The instrument and our physical relationship with it

Oh, it's all right. I'm sure that we can handle this situation maturely, just like the responsible adults that we are. Isn't that right, Mr... Poopy Pants?

RIP Leslie Nielsen.

Okay, on with our regularly scheduled blog.

When I first started playing, I was trying to get out what I heard any way I could, and didn't think much about how I was using (or usually fighting) my body to create the sounds at the drumset. As I got older, I became a lot more aware of how many aspects of my physical approach to the drums hindered the progress I was making, and could even lead to injury if I did not deal with these issues. I still see these issues all the time with younger players.

Let's look at few....

Posture: it's just like all our Mothers tell us DON'T SLOUCH! Seriously, not sitting straight up at the instrument can easily lead to lower back problems. Elvin mentioned that earlier in his career he tended to sit lower and crouch. if you check any post 60s Elvin however, you can see he's raised he seat height and is sitting straight up. Here's Elvin from earlier:

....And here he is after he adjusted his posture.

Notice how is neck is craned and his spine is curved in the first example. In the second video his whole torso is basically straight and his neck isn't nearly as far forward. Now, of course the playing is incredible in both videos. Sometimes to play at a high level our whole careers we have to reassess how we approach the physical act of playing. If someone at Elvin's level can do it, the rest of us have no excuses.

I think the main way to avoid playing related injuries is to be as relaxed as possible, both physically and mentally while playing the drums. Physical relaxation involves loose muscles and body movement (at least in the practice room) only used to create sound. In other words, don't move your left foot unless you really want to play the hi-hat. we all need to get out of the habit of moving unless we're getting a musical result.

Mental relaxation would include barring any negative self talk while we're performing. Believe me, I know from personal experience that beating oneself up while trying to create music just causes tension and worse performance. Always be kind and gentle with yourself when performing. That is non-negotiable!

I'd like to conclude one more video. This is of Vinnie Colaiuta. I find it interesting that he's always mentioned in terms of his monstrous technique but one of things I love about him is how at home he looks where he's playing. it looks like the drum throne is the comfiest place in the world. If we all practice diligently while staying relaxed we can also feel like we've come home when we're playing.

New Rudiment and Just the Pasics!

Okay,

Sorry, the Rudiment of the Week is becoming the Rudiment of the Week and a half, but here goes!

Ah, yes. I randomly chose this one at a clinic last week. A couple of things before we begin. The amount of strokes in the roll mainly denotes it's duration, so don't get too hung up on that. If you have a decent double stroke roll then it's just a matter of stopping it and starting it.

Okay here goes:

Couple of things I should mention. First, I'm sorry about the 32nd notes. Believe me, just looking at them myself gives me vertigo! Just remember all of that stuff is just 16ths doubled.

Now, the other thing I wanted to mention is that I will be submitting soon to present some clinics at the Percussive Arts Society's annual convention (PASIC) next year in Indianapolis. If you like what you're seeing here, please feel free to mention to them that you would like me at next year's convention. Email them here. Thanks for your help and I'm sorry about the delays between posts.

Crossovers

Hey folks,

Anyone who has studied with me has received some exercises on crossovers. I'm of the opinion that they're very useful. Yes, I'm aware of the whole Gary Chester "territorial rights" thing (right and left hands stay on their respective side of the drum set) but using single strokes rather than stickings affords us more power and volume. Furthermore, when we're improvising we may have a tonal pattern in our head but not be able to pull the appropriate sticking out in the moment.

Here's a couple of newer exercises. My apologies to my master class at Mohawk as you will be seeing these again on Thursday.

Please play the following examples with only single strokes and practice them starting on either hand. If the example doesn't have anything written for the feet, by all means add the foot pattern of your choice.

One last thing, the first person to correctly identify the tune the large tom is suggesting in example 5 will receive a free Ted's Warren Commission CD. (Hint, it's a Monk tune.)

....And for those of you that think this is strictly showbiz and doesn't have artistic value, let's groove on Papa Jo Jones!

In fact let's groove on him playing brushes as well.

There's an expression that goes " For every 4 beats a drummer plays, 3 of them come from Papa Jo".

I think this is a way too conservative estimate!

The rudiment of the week is coming up next. Stay tuned!

What makes a musician good?

