tag:blogger.com,1999:blog-13831104070910707752024-03-15T21:13:10.705-04:00drum yodaMeanderings of an admittedly cerebral drummer.Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.comBlogger217125tag:blogger.com,1999:blog-1383110407091070775.post-72531551357403240462024-03-14T17:43:00.001-04:002024-03-14T17:43:41.059-04:00 Faster Still!!!<p><span style="font-family: Calibri;"><span style="font-size: medium;">When a young drummer asks about the best way to
develop speed, the usual answer is “practice slowly”. And no, that's not an
oxymoron. Your ability to play fast is 100% determined by the amount of control
you have over your limbs. And the best way to develop control is through … wait
for it … slow, regular, mindful practice.</span></span></p>
<p align="center" class="MsoNormal" style="font-family: Tahoma, Tahoma; margin: 0in 0in 6pt;"><span lang="EN-Ca"><span style="font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXaY3S1G3-0oseXHaHMmnY4va3HX8osatZ4Tud_aZnbqqbbrMUkeqN32F5mLQretETIH0Dyo4v7va4n5nOcL1BvTycgk2cv-s1yDXpopZ7-wLwKf59AKQi5WnKDBc0HdIJVKOt1xFmYG6Ije3C4u634e0NvLVXP9IQZu__tiwDvbdu1ImAz5RkxsU_EnCE/s525/Faster.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="331" data-original-width="525" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXaY3S1G3-0oseXHaHMmnY4va3HX8osatZ4Tud_aZnbqqbbrMUkeqN32F5mLQretETIH0Dyo4v7va4n5nOcL1BvTycgk2cv-s1yDXpopZ7-wLwKf59AKQi5WnKDBc0HdIJVKOt1xFmYG6Ije3C4u634e0NvLVXP9IQZu__tiwDvbdu1ImAz5RkxsU_EnCE/s320/Faster.png" width="320" /></a></span></div><span style="font-size: medium;"><span lang="EN-Ca"><em>Photo © Jose Antonio
Sanchez Reyes | Dreamstime.com</em>
</span></span><p></p>
<p class="MsoNormal" style="font-family: Tahoma, Tahoma; margin: 0in 0in 6pt;"><span lang="EN-Ca"><span style="font-family: ca; font-size: medium;">Slow practice gives your brain time to attend to
everything that’s going on with your limbs. On top of that, you can't always
hear what you're playing if it goes by too quickly. Your attention is not
compromised because you're not pouring all your effort into your muscles. Your
limbs are constantly giving you feedback, and slow practice gives you time to
focus on every movement and every note.</span></span></p>
<p class="MsoNormal" style="font-family: Tahoma, Tahoma; margin: 0in 0in 6pt;"><span lang="EN-Ca"><span style="font-family: Calibri; font-size: medium;">Yes, all true! However, this plan totally misses
a very important component of playing fast. You see, you get better at what you
practice, but, if you only practice slowly, then you haven't actually worked on
playing fast. You need to practice at faster and faster tempos, which is much
easier once you've developed sufficient control over you limbs, muscles, and
thinking. </span></span></p>
<p align="center" class="MsoNormal" style="font-family: Tahoma, Tahoma; margin: 0in 0in 6pt;"><span lang="EN-Ca"><span style="font-size: medium;"> <span style="font-family: Calibri;">“Speed is the result of great
technique” - </span><a href="https://cajonbox.com/about/heidi-joubert/"><span style="font-family: Calibri;">Heidi Joubert</span></a><span style="font-family: Calibri;">
</span>
</span></span></p>
<p class="MsoNormal" style="font-family: Tahoma, Tahoma; margin: 0in 0in 6pt;"><span lang="EN-Ca"><span style="font-family: Calibri; font-size: medium;">Slow practice has other benefits. You'll notice
an improvement in articulation in addition to speed. You also are getting
practice at maintaining a slow tempo.</span></span></p>
<p class="MsoNormal" style="font-family: Tahoma, Tahoma; margin: 0in 0in 6pt;"><span lang="EN-Ca"><span style="font-family: Calibri; font-size: medium;">Also keep in mind that you can't play faster
than your slowest limb. Usually this is your non-natural side. So sticking
exercises would be limited by your weaker hand whereas a four-way exercise might
be limited by the hi-hat foot. No surprise there. So listen to your limbs giving
you guidance.</span></span></p><span style="font-size: medium;"><span style="font-family: Calibri;"><span lang="EN-Ca">
<hr /></span><span lang="EN-Ca"> <strong>G.L Stone on Control and Speed<em> </em></strong></span></span>
</span><blockquote dir="ltr" style="margin-right: 0px;">
<p class="MsoNormal" style="font-family: Tahoma, Tahoma; margin: 0in 0in 6pt;"><span lang="EN-Ca"><span style="font-family: Calibri; font-size: medium;">“Progressive Steps Towards Stick
Control”<br />1. Precision - gained through slow motion study and
practice.<br />2. Endurance - though endless repetition of figures at normal
tempos.<br />
3. Speed - and even
this practiced below capacity, and not until warmed up.
</span></span></p></blockquote>
<p class="MsoNormal" dir="ltr" style="font-family: Tahoma, Tahoma; margin: 0in 0in 6pt;"><span lang="EN-Ca"><span style="font-family: Calibri; font-size: medium;">
</span></span></p><hr /><span style="font-family: Calibri; font-size: medium;">
</span><p></p>
<p class="MsoNormal" dir="ltr" style="font-family: Tahoma, Tahoma; margin: 0in 0in 6pt;"><span style="font-size: medium;"><span style="font-family: Calibri;"> </span><span lang="EN-Ca">
<br /><span style="font-family: Calibri;">So the long-range plan is to
increase the tempo as you gain control. Play the exercise slowly to gain control
and as you feel more comfortable, move the metronome up a notch or two.
</span>
</span></span></p>
<p class="MsoNormal" dir="ltr" style="font-family: Tahoma, Tahoma; margin: 0in 0in 6pt;"><span lang="EN-Ca"><span style="font-size: medium;"><span style="font-family: Calibri;">For a simple program for speed development, have
a look at my speed practice program: </span><a href="http://drumyoda.blogspot.com/2013/02/faster-faster.html"><span style="font-family: Calibri;">http://drumyoda.blogspot.com/2013/02/faster-faster.html</span></a></span></span></p><span lang="EN-Ca">
<p align="center" class="MsoNormal" style="font-family: Tahoma, Tahoma; font-size: 13px; margin: 0in 0in 6pt;"></p></span>Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-75599393945235524432024-02-26T17:35:00.001-05:002024-03-14T17:41:32.607-04:00 My First Day Job<p>At the tender age of 32, I was forced out of my music career by major hearing damage (* see below). After a couple of years in recovery, I retrained to be a computer programmer -- a nice, quiet programmer as one of my teachers put it. At the end of my studies, I landed a job with a major corporation developing systems for the then-new microcomputers. This was my first straight gig since a couple of disastrous attempts in my teens.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi5gHNuhMCmlJJRu0NqcvsoSKWDfcJ8iE90KpSzRsv4oiGot2gE_Cq7BkOnSa-dBhv_41T_EQpO7HjTmjx48iBwKTyT5eX2NxUfism67QkVjx4Hd9NPlaMstgzgE7Hp2ZDwCf7GnsgPJeKfJRAuUzURA_U-yhJN74s0u5gmwxsmUvg8keyFa-UzzjrkDku/s490/Scenicview.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="326" data-original-width="490" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi5gHNuhMCmlJJRu0NqcvsoSKWDfcJ8iE90KpSzRsv4oiGot2gE_Cq7BkOnSa-dBhv_41T_EQpO7HjTmjx48iBwKTyT5eX2NxUfism67QkVjx4Hd9NPlaMstgzgE7Hp2ZDwCf7GnsgPJeKfJRAuUzURA_U-yhJN74s0u5gmwxsmUvg8keyFa-UzzjrkDku/s320/Scenicview.jpg" width="320" /></a></div><p>I'd never been in a corporate environment before, so there was a lot of learning and a lot of adjusting. One thing that intrigued me was the department manager. A mild-mannered guy in his 50s, he was very easy to get along with and obviously very good manager as his department ran quite smoothly.</p><p>What I found most interesting about this fellow was that he spent a large portion of his work day looking out his office window. The department was located on the 5th floor, and his corner office looked out over the city. This was in Toronto, which is known for its greenery, so the view was very nice. And in the fall, it was truly spectacular.</p><p>So, it seemed to me like this guy did very little actual work, and got paid a lot for not doing it. So what was his secret?</p><p>To some degree, he'd made himself redundant. His staff did all the routine work -- quickly, quietly, efficiently. Sometimes someone would go to the boss's office with an issue, and he would help them deal with it. Or he might send them packing because he needed them to figure it out for themselves. And then it was back to gazing out the window.</p><p>You see, he'd hired a lot of very capable, dedicated, and creative people. And his management style was to step back and let them do their thing as much as possible. So the department essentially ran itself, driven by the quality of the staff. The manager was there to determine priorities, provide direction, and solve any problems that came up (plus the usual managerial stuff). When it came to the department's day-to-day workload, that was well covered by the staff, freeing the manager to resume his contemplation.</p><p>The moral of the story is this: Surround yourself with good people and then get out of the way. If you teamed up with them because of their skill and knowledge, why would you mess with that? I'?ve even heard stories about musicians (and non-musicians) who were hired because of their abilities only to have the 'boss' require them to do something else entirely. It's a no-win situation, often leading to conflict, stress and even occasional sackings.</p><p><br /></p><p>* For the full story and an in-depth look at hearing damage, check out my early blog posts: <a href="https://drumyoda.blogspot.com/2012/04/">https://drumyoda.blogspot.com/2012/04/</a></p><p>Photo Credit: 2341020 - Jaco Janse Van Rensburg | Dreamstime.com</p>Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-62896549544220080842024-01-24T09:07:00.001-05:002024-01-24T09:07:40.647-05:00Fuhgeddaboudit<p><span lang="EN-CA" style="mso-bidi-font-family: "Times New Roman";"><span style="font-family: Calibri; font-size: small;">Quite
a few years ago I read a very helpful book called "The Wealthy Barber" (see
below). It's the story -- a parable, actually -- about a young couple learning
about personal financial management and investing. One of the tips author David
Chilton throws out is to not pay attention to any of it. This turns out to be an
extremely important part of the investing process.</span></span></p>
<p align="center" class="MsoNormal" style="margin: 0in 0in 6pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivo4oDzKvPM8EQzMQBZ-lesvcHYWWKWRnMbVbxlT6kNcjn-Adhatw6d_JDYQhBTt4hYalbxrY2QAoN58CyfW1GkMtLCo1tEPe2CJaz4XEgpnaI7WFdDumGPddslN6WObYXP8XIzsjfsF9LXVfFM03pAgWTFdLl45hGXI47dx1U36ws07Ew1ADSSI0XwPxw/s450/Old%20Cars.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="299" data-original-width="450" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivo4oDzKvPM8EQzMQBZ-lesvcHYWWKWRnMbVbxlT6kNcjn-Adhatw6d_JDYQhBTt4hYalbxrY2QAoN58CyfW1GkMtLCo1tEPe2CJaz4XEgpnaI7WFdDumGPddslN6WObYXP8XIzsjfsF9LXVfFM03pAgWTFdLl45hGXI47dx1U36ws07Ew1ADSSI0XwPxw/s320/Old%20Cars.jpg" width="320" /></a></div><span lang="EN-CA" style="mso-bidi-font-family: "Times New Roman";"><span style="font-family: Calibri; font-size: small;">When
we focus on money, some of us just end up worrying about it. We're even inclined
to put extra effort into worrying, resulting in extra stress and anxiety. The
better approach is to work out a sound plan, set it in motion, and then forget
about it. Step back and let the plan do its job so you can go off and attend to
more interesting chores while the benefits accumulate in the
background. </span></span><p></p>
<p class="MsoNormal" style="margin: 0in 0in 6pt;"><span lang="EN-CA" style="mso-bidi-font-family: "Times New Roman";"><span style="font-family: Calibri; font-size: small;">This
is an almost magical solution to the frustration of tracking the progress of
things that move along slowly. For example, if I plant a tree today and then
check on it daily, weekly or even monthly, I’ll drive myself nuts. If instead I
check it only a few times a year, I’ll be a lot less anxious about it. Plus I’ll
have a more realistic idea of how things are getting on. </span></span></p>
<p class="MsoNormal" style="margin: 0in 0in 6pt;"><span lang="EN-CA" style="mso-bidi-font-family: "Times New Roman";"><span style="font-family: Calibri; font-size: small;">When
you check on something constantly, it can be hard to perceive progress. Frequent
checks can accentuate or obfuscate the ups and downs of your journey, and it can
be hard to cope with the accompanying variability and
uncertainty.</span></span></p>
<p class="MsoNormal" style="margin: 0in 0in 6pt;"><span lang="EN-CA" style="mso-bidi-font-family: "Times New Roman";"><span style="font-family: Calibri; font-size: small;">This
investment/tree-planting angle occurred to me as I was practicing the bodhran. I
set about eliminating a major obstacle to bodhran mastery, and that is speed. So
I set up a practice card with my 'guaranteed to get-faster' program and then
slipped it into my bodhran practice schedule. A few weeks later, as I practiced,
I was intrigued with not only how smooth my stroke had become, but also how much
speed I’d achieved in a relatively short time. And the key component to this
admirable accomplishment? I didn’t pay attention. In fact, I barely acknowledged
that I was working on speed. I just did the practice routine.</span></span></p>
<p class="MsoNormal" style="margin: 0in 0in 6pt;"><span lang="EN-CA" style="mso-bidi-font-family: "Times New Roman";"><span style="font-family: Calibri; font-size: small;">So if
you want to track your progress while lessening anxiety, do it less often. Or
maybe don’t do it at all! </span></span></p><p class="MsoNormal" style="margin: 0in 0in 6pt;"><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="text-align: center;"><span style="font-family: Calibri; font-size: x-small;"><span lang="EN-CA" style="font-size: 11.0pt;"><i>“It's arrogant to be too hard on yourself” - Barbara Sher</i></span></span></p>
