Let’s say you’re the world’s greatest drummer! You got it all together. There’s not one thing you need to practice……errhh… Scratch………………….   WRONG!!  ………………. We interrupt this type of thinking for a word from reality. There is no such thing as the world’s greatest drummer or anything else for that matter.

Don’t get me wrong. There are many talented people doing their work very well. I recognize the fact that in all fields there are those that rise to the top. We see them on recordings, on tours, in the magazines, and on TV.  The awards are given and accolades abound. What seems to be the most consistent in gifted and successful people is that they keep striving to do better. They have a hunger to know and do more. Some might think they’re “driven”; which can be a bad thing if the rest of their life is messed up and out of balance. But I see in most cases an honest desire to be faithful with what they’ve been given.

Most talented people I meet admit that what they have is from the Lord. Even in the secular world you hear the term “they have a gift”. Although some don’t acknowledge the Giver. Ah,,,, yes,,, that would be another article.  Anyway,,, I believe we all know we’re given gifts and talents.  The big question is HOW do we develop it?

For drummers and all musicians coming up with a routine that works for you is very important. You don’t have to practice eight hours a day to see results, but you have to do something. You can’t leave your instrument alone all week and hope that by the weekend you’ll magically gain new skill. So let’s look at a routine I’ve used that seems to help.

Through years of studying and teaching I’ve found a mixed routine gets the best results. I know we often start learning an instrument, especially drums, by just getting a kit; turning on the music; and “slamming” away. This is fun, but there’s so much more.

There are five areas of a study that always help the growth of a musician.

1.    Rudiments & Theory

2.    Reading Music

3.    Listening & Copying New Music

4.    Groove Exercises

5.    Soloing/ Improvisation

The incredible thing about this is that no matter how long you’ve been playing this routine really works. When I was younger I would get bored because teachers wouldn’t let me play songs or experiment. It was just the practice pad and the book.  As I got older just playing tunes didn’t seem to solve all the problems. So as a teacher & student I started mixing up my lessons and practice time, and “voila” my playing improved across the board. In other words my technique felt better, my concentration was stronger, I had a bigger vocabulary of music, and I seem to be able to stay more motivated.

Now I know this is my thing.  It’s not a doctrine just a concept. You won’t hurt my feelings if you do it different, or if you have something that works better. But if you don’t know what to do, start with this routine and see what happens.

Here’s how it goes. Let’s say you have one hour each day to practice. Divide it into five even sections. You should at least have fifty minutes. For those of you who can go longer just spend more time on each section.

1. Rudiments/ Theory – I usually start on a practice pad, but it quickly develops into a whole drum set exercise. This is a warm up time. I’m thinking strictly of hand technique, posture, breathing, feet placement, etc. etc. It’s all about the mechanics of playing at this point. I set my metronome or drum machine to a random tempo and just start playing simple rudimental patterns on a pad. Use one tempo for at least 4 to 5 minutes, and then stop & pick another speed. So in a 10 to 15 minute period you should play a slow, a medium, and a fast set.  Also, be sure you start with “your normal volume” with no accents and then gradually work in variations as YOU make it happen. I often tell the students… “Don’t let the sticks play you”.

You can use the 40 International Rudiments starting with single stroke rolls, doubles, paradiddles, flams, drags, etc. etc. (There’s a free download of the rudiments at www.pas.org) Books such as “Stick Control” by George  Stone or “Master Studies” by Joe Morello are great too. Focus on one idea or mix them up. It doesn’t matter. The goal is to be in control of the sticks & pedals.  Be relaxed, but deliberate about what you are doing. No tightness or tension should be felt in your body. After getting comfortable on a pad then try the patterns around the whole set. You can also add your feet by playing basic patterns such as counts 1 and 3 on the kick and 2 & 4 on the hi-hat, or anything else that helps develop your control and stamina.

