How do I know I'm making progress?

I used to give my high school students a hard time when they would say somebody was a "good" musician, or a certain band was, "awesome." I'd ask how they determined if a certain musician or band was "good," and I'd get blank stares.

Honestly, most of us know when a player or group is "good," but we do we have concrete reasons to think so? Closer to home, how do we know when we are getting good ourselves?

Much has been written and discussed on this topic, but I'm going to try to boil it down to a few key indicators that you can look to when assessing your own playing and musicianship. Keep in mind that these are only a few of the ways you can tell if you're "getting better."

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Keep excellent time.

This means that everything you play - every groove, fill, chop, lick or kick - is in time with the metronome. You are able to play freely at the same time that you are a dependable time-keeper and can "groove" with the rest of the band or group.

Play within the texture.
Another way to say this is that you should almost be "invisible." Great musicians are great because they contribute to - and fit within - the sound of the band. If you ever stick out, it's either because you're the soloist, or you're playing something that doesn't fit.

Check out a recent recording (ideally a video) of yourself playing with a band. Do you do anything that detracts from the music or performance?


Develop consistent technique.
Do you have a good sound? Are your hands even? Are you comfortable playing the notes and music that you need to play to make good music? This isn't the most immediately gratifying part of being a musician, but you need to spend enough time practicing that performances are easy.

Make fewer mistakes. 
Not that you shouldn't push yourself and play past your boundaries from time to time, but you should be continually mastering the instrument, pulse, fills, grooves and music to the point that you can start to tell that you're playing more and more mistake-free.

Sound like a drummer.
Yes, eventually you should have your own sound, and that sound should be unique. But even then you should sound like you know what you're doing on in the instrument, within the style, and in any given moment. Again, check out a recording of yourself, and note the things you play that you like and that you don't like. You're a musician, you're familiar with drummers and you have ears.

We're all still learning to play, and as the old saying goes, "The good ones borrow, but the great ones steal." It is okay to play what your favorite drummers play, as long as you're using it as a tool to improve, and not a crutch to hide your weaknesses.

Play what you want to play.
Here's another old cliche: "Most people play whatever they can, but some play whatever they want."


I notice that as I practice and perform more - little by little - I'm able to be more expressive on the instrument. I get closer to executing what I'm hearing in my head. In other words, I can "say" what I want with the drums and music, instead of being limited by "vocabulary."

Imagine someone who is learning English as a second language. At first, they can only say a few things, and only one way. But as they gain fluency, they can not only say much more, but in different ways. Think of how many different choices you have when saying something as simple as a greeting, and you'll get the idea.

It's no different with music. This is why - without having to invent a new "language" - every person, every musician is different.



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Obviously, there are myriad ways to determine whether you're making progress as a musician. I offer these as a starting point. As you set your own goals and benchmarks, you'll begin to see which tactics produce results and which are a waste of time.

Share your best ideas below.

As always, happy drumming!

Do pro drummers have a dress code?

"How do you maintain your own personal style at the same time that you look and act professionally as a drummer?" 


This question was posed to me by one of my students, a young, up-and-coming player with a great future. So I thought I'd address it and get feedback from all you pros and fans out there.

Of course, the answer is, "It depends." What does it depend on? Among other factors, these can determine how you should dress.

• Size of the group. Are you a soloist? Dress any way you want. Are you in a 75 piece concert orchestra? Dress like everybody else, unless you're the soloist. If you're in a five-piece band, it's worth at least coordinating. And you may think your act is either too small or too unique to work with an image consultant or wardrobe stylist, but looking like a bigger deal than you are might just help you become a bigger deal than you are.
• Style of music. For some reason, I just can't see a death metal band performing in three piece suits and bow ties. Likewise, if you're performing Beethoven sonatas, the shredded jeans and studded mohawk may not add to your overall performance. Do a little research, and develop a good understanding of what some other groups in your genre typically wear, especially those that appeal to you and your natural audience. You can still be unique, but you want your image - your music and your look - to be consistent. 
• Type of event. Even if you're a high-energy act, there's a big difference between playing a huge outdoor festival stage and performing at a wedding in a relatively small, elegant setting. It goes without saying, but you should dress to fit your role in the event and to enhance the evening. Much like not wearing contrasting colors, you want your image and look to feel very natural and appropriate for the setting. 
• Setting or stage. Similar to the previous point, you should be sensitive to what your audience will perceive from the way you dress. If you're going to be on TV, your dress and coloring will be very different than if you're on a huge stage with thousands of people in the audience. And, again, get some advice and do a little research. 
• The band, or your fellow performers. I'm sure you get the point already, but a group - just like an album cover, concert poster, t-shirt or website - needs to look like their image is intentional. That goes for individual performers, too.

