Listen Up And Listen Good

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.

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.

Just the Facts
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. 

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.

Focus on Focus
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.

Listen Actively
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.

Do It Full Time
... 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.

Use the Available Tools
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.

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!

Know Your Metal

Cymbals have an interesting history that dates back more than 3000 years. And it all begins with a chunk of yellow metal. Cymbals 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.

Brass
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.

B8
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.

B20 (Bell Bronze)
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.

B12, B15, B23, B25
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.

Nickel silver
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.

Stainless Steel
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.

We’re Going to Need a Bigger Drum

I posted an article some time ago on how to play quietly but there is another side to the equation. So let’s have a look at  HOW TO PLAY LOUD.

Go Big
There are a lot of factors involved, but the first priority is larger drums. It’s just physics: A 24-inch drum has more vibrating area than a 20-inch one, which translates to more air moving, and that means more oomph and more volume. Larger drums can make the difference between struggling to be heard or being able to relax and just play. And let's face it, big drums do look pretty cool.

For Reference: Bonham Sizes 26 x 14 BD, 14 x 6 1/2 SN, 14 x 10 ST, 16 x 16 FT, 18 x 16 FT.

Carry a Big Stick
Even a small increase in stick size and weight can help you get more volume. If your go-to is a 5A, a 5B is a pretty easy upgrade. If you normally use maple sticks, consider switching to hickory or oak.

Tuning Up 
Lower tones don’t carry very well, so if you’re accustomed to tuning your drums in the low end of their range, then the drums won’t help you to project. Bonham’s over-sized sound was thanks to middle-of-the-range tuning.

Let ‘em Ring
Damping is almost essential on drums, but too much can interfere with volume and projection. When applying damping, use only as much as is necessary to get rid of any microphone-unfriendly ring.

Is This Thing On?
Speaking of microphones, this may be your best option. Why risk your physical well-being trying to compete with a bevy of amplifiers. If they all get to use huge amps and P/A support, then so should you.

Let’s Get Physical ... Safely
An overly physical style of playing can be exciting, but keep in mind that there is always the risk of injury. Have a look at how Bonham attacks the drums. Actually, he doesn’t. He’s a loud and heavy player, but at the same time his hand work is quite relaxed -- almost gentle at times. Volume and excitement do not require hard playing.

So get drums large enough to do the job, tune for projection, invest in some microphones, and above all, relax.

That's Not What I Do

I'm listening to a friend's playing on an instructional CD. This guy is a great player, and his tracks here are very impressive. I absolutely love what he's doing. So I'm envious -- no surprise there. And I'm also feeling a bit guilty. Guilty? Now why would that be?

I have a couple of suspect responses when I hear playing this good. My first reaction is “I could never do that”. Perhaps it's just my sense of awe that immobilizes me since, upon further analysis, I realize that most of what he's demonstrating is within the realm of possibility for me ... with a bit of practice, of course.

Sometimes I come across a lick or rhythm that would be a good addition to my tool kit. In that case I may work on it. But most of the time, the things that catch my attention are not necessarily things I'm interested in learning.

My other reaction is equally suspect. I assume that I need to play like that. As a drum-set generalist, I’m motivated to continually learn more stuff and, in doing so, to try to cover all the bases. And over time I seem to have developed a vague sense that I should to be able to play anything and everything that comes my way. That's unreasonable by any standard. Nobody can do it all, nor should you or I even try.

As I was listening to the tracks, I realized that, not only did I have little use for that style of playing, that it really wasn't my thing. That is, I don't actually want to play like that. And I certainly don't need to. That won’t stop me from having a look at the material -- it’s good exercise and beneficial knowledge -- but in the end, most of the stuff is Just. Not. Me.

So while I can do a presentable job of rock, funk, Latin, country, and whatnot, there are limits to what I'm realistically able to do. And there are also limits on what I'm willing to do. You see, I’d much rather concentrate on “my music.” I enjoy playing all sorts of styles and try to play them as authentically as I can, but I prefer to spend my  time  on the stuff that really turns my crank.

