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https://unison.audio/drum-programming/
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en
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Drum Programming 101: Creating Complex & Unique Drum Patterns
|
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2023-07-09T16:30:53-07:00
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Dive deep into the art of drum programming. Master the beats that make your music move. Your journey to rhythmic mastery and chart-topping tracks start here.
|
en
|
Unison
|
https://unison.audio/drum-programming/
|
Drum programming is a fundamental component of modern music production across almost all genres, from hip-hop and dance music to rock and country.
It involves creating rhythmic patterns and beats using a combination of digital software or hardware like drum machines.
Essentially, drum programming is the backbone of your track 一 dictating the pace, groove, and overall feel of your music.
However, not doing it correctly can leave your music feeling lifeless and off-balance.
A poorly programmed drum can disrupt the flow of a track, while an overly complicated pattern might distract from the melody or other elements.
But, fear not, because we’ll be breaking down all the vital aspects of drum programming so you’ll be a master in no time.
In today’s article, we’ll be covering:
What drum programming is & why it’s so important ✓
Creating your own complex drum patterns ✓
Mastering the kick & snare drum ✓
Hi-hats and cymbals ✓
Understanding & using syncopation ✓
The importance of mixing in drum programming ✓
So much more ✓
By the end of this guide, you’ll have a solid understanding of drum programming.
Therefore, you’ll be equipped with the knowledge to craft dynamic, engaging beats that can truly elevate your music.
So, let’s dive in…
What is Drum Programming?
Drum programming is the art of creating drum patterns and rhythms using software or hardware like drum machines.
With drum programming, you can create complex drum patterns that give life to a track, driving its rhythm and shaping its mood.
But don’t let the term “programming” intimidate you…
It’s not about writing code or extremely complex algorithms.
At its heart, drum programming is about arranging drum sounds in ways that make people want to move.
It’s about taking drum sounds (kicks, snares, hi-hats, cymbals, etc.) and turning them into a rhythmic tapestry that serves as the backbone of a track.
One thing that I love about drum programming is how it opens up a world of possibilities for modern music.
With drum programming, you’re not limited by the physical constraints of a traditional drum set.
You can experiment with a wide variety of:
Drum sounds
Textures
Rhythms
Etc.
This way, you can create unique and compelling drum patterns.
How To Program Drums
Drum programming is more than just making beats; it’s a cornerstone of the music production process.
It’s the rhythmic foundation of a track, as it:
Sets the tempo
Creates the groove
Drives the energy of the music
From the pulsating beats of hip-hop to the driving rhythms of tech-house, drum programming plays a pivotal role in defining the character and feel of a song.
But it’s not just about laying down a beat 一 drum programming is also about creating unique drum patterns that set your music apart.
With drum programming, you can infuse your personality into your music and create beats that are distinctly you.
It’s about breaking away from conventional drum patterns and exploring new rhythmic territories.
Another reason why drum programming is so important is its influence on the listener’s experience.
It can create a sense of anticipation, excitement, or relaxation.
Through drum programming, you can control how people react and feel when they listen to your music.
So whether you’re a seasoned producer or just starting out, mastering the art of drum programming is key to successful music production.
Drum Sounds: Breaking It Down
Before we dive into the nitty-gritty of drum programming, let’s take a moment to understand the building blocks of drum sounds.
Each drum sound serves a specific purpose in creating a rhythm, and understanding these roles is key to effective drum programming.
The Kick Drum
The kick drum, or bass drum, is the heartbeat of a drum pattern.
They provide the low-frequency thump that drives the rhythm forward.
It’s usually the most prominent drum sound in a pattern, creating a solid foundation for other drum sounds to play off.
The Snare Drum
The snare drum serves as the counterpoint to the kick drum.
It has a higher frequency and a sharp, crisp sound that cuts through the mix.
In a standard drum pattern, the snare usually hits on the second and fourth beats.
This creates a back-and-forth conversation with the kick drum.
That perfect give-and-take captivates your listeners and makes them hit that replay button.
Hi-Hats
Hi-hats add a layer of high-frequency rhythm to a drum pattern.
They provide a steady stream of rhythm that keeps the pace and fills in the gaps between the kick and snare.
Depending on how they’re programmed, hi-hats can create a sense of urgency, relaxation, or anything in between.
Cymbals
Cymbals, like ride and crash, provide accents and transitions in a drum pattern.
They’re used sparingly, but when used right, they can add a lot of dynamics and color to a drum pattern.
Drum Samples
To get started with drum programming, you’ll need a collection of drum samples, like a snare sample, or sampled loops.
These are individual recordings of drum sounds that you can arrange to create drum patterns.
Sample packs are a great source of high-quality drum samples 一 covering a wide range of drum sounds and styles.
Make sure to choose professional samples that fit the style of music you’re producing; the right drum sounds can make or break a track.
This will ensure successful drum programming.
Drum Kits
A drum kit (or drum set) is a collection of drums and cymbals that a drummer plays with sticks or brushes.
In drum programming, we use virtual drum kits 一 collections of drum samples that either mimic the sounds of a real drum kit or are comprised of samples.
The kick drum: is the largest drum in the kit.
It’s played with a foot pedal and produces a deep, low-pitched sound.
In a drum pattern, the kick drum lays down the entire foundation of the rhythm.
The snare drum: is a smaller drum that produces a sharp, high-pitched sound.
It’s often used to create accents and backbeats in a drum pattern.
In many genres, including hip-hop and tech house, the snare drum plays a crucial role in defining the groove of the track.
The hi-hat: is a pair of small cymbals that are mounted on a stand and played with a foot pedal.
The hi-hat can produce a variety of sounds depending on how it’s played, like a tight, crisp sound when closed, shushing sound when slightly open, and a sizzling crash when struck (and open).
Other elements of a drum kit include:
Toms (mid-pitched drums used for fills and accents)
Ride cymbals (used for steady rhythms and accents)
Crash cymbals (used for dramatic accents and transitions)
When it comes to drum programming, it’s important to have a good selection of drum samples for each element of the drum kit.
Make sure to ensure your samples sound professional and intriguing.
This gives you the flexibility to create a wide variety of drum patterns and rhythms.
Drum Programming Basics
As we journey from the realm of drum programming basics, our next destination involves understanding how to program drum patterns and breathe life into programmed drums.
Good drum programming isn’t just about making a beat; it’s about creating a drum part that tells a story.
So, let’s move forward and dive into the crucial stage of setting up your DAW for drum-machine-style programming.
Setting Up Your DAW for Drum-Machine-Style Programming
When setting up your DAW to operate more like a traditional (groove-based) machine, like used in drum synthesis, the first step is to select your sounds.
Your DAW can do virtually everything a drum machine can adjust parameters for each sound, like the:
Pitch
Volume
Decay
Etc.
In the context of drum programming, each individual drum sound or sample is usually referred to as a ‘voice.’
A typical drum machine will have voices for kick, snare, hi-hats (both open & closed), toms, and cymbals at a minimum.
Some drum machines offer more exotic percussive sounds like bongos, cowbells, shakers, and more.
Once you’ve selected your voices and either defined your style with samples or emulated a set of samples from a famous drum machine (e.g., the TR-808), you can start programming your pattern.
Most drum machines operate in a step-sequencer format 一 where you place each drum hit on a grid that represents your musical measure.
And even if it’s not displayed as step-based sequences like FL Studio, Ableton Live, or Logic’s new view, the piano roll functions in the same fashion.
The Grid
The grid (piano roll) will have different lines or sections for each voice, allowing you to create a full drum pattern.
It’s essential to set your tempo before you start programming your pattern (especially when using a MIDI keyboard).
The Tempo
The tempo, measured in beats per minute (BPM), will dictate the pace of your drum pattern.
You can usually adjust the tempo with a dial or by manually entering the BPM.
After setting up your sounds and tempo, you can start inputting your rhythm.
You do this by activating specific steps on your sequencer or inputting/recording individual notes within the piano roll for each drum voice.
Once you’ve completed a sequence, you can play it back, make adjustments, and begin layering more complex rhythms.
Creating Your Own Drum Patterns
Once you’ve chosen your drum sounds, the next step is to create a basic drum pattern.
This is the backbone of your drum programming; the steady rhythm that drives the track forward.
STEP 1 一 Start with the kick drum.
Place the kick on the first beat of the measure, and experiment with adding additional kicks for variation.
In many genres, including hip-hop, trap, and tech house, the kick drum plays a steady four-to-the-floor rhythm.
STEP 2 一 Add the snare drum.
In most drum patterns, the snare hits on the second and fourth beats, providing the backbeat.
This is a good starting point, but feel free to experiment with different placements for added variation and syncopation.
STEP 3 一 Add the hi-hats.
The hi-hats typically play a steady stream of eighth notes, filling in the gaps between the kick and snare.
This creates a sense of momentum and drive.
STEP 4 一 Add cymbals and other percussion sounds for accents and transitions.
A well-placed cymbal crash can add excitement and energy to a drum pattern, while a tom fill can signal a transition or change in the music.
The key to creating a good drum pattern is balance:
The kick and snare: provide the foundation.
The hi-hats: add momentum.
The cymbals and percussion: add color and dynamics.
Each element has its role to play, and they all work together to create a super compelling rhythm.
Learning their unique sound and purpose is key to becoming a drum programming master.
Hip-hop Drum Programming
Hip-hop music is widely recognized for its unique and iconic drum patterns.
When it comes to programming drums for hip-hop, it’s important to capture the genre’s distinct rhythmic feel.
Unlike certain tech house music, hip-hop drum patterns are heavily reliant on the kick and snare.
The kick 一 Often lands on the first and third beat of the bar.
The snare 一 Hits on the second and fourth (also known as the backbeat).
This structure creates a steady, bouncing rhythm that is fundamental to the genre.
In addition to the basic kick-snare pattern, hip-hop often utilizes hi-hats and other percussive elements to add a layer of complexity.
Hi-hats 一 Usually follows an eighth or sixteenth-note pattern.
Percussive sounds like shakers or tambourines 一 Can also provide a richer rhythmic texture.
What truly characterizes hip-hop drum programming, though, is its use of ‘swing‘ or a good ‘groove.’
This refers to a slight rhythmic delay applied to certain beats (most commonly the sixteenth notes) to create a looser feel as human drummers provide.
Applying swing to your drum patterns can help achieve that distinctive hip-hop rhythm.
Further Mastering the Kick Drum & Snare Drum
Now, let’s dive into the core of the best: how to master the kick drum and snare drum.
Understanding these factors is crucial in any style, as their unique interplay forms the heartbeat of your track.
Kick Drum Essentials
The kick drum, also known as the bass drum, is a crucial part of any drum pattern.
It provides the fundamental rhythm and drives the pace of the track.
In most drum patterns, the kick drum lands on the first beat of the bar, also known as the ‘downbeat.’
This helps establish the rhythm and provides a reference point for the rest of the pattern.
In addition to the downbeat, the kick drum often hits on other beats to create a more complex rhythm.
The specific pattern will depend on the genre of music, like pop or r&b 一 but it’s common to have additional kick hits on the third beat of the bar or the ‘and’ counts between beats.
The sound of the kick drum is equally important to ensure it doesn’t fall flat, just ask your favorite artists.
A good kick drum should have a strong, clear punch that can cut through the mix.
It should also have a deep, resonant low-end to provide the bottom end of your rhythm.
Many drum machines and software plugins allow you to tweak the sound of your kick drum.
This might involve:
Adjusting the fundamental pitch
Adjusting the decay
Adjusting the tone
Layering multiple kick sounds together
Mastering the kick drum is essential for creating powerful, compelling drum patterns.
Spend time experimenting with different kick patterns and sounds to find what works best for your music.
Snare Drum Pattern Basics
The snare drum provides the counterpoint to the kick drum 一 usually hitting on the second and fourth beats in a measure to provide a backbeat.
It adds high-frequency energy and syncopation to the beat.
The sound of your snare can dramatically affect the feel of your track.
Experiment with different snare samples to find one that fits the mood of your song.
For a classic hip-hop feel 一 Choose a snare with a lot of “crack” and high-end frequency content.
For a more electronic or dance-oriented track 一 A synthesized snare with a punchy, sustained tone could be the right choice.
The snare pattern is another crucial aspect of your drum programming (and drum mixing, for that matter).
While the kick drum often provides a steady pulse, the snare can be used for syncopation and complexity.
By placing snare hits off the beat or in unexpected places, you can create a complex, engaging rhythm that will keep your listeners on their toes.
Also, consider using ghost notes, a rim shot, or a missed beat in your snare patterns.
Ghost notes are quieter, less emphasized snare hits that can add a subtle layer of complexity to your rhythm.
These are particularly common in genres like funk and jazz but can be used effectively in any genre to add a layer of rhythmic intricacy.
Pro Tip
You should also consider the rhythmic relationship between your kick and snare.
If your kick pattern is simple and steady, you might use a more complex snare pattern to create interest.
Conversely, if your kick pattern is complex and syncopated, a simpler snare pattern might provide a necessary sense of stability.
Hi-Hats & Cymbals: Giving Life to Your Drum Patterns
Having tackled the dynamics of kick and snare, we now turn our attention to the details that can bring your beat to life: the hi-hats and cymbals.
In this section, we’ll explore how these often-overlooked components can add depth, color, and groove to your beats
Hi-Hat Rhythms
Hi-hats play a crucial role in drum programming, often providing a steady rhythm that helps to drive the track forward.
In many genres and subgenres, the hi-hats play a stream of eighth notes, creating a sense of momentum and energy.
Experiment with different hi-hat patterns to create different rhythmic feels.
For a straight-ahead, driving feel 一 Have your hi-hats play a steady stream of eighth notes.
For a more relaxed, groovy feel 一 Have your hi-hats play a syncopated rhythm, with accents on the off-beats.
Don’t forget about open hi-hats…
An open hi-hat has a longer, more sustained sound than a closed hi-hat, and can be used to add a splash of high-frequency energy to your drum pattern.
Try placing an open hi-hat on the off-beat for a classic disco feel, or at the end of a measure for a dramatic lead-in to the next section of your song.
Like the snare, the hi-hat can also make effective use of ghost notes.
You’d have to listen closely, as these are quieter, less emphasized hi-hat hits that can add a subtle layer of complexity to your rhythm.
Try adding a few ghost notes to your hi-hat pattern and see how it changes the feel of your drum pattern.
Exploring Ride Cymbals
The ride cymbal is another crucial element in many drum patterns.
Like the hi-hat, the ride cymbal often plays a steady stream of eighth notes, adding a high-frequency rhythmic element that can help to drive your song forward.
The sound of your ride cymbal can have a big impact on the feel of your track.
A bright, piercing ride cymbal 一 Appropriate for a high-energy rock track.
A darker, mellower ride cymbal 一 More suitable for a laid-back jazz or hip-hop track.
Experiment with different ride cymbal patterns to create different rhythmic feels.
For example, you could have your ride cymbal play a syncopated rhythm to create a sense of swing, or a steady stream of eighth notes for a driving, rock-and-roll feel.
Combining Hi-Hats & Cymbals with Kick & Snare
Now that you’ve explored the hi-hats, ride cymbals, kick & snare individually, it’s time to start thinking about how they all work together.
Remember, the goal of drum programming is not just to create a cool drum pattern, but to create a rhythm that supports and enhances your song.
Start by laying down a basic kick and snare pattern 一 this will be the backbone of your drum pattern, providing the basic rhythmic foundation.
Next, add in your hi-hats.
As you add your hi-hats, listen to how they interact with the kick and snare.
Try asking yourself:
Are they enhancing the groove?
Or, are they clashing with the rhythm of the kick and snare?
If necessary, adjust your hi-hat pattern until it complements the kick and snare, rather than fighting against them.
Once you’re happy with your hi-hat pattern, try adding in a ride cymbal.
The ride can add a layer of high-frequency rhythmic complexity to your drum pattern.
Again, listen to how the ride interacts with the rest of your drum pattern 一 if it’s enhancing the groove, great. If not, don’t be afraid to make adjustments.
Understanding & Using Syncopation
Upon mastering the essentials of drum programming and the unique dynamics of the hi-hats and cymbals, we are now ready to delve into the rhythm-altering world of syncopation.
What is Backbeat Syncopation
Syncopation is a rhythmic technique where you emphasize the off-beats or the beats that are not typically emphasized in a straightforward rhythm.
One of the most common types of syncopation is backbeat syncopation.
Backbeat syncopation emphasizes the second and fourth beats (in 4/4 time) or the third beat (in 3/4 time).
It is a foundational element of many types of music 一 from rock, hip-hop, latin music and pop to funk and jazz.
Also, it creates a sense of forward momentum and can make your rhythms feel more dynamic and engaging.
To experiment with backbeat syncopation in your drum patterns, try:
Emphasizing the second and fourth beats in a 4/4 pattern.
Emphasizing the third beat in a 3/4 pattern.
You can do this by making these beats louder, by placing a snare hit or a cymbal crash on these beats, or by using other techniques to draw attention to these beats.
Backbeat syncopation can be a powerful tool as a music producer, but like all tools, it should be used judiciously.
Too much syncopation can make your rhythms feel chaotic and hard to follow.
Remember, the goal of your drum programming is to support your song, not to show off your rhythmic chops.
Implementing Syncopation in Your Drum Patterns
Implementing syncopation in your drum patterns can add a level of sophistication and elevation to your music.
The placement of a snare hit or kick drum hit in an unexpected place can bring out a groove and add a swing to your track.
To start adding syncopation to your drum patterns or drum beat, begin with a simple beat and identify where the backbeats are.
If you’re working in 4/4 time 一 these will typically be the second and fourth beats of the measure.
Try moving some of your snare hits or kick drum hits to these beats and see how it changes the feel of the pattern.
Once you’re comfortable with backbeat syncopation, you can start experimenting with more complex forms of syncopation.
Try emphasizing the “and” of each beat with MIDI notes (in other words, the eighth-note offbeats), or even the sixteenth-note offbeats.
This can create a sense of rhythmic tension and release that can make your drum patterns more exciting and dynamic.
Finally, remember that syncopation doesn’t have to be limited to your snare and kick drums.
You can also use syncopation in your hi-hat patterns, your cymbal patterns, and even in your melodic and harmonic elements.
The possibilities are truly endless.
The Art of Drum Loop Variation
Having delved deep into the intricacies of drum programming, kick and snare balancing, and the power of syncopation, let’s explore the realm of drum loop variations.
Basic Drum Loops: Variations
Once you’ve created a basic drum loop, there are many ways you can create variations to keep your rhythms interesting.
One of the simplest ways is to change the drum pattern subtly every few measures like most genres do (like house music, trap, etc.).
For instance, you might add or subtract a kick or snare hit, or change the pattern of your hi-hats.
These subtle differences can help to keep your sampled loops from becoming too repetitive and predictable.
Another simple technique is to add fills or breaks at the end of every few measures.
A fill 一 A short, one-measure drum pattern that can help to signal the end of a musical phrase and lead into the next one.
A break 一 A short section where most or all of the instruments drop out (minus the drums), creating a sense of space and anticipation.
Many sample packs contain drum loops of 1-2 bar breaks and fills, if you find creating your own too time-consuming.
Finally, you might consider changing the sound of your drums subtly throughout your track.
This could mean adjusting the mix of your drums (e.g., changing the relative volumes of your kick, snare & hi-hats) or changing the drum samples you’re using.
Changing the sound of your drums can help to create a sense of progression and development in your track, even if the drum pattern stays the same.
It’s important to always remember that these variations should appropriately serve the song.
Too much variation can make your drum pattern feel chaotic and disjointed.
The goal is to strike a balance between:
Repetition (which can create a sense of groove and stability).
Variation (which can keep the rhythm interesting).
Once you get that down, you’ll be able to create the perfect drum pattern every single time.
Advanced Techniques for Drum Loop Variation
As you become more comfortable with drum programming, you can start to experiment with more advanced techniques for drum loop variation.
One such technique is polyrhythm, where two or more conflicting rhythms are played simultaneously.
For instance, you might program:
Your hi-hats to play a pattern based on triplets (three notes per beat).
Your kick and snare to play a straight 4/4 pattern.
This creates a complex, overlapping rhythm that can add a lot of interest to your drum loop.
Another advanced technique is rhythmic displacement, where you shift a rhythmic pattern by a beat or a half-beat.
This can create a sense of surprise and unpredictability in your rhythms, as the listener’s expectations are subtly subverted.
Finally, you might experiment with changing the velocity (or volume) of your drum hits.
By making some hits louder and others softer, you can create a sense of dynamic variation and make your drum patterns feel more “human.”
The Importance of Mixing in Drum Programming
In the world of music production, the mixing process is where the magic truly happens, breathing life into raw audio tracks.
This stage is especially crucial in drum programming, where individual sounds must coalesce into a coherent, rhythmically compelling whole.
We’ll first start with understanding the rudiments of mixing drum sounds, aiming for clarity, depth, and an alluring sonic character.
How to Properly Mix Drum Sounds
When you’re programming drums, it’s important not only to create interesting rhythms but also to mix your drum sounds effectively.
A well-mixed drum track 一 Can make your rhythms sound punchy and powerful.
A poorly mixed drum track 一 Can make them sound muddled and weak.
One of the most important aspects of mixing drums is balancing the levels of your kick, snare, and hi-hats.
Generally, you want your kick and snare to be the loudest elements of your drum track, as they provide the rhythmic backbone of your song.
Your hi-hats should be quieter, as they provide a layer of rhythmic detail on top of the kick and snare.
Another important aspect of mixing drums is EQ.
By adjusting the equalization of your drum sounds, you can make them sound brighter or darker, punchier or smoother.
A good starting point is to:
Boost the low frequencies of your kick drum to give it a powerful thump.
Boost the high frequencies of your snare and hi-hats to give them a crisp snap.
Finally, you might consider adding some reverb to your drum sounds.
A little bit of reverb can make your drums sound more natural and spacious, but too much can make them sound distant and washed out.
As always, use your ears and trust your judgment.
Ensuring Your Drums Fit in the Mix
Once you’ve mixed your drum sounds to your liking, it’s important to make sure they fit well within the overall mix of your track.
Even the most interesting and well-mixed drum pattern can sound out of place if it doesn’t fit with the other elements of your song.
One of the key aspects of fitting your drums into the mix is making sure they occupy their own space in the frequency spectrum.
If your drum sounds are competing with other elements of your track for the same frequency space, they can end up sounding muddled and indistinct.
For instance, if you have a bass track that occupies the low frequencies, you might want to EQ your kick drum to emphasize its midrange frequencies.
This way, it can cut through the mix without clashing with the basic foundation.
Another key aspect is balance:
If your drums are too loud 一 They can overpower the other elements of your track.
If they’re too quiet 一 They can get lost in the mix.
Use your ears and your judgment to find the right balance.
Remember, the goal of mixing is not to make your drums (or any other element of your track) sound good in isolation but to make them work well within the context of your song.
Always listen to your mix as a whole, rather than focusing too much on individual elements.
Remember that mixing is a skill that takes time and practice to develop.
Don’t be discouraged if your first mixes don’t sound as good as you’d like them to.
Final Thoughts
Drum programming is an integral aspect of modern music production that grants musicians the power to construct compelling rhythmic foundations for any genre.
By understanding all the techniques mentioned in today’s article, you can now create dynamic and engaging beats that will bring your music to life.
One way to make the process even more efficient and creative is to incorporate advanced tools like Drum Monkey.
This software tool has revolutionized drum programming with its intuitive interface and smart algorithms.
It allows you to experiment with different patterns, syncopations, and variations, all while ensuring that your beats remain in the groove.
But remember, the knowledge and techniques you’ve learned in this article are just the start…
The realm of drum programming is vast, with infinite possibilities for creativity.
So, keep exploring, keep practicing, and most importantly, keep making music.
Until next time…
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Afrofuturism in Black Music
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Learn more about the History and Timeline of African American Music with Carnegie Hall. 1972—Present: Afrofuturism in Black Music.
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Timeline of African American Music
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https://timeline.carnegiehall.org/stories/afrofuturism-in-black-music
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The term Afrofuturism invokes writers such as Octavia E. Butler, Samuel Delany, Ytasha L. Womack, Ishmael Reed, and Mark Dery who coined the term in 1992. Even the great Zora Neale Hurston has been described as an Afrofuturist. And when the focus shifts to Black music, the following names often appear: Sun Ra, Parliament-Funkadelic, Grace Jones, OutKast, Erykah Badu, Flying Lotus, and Janelle Monáe. But While Afrofuturism has been characterized as a philosophy, a movement, and a cultural aesthetic, among other things, there has been little discussion of the spiritual principles that essentially comprise the conceptual foundation of Afrofuturism in music. Several prominent characteristics associated with Afrofuturism, particularly flight and freedom, are manifestations of a spiritual ethos that shaped Black musicians’ worldviews and approaches to music-making in four centuries. It’s widely known that Sun Ra projected values, viewpoints, and images that we conceptualize as Afrofuturism before the term became operative. But the spiritual metaphysics that gave rise to Afrofuturist characteristics are seldom discussed. Spotlighting the spiritual ethos in Black music will reveal that Ra wasn’t as anomalous as many writers have suggested.
The question, then, is what is Afrofuturism? In Womack’s book Afrofuturism: The World of Black Sci-Fi and Fantasy Culture, she raises and answers this question:
“Afrofuturism is an intersection of imagination, technology, the future, and liberation.”
Ytasha L. Womack
Ytasha L. Womack - Afrofuturism: The World of Black Sci-Fi and Fantasy Culture
Similarly, Alondra Nelson, a pioneering scholar of Afrofuturism, characterized it as Black creativity with “other stories to tell about culture, technology and things to come.” And Dery has stated that Afrofuturism involves “African-American signification that appropriates images of technology and a prosthetically enhanced future.” Interestingly enough, these definitions take us back to the spiritual song “Swing Low, Sweet Chariot:”
Swing low, sweet chariot
Coming for to carry me home
Swing low, sweet chariot
Coming for to carry me home
Naturally, it’s counterintuitive to imagine spiritual songs in conjunction with Afrofuturism. But If we think of Afrofuturism as a search for “cosmic liberation” and “possibility in a world meant to destroy any and all forms of Black life,” as Shanté Paradigm Smalls has stated, we can think of the Spiritual “Swing Low, Sweet Chariot” as a precursor. Certainly, the enslaved singers who composed and sang these lyrics (“Swing low, sweet chariot / Coming for to carry me home”) associated flight with freedom and “appropriate[d] images of technology and a prosthetically enhanced future.” Indeed, they sang these words long before Orville and Wilbur Wright flew in the world’s first powered aircraft. Yet it’s equally important to understand that the song’s futuristic impulse is part and parcel of its liberationist impulse. The living hell of their horrific experiences created such a strong compulsion to seek freedom that singers imagined technology that didn’t exist: a flying chariot commanded, no less, by the Holy Spirit that transported them to a glorious heaven they called “home.”
Of course, it goes without saying that the sound quality and historical circumstances in “Swing Low, Sweet Chariot” are far different from, say, Janelle Monáe’s hit single “Tightrope” (2013). Yet these songs share a common referent of alienation and propose parallel responses to it. Historically, Black musicians have often expressed fascination with otherworldly existence, and the eccentric sensibilities associated with that expression were related to an underlying spiritual impulse that began with the Ring Shout. This 19th-century religious dance was performed by a group shuffling in a counterclockwise circle. Often described as an ecstatic dance, the Shout was as transcendent as Monáe’s singing and dance moves are “elevating.” In the center of the circle, dancers manifested the Holy Spirit through uncontrollable yet rhythmically eloquent movements.
Explore Related Genres
Specific attributes: Improvisation, Instrumentals, Electronic Sounds, Voice, Electric Piano/Synthesizer, Other Electronic Instruments, Freedom, LGBTQ, Futurism, Social Consciousness, Black Power/Pride, Racism/Discrimination
From a conceptual standpoint, then, catching the Holy Spirit is a foundational principle that informed Afrofuturist visions Black musicians have projected in the late 20th and early 21st-centuries. Such imagery and logic were so deeply ingrained in African American culture that Elijah Muhammad, who began leading the Nation of Islam in 1934, preached about “The Mother Plane” based on the prophet Ezekiel’s vision of the Wheel.
The Forerunners: Blues Roots of Afrofuturism
In the first half-century after Mamie Smith recorded “Crazy Blues” in 1920, the spiritual ethos that permeated Black secular music was reflected in blues-based forms. The mid-20th century witnessed the first inklings of Afrofuturism in jazz and rhythm and blues. Sun Ra’s 1948 home recording “Deep Purple” included notes that later became associated with extraterrestrial signals. A few years later, in 1952, he organized a small band, the Space Trio, which became the foundation for his Arkestra, a larger band he created in 1953, modeled on swing bands, such as those of Fletcher Henderson, who inspired and mentored Ra as a young musician. But even in his remembrance of Henderson’s musicianship, Ra underscored spirituality. “Fletcher was part of an angelic thing,” he said. “A lot of things that some men do…come from somewhere else, or they’re inspired by something that’s not of this planet.” While some might attribute Ra’s comments to mere adulation, they actually reflect a mental process or conceptual approach to music-making.
Sun Ra publicity photo, 1973DISTRIBUTED BY IMPULSE! RECORDS AND ABC/DUNHILL RECORDS. PUBLIC DOMAIN, VIA WIKIMEDIA COMMONS
Ra’s spiritualism led him to think of music as a powerful energy that can levitate listeners, taking them on sonic voyages to places and spaces of psychological peace and release from the trials and tribulations of everyday life. Amiri Baraka emphasized this point in his 1966 essay “The Changing Same (R&B and the New Black Music),” in which he referenced Ra as an exemplary artist among other blues-oriented musicians who created “[a]n energy that take[s]…everybody…on a trip. That is, they visit another place.” So, Ra wasn’t unique in this respect. For instance, rhythm and blues saxophone Big Jay McNeely, whose first hit was his 1949 song “Deacon’s Hop,” was known for his trance-inducing, honking sound. McNeely is captured in a classic photo, playing his horn onstage while lying flat on his back, electrifying audiences, and extending solos for forty-five minutes. Likewise, the great rhythm and blues artist Little Richard was the grandson of a Pentecostal preacher who became famous for his outrageous, high-energy performances the 1950s. What distinguished Ra was his reimagination and reinterpretation of this vital component of musicianship, which led him to envision art as a multidimensional expression in multiple periods of time. He created futuristic sounds, imagery, and symbolism that recalled specific elements of ancient Egyptian mythology, all while conceptualizing music as supersonic flight:
“I and my musicians are musical astronauts. We sail the galaxies through the medium of sound, our audience is with us wherever we go, whether they want to be or not. The audience might want to be earthbound, but we being space bound we bind them to us and thus they cannot resist because the space way is the better way to travel. It keeps going out, and out, and further out than that.”
Sun Ra
Again, we find freedom and flight, and it’s not surprising that Ra once stated: “Ra is my spirit name.” But Ra’s spiritual vision was aligned with early Black thinkers such as David Walker who, in 1829, envisioned ancient Egypt as a philosophical alternative to white America’s reliance on Eurocentric values. In fact, Kemet, the Egyptians’ name for Egypt, literally means “Black land.” And while scholars disagree on whether the term referenced the people or color of the soil, Ra studied and embraced its religious principles and cultural iconography and symbolism such as the ankh, a cross that signifies eternal life, and that predates the Christian cross by thousands of years. In this way, Sun Ra’s spiritual ethos typifies Alondra Nelson’s statement that:
“[Afrofuturism] looks backward and forward in seeking to provide insights about identity, one that asks what was and what if.”
Alondra NelsonAuthor
Ra simultaneously identified with ancient Egypt and considered himself a space traveler. His cosmology was rooted in Black vernacular culture. He transmuted traditional Black folk images into an African American narrative of Egyptology that celebrated flight and freedom in an ontological context later described as Afrofuturism. Yet spirituality remained a common thread in his transition from a conventional big band of swing to a swinging, space-age Arkestra. Religious overtones are unmistakable in song titles he selected in 1957: “Call For All Demons,” “Transition,” and “Possession.” By 1962, Ra’s imagery was prototypically Afrofuturist in such compositions as “Where Is Tomorrow,” “Jet Flight,” and “Space Jazz Reverie,” but the foundation was clearly spiritual. These references demonstrate the connection between Ra’s most famous album Space Is the Place (1973) and his adoption of the Egyptian sun god as his namesake: “Ra left the world to rule the heavens,” and Ra signified metaphysical flight as freedom through his music. Ra’s futuristic sound aesthetic, resulting from his experimentations with group improvisation, led him to pioneer the use of electronic instruments, such as the electronic piano, synthesizer, clavioline, and celeste, which is best illustrated on Space Is the Place.
Sun Ra ArchestraJPRoche, CC BY-SA 4.0, via Wikimedia Commons
Meanwhile, rhythm and blues musicians also projected Afrofuturist images in the mid-twentieth century. An important figure is Johnny Guitar Watson who prefigured Jimi Hendrix’s musical and thematic experiments. In Watson’s 1954 song “Space Guitar,” some of the phrasings simulate sounds that popular culture, especially sci-fi films, associated with space travel at that time. Implicit here is a mothership or mother plane, and it’s worth noting that both Hendrix and George Clinton, whose early musical performances were rhythm and blues, later elaborated on Watson’s theme. Another artist who deserves mention is Ray Charles who is primarily known for his innovations in rhythm and blues. But he also played jazz and recorded with some of the most respected instrumentalists in the idiom. Especially notable are his two albums, Soul Brothers (1958) and Soul Meeting (1961) that he recorded with vibraphonist Milt Jackson who is largely forgotten today, but was widely respected by musicians, as evidenced by his collaborations with Thelonious Monk, John Coltrane, and many others. On Charles and Jackson’s Soul Brothers, Charles contributed his composition titled “Cosmic Ray.” Unlike Watson’s “Space Guitar,” there are no sonic allusions to outer space. But significantly, Ray interpreted the meaning of “cosmic” in terms of gutbucket blues sounds and sensations.
Themes of flight, freedom, and spirituality continued to appear in blues-oriented music in the following decades. The most noteworthy example is the aforementioned jazz saxophonist John Coltrane. In 1965, he recorded two suites, Ascension and Sun Ship that are jazz versions of Afrofuturism. Coltrane seldom made public statements on social topics, and he certainly didn’t project an Afrofuturist persona on stage. His usual habit of wearing suits was decidedly conventional from a visual standpoint. But for jazz musicians—whether they played “hot” dance music in the 1920s or avant-garde music in the 1960s—the meaning of music was its sound. And Ascension (1966) is arguably a tonal painting of his search for spiritual elevation amidst the racial turmoil of the mid-1960s when Watts, Detroit, Newark, and other cities erupted in rebellions across the nation. The second album Sun Ship wasn’t released until 1971, but it clearly accentuated his Afrofuturist motif. That tenor saxophonist Pharoah Sanders, who played on Ascension, composed “Astral Traveling” (1971) suggests Coltrane’s and Ra’s influence. The song title and sound exude a reconceptualization of the goose-pimple sensations and resulting metaphysical levitations that Black folk had venerated for generations in religious settings.
Jimi Hendrix: Blues, Rock, and Afrofuturism
Jimi Hendrix was a pivotal figure in the history of Afrofuturism in Black music. Most writers categorize him as a rock musician. But Hendrix not only once jammed with jazz musician Rahsaan Roland Kirk, who’s known for playing as many as five instruments at once. He also influenced the likes of Miles Davis, the legendary Black trumpeter and composer who was regarded as an innovator in four decades—from the 1940s through the 1970s. Davis cited Hendrix as an influence on his groundbreaking jazz-rock album Bitches Brew (1969). Though few people associate Hendrix with jazz legends like John Coltrane, Sun Ra, or Pharoah Sanders, his blues-based experimentation and his affinity for science fiction dovetailed with jazz giants’ themes and techniques. The late Black feminist writer Ntozake Shange underscores this point when she quotes Hendrix’s cover of Bob Dylan’s song “All Along the Watchtower:” “…not only will the lord find a way/but there is a way outta here.” This is the litany from the spirituals to Jimi Hendrix, ‘there must be some kinda way outta here.’
Hendrix’s search is evident in his song “Third Stone from The Sun” (1967), which displays his innovative approach to the guitar and his imaginative storytelling as a songwriter. As was often the case among stellar blues-oriented musicians, Hendrix was adept at creating tonal illustrations that represented human experiences through the medium of sound. His controversial cover of “The Star-Spangled Banner” at Woodstock, in 1969, provides a well-known example of this feature of his musicianship. Whereas Johnny “Guitar” Watson’s sonic effects in “Space Guitar” coincided with sounds in 1950s sci-films, Hendrix’s performance at Woodstock is considered a classic anthem against the Vietnam War. At several points in the song, he simulates the sounds of war, particularly bombs dropping and exploding. Hendrix used this same mode of tonal signification to illustrate his interest in science fiction in his 1967 song “Third Stone from The Sun,” a titular reference to Earth’s astronomical position to the Sun.
Publicity photo of The Jimi Hendrix Experience in 1968Warner/Reprise Records, Public Domain, via Wikimedia Commons
But in contrast to Hendrix’s rather noticeable social commentary at Woodstock, his critique in “Third Stone from The Sun” is subtle. Paralleling Sun Ra and Coltrane, the song tells the story of an extraterrestrial astronaut who travels to Earth in a spaceship. Hendrix uses spoken word and feedback to improvise a plausible, sonic representation of an alien’s voice in the midst of traveling through space. The band even creates the effect of the spaceship landing when Hendrix, Mitchell, and Redding hit a chord comprised of descending notes. The song criticizes superficiality, and questions whether humans are truly an intelligent lifeform. Though the alien acknowledges the greenery and beauty of the land, human life and our social institutions leave much to be desired. Thus, the song ends on an ominous note: humans “will never hear surf music again.”
Afrofuturism in the Funk Era
Hendrix’s influence among funk artists was extensive. That Betty Davis, Chaka Khan, George Clinton, and Bootsy Collins expressed admiration for Hendrix, provides some semblance of his impact. Davis prefigured Megan Thee Stallion’s aesthetic. Khan is known as the Queen of Funk. Clinton led the Parliament-Funkadelic collective, and Collins cut his teeth playing with James Brown and later joined P-Funk, mesmerizing audiences with his uniquely designed “space bass.” Hendrix was therefore a rare musician who received great respect from musicians who played jazz, rock, blues, and rhythm and blues. Where jazz musicians generally expressed thoughts and feelings in wordless sound, notwithstanding Sun Ra’s forays into film and poetry, Hendrix demonstrated that it was possible to foreground Afrofuturist sensibilities with imaginative lyrics. And he accentuated the effect by developing a distinctive form of theatricality based on styles pioneered by guitarist T-Bone Walker, which became common features of blues performances during Hendrix’s apprenticeship playing the Chitlin’ Circuit. Hendrix’s audiences witnessed fluid, vernacular, dance gestures performed in androgenous, rock-inflected outfits that showcased a contrarian spirit of total rebellion.
Funk artists elaborated on Hendrix’s model in the 1970s. Davis, LaBelle, Parliament-Funkadelic, Earth, Wind & Fire and other artists showcased elements of Afrofuturism during this period. Women songwriters played an invaluable role. Francesca Royster has discussed Nona Hendryx’s work in her analysis of LaBelle, but Davis’s contributions to Afrofuturism have been largely ignored. Part of the difficulty is that her songwriting doesn’t highlight such themes. Rather, Betty Davis projected an Afrofuturist image in live performances that exemplified her largely southern, blues-based sensibility. Recall Ray Charles’s expression of gutbucket blues in “Cosmic Ray.” Thus, Davis remarked, “The one thing that I wish was an advantage, but isn’t, is being the first to do something. I made it easier for people like Patti LaBelle and Chaka Khan. Hell, I even had a silver space suit…when Labelle were still in jeans.”
Davis’s simultaneous embracing of past and future realms of blackness, which typifies Afrofuturism, also exemplified conceptual elements of funk aesthetics, which tends to delight in commingling contrasts, incongruities, paradoxes, and presumed oppositions, while demonstrating aversions toward simplistic, either/or logic as well as a preference for contrarian or eccentric expression. Even the word “funk” signifies good (e.g., artistic excellence) and bad (e.g. foul smell), depending on its context. Most discussions of Davis highlight her irreverent aesthetic and attitude regarding gender and sexuality. Her songs often describe Black working-class women’s experiences in street culture; and again, she rarely, if ever, describes space travel as such. But Davis’s space-age outfit, photographed on the cover of her 1974 album They Say I’m Different, represented one component of a broader, theatrical form of visual and musical storytelling that other funk artists embellished into funklore—what George Clinton calls funk operas.
The album cover for Betty Davis’s “They Say I'm Different”Discogs.com/UFOXY3LP
Yet women funk artists interpreted Afrofuturism in noticeably gendered and sexual terms. Whereas racial codes of femininity normalized repression and stigmatized Black women’s sensuality, the funk aesthetic foregrounded non-conformity. The sexual implications were unmistakable. Observe Patti LaBelle’s recollection: “When I came out during “Space Children,” just standing there, the way [the audience] made me feel—that’s an orgasm, to see people accept you right away.” As LaBelle suggests, Afrofuturism in funk expressed a broader, contrarian attitude toward conventionality, particularly stereotypes about Black culture and criteria that devalued it.
Funk artists’ reactions to longstanding stigmas and taboos attached to race, gender, class, and sexuality distinguished funk from the previous genre of soul. By incorporating theatrical elements, visuals, and technologies, funk artists paved new ground in American musical history. For Davis, using technology imaginatively as a blues-oriented thinker involved conceptualizing her voice as a “projector,” that is, a musical instrument. For LaBelle, it meant using glam-rock outfits with space-travel imagery and performing songs like Hendryx’s “Space Children” expressed funk-inflected values such as love, harmony, and balance, which is evident when the narrator proclaims: “Space children, universal lovers.”
That Parliament-Funkadelic covered “Space Children” in live performances indicates LaBelle’s impact. Parliament-Funkadelic (P-Funk) experimented more extensively with Afrofuturism than any other funk collectives. Only Sun Ra and perhaps Janelle Monáe exceed the depth, output, and overall contribution that Parliament-Funkadelic made to Afrofuturism in music. The most obvious example of the collective’s use of technology involved the proverbial Mothership, that is, an actual spaceship that landed onstage during live performances. But on a more basic level, the Mothership was blues-oriented satire akin to the great comedian Moms Mabley’s criticisms of misogyny. Since Black folk were marginalized in American society, Clinton figured that he would fly them to outer space. And the comical thing is that Black people weren’t supposed to exist in space. Popular culture created the impression that space was for white people only. But the Mothership symbolized an extraterrestrial atmosphere where Black folk could be themselves regardless and reclaim their blackness in the context of an integrated society.
P-Funk Mothership at the National Museum of African American History and Culture opening in Washington, DC.Fuzheado, CC BY-SA 4.0, via Wikimedia Commons
Modeled after the sci-fi television series Star Trek, the Mothership was commandeered by Dr. Funkenstein (George Clinton) and the Children of Production, especially “Star Child.” And the flight or “Mothership Connection (Star Child)” represented a quasi-religious experience that the late composer and musicologist Olly Wilson called an “altered state of consciousness.” In fact, the hook (“Swing down sweet chariot, stop and let me ride”) alludes to refrain in the Spiritual “Swing Low, Sweet Chariot.” The “‘Mothership Connection,’” writes journalist Chardine Taylor-Stone, “brought [Black people] the holy Funk (the source of life) so they could make the journey to their true home in outer space” where such values as peace, harmony, and balance are normalized.
Taylor-Stone’s reference to “home in outer space” is a great example of Baraka’s statement that stellar Black musicians create “[a]n energy that take[s]…everybody…on a trip. That is, they visit another place.” And the fact that the Funk was visually signified through dancing represented an alternative worldview that affirmed cultural values that permeated Black working-class environments. P-Funk’s music reflected the aesthetics of the people’s experiences. For instance, “Flash Light” describes the epic battle between Star Child and Nose D’Voidoffunk, a symbolic character whose steadfast refusal to dance satirized white cultural standards and Black people who blindly adhered to them.
Clinton’s Afrofuturist funk was strikingly similar to Sun Ra’s cosmology. Both artists reflect “backward and forward” visions of Black agency. Just as Ra characterized his band members as “musical astronauts” who “sail the galaxies through the medium of sound,” Clinton’s mock-sermon on funk history in Parliament’s “Prelude” (1976) referenced ancient “Afronauts” who once “funkatiz[ed] galaxies.” But since humans weren’t appreciative of the Funk’s virtues, it was “repossessed” and posited into Egyptian pyramids. But while Ra interpreted Black vernacular concepts in Egyptian symbolism, Clinton framed Egypt as a philosophical symbol that merged past and future into then-current, vernacular styles that reflected the concept of funk. In “Mothership Connection (Star Child),” for instance, the futuristic narrator Star Child proclaims his intention to “reclaim the pyramids,” while manifesting the Funk in “3D” by doing “the loose booty” and other dances.
Afrofuturism as Neo-Funk Aesthetics
Parliament-Funkadelic (P-Funk) became the default model for Afrofuturism in Black popular culture, inspiring such artists as Erykah Badu and OutKast, who reflected Afrofuturism in the 1990s, which in turn set the stage for Janelle Monáe and other artists who emerged in the 21st century. Badu has characterized herself as a “neo-funk” artist, and OutKast, the rap duo of André “3000” Benjamin and Antwan “Big Boi” Patton, modernized funk aesthetics while elaborating on P-Funk’s alienation motif. And both Badu and OutKast have updated P-Funk’s model of the concept album (e.g., Mothership Connection, Funkelechy Vs. The Placebo Syndrome, and The Motor Booty Affair) to explore Afrofuturism. In Badu’s case, notable examples include New Amerykah Part One (4th World War) and New Amerykah Part Two (Return of the Ankh) (“Window Seat”) released in 2008 and 2010, respectively. For OutKast, the second album ATLiens (1996) is unmistakably Afrofuturist.