Hey everyone,

After a lively debate about the Beatles on Facebook recently, I started thinking about my opinions about what qualities make for a good musician and how it's changed over the years. Inevitably when the Fabs come up, people say things to me like, "It's too bad they had Ringo", or "He wasn't a very good drummer. was he?". When I first started playing I was 10 years old and was very impressed by technical flash. For anyone who thinks that way, yes he's not a good drummer. Over years of playing and listening, however, I have come to realize that for me it's not that simple. Nowadays my assessment of a musician's abilities has more to do with many things. Does the musician make me feel anything emotionally? Do they have imagination? Do they have a distinct sound and ideas?

So as far as I'm concerned, Ringo isn't a good drummer.

He's a great one.

Exhibit 1

exhibit 2

Wear your (hi) hat proudly!

Happy Monday everyone. I just came back from Fort MacMurray where I was doing some adjudicating and I thought I would address a common set up issue with the hi-hat that I see quite frequently. Young players tend to set their hi-hat cymbals too close together, sometimes to the point where they're almost touching. There are a few problems with this. The first issue is that it doesn't give us any dynamic range with the left foot. I often tell people to imagine wanting to play a huge loud backbeat with the snare drum but only being allowed to lift the stick 1" off the drum. That's the same thing we're doing when we don't give the hats any play.

Also, if we set up that way we don't develop and strength or flexibility with the hi-hats. If your hi-hat cymbals are less than 1" apart, please open them to at least twice that width. It will feel weird and uncomfortable at first, but be patient and experiment with it as your foot adjusts.

Being able to play your hi-hat loud and clear is an important way of controlling the time in certain situations, as well as a nice colour. Don't ever let your physical set up limit your ability to make effective music.

Now go listen to some Art Blakey!!!!!

Rudiment of the week! Part 2.

Hey everyone,

A couple of things, sorry to have been so long between posts. I had a crazy week of work and just couldn't find the time. Also, I realize I have titled this post rudiment of the week but any of these you could literally work on for years and still find new stuff to do with it. Don't feel you have to rush through practicing things. like I used to do. You'll get a lot more out of the work by really examining the rudiment and trying to assimilate it into your playing.

Okay, on to the Rudiment.

I randomly picked this one.

Ah, triple strokes. I first started working on this one in first year university, many moons ago. It's excellent for the chops. As with the first rudiment, work on it slowly as is before attempting to put it into different rhythmic groups or voice it on the drumset.

In the following examples I have started moving the sticking around the drums (all examples.) I have all four limbs playing the rudiment ( Ex. 2, 5 and 8). In Ex. 3 we are "breaking" the triple strokes between 2 drums. In Ex. 4 we are "breaking" between 3 drums. In Ex. 5 and 6 we are playing the rudiment as triple stops verses single stops or buzzes. In Ex. 7 we have moved the rhythmic grid to 8th notes to create more of an over the barline feel. Finally in Ex. 8 we have taken the over the barline feel even further by moving the rhythmic grid to quintuplets.

Obviously these are but a few examples of where we can take this rudiment. Please use your imagination and have fun making up your own variations.

....And now, a word from my sponsors.

I would be remiss if I didn't mention two of the great companies I work with, Zildjian and Vic Firth. They have been wonderful about supplying gear, sponsoring clinics I do, etc. In both cases I was using the products for many years before I endorsed them, so it's easy to talk about both companies because I ardently believe in what they do. I'm not currently working with a drum or drumhead company, but have been talking with some interested parties and hope to have something worked out soon. You'll hear about it here first!

I would also like to link you to an excellent Adam Nussbaum video on Jon McCaslin's Four On the Floor. it's great for many reasons, but two that particularly stand out for me are his great use of space, and the idea that the tune is separate from the feel it's played in. At one point he starts playing a bossa/str. 8th type of feel but he's still definitely playing "Doxy".

One more thing before I go. The other day when I posted about some of the early music I listened to, it got me thinking of iconic drum parts, and drum part composition in general.

I sometimes think Jazz drummers feel that they always have keep changing textures, feels, etc. all the time. On the contrary, many great performances in music are founded on drum parts that don't change much. I thought I'd list a few of my favorites, along with the drummer that played them.

Milestones- Philly Joe Jones

Cathy's Clown-Buddy Harman

Sister Cheryl- Tony Williams

When the Levee Breaks- John Bonham

Inflation Blues- Jack DeJohnette

In My Life- Ringo Starr

Sugar Pie Honeybunch- Benny Benjamin

Definitely check these recordings out if you haven't heard them.