Showing posts with label Drumming Philosophy. Show all posts
Showing posts with label Drumming Philosophy. Show all posts
Sunday, June 1, 2008
Monday, December 18, 2006
Drumming Philosophy: conclusion
Drummers ought to understand the thought, knowledge and understanding that goes into drumming. It is actually really complicated and sophisticated; it is not a mindless instrument requiring little to no skill. In truth, drums are like any other instrument, because they require a lot of practice, skill and technique. Therefore, we can conclude with a few remarks from this series.
These 10 philosophical-practical principles could probably work for any instrument, which is nice for those readers who play the oboe and not the drums. Yet, these principles are also highly valuable for musical ministries, as they help praise teams find drummers and other musicians who are capable for the task at hand.
- One, keep it simple. Less is more.
- Two, get creative. Learn to play in a structured and rehearsed environment, but also learn to play on the fly.
- Three, let loose. Learn to have fun drumming by learning solos, and expand the horizons by learning other styles.
- Four, practice is essential. Take the time to practice all throughout the week.
- Five, take it easy on the crash cymbals. Don’t get careless and overdo it.
- Six, know the instruments. Learn how instrument ought to be used and then learn to use them in that way.
- Seven, determine your needs. Choose what kind of set will best suit those things.
- Eight, control the volume. Learn to be able to play anything at different volumes, and learn to adapt to the environment.
- Nine, learn from the best. Get a roll model.
- Ten, practice is imperative. Practice until no mistakes are made several times in a row and not just once or twice.
These 10 philosophical-practical principles could probably work for any instrument, which is nice for those readers who play the oboe and not the drums. Yet, these principles are also highly valuable for musical ministries, as they help praise teams find drummers and other musicians who are capable for the task at hand.
Thursday, December 14, 2006
Drumming Philosophy 10: more practice
We have already noted the importance of practice. However, when it comes to musical ministries and performing arts, there has to be more structure involved in terms of band practice, which also translates back into personal practice.
What is most interesting, originally noted by Bob Kilpatrick of Fair Oaks Music, is that most bands—Christian bands in particular—practice pieces, materials, songs and sets until they get it perfect once, but what they should be doing is practicing the stuff so much that they never get it wrong. The difference being is that the former stops practicing once the material is performed perfectly once, while the latter practices even after the material is performed perfectly once or twice.
Bands, whether Christian, secular, worship or concert, should be practicing material so much that they hear it in their sleep, that they walk to their rhythms and that they continuously hum their melodies, but this manner can only be achieved through intense and continuous practice. For those bands who can afford the time, this method is a great philosophy to live by in terms of practice, but it translates from the band practice time into personal practice time.
Drummers and musicians alike should be practicing material, techniques and fundamentals so much that they never get them wrong. Repetition with perfect practice is what is essential for a drummer to become a solid drummer. They have to learn to execute their skills with perfection, but they must not stop practicing them once they initially get it right. They must perfectly practice their material and techniques repetitively. In so doing, they are able to perform their stuff correctly when the pressure is on, because it becomes like clockwork. Without practice—perfectly and repetitiously—the drummer could make some potentially fatal (as far as the band is concerned) errors. Therefore, it is imperative that a drummer fervently and repetitively practice outside of band time to work on perfecting the fundamentals as well as the complicated techniques.
Praise teams should find out in some way or another how much their prospective drummers practice. If they do not practice much, then that could be a good indication that they are not all that serious about the ministry much less music, and it could very well indicate that they might have good potential for making musically fatal errors on stage. Practice is essential. Repetitive and perfective practice is imperative. Music ministries should strive to find drummers who are committed to the ministry both on and off the stage, which includes both personal and band practices.
What is most interesting, originally noted by Bob Kilpatrick of Fair Oaks Music, is that most bands—Christian bands in particular—practice pieces, materials, songs and sets until they get it perfect once, but what they should be doing is practicing the stuff so much that they never get it wrong. The difference being is that the former stops practicing once the material is performed perfectly once, while the latter practices even after the material is performed perfectly once or twice.
Bands, whether Christian, secular, worship or concert, should be practicing material so much that they hear it in their sleep, that they walk to their rhythms and that they continuously hum their melodies, but this manner can only be achieved through intense and continuous practice. For those bands who can afford the time, this method is a great philosophy to live by in terms of practice, but it translates from the band practice time into personal practice time.
Drummers and musicians alike should be practicing material, techniques and fundamentals so much that they never get them wrong. Repetition with perfect practice is what is essential for a drummer to become a solid drummer. They have to learn to execute their skills with perfection, but they must not stop practicing them once they initially get it right. They must perfectly practice their material and techniques repetitively. In so doing, they are able to perform their stuff correctly when the pressure is on, because it becomes like clockwork. Without practice—perfectly and repetitiously—the drummer could make some potentially fatal (as far as the band is concerned) errors. Therefore, it is imperative that a drummer fervently and repetitively practice outside of band time to work on perfecting the fundamentals as well as the complicated techniques.
Praise teams should find out in some way or another how much their prospective drummers practice. If they do not practice much, then that could be a good indication that they are not all that serious about the ministry much less music, and it could very well indicate that they might have good potential for making musically fatal errors on stage. Practice is essential. Repetitive and perfective practice is imperative. Music ministries should strive to find drummers who are committed to the ministry both on and off the stage, which includes both personal and band practices.
