Do you have commitment issues?

Several years ago I attended a masterclass with the legendary Evelyn Glennie. It concluded with the usual Q & A session, and that's where things got interesting. The questions that students asked ranged around the usual topics - her hearing (she's deaf), her history, favorite mallets/sticks/instruments, and the like.

Then one student asked this question, "I notice that you're still playing some of the pieces you learned in college. Don't you ever get tired of performing the same music over and over again?"

She gave the student one of those kindly, I-can't-believe-you-actually-asked-that-but-I'll-answer-it-anyway looks, and proceeded to give one of the finest discourses I've ever heard on music and commitment.

"Music is like a marriage," she began. Of course, I don't remember it word for word, but in essence she explained that good music is something worthy of your commitment. And if it was good music way back when, it should still be good music now.

She talked about how, with almost every piece she plays, she's still discovering new things about it or inventing new ways to play it and enhance her expressiveness. I'm paraphrasing, but she talked about how, while there's excitement in learning new music, there is a great pleasure and satisfaction in performing music that you are intimately familiar and comfortable with.

You can always take old music - if it's truly great music - to new places and experience it with new people.

It's an interesting take in a world where new and now are the only buzzwords you can hear.

Gear Up: Android and iPhone Apps

I have to admit that I was fairly slow to get on the smart phone bandwagon, and even slower to get an iPhone. And even then, I was pretty slow to start downloading apps. It's not that I was super-resistant to forward progress, I just didn't see how they'd make my life - especially my musical life - much better.

But, as they say in the TV ads, life changes fast.

My first revelation happened when somebody (a bass player, no less) gave me a run-down of some apps he uses pretty frequently. I found and downloaded a free metronome and chromatic tuner. Awesome! I could now put the ol' headphones in and practice to the click. I could also get my guitar in tune via the iPhone. Magic!

Check out some cool apps for musicians. 

From then to now I've used a variety of apps, both music-related and not. I've found a handful that are really fun, some that were a complete waste, and a rare few that have become indispensable. I now use my iPhone at every gig, at every rehearsal, and frequently during practice session.

One application that I use most is Frozen Ape's "Tempo." At its core, it's simply a metronome application, but also features a reliable tap function, and programmable set lists. It's huge for a gigging drummer, because I can program in my band's set list (which is usually pretty rigid for entertainment/corporate gigs) and have a tempo in my ears for each tune - basically with one touch.

Now I know that there are some purists out there that shudder at the idea of having a click-track on stage with you during a live performance. Believe me, I've been there. It took a lot of talking from my bandmates and a couple of other drummers, but I was finally convinced to give it a try. And I've got to tell you, it has made certain things a lot easier. I'm still getting used to it, but it's nice to know that you have the tempo dialed in and you aren't going to have rushing and dragging problems.

While there are a million (actually a lot more, I'm sure) apps out there, I recommend that you try to limit what you keep on your phone to those that you'll actually use, and those that will help you achieve your goals.

As with all things, smart phones can distract you and dilute your efforts. Stay focused, and use tools that will help you get the job done efficiently and correctly.

Happy drumming!

Beyond the Kit: Flexatone and Vibraslap

Time to highlight two lesser-known percussion goodies that deserve at least a little love.*

First up: flexatone. You can find a little history, a listing of compositions using flexatone, and some fantastic sound samples here.

While it is not used very frequently, the flexatone is one of the instruments for which there is really no suitable replacement.

Similarly, the vibraslap, while used much more frequently than flexatone, is not called for very much. Find some more information here.

As always, take some time to look into both of these instruments and see if there's a place for them in your bag of tools. If they can help you to be more expressive, creative and musical, you should get ahold of them soon!

Happy percussing!

*It can be frustrating as a percussionist or band director to try to acquire all of the little percussion "toys" that are called for, especially when you only use it once or twice. But when you've gotta have the sound, you've gotta have the sound.

The Weight Room: "Come off trying!"

When I was in college, I was a fairly serious rock climber. I had a small group of friends that I literally trusted with my life on a daily basis. (If you've never been climbing, rappelling or spelunking, it can be hard to understand this concept. But in order to participate, you must put your life and safety in the hands of your belay or partners.)

