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HELPING OTHERS

Ok, you might be asking, what does 'helping others' have to do with drumming? Well, there's a round-a-bout way of getting there but follow me, I'll make it short and sweet. When you examine the fine elements of what it takes to achieve greatness, you'll discover that pro athletes disect things by minute variables. They'll measure every stroke, examine their technique and even adjust their emotional mindset going into competitions. Why the emotional mindset? Because it's been proven that happiness and personal fulfillment are directly coorelated to success and accomplishment. Knowing that there are many books and resources on happiness out there, I'll focus in on one element specifically - helping people.

When you help people, you help yourself. Helping others directly makes you feel better about yourself (so, it helps you too!) It leads to more clarity, more happiness and more confidence. Think of it as some extra water on the plant you're trying to grow. Now go out there and help someone. Maybe even help a whole bunch of people. You will then be helping yourself simultaneously. We've provided a page on many organizations that need more assistance. Click the link below.

Drumming Up Supprt for a Better World

 

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SPACE IS A LICK

I've always been a chops guy. While many look at technique as a sort of cardinal sin that does nothing but detract from the groove, I understood from an early age that technique was nothing more than a vocabulary for the drums. The more you know, the more you will be able to express yourself on your instrument. It's really that simple.


The other day, I was listening to a gospel chops drummer solo. With my jaw on the floor and sitting there in utter amazement at how technically advanced these young drummers are today, I couldn't help notice that something was missing. It didn't register at first but it finally hit me. There was no space. His solo was a barrage of rapid-fire machine gun licks skillfully executed to impress even the most groove-worshipping among us. But after a minute or so, it grew tiring. My ears were starting to bleed as it went from incredibly impressive to downright annoying.

After realizing that there was no space in his solo, it became crystal clear of the importance of a drum solo to breathe. I liken it to conversing with someone that talks so fast that it literally wears you out listening to them. I'm a political junkie and some of the pundits are guilty of this. Because they know that they have limited time to get their 2 cents in, they talk at such a fast speed that all nuance goes out the window...

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ESSENTIAL ADVICE ON PRACTICING- By Jacob Kaye
Welcome to my School of drumming/ musicianship (Yes, make no doubt about it; we must be musicians to an even greater extent than other instrumentalists!). I assure you with all certainty that you will find your drum lessons to be both: musically challenging and rewarding by adhering to the advice I‘ll give you. Whether you are beginning an entry level of instruction, intermediate level, or advanced level, my goal is to provide instruction that will help you develop as a “well-rounded” better performer, yes better, both as an individual and as part of a musical group. During your lessons, I'll give you specific guidance to help you develop your skills. You should find the following general advice essential in helping you develop productive practice sessions.

DAILY SESSIONS - The most effective way of developing long-lasting skills and expanding these “tools”, (which you will require to exceed your perceived-potential), is through daily sessions. “Practice marathons” and “cramming” before drum lessons will far from resolve the musical “challenges” you may have neglected during the week and result in what some refer to as “maintenance practice”.

Drum Stickers

PARENTS - This is a great!!! Opportunity for you to get involved with your younger children… They will really need your help and guidance to motivate them in developing the “Habit of Practicing”... which is really one of the keys to their success!!!

“ONE-A-DAY”- Spend enough time on each page to include all supplementary exercises assigned for your drum lessons, every day. I advise you begin each session with a good progressive warm-up routine. (George L. Stone's “Stick Control”) Then, depending upon your level, the next step should be utilizing an established reading text to further develop the “tools” you'll need to Improve Reading. (Book one of. “Haskell W. Harr Drum Method” or “Alfred's Drum Method”) Last but not least, for drum set, utilize, each day, an established text for Independence Techniques. (Ex. Jim Chapin's “Advanced Techniques…” or Gary Chester's “New Breed”) This will depend on your skill level at the time.

FOCUS - Focus your efforts on the techniques, the “tools”, you'll be taught to help you achieve your goals on drums. Avoid wasting time learning, the here today gone tomorrow, “Impressive Patterns/ Solos” on the drum set! If you need to work on the snare drum, for example, move it out, away from the rest of the drum set in order to avoid any temptation to play the drum set. You must, with certainty, use a practice pad for technique work. (Here, at the very least, a metronome is essential!)

THE PARTICULARS – Make every effort, with absolute surety that you are performing the music according to the author's/ composer's intentions; rather than a perceived desire on your part for it to be performed any other way.

