'n 1 an .2 an :3 an 4 .an
mi ni-puHs€ 4: I I I I ~~ I
:j.: :oj:
"' r r' i i ., ., U "'1 Vi
Gmund Pulse I r.
· ... 8.0. rhythm C'.l1!'l vary! ~ tf)f -Iet 2. trip ~ let -9. t1-Ie-t 4 11"Ip • f,-el 'II .2 trip - let 3 4 trip - hE!
count :~ s > ."1 > .'f
m inii~pUilse, I I I I I Ii I I II ....
i I
i i i j' r , jill e
Ground Pullse tK
r
Basic ''SLwn_g" RJfie R~ytf1m oount 1 e an ah 2, e ~n ah 3 9 an an 4 e .an ah 1 e an ah .2 e af1 at-
>, >- :::- >
Fill ini·pullsa a I I 1 Iii I I 14
i i i i L' r .... •
GrOUrid Pu~&e " b d
Sixteen.'h flOre' m·,D
stylistic .QJOQI;I8S lia.r:r Tap the (~. P. with YOUIf 'foot in a ~teady tem[po. Co.ll •. II11I· out the m ini~p-ul's~ beats wh i le '~appingl ~ha, ground pulse beat wil~h your foot lise a metronome or clkk track to cheek the steadinE!'S5

, .

of the G. P. foot tap,

These .mlin,i~pu 100 bearts ar-e alw.ay$. active whether sounded or not Th:~y aJ'8' expressed If"ll:hre breaJlfng and or vibrato 01 the lnstrumentajst Of vocalist.

R:ec,ommended Study and Pr,actice Procedure

Ir'i! nny te~ching ~>:p~itte,nce, I have rID'uilld 'that me,ny sttld ents, advanced' as well as, begun ne;r.S, do r ·t~h'····,··· ~'hll: ·~I..jI~h~ wni+t,~n ~,,:(~ incl"d.:rI ~n most il'~","""i '",:b" .:11..,-. 1''1- "f,,', I ,k'

. 0 no ~ oroug. 'Jj rea:"" ~. ,e ," ,II e", J;l, ~'" ,we"" ... ,,~I, ns~ru""l.on OO~. !lllSfEHJre" ~S.

you to please read thle 1ext in this book carefully. The, sante applies to I'istening: PI,ease~ lis1i:en to th,e· recorded insfruotions and sounds of the various brush strokes on '~he CD ca.refuilly. l.lslen to each recorded track at ~easl once or even twioe· before. aU,em pf ng to p;lay 8J~r)n,91 with: it, Look at the ill ustrsted diag rams al1dl try to fOI:lCiW the i nstrueted haJifKj movements, visuailly lii'l'S't. Ne-x~ i trace anct/o r tap Ollt the rhythm:ic pattern of 'the i Iluslrate:d d iagffllil'i$ wi~h you r fen.g'e r '~)lp$ on~y', The idea ~$ l{)· han,s[er the ~,ee ling! of the strQkes and patterns from yo ur hands to and 1hrough the brushes .. Th.e brush should be thouQ ht of and felt as an extenelon of the nand----1not ,a fme~gln ob,iect

II also recomm EHnd that you practice all of the strokes accompanyiillg yourself wJth a s:teady pulse on the bass ,dlrum afilcVoll hi-hat. Arter you ihave practiced wiith the plaJy-along tracks on 'fhe' Bo.und· Of B(U5hes CD:, try p-layiln~J a.'long 'With some recordings from YOUi!' ~ rsonal collection,

I h igh~y' recommend I isteni,ng to arid playing along w[tI!J old and ne'w record ings. by jazz, mast'sn, performing hn va rious stylels (j·t this ~volving music in both small ana lar-g,e, ensemble setting's, for instance early blulSS. 1R&I8., Dixie land, swin:gl~ an d bebop. Th,is. can be a gireat h,edtl for- becern ing fami I~ar with dliffereli1[ jazz styl€-5, whlich make fUJI I use of the eighth-mole Uuplet mi n i-pu lse'i an im portent element it) jazz ifill'erp,r,etaJjon. lis~eii1in,gl to weil~~p~rto,rm~dl music can ~1I$·o help increase youlr songl repertoire.