Often when climbing, we would come across an especially difficult section or sequence, and it was common to need multiple tries to complete the problem. Sometimes it would just simply be too frightening, and you'd either burn yourself out by hesitating too long before the attempt, or you'd simply come down and give up.

It didn't take us long to institute this rule: If you're going to come off (fall), come off trying. Quite simply, it became unacceptable to come off the rock without giving your absolute full effort.

Because of this mindset, it is of great concern to me when I see students who quit music without giving themselves a legitimate chance to succeed. I talked about this a little bit in an earlier post, but nothing makes me more grumpy than seeing a student pass up an opportunity to do something great either because they lack vision or are unwilling to exert themselves.

"It's too hard," and, "I can't do this," have stopped many a promising student from progressing, both in climbing and in music.

When we started to enforce the "come off trying" rule while climbing, some interesting things happened. I'll highlight only two.

1. We would often surprise ourselves by completing the move. I can remember a sort of switch that would flip in my brain that said, "I know I'm not gonna die, so I'm just gonna do this!" And frequently I would do more than I thought I could. 
2. Along with accomplishing more, even failing and falling served to increase our confidence and reduce our fear. You took a risk, you didn't die, and if you failed you were all the more determined to keep trying until you succeeded. Truly - scrapes, cuts and bruises became badges of honor. We still call them "battle scars."

One of my most successful drum students came to me as a forty-something mother of five. I can't remember the exact words, but she said something along the lines of, "My kids have all had their chance to learn music, now it's my turn." 

She was never afraid of or intimidated by anything I asked her to do, and never got embarrassed if she didn't understand at first or couldn't do something right away. She just gave it everything she had, and kept trying until she got it. She embodied - and still does - the "come off trying" mentality. 

That was over ten years ago, and today she is still playing in a successful local band with some other amazing women. They rock!

I understand that music and drumming - like rock climbing - may not be for everyone. But I also believe that you can't know that without trying. And I mean really trying, working hard and giving your best effort before you decide to go another direction. And for the vast majority of us, work and effort will result in success!

May you work hard, achieve success and always come off trying!

Bag of Tricks: Layering on Train's "Mississippi"

Today while driving I was listening to a playlist on my iPod that I titled, "The Groove." It only contains tunes that I think represent the very best of feel, time and flat out groove.

I must have been in some alternate state of mind (sober, I promise!), because I was listening with what seemed like totally different ears. When this track came on, I heard some things I've never heard before.

One of the biggest challenges for drummers is to figure out how to increase or change the intensity level of a song without damaging the texture or distracting from the effect or message of the song. This track achieves the goal perfectly.

The drum sounds on "Mississippi" are amazing on at least a few levels. For one, there is not a single fill. In over five minutes of music, not even a kick variation (that I could tell) or a variation of pattern. Backbeats all stay on 2 and 4, etc. 

But after hundreds of times through this track, these subtleties finally caught my ear. I was astounded.

• The track begins with a synth-type hi-hat sound. It plays the same ostinato pattern throughout.
• At the 1:10 mark, what sounds like real hi-hat is layered over the synth-hat.
• At the 1:36 mark, a heavier hi-hat (louder, slightly more open) is layered over the synth and first real hat tracks.
• At the 3:38 mark, a super reverb-heavy (or possibly synth) ride cymbal starts playing quarter notes. It's faded in so that you're not sure when you actually start to hear it.

Seriously, I was blown away. I happened to be on my way to pick up a bass-playing colleague of mine for lunch, and I made him listen to it. He was also blown away. Between the two of us, we'd never noticed the layers before. 

Take another listen to this track, and enjoy the work of musicians who know how to serve the music.

Happy drumming!

Five ways to improve your playing

As musicians - and especially as drummers - we tend to complicate things. We especially overcomplicate things that we oversimplify......wait, what? Allow me to 'splain. No, there is too much. Let me sum up here.


One thing we all want is to consistently improve. Here are five simple (I didn't say easy, okay? Just simple) ways you can quickly improve your playing.

1. Take private lessons from a great teacher.
This one activity will probably have the greatest and longest-lasting impact on your overall music career. That being said, it's an investment of time and money, and won't usually pay immediate results. While you can make an improvement after the first lesson, most of your progress will depend on your dedication to the concepts you are taught and your own practice habits.