Some "standard" ways to dress.

• Concert black. Think symphony. For men, this is usually a basic tuxedo, and for women it's a black concert dress or pantsuit. Some good examples for ladies here. 
• "Gig" black. You have a little more flexibility here, but gig black is usually just that - black clothes. For most of the groups I play with, black slacks or jeans with a black button-down shirt or sweater will fit the bill. You can check out a very classy example of this here. 
• "Rock star." Actually, it's "insert-the-style-you're-playing" star. It's already been said, but the key here is to coordinate with your mates so that you're all sending the same type of message about who you are, what you play, and the message you want to send. 

Finally, let me leave you with another little bit of wisdom that has helped me since my high school days: "Your audience will hear you with their eyes before they hear you with their ears." 

True that.

The Gig Log: Kristen Nelson

In an earlier post, I talked about ways to get more gigs. Well, I decided to take my own medicine and try reaching out to a few drummers in my area, and I was rewarded with a gig. I was asked to fill in for an amazing player, and I was very grateful for the call.

This was the first opener.

This particular gig I was backing up a very talented singer-songwriter by the name of Kristen Nelson. We had one quick rehearsal, then a forty minute set at Muse Music as an album release show. Not gonna lie, it was a blast.

The openers were two fantastic solo singers and a local band that took me back to my high school days. They were incredibly talented, the energy was super high, and the songs were great - not to mention that they were great performers. It had been a very, very long time since I played a (roughly) forty seat venue, and it was a lot of fun.

The other singer songwriter.

Our set was last - Kristen's CD release was the headline show - and the audience was very friendly and enthusiastic. I wish there were a less geeky way to describe it, but it was a great audience, great music, talented bandmates, all in a small, intimate setting. What could be better?

Kit-wise, I took the ol' DWs, but only ended up using kick and snare, with hats and a ride with a sizzler (the metal kind, not the steakhouse kind). I also played brushes and rods, with only one tune using actual sticks. In that small venue, it was nice to be able to hit as hard as I wanted without worrying about overblowing the band or the house.

My thanks to Kristen and the rest of the band. It was a great gig, and I look forward to playing with them again should the opportunity arise.

My apologies for the fuzzy pictures. iPhone in a dark place!

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.

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. 

Special Feature: Play Drums Like A Girl

I've been hesitant to address this topic, but there's just too much good stuff going on right now on this topic to ignore.

Before I dive into it, I do want to make one thing crystal clear: in my mind there are no limiting factors to being a great drummer in terms of gender, race, ethnicity, orientation, political leanings or soda preference.

The biggest indicator? How hard, long and smart you work.


Okay, now that we've got that handled, on to the good stuff.

There's been a huge push in the music industry over the last decade or so to try to convince girls/women that playing music is for them, too. While it's true that the vast majority of high-profile drummers are male, there are some amazing female players out there, and it seems like there are more all the time.

As a starting point, check out Drummerworld's list dedicated to "The Ladies." Earlier this year on the blog, I featured one of my favorite women of groove, Emmanuelle Caplette. And today, I ran across this website, the "Hit Like A Girl" contest.

From my personal experience, I've played with and taught many a girl drummer who could outplay any boy in the neighborhood with ease.

One quick story about a former student of mine. As a Sophomore in high school (15 years old), she was playing the timpani part on Jager's "Espirit de Corps." If you've ever played that piece, you know how important that part is. The day before our district band festival, she got her wisdom teeth pulled out. On the day of the performance, she told her mom not to give her any pain medication because she wanted her head to be clear so that she could play her best.

Be honest. Would you have even showed up after you had your wisdom teeth out? I probably wouldn't have. And don't even think about going without paid pain meds.

That night her example put a new sense of toughness and self-respect into our band, and we qualified for the state-level festival for the first time in school history. This girl set a new standard for toughness and dedication to her craft. Percussion - and her self respect - were of critical import to her. Awesome!

Anyway, girls rock. Go play the drums, or anything else you want to. Just let us boys play along, too!

Happy drumming!

Pro musician Ryan Tilby dishes on drummers

I asked Ryan Tilby, one of my favorite musicians - not to mention one of the smartest guys I know - to answer a few questions about drummers. Here's how it went down:

Here are my opinions on drummers.  I'll bet, as a bassist, I've worked with more drummers than any drummer.  I call my drummer friends when I need the low-down on a bassist.

What characteristics and attributes make a drummer "good?"

No matter the genre, style, or stage size, every drummer has a job.  The bass player (me!), has a job.  The front man has a job.  My favorite drummers have this uncanny ability to know just what their job is, do it effortlessly, and not step on the toes of the bassist, singer, etc. who's trying to do his job.  It takes a lot of listening, and a lot of knowing how the guys around you are thinking.

