I'm of Two Minds on This

Or maybe three. But definitely not one. It's an exercise I find myself doing a lot as I work on things that challenge me: trying to get my mind -- not just my limbs -- to focus on two things at once.

 An exercise that Thomas Lang recommends is to vary the volume of your limbs one at a time. This gives you better control over dynamics. But more importantly, it forces you to focus your attention on one part, then another part, then another part. It's physically challenging, but mentally it can be even more taxing. As you move your focus from limb to limb, you are also compartmentalizing the other limbs. And that's what I mean by two minds: one 'mind' is concentrating on the bass drum pattern while the second keeps the cymbal, snare and hi-hat moving along.

I often find that, when I'm having trouble with a pattern, it's often because I'm not thinking about it the right way. For example, the bass drum may suffer if I’m thinking mostly about the snare part. Sometimes I'll think I have a pattern and then discover that I only have the mechanics, and that it falls apart if I'm momentarily distracted. I need to focus more consciously to over-come this obstacle.

So my objective is to control all the parts mentally as well as physically. For example, I'm trying to play different bass drum patterns while working through some lines in Stick Control. Some come quite easily and others take a bit more work. But some of them stubbornly refuse to fall into place. Even when I can execute them, I sometimes find that I'm thinking pattern rather than rhythm. That tells me that I don't own it -- I can merely execute it.

Here’s a test case. While playing this line, try to see your limbs as different teams: Feet vs. hands, left hand plus bass drum, right side vs. left side, feet only, etc. The goal is to hear the separate parts as separate 'players'.

As always, no real answers for you. I highly recommend that you work on moving your attention around the set using the Thomas Lang exercise. Focus on up and down, and left and right, concentrate on what your hands are doing while ignoring your feet, etc. Also pay attention to both the pattern and the rhythm. And if you can't tell the difference, you've arrived.

Settling The Jazz Vs. Classical Debate

 I just finished reading a book called “Not Quite the Classics” by Colin Mochrie, a comedian with a wonderfully warped sense of humour. (You may know Colin from the TV show “Whose Line Is It Anyway” and elsewhere.) In the book’s preface, Mochrie goes on about his choice to do improvisational comedy -- partly as a disclaimer for being unfamiliar with the writing of actual stories and also to emphasize that he simply prefers improvisation to other types of comedy.

Saturday Night Live is TV’s longest running sketch comedy show. Many of the artists that have passed through SNL have been improvisational comics, but at SNL the writers write the story and the players deliver it. There’s not a lot of room for improvisation.

So, improv or prepared ... is one style of comedy better than the other? Of course not. Both have their standards and traditions. And both have legions of fans. And so it is with music. There  are those who specialize in improvisation and those who specialize in delivering a standard piece. Jazz in particular emphasizes improvisation to the point that some jazz artists only improvise, eschewing prepared music altogether.

In the opposite corner is classical music, where all of the notes are written down and woe be to anyone who deviates from the written page during a performance. The assumption here is that the composition is the star of the show and the performers are there to support it. Some even consider improvisation to be heresy*. In contrast, the jazz player is the star and the music, written down or not, simply provides a framework and opportunity for creativity.

Most popular music falls somewhere in between: some preparation plus some room for creativity. Whatever the case, the path to success requires a lot of work, practice and study. The best part is you get to choose which aspects you work at.

Not Quite the Classics, by Colin Mochrie
Viking Canada (2013)
ISBN-10: 1626814554
ISBN-13: 978-1626814554

* It’s easy to forget that all music begins life as improvisation.

All In A Day's Work

When I was a just starting out, I lived in the big city where I could see great players every night of the week. I idolized nearly every local player of that time. They were all excellent, but one in particular stood out, and he became a bit of a mentor to me. He was an established world-class musician when he arrived in town, and he was able to quickly fill his schedule with studio work. I could see him play most nights at one of the jazz clubs (which were more plentiful back then). He and many others would then dig into some jazz after a day filled with jingles and TV themes.

There were also after-hours clubs, some of which opened the stage to all comers. So guess who shows up at one of those after-hours clubs. I'd seen him play just a few hours earlier at my favourite jazz club, and here he was again, playing, after a day of recording and a 4-hour jazz gig (good thing he was still young).

I began having lessons in a private rehearsal studio. It was pretty funky: a set of drums, a couple of cymbals, a few music stands, and 5 layers of carpet on the floor. It turned out that this studio was maintained by my then hero and friends. They would get together and play whenever possible. Why? To keep in shape, to work on new stuff, and to play 'their' music.

OK, full day of studio work, jazz club gig in the evening, sit-in at the after-hours club ... and it's still not enough! Well, some of us really are that obsessed with playing, but 8 or 10 or 12 hours a day? Sure, because sometimes it's the only way to get in the game and to stay in the game.