But I'm telling you this - don't reinvent the wheel, so to speak. Learn from someone who can show you the high road and steer you away from pitfalls and traps.

While I'm on this subject, I hear some musicians who say they don't want to take lessons or study music because they want to, "be creative," or, "be my own person." They don't want to have any outside influences that might color their own personality or style.

To me, that's the same as a carpenter not wanting any tools because it might make their handiwork look like someone else's. No matter what, you're still you, and no amount of teaching or studying will change who you are as a person unless you choose to change based on new knowledge.

But the more tools you have, the more you'll be able to freely express yourself.

2. Attend great live performances.
No, I'm not talking about your sister's punk band. They may be awesome, but I'm talking about top-level, world-class performers on your instrument or in your genre. There is nothing quite so inspiring or educational as being the in same room with someone who is doing what you want to do, or - even better - opening your mind to new possibilities. You will find yourself using some of their tools, thinking differently and holding yourself to a higher standard.

Another way to think about this is this: we tend to become like those with whom we associate because we begin to emulate their habits and behaviors. As Dave Ramsey says, "You wanna be rich? Do what rich people do. You wanna be skinny? Do what skinny people do."

You wanna be a great musician? Do what great musicians do. And the more you see, hear and associate with them, the more you'll learn what they did and do to become great and stay at the top of their game.

3. Use a metronome.
And not as a drink coaster. One of the hallmarks of a great percussionist/drummer is the ability to keep impeccable time. If you consistently train yourself to play in time, you soon internalize the pulse and everything you play feels great. When everything you play feels great, other people want to play with you and you become known as a good player.

One of the bands I play with has asked me to play with a click track on stage during live shows. At first I was a little hesitant (not insulted, per se, but...), but I've been using it at rehearsals, and it's amazing what it's done for me. I never worry about whether we're too fast or slow, or if the tempo is wavering. I wouldn't do it all the time, but it has allowed me to lock into the tempo and just worry about making music.

As with private lessons, this improvement may take a little time, but if you consistently use a metronome (or "click"), your playing will become more and more solid. You'll develop a good feel for time, and it will be natural to play "in the pocket."

4. Upgrade your gear.
About ten years ago I was playing an old and beat up kit. When an opportunity came up to purchase a new DW rig, I jumped at it. It took almost three years to pay off the drums, hardware and cases, but it was well worth it.

I became a different, better player that day. My mindset was totally different. I no longer thought of myself as an inferior or second-tier player with a cheap set of drums. I had stepped up to a level of instrument quality that was as good as what the pros play. It was as if one of the natural barriers between me and greatness had been removed. Mentally, I was a new man, and I played like it.

Not only that, but my new rig was capable of sounds that I never would have gotten from my old drums. The hardware was in great shape (still is) and the heads were pristine and in tune. I went straight to a recording session that afternoon and did the best playing I had ever done.

In short, I wasn't being held back by my equipment.


Now, you don't have to buy a new kit to have this experience. Sometimes new heads or trying a different set up will have the same effect. Heck, even just taking an afternoon to clean everything up and get the everything in tune and feeling great can give you a major lift.

Bottom line is that you need to be able to depend on each and every piece of your gear to make you sound and feel great when you play.

5. Commit to your goals.
I mean this in the long-term sense as well as in the day to day sense. Set yourself up a plan to achieve your goals. Break it up in terms of what you need to do this month, this week and today. Then commit to what you have to do today, and do it.

Of all the ways to improve, I think this one has the most power. If you have a specific goal for today, and you achieve it, you can answer this one critical question: Am I closer to my goals today than yesterday?


Progress is progress, even if it's just one click up on the metronome.

So, there you have it. Five simple ways to improve your playing. Go and make your dreams into your reality. Your success is up to you.

Happy drumming!

Beyond the Kit: It's more than the music

The following story is true. The names have been changed to protect the innocent.....and the not-so-innocent, for that matter.

Several years ago I was hired to finish a studio album that was already in progress. The original drummer had, uh....moved on, and I was happy to take his place. Actually, I was more than happy. This guy was easily the best drummer that had ever lived in that particular area, and was absolutely the standard for being a true pro player.

In short, I was feeling pretty darn good about myself. You might even say I was feeling cocky. I thought, "If I'm replacing that guy, I must be as good as he is." This was a great feeling.

