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!

The Weight Room: More Diddle Work

Here's another simple exercise that can bring great results.

First, try to play this exercise at a comfortable tempo, then gradually increase it until you start to get a little uncomfortable.

Now - same sticking, different interpretation. Once you get this one back up to your discomfort level, try switching between the two interpretations without stopping or changing tempo.

Apply this one to your improvisation - tons of fun!

Happy drumming!

Beyond the Kit: Indoor Winter Drumline

Guest Blogger: John Mapes via Eric Nix. Thanks, gentlemen!


Why should music programs include winter drumline?


We wouldn't ask football players to train for four months playing soccer to then introduce them to the game of football for the remainder of the year... Would you expect your color guard program to be very good every year if they took eight months off in-between marching seasons? The indoor percussion activity was started on this philosophy with these principles in mind.


To run a successful, effective marching percussion program, you need/desire at least 20-30 percussionists in the fall. What do those 20-30 students do from December through June? You only need so many percussionist for wind ensemble, and percussion ensemble is great, but it is still hard to build the excitement that marching percussion inherently has to the masses. 


The two seasons fall hand in hand for the percussion side of things. It is very difficult to have a great fall marching percussion program without some sort of year round training. For wind players, the skill sets from the field to the chair are very similar and work together to give those students what they need  year round. For marching percussion it simply is different. Obviously there still needs to be some wind ensemble percussion training and experience happening in the class room, but what about after school?

Ignore the hard-hat-wearing construction shows and the "Zombies from outer-space" shows you may have seen. There are some incredible displays of musicianship that are possible in this activity, and it is our job as educators to make sure that is the goal. It is our responsibility to produce an experience that is founded in legitimate musical concepts to demonstrate to the rest of the community that this activity is valid. 


Every time I do a percussion circuit clinic someone always asks how they can promote growth in their circuit. The answer is simple - put out better products that entice other groups and band directors to want to participate! Maybe the electronic techno remix show with the volume level of "as loud as possible" or the artsy show where the deep meaning is so deep that even you don't know what the show is about aren't the best choices to promote local growth. (Was the the tribute to Britney Spears really the right choice?)

The argument I often hear is, "What about preparing students for college?" For myself, I never played much concert percussion in high school, but simply took what I learned from the marching activity and applied it when I went through the college percussion process. The importance of consistency, tempo control, simultaneous responsibility, team work, time management and - of course - the love for drumming are enough to prepare our students to achieve whatever they want. 


Most of my students will not continue in music for many reasons and I have no problem with that. Real life is scary and music is not the easiest path to pursue. I just want my students to get the best opportunity and experience they can have while they are involved in music.

The Weight Room: Flam Accent/Tap Groove

This one's pretty simple, but an awesome exercise to get your hands moving and your flams to smooth out.

It looks like this:

It is played as four flam accents followed by two flam taps.

Once you've got it smoothed out, here are some cool ways to apply it to the kit:

• Play it over jazz feet - light quarters on all four beats, crisp hat on two and four.
• Hi-hat on two and four, with bass drum notes on the flams.
• Hat two and four, kick notes on the 16th before or after the flams.
• Play the 16ths shuffled, hat on two and four - and try out some of the kick patterns mentioned previously. 
• Put the iPod on shuffle, and play it along with whatever comes up. 

Above all, make it groove. The more musical it can be, the more you're doing it right!

As always, happy drumming!

The Weight Room: Breaking down the Flam Tap

The rudiments are a great tool. They can also be a great challenge. I find that when I plateau or "hit the wall" with a certain rudiment, I need to break the figure down to its basic elements and figure out what's holding me back.

For example, last summer I hurt my knee really bad. It felt awful and didn't bend right, and I was absolutely certain I was going to have surgery. But when I visited the doctor, he gave me a thorough checkout and put me through a bunch of tests before declaring that the problem had nothing to do with my knee, but started with my hips and my hamstrings. What? If that was the case, then why did my knee hurt so badly?

Turns out that weak hip flexors and hamstrings, in conjunction with stiffness or inflexibility, manifests itself as knee pain. So I spent about eight weeks in physical therapy working and stretching my hips and hammies, and my knee pain magically went away.

In music, this idea plays itself out in many ways, but we'll look at just one specific rudiment to demonstrate the concept of breaking it down to its key elements.

So, the Flam Tap. It looks like this. (It goes without saying, but the grace notes are played by the hand not playing the main note.)

As you can see, this is a double stroke exercise, right right? (Bad drummer joke, couldn't help myself...) Actually, it's a triple stroke exercise. You see, the right hand will play a main note, a tap and then a grace note before the left hand plays a stroke, and so on.

So, if you want to make your Flam Taps faster, make your triple stroke faster, like so:

Play the first two measures all with the right hand, then repeat with all left hand. I like to do the exercise a total of four times - right, left, right, left (Coldplay, anyone?) - then end with a right hand downbeat in the last bar. 

As always, start slowly and gradually increase the tempo. Stay relaxed, especially as the tempo climbs. Remember that tension is the enemy of speed and control.

There are a lot of ways to approach this exercise, so I'll give you a few ideas.

• Keep all notes the same height and dynamic
• Accent the first note and play the last two the same
• Play the first two notes down, and accent the last note
• Play all three as a diminuendo
• Play all three as a crescendo

After you work on this for a while (a week or so), you should notice an increase in your Flam Tap speed and control.

Happy drumming!

The Weight Room: Flams

The Flam is one of the most basic rudiments.

And I'm going to give you one of the most basic pieces of advice you'll ever get about playing it.

The way to good, clean flams is simply to keep the strokes separate (unless you're trying to play flat flams). And what I mean by 'separate' is to keep the main stroke high and the grace note low. There are numerous opinions on how much lower/softer the grace note should be from the main note, but a general rule of thumb is to keep as much separation as the music will allow.

Take two objects of similar weight, size and shape. Imagine two basketballs. If you drop them from a given height, they'll hit the ground at the about the same time and with about the same force. But if you drop one from a lower height, it will hit the ground slightly earlier and with slightly less force. As you increase the difference in height, you increase the difference in the arrival time and force.

So, logically, your sticks are two objects of similar weight, size and shape. If you "drop" them from the same height, they hit at the same time with the same volume (force). This is a flat flam (which we'll talk about another time). If you want to create a normal, concert/rudimental snare drum flam, you start the grace note stick very low, and the main note much higher (depending on the dynamic level, accents, etc.). Then, just let gravity take over and play the notes.

Especially when it comes to concert and rudimental snare drumming, don't underestimate the power of good ol' physics. Gravity pulls down, and sticks/heads bounce up. Your fingers and hands are just there to help and control (and, of course, do cool visual stuff, twirls and stick flips). So don't think that you have to do all the work. As one of my old instructors puts it, "Let the sticks do the work."

I hope this helps your flams. As always, stay relaxed, use your ears, and rely on good technique. Those things will get you everywhere you want to go.

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!

Don't know what to practice? What?!

So, I'm with you. I really am. When you finally do have the time, what do you spend those precious few minutes on? Well, tonight I took less than five minutes to look on one of my favorite drumming sites, and here's what I found:

http://www.drummagazine.com/lessons/post/six-handy-notes-patterns-to-use-around-the-kit/

Make sure you take some time to really smooth out the sticking and accents on the snare drum before you move around the kit.

Then, as always, apply it with the click first, then with some music, and then just have fun!

The real lesson here is that you can find a million things to practice if you want to. Find something, and go after it!

Happy drumming.