Wednesday, December 13, 2006
Drumming Philosophy 9: roll models
Okay, so the pun in the title is cheesy, I know, but I do want to talk about role models within the realm of drumming. It is important for drummers to pick a few drummers that are better (typically professionals, but there are other non-professionals that are great drummers) than them, watch movies of them drumming and listen to tracks of them drumming, and whenever possible, watch teaching films or take lessons from them. Learning from other but better drummers is a great way to enhance one’s playing style and to learn new techniques. Learning from other drummers can also help to enlighten one’s particular understanding of how a song ought to be played on a drum set. It is important for drummers to be learning from each other and to have role models. Drummers should have drummer role models (roll models).
When picking roll models, drummers should stick to what they like, what they find as cool and exciting, and also what they find as knew and challenging. These guidelines may or may not cause a drummer to begin to move outside of his or her comfort zone in drumming, so at least one roll model should be picked outside of the respective drumming knowledge that one already has. For instance, if a rock drummer has never played jazz music, then at least one of his or her aspiring roll models should be a jazz drummer, like Steve Gadd or Dave Weckl.
DVDs, CDs and instructional videos are all great for learning, so long as they are played along with or followed along. The CDs are great for listening only, which is awesome because it forces the listener to use their existing knowledge to determine what is being played and how. The DVDs are great for listening and viewing, which is particularly helpful for visual learners and for those who cannot exactly determine what is being played and how. The instructional videos are great for learning, because they typically demonstrate to some degree what to do and how to do it, and often times in full speed and slow motion. All three are great tools to use to learn more about drumming. It is important, though, for drummers to choose drummers that they like listening to for picking CDs, DVDs and instructional videos, so that they know what they are in a sense getting into. It does not mean, however, that a drummer cannot choose a roll model that they have never heard, which at worst if a drummer did do that it would mean he or she might not like what they come across. It is easier to learn and study from someone or something that one is passionate about. If a drummer is passionate about the drumming of Carter Beauford, the drummer of the Dave Matthew’s Band, then it logically follows that they will have a good and fruitful time learning from his drumming by listening to CDs, watching DVDs, and learning from his video, Under the Table and Drumming.
Drummers should be following roll models simply for the sake of learning. By listening to a handful of drummers through the various aforementioned methods, drummers can greatly improve and expand their abilities. In musical ministries, this methodology is important. One can become well-equipped on how to drum to praise music simply by listening to praise CDs and watching DVDs, or by simply watching various drummers play for praise bands. It is important for music ministry bands to have drummers who can play praise music. There is nothing worse than a drummer who plays hard rock to a modern-day praise song, because the two genres (at least in drumming) do not mix. Therefore, drummers should know the field that they are drumming in, and it would be a good idea for music ministries to have their drummers watch and listen to other drummers performing praise music.
When picking roll models, drummers should stick to what they like, what they find as cool and exciting, and also what they find as knew and challenging. These guidelines may or may not cause a drummer to begin to move outside of his or her comfort zone in drumming, so at least one roll model should be picked outside of the respective drumming knowledge that one already has. For instance, if a rock drummer has never played jazz music, then at least one of his or her aspiring roll models should be a jazz drummer, like Steve Gadd or Dave Weckl.
DVDs, CDs and instructional videos are all great for learning, so long as they are played along with or followed along. The CDs are great for listening only, which is awesome because it forces the listener to use their existing knowledge to determine what is being played and how. The DVDs are great for listening and viewing, which is particularly helpful for visual learners and for those who cannot exactly determine what is being played and how. The instructional videos are great for learning, because they typically demonstrate to some degree what to do and how to do it, and often times in full speed and slow motion. All three are great tools to use to learn more about drumming. It is important, though, for drummers to choose drummers that they like listening to for picking CDs, DVDs and instructional videos, so that they know what they are in a sense getting into. It does not mean, however, that a drummer cannot choose a roll model that they have never heard, which at worst if a drummer did do that it would mean he or she might not like what they come across. It is easier to learn and study from someone or something that one is passionate about. If a drummer is passionate about the drumming of Carter Beauford, the drummer of the Dave Matthew’s Band, then it logically follows that they will have a good and fruitful time learning from his drumming by listening to CDs, watching DVDs, and learning from his video, Under the Table and Drumming.
Drummers should be following roll models simply for the sake of learning. By listening to a handful of drummers through the various aforementioned methods, drummers can greatly improve and expand their abilities. In musical ministries, this methodology is important. One can become well-equipped on how to drum to praise music simply by listening to praise CDs and watching DVDs, or by simply watching various drummers play for praise bands. It is important for music ministry bands to have drummers who can play praise music. There is nothing worse than a drummer who plays hard rock to a modern-day praise song, because the two genres (at least in drumming) do not mix. Therefore, drummers should know the field that they are drumming in, and it would be a good idea for music ministries to have their drummers watch and listen to other drummers performing praise music.
Tuesday, December 12, 2006
Drumming Philosophy 8: volume
Volume is an important factor in drumming and for drummers. If the drums are too loud, then not only does it hurt the ears and the hearing of the listeners (and even the drummer’s), but it also overpowers the sound of the band as a whole. If the drums are too soft, it can lead to problems with timing and rhythm within the band. However, it is not too often that drummers to play too soft; rather, drummers these days are notorious for playing too loud.
