Drum Articles
PRACTICING

Are you sure you know "how" to practice drums?
Pro drummer Mat Marucci offers a valuable article on this subject.

There is a saying regarding practicing that has been attributed to the concert pianist Vladimir Horowitz and paraphrased by many. One version of this saying is: "If I miss one day I know it. If I miss two days my wife knows it. If I miss three days my audience knows it." That is arguably the consummate statement on the importance of regular practice.

The hours we all put into practicing technique are very important to us. We all do it to maintain or improve our playing. However, often much of the time spent behind the drums is not put to the best use.

Time spent practicing brings up the old debate of quality versus quantity. If the musician's focus is right, more can be accomplished in thirty minutes time than two hours of time with the instrument.

Many musicians do not really practice but "play" their instruments. That is to say that they sit down (or stand) with the instrument and play what they know. This can be great for the maintenance or polishing of certain techniques but, with those exceptions, no progress is being made.

The essence of the practice session should be musicality while striving for perfection and improvement. Even while practicing, the musicians should concentrate on playing music!

Perfection, improvement and musicality are the guidelines for a productive practice session.

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Perfection: Every technique should be done as perfectly as possible. This includes hand positions, stickings, stick height, wrist movements, touch, etc. Practicing wrong will develop improper technique - and all execution is affected by technique. To strive for perfection is the first step in practicing.

Improvement: Each practice session should create a challenge for the musician to accomplish something never previously done. This could be a new rudiment, piece of music, or exercise. It could also be a new tempo for an old exercise, etc. And the tempo does not necessarily have to be faster - just different. Old exercise books are excellent ways to improve. (Every book should be played at least twice, because it is never mastered the first time through.) But, whatever it is, some new accomplishment should be attempted at every practice session.

Musicality: The purpose of playing any instrument is to play music. And music should
be kept foremost in mind whenever practicing. Even when playing a rudiment or
technical exercise it should be thought of musically and how it can be applied to music. As stated earlier, musicality is the essence of playing an instrument.


The amount of practice time will vary from individual to individual and also from beginner to professional. A beginning drummer might practice thirty minutes to one hour a day and increase that to two hours per day as he progresses after the first year or so of study. If the student continues to be serious and is looking toward or is in a college program as a music major, the practice time should increase to approximately two to four hours per day. As a struggling career minded professional it can increase to four to eight hours per day. As steady engagements, playing situations and other responsibilities increase with a developing career (and with life in general) practice time then starts to decrease again. It might be one to two hours per day again or maybe two to four hours three times a week - whatever the individual needs are and professional and personal schedule allow. But, whatever the situation allows, practice should be continued throughout one's professional life under any conditions.

 
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Modern medicine now has practitioners who specialize in problems peculiar to musicians of all instruments. They are finding that players of the same instrument experience the same or similar problems. (Two of the problems for drummers are carpal tunnel syndrome and lower back pains.) To alleviate and/or prevent some of these problems experts recommend resting for five minutes each half hour instead of continuous practice. The recommendation is twenty-five minutes - practice, five minutes - rest.

I have made a list of some important points that if adhered to should not only make your practice session more productive but also more enjoyable. (We all enjoy what we're doing much more when we can see advancement and improvement.)

1) Watch Your Hand Position: this is the No. 1 problem I have found with drummers and students - from beginner to advanced. Whichever grip you use, when practicing always be sure your hands are in the correct position. It just doesn't make sense to put time in practicing technique and not have your hand positions correct. These positions are used for a reason and your development will be limited if you do not use them correctly. Once your hand position improves you will find your playing will become much cleaner and faster.

2) Sticking: this is the second biggest problem I've come across in teaching. Keep in mind the phrase "one stick up, one stick down" and practice that way. You will always have a stick in position to make a stroke either from the high ("up") position or from the low ("down") position. With concentration on "sticking" your hand techniques will start to flow much more smoothly.