ESSENTIAL-HABIT - Once you have encountered a “challenge” (Ex. Dynamics, executing a phrase at the suggested tempo, articulation of a particular rhythm, phrasing etc.) Simply divide this “challenging” section of the music into smaller musical phrases and improve these “challenging” sections separately. Slow down the tempo and repeat theses sections until you can play them both relaxed & “naturally”. Then, follow this habit by putting these “extracted phrases” back into context, in order to facilitate “musical-continuity”. Ultimately everything you perform will be relaxed and “natural” both to you and your audience.

"PAT & PER" – (Patience & Perseverance) developmentally, progress may appear to be slow. However, working on both patience (that's patience with yourself) and perseverance, you stand to gain skills and develop the tools that will stay with you for your entire life. Look for the results of your progress weekly, rather than one second or one minute to the next.

TEACHER'S ADVICE - As your instructor, I have your best interests in mind. I will give you the advice to assist you in developing the skills, (tools), you will require for well-rounded musical development. I understand what you will need to be successful. Unfortunately, at times, some students become preoccupied with learning “Impressive Patterns or Solos” to the point that they neglect to practice the actual lesson. Remember, these “Impressive Patterns/ Solos” that are here today and gone tomorrow, will do you absolutely no good, unless you have taken the time and effort to develop the tools essential to excellent drumming technique. When “this” is our focus, then and only then, you will realize that you and I will have the necessary time to examine both a more varied and more in-depth approach to musical styles that are challenging and hence, rewarding and fulfilling to you. You will definitely be pleasantly surprised to find that you are enjoying musical styles that before, you may not have enjoyed or for that matter, were unaware existed, previously. Spending the appropriate time improving these tools are the essentials that will enable you to exceed your perceived-potential.

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THE FUN PART - Playing repetitive “hand” or “foot-technique” exercises or reading-skills exercises are enjoyable when you understand they are guaranteed, when practiced correctly, to improve you performance. First of all, make a sort of game out of the whole idea, by making everything you play, including "hand-technique" and reading exercises, sound as musical as possible by utilizing dynamics, articulation, and musicality to its highest level. For example, approach your entire lesson each and every time as if you are preparing a performance, on a weekly basis, in front of a live audience. (Your instructor) If done correctly, you'll find this to be absolutely one of the most exhilarating and fulfilling experiences.

ADVICE, ADVICE, ADVICE - When you have questions, ask me, email me, info@jacobkaye.com or for that matter pick up the phone and simply call me. (514) 828-3014. It's that simple!!! Following the above advice will definitely help you succeed, and after all, that's what it's all about…

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NETWORKING

There's an old saying; "Out of sight, out of mind". Well, this is one of the truest things ever written and it so applies to the music business and drums as well.

If you want to work, you need to go out to the clubs, venues, jam sessions, whatever,.. and "BE SEEN"! You need to engage in conversation with potential employers and you need to be seen playing your drums so they know that you're qualified.

Younger players still in school; if you want that specific chair or jazz band seat you have to
work hard, yes. But also make sure that you're on a first name basis with the band leader, drum captain, and any private instructors or helpers, because they will often be assisting with the auditioning process.


Top 5 Drummer Networking Mistakes:
1. Not being prepared
2. Not having business cards (pro players)
3. Not letting them know in some way that you're qualified for the job
4. Not acting professional enough
5. Not following up on potential leads or opportunities

Going the Extra Mile
Many drummers simply show up, set up their drums, play the gig and go home. Take pride in your work and "go the extra mile". Carry the bass player's rig in for him, make a set list for the band, or show up 15 minutes earlier to help out. School band students can help the teacher in the band room or offer their services for a special concert or field event.

Anyone can just show up and play their drums, but those that put in a little extra are more valued as a "team player". This often increases your job stability and overall reputation in the industry and sometimes even means extra compensation. The main thing is that you feel better about yourself for giving more in this world and that's reason enough to make the change!

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READING MUSIC - Lessons w/ Mike Donovan

-Do you read music?
Now, before you start running the other direction, please hear me out. I’ve noticed through the years that, for various reasons, many drummers prefer not to learn how to read. They either think that it will take too long or that it will be inevitably too hard. Folks, it’s not really that bad. I repeat, “IT’S NOT THAT BAD”! Shoot, compared to learning a foreign language or something, it’s a walk in the park!!

In 1996, I wanted to come off the road. I knew that this might possibly mean stepping back into the “real world” job-wise so I taught myself to type in preparation for a "decent" job in the workplace. I knew that computers were now dominant in our society and if I was going to compete, I’d better learn to do something more than ‘hunt and peck’. I now, 12 years later, type 683,000 words per minute (or something like that :).

