David

I think this is my absolute favourite Ringo performance and this is my favourite Beatles album. Shame we never played this in the Beatles tribute band I was in but there's time yet 🙂

Great video breakdown of Elvin Jones style by Drumeo.

I'd say try it and see how it feels and give it a month. You might find you have to work on your feet a bit but I think you'll transition quite quickly at this stage if you find you like it. Also if your current BD foot becomes your HH foot it's already had quite a bit of development so that might be helpful. If you find it all feels wrong and unbalance over the month you can always switch back and you've not wasted any time, it will be good for independence I would think Looking back I wish I had made the switch when I was starting out, as it is I'm now working on ghosting with my right hand as an exercise to improve hand independence. I will be putting a fixed HH on my right again at some point, I've had one there before and it's a great additional voice to have.

Ok, so I'd say then you are looking at 2 primary things imho; The technical setup and tool box open-handed playing brings you, great for opening up the kit. I think mechanically open-handed playing opens the kit up in a much better way and make total sense, especially if you are starting out. Musical and lyrical playing which I don't think is related to technique but is certainly assisted by technique. When I listen to Elvin Jones, Vinnie Colaiuta, Billy Cobham, Bill Bruford, Simon Phillips, Joe Morello etc: I love the unique feel and musicality they bring, they have such a creative mindset which is supported by technique. For me I'm trying to include elements of OHP as I'm too old and being playing too long to change now, it would bring me to a halt doing what I love doing which is playing live when I get the chance. It's another tool in the box. Other tools I'm trying to build up are brush playing, playing with my hands and not sticks, playing with different things in each hand etc all this adds to tonality and musicality. This is a track that, for me, illustrates the kind of musical freedom I'd love to achieve rather than just the break down of 4/4, 3/4 and 2/4 measures I need to do to get through it. Technically I'm no where near this but I should be able to get through it in my own way at some point, I've only just learned to read and count properly and realise now how this would have been good to do 40 years ago when I started. Sorry I've gone on, interesting how this subject makes you think about creativity as well as technique, developing the creative aspect and your own voice is equally as important as technique I think, like language... you collect words but with on context they are just words.

I don't think GH thinks OH but more ambidextrous, he swaps as it feels right I think, I've seen him play both ways in tracks. He's also an amazing piano player... the swine.

I think depending on the direction of travel round the kit the sticking should change, so if you are going left to right and doing even 16th notes the RLRL stick makes sense and the reverse would be true going the other way. I think this is ground work for the more lyrical/expressive fills you are talking about. On She Said She Said by the Beatles Ringo demonstrates how to break up fills in a musical way, nothing fancy just a great sounding drumming. I think practicing on a pad starting with one hand and then the other to practice the transition smoothly both ways and then transitioning to the kit works for me. Also I do groups of 8th, 16th, and triplets bars to practice transitioning helps. I do try to do it dynamically soft to loud etc. The challenge is to reverse the direction coming back up the toms 🙂 I think the pros are so past playing the basic 16th note fills pattern we use to practice... the big show-offs 🙂 As for wasted chance's, I think it depends where you are on your drumming/musical journey. As you've played other instruments your appreciation of time is different to mine, I'm working on my internal clock after playing live for many years but never understanding time the way I do now, after working through Stephen's courses.

I'd add Billy Cobham and Gary Husband to the list, I think BC was the first OH guy I became aware of. Simon Phillips is amazing.

Fantastic!. I seen Craig on a lot of Roland videos but never really looked him up, this is great and one I'll research further.

Long time ago I did have a crash/ride over my HH, it was great having a ride on both sides and having the additional ride voice. It makes sense open or crossed because you can still play with the, I might try that again I'm trying to adopt some open handed technique but I don't think I'll be swapping all the way, too long in my groove, however like Harry Miree I am tempted to try adapting the kit rather than myself. I saw Bill Bruford with his center HH almost symmetrical kit years ago and loved the idea. I'd set mine up like this but I've planning to play a lot more at open mics and sit in where I can so I'm sticking with more trad set up for now. Saying that, if you have a simple setup you do get fairly close to this, the snare and the tom lined up center. When I learned clocks I forced myself to play the HH (verses) with my left hand and snare with my right switching back to my usual playing on the choruses where he goes to ride, so now playing the same pattern with my left hand on my snare and right on my ride, it's a nice musical exercise. I think I am going attempt to work through ghost notes 101 switching my hands as I can't play a ghost-note groove with my right hand to save my life. I see a lot of swearing in my future!

Found this series of brilliant videos on youtube, really worth studying imho.

I found this very interesting, the circle is some I've not seen for rhythm before but works well. There is a spreadsheet link on the YouTube page containing all the rhythms: https://docs.google.com/spreadsheets/d/19_3BxUMy3uy1Gb0V8Wc-TcG7q16Amfn6e8QVw4-HuD0/edit#gid=0 Thanks @Eyal for suggesting to add the link

Album: Chet Baker & Paul Desmond – Together (tracks: 1, 4, 6, 7)

Album: Chet Baker & Paul Desmond – Together (tracks: 2, 3, 5)

Albums Biting the Apple - Dexter Gordon We Want Miles - Miles Davis Sonny Rollins + 3 - Sonny Rollins YouTube Miles Davis live in Stockholm 1973 Al Foster: "Take The A Train" with Joe Henderson - 1993 Al Foster "Reflections" video

Albums Black Radio - Robert Glasper Experiment Black Messiah - D'Angelo Malibu - Anderson .Paak YouTube Erykah Badu – Live From VH1 Soul Stage (2008) Chris "Daddy" Dave - Drum Compilation (2019-2020) Chris "Daddy" Dave: Drum Solo

@RobertThis list looks great to me, perfect! I knew this would be a busy shelf 🙂 All what I would call Rock n Roll, Heavy rock, Heavy Metal, Prog rock etc. Pop-Rock My thinking was we have the sections in Rock for drummers where we list albums and videos as a resource. I hink is area is for those albums you have a special love for and recommend to people who may not have heard them, just like you have, so I can go get a taste. Not a discography, thats on Wikipedia, more a 'You have to hear this album from this band'. I've listened to very few of the artists you mention, bar Judas Priest (a local band as it happens!); So now I know what to listen to to get a taste of Krokus, I've got Headhunter on now! Think of this as a taster menu 🙂 ... I'll reword the intro, this was very helpful. @Bob Add an album or 2 to each one, ones you love or think are an essential example of that band. And you've hit the nail on the head, I need to add more categoies: Funk/Disco, Soul, Blues. Don't think of this as a definitive list, its a taster menu... and so much new stuff to listen to.... I have to do a section for Hendrix/Mitch and Santana/Michael.... Ohh Mountian... Lesley/Corky 🙂 Don't worry about the mess, we are here to play and not get to bogged down by the rules, the music is the only thing that rules here!

Touch the Sound is on Netflix, it's a very interesting film featuring Evelyn Glennie. Trailer is here

It's not my flavour but that's the joy of art, it's subjective nature. I'm not sure how much was improve? I am always in awe of artists who perform solo, not something I think I'd want to do.

I think it most take a lot for someone to open up and talk about their art, to try and vocalise the emotional intelignce behind what you do, quite brave I think.