The Most Important Sticking Ever?

Watch any drummer in any situation -- especially during a drum solo -- and you'll probably see a rather ordinary figure. And you'll see it a lot. That's because the sticking is simple, versatile, easily executed, and very effective … and it‘s a lot of fun to play.

It's this one: RLL (or LRR if you prefer). 

Seriously, Right-Left-Left. Count it as triplets and then just keep doing it: RLL RLL RLL RLL. Boy is that useful! And its variations -- LRR, RRL, LLR -- can be just as useful. Plus , it's real easy way to fake speed.

Buying Time
You probably don't think of diddles as strategic, but they are. The diddle cleverly gives the other hand time to move around, and you can use that time to good effect because it gives you time to move the single stroke around the set. Play the single stroke on a cymbal and the diddle on the snare. Move the single stroke from drum to drum. Do the Buddy Rich thing and play singles on alternate crash cymbals.

A Poly Approach
If you play the pattern as 16th notes rather than triplets, you end up with a cross rhythm with a 3-against-4 pattern: RLLR / LLRL / LRLL / RLLR. In this type of polyrhythm, an 'implied pulse' moves seductively in and out of the time.

Free Samples
There are a number of lines in books like G.L. Stone’s Stick Control that take advantage of this pattern, and many of the figures can be easily applied in a jazz or swing environment or any style of music. Here are a few lines to get you started.

Stick Control  
Page 7, lines 43-44 
Page 9, lines 65-68

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Diddle - Two strokes with the same hand, e.g. the various paradiddles begin with single strokes and end with a diddle. Can also refer to interpolating a double stroke where a single stroke would normally be.

Devil In The Details

There are many factors that determine a drum’s sound: size, shell material, hardware, head choice ... there is a lot to consider, and it's easy to get bogged down and confused by the detail. I'd like to recommend my usual don't-sweat-it approach, but it’s still a good idea to become familiar with the factors and concepts that contribute to the final product and, ultimately, your unique personal voice.

Shell Diameter : Each drum's size has a useful pitch range, and that should help determine your choice of sizes. In general, small drums are quieter and higher pitched than large drums. The shell's diameter in relation to a standard head size will also have an effect on sound. A drum that is slightly undersized will have more resonance whereas a shell that fills the head to the edge will have a more robust sound.

Depth: Shell depth affects volume, resonance and decay. Deep shells typically produce a longer, fuller sound. Shallow shells speak quickly, with a short decay.

Material: This is a real can of worms these days. There are at least a dozen different types of wood available, and about as many types of metal. Then there are the synthetics, the exotics, and the so-called ‘hybrid’ shells. The differences range from minor to dramatic, so you need to do a bit of research.

Thickness: Thicker shells tend to have a greater pitch range and good projection. Thin shells often have a lower pitch range and are somewhat mellow sounding. This applies more to wood shells, but is valid for metal and other shell materials.

Plies: Wood drums are most often made of plywood. The plies are held together with glue, which is harder than wood. So the more plies, the more glue and therefore a harder and usually thicker the shell. The thickness of the plies also affects the wood-to-glue ratio and therefore the hardness of the shell.

Glue Rings : Also called re-rings, these strips or plies of hardwood affect the way sound bounces around inside the drum. The general result is a softer tone.

Bearing Edge : The bearing edge is to a drum what a bridge is to a stringed instrument. There are a few factors to consider, but the critical one is trueness.  Dips, bumps or dings in the edge can even render a drum untunable. 

Head: Choice of drum head can have a dramatic effect on a drum's sound, often over-riding all other factors. There are dozens of drum head styles to choose from. The best approach is to experiment with different heads until you find something that works for you.

