Gear Up: Music Stand (Repost)

This has been on my mind of late, so here it is again. Originally posted October 29, 2011.

Too often we don't think about things we need to be successful that aren't a drum, cymbal or stick.

One of the most important? A good music stand.

There are many good choices, but this one is my favorite: http://www.manhasset-specialty.com/index.cfm?fuseaction=page&pageID=3

Well worth the money in terms of stability, durability and ease of use. I can't stress enough how important your music stand is to your success.

Despite its all-metal construction, this stand is relatively light-weight and has few parts. Less parts means less parts that can break or fail. Also, the stand is sturdy enough to hold some percussion goodies - like a triangle clipped to the desk, or sticks and mallets on a towel with the desk set flat.

Get a good music stand, put it where you practice, and use it every day.

Happy drumming!

The Weight Room: Hands and Feet

Alright, if you've read this blog with any regularity you already know that I suggest that you can apply any exercises for your hands to your feet, as well.

Today, let's apply a simple exercise that uses hands and feet at the same time.

Here's the basic Stick Control or Slow-Fast template:

Of course, you can apply any sticking pattern to this rhythm and play it any tempo.

For this example, we'll use paradiddles (R L R R - L R L L). And instead of using two hands, we'll use the left hand (LH) on snare drum and right foot (RF) on kick drum.

It looks like this:

Again, start slow and make sure you're playing relaxed and controlled. Make sure each stroke sounds even and that the kick and snare are balanced. If you're feeling adventurous, alternate every snare drum stroke (and kick drum stroke, too, if you're playing double bass).

When this gets comfortable, throw on your favorite click sound (okay, okay - or a great rock or funk track), and try grooving it like this:

Of course, this is just one application of this concept. Using the Slow-Fast template - or anything else that works for you - try splitting up your favorite patterns between hands and feet. Then apply it to the music that you love. 

Happy drumming!

Bag of Tricks: Bikutsi (Repost)

It must be a really busy time, because I'm reposting another blog post from last year. It's a good one, though. Definitely something to have in your bag of tricks.

The groove below is one that I learned a long time ago from an awesome drum teacher named Jay Lawrence. It's called, 'bikutsi.' Enjoy!



I'd appreciate any comments, below.

The Weight Room: Your diddles need work, right?

The double stroke, or diddle, is one of the basic strokes you need to master to be able to play most basic rudimental music, and a staple of drum kit technique. You can totally be successful, musical, and groovy without solid diddles, but trust me, you'll have more fun and be more free to express yourself if you can master them.

Here is a simple exercise to get your diddles smooth and even*. In this case we're striving for very open, clear sounding strokes. Each note should sound the same.

Then, switch hands.

When you're feeling pretty comfortable playing this with a click or a track, add in a foot pattern of your choice, and play the exercise over it. Do it a lot. I find that if you can do the exercise comfortably and with no mistakes for 40 seconds or more, you probably are ready to move a little faster.

The next step is to work this thing up to lightning speed, staying relaxed and using good technique. You'll find that there will be a certain tempo plateau that will force you to use a bounce stroke for the second note. Once that stroke feels comfortable, you'll be able to get fast very quickly.

This exercise can also apply to your feet, whether on double kick or using a single kick and hat. A double stroke in your feet is also a fantastic tool to have at your, uh, toe-tips.

Happy drumming!


*One exercise alone will not produce good diddles. Continue to practice exercises to develop your basic stroke with proper technique, and find ways to apply diddles in your playing. If you do it consistently and over time, you'll find diddles popping up in your playing quite naturally. 

The Gig Log: LKG @ HCT 4 NYE

Couldn't resist the title of this one. Too many acronyms came immediately to mind to be dismissed. Translated into English, the title should read, "Lokalgrown at Hale Centre Theatre for New Year's Eve."

Such a fun gig. We've played the HCT New Year's party - as the pre-show for the opening of the new season's comedy - for most of the last eight years or so. The HCT crowd is always energetic, loud and kind. Truly it's one of the gigs we look forward to every year. It never gets old.

Here's the kit almost fully set. The remaining crash is on my seat. Notice the Pro-Mark cymbal rattler. I don't use it very often, but it seemed like a good idea. Turned out to be a great sound for the room.

I'm also a HUGE fan of the rug! Didn't think it would make things look so classy, but it totally did. The only problem is that the pedals and kick drum "walked" all night long. On a regular drum rug things don't move around that much. I had to keep pulling the kick back toward me.

The Hale has a very unique set up. It's theatre-in-the-round, so the audience is seated all the way around the main stage. There are three sort of mini-stages situated at the top of the seating around the theatre, and we set up on one of these. Here's the view from where I sat.