It lasted about five minutes. Typical, right?

When I showed up on the gig, the producer/engineer and the songwriter sat me down in the control room to listen to the rough mixes of the tracks I'd be playing. I was in the middle of being blown away by the playing of my predecessor when the producer started talking to me.

Producer: "You know you're not nearly as good as him, right?"

Me: "Yeah, I was....wait? What?"

Songwriter: "Yeah, he's amazing. Best drummer I've ever worked with."

Me: (Shocked, trying to keep my composure.) "So....why'd I get hired, then?"

Producer: (Laughing) "Because, man! You're always on time and you never show up drunk!"

Ok, then. There you have it from a career-long pro. Be on time and don't show up drunk. They did go on to reassure me that I'm a good player and they were excited to have me on the project, but it was shocking to know that (apparently) my most marketable features were punctuality and sobriety.

It actually ended up being a great project, a huge learning experience for me, and a whole lot of fun with some great new friends. But it sure was humbling.

Stay sober, my friends.

What do you want most, and why aren't you getting it?

Even though I'm going to talk about music students and music concepts, I firmly believe that the idea of knowing what we want applies to all aspects of our lives - and to what we end up getting. I'm sure I've blogged about this before, but it still applies.

In the book Alice in Wonderland, Alice asks the Cheshire Cat which way she should go. When he asks her where she wants to get to, she answers that she doesn't care. "Then," he replies, "it doesn't matter which way you go."

Whenever I have a new student (and often thereafter), I ask what they hope to gain out of lessons. The answer has become predictable - so much so that I have to force myself to actually wait for the answer.

"I want to get better."

"Ok. What does that mean?"

"I wanna get really good."

"Great! What does it mean to be really good?"

*crickets*

If we do not (or cannot) define what 'good' and 'better' mean, in specific detail, how will we know how to pursue them? How will we know if we're making any progress or if we've achieved these lofty ideals?

In short, if we don't know what we want, we'll never get it and wouldn't know it if we did.

Gear Up: Getting the most bang, boom and crash, part 2

Part 2 of 2. If you missed Part 1, you can check it out here. 

Buy used.

I’ve always hated to be the first person to put a scratch, mark or dent on something. I think that’s why I’ll never buy a new car off the showroom floor. Especially in the case of drums and cymbals, you’ll end up paying way too much for a cymbal that’s going to be “used” after the first day anyway, so find somebody who has a well-taken-care-of item that you need, and get a good deal.

These days almost all retail stores have a decent collection of used gear that has been traded in (which we’ll talk about in just a second), which means that it’s probably in good condition, and the store may even offer a limited warranty. 

That being said, there are a few things I won’t buy used: sticks, heads and thrones. It’s too easy to abuse those things, and - especially in the case of sticks and heads - new is cheap enough that it’s not worth the savings to get it used. 

Trade for it.

If you’re like me, you have a special pile of gear that you never use, but you just can’t bring yourself to get rid of it. Well, it’s time. If you haven’t used it in practice or a performance in over a year, find somebody who has what you want and offer them a trade. I’m constantly finding things I want online or in stores that somebody bought and then found out that they didn’t like/need/want/use it, and your item might be a perfect fit for a trade. Barter groups are springing up all over the place, so check one out.

Also, as mentioned above, many stores will take your used gear in on trade for new stuff. This is an excellent way to decrease the price of what you need at the same time you’re getting rid of stuff you don’t.

Several years ago I won second place in a solo drumming competition. The prize was a 22” Swish Knocker. I was thrilled! That is, until I took it home and played it. I tried every which way to convince myself that it was a cymbal I was going to use, but six months later it was leaning against the wall in my studio gathering the proverbial (and literal) dust. So when my hardware bag died, I took the Swish into the drum shop and traded it straight across for a new, better bag that has been serving me ever since. 

Be patient.

More times than I care to admit I have purchased something that I needed, “right now,” only to find a better deal pretty shortly thereafter. I was in such a rush that I settled for a bad deal! This goes along with having saved up and done your homework, but if you don’t get “buyer fever,” you can recognize a deal for what it is, and get a good one when the time is right.

Remember the old adage, “Haste makes waste.” And in this case, what you’re wasting is money. 

Here’s the bottom line.