Rim: The choice of rims (hoops) is nearly as complex as any other option. Triple-flanged steel rims, either welded or spun-cast, are available in different weight, thickness, height, and material. You can also find brass and stainless steel versions as well as single and double-flanged. You'll find die-cast rims on many high-end drums, while the true connoisseur may opt for solid wood.  Each type of hoop will have a different effect on the drum's sound, ranging from subtle to profound.

Bottom Head & Rim : A simple yes or no answer here -- take away the bottom head and you're essentially removing the drum shell from the equation. Single-headed drums produce mostly the drum’s fundamental tone, with little resonance and almost no sustain, whereas a bottom head will trap sound inside the drum where it generates complex tones and resonance.

Finish: The finish on the outside of a shell contributes little a drum’s sound. Drum shells today tend to be thick and heavy, so the presence or absence of, for example, a sheet of glittery plastic will add little to weight, mass or tone.

Attachment(s): The general idea is to avoid attaching anything extra to a drum shell which, it’s argued, will diminish resonance and tone. Each attachment adds more mass, potentially altering the drum’s sound. So-called floating shells have nothing attached directly to the shell.

Putting it all together : The level of care during assembly can make or break the project. An artisan drum maker might meticulously tweak every bolt to ensure it’s properly tightened; factory booting out low-end instruments will use whatever method is fastest and cheapest. An otherwise good drum that was poorly assembled can be frustrating. The good news is that you can fine tune any drum yourself to bring out its total potential. 

Practice vs. Rehearsal

Q: How do you get to Carnegie hall?
A: Practice, practice, practice -- attributed to violinist Isaac Stern when a passerby on a street in New York asked him for directions.

Q: So how does your band get to Carnegie Hall?
A: Rehearse, rehearse, rehearse!

 

A number of such reminders have come across my computer screen lately, so maybe it's time for a review of these two processes. Here’s the gist of it: Practice and rehearsal are not the same, although the nature of either can change according to need.

Practice
Practicing is something you do on your own to maintain and enhance your skills. It’s when  you play the same thing over and over until you're quite tired of it ... not the sort of result you want from a band rehearsal. BTW, practice includes studying music and learning new tunes.

Just Part of the Job
Few things are more aggravating than dragging your butt to a rehearsal only to find that one or more members haven't done their homework. As a member of a team, we each have a responsibility to make our rehearsal time as productive as possible, and you can't do that if you're waiting around for someone to figure out their part or them waiting for you. Make sure you are well prepared when you hit the rehearsal hall.

Not All By Myself
I used to belong to a number of rehearsal bands. These bands consist of musicians who want to enhance, polish or at least maintain their playing skills. Some bands have firm schedules: every Tuesday from 7 to 10. Others may be very casual. The goal of these bands is to work on new tunes and develop techniques, especially ensemble parts and improvisation.

Sometimes people join rehearsal bands just for fun. I belonged to an 18-piece big band, which helped me with my reading although we never had a gig. I also worked out with a Dixieland band. I'd never played Dixieland before, so it was a nice diversion, nd a lot of fun. I think we played one gig.

Sharpening the Tools
Learning tunes is the job of both the individual and the band. You've all learned your parts and now it’s time to put it together. Your rehearsals should be for polishing old tunes, trying out new tunes and creating your own arrangements. It's OK to take a few minutes to work on a part, but it's important to get on with the business of rehearsing the band.

Run-through
Our jazz band likes to do a quick run-through before a gig. We get together regularly for 'band practice' but personal schedules tend to interfere. So we make a point of playing through the entire set list within a week of an upcoming gig. It's amazing how much we can forget when we put our minds to it.

"Rehearsing is a Privilege" - Carole Kaye
With all the demands and pressures in our lives, having the time and a place to rehearse with the band can be pretty special. Don't waste it by showing up unprepared. While you're at it, don't make it too 'worky'. Our band has a lot of fun at rehearsals. Sometimes we grumble and may even argue but mostly we smile and laugh. And when we've done our homework, we can direct all our energy into the music and into our connections with each other.