Ed Thiigpen Selected AvaJi~able DiscogrilJphry;'-

As Leader:

Out of the ,Storm ,_ VerveJPolyg,ram (Ve rv8' M aste r Edilion) YQung Men a'nd' Olds - Timeless

Easy ,PH9nt _, R~aGlion Recotd$lS'~:urrl! {R€~ is:sue) Mt. Taste - Justin lime

It's fEnte,rta,inm~nt '_ StlJnt IR~CQrds

As S ldaman:

Night Train - wi~h- Oscar Peterson - Ve,rve/Po,lygram WeM:s~d"e Story - wDih Oscar Peterson ,_ Ver1lelPolygram Ben Web.st'er Meets ,oscar P,e-teN'son ,_ Verve Ma$t,e·r EditioTl

CQmpl~·te. S~t = London House Recordi ngs - with OSCClJ 15'!eterson - Ve,rve

J:;;:!?Z o!;'t S';ln~ '" A'n;!":l~""0!;1< C·. i',,~y.. _. ',"u'!it~ En!:'; 1:·!t'7.r'1~II'"!';I'I...Ii - ~,~ bl .... ,

~dii ~,!! .~. ,~' .rlf~~! rl'~~ ". '. 'P"J!1!r.I" '!.-'II .11 ~ ~.~ 1- . U:;:,1~1 ~ Ul 11"'"' ~ _ "wi

Aill of tile&€! CDs have eX0e Ilent 'tracks on standsre and ori 9 irnal melcdles that rna y al'so I:)~ used ter p~ay'-aMng pract ice with 'Hlhe illustrated brush strokes" Son'9s (I'll the, r€oo·rdirlgs a r~ played in rued iiUm to fast tempos; as well as, s,low '~O mediu.m 'temlPo ballads wilJh groCiVi9.stlfee~s 1 iln 212'1 wal'killg 414'1 :2 f,ee'I,! and ,3/4 'time,

The rhyth:mh~ pat~~ rns an dl st rokss iii I ustrated in Th~ Sound of Brushes wi II giVE yo U more 1haJn enoug h brush ,strokes to adapt 1:0 any' stylle or situation whe're the use Cif brushes m iglht be SlUiitabl-a ..

"'" Aeme mber! It is very" vety impol"talf1t that you I lsten to a va.ri~ly of' l~oo·rdiTig$ with dirffif'elram: drummers using brushes in va rio us musical settinQis,. This wi II help yQI!Jl to dave lop yOlu r

own taste' and e¥f3·nt~alliy YlOur own style.

10

•

..... - . .__-~~-~

Sweep, Lift, and Tap, ,Signs,

The da,rk sha,dow repreaents the gel!l~ml area. to be pl'ayed (Jill the d~um heed.

An arrow pointing right me~ns 1hat th e b rush sweep starts on ".he, left-hand s~de. -ti,f the dru m head and S"weN~l'p:$ to thEl! ri'g,ht.

An arrow IPoiinliifbg left means 1lha~ the brush SW~iI;Ip starts on the ri.giht-h,e.nd :s,ide of '~e drum hle.ad and sw~e;ps to. ~h6 nen,

R igll'n' [Hand

lap "an" Of "let' count on left-hand side of d rum head and $ws;ep u) the' right, pass 1he "2'" 'or w:h~ch9V9f count is mark,ed to the ne'x1 ¢(IIUllIt l.e., "let a,"

• Left Hand

Tap ",an'" tit "Ilet" count and brush back to '!he ~eft! pass "4" or whichever count is marked to next count.