Aside from playing ability and musical skills, what makes a drummer easy to work with?

Stereotypes would have you believe that drummers, if they show up at all, will be late, lazy, loud, or drunk.  You'll notice that none of those have much to do with time, technique, or tone. While those things are important, remember that the guys you're playing with (or that hired you!) don't know much about your bearing edges and hand-hammering.  They just know what it feels like to play with you, and more of those feelings come from off-stage than on it.

What's the best compliment you could give a drummer?

As a bass player, if a drummer is listening to my lines and either locking in with me (with his kick!) or syncing with something complimentary, I'm super impressed.  Flattered, even.  Drummers that listen seem almost "invisible".  In my opinion, an invisible drummer is doing his job.

What's your most frequent complaint about drummers?

I'm scared by the number of drummers that don't know anything about bass playing, and vice-versa.  The relationship between kick and bass is CRUCIAL to any song, any genre.  There seems to be an influx of younger drummers right now that place kicks wherever they want them, and never in the same place twice.  Go spend $10 on the John Mayer Trio TRY! album and have your life changed.

Name the top thing that will keep a drummer from getting called for another gig.

Too many notes played too loudly.

Anything else you want to add, warn against or point out?

No matter what you play, expand your toolbox of true-to-the-style techniques and LISTEN!

Signed,

A working bassist.

Bag of Tricks: The Wallflowers - "One Headlight"

This is the opening lick to one of my all-time favorite pop tunes, "One Headlight" by The Wallflowers.

And I know this is a drumming blog, but I've got to mention at least one of the many genius lyrics - this is in the third verse:

This place is old, it feels just like a beat-up truck
I turn the engine, but the engine doesn't turn


Love it. Enjoy!

Friday Feature: Sara Bareilles

This blog is all about percussionists and drumming and things you can hit.

Well, what about people who create hits? I know you're already familiar with Sara Bareilles (because if you're not, you've literally been under a rock for the past five years), but I thought I'd just share a couple of tracks you may not have heard.

First is an unbelievably convincing cover of a tune that you also know (and if not, see the preceding comment about 'under-rock dwelling').

Seriously, Sara B covering Beyonce's "Single Ladies?" What could be better? Even though I'd heard the original tune about a billion times, I never really liked it (sorry, B) until I heard Sara's version. But now every time I hear any version of the tune, I remember this video and smile. It's awesome. 

Another cover, this one a classic tune that would have been easy to desecrate, that Sara handled with heartfelt class and grace. I heard it on Pandora one day, and it literally stopped me in my tracks. 

It's worth listening to that again, don't you think? C'mon. Press play one more time. 

And, lest you think I only like Sara covering other people's stuff, here's one that almost made me drive my car off the road when I first heard it. Clever, witty and cutting - a modern era classic. 

For me, what makes Sara a great artist is her ability to create her own art with her own, distinct style, whether it be a song of her own, or a fresh take on somebody else's. 

As always, I'm not trying to tell you Sara Bareilles' story, just give you a brief introduction and jumping off point. 

Enjoy!

The Weight Room: Posture for drummers?

"Sit up straight!"

How many times did you hear that growing up? I know I heard it a lot. Well, like it or not, it's just as true today as it was back then: good posture matters. 


Here's a (hopefully) easy-to-understand concept for keeping your posture both right and relaxed.

Imagine that your spine is a coat stand. It is straight up and down, solid and grounded. Try to imagine that your head is being gently pulled straight up toward the ceiling, with the crown of your head at the highest point. Sit squarely on your rear, centered on your seat/throne. You should be able to life lift both legs slightly off the floor without falling over or leaning too far back.

Next, your shoulders are a coat hanger hanging on the coat stand. Again, gravity pulls the shoulders/hanger down, but they are free to move and swing around on the hook on the coat stand.

Finally, your arms are a shirt hanging on the hanger. Gravity is still working, no?

Your arms are free to move about, but no extra stress is put on the muscles of the back or shoulders. The main muscles that hold your arms in proper playing position are the biceps.

Focus on being as relaxed as possible, and using the most efficient muscles to get your arms and hands into playing position. You may find yourself adjusting your drumset to conform to your newfound posture and relaxed-ness.

Happy, uh...posturing?

Friday Feature: Steve Jordan

Another favorite drummer who is much, much more than that. Steve Jordan is an artist. He is a producer, musical director, composer, drummer....you get the picture. For a fairly complete look at his career and musical works, visit the Drummerworld site.

One of the things I admire most about Steve is that he's multi-faceted, and approaches music from a variety of angles. He never thinks about music - or performs, writes, etc. - from only one aspect. He seems to always consider what his contribution will do in terms of affecting the whole. He's thoughtful about his choice of sounds, grooves, fills and overall style to make sure that the music achieves the desired affect.