You can get almost anything you need and want if you’re willing to save, research, wait for a bargain, barter and trade. There are many options out there for you. So, go ahead and get more bang, boom and crash for your buck!

Happy shopping!

Friday Feature: Steve Gadd

About a million name puns came to mind when deciding how to introduce the legendary Steve Gadd, but....I'll let you make your own. 

He is the most imitated drummer of all time, and easily one of the most successful. His playing credits include Eric Clapton, James Taylor, Chick Corea, Paul Simon and Dizzy Gillespie (seriously?!) just to name a few. Known for his ability to, "get inside a tune" and play in the pocket like no one else, Gadd has been a legend for most of his life.

Visit Steve's official website here. 

My first exposure to Steve Gadd was through the music of Steely Dan. He played on one of their widely known tracks, "Aja," as well as on Paul Simon's, "Fifty Ways to Leave Your Lover." Some of today's creative, but common, grooves were innovations of Steve Gadd. He has connections to almost everything that is great about groove, feel, time and fill.

Check out this tasty treat.

You'll notice how he makes use of melody and compositional elements more than sheer power or speed. He's got plenty of both, but uses them judiciously.

One other thing: Check out the relative simplicity of his setup. When you compare his kit to most modern players - especially somebody like Terry Bozzio - it almost makes you laugh out loud at what he can do with such a small rig.

And this is what Steve sounded like the year I started playing the drums. Amazing playing!

Well, as always, I simply hope to give you a jumping off place. And I hope that Steve Gadd influences your playing as he has for countless thousands of drummers for the last 40+ years.

Happy drumming!

Bag of Tricks: Hat and tom fill

This is a cool fill I stole from one of the million "hit" pop bands in the nineties. It's a very low-key way to emphasize the 4 and land on 1.

Here's the 16th note version:

And the sextuplet version:

Happy drumming!

The Gig Log: Cleaning the house

The best-paying (non) gig I have ever had was a couple of summers ago. I had gotten a call from an old friend of mine, a violinist. She had a lead on a Bat Mitzvah party gig that was going to be both lucrative and enjoyable. I’d never played this type of event before, but I was up for it, especially since it was going to be a trio of violin, guitar and percussion.

Leading up to the gig we emphasized the need to be sensitive to the cultural traditions and the environment that the family wanted - volume levels and the choice of set list were discussed to no end. Also, the mother of the girl was a little bit nervous that her husband would not approve of the music and was afraid that it was going to be too loud, and we wanted to be the perfect choice, so we prepared very well. 

We had rehearsals, include a couple that our “boss” came and listened in on. She seemed thrilled, and everything was going well. One week before the gig, all was in order. We had our repertoire chosen, we had every detail nailed down. It was in the bag.

But then....(Ominous music begins to play in the background.)

Two days before the gig, I got called by the same violinist friend. She informed me that I had been fired (What?! Seriously?!) because the husband/father had been to a club the night before and the drummer had played too loudly* for his liking. She was dead serious, and I was out of a gig without having played a note.

Believe it or not, this is where it turns into the gig of the century. My amazing friend told the mother that she needed to pay me even if they weren’t using me. Her argument was that we had already put in all the prep time and had essentially “sold” the day to her, and it was far too late for me to get another booking.

No kidding, I got a check in the mail the day of the gig, and while my bandmates were busy playing it up at the Bat Mitzvah celebration, I was vacuuming the floors. My wife was thrilled. 

Truth be told, I’d always rather play than not play, but it was awfully nice to get paid to help the missus clean the house.

*There’s a lesson here for every would-be successful drummer. SHUT UP. Okay, maybe that’s putting it a little too harshly, but this is what drummers are known for: being too stinking loud. I challenge you to have the band you’re playing with asking you to play a little louder. You’ll do all of us a favor! Simply put: listen, listen, listen. Play as sensitively as you can. 

The Weight Room: Flam Accents

We took a quick look at an exercise that works your Flam Accents a while ago, combined with Flam Taps. You can check it out here if you missed it.

Like flam taps, flam accents break down into triple strokes. Try playing a few flam accents with your hands on different drums (or one off the drum, like on your leg) and you'll hear/see the triple stroke. Because of that, it's a good idea to work on your triple strokes independently.

Here's one of my favorite ways to practice flam accents. Try it without the foot pattern until the hands are very smooth.