A broken nne mean 5 to I ift brush to next beat or couot mark In th,s dlirElction of ths arrow

1

Ride Rhythm in Jazz

The r,ide (;hyt~un refers to the basmc myth mio fi gu re- 0 r pattern p:layad witil a stick on 1he cylln~ - al or' with wi re brushes 'On the snare drum for acoompanvi ng a soloist orr' backilng IUP. 'the

~ ~,cr'lilLo,.I,e'.

!'JP. 9'i1'~ ~ u

There has ,been much controversy ovall wh ieh ijs '~he correct figu rs 0 r: pattem Ior playin g a r'i~e rhiyllh m, I; III clariW thi$ by sayl ng that it depends on the ~tYl1a and tha in1e. rp retation of ~h~t style by tl e m usiciane p[I~y'11og-

Fo;r those o'r us blFOught up duri ng, 'the s.w~ng and fhe bebop, eras, the altered triplet on th a second and fD~rth: b€a.ts of tihe 6a~' is p revalsat s inee. 1lile sltyl'e$ and mythmfc ilnte.lfpre'I;a;tio;n of 'IH3 mu SL~ are based On the. 1triplet.

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i I ride ,rIT)'thm: 'I :":

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~ny ~r:adi~iorJ~J or ~ixielland ,styl€! pLa.ye·rs make much U S9' of s,1Jaigh1, eaghth or si:d;ee.nth notes, that is" their syncopated rhythmic il1[€rp-reta'tjon {J,f the musie in this sty1e is based on thes.e dam,lftlant mirl~·pu~sa beats .. For aocornparamsnt at medium to medmllJm~f,asnampo$ in this 'style, you will find 'that the-standard notated ride mytthm wi II ffl.,

'iJ nJ 1:-1

'This rhythm 'is, also ~ery ~ff~t)ive for gHHing a dloubla·tim~ f~8'lj!1g when p~a'yi,hg in a .slaw baJlad tempo! with the lef~, hand sUI I ma'inta,illlin 9 the fu II circle 'Or the basic ~eft·hand sweep from left to right to le'ft to right.; and so' on,

When playing a'l a, very faSI, tempo, 2 J n . ... will 00 the, natural ride !patl:enn for swing, Dixie,li3Jnd" bebop, gosp~t or cou ntry',..iJfIrestern stY:les:

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The sixteenlh-fllol& triplet is u!!6d quile etten as a variation 01 thit altered Irlple! lot punctua· tion. Remember !hall it comes on Ihe count of "an," an-triplet. to be precis". Stall Ine "$1'

cou nt w~th ttta lett hMlQ. This mroke uses l&is area af the drum h€ad.

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tick "let" and brushbQck pM64to1

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Strumming (Glui'tar Strolke)

Nh~fl working with a -rhythm guitar playi ng a ,s.lraigh1l: fou r beals to the bar, or if.' yOU! have no guUalr and wish to get a light 4/4 rhythm guitar 'feehng! this stroke is velry effective, comb! ned , the left-hand ~lIU dr,d'e'.

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Note: lhe count "S'" brush areal becomes 1he count "1" area on alll'emale' measu res.

45

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Adapting Brushes to Lattin Amedc.an Music

As mentioned earlie~, brushes are \rery effeDI.ive for son prtaying. Thay can :b~ used i'ns.lead 0.:1 atloks for playiln 91 Latin mythms,. F'or sawnt'las C3lnd bO$sa nova tunes, the rhythm is, fi'squ\9,ntly pia y'ed wi~h a brush in one ha no and a s,ti'(:k in the olha r. The ei:'gihtht- or $ixteetl'~h~note' taps can be play,ed' w,ith the brush whii,H thee other hand plays thee basic bossa da!v.e or otner sYin~ copated iig'u res across 'Ihe rim of the snare drum.

! _I .1 .1 J J J .,1 .1 1 ~ J J I J J J J
ill!!
;.,:,. ~r I~ "' ~ ,~ Oile can also simulate the sou nd ()~ tn,i~' scrapper {J r guiro lby makiing long and short brush s'iNeeps across '~lhe drum h~ad" Th~s sound can be quite effective; ,pa,rtt,cU1Ia.rly when you don't have ~heU'" pereusslorusts in the group. Fo.Uow~ng are a. few exercisas ,0 h~lp you wilt! thsse rhylttmi'c sound effects.

