Battle of the Bands

A few months ago, I was on the panel of judges for the Utah PTA's Battle of the Bands Finals (2013).

In a nutshell, here are a few things I observed, and would humbly suggest to every band that is ever going to play in front of an audience, ever:

• Don't let anything get in the way of good tone, time, musicality, etc. It's easy to get excited during performance, but put the music first.
• Know your role. Good music is like a house, made up of necessary, quality parts. Not all of them are seen, but all contribute to the quality and comfort of the home. If that means you need to play back a little, or not have a solo, or play more texturally, then do it.
• Listen, listen, listen. And act like you're listening. It's okay to make eye contact with other members of the band, especially during their solo.
• Put on a united visual image. Differing styles distract from the music, especially if the look and feel are different from the music. This is why a lot of music groups show up on stage in neutral greys and blacks - it allows them to play what they want and let the music speak for itself.
• Support the front man/woman. Know what's the "thing," and how to support it.
• Have fun, and show it. Don't go overboard, but look happy and confident, not nervous and scared.
• Play to your strengths and within your abilities. I'm not saying you shouldn't push the edges, but the audience "vibe" completely changes when they're worried that you might not land the next fill or riff.
• Be humble and gracious, but don't stutter. "Um," doesn't help your show.

Put simply, do whatever you need to do to make the music speak for itself, and don't do anything that will get in the way of that message. 

Happy gigging!

Beyond the Kit: The Percussion Section

Last weekend was All-State Band in Utah, and I was lucky (!) to be able to sit in on some of the percussion activities, including a great sectional/coaching section with Eric Nix. Not only did I learn a lot from Eric, I was completely impressed by the students in the section. They were great!

The experience reminded me of the importance of being a team player, because that's what a band or section is - a team. There were a couple of pieces that required more players than they had, so they all juggled parts and chipped in to make sure that all of the notes got covered. The pianist even covered a bell part to make things a little smoother.

In a percussion section, just like on a sports team, every person has to be willing and able to not only play any part that is needed, but also be willing to let others shine and play to their individual strengths. It doesn't hurt if you're friendly, humble and reliable, too.

Among other things, a good section percussionist should:

• Have a base level of skill on snare drum, keyboards, timpani, bass drum, cymbals and all auxiliary instruments
• Be able to sight read fairly well
• Come to all rehearsals with parts prepared
• Come to all rehearsals with needed mallets, sticks, and "toys"
• Own - and religiously use - a pencil (or multiple pencils, whatever it takes)
• Be punctual - ready for downbeat at least five minutes before rehearsal starts (15 minutes is even better)
• Always help with load in and out, and any other "heavy lifting"
• Be flexible and practical - percussion sections have to just "make it work"

And if I could offer one more piece of advice, it would be to get a reputation as somebody that's always got a good attitude and is willing to help out and not be a "diva." Many a gig has gone to the guy or girl who's easy to work with, even though he or she may not be the best player.

Happy drumming!

Gear Up: "Refresh" Your Drumheads

Disclaimer: The reader assumes all responsibility for damage to any instruments, equipment or other gear as a result of following the process described in this post. Please proceed at your own risk.

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I attribute this little gem to Kelly Wallis of Backbeats Drumshop in Salt Lake City, UT. He taught me not to be afraid of a little Windex. 

This is a drumhead (Remo Coated Ambassador, 12") that was new in 2003. That makes it going on nine years old. It's been through countless gigs and sessions, and it's getting pretty worn. I'm not one to nick up and ding my heads, so the major signs of wear are just the accumulation of dirt and stick grime, as well as the smoothing out of the coating.

I'm not using actual Windex, but a foaming spray. It's still just a generic glass cleaner. Paper towels work just fine on a drumhead.


This drum is in my teaching studio so I decided to put off getting a new head. As you can see in the photo*, I actually drew on the head with a pencil during one of my lessons.

I probably got a little overboard, but I foamed the head up really good. As you do this, be VERY careful not to let the liquid get inside the drum, or onto any of the wood or sensitive metal parts that could get damaged or develop rust.

While cleaning this head, I actually did get some of the spray where I didn't want it, so I had to spend a little extra time wiping and blowing out the excess liquid.

I did spray and wipe the drumhead twice, and the final picture is of the finished product. All in all, I probably spent less than five minutes, so you could feasibly refresh a five piece drum kit in about half an hour.

Additionally, this is the same spray I use on the wrap finishes on my drums whenever I change a head. If you will take the time to regularly (even a few times per year), clean up the finish on your drums, they'll look nicer longer, increasing your image on stage, as well as the resale value of the drums.



Happy drumming!

*Seriously, one day I'll have a great camera (these were shot with my iPhone 3GS) and use some better lights and backgrounds. Hopefully the picture quality is good enough for you to understand what I did to this drum. 

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!

The NEW* New Lokalgrown Promo Video!

Lokalgrown is a band that started out at Utah State University in 2001. We shorten the name to LKG, although there have been many (ahem), shall we say interesting variations and pronunciations of the name. We've been through many versions of the band and had the privilege of playing with a long list of fabulous musicians.