Drummers should be able to play at all volumes. However, it is easy to play loud, but it is absolutely difficult to play the same material at a soft level that would normally be played loud. It takes an immense amount of control—at least for drummers—to play something that is normally loud and play it soft. It is not easy, but it is fundamentally essential.
In some cases, drummers find themselves in situations where there are no mics or Plexiglas cages to help with sound. In such cases, drummers become their own soundboard too. When this happens, they need to be able to turn up or turn down the volume at a moment’s notice without missing a beat. This ability can only be reached through practice, so it is imperative that songs be practiced at different volumes throughout personal practice time.
If the drums being played are electric, then problem solved, unless there is no knowledgeable sound technician, then the problem is not solved. In fact, unless there is a knowledgeable sound technician present with electric drums, the sound quality of the drums mixed with the rest of the music can get pretty nasty. The same goes for mic’d acoustic drums. Such issues of electronics with drums solely depend on the knowledge of the sound technicians. However, when a drum set is acoustic and un-mic’d, then it becomes the complete responsibility of the drummer to take control of the volume of the drum set. The volume employed might vary depending on the concert setting, which could be in a poor acoustic building or a good acoustic building; a building with carpet all around or a building with tile all around; a building with a tall ceiling or a building with a short ceiling. Sometimes, one song that is usually played really loud in practice in a small, carpeted and short-ceiling building might only be able to be played at a medium level by the drummer—although it will sound much louder to the audience—in an auditorium with great acoustics, wood floors and a tall ceiling. In order to learn to control volume, drummers should practice their songs at different volumes for one, but two they must also learn to adapt to their surroundings.
There is yet one more key to mastering volume as a drummer. It is important for drummers—and also all instrumentalists and vocalists—to be able to hear the nearest instrument being played next to you just a hair louder than yourself. Well, this rule of thumb was taught to me in orchestra, so I don’t know how well it applies in a band and monitor setting. Yet, it does, because a drummer should not be playing so loud to the point that they end up overbearing their monitor so that they can no longer hear what is coming out of it. They should be able to hear their monitor just a little bit louder than what they are playing. If they cannot, then they probably should not turn their monitor up louder, but rather they should bring their own volume down until they reach that point. This lesson is particularly essential for musical ministries that rely on stage monitors for their musicians. Monitors should not be house speakers, so keep their volume levels as low as possible, and drummers should set their volume accordingly.
Drummers ought to practice songs and materials at a range of volumes, learn to adapt to concert surroundings, and play just a little bit softer than the nearest instrument or monitor in an effort to be masters of volume, which becomes crucial when there is no sound technician available to mic and/or mix the drums into the house speakers. Therefore, in praise teams, it is a good idea for there to be a sound technician of some sort who is able to mix the drums well in with the house, but if there is not, then it becomes absolutely necessary for the drummer to be able to adjust his or her own volume acoustically if there are no electric drums. (This reasoning presupposes that if there are electric drums present, then there will be a soundboard that is controlled by a good sound technician) Praise teams should look for drummers who have the ability to control their own volume when playing by having them play the same song at two contrasted volumes and/or by having them practice in two different concert settings, such as an auditorium and a small classroom. It is important for music ministries to have drummers who are able to play at all volumes lest we all lose our hearing for the sake of some ill-mixed songs.
Drummers should be able to play at all volumes. However, it is easy to play loud, but it is absolutely difficult to play the same material at a soft level that would normally be played loud. It takes an immense amount of control—at least for drummers—to play something that is normally loud and play it soft. It is not easy, but it is fundamentally essential.
In some cases, drummers find themselves in situations where there are no mics or Plexiglas cages to help with sound. In such cases, drummers become their own soundboard too. When this happens, they need to be able to turn up or turn down the volume at a moment’s notice without missing a beat. This ability can only be reached through practice, so it is imperative that songs be practiced at different volumes throughout personal practice time.
If the drums being played are electric, then problem solved, unless there is no knowledgeable sound technician, then the problem is not solved. In fact, unless there is a knowledgeable sound technician present with electric drums, the sound quality of the drums mixed with the rest of the music can get pretty nasty. The same goes for mic’d acoustic drums. Such issues of electronics with drums solely depend on the knowledge of the sound technicians. However, when a drum set is acoustic and un-mic’d, then it becomes the complete responsibility of the drummer to take control of the volume of the drum set. The volume employed might vary depending on the concert setting, which could be in a poor acoustic building or a good acoustic building; a building with carpet all around or a building with tile all around; a building with a tall ceiling or a building with a short ceiling. Sometimes, one song that is usually played really loud in practice in a small, carpeted and short-ceiling building might only be able to be played at a medium level by the drummer—although it will sound much louder to the audience—in an auditorium with great acoustics, wood floors and a tall ceiling. In order to learn to control volume, drummers should practice their songs at different volumes for one, but two they must also learn to adapt to their surroundings.
There is yet one more key to mastering volume as a drummer. It is important for drummers—and also all instrumentalists and vocalists—to be able to hear the nearest instrument being played next to you just a hair louder than yourself. Well, this rule of thumb was taught to me in orchestra, so I don’t know how well it applies in a band and monitor setting. Yet, it does, because a drummer should not be playing so loud to the point that they end up overbearing their monitor so that they can no longer hear what is coming out of it. They should be able to hear their monitor just a little bit louder than what they are playing. If they cannot, then they probably should not turn their monitor up louder, but rather they should bring their own volume down until they reach that point. This lesson is particularly essential for musical ministries that rely on stage monitors for their musicians. Monitors should not be house speakers, so keep their volume levels as low as possible, and drummers should set their volume accordingly.
