Phrasing Freedom With Brushes SAMPLE

CONTENTS
INTRODUCTION 5 PHRASE DEVELOPMENT 34

About the Author 6 Interpreting Jazz Melodies 35
Foreword by Darryn Farrugia 7 Measured Rolls 37
Preface 8 Sticking Cells 39
Backing Track Information 9 Short & Long Rhythm Interpretation 41
Video Demonstration Information 10
Suggested Listening 11 TUNES 43
About the Tunes 44
UNDERSTANDING THE NOTATION 12 General Notes 46
Brush Diagrams 13 Sandy Blues 47
Drum Set Legend 14 Marl 51
Symbols 14 Waltz for Robyn 56
Starting Positions 15 Slow Dance 59
Articulations 15 Two Half Coconuts 61
Diagrams + Symbols + Articulations 16 Big Al 67
Beauty in the Air 71
BUILDING BLOCKS 17 What the Vulf? 76
Basic Strokes 18
Train Track Patterns 19 Thank You 80
Quarter-Note Pattern 19 Acknowledgements 80
Eighth-Note Pattern 20
Basic Swing Pattern 20
Core Techniques 21
Supplementary Techniques 24
STYLES 25
Swing Shuffles 26
Jazz Ballad 27
Jazz Waltz 29
The Gallop 30
Bossa Nova 31
Latin Grooves 32
Funk Grooves 33
3
ABOuT THE AuTHOR
Anthony Stanislavski is a drummer, educator and author from Melbourne,
Australia. He prides himself on his ability to play many different styles of music and
devotes himself to his craft by continuing to learn and develop as a musician. At the
age of 18, Anthony joined the Australian Army Band as a percussionist and during
his 7-year service, he toured Australia and overseas, performing with the likes of
Guy Sebastian and Marina Prior. He studied with some of Australia’s most highly
regarded drum teachers including Simon Barker, Graham Morgan, Peter Blick,
Dave Beck and Ronny Ferella, and has completed a Bachelor of Music Performance
at the Victorian College of the Arts.
As a performer, Anthony has performed at many high profile events including the
ANZAC Day Clash at the MCG, the Australian Grand Prix, the Japan Self-Defence
Forces Marching Festival, and the Royal Edinburgh Military Tattoo Melbourne. He
performs regularly in rock, jazz, Irish and country bands. As an educator, Anthony
teaches drum kit, percussion and music theory at some of Melbourne’s most
prestigious schools including Caulfield Grammar School and Luther College.
Anthony’s first publication Beginner’s Guide to Big Band Drumming was released
in 2019. It is a valuable tool for any teacher or student of big band drumming,
removing the mystery of drum notation and interpretation in big band music.
6
FOREWORD
by Darryn Farrugia
I became aware of the brushes when

I was a budding young drummer–my
dad played the drums and owned a
pair. Some years later, when I began to
take drumming seriously, I began to
truly appreciate the art of brush playing
through listening to recordings by Philly
Joe Jones, Buddy Rich and Steve Gadd.
Mastering this art was always a mystery

to me, and as a result I fumbled my way
along by playing a couple of self-taught
patterns. I can’t imagine they sounded
or felt any good, but they got me through
my high school years and led me into
college.
It was during this time I decided I needed

some lessons to sort out this gaping
hole in my playing–this was especially
important to me considering my love of jazz and the drummers who laid the
groundwork for this art form. But it seemed the only way to learn was by watching
my teachers demonstrate patterns, which I then translated into my own clumsy
diagrams. That is, up until now.
The work in this book has been thoughtfully and skilfully laid out by Anthony
Stanislavski. It has been carefully practiced, notated and consolidated to form an
invaluable asset to any drummer’s library and vocabulary. Anthony has also devised
detailed yet easy-to-understand diagrams that allow easy access to the vast array of
patterns, techniques and sounds presented.
Stylistically, you’ll find a large number of patterns that make up a typical jazz
drummer’s repertoire in addition to Latin and funk styles. There are also several
play-along pieces that contextualise the patterns with accompanying drum charts
and transcriptions. This is where the real fun starts and where we get to fully
appreciate the inherent musicality associated with this art form.
There’s a lifetime of study here–Phrasing and Freedom with Brushes is a great

resource that encapsulates the historical significance of brush playing while allowing
it to be passed on to future generations of drummers. I can only wish that this book
were available to me when I was a young drummer.
7
PREFaCE
Early in my drumming life I asked my drum teacher if he could show me how to play
with brushes. He said that he would show me two basic patterns, then I would have
to figure out the rest myself. This surprised me, however it was the same response I
received from many of my teachers. What I really wanted to learn was how to apply
accent patterns, rudiments, soloistic ideas and more. I don’t blame my teachers–
what I soon realised was that there had never been a method written down for
incorporating these ideas.
In the following years, through trial and error, I figured it out for myself and have
now created a method for learning how to play with brushes. As a drum teacher
I now consider it an obligation to pass on my method so that this art form can be
taken further.
Brush notation has also been a challenge for authors due to its lateral motions.
Through ideas I picked up from a few sources I have developed a system for brush
notation. Give yourself some time adapting to the details in the notation. Given
time, it will become natural.
8
UNDERSTaNDiNG
THE NOTaTiON
Before we get stuck into the fun stuff, there are
a few things you need to know in relation to
how I notate for brushes. Make sure you take
the time to read through the following few
pages to understand what all the funny looking
hieroglyphics mean. Then play through the
exercises in the next chapter–Building Blocks–
to help build your understanding of the details.
BRuSH DiaGRaMS
Throughout this book you will see diagrams that help you understand the lateral motions–
‘sweeps’–of the brushes within an exercise. These diagrams show the direction and length of the
sweep across the drum.
Tap
When no arrow is indicated this means that the brush strikes the
drum vertically, as you would with sticks.
Half Sweep
A short arrow indicates the brush to sweep half way across the drum.
Full Sweep
A long arrow indicates the brush to sweep the entire distance across
the drum.
Figure 8
The right brush sweeps to the right from the top and continues around
the figure 8. The left brush sweeps to the left from the bottom and
continues around the figure 8.
Circular Sweep
The left brush sweeps small circles in an anti-clockwise direction.
13

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CONTENTS

INTRODUCTION 5 PHRASE DEVELOPMENT 34

I became aware of the brushes when

Mastering this art was always a mystery

It was during this time I decided I needed

There’s a lifetime of study here–Phrasing and Freedom with Brushes is a great

The left brush sweeps small circles in an anti-clockwise direction.

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