~ suglQest that you trace these sttok@s wi~h your finger tips tJefcQ'F'i1fJ' using ~he brush. Remember to do. 1'ih.is, ve ry slowly at fiirst

B,rush Sw'eep IExereis,es for Salm:ba or B,Qssa Nova

CD 'L.

®

Notated a.rush Sweep P·attern·s

5

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49

Sinlgl'e and Double Strokes

For practicinq single and double strokes, the idea of the up-stroke is quite applicable.

One. should try to play .on of the drum head, so to speak, rather fhart down into it This is accomplished by making quick down-up motions, witt) the hand or hands, usrng the 'IVrist as. the nah;raJ pivot point for 'the hancL This is Gornmo,njy known as WTist action. The resun, should be .a cie,a,r, crisp ::UG!<~ sound. from 'the drum,

IFlat-Sia,p Sou nd

ll'lis sound ~s most oHen used fOr making accents or .getting 8. heavier Hat sound Wfl@f1. playling rhythm. The slap is obtalned by playJog fhe brush flat and more down into the. OrL.lnl ~1eaJd.

The ionawing' exercises are very basic; however, practicmgl these exerelses with ttIeiv re~ated stickings shouhj help you in developing more than adaquate technique_ I'~' ~s b~.sicalf~1 a 9'{Ioo habit to practic.e aU of the same rudiments, sticr.-wngs, solos, and 50 torth, that you norma:lly practl c.e with sticks.

The use ot .:he open square and the dot Or fil~ed crrc.i® will indicate whrch hand is to be use-d. The ope.n square fS for the right h'and1 and the. dot or 'OIled circle ~s tor the Ilfj,f 11.81nd,

H is also advisable for the dn. m-set p~ayef [.0 pracbce all exercises whrt,e maintaining a st8'ady 4/4 pulse with the. bass drum, adding the nl-hat on the second and fourth beats at eacl1 measure. Try the same eXQFcises Llsfng the hi·-,hat on each pulse beat

open retractable

wood dave, samba, bossa nova. e-Fiects

, , -

ru bbe r mallet ~ffecr

max im u m tle.x

tree. bell and serape eff'ec1s

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I 52

IKey

_ H.i-i,.

fl1ex and Mul·liple .. Bounce St rokes (Wire Brushes)

• l.tH.

\!Vhen playing fast do ubh~ or multiple-bounce strokes (three or more beats with each hand) I

making use of Ule n9.·M.l!rai fllex or viibrations of '~he wire brush is necessary,

The· fl\~·,x stroke is executed with a ~uick dD'wnward wlnist action with(l<ut the u p-turn as. with

the $tingle and dCllllbla strokes. What ha1Ppens is thaillrllstaad 0'[ I.urning 1he w.riSl up again aifter the downward mov'ement, yOIi,J lighten 01" squ,9·eze more on the. brush handle i:Ilr"lld fo~low th,e vibratiOns of the wtires, dowffW,ard with the hand,

With practice, you can ,eon1rolli":le amount of bounces" gelt~ng' two~ 'lhree, four, or more bou noes wi~h each sii1gloe mov,e-min~ of the hand.

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j' i I r r 1 trip let 2: 1rip let !,1 trip. let 4 trip let
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! The Ed Thig,pen

~ ~,Allt' ~ IMlod e'l Brush

The 'E.T. .&..It Madel Brush Is de.s!g!U!d and] constructed to g;i~'e {me an al'eriliialtlv€: sound arid ff:el gtJ\Jr~e.