3) Stick Height: this is different from sticking in that it refers to how high you bring the sticks. Whether you work from a full 90 degree position, a 45 degree angle or anything in between the important point is that both sticks return to the same height. Because most of us are not ambidextrous we have a tendency to favor our strong hand and bring that stick to a higher position than the weak hand. This means one stick is traveling a shorter distance to reach the drum whenever a stroke is made. Think about it. It stands to reason that if one stick is traveling eight inches and the other only five inches, the stick farther away has to move faster to reach the drum in the same time interval as the closer stick. This also means the rebounds will be weaker with the closer stick. Are your Single Stroke and Long Rolls uneven? Stick height is probably at least part of the reason - along with the Hand Position and Sticking. Concentrate on these three common problems and you will see a vast improvemet in your technique.

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4) Play Off The Drum: unless they have learned this somewhere along the way, most drummers, especially heavy hitters, play down into the drum instead of off it. When making your stroke think up and bring the stick away from the head immediately after striking it. Some teachers describe this as "drawing' or "pulling" the sound out of the drum. The shorter the time the stick is on the drumhead the more resonant and responsive the drum will be. Thus, a cleaner and fuller tone and increased stick speed.

5) Learn And Practice The Drum Rudiments: even if you only spend a minimal amount of time on them do at least something. If you only study one rudiment a week - just one - you will have learned all 26 in exactly six months. You do not have to be a rudimental champ but the knowledge will be a definite plus - and you'll feel good about your accomplishment besides.

6) Work With A Metronome: use it at different speeds including the slowest ones. It won't make your playing stiff but will improve your time and meter. And, if you ever encounter a click track in the recording studio you will be thankful for any time spent with a metronome.

7) Keep The Practicing Habit: We all know that occasionally time is at a premium and a full practice session is impossible. On those days at least do something - even if it's just a 10 or 20 minute keep-in-shape or warm-up routine.

8) Strive For Perfection: be as perfect as possible when practicing. There is no sense in putting in the time and hard work if you don't go for perfection. Be your own worst and toughest critic and don't sell yourself short.

9) Vary Your Practice Routine: this is especially helpful when practice time is limited. Sometimes it is better to look at your practice sessions on a weekly instead of a daily basis. One day spend the majority of the time on hands, another on independence, another on reading, another on rudiments, etc. and be sure to rest for a few minutes between segments or five minutes per half hour. This will help avoid overuse or strain of your muscles. Be sure and spend some time creating and just playing. Some teachers suggest you do it at the end of your practice session. However, I have found it often works better to do it at the very beginning to get it out of your system. Then you can just focus on what you planned to work on that day.

10) In Regard To Sticks: you should generally use the same size stick to practice with that you play with. But it can be beneficial to spend a few minutes a week with heavier or lighter sticks to give your hand and wrist muscles a change. This can improve strength and reflexes.

11) Study The Traditional Grip: and if you generally play traditional spend some time playing matched. The traditional grip has some definite advantages which include finger dexterity and flexibility of the weak hand. If you generally play matched grip, spend at least some time every day on the traditional grip. The increase in finger dexterity will even help your matched grip playing.

12) Keep Challenging Yourself: never be satisfied. Try to be working on something new at all times - a rudiment, book, rhythm - and once that is accomplished, whether it takes a day, a week or a month, move on to something else new. Strive to constantly improve during each practice session.

These previous tips should be concentrated on only while practicing. Once you are at rehearsals or the gig don't think about them. Concentrate on the music and feeling relaxed and comfortable. If you use these tips diligently every time you practice you will find they will creep into your playing without your realizing it and you will see a vast improvement in your technique and playing in a few short months.

Copyright 1999 Mat Marucci

Mat Marucci is an active performer, author, educator, and clinician listed in Who’s Who In America and International Who’s Who In Music. His performing credits include jazz greats Jimmy Smith, Kenny Burrell, James Moody, Eddie Harris, Buddy De Franco, Les McCann, Bobby Shew, Don Menza, Pharaoh Sanders, and John Tchicai, to name just a few. He also has seven critically acclaimed recordings to his credit as a leader and others as a sideman, including those with John Tchicai and Jimmy Smith, with many of them garnering four stars (****) in various trade magazines including Jazz Times, Jazziz, and Down Beat.