In short, he's a musician. He listens. Communicates with his band mates. Plays well with others. Again, you get the idea.

Two of my favorite Steve Jordan moments are his appearance in the documentary film, "Standing in the Shadows of Motown," and his work with John Mayer and Pino Palladino. I just can't get over the "Try" album. It's one that I can listen to for many reasons and for many hours.

And as I've said about some other players, you won't do any harm to yourself by learning some of his techniques and tricks.

Happy drumming!

Friday Feature: Tony Williams

Just start here.

Are you back? Good. Not much more I can tell you about Tony Williams except that he's one of the great players of all time, and has had as much influence on modern drumming as any other player, and more than the vast majority.

I saw Tony Williams play a clinic in Salt Lake City shortly before he died. It was one of the experiences that helped to shape my view of what drumming is, and what's possible. He was very classy, a fiery performer, and very willing to pass on what he knew.

Thanks, Tony, for giving us your gift. We still miss you!

Happy drumming!

Friday Feature: Emmanuelle Caplette

My favorite link on the drummerworld.com website is this one. If you click on the roulette wheel, it will pull up a random drummer from among the hundreds on the site. I've done this numerous times and been well-rewarded each time. (Sure, a roulette wheel represents gambling, but it's not really a gamble if you know you're going to get something good.)

A couple of years ago, this was the drummer that the ol' wheel pulled up for me.



Needless to say, I was completely sold. And I've tried to keep tabs on her playing ever since.

Emmanuelle Caplette's playing is versatile, fluid and musical, to say the least. She carries herself with both grace and power, and has a unique flair.

Here's another one I love.....you know what? No. I was going to embed another video, but I think it's time to just turn it over to you and let you choose.

Here's Emmanuelle's YouTube channel.  Enjoy. And, as usual, click on her name above and visit her website.

Don't forget to come back and let me know what you think in the comments section.

Happy watching and learning!

Bag of Tricks: Ben Wysocki (The Fray) Song Ending

It's always a challenge to figure out how to end a recording (or live performance, for that matter) in a classy, interesting and clean way.

Because it fits all of the above descriptors, I have always loved this simple, clever lick from Ben Wysocki on the title track of The Fray's album, "How To Save A Life." Along with many other very cool, very musical ideas, Wysocki drops this one without hesitation.

This measure starts at about the 4:19 mark, and is the final measure of the piece.

Happy drumming!

The Weight Room: Playing with the click

As a young man I had the opportunity to play percussion (xylo, BD and the like) in an orchestra with a top studio drum set artist in the SLC metro area. He's a guy I've seen on liner notes my whole life, and he's very well known for being the studio drummer you want on your project.

During the course of rehearsals, studio sessions and performances, I asked him if it was hard to always be creative in the studio. I'm paraphrasing, but the answer was something like this, "You don't have to be creative. You have to play with the click, and sound like a drummer."

It seemed like a strange answer. You don't have to be creative? Just play with a click? Obviously there's more to being successful than just keeping good time, but it's an absolutely critical skill - besides, I think he was just being modest.

Seriously, though - nobody cares about your "chops" if you can't play in time. Call it what you will - the pocket, groove, solid - whatever. If you can't do it, you won't find a place as a drummer.

So, how do you start? Let me suggest three steps to get you started.

1. This seems obvious, but get a metronome. A good one. I recommend one with a tap function, and a wide range of tempos (tempi?). A set of isolation headphones is a good idea, too. Then use it enough to get to know what it can and can't do. Read the instruction manual (seriously, do it!).

2. Play very easy stuff while getting used to playing with the click. Start with an exercise that you can play in your sleep without thinking about it - so you can think about playing with the click! Focus on "landing" with the click on each beat and making your subdivisions very even. It shouldn't take long for you to get comfortable and progress to more complex exercises, grooves, etc. But be aware of the click always. Treat it like another musician, and focus on staying together.

3. Test yourself without the click. I have a metronome with a "mute" button. It doesn't stop keeping time, it just stops making noise. Try playing a measure with the click, then one without (Benny Greb has a fantastic example of this on his "Language of Drumming" DVD - check it out!) to make sure you're keeping good time. Another way to do this is to reduce the number of beats you're hearing per measure. For example, if you're playing in 4/4 at 100 beats per minute (BPM), turn the click down to 50, and play the same exercise at the same tempo. Instead of getting all four beats, you'll just get 1 and 3 (or 2 and 4).

Many of my students hate playing with the metronome. But I view it as one of my "real" friends. You know, the kind that can look you in the eye and tell you that you're fat - and you're still friends.

If you learn to be comfortable keeping great time (and feel) along with the metronome, you're well on your way to being a great drummer - one that other musicians will love playing with.

Happy grooving!