Currently, we play a few public shows - always a blast! - but mostly entertain small, private audiences at various corporate, community and other professional functions. Overall, we're busier than ever and happy about it!

Nate (Davis) and Quinn (Dietlein) have put together a fun, interactive, creative and very funny show centered around great music from a wide variety of styles, eras and settings. It's a privilege to be a part of the LKG family, and to continue to perform at a high level.

So, on to the video. 

*This is the latest version of the "new" promo video. There have been at least three, and there may be more to come. Each version has added new footage or text, improved sound, or corrected minor errors. 

Hardware Maintenance 101

I have always been proud of how I take care of my gear. I have some hardware that is more than a decade old and is still in good working order. In fact, I have a handful of Yamaha cymbal boom stands that I purchased in 1999, and I'm always looking to see if anybody else has stands that old that are still working. Mine are a little dinged up and have some scratches from living in my hardware bag, but all the moving parts, screws, etc. are all just fine.

Last week I mentioned that I played in the percussion section for AFCO's Christmas Concerts. There was also a drum set player, an amazing player by the name of Bobby James.  As I usually do, I took a look at his drums, hardware and cymbals. I was amazed (shocked, actually) to see him pull out Yamaha cymbal stands that were the model before the ones that I'm so proud of. These stands are easily 15+ years old, and they look and function like new.

It's my view that somewhere along the way, one learns to appreciate the equipment almost as much as the music. It's like a racer with cars or a jockey with horses, or a million other examples. If you want to do it well, your equipment must function at its best.

So, let's get down to it. There's probably one issue above all the rest when it comes to taking care of percussion gear: stripped out bolts, nuts, screws and ball joints (as in tom mounts). To fix this one issue is so easy!! Just follow these two simple rules:

1. ALWAYS loosen it before you move it. The place I see this abused the most is with tom-toms and cymbals. Students, if they don't like the angle or position of something, will just force it to go where they want it. This weakens the bolts, nuts, etc. that hold it in place, so they have to be screwed even tighter next time to hold the instrument in place. Over time, this forcing and over-tightening will ruin the equipment so that it has to be repaired or replaced. Not fun, and usually not cheap. 
2. NEVER over-tighten it. For most things - cymbal stands, tom mounts, etc. - the difference between loose and tight is somewhere around a quarter of a turn. Try this one at home: Take a cymbal stand, snare stand or another piece of hardware (make sure it doesn't have anything on it like a cymbal or a drum), and loosen one of the joints just barely enough to move it freely. Then, slowly tighten it just barely to the point that it won't move easily. You want it just tight enough to do the job and no tighter. Especially if your gear is fairly new, you'll notice that there's not much room to turn the screw from "loose enough to move" to "tight enough to hold."

Really and truly, that's about it. Follow those two rules, and your gear will last a long time and serve you well.

Happy drumming!

The Gig Log: AFCO Christmas Concerts w/ Maureen McGovern

As I mentioned in my last post, I had the privilege of playing in the percussion section for the American Festival Chorus and Orchestra Christmas concerts last weekend, December 2 and 3. Guest artist Maureen McGovern absolutely lit up the stage. There were three total performances - one Friday and two Saturday - and all were sold out.

The choir was amazing, as well, as always. Conducted by Craig Jessop, the concert was an absolute highlight of my 2011 musical year. One of the numbers was a new arrangement of the traditional tune, "Ding Dong Merrily on High," arranged by Kurt Bestor.  The choir actually pre-performed it on Black Friday, as follows...




Lots of fun. Can't wait for the next one.

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!

Want to be a session player?

This is a blog I read pretty regularly, and it is always full of good advice and inside tips for aspiring musicians. Find it here.

Over the years I have had the opportunity to play on many projects as a session musician. I've played everything from a single suspended cymbal roll (not kidding!) to all of the drum kit and percussion parts for the entire album.

Probably my biggest piece of advice is to get comfortable with a very wide selection of styles. Know how to sound like you were born country, or rock, rap, hip hop, etc.

Oh, and remember this post?  If you're going to play in the studio, get real comfy with chart reading and playing with a click.

Happy drumming!

Keyboard Percussion 5: Odds and Ends

There are a couple more keyboard* instruments that percussionists are occasionally called on to play. These aren't standard, but they're common enough that you need to be familiar with them.

First, crotales. (Cro-tall-ehs) Simply put, they're super-compact, small, pitched cymbals. Again, they're set up like a keyboard, and you usually play them with a hard plastic or phenolic mallet.

Seriously, though, you won't play these very often. But even as I type that I have to tell you that all of the orchestral sections I've played with in the last year have used crotales.

If you're a band director, and you're thinking about buying a set - borrow first! If you need them more than once per year, you might think about getting some. But until them, find a band director friend and do the borrow/trade thing.




Next up: celeste. Another instrument you won't play frequently, but you do need to be familiar. One classic example of a place you'll use them is in "The Nutcracker: Dance of the Sugar-Plum Fairy." We played this in college (seemingly) every year, and we had to drag the ol' celeste up from the percussion dungeon to get it done.

Here's a WikiPedia article about celeste that is very clear about the origins, mechanics and uses of celeste.