Tbe brush can Of,! ,u:!:Ied qufite ~'iif:et:i,ti~'ely' ··'Of playir"§i Jezz, Latin, R&B, Co.ur.tr:y, arid Roc ... myth rnic pflttllfns on the d ms '.'Ii£llDl!t "'oIDrrying about bendmg the ..... iras. One can re8llly digl tnto drums .as 'f"Jiell as p.lay ·01 f tile heads;' (lIp-strqkaS). Tbis is ens of ttle' reE!!::;or'~s - 1:$ bl"us'h Ih~s .becor'fl@! so pop ular "litll rook &. fus~n pl?!yer~.

The ronnel, ::'.l'1Id d,yrKlmic ~ev81::;, proouc.ed. c..ai:1 ml"lge '':r-orn a ',ut'dsper ~\!J' a roa~. The andla on the orust as censt Ie ed absorbs and cus ions the shock from nard: hits an the dFI).m'5.

Try ~jhe- fol D';fi'lng exercises 'for st~r.j'e.FS, the! pfQv"!ed to p~8c.tiC~ rudiment'S, or .any other stroke combmatlort and patterrts y.>Ou wU'U Id narm8Jlt~ pl8:y with stic 6 or con ... ar1 donal wire' brushes.

S,ing Ie S'lro kes with Accents,

P r;:; (:11(:(, 11i1( h 0' 1 r ese t land f'IY!1I0'-l :"it:: cuer: (:~s W I fin r.1[r't' nq H' e '.;_: II (l',',' n~ S~ ';;:119 I"It cic h:., [,KAi;:! po ll~l'I!) writton on 'I t· ~ sna I € drum ~ Pi1C~'::.

:::'1"£10:-:1'1': 8 w lh " Jt!1 I' fln{; on !'( IlracLR': e'.',' I h 1(:11 h<.l" d o r I·:.,. HI Jhl·,1"I8 r;i ...... trr:.i ~h1 .f.!1(.J hlt I::.

:::l del letl ha r d .:::.n counts ? .:';, 4

L(:11' nand ::.'aIGnll?i)h:""i~

~d:.:: r IQ I'll '1-8 nd on C aunts ,;;: .& 4

54

'1 Bill. 2 an :3 arn 4 en

Frrrr r ~

r r r r rrrr I

r

Fu,nklR&.BlFusion Patterns fo,r Brushes

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R l L A L IR R. l 55

FunklRI,B/F'lulsiion ,P,aue r ns f'ol1" IS rushes (cont'inued)

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::::-- ::::r :=. ::,::.-

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S~ow-er t!llilmp.Q

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56

4/4 Grooves

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57

The usa of accented sixteefllfh-no~e D8Jlte.rn$ played first at a moderate tempO' can @asify be, adapted to a double-time 'feei by ,si'mply .a,dding an accented hi-hat played! on the "an" ocuots. Try applying this syst~m to air of the 4/4 siT);JeenltH"Iote @X3IT1ples"

~ .....
J t J
==- ~ ==- ~ :::;., ~ ::: ... ;::..,
!"4U1:: J ~ I ~ _j ,I J~ E J ---;114 ~ ~ , :J~ ~ J ~ J ~ I n 5
• ,=;3.111: F I, E -p
• J _. • r ; _. _ . C •
(
I A,rtfsts" COlmme,nls

Here's. whal a ~ew master drumm~r/percu$s,ionisms have hJ say about The Sound of Eln.,fs1'Jes.

B u~c,h Mj les~,

"Too ():ft'el1l brushwork has been ignored as much as possible by students. and l:eac:iher$ alike" Na~ural~y'; 'fhis has. ~sulled fn some pretl.y bad brushwork in thls day and a,ge .. Ed Thigpen has called upon his vast kl1o'wl~dQ1e' and wlit~,en 61 book that shouid be rncluded in ev€ry drummel(\s ~ibrary." be he studeot or teachar, nov.r,ce or ,profecssio.r;,al, It's. time someone Wro~,9' a de'finitive book on brushes" and I be~ieve Ed lhigp.~n has done just that. Thank YOUI. Ed!"

