When we speak of tone, we often use terms like warm, round, dark, and the like. Each tone quality has its place, but the one that many drummers seem to forget about is bright. It's one thing for our drums to sound great when we're seated behind them, but what does it sound like out front?
Almost all musicians play cover tunes … it's where the majority of music comes from. And almost all bands are cover bands, at least in the beginning. Artists depend on the tunes and the tunes depend on other artists. But sadly, the term cover seems to have morphed into almost an insult. Nobody is offended when they remake a movie, such as Godzilla (not once but twice!) And no way would anyone protest, “It’s just a cover of the Ishiro Honda movie” or suggest that the film-maker had cheated or copped out.
Perhaps you're teamed with a bass player who doesn't lay down a solid line. Or maybe someone in the band just doesn't connect. In either case my recommendation is to work with the strongest or the weakest player.
Everywhere you turn these days, someone is talking about, writing about or demonstrating something they cheerfully call "Moeller". But here's the thing -- there appears to be a lot of different techniques being presented as Moeller. So I decided to see if I could get to the bottom of the apparent confusion, and here's what I found out about our friend "Gus" and his teachings.
Yup, that's what Mel Lewis said, as stated by John Riley in "Beyond Bop Drumming." At the time, John thought it seemed like a bit of hubris, but Mel had a very good explanation. You see, Mel strove to be such a proficient player that even on an off night he was still plenty good at his job.
Forget the 'flat foot vs. toe' argument. When it comes to working the bass drum foot pedal, pretty much anything goes. All of the pedal techniques listed below have advantages and limitations. My advice is to try them all, as each one can bring something worthwhile to your bass drum execution. Note that some pedals may not be suitable for certain techniques.
This brings to mind the adage “You don't stop playing because you get old. You get old because you stop playing”. The same might be said of creativity. Maybe we don't stop being creative because we're not very good at it, we're not very good at it because we stopped being creative.
When I was a young professional musician, I had a reputation of being extravagant. It's a bit ironic because I'm a total cheap-skate. While I was making a pretty good living from drums, I still had to live frugally. I also had to allocated funds carefully. The main areas of contention were instruments and transportation. You see, I had very expensive drums and a fairly expensive car, whereas many of my peers made do with lesser equipment. There's a simple reason for that: TCB.
Your job as a drummer is simple: Hit stuff. Usually you'll want/need to hit things in a more-or-less controlled manner. Below are the basic strokes from which all others flow. Note that for each type of stroke, the position of the stick at the end of the stroke is just as important as the start position.
The band was about to play their final number and the leader was introducing the band members one last time. It was a bit redundant because the line-up was a who's who of Canadian jazz players. Finally the MC announced the drummer, adding that he was the glue that held it all together, and all the band members nodded in agreement......That struck me as a bit odd.
Drummers, wearing protective ear plugs is a highly effective way to prevent hearing loss. H.E.A.R., through our nationwide affiliate network of audiologists, offers free screenings and consultations with audiologists. Ear doctors have also joined us as Affiliates to test hearing and fit custom plugs or ear monitors for musicians. Our clientele range from rock legends to local school marching bands and all those interested in preserving their hearing for their music.
Illustrator, composer, drummer and story teller Mauro Magellan publishes a wonderful children's musical story book and companion videos about a lowly Rat who wants to play drums for the Elite Cats! Perfect Christmas gift for kids. Suitable for adults too! In hardcover and softcover with free MP3 down loads. Order Here
We were sitting around discussing our usual topic: drums. When we got around to the topic of tuning, the more senior drummer among us (defined as someone who'd actually had some real gigs) said: "A drum should go Doom."
I'd like to dedicate this post to the memory of Jim Blackley, the man who I will always call “teacher”.
I recently spent a lesson with a youngster listening to a Katie Perry tune. This fellow was just beginning to be interested in music, and the tune really spoke to him. I like to work with real world examples, so we listened to the tune and talked about it. I pointed out things the drummer was doing that were things we'd been working on. For his next lesson, I prepared some exercises that he could play along to the tune. We spent maybe 10 minutes on the drums that day, but it was one of the best lessons ever because he got it, and he got it because it meant something to him.
A while back reading The Roots of Rock Drumming book, I researched the drummers interviewed in the book. Checking out some performances mentioned in the book, learning and trying to digest their contributions. Not long after that, we started messing with Austin Drummer Magazine, doing interviews with some local greats who gave impressive lists of music they went to school on to get their gigs. Since they were gracious enough to pass on extensive lists of music they learned from, I felt obliged to go at it like I was trying to get their gigs and soak up as much of their music as possible. The results were something I have to recommend you do for yourselves.
A 69-year-old professional jazz drummer had pain, accompanied by numbness and tingling, in both hands and could not bend his fingers. He experienced moderate aching pain and difficulty holding his sticks both while practicing (two to three hours a day) and during two or three gigs a week. The pain was relieved by rest and breaks from drumming, though he sometimes woke up at night with a burning pain in both hands......
Some of the patterns have been around for a thousand years or more. Most of them are a few hundred years old at least. The drum set itself, barely a hundred years old, came along long after the rudiments were laid down. Well, if the rudiments were never intended for drum set use, does it even make sense to drag them into the drum set arena?Some of the patterns have been around for a thousand years or more. Most of them are a few hundred years old at least. The drum set itself, barely a hundred years old, came along long after the rudiments were laid down. Well, if the rudiments were never intended for drum set use, does it even make sense to drag them into the drum set arena?