Drummers ought to practice songs and materials at a range of volumes, learn to adapt to concert surroundings, and play just a little bit softer than the nearest instrument or monitor in an effort to be masters of volume, which becomes crucial when there is no sound technician available to mic and/or mix the drums into the house speakers. Therefore, in praise teams, it is a good idea for there to be a sound technician of some sort who is able to mix the drums well in with the house, but if there is not, then it becomes absolutely necessary for the drummer to be able to adjust his or her own volume acoustically if there are no electric drums. (This reasoning presupposes that if there are electric drums present, then there will be a soundboard that is controlled by a good sound technician) Praise teams should look for drummers who have the ability to control their own volume when playing by having them play the same song at two contrasted volumes and/or by having them practice in two different concert settings, such as an auditorium and a small classroom. It is important for music ministries to have drummers who are able to play at all volumes lest we all lose our hearing for the sake of some ill-mixed songs.
Thursday, December 7, 2006
Drumming Philosophy 7: acoustic vs. electric
Should drummers use acoustic or electric drums? Well, despite my personal preferences, both types have their uses, so let’s consider them here.
Acoustic drums are versatile, because they do not rely so much on electricity and speakers to be used. They are also versatile because they can have a variety of sounds without switching any buttons, but by merely hitting different locations of the drums. Acoustic drums are desirable, because they are good-looking. They are also desirable because of the quality of sound produced from them.
Electric drums are versatile, because they are easy to set up in the house sound system. They are also versatile because they can have a variety of sounds—hundreds and hundreds of drums, sound effects, honking cars and the works—all at the fingertips. Electric drums are desirable, because they are easy to control in terms of volume. They are also desirable because of the compact design for storing and moving.
Depending on the likes and dislikes, and the needs of the drummer or band, acoustic may be more desirable than electric or electric more than acoustic. Each drummer has a different preference and need, and each band has a different preference and need. So which one should be used? It depends.
If a drummer for a ministry band has the tendency to play overwhelmingly loud, then it would be wise for that band to have him use electric drums. If a drummer doesn’t like computerized sounds and has no need to incorporate barking dogs into his or her beats, then acoustic drums would be a great investment for that drummer.
In terms of musical ministry, each band and church should weigh needs and costs as well. Some electric set ups can be cheap, but the quality poor, just like acoustics. Furthermore, when electric set ups break or short-circuit, it can get costly to fix, but when an acoustic breaks, it is usually just the head, which can be replaced for about $10-$20.
Should drummers stick to acoustics over electrics or vice versa? It really doesn’t matter one way or the other. It’s all about preferences, needs and money. Go with what you want, invest in what you need, and buy what you can afford.
Acoustic drums are versatile, because they do not rely so much on electricity and speakers to be used. They are also versatile because they can have a variety of sounds without switching any buttons, but by merely hitting different locations of the drums. Acoustic drums are desirable, because they are good-looking. They are also desirable because of the quality of sound produced from them.
Electric drums are versatile, because they are easy to set up in the house sound system. They are also versatile because they can have a variety of sounds—hundreds and hundreds of drums, sound effects, honking cars and the works—all at the fingertips. Electric drums are desirable, because they are easy to control in terms of volume. They are also desirable because of the compact design for storing and moving.
Depending on the likes and dislikes, and the needs of the drummer or band, acoustic may be more desirable than electric or electric more than acoustic. Each drummer has a different preference and need, and each band has a different preference and need. So which one should be used? It depends.
If a drummer for a ministry band has the tendency to play overwhelmingly loud, then it would be wise for that band to have him use electric drums. If a drummer doesn’t like computerized sounds and has no need to incorporate barking dogs into his or her beats, then acoustic drums would be a great investment for that drummer.
In terms of musical ministry, each band and church should weigh needs and costs as well. Some electric set ups can be cheap, but the quality poor, just like acoustics. Furthermore, when electric set ups break or short-circuit, it can get costly to fix, but when an acoustic breaks, it is usually just the head, which can be replaced for about $10-$20.
Should drummers stick to acoustics over electrics or vice versa? It really doesn’t matter one way or the other. It’s all about preferences, needs and money. Go with what you want, invest in what you need, and buy what you can afford.
Drumming Philosophy 6: one set, several instruments
Sometimes it seems as though beginning drummers and maybe even some intermediate drummers consider the drums as one instrument. Any advanced drummer will probably realize that drums are comprised over several instruments, and that each drum and each cymbal should be treated as its own instrument.
Along with that understanding comes a philosophy of how to use each instrument. Each instrument has a specific function or purpose. Drummers should learn how to use all the instruments and learn how each functions in a song. Additionally, different strokes with the sticks will yield different sounds, and striking the instruments in different locations on them will also result in different sounds. But each and every one of these sounds has a specific role. When drummers can learn to utilize all of the different sounds, they develop a mind-set in which they can perform at a higher level of musical sound and composition. For example, in Drumming Philosophy 5, the use of the crash cymbal was critiqued, and we highlighted the fact that the crash cymbal has a distinct role in songs, and when that role is violated, the crash cymbal loses its purpose and becomes a nuisance. Likewise, all the instruments in the drum set have specific roles, and each instrument should be utilized in accordance with its role.