Mat is the author of several books on drumming for both Lewis Music and Mel Bay Publications, is an Adjunct Professor for American River College (Sacramento, CA) and an endorser for Mapex drums, Zildjian cymbals, Pro-Mark drumsticks and Remo drumheads. He has written numerous articles on drumming for Modern Drummer magazine, the Percussive Arts Society’s Percussive Notes and Percussion News, Pro-Mark’s Upstrokes, and the online drum Magazine Cyber-Drum [www.cyberdrum.com]. Wave files of Mat’s playing can be heard at: http://www.jazzinspiration.com/artist15.html

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Second Line

Second Line Drumming
Second Line / Street Beats

What is Second Line?
Have you ever been asked to play a "second line" beat on a particular song? I know I have. Usually I cringe and realize that, although I basically think it involves a marching style on the snare drum, I really don't have a clue as to what to play. Luckily my experience and musicality got me by for many years. I learned how to fake things "very" well. :)

Well, I asked around a bit and was surprised to learn that the history of second line is a bit cloudy. Nobody can seem to agree on how it evolved. I heard stories about there being a line of musicians and staff that marched behind the mourners (second line) at a funeral parade in New Orleans. Apparently the musicians would play funeral marches on the way to the funeral and more livelier pieces on the return home. Some would say that it's a secondary rhythm section (second line) that answers the calls of a "first-line" rhythm section in a New Orleans Mardi Gras parade. The first line would play a rhythm and the "second line" would respond to it. Others will tell you that it's just something that comes from New Orleans music and involves a marching snare rhythm. They'll admit that they don't know where it comes from but they're quick to show you an example of how they think it's played.

Depending on who you ask, you're sure to get some very interesting answers. I think the most important thing is; What are we supposed to play when someone asks us to play a "second-line" rhythm or a second line funk beat? From a little research, here's what I've learned so far about second line drumming:

#1: Second line drumming is associated with the city of New Orleans. It seems to have originated there and developed in many forms through the years.

#2: Second line drumming involves simple cadence type (marching) snare beats.

#3: Drummers like Zigaboo Modeliste and Johnny Vidacovich mixed second line with syncopated funk, developing a style called "second-line funk drumming". This style was popularized in many famous bands that came from New Orleans like the Meters (see below).

#4: Second line drumming often involves a 3/2 son clave not dissimiliar to the Bo Diddley beat although it doesn't necessarily always follow that rule. Listen to this variation --> http://www.zigaboo.com/media/zig_me.mp3

#5: Second line beats are also called "Street Beats".

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So after reading up on things and listening to a handful of second line drummers, I've determined that although there are a lot of variations of second line you can play, most follow a specific feel and style. The best way to get started would be to play a simple Bo Diddley beat, mixing in an occasional double stroke roll at the beginning or end of the phrase. Play the bass drum with the accents or simply play "4 on the floor" (straight quarter notes). Listen to some of the examples below and check out the other resources listed.

 
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RESOURCES:

===============
Sounds:
Mardi Gras Parade - Second Line Marching (WMA - www.safado-samba.de)
Zigaboo Second Line Funk variation (MP3 - zigaboo.com)

Books:
New Orleans Jazz and Second Line Drumming Book and Cd - by Herlin Riley and Johnny Vidacovich

DVD:
Street Beats - Modern Applications

Video:
New Orleans Drumming - Earl Palmer and Herman Ernest - DCI
Tommy Igoe - Video sample, 2nd line variation (online - DrummerWorld.com)

Popular Second Line Drummers:
Zigaboo Modeliste - The Meters (original drummer)
Johnny Vidacovich - Astral Project
Stanton Moore - Galactic
Ricky Sebastian - http://www.strdigital.com/ricseb.htm
Earl Palmer - Big on the NOLA recording scene in the 50's. Little Richard, Fats Domino, etc.
see more here.

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Networking

 

There's an old saying; "Out of sight, out of mind". Well, this is one of the truest things ever written and it so applies to the music business as well.

If you want to work, you need to go out to the clubs, venues, jam sessions, whatever,.. and "BE SEEN"! You need to engage in conversation with potential employers and you need to be seen playing your drums so they know that you're qaulified.

Younger players still in school; if you want that specific chair or jazz band seat you have to
work hard, yes. But also make sure that you're on a first name basis with the band leader, drum captain, and any private instructors or helpers, because they will often be assisting with the auditioning process.