Again, before you buy this thing, make sure you really need one - or get a great deal!





There are many more pitched and/or keyboard percussion instruments, but they're either really similar to what we've already covered, or they're so rarely used that it's not really worth mentioning them here.

Happy percussion-ing!
- -

*It's worth mentioning that traditional keyboard instruments can fall into the realm of percussion, too. Like piano and harpsichord, although usually percussionists aren't asked to cover those parts. You should, however, do what you can to shore up your piano playing skills. Not only will it prepare you to cover some of these odd instruments, but there is also no better way to work on your sight reading skills than to play piano and learn some new music on a regular basis.

Keyboard Percussion 4: Glockenspiel and Chimes

Finally, we come to the instrument that many of us started on, the "bells." The orchestral instrument is actually called glockenspiel.

I have to be honest here. In my opinion, glock is like thai pepper oil: used very sparingly, it is a beautiful thing. But use too much and you're in for some serious pain.

In the following clip, the glockenspiel used probably doesn't look like the one you play (or played) at school. It's on it's own frame and has a damping pedal, and it also has more range (more bars) than a standard glock. But the metal bars and the mallets used are just the same.

This piece is probably familiar to you, especially if you like Disney!




Next, chimes or tubular bells. Truly one of my favorite percussion instruments, and you find them in all types of music. Just a quick look at "Gavorkna Fanfare" by Jack Stamp. Chimes are very present throughout.




Chimes also get struck or played usually with a hammer. Hammers are a lot heavier and more awkward than a normal mallet, but it's the weight and the increased surface area that allow the player to get a big, full tone from the chime. It takes some practice, but you can definitely play quick passages on the chimes.

Happy mallet playing!

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.

Thanksgiving Day!

The Thanksgiving holiday has always been one of my favorites. It has always seemed like one of the more relaxed holidays (probably because I'm not the one preparing food), with lots of family around and time to just be.

This morning started very early for me (can you say Black Thursday?), and now that I have a few minutes I thought I'd just list a few of the music-related things I'm most grateful for.

First, music itself. From my earliest memories, nothing has had the kind of power in my life that music has. It allows me to feel and express emotions that I can't access in any other way. And even though I love jazz, classical and a hundred other styles and genres, I'm not afraid to say that modern pop music is what touches me the most easily.

I think it's the nature of the human voice. Many pop singers aren't formally trained, so the singing is raw, natural and visceral. Also, most pop lyrics aren't all that deep (sorry, friends, it's the truth), which makes them very accessible to the average listener.

At the heart of it, music makes me feel. I can't imagine any part of my life without its accompanying soundtrack. I love music. More than I could ever express in words, and that's why I play. That's why I teach, too, to help others to gain access to their own voice. Music is magic. It's life. It connects us to each other.

Next, I'm grateful for musicians. Not only the amazing people with whom I get to create and play, but all those who have come before. Music has always been a reflection of the world and of society. Music can be a reaction - or an outright rebellion - to anything, real or perceived, that is going on in the world. And some of the bravest musicians have been those who aren't afraid to challenge the constraints of the times, be they style, subject or vocabulary.

Consider this: What is the most abrasive, cutting-edge music you can think of? What do your parents or peers think is too "out there," or unacceptable? Is it metal, rap, country, punk, emo or something else? Remember that almost every style of music that is now "accepted" was once in this category of being strange, forward or unacceptable.

Can you even imagine music like Elvis Presley, Duke Ellington or even Mozart being too "hard" for any audience? And yet they were, each in their own time, considered to be pushing the boundaries of appropriateness and acceptability.

Don't get me wrong. I don't mean to say that all music will or should be universally accepted. It's worthy of an entirely different discussion, but as a consumer (yup, you are!) or creator of music, you have to consider what the music is doing to you - because it IS doing something to you - and whether that's something you want in your life.

But I'm grateful for forward-thinking musicians - even the ones who are abrasive and offensive to me. Because of them, I can create the music that I feel is right and good in the world. My music can make a difference.

More so all the time, I'm really grateful for instruments, and those who pioneer and manufacture them. It seems really basic, I know, but the ability to create such a diverse range of sounds with so little effort is such a gift to musicians. Especially in percussion, the sound choices are endless. Size, configuration, materials and construction are very flexible for drums, heads, sticks, cymbals and effects so that every player I've ever met sounded at least a little bit different from each other.

I love that I can sound like me, and you can sound like you, and we can both be musicians.

Last (at least for today), I'm grateful to have an audience. This probably sounds really self-centered, but who doesn't want to be heard and appreciated? So, whether you're reading this blog or coming to concerts, thanks for listening. You don't have to like it or agree with it. I appreciate that you are attempting to listen and understand.

So, happy Thanksgiving, everybody. I sincerely hope that it gives you the opportunity to reflect and reconnect with the people and elements of your life that are the most important and meaningful. And, of course, I hope you have some great tunes in your life today and always.

Happy drumming!

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!

Lokalgrown's New Promo Video

The new Lokalgrown promo video is finally done. Please check it out!

Visit http://www.lokalgrown.com for more.

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."