My doctor put me on a new drug that actually made me a bit stoned for the first few days. I was prepared for this and planned my days accordingly. What I didn't realize was how it would affect my playing. Being a little bit high (from whatever cause) can help you get into the music. Best case is to be high on the music alone. Less desirable is to be in enough of a fog to forget to pay attention to, for example, the guitar player trying to catch my eye because he wants to end the tune.
I had an interesting time playing a “back line” set. It was a high quality set – very complete – but with a few weak points. The main issues were the hi-hat, snare and bass pedal. Wait a minute ... aren't those the most important tools for a drummer? With a part missing from the hi-hat, a jammed snare release and a bass pedal badly in need of some grease, I had to be vigilant just to 'TCB' which, of course, takes away from playing music and my mental health.
There are twenty six very famous drummers profiled in this book who span the twentieth century and the entire history of modern drum set drumming: Chico Hamilton, Phil Seamen, Kenny Clark, Davey Tough, Big Sid Catlett, Papa Jo Jones, Max Roach, Roy Haynes, Art Blakey, shelly Manne, Jake Hanna, Mickey Roker, Billy Higgins, Art Taylor, Elvin Jones, Joe Morello, Paul Motion, Dannie Richmond, Philly Joe Jones, Tony Williams, Billy Cobham, Ginger Baker, Jerry Allison, Earl Phillips, Al Jackson JR. and Jim Keltner. Thanks for writing such a comprehensive, educational and very entertaining book, Chet.
Everything you need to know about being a professional drummer . . . and a few things you may not want to know. Hosted by Matthew Crouse, co-hosted by Zack Albetta and produced by Mike Jackson: the podcast Working Drummer covers it all in interviews with dynamic pro drummers. WorkingDrummer.net
Nov. 9-12, 2016, Indianapolis Convention Center, Indianapolis, IN. PASIC is the Percussive Arts Society International Convention. If you haven’t been to PASIC, then you should make time to go! It’s a day totally devoted to drums, percussion, the education of percussive arts, and just about anything that can be translated to rhythm. Just imagine – a convention center filled only with drummers! There were many concurrent sessions (making it impossible to see everything) so I elected to attend the drum set clinics primarily, and peruse the exhibitor booths in between. Unfortunately, that meant I missed out on many percussion ensembles, marching exhibitions, electronics, etc… Please check out the 60 pics on the NSMD Facebook site.
According to the Harvard Dictionary of Music, a polyrhythm occurs whenever two contrasting rhythms happen at the same time. That doesn't nail things down for us very well, especially given that there are a number of terms used to describe polyrhythms. What adds to the confusion is that the book uses the same bit of notation to illustrate several of these terms. So what gives?Terminology is helpful when it clarifies concepts, and a pain in the butt when it serves only to confuse. So I'd like to offer a few suggestions for interpreting the rather imprecise terms available to describe concurrent rhythms.
I'd only playing for a few years and was about a year into my studies with a world-renown teacher, but at this particular lesson I was bombing. I didn't know why I was bombing. My teacher, who didn't often say much, was pacing the room slowing shaking his head. “Let’s try it again,” he said. That meant another month of the same material. So I knuckled down and did it all again. I was good at knuckling down. I had the discipline and determination to master the material I was assigned. And I HAD mastered it. Or so I thought.
When I attended Berklee in the late sixties, I studied with Alan Dawson and couldn't endure his drive for perfection. I wanted to move forward in a quest for new concepts, and he wanted to make sure I dotted every “I” and crossed every “t.” Alan had the patience of a saint, while I was a child that couldn't get his pants up quick enough to get started every day.
Our personalities at the time were, in many ways, at polar ends of the spectrum; yet, his demeanor was easy going and he was easy to like. Alan would say, “Here's your assignment I expect you to put a lot of time into the concepts I give you,” which, in his delivery, might include a passive-aggressive tinge. Alan preferred to imply his core message, rather than just say it out loud. At the time I didn't get it: I couldn't wrap my little young-adult head around such nuance.
A couple of years ago I had a recurring numbness in my lead hand. My fingers went quite numb and the numbness extended nearly to my elbow. I did a bit of medical research and learned that it was caused by, unfortunately, old age. The problem is similar to carpal tunnel syndrome. That’s when the nerve ‘tunnel’ in the wrist becomes chronically inflamed so the nerve can no longer slide along smoothly. Carpal tunnel is a tough one because it often requires surgery. My problem was less severe, and the recommended treatment was to relax. And so.....
All drummers need to practice their rudiments and the various styles of music in which they are involved. But there is another crucial aspect of music not covered by those efforts. George Marsh's landmark book, “Inner Drumming” gives you the missing ingredient: internal awareness of your body as you are playing.
Drums are loud. And few if any neighbours would recommend living beside a drummer who practices a lot. So what is a poor, motivated drummer to do? Rent a practice hall? Good idea, but not convenient and not cheap. Just hope the neighbours are OK with it? Ya, I’ve tried that ... pretty risky. Maybe you can fit up a practice room that keeps the sound inside. That would be ideal. It’s also nearly impossible to achieve, but with a bit of time and investment, you can come close enough.