Badu’s and OutKast’s musical ventures are as firmly anchored to old-school vernacular principles as Jimi Hendrix’s blues-inflected blast off into the stratosphere on “Third Stone from The Sun.” It’s been widely reported that Badu’s name (she was born Erica Abi Wright) was inspired by her favorite sound of scat-singing, and that the spelling of her first name is based on the Egyptian concept “ka” or “kah,” which means the essence of life. That Badu’s narrator in “…And On” identifies as a “flower girl” recalls Hendrix’s and P-Funk’s anti-war, hippie sensibilities. On the other hand, her “rasta style” is an ode to Bob Marley and reflects her African diasporic vision.
Badu’s Afrofuturist vision exemplifies a Black womanist spiritual ethos: “bout ta give birth to church.” As an unapologetically Afrocentric preacher-poet-singer-thinker, Badu locates beauty in Black lingo and bodily adornment (e.g., gold teeth). Equally important, her identification with the Black past is evident in her music. For instance, on “Rimshot,” the first track on Erykah Badu Live (1997), the sixty-second intro is Miles Davis’s riff-chorus from his composition “So What,” which is the first track on his iconic album Kind of Blue (1959), featuring Paul Chambers’s classic bass line on double bass.
Benjamin and Patton (OutKast) are also ultimate crate diggers. Their song “Players Ball,” from their debut album Southernplayalisticadillacmuzik (1994), reprises the Ohio Players’ 1972 recording “Players Balling (Players Doin’ Their Own Thing).” Additionally, OutKast’s collaboration with producers Sleepy Brown, Rico Wade, and Ray Murray, better known as Organized Noize, played a major role in creating the duo’s southern-flavored sound quality. Brown’s father is singer, saxophonist, and flutist Jimmy Brown who was known for his falsetto as a member of Brick, the Atlanta-based funk band. Sleepy Brown’s high falsetto on “Player’s Ball” extends this approach by noted funk singers like Curtis Mayfield, Philip Bailey, Garry Shider, and, of course, Jimmy Brown among others. The ethnomusicologist Fredara Mareva Hadley drives this point home when she writes: “With lyrical influences and abundant samples, funk is the midwife of hip-hop. OutKast placed themselves directly in Parliament’s musical lineage when they collaborated with George Clinton in 1998 on their woozy and bass-heavy electrofunk song “Synthesizer” from their third album Aquemini.”
In this light, we can appreciate hip-hop journalist Charlie Braxton’s suggestion that OutKast is among Dr. Funkenstein’s Children of Production. Just as the narrator in “P. Funk (Wants To Get Funked Up)” greets listeners aboard Mothership (“Good evening”), announcing that he’s broadcasting from “W-E-F-U-N-K” radio, i.e., “the Mothership Connection,” so OutKast’s song “Two Dope Boyz (In a Cadillac)” opens with extraterrestrial signals that recall Johnny “Guitar” Watson’s “Space Guitar” nearly a half-century earlier: “Greetings earthlings.” Braxton provides key insight here.
“Ditching Parliament’s spaceship for a pimped-out intergalactic Cadillac, OutKast invited their kinfolk to planet ATL, a place where fans of southern hip-hop could be themselves without shame…”
Charlie BraxtonAuthor
Several writers have pointed out that “ATLiens” addresses what W. E. B. Du Bois called the double-consciousness in Black people’s worldviews: “It is a peculiar sensation, this double-consciousness, this sense of always looking at oneself through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity.” Similarly, André 3000 asks whether Black parents and children can avoid the “nigga syndrome” that results in loathing and intolerance from virtually all quarters of American society. But “ATLiens” also addressed alienation as a southern artist within hip-hop. He says, “They alienate us cause we different.”
The young artist’s statement harkens back to the Source Awards in 1995 when they were “reject[ed] by New York’s ‘hip-hop’ purists.” Benjamin said, “The South got something to say.” Indeed, part of the message in “ATLiens” is spiritual. He says that “God” “speak[s] through” the rap duo and rhymes that OutKast feels compelled to be “sincere with this here.” Incidentally, Benjamin’s meaning of “sincere” is identical with the core meaning of “funk:” utmost emotional sincerity. And in the context of his storytelling, sincerity meant abstaining from intoxicants to “get [God’s] signal clear.” His phrase reflects considerable self-consciousness, particularly the capacity to question norms and the extent to which our actions reflect such influenced. Like blues artists before him, Benjamin’s verse tells a story of how he confronted his contradiction: the artist curtailed his use of guns because his spirituality constitutes a “stronger” and more resourceful “weapon.”
By contrast, Badu exemplifies the Afrofuturist question of “what if” through a Black woman’s lens. Having grown up in the post–Civil Rights era, when economic opportunities are increasingly scarce for Black people, she balances a near-dystopian reality with hope imbued in womanist-centered, Afrocentric spirituality. She alludes to “the mothership” in her song “On & On” (1997), but in the next breath she sings, “it “can’t save you.” For Badu, art, religion, womanism, morality, maternity, Afrocentricity, eccentricity, ecology, Black history, speculative fiction, and fantasy all seem interconnected. “The pattern I see,” she says, “is the return of balance through femininity, through the mother, through the womb. The universe comes out of a wombiverse.” In Badu’s songwriting, water symbolizes birth, life, resilience, and/or the lack thereof. The narrator in “On & On” (1997) “was born under water.”
The music video for “Didn’t Cha Know,” appears on her album Mama’s Gun (2000), shows contrasting imagery. The opening scene shows an expanse of cracked, arid, sunbaked soil with a flashing yellow light in the distance. The historical and geographical settings remain unclear. Is this post-apocalyptic earth or the beginning of life on a new planet? Badu’s Egyptian-styled space suit accentuates the ambiguity that parallels the story in the song. Reminiscent of blues singers who sang about predicaments that precluded indecision, Badu’s narrator has reached a crossroads. But unlike Robert Johnson’s “Crossroad Road Blues,” wherein the narrator begs God for “mercy,” presumably for sinning and singing blues, Badu’s first-person narrator confesses our collective experience of confusion in this land: “trying to decide which way to go/Think I made a wrong turn back there.” This theme of indecision at the crossroads recurs throughout the song, and Badu resolves the conflict in the outro when she asserts the blues-tinged principle of resilience and rebirth. Equating life and love, Badu sings, “Free you mind and find your way,” which invokes Funkadelic’s album Free Your Mind… and Your Ass Will Follow (1970). In the video, Badu is heard singing this line while she emerges with her naked body from the depths of a water hole that is itself suggestive of a birth canal.
Music video for “Didn’t Cha Know” by Erykah Badu
That Badu described her 2015 mixtape But You Caint Use My Phone as “a whole new frequency for the planet” seems quite fitting. But this statement characterizes her connection to Afrofuturism generally. For instance, the cover art for New Amerykah Part Two features a futuristic, lavender image of Badu with various types of flowers connected to her body, invoking her earlier “flower girl” self-description. However, her cranium is open, and the fact that part of her brain appears to be a tree arguably speaks simultaneously to her concern for the planet and our connection to it as humans. Oddly enough, Badu’s ecological fantasy analogizes the emphasis on harmony and balance in funk aesthetics, not to mention the power of funk music itself. According to Clinton, the “One” creates such energy that oppositions of social constructs (e.g., race, gender, sexuality) tend to resolve for fleeting moments because “we’re all together as one. A lifeform. I’m for you and you for me; we for trees and we for the planet.”
Janelle Monáe: Intersectional Afrofuturism
Among major recording artists, Badu’s collaboration with Janelle Monáe in her song “Q.U.E.E.N” points to a generational transition toward embracing and celebrating queer sexuality in Afrofuturism. “Being a queer Black woman in America,” she says, “someone who has been in relationships with both men and women—I consider myself to be a free-ass motherfucker.” An indication of which is Monáe’s 2018 “PYNK” video, which she describes as a “celebration of creation, self-love, (sic) sexuality and pussy power.” Nonetheless, “Q.U.E.E.N.” remains an important index to her intersectional view of Afrofuturism. Included on her 2013 album The Electric Lady, the song’s title is an acronym for the following marginalized groups: queer people, untouchables, emigrants, excommunicated, Negroid. And as Monáe demonstrates, all these words cohere with the meaning of “freak.” “Am I a freak because I love watching Mary?” she sings. Badu’s genius is that she inverted the denigrating term into an emblem of (Black) feminist respect: Q.U.E.E.N. Ytasha L. Womack might as well have specified Monáe when she said Afrofuturism involves “speculation about the future rife with cultural critiques.” Chief among which is the narrow-minded, zero-sum, either-or logic that informs capitalism’s social constructions of gender and sexuality. Monáe visually projects alternatives through her both/and sensibility reflected in her androgenous image. In the “Q.U.E.E.N” video, Monáe wears her signature tuxedo with a pair of heels. Her pompadour hairstyle recalls pre-1968 photographs of the Godfather of Soul a.k.a. James Brown. The uniform reflects her own experiences and those of her family members as part of their economic survival. Monáe worked as a maid; her mother worked as a janitor; her stepfather worked a postal worker; and her father worked as a trash collector. They all wore uniforms.
Janelle Monáe performing at the Boston Calling Music Festival in 2016.digboston, CC BY 2.0, via Wikimedia Commons
Like Badu, and OutKast (Patton, who is credited with discovering her), Monáe developed her concept of Afrofuturism in relation to funk. In fact, on the website for Wondaland Arts Society, the Atlanta-based collective that Monáe cofounded, the opening statement reads: “We survive on Funk.” Shortly thereafter, the following statement appears: “We believe songs are spaceships. We believe music is the weapon of the future.”
As with Clinton’s Dr. Funkenstein, Monáe’s songs revolve around her alter ego, Cindy Mayweather, an android from the year 2719. But Monáe’s queer politics and her brilliant use of sci-fi films as a primary touchstone distinguish her from other Afrofuturists. Essentially, she elaborated on theatrical aspects in funk aesthetics and used the technology of film to represent the multifaceted nature of human and non-human lifeforms in an unprecedented manner, all while centering music as a form of storytelling. Where Clinton used Star Trek as a touchstone to highlight vernacular aesthetics in an age-old conflict concerning class divisions among African Americans, and where OutKast starred in the 2008 musical Idlewild to showcase their dirty-South aesthetic, Monáe’s approach to the sci-fi film genre is comparable to a musician’s discovery of a new instrument. It opens new realms of representation and artistic possibilities. She created the term “emotion picture” to reference her short films and videos that accompany her albums.
Monáe introduced her alter ego on her EP Metropolis (2008), which was inspired by Fritz Lang’s 1927 science fiction film Metropolis. Then she developed the character in the two concept albums that followed The ArchAndroid (2010) and The Electric Lady (2013). The latter evokes Jimi Hendrix’s 1968 album Electric Ladyland and Electric Lady Studios, the recording studio he commissioned. But for Monáe, Cindi represents the future:
“It’ll happen—there’ll be a point where the android’s brain will have mapped out that of a human’s, and their knowledge will have surpassed that of ours. And we won’t be able to differentiate the speaking voice of an android from an actual human’s. I do believe that that will be true, because of the rapid speed of technology and nanotechnology advancing...I know that we will live in this world.”
Janelle Monáe
Monáe’s futuristic vision coincides with—and may actually require—the medium of film to represent effectively. Even the sound of Monáe’s music has been described as “a sci-fi cinema soundtrack.” Yet there are parallels with Clinton’s funk operas. Just as the funkmaster converted the sci-fi dichotomy (i.e., human/good versus non-human/evil) into allegories of funk (wherein Dr. Funkenstein and his crew extolled previously demeaned values as positive or good), Monáe created Cindi as a symbolic figure whose exploitation and alienation invoke ongoing forms of margination in present-day America.
Interestingly enough, listeners learn much about Cindi from liner notes included on compact discs for The ArchAndroid and The Electric Lady. Of course, liner notes are yet another page from the past. Record companies used them to introduce jazz musicians and their compositions on albums in the 1950s and 1960s. But Monáe’s versions are miniature short stories: fictional accounts written in letter-format by a fictional author named Max Stellings. As Vice Chancellor at the Palace of the Dogs Arts Asylum, Stellings reveals that Monáe is Patient #57821 at the asylum. “Dear Listener,” he begins. Then he tells the dystopian story of Metropolis. We learn that the patient Monáe is the genius behind the beautiful songs and imagery on the banned albums; that she has been “snatched,” “genoraped,” and “sold illegally to the highest bidder on a body farm;” that her DNA was stolen; that she was “forced into a time tunnel and sent back to our era;” and that her DNA was used to create the android Cindi Mayweather who lives in 2719 and creates a new form of music called cybersoul. She accordingly achieves rock-star status and becomes the leader of a rebellious, android movement. As such, Cindi is the Arch Android. Her ultimate transgression, though, is her forbidden love affair with Anthony Greendown, a human. And quite naturally, Cindi’s story of forbidden love between an android and a human is a thinly disguised reference to xenophobia and homophobia in everyday American life.
But while Monáe and Clinton certainly address alienation from different vantage points, she echoes his credo that dancing is a major fault line of social inequities. In her song “Givin Em What They Love,” featuring Prince, not to mention a mutual attraction between Cindi and a shapely built woman, (Janelle Monáe - Givin Em What They Love - Lyrics) the climactic statement dovetails with Starchild’s victory over Sir Nose D’Voidoffunk in Parliament’s “Flash Light.” He says, “Dance, sucker.” Likewise, Cindi proclaims: “the last one standing will order/and command you to dance.” And after repeating this demand, she satirically invites the listener to give preachers and teachers her message. Naturally, the not-so-subtle critique here concerns conventions of morality and education that disadvantage marginalized groups at the expense of elites. A similar conflict plays out in Monáe’s song “Tightrope.” The opening scene of the video reads: THE PALACE OF THE DOGS Asylum.
The fact that the asylum associates dancing with “subversive effects on residents” is indicative of the totalitarian nature of the Metropolis. But the image is also a satire on the process of alienation. On a basic level, Monáe’s “Tightrope” video criticizes false justifications used to define social groups as less moral, less intelligent, less beautiful, and ultimately less valuable. Once these definitions are established, discriminatory practices based on race, gender, class, creed, and/or sexual orientation become increasingly normalized—this is Monáe’s premise in a nutshell.
As with Monáe’s 2010 song “Many Moons,” her most recent album Dirty Computer (2018) was complemented by an “emotion picture” that further evidenced her futuristic approach to multimedia representation. In light of Alondra Nelson’s statement that Afrofuturism also “looks backward,” let’s look briefly at elements of Monáe’s style that precede the funk era. Ytasha L. Womack describes her signature hairstyle as “a coiffed 1950s pompadour,” and her Black-and-white tuxedo has been the subject of many discussions. The crown and triangular earrings she wears on the cover of The ArchAndroid could conceivably be associated with ancient Egypt. But her most direct connection to African past is her incredible dancing.
Cover art for Metropolis: Suite I (The Chase) by Janelle Monáe.
In the past half-century, only Tina Turner rivals Monáe’s excellence in vernacular-style dancing among women. She slides fluidly on one foot like James Brown, performs the famous moonwalk like Bill Bailey, Vertamae Smart-Grosvenor, and, of course, Michael Jackson, the “King of Pop.” Indeed, the rolodex of her dance moves include nods to blues artists like Muddy Waters and Black dancers who performed in Vaudeville. In her “Tightrope” video, Monáe literally performs the song’s metaphor: that for Black folk, navigating through life in a world of “haters” requires so much psychological balance and emotional resilience that the immense challenges are like “tip[ping] on [a] tightrope.” Thus she (or is it Cindi?) urges listeners: “keep getting funky on the scene.”
Additionally, at several points in the song Monáe sings, “Now put some voodoo on it.” This line appears on the Wondaland Arts Society website, indicating its significance. She may have alluded to D’Angelo’s 2000 album Voodoo or Jimi Hendrix’s 1968 songs “Voodoo Chile” and “Voodoo Child (Slight Return).” But “voodoo” also recalls the earliest African Americans’ religious rituals and thus the Ring Shout dance that enslaved Africans performed in colonial America. The infinitely pleasurable, emotional energy of the dance that culminated in “altered state[s] of consciousness,” which brings us back to those enslaved Black singers who sang “Swing Low, Sweet Chariot.”
Conclusion
Afrofuturism has become increasingly meaningful to many writers, scholars, visual artists, and musicians. And while this is especially true for Black artists and intellectuals, it is also true for critical thinkers who are not African Americans themselves. DJ Spooky and Meshell Ndegeocello, who emerged in the 1990s, have also made important contributions. More recently, artists such as Flying Lotus, Future, RZA, Thundercat, Moor Mother, and others, including singer and songwriter Candice Hoyes, have made contributions. A graduate of Harvard who earned a JD degree from Columbia University, Hoyes is an artist-intellectual whose 2021 EP Blue Lagoon Woman exemplifies several Afrofuturist characteristics. Two of her songs, “Zora’s Moon” and “Waiting for the World (Tired),” were inspired by Zora Neale Hurston and Langston Hughes, respectively. Her scholarship on such luminaries of African American cultural history represents a noticeable departure from the usual practice of isolating creativity and critical analysis, and the textures of her sound exemplify Afrofuturism as well.
As Hoyes states, “‘Waiting for the World (Tired),’…features the 1930 poem ‘Tired’ by Harlem Renaissance poet Langston Hughes set in a lyrical Afro Futuristic soundscape.” But in the final analysis, maybe it’s most notable that the Black London-based jazz piantist Ashley Henry reprised Dr. Funkenstein’s motif in his 2019 song “STAR CHILD.” Evidently, the Mothership made a stop in the UK.
A limited-series podcast was created as part of Carnegie Hall’s Afrofuturism Festival (February–March 2022). The podcast features the festival’s five Curatorial Council members as hosts, and involves a new group of high-profile guests in every episode.All episodes are available now.
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'The Well's on Fire' reviewed by Alan Matthews
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Procol Harum
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The Well's on Fire
Reviewed by Alan Matthews
On Fire, But Far From Dry
The date: Monday 03.03.03 nice symmetry that. My pre-ordered copy of Procol Harums new album, The Wells On Fire, posted on cue through my letterbox. "Great Expectations" is the title of a book by someone or other but it doesnt adequately describe my feelings on getting my hands on this circle in a square box. Twelve long years since drinking from the well twelve years of drought, with hope of replenishment evaporating by the year, until news barely six months ago of rains about to fall.
Ive since drunk from this well six or seven times. Heres what Ive discovered since I first took my first look peep inside.
An Old English Dream
Instantly recognizable as the track first featured at last years Croydon gig. The temptation to sing "Its a little bit funny this feeling inside" is not altogether inappropriate, it being the first listen of new Procol material in over a decade. A solid opener, full of drama and featuring a strong, catchy chorus with nice simple vocal harmony touches from the second chorus onwards. A typically characteristic Procol touch; the false ending suddenly exploding into one final chorus. Lyrically, a regrettable tale of national inequality and injustice.
Shadow Boxed
A pop/rock number incorporating a lyric full of non-specific word play. The theme-less nature allows Gary to be playful and use word clues as musical cues, as in the "Chinese rocks" oriental-feel xylophone passages and Geoffs guitar lines at one point reminiscent of Turning Japanese by The Vapours. This is the only track on the album that features any obvious modern sound-processing treatment, used here predominantly on the intro. The obvious choice for a single, its a particularly good number exemplified by the fact that the middle section is as strong as the verse/chorus sections. Nice one.
A Robe Of Silk
On first take perhaps not a striking number but definitely a grower, and after a number of further listens Ive grown to love this one. A playful melody captures the lyrics nicely, which describe adventures of a shared journey through life. Full of stuttering rhythm and topped off with a neat guitar/handclap solo and Matthew Fishers Hammond solo mimicking the melody until he lets his fingers wander through a garden fence!
The Blink Of An Eye
The albums one real disappointment for me. Having scanned the lyrics pre-first listen my ears eagerly awaited something special here. Taking into account the subject matter and the way its been concisely and expertly dealt with by Keith Reid I find the music very lightweight and totally missing the mood needed for something which should affect every listener. Musically, its like a plodding middle-of-the-road love-regret song with dated dampened-string guitar parts and a cabaret rimshot-led drum rhythm. The only redeeming feature is the reassuring introduction of the Hammond half way through. Im personally not convinced by this song. An opportunity missed I feel. Sorry Gary.
The VIP Room
Ah, this is more like it. A Brooker vocal powerhouse drives this one along. Gary is very convincing singing the part of the greedy egomaniac. Excellent lyrics, full of typically acerbic wit and inventiveness, make for an enjoyable mid-tempo rocker. Geoffs guitar comes to the fore here with great-sounding slide mimicking Garys vocal coupled with a terrific solo. Matthews sustained Hammond chords give it that Procol signature. Again a fine middle section makes for a complete compositional success.
The Question
Matthew Fishers first compositional contribution is a simple, laid-back blues number. His electric piano riff reminds me of a slower version of Robin Trowers guitar in Poor Mohammed. The highlight, without doubt, is the gorgeous sounding Hammond solo. An okay number, which relies on its nice general feel and Reid wit to retain attention.
This World Is Rich (for Stephen Maboe)
The albums first classic track and destined to be voted an all time Procol great. High on "wow" factor, its a very moving number lyrically, musically and in performance. As an introduction and linking verses is a simple and evocative Wandering Star-like multitracked Brooker hum, which fits the general mood to perfection. A gorgeously unusual chord sequence grabs immediate attention and is nicely reinforced by sampled mellow string-pad and organ, which build subtly as the track progresses. My only quibble is the questionable necessity of Geoffs lead guitar, which I find an occasional distraction. The introduction of strummed acoustic on the second verse is perfect but his electric guitar I think should have been given a rest on this one. The repeated, "This world is rich, but it is not mine" chorus is very reminiscent of the chord-change rhythm on Wizard Man. Its a song begging to be covered by any serious artist searching for a quality, meaningful track open to individual interpretation.
Fellow Travellers
Is this the first Procol track to have lyrics written to music rather than the reverse? Doctors cause uncertainty! Im not familiar with the Handel original and so cant comment on the way in which Matthew has adapted it for song. However, it all sounds very lovely and very Procol, although occasionally it only just steers (thankfully!) clear of Andrew Lloyd Webber territory. I love the section where the Hammonds sustained chords come in. One of the few tracks to feature strummed acoustic guitar. An impressive Gary vocal occasionally sounds slightly low in the mix. I dont like the sound of the electric piano at the end though too Radio 2, during the eighties!
Wall Street Blues
Another vocal workout number for Gary. Nothing original or fresh but a fine overall Procol sounding track. The star on this one is Keiths lyrics best keep your well-earned cash hidden under the mattress!
The Emperors New Clothes
The albums other "wow" track. Classic Procol Harum. What attracted me to this bands music during my formative years was its capacity to transport you to another time and place, another dimension, and keep you there in a dreamlike state. This track exemplifies that. A song steeped in melancholy and regret. Brilliant lyrics sympathetically put to music by a regrettably-undervalued master songsmith. The overall sound is sparse, dominated by a moving piano arrangement, embellished by ride cymbal and military snare, and simple guitar. The final sustained piano chord slowly brings you back to reality. Its Procol tracks of this nature that have made me wonder if Neil Hannon of The Divine Comedy has a batch of Procol albums in his collection.
So Far Behind
A superb track. Why on earth was this not featured on a previous album? Destined to become a Procol favourite. Full of compositional invention, a great ensemble piece with every member playing an important part. Im not so sure about the semitonal passages played by Matthew Fisher though. Matt Pegg drives it along with funky feeling. Excellent drumming throughout by Mark Brzezicki; BJ would be proud. Nicely driven by Geoffs wah-wah guitar and bassnote chord-progression reinforcement. The xylophone sound is used to pleasant effect again. And what a great bridge section the only disappointment is that it all ends so abruptly. I could do with at least another two rounds!
Every Dog Will Have His Day
An archetypal Procol RnB rocker: the albums fun track. Garys vocals sound great, as does his piano. Again terrific playing by Mark and the Fisher organ is very impressively to the fore. I would imagine this is the number Jools Holland would insist they play should they be invited to play on the next series of Later with just so that he could tinkle the ivories with them. Although Gary does his best mutt impression (Mr Producer add more echo at the end there please!) it would have sounded even more fun with genuine dog howl and bark samples strategically placed throughout.
Weisselklenzenacht (The Signature)
The kind of thing that Matthew Fisher does so well. The first chord sounds like its sampled from the opening of AWSoP, the final one, from the close of Roberts Box. In between we have a not-so-distant cousin of Repent Walpurgis. This youngster, however, is more complex than its older relative, though similar in features; containing quasi-classical passages, electric guitar outbursts and a quiet piano interlude before the final fling. Often copied, but never matched this is Procol Harum. An excellent track bar the introduction of the guitar, which is too over-the-top for my liking. Im afraid to say that independent observers will pillory Procol for this aspect of the track. There was to my mind always a fine line between Procols mostly-subtle use of dynamics and a lot of 70s prog rock types' tasteless bombast. I fear the line has been overstepped in this respect here. That aside, the piece is very impressive compositionally and destined to feature dominantly live.
I have to say that this album has surpassed by far all my expectations. When I became aware that it contained 13 tracks I thought " Uh oh! Poly filler" (not as in 'covering cracks in the wall' but as in 'album of many fillers'!) This was a fear governed by the fact that these days many bands feel the necessity to automatically fill up a CD with product, irrespective of overall quality and the fact that Ive never liked most of The Prodigal Stranger album.
The Wells On Fire, however, is an altogether different proposition. It feels much more like a band album. You can tell that these guys have been together for some time and respect each other as individuals and as musicians. The quality of material is generally very high and keeps the attention throughout. I want to listen to it again and again. Conversely I have to force myself to listen to the last album. The Blink Of An Eye is the only weak track in my opinion. Twelve out of thirteen more-than-decent tracks thats an impressive percentage. The general sound is excellent so a lot of credit must go to Rafe McKenna for his skill and appreciation of Procols music. A special mention must also be made about Keith Reids lyrics which I feel are one of the strongest batches hes ever produced. This in turn presents Gary in particular with the basis to go on and turn them into great songs, which he has done with aplomb. The only general quibble I have is that occasionally Garys diction is a little questionable, as if not enough time and attention has been applied to aspects of his delivery. But then, how do you go about questioning the bosss work? Having said that, I understand the whole album was recorded in barely more than a month this is a remarkable achievement in this day and age of albums taking months and months to complete and is testament to the bands strong working relationship and enthusiasm.
My humble opinion again this album is miles ahead of Prodigal, much better than Something Magic and certainly stronger than Procols Ninth now were approaching the really good ones. Yes, its that good. Everyone involved should feel rightfully proud.
The well may be on fire, but its far from dry. The Prodigal Stranger 1991, The Wells On Fire 2003. Was it worth the wait? You bet!
Alan Matthews, 9 March 2003
Order The Well's on Fire from Amazon UK
Order The Well's on Fire from Amazon USA
Order The Well's on Fire from Amazon Germany
Order The Well's on Fire
from Amazon Canada
Reviews of this album
Reviews of more Procol Harum albums
Procol Harum albums
|
||||||||
2202
|
dbpedia
|
2
| 61
|
https://drumspy.com/how-to-program-drum-machine-patterns/
|
en
|
How to Program a Drum Machine (With Examples)
|
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[
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[
"Staff",
"facebook.com"
] |
2022-11-22T15:18:36-06:00
|
Years ago the word drum machine conjured up rhythm makers that robotically played along with massive electric organs. However now thanks to a few major
|
en
|
Drum Spy
|
https://drumspy.com/how-to-program-drum-machine-patterns/
|
Years ago the word drum machine conjured up rhythm makers that robotically played along with massive electric organs. However now thanks to a few major revivals in the 1980s and 2010s they have become competition for live drummers! However, even drummers are finding that these devices can help with learning and recording and today we will look at some basic programming of electronic drum machines.
Drum Machine Apps, Software, and Hardware
There are so many drum machines to choose from, you can buy and play an actual instrument or even an app on your phone. The analog machines are nicer for hands-on experiences, but you can accomplish just as much with software and it is a lot cheaper. In fact many apps and software drum machines offer free trials so it is best to try a few different kinds out.
If you have an electronic drum set you may already be setup with a built-in drum machine in the e-drum brain. Drum machines are not just made with electronic sounds, they are now analog recordings that are chopped up into samples. Swing and syncopation are difficult on a sequencer, but thanks to live sampling we can now play styles like reggae and Latin with drum apps.
Most drummers and home producers use drum machines for these reasons.
As a practice aide while playing, they help guide your patterns
On their own they allow you to easily play new genres and styles
They can be added to the overall recording to thicken the drum sound
Drum machines are simply fun to play and lead to new songs and ideas
Drum Machine Basics
Just like any new instrument you must know the basics of what you are playing so be sure to read the instructions for the drum machine. Otherwise there are some universal terms you will come across.
Sequencer/Steps
The steps are where you program when a note is supposed to play, many sequencers have 8, 16, 32, or more steps so you can program multiple measures at once. The machine will quantize these notes based on how you program or play them. Of course how you break down that pattern is up to you; 16 steps can be broken down as 1/8 or 1/16 notes depending on your musical goal.
Some drum machines even allow you to adjust the steps to 6, 12, or any other number so you can do different time signatures. It can take a little math at times to calculate just how many steps a unique song may need, but it is excellent practice. Start with 4/4 time as a beginner but be sure to branch out into more creative meters.
Sounds and Parts of the Drum
Most drummers are familiar with terms like kick, snare, open, closed, low, high, ride, crash, and other percussion terms. These are usually selectable by option or along the grid. Higher end drum apps have more drum parts to choose from. An analog drum machine will have specific sounds that can be manipulated, while a digital will have many different MIDI samples to choose from. The digital is often the best as you can even choose from different sampled acoustic kits!
Accents, Attack, Delays, Oh My!
Just like live drums we need to manipulate the notes played so they sound pleasant or real. We need the strike of the snare and decay of that sound to fit our tune, or the crash of a cymbal needs the right extension. Drum machines will have knobs or buttons that allow us to fine tune how we play our notes, a heavy accent on the 2 and 4 are essential for R&B and rock genres!
Swing and Syncopation
In real drumming swing is simply playing off time, at just the right time! It’s hard to learn in live drumming and it’s hard using computer rhythms too! Some drum machines use time delayed effects to mimic swing while others are a little better at shifting the underlying beat. Either way it is important to know how to use your drum app or instrument to create syncopation, it helps the final sound and ability to jam along with.
Even though it is important to read the instructions and watch videos, the most important part of a drum machine is to start playing. Try the presets out and pay attention to their patterns and sound adjustments for each drum part. After the presets start experimenting with the instrument and have fun, sometimes the best way to begin is by making small changes to the presets until you have something unique!
Popular Drum Machine Patterns
Another cool thing about drum machine exploration is that it can force you to investigate sheet music, after all it is the best way to verify if you have a beat right. Break the steps up correctly and program the notes that you see using drum notation. The hardest parts will be adjusting accents and swing to feel more human.
An easy pattern to start with is the basic 1/8 note Rock’n’roll backbeat on the 2 and 4.
Now imagine if you were playing the drums you would want to add some variation in and this is best done by opening the hi-hat.
Now from here you can start adding in more bass and snare hits, and even break the hi-hats up a little bit. If we want a groovy or danceable beat then we must add a lot of tension and release to help syncopation. Also make sure as you try these grooves out to adjust the tempo!
Sometimes leaving a rest at just the right moment can help break the beat up. If your drum machine has a lot of steps it will be easier to program slight differences in the measures so that the rhythm is not so rigid. However some genres prefer a strict repetitive beat like Hip Hop and EDM.
A more Rockabilly or country groove will have this underlying structure. You may need to put a little swing or delay on the snare to get a better vibe. It also helps to add a rim shot, wood block, or even cowbell in. Just keep the hits simple like the tunes of the 1950s and 1960s.
If you have trouble getting a realistic train type beat, it will require you to accent some of the snare hits. Or if you add a slight delay to just the snare part it will create more of a drum roll sound. The technology exists to sound like a real drummer, you just need to tweak the right buttons!
Most of these patterns can be used across a variety of genres, here we have a common upbeat gospel pattern that looks very similar to the rock and R&B above.
If we cut back on some of the notes we can get a Motown groove.
Now for a genre like reggae we must focus more on the hit on the 3rd and fine tune the delay so we can get close to the proper syncopation.
This is as basic a rhythm as you can in reggae, if your drum machine does not have a rim shot you may have to try a snare on that 3rd downbeat. As you get these very simple structures down you can start adding in more parts like your toms.
And of course you can add in more parts to your other beats too. Keep it simple and build based upon what sounds good.
Notice when you play these patterns slowly and with delay they sound funky, when you speed them up they turn into fast rock or dance. In fact if you fill every bass drum step and add just the right amount of delay you can approximate heavy metal double pedal speed.
Here are some more popular rhythms that have been sampled repeatedly throughout music history.
Funky Drummer
Amen Break
First two bars
3rd bar
4th Bar
Impeach the President
Walk This Way
You will find some popular hits do not translate perfectly onto drum machines because of the occasional human playing factors.
When this happens you must try your best to find a work around in the drum machine. And here are two more patterns that are not 16 steps based, that way you get an idea on how to use different time signatures.
12 steps can be divided as 12/8 or 6/8, here is a basic 12/8 pattern.
A 6/8 pattern
Of course there are many more patterns out there and it is fun to take different sheet music and reverse engineer the sequence.
That is one of the main reasons playing drum machines can even help with regular drumming, you start to see the whole picture and all the genre similarities.
Go download any drum app or get an actual drum machine and you will see how fast your percussion knowledge will grow.
|
|||||
2202
|
dbpedia
|
0
| 54
|
https://www.guitarcenter.com/Yamaha/DTXplorer-Electronic-Drum-Set-1300744182439.gc
|
en
|
Guitar Center
|
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[
""
] | null |
[] | null |
Shop for the Yamaha in and receive free shipping and guaranteed lowest price.
|
en
|
https://static.guitarcenter.com/img/brand/mobile-gc/favicon.ico?vId=7.2.33&cb=18
|
Guitar Center
|
https://www.guitarcenter.com
|
Be the first to know about exclusive offers, tips and more.
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|
||||
2202
|
dbpedia
|
0
| 42
|
https://huggingface.co/datasets/google/MusicCaps
|
en
|
MusicCaps · Datasets at Hugging Face
|
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[] |
[
""
] | null |
[] |
2024-01-11T08:45:47
|
We’re on a journey to advance and democratize artificial intelligence through open source and open science.
|
https://huggingface.co/datasets/google/MusicCaps
|
-0Gj8-vB1q4
30
40
/m/0140xf,/m/02cjck,/m/04rlf
['low quality', 'sustained strings melody', 'soft female vocal', 'mellow piano melody', 'sad', 'soulful', 'ballad']
The low quality recording features a ballad song that contains sustained strings, mellow piano melody and soft female vocal singing over it. It sounds sad and soulful, like something you would hear at Sunday services.
4
false
true
-0SdAVK79lg
30
40
/m/0155w,/m/01lyv,/m/0342h,/m/042v_gx,/m/04rlf,/m/04szw,/m/07s0s5r,/m/0fx80y,/m/0gg8l
['guitar song', 'piano backing', 'simple percussion', 'relaxing melody', 'slow tempo', 'bass', 'country feel', 'instrumental', 'no voice']
This song features an electric guitar as the main instrument. The guitar plays a descending run in the beginning then plays an arpeggiated chord followed by a double stop hammer on to a higher note and a descending slide followed by a descending chord run. The percussion plays a simple beat using rim shots. The percussion plays in common time. The bass plays only one note on the first count of each bar. The piano plays backing chords. There are no voices in this song. The mood of this song is relaxing. This song can be played in a coffee shop.
0
false
false
-0vPFx-wRRI
30
40
/m/025_jnm,/m/04rlf
['amateur recording', 'finger snipping', 'male mid range voice singing', 'reverb']
a male voice is singing a melody with changing tempos while snipping his fingers rhythmically. The recording sounds like it has been recorded in an empty room. This song may be playing, practicing snipping and singing along.
6
false
true
-0xzrMun0Rs
30
40
/m/01g90h,/m/04rlf
['backing track', 'jazzy', 'digital drums', 'piano', 'e-bass', 'trumpet', 'acoustic guitar', 'digital keyboard song', 'medium tempo']
This song contains digital drums playing a simple groove along with two guitars. One strumming chords along with the snare the other one playing a melody on top. An e-bass is playing the footnote while a piano is playing a major and minor chord progression. A trumpet is playing a loud melody alongside the guitar. All the instruments sound flat and are being played by a keyboard. There are little bongo hits in the background panned to the left side of the speakers. Apart from the music you can hear eating sounds and a stomach rumbling. This song may be playing for an advertisement.
6
false
true
-1LrH01Ei1w
30
40
/m/02p0sh1,/m/04rlf
['rubab instrument', 'repetitive melody on different octaves', 'no other instruments', 'plucked string instrument', 'no voice', 'instrumental', 'fast tempo']
This song features a rubber instrument being played. The strumming is fast. The melody is played on one fretted string and other open strings. The melody is played on the lower octave and is later repeated on the higher octave. This song can be played at a folk party.
0
false
false
-1OlgJWehn8
30
40
/m/04rlf,/m/06bz3
['instrumental', 'white noise', 'female vocalisation', 'three unrelated tracks', 'electric guitar harmony', 'bass guitar', 'keyboard harmony', 'female lead vocalisation', 'keyboard harmony', 'slick drumming', 'boomy bass drops', 'male voice backup vocalisation']
This clip is three tracks playing consecutively. The first one is an electric guitar lead harmony with a groovy bass line, followed by white noise and then a female vocalisation to a vivacious melody with a keyboard harmony, slick drumming, funky bass lines and male backup. The three songs are unrelated and unsynced.
7
false
true
-1UWSisR2zo
30
40
/m/04rlf,/m/0xzly
['live performance', 'poor audio quality', 'ambient noises', 'school dance program', 'crowd noise', 'high gain volume', 'hissing tones', 'medium tempo', 'techno dance song', 'male singer', 'groovy bass line', 'techno dance rhythm', 'keyboard accompaniment', 'kids dancing', 'noisy crowds', 'home video', 'school program', 'noise']
A male singer sings this groovy melody. The song is a techno dance song with a groovy bass line, strong drumming rhythm and a keyboard accompaniment. The song is so groovy and serves as a dance track for the dancing children. The audio quality is very poor with high gains and hissing noise.
1
false
true
-3Kv4fdm7Uk
30
40
/m/04rlf,/m/04szw,/m/0l156b
['steeldrum', 'higher register', 'amateur recording']
someone is playing a high pitched melody on a steel drum. The file is of poor audio-quality.
6
false
true
-4NLarMj4xU
30
40
/m/04rlf,/t/dd00034
['pop', 'tinny wide hi hats', 'mellow piano melody', 'high pitched female vocal melody', 'sustained pulsating synth lead', 'soft female vocal', 'punchy kick', 'sustained synth bass', 'claps', 'emotional', 'sad', 'passionate']
The Pop song features a soft female vocal singing over sustained pulsating synth lead, mellow piano melody, sustained synth brass, punchy kick, claps. tinny wide hi hats and high pitched female vocal melody. It sounds emotional, sad, passionate and like something you would hear on a radio.
4
false
false
-4SYC2YgzL8
30
40
/m/04rlf,/m/04wptg,/m/0ggq0m
['solo live direct input acoustic guitar strumming', 'airy suspended open chords', 'low fidelity', 'ambient sounds', 'paper shuffling']
low fidelity audio from a live performance featuring a solo direct input acoustic guitar strumming airy, suspended open chords. Also present are occasional ambient sounds, perhaps papers being shuffled.
8
false
true
-5FoeegAgvU
230
240
/m/04rlf,/m/07rrh0c
['brass', 'double bass', 'strings', 'instrumental', 'no voice', 'percussion']
The instrumental music features an ensemble that resembles the orchestra. The melody is being played by a brass section while strings provide harmonic accompaniment. At the end of the music excerpt one can hear a double bass playing a long note and then a percussive noise.
2
false
true
-5f6hjZf9Yw
30
40
/m/02w4v,/m/04rlf
['folk music', 'rubab', 'male voice', 'slow tempo', 'emotional song', 'low quality audio', 'violin', 'accordion']
This folk song features a male voice singing the main melody in an emotional mood. This is accompanied by an accordion playing fills in the background. A violin plays a droning melody. There is no percussion in this song. This song can be played at a Central Asian classical concert.
0
false
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-5xOcMJpTUk
70
80
/m/018vs,/m/0342h,/m/042v_gx,/m/04rlf,/m/04szw,/m/09x0r,/m/0fx80y
['guitarist', 'male talking', 'twang sounds', 'mediocre audio quality', 'guitar string tones', 'guitar technique', 'fretboard sounds', 'guitar demo', 'online guitar lessons', 'home music video', 'youtube tutorial', 'bas]d audio quality', 'humming noise', 'energetic', 'passionate', 'spirited okay', 'strong voice', 'ambient room noises']
A male guitarist plays the guitar and speaks about technique in this online video tutorial. The male voice is strong and commanding, along with guitar string twang sounds, clearly demonstrating the technique. The audio quality is mediocre.
1
false
false
-6HBGg1cAI0
30
40
/m/02p0sh1,/m/04rlf,/m/06j64v
['folk song', 'traditional song', 'middle eastern song', 'male voice', 'darbuka', 'oud instrument', 'moderate tempo', 'middle eastern instruments']
This middle eastern folk song features a male voice. This is accompanied by a string instrument called the oud playing the melody in between lines. A variety of middle-eastern percussion instruments are played in the background. A tambourine is played on every count. A darbuka plays a simple beat. This folk song can be played in a movie scene set in a Moroccan market.
0
false
true
-6QGvxvaTkI
280
290
/m/01p970,/m/026t6,/m/0l14md
['low quality', 'echoing male vocal', 'acoustic strings melody', 'crowd chattering', 'wooden percussions', 'plucked strings melody', 'live performance', 'traditional', 'noisy', 'passionate']
The low quality recording features a live performance of a traditional song and it consists of an echoing male vocal singing over acoustic strings melody, plucked strings melody and wooden percussion. There is a crowd chattering noise in the background. The recording is a bit noisy and it sounds passionate.
4
false
false
-6pcgdLfb_A
110
120
/m/04rlf,/t/dd00035
['r&b', 'soul', 'male vocal', 'melodic singing', 'strings sample', 'strong bass', 'electronic drums', 'sensual', 'groovy', 'urban']
This is an R&B/soul music piece. There is a male vocalist singing melodically and in a sensual manner over multiple tracks. The melody of the beat is provided by a string sample. There is a strong bass sound in the piece. The rhythm is provided by a groovy electronic drum beat. There is an urban feel to this piece. It could be used in the soundtrack of a TV series where two characters are sharing intimate moments.
9
false
false
-7B9tPuIP-w
450
460
/m/0155w,/m/04rlf,/m/07sr1lc
['male vocalist', 'medium fast tempo', 'monologue', 'background music', 'hit songs', 'retro', 'narrator', 'narration', 'documentary', 'animated singing', 'enthusiastic drumming', 'cymbal ride', 'electric guitar', 'groovy bass lines', 'rock and rock', 'classic rock and rock', 'muffled', 'blues', 'rock hits', 'vocalisation']
A male voice narrates a monologue to the rhythm of a song in the background. The song is fast tempo with enthusiastic drumming, groovy bass lines,cymbal ride, keyboard accompaniment ,electric guitar and animated vocals. The song plays softly in the background as the narrator speaks and burgeons when he stops. The song is a classic Rock and Roll and the narration is a Documentary.
7
false
true
-7wUQP6G5EQ
30
40
/m/02cjck,/m/02w4v,/m/04rlf
['low quality', 'noisy', 'renaissance music', 'soft wooden percussions', 'mellow harmonized flute melody', 'mellow', 'soulful', 'passionate', 'emotional', 'vintage']
The low quality recording features a renaissance music that consists of soft wooden percussion and mellow, harmonized flute melody playing on top of it. The recording is a bit noisy, but it also sounds soulful, mellow, passionate, emotional and vintage - It really puts the listener in a period of renaissance.
4
false
false
-88me9bBzrk
30
40
/m/015vgc,/m/04rlf
['hindi', 'tablas', 'shrutibox', 'bansuri flute', 'medium tempo']
Someone is playing a fast melody on a low bansuri flute along with someone playing tablas and a shrutibox in the background. This song may be playing at a live performance.
6
false
true
-8C-gydUbR8
30
40
/m/04rlf,/t/dd00003,/t/dd00004,/t/dd00005
['gospel music', 'poor sound quality', 'children choir', 'medium tempo', 'black gospel music', 'distorted sound quality', 'meditative', 'devotional', 'inspiring', 'motivational', 'christian contemporary music', 'steady drumming rhythm', 'groovy bass line', 'keyboard harmony', 'retro christian songs']
A children’s choir sings this devotional melody. The song is medium tempo with a steady bass line, drumming rhythm and clapping percussion. The song is black gospel choral music played in front of a live congregation. The audio quality is very poor.
1
false
true
-8cgbhIR_pw
30
40
/m/042v_gx,/m/04rlf,/m/04szw,/m/06w87,/m/07s0s5r,/m/0fx80y,/t/dd00034
['low quality', 'passionate muddy male vocal', 'arpeggiated acoustic guitar melody', 'noisy', 'muddy', 'cover', 'emotional', 'ballad', 'raw', 'messy']
The low quality recording features a cover of a ballad song that consists of passionate, muddy male vocal singing over arpeggiated acoustic guitar melody. It sounds noisy, muddy and messy, as the frequencies are clashing, but it is also emotional and raw.