Top 5 Drummer Networking Mistakes:
1. Not being prepared
2. Not having business cards (pro players)
3. Not letting them know in some way that you're qualified for the job
4. Not acting professional enough
5. Not following up on potential leads or opportunities

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Extra Mile

 

Going the Extra Mile
Many drummers simply show up, set up their drums, play the gig and go home. Take pride in your work and "go the extra mile". Carry the bass player's rig in for him, make a set list for the band, or show up 15 minutes earlier to help out. School band students can help the teacher in the band room or offer their services for a special concert or field event.

Anyone can just show up and play their drums, but those that put in a little extra are more valued as a "team player". This often increases your job stability and overall reputation in the industry and sometimes even means extra compensation. The main thing is that you feel better about yourself for giving more in this world and that's reason enough to make the change!

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Reading Music

 

READING MUSIC - Mike Donovan

-Do you read music?
Now, before you start running the other direction, please hear me out. I’ve noticed through the years that, for various reasons, many drummers prefer not to learn how to read. They either think that it will take too long or that it will be inevitably too hard. Folks, it’s not really that bad. I repeat, “IT’S NOT THAT BAD”! Shoot, compared to learning a foreign language or something, it’s a walk in the park!!

In 1996, I wanted to come off the road. I knew that this might possibly mean stepping back into the “real world” job-wise so I taught myself to type in preparation for a "decent" job in the workplace. I knew that computers were now dominant in our society and if I was going to compete, I’d better learn to do something more than ‘hunt and peck’. I now, 6 years later, type 683,000 words per minute (or something like that :).

So you say, .. "Hey, 'I hunt and peck' and I have a job at Microsoft as 'Systems Analyst IT Engineer blah, blah,..'. Well OK, so it does happen that some real smart people make out just fine 'hunting and pecking'. But let's step back into the music world for a minute. Can you imagine yourself at a Dave Mathews Band audition and they throw a chart in front of you to read? What will you do, ask them if they have it in 'tab' format?

I say, "Learn to Read”. Don’t get caught up in that crap about.. “Well, Buddy Rich didn’t read…" or "Dennis doesn’t read…” etc. It’s a cop-out! Those guys are (were) exceptions to the rule. You need to have a firm understanding of basic rhythmic theory (and harmony if possible) to compete in this highly competitive field. You can’t afford to be second best. You must have all your bases covered because if you don't, there are 50 other drummers standing by ready to take your place. (Actually, there are 500 drummers standing by ready to take your place. :)

Why not be "great" at playing drums rather than "mediocre". It's so much more fulfilling. Reading will give you the tools to get to that next level. You'll not only have a better understanding of what you're playing but you'll be able to execute this knowledge into a better performance overall.

Consider signing up with a private teacher and letting them help you learn how to read. Once you get the ball off the ground and rolling, it’s not really that bad. It just takes a little bit of courage and determination to get started and, with a little stick-to-itiveness, you’ll be reading in no time. I promise.

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10 Reasons You Should Learn to Read Music:

1. It builds confidence in your ability and
allows you to 'understand' what you're playing.

2. You'll be able to teach yourself anything out of
a book or magazine ..anytime, anywhere.

3. You can supplement your income by teaching others.

4. There are great gigs to be had out there but some of
them require that you read at least a little bit.

5. You can communicate intelligently with other
musicians using standardized musical language.

6. When learning new songs, you can write out drum
charts for yourself quickly and more efficiently. This
saves valuable time.

7. You can program sequencers in step mode.

8. It is easier to learn musical concepts as well as other
instruments with a fundamental knowledge of basic
theory.

9. Most studio work, show work and more challenging
styles such as jazz and fusion, require reading.

10. You'll find that many higher caliber players read music.
This may give you an opportunity to play on their level.

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Paradiddles

PARADIDDLES ON DRUMS
For a great exercise in control, practice switching the accents to each successive note.
The parenthesis denotes an accented note.

(R) L R R - (L) R L L

R (L) R R - L (R) L L

R L (R) R - L R (L) L

R L R (R) - L R L (L)


Be sure that there is a distinct difference between loud and soft notes. Keep them clean
and even. Remember that proper execution is always more important than speed.

----------------------------------------

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PARADIDDLE-DIDDLES ..on Drumset

Play the following sticking on the hi-hat: RLRRLL, RLRRLL (This is a paradiddle-diddle)

Put the bass drum on the first note of the first grouping and the snare on the first note of the second grouping (there will not be a HH on that note).