Quinn's keyboard is right in front of me, then the stage. Pretty cool place to play from.






(Right) Here's the view from a part of the audience.

(Below) The other shot may seem random, but let me 'splain.

At the end of this gig we had exactly seven minutes to get all of our equipment - instruments, sound system, etc. - out of the performance area and into the hallway. Then we had to pack everything up and move it out in almost total silence. Not so easy, friends. Not so easy. So, I took a picture of my entire rig after we had packed up.

My whole load in/out is two bags of drums (kick/snare in one, toms in the other), cymbal bag, hardware bag, bag of tricks (shakers, tambourines, etc.) and my rug, which I didn't use on this gig.





This is the number one reason I use the Yamaha Manu Katche (Junior Kit): it packs up and loads out with not a lot of effort. I drive a relatively small station wagon, and the bass player (Matt Redd) and I were able to carpool to this gig with both of our equipment in the back with room to spare.

Nice.

Anyway, it was another very fun, successful Lokalgrown gig. Thanks for taking a look!

Happy drumming in the new year!

One funny story from the gig that night. 


We usually do a little audience interaction in the form of a "Name That Tune" game. We use TV theme shows (The Office, Andy Griffith Show, Friends, Glee, Cheers, etc.) 


For this gig we decided to use all songs from musicals. It was hysterical! For the first time we actually stumped all three competitors with one song.


It was, "Do You Hear the People Sing?" from Les Miserables.


What makes it funny is that we had expected the audience to "get it" quickly and sing along. Instead, we got crickets. 


Awesome. Well played, gentlemen!

Beyond the Kit: Shaker

It may seem really simple, but playing shaker well is an art. Just like you need to have great hi-hat technique with super-solid time and feel, solid shaker  technique is a critical tool in your arsenal.

While shakers come in an increasing variety of shapes and sizes, the basic form is a tube, capped at both ends, with beads, pellets or other small objects inside. The shaker makes sound as the contents come in contact with the tube. My favorite is the LP Soft Shake, filled with sand.


Here's a basic shaker technique: hold the shaker like a can of soda turned on its side, palm up. Hold the shaker up at eye or top-of-head level. Move the shaker forward and back in time - usually forward on the beat, and backward on the offbeat. Be sure to keep the shaker level - don't let it go up or down, just forward and backward. You can control the articulation and dynamic by how fast and hard you move the shaker.

Give it a go. You'll like it. When you get pretty comfortable with the basic eighth note pattern, try playing a basic rock beat with a shaker in hand. Play kick and snare as normal, but use the shaker instead of playing hat or ride with a stick. It's a cool groove/technique that can be used for ballads, bossas, or soft sections.

Happy.....drumming?

Bag of Tricks: Jay Lawrence Funk Lick

Here is another lick I, uh, borrowed from the great Jay Lawrence.

As always, start slow, count well, and remember that accents are even more effective if the notes around them are played down a bit. Play the kick drum solidly, and let the tom accents shape the melody (if you will) of the phrase. I also like to imply a crescendo on each group of snare drum notes, starting very softly.

One possible variation on this lick lets you crash with the right hand. Super fun.

Remember that you can click on each example to view them actual size.

Happy drumming!

The Plan - Five Days a Week

All right, ya'll. This blog is growing, and I'm grateful! It has been my goal to get up to posting five days a week. I'm not there yet, but I do have a plan. I'll lay it out below, but I wanted to get my readers' perspective and input.

So let me know what you'd like to see on this blog. In fact, if you want to share your insight or knowledge, I'll also be looking for some guest posts from friends and other musicians and drummers. Let me know if you're up for it.

Here's the plan:

• Mondays: "Gear Up" - All things related to gear. Maintenance, purchasing, cleaning, tuning, repairing, modifying, etc. If it has to do with gear, you'll get it on Monday mornings.
• Tuesdays: "The Weight Room" - Exercises, drills, rudiments, coordination, independence, etc. I hope to share some of the exercises that will develop all parts of your technique so you'll be prepared to tackle all kinds of musical opportunities.
• Wednesday: "Beyond the Kit" - For the most part, these posts will be from outside of the drum set world. It may be percussion or another instrument (or instruments), and a wide variety of styles. Expect weird, but interesting, education.
• Thursday: "The Bag of Tricks" - Every drummer has a toolkit. I'll try to help you fill it up with licks, tricks, kicks, fills and transcriptions that you can immediately apply to your playing. We'll go beyond exercises to actual music.
• Friday: "Friday Features" - I gave you a taste of this a couple of days ago with my nod to Justin Bieber.  On Fridays I'll be giving you my perspective on albums, artists, performances, videos, books, or products that are interesting, ground breaking or just plain awesome. 
• Extras: In addition to the five days a week posts, I'll occasionally throw in random stuff (as if I'm not doing that already) on weekends, holidays or just to substitute for one of the regular posts. This is where I'll also try to fill any requests that I get.

