Drum Related

This particular part of the song sounds rather self explanatory, and it is really! An intro is simply something that introduces the main body of the song. (In case anyone didn’t know, “intro” is short for INTROduction!)
However, make sure you don’t get an intro confused with a 1st verse of something to that effect. An intro usually has very few or no lyrics. Sometimes it may be and instrumental chorus or something too. Intro’s can quite often be rather short and snappy, or simply a fill to pick the track up. The trade marks of an intro are that it MUST be at the beginning of a song and it happens only once! It may well be that later in the track you here something you heard at the beginning, however you can’t call that an intro too! So don’t make that mistake. Intro’s are pretty easily identified though, so I’m sure you’ll all get this one right.

The Roots of Jazz
Before 1850
Though jazz and classic blues are really early twentieth-century black music innovations, certain characteristics found in jazz do have their roots in much earlier musical traditions. Call and response, improvisation, the appropriation and reinvention of elements from Western art music: black music in the twentieth-century has never held a monopoly on these musical practices. For instance, the era American historians call “antebellum” (roughly 1815-1861) holds much of interest to researchers looking for the deep roots of jazz.
There was one condition that had to be met for a black tradition unique to North America to develop. There had to be a creole population in place, i.e. a population of blacks born not in Africa but in America. Historically, and for various complicated reasons, slaves in the United States began reproducing their numbers after the closing of the African slave trade in 1808. The creole birthrate actually climbed in the United States, as opposed to most Latin and Caribbean American colonies. Unlike in Brazil or Cuba direct African infusions into black American culture were much less pronounced in the early and middle nineteenth-century. After 1808, blacks in North America began remembering–as well as forgetting–African musical traditions, reinventing them to fit their needs in an entirely different American context. This is an important thing to remember, especially if you hold with Amiri Baraka that “Blues People” have always been curiously American “Negroes.”
But the North American variation and reinvention of African tradition in the early nineteenth-century was not monolithic. That is to say, depending on the region and the demands of the musical audience–whether it be fellow slaves or plantation-owners–the music varied from place to place. Perhaps the difference between ‘downtown’ and ‘uptown’ black style even began during this era. On the one hand there were the plaintive call-and-response hollers and ’sperchils’ to be found in the tobacco fields, cotton plantations, and sugar marshes that stretched from Virginia to Texas. These instances of black music-making were largely produced by and for a black slave community that understood the significance of the music in ways that whites never could. Scholars have often noted the hidden meaning of field hollers and the significance of the drums to communication between various slave groups. The drums were even banned in the British Caribbean. Meanwhile, ‘uptown’, there were the slaves that played for planter functions. Think here of Solomon Northup, abducted from New York and sold into slavery in the New Orleans area. He would play his violin with other slaves to entertain plantation misters and mistresses at quadrilles and fancy balls. Others slave musicians would play at the so-called quadroon balls, New Orleans galas where light-skinned slave women were auctioned off to the highest bidder. There were striking similarities between these balls and the Storyville milieu where Jelly Roll Morton learned to entertain prostitutes and their patrons.
Despite the fact that the vast majority of blacks lived in the South, there were some freemen and women in the North. Indeed, they even had their own autonomous cultural venues, like the African Grove theater in New York City. But perhaps an even more important agent in spreading black musical style to the North during the first half of the nineteenth century was minstrelsy. The minstrel show was born in the same year as William Lloyd Garrison’s Liberator, 1831, when Dan Rice-for the first time in American history-”blacked up” for a variety show in New York’s Bowery district. The show became increasingly formalized after the Christie Minstrels devised a much-imitated structure for it in the 1840s and 50s. Two ubiquitous components of this structure were the Stephen Foster songs and a generic instrumentation including banjoes, “bones” (jawbones scraped together for percussive effect), fiddle, and tambourine. Minstresly had of course a more spurious connection to black musical traditions than did, say, the spirituals. But it should be remembered that most Northern minstrels did go to great lengths to acknowledge the black stevedores or plantation slaves from whom they had stolen their material. This sort of Love and Theft, according to Eric Lott, set a precedent for a whole tradition of blackface in America where white performers would borrow lovingly, profitably, and heavily from black musical styles, from Dan Rice to Elvis.
Though the minstrel show declined in popularity during the 1860s, blackface has retained a unique place in American culture. When the Fisk Jubilee Singers–a black gospel group from the first all-black university–showed up in New York in the 1860s to try and raise money for their troubled institution some audience members were disappointed, expecting them to sing a bit more like the minstrels did. Indeed, blacks entering show business from the 1860s on often had no choice but to enter it as minstrels. As it turned out, white audiences after the Civil War preferred black minstrels–or blacks in blackface–considering them the “genuine” article. The irony is, of course, that blacks in blackface had to perform a stereotype of themselves contributing to the construction of pervasive stereotypes of black people based on apocryphal happy-go-lucky “Jim Crow” and “dandy” plantation types. Despite the more troubling aspects of minstrelsy, it was another place where European and African traditions met and mingled in a heady, racist, and decidedly American stew. It is also the place where many jazz performers including, for one, Bessie Smith got their start..
Some form of music shaped by the black experience in the United States had appeared in both the South and the North by the time of the Civil War. Likewise, New Orleans–being the center of the American slave trade–had already taken on special significance in the history of black music-making in America. The most interesting reference to antebellum black music is found in the abolitionist Benjamin Lundy’s diary. Near the New Orleans slave market, the hub of the interstate slave exchange, blacks continued to meet on or around Congo square, under the supervision of their masters to sell their wares, exchange information, and dance to drums that Lundy sketched in his diary and claimed were straight from Africa. Another white observer, Louis Moreau Gottschalk–Americas foremost composer, inter-American cultural diplomat, and piano virtuoso of the 1850s-claimed that he grew up in the shadow of Congo Square. In what is probably his most famous composition, Gottschalk sketches for us an interpretation of another African instrument retained and reinvented by blacks in America. He called this composition “The Banjo.”
Further reading: Leroy Jones, Solomon Northup, Benjamin Lundy, Dana what’s her name, Eric Lott, Joseph Roach. Levine. Dana Epstein.Paul Gilroy….etc…John Blassingame.
Info taken from “allaboutjazz.com”