4
false
true
-BHPu-dPmWQ
30
40
/m/04rlf,/t/dd00032
['intimate wide mixed vocals', 'synth lead melody', 'punchy kick', 'noisy snare', 'claps', 'groovy bass guitar', 'tinny wide hi hats', 'short snare roll', 'alternative/indie', 'electric guitar melody', 'easygoing', 'melancholic']
The Alternative/Indie song features an intimate, widely spread, mixed vocals singing over noisy snare, punchy kick, wide tinny hi hats, electric guitar melody, synth lead melody and groovy bass guitar. At the end of the loop there is a short snare roll and some claps. It sounds easygoing and melancholic thanks to those vocals.
4
false
true
-BIMKnb3tlo
410
420
/m/01p970,/m/026t6,/m/0l14md
['hindustani classical music', 'harmonium', 'bansuri', 'tabla', 'electronic drums', 'upbeat', 'joyful']
This is a Hindustani classical music piece. There is a harmonium playing the main tune. A bansuri joins in to play, supporting a melody every now and then. The rhythmic background consists of the tabla percussion and the electronic drums. The atmosphere of the piece is joyful.
9
false
false
-Bu7YaslRW0
30
40
/m/025td0t,/m/02cjck,/m/04rlf
['atmospheric', 'cinematic', 'calming', 'flute/string/brass sound', 'cymbals', 'synth pad drone', 'slow tempo']
A synth pad is playing a drone sound in the lower mid range. Cymbals are creating atmosphere while a flute/string/brass sound is playing a melody. The whole recording is full of reverb. This song may be playing in a forest documentary.
6
false
true
-ByoSbgzr4M
0
10
/m/01glhc,/m/04rlf
['instrumental', 'electric guitar', 'stringed instrument', 'vibrato', 'sonic power', 'amplified guitar', 'fast tempo', 'rapid', 'vigorous', 'dexterous', 'skilled', 'practice', 'intense', 'rock', 'hard rock', 'home recording']
This clip is an electronic guitar instrumental. The tempo is fast with a vigorous, lively electric guitar lead without any instrumentation. The music is rapid,controlled, intense and vigorous with immense control and dexterity with the instrument.
7
false
true
-CUp_Tmg2Y0
30
40
/m/01qbl,/m/026t6,/m/02hnl,/m/03qtq,/m/03t3fj,/m/0bm02,/m/0l14md
['low quality', 'mono', 'noisy', 'drums solo', 'double pedal kick', 'punchy snare', 'shimmering cymbals', 'boomy toms', 'energetic', 'manic']
The low quality recording features a drum solo that consists of a double pedal kick, punchy snare, shimmering cymbals and boomy toms. It sounds energetic and manic, thanks to that kick pattern. The recording is mono and noisy.
4
false
false
-DeAdhYKbGE
290
300
/m/0192l,/m/085jw
['bagpipe ensemble', 'unison melody', 'drone', 'quick melody', 'trills', 'ornamentation']
A bagpipe ensemble playing a quick melody in unison, employing trills to ornament it.
8
false
false
-Dtir74TiUM
40
50
/m/01hgjl,/m/0283d,/m/04rlf,/m/07qb_dv
['drum & bass', 'electronic dance music', 'hollering sample', 'scratching', 'synth', 'electronic drums', 'upbeat', 'energetic', 'eerie']
This is a drum & bass music piece. There is a constantly repeating hollering sample accompanied by rapid turntable scratching. A synth sound can be heard playing an ominous tune. The rhythmic background consists of a fast-tempo electronic drum beat. The atmosphere is energetic. This piece could be used in the soundtrack of a car racing game. It could also be playing at nightclubs during early-2000s themed parties.
9
false
false
-EVRXQpt1-8
50
60
/m/01swy6,/m/04rlf,/t/dd00126
['oriental/ballad', 'guitar like instrumental', 'bass', 'male voice singing', 'female backing voice singing', 'sad', 'slow tempo', 'harp']
Someone is playing a guitar-like instrument in a tremolo fashion along with someone playing a melody on a harp along with a bass playing the root note. A male voice is singing, sounding sad and sensitive. A backing voice that seems to be female is singing along, providing harmonies. This song may be playing in a dance performance.
6
false
true
-FEPOSP7ay0
260
270
/m/0395lw
['loud bells impacts', 'metallic squeaking sound', 'low quality', 'mono', 'noisy']
The low quality recording features loud bells and metallic squeaking sounds. The recording is mono and noisy.
4
false
false
-FFx68qSAuY
190
200
/m/026t6,/m/02hnl,/m/02k_mr,/m/03t3fj,/m/06rvn,/m/0bm02,/m/0l14md
['punk rock', 'gothic rock', 'male vocals', 'grunt-like singing', 'electric guitar', 'bass guitar', 'acoustic guitar', 'hard-hitting', 'aggressive']
This is a punk rock music piece. There are male vocals singing in a grunt-like manner. The melody is being played by an electric guitar while a bass guitar plays in the background. The rhythm consists of a slightly fast-paced rock acoustic drum beat. The piece has an aggressive atmosphere. It could be used in the soundtrack of an action-filled video game.
9
false
false
-FlvaZQOr2I
90
100
/m/04rlf,/t/dd00037
['building suspense', 'cartoon show soundtrack', 'story telling', 'tense harmony', 'drumming rolls', 'poor audio quality', 'instrumental music', 'medium tempo', 'suspense', 'mystery', 'string section harmony', 'animated show', 'horns playing to a crescendo', 'poor audio quality', 'low bass thumps']
The song is an instrumental. The song is medium tempo, with a horn and string section and a drum section playing to a crescendo, followed by a low frequency thumping rhythm. The song is an instrumental soundtrack for an animated show. The audio quality is poor.
1
false
false
-Gf4Ihv1zwc
50
60
/m/04rlf,/t/dd00034
['christmas', 'festive', 'celtic', 'female vocal', 'melodic singing', 'strings', 'piano', 'harp', 'dulcimer', 'calming', 'positive']
This is a Christmas music piece with heavy influences from Celtic music. There is a female vocalist singing melodically as the lead. The melodic background is provided by the strings and the piano and at the same time Celtic instruments that resemble a harp and a dulcimer. There is a calming and positive aura to this piece. It could be playing in the background at a Christmas party. It could also be used in Christmas-themed shows or social media content.
9
false
true
-IZbvEO9wzU
30
40
/m/04rlf,/t/dd00004,/t/dd00005
['jingle', 'chipmunk vocal', 'transposed instruments', 'piano', 'electronic drums', 'high pitch', 'irritating', 'poor quality', 'bizarre']
This is a heavily edited version of a birthday song. The track has been transposed to make the original vocal sound like a little girl which resulted in a chipmunk vocal effect. The piano playing the melody and the electronic drum beat is at an irritatingly higher pitch than normal. This creates a bizarre atmosphere. It could be used in nightmare sequences in video games or TV shows.
9
false
true
-JVWfFPBl84
330
340
/m/0l14t7
['low quality audio', 'tibetan singing bowl', 'animal sounds', 'no other instruments', 'no voices', 'instrumental', 'meditation music']
This audio clip features the sound produced at a particular frequency by a Tibetan singing bowl. This produces a continuous ringing sound. Toward the end of the clip, some other animal sounds can be heard. There are no other instruments in this song. This song can be played at a meditation center.
0
false
false
-JvB5AL59fM
30
40
/m/04rlf,/m/06j6l,/t/dd00031,/t/dd00035
['rock', 'e-guitars', 'e-bass', 'acoustic drums', 'keys', 'female voice singing', 'male backing voice', 'uptempo']
An acoustic drum is playing a simple rock groove with some drum fills on the toms and snare along with a distorted e-bass and e-guitar playing the same line. Panned to the right side of the speaker you can hear a piano sound playing a little melody. A female voice is singing a happy sounding melody while male backing voices are supporting her. This song may be playing sitting in your room enjoying being at home alone.
6
false
true
-M-6VinyMiY
30
40
/m/04rlf,/t/dd00033
['low quality', 'rock', 'flat male vocal', 'groovy bass guitar', 'sustained electric guitar melody', 'arpeggiated electric guitar melody', 'snappy rimshot', 'soft kick', 'shimmering hi hats', 'easygoing', 'emotional']
The low quality recording features a rock song that consists of flat male vocal singing over sustained and arpeggiated electric guitar melodies, followed by snappy rimshots, soft kick, shimmering hi hats and groovy bass guitar. It sounds emotional and easygoing.
4
false
false
-M6K3QoHh40
30
40
/m/04rlf,/m/07qv_x_
['low quality', 'r&b', 'boomy', 'passionate male vocal', 'claps', 'shimmering hi hats', 'groovy bass', 'noisy', 'passionate', 'speaker', 'reverberant', '4 on the floor kick']
The low quality recording features a R&B song playing on a speaker, judging by the reverberant and boomy sound of it. The song consists of passionate male vocal singing over shimmering hi hats, claps, groovy bass and "4 on the floor" kick pattern, It sounds passionate, like something you would dance to with your partner.
4
false
true
-NmjCyqIavI
30
40
/m/02cz_7,/m/04rlf,/m/0y4f8
['amateur recording', 'beatboxing', 'female voice', 'funny', 'comedic']
This is an amateur recording of a female voice beatboxing. It is a funny recording. It could be playing in the background of comedic social media content.
9
false
false
-O9mnfC61Ac
0
10
/m/01lyv
['country music', 'fiddle', 'acoustic guitar', 'electric guitar', 'gentle playing', 'slow tempo', 'easygoing', 'sentimental', 'longing']
This is a country music piece. There is a fiddle playing the main melody. The acoustic guitar and the electric guitar are playing gently in the background. The song has a slow tempo. The atmosphere is sentimental. This piece can be used in the soundtrack of an American drama movie, especially during the scenes where the feeling of longing is emphasized.
9
false
false
-OAyRsvFGgc
30
40
/m/01glhc,/m/02sgy,/m/0342h,/m/03lty,/m/04rlf,/m/0g12c5
['low quality', 'noisy', 'cover', 'rock', 'electric guitar solo melody', 'playback instrumental', 'punchy snare', 'punchy kick', 'smooth bass', 'soft cymbals', 'passionate', 'muffled']
The low quality recording features a cover of a rock song that consists of an electric guitar solo melody played over playback instrumental. The instrumental features a punchy kick and snare hits, soft cymbals and smooth bass. It sounds passionate, even though the recording is muffled and noisy, as it was probably recorded with a phone.
4
false
true
-OUIEnuNd1I
30
40
/m/04rlf,/m/04wptg
['classical', 'baroque', 'canon', 'single instrument', 'instrumental', 'harp', 'catchy', 'iconic', 'calming', 'hopeful', 'positive', 'wedding music']
This is a classical music piece belonging to the baroque period. The piece is being performed with a harp. There is a catchy tune being played with a positive aura. This piece could suit well as wedding music. It could be used in the soundtrack of a documentary. It could also be playing in the background of a classy restaurant or a museum.
9
false
true
-Q9MTRXS4bE
30
40
/m/024dl,/m/04rlf
['instrumental', 'fast tempo', 'happy', 'perky', 'punchy', 'background sounds super imposed by music', 'digital pads', 'lively', 'synthesised violins', 'upbeat', 'synthesiser arrangements', 'lively piano harmony', 'punchy digital drum rhythm', 'sound of beeping', 'funky bass line', 'tapping']
This music is a spirited instrumental. The tempo is fast with an animated Piano harmony, synthesiser arrangements, synthesised violins, rhythmic digital drums, funky bass lines and electronic sounds. The music is superimposed over sounds of tapping and rhythmic beeping. The music is happy, perky, upbeat, enthusiastic, lively and spirited.
7
false
true
-QuWdnmn-kM
30
40
/m/04rlf,/m/0fd3y
['sustained piano synth', 'lullaby', 'bright xylophone', 'mellow mellody', 'bass guitar', 'dreamy', 'kids music', 'slow tempo', 'nostalgic', 'cello', 'no vocals', 'sleepy']
This is a lullaby that features a main melody made with a xylophone that has a bright sound. A sustained piano synth creates a dreamy and sleepy ambience sound. A subtle cello plays single chords that bounce from one beat to the next. This is a song a baby could fall asleep to.
5
false
true
-R0267o4lLk
60
70
/m/0239kh,/m/026t6,/m/02hnl,/m/02k_mr,/m/03t3fj,/m/06rvn,/m/0bm02,/m/0l14md
['latin percussion', 'complex rhythms', 'medium to uptempo']
You can hear two people playing various percussive instruments. One is holding the same beat playing on congas while the other is playing a solo changing rhythms and percussive sounds in a complex manner. This song may be playing live demonstrating a solo run.
6
false
false
-RYtUAsNhF0
30
40
/m/01jnbd,/m/02v2lh,/m/04rlf
['poor quality', 'no singer', 'instrumental', 'piano', 'strings', 'acoustic guitar', 'gentle', 'mellow', 'optimistic']
This is a poor quality instrumental piece played in the background of a sign language video. There is an optimistic sounding tune being played by the strings, the piano and the acoustic guitar. The atmosphere is mellow and gentle. Samples from this piece could be lifted to be used in beat-making.
9
false
true
-SD43H5B5hE
520
530
/m/01jg02,/m/01jg1z,/m/04rlf
['soundeffects', 'cinematic', 'amateur recording']
There is a low sound that reminds of a heartbeat rising in tempo before a splash-like metallic sound with reverb comes in and breaks the atmosphere in half. This audio may be used for a movie scene. This audio is in poor quality.
6
false
true
-SWaCArvQug
21
31
/m/04rlf,/m/0fqfqc
['ambient room noise', 'instrumental', 'male singer', 'beep tones', 'wind noise', 'doorsteps', 'noise', 'non musical tones', 'home improvement video', 'unimpressive sounds', 'drawer closing', 'home video', 'passionate singing', 'medium tempo']
Ambient sound still in the room with a mild background music playing. A male singer sings a passionate melody with subtle background music. The audio quality is very poor with drawer sliding sound and general noise.
1
false
true
-T4GeTHKtJQ
30
40
/m/02x8m,/m/04rlf
['low quality', 'rock', 'punchy kick', 'punchy kick', 'wide electric guitar melodies', 'distorted bass guitar', 'energetic crash cymbal', 'shimmering hi hats', 'harmonizing male vocals', 'energetic', 'compilation']
The low quality recording features a compilation of rock songs and it consists of punchy kicks, wide electric guitar melodies, distorted bass guitar, energetic crash cymbals, shimmering hi hats and harmonizing male vocals singing over it. It sounds energetic.
4
false
false
-U16iKiXGuY
30
40
/m/03_d0,/m/04rlf
['low quality', 'mellow piano melody', 'noisy', 'lip smack noise', 'r&b', 'emotional female vocal', 'live performance']
The low quality recording features a live performance of a R&B song that consists of a mellow piano melody and an emotional female vocal singing over it. There are some noises in the recording, alongside lip smack noise.
4
false
true
-Umconw-CRE
30
40
/m/0155w,/m/0342h,/m/04rlf
['low quality', 'noisy', 'muffled', 'electric guitar solo melody', 'cover', 'rock instrumental playback', 'passionate', 'emotional']
The low quality recording features a cover of a rock song with a rock instrumental playback playing in the background and electric guitar solo melody playing on top of it. It sounds muffled and noisy, as it was probably recorded with a low quality microphone, but it is still passionate and emotional.
4
false
true
-UuEBhule84
350
360
/m/015lz1,/m/01lyv,/m/04rlf,/m/07s0s5r
['low quality', 'noisy', 'mono', 'acoustic rhythm guitar', 'flat male vocal', 'passionate', 'country']
The low quality recording features a flat male vocal singing over acoustic rhythm guitar chords, after which that same vocal is talking. The song sounds passionate, while the recording, overall, is noisy and in mono.
4
false
false
-VI2IRq17rs
360
370
/m/0395lw
['bell', 'faint speaking', 'male voice', 'resonance', 'live recording']
In this clip, a large bell is rung and left to ring. We can hear the resonance in the room as the bell rings. There is then the faint sound of a male speaking in the background. It's a live recording.
3
false
false
-VclCul6FrI
80
90
/m/013y1f,/m/04rlf,/m/04szw,/m/05148p4,/m/05r5c,/m/0b9m1,/t/dd00125
['low quality', 'noisy', 'mono', 'organ keys melody', 'muffled', 'distorted', 'jazzy']
The low quality recording features a jazzy organ keys melody. The recording is in mono, noisy, muffled and slightly distorted.
4
false
false
-Vo4CAMX26U
30
40
/m/02bxd,/m/04rlf
['low quality', 'low windpipe vocal sounds', 'nature atmosphere sound effect', 'birds chirping', 'water flowing sound effect', 'harsh', 'loud']
The low quality recording features a low windpipe vocal sound played in nature, surrounded by flowing water and chirping birds sound effects. Sounds a bit harsh and loud, as the tone of the windpipe is constantly changing.
4
false
true
-W5c6CeUMPE
40
50
/m/01swy6,/m/04rlf,/m/0l14j_,/m/0mkg
['swiss folk music', 'yodeling', 'male vocal', 'female vocal', 'duet', 'melodeon', 'pastoral']
This is a Swiss folk music piece. There is a male vocal and there is a female vocal. They are yodeling as a duet. The melody in the background is being played by a melodeon. There is a pastoral feel to it. This piece could be used in the soundtrack of a movie that takes place in the Alps region.
9
false
false
-WvVG0wHcTc
310
320
/m/015lz1,/m/01lyv,/m/0342h,/m/04rlf,/m/04wptg
['classical', 'sustained violin melody', 'crowd clapping', 'shimmering hi hats', 'theremin solo', 'subtle female vocal', 'live performance', 'electric guitar melody', 'low quality', 'noisy', 'mono', 'passionate', 'emotional']
The low quality recording features a classical live performance of sustained violin melody, shimmering hi hats, electric guitar melody, theremin solo melody and subtle female vocals at the end of the loop. There are some crowd clapping sounds in the background. It is noisy, in mono and it sounds passionate and emotional.
4
false
true
-XN0NtrnfMY
30
40
/m/04rlf,/t/dd00035
['low quality', 'rock', 'instrumental', 'shimmering hi hats', 'punchy snare', 'groovy bass', 'acoustic rhythm guitar', 'electric guitar chord progression', 'energetic', 'addictive']
The low quality recording features a rock song instrumental that consists of shimmering hi hats, punchy snare, groovy bass guitar, acoustic rhythm guitar in the left channel and electric guitar chord progression in the right channel of the stereo image. It sounds energetic and addictive.
4
false
false
-XkbErI_7EU
50
60
/m/01kcd,/m/0319l
['slow jazz song', 'barbershop quartet', 'trumpets', 'double bass', 'vocal harmony', 'male voices', 'piano', 'slow tempo', 'romantic song']
This slow jazz song features male voices singing the main melody in harmony. This is accompanied by percussion playing a simple beat. The double bass plays the root notes of the chords. Trumpets play a fill in harmony in between lines. A piano plays an arpeggiated chord at the end of the first line. This song has a romantic mood. This song can be played in a classic romantic movie.
0
false
false
-YATTKBtmRA
190
200
/m/01s0ps,/m/05148p4,/m/05r5c
['hip-hop', 'electronic', 'crisp synth', 'melodic pad', 'piano sample', 'strong bass', 'loud electronic drums', 'modern sounding', 'aggressive', 'energetic']
This is a hip-hop music piece. There is a crisp synth sound playing the melody. The piece has a strong bass sound. There is a melodic pad with beat repeat effect that uses a piano sample. The rhythmic background is provided by a loud electronic drum beat. The piece is energetic and modern sounding. It could be used in the soundtrack of a sci-fi movie where there is a lot of action going on.
9
false
false
-YIT4HBM__g
30
40
/m/04rlf,/m/0y4f8,/m/0z9c
['female singer', 'high notes', 'choral harmony', 'ethereal', 'vocal vibrations', 'ethereal', 'soprano', 'alto', 'whirring sound', 'seconds', 'melodic', 'angelic', 'celestial', 'no instruments', 'sound of chatter', 'rustling', 'scuffling', 'harmonious', 'amateur recording', 'mediocre sound recording', 'inferior audio quality', 'quality of']
A female vocalist sings this mellifluous song.The tempo is slow with the vocalist singing a soprano, with alto choral harmony. There are sounds of rustling, whirring,scuttling and people talking in the background. The vocals are beautiful, mellifluous,and ethereal.
7
false
true
-ZHpNr_KRXU
30
40
/m/02w4v,/m/04rlf
['folkmusic', 'amateur recording', 'accordion', 'percussion', 'male voice singing', 'higher register', 'medium to uptempo']
Someone is playing a percussive instrument that reminds a little bit of a tabla while someone else is playing a fast melody on an accordion. A male voice is singing at a higher pitch. This song may be playing live.
6
false
false
-_6RxZyi30Q
70
80
/m/015lz1,/m/04rlf,/m/0g293,/t/dd00126
['latin dance music', 'zumba', 'amateur recording', 'poor quality', 'female voice', 'shouting', 'male vocal', 'melodic singing', 'strong bass', 'loud electronic drums', 'energetic']
This is an amateur recording of a dance performance over a latin dance music piece in the style of zumba. There is a female dance instructor shouting directions to the dancers. There is a male vocalist singing melodically in the background piece. A strong bass and a loud electronic drum beat can be heard very distinctly. The atmosphere is energetic. The quality of the recording is quite poor.
9
false
false
-_OzT7Xyvok
30
40
/m/0155w,/m/0326g,/m/04rlf,/m/05rwpb,/m/06j6l
['amateur recording', 'two acoustic guitars', 'flamenco', 'nylon string guitar', 'technically challenging', 'sloppy']
Amateur recording of two nylon string guitars playing in flamenco style. The playing is technically challenging yet sloppy.
8
false
false
-bgHkxwoliw
30
40
/m/04rlf,/m/04wptg
['pop', 'digital drums', 'e-guitar', 'keyboard melodies', 'male voice singing', 'higher register', 'bass', 'uptempo', 'positive atmosphere']
Digital drums are playing a four on the floor rhythm with a kick on every beat along with a bassline and a keyboard sound playing short rhythmic chords and a e-guitar playing a simple melody along. A male voice is singing in a higher key. This song may be playing at a folkfest.
6
true
true
-cLzki-B06o
30
40
/m/04rlf,/m/0gywn
['arabesque', 'kurdish folk music', 'baglama', 'zurna', 'electronic drums', 'percussion', 'upbeat', 'lively', 'folk dance', 'halay']
This is a Kurdish folk music piece. The main melody is first played by the baglama and then by the zurna. The rhythmic background consists of an electronic drum beat and supportive percussive elements. The atmosphere is lively. This piece could be used as an accompaniment piece for a folk dance course such as the halay dance.
9
false
false
-cQ-jUTEgck
30
40
/m/02p0sh1,/m/04rlf
['southern rock', 'blues rock', 'live performance', 'electric guitar', 'guitar solo', 'keyboard', 'bass guitar', 'acoustic drums', 'groovy']
This is a live performance of a southern rock piece. There is an electric guitar playing a blues solo. There is a bass guitar playing in the background. The rhythm is being played by the acoustic drums. The atmosphere is groovy. This piece could be playing in the background at a rock bar.
9
false
false
-dVgUSrR8g4
30
40
/m/03lty,/m/04rlf,/m/0dl5d
['intense', 'vigorous', 'loud electric guitar feedback', 'intense', 'psychedelic', 'trap', 'trance', 'hard rock', 'enthusiastic', 'energetic', 'spirited', 'hyper', 'fast tempo', 'goth rock', 'heavy metal', 'amplified guitar', 'intense drumming', 'chattering sounds', 'scratching', 'screeching', 'vigorous keyboard']
This song is a vigorous metal instrumental. The tempo is fast with intense drumming, fiery electric guitar riff, amplified guitar rhythms and energetic keyboard accompaniment. The music is energetic, aggressive, youthful, spirited, goth, intense,psychedelic and trance like. This instrumental is Hard Rock/Metal.
7
false
true
-e4wXAy1iVo
0
10
/m/015lz1,/m/04rlf,/m/07xzm
['pop', 'ukulele', 'female voices singing', 'harmony', 'amateur recording', 'medium to uptempo']
Two female voices are singing in harmony to a ukulele strumming chords. One of the voices is deeper and the other one higher. This song may be jamming together at home.
6
false
true
-eDAoheZrY8
30
40
/m/04rlf,/t/dd00036
['movie soundtrack', 'philharmonic orchestra', 'crescendo', 'booming lower harmony', 'average audio quality', 'tense', 'sci-fi music', 'string section harmony', 'suspenseful music', 'horn section', 'drums playing slowly', 'instrumental music', 'mysterious', 'science fiction', 'exploring dangerous territory', 'tuba', 'building tension']
The song is an instrumental. The song is slow tempo with building crescendo , string section harmony, horn section, drums playing steadily and piano accompaniment. The song is suspenseful and builds anticipation. The song is a movie soundtrack and has an average audio quality.
1
false
true
-f1DNyngKVY
30
40
/m/015vgc,/m/04rlf,/m/0jtg0
['sitar', 'no singer', 'instrumental', 'single instrument', 'medium-to-high range', 'transcendental', 'relaxing', 'calming', 'meditation']
This is an instrumental sitar music piece. The sitar is being played at a medium-to-high range. There is a calming and relaxing atmosphere to this piece. This piece can be used in the background of a meditation video. It could also be played during a meditation session at a course.
9
false
true
-f6s6kQEHFY
0
10
/m/04rlf,/t/dd00033
['slow pop', 'ethereal song', 'ambient sounds', 'no lyrics', 'female voice', 'autotune voice', 'piano song', 'synth sounds', 'slow tempo', 'bass', 'no percussion', 'haunting melody']
This slow ballad features a female voice singing the main melody. This is accompanied by a repetitive piano melody. The bass plays the root notes of the chords in staccato style in eighth note patterns. Synth horns play in the background at different pitches. The song has an ambient and ethereal feel. The mood of the song is haunting. This song can be played in a sad scene in a movie.
0
false
true
-fxh7jAJR8U
70
80
/m/028sqc,/m/04rlf
['boy band', 'male singers', 'vocal harmony', 'retro pop hits', 'singing parts', 'medium tempo', 'keyboard accompaniment', 'steady drumming rhythm', 'steady bass line', 'tambourine percussions', 'love song', 'romantic', 'passionate', 'groovy music', 'inspiring', 'passionate', 'spirited', 'soothing', 'relaxing', 'comforting', 'bells percussions']
Male singers sing this vocal harmony. The tempo is medium with a steady drumming rhythm, various percussion tones, keyboard accompaniment, steady bass line and tambourine percussion. The song is soothing and romantic. The song is a retro pop hit.
1
false
false
-hSMzrWZCAE
30
40
/m/02x8m,/m/04rlf,/m/064t9,/m/06rqw,/t/dd00035
['male voice', 'electric guitar', 'distortion effect', 'drums', 'synth bass', 'pop rock genre']
The pop rock music features a male voice singing. An electric guitar with a distortion effect on plays plays two chords every two measures. The drums play a strong rhythm and together with a synth bass drive the pulse of the music.
2
false
true
-hYRFCQdbLg
30
40
/m/04rlf,/m/04szw,/m/0l156b
['upbeat instrumental', 'loud marimba melody', 'noisy', 'low quality']
The Low quality recording features an upbeat instrumental playing in the background on some kind of speaker, while a loud marimba melody is played over it. It kind of sounds off beat, also the sound is mostly located in the left channel of the stereo image, which makes the recording imbalanced and low in quality.
4
false
true
-i9gpG3vPwA
30
40
/m/04rlf,/m/07qsvvw
['instrumental', 'two tracks', 'electronic music', 'harmonic', 'futuristic', 'engaging', 'captivating', 'dance groove', 'electro pop', 'unrelated tracks', 'synthesiser articulation', 'funky drumming', 'enthusiastic digital drum rhythm', 'keyboard harmony', 'dance pop', 'edm', 'pleasant', 'ambient', 'amplified paino', 'surround sound']
This audio clip is an electronic instrumental of two different tracks with medium fast tempo. The first tempo has an amplified piano playing an emphatic harmony along with digital drums. The second track has emphatic digital drums and electronic /synthesised music arrangement. Both the tracks are melodious, pleasant, harmonic, futuristic, captivating and engaging with a dance groove.
7
false
true
-i9uQMysy_A
80
90
/m/02cz_7,/m/04rlf
['beat boxing', 'vocal percussion', 'mimicking drum machines', 'vocal percussion simulation', 'vocal sound effects', 'rap', 'hip hop', 'vocalisation', 'rapid', 'vigorous drumming sound', 'digital drum sounds', 'vocal percussion', 'vocal turn table', 'vigorous', 'tireless', 'energetic', 'vocal drum machine']
This audio clip is of a male vocalist beat boxing. The tempo is fast with the vocalist mimicking vigorous drumming, drum machine rhythms, turn table and other percussions.the rhythm is vigorous, energetic and tireless.
7
false
true
-jpbCWcz2pk
30
40
/m/04rlf,/m/0l14gg,/t/dd00031
['comedy', 'hip-hop', 'male vocal', 'rapping', 'piano', 'electric guitar', 'bass guitar', 'electronic drums', 'funny', 'amusing', 'hip']
This is a comedic hip-hop music piece. There is a male vocal rapping in the lead. The melody in the beat is being played by the piano and the electric guitar while a bass guitar plays in the background. The rhythm is provided by an electronic drum beat. The piece has an amusing aura to it. It could be used in the background of funny social media content.
9
false
false
-kpR93atgd8
30
40
/m/015y_n,/m/0164x2,/m/04rlf,/m/06cqb
['ska', 'saxophone', 'e-guitar', 'acoustic drums', 'percussion', 'keys', 'e-bass', 'fast tempo', 'uplifting energy']
An acoustic drum is playing along with a bassline giving the song a ska/reggae feeling. The e-guitar strumming on the offbeat supports that feeling while a keyboard is playing a bell-sounding chord. Bongos are setting little accents at the end. A saxophone is playing a melody along. This song may be playing at a festival outside while the sun is shining.
6
true
true
-lPXTBXa0tE
30
40
/m/01glhc,/m/0342h,/m/042v_gx,/m/04rlf,/m/04szw,/m/06w87,/m/07s0s5r,/m/0fx80y
['bad audio quality', 'vintage guitar tone', 'passionate', 'spirited', 'guitar demo', 'soloist', 'antique guitar', 'youtube music class', 'master class', 'buzzing noise', 'instrumental music', 'ambient room noise', 'bad audio quality', 'super tone unique tone', 'melancholic', 'country music', 'medium tempo', 'rich country traditions']
The song is an instrumental. The song is medium tempo played by a solo guitarist on a vintage super tone with an exquisite tone. The song is emotional and passionate. The song has poor audio quality.
1
false
true
-m5ZlWziIeA
200
210
/m/01hgjl,/m/02lkt,/m/03mb9,/m/04rlf
['amateur recording', 'vinyl scratching', 'programmed percussion', 'bass', 'synth sounds', 'moderate tempo', 'male voice', 'dj song']
This amateur recording features a vinyl scratch being played on a DJ console. This is accompanied by programmed percussion playing a simple beat at a fast tempo. The hi-hat is struck in eighth notes. The snare and kick are played in a unique pattern. A synth plays a two-note lick at different intervals. Other instruments are not audible as the audio quality is low.
0
false
false
-m9pH0WXQto
110
120
/m/04rlf,/m/07qsvvw
['electro pop', 'low quality', 'flat female vocal', 'wide background female doubling vocals', 'airplane sound effect', 'explosion sound effect', 'arpeggiated synth melody', 'shimmering tinny bells melody', 'energetic muffled crash cymbals', 'quiet drums', 'boomy groovy bass', 'simple hi hats', '4 on the floor kick', 'claps']
The Electro Pop song features a flat female vocal, occasionally supported by wide background female doubling vocals, singing over quiet drums, groovy and boomy bass, arpeggiated synth melody and some sound effects of the airplane and the explosion. In the second part, the drums cut through the mix more, therefore they are more audible, while the new elements appear, including shimmering bells and simple hi hats. Sounds like a low quality recording, especially because of that first part of the loop.
4
false
true
-mA_bqD1tgU
30
40
/m/04rlf,/t/dd00031
['low quality', 'folk', 'wooden percussions', 'groovy bass', 'breathy flute melody', 'groovy piano melody', 'sustained strings melody', 'shimmering shakers', 'passionate', 'happy', 'joyful']
The low quality recording features a folk song that consists of a wooden percussion, groovy bass, breathy flute melody, groovy piano melody, shimmering shakers and sustained strings melody. It sounds passionate, joyful and happy.
4
false
false
-mB_XLq6g1g
30
40
/m/01kcd,/m/07gql
['amateur recording', 'kids voice streaming', 'trumpets', 'acoustic drums', 'e-bass', 'out of tune', 'parody', 'medium to uptempo']
This audio contains an acoustic drum playing a groove along with a simple bassline. Trumpets are playing a melody that sounds out of tune and all over the place while a kids voice is streaming and you can hear some aggressive clicking sounds. This song may be playing for a parody video.
6
false
false
-nlkWWphiaM
30
40
/m/02w4v,/m/042v_gx,/m/04rlf,/m/06j64v
['low quality', 'live performance', 'fruity male vocal', 'accordion melody', 'acoustic rhythm guitar', 'shimmering bells', 'emotional', 'hopeful', 'mono', 'noisy']
The low quality recording features a live performance that consists of fruity male vocal singing over accordion melody, acoustic rhythm guitar chords and shimmering bells. It sounds emotional and hopeful. The recording is a bit noisy and in mono, as it was probably recorded with a phone.
4
false
true
-o0ZtQIkM60
30
40
/m/04rlf,/t/dd00037
['video game theme', 'cinematic strings', 'wind sound effect', 'male choir', 'percussion', 'epic', 'dramatic', 'tension']
This is a video game theme. There is a cinematic string sound playing the melody while the wind sound effect implies there is a snowstorm. A male choir starts singing alongside orchestral percussive elements. There is an epic atmosphere. This piece could fit well in the soundtrack of a thriller video game where there is a face-off about to happen.
9
false
false
-oP-XX28B0s
30
40
/m/04rlf,/m/0gywn
['male singer', 'hip hop music', 'backup singers', 'live performance', 'live audience', 'super hits', 'piano accompaniment', 'groovy bass line', 'steady drumming line', 'slick drumming rhythm', 'emotional', 'romantic', 'passionate', 'together forever', 'love song', 'hip hop hits', 'groovy rhythm', 'dance song', 'hip hops love song', 'clapping rhythm']
A male singer sings this cool hip hop love song with backup singers in vocal harmony. The tempo is medium with keyboard accompaniment, piano accompaniment, steady drumming rhythm, clapping percussion and other sonic effects. The song is emotional and romantic with a cool dance groove,
1
false
false
-pUfYFcsgG4
0
10
/m/0395lw,/m/04rlf,/t/dd00128
['amateur recording', 'bell sounds', 'birds singing']
This recording contains environmental sounds such as birds singing. Then bells start playing a melody with a long release time. This is an amateur recording. This song may be playing outside in a park at a fixed time.
6
false
true
-qcTD2o6I9s
30
40
/m/026z9,/m/04rlf,/m/07gxw,/m/07lnk,/m/07s72n,/m/0ggx5q,/m/0glt670
['techno/pop', 'digital drums', 'synth lead', 'organ', 'pad sounds', 'male voice singing/rapping', 'backing vocals', 'fast tempo']
The kick is playing on every beat along with a fast paced high hat and a snare sound. The digital bass is adding some spice and sounds overdriven. Pad sounds can be heard in the background while a synth lead sound is playing a simple repetitive melody. A male voice is rapping/singing. A lot of backing vocals with delay are adding energy to the mix. This song may be playing in a car.
6
false
true
-r2-9oyIzkQ
30
40
/m/04rlf,/t/dd00003
['romance', 'wide background crowd screaming', 'electric guitar lick', 'emotional piano chord progression', 'passionate male vocal', 'low tom roll', 'soft crash cymbal', 'heartfelt', 'romantic', 'emotional', 'passionate']
The Romance song features an electric guitar lick, low toms roll and soft crash cymbal, followed by emotional piano chord progression and wide background crowd screams, as the passionate male vocal sings over it. Judging by the crowd sound effect, it seems that this is a live performance. Sounds emotional, passionate, heartfelt and romantic.
4
false
true
-r7iz-9v9bA
30
40
/m/04rlf,/t/dd00037
['opera song', 'symphonic', 'female voice', 'string section', 'bass', 'muted guitar', 'fantasy song', 'slow tempo']
This song features a female voice singing in opera style using only vocables and no words. This is accompanied by violins playing eighth note patterns that change according to the chords being played. The bass follows the root notes of the chords. A muted guitar or string instrument plays arpeggiated chords. This song can be played in a fantasy game.
0
false
false
-sRFfU8k0Zs
90
100
/m/04rlf,/t/dd00037
['movie music', 'arabic', 'instrumental', 'clarinet', 'sound effects', 'knives', 'horror', 'terrifying', 'ominous', 'hopeless']
This is an Arabic movie music piece. It is an instrumental piece. There is a clarinet playing a vague melody. The sound of knives being rubbed against one another can be heard. There is an ominous, terrifying atmosphere. This piece could be used in the soundtrack of a horror movie to imply the feeling of hopelessness.
9
false
false
-sevczF5etI
30
40
/m/025td0t,/m/04rlf,/t/dd00033
['folk', 'passionate sitar guitar', 'groovy bass', 'punchy kick', 'metallic percussive elements', 'short offbeat accordion chords', 'low quality', 'clicky keys', 'emotional']
The Folk song features a passionately played sitar guitar, groovy bass and short offbeat accordion chords, followed by metallic percussive elements and punchy kick. The recording is a bit lower in quality due to loud clicky keys sounds. It sounds passionate and emotional.
4
false
true
-tKZOl4q1Kw
20
30
/m/02lkt,/m/04rlf
['high pitched synth', 'riser', 'fuzzy synth', 'motif', 'synth melody']
The clip just contains a high pitched synth melody. The motif keeps going higher in pitch, and then eventually a riser comes in. The combination of these two factors creates a sense of build-up to a climactic moment.
3
false
true
-taO6N-rxv4
30
40
/m/04rlf,/m/07swgks
['rock music', 'tutorial', 'electric guitar', 'acoustic drums', 'sound effects', 'underwater', 'loud', 'generic', 'common sounding']
This is a rock music piece playing in the background of a tutorial video. There is an electric guitar playing a simple tune as the lead while another provides a rhythmic backing by playing the same note repeatedly in rapid procession. There is an acoustic drum beat playing. There are water sound effects related to the video. The piece has a generic feeling. It does not evoke much excitement. It could be used as a jingle for an advertisement or in the background of an instructive video.
9
false
true
-tmY1GEH3_Y
30
40
/m/04rlf,/t/dd00035
['low quality', 'pop', 'echoing male vocal', 'punchy snare', 'shimmering hi hats', 'punchy kick', 'metallic percussions', 'synth lead melody', 'synth pad chords', 'groovy synth bass', 'energetic', 'exciting', 'nostalgic']
The low quality recording features a pop song that consists of an echoing male vocal singing over punchy kick and snare hits, shimmering hi hats, metallic percussions, synth lead melody, synth pad chords and groovy synth bass. It sounds energetic, nostalgic and exciting - like something you would hear in clubs during the 80s.
4
false
false
-tpq_bzSKes
10
20
/m/0140xf,/m/01c194,/m/04rlf
['parole', 'strings', 'upright bass', 'harp', 'male deep voice singing']
This composition contains an upright bass playing softly along to a harp and strings playing a melody while a male deep voice is softly singing a melody sounding like telling a story. The song sounds like it was made for Christmas. This song may be playing at home having dinner with the whole family.
6
false
true
-uaTK8sa5Ms
10
20
/m/018j2,/m/04rlf
['country', 'banjo', 'acoustic piano', 'violin', 'upright bass', 'uptempo']
An acoustic drum set is playing a 16th note rhythm using the edge of his snare and a hihat sound opening and closing. A banjo is playing a fast melody along with a violin/viola playing the same melody. An upright bass is playing a walking bassline. This song may be playing in a funny tv-show.
6
false
true
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dbpedia
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https://www.drumforum.org/threads/how-do-you-practice-low-volume-rim-shots.190582/
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en
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How do you practice low-volume rim shots?
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2021-10-27T22:07:31+01:00
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Hi fellow drummers
Do you have good exercises or tips on how to practice low-volume rim shots?
I play matched grip and usually use something between an...
|
en
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/icons/apple-icon-57x57.png
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[DFO] Drum Forum
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https://www.drumforum.org/threads/how-do-you-practice-low-volume-rim-shots.190582/
|
Hi fellow drummers
Do you have good exercises or tips on how to practice low-volume rim shots?
I play matched grip and usually use something between an american and french grip in my left hand on the snare. Since I play mostly accoustic jazz in a trio, I always play with tip of the stick on the snare when comping, not with the butt end! I really like the different textures I get when doing rim shots, especially at lower volumes. However, I'm very inconsistent and often only hit the rim and not the head at all, which always annoys me.
My snare is a Gretsch Broadkaster, which came with the kit.
I appreciate all inputs!
I prefer Rim shots with the stick pointing outwards as opposed to the butt. Either way, I usually take a pair of sticks and experiment as to the best sound for each stick and mark that location with the Sharpie going along the circumference of the stick. This way when I'm playing I just need to land of stick at or near that line to get the best sound.
As for volume, just hit softer. Or you can experiment with different stick markings so you have one that's a loud click and one that's a thin softer click.
I often position my snare in such a way (at just the right height) that when I strike a rim-shot, the backs of my fingers on my left ever so slightly touch the top of my thigh...this serves as a sort of guide, where if I'm not feeling my hand hitting my leg at all then I know I'm striking a little high and I'm probably getting more head than rim...and if I feel my hand whacking my leg more than it should, then my stroke is too low and I might end up hitting just rim...you just have to find that sweet spot as far as the height goes, and be mindful of how hard your hand is hitting your leg, I have come back from gigs before with a decent bruise on the top of my thigh because I had my snare too low and so I was essentially punching my leg with every rimshot, in this position it was nearly impossible to hit just the rim though, as my leg is in the way of going any lower, if that makes any sense
I often position my snare in such a way (at just the right height) that when I strike a rim-shot, the backs of my fingers on my left ever so slightly touch the top of my thigh...this serves as a sort of guide, where if I'm not feeling my hand hitting my leg at all then I know I'm striking a little high and I'm probably getting more head than rim...and if I feel my hand whacking my leg more than it should, then my stroke is too low and I might end up hitting just rim...you just have to find that sweet spot as far as the height goes, and be mindful of how hard your hand is hitting your leg, I have come back from gigs before with a decent bruise on the top of my thigh because I had my snare too low and so I was essentially punching my leg with every rimshot, in this position it was nearly impossible to hit just the rim though, as my leg is in the way of going any lower, if that makes any sense
I do something similar. But is he talking about when the butt of the stick is already resting on the snare and you kedep it there while you bring the tip down to the rim?
I do something similar. But is he talking about when the butt of the stick is already resting on the snare and you kedep it there while you bring the tip down to the rim?
sounds like you're describing cross-stick? or something else? he did mention the butt end, but I read the question as how to do proper rimshots, just without the typical volume associated, which is do-able, but a bit tricky perhaps since you need to get the stick angle just right, with much less force to the stroke
Hi fellow drummers
Do you have good exercises or tips on how to practice low-volume rim shots?
I play matched grip and usually use something between an american and french grip in my left hand on the snare. Since I play mostly accoustic jazz in a trio, I always play with tip of the stick on the snare when comping, not with the butt end! I really like the different textures I get when doing rim shots, especially at lower volumes. However, I'm very inconsistent and often only hit the rim and not the head at all, which always annoys me.
My snare is a Gretsch Broadkaster, which came with the kit.
I appreciate all inputs!
2 tips I can offer:
1) If you are playing a double bounce (ie: a shuffle), or any time you want to rimshot the second bounce of a double bounce (ghost note/rimshot), the open/closed method works very well.
2) Hit the stick against the rim at about 1/3 of the way from the tip of the stick. It produces a lighter shot and is easier to hit accurately.
I was questioning my earlier post and of course I'm an idiot. I described cross sticking.
For a rimshot it's a similar idea though. You have to know at what point of the stick and at what angle you can achieve that sound. Then practice as noted above so you can play it pretty much at will and then you just simply have to work on a lighter stroke. I think you'll get more of the rim and less of the snare sound if you do with softly but I don't have a drum in front of me.
Practice yes, but also drum position. If you find yourself hitting just rim by accident too often (and boy, you can’t miss that sound! Expecting a little Whomp, and you get a *click* lol) it might be time to analyze your snare position/height. Slightly tilted towards the bd works for me, but depending on your grip, seat height, etc ymmv. Tilted toward you might be just right, idk. Try angling the drum until YOUR typical light rimshot movement makes good contact. But seriously, practice and muscle memory are important. A consistent rimshot and consistent tom hits are the mark of the practiced drummer. If you look at the wear pattern on a masterful drummers heads, it’s often only worn in a very small area or two. They’re accurate. From practice.