Original pattern:

The sticking (not including the grace notes) is just alternating, beginning with either hand. In fact, you should be doing this starting with either hand.

Variation 1:

As before, use both stickings.

Variation 2:

Take enough time with these exercises that they become very comfortable at a variety of tempos (tempi? Tempe?). Then, as Steve Smith says, don't force it. As you practice flam accents and their variations, they will begin to, "naturally enter your playing."

Happy drumming!

Gear Up: Getting the most bang, boom and crash for your buck!

Part 1 of 2.

When was the last time you made a significant purchase for your rig? I mean a purchase of at least $100 dollars. I know that for some of you $100 isn’t very much, but for me that’s a major purchase!

Today we’re going to take a look at how to keep your expenses down while you keep up your kit.

Have cash in hand.

This is good advice for buying virtually anything, but it’s especially important if you want to get a good deal on a major purchase. Put simply, money talks. Whether you’re buying new or used, make sure you actually have the ability to make the purchase before you start trying to make a deal. 

Cash also has a sort of magic to it when you’re bargaining, even in a retail establishment. You may find that you can get a better deal when the seller knows that you can pay now and that you’re prepared to walk away if it isn’t a good deal for both parties. (For more about saving and managing money, visit Dave Ramsey’s web page.)

For those of us who are fortunate enough to be making a few dollars playing music, I recommend that you set aside a certain amount (at least 15%) from each gig that will only be used on instruments or related equipment and supplies. If you’re consistent and committed to this, it shouldn’t take long before you’ll have a tidy little pile of cash so that you can make careful, relevant purchases when you need to.

A nice side benefit of having a little cash on hand is that you can take care of an emergency without having to forego paying the light bill. Just last fall I had a microphone die (my Beta 52, so it’s not like I could just go without), and I had the cash on hand to replace it with no hassle. I’ll have to put off that new snare drum for a little longer, but my mic dying could have also been a financial problem. It wasn’t.

Be realistic about your needs and priorities.

Unless you’re Terry Bozzio, you probably don’t need 24 chromatically tuned toms or 44 relative-pitch cymbals - and don’t even think about the gongs, my friends. You may have a dream kit on your mind, but you need to focus on the things that will have the most positive impact on you, your playing and your career right now. 

That being said, I have a long wish list, too, and a lot of it is totally unrelated to what I actually need. But at the top of my list are the things that will improve my sound, make me more versatile (and marketable), and will help me expand where, how often and with whom I’ll be able to play. 

So, while you may really want that shiny new quadruple bass drum pedal with matching soda dispenser, it may be more important to get a solid ride cymbal, hi-hat stand or snare drum. Establish your priorities, and always get the most important things first. 

Know the numbers.

I worked in a retail music store for several years. I was amazed by people who had (or have) absolutely no clue about price. This was especially true of younger players, beginners and their parents. What is the internet for if not for finding prices and values? Can you say “eBay?” 

As with saving up money in advance, you need to know what you can expect to pay for something so that you’ll know a good deal when you see one. It also helps to know the MSRP (manufacturer’s suggested retail price - you should NEVER pay this amount for anything!), the MAP (minimum advertised price, although not all brands/items have one), and the street price (average that you’ll pay for it new). 

If you’re buying used, even if something’s in perfect condition, you should never pay more than about 80% of the new street price. The only exception to this rule is if you can be sure that the warranty is still in effect and you get the original packaging and purchase receipt so that you can get help if you have a problem. Also, some manufacturers will only warranty the product to the original purchaser, meaning that the warranty is voided as soon as you buy it from a private individual.


More next week!

March Recap: Most popular posts

If you're like me and like to get a lot of information at once, you can check out the top five blog posts of March 2012 right here. These posts had the most visits and page views in the last thirty days.

Is your teacher ripping you off? - Guest blogger Emily Sorensen takes a look at whether you're getting what you're paying for when you take drum or music lessons.


Drummer Feature: Carter Beauford - One of the most influential and unique pop rock drummers of the nineties.


Play drums like a girl! - Who says boys should have all the fun?


Be immature! - Lessons from little kids on how to live life and be better at everything!


Drummer Feature: Peter Erskine - An all-time great. Every aspiring drummer should have this name in their library.