Ever wondered how Ray Luzier managed to convince the guys in Korn to hire him for one of the most highy regarded drum seats in metal? Check out his insane audition tape below to find out why…

We’ve written about and given you updates on the Drummer Live events, so if you’re into that kinda thing you’ll want to know about Drumfest too! The Drumfest 2008 line up has now been announced.

Drumfest 2008, now in its tenth year, looks set to top previous years with an incredible line-up of drum talent from around the globe. To top it off the event organisers have added a fourth show and two education days at the NEC in Birmingham.

Drumfest is also the only event in the UK to include a full retail village featuring all the major brands including ddrum, DW, Mapex, Meinl, Pearl, Premier, Roland, Sabian, Sonor, Tama, Yamaha, Zildjian and many more.

Now for those of you champing at the bit to find out which artists will be hitting the UK, read on…

Terry Bozzio
A legend and an innovator, Terry’s unique and immense DW kit make him one of this year’s ‘must see’ performers. Terry’s noted performances include Frank Zappa, Steve Vai, Jeff Beck and more recently with Korn.

Thomas Lang
Thomas has become one of the world’s most renowned figures in contemporary drumming. His awe-inspiring technique is matched only by his CV which includes Robbie Williams, Kylie, Gianni Naninni and The Clash. ‘Das Machine’ remains one of the industries most sought after session players and one of the worlds most talked about clinicians.

Keith Harris
A master of r’n'b groove, Keith’s performances with The Black Eyed Peas have quickly established him as a major player, aiding in their world-wide domination.

Steve White
Precision, groove and clarity - Steve’s long term association with Paul Weller and his regular clinic appearances have made Steve a firm favourite internationally - a mod hero.

Jeremy Stacey
A British drumming hero whose early career was spent with Aztec Camera, later he joined the likes of the Finn Brothers, Sheryl Crow, The Black Crowes and Joe Cocker.

Russ Miller
One of today’s top touring session players, Russ has worked with Multi-Platinum and Grammy award winning artists including Nelly Furtado and Ray Charles. Recently voted one of the top 5 players in world, Russ continues to wow audiences at events round the world.

Chris Pennie
Now writing and playing for one of the world’s biggest new rock bands, Coheed & Cambria, Chris cut his teeth and built a reputation with mathcore metallers Dillinger Escape Plan. Chris is known for his blend of rudiments with jazz inflected expressions and creative use of triggers and effects via foot pedals.

Mike Terrana
A hard hitting Metal legend if ever there was one! He is currently playing with Rage and has played with guitar legend Yngwie Malmsteen. Mikes creative use of jazz funk swing and metal has made him one of the genres most innovative players.