B iUy Co;bham:

ILAner ,spe,akfingl to Ed Th~glp;er] and lists-ning ~IO the accompaillying recorrdi'ng; ~'ve come to the conclusien ~hat The Sound af Brushes r~ an esssnttal alem ent in everyone's e-ducational library" Put It in me' section marted Percussjolil, Traps" Con~e.mpor,ary. Try m YiJu'~llike it'I"

Harvey MaSQn.:

"I would like to endorse you r book [because T I' feel! that it Ls. a, great teach ilng aJd r wou Id use for students. Brushes are totally i~rnQred by so many YOl)Jng drummers today; [therefo.re,] I 'fee~ ~at your book ls even more valuable and sho!J.Ifd be exposed. G.o~d luck with it., and I hope irs a" hit!."

Carmj:ne, ,Appice,:

II~ waJnt you to know 1he~ I trunk The So,und of Brushes. is a grea.t book '~'Of today, and I would recommend it for an,y students interested in learninq today's. brush me"ho.ds,. The r,eeording ,is ii"1'1'.C ~. t ~OOf"

:::\I~ '¥a!, IL :'"

Jeff' Haml!l~on:

"This ms '~lhe most cQmp,lete brush book wrin@fI,~'

Sillily H~',ggliiI\1S:'

~mty a Q,ood book: trorn one of the' masters of the druma, ~ recommend tnii,s book of a :lost art ~nat ItS ve_ry impo rtant, "

JstClk De, Johlri'lietfe;

'Ed Thigpen's ThB' $oumj of Bm$h~s oo.ok is 8J must for ,eve'ry' se:ri'ous drum er who

58 WMlS to become a 'W,e'll~ ro unded rm sician ~n ,t ,e music bU!Sine.ss,""

lony W~Umams:,

'LEd Thigpe.n is the g reateet and The Sar.;nd of Brusne» proves itr

j, Papa" Jo J (H18S:'

"Aftier knowing E'·d for 10, these maJny 'Y'9ali'"S, I Can say that with his expe.rienclij, this book on 'the sound of lb rushes II recomll'rl@'nd, '!

Vie Firth:

",An articulate, pmgregsh/'~, 'wall-organized app roach 10 brush play-ing., An absol ute must fol\" any senou s drumnHi\l'r, ~

1F~"Qm Crescendo Jez»

'rn~ Sound ot Brushe,$ '~Rgvised Edition" Book/CD Review

FOJ as long 90$ ~ can rerne mber, Ed Th igpen has, wi'th on Iy a handfull of others, held the top seat in 'Ihe art of brush work. In my estimation! h@ now scores very hi,ghly as a ·WmelF!.

althou gh tni's ls not his fiirSl book, Ed takes yolUl .Me.p by step di i'Olugh mcmny var~ecl techniques_ AI so 1ake n into account ars the. d~fte'rent types of haflldl,es and wi res f!!)r procluccin'gl a wide range, o,f efl'ects and tone colors" Rr,glht-hand punctuation, heft-·hand half and ru III circ~as" strokes for double-tlrna feelin,g:, flex and multtple-bounce $tro4~es:, and adap~jng brushes to Lati n Ame rican music (.U9 lust a. f'B'lN ot th 8' it,e ms i ncl ud@d i n th is book"

At this point, I wou Id add thaI: the. m usic of the ~!Oc.onipanyi:ng GO is ,essen1liall. The CD~, 8Jffi well doni!;! and ,dearly narrated by Ed pers(rna~ny" alod witho.ut haste. Nowhere along the, way does 'liIi€! student 'feel he, lis, bel ng rushee lrom 'One exercise to another. On the contrary, II found Ed ~Q have a very relaxad way of talkitng. which [reflected an the rs.tenew" I woulld recornmend ~s. th e author h lmself doe s, to li'stelil 'Ihro~gh each example at least once wi~liIoll,il p.la~ting along with it and at the same time 'foUowing 'Ihe i'mu$U,ated diagram visually. Abso trace the. diaJgram with YOWi' 1ingler Ups on Iy, Take it stage by stai[l1;Jo and aJ~low YOIlJffiellf ~iJenty. O'f time, Weill writl€n and reeommended for alii .levels ..