This pattern creates a 16th note triplet groove that sounds great intermittently inserted over a straight eighth feel.

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Getting Gigs

Where to look:

Classified ads – your local newspaper, music papers, internet classifieds, etc.
Bulletin boards – music stores, record shops, drum shops, talent agencies
Live bands – networking! Go out, meet, and interact with live groups. This is one of the best ways to learn about who’s looking for who.
Talent agencies – get to know the people who work in these places. They can sometimes help you find a suitable band or at the very least, pass the word along.
Union – The Musician’s union is a good place to find certain types of work. Great contacts can be made as well.
Music studios – Stay in touch with the people behind the scenes at your recording studios. They are recording all your friends and know who’s doing what.
Jam sessions – Jam sessions are a bit more popular in larger towns, but when you can find them, they are valuable music networking havens!
LEAVE NO STONE UNTURNED!

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How to Audition

Initial contact – be friendly and professional. Don’t oversell yourself but be confident and assertive. Find out what they are looking for in a musician and determine whether or not you fit the criteria.
Know the material better than anyone else! –This is the key to a successful audition. If you know the tunes better than anyone else (assuming you play them with feeling and with good time) you will probably get the gig.
Be personable. – The second most important criteria in getting a gig is how well the other members of the band think they might be able to get along with you. Be friendly, but be yourself. People can usually see through facades.


Keeping the Gig

Attitude – It’s even more important after getting the gig to be cooperative and extremely diplomatic. You will have opinions, but try and not be to forceful with them. Keep a positive attitude and you will have respect from the other players.
Stay current – Stay on top of the new tunes that come out in the genre of the music you’re playing. Know what’s happening!
Be professional – Be on time, keep yourself and your equipment in good shape, and play every night like you’re making $1000 instead of $50. Wear a smile and act like you’re having a good night even if you aren’t.
Improve on your instrument – Consistently try and better yourself, learn the newest techniques, the difficult songs, read all the magazines, etc. Be a strong force in the group.

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Punk Drumming

 

PUNK DRUMMING - Charlie Platt
Alright - I've been playing drums now for 2 years or so, and I always played jazz, blues, and rock/alternative stuff off of the radio. Recently, a good friend of mine invited me to join a punk band that he'd started. Not being used to this style of drumming, which tends to be more complex than it sounds, I have enclosed some helpful recommendations that helped me to learn the style.

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Tip #1: You can always go cut time on the high-hat if you can't keep up with the speed.
Make sure you're not changing the beat, but the energy will be the same if you use cut time.

Tip #2: Just because the music is fast doesn't mean you can't be creative or do interesting fills. Listen to bands like the Dead Kennedy's for some interesting fill work.

Tip #3: Use a lot of energy! Punk music is based on energy. Wrestle with your buds before a show, build up some serious energy and then just go nuts! If you screw up your beat a little bit, its not as bad as if you lose your energy, so really get into the energy of the music.

Tip #4: As with lots of energy, go nuts with the bass drum. I myself don't use a double-bass drum pedal, but I find that with one pedal, a healthy distribution of bass drumming definitely works.

Finally; Don’t think you have to be boring with a simple bass-snare-bass-snare beat. You can still have creativity in punk music. PUNK DRUMMERS UNITE! KEEP ROCKING, KEEP THE ENERGY ALIVE.

Drum Bum

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Repetition

REPETITION

If I was to tell you that many problems with drumming stem from one little "Secret", would
you beg to know what it is?

The secret is REPETITION
Most young drummers (and even some old ones ;) underestimate the importance of this word. But many simple problems are solved relatively easily by incorporating just this one little secret.


PROBLEM #1: My arms tire while playing for long periods of time.
FIX: REPETITION.! Practice single strokes for LONG periods of time. Get them EXTREMELY fast to where they become "very" comfortable. If the rest of your technique is relatively good, your arms will not tire after that.


PROBLEM #2: My feet are slow and can't do half the things my hands do.
FIX: REPETITION.! Isolate your feet and practice nothing but them for extended periods of time. Play the samba bass drum rhythm "allot". That's always been a good one for getting your right foot in shape.