Mark Richardson
Mark already had a reputation as a player and teacher while with ’90s rock outfit Skunk Anansie but since joining Feeder in 2002 Mark has become a celebrity in his own right, appearing on TV, doing charity work for Riders for Health (cycling 2500km across Africa) - not to mention his appearances at Drumfest and other clinics.

Dom Famularo
Dom Famularo has been travelling the globe preaching the gospel of drumming for over 30 years. An intense performer, Dom is one of the most respected solo drum artists in the world, with a career built solely upon his unique skills as a drummer and motivational speaker.

Dates and line-ups on the Drumfest calendar include:

Drumfest Education Days at the Rock & Pop Festival, Birmingham NEC Forum
Friday 11 July
Saturday 12 July

Birmingham Drumfest, Birmingham Rock and Pop Fest, NEC Forum
Sunday 13 July

Terry Bozzio
Thomas Lang
Jeremy Stacey
Steve White
Mark Richardson
Chris Pennie
Mike Terrana
Dom Famularo

Sheffield Drumfest, Sheffield Megacentre
Tuesday 15 July

Terry Bozzio
Thomas Lang
Keith Harris
Mark Richardson
Chris Pennie
Dom Famularo

Northampton Drumfest, Northampton Park Inn
Thursday 17 July

Terry Bozzio
Thomas Lang
Keith Harris
Russ Miller
Chris Pennie
Dom Famularo

Brentwood Drumfest, Brentwood, Brentwood Centre
Saturday 19 July

Terry Bozzio
Thomas Lang
Keith Harris
Steve White
Russ Miller
Chris Pennie
Mike Terrana
Dom Famularo

Tickets:
Birmingham and Brentwood - £15 Adults (adv), £17 on the door; £5 children under 12.
Sheffield and Northampton - £10 Adults (adv), £12 on the door; £5 children under 12.

Tickets and further details are available via www.drumfest.net or from any of the five Professional Music Technology branches:

Northampton: 01604 230433
Birmingham: 0121 359 5056/ 0121 333 3220
Romford: 01708 746082
Oxford: 01865 725221
Southend: 01702 436501

Now this clip shows a guy who’s obviously VERY well practiced. What he does, he does really well. From what I can tell (and do bare in mind this is only my opinion) he has practiced and practiced the same things over and over and over until he’s nailed them. None of what he does seems ad-libbed in any way. If you watch his other stuff you’ll see that he re-uses all the same kinda fills and rhythms and what not. I’m not saying he doesn’t have a knack for playing, but if you look closely you’ll see his technique has been really well perfected and there are literally no miss hits! This is a sign of hard work rather than a “natural” ability which is more raw. I dunno how long it took him to get this recording, but it does go to show what can be achieved with practice! I think he’s great fun to watch and well worth trying to emulate in many ways.

I’m not having a moan, cos let’s face it, drummers are the best! But I’m sure you’ll all agree being a drummer can suck from time to time! I mean, we have to rock up early to set up our kit, and no doubt we’ve also had to take it down first if it’s the one we practice on. Then we gotta spend ages sound checking all the drums. Then most likely shift all the cases somewhere out of sight for the gig later on. Now, unless you’re in a big fancy band and have roadies to do all that for you, you most likely have to do that all on your own, right? And what are the rest of the band doing while you’re doing all this?? They’re all having a chat and a laugh and generally having a good socialise with all the people around!
Then later on during the gig where do we get stuck? That’s right… at the back…..Hidden behind and big set of drums and the rest of the band! Sometimes we don’t even get a clear view of the crowd! The guitarist will interact with the audience, move about, smile at the singer, make eye contact with the bass player and what not, but very rarely does anyone look back at you to make sure you’re cool. Short of the band looking to see what’s up if you stop playing or something you’re pretty lonely back there behind that kit! We’ve have girls come up on stage a number of times to have a sing and a dance with the band, but did they get to come round to see me at the back and use my mic?? Course not! They couldn’t get round all the mic leads, stands, amps and cymbals and what not! So there I was, the only one out of the band not getting any female attention!

Now as I said, I’m not having a moan, ‘cos we get many perks to. But I thought I’d just write a little bit about the downside to being a drummer. Hey, maybe it’s just me, but I think it can get pretty lonely back there! 