2. Reading Music-  Oh, you say, “NO, NOT THAT”…  “I CAN’T READ MUSIC”.  Well, you don’t HAVE to, but it can be an awesome tool. Even learning basic music skills will add to you ability to learn new musical ideas quickly. If you’re just beginning get a teacher and start with a first level snare book. If you know how to read get some new material and expand your horizons. It doesn’t matter what age you are do not be afraid to learn.  Even seasoned players continue to attend clinics and seek out teachers to help them move on to the next level.  “NO FEAR”  Oh,, and did I say USE A METRONOME.

For this time slot I’ll work on a snare drum study and some set books that challenge my current level of playing.  Always mix up your routine so that you feel inspired.  I use a snare studies book to play rhythms not only on the snare, but to play them around the kit so I learn how to interpret patterns creatively. The set books are more “part” specific. Although I still create variations once I’ve got the written parts figured out. I’ll write the tempo I’ve set my machine to at the top of the page so that when I come back to it I can try a different speed. That can be very good training because sometimes we play music at different tempos for different artists; even the same songs.  Imagine that!!!!!

3. Listening To & Copying New Music- This is what we all love to do. It’s probably how you started the learning process. You hear tunes that inspire you, and you want to do what that drummer was doing on the recording. But wait,,,, there’s more !! Don’t get stuck only playing what you already know. If you can play something well then it’s time to move on.  Challenge yourself with NEW tunes; lots of NEW tunes.

This doesn’t mean you can’t go back and learn old music. Just what’s NEW to you.  GOT IT?!!  Build a huge vocabulary of music into your playing!!

I will first listen to a song setting at the kit. Then I might play “air drums” along with it. Maybe take a few notes. The idea is to truly copy what you hear, not just “jam” along without concern for what the drummer played on the recording. I’ve had students do that a lot. Copy what you hear as if you have to reproduce it for that artist. And yes I’ve had artists ask me to play what was on the recording many times. Even the exact fills!!  Once I’ve “got it down” then I might start incorporating my own ideas.  Tomorrow….. a new song!

4. Groove Exercises – This is so important! “Groove Is Everything.” – (quoted from my friend Abe Laboriel). Play a variety of grooves in 8 bar phrases. Pick one from 4 types of drum feel: 8^th notes, 16^th notes, triplets, or shuffles. Use one at a time for now. You could mix it up later. Set the click at one tempo for 5 minutes. Play a pattern for 7 bars without changing anything; do a fill somewhere in bar 8; and then play variations on the idea in each 8 bar section. Your focus is on precision and the feel of the groove. Start as simple as you need to and add ideas as you feel comfortable. Always concentrate on the pulse (the quarter note) and the feel of the subdivision of the pulse (8ths/ 16^th/ triplests/ 32^nd notes, etc.).

5. Soloing/ Improvisation- Playing a solo can be frightening. If you’re rather new to your instrument I recommend working hard on the other three areas. Build your technique, stamina, and vocabulary first. After a year or two start working on solos. Now I know drum solos are a rare thing, but the idea of being creative within a song can be developed by practicing this.

I think of solos in two ways. One, is “free style”, the other is “song form”. Both are very useful and important to develop.

In free style soloing I think more in colors and emotions and less about groove or time keeping, although that may be part of it. I try to paint pictures and think as if I’m playing to a movie rather than trying to just play a pattern. I might get a new student to loosen up with this concept by just standing by the kit and throwing a hand full of sticks at the set. Then just start hitting things!!  Soft or loud; slow or fast; it doesn’t matter just create!  Play the drums with your hands; use a mallet & a brush; a stick & a triangle beater; etc. You got the idea. Just discover what sounds you can get out of a drum set and any percussion instruments you are using. Anything goes!!

WARNING,,, please don’t do this at random on the next job. In a musical setting this should only happen for a reason. Remember the music rules, NOT YOU.