When drummers break these rules on an overwhelming consistent basis, they end up making the drums undesirable to listen to and even include in a song. Drummers performing in musical ministries ought to take this into account, because if they do not, then either they will no longer be asked to participate, or at worst the drums could be taken out completely due to one bad experience.
All drummers need to learn to think of each tom, each cymbal, the snare and the bass as their own instruments, to learn each of their roles, and to systematically employ those roles. Together they form one sound, but the sound is only enjoyable when their roles are fulfilled.
Along with that understanding comes a philosophy of how to use each instrument. Each instrument has a specific function or purpose. Drummers should learn how to use all the instruments and learn how each functions in a song. Additionally, different strokes with the sticks will yield different sounds, and striking the instruments in different locations on them will also result in different sounds. But each and every one of these sounds has a specific role. When drummers can learn to utilize all of the different sounds, they develop a mind-set in which they can perform at a higher level of musical sound and composition. For example, in Drumming Philosophy 5, the use of the crash cymbal was critiqued, and we highlighted the fact that the crash cymbal has a distinct role in songs, and when that role is violated, the crash cymbal loses its purpose and becomes a nuisance. Likewise, all the instruments in the drum set have specific roles, and each instrument should be utilized in accordance with its role.
When drummers break these rules on an overwhelming consistent basis, they end up making the drums undesirable to listen to and even include in a song. Drummers performing in musical ministries ought to take this into account, because if they do not, then either they will no longer be asked to participate, or at worst the drums could be taken out completely due to one bad experience.
All drummers need to learn to think of each tom, each cymbal, the snare and the bass as their own instruments, to learn each of their roles, and to systematically employ those roles. Together they form one sound, but the sound is only enjoyable when their roles are fulfilled.
Tuesday, December 5, 2006
Drumming Philosophy 5: crash cymbals
When used correctly, crash cymbals are a nice touch to fills and accents in a song. When used incorrectly, cymbals are a nuisance to songs.
Harkening back to playing with moderation (less is more), it is imperative to sparingly use crash cymbals. Using crash cymbals too frequently causes the cymbals to lose value in that they no longer have their primary purpose—to highlight certain features of the song. Crash cymbals are for brightening the song with skillful accents. Crash cymbals are for bringing a fill to a climax. Crash cymbals are not, however, supposed to mark the beginning of every other measure. Using crash cymbals in such a fashion may have its use once in a while, but for every song, hardly. The problem is that when crash cymbals are over employed, they drown out the instruments in the song; they make the progression of the song muddy; and they detract from the fills and leads into other sections of the song, i.e., going from chorus to verse, for example. Utilizing crash cymbals too much makes the distinctions between sections less clear, it puzzles the flow of the song, and it mutes all else that is going on in the song. It is very unnecessary.
Drummers should learn to use a little sense of caution when deciding to excessively resort to hitting crash cymbals for these reasons. Drummers in a ministry setting should particularly be aware that over utilization of crash cymbals will cause the voices to not be clearly heard, which can cause problems in leading a church congregation in praise music.
Additionally, remember back to our first lesson—less is more. In this case, if crash cymbals are sparingly used, in the event that they are employed it actually sticks out as something highlighted in the song. However, if it had been overly used, nothing would have stuck out as out of the ordinary and the accent would be passed over as unimportant.
Crash cymbals are fun and explosive, but when they are used in an excessive manner they become destructive and irritating. Drummers should use the “less is more” principle in how they use crash cymbals in addition to how they use bass accents and fills.
Harkening back to playing with moderation (less is more), it is imperative to sparingly use crash cymbals. Using crash cymbals too frequently causes the cymbals to lose value in that they no longer have their primary purpose—to highlight certain features of the song. Crash cymbals are for brightening the song with skillful accents. Crash cymbals are for bringing a fill to a climax. Crash cymbals are not, however, supposed to mark the beginning of every other measure. Using crash cymbals in such a fashion may have its use once in a while, but for every song, hardly. The problem is that when crash cymbals are over employed, they drown out the instruments in the song; they make the progression of the song muddy; and they detract from the fills and leads into other sections of the song, i.e., going from chorus to verse, for example. Utilizing crash cymbals too much makes the distinctions between sections less clear, it puzzles the flow of the song, and it mutes all else that is going on in the song. It is very unnecessary.
Drummers should learn to use a little sense of caution when deciding to excessively resort to hitting crash cymbals for these reasons. Drummers in a ministry setting should particularly be aware that over utilization of crash cymbals will cause the voices to not be clearly heard, which can cause problems in leading a church congregation in praise music.
Additionally, remember back to our first lesson—less is more. In this case, if crash cymbals are sparingly used, in the event that they are employed it actually sticks out as something highlighted in the song. However, if it had been overly used, nothing would have stuck out as out of the ordinary and the accent would be passed over as unimportant.
Crash cymbals are fun and explosive, but when they are used in an excessive manner they become destructive and irritating. Drummers should use the “less is more” principle in how they use crash cymbals in addition to how they use bass accents and fills.