You may not like this part, but if you’re playing jazz trio/quartet - it might be time to start practicing traditional grip. If you watch your favorite jazz drummers you’ll likely find 99% of them using traditional. And they USE it. They’re using techniques that just can’t be done otherwise. Especially at lower volumes, I feel like the trad grip is indispensable. Combined with a slightly angled snare drum surface, it’s IDEAL for just what you describe (plus a bunch of other essential sounds). From a traditional grip, you can just drop the stick into a light rimshot (or a quick ruff, or a soft double, etc) in a very natural motion. I think it offers more control on the lighter side of things and allows you to utilize the movements that jazz players have been using for decades. It certainly feels absolutely wrong at first (when coming from matched grip), but quickly becomes second nature. And when you can play BOTH grips, you’ve added a powerful new tool to your toolbox.
Great answers, thanks!
Yes, I'm talking about playing soft strokes on the head and in between playing some strokes which catch the rim for a different sound. So I guess my issue is going from one to the other. Doing loud backbeat rim shots with the butt end seems easier to me.
As much as I would love to be able to play with traditional grip, in my opinion it's just not worth to invest the time for that. I'm already working hard enough to improve my left hand, even with matched grip
Good points about the height and angle of the snare - I may look into this!
Q: How do you practice low-volume rim shots?
A: With focus pills in your stomach, and sadness in your heart.
I recently played a piece for field drum and flute in a recital hall. Shots were notated, and I practiced them endlessly, but I wound up replacing most with stick shots since I had to play all the dynamics down two levels to not dominate the flute (f to mp, etc.).
Tips: ZERO fingers, all wrist--even maybe all arm. You need to minimize variables as if your plane is losing altitude over the ocean and you're tossing out every gram of cargo to stay alive. I didn't have the luxury of sitting, but if I did, I'd set up so that my legs would stop my wrists at the perfect shot point.
Q: How do you practice low-volume rim shots?
A: With focus pills in your stomach, and sadness in your heart.
I recently played a piece for field drum and flute in a recital hall. Shots were notated, and I practiced them endlessly, but I wound up replacing most with stick shots since I had to play all the dynamics down two levels to not dominate the flute (f to mp, etc.).
Tips: ZERO fingers, all wrist--even maybe all arm. You need to minimize variables as if your plane is losing altitude over the ocean and you're tossing out every gram of cargo to stay alive. I didn't have the luxury of sitting, but if I did, I'd set up so that my legs would stop my wrists at the perfect shot point.
Now that at least a couple people have mentioned using your leg as a kind of index for the rimshot - How high or low ‘should’ a snare be? How high or low should we be sitting?
I hope OP considers this on topic, I feel like it relates to the original question since we’re talking about positioning and repeatable motions and such. Snare height especially seems to me to have a big impact on ease of rimshottability. It’s interesting that we’d likely all agree that position in relation to the kit is important, but then you’ll see every possible different approach to it from different drummers - this guy sits waaay low with his snare at his knees, while that guys sitting super high and his snare is up at his elbows. But both will tell you why it works!
Now that at least a couple people have mentioned using your leg as a kind of index for the rimshot - How high or low ‘should’ a snare be? How high or low should we be sitting?
I hope OP considers this on topic, I feel like it relates to the original question since we’re talking about positioning and repeatable motions and such. Snare height especially seems to me to have a big impact on ease of rimshottability. It’s interesting that we’d likely all agree that position in relation to the kit is important, but then you’ll see every possible different approach to it from different drummers - this guy sits waaay low with his snare at his knees, while that guys sitting super high and his snare is up at his elbows. But both will tell you why it works!
A drummer's physical proportions play a huge part in this. I have long arms and not-as-long legs and a long torso, so after setting my throne height for optimal pedal performance, I place my snare totally flat and low enough to use my leg as a shot stopper. I also play mostly rock gigs, so hat stomping isn't a big problem for me. If I'm playing jazz, which is rare, I'm likely to set my snare a bit higher for that reason, but consistent shots aren't as high of a priority as hat technique in that situation. The only issue I run into is with eighth note double kick patterns where my left leg is coming up when the snare hand is going down. At that point I either don't do shots or move the left hand over a bit if off center shots will sound fine. I tend to do hat lifts heel down to maintain the shot stopper effect.
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https://www.icanplaydrums.com/play-drums
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Try This Method & Start Playing Now!
|
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Play drums faster with this simple step by step method. We'll teach you the techniques, beats and fills to get you up to speed quickly.
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en
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https://www.icanplaydrums.com/play-drums
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Play drums today. Additional Important Information For Beginners Setting Up Their Drum Set or drum tabs.
When setting up your kit there’s really two main considerations; the height and the angle of each kick drum or cymbal. Get ready to play the drums.
You want every component of your drumkit in a position that is easy to get to and comfortable to play especially the play drums snare drum or drum set.
You don’t want to be lunging towards your kit just to play it. A good way to check this hi hat, is to reach out and touch every part of your kit with just your hands. Right foot, if you find you have to really lean or stretch, then that part of the kit is too far away for your left hand. Marching bands are fun in your drumming journey when you started playing new songs for many drummers. Quarter note is a good start. To play songs with a hi hat cymbal, you need proper technique.
Drum set you should be able to touch and play the drums, with every part without leaning.
Play drums now with drum tabs, and enjoy the results. Setting The Bass Drum first, then the high tom, snare drum.
When setting up your bass drum, make sure that the bass spurs on both sides are of even length, to ensure the drum is perfectly straight and the toms arm connections are dead flat quarter notes playing french grip whilst learning drums. You can learn drums, today.
You can play songs and adjust the length of each hi hat cymbal spur with either a wingnut drum set arrangement (just like a cymbal stand), or, some virtual hi hat drums bass spurs use a tension rod adjustment, same with a kick drum, in which case you’ll need a regular tuning key.
Attaching The Pedal and reading drum tabs you got from a music store.
Make sure that the high tom, the foot plate of the pedal is perfectly flat when you connect the pedal to the bass drum. It’s a good idea to put a piece of rubber on the top side of the bottom of the bass rim, quarter notes to ensure the claw of the pedal doesn’t eat away at, and eventually ruin, the drum set rim.
Depending on the sound you prefer, this might dictate the eight of the beater. Generally it’s hi hat matched grip desirable to have the beater hitting the drum in the dead centre, with proper technique, and play drums just as most drummers, you would hit any other drum kit. Computer keyboard would be another good example.
If you use a 20” or 18” bass drum, you virtual drums might find you need to lower the beater a little to hit in the centre, but don’t lower so low that the bottom of the beater scrapes along the skin with proper technique, or it will eventually the drum kit wear a hole through, and you’ll be up for a new skin or kick drum. Computer keyboard is cool.
Drum Throne & Weight most drummers, german grip, Distribution On Drum Set. You want your learn drums weight evenly distributed between both legs, and your centre of gravity in the base of your body.
Your legs should just extend naturally and neither foot should be on any strange angle when resting on or playing the foot pedals.
Your actual seat height varies from player to virtual high tom, mobile devices, and the drums player. Some drum kit people sit high and have their legs angled down, some people prefer to sit almost flat, especially after visiting the music store.
Whatever your preference, don’t sit so low that you’re getting a computer keyboard 90 degree angle or less in your legs. Otherwise on drum set you’re having to work too hard and use too much muscular force to use your legs.
Setting Up Hardware
Once your bass drum is setup you can setup your tom hardware, snare stand and cymbal stands.
If you are using heavier drums and cymbals, or just want better matched grip stands regardless, use double braced hardware. It is heavier, but it’s a lot more durable and can take a greater load than single german grip, braced drum set practice routine, with kick drum.
In this pic, notice that each of the 3 hihat legs is double braced, using traditional grip.
With the legs of any stand, make sure they are wide enough that the stand won’t fall over, but not so low that they take up too much drum kit hi hat room practice routine. Most music sucks on the left foot. Left foot music is harder to play without ear protection.
If you’re mounting a boom arm or floor tom off a cymbal stand, make sure the cymbal or tom is hanging over on of the 3 stand legs, and virtual drums not in between 2 legs of the drum set or drum teacher.
This will ensure that the stand doesn’t fall over.
In this pic, notice that the ride cymbal boom arm (on the right), is directly over one of the 3 cymbal legs, pointing in to the drumkit or computer keyboard.
Snare Drum Height
With the snare drum you need to make sure that you can play all manner of strokes (tap to full strokes, rim shots, rimtaps etc) easily and comfortably.
This will take fine tweaking of both the snare height adjustment and the snare angle or computer keyboard adjustment for drum kit bought from a music store. Drum skills vary from country to country.
One thing to check is that you can play rimshots easily. Your drum set should be able to play a rimshot at the bottom of a stroke.
Assume a rimshot position, you should be able to produce one without your hand learn drums hitting into your leg – if it is, it means the snare is too low and you’re lunging down towards the drum.
Your fingers hitting your leg is fine, but if your hand is really hitting in to your leg, then the snare is too low for the drum kit and ride cymbal.
By the same matched grip token, if at the bottom of the stroke, you’re hitting the rim and not the traditional grip centre of the hi hat drum, then the drum teacher snare is too high.
Snare Drum Angle
This is also a personal preference. Many trad grip players prefer to angle their snare down to the right, similar to the drum set old marching drummers (and the reason trad grip was invented).
Many players of both trad or matched grip like to computer keyboard have the snare on a slight angle down toward them. The reason is, since the toms and drum kit and cymbals are often on a steep angle, it’s less of a change of feel if the snare is also on a slight angle of your drum set.
Drum skills also help if your toms are angled but your snare is dead flat, the change in surface angle can be difficult to play between ear protection with other cymbals using a mobile device.
Tom Angle on hi hat drum kit.
The height vs angle factor is crucial with toms. Assume the finished position of a stroke on a tom, your hand should be at the bottom of its stroke, relaxed.
At this point the stick should be playing square onto the tom. You want to make sure that you always hit a drum/cymbal square on. Doing so means that not drum kit only do you get the maximum amount of natural rebound, but you get the best drum set sound out of the drum or computer keyboard. If the tom was over rotated, your drum teacher would be making contact at an over rotated angle and the stick would be stabbing into the drum.
This not only gives a poor sound, it dents the drum skins which further degrades the sound and costs you drum kit money.
Potential Problems With Power Toms
If you use power toms, which are longer in depth than circumference, you might run into setup problems, particularly with a 22” or larger drum sticks, traditional grip played on the ride cymbal (diameter) or bass drum mobile device on the high tom.
Obviously a tom sits with drum beats higher on a 22” than a 20” inch. The problem with drum kit deeper power toms is that they hit the bass drum when you try to get them down to the height that you want from a drum set. Because they will not go any lower, you have to compensate by angling drum skills on one drum playing quarter notes, drum beats them in towards you (so that you can at least hit the skin), but then the hi hat are over rotated for the height, and you once again are hitting “in” to the drum – causing dints in the skin and getting a poor sound from the drum.
Mounting Cymbals near snare drum.
Wen to read sheet music, hihats and an electronic drum kit – make sure the hihats are at a height to read sheet music, and distance from the kit that is easy to get to from BOTH hands, learn drums, and not just the right hand drum set.
Depending on the wash sound drum sticks you want when drum beats played open, you can adjust the angle of the bottom hihat (drum parts) with a nut that screws in from the bottom and will push the bottom hihat edge up.
You can also loosen the nute holding the top hihat in place, so that it moves around more, and will give a less rigid, “washier” feel from the hihats. If you want a cleaner feel, tighten this nut. Snare drum helps also drum head.
Crash Cymbals – make sure they are at a height and angle electronic drums that makes it easy to play them floor tom with a glance stroke.
When you play the drum beats crash you glance across it with either a wrist motion or arm motion, but not straight into it. Make sure you can easily execute this stroke across the crash with computer keyboard with index finger.
Ride Cymbals – floor tom completely personal preference, some people prefer a ride to be down lower and flat drum sticks, some prefer it to be up higher and on an angle. Just make sure you can easily play the bow and the bell hi hat and also crash the edge of the ride for accents, without having to do a big elaborate movement with your index finger, or really lunge for the cymbal on floor tom drum parts.
Posture – Very Important
People will always tell you “sit up straight”. But what’s actually happening when you sit up straight, and why do you need to do it with sheet music? Maybe a better way of thinking about it is, rotate your hips forward so that you’re getting the natural S curve is your lower back (lumber spine).
The reason you want to do this is, when your spine is in its natural drum heads S curve, it’s the strongest floor tom, safest and most stabile position, with a crash cymbal with a solid foundation on one drum.
If you don’t rotate your hips and assume the S curve in your back – in other words if you slouch, the discs in your back which were level and flat and now being squashed down at the front because your drum sticks spine is arched over.
And that means there is a lot of pressure pushing the gel in the discs out the back. Worst case scenario, you’ll blow a disc or have a herniated disc.
Inherent Physical Problems In Drumming
This relates to posture.. As we know everything we do on the drums is in front of us, never behind us. Therefore we’re spending a lot of time using the muscles on the front of the body, particularly the arms, but also to a lesser degree the muscles on the front of the shoulders (front deltoids) and chest muscles (pectorals).
Because these sheet music muscles are being used so much more than the equivalent muscles on the back of the body, they become overactive, drum parts, stronger and tighter than the back muscles, and therefore pull the shoulders forward. This is known as thoracic kyphosis.
Mild cases of thoracic kyphosis like this are often seen in someone who spends all day typing on a computer, and has their shoulders pulled forward over the crash cymbal and snare drum. Basically the front muscles are over active from extended hi hat use of drum equipment, and the equivalent back muscles are switched off from no use. Use your mobile devices when you play.
How Thoracic Kyphosis Relates Back To Posture including index finger.
Given that Thoracic index finger Kyphosis is a potential or even inherent problem in drumming, quarter note, muscle memory, it furthers the need to have your hips rotated forward and your natural S curve in your spine. Why? If you slouch (un-rotate your hips) your shoulders will naturally fall forward as it is onto drum sticks.
So you can see, if you slouch AND do a physical activity using largely the front middle finger muscles on the body, they both exacerbate the sheet music same problem. Drum equipment and drum fills may also help here, with a good drummer.
Drums are one of the most seasoned rebellious known to mankind, including a well known professional drummer.
They are an vital portion of all music classes inclined to play a drum fill from drum tabs. Playing drums is very energizing and fun. In any case, in the event that you're a tenderfoot, you're bound to confront a few difficulties. Like other energizing leisure activities such as acting, surfing, skateboarding, etc., indeed drumming requires particular commitment and a few hone.
Make sure you don't get overcharged for drum parts. To play the drums, consider taking private music lessons online. Also, some drumming tips will assist you get the foremost out of your drumming lessons on your ring finger with solid foundation. Here are a few of them so simply can learn to hi hat play drums easily.
1. Arrange A Drum Tabs Schedule You either ought to hone self-discipline or draft out a consistent hone plan that's in your best intrigued. There's no denying the reality that practicing half an hour a day is superior than doing it for three hours a week.
However, at the same time, you ought to not set improbable objectives, or else you may conclusion up in dissatisfaction. With an index finger, middle finger or ring finger, Four to five hone sessions a week good drummer, will demonstrate adequate in case you're great.
4. Take Proficient Drumming Lessons Although you'll have bounty of lesson plans online, it is prompted that the finest asset from a drum sheet, where you'll learn to play and be able to hold drum sticks, get a lesson arrange is your instructor. Instructors are mindful of your abilities, and they too know your qualities and weaknesses.
It's fun to play the drums. Generally, the lessons accessible online are one-size-fits-all. Still, when your instructor produces a lesson arrange for you, it'll be centered on your aptitudes and personalized tom tom on your non dominant hand. The best drummers are quite fit. American grip is used often in the right direction. The left hand is especially important.
Proficient music lessons are an amazing way to begin learning to play drums. 5. Practice With A Metronome A drummer continuously needs to keep track of hi hat time whereas performing.
Practicing with a metronome will assist you to keep a consistent beat and not get off beat. If you are on mid tom, a drummer and cannot roll on time or play a solid drum beat, how will you learn to play and lead a band?
Several tunes taped professionally are on time. This way, you'll perform together with your favorite band rather than playing a dull tap track for the right direction. Make beyond any mobile devices, on your favorite song, doubt that you simply do not get occupied with a drum sheet, whereas doing the opposite is good too.
6. Observe Proficient Drummers Not all lessons are learned in classrooms. Similar to you'll be able improve your math and calculations anytime, indeed at the basic need store, you'll be able upgrade your drumming skills by observing proficient drummers.
Try to choose up their styles and methods, which will do ponders. You'll be able moreover select to capture your favorite band's live execution or observe them play on a DVD. If you've got a few space in the first fill your hone zone stop playing to play the left hand on mid tom, drums, you'll introduce a TV and DVD player so that you simply can observe hi hat their recordings and hone along. This way, you may have fun and boost your drumming abilities to a extraordinary degree.
7. Adhere To One Learning Method Heel-Up vs. Heel-down are two standard procedures taken after by drummers.
Within the beginner drummers heel-down learn to play strategy, the whole foot parcel of your foot remains on the pedalboard as the lower-leg and lower leg thrust down into a drum sheet. Kick drum is another name for bass drum. This procedure makes a difference to create a more thunderous
resonant
thunderous
resounding
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https://questforgroove.com/how-to-play-reggae/
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Finger Drumming Reggae Lesson
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] |
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""
] | null |
[
"Robert"
] |
2018-04-05T09:59:28+00:00
|
There’s reggae in my blood and it needs to come out once in a while, so I’m very happy with the lesson I created for you.
|
en
|
The Quest for Groove
|
https://questforgroove.com/how-to-play-reggae/
|
How to play Reggae
Back in the day, when I was a baby, my father apparently found out this trick to make me go to sleep. He would put on some reggae music, lift me up with my head against his chest and then slowly dance around the living room to the beat of the music. A guaranteed nap time success.
While my dad used reggae for it’s powerful baby-calming properties, it was my mom who was the real reggae fan in our household. I don’t remember how old I was exactly, but I do know that she taught me the bassline to ‘Stir it up’ from Bob Marley and the Wailers. A magical moment, that moment you notice that music actually consists of multiple parts and that the lowest part, the bass part, is usually the hardest to identify but also the coolest 🙂
Needless to say, there’s reggae in my blood and it needs to come out once in a while, so I’m very happy with the lesson I created for you.
A few things to keep in mind when trying to make your reggae groove sound more authentic:
– The part of the bar that feels the ‘heaviest’ should be the three, not the one.
– You can emphasize this by playing a kick on the three and no kick on the one.
– Don’t play anything on the one sometimes, that makes it even more reggae-sounding
– It’s better to crash on the four than the one
– Replace your regular snare hits with shallow rimshot hits for those typical reggae snare rolls
If you’re new here and want to know about the pad layout, and basic techniques, check out the free beginner course or this article about basic finger drumming technique and the standard QFG pad layout.
When you’ve learned the patterns, you can download the reggae backing track I’m jamming over. There’s multiple versions depending on what type of metronome (or no metronome) click you prefer.
Drumless backing tracks ▼
Reggae half click Reggae no click Reggae half click afterbeat Reggae full clicks
Reggae beat A (swing feel) ▼
Reggae beat B (triplets) ▼
Crazy fill ▼
|
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1
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|
https://www.guitarcenter.com/Aquarian/Rimshot-Rim-Trigger-Sensor-1344871118056.gc
|
en
|
Aquarian Rimshot Rim Trigger Sensor
|
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[
""
] | null |
[] | null |
Shop for the Aquarian Rimshot Rim Trigger Sensor in and receive free shipping and guaranteed lowest price.
|
en
|
https://static.guitarcenter.com/img/brand/mobile-gc/favicon.ico?vId=7.2.33&cb=18
|
Guitar Center
|
https://www.guitarcenter.com
|
Special order: Place an order for this item today and we’ll get it to you soon.
Notify me when this item is in stock.
|
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| 11
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https://www.drumambition.com/how-do-i/make-sense-of-drum-terminology
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en
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How do I make sense of drum terminology?
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The drum world is peppered with weird and wonderful terms. This glossary and optional FREE eBook will help you make sense of common terminology, buzz-words, and drummer "slang."
| null |
How do IÂ make sense of drum terminology?
Author: Simon DasGupta.
August 11, 2022
In this article
In general, the world of drums, percussion, and music is filled with many weird and wonderful terms. It can be daunting but don't worry. Our free glossary is here to help you understand popular:
terms used in drums and percussion.
terms used in music theory generally, that are often seen by drummers.
common buzz-words and confusing "drummer slang."
Why are drumming terms so confusing?
A drum head is the new accepted term for what we once called a drum skin. You tighten your drum heads by adjusting the tension bolts, and you fit the head onto the bearing edge of your drum shell.
âThat one paragraph alone has multiple drum terms that can confuse beginner drummers, and we haven't even touched the weird ones like batter heads, hybrid drums, crotchets, and x-hats.
What is a rack tom, and why might you need a memory lock? How does a rim shot differ from a rim click? How does a boom cymbal stand compare to a straight stand, and what on earth is a snare basket?
The Glossary.
|
|||||||
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| 44
|
https://chordify.net/chords/erykah-badu-songs/rimshot-intro-2-chords
|
en
|
Rimshot (Intro) (Live) Chords
|
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[] |
[] |
[
""
] | null |
[] | null |
Chords for Erykah Badu - Rimshot (Intro) (Live).: Cm7, Dm, Cm, Bbm. Chordify is your #1 platform for chords.
|
en
|
https://chordify.net/chords/erykah-badu-songs/rimshot-intro-2-chords
| |||||||
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https://www.answers.com/english-language-arts/How_do_you_spell_the_sound_that_the_drums_make_after_a_joke
|
en
|
How do you spell the sound that the drums make after a joke?
|
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""
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[] | null |
This is described as a "rim shot" (more technically a "sting")
and consists of two beats followed by a final, louder one, a cymbal
or bass note.
This would be similar to "ba-dum-DUM" or "ba-dum-TSH" (an actual
hit on the other drumstick sitting on the rim).
|
en
|
/favicon.ico
|
Answers
|
https://www.answers.com/english-language-arts/How_do_you_spell_the_sound_that_the_drums_make_after_a_joke
|
Punchline Drum Roll = 'badum tssssh'.
Some drummers use a tom-tom-kick-crash. Others use a snare rimshot-rimshot-kick-crash. (a rim shot is when the drumstick hits the rim and the head of the drum at the same time)
The punch line drum solo is thought to have originated in Vaudville.
|
||||
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| 24
|
https://reader.exacteditions.com/issues/72526/page/72
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en
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January 2019 (Issue 419)
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[
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Read fully-searchable digital publications on the Exact Editions platform.
|
en
|
/apple-touch-icon-57x57.png
| null |
No titles available
You have no current subscriptions in your account.
Would you like to explore the titles in our collection?
No collections available
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Would you like to view your available titles?
|
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http://taperssection.com/index.php%3Ftopic%3D153633.105
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https://www.drumforum.org/threads/snare-tones-snap-crack-pop-bite-what-do-they-mean.189849/
|
en
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Snare tones: snap, crack, pop, bite - what do they mean?
|
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[
""
] | null |
[
"B.C. Canada",
"New York State"
] |
2021-10-05T17:16:41+01:00
|
It seems some of the most common ways to describe various snare tones are: snap, crack, pop, and bite. But when we say those words, what sonically do we...
|
en
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/icons/apple-icon-57x57.png
|
[DFO] Drum Forum
|
https://www.drumforum.org/threads/snare-tones-snap-crack-pop-bite-what-do-they-mean.189849/
|
Steefalo
Member
Joined
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Messages
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It seems some of the most common ways to describe various snare tones are: snap, crack, pop, and bite. But when we say those words, what sonically do we mean? What kind of sound are we referring to? I feel like it's important to try to tease out to ensure we're actually talking about the same thing.
Feel free to describe those characteristics in more detail, but since we're trying to define a sound, and nowadays have access to thousands of "snare demo" videos, ideally please post actual video or sound files that exemplify each these characteristics to you.
Curious to see what comes up. Thanks!
Last edited: Oct 5, 2021
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CSR
Member since May 2000
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Snap is what a good snare sound is.
Crack is what a good rimshot sounds like.
Pop is what your back does when you pick up a Sonor bass drum.
JDA
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usually a Roy Haynes coined term his 5 stroke rolls in various setting late 60s early 70s usually in conjunction with a 602 flat ride
note what happens snap crackles pops when the Jacket comes off
other than that it's having one of drumming s greatest assets : Imagination
Last edited: Oct 5, 2021
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clowndog
DFO Veteran
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Watch the old Batman TV series for assistance
2oo2
Well-Known Member
Joined
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Those words are references to actual sounds in nature or things. For example when a tree branch "cracks", a string of rubber "snaps", or a grain of popcorn "pops". Regarding bite, no idea how a snare sound can "bite" you.
JazzDrumGuy
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Crack is a nice tight wood snare sound.
Pop would be a high tuned piccolo sound.
Snap would be my fingers counting in....
Bite??? I don't think I have ever used that.
Warm, woody, ringy, metallic, fat, loose - these are terms that make sense to me.
richardh253
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[read any wine label descriptions lately? ]
CSR
Member since May 2000
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Onomatopoeia in action!
dtk
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hmmm....Every Grover or Phattie snare I've heard popped. Something about the edges...to me...its as if the sound was released quckly from the drum and into the air...
mebeatee
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I’m getting hungry.....a “Phattie”.......snap, crackle, pop........some Rice Crispies are on order.....
I thought these terms came from other band members trying to describe what they would like you to play....
“ok after the second verse just before the turnaround could you give us a blamzitbooong then bring us back in with a crack ploop ting pop pop bling”.
If I was a singing drummer most assuredly I would stop playing the drums at this point and verbalize it just like they asked.....or....maybe that’s why we have to have many many drums.....especially two snares...one for cracks and one for pops....now I’m hungry again.....where are those Corn Pops?
btw the pop up balloons in the old Batman tv show would be perfect in this case....
bt
Seb77
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I think I have seen "bite" in refernece to louder, brighter hi-hat cymbals, closed or chick sound, a bit similar to "cut", a "sharp" sound. In terms of frequency, this might refer to a peak around 6kHz or higher. With snare drum, might refer to the "wire" part of the sound. Or can a snares-off sound have bite, too?
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https://www.synthmania.com/mt-500.htm
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en
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500
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MT-500
Auto-accompaniment keyboard (electronic musical instrument)
image: eBay #2570408450
The Casio Casiotone MT-500 is a classic late '80s Casio model. It features 12 rhythms (aka "super drums"), 20 tones, and 4 great rubber pads with interchangeable drum and percussion sounds, all in stereo :-)
The omnipresent Casio-Chord is available, and it's possible to vary the accompaniments thanks to five sliders that change the pattern of the bass drum/bass, the snare/rim shot/tom, the cymbal/high hat, the hand clap/agogo/bongo, and finally the chord structure.
Separate sliders are available to control and mix the volumes of the accompaniment and the rhythm, change the tempo, and adjust the main outputs.
The keyboard is standard Casio mini-keys, four octaves, and it's surprisingly easy to play even for large hands. It's not velocity-sensitive.
The rhythms and tones themselves are early PCM, and are typical Casio. Among the tones there are a few standouts, like the excellent pipe organ, and the synth. guitar, but if you like retro styles, you'll like this keyboard.
A difference between this and other Casio keyboards of the same era is that it's not possible to change the preset tones in any way... no envelope, vibrato... like it's possible to do on other Casio models.
The rhythms sound nice and punchy, and gloriously lo-fi. There's also a synchro-start/fill-in button, and a set of two outputs for external drum pads.
Check out the audio demos here below...
Casio MT-500 Casiotone audio demos
Rhythm name with audio demo My comments 16 beat Nice syncopated 16-beat rhythm bossa nova Relaxed, summery and warm :-) disco Great Simmons-style disco tom-toms march Nice military snare pops 1 Nice and happy pops 2 Very nice retro style :-) reggae Superb reggae beat! rock Good rock 'n' roll samba Classic samba accompaniment slow rock Typical '60s style swing Fluid and jazzy waltz Nice
Tone name with audio demo My comments bells Static but sparkly. clavichord Nice preset - works as Clavinet double reed Pretty realistic, bassoon-like elec. guitar Overdriven Strat (with a bit of imagination...) elec. piano Of FM, not Rhodes, variety. flute Nice vibrato glockenspiel Nice sample harpsichord Realistic and useful human voice Very interesting and analog sounding! jazz organ 1 Solid Hammond organ jazz organ 2 Variation with a bit of pseudo-reverb panpipe Realistic piano Typical early Casio piano pipe organ Beautiful pipe organ patch synth. guitar Powerful synth. reed Different synth. sound 1 Good synth sound that would benefit immensely from quality fx processing synth. sound 2 Nice variation vibraphone Ok violin Expressive
And here's what possible to do using the four yellow hexagonal drum pads:
drum solos a series of rhythms improvised on the pads, switching the various sounds assigned to them.
Features at a glance Year of release: 198_ Polyphony: Presets: 20 Rhythms: 12 Keyboard: 4-octave mini-keys Responds to velocity: no Sound generation method: PCM MIDI: no Sound expansion capabilities: no Effects: no Controls: sliders Outputs: stereo RCA, phones Display: no
Casio MT-500 pictures (click on thumbnails to enlarge)
Casio MT-500 manual
Links
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https://www.upload.ee/files/737183/rimshot.gif.html
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2202
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https://displate.com/displate/3326060
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'808 RimShot Drum Machine' Poster, picture, metal print, paint by Gianpietro Melotti
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Beautiful '808 RimShot Drum Machine' Poster Print by Gianpietro Melotti ✓ Printed on Metal ✓ Easy Magnet Mounting ✓ Worldwide Shipping. Buy online at DISPLATE.
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en
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Displate
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https://displate.com/displate/3326060
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2202
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dbpedia
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| 12
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https://www.onlinedrummer.com/blogs/drum-lessons/how-to-tune-drums
|
en
|
How To Tune Drums
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[
"Nate Brown"
] |
2022-09-20T17:00:40
|
Tune Like The Pros By far, the best tuning instructions I've found are Bob Gatzen's tuning lessons. I will share these below, but be sure to reach out to Bob with a thanks for the great instruction. You will find many other tuning tips by Bob Gatzen here: https://www.youtube.com/results?search_query=bob+gatzen+tuning
|
en
|
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OnlineDrummer.com
|
https://www.onlinedrummer.com/blogs/drum-lessons/how-to-tune-drums
|
By Nate Brown
Tune Like The Pros
By far, the best tuning instructions I've found are Bob Gatzen's tuning lessons. I will share these below, but be sure to reach out to Bob with a thanks for the great instruction.
You will find many other tuning tips by Bob Gatzen here: https://www.youtube.com/results?search_query=bob+gatzen+tuning
The Art of Experimentation
Finding your drum's "sweet spot" or tuning range is a matter of experimentation. It's also very subjective. As a drummer, you'll know the sweet spot when you hear it, and that's great. Someone else might prefer a different sound, but it's your drum set.
Experiment to find the tune that defines your sound.
Realistic Expectations
Are you getting the best sound out of your drum kit? You won't know the answer to that question until you figure out your kit's potential. Your drums have a tuning range. Trying to tweak them until they sound like the drums from your favorite album will probably drive you nuts.
If you're trying to get a high-pitch, resonant, lively crack out of your snare drum when you're playing a 15 inch, deep-shelled, wooden snare drum, it's not going to work.
Every drum has its "sweet spot," which is determined by the depth, diameter, the material it's made of, and the head you put on it. Figuring out your kit's potential will save you a lot of headaches and frustration.
Knowing Your Shells
The material your drum shells are made of has a significant impact on the sound of your drums. Evans Drum Heads has done extensive research on the "sweet range" of your drum kit based on the type of wood it's made of. They've generously created the following charts.
Maple and birch are the most common wood-types found in professional-level kits. In the charts above, you can see that maple shells produce a lot of low-end, chest thumping bass. Birch wood doesn't present as much low-end, but the high-end (i.e. treble) is respectfully higher.
Many rock drummers prefer the powerful bass of maple wood for playing live shows, while the extra clarity of birch is preferred for the recording studio -- or other situations where quieter playing is needed.
In general, maple is a louder wood than birch, although shell thickness will have an impact on volume.
An often-made mistake is to measure a drum's thickness by the number of plies it's made of. You can't measure the thickness by plies alone. One company may use one sized ply while another uses a thicker ply. It's possible that a 9-ply shell is thinner than another company's 7-ply shell.
Other Popular Materials
A further breakdown of other popular drum materials is given by ladrummerie.com. Here is a breakdown of their findings:
POPLAR:
Poplar is a fast growing wood and offers medium strength for drum shells. This softer wood has been used in drum construction for decades and is often chosen as a filler wood between inner and outer plies of more expensive or aesthetically appealing woods. It has a sound similar to more expensive woods such as birch or mahogany.
BASSWOOD:
Basswood is another soft, fast growing wood. Many drummers think it has a sound similar to other more expensive woods such as maple or mahogany. It is often chosen for the inner and core plies of drum shells since it is inexpensive, yet still sounds good.
OAK:
Oak is a very strong wood and offers incredible durability and projection. It makes for a good alternative for more common shell materials offering a very present sound that has enough low-end to keep the tone round.
STEEL:
The most notable sound characteristic of drum shells made from steel is their bright tone, long sustain and penetrating rim shot sound. If you play a lot of rim shots or need your snare to cut through loud music you owe it to yourself to audition a steel-shelled snare drum. For this reason, Reggae drummers often prefer steel snare because they have such a cutting and bright tone. Many entry-level drum kits feature steel snare drums because they can be inexpensive to produce.
BRASS:
Brass shells offer the crispness generally associated with metal snare drums but also a warm tone, with clear and defined rim shots that are capable cutting through louder music.
COPPER:
Copper snare drums are often chosen for orchestral use because they have a slightly darker and warmer tone with more low end than brass or steel snares.
BRONZE:
Though often used for making cymbals, bronze is becoming a more popular material for high-end snare drums. The tone tends to be dark and warm and more subdued than brass or steel.
ALUMINUM:
Aluminum offers a penetrating sound that’s crisp, yet a bit drier with less sustain than steel or brass snares negating the need for any damping.
Are Your Shells Warped or Damaged?
I recall one frustrating evening when I was trying to tune a bass drum for a student. No matter what I did, the bass drum sounded terrible. It turns out that the bass drum was warped, meaning it wasn't completely round. Because of this, the drum head couldn't seat properly around the shell.
You'd think it would be easy to spot, but in this case it didn't stand out at first glance (or second or third). If you're not getting a good sound out of the drum, check to make sure they are round.
Damage to the bearing edges can also make tuning difficult (or impossible). The bearing edge is the part of the shell that comes into contact with the drum head. In a literal sense, it bears the drum head.
Run your fingers along the bearing edges to make sure they are smooth and consistent. If there are bumps, chips or other deformities, this will have an impact on the tune-ability of the drum.
Knowing Your Drum Heads
Selecting a drum head is an important decision. A head can change the attack, resonance and even the overall tone of the drum. The effects of drum head choice has been extensively studied by Evans Drum Heads. They've kindly made the results of their research available to the public. You can find extensive explanations here:
|
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0
| 45
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https://bandcamp.com/toddherlin
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en
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toddherlin's collection
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Shanghai, China • Rock • 363 collection items • 9 followers
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en
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Bandcamp
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https://bandcamp.com/toddherlin
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No matching results
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2202
|
dbpedia
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0
| 53
|
https://www.production-expert.com/home-page/2013/9/30/fxpansion-bfd3-review-including-show-tell-video.html
|
en
|
Fxpansion BFD3 Review Including Show & Tell Video
|
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[
""
] | null |
[
"Russ Hughes"
] |
2013-09-30T00:00:00
|
FXpansion’s BFD drum VI has been a much loved part of the music production landscape for several years and so version 3 has been long awaited, if for no other reason for our community than that Pro Tools users now get AAX 64 bit to use with Pro Tools 11. Pro Tools Expert hav
|
en
|
https://images.squarespace-cdn.com/content/v1/54d696e5e4b05ca7b54cff5c/1512982841888-GQMI5RHKXPO0ZY4NHYUF/favicon.ico?format=100w
|
Production Expert
|
https://www.production-expert.com/home-page/2013/9/30/fxpansion-bfd3-review-including-show-tell-video.html
|
Existing owners of BFD3 may feel a little shocked by the new minimalist GUI, it’s almost as if Jonny Ive (iOS7 creator) was hired to create the new GUI, disposing of most of the skeuomorphic layout and gear-porn images of drums for a much slicker looking and may we say more intuitive, faster and responsive instrument. Some users may hate the new design, but it depends if you want your eyes to think there’s a real set of drums sat in front of you, or your ears? I know which I would choose as a music producer. I think it’s a brave move in a world where every designer is trying to make plug-ins that sound and look like the real thing, it does make one wonder if other plug-in manufacturers will follow suit? This new design is more grown up, flat and clean and irrespective of taste, having everything to hand, or just a couple of clicks away makes for a fantastic user experience. Having the extendable GUI, which allows the user to see both as much (or as little) as they wish also helps in the production process.
If you’ve not used it before then there’s some well thought out little touches in BFD3 retained from earlier versions. For example when you hover over channels, or drums, small coloured lines appear to show you where things are connected, so if you have a snare drum going to several busses then you can see that in an instant. This is really useful when you are trying to pull down the volume of a drum, or adjust a reverb and nothing seems to be happening - simply follow the lines to see where all the routing is going to.
Auditioning of Presets, Kits, Drums and Grooves is a doddle with the left hand browser and even those new to BFD should be able to do most things without even reading the manual.
Moving to the large centre panel this is where users can get under the skin of the kit, the effects for each drum, the Groove Editor and also the Key Map where both grooves and drum articulations can be set up across keys.
Of all the sections the one that takes a little figuring out is the Groove Editor, partly due to its almost limitless possibilities, but hovering over anything gives tool-tips both within context and in a menu at the top. Users can either draw Grooves or play them in real time - in practice I found myself doing both as I tried to create a few of my own grooves - although none got close to the playing of the supplied grooves, which feature everything from Pop and Rock to Jazz and Reggae. It is perhaps important to say at this point that out of the box BFD3 is about real drums and more conventional rhythms, not electro beat boxes and electronic beats. This is not a criticism, simply to say that of if you are expecting lots of mashed up, dubstep or electronica then you won’t find it. What you will find is around 160gb of amazing sounding live drums and grooves to match by Steve Ferrone, Brooks Wackerman, Bobby Jarzombek, Peter Erskine & Stanton Moore courtesy of Platinum Samples. Of course users of BFD2 can load their existing content into BFD3 and there are plenty of expansion libraries already available to satisfy many musical tastes.
BFD3 also has extensive import and export functions, one of special note for those not making the move to Pro Tools 11 is the extensive export options that will in fact give you more options then even using offline bounce in Pro Tools 11. It offers varying complexities of realtime bounce as well as 16, 24 and 32 bit depths for the audio. So both RTAS and AAX users should make sure they check this out if they want maximum control over the audio in their mixes.
Pimp My Kit
All that said, the ability to load some great sounding kit pieces (as well as you own samples), use the extensive supplied plug-ins such as compressors, filters, eqs, plus new effects including reverb and DCAM EnvShaper means that within BFD3 there’s a great deal to help you get your kit sounding just how you wish. As we have already said, there is also a large set of expansion options available from both FXpansion and some third parties.
How Does It Sound?
Best to watch the show and tell video here - trying to explain how it sounds would be a little silly.
The Key Mapper with both sounds and grooves assigned
What Do We Think?
It could have been so easy for FXpansion to sit on their butts and simply live on the enviable reputation that BFD already has, add a few more kits, a few extra formats and a bit more candy and still made most people happy. However BFD3 is a rethink of a trusted product and in rethinking and changing many things including the GUI, the workflow and in some cases the terminology, plus adding the aforementioned new kits, grooves, new effects and other candy, they’ve been brave and I think in doing so have come up with a winner.
The sounds, grooves, and new workflow are all on the button and as I have already said 99% of the stuff is possible without reading the manual. I got caught on a couple of things but soon had them worked out.
I did feedback some stuff to FXpansion as I was reviewing BFD3, the first was that whilst I appreciate the way the GUI can be extended in width, I felt like I wanted to grab the GUI and resize it with my mouse, I’m assured that they are aware of this. I also found the “Are you sure you want to do this” nag when I tried to load kits annoying, but this can be turned off in the options menu.
What FXpansion have succeeded in doing with this reinvention of BFD3 is to offer a seriously powerful real drum VI and at the same time make it easy to use - right down to creating the new lossless format, that makes both installing from the supplied 64gb memory stick faster, it also ensures you don’t have to think about buying a new hard drive squeezing over 150gb into 55gb of drive space - magic!
Conclusion
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File:Characteristic rock drum pattern rimshot.png
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2014-07-25T16:21:16
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/static/apple-touch/commons.png
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https://www.elektronauts.com/t/metal-funk-electro-kit-construction-for-live-play/3573
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en
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Metal/funk/electro kit construction for live play
|
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2014-02-10T14:35:28+00:00
|
hi all, i am creating some kits on an MD uwII (non-plus drive) the genre is hybrid metal with funk, house and electro elements, but the aim is explorative, trying to find a new sound… the context is a four piece… the MD is played live by a drummer using a padKontrol with damper pedal. OT is played live in a hip hop manner by a talented pal. then there are two ESP guitars, one seven string, the other a five string bass. so … what i am trying to do is design the kits using mostly samples. i...
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https://www.elektronauts.com/uploads/default/optimized/2X/6/6bf422bf246c133ad52be7df5f7fe8f0b5b75db0_2_32x32.ico
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Elektronauts
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https://www.elektronauts.com/t/metal-funk-electro-kit-construction-for-live-play/3573
|
hi all, i am creating some kits on an MD uwII (non-plus drive)
the genre is hybrid metal with funk, house and electro elements, but the aim is explorative, trying to find a new sound…
the context is a four piece… the MD is played live by a drummer using a padKontrol with damper pedal.
OT is played live in a hip hop manner by a talented pal.
then there are two ESP guitars, one seven string, the other a five string bass.
so …
what i am trying to do is design the kits using mostly samples.
i have a few ideas, but if anyone has any advice, that would be awesome.
current selection of sounds to work with is about 100 acoustic samples of Ludwig and Kuezweil kits, a bit of Tama, Sonor and Pearl, Zildjian hats and Sabian cymbals… Supplemented by some breakbeat and trance kickdrums, reinforced snare hits.
wondering how to fit these into the 48 slots … perhaps making simple 4-note sample chains would be useful especially in the last 8 slots, where it is easier to go directly to a fraction division of an audio clip.
also wondering if i should do a lot of panning on the kit sounds …
the padKontrol has two Rotary controllers … and an XY pad. not sure if i should keep it simple n assigning what they do, or complex, and how to create a sense of continuity amongst drum kit constructions.
The big things that come to mind are firstly to get rid of a substantial amount of midrange from the Kiks & Toms & to make sure snares have weight around 160Hz & crack around 5KHz.
Why?
A knowledgable FOH engineer will do this to make space in the spectrum for the gtrs but if you’re sending L&R then his/her hands are tied.
Use the individual outs if this fits in with your methodology & it’ll offer a lot more control!
Re panning, (if you’re not using individual outs), keep Kik Sn & Hats in the centre & pan other stuff around it . Will be fine for anything up to 1000 capacity venues. The larger you get the less panning you can get away with. For eg, at Download all Toms are panned centre, they have to be, otherwise people standing in front of the hangs either side would only hear half a kit
One other thing to bear in mind is to keep an eye on the low end, (using a spectrum analyser), when prepping your show. If you’re mixing without subs, chances are you’ll be dialing in too much bottom end without knowing it.
I’ve lost count of the amount of times I’ve hung my head in despair when trying to deal with unbelievable amounts of sub coming from ‘bedroom’ productions
Hope that helps dude
helps immensely, cheers
creating space for the guitars, i hadn’t thought of that … and yet, so essential, nice one. how much should i do, maybe prepare in ableton first and use a parametric EQ set to the rock and roll smile?
edit: actually just the one-band EQ on the MD should do it… maybe some filter work but that starts to remove detail sometimes.
many thanks for the EQ heads up re/ snare weighting at 160 and boost the 5k range
one thing i do wonder about is tuning … tuning of implied pitches across a single kit so it makes sonic sense with itself, but then also with the guitars.
and then, does EQ work somehow imply a pitch, or key center, by removing or accentuating…
currently designing the Machinedrum kits first… then will do more work on making performance one-shot kits for the Octatrack, to be in tune with the Machinedrum’s kits … the x-fader is amazingly creative for live performance tapping, kind of like vinyl beatboxing of parameters.
have played once with the drummer so far, so it is early days. he used a Genelec Tri-System for amplification, and the breakbeat kickdrum samples certainly carried a long way with the subwoofer making the kickdrums actually sound louder in the room next to the jamming room, strangely enough.
i am only just now importing some of the acoustic drum samples to the Machinedrum, so that will be interesting, to hear how these relatively untreated samples play on the MD, compared to the more electronic samples.
previewlounge helps immensely, cheers creating space for the guitars, i hadn’t thought of that … and yet, so essential, nice one. how much should i do, maybe prepare in ableton first and use a parametric EQ set to the rock and roll smile?