Song form solos  should be practiced with a machine. You could literally think of a song while you’re doing it, but the idea is to just use a fixed form. For instance play a groove for 4  bars and then play a solo for 4 bars. Do that for three minutes or so; just like a song. Then try 8 bars of a groove and 8 for the solo and so on. You could sing a song to yourself and then continue singing while you solo over the same phrases. (EX.- Try singing “Ancient of Days” or “The Happy Song” while soloing.) That is a very interesting way to develop a musical approach to soloing. What you’ll find is that your fills in general will have a more musical flow.

The primary rule in soloing is ‘DON’T STOP”! Don’t second guess what’s happening. Just keep going. Everything you play may not be awesome, but the idea is to get your “creative juices” flowing. In general playing solos allows your mind, body, & spirit to loosen up and start to express what’s in your heart. Drumming seems to become less mechanical and more spiritual which I believe should be the goal for all musicians.

So, there you have it. A way to systematically develop your musical skills. Well at least one of the ways.

Blessings to you and Happy Practicing!!

Carl

As you build a song with a group every element affects the feel or vibe of the song. I try to listen to every part that’s being added to be sure the drums still feel right for the song. Sometimes what worked at first has to be changed as the song develops. In this video I think we were pretty much settled on the drum part, but we’ll see. It’s up to the artist and/or producer, everytime! The more experience you have as a player people will often trust your judgement, but I never refuse to give more options if the creative juices are flowing… I try to make every take special! “Always give your ALL!”

 When learning new material I just sit and listen. I don’t try to play right away. Let the song get in your head!! Mark the tempo while the writer or leader is playing the song down, make notes on the chart or make a chart if needed; try to hear (or visualize) what will happen in each section. You could tap along or play air drums, but don’t be distracting during the birthing of an arrangement. When it’s time for the band to play together then play what felt like the obvious drum feel you heard in your head. Then let the song evolve from there… ask questions… Make sure the artist and/ or producer is happy. We’re always serving!!

After getting basic tracks recorded it’s usually expected that every player will add extra parts to the song. Besides recording extra guitars, keyboards, and vocals… I almost always add shakers, tambourines, loops, special effects, whatever we feel the song needs. Here’s a fun clip from Paul Baloche’s new project… Ben Gowell and I are adding large drum fills to a tune. We got to laughing as we played… just watching each other and Paul running around with a flip video.  … I can’t even remember the song we were working on.

 

 

 

 

 

 

 

 

 

 

The Drummer & Percussionist:

*Two heads are better than one?*

**Or the two headed monster!**

I’ve been very fortunate to work with some amazing musicians. Drummers, percussionists, and other players have made the job of creating music a shear delight. On the other hand, there have been moments of extreme frustration when a musician was not grooving or connecting with the band. It could be a technical problem. Like a player not keeping good time, playing too loudly, or not playing the proper part or style. Sometimes it’s an emotional thing. Like someone thinking too highly of themselves (arrogance) or just not caring about what they are doing (boredom). Either way it makes for a bad day for the band.

For a drummer and percussionist to work together well, every aspect has to be in place. Both players must really be “locked in” to the tempo. Dynamically, they need to sound like one unit. Their parts must be carefully arranged to work well with each other, and to compliment the rest of the group. And it helps if they have at least a good working relationship, if not a real friendship.

As a drummer, I look for the percussionist to “weave” their playing into mine. The drummer is still “driving the bus” so to speak. The percussionist should never try to push or pull the tempo around. They should always try to line up their time & feel to what the drummer is doing. I want their part to compliment what I am playing and in general make the music sound great! When I’m playing percussion, I always remind myself that the drummer is the Christmas tree and I’m the ornaments. In this case, we need to see more green than silver, if you catch my drift. 

I’ve heard percussionist say that their drummer doesn’t play well and that they HAVE to over power them to make the music work. That could be true, but my first recommendation is to work it out first. Get with your drummer and start practicing with a metronome, or drum loops. Communicate with each other. Build a relationship where you think as a team, and learn to help each other. Music never seems to feel really good when there is a musical or personal battle on stage. *More on this later.