Friday, December 1, 2006
Drumming Philosophy 4: practice
Practice does not necessarily make perfect. Rather, practice with proper form makes perfect. What better way to practice, then, than to play along with CDs? It is a helpful tool to practice playing along with music on the stereo, because most of the time the tempo is steady, which helps in developing timing, and playing to the music helps to develop one’s sense of musical progression, song development and structure, which is absolutely essential for any performing drummer who must improv. Drummers should incorporate this method into their personal practice sessions, in addition to learning different styles and working on various solos.
Therefore, drummers should be practicing several hours a day. Professional musicians will often times practice up to eight hours a day, like Kenny G, for example, because there is always something to be learned and worked on, and the skills already learned can always be sharpened just a little bit more. However, most musicians do not get paid and make a living off of performing music, so not all musicians can afford such practice time. Well, to be blunt, if a drummer or any other musician for that matter wants to get better, he or she has no choice but to make time for practice.
It might help to set up a practice schedule of some sort, not only for the practice structure, but also a weekly plan. Mondays could be devoted to working on a new style. Tuesdays could be dedicated for soloing. Wednesdays could be set for playing with CDs. Thursdays could be used for going back to the basics and working on chops. Fridays can be a little bit of everything. Whatever works, do it. But if practice time does not seem to easily present itself, then make time for it and create a schedule.
Drummers in music ministries really ought to be practicing the music that they perform at home. I would not go so far as to say that team leaders should require practice sheets to be turned in by all members of the band to demonstrate that they have practiced outside of team practice and performance, but it should be expected. Drummers should feel confidant that they know what they are doing when they are playing, and the more they familiarize themselves with the style of the music they are performing, the better off they will be in practices, which will inevitably go much smoother for the team, and the better off they will be in performances where they fill in as emergency drummers and have to improv. Practice is absolutely essential for all drummers, even those who only perform in music ministries. It would therefore be wise for musical ministry drummers to purchase a few “worship music” albums and learn to play along with those in practice throughout the week if they want to be effective in their roles for their ministries.
Therefore, drummers should be practicing several hours a day. Professional musicians will often times practice up to eight hours a day, like Kenny G, for example, because there is always something to be learned and worked on, and the skills already learned can always be sharpened just a little bit more. However, most musicians do not get paid and make a living off of performing music, so not all musicians can afford such practice time. Well, to be blunt, if a drummer or any other musician for that matter wants to get better, he or she has no choice but to make time for practice.
It might help to set up a practice schedule of some sort, not only for the practice structure, but also a weekly plan. Mondays could be devoted to working on a new style. Tuesdays could be dedicated for soloing. Wednesdays could be set for playing with CDs. Thursdays could be used for going back to the basics and working on chops. Fridays can be a little bit of everything. Whatever works, do it. But if practice time does not seem to easily present itself, then make time for it and create a schedule.
Drummers in music ministries really ought to be practicing the music that they perform at home. I would not go so far as to say that team leaders should require practice sheets to be turned in by all members of the band to demonstrate that they have practiced outside of team practice and performance, but it should be expected. Drummers should feel confidant that they know what they are doing when they are playing, and the more they familiarize themselves with the style of the music they are performing, the better off they will be in practices, which will inevitably go much smoother for the team, and the better off they will be in performances where they fill in as emergency drummers and have to improv. Practice is absolutely essential for all drummers, even those who only perform in music ministries. It would therefore be wise for musical ministry drummers to purchase a few “worship music” albums and learn to play along with those in practice throughout the week if they want to be effective in their roles for their ministries.
Thursday, November 30, 2006
Drumming Philosophy 3: solos and styles
Solos are essential for drummers to practice. Solos incorporate higher creativity into the skills of the drummer. These in turn help for more colorful fills and rhythms in songs. All drummers should be able to do solos in any song, which means that solos ought to be commonly and widely practiced.
Drummers should practice solos of various styles. There are two types of solos—rhythmic and instrumental—and there are many different styles—jazz and rock, for example—and all of which ought to be practiced by any drummer. Drummers should practice all styles and not become one-style wonders. Good drummers are not limited to one particular style of music, but can play well in all kinds of styles, though they might specialize in one or two. Since many praise songs come from various styles, it is therefore imperative for drummers to be familiar with as many styles as they can if they want to be effective in their roles for bands. Rock drummers should learn how to drum to rap. Rap drummers should learn how to drum to country. Country drummers should learn how to drum to jazz. The list goes on and the scenario continues: each drummer should not simply rest in the respective style that one has become familiar with, but should venture out into realms that are uncomfortable if he or she wants to become a great drummer.
Within each style comes a different way to do solos. Once the style has been grasped, the drummer should also learn how to do solos to that style, both in rhythmic or instrumental. By rhythmic solos I mean those solos primarily comprised of complex and free rhythms, although it can incorporate all the instruments available to the drummer, and by instrumental solos I mean those solos primarily consisting of complex fills and accents with little or no systematic rhythm. Jazz is famous for its instrumental solos, for example, while rap is full of rhythmic solos. Drummers should be able to do both and be able to do both in a wide variety of genres.
When a drummer is capable to play many styles and solo within them, then they will be well-equipped for drumming in a band, especially for bands that incorporate several different styles into the songs, because he or she will be versatile and creative, not rigid and stale. Indeed, there is nothing worse than a drummer who cannot play in anything but, for example, a heavy metal and hard rock style, especially when the song being performed is a ballad! Nor is there anything worse than a drummer who does the same beat and fills over and over throughout every song!