With a live drum I’d think nothing of cutting 15dB in a Tom or Kik drum. Obviously with a sample it’s gonna be different depending upon how much work has been done to it before you get your hands on it. Stick a parametric around 800Hz with a narrow Q & boost whilst sweeping side to until you find the worst sounding area then cut & widen the Q to taste. Bare in mind that the working area of your gtrs, even a 7 string, is gonna be about 200Hz - 4kHz. (A is 440 so a 7 string with a low B won’t even drop to half that) On a live console, gtrs will centre around 1kHz, HPF to at least 160Hz & LPF anywhere 8kHz & below. With one act I LPF to 3kHz I kid you not! Gives that lovely warm rich sound & kills all that harsh stuff that makes your ears ring after the gig!
many thanks for the EQ heads up re/ snare weighting at 160 and boost the 5k range
Yeah this is fairly standard procedure, doing the sweep & looking for ‘honkiness’ in the midrange will help keep the Snares tight. Remember a slightly annoying ring in the studio will rattle around a large venue like crazy
one thing i do wonder about is tuning … tuning of implied pitches across a single kit so it makes sonic sense with itself, but then also with the guitars. and then, does EQ work somehow imply a pitch, or key center, by removing or accentuating…
Yeah freq is directly related to pitch & how important tuning is depends a lot on the sound you’re going for. For short punchy metal drums it’s gonna be less important than say a short Tom that morphs over time into a singing Sine wave. I wouldn’t necessarily worry about tuning to specific scales, just use your ears & tune to taste
currently designing the Machinedrum kits first… then will do more work on making performance one-shot kits for the Octatrack, to be in tune with the Machinedrum’s kits … the x-fader is amazingly creative for live performance tapping, kind of like vinyl beatboxing of parameters.
Have played once with the drummer so far, so it is early days. he used a Genelec Tri-System for amplification, and the breakbeat kickdrum samples certainly carried a long way with the subwoofer making the kickdrums actually sound louder in the room next to the jamming room, strangely enough.
That system is gonna give you a much better idea of what to expect live than a typical bedroom rig for sure. I guess it depends where your gonna play & what you’re playing through. If you’re likely to encounter modern line array systems then you’ll be dealing with Infrasubs that’ll go down to like 27Hz or something so it’s still worth tidying any clutter in those areas. I can’t emphasise just how useful spectrum analysers are when it come to taking electronic stuff to the stage!
If you’re not sending the MD into the OT I would definitely use the individual outs, give way more control!!!
The phenomena you describe about the Kiks sounding louder next door will be down to standing waves most likely. Basically, if the fundamental is 100Hz, then that’s a wavelength of 3.43m. If that sound occurs in a room with those, (or divisible), dimensions, then the wave will bounce back & forth reinforcing itself.
i am only just now importing some of the acoustic drum samples to the Machinedrum, so that will be interesting, to hear how these relatively untreated samples play on the MD, compared to the more electronic samples.
Yeah keep us posted, be interested to hear how you get on
ok, shall sweep the snare and search for the honkiness! haha i think i know what that means.
currently using Audacity for sample preps. i really like the waveform display and it’s perfect for zooming in and trimming, doing a number of corrective fadeouts to enable truncating of samples while retaining detail and naturalness.
not sure about Audacity’s Parametric EQ, have tried a couple of times, seems pretty straight forward i guess.
i found the magic EQ chart for the MD’s one band EQ:
Machinedrum EQ Frequencies
40Hz - 10 60Hz - 18 80Hz - 23
100Hz - 28
150Hz - 37
250Hz - 47
300Hz - 50
500Hz - 60
1000HZ - 73
1500Hz - 80
1800Hz - 83
2000Hz - 86
2500Hz - 90
3000Hz - 93
3500Hz - 96
4000Hz - 98
4500Hz - 101
5000Hz - 103
6000Hz - 106
7500Hz - 110
10000Hz - 115
12000Hz - 119
14000Hz - 121
16000Hz - 124
using Sauna Sound’s chart, to strengthen 160Hz would mean adding EQ gain with the EQ param being set to 38…
or, to boost the “air”, set the EQ param to 103 and boost that.
maybe use layering and trig grouping, to trig the same sample, one with a lowpass filter, EQ boosting the 5k region…
the other trig with a highpass filter on the sample, and the one band EQ boosting the 160Hz region?
most likely possible to do all the preparation work in the DAW before importing, but then again it is nice to then have the ability to further shape the sound on the MD.
to fit within the 2.7mb limit, i am trimming one-shots in Audacity and exporting…
it’s a bit like making a valentine’s card heart shape by cutting with scissors but then trying to avoid over-zealous perfectionism and only making a card one centimeter in width.
at a certain point, too much trimming of samples results in a series of blips and pops that are all small in memory size but also very light-on as regards character of sound.
i think cymbal samples are going to take up the most space in terms of individual sample size. would like to load at least 3 cymbals. have made quicker and longer versions, shall try both and see how they sound.
some sounds naturally take to the process of being converted to 12bit mono by the MD very well, sounding as nice or nicer than they did before. other sounds do not. it is like a lucky dip, slightly predictable but requiring direct experimentation all the same. this is why i am waiting for a while to see how individual sounds work in the MD, before making sample chains.
Snare drums are hopefully going to feature fairly strongly in the sample imports, along with Tom drums, Kicks and a number of acoustic hihats (pedal, open, closed).
a couple of handclaps and a tambourine sample, not sure what else … maybe a rimshot and a tweaky percussion sample.
edit: i just noticed today that Audacity has its own spectrum analyser, cool!
also have Ableton 9 but that isn’t a sample editor.
Same here, trying to maintain the clarity, especially on crash and ride cymbals is an issue for me.
My process is to drop a bunch of samples into live 9, crop em so theres absolutely no extra data after the tails, drop the sample rate to 32kHz and export at 16bit.
This would result in a 1.7mb [Ride Bell] sample dropping to 288kb, still maintaining enough clarity that i can live with it.
I’ve read somewhere that pitching samples up before importing will take up less space, but i’ve yet to try, curious about the results/sound of that method…
Great advice so far, glad i found this thread…
talking of great advice, that is very cool advice about changing the Hz rate… not sure exactly how it would work, but anyway awesome! cheers for the share.
as regards pitching up, yeeeeeah i do remember reading that, seems like a useful workaround… but then there is a formant shift involved with the sound when adjusting pitch back down on the MD, maybe it isn’t nearly as obvious with certain drum sounds as it would be with say a voice sample.
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GigajamVLE » Glossary for Essential Skills Course
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Accents / Accented
An accent mark is positioned over a note to highlight that the note should be played with more emphasis. It is generally accepted that an accented note is played louder than unaccented notes. The accent used in the Essential Guitar Skills course is the third symbol in the diagram above. The most common is the horizontal accent, the fourth symbol in the diagram above; this is the symbol that most musicians mean when they say accent mark.
Accidentals
Signs that make the following notes sharp or flat or natural. Accidentals continue for the remainder of the measure, or bar, in which they occur. Once a bar line is passed, the effect of the accidental ends, except when a note affected by an accidental (either explicit or implied from earlier in the bar) is tied to the same note across a bar line.
Accompaniment / (to) Accompany
Music played by other members of the ensemble to support the principal performance being played by another member.
To play along with other musicians, but normally in a lesser (support) role.
Alternating Hand Pattern
This is the term used for describing the effect an odd numbered subdivision has on a single stroke roll, where the hand falling on the beat alternates every beat.
Alternate Picking
Alternate picking is the technique used by bass players to develop greater fluency. When playing eighth notes the first finger picks on the beats and the second finger is used for the ‘+’ of each beat, effectively alternating the picking.
Arpeggio
Arpeggio is a chord spread out with one note being played one note after another, usually from the bottom of the chord to the top. Sometimes called a broken chord.
Arranger
A musician who adapts a composition for particular voices or instruments or for another style of performance.
Ascending Scale
A scale starting on the root note and played up to the octave note.
Backbeat
A loud and persistent beat on the second and fourth beats in a bar played on the snare drum. The back beat clearly distinguishes rock music from it’s origins of rhythm, blues and jazz.
Bar chord
See barre chord.
Barre
A barre is when a finger (usually 1st finger) is extended across more than one string at a time.
Barre Chord
A barre chord (often called bar chords) is a guitar chord played by holding down more than one string with the index finger (finger 1 of the fretting hand) and not playing any open strings.
Bar(s)
Music is ordered into bars (or ‘measures’). Bars divide the music into a given number of beats. For example, there may be 4 beats or 3 beats in a bar. In common time there are 4 beats in a bar. A bar is the space between two vertical lines on the stave and these lines are called bar lines.
Bar Lines
Bar lines (or barlines) are vertical lines drawn on the stave at the end of each bar.
Bass Clef
The bass clef is used for low pitch instruments and is the musical stave used to display notation for the bass guitar. For the keyboard, notes below Middle C are usually played with the left hand.
Bass Drum
The deepest/lowest sounding drum in the modern drum kit. The bass drum lies on the floor and is operated by a foot pedal.
Bass Guitar Chart
The music the bassist is asked to follow when playing a piece of music. The original score has the entire bands parts on it and from that the arranger creates a part for each member of the band. Also known as bass guitar guide.
Bass Guitar Guide
See bass guitar chart.
Beams
We use beams to join notes together into groups. Often used in the joining of 4 sixteenth notes and / or 2 eighth notes into one beat of common time. Beams are only used with notes that have tails. Quarter notes and half notes cannot be beamed.
Beat(s)
A beat is the measurement of the ‘pulse’ felt in music. We can both feel and count the beats in a bar. Different beats affect the feel and tempo of the tune. A metronome helps the musician play to the beat.
Blues
Originally an African American style of musical composition. It was generally sung as an unhappy lament of a love affair. In more recent times it has become used to describe a mood of song rather than style.
Breakdown
This is where the piece of music drops some instruments out and effectively 'breaks down' some of the parts played. This helps build dynamics and provides the listener with a contrast without writing a new section.
Broken Chord
See arpeggio.
Bridge
See middle eight.
Brushes
Brushes are a set of bristles (metal or plastic) connected to a handle so that the bristles make a fan shape. The handles are commonly made of wood or aluminum, and are often coated with rubber. Some brushes are telescoping, so that the bristles can be pulled inside a hollow handle and the fan made by the bristles can be of variable length, width and density. Retracting the bristles also protects the brush when it is not being used.
Brushes add texture and sound not possible with sticks. For instance, silky swish sounds on coated heads and the delicate ‘ting’ sound on cymbals are only possible with thin wire or nylon brushes.
Chorus
In contemporary songs the chorus tends to denote the main theme of the tune (often referred to as the ’hook’) and contrasts from the verse in terms of melody and dynamics.
Chord(s)
A combination of notes, used as the basis of creating harmony. A chord is made up of at least two notes.
Chord Box(es)
A chord box is a diagram of the fretboard, used to demonstrate the position of the fingers of the fretting hand on the fretboard in forming chords.
Chord Progression
Songs often contain several chords linked together to form a chord progression, which becomes the basis of a song.
Clef(s)
See treble clef and bass clef.
Clicks
These are often used when playing in a studio to help keep the band in time. The clicks give the tempo to the drummer, often the beats in the bar. The click sound is produced by either a sequencer or drum machine and is listened to through headphones or a click monitor.
Coda
The coda was originally intended to be the final and clinching part of the tune, in that it did not develop the composition any further. Although not always the case, it is often the final part of a tune, taken after a number of repetitions of verses and chorus.
Coda Sign
Is a musical sign, generally accepted to signify that the musician jumps from the coda sign in the music to the section denoted as coda, usually after a D.S al coda instruction.
Common Time
Music is ordered into bars, and each bar has a defined number of beats within it, providing the pulse of the music. The most commonly used pulse in rock music is that of 4 beats. So, music that has 4 beats in a bar is often described as being written in ’common time’.
Composer
A composer is a person who writes music.
Compound Time
Where there is a mixture of simple time and triplet notes, creating a mixture of rhythm.
Crash Cymbal
The crash cymbal is mostly used for punctuating accents. The sound is one of a slow attack and long decay and is best used with the punch and cushion of a bass drum underneath it, giving it depth. When used with soft mallets they produce a long shimmering sound, which is a perfect percussive sound effect.
Cross Stick
The top rim of the drum can be struck as well as the drumhead to create a ’chipping sound’ when the stick is laid across the drum. Often used in quieter passages of songs.
Crotchet
See quarter note.
Curls
Curls are a very expressive technique found in all forms of lead guitar playing from blues through to metal. A curl is similar to a string bend in execution but does a totally different job.
Whereas a string bend creates a different note to the fret on which the bend is started, a curl does not bend into a new note. It merely curls away (higher) from it's original pitch and a new note is picked/played (or the string muted) before the curl reaches its apparent destination.
Cymbals
Cymbals are an important part of the modern drum kit and percussion family of instruments. They are plate shaped discs, made of bronze and other metals. Cymbals are often positioned around a drum kit on stands and are struck either with sticks, mallets or brushes. Cymbals have no definite pitch, but may have higher and lower sounds.
Damping
Damping is a technique for preventing strings or a drum skin from vibrating. A guitarist might rest his palm against the strings and a drummer might leave the stick on the drum skin, or actually place material on the drum head to reduce vibrations. Guitarists use damping a lot in palm muting.
Dance Hall
A type of Jamaican popular music which developed around the late 1970s. This musical genre (style or family of musical styles) is associated with ska, reggae and rocksteady.
Descending Scale
A scale where you start on the octave note and play down to the root note.
Disco
Disco is a style of music that became part of popular music in the mid to late 1970’s. Typical exponents of Disco music were the Bee Gees who wrote the soundtrack for the famous Saturday Night Fever Film in 1977 that epitomised Disco Dance culture of that time.
Dominant
The fifth note in a scale and the second most important note in a scale. It is known as a 'perfect fifth' because it is always in harmony with the root note.
Dots
These are marks in music that follow a note to indicate that the note should be increased in length by half of its value.
Dotted Eighth Note
This is an eighth note that has a dot after it, increasing its value from half of a beat to three quarters of a beat.
Dotted Eighth Note Rest
This is an eighth note rest that has a dot after it, increasing its value from half of a beat to three quarters of a beat.
Dotted Quarter Note
This is a quarter note that has a dot after it, increasing its value from 1 beat to 1 and a half beats.
Dotted Quarter Note Rest
This is a quarter note rest that has a dot after it, increasing its value from 1 beat to 1 and a half beats.
Double Bar Line
Often referred to as ’tram lines’, this denotes the end, or beginning of a new section in a song/tune
Downbeat
The first beat of a bar (measure) of music.
Down-strokes
Strumming a guitar involves the use of both down and up-strokes. The down-strokes are played by strumming from the bottom E string up to the top E string - string 6 to string 1. Because of the way the guitar is held, the strumming hand moves downwards when playing a down-stroke.
Drum Chart
The music the drummer is asked to follow when playing a piece of music. The original score has the entire band’s parts on it and from that the arranger creates a part for each member of the band.
Drum Fills
Drum fills are where the drummer plays a pattern or rhythm which is a break from the groove of the song. Often used to highlight changes in the song structure to create a change in dynamic intensity in the music.
Drum Guide
See drum chart.
Drum Map
A drum map describes which drum is represented by which note on the musical stave. For example, notes in the bottom space of the stave are bass drum notes. The middle space is where the snare drum note is placed. See Classroom Resources for example of a drum map.
DS al Coda
Is a musical instruction meaning to ‘Go to the Sign, and then take the Coda’.
Duration
In standard music notation, the duration (time length) of a particular note is defined by how long it lasts compared to a whole note.
Dynamic(s)
In music, dynamics refers to the softness or loudness (volume) of a sound or note. The term is also applied to the written or printed musical notation used to indicate dynamics.
Half Note
A half note is worth 2 beats and looks like a clear circle with a stem. It is worth half a whole note.
In classical terminology a half note is called a minim.
Hammer-on
When playing either a guitar or a bass, a 'hammer-on' is when the first of a pair of notes (often joined by a tie) is played as normal, by plucking the fretted string. In the case of the second, higher pitched, note, the sting is not plucked again with the right hand but the note is fretted firmly (hammered) with the left hand finger only.
Harmony
Refers to notes of different pitch being played (or sung) at the same time. May be thought of as referring to the 'vertical' aspects of music, whereas melody refers to the 'horizontal' movement in music.
Head Stock
The head stock is at the top of the guitar at the end of the fretboard/neck of a guitar/bass. It is where the machine heads are usually located. Some guitars/basses such as Steinbergers and the Stewart Stow-Away do not use headstocks and are known as ‘headless’ guitars — these guitars use special strings.
Hi-hat
The Hi-hat (or hihat) is made up of two cymbals, with one on top of the other. They sit together on a stand that is operated by a foot pedal. The hi-hats are played by striking them with a stick, normally with the foot pressing down on the pedal and the cymbals close together. The Hi-hats can also played by closing the cymbals together, using the foot on the pedal.
Hi-tom
The hi-tom, is a drum with skins on both sides of the drum. You play the top head, known as the ‘batter head’. It will be the tom drum with the highest relative sound (pitch).
The sound from a tom is generally rounded as the shape of the drum is such that the two skins resonate together to produce the same tone. Tuning is very important. In the majority of instances the bottom head should be the same tension as the top head. You can vary the tensions between skins but this will affect the decay of the sound after the drum has been struck. If the bottom head is looser the sound will drop, if tighter it will rise.
Hip-hop (Hiphop, Hip hop)
A music genre and a cultural movement developed in New York City starting in the 1970s, predominantly by African Americans and Latinos. Since first emerging in the Bronx, hip hop music has grown into an entire lifestyle, commonly referred to as hip hop culture, which has today spread around the world and is practised by many people regardless of nationality, ethnicity or religion. Hip hop as a cultural movement encompasses a wide array of human activities, so called elements, including but not limited to hip hop music, breakdance, graffiti, DJing and MCing (rapping).
House
House is a musical style of popular dance music that became part of the 90s popular club scene.
Machine Heads
The machine heads, located on the headstock, can be tightened or loosened to tune the guitar strings. Tightening the strings sharpens the sound and loosening them flattens the sound.
Major Scales
A major scale is a series of single notes progressing upwards and downwards within an octave. Specifically a major scale has intervals of a tone between each note, with the exception of the intervals between 3-4 and 7-8 notes, which are semitones.
Mallets
Mallets are drum sticks used by percussionists to play a variety of instruments. They are made up of a stick with a soft felt end which provides a more cushioned percussive strike to the standard wooden or plastic bead generally used for playing the drum kit.
Measure
Another name for a bar.
Melody
A melody is a succession of notes which have an organised and recognisable pattern or shape.
Metronome
A metronome is a music device that provides a steady beat. It helps the player establish the correct tempo of the piece of music. Metronomes can play at all tempos and once set at the desired tempo they play the beat continually.
Mid-tom
The mid-tom, is a drum with skins on both sides of the drum. You play the top head, known as the ’batter head’. It is the tom drum with relative sound (pitch) being in the middle of the three standard toms.
Middle Eight
Much pop music follows a thirty-two bar form often referred to as AABA. The middle eight is the 'B' part of a song where the melody and the mood of the song changes before returning to the original (A). It is sometimes also known as the bridge. It is also common for the middle eight to be other than 8 bars in length.
Minim
See half note.
Minor Scales
A minor scale is a series of single notes progressing upwards and downwards within an octave. Specifically a minor scale has intervals of a tone between each note, with the exception of the interval between 2-3 and 5-6, which are semitones.
Minor Triads
A minor triad is a triad with the 3rd note being flattened by a semitone.
Monotone
A rhythm written on one pitch (on one note).
Muscle Memory
Muscles learn motions so that they develop an ability to recognise a previously performed movement. The more often a movement is repeated the better the performance of the muscles in response, as they develop greater familiarity with the motion.
Musical Pick-up
An instrumental part introducing the next bar. It may be a run of a few notes that leads into the main body of a piece or introduces a new section. It is often the case that a solo instrument plays this pick-up.
Palm Muting
Palm muting is the technique of damping the strings with the plectrum hand when striking the strings, hence creating a tight and clipped sound. Used a lot in rock music when playing rhythm guitar.
Perfect Fifth
See dominant.
Phrase
A short musical passage contained within a composition, of indetermined length but normally between a beat and four bars of length that creates either a recognisable harmonic and or rhythmic pattern.
Phrasing
Phrasing is the playing of harmonic figures by the drummer using a system that enables the drummer to catch the rhythm whilst playing a drum roll. Generally, using a single stroke roll, but can be played in any sticking.
Pick
See plectrum.
Picking
See alternate picking.
Pickup, (Pick-up), (Pick up)
(a) A series of notes that precedes the first note of the first bar (of a section) of music. Their purpose is to 'lead into', 'set up', 'anticipate' or 'pick up' the tune.
(b) A device that captures mechanical vibrations (usually from stringed instruments such as the electric guitar or electric bass) and converts them to an electrical signal which can be amplified and recorded.
Pitch
The term ‘pitch of a note’ refers to how high, or how low, the note sounds. The pitch is determined by the speed of the vibration of the sound. Faster vibrations create higher pitched notes than slower moving vibrations. On a guitar, the thickness and length of the string determine the pitch of the note when the string is struck.
Playing in Position
Playing in position position on a guitar/bass means that you can play all the notes you need to without moving your fretting hand. Ordinarily, this means that you are able to use different fingers on your fretting hand to play the different notes within your pattern.
Plectrum
Also known as a pick, this is the piece of (usually) plastic held in the right (strumming) hand that is used to strike the strings with. They come in varying degrees of stiffness.
Power Chords
See 5 chords.
Practice Pad
A practice pad is normally made of rubber and simulates the feel of a drum. It is quiet to play and often used to for practice when noise is a problem.
Pushes
A term used to indicate that the rhythm seems to push early into the next beat.
Recording Session
This is a period of time allotted for music to be recorded. Generally, a recording session is 3 hours long and takes place in a recording studio with other musicians. Sessions can be longer, depending upon the amount of musical material to be recorded.
Reggae
A music genre (style) developed in Jamaica in the late 1960s.
The term 'reggae' is sometimes used in a broad sense to refer to most types of Jamaican music, although the word specifically indicates a particular music style that originated after the development of ska and rocksteady. Reggae is based on a rhythm style characterized by regular chops on the off-beat, known as the skank. The tempo is generally slower than that found in ska and rocksteady. Reggae is often associated with the Rastafari movement, which influenced many prominent reggae musicians in the 1970s and 1980s.
Repeat Signs
Two horizontal lines, one which is thick, the other that is thin, followed by two dots, one above the other represent a section of music, collection of bars that should be repeated. If the dots are on the right of the lines this denotes the beginning of the repeated section. Dots to the left denote where the repeat ends and from this point you return to the beginning of the repeated section. See Essential Drum Skills - Lesson 6.
Rests
These are marks in music notation which show where there should be silence and how long the silence should last.
Rhythm(ic)
Rhythm is technically everything in music other than pitch that contributes to the pulse, emphasis and forward movement of time.
Rhythm Guitar
Rhythm guitar refers to the part played by a guitarist that is generally a rhythmic accompaniment and usually involves playing of chords.
Ride Line
A regular rhythmical pattern played on a cymbal - generally the hi-hat or ride cymbal.
Rim
The rim is the metal or wooden ring that is used to secure the drum skin to the drum. The rim has holes to enable the tension rods to be screwed into the tension boxes. The rim can be struck as well as the drumhead to create a ‘chipping sound’ when the stick is laid across the drum. A ‘rim shot’ occurs when both rim and the centre of the drum head are struck at the same time.
Rim Shot
A ‘Rim Shot’ occurs when both rim and the centre of the drum head are struck at the same time with the same drum stick.
Rock Groove
The term ‘rock groove’ describes the strong beat played by the drummer emphasising the 4 beats in the bar typical of rock music. It is generally accepted that the snare drum plays a loud and persistent beat on the second and fourth beats in a bar (which is often referred to as the ‘backbeat’). The back beat clearly distinguishes rock music from it’s origins of rhythm, blues and jazz.
Rock Music
Rock music has evolved from the late 1940’s rhythm recordings and the 1950s rock-and-roll style of music. It is difficult to be precise about when rock music began. However, in the period of rapid social change after the Second World War, the music of African Americans began to seep into white American teenage culture giving rise to this new type (genre) of music. Modern day examples of rock bands would be: 1960’s Led Zeppelin; 1970’s Deep Purple; 1980’s Whitesnake; 1990’s Guns ’n’ Roses; and 2000s Alien Ant Farm.
Rocksteady
A music genre popular in Jamaica in the late 1960s. It came after ska and before reggae.
Root
The root is the first note in a chord and comes from the name of the chord. For instance the triad of A is made up of A, C# and E. The A is the name of the chord and the first note. Accordingly it is called the root as it is at the bottom of the chord. The C# is the 3rd and the E is the 5th.
Root and Fifth
On the bass, the root and fifth is played by playing the root note and then playing the fifth which is found across one string (towards higher pitched string) and up two frets.
On the guitar the same pattern applies for notes rooted on stings 2, 4, 5 & 6. In the case of notes rooted on the 3rd (G) string, the 5th is found by moving from the root across one string and up three frets. In the case of the 1st string the fifth will be found 7 frets above the root.
A power chord on the guitar is formed by playing just two notes, the root and the fifth — usually rooted on the 6th or the 5th string.
On keyboards the 5th is the fifth note in the scale counting the root as the 1st. It is 7 semitones above the root. The 5th is the same note in both the major and minor scale. E.g.
In the scale of C major: C(root), D, E ,F , G(5th), A, B, C.
In the scale of C minor: C(root), D, Eb, F, G(5th), Ab, Bb, C.
Root Bass Note
The root bass note is the note from which a chord originates or the lowest note when the chord is in its basic position.
Root Position
This is when the chord is played in its most basic form with the note from which the chord originates being played at the bottom of the chord.
Run
A run is used to link up notes by playing a series of chords or notes that connect. A run is usually short in length, typically lasting between a beat and a bar.
Scale
A scale is a series of single notes progressing upwards and downwards within an octave. See major scale, minor scale, ascending scale and descending scale.
Second Time Bar
This bar is played instead of the first time bar when the repeat section is played for the second time.
Section
A part of a song (piece of music), such as a verse or a chorus. A complete, but not independent, musical idea. It is denoted in the score by the use of double bar lines.
Semibreve
See whole note.
Semiquaver
See sixteenth note.
Semitone
This is the smallest interval between notes (in Western music). It is the interval between each note up or down. On a keyboard, the interval between any two adjacent notes is called a semitone (e.g. B to C, or F to F#). On a guitar or bass fretboard, a semitone is an interval of one fret on the same string eg. G# (4th fret on the bass E string) is one fret above G (3rd fret on the bass E string).
Session Players
These are musicians who play music professionally and are hired to play music for a specific purpose such as the recording of music for recording artists, television and radio shows etc. They are generally well trained musicians with an ability to read music very well and play in a large variety of styles and musical situations.
Setting Up
This is where the drummer precedes an accent or phrase with a fill, which is intended to create an anticipation of the accent/phrase that follows.
Sharps (#)
When this sign (#) is placed before a note it raises (sharpens) its pitch by a semitone.
Shuffle
Shuffle describes a feel of music associated with blues and jazz, which uses tuplets.
(The) Sign ( )
This sign is similar to a dollar sign and denotes the point to return to when instructed with the term 'D.S. (Dal Segno)' which means 'Go to the Sign'.
Simple Time
There are no triplets in simple time; all the notes can be divided evenly in 2, such as whole notes, half notes, quarter notes, sixteenth notes etc.
Single Stroke Roll
A drum roll is the playing of a series of even notes on a drum. A single stroke roll is played with a single hit (stroke) per hand, alternating between the right and left hand.
Sixteenth Notes
Ska
A music genre (style) that originated in Jamaica in the late 1950s. It was a key influence on the development of rocksteady and reggae.
Skin
The drum skin is a circular plastic film that is spread across the top and bottom of a drum. Striking the skin sounds a drum. The tension and tuning of the skins plays a major part in the sound of the drum. The skin is a temporary but essential part of the drum, like strings on a guitar, and is easily replaced when worn through use.
Snare
The snare is the collection of metal wires that are suspended beneath a snare drum to make a rattling sound. The addition of a snare to a drum brightens the drums tone and produces its unique sound.
Snare Drum
The snare drum has a number of strands of metal wires across the bottom skin, which resonates against the skin when struck. The strand of wires are called a snare, hence the name of the drum. The snare drum is used a lot in rock music to produce the backbeat.
Staccato
The Italian word 'staccato' means 'detached'. It is used in music to describe notes that are sounded in an abrupt/'chopped off' manner so that they do not seem to be attached to the following notes. Silence makes up the remaining part of the duration of the note. The rhythm is not affected.
They are usually notated by a dot over the head of the note when the stem is downward, or by a dot below the head of the note when the stem is upward:
Stave
These are the 5 horizontal lines and four spaces that music is written on. Each space and line represents the position of particular note or voice of the drum kit. See drum map.
Stem
The stem is the vertical line attached to the note head that helps to identify the note’s value or duration. Half notes and quarter notes have just a stem. Eighth notes and sixteenth notes have tails as well.
Stick - Drum Stick
Shaped wooden object used to strike drums to produce sound. Usually made of hickory, oak or hard maple.
Stick Across
See cross stick.
String Bend
String bending is a very commonly used technique and is one of the most exciting sounds in lead guitar. When bending a string you take a given note and push it up (or down) to create the sound of a different note usually one or two frets higher than the fret you have your finger on.
Not to be confused with a curl.
String Crossing
This is where the guitarist/bassist has to move from one string to another to play the desired notes.
Strumming
Strumming is the technique of playing the guitar strings by striking across the strings on the body of the guitar using up strokes and down strokes.
Subdividing/Subdivisions
When referred to in music, subdividing is used to divide the beat into smaller parts so as to enable a wide variety of notes to be played of different lengths. By having a variety of notes of different lengths (whole notes, half notes, quarter notes, eighth notes, sixteenth notes, etc.) more interesting rhythmic patterns can be created.
Sub-dominant
The 4th note of the scale — 1 below (sub) the dominant 5th.
Sustain(ed)
Instruments with the shortest 'sustain' are usually drums; a drum beat begins to fade almost instantly.
Consider a 'sustained' note played on a piano. When a note is sustained it continues to sound until the key playing the note is released. As long as the key is depressed the note will sound, although it will gradually fade until it becomes inaudible. However, releasing the key will cut off the sound abruptly, ending it's sustain.
On a guitar a note will be 'sustained' after the string is struck, or plucked, until the string is muted or damped e.g. by applying a palm mute or by touching the string lightly, without pressing it against the frets, with the fretting finger.
In the case of brass instruments or a pipe organ, the note may be sustained as long as air continues to be blown through the instrument.
Swing
A style of jazz playing which originated in the 1930s predominantly for dancing. It is associated with big band music from artists such as Glen Miller, Art Shaw and Gene Krupa.
Syncopation
Syncopation is where the emphasis of the pulse of the music is 'off' the beat.
Tacet
Latin for "it is silent". In music the term is used to indicate that an instrument does not play for a (long) period of time.
Tails
These are the short lines that are attached to the stem of a note that helps to identify the duration of the note. If a note has one tail it is an eighth note. If it has two tails it is a sixteenth note. When a group of tailed notes are joined together, they are connected by ’beaming’ the tails. See beams.
Tempo
Tempo is the speed at which a piece of music is performed. Tempo is measured in beats per minute.
Third
The third is the third note in a scale. A triad chord for example is made up of the root, third and fifth notes in a scale.
Three Way Co-ordination
Playing the drum kit requires good co-ordination between both hands and both feet. When a groove uses 3 drums/cymbals then three limbs need to be used in a co-ordinated manner, hence the term ’three way co-ordination’.
The bass drum, snare drum and hi-hat work together in rock and pop music at the centre of grooves. The control of these three voices is a large part of developing three way co-ordination.
Thumb-Under Technique
Where the thumb is used to reposition the fingering on the keyboard when playing scales, or runs of more than 5 notes notes (see Lesson 2, Essential Keyboard Skills course).
Ties
A tie increases the length of a note by attaching the value of the following note to it. A curved line between two notes signifies a tie.
Time Signature
The time signature indicates the meter of the piece of music. In rock music it normally comprises of the letter ‘C’ to represent common time. It can also be made up of 2 numbers, the top one referring to the number of beats in a bar, the bottom number indicating what type of notes the beats represent. For example, 3/4 means 3 beats of quarter notes; 5/8 means 5 beats of eighth notes.
Tom(s)
Shortened version of ’tom-tom’. On a standard drum kit you will find a hi-tom, mid-tom and a lo-tom (sometimes called a floor tom). These provide additional changes of pitch to add to the sounds of the drum kit. A tom is normally mounted on the bass drum, or sits on the floor (floor tom/lo-tom) and does not have a snare.
Tonality
The tendency of music to have a 'centre'/'home note (pitch) that the music revolves around. The music will sound incomplete until it returns (resolves) to that pitch.
Tone
A tone is an interval of two semitones. On a keyboard it is the interval between any two notes which have one note between (e.g. C to D, E to F#, Ab to Bb). On a guitar or bass fretboard, a tone is an interval of two frets on the same string - e.g. A (5th fret on the bass E string) is two frets above G (3rd fret on the bass E string).
Tonic
See root
Transferability
This is where a concept or principle can be reapplied to another part of the keyboard, or neck of the guitar to simply transfer a pattern, therefore enabling the student to learn the concept once and apply it in a multiple of situations.
Treble Clef
The treble clef is used to display notation for higher pitched instruments. The treble clef represents the notes above Middle C on the modern keyboard. On the keyboard, notes in the treble clef are usually played with the right hand.
Triad
A triad is a chord made up of three notes. Usually the triad is made up of the root, third and fifth.
Triplets
A group of 3 notes, or rests written where a group of 2 notes is suggested by the time signature; ie. where it would appear to have two eighth notes, there are 3 eighth notes triplets.
Tuplets
Any group of notes that uses a 3 feel and where time is divided by 3.
12-bar (Twelve-bar) blues
It is a very common chord sequence for bands to play. It is called a '12-bar' because it has a total of twelve bars in the sequence. The blues can be played in any key, but guitar and bass players prefer open chords, that is, chords with several open strings: e.g. E-A-B7 or A-D-E7. Keyboardists may prefer C-F-G7 or G-C-D7. Whichever the key chosen, the chord pattern is 1-4 -5 (root (tonic), sub-dominant and dominant) - i.e. the root (first), fourth and fifth of the chosen key. Where extended chords are used, the 7th variant of the dominant is usually used.
12/8 (Twelve eighths)
Is a time signature meaning 12 beats of eighth notes in a bar.
Two Way Co-ordination
Playing the drum kit requires good co-ordination between both hands and both feet. When a groove uses 2 drums/cymbals, then two limbs need to be used in a co-ordinated manner, hence the term ’two way co-ordination’. Two-way co-ordination is often used in developing co-ordination rather than in general playing.
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dbpedia
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https://sethtan.wordpress.com/2014/05/31/a-beginners-guide-to-worship-drumming/
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en
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A Beginner’s Guide to Worship Drumming
|
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[
"Seth Tan"
] |
2014-05-31T00:00:00
|
I would like to share my experience playing in a worship team. I mainly play guitar at home and drums at church (past 4 years) since they lack a drummer. For a start, I'll use this post for really basic things a drummer should know in a church band. Then I'll move on to…
|
en
|
https://secure.gravatar.com/blavatar/efc63fcbbf150a04ce9a5942d6ce180890832756718598c28c3a04bcee9851e7?s=32
|
Seth Tan
|
https://sethtan.wordpress.com/2014/05/31/a-beginners-guide-to-worship-drumming/
|
I would like to share my experience playing in a worship team. I mainly play guitar at home and drums at church (past 4 years) since they lack a drummer. For a start, I’ll use this post for really basic things a drummer should know in a church band. Then I’ll move on to more stuff in other posts or depending what you might suggest.
1. Playing in time is more important than style
As a drummer, your job is to provide the backbone of the song. It doesn’t need to be a complicated polyrhythmic groove (pattern) with machine-gun death metal type fills! The first thing a worship leader wants is a drummer who knows how to play in time. Once you can keep a steady rhythm going, without suddenly slowing down or speeding up, then you begin to incorporate more fancy things if needed. Also, for church worship, it’s best not to go too crazy with the fills as that could be distracting for the congregation. That would be drawing people’s attention to you rather than to God.
To improve your timing, I suggest practicing with a metronome at a slow speed then increasing it gradually. When I first used it, I thought the metronome was spoilt but it was actually, my poor sense of timing.
2. Learn a few basic drum grooves
3 Grooves that I use 90% most of the time are:
– Rock groove: Bass drum on 1 & 3. Snare on 2 & 4. Usually I’ll add vary the bass drums patterns.
– Disco groove: Bass drum on every beat. Snare on 2 & 4. Extremely useful pattern to use for modern worship songs.
– Army buzz roll groove: I don’t play this that often but once in while depending on the song. You do this by pressing the sticks downward on the snare and letting the tip bounce up and down. It’s easier nearer the rim.
3. Always consider the dynamics
Dynamics really bring a song to life. It’s all about contrasts. Usually, I start a song softer then when it reaches the chorus, I play louder. Then it gets softer again for the verse. Like a rollercoaster ride!
There are several ways to play softer:
– Cross sticking: Hitting the rim of the snare with the side of your stick for a sharp click sound. You got to find a sweet spot on your stick for the best click sound. I use a pen to mark the sweet spot for easy reference.
– Dropping out the snare: You can either drop out a snare on the 2 or 4 to only have one snare beat in a 4 bar instead of 2. Also, using the disco beat, I usually drop out the snare totally for the verse. Just bass and Hi-Hat.
Next are several ways to play louder:
– Hit the snare: You can start hitting the snare for the chorus. For louder effect, you can use a rim shot which means hitting the rim and snare together a parallel direction. This produces a massive gun-like sound.
– Switch to Ride cymbal: Instead of using the Hi-Hat, switch to the Ride cymbal for a louder sound.
– Open your Hi-Hat: You can open your Hi-Hat more for a nice rock feel.
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2202
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dbpedia
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| 8
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https://www.drumeo.com/beat/drum-terms/
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en
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100+ Drum Terms: A Beginner's List
|
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"Drumeo Team",
"www.facebook.com"
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2023-11-01T13:10:00-07:00
|
Here are 100+ drumming terms to answer your "wtf does this mean?" questions.
|
en
|
Free Online Drum Magazine | The Drumeo Beat
|
https://www.drumeo.com/beat/drum-terms/
|
Whether you’re a new drummer or you’re looking to brush up on your knowledge, this glossary of terms will help you get familiar with modern lingo and feel more confident behind the kit.
You probably aren’t here to browse through over 100 words about drumming, so get that Ctrl+F (or ⌘+F) going and find the definitions you’ve been confused about!
Accent: A note that is played louder or with more emphasis than others.
Acoustic Drum Kit: A traditional drum set that doesn’t use electronic amplification.
Attack: The initial sound of a drum or cymbal when struck.
Auxiliary Percussion: Additional percussion instruments used alongside the main drum set, like cowbells, woodblocks, or shakers.
Backbeat: The strong accent on the second and fourth beats in 4/4 time, typically played on the snare drum.
Barking: A technique where slightly open hi-hat cymbals are struck on the edge immediately before they’re closed, producing a sharp, barking sound.
Bass Drum: The largest drum in a kit, played with a foot pedal.
Bearing Edge: The edge of a drum shell where it contacts the drumhead.
Beater: The part of a bass drum pedal that strikes the drumhead.
Bell: The rounded top of a cymbal that produces a distinct, sharp sound.
Blast Beat: A drumming technique that involves rapid alternating strokes on the snare and bass drum, common in extreme metal genres.
Boom Stand: A type of cymbal stand that features an adjustable arm (boom) to allow for more flexible positioning of cymbals around the drum kit.
Brushes: A pair of wire brushes used for softer drumming sounds.
Buzz Roll: A drum roll produced by allowing the sticks to bounce several times on the drum head. Also known as a ‘multiple bounce roll’.
China Cymbal: A type of cymbal with an upturned edge, producing a trashy sound.
Choke: Grabbing a cymbal after striking to stop its sound abruptly.
Chops: A slang term used to refer to a drummer’s technical skill, agility, and rhythmic vocabulary on the drum set.
Clave: A rhythmic pattern used as a tool for timing in various music styles.
Click Track: An audio pulse used to maintain a consistent tempo. May be used interchangeably with ‘metronome’.
Clutch: A mechanism attached to the top cymbal of a hi-hat stand used to tighten or loosen the cymbals and control them with the foot pedal.
Common Time: A time signature of 4/4 (four beats per measure with each beat represented by a quarter note), the most widely used time signature in Western music.
Cowbell: A hollow metal percussion instrument often mounted on a drum kit.
Crash Cymbal: A cymbal used to create a loud, crashing sound.
Cross Stick: Technique where the stick is laid across the drum and struck against the rim.
Cymbal Stacker: An accessory that screws onto a cymbal stand, allowing drummers to stack multiple cymbals vertically in a limited space.
Cymbal Stand: A metal stand specifically designed to hold a cymbal.
Dampening: Reducing overtones and sustain on a drum, usually with gels or pads.
Die-Cast Hoop: A type of drum hoop made from a mold, known for its durability and focused sound.
Displacement: Shifting a rhythmic pattern or beat by a certain number of subdivisions or beats within a measure. This changes where you feel the downbeat and can add complexity to the arrangement.
Double Bass: Using two bass drums or a double pedal for rapid bass drum playing.
Double-Braced Stand: A stand that has two sets of metal supports making up each leg (instead of one) for better stability and durability.
Double Stroke Roll: A rudiment consisting of two strokes per hand, alternately.
Double Time: Playing at twice the speed of the original tempo, often used to increase the energy and intensity of a musical passage.
Downbeat: The first beat of a measure, often emphasized and serving as the primary pulse or rhythmic anchor in a piece of music.
Drag: A rudiment consisting of a double grace note (two quick, quiet strokes) played just before the primary stroke, creating a dragging sound effect.
Drop Clutch: A special hi-hat clutch that allows drummers to disengage and drop the top hi-hat cymbal by hitting the clutch with a stick, useful for maintaining a closed hi-hat sound while playing double bass drum patterns.
Drum Fill: A short drumming pattern that fills a gap between musical phrases or introduces a new section.
Drum Key: A tool used to tune drums and adjust certain drum equipment.
Drum Roll: A rapid succession of drum strokes that create a sustained sound.
Drum Set: A collection of drums, cymbals, and other percussion instruments arranged for convenient playing by a single drummer. Also known as a ‘drum kit’.
Drum Tab: A form of musical notation specifically for drums that uses text and symbols to represent different drum and cymbal hits. Short for ‘tablature’, it’s easier to read than traditional drum notation.
Drum Tech: Short for ‘drum technician’, this is a professional responsible for setting up, maintaining, and tuning a drummer’s equipment.
Dynamics: The volume variations in playing, from soft to loud.
E-Drum: Short for electronic drum.
Electronic Drum Kit: A drum set that uses electronic pads and triggers.
Fanning: A technique where the drummer rapidly opens and closes the hi-hat cymbals while alternating strokes between the top and bottom.
Flam: A drumming technique involving two strokes close together – a grace note that precedes the primary note.
Flanged Hoop: A type of drum hoop with a flange, used to influence the drum’s tone and sustain.
Floor Tom: A large, low-tuned tom drum that stands on legs and is typically part of a drum kit.
Four on the Floor: A pattern where the bass drum is hit on every quarter note beat in 4/4 time.
Ghost Note: A note played very softly, almost inaudible.
Gong: A large, flat, vertically suspended cymbal – typically played by striking it with a mallet – it produces a loud, sustained, and sometimes explosive sound, commonly used in symphonic and Asian music.
Gong Drum: A large, single-headed drum that produces a deep, resonant sound, similar to a gong but played with drumsticks or mallets.
Grip: The way a drummer holds the drumsticks.
Groove: The rhythmic feel or swing in music, especially in the context of a drum pattern. Can also be used synonymously with ‘drum beat’.
Half-Time: A rhythm that feels half as fast as the song’s main beat.
Hardware: The metal stands and fittings on a drum kit.
Heel-Toe Technique: A bass drum pedal technique that involves alternate use of the heel and toe to play fast rhythms.
Hi-Hat: A pair of cymbals mounted on a stand, played with a foot pedal.
Hi-Hat Clutch: A device that secures the top cymbal of a hi-hat to the rod.
Hi-Hat Stand: A stand that holds the hi-hat cymbals.
Hoop: The circular metal or wooden ring that holds and stretches the drumhead over the drum shell, influencing the drum’s sound and tension.
Hybrid Drums: A combination of acoustic and electronic drum components.
Independence: A drummer’s ability to play different rhythms and patterns with each limb simultaneously.
In-Ear Monitor: A personal earphone monitor – basically advanced ear buds.
Kick Drum: Another term for the bass drum.
Lathing: The process of machining spiral grooves into a cymbal, which affects its sound characteristics like tone, sustain, and volume.
Lick: A short and distinctive, memorable rhythmic pattern or phrase that can be used as a musical ornament within a drumming performance.
Linear Drumming: A style of drumming where no two drums or cymbals are struck simultaneously.
Lug: A tensioning device attached to a drum shell.
Mallet: A type of drumstick with a large, soft head, used for swells or muffled hits on cymbals, marching drums or timpani.
Metronome: A device used to keep a steady tempo.
Moeller Method: A drumming technique that involves a whipping motion that lets you play faster and more relaxed.
Muffling: Reducing the resonance of a drum using various materials.
Odd Time: Time signatures that are not divisible by two or three and result in rhythmic patterns with an odd number of beats per measure (like 5/4 or 7/8).
Ostinato: A repeating rhythmic or percussive pattern that creates a foundation over which you can play other things.
Overhead Mics: Microphones placed above the drum kit to capture the overall sound.
Paradiddle: A basic drumming rudiment alternating between single and double strokes (RLRR LRLL).
Pedal: A lever operated by the foot, as in bass drum or hi-hat pedals.
Percussion Clef: A symbol of two vertical bars that indicates that lines and spaces on the staff represent drum and cymbal sounds instead of musical pitches.
Pocket: The great-feeling groove or rhythm created by a drummer when they play in a way that is tightly synchronized with the rest of the music.
Polyrhythm: The simultaneous use of two or more conflicting rhythms.