<p class="MsoNormal" style="margin: 0in 0in 6pt;"><span lang="EN-CA" style="mso-bidi-font-family: "Times New Roman";"><span style="font-family: Calibri; font-size: small;"> </span></span></p>
<p class="MsoNormal" style="margin: 0in 0in 6pt;"><span lang="EN-CA" style="mso-bidi-font-family: "Times New Roman";"><span style="font-family: Calibri; font-size: small;">David
Chilton, the Wealthy Barber: <a href="http://www.wealthybarber.com/" target="" title="">http://www.wealthybarber.com/</a>
- A bit dated but still highly recommended.</span></span><span lang="EN-CA" style="mso-bidi-font-family: "Times New Roman";"><span style="font-family: Calibri; font-size: small;"> <br /></span></span></p>Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-27795595754775789732024-01-06T11:44:00.000-05:002024-01-06T11:44:22.536-05:00“Free” is Good, Right?<p>There will be times when you'll be asked to play for free. There are some good reasons for playing gratis, and only you and your bandmates can decide how to handle it. Well, then, just how do you decide whether you are going to do a job when there's no money to be had. In short, WIIFMAMB (What's is in it for me and my band)?</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8KBnz__Wdrk1ZvmyuXySaz3AJ_GLIn0zWbwGzQCJP2HRbmI9Ird2YmXhMv8oXU79aq_t3Q3hLz0tLUcRTHGINJEm8VHISC-JJoyDPqXUGXFpDFTexrBFfPB64HMAM0kOjoA4sbQVLUHemV4IDAYDnYCxMrhYh1d_W611vxJfeBZzR0FKt0jN4Bi-hvo7K/s450/Free%20Fall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="317" data-original-width="450" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8KBnz__Wdrk1ZvmyuXySaz3AJ_GLIn0zWbwGzQCJP2HRbmI9Ird2YmXhMv8oXU79aq_t3Q3hLz0tLUcRTHGINJEm8VHISC-JJoyDPqXUGXFpDFTexrBFfPB64HMAM0kOjoA4sbQVLUHemV4IDAYDnYCxMrhYh1d_W611vxJfeBZzR0FKt0jN4Bi-hvo7K/s320/Free%20Fall.jpg" width="320" /></a></div><p><b>Sucker Play<br /></b>The first question I like to ask is, “Who else is working for free?” Too often the answer is “Just you.” That's when I have to ask some serious questions.<br /><br /><b>Experience</b><br />If you're at the stage where you're desperate for experience, then go ahead and latch on to any chance to play -- friends' parties for example. Also get out to open stage nights and do a few guest sets. But once you feel comfortable in front of an audience, you may want to move on to the next stage: actual gigging ... for pay.<br /><br /><b>Exposure<br /></b>The so-called showcase is presented as an 'opportunity' to get your music in front of people who can help you move forward, often augmented by the opportunity to promote the event and sell tickets to 50 of your friends. Sadly, the chance that a person of influence will hear you and then seek you out may be no better than at a paying gig. The exception is if you'll be paired with a major name. Appearing with or opening for a top local or up-and-coming band can be a good step toward more gigs.<br /><br />Good Works<br />If I'm going to support a charity function, I want to know what my time and effort will be going toward. If a charity really means something to me, then I may leap at playing at their fund-raiser. It’s a bonus if the charity complements my 'branding'. It also doesn't hurt if the event has a high profile (see Exposure).<br /><br /><b>Credibility</b><br />In this business, you're only as valuable as your perceived worth. If you have a reputation for wantonly giving away your services, you may not gain the respect of other musicians or the people who could hire you.<br /><br />So playing for free might be a good move ... depending. Many artists choose to do a set number of charity gigs each year. Just understand that a freebie has the potential for both enhancing or hampering your career. <br /></p>Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-10590323295618426542023-12-14T11:36:00.021-05:002023-12-30T11:48:05.926-05:00 Rebutting Drumming Myths<p>I did a quick search of online resources and compiled a list of what the Internet considers to be drumming myths. A myth is something that someone believes but has not been demonstrated to be true. There are potential problems with drumming myths. At best they are harmless, but they can lead you down the wrong path. At their worst, they can harm you in a variety of ways. They can also cause you to discount things that you might otherwise find useful. So here is my rebuttal to things I found in the wild.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBoMfsiL9KgnxY4kxCdrnQFTIrPbVLZaPApWOH5S_NCaKko5Ymm4sv5jDikM9fybfjlXI8dPHH9wFismzOacJ-BS86nTW-S-v2FG9_t_Xf_pZg5fQtDe7Y6kn-PkgyMmsrZtT2LDaXN1RtWdqHTcfdvoFn0s2PCGHa8_fyXeydH9wMLz-LoyfQxfO-Nb8W/s450/Unicorny.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="334" data-original-width="450" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBoMfsiL9KgnxY4kxCdrnQFTIrPbVLZaPApWOH5S_NCaKko5Ymm4sv5jDikM9fybfjlXI8dPHH9wFismzOacJ-BS86nTW-S-v2FG9_t_Xf_pZg5fQtDe7Y6kn-PkgyMmsrZtT2LDaXN1RtWdqHTcfdvoFn0s2PCGHa8_fyXeydH9wMLz-LoyfQxfO-Nb8W/s320/Unicorny.jpg" width="320" /></a></div><b>4-Way Independence Rules<br /></b>Our limbs typically cannot act independently, and so we must train them to co-ordinate their actions as a team. We call it independence, but what we're really talking about is “co-ordinated interdependence”... the limbs are co-operating and not acting independently. <br /><br /><b>A Great Band Will Always Have a Great Drummer<br /></b>There are lots of examples of successful bands who had less than awesome drummers, but rarely do we see a band succeed with a drummer who isn't up to the job or who isn't contributing something special to the music. A good drummer, on the other hand, will often propel a good band to even greater heights.<br /><br /><b>Bigger Is Better<br /></b><i>“If you can't make it on a 4-piece kit then getting more drums isn't going to help you” - Todd Sucherman</i><br />Yes but, you say, Todd plays a HUGE set. To that, Todd would likely say that he’s just as comfortable on a 4-piece kit ... but a big set sure comes in handy at times.<br /><br /><b>Counting In Your Head Is Better/Easier Than Counting Out Loud</b><br />You really need both. Counting is merely a tool to help you to understand and take control of the metre and the music. Anyone trying to play in 5/4 for the first time will quickly see how difficult it is to do without some sort of counting. Counting out loud is a great exercise. It forces you to actually count and to focus on the count. It also calls into play a second area of the brain. Counting can even be liberating, so count whenever it helps.<br /><br /><b>Drummers Are Not Real Musicians</b><br />I've met too many drummers with music degrees -- PhDs, even -- to go along with this one. Rhythm is a core element of music, so someone who specializes in rhythm must also, logically, be an essential part of music. So it turns out drummers are musical VIPs (very important percussionists).<br /><br /><b>Faster Is The Way To Go</b><br />Speed is necessary at times, but speed is just one aspect of musical performance. There’s nothing wrong with working on speed, but it should not detract from the rest of your practice and playing.<br /><br /><b>If It Feels Good To You It Must Be Right For The Song</b><br />When I was just starting out, I played what I thought worked, and would occasionally be 'corrected' by a band member. Although it felt right to me, I lacked sufficient background at the time to play what was right for the music. It’s a good idea to become familiar with the idioms you'll be responsible for. And if you're not sure, ask.<br /><br /><b>It’s All In The Wrist</b><br />To say that it’s all this or all that can cut us off from a lot of things. I see many drummers who are trying to get by using just one or two fingers, and I'm amazed at how often the thumb is neglected. We should be using all the tools we were given: hand, fingers, thumb, wrist, elbow, shoulder, back.<br /><br /><b>Mistakes Are Bad. Always</b><br />Beethoven probably wasn't the first to say it: "Playing a wrong note is insignificant whereas playing without passion is inexcusable." As my jazz theory professor was so fond of saying, "A mistake is just an unanticipated outcome."<br /><br /><b>More Technique Is Always Better</b><br />You need to have enough technique and knowledge to do the job, and you should also have something in reserve. That frees you to play without worrying about technical or physical limitations.<br /><br /><b>Muscle Tension Is Bad</b><br />In general, you should try to be as relaxed as possible when playing. That doesn't mean you shouldn't dig in and work the muscles as needed. Different things call for different approaches. Just bear in mind that chronic muscle tension consumes more energy and limits your mobility.<br /><br /><b>Odd Time Signatures Are For Advanced Players Only</b><br />Jazzers started exploring odd time signatures in earnest back in the 1950s. Early rock musicians followed a few years later. Other contemporary musicians quickly adopted the habit, and would throw in an occasional 5/4 or 7/8 tune or section. While bands like Tool and Meshuggah take it to an extreme, the average player is quite capable of playing odd time signatures.<br /><br /><b>Perfect Time Exists/Does Not Exist</b><br />There are drummers who don't display remarkable technical ability on the drum set, and yet they are snapped up by top musicians and demanding producers. Why? Impeccable time (and taste). If you've got great time, everything else is a bonus. Note that perfect time, like perfect pitch, is very rare. Most of us have to work at it.<br /><br /><b>Practicing With A Metronome Will Make You Mechanical</b><br />A standard in music education and practice for more than two-hundred years, the metronome marks out a tempo in strict time. Most professional musicians use a metronome to help them continually improve their time. There is no downside to playing good time. <br /><br /><b>With Clicks, Good Time Isn't Necessary For A Drummer Anymore</b><br />Nobody wants to have an actual metronome on stage, although a click track can be useful in some contexts. For the most part, musicians have only their own sense of time to keep things on track, and the better that sense, the better the resulting music will be. And no click required!<br /><br /><b>You Should Work Toward Being Proficient At As Many Different Styles As Possible</b><br />Are you a specialist or a generalist? I'm a generalist. I can play lots of things fairly convincingly, and that’s a sensible stance for a freelance musician. On the other hand, you may be a specialist. There are lots of great drummers who have a limited palette of styles but it serves their music perfectly, Joey Jordison being just one great example. <br /><p></p>Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-80980533083401742312023-12-14T11:27:00.001-05:002024-01-17T14:06:17.390-05:00My Top Dozen (or so) Drum Set Exercises<div>The material on my music stand changes from time to time, but certain exercises remain and get a regular top-up. Below are the exercises I keep on my practice schedule and which I revisit regularly. Note that while slow practice yields better progress, you should also work toward playing at working tempo as you gain control. The exercises assume right handedness, but feel free to reverse the stickings.</div><div></div><div></div><div></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirmHgg0JTO9oa8gASfQGl5BKNf22H52TcA-CjOkZzfGMW8j5X9DWbsehFbdaL4NeZCcCZ2iboO81LFhzu1BAMWD1yTZE4d3qO3vAJvaXh8hqRIwnTzAPYkS8SE6prhCZg5z7qUtClrgjsTZHAO22pD-0isGRa9pp_YrCVjWlS3Q-WFJKtPBjlDIwtCfucc/s450/Dozen.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="299" data-original-width="450" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirmHgg0JTO9oa8gASfQGl5BKNf22H52TcA-CjOkZzfGMW8j5X9DWbsehFbdaL4NeZCcCZ2iboO81LFhzu1BAMWD1yTZE4d3qO3vAJvaXh8hqRIwnTzAPYkS8SE6prhCZg5z7qUtClrgjsTZHAO22pD-0isGRa9pp_YrCVjWlS3Q-WFJKtPBjlDIwtCfucc/s320/Dozen.jpg" width="320" /></a></div><p>Note: I have prepared a summary of these exercises in standard and Berger notation. Email me if you’d like to receive a PDF copy.</p><div><b>1-Minute Maintenance<br /></b>Singles, doubles and buzz rolls all deteriorate fairly quickly, so add them to your schedule. Basic beats can also do with frequent review. I do a quick 1-minute review of at least one of the ‘basics’ every day. (In fact, I do most exercises for 1 minute and that seems to work for me.)<br /><br /><b>Left-Hand Lead Inverted Doubles<br /></b>There are a number of forms that double strokes can take, but this one has a secondary benefit. Lead with your ‘weaker’ hand and accent the down beat “double forte” to help build a better relationship with your non-dominant side.<br /><br /></div><div style="text-align: center;"><b>L</b> R R L / <b>L</b> R R L / <b>L</b> R R L / <b>L</b> R R L<br /></div><div><br /><b>Speed Builder</b><br />Play single strokes on the snare but play 1 & 3 on a cymbal. The feet play in Cut Time<br />Target the down beats (1 & 3) by throwing the stick against the cymbal. Also practice leading with each hand.</div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrIaxSxlBFpbOABd-icrN9cVviR8aaICeI3NzTidHFnOHED80FeFZypu5B8MUZZBpj9EehcQJcnJq7We_nd-1LoTRUQCrWrTomKpMPqrbnNMfL9VANThIBVLA1SZg6hnp6n3abyxVZf0kE-_HoO882xchPYuFiQ9uYZ2c0Q2L4rWOV6RDzObPVCV1R4sc1/s1800/Top%2010%20Speed_Builder.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="928" data-original-width="1800" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrIaxSxlBFpbOABd-icrN9cVviR8aaICeI3NzTidHFnOHED80FeFZypu5B8MUZZBpj9EehcQJcnJq7We_nd-1LoTRUQCrWrTomKpMPqrbnNMfL9VANThIBVLA1SZg6hnp6n3abyxVZf0kE-_HoO882xchPYuFiQ9uYZ2c0Q2L4rWOV6RDzObPVCV1R4sc1/w400-h207/Top%2010%20Speed_Builder.png" width="400" /></a></div><div><b>Accents on Toms</b><br />This exercise helps with getting the limbs moving in a natural and relaxed manner, plus the rhythms are good fodder for fills and soloing. I use Ted Reed’s “Syncopation”, but any book that has similar exercises will work, and put the accents on the ‘nearest’ tom: R=FT, L=ST.