So you say, .. "Hey, 'I hunt and peck' and I have a job at Microsoft as 'Systems Analyst IT Engineer blah, blah,..'. Well OK, so it does happen that some real smart people make out just fine 'hunting and pecking'. But let's step back into the music world for a minute. Can you imagine yourself at a Dave Matthew's Band audition and they throw a chart in front of you to read? What will you do, ask them if they have it in 'tab' format?

Drum Rudiments

I say, "Learn to Read”. Don’t get caught up in that crap about.. “Well, Buddy Rich didn’t read…" or "Dennis doesn’t read…” etc. It’s a cop-out! Those guys are (were) exceptions to the rule. You need to have a firm understanding of basic rhythmic theory (and harmony if possible) to compete in this highly competitive field. You can’t afford to be second best. You must have all your bases covered because if you don't, there are 50 other drummers standing by ready to take your place. (Actually, there are 500 drummers standing by ready to take your place. :)

Why not be "great" at playing drums rather than "mediocre". It's so much more fulfilling. Reading will give you the tools to get to that next level. You'll not only have a better understanding of what you're playing but you'll be able to execute this knowledge into a better performance overall.

Consider taking drum lessons with a private teacher and letting them help you learn how to read music. Once you get the ball off the ground and rolling, it’s not really that bad. It just takes a little bit of courage and determination to get started and, with a little stick-to-itiveness, you’ll be reading in no time. I promise.

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10 Reasons You Should Learn to Read Music:

1. It builds confidence in your ability on drums and
allows you to 'understand' what you're playing.

2. You'll be able to teach yourself anything out of
a drum book or magazine anytime, anywhere.

3. You can supplement your income with drum lessons.
Teach drums to other drummers and make more money!

4. There are great gigs to be had out there but some of
them require that you read at least a little bit.

5. You can communicate intelligently with other
musicians using standardized musical language.

6. When learning new songs, you can write out drum
charts for yourself quickly and more efficiently. This
saves valuable time.

7. You can program sequencers in step mode.

8. It is easier to learn musical concepts as well as other
instruments with a fundamental knowledge of basic
theory.

9. Most studio work, show work and more challenging
styles such as jazz drums and fusion, require reading.

10. You'll find that many higher caliber players read music.
This may give you an opportunity to play on their level.


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PARADIDDLES ON DRUMS
For a great exercise in control, practice switching the accents to each successive note.
The parenthesis denotes an accented note.

(R) L R R - (L) R L L

R (L) R R - L (R) L L

R L (R) R - L R (L) L

R L R (R) - L R L (L)


Be sure that there is a distinct difference between loud and soft notes. Keep them clean
and even. Remember that proper execution is always more important than speed.

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PARADIDDLE-DIDDLES ..on Drumset

Play the following sticking on the hi-hat: RLRRLL, RLRRLL (This is a paradiddle-diddle)

Put the bass drum on the first note of the first grouping and the snare on the first note of the second grouping (there will not be a HH on that note).

This pattern creates a 16th note triplet groove that sounds great intermittently inserted over a straight eighth feel.


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WipeOut!

A terrific exercise:
This version of "WIPEOUT" incorporates single, double, and triple paradiddles.

Repeat over and over until you build up your speed. This is
a great exercise for hand to hand control.

R l r r, L r l l, R l r l r l r r, L r l r l l, R l r l r r, L r l l
(Capital letters are Accented notes)


-For more on rudiments and other drum lessons and tabs, visit the Lessons Database at http://www.drumbum.com/lessons

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HOW TO GET GIGS

Where to look:

Classified ads – your local newspaper, music papers, Internet classifieds, etc.
Bulletin boards – music stores, record shops, drum shops, talent agencies
Live bands – networking! Go out, meet, and interact with live groups. This is one of the best ways to learn about who’s looking for who.
Talent agencies – get to know the people who work in these places. They can sometimes help you find a suitable band or at the very least, pass the word along.
Union – The Musician’s union is a good place to find certain types of work. Great contacts can be made as well.
Music studios – Stay in touch with the people behind the scenes at your recording studios. They are recording all your friends and know who’s doing what.
Jam sessions – Jam sessions are a bit more popular in larger towns, but when you can find them, they are valuable music networking havens!
LEAVE NO STONE UNTURNED!