Practice Pad: A small pad used for quiet drum practice.
Quintuplet: A group of five notes played in the space of four.
Rack: A metal frame used to mount various drums and cymbals.
Rack Tom: A smaller tom drum, typically mounted above the bass drum.
Resonant Head: The bottom head of a drum, which resonates with the top head.
Ride Cymbal: A large cymbal used for playing steady, articulate patterns, typically with the tip of the drumstick.
Rim: The edge of a drum on which the drumhead is stretched.
Rim Click: Striking the rim of a drum with a stick to produce a click sound.
Rim Shot: Striking the drumhead and the rim at the same time for a loud accent.
Roto Toms: Drums with no shell that are tuned by rotating the drumhead.
Rudiments: Fundamental drumming patterns used as building blocks for more complex rhythms.
Sample Pad: A practice tool or electronic trigger pad that plays a sample when you hit it.
Shell: The body of the drum.
Shell Pack: A set of drums without the hardware.
Shuffle: A rhythmic feel characterized by a ‘triplet’ feel, common in blues and jazz.
Side Drum: Another term for a snare drum that may refer to a secondary drum in a kit with the snares off.
Single Stroke Roll: A drumming pattern of alternating left and right strokes.
Sizzle Cymbal: A cymbal with rivets or chains that create a ‘sizzling’ sound.
Snare Drum: A drum with a ‘snare’ of wires under the bottom head that produce a sharp, cracking sound.
Snare Stand: A stand specifically designed to hold a snare drum.
Splash Cymbal: A small, thin cymbal used for quick, splashing sounds.
Stick Bag: A bag used to carry drumsticks, brushes, and mallets.
Stick Control: The ability to accurately and effectively use drumsticks.
Subdivision: Dividing a measure of music into smaller rhythmic units.
Swing: A style of drumming that emphasizes a triplet feel.
Syncopation: The accentuation of offbeat rhythms or the placement of accents on weak beats or subdivisions.
Tambourine: A handheld percussion instrument consisting of a circular frame and pairs of small metal jingles.
Tempo: The speed at which a piece of music is played.
Tension Rod: A rod used on drums to adjust the tension of the drumhead, which changes the pitch and sound of the drum.
Throne: Another term for a drum stool, which is a seat designed specifically for drummers.
Throw-Off: A mechanism that allows the drummer to engage or disengage the snare wires from the bottom of the drum, significantly altering its sound.
Time Signature: The notation indicating the number of beats in each measure (top number) and the type of note that receives one beat (bottom number).
Timpani: A deep, resonant ‘kettle drum’ that consists of a large copper bowl with a drumhead stretched over the top, played with mallets.
Tom: A cylindrical drum with no snares, used in drum kits.
Trigger: A device used in electronic drumming to convert physical hits into electronic signals.
Triple Stroke Roll: Three consecutive strokes with each hand (RRRLLL)
Triplet: Three notes played in the time of two.
Tuning Key: Another term for a drum key.
Upbeats: The beats that occur in between the main beats of a rhythm, often serving as a syncopated or rhythmic lift.
Velocity: The force with which a drum or cymbal is struck.
Wing Nut: A type of nut with extended, wing-like projections that can be tightened or loosened by hand to secure or adjust various drum hardware components, like cymbal stands or tom mounts.
Wood Block: A block of wood used as a percussion instrument.
Wrap: A decorative covering on drum shells.
Edited by Sam Landa, Content Marketing Manager at Drumeo
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https://huggingface.co/datasets/DynamicSuperb/MusicCaptionGeneration_SongDescriberDataset
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SongDescriberDataset · Datasets at Hugging Face
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We’re on a journey to advance and democratize artificial intelligence through open source and open science.
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https://huggingface.co/datasets/DynamicSuperb/MusicCaptionGeneration_SongDescriberDataset
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The track is a mid-tempo song in the genre of soft modern rock and consists of electric guitar, bass, drums, and female vocals.
261271.2min.mp3
Listen to the provided music, and then generate a caption that accurately describes the content or essence of it.
A gentle folk song with an acoustic guitar and a male voice that conveys a sense of fragility and hope.
1156054.2min.mp3
Write a description that conveys the main theme or mood of the music presented. Ensure it accurately reflects the music while being grammatically correct and stylistically appealing.
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Develop a brief that encapsulates the essence of the specified music.
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Write a brief that clearly describes the main elements or mood of the specified music.
Expressive classical piano piece typical of the Romantic period with an intense dramatic feel.
271119.2min.mp3
Explore the music’s emotional landscape and key components. Compose a caption that compellingly conveys this blend.
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73149.2min.mp3
Begin by listening attentively to the provided music clip. Identify and note the musical genre, the instruments used, and the tempo. Capture any distinctive musical techniques or arrangements you hear and then write the music’s summary for me.
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617330.2min.mp3
Analyze the emotions and themes evoked by the music. Describe its genre and key instruments, ensuring your caption is concise, objective, and appealing to potential listeners.
This is an energetic and positive rock song with guitars, keyboard, drums and a male vocal.
1357118.2min.mp3
Write a caption that describes the key elements of the music. Mention specific instruments, the style of play, and any notable rhythms or melodies. Your description should give someone who hasn’t heard the piece a clear idea of what to expect.
this modern style rap song features a catchy beat and backing female vocals
172031.2min.mp3
Summarize the core elements and mood of the music in a descriptive caption.
Exciting and enthusiastic French love song sung by a male voice featuring a tambourine or a shaker during the refrain.
206596.2min.mp3
Use vivid language to express how the music might feel to a listener, tying in emotional cues and atmospheric descriptions that align with the sound. Ensure your caption is original and creatively written.
Funky and jazzy song performed by a man vocalist, perfect for relaxing, dancing or even driving at night.
347879.2min.mp3
Evaluate the music’s distinctive features and emotional conveyance. Craft a caption that describes these elements, focusing on the mood and thematic story by the music, ensuring it is clear and engaging.
cheerful happy music played on a piano for relaxing
1124837.2min.mp3
Create a concise caption that reflects the music’s emotional tone and key features.
Unusual track with combines retro keyboard sounds with cinematic strings
700217.2min.mp3
Evaluate the music's unique characteristics, such as the primary instruments and tempo. Write a statement that effectively conveys the emotions and narrative of the music, keeping it under 370 words.
Upbeat, encouraging pop song with male voice, with an electric guitar accompaniment.
1357128.2min.mp3
Focus on describing the instruments and mood of the music. Provide a concise summary that invites readers to experience the music, ensuring it is rich in descriptive and emotional content.
Spacial projection with calm undertones plus slightly funky
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Analyze the music’s expressive qualities and thematic elements, providing a concise and engaging caption.
This is a experimental piece or sound effect with quiet noises of running water and someone whispering.
1070256.2min.mp3
Listen to the clip and focus on identifying the genre, mood, and key instruments. Provide a descriptive caption that conveys these elements and their interplay, aiming for clarity and engagement.
This song starts with a strange french conversation and chain sounds and then gives way to a very heavy and intense synth metal section.
3453.2min.mp3
Describe the key musical elements like genre and instruments, focusing on how they create a specific mood. Your description should be engaging, descriptive, and concise, capturing the essence of the music.
Calming instrumental music primarily on piano can be used for relaxing
1169719.2min.mp3
Pay attention closely to the music and develop a caption that summarizes its overall feel and components.
Electronic-heavy tune based on hypnotic solo drum later accompanied with the essential indian singing.
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I want to add descriptive text to this piece of music. Help me generate text that accurately describes the music, and the generated text should include the feelings this music brings to the audience.
A Christmas and spiritual song sung by a beautiful female voice and accompanied by a stringed instruments.
1170729.2min.mp3
Provide a brief yet comprehensive description of the music’s character and mood.
energetic rock song about love with guitar and piano
94725.2min.mp3
Write the music caption in a way that would capture the interest of someone reading about the music. Think of your caption as a brief invitation to listen to the piece.
Guitar heavy folk song evoking feelings of joy and comradery
785423.2min.mp3
Create a caption for the music for me. Aim for a unique interpretation that reflects your feelings about the music.
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457126.2min.mp3
Engage with the music to identify its dominant emotional tones and structural elements, then compose a caption that distills these observations.
Combination of electronic music and melodic lyrics with a sad futuristic sci fi feel
425761.2min.mp3
Determine the main emotional and instrumental characteristics of the music. Write a caption that integrates these features seamlessly.
A romantic song which features a couple who just reconciled after going through individual hardships or challenge in their relationship
132293.2min.mp3
Listen to the music’s nuances and craft a caption that brings out its unique narrative and emotional palette.
With its upbeat pop sound, catchy female vocals, and samba-infused Latin instrumentation, this lively and energetic song is sure to get you moving and grooving with its infectious rhythms, making it the perfect party anthem or summertime jam.
1187978.2min.mp3
Focus on the music’s composition and underlying themes. Write a caption that offers insights into both, keeping it succinct and insightful.
Bluesy rock and roll boogie with piano and distorted guitars, male singer and roomy drums.
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Absorb the mood and instrumentation of the music. Deliver a caption that serves as a concise guide to the music’s essence.
This song starts with a electric guitar riff and then gets rich with brass instruments and a female vocal singing in English.
1014963.2min.mp3
Delve into the music, noting its rhythm, mood, and instrumental highlights. Your caption should offer a snapshot that is as evocative as it is precise.
Serene, but slightly tense piano piece played at a moderate tempo
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Examine the blend of musical genres and the emotions they stir. Write a caption that clearly articulates these elements in a concise format.
French-language song with a jazzy, late-night vibe featuring a male duet.
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Analyze the music for its expressive qualities and thematic suggestions. Describe the tempo and instruments, and provide a description that captures the essence of the music engagingly.
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Listen to the music, focusing on the lyrical content (if applicable) and overall tone. Provide a statement that introduces the piece to a new listener.
Acoustic guitar and a kind of storytelling male voice underpin this spirited folk song.
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Identify the historical or contemporary context of the music and include this in a caption that also touches on the musical style and key instruments.
A luminous and moving instrumental piece for piano.
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Interpret the emotional journey conveyed by the music and encapsulate this in a caption that would resonate with someone emotionally attuned to music.
depressive music with only guitar and a sad voice for guys using drugs would be ideal for a rainy day to be even more sad
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Detail the music's genre, key instruments, and overall vibe in a description that might serve as a brief guide for new listeners.
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Delve into the music's atmosphere and instrumental composition; write a caption that brings these elements to life.
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Engage with the music to uncover its core narrative and mood. Write an elaborate caption that effectively communicates these findings.
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Outline the music’s principal characteristics and emotional cues in a brief yet informative caption.
Orchestral music with a slow and steady pace that sounds like a soundtrack to a nature movie or documentary.
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Examine the lyrical content of the music, if applicable. Craft a description that not only describes the sound but also interprets the lyrics in a way that complements the musical arrangement.
Dull Blues song with a salient female vocal.
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Explore the music's narrative and emotional layers. Compose a caption that offers an insightful overview, blending description with interpretation.
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Focus on the rhythm and harmony of the music. Write a description that encapsulates these elements attractively.
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Listen to the provided music, and then generate a caption that accurately describes the content or essence of it.
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Write a description that conveys the main theme or mood of the music presented. Ensure it accurately reflects the music while being grammatically correct and stylistically appealing.
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Develop a brief that encapsulates the essence of the specified music.
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Write a brief that clearly describes the main elements or mood of the specified music.
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Explore the music’s emotional landscape and key components. Compose a caption that compellingly conveys this blend.
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Begin by listening attentively to the provided music clip. Identify and note the musical genre, the instruments used, and the tempo. Capture any distinctive musical techniques or arrangements you hear and then write the music’s summary for me.
Instrumental song with classical blues chords but played with a big band style.
12301.2min.mp3
Analyze the emotions and themes evoked by the music. Describe its genre and key instruments, ensuring your caption is concise, objective, and appealing to potential listeners.
A hip-hop song with male vocals, a deep bass and drum beat, a repetitive guitar riff, and some piano notes.
1107251.2min.mp3
Write a caption that describes the key elements of the music. Mention specific instruments, the style of play, and any notable rhythms or melodies. Your description should give someone who hasn’t heard the piece a clear idea of what to expect.
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1408401.2min.mp3
Summarize the core elements and mood of the music in a descriptive caption.
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172021.2min.mp3
Use vivid language to express how the music might feel to a listener, tying in emotional cues and atmospheric descriptions that align with the sound. Ensure your caption is original and creatively written.
Classic instrumental song played on a piano that goes from being mellow, dreamy to uncomfortable feeling at times
1169731.2min.mp3
Evaluate the music’s distinctive features and emotional conveyance. Craft a caption that describes these elements, focusing on the mood and thematic story by the music, ensuring it is clear and engaging.
Upbeat acoustic guitar song with country style singing and vocals along with harmonica plus whistling at the end
1293996.2min.mp3
Create a concise caption that reflects the music’s emotional tone and key features.
This song is an upbeat, soft, indie song with a male vocalist evoking feelings of summer.
1357118.2min.mp3
Evaluate the music's unique characteristics, such as the primary instruments and tempo. Write a statement that effectively conveys the emotions and narrative of the music, keeping it under 370 words.
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Focus on describing the instruments and mood of the music. Provide a concise summary that invites readers to experience the music, ensuring it is rich in descriptive and emotional content.
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727904.2min.mp3
Analyze the music’s expressive qualities and thematic elements, providing a concise and engaging caption.
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Listen to the clip and focus on identifying the genre, mood, and key instruments. Provide a descriptive caption that conveys these elements and their interplay, aiming for clarity and engagement.
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1011643.2min.mp3
Describe the key musical elements like genre and instruments, focusing on how they create a specific mood. Your description should be engaging, descriptive, and concise, capturing the essence of the music.
This song starts with an ambient pad intro with a hip-hop influenced beat dropping halfway through.
1245190.2min.mp3
Pay attention closely to the music and develop a caption that summarizes its overall feel and components.
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1051195.2min.mp3
I want to add descriptive text to this piece of music. Help me generate text that accurately describes the music, and the generated text should include the feelings this music brings to the audience.
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1254630.2min.mp3
Provide a brief yet comprehensive description of the music’s character and mood.
This is a villainous military march with a strong rhythmic feel
402063.2min.mp3
Write the music caption in a way that would capture the interest of someone reading about the music. Think of your caption as a brief invitation to listen to the piece.
Male singer in rap and hip-hop song with some female voice chorus.
172018.2min.mp3
Create a caption for the music for me. Aim for a unique interpretation that reflects your feelings about the music.
This instrumental piece has the qualities of Celtic folk songs, starting off with a harp-like instrument playing a repeating melody before drums come in
119345.2min.mp3
Engage with the music to identify its dominant emotional tones and structural elements, then compose a caption that distills these observations.
Driving rock song with an energetic chorus, featuring heavily distorted guitars and male vocals.
43881.2min.mp3
Determine the main emotional and instrumental characteristics of the music. Write a caption that integrates these features seamlessly.
An uplifting pop song, performed by a male and a female voice with EDM arrangements.
1157361.2min.mp3
Listen to the music’s nuances and craft a caption that brings out its unique narrative and emotional palette.
A lively and fun ska song in Spanish with energetic brass sections.
415083.2min.mp3
Focus on the music’s composition and underlying themes. Write a caption that offers insights into both, keeping it succinct and insightful.
Electronic song with synth instruments and female singers.
135660.2min.mp3
Absorb the mood and instrumentation of the music. Deliver a caption that serves as a concise guide to the music’s essence.
Catchy pop song with prominent acoustic guitar strumming, and an organ interlude.
1194312.2min.mp3
Delve into the music, noting its rhythm, mood, and instrumental highlights. Your caption should offer a snapshot that is as evocative as it is precise.
A positive and enthusiastic pop-rock song from the 80s featuring reverbered guitars.
1356349.2min.mp3
Examine the blend of musical genres and the emotions they stir. Write a caption that clearly articulates these elements in a concise format.
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1093795.2min.mp3
Analyze the music for its expressive qualities and thematic suggestions. Describe the tempo and instruments, and provide a description that captures the essence of the music engagingly.
The song builds up with an optimistic and hopeful feel using drums, bass guitar and a synth solo in the middle along with vocals talking about living on
1009674.2min.mp3
Listen to the music, focusing on the lyrical content (if applicable) and overall tone. Provide a statement that introduces the piece to a new listener.
Dynamic and danceable uplifting pop song featuring a catchy beat performed by an acoustic guitar and hand clapls.
1307834.2min.mp3
Identify the historical or contemporary context of the music and include this in a caption that also touches on the musical style and key instruments.
Instrumental ambient track with an 80s chillout vibe, featuring bongos and a piano melody.
191044.2min.mp3
Interpret the emotional journey conveyed by the music and encapsulate this in a caption that would resonate with someone emotionally attuned to music.
Ambiental song that evokes calm with a progression of stereo electronic elements.
348881.2min.mp3
Detail the music's genre, key instruments, and overall vibe in a description that might serve as a brief guide for new listeners.
this indie rock song is happy and energetic, it has distorted and phasy guitars, bright drums and features asian lyrics singed by a male.
642166.2min.mp3
Delve into the music's atmosphere and instrumental composition; write a caption that brings these elements to life.
a danceable electronic track in the genre of dance
354778.2min.mp3
Engage with the music to uncover its core narrative and mood. Write an elaborate caption that effectively communicates these findings.
Hiphop track with male rapping, female chorus and funky guitar comp
172018.2min.mp3
Explore the music's narrative and emotional layers. Compose a caption that offers an insightful overview, blending description with interpretation.
Probably a three piece band with melodic guitar, heavy bass and drums playing an instrumental and energetic piece.
1061369.2min.mp3
Focus on the rhythm and harmony of the music. Write a description that encapsulates these elements attractively.
Peaceful sounding lo-fi I guess, it gives a feeling of security
437794.2min.mp3
Listen to the provided music, and then generate a caption that accurately describes the content or essence of it.
Introspective, raw rock song with organic acoustic guitars and a raspy voice
66942.2min.mp3
Write a description that conveys the main theme or mood of the music presented. Ensure it accurately reflects the music while being grammatically correct and stylistically appealing.
The relaxed melody and slow tempo make this song a combination of romantic and peaceful piece
6730.2min.mp3
Develop a brief that encapsulates the essence of the specified music.
Dynamic and danceable track starting with some numeric piano sound and then joined by a voices singing while some synth build up tension
1157361.2min.mp3
Write a brief that clearly describes the main elements or mood of the specified music.
Happy Spanish music that provide a good relaxed music with a man singing in spanish with trumpets
357365.2min.mp3
Explore the music’s emotional landscape and key components. Compose a caption that compellingly conveys this blend.
An upbeat catchy indie hip hop song with an upheat jazzy/R&B chorus and energetic rap verses.
1115108.2min.mp3
Begin by listening attentively to the provided music clip. Identify and note the musical genre, the instruments used, and the tempo. Capture any distinctive musical techniques or arrangements you hear and then write the music’s summary for me.
Adventurous and curiosity inspiring soundtrack consisting of bells, flutes, strings, and choir.
1173652.2min.mp3
Analyze the emotions and themes evoked by the music. Describe its genre and key instruments, ensuring your caption is concise, objective, and appealing to potential listeners.
A soft, calming jazz piece with a leading guitar, that's suitable for cafe environment
5089.2min.mp3
Write a caption that describes the key elements of the music. Mention specific instruments, the style of play, and any notable rhythms or melodies. Your description should give someone who hasn’t heard the piece a clear idea of what to expect.
Soft techno song with vocal samples that could be played in summer beach clubs.
1336433.2min.mp3
Summarize the core elements and mood of the music in a descriptive caption.
A traditional heavy metal riff intro with a transition to grunge-like verse.
127590.2min.mp3
Use vivid language to express how the music might feel to a listener, tying in emotional cues and atmospheric descriptions that align with the sound. Ensure your caption is original and creatively written.
Harp, suitable for library, game and film music.
25250.2min.mp3
Evaluate the music’s distinctive features and emotional conveyance. Craft a caption that describes these elements, focusing on the mood and thematic story by the music, ensuring it is clear and engaging.
Indie folk-rock song sung by a young male vocal with things to say.
43986.2min.mp3
Create a concise caption that reflects the music’s emotional tone and key features.
Eurodance pop track, with a simple rough synth chord progression and a straightforward drum beat punctuated by a female voice sample.
364840.2min.mp3
Evaluate the music's unique characteristics, such as the primary instruments and tempo. Write a statement that effectively conveys the emotions and narrative of the music, keeping it under 370 words.
Joyful Christmas song or children's song featuring a bell melody.
1153922.2min.mp3
Focus on describing the instruments and mood of the music. Provide a concise summary that invites readers to experience the music, ensuring it is rich in descriptive and emotional content.
Soft piano and guitar ballad with simple arpeggios with a female tenor voice singing something religious
1170729.2min.mp3
Analyze the music’s expressive qualities and thematic elements, providing a concise and engaging caption.
It is an upbeat song, with vocals, drums, acoustic guitar, and synth, which can be heard while cooking, running, exercising, etc.
1135703.2min.mp3
Listen to the clip and focus on identifying the genre, mood, and key instruments. Provide a descriptive caption that conveys these elements and their interplay, aiming for clarity and engagement.
Vocal pop song with piano accompaniment that is sad with rock-style instrumentation in a professional recording session.
1051201.2min.mp3
Describe the key musical elements like genre and instruments, focusing on how they create a specific mood. Your description should be engaging, descriptive, and concise, capturing the essence of the music.
A rock-solo track suitable for a road trip.
1241783.2min.mp3
Pay attention closely to the music and develop a caption that summarizes its overall feel and components.
Drum’n bass song that makes it hard not to shake your head or feet while listening.
1122392.2min.mp3
I want to add descriptive text to this piece of music. Help me generate text that accurately describes the music, and the generated text should include the feelings this music brings to the audience.
|
|||||||
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2
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https://buildingbeats.org/blog/2020/5/22/how-to-make-a-trap-drum-pattern-in-soundtrap
|
en
|
How to Make a Trap Drum Pattern in Soundtrap — Building Beats
|
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[] |
[] |
[
""
] | null |
[
"Jess Dilday"
] |
2020-05-22T00:00:00
|
Building Beats workshop leader & music producer DJ RAY BLK has some tips to create a Trap drum pattern using the free browser-based music production program Soundtrap . You can access Soundtrap on your laptops, phones, and iPads using the Chrome Browser.
|
en
|
https://images.squarespace-cdn.com/content/v1/59f8d5dd8fd4d2bf55c73c9b/1532446304423-W2JQ7H5SXK1CEQXT60S3/favicon.ico?format=100w
|
Building Beats
|
https://buildingbeats.org/blog/2020/5/22/how-to-make-a-trap-drum-pattern-in-soundtrap
|
Trap music has become extremely popular over the last 10 years; it is becoming one of the most listened-to subgenres in hip-hop. This tutorial will show how to create a trap beat similar to one you would hear DaBaby, Lil Baby, or Young Thug rapping over. Trap is all about the bounce, and the beat RAY BLK has created below is pretty simple, yet has a lot of energy.
First, set the Tempo, or beats per minute, to 140 BPM. Trap beats are usually in between 130 and 140 BPM, giving it that fast but also bouncy feel.
Next, add a new drum track via Patterns Beatmaker, and add an Open hat, which will give your track some space. To access drums that are not listed in the sequencer view, click on any drum (the snare for instance) and you will be able to access a drop-down menu. Select the open hat from the drop down menu. Add the open hat only once, on the second beat (the first quarter beat in beat #2). Now you have the groove going.
Now last but not least, the most essential ingredient: the 808 bass. There is no trap without the 808 bass. The cool thing about Soundtrap is that there are a lot of 808s to choose from. In this track, RAY BLK has selected an 808 that has a similar sound to DaBaby’s tracks (made by producer Jetsonmade). This bass has a lazy bounce to it, yet it is still very deep. The goal in making a trap beat is to make the 808 bass in your face; you want it to be the most heard instrument in your drum pattern.
To access this sound, add a new track, and this time select Guitar & Bass. Click on the default instrument square that shows (likely a Rock guitar) and you will see a pop up window with all of the different types of instruments. Click on Bass - Kick 808, and select Gritty Long Sub 808. Now you can start playing your computer keyboard, which will play the keyboard you see on the screen.
If the pitch sounds too high or low, you can see an option to adjust the Octave to the left, on top of the keyboard. Begin to play your notes via the provided virtual keyboard, while playing your other drums to keep a sense of rhythm. Once you’ve got the melody you want, hit the record button at the bottom of the screen, with your other drums still playing. After that, you can go into the Piano Roll view and fine-tune it.
Now you have created a trap beat! We encourage you to play around with the different drum kits and 808 basslines to make it more your own creation. If you enjoyed this, stay tuned for our other How-To videos!
Note: RAY BLK is creating these all on separate tracks instead of all together, which is smart, so you can manipulate the volume of each individual drum sound.
|
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2202
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dbpedia
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0
| 28
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https://lyricassistant.com/how-to-make-a-reggae-song/
|
en
|
How To Make A Reggae Song
|
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[
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] | null |
[
"Toni Mercia",
"Toni Mercia →"
] |
2024-03-08T05:50:58+00:00
|
Learn how to create a captivating reggae song with our guide! Discover the essentials of reggae rhythm, lyrics, arranging, and instruments.
|
en
|
/wp-content/uploads/fbrfg/apple-touch-icon.png
|
Lyric Assistant - Write The Perfect Song In Minutes
|
https://lyricassistant.com/how-to-make-a-reggae-song/
|
The allure of reggae music lies in its infectious grooves, smooth melodies, and soul-stirring lyrics. Born in Jamaica, reggae has evolved from a small island music form to a global phenomenon. If you're an aspiring songwriter looking to take on the challenge of crafting the perfect reggae song, you've come to the right place.
In this guide, we'll delve into the key components of creating a reggae masterpiece, providing you with the tools and knowledge to write an unforgettable song. And when in need, remember to turn to Lyric Assistant to help you transform your ideas into masterpieces.
The Reggae Rhythm
1. The Beat: A key characteristic of reggae is its rhythmic pattern known as the "One Drop." This beat places emphasis on the third beat of a four-beat measure while leaving the first beat open. The bass and drum play the most pivotal roles in creating this signature bounce. The kick drum hits hard on the third beat, while the snare rimshot or side stick adds a subtle accent on the second and fourth beats.
2. Basslines: The foundation of any great reggae tune lies in its bassline. The bass guitar takes center stage with a melodic, syncopated groove that drives the song forward. Keep your basslines simple but catchy, ensuring they lock in with the rhythm of the drums and leave space for the other instruments.
3. Listen and Learn: To get a better understanding of the reggae rhythm, listen to classic reggae tunes from artists such as Bob Marley, Peter Tosh, and Gregory Isaacs. Analyze their grooves and beats, and try to replicate them on your chosen instruments.
Reggae Lyrics and Song Structure
1. Theme: Reggae lyrics often tackle social, political, and spiritual topics, reflecting the thoughts and experiences of the people who created them. However, there is no strict rule on the subject matter. Your song can tell a story, convey a message, or simply celebrate love and life.
2. Structure: A standard reggae song structure typically follows the verse-chorus-verse pattern, with occasional variations like pre-choruses and instrumental breaks. Keep your structure simple and easy to follow so listeners can focus on your engaging message and groove.
3. Hook: A memorable hook is essential for any great song. Make sure your chorus carries a strong, catchy melody that can be easily remembered and sung along to.
4. Lyric Assistant: If you're struggling to find the perfect words or structure for your reggae song, Lyric Assistant can help. With our unique system, you can pick the genre, topic, and structure, as well as the artists you'd like your song to sound like, and Lyric Assistant will generate a personalized song for you.
Arranging and Instruments
1. Guitars: A reggae song typically features rhythm guitar playing short, syncopated staccato chords, known as "skanking." The chords are usually played on the offbeats, creating a light and bouncy feel.
2. Keyboards: The keyboard or organ provides additional layers of melody, often doubling the guitar or bassline. The iconic "bubble" organ sound can be heard in many reggae songs, adding a sense of depth and warmth.
3. Horns: Horn sections are common in reggae music, featuring trumpets, trombones, and saxophones. These instruments can be used for melodic lines, stabs, or counter melodies, giving your song a full and vibrant sound.
4. Production: When recording and mixing your reggae song, aim for a warm, vintage sound. Experiment with effects like reverb, delay, and tape saturation to achieve this vibe. Keep the drums and bass upfront and prominent in your mix, as they are the driving force of the genre.
By understanding the fundamentals of reggae music, from its rhythm and song structure to the lyrics and arrangement, you'll be well on your way to crafting an authentic, captivating reggae song. And whenever you need a helping hand, remember to turn to Lyric Assistant for a seamless songwriting experience.
Now, grab your instruments, find your inspiration, and let the positive vibrations flow as you set out to write your reggae masterpiece.
Frequently Asked Questions
What are the core elements of a reggae song?
The core elements of reggae music include a steady rhythm and beat characterized by an emphasis on the offbeat or 'skank', played by the guitar or piano. Bass lines are crucial and are usually heavy and melodic. Drums also play an integral part, especially the use of the snare drum. Vocals in reggae music often have a distinct, laid-back style, with themes ranging from social justice and love, to Rastafari teachings and universal spirituality.
How do I start writing a reggae song?
To start writing a reggae song, begin by understanding its history and cultural roots. Listen to plenty of classic reggae tracks to get an idea of the rhythm and structure. Then, start with a basic chord progression, and focus on the offbeats for your strumming or keyboard pattern. Write meaningful lyrics that resonate with reggae's themes of resistance, community, and positivity.
What kind of instruments do I need to make reggae music?
Traditional reggae music prominently features drums, bass guitar, electric guitar, keyboards (especially the organ), and vocals. Additional instruments that are sometimes used include horns, such as the saxophone, trumpet, and trombone, as well as auxiliary percussion instruments like the bongo drum or cowbell. However, with modern technology, virtual instruments and software can emulate many of these sounds as well.
Can I create reggae music if I am not from Jamaica?
Yes, reggae music is a global genre, and while it originated in Jamaica, artists from all over the world create reggae music. Respecting the cultural roots and understanding the history is important when creating reggae music outside of its birthplace.
How important are lyrics in a reggae song?
Lyrics are extremely important in reggae music as they often convey messages of peace, love, struggle, and social commentary. Many reggae songs address political issues, social injustice, and spirituality, reflecting the genre's ties to the Rastafarian religion and African heritage.
Do I need a band to make reggae music?
While having a band can add a live and authentic feel to reggae music, it is not strictly necessary. Many artists produce reggae music using digital audio workstations (DAWs) and software instruments. However, collaborating with other musicians can bring different perspectives and dynamics to your music.
What is 'One Drop' rhythm?
'One Drop' rhythm is a distinctive reggae beat where the accentuation is placed on the third beat of the bar, while the first beat is usually less stressed or skipped entirely. This gives reggae its laid-back rhythm and feeling.
How do I develop a good reggae bass line?
Developing a good reggae bass line involves keeping it simple but melodic. Listen to legendary reggae bassists like Aston "Family Man" Barrett for inspiration. Start with the root notes of your chords and experiment with rhythmic patterns and melodic runs that complement the offbeat rhythm of the guitar or piano.
What tempo is typical for a reggae song?
Reggae songs generally have a tempo ranging between 60 to 90 beats per minute (BPM), but there are variations depending on the sub-genre or the specific feel the artist is looking for. For example, dancehall is often faster, while roots reggae tends to be slower.
Can I use electronic elements in reggae music?
Absolutely! Modern reggae often incorporates electronic elements such as drum machines, synthesizers, and digital effects. The key is to maintain the reggae feel through the rhythm and melodic structure, while the electronic elements can add a fresh twist to the traditional sound.
What distinguishes reggae from other genres?
Reggae is distinguished by its laid-back rhythm, offbeat guitar or piano chords, and its rich bass sound. It often incorporates social and political messages in the lyrics, and has a unique vocal delivery that may include rhythmic speaking, referred to as "DJing" or "toasting," which predates rapping in hip-hop culture.
How do politics and social issues influence reggae music?
Politics and social issues are fundamental to reggae music's identity. The genre emerged in a context of social unrest and served as a means for disenfranchised communities in Jamaica to express their discontent with social inequality, economic hardship, and political corruption. Song lyrics often reflect these themes, hope for change, and a call to action.
Is there a specific structure to a reggae song?
While reggae songs can vary in structure, many follow a traditional verse-chorus pattern, sometimes including a bridge or an instrumental break. The structure can be flexible, and the instrumental groove often carries equal importance to the song's progression as the lyrics and melody.
What are some sub-genres of reggae?
Sub-genres of reggae include roots reggae, dub, dancehall, rocksteady, and lover's rock. Each has distinct musical characteristics and lyrical themes but all maintain the core elements of reggae music.
Is singing ability crucial in reggae music?
While strong singing abilities can enhance reggae music, the genre is known for its distinctive vocal style that often emphasizes feeling and authenticity over technical prowess. Emotion and delivery fitting the vibe of the song is just as important as conventional singing skill.
How can I infuse my cultural background into reggae music?
You can infuse your cultural background into reggae music by incorporating instruments, languages, and musical influences from your own culture while maintaining the fundamental reggae rhythm and feel. This fusion can create a unique sound that can add to the richness of the genre.
Are there any legal issues to be aware of when creating reggae music?
As with any genre, when creating reggae music, be cautious about copyright laws, especially if you're sampling existing music or beats. Always ensure you have permission to use samples, or opt for royalty-free samples if available. If you're covering or remixing a song, you may need to obtain mechanical rights from the copyright holders.
How do Rastafarian beliefs tie into reggae music?
Rastafarian beliefs are deeply intertwined with reggae music, often providing a spiritual and ideological foundation for the lyrics and lifestyle of many reggae artists. Rastafarian themes include the spiritual use of cannabis, the belief in the divinity of Haile Selassie, Pan-Africanism, and the importance of Africa as a spiritual and ancestral homeland.
What role does improvisation play in reggae music?
Improvisation plays a significant role, especially in live performances. Musicians often add spontaneous solos or vocal ad-libs over the music's established grooves, which can elevate the music's raw and natural feel.
How can I experiment with the reggae sound?
Experiment with the reggae sound by blending different sub-genres or incorporating influences from other music styles like jazz, blues, or hip-hop. Adjusting the instrumentation, playing with electronics, and altering the traditional tempo are all ways to put a creative spin on the reggae sound. The key is to respect the essence of reggae while bringing in your own artistic expression.
Can I make reggae music on a computer?
Yes, you can create reggae music on a computer using digital audio workstations (DAWs) and virtual instruments or samples. Many modern reggae producers and artists use these tools extensively to compose, record, and produce their music.
|
||||
2202
|
dbpedia
|
1
| 25
|
https://www.onlinedrummer.com/pages/drum-key
|
en
|
Drum Notation Guide - Drum Key
|
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Written by Nate Brown & Steve Ley The Basic Drum Key (above) is a quick-reference for the most commonly used notations. Our Master Drum Key (below) includes both basic and advanced notations. We've included detailed explanations and videos below the key. Feel free to print the Master Drum Key for your referenc
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OnlineDrummer.com
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https://www.onlinedrummer.com/pages/drum-key
|
Written by Nate Brown & Steve Ley
The Basic Drum Key (above) is a quick-reference for the most commonly used notations.
Our Master Drum Key (below) includes both basic and advanced notations. We've included detailed explanations and videos below the key. Feel free to print the Master Drum Key for your reference.
PRINT MASTER DRUM KEY
You'll find detailed explanations, graphics and videos below. Read this section straight-through or skip ahead to the notations you need further support with.
Bass
Bass 1 is the standard bass drum played with the primary bass drum pedal.
Bass 2 is played either on a secondary bass drum or on the same bass drum with the slave pedal of a double bass drum pedal (see below).
Toms
Our drum key includes 7 toms arranged from lowest pitched to highest. It's unlikely that you will encounter many songs that require 7 toms. However, because some do require 7 toms, we've identified the notation on this master drum key.
Arranged from lowest pitched to highest pitched, the toms are as follows:
Floor tom 2
Floor tom 1
Tom 3
Tom 2
Tom 1
Additional tom(s)
A traditional drum set arrangement has 3 toms. This is the most common arrangement you're likely to encounter in drum sheet music. In the master drum key, they are identified as floor tom 1, tom 2 and tom 1 (see below).
Another common tom arrangement is called, "Two Up, Two Down." This arrangement features two toms mounted above the bass drum (i.e. "up") and two floor toms resting on the ground (i.e. "down"). In the master drum key, they are identified as tom 1, tom 2, floor tom 1 and floor tom 2 (see below).
A similar tom arrangement to the "Two-Up, Two-Down" is the "One-Up, Two-Down" arrangement. As the name implies, one tom is mounted above the bass drum (i.e. "up"), and two floor toms are resting on the ground (i.e. "down"). The toms for this arrangement are identified in the graphic below.
IMPORTANT: If your drums are setup in this arrangement, it's common (and often necessary) to play floor tom 1 as your tom 2 and floor tom 2 as your floor tom 1 when reading drum sheet music.
The two highest pitched toms in our Master Drum Key are called "additional toms" because they are additions to the most common tom arrangements. Additional toms aren't often used in mainstream music, but you will come across these from time to time. If you don't have seven toms, you will have to substitute your tom 1 (or another tom) for the additional toms in the sheet music.
Note on floor toms: Floor toms rest on the floor on three legs. In some setups, the lowest tom(s) are attached to a cymbal stand with a clamp rather than resting on the floor. It's fine to use an "attached" low tom(s) in place of a traditional floor tom(s).
Modifiers
Drum Modifiers change the way you strike a drum or cymbal. Our Master Drum Key shows these modifiers in the snare drum space, but they can apply to any drum or cymbal. For example, you may find a ghost on a tom stroke, hi-hat stroke, bass drum stroke, etc.
Cross-stick: Video Example (explanation starts at 1:05)
A stroke played with the butt of the stick against the rim while the tip of the stick remains resting on the drum head. Grip the stick in between your thumb and index finger. On the down-stroke, your remaining the fingers will touch the drum head. On the up-stroke, be sure that the tip of the stick remains on the drum head.
Ghost: Video Example
A very quiet stroke. You can think of a ghost stroke as a light tap (or drop) against the head. Generally, ghost strokes are played with the stroke starting at about 2 inches above the drum head.
Accent: Video Example
An accented stroke is to be played louder than other strokes. In other words, it should stand out.
Marcato:
A marcato is a type of accent, but the marcato stands out even more than a normal accent. You can think of a marcato as a 'strong accent.'
Flam: Video Example
In a right-handed flam, the left stick plays a quiet grace stroke slightly before the right stick plays the main, primary stroke. Traditionally, a flam should be played with one motion (i.e. both hands move at the same time). The stick you're playing the grace stroke with should start about 2 inches above the drum head while the primary stroke starts in normal position.
Additional flam notes: A power flam is achieved by playing the flam's grace stroke at the same volume as the primary stroke. This type of flam is often used in rock music. Another type of flam is a flat flam. This is played by playing both the grace stroke and primary stroke at the same time.
Drag: Video Example
A drag is sometimes referred to as a ruff. You can use the terms interchangeably. The drag is very similar to a flam but the drag has 2 grace strokes instead of 1. The grace strokes can be achieved by bouncing the stick, or for a more orchestral sound you can play the grace strokes as a buzz against the drum head.
Rimshot: Video Example
A rimshot is played by striking both the head of the drum and the rim of the drum at the same time. The tip of the stick strikes the drum head, generally just off-center, and the shaft of the stick strikes the rim. This produces a higher-pitched, louder (and often 'ringy') sound. You can experiment with moving the tip of the stick closer to the edge of the drum head to product different sounds.
Click sticks:
Strike the sticks together. Usually, the left stick stays stationary while the right stick strikes the left stick (if you're a right handed drummer).
Rim:
Play the rim of the drum. For the snare drum, the rim is usually hit at the point where it's furthest away from the drummer (i.e. the 'top'). For toms, the rim is usually struck at the closest point to the drummer (i.e. the bottom). These are not hard and fast rules, however. It's ok to experiment with where you hit the rim.
Electronic pad:
In today's music, electronic drums are becoming more and more common. Hybrid combinations where a drummer is using both acoustic drums and electronic drums are also becoming common. Sometimes, only certain sections of the song use electronic drums. A square note head indicates that this drum is supposed to be played on an electronic drum (or pad). If you don't have an electronic drum, it's ok to play the part on your standard acoustic drums.
Cymbals
Cymbal arrangements vary greatly from drummer to drummer. The standard, cymbal starter kit includes a hi-hat, crash and ride cymbal (see below).
If you play with this cymbal setup, you'll need to play any crash 2 in the sheet music with your crash 1. Also, any auxiliary cymbals, such as Chinas or splashes will need to be played on the crash.
Here's another common cymbal setup that features 2 crash cymbals. As with the previous, starter setup, if there are any auxiliary cymbals (i.e. Chinas or splashes) in the sheet music, you'll have to substitute by playing either your crash 1 or crash 2 for those strokes.
Splash cymbals and China cymbals are great additions to any cymbal setup. They're not used as often as the cymbals identified above, but they do make their way into mainstream music and other classics throughout past decades.
A splash cymbal is a smaller cymbal that makes a sound similar to a metallic "splash." Listen to the 10 inch splash cymbal being played in this video:
A China cymbal has a unique, almost "trashy" sound and is to be mounted upside-down. Here's a video of an 18 inch China being played:
Note on crash cymbals in sheet music: Since every drummer has their own unique cymbal choices and placements, you'll sometimes have to get creative when interpreting drum sheet music. Often, it doesn't really make much of a difference which crash cymbal you hit. Get creative.
Cymbal Modifiers
At times, special instructions need to be given to the reader regarding how to hit a cymbal. Cymbals are very dynamic and produce distinct sounds depending on how they are hit. Below are cymbal modifiers that we use to communicate how to hit the cymbals.
Crash ride
This indicates that the ride should be hit with the shoulder of the stick on the edge of the cymbal. In other words, hit it the same way you would hit a crash cymbal to make it "crash."
Ride bell
Play the ride bell. To produce a louder sound, you can play the ride bell with the shoulder of the stick rather than with the tip.
Crash w/tip
Hit the crash cymbal on the bow with the tip of the stick. A Crash w/tip should sound (and feel) similar to playing a normal ride cymbal stroke. It shouldn't "crash."
Crash bell
Hit the crash cymbal on the bell, either with the tip of the stick or with the shoulder of the stick to produce a louder sound.
Choke crash Video Example
Hit the crash cymbal as usual (i.e. with the shoulder of the stick on the edge of the cymbal), producing a crash. Then, choke the cymbal by grabbing it with your other hand, cutting off the sound. For an advanced choke, you can both hit the crash and catch it with the same hand.
Let ring
Cymbals are meant to let ring out unless some other type of instruction has been given. For example, a cymbal choke or hi-hat close. However, sometimes including the "let ring" symbol (i.e. an unconnected tie) makes it clearer to the reader and reinforces that the cymbal is to let ring. It is especially helpful if there are rests after the crash cymbal. Telling the reader to let the cymbals ring out throughout those rests gives the reader extra confidence.
Splash HH Video Example
The hi-hat splash is achieved by hitting the hi-hat cymbals together with the foot, and then quickly releasing them apart to let them ring out. It's similar to an orchestral crash cymbal.
Loose HH
The slashed circle above a hi-hat stroke means to play the hi-hat "loose." In other words, instead of pressing the hi-hat pedals together tightly, lift up on the pedal a little to allow the cymbals to reverberate when hit. This gives a "loose" sound.
Open HH Video Example
The open hi-hat is indicated by a circle above the note head. This means that the two cymbals should be "open" (or not touching) when the hi-hat is hit.
Closed HH
A hi-hat should be played "closed" by default. That means both cymbals will be pressed together when striking the hi-hat. However, sometimes it's important to reinforce to the reader that the hi-hat stroke needs to be played closed. When you see a + above a hi-hat stroke, it means that stroke should be played "closed."
Open/close HH
Strike the hi-hat in "open" position (i.e. the top and bottom cymbal are not touching). Then, quickly close the hi-hat. This creates a fast attack with the open hi-hat, but then chokes the sound quickly by pressing the hi-hat cymbals together.
Section Modifiers
When a modifier is to be applied to many (or all) of the cymbal strokes in a section, we use a "section modifier" to communicate that the entire section should be played a certain way. This keeps our sheet music clean and clear.
Tight: Play the hi-hat with the cymbals clamped tightly together.
Closed: Play the hi-hat with the standard amount of pressure, closing them enough so that they don't reverberate.
Relaxed: Play the hi-hat with a 'relaxed' tension, allowing the hi-hat cymbals to reverberate slightly.
Loose: Play the hi-hat with a loose tension, allowing the cymbals to reverberate greatly.
Crash Ride: Play the ride cymbal as if you were crashing a crash cymbal, with the shoulder of the stick hitting the edge of the cymbal.
Loose HH for several notes: A line placed next to a loose hi-hat cymbal extends the loose hi-hat section for multiple strokes. Any strokes under the line should be played with a loose hi-hat. This method keeps the sheet music looking cleaner without the need for multiple loose hi-hat symbols in a row.
Loosen hi-hat: The technique is a commonly used technique to "build" into a section of the song or transition between two parts. Start the section with a slightly loose hi-hat, and gradually loosen the hi-hat tension for all of the strokes under the dotted line.
Rolls
Open roll
An open roll is played with clear double strokes (i.e. diddles). In the graphic above, the "Open roll (written out)" shows all of the strokes of the roll written out in 32nd-note notation.