<br /><br /><b>Buddy’s 3's</b><br />Buddy used this pattern a lot during solos and it’s a great exercise for developing single stroke speed and for nailing the relationship between 16th notes and 16th note triplets.</div><div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOSxSoBXdJbfrUQKVMppA9Vc0mz89h87AMUlEafx6U9Gc_kLAtkKG5Hc7w6jOCJvioqes5cCQqBlegcyM2y5DFbC9Z3X5dd91qos9TIfN2Ts3bzc_N5YyjSWy92sRwHQbrNINYlhsmietGfcZMTFQSmb59FdmrmwF9SscVZa7cM_EYj4HJPUYOmKIkjEGy/s1500/Top%2010%20Buddy's%20Favourite%20Warm-up.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="1500" height="71" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOSxSoBXdJbfrUQKVMppA9Vc0mz89h87AMUlEafx6U9Gc_kLAtkKG5Hc7w6jOCJvioqes5cCQqBlegcyM2y5DFbC9Z3X5dd91qos9TIfN2Ts3bzc_N5YyjSWy92sRwHQbrNINYlhsmietGfcZMTFQSmb59FdmrmwF9SscVZa7cM_EYj4HJPUYOmKIkjEGy/w400-h71/Top%2010%20Buddy's%20Favourite%20Warm-up.png" width="400" /></a></div><b>3-way Combinations</b><div>I picked up this trick from Claude Ranger and have expanded it by applying the concept to G.L. Stone’s “Stick Control”. Right hand strokes are played with the bass drum and ‘L’ strokes are played with both hands, on the snare and floor tom, HH on 2 & 4.</div><div><br /><i>More about Claude Ranger:</i><br />https://www.thecanadianencyclopedia.ca/en/article/ranger-claude-emc<br />https://youtu.be/5HOSCWCwAHA<br /><br /><b>Doubles Between Snare & Bass vs. Ride Rhythm</b><br />These are good muscle builders and they also produce some pretty useful rhythms. Play the diddle variations between the bass drum and snare while keeping a steady ride, 2 & 4 on the hi-hat.<br /><br /><b>Paradiddles Between Snare & Toms</b><br />Place one of the single strokes of a paradiddle on the ‘nearest’ tom (i.e. right hand strokes on the floor tom, left hand strokes on the mounted tom) and the remainder on the snare. Also apply two strokes on toms. Finally, put the doubles on toms.</div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjACLq0xXtsoCi9NkMdzgj5YRYBHG-ZZbg9hsdzvnlGRVQOoOyBx_D0YxvX6hNbyjsUwtc5ONhcl_TWUMbXygkWZOL4s4uAhL3x14O1PATvMnGfvfiUn6MylD8sAmcui5Dq8D8of3B7oAyPNP_WfvkiiWamtbR23jGUxYATvnFTF-3HrcavxpXQ-qfc36Zl/s1500/Top%2010%20Paradiddles%20on%20toms.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="865" data-original-width="1500" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjACLq0xXtsoCi9NkMdzgj5YRYBHG-ZZbg9hsdzvnlGRVQOoOyBx_D0YxvX6hNbyjsUwtc5ONhcl_TWUMbXygkWZOL4s4uAhL3x14O1PATvMnGfvfiUn6MylD8sAmcui5Dq8D8of3B7oAyPNP_WfvkiiWamtbR23jGUxYATvnFTF-3HrcavxpXQ-qfc36Zl/w400-h231/Top%2010%20Paradiddles%20on%20toms.png" width="400" /></a></div><div><b>Tony’s Warm-Up</b><br />Play single stroke 16th notes and switch to double strokes, also 16th notes. And repeat. Be sure to lead with either hand.<br /><br /></div><div style="text-align: center;">RLRL RLRL RLRL RLRL | RRLL RRLL RRLL RRLL | etc.<br /></div><div><br /><b>Diddles a la Billy Cobham</b><br />This is a good way to refine your double strokes. Using a book such as Ted Reed’s Syncopation, take the accented exercises and play a diddle for each accented note. This helps develop speed, dexterity and control ... and they sound pretty cool.</div><div><br /><b>Half Diddles</b><br />This idea was inspired by David Garibaldi. The figures are actually the four Single Paradiddle forms, but with one stroke missing, and played between the snare and bass drum against a ride rhythm. The figures can be played with either a rock or a swing feel.</div><div></div><div></div><div></div><div><br /><b>Quads</b><br />These are great for developing a better relationship with your limbs. The exercise consists of one stroke with each limb in various sequences: LH RH RF LF / LH LF RH RF / RH LF LH RF etc.<br /><br /><b>Tony’s Fusion Tom Work-out</b><br />Best done on a “fusion kit” (2 up, 1 down), these exercises are great for getting around the set and also for developing a more musical palate. Play a short figure (e.g. 2 8th notes) on each drum and go around the set playing the figure once on each drum. The principle can be applied to any sort of pattern. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLBmPSZXVKEQUDFDybjNHtCELXh7JRPlBeOwbGxdatdCX7YjmN_IvhUDGPPLs1IVG21Q8C2KhDKSzx0euCCDE4_kb1mmQxcnMKj0mo6iKdYut5G_9jIH3GDy4r53eLUbx0tDB0YgaIcvocaEkOXdtRwdV2qeXjqPmEcPooAo2QDC8AyS5R46EKA99lmeoU/s1500/Top%2010%20Fusion_Tom_Work-out.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="253" data-original-width="1500" height="68" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLBmPSZXVKEQUDFDybjNHtCELXh7JRPlBeOwbGxdatdCX7YjmN_IvhUDGPPLs1IVG21Q8C2KhDKSzx0euCCDE4_kb1mmQxcnMKj0mo6iKdYut5G_9jIH3GDy4r53eLUbx0tDB0YgaIcvocaEkOXdtRwdV2qeXjqPmEcPooAo2QDC8AyS5R46EKA99lmeoU/w400-h68/Top%2010%20Fusion_Tom_Work-out.png" width="400" /></a></div><div></div><div><b>Bonus Tip: </b>I like to practice stickings with a Cut Time foot pattern. That is, play “1” on the bass drum and “3” on the hi-hat. You can then use your feet as targets for your hands.<br /><br /><i><span style="font-size: x-small;"><br />Picture Credit: 1371580 © William Berry, Dreamstime.com</span><br /></i><br /></div><br />Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-34554394463444257582023-11-08T09:31:00.004-05:002023-11-11T09:35:23.443-05:00Drum Set Rudiments Part I - A Musical FoundationI occasionally see references to 'drum set rudiments' (vs. 'rudiments on the
drum set') and I'm always curious as to what that could mean. You see, there are
no established drum set rudiments, at least not in the sense of an organized
list as is the case with the <<traditional or ‘standard’ rudiments – as
found on P.A.S. and N.A.R.D> <a href="https://www.pas.org/resources/rudiments">https://www.pas.org/resources/rudiments</a>
and <a href="http://nard.us.com/Home.html">http://nard.us.com/Home.html</a>>>.
<div class="moz-text-html" lang="x-western">
<p align="center"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh80WQAGGpdP7wFs4HBFVISPBwTUKLxPvRU7pNaatvpTqgGdMfAfSA3yHMpkCqywvVVHMNhpQQIHIlnIoFCtOBNChpw882w_EuYhVWvdLUxFAuLfiQTOX3eyc2AqshYqZczNf0bXrzu2KWMxQUelIbjkDSFVrGCZSWK4O-UXdRerf_paExdXbjor6LsGvB_/s525/Foundation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="525" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh80WQAGGpdP7wFs4HBFVISPBwTUKLxPvRU7pNaatvpTqgGdMfAfSA3yHMpkCqywvVVHMNhpQQIHIlnIoFCtOBNChpw882w_EuYhVWvdLUxFAuLfiQTOX3eyc2AqshYqZczNf0bXrzu2KWMxQUelIbjkDSFVrGCZSWK4O-UXdRerf_paExdXbjor6LsGvB_/s320/Foundation.jpg" width="320" /></a></div><p></p>
<p><strong>Getting Back to Basics</strong><br />The word rudiment simply means the
fundamentals, and there are certain drum set fundamentals that we all ought to
master. And, because the drum set is a completely different instrument from the
rudimentalist's field drum, a collection of basics for the drum set should look
completely different in almost every way. </p><p><strong>We Play Music</strong><br />With a drum set, the goal is to play music,
not marches, calls and cadences. The drum set’s very existence was driven by
music. So, drum set rudiments ought to exploit the drum set's various voices and
capabilities while addressing each of the following: </p>
<p><strong>1. Music Theory</strong><br />At minimum, a drummer needs to know about
tempo, time signatures, note values, compound time, phrasing, dynamics, forms,
and structure. Reading drum notation is a great skill and not that difficult to
learn. Even a bit of reading skill will make learning music theory a lot easier.
</p>
<p><strong>2. Technique<br /></strong>We all seem to understand the importance of
hand technique, but we also need to concentrate on exercises that call for using
and moving around the entire drum set ... and perhaps de-emphasize the snare
drum and pad work. </p>
<p><strong>3. Accompaniment<br /></strong>Your job is to support the band while
solidifying the foundation. That means working with the other musicians as a
team pursuing a single goal. Whether you play only your own style of music or
you play a few styles with various bands, you need to know the required beats
and a suitable number of variations. Frequent listening to music and playing to
tracks can help here. </p>
<p><strong>4. Beginnings & Endings<br /></strong>I’ve heard it said that as
long as the beginning and ending are good, what happens in between doesn’t
matter. To a degree, that’s true: An audience will remember a bad ending longer
than they’ll remember a terrific guitar solo. Become familiar with as many
beginning and ending options as you can. (Hint: There aren't’ that many.)</p>
<p><strong>5. Transitions & Fills<br /></strong>Music benefits from these
rhythmic and dynamic elements, and drum students should learn how to do simple
musical fills and transitions as early as possible. </p>
<p><strong>6. Soloing<br /></strong>I used to think that this was an optional
skill, but some situations will require it. Make sure you're able to deliver a
decent solo if needed. In a jazz context, be able to ‘trade 4s’ and 8s. For the
record, it’s fine to memorize a solo, if that’s what works for you.</p>
<p><strong>Conclusion<br /></strong>Looking over this list, what I see is a
prescription for lots of study and lots of listening. Yes, we need to work on
our chops, but musical skills are what will move us forward most effectively.
</p>
<p align="center"></p>
<span><span><span style="font-family: ver;"><span style="font-size: xx-small;"><span style="color: #333333;"><span style="color: #333333; font-family: "Helvetica","sans-serif"; font-size: 8.5pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">
<p align="left"><em>Photo Credit: </em>14754906 © Yannpic,
Dreamstime.com</p></span></span></span></span></span></span>
</div>
Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-90003838639884880642023-10-11T09:20:00.001-04:002023-11-11T09:30:55.908-05:00Practicing Rules!Of course there are no rules, other than just do it. But there are good ways
to practice and not so good ways. My goal for practice time is that it will
invariably lead to the development of sound playing and sound playing habits.
And it has to be fun. <div class="moz-text-html" lang="x-western">
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYROJwpp40HFzdIIMtemUKmbPQjHzZ5N-ySv-0aUBNMq-Yh0nnlCea7FgJPgWxpVByCy9pI2QPhK7jgLaaANfAdLozSuEBy-LFVJdtkNe3Im4_2q-O9OnYcFkH4skurCsZT2X3jqBaKKnekz_q7LigH_cf0Rgi1KA5uSKBdX5WecH8kNcjPKMomvNr3q42/s525/Ruler_8313115.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Folding ruler" border="0" data-original-height="333" data-original-width="525" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYROJwpp40HFzdIIMtemUKmbPQjHzZ5N-ySv-0aUBNMq-Yh0nnlCea7FgJPgWxpVByCy9pI2QPhK7jgLaaANfAdLozSuEBy-LFVJdtkNe3Im4_2q-O9OnYcFkH4skurCsZT2X3jqBaKKnekz_q7LigH_cf0Rgi1KA5uSKBdX5WecH8kNcjPKMomvNr3q42/w320-h203/Ruler_8313115.jpg" width="320" /></a></div><p align="center"></p><p><strong>Slow Down<br /></strong>Taking it too fast too soon is probably the
number one reason for not making better progress. It’s a good idea to approach
new material by playing it slowly ... in some cases, as slowly as you can stand
it. This gives you lots of time to concentrate on what each limb is doing. Once
you have a degree of control, go ahead and take it up to working speed, but be
ready to slow it down again if you’re still struggling. Note that some patterns
and rhythms may not be evident when the tempo is too slow. In this case, find a
tempo where the musical content emerges, then work toward playing it slowly as
well as at tempo.</p>
<p><strong>Slow Down Mentally As Well<br /></strong>At its best, drumming can be a
form of meditation, and this state of mind is well worth cultivating. Getting
rid of distractions and mental clutter will help you understand the flow of time
in a different way. Freddie Gruber would tell his students that they had
“nowhere to go and all the time in the world to get there”. It was his way of
saying lighten up, take it easy. </p>
<p><strong>Slow Down Your Expectations<br /></strong>Practicing is an investment,
and investments like to take their time. Focus on where you are, not where you
think you should be. And, as with a financial investment, don’t look at the
balance too often -- the ups and downs can be discouraging.</p>
<p><strong>Relax<br /></strong>The great players all have one thing in common:
They relax thoroughly when they play. Even when they're digging in, great
players are relaxed. A good way to relax is to simply tell yourself to relax,
perhaps focusing on one limb or muscle group at a time (1). </p>
<p align="center"><em>“The more relaxed you are, the better you are at everything”
- Bill Murray</em></p>
<p><strong>Focus<br /></strong>Mindful practice really pays off. A study conducted
at Duke University of Texas at Austen (2) revealed that people who slow down and
focus intensely on the material -- even for a short time -- make better progress
than those who don’t. Learning and mastering require a lot of focus, and the
more focus you apply, the faster you’ll progress. Also keep in mind that
mindless practice is unproductive practice.</p>
<p><strong>Watch<br /></strong>Watch your hands as you practice to see what
they’re doing. Do your movements look smooth and relaxed or tense and jerky?
Some drummers like to practice in front of a mirror to help refine their moves.
I recommend studying the hands of the great players to see how they hold the
sticks, how they position their instruments, how they move. Study their feet as
well.</p>
<p><strong>Listen<br /></strong>Always be aware of the sounds you’re making. Hear
what you’re playing. Listen to all your different 'voices'. Even better is to
hear it before you play it. Hear it in your mind, then hear it on the drums.