I can always tell when the percussionist is NOT listening to what the drummer or the rest of the band is doing. The part they play might conflict with the hi-hat or ride cymbal part. Maybe they are playing too busy. Filling every space with some sound effect or percussion fill is like having too much salt in your soup! In a case like this, I will actually have a little chat with my drum/percussion partner. I always try to be an encourager. It never helps to yell at someone or project negative emotions into the environment. There is a spiritual lesson here, but for the sake of time, let’s just focus on the technical stuff.

I will actually discuss with the percussionist about how we arrange our parts for the music we’re playing. I might ask them to NOT play for a section. Maybe they should just color the 1^st verse and chorus with sound effects, and not do any “groove” parts until the 2^nd verse. It all depends on THE MUSIC! What does the music really require? If there is a recording, both players should be copying what was already “composed.” Yes, I think of recorded music as a composition. Unless the leader asks for some other interpretation, play the part that already exists for the song. This is always my “default setting” for playing music.

If we are creating a part for a song I listen very carefully to what the rest of the band is doing to try to find the drum part. Then the percussion concepts should fit into that. Yes, there are times we might build from a percussion idea first. Percussion grooves are everywhere in contemporary music. Even more so now with the use of drum machines, drum loops, and sequencing. So it is a great time to be a drummer and percussionist, but ALL of the musicians must be serving the song. If what we play does not make the song work well, it’s just noise!

When setting up I prefer the percussionist to be on my right side and the bass player to my left (the hi-hat side). This allows for the percussionist to hear the kit clearly and to have a visual connection to my right side. For me, the right hand will be dictating a lot of the time keeping (hi-hat & ride cymbal patterns).  I’ve always found this helpful when setting up a drum and percussion duo in the band. It is definitely my preference when playing percussion. When that’s not possible, I still make sure I have a good sight line to the drummer, and I’m very careful about getting a good monitor mix. You have to hear well to play well.

I mentioned earlier about keeping a positive atmosphere. There should be no personal or musical battles on stage. Make sure you are communicating well with the percussionist or drummer. CAN WE TALK?!  Commit together to serve the music and the other players to the best of your abilities. If you can’t agree on what you’re playing, always use the original recordings as a reference. Also, be sure the worship leader or artist is happy with what they are hearing. It is NOT about you! Never think about getting noticed or trying to “be cool.” If you are playing great music, and striving to make the whole group sound great, you will automatically gain the respect of everyone.

A great tool for checking out your sound is to record everything you play. I’ve mentioned this in other drum articles, but it is really true for every player. As a percussionist, you can get a true perspective of what you sound like when hearing the recording from any event you play. Be objective when you listen and decide if what you’re playing really works with the music. If not, be mature enough to make the proper adjustments. You might notice your shaker or tambourine patterns don’t line up or “groove” well. Listen carefully! Do you need to push your time more or layback to make the music feel good. Are you too loud or too soft? Do you need to leave out some ideas because there is just too much going on? Hearing a recording of yourself is one of the most educational tools you can use. Be brave and do what ever it takes to improve your work.

One practical thing I look for in a percussionist is the way they angle the shaker or tambourine. The more perfectly level you play a pattern with these instruments, the more even the rhythm will sound. If you use more of an up and down hill kind of stroke the rhythm will swing more. Try it next time you practice. Take a shaker and play a simple pattern as evenly as possible. Notice the more you point your stroke towards the floor the more “uneven” or “swinging” the pattern will sound. Then come back to a perfect horizontal stroke and listen to the difference. This simple exercise well help you learn to control the feel of your groove. Try this also with a tambourine. It’s an “eye opening” experience.