Buzz roll/Closed roll Video Example
A closed roll is played by buzzing the sticks rather than playing clean double strokes (i.e. diddles.) This roll is either referred to as a buzz roll, closed roll or sometimes an "orchestral" roll. In our sheet music, we use the Z symbol on the note stem to clearly indicate when you should use buzz strokes over diddles. In the graphic above, the "Buzz roll/Closed roll (written out)" shows all of the strokes written out in 16th-note notation (with buzzes).
Single-stick buzz
This stroke is played by pressing the tip of the stick against the head creating a "buzz" sound. See the video example above for "Buzz roll/Closed roll" for an example of how to play a "buzz" stroke.
Crushed buzz
A crushed buzz roll is achieved by "buzzing" both sticks on the drum head at the same time. Preferably, try to let the sticks "buzz" for the duration of the note. In the graphic above, the "crush" symbol is over a quarter note. So, you'd let those sticks buzz for one entire beat.
Slowing Down / Speeding Up
Sometimes, a roll gradually speeds up. The 'feathered beams' indicate whether the selection should speed up or slow down.
Crescendo roll
A crescendo roll starts quietly and gradually gets louder until the end of the roll. The crescendo will have to be quick on shorter-duration rolls. Be sure to play the crescendo consistently, avoiding getting too loud to quickly (or vice versa).
Drop-away buzz
The drop-away buzz starts loud (i.e. forte) but immediately drops off to quiet (i.e. piano).
Other Considerations
This master drum key isn't exhaustive, meaning that we didn't include every possible notation that you might encounter. We've included the most commonly used notations and symbols. All of our premium sheet music includes a song-specific drum key on the top of the first page for each song. If we've used any special notations or symbols, they will be identified in the song-specific key.
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dbpedia
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https://www.attackmagazine.com/technique/beat-dissected/bossa-nova-vibes/
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en
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Bossa Nova Vibes
|
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2021-06-24T12:00:00+00:00
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In this latest Beat Dissected, we put together a Brazilian bossa n ova-inspired beat with acoustic and percussive textures.
|
en
|
Attack Magazine
|
https://www.attackmagazine.com/technique/beat-dissected/bossa-nova-vibes/
|
In this latest Beat Dissected, we put together a Brazilian bossa nova-inspired beat with acoustic and percussive textures.
The driving rhythms and syncopation of Latin American genres have made their way into all forms of dance music but we’ll be looking at numerous sounds and patterns that specifically work well together. Jose Padilla’s ‘Bossa Rosa’ is a prime example of the sound we’re going for:
As usual, click any image to see a larger version.
Here’s our final beat in solo and then with a bassline, Rhodes chords and synth chord plucks for context:
Step 1: Kick and Hat
Load up a new Drum Rack and import the ’CCT_RealVinylKick’ and ‘CCT_Hat2’ samples from the Loopmasters Mixtape Pack, as we’re going for an acoustic drum sound.
The key driver of the rhythm is a simple 4/4 kick with quieter kick hits occurring on the fourth 16th-note of each beat. Kicks occurring on fourth 16th-notes is coincidentally a rhythmic technique used commonly in rolling techno-style tunes.
The hats will occupy every single 16th-note with every second hat playing at a much lower velocity, giving the illusion that the hat is actually playing 8th-notes.
To make the hats sound more human, insert Live’s velocity device on the hat’s pad in the drum rack and slightly increase the random knob so that each hit’s velocity is different. Next, insert an EQ Eight and make a high pass until around 530Hz to cut the unnecessary low frequencies.
Step 2: Rim and Sidestick
For the rim we’ll use ‘Rim Dobbs’ from the Core Library and for the sidestick we’ll use ‘SNARE_SNR_1470_MPL_damp_stick_sidestick 20-1’ from the Drum Booth pack.
Instead of hitting on downbeats, the rim lands on various other 16th-notes in the grid. The first hit is usually the third 16th-note and the next is usually the second 16th-note of the third beat. For the other hits, you can experiment. The bossa feel also commonly makes use of consecutive rim shots with different velocities, as we have done at the end of the second bar.
As this is a sound heavily associated with live played group performances, we can use reverb to create the illusion that the beat was recorded in a room. Insert the Standard Room preset from Live’s Reverb on the rim shot and bring the dry/wet blend to below 10%.
Panning can also give the impression that parts were performed in an actual space so pan the sidestick sample to the right by 20-25. For this part, program hits at differing times between the rim hits. We programmed most of them on the second 16th-notes in beats because this made them come straight after the double kicks.
Here are the rim and sidestick parts in solo with the kick, and then with the hats also playing:
Step 3: Metal Percussion
If you were ever looking for an excuse to use a triangle in your beats look no further! The first metal percussion part is the ‘Percussion Triangle Open’ sample from the Beat Tools pack. The triangle will play the simple role of layering every kick hit so simply program the same pattern as the kick’s from Step 1.
Cowbell-style sycnopated bell patterns are another hallmark of Bossa Nova and grooves with roots in Latin American styles. We used the TS_TROPICOOL_103_percussion_loop_water_bells_1’ sample from That Sound’s Tropicool Pack available on Splice.
Pan the bell to the left by around 15-20 and program a one-bar loop. The bell can hit at the same time as some of the rims but it should also have its own distinct rhythm that emphasizes different 16th-notes. Remember, what we’re going for is a combination of elements with different rhythms that would also sound catchy in solo.
Here are all of the percussion parts in solo followed by our progress so far:
Step 4: Congas
The last bit of programming will be two conga hits. Bongos and congas are common in this style and the key while programming them is using hits with different types of expression and different pitches.
Two samples are more than enough for us here and we’ve used the ‘Conga Low Slap’ and ‘Conga Low Ring’ from the Core Library. Program syncopated patterns where the two samples form a call and response relationship. While writing these kinds of percussion parts experiment with all kinds of rhythms and combinations so you have different options to choose from and even use in other sections of your arrangement!
For the ‘Conga Low Ring’ sample, use Simpler’s internal filter to dial in a slight highpass as the lows are a little bit excessive. Pan the congas to the right but pan one further right than the other to contribute to the illusion of a real room. We panned one by sixteen and the other by 22.
Here are the congas in solo and then with the rest of the beat:
Step 5: Bus Processing
The processing on the entire drum rack has the goal of adding some punch, cohesiveness and ambience to again make it sound like everything was performed in one room. Insert Live’s Glue Compressor and Reverb audio effects.
Set the compressor’s attack to 30 so that the transients cut through, set the release to auto (A) and lower the threshold until you’re getting 3-4dB of gain reduction. Add 3-4dB of Makeup gain to compensate for the reduction in volume. The compressor will slightly reduce dynamics and balance levels.
With the reverb, it’s as simple as lowering the decay time to between a room-style 600-700ms and adjusting the Dry/Wet to taste. We left it at 11%. With all rhythmic elements going through one short reverb, it will sound like the instruments are all in one room.
Here’s the final beat in solo and then again with a bassline, Rhodes keys and synth chord plucks:
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dbpedia
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https://www.musiciansfriend.com/drums-percussion/tama-lars-ulrich-diamond-plate-steel-snare-drum-14x65
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en
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Musician's Friend: Musical Instruments Store
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[] |
[] |
[
""
] | null |
[] | null |
Shop our selection of instruments, musical equipment & supplies. Get the lowest prices & free shipping on most orders. Check back daily for special savings.
|
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https://static.musiciansfriend.com/img/brand/mobile-mf/favicon-mf.ico
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https://www.musiciansfriend.com/
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dbpedia
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https://bandcamp.com/tomrimshot
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en
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tomrimshot's collection
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[
""
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[] | null |
Dayton, Ohio • Electronic • 6150 collection items • 704 followers
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Bandcamp
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https://bandcamp.com/tomrimshot
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dbpedia
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https://www.yamaha.com/en/musical_instrument_guide/drums/play/play003.html
|
en
|
How to Play the Drum:Drumming techniques
|
http://www.yamaha.com/en/musical_instrument_guide/common/images/drums/play_main.jpg
|
http://www.yamaha.com/en/musical_instrument_guide/common/images/drums/play_main.jpg
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[] |
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[
"Musical Instrument Guide",
"Drums",
"How to Play the Drum:Drumming techniques"
] | null |
[] | null |
This is the Yamaha Corporation [Musical Instrument Guide] website. This article contains information about the Drums [How to Play the Drum:Drumming techniques]
|
en
|
/_common/images/favicon.ico
| null |
There are a variety of rhythms possible on the drum. The 8-beat rhythm is made up of eighth notes, while a 16-beat rhythm has twice as many beats as an 8-beat rhythm. There are a variety of beats-such as the shuffle, samba, bossa nova-found in different musical genres. Let's listen to several different beats!
The head is not the only thing beaten on a drum. On occasion the hoop that surrounds the head is also struck. These are called rimshots, and here we will introduce you to a variety of rimshot effects.
First, there is the rim-only rimshot. The Japanese taiko drum is also played in this way. Next, one of the drumsticks is laid on the rim and it is struck using the other drumstick. One can hear the crack of the wood being struck. Then there is the open rimshot, in which the rim and head are struck at the same time. In jazz, this type of rimshot is shallow, with the contact being made near the edge of the drum. Then there is the closed rimshot that is used in bossa nova and other styles of music. The stick is pinched between the thumb and index finger, and the rim is struck with the shaft of the stick.
For drums, muting is achieved by taping some rolled up tape or tissue to the head, or putting a donut-shaped mute ring on the head. There is also something called the tuning mute, in which the heads are intentionally loosened so that they do not ring. Cymbals can be muted with tape or a handkerchief, and the bass drum can be muted with a blanket, dumbbells, or pillow. There seems to be as many methods as there are drummers.
|
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2202
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dbpedia
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| 30
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https://hub.yamaha.com/drums/stage/the-five-different-kinds-of-snare-drums-explained/
|
en
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The Five Different Kinds of Snare Drums Explained
|
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"Steve La Cerra"
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2022-08-12T12:00:51+00:00
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There are a huge variety of snare drums available. In this article, we’ll look at the most common types and their applications.
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en
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https://usa.yamaha.com/common/images/favicon.ico
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Yamaha Music - Blog
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https://hub.yamaha.com/drums/stage/the-five-different-kinds-of-snare-drums-explained/
|
Characterized by the metal wires or “snares” stretched across the bottom head, the snare drum plays a large role in just about all genres of music, including pop, rock, metal, funk, hip hop, R&B, progressive, marching band, drumlines, orchestral and jazz. When used in popular styles of music, it’s the snare that provides the backbeat on the 2 and 4; in orchestral and jazz pieces, the snare is used for color, accents and embellishments of musical phrases. Because it’s the centerpiece of the modern drum kit, the snare drum is the starting point for beginning drummers, and it often serves as a showcase for advanced players demonstrating their technical skills.
As you might imagine, there are a huge variety of snare drums available. In this article, we’ll look at the most common types and their applications.
Metal
Snare drums can be constructed from a variety of metals, the most popular being steel or stainless steel, aluminum and brass, followed closely by copper and bronze. Metal snare drum shells are constructed either by bending a flat metal sheet into a cylinder and welding the seam (so-called “welded” shells), or by spinning and heating a metal disk while pulling it over a cylindrical form (“spun” shells). The metal can also be melted and cast into a cylindrical mold, which is a very expensive process.
Each of these materials has a unique sound, but in general, metal snare drums produce a sharp “crack,” a quick response, and a lot of overtones. Steel can produce bright, ringing overtones that require damping, while brass tends produce a rich tone with dark overtones. Metal snares in general have good projection, produce great rim shots (where you use a stick to simultaneously strike both the rim of the drum and the top head), and can easily cut through on loud stages, which is why they’re a favorite for hard rock.
Metal snares, like all acoustic snare drums, can be tuned across a wide range, depending upon the player’s preferences. Medium and high tunings generally project better while offering greater sensitivity and dynamic range. Low tunings are great for slow-paced songs like ballads, but can limit the dynamic range — meaning that you really have to smack the drum hard to make it speak.
Here’s the sound of the Yamaha RRS-1465 Recording Custom brass snare drum at a medium tuning:
https://hub.yamaha.com/wp-content/uploads/2022/08/AudioClip1_RRS1465.mp3
Metal snare drum shell depths range from five to eight inches, with 14 inches being the most popular diameter, though there are models with 13- and 15-inch diameters.
A classic example of a metal snare drum can be heard in Led Zeppelin’s “Fool In The Rain.”
Wood
Snare drums have been made from wood going as far back as the 1300s(!), when a drum called a tabor was used for communication purposes. Wood shells can be constructed by gluing together thin plies (layers) of wood, by steam-bending a solid board, or by gluing together wood blocks.
A wide variety of tonewoods are used to make snare drum shells, including maple, birch, oak, poplar and mahogany, as well as more exotic woods such as wenge, jatoba and kapur. Each of these woods has distinct sonic properties. For example, oak produces a low fundamental tone with bright highs, while maple has excellent balance between mids and highs, with a warm low end.
Here’s an audio clip of the Yamaha LHS-1455 Live Custom Hybrid Oak snare drum at a medium tuning:
https://hub.yamaha.com/wp-content/uploads/2022/08/AudioClip2_LHS1455.mp3
Multi-ply shells are most common because the direction of the grain can be alternated, producing a shell that is resonant, strong and stable. Multi-ply construction also enables a manufacturer to use layers of different types of wood to create a unique shell “recipe.” For example, Yamaha Absolute Hybrid Maple snare drum shells have a center ply of wenge, surrounded by layers of maple. This yields a shell that has a wide dynamic range, great response and excellent projection.
Wood snare drums sound warm and fat, and tend to be a bit less ringy than metal snare drums. Sizes range from five to eight inches deep with diameters of 12 to 15 inches, with 14 inches being the most popular. Wood snares provide a wide range of tuning from a low “thwack” to a high crack and everything in-between, making them useful in a variety of musical situations. As with metal snare drums, the tuning of a wood snare will have an effect on not just its tone but also its dynamic range. (See the “Metal” section above.) Ringo Starr played a wood snare almost exclusively throughout his career with The Beatles. For a good example of his signature snare sound, check out the song “Get Back.”
Marching
You’ve probably heard the distinct sound of marching snare drums in a drumline or as part of the marching band in a parade. The most common marching snare has a 14-inch diameter and is 12 inches deep, but diameters vary from 13 to 15 inches and depths range from 9 to 12 inches. Though quite large, marching snares are usually tuned very high, enabling drummers to play extremely precise complex rhythms and rudiments in an ensemble format.
The majority of marching snares employ wood shells, but unlike the snare drums used in drum kits, a marching snare may have retractable legs or suspension hardware that allows it to be held in place or attached to a carrier harness worn by the drummer.
Since they are often played outdoors or in large indoor spaces, marching snares are designed for precise articulation, maximum projection and durability. Marching snare wires are made from nylon or synthetic gut, which produces a dark, dry sound with less sustain than metal wires, and the snares may be independently adjustable. The shells may also have additional air vents for improved articulation and snare response.
Marching snares aren’t often heard in popular music, but there are some notable exceptions including on the songs “Tusk” by Fleetwood Mac and “Lose My Breath” by Destiny’s Child. Here’s what a marching snare sounds like:
https://hub.yamaha.com/wp-content/uploads/2022/08/Marching-Snare.mp3
Piccolo
As the name implies, piccolo snare drums are characterized by their small size: 3 to 4 1/2 inches deep with diameters of 13 or 14 inches (though there are some models with a 12-inch diameter). Piccolo snares provide a high-pitched, sharp “pop” that easily cuts through a mix, and rim shots that have a nice “bark.” They’re often used as secondary or effects snares in a large kit (as used by Rush’s late drummer Neil Peart, for example), but can also be used as the main snare in funk, pop, reggae or hip hop (as used by Yamaha artist David Garibaldi, best known for his work with Tower of Power). Piccolo snares can be made of metal or wood, but wood is generally the more popular choice.
Due to the reduced distance between the top and bottom heads, piccolo snares provide a fast response to quick stick patterns and ghost notes. They may ring quite a bit, but when properly tuned the ring can be musical, and the top head can always be damped to reduce the amount of ring. Here’s what a piccolo snare sounds like:
https://hub.yamaha.com/wp-content/uploads/2022/08/Piccolo-Snare.mp3
Click here to listen to David Garibaldi playing his Yamaha Piccolo Signature snare with Tower of Power on the song “What Is Hip?”
Electronic
Whether used as part of a hybrid acoustic/electronic or all-electronic drum kit, an electronic snare drum is one of the most versatile instruments you’ll ever encounter. A snare drum trigger pad such as the Yamaha XP80, combined with a Yamaha DTX-PRO electronic drum module, can provide a palette with hundreds of different real and electronic snares, as well as other instrument and non-instrument sounds.
An electronic snare gives you the ability to instantly recall different sounds, change tuning, or add effects such as reverb and delay. Some drum modules (like the DTX-PRO) can be used to sample (that is, record) your own snare drums, and the XP80 features multiple zones for playing rim shot and side stick sounds, which makes for realistic playing.
Electronic snare drums can be heard in all types of popular music. Two classic examples are the songs “Running Up That Hill” by Kate Bush, and “In The Air Tonight” by Phil Collins, which combines electronic drums with acoustic drums.
Check out this video of Yamaha Artist Larnell Lewis playing a Yamaha DTX10K-X electronic drum kit:
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http://www.drummerworld.com/forums/index.php%3Fthreads/help-me-understand-my-snare-sound-please.91377/
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Drummerworld Forum
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2024-08-11T19:30:27-04:00
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Forum software by XenForo
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en
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Drummerworld Forum
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https://www.drummerworld.com/forums/index.php
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General Discussion
General discussion forum for all drum related topics that do not fit into other categories. Use this forum to exchange ideas and information with your fellow drummers.
Drummers
Topic Name = Drummer's Name ~ ~ Use this forum to discuss the drummers profiled on DrummerWorld ~ ~ "(Drummer's Name) Here" means that the drummer profiled is participating in the conversation
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2202
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3
| 93
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https://blogs.uoregon.edu/kieslingprocessfolio/music-importance/
|
en
|
Music Importance – Cody Kiesling Processfolio
|
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https://blogs.uoregon.edu/kieslingprocessfolio/music-importance/
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“Why is music important?”
This question, and many other questions regarding the importance of music and its validity in schools, is difficult to answer because music educators often do not have the tools necessary to describe and justify the importance of music in schools. We, myself and other music educators, often associate our music classes with physical education and sports because in all cases, music is a “team” activity. People must come together and make music together, and when one part is missing it disrupts the flow of the rehearsal. Music educators also tend to latch on to ideas that will allow them to justify their importance in schools. A fitting example of this is the “Mozart Effect”, which Bennet Reimer elegantly describes in Facing the Risks of the “Mozart Effect”. Teachers latched on to the “Mozart Effect” because it “showed” that playing Mozart during, or before, certain tasks, like taking a test or studying, would “increase” cognitive function. The “Mozart Effect” gave justification to both music and non-music educators that music had validity in all aspects of education. It was quickly realized that playing Mozart had no impact on general intelligence or IQ. What is important here is that music educators are constantly trying to justify the importance of music education in schools when other subjects rarely provide the same justification. In Paul R. Lehman’s, A Personal Perspective, when discussing the importance of music he states “Music is one of the most powerful, most compelling, and most glorious manifestations of every cultural heritage. All of us ought to be able to understand, enjoy, and participate fully in our musical environment.” Music is important because it is innate to every human being. It is in nearly every aspect of our lives and culture and will continue to transform and adapt as time moves forward. As Lehman says “Music exalts the human spirit. It transforms the human experience. It’s a basic instinct in every human being…It brings joy, beauty, and satisfaction to people’s lives, all qualities increasingly important in a world that tends to reduce individuals to numbers in huge databases to devalue their human qualities.” Music is much more than just playing notes on a page. It transcends cultures, brings people together, and provides a sense of community among the people it is interacting with.
Philosophy of Music Education
During my graduate degree, I had the opportunity to revisit my philosophy of music education and revise, edit, and reflect on how my perception of music education has changed over the years. Reflecting on my philosophy allowed me to depart from my music program. My philosophy stems from the verb Musicking (defined below) and through this verb the following concepts emerged: 1) Inclusivity, 2) Transferability, and 3) Expression
Musicking
My philosophy of music education is centered around the idea of participating in music in any meaningful form. When students leave my music program, my goal is to give them the tools necessary to continue to interact with music in some capacity. Whether that be playing an instrument in a community band, singing Christmas carols, noticing the dramatic effects of movie soundscapes, or simply hearing a song at the grocery store and being able to understand it deeper than someone without music experience. Keetman. The Orff Approach to teaching music is “child-centered” meaning the child experiences music by learning through their environment. Like Musicking, the Orff Approach encourages students to seek music out in their daily lives and interact with it.
Inclusivity
The term musicking also involves a space for students to be heard, seen, respected, and understood. Students cannot achieve meaningful music and begin the process of figuring out how to interact with music in their own unique way if the environment they are in is not inclusive. To be inclusive means to accept students regardless of their socioeconomic class, gender, identity, ethnicity, sexual orientation, culture, and abilities. This directly corresponds with Maslow’s Hierarchy of Needs, which we discussed in the Music in School and Society class. Students must have their basic needs met before true learning can occur. Maslow’s Hierarchy of Needs shows that to achieve “Self-Actualization” which includes creativity, purpose, and aesthetic experiences students must meet the four previous needs of the pyramid (Figure 1). The “Self-Esteem” section of the Hierarchy of Needs pyramid correlates with inclusivity because for students to finally reach “Self-Actualization” they must be respected by others and their individual; unique needs must be met. For example, students must address their peers with their correct pronouns and appropriately give and receive constructive feedback to and from their peers. By being inclusive it sets the students up for success during the first day of music class.
Transferability
In music, transferability can come in many different forms. Just like how musicking is described as interacting with music in forms that are meaningful to the individual, transferability in the music classrooms is taking the lessons learned in their music classes and applying them to their daily and future lives. This directly correlates with the Connecting Anchor Standard of the National Core Arts Standards (NCAS) for music education. The goal is to not just inspire musicians to become professionals but to also teach them about life and prepare them for the future. An easy example of this is in the traditional band classroom, students work together to make music and perform it for an audience. Individuals in the ensemble must come prepared to play their individual parts and understand how the other musicians’ parts fit together to make beautiful music. This can be transferred to many workplaces where groups of people come together to form a presentation, and everyone must be prepared to speak on their section of the material and work with the other members of their group to give a worthwhile presentation. Transferability also happens within the music classroom itself. Students should be able to transfer learned knowledge from to different sections of the music, from instrument groups, and amongst contrasting pieces of music. For example, during a Wind Symphony rehearsal, I had the ensemble listen to the sound of the rim shot in the percussion section and transfer that sound to their instruments (click here). They transferred what they were hearing from a different section of the ensemble (percussion) and applied it to their instruments. Other than transfers from section to section in the music classroom, students can take learned concepts such as time management, critical thinking, and problem-solving and apply them to aspects of their lives outside of music. Critical thinking skills in the music classroom involve being able to self-evaluate one’s own difficulties during performances as well as evaluate other sections’ performances. Students can transfer this knowledge into their daily lives by using their critical thinking skills to improve and evaluate tasks that they are completing outside of music. An example of this would be doing research for a book project or presentation. Students have to use their critical thinking skills to evaluate if a source is worthy of use, is properly cited, and accurately depicts the content being researched.
Expression
Centered around musicking, my goal as an educator is to provide a place for students to express themselves in many facets of music education. As outlined in my philosophy, my hope is that I can provide a variety of music classes that allow students of many backgrounds, cultures, genders, and societies to be expressive. Whether that be programming music of female composers and people of color (AndWeWereHeard – Database/Recordings of works by underrepresented composers), allowing students to research, present, and talk about music that resonates with them, and possibly providing classes like Analysis of Popular Music to reach a broader audience (see Fostering Relationships). To be expressive, students must learn to make music meaningful to them. As the teacher, it is my duty to provide them with the resources to discern how to make it meaningful to them and give them opportunities to show that expression.
Music in School and Society
While co-teaching Music in School and Society, and taking it as an undergraduate, many discussions formed from the question “Why is music important?”. With this question also came the discussion of what we can do, as music educators, to justify music education in schools and “prove” to society that music is an important aspect of life. In Steven N. Kelly’s (2019) book, Teaching Music in American Society, he asserts that music serves many roles making it multi-dimensional. These dimensions show why music is important through statistics, its cultural significance, entertainment, how it brings people together, and why we need music. Statistically speaking, the National Association of Music Merchants (NAMM) found that 93% of people believed that playing an instrument helped children make friends, 80% believed playing a musical instrument made them smart, and 97% who were surveyed agreed that playing a musical instrument provided a sense of accomplishment and was a good means of expression. To further reinforce music multidimensionality, Kelly (2019) provides anthropologist Alan Merriam, Functions of Music (Figure 2) which displays reasons why every human being needs music. In fact, he quotes Merriam by stating “Music is everywhere humans exist and has been everywhere humans have existed” (pg. 56). He also provides Max Kaplan’s (1990) social function of music in society (Figure 3), which uses the ideas of Merriam’s Functions of Music and specifies them for music in society.
This class changed my outlook on how to justify music in schools and in today’s society. The music class should not be considered an elective, it should be considered a valued part of the core curriculum and an important part of human life. Nearly every human being understands music in some capacity, it is a social phenomenon because humans create it. We, the music educators, should not have to grab onto things like the “Mozart Effect” to justify why music is important. We should be able to educate our students, other teachers, and society about music because throughout history music has always been a part of society. Looking specifically at the tables above, the “Contribution to the Integration of Society” of Merriam’s table and the “Collective Possession” of Kaplans’s table go hand in hand. Individuals are drawn together to create music thus fostering a collective possession for said music. Students must be prepared to work on their music together as an ensemble to make beautiful music. With this collective possession, there is a shared experience that could be turned into an aesthetic experience. This gives students the opportunity to see beauty, explore meaning, and provoke feelings toward specific music. Those aesthetic experiences are also meant to be shared with other human beings through performance or general interactions. Music is in all aspects of the human experience and it is influential on basic human behaviors. It influences our “dress, language, religion, celebrations, eating, studying, and even medical practices” which should make it easily justifiable in education. My argument for music in education will no longer be related to sports teams, good grades, or other outside factors. It will be discussed as an important aspect of human life that has been an significant part of our past, present, and future society.
History of American Music Education
The history of American Music Education demonstrates the accomplishments, sacrifices, and determination of past educators in managing the wavering importance of music education throughout history. By examining the past, future music educators can determine how to handle the current and future challenges in music education. While taking the class History of American Music Education, I was given the opportunity to present on different eras of music history. What I learned while researching these presentations is that music educators have always had to justify why music should be in the general education system. Throughout American history, music education has seen both an increase and a decrease in importance due to many factors. From the 1840s to the 1950s there was an increased importance in music due to the need for better singing in a congregation, finally having “qualified” singing-school masters, the introduction of the common school by Horace Mann (1796-1859), and educators like Lowell Masson (1792-1872) who petitioned the Boston school board to include music in public school curriculum. The ability of music to provide patriotism and belonging to one’s country led to the founding of the Music Supervisors Na), and the touring of Patrick S. Gilmore and John Philip Sousa which showcased band music at its highest level. These are just some of the many reasons why there was an idemonstrates is that if music is viewed as important throughout society, it will not need to be justified as often.
The decrease in the importance of music education happened in the late 1950s due to Russia’s launch of Sputnik. This sent the United States, and many other countries, into a race of superior academics. In this instance, academics meant math and science. Americans feared that Russia had become more technologically advanced than the United States and the only way to combat this was for the federal government to be involved with education. This movement was called the “back-to-basics” movement, which considered classes other than math and science, especially music, as “anti-intellectual” because it did not directly increase technological advancements.
Although the back-to-basics movement caused a decrease in music education, the founding of Music Supervisors National Conference/Music Educators National Conference, now the National Association for Music Education (NAfME), prior to the launch of Sputnik highlighted music educators’ ability to learn from the past and establish nationally recognized groups to ensure that music education would not be completely lost. This led to the first Tanglewood Symposium (1967) in Boston. At Tanglewood music educators from across the country discussed how to make music education better reflect societal changes. Led by Max Kaplan, Wiley L. Housewright, Allen P. Britton, David P. McAllester, and Karl D. Ernst they discussed the important characteristics of music in the post-industrial society, what factors are unique to music in society, and how to attain said factors and characteristics in the current societal norm. Rather than provide immediate justification for the importance of music, those at the Tanglewood Symposium took the time to reflect on their answers and produce specific statements that ensured the continuation of music education in schools as well as the expansion of qualified music educators to teach a higher standard of education. They were not only ensuring the current state of music education be maintained and improved but certify that future music educators are better equipped to handle future changes in society (Figure 4).
Along with the eight statements agreed to at the Tanglewood Symposium, The Goals and Objectives (GO) Project (1969) sought to implement the above recommendations of the Tanglewood Symposium. This initiative was led by NAfME president (1984-1986) and music educator Paul Lehman. The GO Project contacted hundreds of NAfME members throughout the country and with Lehman’s help, developed thirty-five specific objectives with four main goals. The goals were:
Carry out comprehensive music programs in all schools
Involve persons of all ages in learning music
Support the quality preparation of teachers
Use the most effective techniques and resources in music instruction
Along with these goals, of the thirty-five objectives the National Executive Board highlighted eight of the following objectives for immediate attention (Figure 5):
As destructive as Russia’s launch of Sputnik was to music education, it forced music educators to think of the bigger picture. Music educators saw an opportunity to reform themselves and provide justification for music in the schools. They became refined and ensured that future music educators, like me, would be prepared to take on the challenges of our current society and future societies. Without the sacrifices and dedication of the music educators of the past, there would not be a foundation for music educators like me to build upon.
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https://ventura.craigslist.org/msg/d/simi-valley-drum-set-kit-electronic/7771124024.html
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en
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Drum Set Kit, Electronic
|
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2024-07-31T08:51:16-07:00
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This is a one of a kind setup, THIS IS A REAL DRUM KIT WITH ELECTONIC HEADS, Pearl. I've had long time drummers walk up and stand right in front of it and still not realize it's setup for...
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/favicon.ico
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craigslist
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https://ventura.craigslist.org/msg/d/simi-valley-drum-set-kit-electronic/7771124024.html
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Drum Set Kit, Electronic - Pearl - musical instruments - by owner -...
This is a one of a kind setup, THIS IS A REAL DRUM KIT WITH ELECTONIC HEADS, Pearl. I've had long time drummers walk up and stand right in front of it and still not realize it's setup for...
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http://search.proquest.com/openview/62b4d193d188ec0c1377f05882a9c620/1%3Fpq-origsite%3Dgscholar%26cbl%3D18750%26diss%3Dy
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Zydeco Aesthetics: Instrumentation, Performance Practice, and Sound Engineering
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https://mtosmt.org/issues/mto.24.30.2/mto.24.30.2.geary.html
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MTO 30.2: Geary, Formal Functions of Drum Patterns
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1. Introduction
[1.1] The drums are a pillar of American popular music. Whether performed by a drummer on a physical drumset or created by a producer with a digital audio workstation (DAW), drum patterns are a primary facet of popular music’s soundscape. The backbeat in particular is, as Steven Baur (2021, 34) puts it, “one of the single most prevalent features of Western popular music.” Drum patterns are not only ubiquitous, but multifunctional; according to Scott Hanenberg (2020), drum patterns convey meter, articulate rhythmic paradigms, express form, and highlight the rhythm of other parts in an ensemble. While a drum pattern’s multifunctionality is acknowledged, the majority of drum scholarship focuses on rhythmic and metric topics. There is less research explicitly about form, and there is no widely adopted method for analyzing how drum patterns help express form throughout complete popular songs.
Example 1. Standard rock and four-on-the-floor drum patterns, and drum notation key
(click to enlarge and listen)
[1.2] Rather than address all popular styles, this article focuses on drum patterns in post-millennial pop songs, specifically the ten years from 2012–2021. Pop songs from this decade are, as Drew Nobile (2022, [4.1]) says, marked by the “cross-pollination of electronic dance music (EDM), hip hop, and mainstream pop.” Grounded in a corpus study from the Billboard Year-End Pop Airplay Songs charts from 2012–2021, I introduce an analytical method that succinctly depicts the main characteristics of pop drum patterns in order to highlight the salient and nuanced ways they help express formal boundaries, teleological functions, and formal motion in songs. I begin by examining drum patterns and their musical functions in scholarly discourse and musical practice. In the latter, I discuss how drummers and producers regularly describe drum patterns’ formal significance, which is also evident in popular songs themselves. Next, I summarize my corpus study data and introduce the analytical system. Drum patterns in post-millennial pop are typically a variation of either a standard rock pattern—also commonly referred to as a backbeat pattern or pop-rock beat—or a four-on-the-floor pattern. These basic patterns are shown in Example 1, along with a drum notation key. My context-based system frames drum patterns as different realizations of three parameters: number of layers, rhythm, and instrumentation. Attending specifically to these parameters and how they vary across a song’s multiple drum patterns foregrounds the drums’ most formally expressive features in post-millennial pop. The remainder of the article presents analytical examples that, in addition to showcasing the system’s utility, emphasize two broad points. The first is that in post-millennial pop songs, form is regularly analyzed according to teleological functions. According to Nobile (2022, [1.2]), “a teleological process underlies each [verse–prechorus–chorus] formal cycle, with the three functions of initiation, buildup, and arrival spanning one section each.” Formal teleology can also be analyzed in cycles with different section layouts, as well as within sections and throughout complete songs (Peres 2016). In all of these contexts, drum patterns can be a primary expresser of teleological functions. The second point is that post-millennial pop has common formal structures as well as an emphasis on formal flexibility. Drum patterns can both reinforce conventional layouts as well as articulate more novel designs.
2. In Theory and Practice
In Theory
[2.1] Historically, research about popular music form has centered musical characteristics other than the drums. Among Allan Moore’s (2012) four functional texture layers—the explicit beat layer, functional bass layer, melodic layer, and harmonic filler layer—the melodic and harmonic layers are considered by many, including Moore, to be form’s main articulators in rock and other popular genres from the twentieth century. John Covach (2005, 66) states that “generally speaking, harmonic structure tends to be a primary factor in determining formal units at all levels of structure,” and Drew Nobile (2020, xiv) notes that “many aspects of a rock song—lyrical structure, instrumental texture, melodic design, and the like—ultimately trace back to the relationship between harmonic trajectory and formal layout.” While Nobile describes the primacy of harmony in rock, he also observes that “form developed between 1991–2010, when texture, timbre, and voice increasingly overshadowed harmony as the primary drivers of formal motion” (Nobile 2022, [0.3]). Asaf Peres agrees, saying that “only in the early 21st century did sonic syntax become consistently dominant in the most popular hit songs” (Peres 2016, 3–4).
[2.2] In reaction to popular music scholarship that prioritizes melody and harmony for determining formal syntax and motion, Robert Fink (2011) asserts and demonstrates that rhythm can also express formal teleology:
Secondary parameters like beat and groove are of course highly variable in this music [African American popular music, especially late-1960s songs of Motown Records], but these variations have not been conceptualized by most hermeneutics as having goal-directed syntax, which is a structuring potential usually reserved, even within popular-music scholarship, for pitch relationships. To put it bluntly, the large number of musical analysts who have been interested in musical teleology have not, in general, been very interested in grooves; and the smaller number who have been very interested in grooves have not been at all interested in musical teleology. (Fink 2011, 183)
In many ways, it is unsurprising that research about drum patterns focuses on rhythm and meter since they are often considered to be their primary musical functions. Some scholarship goes so far as to imply that they are drum patterns’ only musical functions. For instance, Baur traces the cultural history of percussive backbeat rhythms, which he says “are exclusively rhythmic in nature, serving no harmonic or other musical function”(2021, 34). Scholarship’s emphasis on rhythm and meter is also unsurprising since these functions alone include a wealth of specific topics. The majority of music-theoretical research addresses various aspects of the standard rock drum pattern, including its historical emergence and prominence (Tamlyn 1998; Baur 2021), its metric interpretation and experience (Butterfield 2006; Attas 2011; Moore 2012; Biamonte 2014; Hudson 2022), drum feels (De Clercq 2016; Garza 2021; Geary 2022), microtiming deviations (Butterfield 2006; Danielsen 2010; Câmara, Sioros, and Danielsen 2022), and asymmetrical and changing meters (Butler 2001; Butler 2006; Osborn 2010; Osborn 2017; Hanenberg 2020; Hanenberg 2021).
[2.3] Despite the emphasis on rhythmic and metric functions, some popular music scholarship does address the formal functions of drum patterns. For instance, Fink (2011) and Mandy Smith (2021) attempt more holistic theoretical systems, but their models have not been widely adopted. Fink (2011) presents the concept of a “tonic rhythm” to characterize producer Norman Whitfield’s use of a four-on-the-floor snare drum rhythm in two late-1960s tracks by the Temptations, “Cloud Nine” and “Runaway Child, Running Wild.” In both songs, Whitfield systematically delays, withholds, and realizes the tonic rhythm to create and resolve formal tension. Smith (2021) extends the tonic rhythm concept to all rock songs: “I term the core groove of a given song—that beat that the drummer plays that feels like ‘home’—the tonic beat pattern. A song’s tonic beat pattern is often some variation of the backbeat pattern, or of another core stylistic beat pattern. . . . Try as I may, I cannot find a single tune in rock music that has drumming that does not adhere to the Tonic Beat Pattern Theory” (Smith 2021, 204–5). Fink and Smith’s analyses are compelling, but I join Peres (2016) in questioning the direct application of tonality’s metaphors to analyze non-pitch elements. Instead, I have found that a context-based analytical method is more effective, where a song’s multiple drum patterns are identified, characterized, and compared internally and non-hierarchically.
In Practice
[2.4] In musical practice, drummers and producers consistently speak, write, perform, teach, and compose in ways that demonstrate the formal functions of drum patterns. Session drummer Jim Keltner (2020) describes his drum patterns in relationship of form, saying that “it’s all in how you hear the structure and how you add to the structure.” Carter Beauford (2002) provides a self-titled “analysis” of his drum part in the Dave Matthews Band’s “#41,” alternating between performing and describing his different drum patterns for various sections. Neil Peart (2020) shares how he would often spend multiple days internalizing his drum parts, “learn[ing] the piece inside and out” and “mak[ing] sure that I’m playing the best possible thing for this part and that part.” Producer Young Guru (Guru and Vincent 2023) notes how he applies effects to his drum parts to provide “a little flavor that comes in and lets you know we’re about to go to a different section.”
[2.5] Pedagogical resources for drumset performance also highlight the formal functions of drum patterns. Generally written by professional drummers, these books typically present a series of chapters that each focus on a particular musical style, weaving together short passages of prose and long lists of notated drum patterns. Jim Riley (2015) begins with a chapter about pop drumming and spends a full page describing the importance of thinking formally: “One of the key elements to becoming a more musical drummer is being able to understand how songs are constructed. There are identifiable parts in every song, and so if you realize what they are and how they function within the song’s form, then you can create parts for each section that will support the song’s structure” (Riley 2015, 11). His pop chapter includes more than sixty notated drum patterns, almost all of which are variations of the standard rock and four-on-the-floor patterns with different rhythms and instrumentations. The variations range from subtle to grand, but Riley’s point is that it is precisely these varied parameters, even the small ones, that help drum patterns participate in expressing musical form.
Example 2. The Beatles, “Day Tripper” (1966), verse 1
(click to enlarge and listen)
Example 3. James Brown, “Super Bad” (1970), verse and bridge
(click to enlarge and listen)
Example 4. Nirvana, “Smells Like Teen Spirit” (1991), cycle 1
(click to enlarge and listen)
Example 5. Carrie Underwood, “Before He Cheats” (2005), cycle 1
(click to enlarge and listen)
[2.6] The clearest demonstration of drum patterns’ formal functions is found in popular songs themselves. Drum patterns do not articulate form in the same ways or to the same degree in all popular songs and styles. But they do consistently participate in expressing formal boundaries, teleological functions, and formal motion across genres. More specifically, drum patterns often play a significant role in conveying a song’s teleological structure (Nobile 2022) and sonic narrative (Peres 2016), including the songs in Examples 2–5. Example 2 shows the two drum patterns performed by Ringo Starr in verse 1 of “Day Tripper” by the Beatles. A modified twelve-bar blues, the A sections have an embellished standard rock drum pattern. The expanded B section grows energetically and switches to straight-four rhythms in the bass and snare drums. In James Brown’s “Super Bad,” John “Jabo” Starks performs different drum patterns in the verse and bridge sections. Notated in Example 3, both patterns include funk’s hallmark rhythmic syncopation and highlight the rhythm of other parts in the ensemble. But the bridge’s drum pattern has a more animated and varied snare drum rhythm and switches from hi-hat to ride cymbal, and these changes contribute to the section’s sonic intensification. Example 4 shows how Dave Grohl’s drum patterns build across the verse, prechorus, and chorus of Nirvana’s “Smells Like Teen Spirit.” The verse starts with a simple variation of the standard rock pattern, using eighth notes in the bass drum and a single open hi-hat accent. The prechorus’s first drum pattern begins with a crash cymbal and shifts from closed to half-open hi-hat. Then, in the second half, Grohl adds bass drum attacks after each snare drum backbeat. Finally, the chorus unleashes the song’s iconic and most embellished standard rock beat. In Carrie Underwood’s “Before He Cheats,” Kayleigh Moyer performs three drum patterns in the first verse and chorus. Provided in Example 5, the verse begins with a standard rock variation where the backbeat rhythm alternates between accented hi-hat and rimshot attacks. The second half of the verse grows sonically by switching to all rimshot attacks, and the chorus grows sonically again with another instrumentation change—this time, to snare drum.
Example 6. Halsey, “Without Me” (2018), cycle 1
(click to enlarge and listen)
[2.7] In post-millennial pop, Halsey’s “Without Me” is an exemplar of how drum patterns participate in expressing musical form. Example 6 transcribes the first formal cycle. Timbral and textural changes permeate the excerpt, and the drum patterns’ frequent and sonically salient changes help drive the cycle’s formal teleology. “Without Me” also highlights the commonplace of formal flexibility in this repertoire, a point addressed more below in Section 4. In short, after the introduction, “Without Me” includes five sections, each four measures long, which invites interpretation about how best to identify these formal units with verse, prechorus, chorus, and postchorus labels.
[2.8] “Without Me” begins without drums in the introduction, which I consider a type of drum pattern for purposes of discussion. Verse 1 then introduces a two-layer drum pattern composed of an embellished standard rock bass drum rhythm and backbeat claps. In the prechorus, drum pattern 3 adds sixteenth notes in the hi-hat, which contributes to the section’s buildup function (Summach 2011; Peres 2016; Nobile 2022). Next, measures 13–16 have the markers of a new formal unit, but its section label is unclear. The vocal melody ascends, the harmonic layer changes instrumentation and rhythm, the bass layer drops out, and drum pattern 4 removes the bass drum and hi-hat layers and shifts the backbeat rhythm from claps to snaps. It isn’t the chorus, which begins in measure 17 with the song’s title line and drum pattern 6—the excerpt’s fullest pattern, composed of bass drum, snare drum, and hi-hat. Further, the section’s drop in energy disrupts the typical teleology of formal cycles, which tend to build incrementally and consistently from verse to chorus (Summach 2011; Peres 2016; Nobile 2022). But it also isn’t a riserchorus (Osborn 2023)—again, due to the lack of chorus lyrics. Described more below in Section 4, I believe this section can be interpreted as a second and distinct type of prechorus that is defined largely by its sonic characteristics and teleological function. I call it a down prechorus in contrast to the buildup prechorus in measures 9–12. Of my corpus songs that include a prechorus, 15% include a down prechorus that begins with a drum pattern “fall” and maintains low sonic energy throughout. Further, about a quarter of the songs with a down prechorus include the same double prechorus layout as “Without Me.” In Example 6, the down prechorus leads to the cycle’s sonic peak in chorus 1. The excerpt concludes with a postchorus marked by its lyrical tag, removal of the harmonic layer, and drum pattern 7’s one-layer realization of woodblock performing the backbeat rhythm.
3. An Analytical Framework
[3.1] “Without Me” is not a stylistic outlier. Just as drum patterns play a significant role in expressing Example 6’s formal teleology, the same is true for post-millennial pop as a whole. To better understand the formal functions of drum patterns in this repertoire, I completed a corpus study of Billboard Year-End Pop Airplay Songs charts from 2012–2021, taking the top ten songs from each year. For each song, I identified the total number of drum patterns and classified and compared their sounding characteristics. I also analyzed each song’s formal layout and examined how the drum patterns were organized formally. In this paper, I use the term “drum part” to refer to the totality of what the drums perform. “Drum patterns” are the drum part’s repetitive ostinatos. For my corpus study, I required that the ostinato repeats for at least one complete “groove” cycle (Everett 2009), though most drum patterns repeat for a full section. As I describe more below, the characteristic differences between a song’s multiple drum patterns range from subtle to grand. But as Riley (2015) notes, all types of drum pattern changes can be formally expressive.
[3.2] Examples 7–10 summarize my general findings from the corpus. Example 7 shows that the average song has 5.43 drum patterns, with a range of 1–17. Example 8 shows that the average song has 9.97 drum pattern changes—which is the action of moving between drum patterns—with a range of 0–18. Example 9 outlines the average number of drum patterns and drum pattern changes for each year. As shown in Example 10, the average song also has 9.15 formal sections, with a range of 5–15. With these general findings alone, it is easy to imagine how drum patterns can participate in expressing a song’s form. The average pop song’s five or six drum patterns often match the teleological functions of various sections, and the nearly identical number of drum pattern changes and formal sections indicate that drum patterns regularly help articulate section boundaries.