Sometimes an exercise becomes more difficult when you change a single seemingly
insignificant item, so be sure to move things around the set to see how
different sounds can affect your playing. </p>
<p><strong>Also Listen To Your Body<br /></strong>Your body is constantly giving
you feedback on where your limbs are and what they’re doing. Feel the stick as
it hits the snare; feel how your foot interacts with the pedal; feel your whole
arm as you reach for a cymbal. This vital information will help you refine the
way you use your limbs. I recommend this Thomas Lange exercise: Play a 4-way
pattern and focus on one limb at a time, increasing and then decreasing its
volume, and shift your attention from limb to limb. </p>
<p><strong>KISS: Keep it Short and Simple<br /></strong>It’s better to thoroughly
practice a small number of items rather than make a few passes at a lot of
material. I like to work on a few well-focused exercises that build on a single
skill, and I generally move them to all positions within the time and also to
different instruments. </p>
<p><strong>Play Music<br /></strong>Once you have the basic co-ordination under
control, make it sound like music. Not all exercises will produce an infectious
groove, but it’s worth a try. I like to play exercises to backing tracks. I then
try to forget that it's an exercise and just play.</p>
<p><strong>Have Fun<br /></strong>In all my years of teaching I’ve yet to
encounter a student who functioned better when not happy. Research bears this
out. People work, play and learn better if they’re enjoying the task at hand and
when the task has some meaning for them. Know what you’re practicing, know why
you’re practicing it, and be sure that it’s a fit for you personally, musically,
emotionally, and spiritually. </p>
<p>And remember that the best way to get better at your instrument is to play
with other people. </p>
<p><strong>From my blog:</strong></p>
<p>1. Just Relax! - <a href="https://drumyoda.blogspot.com/2016/09/just-relax.html">https://drumyoda.blogspot.com/2016/09/just-relax.html</a></p>
<p>2. How To Turbo-Charge Your Practice Routine - <a href="https://drumyoda.blogspot.com/2018/07/turning-coal-into-diamonds-or-how-to.html">https://drumyoda.blogspot.com/2018/07/turning-coal-into-diamonds-or-how-to.html</a></p>
<p>How to Practice Part 1 - <a href="http://drumyoda.blogspot.com/2014/11/how-to-practice-part-i.html">http://drumyoda.blogspot.com/2014/11/how-to-practice-part-i.html</a></p>
<p>How to Practice Part 2 - <a href="http://drumyoda.blogspot.com/2014/11/how-to-practice-part-ii.html">http://drumyoda.blogspot.com/2014/11/how-to-practice-part-ii.html</a></p></div>
Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-88998186040743405012023-09-06T11:16:00.002-04:002023-11-17T20:37:57.213-05:00You Better Slow Down<div class="moz-text-html" lang="x-western"><p></p>
<p><span style="font-family: Verdana; font-size: small;">There are times when a song doesn't
seem quite right. Everything may appear to be correct, but things just seem out
of sorts. Perhaps the tempo was counted off too fast or too slow. But what if
the tempo is correct and it still seems at odds with the feel or mood of the
tune? The tune may seem a bit rushed no matter what? Maybe it lacks the energy
that a faster tempo would provide. There are tricks you can use to help align
the mood with the tune regardless of tempo.</span>
</p>
<div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6dylBpd4fRNXJRduneXTkkJHkaOK1Xjpl-euAvqCt3eq7XTtqrfGXpeOXjmffZ4FamukmIYTWQwACF3VAOL0FFU3bq3osXqnD919qvTeSs7_wW4MA8yauzBYJqOjr7u5KIwbFrmpD9svRHQpYxtbaAhJxIqXOzZkvI8pp-LA66xwnx5C1wYidT_TPCNEV/s375/train.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="375" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6dylBpd4fRNXJRduneXTkkJHkaOK1Xjpl-euAvqCt3eq7XTtqrfGXpeOXjmffZ4FamukmIYTWQwACF3VAOL0FFU3bq3osXqnD919qvTeSs7_wW4MA8yauzBYJqOjr7u5KIwbFrmpD9svRHQpYxtbaAhJxIqXOzZkvI8pp-LA66xwnx5C1wYidT_TPCNEV/s320/train.jpg" width="320" /></a></span></div><span style="font-size: small;"><br /></span><p align="center"><span style="font-size: small;"><br /></span></p>
<p><span style="font-family: Verdana; font-size: small;"><strong>OK, It Really Is Too Fast</strong> <br />It happens: somebody counted the tune off too fast (or too
slow) and now you’re stuck with it. Correcting a tempo on the fly is
technically easy but philosophically tricky. You can't arbitrarily change the
tempo mid-song to 'fix' things. I sometimes try to adjust an ailing tempo
without anyone noticing, which sometimes works. BTW, The worst thing you can do
is stop and try again; better to just live with for now.</span></p>
<p><span style="font-family: Verdana; font-size: small;"><strong>Play More Notes, or
Fewer</strong> <br />The number of notes you play can have a
big effect on mood. Creating space by playing fewer notes can make a tune seem
more stable. For example, playing quarters on the hi-hat instead of eighths can
help make a tune feel more relaxed, less frenetic. Or you can increase the
energy level by filling up some of the space ... busy implies energy. Playing a
16th-note ride pattern rather than 8ths can help create a sense of movement. You
can also increase or decrease the snare or bass drum work to bolster or lighten
the feel. </span>
</p>
<p><span style="font-family: Verdana; font-size: small;"><strong>How Does It Feel?</strong> <br />An easy way to change the mood is to play half as fast, or
twice as fast. Actually, a double-time or half-time feel is what you're looking
for. Try playing a double time swing ride to perk up slower rock tune. Or you
can allude to a half time feel -- bass drum on 1, snare on 3 -- to simulate a
more relaxed pace. </span>
</p>
<p><span style="font-family: Verdana; font-size: small;"><strong>Half Time? Double Time? How
about both?</strong> <br />The ‘Bonham shuffle’ is a wonderful
example of mixing and matching half and double time: the bass and snare play
straight time and the hi-hat plays a double time feel (or vice versa). In this
case, neither the half time nor the double time pattern would have worked. This
trick can be found on a number of recordings.</span>
</p>
<p><span style="font-family: Verdana; font-size: small;"><strong>Be Up Front About It ... Or
Behind </strong> <br />Playing on top of or behind the beat can
be tricky, but it can help increase or decrease the energy level. A technique I
like to use is to work with just the snare and not be concerned about the other
bits. I can place the back beat a little ahead or a little behind. That way I
can micro-manage the energy with just the snare. </span>
</p>
<p><span style="font-family: Verdana; font-size: small;"><strong>Conclusion<br /></strong>Fixing a nervous or lifeless tune is not always
possible. Some tunes simply won't settle down or “get off the ground” no matter
what you do. Well, that's music for you!</span></p></div>
Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-23369054078398272102023-09-06T11:14:00.002-04:002023-09-06T11:14:39.239-04:00Pick Your Targets<div class="moz-text-html" lang="x-western">
<p>One thing that I always admired about Buddy Rich was the way he set up
figures. He had a way of announcing and drawing attention to horn lines that was
absolutely beautiful. It’s also good illustration of how important it is to know
not only where you are, but where you’re going as well. </p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyG9Bb2oKLglRU4NLME-hjsPEDyij-P1hE8wiB7nMsR6FxTN32mq1UEcym-EyUi2HLzngEptXfxjbsxVY0v3EigIdCHUEzklFt2Ne7msGNQ0DnOANjck2H6_vyipvS4hV7odNyIp-o1GjxGVryCateZFULNMSLW23YlwFmfurngMuXYaiCIwCf0Udp-VrE/s525/Shooter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="351" data-original-width="525" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyG9Bb2oKLglRU4NLME-hjsPEDyij-P1hE8wiB7nMsR6FxTN32mq1UEcym-EyUi2HLzngEptXfxjbsxVY0v3EigIdCHUEzklFt2Ne7msGNQ0DnOANjck2H6_vyipvS4hV7odNyIp-o1GjxGVryCateZFULNMSLW23YlwFmfurngMuXYaiCIwCf0Udp-VrE/s320/Shooter.jpg" width="320" /></a></div>
<p><strong>More Than Hitting The Shots</strong> <br />Orchestrating a setup means
you have to know where you're headed and then work your way toward that goal.
We're sometimes inclined to focus on what we're doing in the moment and may not
always be aware of where we need to end up. If you're not paying attention to
landing point, you might play something that ends awkwardly ... or worse. </p>
<p><strong>Mentally Organize Your Physical Space</strong><br />There’s a lot of
movement required in drumming, and knowing where you're going physically is
vital. If you set out to do a roundhouse fill, for example, you need to prepare
your body to move all the way from one end of the set to the other. Visualize
the movements as you go. Think about the body movements you need to make so you
can 'see' where you need to go before you get there.</p>
<p><strong>You're Always Going Somewhere <br /></strong>When you play the last
note of a phrase, you should be targeting the downbeat of the next phrase (you
don't need to emphasize it; just land on it perfectly and you'll be fine). When
doing a fill, you need to keep your eye on where you're going to resolve the
fill. Pick your target, keep your focus on it, and let it guide your playing
every step of the way. And listen.</p>
<p><strong>Turn-arounds/Transitions</strong><br />Phrases begin and phrases end.
You can add interest and 'escort' the music from one phrase to the next with
what's called a turn-around. For example, in a 32-bar tune, there are four 8-bar
phrases. At the end of each phrase, drummers will often do something interesting
to wrap up the current phrase and set up the next one. These transitions can be
a simple shot or a dynamic two-bar fill. More common, though, is something in
between, perhaps change the beat slightly for that last bar or a subtle two-beat
fill. This also reassures the band that you (and they) are in the right
place.</p>
<p><strong>Starting, Stopping, Changing Gears</strong><br />Take any sticking, any
pattern. Where does it begin and where does end? If it's a two-beat
pattern that starts on ’3', the landing point would be '1' of the next bar.
Start thinking about that end point and then adapt your playing so you reach it
reliably and consistently.</p>
<p>By all means concentrate on what you’re playing, but also know where your
targets are and always aim for them.</p>
<p>Also see: <a href="https://drumyoda.blogspot.com/2016/05/adaptive-anticipation-or-what-comes-next.html">https://drumyoda.blogspot.com/2016/05/adaptive-anticipation-or-what-comes-next.html</a></p>
</div>
Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-32352115157270543362023-07-20T14:48:00.004-04:002023-11-17T20:39:35.195-05:00Are You Talking To Me?We’ve all at one time or another been advised to "just listen” and we would
be told the answer to whatever it is that’s is confusing us. Listen to the
Mulligatawny soup you’re making or the plants in your vegetable patch or that
batch of wine maturing in the basement and you'll discover what they're trying
to tell you. It seems that anything can have this extraordinary communication
skill, if only we were more adept as listening. <div class="moz-text-html" lang="x-western">
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnZhaXVw5y_eNtKg0PNnxXLCKxTma0uUOlZog198DewIVMkpgGTxRjSGGkiRHlcdawWqSiu4aXla4GK_-MzmeQJz3_yHvin223u_AgGhVIOVQsBkkq_yECPUuDIc3NEjp22ppdYRqpVAHpw4ipGU__3rvluOJLZZs4cXXd_7-KhKYPRV3tMcy7oyYEzYRw/s320/Whisper.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="190" data-original-width="320" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnZhaXVw5y_eNtKg0PNnxXLCKxTma0uUOlZog198DewIVMkpgGTxRjSGGkiRHlcdawWqSiu4aXla4GK_-MzmeQJz3_yHvin223u_AgGhVIOVQsBkkq_yECPUuDIc3NEjp22ppdYRqpVAHpw4ipGU__3rvluOJLZZs4cXXd_7-KhKYPRV3tMcy7oyYEzYRw/s1600/Whisper.png" width="320" /></a></div>
<p>The problem, though, is that the people who give this advice are usually
experts with lots of experience. They’ve learned how to listen and they know
what to listen for, often to the point of instinctive behaviour. They’ve also,
for the most part, forgotten what it’s like to not know these things. But it's
not the art of listening that's driving things, as much as its interpretation.
And knowing what to 'listen' for can have a big impact on how much you can
‘hear’.</p>
<p>For my post on <a href="http://drumyoda.blogspot.com/2017/11/re-visioning-snare-drum.html">snare
drum sounds</a>, I thought back to what the drums 'told' me they could do. And I
don't mind saying it took me a long time before I could hear all those sounds,
to know what they meant and to figure out how to use them in my playing. What
happens if I crank the snares tight or loosen them practically off? How do I get
consistent sounds out of a drum? What happens when I tighten the snare head?
What about the bottom head on a tom? </p>
<p>Cymbals also have lots to tell us. Where’s the sweet spot on your ride
cymbal? What happens when you hit it near the edge or when you lay your
stick across the bow? What about undertones? Is the cymbal fast or slow? All
these and more can be revealed by listening to the cymbal. With every stroke,
it’s telling you where and how to hit and also where and how not to hit. </p>
<p align="left">There’s only one way to discover all this: Just do it. It’s a
simple matter of paying attention to sounds you’re producing plus lots of
practice and experimentation. So don't just hit. Hit and listen, and see if the
instrument can tell you how to get the best sounds from it.</p>
</div>
Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-52214167739714657942023-06-29T11:50:00.004-04:002023-08-08T14:47:27.714-04:00 How to Build Your Drumming Cred<table border="0" cellpadding="0" cellspacing="0" class="moz-header-part1 moz-main-header" style="width: 100%;"><tbody><tr><td></td></tr><tr><td></td></tr><tr><td></td></tr></tbody></table><div class="moz-text-html" lang="x-western"><p>“Street cred” ... it's about as good as it gets. It means you've survived in
the wild and garnered a goodly amount of experience and respect. The music
business can be quite a jungle, and the best way to beat your path through it is
to have supporters on the inside. By that I mean that your most basic goals are
to show people that you know your stuff and are willing to take on the challenge
and the responsibility, and for that you need credibility. </p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUnrQC0IBYIvY0slF9sbiHLtRL7JbxZA23F79WTgzXHEDaRg7Akq1NnStn1ChvCqxxj4jSCQB-EWiQrUiCNL4ijBoiNxmbl2nk2oD1Jp8S-6rcALW6znspLHakQZEf09W673BDTRATqpj6Rl_DCdlSRpgwJhO85Hex5YKupRfiinoGa90wTZIP7-z37HK2/s350/Hammer.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="230" data-original-width="350" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUnrQC0IBYIvY0slF9sbiHLtRL7JbxZA23F79WTgzXHEDaRg7Akq1NnStn1ChvCqxxj4jSCQB-EWiQrUiCNL4ijBoiNxmbl2nk2oD1Jp8S-6rcALW6znspLHakQZEf09W673BDTRATqpj6Rl_DCdlSRpgwJhO85Hex5YKupRfiinoGa90wTZIP7-z37HK2/s320/Hammer.png" width="320" /></a></div><br /><p align="center"></p>
<p>And just how do you develop this valuable cred? Well that's going to take
some work. </p>
<p><b>1. Be Worthy <br /></b>The first step is to become a worthwhile
player. You need to have ALL the necessary skills and knowledge to tackle a gig.
You also need to demonstrate that it's about the music and the ensemble. Like
the old expression says, they won't care how much you know until they know how
much you care. </p>
<p><b>3. Get Out<br /></b>Get out to playing situations as often as you
can. If you’re not out playing yourself, you should be out listening to other,
preferably better, players, and not just drummers. There are lots of venues
having open stage events. Go. Sit in. Act like a pro and meet as many people as
you can. Ask for business cards. Hand out your own business card (Don’t have
one? Tsk, tsk). </p>
<p><b>3. Stay Out<br /></b>Once you've begun to build and nurture your
‘support network’, get involved with these people. It needn't be much ... an
occasional phone call, text, email, or quick chat at the music store. Also make
it out to the clubs to just hang and show that you want to support their work.
</p>
<p><b>4. Show & Tell<br /></b>Having something tangible can help. A
published article or interview suggests you are someone to pay attention to. A
teacher with a book is highly respected. Online videos are a great way to market
your skills. Be sure to have ‘samples’ with you at all times. Anything that you
can put into people’s hands increases the chances of them remembering you. So
business card, CD, thumb drive filled with videos, actual press kit ... whatever
works for you (and your budget).</p>
<p><b>5. You need an online presence<br /></b>Get a website, a YouTube
page, a social media campaign … they’re not optional these days. Keep in mind
that these are powerful marketing tools when used wisely. What you post should
be related to your music activities and of the highest quality you can manage.
Keep personal views out as much as possible, and make sure your pages can be
found easily. If you’ve written a book or had media attention, it’s OK to plug
it. </p>
<p><b>6. Modesty is good, however …<br /></b>You don’t want to brag or
name drop, but you need to let people know that you’ve got something to offer.