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How to Audition

Initial contact – be friendly and professional. Don’t oversell yourself but be confident and assertive. Find out what they are looking for in a musician and determine whether or not you fit the criteria.
Know the material better than anyone else! –This is the key to a successful audition. If you know the tunes better than anyone else (assuming you play them with feeling and with good time) you will probably get the gig.
Be personable. – The second most important criteria in getting a gig is how well the other members of the band think they might be able to get along with you. Be friendly, but be yourself. People can usually see through facades.

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Keeping the Gig

Attitude – It’s even more important after getting the gig to be cooperative and extremely diplomatic. You will have opinions, but try and not be to forceful with them. Keep a positive attitude and you will have respect from the other players.
Stay current – Stay on top of the new tunes that come out in the genre of the music you’re playing. Know what’s happening!
Be professional – Be on time, keep yourself and your equipment in good shape, and play every night like you’re making $1000 instead of $50. Wear a smile and act like you’re having a good night even if you aren’t.
Improve on your instrument – Consistently try and better yourself on the drums, learn the newest techniques, the difficult songs, read all the magazines, etc. Be a strong force in the group.

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PUNK DRUMMING - Charlie Platt
Alright - I've been playing drums now for 2 years or so, and I always played jazz, blues, and rock/alternative stuff off of the radio. Recently, a good friend of mine invited me to join a punk band that he'd started. Not being used to this style of
drumming, which tends to be more complex than it sounds, I have enclosed some helpful recommendations that helped me to learn the style.

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Tip #1: You can always go cut time on the high-hat if you can't keep up with the speed.
Make sure you're not changing the beat, but the energy will be the same if you use cut time.

Tip #2: Just because the music is fast doesn't mean you can't be creative or do interesting fills. Listen to bands like the Dead Kennedy's for some interesting fill work.

Tip #3: Use a lot of energy! Punk music is based on energy. Wrestle with your buds before a show, build up some serious energy and then just go nuts! If you screw up your beat a little bit on the drums, its not as bad as if you lose your energy, so really get into the energy of the music.

Tip #4: As with lots of energy, go nuts with the bass drum. I myself don't use a double-bass drum pedal, but I find that with one pedal, a healthy distribution of bass drumming definitely works.

Finally; Don’t think you have to be boring with a simple bass-snare-bass-snare beat. You can still have creativity in punk music. PUNK DRUMMERS UNITE! KEEP ROCKING, KEEP THE ENERGY ALIVE.

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REPETITION

If I was to tell you that many problems with drumming stem from one little "Secret", would
you beg to know what it is?


The secret is REPETITION
--------------------------------------

Most young drummers (and even some old ones ;) underestimate the importance of this word. But many simple problems are solved relatively easily by incorporating just this one little secret.


PROBLEM #1: My arms tire while playing drums for long periods of time.
FIX: REPETITION.! Practice single strokes for LONG periods of time. Get them EXTREMELY fast to where they become "very" comfortable. If the rest of your technique is relatively good, your arms will not tire after that.


PROBLEM #2: My feet are slow and can't do half the things my hands do.
FIX: REPETITION.! Isolate your feet and practice nothing but them for extended periods of time. Play the samba bass drum rhythm "allot". That's always been a good one for getting your right foot in shape.


PROBLEM #3: I can't play in odd time signatures.
FIX: REPETITION.! Vinnie Colauita once said, "Just play in 7 for like an hour". This is especially insightful as we can often get caught up in studying things too closely and miss the point. Sheer repetition will help lead to more comfort in odd times.


PROBLEM #4: I can't do a proper double stroke roll to save my life.
FIX: REPETITION.! Play that thing slowly, properly, and for "long" periods of time, while gradually increasing your speed. DO NOT CHEAT. Make yourself do intentional,
defined doubles. Chart your progress by playing to 16th's on a metronome. In no time at all, you'll be GETTING IT.

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MOTIVATION
Ever get in a slump and can't get excited about
drumming? This is often due to lack of motivation or stimulation. Just as you would read positive books of wisdom and understanding to improve yourself as a person, the same holds true with drumming. You must find ways to be excited about playing the drums. The following offer a few suggestions:

1. Surround yourself with great musicians. When you're around great
players, you will strive to be the best yourself. It rubs off, I promise!

2. Buy a new cymbal, piece of hardware, or drumset. Sure, it's a bit expensive, but it never fails to help get the juices flowing.

3. Listen to great drummers on CD and Video. The more you hear, the
more you will have the desire to play like them.

4. Go to drum clinics! What can I say, if you don't walk away inspired by a great clinic, then you probably shouldn't be playing drums.

