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Private Instruction, Master Classes, Drum Tracks,Rhythm Section Labs
Ed Bettinelli has been a stylized performing and recording artist for the past 40 years. Ed's focus over the years has been on original music, with two projects signed to major record deals on Geffen and RCA records. Both bands involved Ed assuming most of the day to day business responsibilities along with writing and arranging contributions. Playing to coliseum capacity crowds before such acts as Pat Benetar, Bon Jovi, ASIA, Average White Band, Split Enze, The Tubes, Jack Bruce, and many others has well defined Ed's experiences as a dynamic performer.
Recording with high profile producers such as Keith Olsen, David Thoener, Gary Lyons, David Prater and Auther Pason has contributed to his skills as a player, and has added to his musical sensibility. Ed's musical background includes graduating from the Berklee College of Music, along with years of private study with such instructors as Alan Dawson, Peter Erskine, Gary Burton, Al Miller, Joe Hunt, Kim Plainfield and Mike Clark, contribute to his playing and teaching philosophy. Ed operated E.K.G Music, a music house that was based in New York City. E.K.G. Music wrote music for film and T.V commercials.
Berklee College of Music, Berklee Today 2017 article
Your instrument is the messenger of your musical thought. Speak!
"Whether it's his playing, his instruction or his personality, Ed is the consummate professional. His playing? Solid. His attitude? Positive. From Tony Williams to Vinnie Colaiuta, Mitch Mitchell to John Bonham, he's well versed in many styles of music and the drummers that go with them."
-Keith Olsen (multi-platinum record producer)
"Ed, I forgot to say how much I appreciate the way you back up the bass solos, making them sound better than they are".
-John Beal (Bass player extraordinaire, Joni Mitchell, Miles Davis, The Who)
As a teacher it is my responsibility to expose my students to as much rhythmic information as possible via books, listening analysis, videos, etc. I must bring a mind set to the student's attention, enabling them to translate this information through their kit. Creating an orchestrated and musical drum part that supports a song is essential and makes the understanding of this information complete. The inability to do this makes all your rhythmic knowledge useless!
Each time I give a lesson I feel as though I am taking one. There is a constant learning process in finding ways to break down the walls my student’s reach. A drum set takes up a small amount of space, being in control of that space makes it boundless! I believe a player should never play alone. The player should always bring a point of reference with them to their kit. A radio should always be on in their head, be it a song, bass line, melody, streaming 16th or triplets etc. This will help them to define placement and create a seamless style in their playing.
Stimulation = Motivation! The Art of Drumming goes beyond four walls and a drum set. The room is outfitted with a fully mirrored practice pad station. Here the student can see form and posture to help better understand the ergonomics of playing the instrument. The 10’ x 14’ stage is equipped with two drum sets that face student to teacher. Isolation headsets (with talk back) are provided, enabling me to instruct without the need for students to stop playing to hear me. My ability to play the bass guitar enables me to implement bass lines and loops into my teaching, creating a rhythm section environment. In addition, pro tools, internet access for listening and video analysis of some of todays and yesterdays music masters, and video lesson recording and analysis, rounds out my unique and stimulating learning/teaching format.
If you listen deeply, there's always something to embrace in every style of music!
A Personal Note.
I find music that inspires me most is music that is saturated with heart and soul. I look at beats and fills as words and grooves as sentences. I try to orchestrate patterns that support the story line of the song I'm playing (never forfeiting feel for a fill). It's important to be well read as a player with a strong musical vocabulary. Try to listen to as many different styles of music as possible. Keep in mind that just because you have an extensive musical vocabulary (chops, tricks & licks) doesn't mean you have to use them all to make your musical point (less is more). Always remember to be aware of creating a groove/feel using dynamics and phrasing as your primary goal. Listening = learning, and is by far the most important element/skill we can have as a player. Listening gives the player topic (rhythmic and melodic information), to better formulate an opinion with intelligence and understanding of what he or she (the player) is trying to communicate through their instrument.
Drummers we must know!
Some drummers who have inspired and influenced me (keeping me in the wood shed) are; Tony Williams, Steve Gadd,
Elvin Jones, Art Blakey, Philly Joe Jones, Roy Haynes, John Bonham, Vinnie Colaiuta, Mitch Mitchel, Ginger Baker, Clyde Stubblefield, Jabo Starks, Jack DeJohnette, Jim Keltner, Levon Helm, Bernard Purdie, David Garibaldi, Airto, Mike Clark,Keith Carlock, Ringo Star, Bill Stewart, Antonio Sanchez, Jeff Tain Watts, and Quest Love to name a few.
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