PROBLEM #3: I can't play in odd time signatures.
FIX: REPETITION.! Vinnie Colauita once said, "Just play in 7 for like an hour". This is especially insightful as we can often get caught up in studying things too closely and miss the point. Sheer repetition will help lead to more comfort in odd times.


PROBLEM #4: I can't do a proper double stroke roll to save my life.
FIX: REPETITION.! Play that thing slowly, properly, and for "long" periods of time, while gradually increasing your speed. DO NOT CHEAT. Make yourself do intentional,
defined doubles. Chart your progress by playing to 16th's on a metronome. In no time at all, you'll be GETTING IT.

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Wipeout

 

WipeOut!

A terrific exercise:
This version of "WIPEOUT" incorporates single, double, and triple paradiddles.

Repeat over and over until you build up your speed. This is
a great exercise for hand to hand control.

R l r r, L r l l, R l r l r l r r, L r l r l l, R l r l r r, L r l l
(Capital letters are Accented notes)


-For more on rudiments and other drum lessons and tabs, visit the Lesson Database at http://www.drumbum.com/lessons

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Motivation

 

MOTIVATION
Ever get in a slump and can't get excited about drumming? This is often due to lack of motivation or stimulation. Just as you would read positive books of wisdom and understanding to improve yourself as a person, the same holds true with drumming. You must find ways to be excited about playing. The following offer a few suggestions:

1. Surround yourself with great musicians. When you're around great
players, you will strive to be the best yourself. It rubs off, I promise!

2. Buy a new cymbal, piece of hardware, or drumset. Sure, it's a bit expensive, but it never fails to help get the juices flowing.

3. Listen to great drummers on CD and Video. The more you hear, the
more you will have the desire to play like them.

4. Go to drum clinics! What can I say, if you don't walk away inspired by a great clinic, then you probably shouldn't be playing.

5. Set goals for yourself. No matter how small the goal, it
gives you something to strive for and gives you a sense of purpose in life. Life is more fulfilling when you're moving forward.

6. Take some lessons. Despite your level of experience, lessons always seem to inspire us. You will find new approaches, viewpoints, and techniques that you may have never encountered otherwise. Even the greats will often go back and study with a teacher after a long successful career. They are maintaining goals in their life and assuring continual motivation, excitement, and competitiveness.

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Time Management

 

Do have trouble finding time to practice?
This famous writing may provide some inspiration.


As this man stood in front of the group of high-powered overachievers, he said, "Okay, time for a quiz." Then he pulled out a one-gallon, wide-mouthed mason jar and set it on a table in front of him. Then he produced about a dozen fist-sized rocks and carefully placed them, one at a time, into the jar. When the jar was filled to the top and no more rocks would fit inside, he asked, "Is this jar full?" Everyone in the class said, "Yes." Then he said, "Really?" He reached under the table and pulled out a bucket of gravel. Then he dumped some gravel in and shook the jar causing pieces of gravel to work themselves down into the spaces between the big rocks.

Then he smiled and asked the group once more, "Is the jar full?" By this time the class was onto him. "Probably not," one of them answered."Good!" he replied. And he reached under the table and brought out a bucket of sand. He started dumping the sand in and it went into all the spaces left between the rocks and the gravel. Once more he asked the question, "Is this jar full?"

"No!" the class shouted. Once again he said, "Good!" Then he grabbed a pitcher of water and began to pour it in until the jar was filled to the brim. Then he looked up at the class and asked, "What is the point of this illustration?"

One eager beaver raised his hand and said, "The point is, no matter how full your schedule is, if you try really hard, you can always fit some more things into it!" "No," the speaker replied, "that's not the point. The truth this illustration teaches us is:
If you don't put the big rocks in first, you'll never get them in at all."

The list goes on and on. You should never justifiably be able to say,
"I don't know what to practice".

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Resolutions

 

RESOLUTIONS

How many of you make New Years Resolutions? Or are you the type to say, "Well, what's the use, I never keep 'em anyway."?

Think about it for a minute, if we had that attitude about everything in life, then why would we even get up in the morning? I mean, why drive to work or go to school when you might have an accident and get killed? You see how silly this is?

The word resolution is just a fancy word for "goal setting". Webster lists several definitions but re-occuring words are "resolve", "declare", and "decide".