I know I’ve written about Drummer Live 2008 before, but I said I’d keep you updated! So here’s the latest….
Europe’s largest drumming festival, Drummer Live, launches in London on the 14th and 15th June 2008 and promises to be the music event of the year. With a spectacular line-up of famous drummers and hundreds of exhibitors, this will be the ultimate day out for all drummers and percussionists.
Now in its fifth year, Drummer Live has gone from strength to strength and the organisers can now announce a truly world class line up of drummers to play the show.
Led Zeppelin’s headline grabbing show at the O2 last December saw Jason Bonham step into the biggest drum seat in the world. Drummer Live are proud to announce his first ever appearance at a drum festival. Joining Jason in this year’s line-up is Chad Smith from the Red Hot Chili Peppers, who, while not new to drum festivals, is always guaranteed entertainment.
With over 30 million albums sold, Korn continue to attract vast audiences, so it is a special honour to welcome their drummer Ray Luzier to play Drummer Live. Staying with the Metal genre, metal drumming genius, Roy Mayorga (Stone Sour) will be playing as well as Pete Ray Biggin from the über-cool Mark Ronson band. Other artists confirmed to play are Prog rock supremo Gavin Harrison (Porcupine Tree) and master of jazz/funk Derico Watson (Victor Wooten) with further major artists to be announced shortly
Drummer Live will be the closest thing to drumming heaven for all those gear junkies. The very latest percussion gear and jaw dropping kits will be on display at the biggest gathering of drum manufacturers in the Europe. From top of the range acoustic drums to congas, state-of-the-art electronic kits to cymbals, the most famous brands in the business will be showcasing their best products and offering every conceivable product, service, part or accessory a drummer could wish for.
Drummer Live is part of the UK’s Biggest Music exhibition, The London International Music show, which includes The London Guitar Show, Unplugged and Sound Recording and Technology Show. It takes place at ExCeL www.excel-london.co.uk/, now firmly established as one of the UK’s premier (and largest) exhibition venues. Located in the heart of London’’s Docklands, ExCeL is set within a stunning waterfront environment in the dynamic and thriving Docklands and just across the water from The O2 arena. There’s easy access to ExCeL via the Docklands Light Railway/ Jubilee Line and easy road access from the M25, M11, A406, A13 plus there’s plenty on site parking. For international visitors ExCel is situated next to http://www.londoncityairport.com/ and is five minutes taxi journey away.
For further information on Drummer Live, the London International Music show and for all the latest news and show updates see: http://www.londoninternationalmusicshow.com

I was gonna write a nice long article about how’s best to clean your drums along with do’s and don’t and what not. But then I found that someone else had already done it, and seeing as I’m in a lazy mood today I thought I’d just give you the link to what they’ve written instead!

http://www.onlinedrummer.com/cleaning_your_equipment.php

You Really got me by The Kinks

I usually do the write up for these tracks, but here’s a write up from one of my students who had to break it down for the up coming drum recital evening. I think he’s learnt well!

Band:   The Kinks

Track: You really got me

B.P.M. 135
Section,        Bars,          Comments
Intro             4                Flam on 4 of 2nd bar Rhythm 3rd bar
Verse 1         15 
Chorus 1       3 
Bridge 1        2                Drums only
Verse 2         15              ¼ bar fill on 4 of 8th bar
Chorus 2       3 
Bridge 2        2 
Guitar instrumental  8 
Instrumental  2 
Verse 3        15 
Chorus 3      3 
Outro           1          ¼ note crashes with snare (1,2,3,4.)
Rhythm

Eights on high hat
Snare on 2 and 4
Base on 1, 1+, 2+, 4+ (the last being optional in the chorus)

I’m sure there are quite a few drummers out there who haven’t heard the term “sub-division” before. This is because people rarely know that they know about them!

A sub-division is simply a division of a SECTION of your bar. So a bar of 4/4 for example, has four sections, a sub-division is when you divide one of these sections again. (Hence the “sub” part)

A few rules about sub-divisions:

1) They MUST be EVEN!!
2) They must be a division of a SECTION, not of the bar!!

You already know some sub-divisions, but you may not know it yet. So here they are:

Sub-division of….   Note type….

1                                ¼
2                               8th
3                               8th note triplets
4                               16ths
5                               Quintuplets
6                               16th note triplets or Sextuplets
7                               Septuplets
8                               32nds

You can go higher, but for the most part you’ll only need up to 8. Also, it’s worth noting that you barely ever hear a sub-div of 5 or 7 as they sound kinda weird!

When I eventually get my arse into gear I’m adding a simple sub-division exercise (in a video format) to the site so if you’re still unsure as to what I mean you can have a watch of that and maybe it’ll all become clear!