FrOlm Modem Drummer Th~ Sound of Blushes by Ed Th igpen

'Ed Th igpen is. the gllfeatest, and The Sound o{ Brusnes proves it," Ir,aVES, Tony WHliams.::

"Thanks to I::.T" for giving IlJS a. boolk wi~h a derfinita approach. , , ," says Max RQach. We tend to .i3.'gllree_

The' Sound of Hrvs"l~S is p.ossibly one, of thie, most endighte.ning books on the su,buect wnUen by a leading expoYl~nl: of the art Brimming: with diagll'8,nJl5 and dlirectiofls., Thjgpe·n has assambi~ed a val uable yet complex reterenea, which demands, COl1c€lrlItraHon ,. The ,Elci:;:ompanyil1lg CDs. arre not only hel pfui=-ith,ey a re essentlall A.n ey,e'"'Ppenin gi look at a nearly lost an, by a ~1fue artist. BraJvo, Mr, 1!

59

iO'THER. PRODUCTS FR:OM ED 'THIGPEN

nr.; [-"'_~Ni': ).:l

,rus,he$

The Video.:;

The Essence of Brushes

(VHu!47)

'Eyery minute of Ed's video ]5 filled with inspiring ifis-trucN(¥~8, and performarrces. As ill special bonus, Ed plays several 'pieces w~th ;;<U'L aLtsta r j azz trio, fcatu rh~g d'liQ 'kg,cnda :I'Y ba~llsist Ron Carter and Tc..my Purrone on guitar,

The trio performances ID.t;orpO.f('ilie OOn,.I;:X~P·1:s and b,,=(:hl,lIuques from Ed's instructional presentations and eover a 'wiicle :tange of mus&e styles. The perforrnances ·~n;c.l.ude.- 81 'wonderful jazz waltz, a ddigh.tful

L~tm.! Braz]li;!t!fi~mfl uenesd piet~, and ·fJJ b'IU ly S\"Tj ng i ng, bl ues,

~d B'lI;-ls the wonde .. i'ftll ~bility to (J:"Iik~"! ,dC·\';"T·C:I'S, fC!lI'!l as if 'hie' were (heir long-time teacher or friend, openly sharing his great knOlj,\r].ctlSIC~ Ialent, and experiences. He expleins and demonstra tes the li:'86erutiaJ

slro kes .:1 nd so u no 5 of 'the' 1) r ushes and their aplPlic8!tior1.S to dlUel':'en't my[hmic patterns and IIiLu.sica.ll. forms, Also, he uses a variety of brushes to present nl.;7lny il'adHidnal aJild ~n:nlov,~tlVil?; techniques.

This is an iUl1:i3IZIIJ,g video from a .~r.e.at teacher and :musid8in-[h.~ ome tmd. only Ed 'l)igp~J"U- A comp'l i'rrne~~~ ry ma n ual wi ml ~'plP.c:i a 1 pl ayl ng di ag r21 rns, nota tions, and suggestions fur further ~'tu(_ties :ii8. enclosed;

,RHl~ 8:RDUGHT TO LITE Ii:'I;lcm'i'~ b;1.ID!.E11 11:i~S'T

Rhythmic Primer:

Rhythm Brought to Life

Th:i:.:;. :rhyflll rn lc .P ri'I:"I~~]' is .3 basic, sys tematic me thod fhal will KUv~ Yol!.ll a rt11o['(mgh Icundation fur unders tanding and interpreting' rhythm, Geared fur aJI instrumentalists,

\J O(;;li Hs.ts ... ,fJJ1J 'it~ usi cologtsts. It?:gL.~n,d.o :ry ITI.IJ siclan Ed l1l~gpe'n/'!'l bonk delivers a. practical and user-friend 1'y a.pproa:ch ~o rh ythm.

$~M,9~

I~ lli!\

11~12JI,