5. Set goals for yourself. No matter how small the goal, it
gives you something to strive for and gives you a sense of purpose in life. Life is more fulfilling when you're moving forward.

6. Take some drum lessons. Despite your level of experience, drum lessons always seem to inspire us. You will find new approaches, viewpoints, and techniques that you may have never encountered otherwise. Even the greats will often go back and study with a teacher after a long successful career. They are maintaining goals in their life and assuring continual motivation, excitement, and competitiveness.

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TIME MANAGEMENT

Do have trouble finding time to practice?
This famous writing may provide some inspiration.


As this man stood in front of the group of high-powered overachievers, he said, "Okay, time for a quiz." Then he pulled out a one-gallon, wide-mouthed mason jar and set it on a table in front of him. Then he produced about a dozen fist-sized rocks and carefully placed them, one at a time, into the jar. When the jar was filled to the top and no more rocks would fit inside, he asked, "Is this jar full?" Everyone in the class said, "Yes." Then he said, "Really?" He reached under the table and pulled out a bucket of gravel. Then he dumped some gravel in and shook the jar causing pieces of gravel to work themselves down into the spaces between the big rocks.

Then he smiled and asked the group once more, "Is the jar full?" By this time the class was onto him. "Probably not," one of them answered."Good!" he replied. And he reached under the table and brought out a bucket of sand. He started dumping the sand in and it went into all the spaces left between the rocks and the gravel. Once more he asked the question, "Is this jar full?"

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"No!" the class shouted. Once again he said, "Good!" Then he grabbed a pitcher of water and began to pour it in until the jar was filled to the brim. Then he looked up at the class and asked, "What is the point of this illustration?"

One eager beaver raised his hand and said, "The point is, no matter how full your schedule is, if you try really hard, you can always fit some more things into it!" "No," the speaker replied, "that's not the point. The truth this illustration teaches us is:
If you don't put the big rocks in first, you'll never get them in at all."

The list goes on and on. You should never justifiably be able to say,
"I don't know what to practice".

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RESOLUTIONS

How many of you make New Years Resolutions? Or are you the type to say, "Well, what's the use, I never keep 'em anyway."?

Think about it for a minute, if we had that attitude about everything in life, then why would we even get up in the morning? I mean, why drive to work or go to school when you might have an accident and get killed? You see how silly this is?

The word resolution is just a fancy word for "goal setting". Webster lists several definitions but reoccurring words are "resolve", "declare", and "decide".

Why not use the beginning of the year as a fresh start to achieve the goals that you set for yourself on DRUMS? Write them down in big bold letters and tape them to the wall if you have to. This is a common habit of successful people and it WILL work if "you" work hard for it and "MAKE IT HAPPEN". Even if you don't meet all of your goals, just "TRYING" gets you a lot closer than you would have gotten otherwise.

You don't need to have a list of 10 or 12 things if you don't want. Sometimes just 1 or 2 goals are sufficient. Maybe you can resolve to get that double stroke roll perfected once and for all. Or maybe you can commit to taking a few private lessons to help
get you out of that slump.

GET POSITIVE, GET MOTIVATED! Make a few resolutions and get out there and KICK SOME BUTT!

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TIPS FOR SELF-MOTIVATION

1. Read books with inspiring themes or messages.

2. Listen to inspiring music. Music that leaves
you feeling "pumped" and filled with positive
energy.

3. Listen to self-help/motivational tapes. If you
haven't tried 'em, you're missing out!

4. Watch movies like "Shawshank Redemption" that
portray the epitome of human perseverance.

5. Go to drum clinics and/or watch drum videos of
your favorite players. You can even sometimes take
drum lessons with a clinician when they come to town.

6. Study the patterns of successful people and
hang out with them any chance you get. They "will"
rub off on you!

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SWEAT THE SMALL STUFF - Mike Donovan

Attention to detail is an important aspect of pro drumming. I recently had a drummer friend (he's playing 4 nights a week with a signed artist) tell me he was about to upgrade to a new set and he was thinking about buying Pearl Exports. I immediately sat him down and talked with him about the importance of small details and how much of a positive
effect they can have on the end result. Not that Pearl Exports aren't good drums mind you, but for a person with his level of experience and professionalism, he should (in my opinion) be in a higher-end kit.

These small details I'm talking about are things such as wood types, bearing edges, isolation mounts, stainless steel hoops, etc. All these things, I told him, help to clean up your sound and allow for a more pure and precise tone. It can sometimes mean the
difference between driving a VW Bug and a Cadillac.