Another common percussion mistake is to use the wrong style of grooves with the music you play. If you play real legit “Latin” percussion patterns in pop or rock songs, they may not fit. Even if you play them perfectly, they still may not work with the music. Again, the contemporary percussionist must know how to blend all of the styles they know and find just the right “musical” concept to fit with what the song requires.  You might have to play some very strange combination of instruments or patterns to create the right vibe.

In my set up, I use a set of 3 congas, a pair of bongos, two timbales, a djembe, a doumbek, a big low drum, an udu drum, a talking drum, several triangles, cowbells, woodblocks, aggogo bells, several wind chimes, assorted cymbals, gongs, and several cases of percussion toys. I even collect saw blades, seashells, metal and plastic pipes, and other weird noisemakers. One of my favorite sounds is a hitting or shaking a “garden weasel.” It’s that weird tool you’ve seen on T.V. Leann didn’t care to use it in the garden, but I love the sound it makes. Anything can be used as a percussion instrument, just be sure it works “musically.”

Developing your drum & percussion team into a great music machine will make you an honored duo in your band. Stay humble and focus on making the music sound great and you will never be accused of being a two-headed monster. You can truly be proof that two heads are better than one.

Psalm 133 – “How good and pleasant it is when we “groove” together in unity.” -The New King “Carl” Version (NKCV)

Blessings,

Carl

P.S. check out some fun drum & percussion ideas on the project I did with the pop jazz group Quad Venti @ www.quadventi.com

Capturing a great moment of worhsip in the studio.

What’s the question every drummer hears at one time or another? – Who IS your FAVORITE drummer?

Well I’m sorry to disappoint you, but I don’t have one. There are, however, many players who have influenced me through the years. And I think this is a great time to give a thoughtful list of my drum heroes. I also hope you find this helpful as a reference of players you should listen to as a means to expand your musical horizons.

My first drum inspirations were not drum soloists. Although through the years the greats such as Gene Krupa, Buddy Rich, and Louie Bellson would be added to my list of drum heroes. It seems that I was more influenced by songs than individual musicians. Although it was the drums in those songs that always seemed to draw me.

I still remember my father reaching around to the back seat of the car to stop my pounding out the beat of “Pretty Woman.” The groove blasted from the little speaker hanging on the window at the “drive-in” theatre. Even today my wife, Leann, has to stop me from tapping out rhythms to the music at restaurants or in the car. I guess some things never change. “I got the music in me,,, I got the music in me,,, YEA!”

Anyway, the meshing of drum grooves with great melodies, guitar riffs, piano vamps, and of course, great bass patterns, always inspires me. It was the drums as part of great songs that made me want to play. And so it is today. I’m drawn to great songwriting and arrangements more than drum solos. Although there are a lot of drum records in my collection now.

So who were those early “ear grabbers.” Well on the recording of “Pretty Woman” was Buddy Harmon who has played on thousands of great recordings. There’s also Hal Blaine who was part of “The Wrecking Crew” in L.A. A nickname they were given by the “legit” musicians of the day because it was said these young studio musicians would wreck the music business.  His credits also list in the thousands. I use to sit down and play along with tons of records (*yes, vinyl) that Hal recorded. “Classical Gas”, “Close To You”, “Galveston”; I know they’re just pop hits, but that’s what I grew up on. There’s also Jim Keltner, John Guerin, John J.R. Robinson, Russ Kunkel, and,,, OH,, I know I’ll forget some because the list is huge!

Oooo,,, YES!,,, Jeff Porcaro definitely ranks up there as a favorite. I would buy recordings just because I’d see his name in the credits. All of those great Toto records, Boz Skaggs, Steely Dan, and many more fantastic performances.  It was a sad day when he passed away. I still remember it. It was also the same year we lost another great drummer; Larrie London. I was sad for days when they died. And I didn’t even know them in person.  Just their influence and inspiration made me feel like I was part of the great family of drummers.