Why not use the beginning of the year as a fresh start to achieve the goals that you set for yourself on DRUMS? Write them down in big bold letters and tape them to the wall if you have to. This is a common habit of successful people and it WILL work if "you" work hard for it and "MAKE IT HAPPEN". Even if you don't meet all of your goals, just "TRYING" gets you a lot closer than you would have gotten otherwise.

You don't need to have a list of 10 or 12 things if you don't want. Sometimes just 1 or 2 goals are sufficient. Maybe you can resolve to get that double stroke roll perfected once and for all. Or maybe you can commit to taking a few private lessons to help
get you out of that slump.

GET POSITIVE, GET MOTIVATED! Make a few resolutions and get out there and KICK SOME BUTT!

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TIPS FOR SELF-MOTIVATION

1. Read books with inspiring themes or messages.

2. Listen to inspiring music. Music that leaves
you feeling "pumped" and filled with positive
energy.

3. Listen to self-help/motivational tapes. If you
haven't tried 'em, you're missing out!

4. Watch movies like "Shawshank Redemption" that
portray the epitome of human perseverance.

5. Go to drum clinics and/or watch drum videos of
your favorite players.

6. Study the patterns of successful people and
hang out with them any chance you get. They "will"
rub off on you!

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Sweat...

 

SWEAT THE SMALL STUFF - Mike Donovan

Attention to detail is an important aspect of pro drumming. I recently had a drummer friend (he's playing 4 nights a week with a signed artist) tell me he was about to upgrade to a new set and he was thinking about buying Pearl Exports. I immediately sat him down and talked with him about the importance of small details and how much of a positive effect they can have on the end result. Not that Pearl Exports aren't good drums mind you, but for a person with his level of experience and professionalism, he should (in my opinion) be in a higher-end kit.

These small details I'm talking about are things such as wood types, bearing edges, isolation mounts, stainless steel hoops, etc. All these things, I told him, help to clean up your sound and allow for a more pure and precise tone. It can sometimes mean the difference between driving a VW Bug and a Cadillac.

While the cash isn't always there, you owe it to yourself to at least consider taking the plunge and investing in a "quality" drumset if you're a serious professional. Words can't describe the euphoria of what it's like to sit behind a set of drums that virtually "play themselves". This goes for marching and hand percussion as well. There is nothing like "quality", whether it be your instrument or your performance and once you've been there and then came back, you'll definitely know the difference. The details matter, and you should be "sweating the small stuff"!

Drum Bum


CONSIDERATIONS:
1. Interest rates are low right now!
2. Don't forget "used" drums. You can sometimes save thousands and still end up with a top-of-the-line kit.
3. Do your homework and research drums thoroughly before buying.
4. Please support your local small businessman!
5. Visit our Lesson Database for more tips on "Buying a Drumset".

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Top Books

 

TOP 20 DRUM BOOKS

To be proficient on your instrument, you want to make sure all your bases are covered. Here are some of the top-rated drum books that have made a huge impact in drummer's lives over the years and have definitely stood the test of time.

READING: "Fundamental Studies for Snare Drum" - Garwood Whaley, Ted Reed's "Syncopation", "Modern Reading Text in 4/4" - Louie Bellson

HAND INDEPENDENCE: "Stick Control" - George Stone, "Accents and Rebounds" - George Stone

RUDIMENTS: "International Drum Rudiments" - PAS, "Modern Interpretation of Snare Drum Rudiments" - Buddy Rich/Henry Adler

SNARE DRUM: - "Modern School for Snare Drum" - Morris Goldberg, "Modern Rudimental Swing Solos" - Charles Wilcoxin

DRUM SET: - "Realistic Rock" - Carmine Appice, "Future Sounds" - David Garibaldi, "The New Breed" -Gary Chester, "Bass Drum Control" - Colin Bailey, "Patterns" series- Gary Chaffee

MISCELLANEOUS: "Master Studies" - Joe Morello, "Even in the Odds" - Ralph Humphrey, "Afro-Cuban Rhythms for Drumset" - Frank Malabe and Rob Weiner, "Drum Wisdom" - Bob Moses, "The Sound of Brushes" - Ed Thigpen

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What to Practice

 

