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.
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.
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 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".
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.
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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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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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 - 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
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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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 - 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.
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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!
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
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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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
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
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"!
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
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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Want
to know about DRUMS?
Check out DrumBum.com!
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
- ...the WFD (Worlds Fastest Drummer),
the DrumoMeter, and more!
--------------------------------------------------------------------------------
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