While the cash isn't always there, you owe it to yourself to at least consider taking the plunge and investing in a "quality" drumset if you're a serious professional. Words can't describe the euphoria of what it's like to sit behind a set of drums that virtually "play themselves". This goes for marching and hand percussion as well. There is nothing like "quality", whether it be your instrument or your performance and once you've been there and then came back, you'll definitely know the difference. The details matter, and you should be "sweating the small stuff"!


CONSIDERATIONS:
1. Interest rates are low right now!
2. Don't forget "used" drums. You can sometimes save thousands and still end up with a top-of-the-line kit.
3. Do your homework and research drums thoroughly before buying.
4. Please support your local small businessman!
5. Visit our Lesson Database for more tips on "Buying a Drumset".

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TOP 20 DRUM BOOKS

To be proficient on your instrument, you want to make sure all your bases are covered. Here are some of the top-rated drum lessons books that have made a huge impact in drummer's lives over the years and have definitely stood the test of time.

READING: "Fundamental Studies for Snare Drum" - Garwood Whaley, Ted Reed's "Syncopation", "Modern Reading Text in 4/4" - Louie Bellson

HAND INDEPENDENCE: "Stick Control" - George Stone, "Accents and Rebounds" - George Stone

RUDIMENTS: "International Drum Rudiments" - PAS, "Modern Interpretation of Snare Drum Rudiments" - Buddy Rich/Henry Adler

SNARE DRUM: - "Modern School for Snare Drum" - Morris Goldberg, "Modern Rudimental Swing Solos" - Charles Wilcoxin

DRUM SET: - "Realistic Rock" - Carmine Appice, "Future Sounds" - David Garibaldi, "The New Breed" -Gary Chester, "Bass Drum Control" - Colin Bailey, "Patterns" series- Gary Chaffee

MISCELLANEOUS: "Master Studies" - Joe Morello, "Even in the Odds" - Ralph Humphrey, "Afro-Cuban Rhythms for Drumset" - Frank Malabe and Rob Weiner, "Drum Wisdom" - Bob Moses, "The Sound of Brushes" - Ed Thigpen

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WHAT TO PRACTICE ON DRUMS
For those of you that have caught yourself
saying, "I don't know what to practice".. HERE IS A LIST:

1. Listening (concentrated "listening" to music, not just "hearing" it)
2. Method Books (Chapin, Latham, Chaffee, etc.)
3. Drum Rudiments (do you know all 40?)
4. Groove playing (and making it feel as good as possible)
5. Styles (rock, blues, funk, country, jazz, Latin, swing, reggae, etc.)
6. Stick control (George Lawrence Stone books etc.)
7. Reading (books, charts)
8. Dynamics
9. Tuning Drums
10. Playing with a click or drum machine (also playing behind/ahead )
11. Song form (AABA,ABA, etc)
12. Soloing
13. Playing over the bar line
14. Odd Time
15. Finger Control (this should come "after" basic hand technique)
16. Moeller Technique
17. Transcribing Drum Beats
18. Two handed riding on cymbals
19. Linear patterns (within the groove and soloing)
20. Left hand lead
21. Double Bass Drums
22. Fast tempos
23. Electronics (familiarize yourself w/the latest midi equipment)
24. Instructional drum videos
25. Studio techniques (mic placement, effects, etc.)
26. Odd groupings (3’s, 5’s’ 7’s and 9’s etc.)
27. Polyrhythms
28. Beat displacement and/or Metric Modulation
29. Shuffles (funk, rock, 2 hand shuffles etc.)
30. Showmanship (stick twirling, standing on your head)
31. Practicing your drums in front of a mirror
32. Recording yourself and listening back (This is a big one!)
33. Creating your "own" patterns and ideas for drums
34. Augmentation and Diminution
35. Tehais (A figure repeated three times evenly in a phrase)
36. Filling around accent patterns
37. Practicing extremely slow tempos
38. Continual linear triplets around the set
39. Continual linear 16th’s around the set
40. Motion exercises (ala Steve Smith video)
41. Left hand and foot isolation
42. Drum physiology and ergonomics (Extremely important!)
43. Read drum publications, Internet newsgroups for inspiration
44. Brushes for snare drum
45. Cymbal technique (which one to hit, when, how hard, etc.)

The list goes on and on. You should never justifiably be able to say,
"I don't know what to practice".

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Music Gifts - Got Drums

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