Drumset NAU Percussion Techniques II PDF

Drumset NAU Percussion Techniques II Dr. Fisher Drum Set Equipment: Terms, Parts, Sizes, Considerations, and Recommendations Names: Drum set, set, kit, drum kit, trap set Brands: Yamaha, Pearl, DW, Gretsch, Tama, Ludwig, etc. Sizes: Double-headed bass drum (jazz) – 18” for combo, 20”...

Drumset NAU Percussion Techniques II Dr. Fisher Drum Set Equipment: Terms, Parts, Sizes, Considerations, and Recommendations Names: Drum set, set, kit, drum kit, trap set Brands: Yamaha, Pearl, DW, Gretsch, Tama, Ludwig, etc. Sizes: Double-headed bass drum (jazz) – 18” for combo, 20” for general (recommended), Double-headed bass drum (rock) – 20”, 22,” 24” Mounted-toms (generally 8” x 12,” 9” x 13”) Floor tom (14,” 16,” 18”) Snare drum (5” depth is general, with 14” diameter) Tuning Drum set parts Drum set parts- labeled Drum set equipment continued Spurs (bass drum leveling & slide deterrent) Hardware– recommend medium or light weights for hardware; include snare drum stand, hi-hat, drum throne (seat), 3 cymbal stands Cymbal stands (w/rubber feet) Equipment Continued Drum throne (stool) Bass drum pedal with beater ( at, wood, plastic) Drum rug Drum heads recommendations – for snare and toms: Remo Ambassador (medium) coated – for batter (top head); Remo Diplomat (thin) clear – for on bottom Other head types: Remo Pinstripe (good on toms) Remo Fiberskyn III, Remo Clear, Evans (many types) Aquarian Muf ers Strongly recommend leaving snare and toms “open” without muf ing if possible fl fl fl Cymbal types Ride (set up to player’s right, if right-handed): required for all drumsets; usually 20” with a dry, rhythmic sound quality Crash (set up to player’s left, if right-handed): at least one required for all drumsets; usually 16” or 17” Splash: a specialty cymbal usually 6,” 8,” or 10” (recommend 8” or 10” if used) Sizzle (or Rivet): any cymbal can be a sizzle cymbal with a number of rivets drilled into it (usually on 18” or 20” ride cymbals) – excellent for ballets (brush work), or backing up a jazz singer (not required) Chinese (“China”): has upward- anged edges giving it a “trashy” sound – good for energized funk/fusion, etc. (not required) Makers: Sabian, K-Zildjian & A-Zildjian, Paiste, Istanbul, etc. Hi-Hat: 13” “K-Z”, “New Beat,” “Quick Beat,” Sabians (in 13,” 14,” and 15” formats – avoid 15” hi-hat cymbals) Hi-Hat Clutch: holds top hi-hat cymbal to hi-hat stand (don’t tighten this onto the cymbal too much – let the cymbal move loosely) – buy a spare because they get lost fl Sticks and Accessories Drum keys Drum sticks – Vic Firth, Regal Tip; Pro-Mark; Brushes – (wire or Nylon available): Vic Firth Heritage Brush; Regal Tip (model 561A – wire; Clayton Cameron model), bundled dowels are good for lighter rock-style feels (recommend Nylon brushes for schools – wire brushes bend too easily for beginners) Yarn Mallets – (or felt mallets): needed for cymbal/tom-tom rolls in ballad styles Stick Bags – can be strung/attached to drumset for convenience (low tom) Cases – reinforced, weather-proof, foam-lined, (with wheels – for the large case for stands/hardware): Humes & Berg Co. Basic Sound Guidelines Jazz styles Funk, hip hop, and fusion styles Latin styles History of Drumset Earliest from in uences of both Africa, and European military organizations funeral bands of New Orleans military musicians drumset developed through economic reasons (fewer players required) drums had calfskin heads and rope tensioning Early 20th Century ragtime, fox-trots, Dixieland (later) vaudeville, theater pits, movie houses radio (later) time keeping had a military (march) approach double-sticking used for the purpose of phrasing sets included a few cymbals on gooseneck stands and Chinese tom-toms, sound effects, a snare drum, a bass drum, an "epic" cymbal (later becoming the "low boy" and then the "hi-hat"): set was known as "traps" or "trap set” Louis Armstrong’s Hot Seven fl History continued The '30s and '40s: the sound effects were removed cymbals and hi-hat became more important two-headed