It isn’t hard. If they ask, you then have permission to disclose ("Since you ask
…"). Otherwise, you can work it into the conversation, “Your guitar player
reminds me of when I was playing with (insert famous name here).” Perhaps not
overly tactful, but you needn’t be shy about mentioning your accomplishments and
that you’re serious about your work and your career. <br /></p></div>
Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-11763079518255283642023-06-01T11:49:00.016-04:002023-08-08T13:13:11.786-04:00 Occam Was Onto Something<p>The philosophical and scientific principal known as Occam’s Razor is
attributed to <a href="https://en.wikipedia.org/wiki/William_of_Ockham">William
of Ockham</a>, a medieval monk who lived from about 1287 to 1347. He advocated
the problem-solving principle that the simplest explanation is the best and
therefore most appropriate. Aristotle, too, subscribed to the idea, and Ptolemy
wrote: It is vain to do with more what can be done with fewer.</p><div class="moz-text-html" lang="x-western">
<p align="center"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjePsY0AVyyGYSfC1yfh5dncj62HQzFxMjApIxQ7DCQfhzhBIeW849mCSym0Ji7iXI-6p_Sq63TJW5zpRaVGv22hZZV9_LUpmLtdnoBvEeB49Jz8ROkAEkWGbH3Nj1t_WHfhOp_zhSVwykuF5NTvpDHtJOlqAGhRcUnQTXNsZt_BCDRoYFGLd410QawFxwW/s320/Occam.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="240" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjePsY0AVyyGYSfC1yfh5dncj62HQzFxMjApIxQ7DCQfhzhBIeW849mCSym0Ji7iXI-6p_Sq63TJW5zpRaVGv22hZZV9_LUpmLtdnoBvEeB49Jz8ROkAEkWGbH3Nj1t_WHfhOp_zhSVwykuF5NTvpDHtJOlqAGhRcUnQTXNsZt_BCDRoYFGLd410QawFxwW/s1600/Occam.jpg" width="240" /></a></div><b> </b><p></p><p style="text-align: left;"><b>A Closer Shave<br /></b>The ‘Razor’ is a metaphor for the act of
cutting away the excess. It’s like the prescription for sculpting a horse: Just
remove everything that doesn’t look like a horse. A good musical model is Latin
music. It often calls for a number of drummers and rhythms to support the music,
but when you remove all the ancillary bits, what you’re left with is the ‘Clave
’, a 2-bar, 5-note figure that is the backbone of all Latin music. Once you
understand the clave, you can then build on it to produce something
interesting.</p>
<p><b>K.I.A.S.A.P., B.N.S. </b>(Keep It As Simple As Possible,
But No Simpler)<br />We’re all familiar the modernized version: Keep It Short
& Simple. Good advice most of the time, but it’s the ancients’ belief that
the best course of action is to always remove as much extraneous detail as
possible to arrive at the core of the matter. A firm grasp of the fundamentals
is the key to real understanding.</p>
<p><b>That’s too simple for me</b><br />We’re not aiming to keep it
simple for the sake of keeping it simple. What we’re going for, instead, is to
reduce the layers of complexity, the clutter, the added frippery -- in short,
the noise -- that keeps us from discovering the underlying essence. This will
allow us to construct a more solid foundation.</p>
<p><b>Micro Practice</b><br />We do ‘micro practice’ all the time. We
work on a single thing: single strokes, double strokes, lines from Stick Control
and the like. Why? Because it works. Reducing our focus to a single item reaps
big rewards. When learning a new figure, I will often take a 2-beat or even a
1-beat section and work on it exclusively. Then, when I tackle the whole thing,
I’ve got a good handle on each part.</p>
<p><b>Where’s the clave?</b><br />There’s a Simon Phillips video on
Drumeo that confirms the clave theory. His band, Protocol, was working on one of
Simon's compositions called Undeviginti. It’s a fairly basic composition, except
that it’s in 19/8. He got a call from the keyboardist Otmaro Ruiz who simply
said, “What’s the clave?” He knew that once he understood the essence -- the
clave – he’d be off and running ... as was Simon.</p>
<p>The goal is not to shun or avoid complexity, but complexity will come more
easily and be more solid if the underlying parts are fully understood.</p>
<p>Simon Phillips Interview on Drumeo: <a href="https://youtu.be/prZZyLHLFbA">https://youtu.be/prZZyLHLFbA</a><br />Skip to
the clave reference: <a href="https://youtu.be/prZZyLHLFbA?t=2335">https://youtu.be/prZZyLHLFbA?t=2335</a><br />For
more on the clave, see: <a href="https://drumyoda.blogspot.com/2020/07/the-latin-clave-demystified.html">The
Latin Clave Demystified</a> </p>
<p align="center"><br /></p></div>
Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-1504848035593762082023-05-08T13:39:00.001-04:002023-07-19T14:01:38.815-04:00Glossary of Drum Strokes<p>I posted a summary of drum strokes some time ago. In the meantime, through observation, experimentation and reflection, I have massaged the list a bit and added a few more items (it’s rather long now). There are likely techniques here that you’ve not encountered before, and I invite you to try them all out and see what works for you.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmxjTuAVNcIXJ7Z6FSNDSVeVK4d2KVH_ahcps4iePea_ZW7AgM5Zi51-XOJmPT-zaKOjdzJO-nDfX48_pmxdXFngUXCs9NdFijesXifWT5gFJgr4lMDABb9C5qlb0SUD4UGUYWlzc9fxR_dgyS0T1cWKEt0fRgPo36iwNaNLOEfjI4yhLb5B0AD0sYov0X/s525/Scull.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="249" data-original-width="525" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmxjTuAVNcIXJ7Z6FSNDSVeVK4d2KVH_ahcps4iePea_ZW7AgM5Zi51-XOJmPT-zaKOjdzJO-nDfX48_pmxdXFngUXCs9NdFijesXifWT5gFJgr4lMDABb9C5qlb0SUD4UGUYWlzc9fxR_dgyS0T1cWKEt0fRgPo36iwNaNLOEfjI4yhLb5B0AD0sYov0X/s320/Scull.jpg" width="320" /></a></div><br />Most of the motions apply to both matched and traditional grip, although traditional grip has a few tricks of its own. All strokes are executed with a first finger fulcrum. <p></p><p>"Always start basic and you’ll never go wrong. After you have control of your instrument, you can do whatever you wish" - Papa Jo Jones<br /></p><h3 style="text-align: center;"><b>Simple Strokes</b></h3><p style="text-align: left;"><b>Down Stroke<br /></b>This is a one-way stroke that starts at the top and finishes at the bottom. The key is to stop the stick after striking so the tip remains 1 to 2 inches (25-50 mm) from the instrument surface. The focus is on controlling the rebound so the stick is ideally positioned for a lighter stroke.</p><p style="text-align: left;"><b>Up Stroke/Pull-Out<br /></b>This stroke begins with the stick close to the drum or cymbal surface. After 'pulling' a note from the Down position, the stick is then lifted to a higher position to facilitate a stronger stroke.<b> </b></p><p style="text-align: left;"><b>Whipping Stroke/Gladstone Stroke</b><br />This technique delivers maximum power. Begin in the down position. Lift the stick from the wrist letting the tip fall down. Then quickly whip the stick up and then down in a wave-like motion. Note that the stroke can be a Down Stroke or a Free Stroke.<br /></p><h3 style="text-align: center;"><b>Full Strokes</b></h3><p style="text-align: left;"><b>Free Stroke<br /></b>The full down-and-up stroke begins at the top of your range and, after striking, returns to the starting point using only the rebound -- the hand simply follows the motion of the stick. The grip should remain loose and no effort is needed to get the stick back up. The Free Stroke delivers excellent speed and power, and should be your ‘go to’ stroke. The name acknowledges the tension-free nature of the stroke when done correctly. Also called Down-Up Stroke, Open Stroke, Full Stroke, Legato Stroke, and a few others.<br /></p><p style="text-align: left;"><b>Half Stroke<br /></b>A Half Stroke is simply a Free Stroke starting at and returning to a lower height.<br /></p><p style="text-align: left;"><b>Bounce Stroke<br /></b>This is a lighter Free Stroke using mainly the wrists and fingers. Bounce strokes are an efficient way to play quick multiple strokes.</p><p style="text-align: left;"><b>Finger Stroke<br /></b>This Free Stroke is made by keeping the hand somewhat fixed and bouncing the stick using just the fingers. Finger control can be applied to most techniques.</p><p style="text-align: left;"><b>Wrist Stroke<br /></b>This stroke uses mainly the wrists with little or no finger and arm action. The stick is gripped more firmly and is pulled up after a stroke rather than relying on rebound. Wrist strokes are excellent for volume and can provide a respectable amount of speed.</p><p style="text-align: left;"><b>Piston Stroke<br /></b>This is a Wrist Stroke that draws on the forearm for added power. The action is pushing down and pulling up. While this is a very powerful stroke, it puts a lot of stress on the wrists and forearms.<br /><br /></p><h3 style="text-align: center;">Combined Strokes</h3><p style="text-align: left;"><b>“Moeller Method” </b>(1)<br />Named after rudimental drummer Sanford “Gus” Moeller, this is a two-part stroke that provides both power and speed. Begin with a Down Stroke, ensuring that the stick tip remains close to the striking surface. Then execute an Up Stroke, and return the stick to the start position. So, a Down Stroke followed by an Up Stroke. This action is ideal for playing 'diddles' and also for ride cymbal work</p><p style="text-align: left;"><b>Bailey Stroke<br /></b>This stroke is similar to Moeller except that instead of an Up Stroke, you simply drop the tip of the stick to the surface as you lift the stick. After a Down Stroke, simply relax the hand and let the tip fall as you begin to lift the stick. Some refer to this as a 'free note' as you get an extra note with no additional effort. The technique is often used by jazz drummers when playing a cymbal ride</p><p style="text-align: left;"><b>Push-Pull<br /></b>Begin your stroke in the Up position and do a Down Stroke but keep the hand and fingers very loose and let the stick fly up. Then quickly close your hand to execute a second stroke as you lift the stick for the next Down Stroke. This is great for speed and articulation, and also helps to lock in the pulse.</p><p style="text-align: left;"><b>The Pump<br /></b>The Pump is a logical extension of the Push-Pull. It’s executed by moving mainly from the forearm and allowing the stick to bounce between the fingers and the palm. The fingers only have to move a little to facilitate this action. As your speed increases, the amount of motion must decrease. This pumping action is ideal for playing sustained notes as in a cymbal ride pattern.</p><p style="text-align: left;"><b>Full Gallop<br /></b>The movement here is the exact opposite of the Push-Pull. The stick is pushed forward on the down beat and then pulled back on the up beat. Think of the thumb as pushing the stick forward and then pulling it back. This is an excellent technique for fast shuffles. (The technique looks like riding a horse when done with both hands. Other names under consideration include Pull-Push, Forth & Back, Thrust & Parry.)<br /></p><h3 style="text-align: center;">Multiple Strokes</h3><p style="text-align: left;"><b>Dribble Strokes<br /></b>This is a series of low Bounce or Finger Strokes that resembles dribbling a ball.</p><p style="text-align: left;"><b>Jim Chapin's Triplets</b> (2)<br />With a relaxed hand, begin with a throwing motion and allow the stick to rebound half-way or less. Next comes a Bounce Stroke using just the fingers. Finally, tap the head as you begin to lift the stick. So: Down Stroke/Bounce/Up Stroke. Triplets are a very efficient way to play multiple strokes. Note that you can add more Bounce Strokes in the middle: Down/Bounce/Bounce/Bounce/Up.</p><p style="text-align: left;"><b>Tony Williams “Stutter Stroke”</b><br />This technique is mainly for playing a fast swing rhythm on a ride cymbal. The motion is almost 100% finger work -- a sort of ‘twitch’ action -- with the arm remaining fairly steady. For a right-handed player, start the stroke slightly to the left and move to the right while playing 3 quick strokes. The motion produces a sound similar to ‘Ta-da-Dum’, which can be interpreted as ‘&a-1’ which, in Cut time, gives us And-uh-1 And-uh-3.<br /><br /></p><h3 style="text-align: center;">Traditional Grip</h3><p style="text-align: left;"><b>"Buddy's Secret Weapon"</b><br />This one applies to the Traditional left hand grip and enables substantial speed by controlling the stick between the fulcrum and the first finger. A stroke is made with the wrist, and the first finger catches it on the rebound and executes a second stroke. The third finger helps set up the next stroke.</p><p style="text-align: left;"><b>Piano Strokes</b><br />Some traditional grip players will turn the hand over, putting the first two fingers on top of the stick. Strokes can then be made with either finger, or both together. Some drummers like this variation for brush work.</p><p style="text-align: left;"><b>Two Finger Roll</b><br />This technique is actually done with the thumb and forefinger of the left hand, and can be used to play singles strokes, double strokes and more. The thumb and first finger simply take turns throwing the stick down. The technique can also be executed with the first and second fingers and requires very good control and rebound.</p><p style="text-align: left;"></p><p style="text-align: left;"><br />(1) At one time there was a video on YouTube of an old-time drummer (possibly Moeller himself) demonstrating the Moeller Method. I have not been able to find this video since. I’ve described Moeller based on my understanding of the descriptions and photos in the “Moeller Book” as well as that video.<br /> <br />(2) In an on-line video, Jim Chapin gives a good account of his studies with Sanford Moeller and the influence it had on his technique: https://youtu.be/7yNb-kUPwMI</p>Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-17447044082300341052023-04-13T13:31:00.004-04:002023-07-19T13:39:32.274-04:00Isn't It Really All In Your Head?<p>I was reading an article about a round-up of exotic wood snare drums. The shells were gorgeous, and the mechanicals first rate. But I have to ask, are such fancy appointments really necessary, especially when many experts are telling us that the sound comes mostly from the drum head?<b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5BoqqVvUcPi0In3nBA4XF2sYWbFpQGis1jkBjyFeDHgt3eZsl09OwLns-6wkLmPnFO0yd65zN-d2F-uPfnc-fpgo_JjAJs8ebQienOecOlHHdRERvUN8eAkEKvGDUyeaMueoRxZrILiahbNc2KbANYWvo4oT2ooF_UIwLTayHiwmXwTwCGb6vw6OBUB2O/s525/Mechanicals.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="346" data-original-width="525" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5BoqqVvUcPi0In3nBA4XF2sYWbFpQGis1jkBjyFeDHgt3eZsl09OwLns-6wkLmPnFO0yd65zN-d2F-uPfnc-fpgo_JjAJs8ebQienOecOlHHdRERvUN8eAkEKvGDUyeaMueoRxZrILiahbNc2KbANYWvo4oT2ooF_UIwLTayHiwmXwTwCGb6vw6OBUB2O/s320/Mechanicals.jpg" width="320" /></a></b></div><b>A Level Playing Field</b><br />I always assess a drum using my ‘standard’ heads and tuning. Yet, despite identical heads and set-up, the range of results I get from different drums is pretty broad. If it were simply a matter of choosing the right heads, then even a problem drum should work out with just a head change. <br /><br />There's also the issue of similar drums requiring different set-up and tuning. I've found that most drums have a range of possible tunings, and also a 'sweet spot' -- a point in their tessitura where they just come alive. For example, I have two models of the same drum, built about ten years apart. When I tune them the same, the newer drum doesn't work because its ideal spot is about a two tones higher than the older one's.<br /><br /><b>Sum of Its Parts</b><br />A drum's sound is a complex interplay of support structure and vibrating membranes, and rattling bits in the case of snare drums. If we stick with the same heads, we can then turn our attention to the shell 'system' -- shell plus lugs, rims, etc. -- and what it all contributes to the mix. Some aspects are fairly obvious: cast hoops sound boxy compared to flanged hoops; wide snare sets are dryer than narrower sets. Other contributors to the whole are harder to pin down. Does a 10-ply shell sound significantly different from an 8-ply shell? How does bubinga compare to beech? Or brass?<br /><br />Yes, it's possible that the head is the sole factor in some cases (single-headed drums for sure) but I think we can all agree that the shell and all the other components have a big impact on what the drum can do and, ultimately, on whether it's a keeper or if joins the others on the reject pile.<br /><br />Note: If you have your heart set on a $2000 designer snare drum, don't let me stop you. Either you just have to have it, or you've been searching for that sound all your drumming life. I can relate to both. After all, the goal is to get the 'right' sound. It’s also nice to look and feel cool. <br /><br /><p></p>Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-41475421966410330772023-03-30T17:51:00.001-04:002023-06-23T11:54:43.448-04:00 How Much is Enough - A personal Story<span style="font-family: Trebuchet MS; font-size: small;">There are many different opinions about how
much you should practice. My teacher was very specific about what a practice
routine entailed. Each exercise was to be played slowly (60 bpm) for a full 5
minutes daily -- without variation -- for 4 weeks. A bit of a slog,
actually.</span><div class="moz-text-html" lang="x-western">