Even though my hero was highly skilled and well connected, he knew he had to get out there and play if he wanted to keep his edge, both technically and career-wise. Plus he just plain loved to play. Commercial studio gigs can be great work, but your other skills -- your jazz chops, your double pedal speed -- may suffer. So the jazz gigs and casual sessions make it possible to stay in shape.

You get better at what you do, and if you hope to be a player, then you've got to play and play and play ... and then play some more.

Release Your Inner___________________ (insert drummer of choice)

I was listening to a Daniel Glass podcast and I was able to relate to a lot of what he had to say. The gist of his message was that a drummer should at times be part actor. By that he means that when playing, for example, a cover tune, the drummer may have some responsibility to play it 'just like the record'. (I can't imagine playing a Jackson Browne tune and not trying to channel Russ Kunkle at least a little bit!) Daniel goes on to make an argument for reframing the situation as an opportunity.

I have my own interpretation of this. You see, I don't really want to play like the drummer on the record. That's not why I play. I play to add my spin to the music, and I can't do that if I'm copying someone else. Copying is a very important part of the learning process, but to copy someone else's style as a matter of course to me seems contrary to the whole business of making music. I rarely play exactly what was on the recording. I prefer to emulate the 'spirit' of the original artist and use that as inspiration for my own interpretation.

In a cover band, it's not really necessarily to ape the original drummer. Still, the audience is expecting to hear their favourite tunes they way they've come to know them, so things ought to sound more-or-less correct in the drum department. When playing a well-recognized tune -- especially one with 'signature' drum parts -- then I think we have an obligation to pay homage to the original.

In a tribute-style band, the goal is to replicate the experience of the original band. That means the tunes, the outfits, the stage presentation ... everything … should be true to that experience. And so the drum parts need to be virtually identical to the original. But even then, there can be room for your personal touch.

What Daniel suggests, and I fully endorse, is that you step inside the other artist's skin for a few minutes. He even goes as far as to suggest you imagine yourself as that drummer to help you emulate their style and energy. The goal is not to replicate the drummer, but to approach the tune the way you think they might. And when a chance for a cool groove or fill comes up, you can ask yourself, "What would Daniel Glass do?"

http://danielglass.com/
https://www.drummersresource.com/why-drummers-need-to-be-actors/ 

Hi-hat Quick Start Guide

“Congratulations on your new hi-hat stand -- you are about to enter of world of endless sonic variety. And with a modicum of care, your hi-hat stand will give you years of reliable service and enjoyment.”

That's a sentiment that could accompany every hi-hat sold. Yes, the hi-hat is truly a marvellous invention. Originally a means of imitating orchestral crash or clash cymbals, in the hands of early jazz drummers the device quickly revealed its musical versatility. Today's hi-hat stands are marvels of ingenuity, but did you know that most of what you see on a modern stand has been around almost from day one!

Let's begin with the stand itself. Usually 3-legged, they often have some sort of ‘spur’ in the base to help prevent creep. When setting up, make sure the main post and all feet are firmly on the floor for stability and to engage the spur(s).

At the top of the stand is a cup lined with a metal washer and a felt or rubber cushion to hold the bottom cymbal. There's also a cymbal tilter. This is to help avoid air lock . That's when the cymbals go "fttt" or even stick together. You can also use the bottom cymbal tilter to refine your sound. Note that the heavier hi-hat cymbal usually goes on the bottom.

The cymbal clutch is pretty simple: a wing screw to hold it on the hi-hat's central rod, knurled nuts to adjust the cymbal tension, soft washers to prevent rattle, and another nut to hold it all together. Try keeping the top cymbal slightly loose. Too tight and the cymbal will not respond well; too loose and it will sound ‘splooshy’ and may rattle.

Some hi-hat stands have adjustable tension springs. This is very handy for tailoring the feel of the pedal to your taste and to your cymbals. Heavier cymbals will require more spring tension than thinner, lighter cymbals. A more physical player may want to feel more resistance from the pedal.

Set your hi-hat cymbals about 3-6 inches (8-15 cm) above the snare with a gap of one to two inches (3-5 cm) between the cymbals. This should give you plenty of travel for stomping and also for nuanced playing. Then fine-tune the height, the gap, the spring tension, the angle of the bottom cymbal, and the tension on the top cymbal until you find what’s right for you.

As for maintenance, be proactive. Keep an eye on the various parts and fix or replace early rather than too late. Otherwise your hi-hat stand needs virtually no maintenance. So I guess your main task now would be to discover its many sonic capabilities.

For a bit of fun and inspiration, here are a few links to check out:
     Buddy: https://www.youtube.com/watch?v=hOAi-g-9L-c
     Dave Black: https://www.youtube.com/watch?v=QThXDgFAdb8
     Max (not Obama): https://www.youtube.com/watch?v=H8syiOwwVyY

No Bad Drum Heads

There are today a lot of companies making drum heads, ranging from the global standards -- Remo, Evans, etc. -- to boutique makers such as Earthtone and Kentville. And of course, every maker offers a variety of styles, sometimes to the point of our total bewilderment.