tom-toms replaced the Chinese tom-tom heavy bass drum sound kept the beat "Papa" Jo Jones (Count Basie) The '50s and 60's: Rock & Roll in uence the drumset: more toms and cymbals stylized time keeping rock beats with straight eighth-notes on the ride cymbal and strong backbeats (beats 2 & 4) on the snare drum big band, post-bop, free jazz Elvin Jones (John Coltrane) fl History Continued The '70s, '80s, and '90s: use of even larger drumsets (more toms & cymbals), some with double bass drums use of lower pitches in the tuning of drums: plastic heads changed sounds manufacturers developed more variety of sounds for cymbals development of electronic drums later, digital interfacing and sampling (digitally recording, storing, editing of acoustic sounds, and recalling those sounds with electronic triggers or drum pads) Steve Gadd (Steely Dan) Evolution of Drums in Jazz ✤ Early Jazz: or Dixieland - developed in the early 20th century; its four main in uences were ragtime, military brass bands, the blues, and gospel music. ✤ Swing: emphasis on the off-beat, or nominally weaker beat. ✤ Bebop: more challenging "musician's music" ✤ Cool Style: style of modern jazz music that arose in the United States after World War II. It is characterized by relaxed tempos and lighter tone, in contrast to the fast and complex bebop style. ✤ Free Jazz: open space of "free tonality" in which meter, beat, and formal symmetry all disappeared ✤ Hard Bop: incorporates in uences from blues, rhythm and blues, and gospel ✤ Post-Bop: continuation or amalgamation of bop, modal jazz, and free jazz ✤ Contemporary fl fl Instructional Resources for Drum set Drumset Study Objectives 1. To experience the components of an artistic approach to performance style through performance, transcription, assigned readings, and assigned listening. 2. To examine (through analysis, transcription and performance) the differentiating factors in jazz, funk, fusion, rock, Cuban, and Brazilian music as they relate to the drum set. 3. To understand the historic development of drum set performance in the areas of jazz, commercial, and Latin-based music. A few recommended resources Chapin, Jim. Advanced Techniques for the Modern Drummer. Chappell. [beginning- intermediate] Reed, Ted. Syncopation for the Modern Drummer. Ted Reed. [intermediate-advanced] Five approaches to reading drum set notation First: 1) Begin slowly (and increase speed gradually) 2) Always count (aloud is best) 3) Sing (or verbally mimic) all parts – each limb separately 4) Work with a metronome Approaches: 1. Single Line Addition 2. Vertical Analysis – "Continuous" 3. Vertical Analysis – "Beat-by-Beat" 4. Mixed Combinations 5. Singing Additions  Drum set playing test ( styles) 5  Rudiments on Drumset Drum Set Rudiments (Jazz Styles) S. Hemphill      Triplet-Grouping Basics                A) B) C) D) E)  R L L L L R L R R R R L R L L     Shuffle (swing)  5  5  Rolls  6  6               L L L L L L R L L R R L R R L L R R L L R R L R L L R R L R 5-stroke roll (no grouping pause) 6-stroke roll   Paradiddles              R L R R L R L L R R L L R L R R L R R L R L R R L R L R L L R (single; altered accent pattern) (single; altered sticking pattern) (double) Timing Exercise                                           R R R L L L F (1-exchange HH for BD; 2-exchange low tom for ride cymbal)                            Cross-stick shots/Combinations 3   3 3     B) C)   A)      R R R R F F R L R LLR R L R LLR R L R LLR L R R L R R L R F F F "tap-dead-cross" "dead-cross-tap" Syncopation Exercises SYNCOPATION EXERCISES (from "Syncopation" by Ted Reed) Drum Set Ted Reed Swing                                                                                                                                                                            Swing Syncopation Ex. With cymbal SYNCOPATION EXERCISES (from "Syncopation" by Ted Reed) Drum Set Ted Reed Swing Swing all eighth-notes          3 3                                                                                                                                                                                                                                                                                 Teaching Swing / Exercises TEACHING SWING Left Hand "Comping" Drum Set S. Hemphill     Example of Left Hand Figure - play with swing eighth-note style.    