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOygTNIgGXrfl0Xju34NW9U6dop4xIzfYrOCp7qDPQtTYHtrDx1AtPruNcLlxgvoGMhEYIu7TN40qWk0OQfuCQEjEOEUbo7B1NfaWQ-plSsNQ1GDN0QYX0diev8GcNLkNlM5onyd88F7btx4Z4Yz9DQUEd7eB2khDLj4WO0XAJMd7mdTMbLePZcyrwTa1t/s450/Pensive.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="450" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOygTNIgGXrfl0Xju34NW9U6dop4xIzfYrOCp7qDPQtTYHtrDx1AtPruNcLlxgvoGMhEYIu7TN40qWk0OQfuCQEjEOEUbo7B1NfaWQ-plSsNQ1GDN0QYX0diev8GcNLkNlM5onyd88F7btx4Z4Yz9DQUEd7eB2khDLj4WO0XAJMd7mdTMbLePZcyrwTa1t/s320/Pensive.jpg" width="320" /></a></div><p><span style="font-family: Trebuchet MS; font-size: small;">Looking back, I sometimes wonder about that
5-minute criterion. You see, I sometimes found it almost painful to put in the
time. The main issue was maintaining focus, which can be a struggle for some of
us. So in the end, how much of that 5 minutes was spent really focusing on the
job at hand? </span></p>
<p><span style="font-family: Trebuchet MS; font-size: small;"><b>5-4-3-2-1</b><br />For me there
is an odd consistency to the 5-minute formula. Once I get something going, I can
usually keep it together for about a minute (see <a href="https://drumyoda.blogspot.com/2017/08/a-bit-of-beginners-luck.html">Beginner's
Luck</a></span><span style="font-family: Trebuchet MS; font-size: small;">). Then it becomes awkward, and
I have to spend some time getting it back under control. All goes well until
around the 4-minute mark when again I begin to stumble. But I soldier on until
the final bell.</span></p>
<p><span style="font-family: Trebuchet MS; font-size: small;"><b>OK, let’s sum up</b><br />I spent
one minute practicing well. I lost it twice. I spent a notable amount of time
trying to get it together again. Twice. On top of that, I practiced poorly for 3
or 4 minutes out of the five. Plus I felt like crap. It didn’t always go this
way, but it happened often enough that I had to wonder. So I tried lowering the
goal post to 3 minutes, which I find is a good length of time for sticking
exercises. It’s also about the length of a typical tune (and commercial break),
and being able to play something for three minutes without variation will come
in handy on the band stand. </span></p>
<p><span style="font-family: Trebuchet MS; font-size: small;"><b>Just a Minute</b><br />I now find
that I can apply what I consider to be proper focus for a lot less than 5
minutes. So I lowered it to three minutes, and then to one, and it seems to be
providing good results. For me, one minute a day of focused practice really
helps things sink in.</span></p>
<p><span style="font-family: Trebuchet MS; font-size: small;"><b>There’s a Caveat</b><br />While
it’s important that you practice enough, it’s equally important that you not
practice too much. Excessive practice or incorrect practice can become too
ingrained, often crowding out more creative stuff. It’s also true that beyond a
certain point, additional practice achieves very little and it can even do harm
to your body.</span></p>
<p align="center"><span style="font-family: Trebuchet MS; font-size: small;"><i>“I have never believed in
practicing too much; it is just as bad as practicing too little!” - Ascham
Heifer</i></span></p>
<p><span style="font-family: Trebuchet MS; font-size: small;"><b>A Rough Guide-line</b><br />So,
the question is, how much practice is reasonable. Only the individual can
decide. Professional players practice for 1 to 2 hours a day. For
youngster, you may be challenged to get them to practice 5 minutes. Still, a 5
minute commitment is better than none and it might lead to a greater interest in
practicing. And music lessons and the discipline of practice will yield
significant rewards throughout life. </span></p>
</div>
Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-89702707815443891552023-01-28T13:49:00.002-05:002023-06-18T10:02:20.108-04:00Plastic Fantastic<p><span style="font-family: Trebuchet MS; font-size: small;">So, I have an invention. I wanted to get a
prototype made from my sketches and got a quote of $250 to have a one 3D
printed. I thought that was pretty good and I was all set to commission the
work. Then I got talking to a friend who is a designer and mentioned the
prototype and the cost. He said he’d just bought a 3D printer for $300. Well
that was enough to send me off in a totally different direction.</span></p><p><span style="font-family: Trebuchet MS; font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Trebuchet MS; font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj32mnDBZNzcNsCWMc-yDo2dGGTNmX7X8So5oU9z-pDgCGN2_0m33IOfyoqL04qaYWBkdDXIrxmZSoPJobEbaBBhCsCmSPQJtJRcZ712Z9FT7kBvS9k0ADVl7bfTlulvCwjWvwtcXOFt0PyY055BylD3bWy4rVjwQYMD7BeTg90g6-BgwNLRKLVL9tG2A/s450/Ducks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="450" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj32mnDBZNzcNsCWMc-yDo2dGGTNmX7X8So5oU9z-pDgCGN2_0m33IOfyoqL04qaYWBkdDXIrxmZSoPJobEbaBBhCsCmSPQJtJRcZ712Z9FT7kBvS9k0ADVl7bfTlulvCwjWvwtcXOFt0PyY055BylD3bWy4rVjwQYMD7BeTg90g6-BgwNLRKLVL9tG2A/s320/Ducks.jpg" width="320" /></a></span></div><span style="font-family: Trebuchet MS; font-size: small;">I purchased an entry level-3D printer and
quickly got down to experimenting. The learning curve was quite steep (still is
some days) but I was soon able to print things reliably. I made a mock-up of my
design in a simple 3D program and printed it. It showed that I had a long way to
go design-wise. So I engaged a designer to make it pretty, and it was a total
success. And the cost? The printer was $300 and I printed dozens of models as I
fine-tuned the design … so maybe $40 worth of plastic filament. Pretty good
deal, I'd say.</span><p></p><div class="moz-text-html" lang="x-western">
<p><span style="font-family: Trebuchet MS; font-size: small;">In my research to learn more about 3D
printing and prototyping, I came across a lot of websites with reams of 3D
projects available free for the downloading. I discovered lots of drum oriented
projects: drum keys, wing nuts, stick holders, and more. There are also
replacement parts -- for all kinds of things, not just drums. I broke a fitting
on my electronic set and was able to download and print a very effective
replacement. </span></p>
<p><span style="font-family: Trebuchet MS; font-size: small;">With my very modest skills on the CAD
software, I decided I could make a spacer-slash-adapter to fit a new snare
release to an old drum. It worked great and the drum looks like it was made that
way. When I decided I needed my toms a bit closer than the tom holder would
allow, I made colour-matching spacers to go between the drum and the tom
bracket. These actually improved the tone of the drum as well!</span></p>
<p><span style="font-family: Trebuchet MS; font-size: small;">I suppose you could call me a 3D hobbyist.
It’s fun to create things and I often download and print toys and nick-knacks
for family members (my favourite is a bunny that dispenses chocolate Easter
eggs). But my most rewarding projects have been the custom parts and solutions
I’ve been able to design and make for my drums.</span></p>
<p><span style="font-family: Trebuchet MS; font-size: small;"><b>Things I’ve
created</b></span></p>
<p><span style="font-family: Trebuchet MS; font-size: small;">• Bracket adapters and
extenders<br />• Snare release adapters<br />• Hi-hat adjustment
wheel<br />• Snare rash bumper<br />• Snare basket adapter<br />• Lug
locks</span></p>
<p><span style="font-family: Trebuchet MS; font-size: small;"><b>Places to
download</b></span></p>
<p><span style="font-family: Trebuchet MS; font-size: small;">There are lots of web sites that offer
downloadable printer-ready files. Many are free and there are paid services as
well. Here are a few to get you started.</span></p>
<p style="display: block; font-family: helvetica, arial, sans-serif; font-size: 12px; text-align: center;"><span style="font-family: Trebuchet MS; font-size: small;"><a href="https://www.thingiverse.com/">https://www.thingiverse.com/</a> <br /></span><span style="font-family: Trebuchet MS; font-size: small;"><a href="https://cults3d.com/">https://cults3d.com/</a></span><span style="font-family: Trebuchet MS; font-size: small;"><br /><a href="https://www.myminifactory.com/">https://www.myminifactory.com/</a> <br /><a href="https://www.printables.com/">https://www.printables.com/</a></span> <br /></p></div>
Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-54242756655294291672022-12-21T21:30:00.002-05:002023-08-08T15:02:19.068-04:00Rudiments That Work Overtime<div class="moz-text-html" lang="x-western">
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-family: Calibri; font-size: small;">I have a habit of ranting against the rudiments. Of course
I'm referring to the classic rudiments of military origin. The point I usually
try to press home is that many of the ‘standard’ rudiments are rather hard to
apply to the drum set and others rarely fit modern music. But that doesn't mean
that I'm totally against rudiments. Some of my favourite stickings can be found
in the Standard 40 (see below). So here are my picks from the classics.</span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKwpJ50-zyVTUQr8lI9_Svt3uMttTPimEcbhl4k8PZ4tGpLy5DRqYVhW0NqlMZHGqumA9L0XWExu28yl9Vwo2d1PDzBlPb4VkDGs5j5LUJgztxdt912TQYVlcgJpGhx3XVc72Zr8osqRViLvLimaZ_vDijz_2iZitCcn4bRc6YDnj2aJ925GWtcaB1uU6Q/s305/Workers.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="195" data-original-width="305" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKwpJ50-zyVTUQr8lI9_Svt3uMttTPimEcbhl4k8PZ4tGpLy5DRqYVhW0NqlMZHGqumA9L0XWExu28yl9Vwo2d1PDzBlPb4VkDGs5j5LUJgztxdt912TQYVlcgJpGhx3XVc72Zr8osqRViLvLimaZ_vDijz_2iZitCcn4bRc6YDnj2aJ925GWtcaB1uU6Q/s1600/Workers.png" width="305" /></a></div><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-family: Calibri; font-size: small;"><b>Single-stroke Roll/Double-stroke roll/Multi-stroke
Roll</b><br />I covered these a while back (you can review them online here:
<a href="http://drumyoda.blogspot.ca/2015/02/on-roll.html">On a Roll</a>). Let
me just say that these techniques are very important, especially the double
stroke roll. Even though it’s rarely needed, the required hand control is
essential in much of what we do. </span></span></span></span><p></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-family: Calibri; font-size: small;"><b>Single paradiddle</b><br />I play paradiddles any
way I can think of: R on a cymbal, L on the snare; R on the BD, L on the snare;
R on the HH, L on the snare; BD plays the R strokes, both hands play the L on
snare and floor tom; add a rock bass drum pattern; play singles on toms … there
are so many possibilities.</span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-family: Calibri; font-size: small;">The permutated versions are also useful (see <a href="https://drumyoda.blogspot.com/2021/03/the-drum-yodas-guide-to-classics.html">Stick
Control</a> page 5, lines 5-8). BTW, paradiddles are a great way to convey a
sense of speed with less effort.</span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-family: Calibri; font-size: small;"><b>Paradiddle-diddle<br /></b>This is definitely one
of my favourites. In its basic form -- RLR RLL -- and played as triplets it's a
great way to get a fast roll going as it's more efficient than single strokes.
Permutations that I use a lot are RRL RLL and RLL RRL. I also like to play the
single strokes as accents or on toms. Played ‘inside out’ (RLL RLR) it gives you
a swing ride with the Right strokes playing the cymbal line and snare
'outlining' with the Left (See <a href="https://drumyoda.blogspot.com/2019/03/its-just-outline.html">It's Just an
Outline</a>). </span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-family: Calibri; font-size: small;"><b>Flam<br /></b>The Flam (rL / lR) is one of the
most decisive sounds available to a drummer. It's a great way to start or stop
anything. They're a lot of fun if you split your hands between two drums. They
can also be used to create Dilla beats. Don't forget to try both closed and open
varieties. </span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-family: Calibri; font-size: small;"><b>Swiss Triplets<br /></b>This one is just plain
fun. The sticking is a bit odd, but couldn't be simpler: fRRL / fRRL or fLLR /
fLLR. The resulting sound is something like 'bluh-duh-duh / bluh-duh-duh'. No
matter where you play it on the set, it sounds pretty
awesome.</span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-family: Calibri; font-size: small;"><b>Four-stroke Ruff (rlr_L / lrl_R) <br /></b>The
usual way to play this one is to end it on the beat: d-d-d-BAP. Another way is
to begin on the beat and finish on the half beat. I especially like playing them
within quarter note triplets (A). The so-called Bucket o’ Fish (B) is a
four-stroke ruff played SN/ST/FT/BD. And there other stickings that you can
explore.</span></span></span></span></p>
<blockquote dir="ltr" style="margin-right: 0px;"><div><div><div><div>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-family: Calibri; font-size: small;">Singles rlr_L
lrl_R<br />Doubles llr_R rrl_L<br />“French
Roll” rrr_L lll_R<br />Hmm... rll_R lrr_L</span></span></span></span><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-family: Calibri; font-size: small;"> </span></span></span></span></p>
</div></div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIcm3zHi-qjWcDbnUC_9-KTgcYHy-4EX4naZ1TShIkufPrM1OWuA5ku3yRvRSmpj06t8eoc1EnsgQ3P7nYPbjFZwlZCQcz7WYWb_SakSLoJJ7DYF-3SxokKonFo_8hmx56yVEUL98XHod6tFGwizOivh-wVyKdob0dgGtC8-ATA-6qG2wIZKzVRh_-vZzu/s675/Drag.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="234" data-original-width="675" height="139" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIcm3zHi-qjWcDbnUC_9-KTgcYHy-4EX4naZ1TShIkufPrM1OWuA5ku3yRvRSmpj06t8eoc1EnsgQ3P7nYPbjFZwlZCQcz7WYWb_SakSLoJJ7DYF-3SxokKonFo_8hmx56yVEUL98XHod6tFGwizOivh-wVyKdob0dgGtC8-ATA-6qG2wIZKzVRh_-vZzu/w400-h139/Drag.png" width="400" /></a></div></div></div><div style="text-align: left;"><p class="Normal tm7" lang="x-western"><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-family: Calibri; font-size: small;">Want to learn more about rudiments? Here
are some sites to check out. <br /><br />NARD - <a href="http://nard.us.com/Home.html">http://nard.us.com/Home.html</a><br />PAS - <a href="https://www.pas.org/resources/rudiments">https://www.pas.org/resources/rudiments</a><br />Vic
Firth - <a href="https://vicfirth.zildjian.com/education/40-essential-rudiments.html">https://vicfirth.zildjian.com/education/40-essential-rudiments.html</a><br />Ninja
Drummist - <a href="http://www.ninjadrummist.com/drum-rudiments/pas-rudiments/">http://www.ninjadrummist.com/drum-rudiments/pas-rudiments/</a> <br /></span></span></span></p></div></blockquote></div>
Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-68052792184102015932022-09-28T21:27:00.004-04:002023-08-08T15:07:15.055-04:00 Jazz Jam Rules!<span><span style="font-family: Calibri; font-size: small;">When I
volunteered to co-ordinate a jazz open-stage night at a local club, I sat down
and drew up some guidelines to help me organize and execute this rather
challenging assignment. I also set down some guidelines for my guest players as
well as myself. I titled it “Jazz Jam Rules!” which is more palatable than
“Rules for Jazz Jam Sessions”. And let’s be honest, jazz jams definitely
rule.</span></span><div class="moz-text-html" lang="x-western">
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE3y8FMvnn9A_izLTwx3X9L14-FBKLNQ0ItyW8U9kg0MLxQYM_QAdzzMQwGvpbm4Q-vWoXK58V9pDUmnZkxonKqAjEgQkHXLERDjHV9JrWk_yDhLaTCecOs_eEtN1z6taT34zvcRzIRr17wDl0kHoZSnQk8o25_Nsbvfk9LXhM2G383gxgtqiuftAiXhuv/s299/Jazz%20Jam.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="167" data-original-width="299" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE3y8FMvnn9A_izLTwx3X9L14-FBKLNQ0ItyW8U9kg0MLxQYM_QAdzzMQwGvpbm4Q-vWoXK58V9pDUmnZkxonKqAjEgQkHXLERDjHV9JrWk_yDhLaTCecOs_eEtN1z6taT34zvcRzIRr17wDl0kHoZSnQk8o25_Nsbvfk9LXhM2G383gxgtqiuftAiXhuv/s1600/Jazz%20Jam.jpg" width="299" /></a></div><p align="center" class="Normal tm7" lang="x-western"></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-family: Calibri; font-size: small;">A jam session is a two-way street, or maybe three-way. While
the onus is on the musicians to play and play well, the hosts of the jam also
have obligations to the venue, to the guests, and to each other. And always
remember that, as the host, you are working. </span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><span style="font-family: Calibri;"><b>Always say Hi </b><br />People like to be
acknowledged. More importantly, some of your jammers may be a bit shy, and your
welcome will help them loosen up and reassure them that they're in the right
place.</span></span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><span style="font-family: Calibri;"><b>Don't rely on sign-up sheets <br /></b>Jam
sessions often have sign-up sheets, usually announced at the beginning of the
night and then rarely mentioned again. Some people will leave in frustration
because they didn't know about the list. Others may be uncertain or are just
undecided. Encourage them to get involved and get them on your list. They can
always say ‘No thanks’ later. </span></span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><span style="font-family: Calibri;"><b>Take smarter breaks <br /></b>Take five
minutes for personal TCB, then get the jammers organized. Once you’ve lined up
the next set, then you can relax and mingle.