So, that's the plan. I welcome any suggestions or requests, so let me have 'em. 

Happy drumming!

Timpani

Timpani are, in my opinion, the heavyweights of the percussion section. With the power of drums, but also pitch, they are known in the orchestra as the "second conductor."

They've also been used in many other settings, including in the rock band Led Zeppelin, by one of the most famous drummers of all time, John Bonham.

My first real experience with timps came when I was a senior in high school and made the All-State Band. I was the only percussionist to show up with a tuner, so I was "elected" the timpanist. It was an adventure, to say the least.

When I got to college I began to learn how amazing and fun playing timpani can be. We spent a long time learning proper strokes, dampening and getting great tone, as well as learning to tune the drums by ear. Along with ear training and sight singing classes, my private percussion lessons helped me to be able to "hear" the pitches in my head and get the drums in tune with the ensemble - usually the band.

For two of my years at college I was the timpanist for the Symphony Orchestra. It was challenging and very enjoyable. I learned to be connected with the conductor in a new way, and also learned to listen and align with other sections of the ensemble. In short, playing timpani made me a much better, more mature musician. These days I take the opportunity to play timpani any time I can get it!

Along with a rapidly growing collection of solo timpani literature, orchestral timpani is a high profile and very prestigious position for any percussionist. In most professional groups, the timpanist -while a part of the percussion section - usually plays only timpani. No snare drum, mallets or auxiliary parts.

A few tools are required to be a timpanist. I recommend at least three pairs of timpani mallets - soft, medium and hard. A tuning fork and a digital tuner are also not a bad idea. Most of all, get some lessons with somebody who knows a great deal about timpani and can teach you fundamentals.

Be a complete percussionist-musician. Learn how to play timpani well.

Happy drumming!

Keyboard Percussion 3: Xylophone

I don't know exactly why, but the average non-percussionist thinks that any keyboard instrument is called a xylophone. Personally I get sort of a smug, self-satisfied chuckle out of it when somebody calls my marimba a, "little xylophone thingy," or when someone tries to sell a, "zylaphone" on the local classified ads.

Seriously, though. However you say it or spell it, they xylo is AWESOME. With its characteristic bright tone and cutting attack, it is one of the workhorses of the percussion section.

Don't believe me? Maybe these folks can help me out.

Notice the tone quality difference between the xylophone and the marimbas that are accompanying it.

Vibraphone Addendum

I finally found this on YouTube and had to share. The track is called, "Times Like These," and it's from the Gary Burton and Makoto Ozone album called, "Face to Face."

Here's the story: Burton and Ozone came to Salt Lake City's Jazz at the Sheraton series in 2000*. They played this tune at the end of the first set, and when it was done nobody clapped for almost a full minute. It was one of those mesmerizing concert moments where the entire audience somehow recognizes the magic spell that has been cast and realizes that the moment somebody claps it will be broken.

When the applause finally started, it was an almost instantaneous standing ovation that lasted for several minutes.

Not only had I never heard a piano and vibraphone duet before (let alone an entire concert), I wasn't all that excited to attend because I knew there wasn't going to be a drummer. Man, was I wrong! This tune touched my heart in a completely new way, and helped me to realize what has become one of my deepest held beliefs:

The power of music is the music itself. The instrument is just the method of delivery.


I hope you enjoy the track as much as I do. Turn it up loud, close your eyes, and let it take you on a journey.




*Coincidentally, I attended PASIC later that same year in Dallas, TX, and saw them perform this tune again with the same effect on the audience. It really helped to solidify my respect for GB and MO, as well as my love for percussion and music.

More Swing Independence Workouts

A while ago, I posted a basic swing independence exercise. (You can read it here.) Here are two variations on that basic exercise. Again, go slow and get it really locked in, then try it with your favorite swing tunes.

Swing Independence 2

Swing Independence 3

Two more tips:

• Keep the ride pattern prominent so that it feels like swing.
• Try to make the hi-hat (in 2) and bass drum (in 3) feel like quarter note triplets, with the other instruments filling in the rest of the triplet.

Happy drumming!

Keyboard Percussion 2: Vibraphone

Ah, vibes. Such a misunderstood instrument.

One thing I neglected to mention earlier (for all you percussion neophytes), is that the keyboard percussion instruments are laid out similar to a piano. They play in concert pitch, and if you already play piano, they look familiar at first glance. You'll have no problem identifying the notes.