Therefore, drummers need to learn essential creativity. Solos are imperative. This feature is something bands ought to look for. When a drummer is auditioning for the band, the leaders performing the audition should take note as to the creativity of the drummer. Is the drummer doing the same crash accents over and over? The same fills? The same rhythms? Affirmative answers to such questions are a good indication of rigid and stale drummers.
Drummers who want to get good or who want to improve need to venture out into unlearned territory, and to not only master that style to a certain degree, but also how to respectively solo within it.
Drummers should practice solos of various styles. There are two types of solos—rhythmic and instrumental—and there are many different styles—jazz and rock, for example—and all of which ought to be practiced by any drummer. Drummers should practice all styles and not become one-style wonders. Good drummers are not limited to one particular style of music, but can play well in all kinds of styles, though they might specialize in one or two. Since many praise songs come from various styles, it is therefore imperative for drummers to be familiar with as many styles as they can if they want to be effective in their roles for bands. Rock drummers should learn how to drum to rap. Rap drummers should learn how to drum to country. Country drummers should learn how to drum to jazz. The list goes on and the scenario continues: each drummer should not simply rest in the respective style that one has become familiar with, but should venture out into realms that are uncomfortable if he or she wants to become a great drummer.
Within each style comes a different way to do solos. Once the style has been grasped, the drummer should also learn how to do solos to that style, both in rhythmic or instrumental. By rhythmic solos I mean those solos primarily comprised of complex and free rhythms, although it can incorporate all the instruments available to the drummer, and by instrumental solos I mean those solos primarily consisting of complex fills and accents with little or no systematic rhythm. Jazz is famous for its instrumental solos, for example, while rap is full of rhythmic solos. Drummers should be able to do both and be able to do both in a wide variety of genres.
When a drummer is capable to play many styles and solo within them, then they will be well-equipped for drumming in a band, especially for bands that incorporate several different styles into the songs, because he or she will be versatile and creative, not rigid and stale. Indeed, there is nothing worse than a drummer who cannot play in anything but, for example, a heavy metal and hard rock style, especially when the song being performed is a ballad! Nor is there anything worse than a drummer who does the same beat and fills over and over throughout every song!
Therefore, drummers need to learn essential creativity. Solos are imperative. This feature is something bands ought to look for. When a drummer is auditioning for the band, the leaders performing the audition should take note as to the creativity of the drummer. Is the drummer doing the same crash accents over and over? The same fills? The same rhythms? Affirmative answers to such questions are a good indication of rigid and stale drummers.
Drummers who want to get good or who want to improve need to venture out into unlearned territory, and to not only master that style to a certain degree, but also how to respectively solo within it.
Wednesday, November 29, 2006
Drumming Philosophy 2: sets and improv
Music sets are great if the time for practicing them is affordable. A drummer should be able, however, to improvise within the set at a moment’s notice.
Drummers should be able to practice with the band and work on a set. Set drumming is all about practicing as a team, getting the set of songs down as a team, and working out the kinks as a team, making sure that all of the parts fit together to a planned end. What would happen, however, if the drummer, after practicing the set and the morning of the service or performance, got extremely ill and could not participate?
Some teams have more than one drummer come to practice for instances like this. However, most teams do not have that luxury, which is where improv drumming comes into effect.
Drummers should not only be able to do set pieces, but they should also be able to do improv as well. Drummers should be able to be called in an emergency to fill in for the team with very little practice if any at all. As one can imagine, this requires a great amount of knowledge of songs and a great deal of talent as well. Drummers should be able to feel the pulse and rhythm of the song so that they do not have to rely on practice to know where the song is going. Although practice is helpful, it should not be necessary for a drummer to provide the necessary rhythm and direction for the song. Drummers should be able to determine where the song is going musically just by hearing the tone of the lead singer’s voice and/or watching the body language of the lead electric guitarist, for example. There are visual as well as tonal cues that drummers should be able to pick up for improv drumming.
Therefore, when a band is finding drummers to participate, they really ought to find drummers who can do both, but honestly they should be weary of drummers who can only do sets, because those who can only do sets are only valuable when they can practice with the team, but those who can do improv can also do sets. If the band cannot find a drummer who can do improv, then they need to have at least two drummers at every practice session, which will make for some long practices if the drummers are going to take turns at each song to learn the material.
Drummers should be able to do both set pieces and improvisations. Sometimes there isn’t enough practice time given, so a drummer should be able to pick up on what’s going on in the songs quickly in such cases. Improv drumming is therefore absolutely essential for all drummers if they want to be effective in their role in the band.
Drummers should be able to practice with the band and work on a set. Set drumming is all about practicing as a team, getting the set of songs down as a team, and working out the kinks as a team, making sure that all of the parts fit together to a planned end. What would happen, however, if the drummer, after practicing the set and the morning of the service or performance, got extremely ill and could not participate?
Some teams have more than one drummer come to practice for instances like this. However, most teams do not have that luxury, which is where improv drumming comes into effect.