</span></span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><span style="font-family: Calibri;"><b>Work the room <br /></b>It doesn’t take
long to spot the people sporting instrument cases and stick bags. They are your
supporters, and without them your jam will fail. Learn their names and find out
their skill levels. Seek them out during the breaks. You can then begin to
combine people with similar abilities, but be sure to also mix it up from time
to time. </span></span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><span style="font-family: Calibri;"><b>Ask your jammers to prepare <br /></b>It
seems like a basic thing to do, but too often jammers climb on stage with no
agenda whatsoever. Ask them what they plan to play to get them thinking about
their set before they get on stage. And now would be a good time to
tune.</span></span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><span style="font-family: Calibri;"><b>Be kind, but be firm <br /></b>Some people
may not suit the music style or skill level of the room. Give these brave souls
a fair shot -- perhaps two tunes -- then you can suggest that they're not ready
yet or that this is not the best venue for their 'gift '.
</span></span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-family: Calibri; font-size: small;">Same with show-boaters and stage-hogs. Be polite, but move
them along efficiently. And never allow anyone to dictate on the stage.
Make sure your event is a positive experience for everyone.
</span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-family: Calibri; font-size: small;">And remember that a good host is always kind, tolerant, and
supportive. <br /></span></span></span></span></p>
</div>
Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-78712093490768094482022-09-14T12:49:00.003-04:002023-12-30T11:21:20.372-05:00All About Sticks<div class="moz-text-html" lang="x-western">
<p class="Normal tm7" lang="x-western" style="text-align: left;"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;">Expensive, breakable, liable to fly out of your hand at the worst time …
love ‘em or hate ‘em, drum sticks are a fact of life. While the leg of a chair
or a stick picked up on a walk would work, modern drumsticks are
high-performance tools that are tailored down to the finest detail to do the job
required. The vast majority of sticks are made from wood -- most often hickory
-- but there are other options to try. For a real dive into the details, check
out the websites of a few drum stick makers.</span></span></span></span></p><p class="Normal tm7" lang="x-western" style="text-align: left;"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdaNFRF1Z1dmIFOXZ5YL_f7tQL79Q-FPyR9dWW-pClSlz2L6Bc4sIE_ivHsR4Sgul6DQfaoF8NN5Ll8YnpsYwnpBCzE4_eosbACst_jJSmuYyyfl5ZAfrKSZEIF0iMi6VitNpJdFwgLUZA0ToUlIvOZoHgMn33cqTW38VH76wbV-eX09MGOZf4kCpcDg/s375/dog%20with%20stick.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="251" data-original-width="375" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdaNFRF1Z1dmIFOXZ5YL_f7tQL79Q-FPyR9dWW-pClSlz2L6Bc4sIE_ivHsR4Sgul6DQfaoF8NN5Ll8YnpsYwnpBCzE4_eosbACst_jJSmuYyyfl5ZAfrKSZEIF0iMi6VitNpJdFwgLUZA0ToUlIvOZoHgMn33cqTW38VH76wbV-eX09MGOZf4kCpcDg/s320/dog%20with%20stick.jpg" width="320" /></a></span></span></span></div><p></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><b>Wooden sticks </b><br />Hickory is by far the most commonly
used wood to make sticks. Hickory is very strong and has a good balance of
weight and flexibility. Maple is often favoured by drummers who are looking for
a lighter stick, softer attack or both. Oak is heavier and more rigid than
hickory and is a good fit for heavy players who like the feel of a more solid
stick.</span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;">A recent innovation is torrified wood ... wood that has been baked in an
oven. This process hardens the wood, making it stronger and more rigid. It also
results in a distinctive dark hue to the wood.</span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;">Engineered wood sticks appear occasionally. Think plywood. The theory is
that a sandwich of wooden plies will yield more consistent sticks that will be
stronger and less prone to the variances of natural wood. There doesn't seem to
be anyone making these right now, but somebody's probably working on one.
</span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><b>Metal sticks</b><br />These have been around in various forms
since the ‘60s. The most successful are usually made from aluminum tubing with
some sort of nylon tip and shoulder added. Metal sticks are extremely consistent
and some drummers just love them. There are also sticks made from solid aluminum
and even steel. These are very heavy and are generally intended for “weight
training” on the practice pad.</span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><b>Other</b><br />Nylon and other plastics and synthetics have
been tried and mostly ignored by drummers, though there have been a few
successes.</span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><b>Profile<br /></b>A taper in the stick can enhance its rebound,
articulation and feel. The majority of sticks have a taper that begins a few
inches from the tip, some sticks have a longer taper, and some specialty sticks
have a taper that runs the length of the stick. Some sticks have a second taper
starting in the grip area and running to the butt, which enhances the stick’s
power. </span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><b>What about the tip?<br /></b>Every type of wood has its own
sound. This is further enhanced by the size, shape and profile of the tip.
The other choice is nylon. This stuff is strong (Kevlar is a type of nylon) and
it combines hard-wearing qualities with excellent sound quality.
</span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><b>Signature models<br /></b>Occasionally a drummer and
stick-maker will work together to create a unique model. Mostly the mods consist
of tweaks to existing models, but the changes can make a noticeable difference
to how the sticks feel and behave. As well as the artist's signature, the sticks
sometimes feature cool graphics. By the way, the majority of sticks these
days are tweaks to the 5A and 5B models.</span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><b>Drum Stick Sizing</b><br />Originally, different models were
given a number to signify the stick’s thickness, and a letter to represent its
application: A = Orchestra, B = Band, S = Street. Sizing runs from large to
small, so a 1A stick is thicker than a 7A. There is little correlation between
classes of stick; e.g. a 5A and a 5B are different in length and thickness, and
have different profiles. Note that some companies have created their own codes
for different models, e.g. RK, HD, etc.</span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;">There’s lots to choose from, so the stick of your dreams is likely out
there, although it may take some time to discover it. </span></span></span></span></p></div>
Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-42909302186399857222022-08-23T10:36:00.003-04:002022-08-23T14:30:47.428-04:00 The Forgotten Head<span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;">I'm happy to see that single-headed drums have been mostly relegated to
the used equipment ads, and that double-headed drums have regained their spot at
the top of the food chain. But with more membranes comes more responsibly.
Tuning a two-headed drum means tuning two heads and getting them to play nicely
together. </span></span></span></span><div class="moz-text-html" lang="x-western">
<p class="Normal tm7" lang="x-western"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmACdFvl3rNsK1_Hdj727M4lmcRadDh-pkkjXMm9FfKhg4na6rCtmxnfzM9w1oOHJyQOjzCGYEL4P1YDO7CfDdRyvmPCd8pGi2hmU0q8jjLlew0Dwrt-nU2wxi8SsWM0CKKwGy7pYaXiXWDjDsMcuESayL_VGE259Ckc_2gT3SMedw_noaYAhryDmZQg/s375/Remember.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="210" data-original-width="375" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmACdFvl3rNsK1_Hdj727M4lmcRadDh-pkkjXMm9FfKhg4na6rCtmxnfzM9w1oOHJyQOjzCGYEL4P1YDO7CfDdRyvmPCd8pGi2hmU0q8jjLlew0Dwrt-nU2wxi8SsWM0CKKwGy7pYaXiXWDjDsMcuESayL_VGE259Ckc_2gT3SMedw_noaYAhryDmZQg/s320/Remember.jpg" width="320" /></a></div><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;">Before we delve into the methods of tuning bottom (or 'reso') heads, we
need to understand a bit of the theory and mechanics behind them. First, bottom
heads trap sound inside the drum, and when we hit the top head, some of the
sound bounces off the bottom head and back into the drum and out the top. This interaction
brings more of the drum shell into the picture. The bottom head also influences
tone, pitch, resonance, decay, and even stick response.
</span></span></span></span><p></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;">So let’s look at the three standard bottom heads: snare, bass and
toms. </span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><b>Snare<br /></b>The thinness and tightness of the bottom snare
head controls tone and pitch, and also determines how quickly the snares respond.
Tune the snare head low and your snares will respond slowly. This gives the drum
a more "throaty" sound. Tightening the head yields more of the shell
sound, improves stick feel, and allows the snares to respond more quickly. I
keep my snare head “as tight as a board”. Anything less and the snare drum, to
me, sounds flat and sluggish, and it likely won’t project well.
</span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><b>Bass Drum<br /></b>These days the majority of bass drums have
a fair amount of damping, often with a hole in the front head. Still, having
even 80-90% of a front head will give you more resonance, more boom, and more
beater response. That's important for feel as well as sound. The audience can
feel a boom, whereas a sub-sonic 'blat' will go almost unnoticed. Drummers who
want a full, round sound will keep both heads intact and cut back on the
damping. They also tune the drum higher … in the 'boom' territory.
</span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;"><b>Toms</b><br />The old rule of thumb was, tune the top head for
feel and the bottom head for tone. It works, although you'll end up with a
fairly high “jazz” pitch. A better starting point is to tune both heads to the
same pitch. I like to go for as much resonance and possible, which is usually
found around the middle of a drum's range. From there I tweak the bottom head to
fine tune. Tightening the head will reduce resonance and sustain, and usually
increases overtones. Loosening the head can add resonance, sustain and a sense
of fullness.</span></span></span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="font-size: small;">So take some time to experiment with those forgotten heads to make sure you're
getting the most from the top heads.</span></span></span></span></p></div>
Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-82659227378494496262022-07-27T15:07:00.000-04:002022-07-27T15:07:16.988-04:00What Colour Is Your Metronome?
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;">I heard an interesting
drummer one night. He had good chops, good ideas, and served the music
well. He also kept messing up the time. Few things make me sadder than
hearing an otherwise capable musician who is in dire need of some metronome
practice. </span></span></p><p class="Normal tm7" lang="x-western"><span><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIWthjVj49cgs_nAaC0zU227mOI0y6hpt0xdI1RjN5HpJRn6dH0h5AC3okLHvzZh6SMmQF-IPJlMrvrplT1hFI4zB62wxiz4GumNKB3EVmIbaCVUfNlaPuDB5gGxtnwvArD_6Fm4hdHcg7pgKh-f4BnsiELcoxX2P4O-bJWCpU_4GZzM8u-aGrJFvJwA/s373/Metronome.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="216" data-original-width="373" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIWthjVj49cgs_nAaC0zU227mOI0y6hpt0xdI1RjN5HpJRn6dH0h5AC3okLHvzZh6SMmQF-IPJlMrvrplT1hFI4zB62wxiz4GumNKB3EVmIbaCVUfNlaPuDB5gGxtnwvArD_6Fm4hdHcg7pgKh-f4BnsiELcoxX2P4O-bJWCpU_4GZzM8u-aGrJFvJwA/s320/Metronome.jpg" width="320" /></a></span></div><p></p><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="color: black;"></span></span></span></span><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="color: black;"><p class="Normal tm7" lang="x-western"><span style="font-size: small;">I know what some of you are
going to say: Practicing with a metronome will mess up your natural timing. I
have only one thing to say to that. I've never been faulted for keeping good
time. </span></p></span></span></span></span><span></span><span></span><span></span><span></span><span><span style="font-size: small;"><span style="font-size: xx-small;"><span style="color: black;">
<p class="Normal tm7" lang="x-western"><span style="font-size: small;">When I was at jazz school, I
landed a gig alongside a bass player whose time was wretched (but the job paid
well and had other perks). About a month after starting this gig, my ensemble
professor pointed out that my time was, uh, messed up*. He concurred that
playing with someone who has bad time can seriously mess with your sense of
time. Fortunately it's not a permanent condition. In contrast, playing with
people with solid time will also improve your sense of time. And, what could
provide a more solid partner than a metronome? </span></p>
<p class="Normal tm7" lang="x-western"><span style="font-size: small;">The key to working with a
metronome is to focus on the metronome. Too often we start the metronome and
then turn our attention to the exercise. You need to listen to the beat of
metronome and then put your strokes exactly where they belong. A real torture
test is to play on a hard surface. You can't fudge this one.</span></p>
<p class="Normal tm7" lang="x-western"><span style="font-size: small;"><strong>Slow &
Steady</strong><br />Practicing slow tempos will help with slow tempos. No
surprise there. A tendency to speed up is bound to show up at 40 bpm. Slow
practice also gives you time to really focus on what you're doing. </span></p>
<p class="Normal tm7" lang="x-western"><span style="font-size: small;"><strong>Pedal to the
Metal</strong><br />The metronome is helpful in regulating faster tempos and also
with speed development. To play a fast jazz ride at 300, just set your metronome
at 300. To play faster still, bump the metronome up from time to time (also see
</span><a href="http://drumyoda.blogspot.com/2013/02/faster-faster.html"><span style="font-size: small;">http://drumyoda.blogspot.com/2013/02/faster-faster.html</span></a><span style="font-size: small;">).</span></p>
<p class="Normal tm7" lang="x-western"><span style="font-size: small;"><strong>Inside
Story</strong><br />One of the best exercises I've seen for really nailing things
down is to put the click 'inside the beat'. If the exercise is 8th-note based,
count the clicks on the '&'. For swing or shuffle, set the metronome on the
skip beat, as in 1-trip-LET. For a real challenge, have the click
represent 'e' or 'a' or the middle triplet. I find these fun to do and not that
difficult. Mark Kelso's DVD has an excellent overview of this (</span><a href="https://www.groovydrums.com/musician-first-drummer-second/"><span style="font-size: small;">https://www.groovydrums.com/musician-first-drummer-second/</span></a><span style="font-size: small;">.)</span></p>
<p class="Normal tm7" lang="x-western"><span style="font-size: small;"><strong>Spatial
Perception</strong><br />Another great challenge is to spread out the clicks.