The vibraphone has metal keys and resonators, but also has a fan in each resonator tube that can be turned on to create a vibrato effect - hence the name vibraphone. Most of the time, the fan is left off. It is generally played with a harder, cord-wound mallet. Much like marimba, it's very common to see vibes played with four mallets.

So. Another couple of videos for you. (Why post pictures when YouTube is out there, right?)




And a more contemporary example.




And, finally, another Gary Burton clip, but solo this time. Watch the pedal (bottom center of screen) to see how much footwork goes into this type of solo. Also see if you can see "dead" strokes (when he uses the mallet to both play and dampen a bar at the same time) and silent strokes, called "mallet dampening." Gary is easily the foremost vibe player of all time, in addition to being a great composer.

Enjoy!

Ryan Tilby - Amazing Dobro

While I'm at it, I can't leave this one out. This was the 2009 Blue Sky Faculty Jam/Concert at Westminster, and the first time I'd ever met Ryan Tilby. This performance left me speechless.

Keep in mind that this was recorded on somebody's cell phone.

Thank you, Aaron and Ryan.

For best results - seriously - put on some great headphones or the best speakers you can find, and turn it up LOUD.

The Gig Log - Aaron Ashton Band: Blue Sky Music Camp at Westminster College

Occasionally I have the privilege of playing with the Aaron Ashton Band. Check him out here. These videos are from a gig we played in July 2011 as part of Blue Sky Music Camps.

Featured in this video are (from your left to right): Sam Runolfson - Cello, Kendra Lowe - Keyboard/violin/banjo, Aaron Ashton - Violin, me, Ryan Tilby - Bass and Austin Weyand - Guitar. Easily the most talented band I've ever played with.



Also worth noting is that this was an audience of maybe 80 people, and they were LOUD and friendly. Awesome night!

The audio isn't as good on the next one, but it's one of my favorite tunes to play with Aaron.




As always, happy drumming!

The PRE-Gig Log - American Festival Orchestra

On Friday, November 11 and Saturday, November 12, I will be playing in the percussion section of the American Festival Orchestra and Chorus. We are performing Benjamin Britten's "War Requiem." This is a very challenging piece, and is considered to be one of the true masterworks of the 20th century.

It would be a pleasure to have you join us. Information here: http://www.americanfestivalchorus.org/

And, although this is for a different performance, the video below will give you a better idea of what you're in for if you come. Hope to see you there!

Are you a musician?

When I was in high school we talked about how there are three types of people who hit musical instruments: percussionists, drummers, and "dummers." It's sort of a matter of pride with us to be called a "percussionist," not a "drummer." (However, there have been countless times in my professional life that I've been very happy to be, "the drummer.")

These days, I like to think of myself as a musician who happens to also play percussion. Because music is created in so many different ways by so many different instruments, we should put the music first and the instrument second.

Are we all clear? We're musicians who play percussion. That being said...

In my view, there are six major categories of percussion with which students should be familiar. I'll give a very brief introduction of five of the six over the next week or so.*

So, to introduce the first area I'll focus on, two of my fave marimbists playing one of my favorite pieces.

Enjoy!




*Why not all six, you ask? Because drum set is one of the six, and I spend most of my time on this blog talking about and exploring drum set. I'll be giving only a brief overview of the others at this time.

The Gig Log - Utah Wind Symphony

I don't have any awesome pictures yet, but last night's Utah Wind Symphony concert with Larry Zalkind, principal trombonist of the Utah Symphony Orchestra, was fabulous.

Most of my parts were chimes, and I also played some bass drum, triangle, marimba, xylophone, and exactly four snare drum notes. Awesome!

The UWS is a rare group on the wind band front, and if you get the chance, you need to check it out. Hope to see you at a future concert.

The highlight of the evening for me was "Sunrise at Angel's Gate."

The Drum Set: What are you missing?

Too often we don't think about things we need to be successful that aren't a drum, cymbal or stick.

One of the most important? A good music stand.

There are many good choices, but this one is my favorite: http://www.manhasset-specialty.com/index.cfm?fuseaction=page&pageID=3

Well worth the money in terms of stability, durability and ease of use. I can't stress enough how important your music stand is to your success.

Despite its all-metal construction, this stand is relatively light-weight and has few parts. Less parts means less parts that can break or fail. Also, the stand is sturdy enough to hold some percussion goodies - like a triangle clipped to the desk, or sticks and mallets on a towel with the desk set flat.

Get a good music stand, put it where you practice, and use it every day.


Happy drumming!

Utah Wind Symphony Concert

Exciting news!

The Utah Wind Symphony is beginning its second season with a concert of epic proportions. It has been a privilege for me to be a part of this group, and I look forward to playing with them for a long time.

Please join us on November 2 if you can!