Manu Katche, Steve Smith, Greg Bissonette, Phil Collins, Ricky Lawson, and the list goes on and on and on. Oh, wait,,, I can’t forget,,, OH MY GOSH!!… Vinnie Colaiuta, Steve Gadd, and Dave Weckl…  Pause!!! .. You can’t see me,, but I’m shaking my head in amazement!!  These guys are unbelievable!!   Oh yea!!! I want to go put on a CD now just to listen to them.

Crash! Slam!!… Bah da Boom!!!!!!!

The point I’m trying to make here is that you should be influenced by many artists. Don’t fall into the trap of listening to only one player or style. I’ve seen drummers so obsessed with one type of player that they are limited in their ability to play in different settings… which is an absolute “must” for a musician today. Besides your Rock and Pop records there should be other things in your collection. Listen to the jazz greats like Elvin Jones, Tony Williams, Max Roach, and Roy Haynes. Latin icons like Tito Puente or Alex Acuna. Check out some country music with Eddie Bayers, James Stroud, or Paul Leim. Paul can also be heard on tons of pop hits as well as some of your favorite Christian recordings.

The great drummers you hear on Christian music is an extensive list of its own. Steve Brewster, Scott Williamson, Mark Hammond, Dan Needham, and John Hammond are just a few of the players that have laid the foundation to the music that you are probably most familiar. When I first got saved in college my first Christian record was Keith Green’s “For Him Who Has Ears to Hear.” Bill Maxwell was the drummer on all of Keith’s records as well as many Andre Crouch albums. He became my first mentor of drumming for Jesus. Then there was Alex Acuna, Bob Wilson, and Keith Edwards and the others I’ve mentioned. It’s been an honor through the years to work with some of my drum heroes. The main thing I’ve noticed is not only were they gifted players but also humble people. I believe that many talented people know that their skill is a divine gift.

There are so many great drummers. To pick a favorite would be impossible… well, at least for me. Through the years I realize my list just keeps getting bigger and so should yours.

So go out and add some stuff to your collection that will expand your musical horizons. A good way to start is to buy a greatest hits CD of a certain artist or era. You know, one of those “K-tel presents” series or a Rhino Records compilation. I recently purchased one of Stevie Wonders Greatest Hits collections. Not every song was exciting for me, but it was a great study in the development of his talent. That’s what it’s all about. Learning and growing. Being faithful to the talent the Lord has placed in you.

Also check out Modern Drummer Magazine or www.moderndrummer.com and see what’s going on in the drum community. It’s the best reference I’ve seen for what drummers need to know and learn. You can also buy videos or DVD’s of so many great players. They share their skill and insight in a lesson format rather than just watching them in concert. Although that can be very educational as well. Again the main idea is to keep expanding your musical vocabulary.

 

Listen & Learn,

Blessings,

Carl

 

I’ve been working on new tunes with Quad Venti – the pop jazz group I work with. Dave McKay-keys, Gary Lunn-bass, Mark Baldwin-guitars, & “yours truly” on drums & percussion. We’re taking our time writing & re-writing tunes so the material feels right to everyone. We’re challenging each other in a good way… can’t wait to hear the results. We’ve tracked about four tunes so far. *In this video we’re on a little tech break because the recording gear (a laptop) would not cooperate… BUT I think it was pilot error! I’m a better drummer than an engineer. Keep us in your prayers as we “dig for gold” in our musical world. 

This short video shows that there are always creative options to the basic tuning approach. We were trying some kick tuning options on Paul Baloche’s new project.

Get the “The Beginning Drummer” DVD for a complete demonstration in drum kit tuning and other basic drum techniques. Go to my  STORE  to buy on line.

Leann & I are enjoying working together in the studio. Contact me if you would like some “killer” vocals on your project or demo. This girl can sing!!! I can say that… can’t I.  :-)

To book a session contact me at:

My office – (615) 851-2850

Or email me at – LMAlbrecht@aol.com

Or find me on Facebook – Carl Albrecht Fan Page