Begin with the click on all four beats, then on 1 and 3. Then let it be just on
1. Then let the click be the first beat of a two-bar phrase. </span></p>
<p class="Normal tm7" lang="x-western"><span style="font-size: small;"><strong>Just One of the
Gang</strong><br />People in the know (e.g. Bernard Purdie, Gavin Harrison, etc.,
etc.) treat the metronome or click track as just another member of the rhythm
section. That should be your goal -- let the metronome be the clave to your
samba.</span></p>
<p class="Normal tm7" lang="x-western"><span style="font-size: small;">BTW, I recommend spending no
more than half of your practice time with a metronome (and only for the first 10
or 15 years). And don't worry. The music will 'breathe' just fine despite your
excellent time.</span></p>
<p class="Normal tm7" lang="x-western"><span style="font-size: small;">* I heard a better one at a
big band practice. The leader called out one of the trumpet players and said,
“You're time's sort of all shot to hell”.</span></p></span></span></span></span>Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-47190610617216139212022-07-15T16:10:00.002-04:002022-07-15T16:10:56.008-04:00The Myth Of Independence<span><span style="font-size: large;"><strong></strong></span></span><span><span style="font-size: small;">When I was at music school, we had a
coven of enthusiastic drummers, and almost every week one of our members would
see some note-worthy drummer at a club and dutifully report the next day that
the player had '4-way independence. </span></span><div class="moz-text-html" lang="x-western">
<p class="Normal tm7" lang="x-western"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4sV4Q-4-Uk5XIg4nxjs8oUxDDJI8RGRt0vaZ6CLzf1JVrFm15pm8Dr0f9tGYjvOjeHjtnaeBwJvWOe9DCIc-ZfwFF1OvrzN4uXrYtANcLlUWWM1QP_NvB2WNMs_63paEVOibGBriVn2NqrCMMTnuXe6VL-LCZbj0twL5MEgRSa29b4gcSJU9UD1dIJQ/s300/Octopus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="215" data-original-width="300" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4sV4Q-4-Uk5XIg4nxjs8oUxDDJI8RGRt0vaZ6CLzf1JVrFm15pm8Dr0f9tGYjvOjeHjtnaeBwJvWOe9DCIc-ZfwFF1OvrzN4uXrYtANcLlUWWM1QP_NvB2WNMs_63paEVOibGBriVn2NqrCMMTnuXe6VL-LCZbj0twL5MEgRSa29b4gcSJU9UD1dIJQ/s1600/Octopus.jpg" width="300" /></a></div><span><span style="font-size: small;"> <br />But there's a problem with that
assessment. In order to have all four limbs move truly independently, each one
would need to have its own brain, and extra brains are pretty rare. Octopi have
a separate 'brain' for each tentacle, and each can go about its business
more-or-less unsupervised. But we poor humans have to make do with just the one
brain to manage four disparate activities. </span></span><p></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;">Despite evolution's short-sightedness,
we've managed to get by fairly well in mono-brain mode. Take the old saw about
walking and chewing gum at the same time. While these are completely independent
tasks, they are simple repetitive movements that require almost no brain power.
Once we start walking and chewing, we switch to auto-pilot and walking just
happens! If we want to stop or change direction, the brain steps in and manages
the change. Then it’s right back to auto-pilot. </span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;">We drummers take the walking-with-gum
thing a lot further. We can keep a syncopated bass drum pattern going while
playing a different pattern on a cymbal. We can then add some contrasting snare
drum work. Throw in a hi-hat and it seems like 4-way independence. Four-way?
Yes. Independent? Well, no ... not really! As with walking, one, two or even all
of those actions are on auto-pilot most of the time. We can make little changes
here and there, but then auto-pilot takes over once again, thanks to your
remarkable nervous system. </span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;">Independence mainly relies on ostinatos
and (so-called) multi-tasking. An ostinato is a set pattern that is repeated by
one voice. Your ride rhythm, for example, is an ostinato, and it is played
pretty much automatically, freeing the other limbs to do other things.
</span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;">As for multi-tasking, humans can't
really do this. What we actually do is quickly switch the focus of our
attention, and our ability to do this is limited. We work on one thing, set it
aside to work on something else, then put that task on hold while turning to a
third or revisiting the first. For many tasks, we can switch in a microsecond.
So I can leave that cool ride rhythm unattended while I do a bit of thing on the
snare, and then my attention can go back to the cymbal. </span></span></p>
<p class="Normal tm7" lang="x-western"><span><span style="font-size: small;">Of course, all this wonderful
co-operative activity is taking place behind the scenes in the brain -- what we
often call muscle memory -- and for a lot of tasks it’s very useful. But for
playing music, it's absolutely vital.</span></span></p></div>
Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-90610012636330834472022-06-26T22:13:00.000-04:002022-06-26T22:13:24.491-04:00Listen Up And Listen Good<p class="Normal tm7"><span><span style="font-size: small;">We've
all heard of speed reading. Maybe you've even learned how to speed read. At the
very least, you likely have thought it was a good idea. Reading is an important
business skill -- many business leaders even pride themselves on their reading
speed and comprehension. </span></span></p>
<p align="center" class="Normal tm7"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNCJUza6ejH0OeB8w_aU5BY0eWbExh-45Bm1WgmPIwd6EFSLfumy2Jg4cZuGlVZ-mdX4S6EuBlp1T0xLuC9TGEWR5h8K2E6LxWvvjKIOL_99PshPdBjHpxsV23J_DRU5iDNzI5WwS8gNtiH1rebAJytcPNF3vJ48J7SIcPzZBv4-zhvYGzrexSiQIfkQ/s525/Ears%20-%201.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="428" data-original-width="525" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNCJUza6ejH0OeB8w_aU5BY0eWbExh-45Bm1WgmPIwd6EFSLfumy2Jg4cZuGlVZ-mdX4S6EuBlp1T0xLuC9TGEWR5h8K2E6LxWvvjKIOL_99PshPdBjHpxsV23J_DRU5iDNzI5WwS8gNtiH1rebAJytcPNF3vJ48J7SIcPzZBv4-zhvYGzrexSiQIfkQ/s320/Ears%20-%201.jpg" width="320" /></a></div><span style="font-size: small;"><span>Wouldn't it be great if we could take a
‘speed listening’ course, one that would teach us to hear 'faster'? That way
we’d be able to catch just about any turn in the road and respond immediately.
Alas, there is no comparable speed-up program for listening skills. But do not
despair. While there doesn't appear to be a body of resources on speed
listening, we can apply some of the principles of speed reading to our listening
habits. </span></span>
<p class="Normal tm7"><span style="font-size: small;"><span><strong>Just the
Facts</strong><br />Speed reading begins by examining the material with a focus on
picking out the highlights while passing over the minor details -- articles,
adjectives, filler, etc. That way you're only spending effort on the most
meaningful bits. Done well, this can increase both reading speed and
comprehension. </span></span></p>
<p class="Normal tm7"><span style="font-size: small;"><span>Music too has important bits and less
important bits. The lesser bits will usually take care of themselves. That
leaves you free to concentrate on the more important parts: structure, chord
changes, phrasing, unique or repeated lines, dynamics, energy levels, changes in
direction, other musicians' contribution. </span></span></p>
<p class="Normal tm7"><span style="font-size: small;"><span><strong>Focus on Focus<br /></strong>If
you try to focus on everything, you'll be overloaded and will miss out on a lot.
Instead, work with the 'gestalt' -- those features that rise above the milieu.
That will make it easier to respond to the more interesting things when they
happen. If the guitarist is wailing, you can direct your energy to supporting
that and almost ignore the bass player for a bit. </span></span></p>
<p class="Normal tm7"><span style="font-size: small;"><span><strong>Listen
Actively<br /></strong>Practice moving your attention from instrument to
instrument. Listen to see how each band member contributes to the whole. A
simple exercise is to simply name the orchestration -- which instruments
are playing? And don't forget to listen to yourself. </span></span></p>
<p class="Normal tm7"><span style="font-size: small;"><span><strong>Do It Full Time<br /></strong>...
not just on the band stand or during rehearsal. Actively listening to the house
music at a busy coffee shop or shopping mall is an interesting
exercise.</span></span></p>
<p class="Normal tm7"><span style="font-size: small;"><span><strong>Use the Available
Tools<br /></strong>Charts and lead sheets can help you identify what sort of
things to listen for: melodic lines, sections, figures, etc. Listen to and
analyze good music as much as you can. Take notes to help lock your observations
into memory.</span></span></p>
<p class="Normal tm7"><span><span style="font-size: small;">Will your improved listening skills
turn you into The Flash -- dominating your drum set and responding in a
microsecond? Likely not, but you’ll be better prepared to hear the things you
need to hear when you need to hear them, and sometimes even before you hear
them!</span></span></p>Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0tag:blogger.com,1999:blog-1383110407091070775.post-29966958612698350552022-05-31T10:44:00.002-04:002022-09-05T14:42:09.015-04:00Know Your Metal
<div class="moz-text-html" lang="x-western">
<p></p>
<div class="moz-text-html" lang="x-western">
<p class="Normal tm7"><span style="color: #00000a;"><span style="font-size: small;"><span style="font-family: tr;"><span class="tm8">Cymbals </span><span class="tm8">have</span><span class="tm8"> an
interesting history that dates back more than 3000 years. And it all begins with
a chunk of yellow metal. </span><span class="tm8">Cymbals</span><span class="tm8">
are made from alloy -- a blend of two (or more) metals. The alloy we’re all
familiar with is what is traditionally called bell bronze, but there are other
alloys to consider. So here is a quick guide to cymbal raw materials.
</span></span></span></span></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6WZ5ynCoP9o9xTsiJUbCM9SceEV6IdmYMqDCDuUady52hzYNKP5ZI95nhlnehjz7Jv3N0ik3bDniVzO8-1QS6mwvVhP8_yG1Ne2JUhnbPXjI8BMmUhllpJH-BnXcCmPcm2RZNSBkVlC9K9bC1e9SJGbxt8LJfOgw_yWg5m1MpVHNSf7PnCPeWfbdC0g/s525/Pipes.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="525" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6WZ5ynCoP9o9xTsiJUbCM9SceEV6IdmYMqDCDuUady52hzYNKP5ZI95nhlnehjz7Jv3N0ik3bDniVzO8-1QS6mwvVhP8_yG1Ne2JUhnbPXjI8BMmUhllpJH-BnXcCmPcm2RZNSBkVlC9K9bC1e9SJGbxt8LJfOgw_yWg5m1MpVHNSf7PnCPeWfbdC0g/s320/Pipes.jpg" width="320" /></a></div><p align="center" class="Normal tm7"></p>
<p class="Normal tm7"><span class="tm8"></span><span style="font-family: tr;"><b><span class="Heading_1_Char"><span style="font-size: small;">Brass<br /></span></span></b><span>Brass is an amalgam of copper
and zinc (roughly a 65/45 mix). It's easily recognized by its distinctive yellow
colour, pliability and rather neutral tone. Although brass cymbals are usually
thrown in as freebies with beginner sets, they do have some uses. </span></span></p>
<p class="Normal tm7"><span class="tm8"></span><span style="font-family: tr;"><b><span class="Heading_1_Char"><span style="font-size: small;">B8<br /></span></span></b><span>Often dismissed as a low-end
metal, this blend of 92% copper and 8% tin is real bronze. The metal is somewhat
easier and cheaper to make than bell bronze as it can be stamped from sheets of
metal, but it's also the standard in a number of high-end cymbal lines. Easily
identified by its coppery colour, the metal produces gobs of high end, which
makes it ideal for rock. These cymbals are often bargain priced can be an
excellent sound choice. </span></span></p>
<p class="Normal tm7"><span class="tm8"></span><span style="font-family: tr;"><b><span class="Heading_1_Char"><span style="font-size: small;">B20 (Bell
Bronze)<br /></span></span></b><span>This is the benchmark for professional
cymbals. The tin content is upped to 20% (with perhaps some micro-ingredients
thrown in) and the result is a yellowish-gold metal that yields lavish low end,
bright highs, and anything in between. Always made from cast ingots, these are
among the most complex, musical and prized cymbals ever produced. </span></span></p>
<p class="Normal tm7"><span class="tm8"></span><span style="font-family: tr;"><b><span class="Heading_1_Char"><span style="font-size: small;">B12, B15, B23,
B25<br /></span></span></b><span>Whatever the tin content, in the right hands
all these bronze variants produce excellent cymbals. The general rule is: the
more tin, the more low end whereas less tin will yield brighter tones.
</span></span></p>
<p class="Normal tm7"><span class="tm8"></span><span style="font-family: tr;"><b><span class="Heading_1_Char"><span style="font-size: small;">Nickel
silver<br /></span></span></b><span>The odd man out here is a mix of copper,
nickel and zinc (60:20:20). These rather rare cymbals can be identified by their
blueish-olive colour. The tone is similar to B8, with a little more bottom end.
They were a popular and less-expensive option in the past, and are rather
uncommon these days. </span></span></p>
<p class="Normal tm7"><span style="font-family: tr;"><span><span><span style="font-size: small;"><b>Stainless
Steel</b><br />Some artisan cymbalsmiths have been experimenting with this
metal, creating interesting sonic products. Stainless steel can produce a
quality cymbal with unique sound qualities and always with a bit of ‘trash’
although the metal cannot take the kind of abuse that bronze
can.</span></span></span><span></span></span></p>
</div>
</div>
Richard Besthttp://www.blogger.com/profile/10683516508654858593noreply@blogger.com0