Snare Drum             Preparation Exercises              Fig. 1 Fig. 2         3 3 3 3                             Fig. 3 Fig. 4         3 3 3 3                                  Fig. 5 3 3 3 Fig. 6 3 3                                        Fig. 7 3 3 Fig. 8 3 3        3          Triplet-based fills TRIPLET-BASED TIME-KEEPING FILLS Based on Ted Reed's SYNCOPATION (p. 55) All accents are played with Ted Reed ride cymbal and bass drum; other notes are played in left hand on snare           3 3 3 3  1)                        3 3 3 3  2)                       3 3 3 3  3)                        3 3 3 3  4)                       3 3 3 3  5)                      3 3 3 3  6)                       3 3 3 3  7)            Art of Bop Drumming (comping) The Art of Bop Drumming John Riley This drum set method book, along with Ted Reed’s Syncopation, have become standard resources for the development of drum set jazz comping (both snare and bass). The samples are performed with a constant swing ride cymbal pattern and hi-hat on beats two and four. From page 18: From page 22: Jazz Chart WHEN YOUR'RE SMILING By Shaw, Goodwin, and Fisher Drums arr. by Tom Kubis A In 2                                   p                                                                                               fill   f B In 4                                                                                                     fill                   Tenor Rock Groove Soloing for the Drum Set Ground Rules Ideas for Building Solos Drummers should be able to sing the melody (the Play and build a solo over the melodic phrases, mentally hearing the melody. head) of the song or tune. The drummer must know the form of the tune; “play” Take an idea stated at the end of the previous soloist’s chorus, and repeat it. Go on to the written form; and establish each phrase. develop the idea for the remainder of the solo. “Creativity” should not interfere with the drummer's job of playing solid time, unless the solo is of the “out- Stay with one idea or concept for the entire solo. of-time” style. The drummer should build ideas on what was played Think of the solo as a series of musical questions and answers. previously – develop rhythmic motives from the melody or a soloist’s motive or phrase. Consider using: a) theme & variation, b) call & response, c) dynamic contrasts, d) tension & release, e) textural changes, f) repetition, g) re-orchestration (drum/cymbal Be sure the solo: a) is played in the style of the tune, b) assignments), h) adding rests to create rhythmic displacement, i) omitting notes from a has a good feel, c) tells a story. previous phrase, j) three-beat motives Use repetition, keep it simple, play tunes, and improvise. Brush Playing Used for ballads, light jazz lilts, and some Latin grooves Peter Erskine: “Playing the drums with brushes is a satisfying experience, and need not be restricted to ballads, the beginning of standards, or the accompaniment to bass solos. We use brushes because we don’t want the attack of the stick.” Grip and Position Technique Changing from Brushes to Sticks Listening (Elvin Jones) Types of Brushes Basic Brush Patterns Listening in the Band ✤ Listen to the style ✤ Listen to the band (and speci cally the rhythm section) ✤ Listen to the soloist ✤ Listen to the sound of the drum set ✤ Use dynamics ✤ Feather the bass drum fi Problems and Solution w/ the Rhythm Section Part Preparation Director/ Teacher Checklist 1.Use a rug 2.Put music stand on left 3.Take stuff out of bass drum (for jazz) 4.Let toms ring 5.Be sure ride cymbal is comfortably positioned 6.Let cymbals move freely 7.Avoid extreme angles 8.Position foot pedals properly 9.Experiment with throne height 10.Select appropriate sticks