The good news is that there is very little chance of getting a bad drum head. Most of today's heads are manufactured to close tolerances using precision tools and machinery. So a head from a reputable company will do the job it was designed to do.

OK, quality and consistency? Check! Then things get a little weird.

That's My Brand
We look to brand names as a sort of guarantee. If I've settled on head X from company B, then when it's time to replace, a newly purchased head X will be virtually identical to the one I'm replacing. That applies across all brands and all styles, and that's why we tend to 'join' a particular brand. That said, brand loyalty shouldn't be an end in itself. I have a favourite drum head maker and a favourite model, but I use all sorts of different heads. Plus I know I can start with or go back to my standard any time and know that I will get the result I'm partial to.

All for Nought?
Say all you want about shell composition, bearing edge topology and whatnot, it's up to the drum head to translate all that technology into a sound that represents you. Good drums will be delivered with quality heads that the drum company thinks will do a good all-around job. It's a good starting point, and you may not have to look any further. But often this isn't the case. Why? 'Cuz we're all different.

More Trial and Less Error
Let's say I buy a new set but they came with heads I can't stand. No choice but to replace them with my regulars. Now, if those heads don't work either, what then? Toss 'em onto the spares pile and try something else. I'll find the right head for those drums eventually, but it might take a bit of testing, and perhaps a few purchases.

Make the Investment
If my usual heads don't work, then I'll concentrate on one drum, say the small tom. Those heads are typically under $20 these days. So for about $100, I can try four or five different heads. Once I've got the sound I'm looking for, I may then commit to a full set. Ponying up $100 or more for drum heads that I may end up tossing aside seems like an expensive way to achieve my goal. But if the kit cost two or three thousand dollars, it's a pretty cheap solution. Even if I strike out 3 or 4 or more times, I still think springing for those heads will more than pay for itself in the long run.

Lost In The Shuffle(s)

There are many different types of shuffle rhythms available, and each one was 'purpose built' for a particular style of music. Note that your basic shuffle is often written as dotted 8th & 16th notes, but it's rarely played that way. Strict adherence to 1(e&)a 2(e&)a 3(e&)a 4(e&)a tends to sound mechanical or choppy, and just not swinging. Counting 1~uh 2~uh 3~uh 4~uh leaves you free to interpret and fine tune the feel of a shuffle.

The secret to a shuffle that grooves is to micro-manage the skip beats, the 'uh'. Different moods and energy levels can be created by moving the skip beat closer to or further from the beat. In fact, the skip beat can vary all the way from practically 8th notes to 32nd notes plus everything in between. That said, the most effective shuffle patterns tend to be based on triplets.

Here we have a baker’s dozen of better-known shuffle rhythms (in alphabetical order).

2-beat - This may not seem like a shuffle as at fast tempos the ride tends to be quarter notes, so the rhythm is an 'implied shuffle'. It's sometimes easier to interpret a 2-beat as 2/2 time. E.g. “Roll Out the Barrel”.

Chicago Shuffle - Here the shuffle rhythm is maintained on the snare, accompanied by steady quarter notes on hi-ht or cymbal.

Country Shuffle - A generally triplet-based rhythm with a relaxed, almost loping quality somewhat similar to a Jazz Shuffle. Think "Happy Trails".

Double Shuffle - This shuffle is played with both hands, one on the snare and the other on hi-hat or cymbal, and it's quite energetic. Check out "How Sweet It Is To Be loved By You".

Flat Tire Shuffle - Here the down beats are played on the bass drum and the snare answers with up beats. Have a listen to "My Baby Just Cares For Me".

Half-time Shuffle - Sometimes called the Purdie shuffle or Bonham shuffle ("Fool In The Rain"), the rhythm is simpler than it sounds. The lead hand plays a double-time shuffle on the hi-hit while the snare and bass drum play a basic 8th note rock rhythm mingled with triplets.

Jazz Shuffle - A straight forward shuffle that's almost always triplet based even at faster tempos. It's also a great fit for a Country Shuffle.

Lame Duck - This calls for a samba-type rhythm on the bass drum while the snare plays a simple back beat.

Scissors Shuffle - Here the skip beat is handed over to the hi-hat foot, with quarters on the bass drum.

Slo-mo Shuffle - This is useful when the tempo is very slow and you want to suggest double time without actually going there.

Stick-shift Shuffle - This one is played more like a dotted-8th-&-16th to produce a driving, machine-like quality that suits funk and certain blues styles. "Chicken Shack" is a good example.

Texas Shuffle - The bass drum plays 1 & 3 and the snare completes the full shuffle pattern. The cymbal plays a shuffle or just quarter notes.

Train Beat Shuffle - Not really a shuffle, but it often has a shuffle inner feel. The basic pattern is based on 8th notes in cut time, with accents on 2 and 4. Can sound remarkably like a steam locomotive, as heard in "Orange Blossom Special". Sometimes the accents are placed on 1 and 3.

Want a PDF copy of the rhythms? Send me an email.