Drummers should not only be able to do set pieces, but they should also be able to do improv as well. Drummers should be able to be called in an emergency to fill in for the team with very little practice if any at all. As one can imagine, this requires a great amount of knowledge of songs and a great deal of talent as well. Drummers should be able to feel the pulse and rhythm of the song so that they do not have to rely on practice to know where the song is going. Although practice is helpful, it should not be necessary for a drummer to provide the necessary rhythm and direction for the song. Drummers should be able to determine where the song is going musically just by hearing the tone of the lead singer’s voice and/or watching the body language of the lead electric guitarist, for example. There are visual as well as tonal cues that drummers should be able to pick up for improv drumming.
Therefore, when a band is finding drummers to participate, they really ought to find drummers who can do both, but honestly they should be weary of drummers who can only do sets, because those who can only do sets are only valuable when they can practice with the team, but those who can do improv can also do sets. If the band cannot find a drummer who can do improv, then they need to have at least two drummers at every practice session, which will make for some long practices if the drummers are going to take turns at each song to learn the material.
Drummers should be able to do both set pieces and improvisations. Sometimes there isn’t enough practice time given, so a drummer should be able to pick up on what’s going on in the songs quickly in such cases. Improv drumming is therefore absolutely essential for all drummers if they want to be effective in their role in the band.
Tuesday, November 28, 2006
Drumming Philosophy 1: less is more
Less is more. What does that mean? It means that when drummers get too fancy and complicated, they crowd themselves out of the songs they are playing in. It means that drummers need to keep it simple, because something simple goes a lot further in the overall sound of the band or team. It means less complicated drumming is more valuable to the sound of the band. Here are several reasons why:
First, complicated rhythms, particularly beats on the bass drum, become indistinguishable, and therefore make the quality of the beat less handsome.
Second, complicated fills, particularly with snares and toms, become indistinguishable, and therefore make the fill out of place in and lack direction for the band.
Third, complicated drumming as a whole, though its intentions are good, seem to focus the attention on the drummer, not on the purpose of the band, and it typically detracts from the sound of the band.
Now, what do I mean when I say, “complicated drumming?” Complicated drumming is a mixture of complex fills primarily consisting of rolls and jazz-style accents on the snare and toms with over-the-top bass drum accents in the beats. The fills kind of blend together and it becomes difficult to the uncritical ear to distinguish what is going on in that extra bit of flare. The bass notes overpower the pulse of the song and seem to phase out the rhythm with too much utilization. Such things are “complicated drumming.”
Drummers, including those involved in musical ministries, ought to always remember to keep it simple (generally speaking, of course) and that less is more, which means that complex fills and bass accents should be used sparingly.
First, complicated rhythms, particularly beats on the bass drum, become indistinguishable, and therefore make the quality of the beat less handsome.
Second, complicated fills, particularly with snares and toms, become indistinguishable, and therefore make the fill out of place in and lack direction for the band.
Third, complicated drumming as a whole, though its intentions are good, seem to focus the attention on the drummer, not on the purpose of the band, and it typically detracts from the sound of the band.
Now, what do I mean when I say, “complicated drumming?” Complicated drumming is a mixture of complex fills primarily consisting of rolls and jazz-style accents on the snare and toms with over-the-top bass drum accents in the beats. The fills kind of blend together and it becomes difficult to the uncritical ear to distinguish what is going on in that extra bit of flare. The bass notes overpower the pulse of the song and seem to phase out the rhythm with too much utilization. Such things are “complicated drumming.”
Drummers, including those involved in musical ministries, ought to always remember to keep it simple (generally speaking, of course) and that less is more, which means that complex fills and bass accents should be used sparingly.
Monday, November 27, 2006
Drumming Philosophy
I am setting out to do a series on the philosophy of drumming. I don’t know how many drummers there are who read this blog, but the information might be useful to all those involved in musical ministries, including those who do not play the drums.
As a drummer of more than a decade, I have had plenty of experience playing for praise teams and youth bands since I was in the 6th grade. It might not seem like I have been playing for a long time, but I started at an early age, and I have played and practiced drums more than any other hobby, including video games and soccer.
Obviously, drumming is my hobby—or at least it was—but now that I am married and living in a house that is not able to hold the space of my drum set, I had to sell my drums and I have not been able to play since this past summer when I filled in as an emergency drummer for my church’s junior high youth band. Yet, even though I do not have my own kit anymore, the passion is still there.
I have noticed several things about drummers in musical ministries throughout my experience as a drummer. I am overly critical when it comes to musical ministries, given that it is extremely important to me and I have had much of my own experience in it, so I have room to talk. This series, then, is going to highlight some of my criticisms of and give some suggestions for the philosophy of drumming within the context of musical ministries.
As a drummer of more than a decade, I have had plenty of experience playing for praise teams and youth bands since I was in the 6th grade. It might not seem like I have been playing for a long time, but I started at an early age, and I have played and practiced drums more than any other hobby, including video games and soccer.
Obviously, drumming is my hobby—or at least it was—but now that I am married and living in a house that is not able to hold the space of my drum set, I had to sell my drums and I have not been able to play since this past summer when I filled in as an emergency drummer for my church’s junior high youth band. Yet, even though I do not have my own kit anymore, the passion is still there.
I have noticed several things about drummers in musical ministries throughout my experience as a drummer. I am overly critical when it comes to musical ministries, given that it is extremely important to me and I have had much of my own experience in it, so I have room to talk. This series, then, is going to highlight some of my criticisms of and give some suggestions for the philosophy of drumming within the context of musical ministries.
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