WHAT TO PRACTICE
For those of you that have caught yourself saying, "I don't know what to practice".. HERE IS A LIST:

1. Listening (concentrated "listening" to music, not just "hearing" it)
2. Method Books (Chapin, Latham, Chaffee, etc.)
3. Drum Rudiments (do you know all 40?)
4. Groove playing (and making it feel as good as possible)
5. Styles (rock, blues, funk, country, jazz, latin, swing, reggae, etc.)
6. Stick control (George Lawrence Stone books etc.)
7. Reading (books, charts)
8. Dynamics
9. Tuning Drums
10. Playing with a click or drum machine (also playing behind/ahead )
11. Song form (AABA,ABA, etc)
12. Soloing
13. Playing over the bar line
14. Odd Time
15. Finger Control (this should come "after" basic hand technique)
16. Moeller Technique
17. Transcribing Drum Beats
18. Two handed riding on cymbals
19. Linear patterns (within the groove and soloing)
20. Left hand lead
21. Double Bass Drum
22. Fast tempos
23. Electronics (familiarize yourself w/the latest midi equipment)
24. Instructional videos
25. Studio techniques (mic placement, effects, etc.)
26. Odd groupings (3’s, 5’s’ 7’s and 9’s etc.)
27. Polyrhythms
28. Beat displacement and/or Metric Modulation
29. Shuffles (funk, rock, 2 hand shuffles etc.)
30. Showmanship (stick twirling, standing on your head)
31. Practicing your drums in front of a mirror
32. Recording yourself and listening back (This is a big one!)
33. Creating your "own" patterns and ideas
34. Augmentation and Diminution
35. Tehais (A figure repeated three times evenly in a phrase)
36. Filling around accent patterns
37. Practicing extremely slow tempos
38. Continual linear triplets around the set
39. Continual linear 16th’s around the set
40. Motion exercises (ala Steve Smith video)
41. Left hand and foot isolation
42. Drum physiology and ergonomics (Extremely important!)
43. Read drum publications, internet newsgroups for inspiration
44. Brushes for snare drum
45. Cymbal technique (which one to hit, when, how hard, etc.)

The list goes on and on. You should never justifiably be able to say,
"I don't know what to practice".

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Speed Drumming

 

Speed Drumming - ...the WFD (Worlds Fastest Drummer),
the DrumoMeter, and more!

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The Rise of Speed Drumming
By George Broyer

Every once in awhile, an innovation comes along in music that helps shape the future of the industry. Still, people fear change. Many view the advancement as an attack to the establishment. They try to resist for as long as they possibly can until it becomes accepted by the majority thus making it mainstream. When Rock & Roll came about, many thought it would lead to the downfall of America's youth. When Ray Charles combined gospel music with R&B, many said it was blasphemous and degrading God's work. Yet, Ray Charles is now considered one of the greatest music innovators of the 20th century. Enter speed drumming. Not immune to the same critisizm, this latest craze is taking the drumming world by storm and creating quite a stir. Although it's been embraced by many drummers young and old, others see it as an infringement upon their revered tradition.

DRUMOMETER
Measure how fast your strokes are!
*Now only $149.95 at DRUM BUM

While the practice of fast drumming is not entirely recent, the ability to accurately measure and rank it is a new concept. The beginnings of modern speed drumming started in the windy city of Chicago during the year 1975. It was there that Boo McAfee was present at a demonstration by Barrett Deems where he claimed to be "The World's Fastest Drummer." A voice of doubt emerged from the crowd. "Oh, yeah," the person asked. "What machine did you use?" McAfee turned to see the voice belonged to none other than drumming legend Buddy Rich. The memory of that event lingered in McAfee's mind. Then in 1999, McAfee collaborated with fellow drummer and engineer Craig Alan to develop a machine to measure the speed of drumming. After two months of work, the device was developed and dubbed The Drum-o-meter. It calculated the number of strokes for up to a 90 second time span for such rudiments as the single stroke roll, the double stroke roll, and paradiddles. The DrumoMeter was first showcased at the 1999 PASIC and, then, released for purchase on April 2, 2000, the anniversary of Buddy Rich's death. This new innovative invention paved the way for the world of speed drumming to emerge as a credible faction of drumming.

With their new stroke-me