[3.3] Drum patterns, of course, are not the only form-expressing feature in post-millennial pop songs. Form is multifactorial. But the specific analysis in Example 6 and the general findings in Examples 7–10 demonstrate that drum patterns are a consistent and significant articulator of formal boundaries, teleological functions, and formal motion in this repertoire. In terms of boundaries, drum patterns regularly change at phrase and section junctures. In terms of teleological functions, drum patterns contribute to formal units’ sonic energy and musical temporality (Caplin 2009; Peres 2016; Nobile 2022). And in terms of motion, shifting between drum patterns can create a sense of musical movement and progression across different durational spans.
[3.4] To help illuminate these formal functions, I created an annotative system that succinctly summarizes the main characteristics of drum patterns in post-millennial pop songs. The system is designed specifically for analyzing drum patterns within a song rather than across multiple songs. Most drum patterns in this repertoire are a variation of either a standard rock or four-on-the-floor pattern, and my analytical framework conceptualizes drum patterns as different realizations of three parameters: number of layers, rhythm, and instrumentation. The rest of this section describes each parameter individually, focusing on their possible realizations and how each parameter can vary across a song’s multiple drum patterns through drum pattern changes. In this section, I also introduce my annotative method in stages as it applies to each parameter. The Appendix and Example 33 below provide a concise summary of the drum pattern labeling system.
Number of Layers
Example 11. Drum layers
(click to enlarge)
[3.5] One of a drum pattern’s most identifiable attributes is its number of sounding components. The archetypal standard rock drum pattern, for instance, has three: bass drum, snare drum, and hi-hat. In post-millennial pop songs, like Halsey’s “Without Me,” other percussive instruments and sounds can replace these drumset staples. As a result, a drum pattern’s sounding components can be classified as fulfilling one of three functional drum “layers” based upon their register, rhythm, and timbre. I call them low, middle, and high. In post-millennial pop, virtually all drum patterns have zero to three layers and perform different combinations of low, middle, and high. The top of Example 11 transcribes different standard rock realizations as an illustration. A zero-layer drum pattern is a tacet “realization” and a three-layer drum pattern includes low, middle, and high. One-layer and two-layer patterns, however, can perform different realizations and combinations. The bottom left table of Example 11 shows that across my corpus’s 543 total drum patterns, two- and three-layer patterns are more common than zero- and one-layer patterns. The center and right tables show that the most common one-layer realization is the middle layer alone, and that the most common two-layer realization is a low-middle combination.
[3.6] Example 11 also introduces the basic framework of my annotative system. From left to right, a drum pattern label communicates the presence or absence, rhythm, and instrumentation of the three drum layers. An “X” indicates a layer’s absence, and other symbols depict a layer’s “referential rhythm,” which I describe in greater detail below. For example, “R – B – 8” in Example 11 communicates a standard rock (R) rhythm in the low layer (i.e., hits on 1 and 3), a backbeat (B) rhythm in the middle layer (hits on 2 and 4), and an eighth-note (8) rhythm in the high layer. Drum labels are not meant to depict every detail of every drum pattern. Instead, they are designed to summarize the main characteristics of a song’s multiple drum patterns as a way to highlight their formally expressive features.
Example 12. Ellie Goulding, “Lights” (2011), introduction to verse 1
(click to enlarge and listen)
Example 13. Billie Eilish, “Bad Guy” (2019), introduction to chorus 1
(click to enlarge and listen)
[3.7] Post-millennial pop songs regularly shift between zero-, one-, two-, and three-layer drum patterns, and it is easy to imagine how adding and subtracting layers can help express a song’s teleological structure. Across my corpus, 96% of songs include drum patterns with different combinations of drum layers. A prevalent and effective gesture is to add drum layers across the first few phrases and sections of a song (Spicer 2004; Attas 2015). Shown in Example 12, Ellie Goulding’s “Lights” begins without drums, a zero-layer pattern, in the introduction. When Goulding’s melody enters in verse 1, drum pattern 2 performs a one-layer pattern composed of a bass drum four-on-the-floor referential rhythm. Halfway through the verse, drum pattern 3 adds two layers—a snare drum backbeat and offbeat eighth notes in the hi-hat—which creates sonic growth between the verse’s two halves. Billie Eilish’s “Bad Guy” also begins by accumulating drum layers. Rather than starting without drums, the introduction in Example 13 begins immediately with a four-on-the-floor bass drum rhythm, which continues into the verse. Like “Lights,” “Bad Guy” includes a sonically intensifying drum pattern change within verse 1, adding backbeat snaps in the second half. Finally, in the chorus, drum pattern 3 performs a three-layer realization with offbeat eighth notes in the hi-hat.
Rhythm
[3.8] The second characteristic of drum patterns is rhythm. Popular music drummers, producers, and scholars regularly distinguish between the rhythmic schemas of drum patterns and a drum pattern’s actual realization of those schemas (Riley 2015; Temperley 2018). I call the former referential rhythms and the latter surface rhythms. For instance, the backbeat is a referential rhythm. A drum pattern’s surface rhythm can be an exact realization of the backbeat referential rhythm with attacks on just the second and fourth quarter notes of a measure, but a drum pattern’s surface rhythm can also include embellishments and still project the backbeat schema. Both strict realizations and embellishments occur in “Smells Like Teen Spirit” from Example 4. In the verse and prechorus, the snare drum’s surface rhythm is an exact realization of the backbeat referential rhythm. In the chorus, Grohl adds two snare drum attacks in the middle of the measure, changing the surface rhythm while maintaining the referential rhythm.
Example 14. Referential rhythms and other options
(click to enlarge)
[3.9] Through my corpus study, I found that each drum layer has its own set of three common referential rhythms. They are provided at the top of Example 14, and the tables below identify each one’s prevalence across the corpus’s 543 total drum patterns. For the low layer, the standard rock (R) rhythm is most common followed by the four-on-the-floor (4) rhythm. A tresillo (T) rhythm is the third option, but it occurs far less frequently. For the middle drum layer, the backbeat (B) is by far the dominant referential rhythm, though tresillo (T) and straight four (4) rhythms are also possible. For the high layer, eighth notes (8) and sixteenth notes (16) are the most common referential rhythms, but some drum patterns use quarter notes (4).
Example 15. Ariana Grande, “Positions” (2020), verse 1
(click to enlarge and listen)
[3.10] In addition to each drum layer’s three referential rhythms, there are three more categories to account for other options. “X” indicates that a drum layer is absent in a particular drum pattern, and “O” represents a surface rhythm that does not relate clearly to a referential rhythm. Finally, the hybrid category takes into account both the number of layers and the instrumentation, and describes instances where multiple instruments with different referential rhythms work interdependently to comprise a single drum layer. For instance, the drum pattern in verse 1 and prechorus 1 of Ariana Grande’s “Positions” includes four sounding components. They are transcribed on two staves in Example 15 for ease of reading. Notated on the bottom staff, the bass drum performs an embellished standard rock rhythm and claps perform a backbeat rhythm, fulfilling the low and middle drum layers. Notated on the top staff, two instruments perform different high layer referential rhythms. The tambourine has eighth notes, the hi-hat has a lightly embellished sixteenth-note pattern, and the pair can be depicted with the annotative system as 16/8TAM. On the one hand, Example 15 can be considered a four-layer drum pattern since there are four sounding components. But on the other hand, I believe it is more constructive to interpret and classify a drum pattern’s sounding components within the three-layer framework, which recognizes that a drum pattern’s various components fulfill certain sonic and rhythmic roles.
Example 16. Ariana Grande, “Positions” (2020), chorus 1
(click to enlarge and listen)
Example 17. Ed Sheeran and Justin Bieber, “I Don’t Care” (2019), prechorus 2 to chorus 2
(click to enlarge and listen)
Example 18. Flo Rida, “Good Feeling” (2011), bridge to chorus 3
(click to enlarge and listen)
[3.11] Like number of layers, post-millennial pop songs also regularly vary rhythm through drum pattern changes. Seventy-seven percent of songs in my corpus include rhythmic variation, of which there are three types. The first occurs when the surface rhythm changes without changing the underlying referential rhythm. Example 16 provides the continuation of “Positions” after Example 15. This chorus has a more animated embellishment of the bass drum’s standard rock referential rhythm, as indicated with a plus symbol in the drum label. The second type occurs when a drum layer’s referential rhythm changes. Switching between eighth notes and sixteenth notes in the high layer is particularly common, such as in the second prechorus and chorus of Ed Sheeran and Justin Bieber’s “I Don’t Care,” shown in Example 17. The third type of rhythmic variation occurs when the drum feel changes, for instance from normal-time to half-time (De Clercq 2016; Garza 2021; Geary 2022). Flo Rida’s “Good Feeling” uses normal-time feel drum patterns throughout the song but pivots to half-time feel in the bridge. Provided in Example 18, the bridge ends with a two-layer, half-time feel realization before returning to a normal-time feel pattern in chorus 3. The drum labels use parentheses to communicate half-time feel (HT) and double-time feel (DT) patterns.
Instrumentation
[3.12] Finally, the third characteristic of drum patterns is instrumentation. In my corpus, most drum patterns are created by a producer with a DAW, but some are performed by a drummer on a physical drumset. Bass drum, snare drum, and hi-hat are the most common options for the low, middle, and high drum layers, but other instrumentations are possible. The low layer is the least variable. Across the corpus, the overwhelming majority of drum patterns use bass drum and only a few use stomps or toms. In the high layer, options include closed and open hi-hat, tambourine, ride cymbal, crash cymbal, triangle, and cowbell. The middle layer is the most flexible, which includes snare drum, claps, snaps, hi-hat, rim shot, woodblock, toms, tambourine, and conga. For the annotative system, bass drum, snare drum, and hi-hat are implied, and abbreviated superscripts communicate other instrumentations. Superscripts can also be used to distinguish between different samples of an instrument like “SN1” and “SN2” for different snare drums, and to communicate instrumentation doublings like “CL/SN” for claps and snare drum performing the backbeat rhythm together.
Example 19. Marshmello, “Happier” (2018), verse 1 to chorus 1
(click to enlarge and listen)
[3.13] Seventy-eight percent of songs in the corpus change instrumentation across their multiple drum patterns. Thirty-two percent of songs change the low layer’s instrumentation, 73% change the middle layer’s instrumentation, 32% change the high layer’s instrumentation, and 14% change instrumentation in all three layers. The middle layer’s frequent variability can be seen in the beginning of Marshmello’s “Happier” featuring Bastille. Example 19 shows that across the excerpt’s five drum patterns, the middle layer’s backbeat rhythm progresses through three instrumentations—each one corresponding with a different formal section. The verse begins with snaps, the prechorus builds to claps, and the chorus concludes with snare drum.
Drum Pattern Changes
Example 20. Drum pattern changes
(click to enlarge and listen)
[3.14] Drum patterns are a type of musical object, and analyzing a song’s multiple drum patterns according to their number of layers, rhythm, and instrumentation helps pinpoint their role in expressing the teleological functions of durational units. At the same time, drum pattern changes are a type of musical action, and analyzing a song’s movements between drum patterns spotlights the drums’ ability to articulate formal boundaries and create a sense of formal motion. Summarized in Example 20, a drum pattern change can be classified as a build (B) or fall (F) according to the three characteristics of drum patterns described above. A drum build adds layers, quickens or enlivens rhythm, loudens or registrally expands instrumentation, or performs a combination of these characteristics. A drum fall removes layers, slows or relaxes rhythm, softens or registrally contracts instrumentation, or performs a combination of these characteristics. In post-millennial pop songs, it is often clear whether a drum pattern change is a build or a fall. But some combine actions from both categories, therefore requiring interpretation to determine their composite effect.
4. Analysis
[4.1] To summarize, drum patterns in post-millennial pop songs can be conceptualized as different realizations of three parameters: number of layers, rhythm, and instrumentation. A song’s multiple drum patterns can be analyzed and compared according to these characteristics, and these characteristics can also be used to classify drum pattern changes as builds or falls. The theoretical approach introduced above in Section 3 is a new and effective way to analyze the significant and specific ways in which drum patterns and drum pattern changes participate in expressing form in post-millennial pop songs.
[4.2] More specifically, this article’s analytical approach can also help reinforce and refine our understanding of two commonly identified formal phenomena in post-millennial pop songs. The first is that formal units fulfill teleological functions. According to Peres, sonic syntax is a primary expresser of these functions:
I define sonic syntax as a musical grammar that relies on manipulation of timbre, sonic density (the presence and amplitude of frequencies across the sonic spectrum at any given moment), and rhythmic intensity. I refer to the sum of these elements as sonic energy. In most recent pop songs, a section or subsection [or cycle] functions as a sonic setup, buildup, or peak. The setup and peak respectively represent the relatively low and high instants of sonic energy in a sonic progression, while the buildup represents the gradually increasing tension between these points, caused by either increasing sonic energy or by radically and abruptly decreasing it. (Peres 2016, 2)
Nobile (2022) substitutes the terms “initiation,” “buildup,” and “arrival,” which I adopt in my analyses below. While teleological functions are typically analyzed according to texture, timbre, vocal delivery, production techniques, and other sonic features in this repertoire (Peres 2016; Adams 2019; Barna 2020; Stroud 2022; Nobile 2022; Osborn 2023), the analytical examples below demonstrate with greater specificity how drum patterns participate in the expression of these functions within sections, across cycles, and throughout songs.
[4.3] The second commonly identified phenomenon in post-millennial pop songs is the genre’s balance between formal conventions and flexibility. Not unlike other popular styles, post-millennial pop has its own conventions for section types, teleological structures, and song designs. But it also has what some have identified as a heightened interest in formal flexibility. According to Nobile, “playing with [formal] conventions in this way is what songwriters have been doing for decades. But the 2010s saw more of a sea change across this musical landscape, with the cross-pollination of electronic dance music (EDM), hip-hop, and mainstream pop coinciding with a seismic shift in consumption patterns as audio streaming took over” (Nobile 2022, [4.1]). One area of flexibility is teleological structure. For instance, not every formal cycle includes all three functions—bridge–chorus cycles, for example, include just two (Peres 2016, 137)—and some cycles include sections with alternative functions—like dance choruses with a “celebratory” function (Adams 2019). The analytical examples below demonstrate that drum patterns and drum pattern changes help express post-millennial pop’s conventional layouts as well as more novel designs.
Within sections
[4.4] In post-millennial pop songs, individual sections tend to have one teleological function; in verse–prechorus–chorus form, each section has the function of initiation, buildup, and arrival respectively. But Peres (2016) also observes that what we’re calling the teleological functions of initiation, buildup, and arrival (his setup, buildup, and peak) can be analyzed hierarchically, including within sections. In my corpus, the top one hundred pop songs from 2012–2021 have a total of 997 formal sections, 749 of which contain only a single drum pattern. In other words, it is most common for a section to have one drum pattern participating in the expression of one teleological function. But this statistic also reveals that there are 248 sections with multiple drum patterns, and these 248 sections are spread across 85% of the corpus songs. This means that the majority of post-millennial pop songs have at least one section with a drum pattern change that can help express an intra-section function progression. A two-part build is most common, where progressing from one drum pattern to a second across a section’s two halves builds momentum. This occurs above in Example 12 in Goulding’s “Lights.” The verse’s drum pattern change from 4 – X – X to 4 – B – 8 can be interpreted as progressing from an initiation to a buildup function before the chorus’s arrival function.
Example 21. Cardi B, Bad Bunny, and J Balvin, “I Like It” (2018), verse 2
(click to enlarge and listen)
[4.5] Other drum pattern designs within a section are possible and demonstrate some of mainstream pop’s formal flexibility. One example is verse 2 of “I Like It” by Cardi B, Bad Bunny, and J Balvin. Example 21 shows the excerpt. The horizontal axis represents time, the vertical axis depicts sonic energy, and the color indicates section type—in this case, verse. Further, each durational unit’s teleological function is written out, and the intervening parentheticals communicate the type of drum pattern change—here, builds (B). Instead of a two-part, intra-section build like in Examples 12, verse 2 of “I Like It” has a three-part build, augmenting the accumulation effect and performing its own complete initiation–buildup–arrival progression. It also shows that Bad Bunny’s phrasal shifts between Spanish and English align with the drum pattern changes. The excerpt begins with drum pattern 1’s X – BCL/CG – X. Claps perform the backbeat rhythm, and I interpret the additional claps and conga attacks after every other backbeat as rhythmic embellishment. Next, an embellished standard rock bass drum rhythm is added as Bad Bunny switches to English. The verse has an overall sentential design, 2+2+4, and verse 1.3 is the section’s arrival point. Bad Bunny returns to Spanish, drum pattern 3 presents the excerpt’s fullest pattern, and the second drum build varies all three parameters. The high layer adds an embellished sixteenth-note rhythm, the low and middle layers have surface rhythm changes, and the middle layer switches instrumentation to snare drum.
Example 22. Post Malone, “Circles” (2019), choruses
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[4.6] Drum builds within a section can create momentum towards what comes next. Alternatively, drum falls can create a sense of resetting, repose, or closure. In my corpus, many intra-section drum falls occur at song endings and recast previously heard material. For instance, Post Malone’s “Circles” has three choruses. Shown in Example 22, Choruses 1 and 2 perform one drum pattern, 4 – B – 8, and a consistent instrumental accompaniment that express the section’s arrival function from start to finish. Chorus 3 begins like the earlier chorus iterations. But the drums are removed in the second half and other instrumental parts are stripped away in the final four measures. This is an example of what de Clercq (2017, [3.8]) refers to as a “formal blend,” where “aspects of two (or more) section roles appear to exist within the same passage.” Malone’s unchanged vocal melody helps sustain chorus 3’s formal climax. But removing the drums and other instrumental parts is typical outro rhetoric. Adopting de Clercq’s (2017, [1.6]) “both/and” approach, the experiential result in “Circles” is not chorus or outro, but chorus and outro.
Across Cycles
Example 23. Bazzi, “Mine” (2017), cycle 1
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[4.7] Formal cycles in post-millennial pop songs do not have just one archetype. Most cycles in my corpus exhibit different combinations of verse, prechorus, chorus, postchorus, riser, and/or drop sections, with a total of 2–4 sections in each cycle. Examples 23–26 demonstrate some of these conventional designs and how drum patterns consistently help express their teleological structures. The first cycle of Bazzi’s “Mine” has two sections. Shown in Example 23, it includes an initiating verse and climactic chorus, each with its own drum pattern. The drum pattern labels are bulky, but they nonetheless clearly depict each drum pattern’s sounding characteristics and the build drum pattern change. Verse 1’s drum pattern alternates measures of tacet and R – BSN1 – 16HH1/8HH2/OSC. The bass drum performs a richly embellished standard rock rhythm, and the snare drum performs a straightforward backbeat. The high layer includes three sounding components: one hi-hat performing sixteenth notes, a second and more open hi-hat performing intermittent eighth notes throughout the measure, and a suspended cymbal roll on the last quarter note. The arrival of chorus 1 is announced not only with the song’s title text but also with drum pattern 2. The tacet measure is removed, the low layer remains the same, and the middle layer switches to a more resonant snare drum. In the high layer, the sixteenth-note pattern changes to a third hi-hat sound, the eighth-note pattern continues without variation, and the suspended cymbal roll is removed.
Example 24. The Weeknd, “Can’t Feel My Face” (2015), cycle 1
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Example 25. Maroon 5, “Girls Like You (2018), cycle 1
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[4.8] Example 24 and Example 25 present cycles with three sections. In the former, The Weeknd’s “Can’t Feel My Face” has one drum pattern for each section. The verse begins with a tacet pattern and the prechorus builds by adding backbeat snaps. The cycle ends with drum pattern 3 in chorus 1, which introduces the low and high layers, and shifts the backbeat instrumentation to snare drum and claps. The first cycle of Maroon 5’s “Girls Like You” also has three sections. But instead of verse–prechorus–chorus like “Can’t Feel My Face,” “Girls Like You” is verse–chorus–postchorus. Despite their different section types, the two songs have quite similar drum patterns and teleological progressions. Shown in Example 25, “Girls Like You” begins with a tacet drum pattern in the verse, builds with half-time feel backbeat claps in the chorus, and sonically peaks with R – BCL – O (HT) in the postchorus.
Example 26. Taylor Swift, “I Knew You Were Trouble” (2012), cycle 1
(click to enlarge and listen)
[4.9] Finally, cycles with four sections are not uncommon. Provided in Example 26, the first cycle of Taylor Swift’s “I Knew You Were Trouble” includes a verse, prechorus, riserchorus, and drop. The verse starts with bass drum performing a tresillo rhythm, and the prechorus builds by adding hi-hat with the same rhythm. Instead of progressing to a climactic chorus, however, the riserchorus starts with a tacet drum pattern 3 that contributes to the anti-telos effect (Nobile 2022). The riserchorus then builds in the second half, where an automated low-pass filter sweep is applied to drum pattern 4. Drum pattern 4 resumes the bass drum and hi-hat tresillo rhythm and adds snare drum attacks on the intervening eighth notes. Finally, the cycle peaks in the drop with drum pattern 5, a two-layer, half-time feel pattern composed of a standard rock bass drum rhythm and a backbeat snare drum rhythm.
[4.10] Examples 23–26 showcase some of mainstream pop’s most conventional layouts across a cycle. But they also highlight a type of formal flexibility common to the genre—that a single section type can have a different or more nuanced teleological function than its typical role in a cycle’s structure. For example, a chorus’s most common teleological function is arrival (Peres 2016; Nobile 2022), which can be seen in “Mine” and “Can’t Feel My Face.” In “Girls Like You,” though, the chorus has a buildup function and serves as the teleological “middle” between the verse and postchorus. Different still, the riserchorus in “I Knew You Were Trouble” begins with an anti-telos effect in the first half and has a second buildup function in the second half. In all of these examples, drum patterns play a significant role in expressing teleological function.
[4.11] Through my corpus study, I found that the prechorus can also have a flexible teleological function within a cycle. In short, there is more than one way that the section can express middle-ness between a verse and chorus, and drum patterns are often a main musical marker of this. A buildup prechorus is most common, like in Example 24, and fulfills the medial function in a typical initiation–buildup–arrival progression (Summach 2011; Peres 2016; Heetderks 2020; Nobile 2022; Osborn 2023). Another possibility is what I refer to as a down prechorus that is marked by an initial sonic drop and drum fall, and the continuation of low sonic energy throughout. A down prechorus is different from a riserchorus or an anti-telos chorus (Nobile 2022) in that it does not include chorus lyrics. It is also different from a buildup prechorus that begins with a sonic drop and reaccumulates sonic energy throughout. In cycles with a down prechorus, the teleological destination is still arrival function in the chorus, but the form functioning path is different. Rather than an energetic ramp between verse and chorus, the prechorus is an energetic valley that serves as a section of repose, rest, and recovery.
Example 27. DJ Khaled, “No Brainer” (2018), cycle 1
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[4.12] DJ Khaled’s “No Brainer” featuring Justin Bieber, Chance the Rapper, and Quavo includes a clear down prechorus. Example 27 depicts the first formal cycle, and the second and third cycles have identical section and drum pattern layouts. Rapped by Quavo, verse 1 begins with an embellished standard rock bass drum rhythm and an embellished backbeat rhythm where snaps perform the backbeat and snare drum performs the embellishment. In the second half of the verse, drum pattern 2 builds by adding a unique hi-hat rhythm that combines sixteenth notes, triplet eighth notes, and tremolos. The chorus and postchorus, sung by Bieber, have the same progression from drum pattern 1 to drum pattern 2. Between the verse and chorus, the prechorus removes the drums and strips back to just melody and bass. As stated above, cycles 2 and 3 of “No Brainer” also have this section and drum pattern layout. In other words, the prechoruses are the only sections of repose in the otherwise consistently energized pop song.
Example 28. Twenty One Pilots, “Ride” (2016), cycle 1
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[4.13] The first cycle of Twenty One Pilots’ “Ride” also includes a down prechorus. Shown in Example 28, the excerpt begins with a two-part verse. The first half has a tacet drum pattern and the second half has R – B-SN1 – 16, the latter also used in the chorus. In between the two iterations of drum pattern 2, the prechorus falls to just a snare drum backbeat along with the organ’s laid-back, reggae-style offbeat attacks.
[4.14] Again, a down prechorus’s defining features are that it begins with a sonic drop, including drums, and maintains low sonic energy throughout. Peres also identifies instances where a prechorus removes key elements and has low sonic energy, but he believes it expresses a buildup function. “The tension generated by the removal of the bass is designed to draw you in and make you listen more closely. As a listener, in part because you are probably familiar with the genre’s idioms, you not only know that the bass will return, but you know it will return in combination with other elements to form a climax, and you are likely to listen in anticipation of this arrival” (Peres 2018). I agree that abruptly removing sonic layers in a prechorus creates an anticipation for their return. But analyzing a sonically subdued prechorus with a buildup function minimizes the fact that these sections also provide time to aurally, and sometimes physically in the case of performers and concertgoers, rest and recover. A prechorus can both be an energetic drop and anticipate a strong chorus arrival, and the anticipation of the future event does not discount nor necessarily supersede the sensation of repose in the present. As a result, I believe the rhetorical differences between the buildup prechoruses in Examples 24 and 26 and the down prechoruses in Examples 27 and 28 warrant treating them as functionally distinct.
[4.15] Distinguishing between buildup prechoruses and down prechoruses can also help clarify another flexible formal feature in post-millennial pop songs. Recall that the first cycle in Halsey’s “Without Me” above in Example 6 includes five sections, which I interpret as verse, buildup prechorus, down prechorus, chorus, and postchorus. While it is possible to read measures 9–16 as one prechorus with two parts, I believe maintaining consistent section lengths coupled with the differences in melody, instrumental texture, and drum patterns tip the interpretive scale in favor of two distinct prechoruses sections.
Example 29. Dua Lipa, “Don’t Start Now” (2020), cycle 1
(click to enlarge and listen)
[4.16] Dua Lipa’s “Don’t Start Now” also includes this phenomenon, which I refer to as a double prechorus. Shown in Example 29, the verse begins with 4 – B – 8HH1 and the buildup prechorus’s drum pattern 2 amends the middle and high layers. Claps are added to every other backbeat, and breath exhalations alternating with half-open hi-hat attacks sound on the third beat of each measure. Then, rather than building directly into the chorus, the down prechorus begins with a drum fall and texture change. Drum pattern 3 drops to backbeat claps, and the verse and buildup prechorus’s animated bass line switches to sustained chordal punctuations. The second half of the down prechorus adds tambourine sixteenth notes and a descant violin synthesizer, augmenting the sense of anticipation towards the chorus without superseding the sense of repose established at the section’s onset. Finally, the cycle concludes climactically with drum pattern 5 in the chorus, which combines the low and middle layers from drum pattern 2 with the high layer of drum pattern 1.
Throughout Songs
Example 30. Sia, “Cheap Thrills” (2016)
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[4.17] Finally, drum patterns and drum pattern changes help express form throughout complete songs. Like cycles, there is not just one formal design that perfectly encapsulates every post-millennial pop song, but Sia’s “Cheap Thrills” in Example 30 has one of the most conventional layouts: an introduction; two cycles of verse, prechorus, and chorus; a third cycle of bridge and chorus; and an outro. Further, the six drum patterns play a prominent role in expressing the song’s teleological structure, particularly within each formal cycle. The introduction begins with tacet drums before adding a four-on-the-floor bass drum rhythm in the second half, which continues into verse 1. Prechorus 1 builds with drum pattern 3’s introduction of woodblock and quiet snaps performing a backbeat rhythm. The first cycle peaks in the chorus with drum pattern 4: a four-on-the-floor bass drum rhythm, a snare drum performing a half-measure tresillo rhythm, and woodblock and snaps continuing the backbeat. The second formal cycle has another initiation–buildup–arrival progression. It has the same drum pattern progression as the first cycle, with the exception of chorus 2’s addition of a quiet swung sixteenth-note referential rhythm. In the third cycle, the bridge starts without vocals and a return to drum pattern 2’s four-on-the-floor bass drum rhythm. Finally, chorus 3 restates drum pattern 5 before the outro falls to drum pattern 6 and then to drum pattern 1.
[4.18] Similar to individual sections and formal cycles, complete songs have their own teleological structure. Many post-millennial pop songs build from start to finish and peak in the final chorus, postchorus, or drop, depending on the song’s particular design. Pop producer and songwriter Max Martin describes this phenomenon in his creative approach. “I like it when a song is like a journey, building up along the way. That they start out smaller than they end. Along the trip, you add elements that make the listener less likely to tire. Then, at the end, euphoria” (Gradvall 2016). Peres (2018) specifically maps the initiation, buildup, and arrival functions—or using his terminology, setup, buildup, and climax—onto a song’s three formal cycles. Other research focuses on specific techniques that pop artists use to create song-ending peaks. Megan Lavengood (2021) describes how “complement” and original chorus melodies can combine to create a final “cumulative chorus.” Osborn (2023, 51) observes that many Top-40 EDM hits combine chorus melodies and drop grooves in the third cycle to create a “super-hybrid section I call [the] riserchorus-drop.”
[4.19] Drum patterns can also help express a song’s energetic growth and formal culmination. To express formal culmination, many post-millennial pop songs introduce a new drum pattern in the final chorus. In my corpus, the most common technique is to accelerate the hi-hat rhythm from eighth notes heard throughout the song to sixteenth notes in the last chorus. Examples include Ellie Goulding’s “Love Me Like You Do” and Charlie Puth’s “Attention.” Other songs introduce a more novel drum pattern, such as Bruno Mars’s “Locked Out of Heaven” using the song’s only half-time feel groove and Eilish’s “Bad Guy” introducing a dramatic tempo shift.
Example 31. Ed Sheeran, “Perfect” (2017)
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[4.20] In addition to articulating song-ending peaks, drum patterns and drum pattern changes can also, as Riley (2015, 11) notes, “help ramp up the energy of a song from beginning to end.” Ed Sheeran’s “Perfect” is a unique example. The song’s many vocal and instrumental parts work together to express its teleological structure, but the almost exclusive use of drum builds, with only one drum fall, contributes significantly to the song’s steady and incremental sonic growth from the first verse to the final chorus. Shown in Example 31, verse 1 begins with tacet drums. Then, prechorus 1 introduces quiet snaps performing a backbeat rhythm, which continues into the chorus. A brief and drum-less link connects the two cycles before verse 2 resumes the drum patterns’ builds. In drum pattern 3, the backbeat snaps continue from drum pattern 2, tambourine attacks are added to every other backbeat, and the bass drum begins an embellished standard rock rhythm. Drum pattern 4 in prechorus 2 builds again, which continues through chorus 2 and into the bridge. The high layer adds hi-hat eighth notes, backbeat snaps switch to snare drum, and the tambourine now articulates every backbeat. Finally, chorus 3 is the song’s sonic peak across the vocal and instrumental parts. Drum pattern 5 maintains the low and middle layers while the high layer quietly switches to sixteenth notes. The song concludes with drum pattern 1 in the outro.
Example 32. Khalid and Normani, “Love Lies” (2018)
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[4.21] The near uniformity of drum builds found in “Perfect” is rare. But there are other ways that drum patterns can build from beginning to end as a way to express teleological motion throughout a song. One technique is to build both within and between a song’s three formal cycles. Put differently, each cycle can build towards its chorus, and each chorus can build from one to the next. An example is Khalid and Normani’s “Love Lies.” Example 32 shows that there are four drum patterns that vary only according to number of layers. Drum pattern 1 is X – X – X, drum pattern 2 is X – BSP – X, drum pattern 3 is X – BSP – 16, and drum pattern 4 is R – BSP – 16. The drum patterns’ characteristic differences are simple and straightforward. But their formal organization and frequent changes, thirteen total drum pattern changes, drive their expressive power. “Love Lies” begins with a progression through all four drum patterns. After tacet drums in the introduction, verse 1 begins with backbeat snaps, and hi-hat sixteenth notes are added in the second half. Prechorus 1 builds again by introducing an embellished standard rock bass drum rhythm. Chorus 1 is an anti-telos chorus. Instead of functioning as the cycle’s climactic arrival, it subverts formal expectations with a drum fall back to drum pattern 2. The second formal cycle begins the same as the first, progressing through drum patterns 2, 3, and 4 in the verse and prechorus. Chorus 2 also begins the same as chorus 1 with a drum fall back to drum pattern 2. But unlike the first cycle, chorus 2 is twice as long as the first chorus iteration, and the reintroduction of drum pattern 4 in the second half shifts the section’s overall effect back to a climactic arrival. Finally, the third cycle compresses the progression through drum patterns 2, 3, and 4 into one section, the bridge. Then, instead of a third anti-telos chorus, chorus 3 finally states at the onset drum pattern 4’s full, three-layer realization, serving as the formal climax for both the third cycle and full song.
5. Conclusion
[5.1] While drum patterns perform rhythmic and metric functions, they also play a significant role in expressing musical form, particularly in post-millennial pop songs. The primary goal of this article is to introduce a new and practical analytical method that highlights the formally expressive features of drum patterns and drum pattern changes in this repertoire. Analyzing a song’s drum patterns according to their number of layers, rhythm, and instrumentation highlights the principal ways that drum patterns and drum pattern changes articulate formal boundaries, teleological functions, and formal motion. These formal functions are not reserved for any one level of form. Rather, drum patterns are formally expressive within sections, across cycles, and throughout songs. Furthermore, drum patterns do not only articulate conventional formal layouts in post-millennial pop, they also help express more novel section, cycle, and song designs.
[5.2] While this article’s analytical framework is effective for spotlighting the formally expressive features of drum patterns and drum pattern changes in post-millennial pop songs, it does not strive to account comprehensively for all of the drums’ formally expressive features. Post-millennial pop songs include drum patterns that strain and exceed my annotative system’s capacities. Drum patterns and drum pattern changes are also formally expressive in other popular styles, but in nuanced ways compared to post-millennial pop that to analyze appropriately would require amendments to this article’s approach. Finally, drum fills, drum solos, and other aspects of drum parts express musical form. Not only would these and other avenues for future research refine our understanding of the drums’ formally expressive features, but they would also further underscore the instrument’s multifunctionality.
Appendix. Drum Pattern Labeling System
Example 33. Drum pattern labeling system
(click to enlarge)
In post-millennial pop songs, drum patterns are typically a variation of either a standard rock or four-on-the-floor pattern. My analytical method frames drum patterns as different realizations of three parameters: number of layers, rhythm, and instrumentation. Example 33 summarizes my drum pattern labeling system. From left to right, a drum pattern label communicates the presence or absence, rhythm, and instrumentation of the low, middle, and high drum layers. For the primary symbols, each drum layer has a set of common referential rhythms: standard rock (R), four-on-the-floor (4), and tresillo (T) for the low layer; backbeat (B), straight four (4), and tresillo (T) for the middle layer; and eighth notes (8), sixteenth notes (16), and quarter notes (4) for the high layer. Other options are possible that can apply to all three drum layers: other (O), where a particular surface rhythm does not clearly relate to a referential rhythm; hybrid (variable labels), where multiple instruments with different referential rhythms work interdependently to fulfill a single drum layer; and absent (X), where a layer is tacet. Auxiliary symbols can be added to express aspects of rhythm and instrumentation. First, plus (+) and minus (-) symbols depict comparative amounts of surface rhythm embellishment of a single referential rhythm. Second, bass drum, snare drum, and hi-hat are the assumed instrumentations for the low, middle, and high drum layers. Abbreviated superscripts communicate other instrumentations. Third, the annotative system assumes a normal-time feel, and parenthetical addenda express half-time feel (HT) and double-time feel (DT) patterns.
David Geary
Wake Forest University
Scales Fine Arts Center, M312
Winston-Salem, NC 27109
gearyd@wfu.edu
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Butler, Mark. 2006. Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. Indiana University Press.
—————. 2006. Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. Indiana University Press.
Butterfield, Matthew. 2006. “The Power of Anacrusis: Engendered Feeling in Groove-Based Musics.” Music Theory Online 12 (4). https://doi.org/10.30535/mto.12.4.2.
Butterfield, Matthew. 2006. “The Power of Anacrusis: Engendered Feeling in Groove-Based Musics.” Music Theory Online 12 (4). https://doi.org/10.30535/mto.12.4.2.
Câmara, Guilherme Schmidt, George Sioros, and Anne Danielsen. 2022. “Mapping Timing and Intensity Strategies in Drum-Kit Performance of a Simple Back-Beat Pattern.” Journal of New Music Research 51 (1): 3–26. https://doi.org/10.1080/09298215.2022.2150649.
Câmara, Guilherme Schmidt, George Sioros, and Anne Danielsen. 2022. “Mapping Timing and Intensity Strategies in Drum-Kit Performance of a Simple Back-Beat Pattern.” Journal of New Music Research 51 (1): 3–26. https://doi.org/10.1080/09298215.2022.2150649.
Caplin, William E. 2009. “What Are Formal Functions?” In Musical Form, Forms, & Formenlehre: Three Methodological Reflections, ed. Pieter Bergé, 21–40. University of Leuven Press. https://doi.org/10.2307/j.ctt9qf01v.5.
Caplin, William E. 2009. “What Are Formal Functions?” In Musical Form, Forms, & Formenlehre: Three Methodological Reflections, ed. Pieter Bergé, 21–40. University of Leuven Press. https://doi.org/10.2307/j.ctt9qf01v.5.
Connell, Joseph. 2018. “John ‘Jabo’ Starks: ‘Superbad.’” Modern Drummer. Accessed June 28, 2023. https://www.moderndrummer.com/2018/05/john-jabo-starks-superbad/.
Connell, Joseph. 2018. “John ‘Jabo’ Starks: ‘Superbad.’” Modern Drummer. Accessed June 28, 2023. https://www.moderndrummer.com/2018/05/john-jabo-starks-superbad/.
Covach, John. 2005. “Form in Rock Music: A Primer.” In Engaging Music: Essays in Music Analysis, ed. Deborah Stein, 65–76. Oxford University Press.
Covach, John. 2005. “Form in Rock Music: A Primer.” In Engaging Music: Essays in Music Analysis, ed. Deborah Stein, 65–76. Oxford University Press.
Danielsen, Anne. 2010. “Here, There, and Everywhere: Three Accounts of Pulse in D’Angelo’s ‘Left and Right.’” In Musical Rhythm in the Age of Digital Reproduction, ed. Anne Danielsen, 19–35. Ashgate. https://doi.org/10.4324/9781315596983-2.
Danielsen, Anne. 2010. “Here, There, and Everywhere: Three Accounts of Pulse in D’Angelo’s ‘Left and Right.’” In Musical Rhythm in the Age of Digital Reproduction, ed. Anne Danielsen, 19–35. Ashgate. https://doi.org/10.4324/9781315596983-2.
De Clercq, Trevor. 2016. “Measuring a Measure: Absolute Time as a Factor for Determining Bar Lengths and Meter in Pop/Rock Music.” Music Theory Online 22 (3). https://doi.org/10.30535/mto.22.3.3.
De Clercq, Trevor. 2016. “Measuring a Measure: Absolute Time as a Factor for Determining Bar Lengths and Meter in Pop/Rock Music.” Music Theory Online 22 (3). https://doi.org/10.30535/mto.22.3.3.
De Clercq, Trevor. 2017. “Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991.” Music Theory Online 23 (3). https://doi.org/10.30535/mto.23.3.4.
—————. 2017. “Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991.” Music Theory Online 23 (3). https://doi.org/10.30535/mto.23.3.4.
Dean, Matt. 2012. The Drums: A History. Scarecrow Press.
Dean, Matt. 2012. The Drums: A History. Scarecrow Press.
Easley, David. 2015. “Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83).” Music Theory Online 21 (1). https://doi.org/10.30535/mto.21.1.3.
Easley, David. 2015. “Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83).” Music Theory Online 21 (1). https://doi.org/10.30535/mto.21.1.3.
Everett, Walter. 2009. The Foundations of Rock: From Blue Suede Shoes to Suite: Judy Blue Eyes. Oxford University Press.
Everett, Walter. 2009. The Foundations of Rock: From Blue Suede Shoes to Suite: Judy Blue Eyes. Oxford University Press.
Fink, Robert. 2011. “Goal-Directed Soul? Analyzing Rhythmic Teleology in African American Popular Music.” Journal of American Musicological Society 64 (1): 179–238. https://doi.org/10.1525/jams.2011.64.1.179.
Fink, Robert. 2011. “Goal-Directed Soul? Analyzing Rhythmic Teleology in African American Popular Music.” Journal of American Musicological Society 64 (1): 179–238. https://doi.org/10.1525/jams.2011.64.1.179.
Garza, Jose M. 2021. “Transcending Time (Feels): Riff Types, Timekeeping Cymbals, and Time Feels in Contemporary Metal Music.” Music Theory Online 27 (1). https://doi.org/10.30535/mto.27.1.3.
Garza, Jose M. 2021. “Transcending Time (Feels): Riff Types, Timekeeping Cymbals, and Time Feels in Contemporary Metal Music.” Music Theory Online 27 (1). https://doi.org/10.30535/mto.27.1.3.
Geary, David. 2022. “Analyzing the Beat in Metrically Consonant Popular Songs: A Multifaceted Approach.” Music Theory Online 28 (4). https://mtosmt.org/issues/mto.22.28.4/mto.22.28.4.geary.html
Geary, David. 2022. “Analyzing the Beat in Metrically Consonant Popular Songs: A Multifaceted Approach.” Music Theory Online 28 (4). https://mtosmt.org/issues/mto.22.28.4/mto.22.28.4.geary.html
Gradvall, Jan. 2016. “World Exclusive: Max Martin, #1 Hitmaker.” Di Weekend. Accessed December 1, 2019. https://www.di.se/weekend/max-martin-haller-tempot/.
Gradvall, Jan. 2016. “World Exclusive: Max Martin, #1 Hitmaker.” Di Weekend. Accessed December 1, 2019. https://www.di.se/weekend/max-martin-haller-tempot/.
Guru, Young, and Reuben Vincent. 2023. “How to Produce a Track with the Pros: Young Guru and Reuben Vincent.” iZotope. YouTube video, 25:33. https://www.youtube.com/watch?v=Bp6B3ld1Yqw.
Guru, Young, and Reuben Vincent. 2023. “How to Produce a Track with the Pros: Young Guru and Reuben Vincent.” iZotope. YouTube video, 25:33. https://www.youtube.com/watch?v=Bp6B3ld1Yqw.
Hanenberg, Scott J. 2020. “Using Drumbeats to Theorize Meter in Quintuple and Septuple Grooves.” Music Theory Spectrum 42 (2): 227–46. https://doi.org/10.1093/mts/mtaa005.
Hanenberg, Scott J. 2020. “Using Drumbeats to Theorize Meter in Quintuple and Septuple Grooves.” Music Theory Spectrum 42 (2): 227–46. https://doi.org/10.1093/mts/mtaa005.
Hanenberg, Scott J. 2021. “Theorizing Complex and Irregular Grooves.” In The Cambridge Companion to the Drum Kit, ed. Matt Brennan, Joseph Michael Pignato, and Daniel Akira Stadnicki, 94–111. Cambridge University Press. https://doi.org/10.1017/9781108779517.010.
—————. 2021. “Theorizing Complex and Irregular Grooves.” In The Cambridge Companion to the Drum Kit, ed. Matt Brennan, Joseph Michael Pignato, and Daniel Akira Stadnicki, 94–111. Cambridge University Press. https://doi.org/10.1017/9781108779517.010.
Heetderks, David. 2020. “Play with Closing Markers: Cadential Multivalence in 1960s Prechoruses and Related Schemas.” Music Theory Spectrum 41 (1): 1–23. https://doi.org/10.1093/mts/mtz023.
Heetderks, David. 2020. “Play with Closing Markers: Cadential Multivalence in 1960s Prechoruses and Related Schemas.” Music Theory Spectrum 41 (1): 1–23. https://doi.org/10.1093/mts/mtz023.
Hudson, Steven. 2021. “Compound AABA Form and Style Distinction in Heavy Metal.” Music Theory Online 27 (1). https://doi.org/10.30535/mto.27.1.5.
Hudson, Steven. 2021. “Compound AABA Form and Style Distinction in Heavy Metal.” Music Theory Online 27 (1). https://doi.org/10.30535/mto.27.1.5.
Hudson, Steven. 2022. “Bang Your Head: Construing Beat through Familiar Drum Patterns in Metal Music.” Music Theory Spectrum 44 (1): 121–40. https://doi.org/10.1093/mts/mtab014.
—————. 2022. “Bang Your Head: Construing Beat through Familiar Drum Patterns in Metal Music.” Music Theory Spectrum 44 (1): 121–40. https://doi.org/10.1093/mts/mtab014.
Keltner, Jim. 2020. “Drummers Who Compose | Part 1 of 4.” Drum Channel. YouTube video, 23:00. Accessed June 28, 2023. https://www.youtube.com/watch?v=llY1_4fZzJ8.
Keltner, Jim. 2020. “Drummers Who Compose | Part 1 of 4.” Drum Channel. YouTube video, 23:00. Accessed June 28, 2023. https://www.youtube.com/watch?v=llY1_4fZzJ8.
Lavengood, Megan L. 2021. “‘Oops!... I Did It Again’: The Complement Chorus in Britney Spears, The Backstreet Boys, and *NSYNC.” SMT-V 7 (6). https://doi.org/10.30535/smtv.7.6.
Lavengood, Megan L. 2021. “‘Oops!... I Did It Again’: The Complement Chorus in Britney Spears, The Backstreet Boys, and *NSYNC.” SMT-V 7 (6). https://doi.org/10.30535/smtv.7.6.
Moore, Allan F. 2012. Song Means: Analysing and Interpreting Recorded Popular Song. Ashgate.
Moore, Allan F. 2012. Song Means: Analysing and Interpreting Recorded Popular Song. Ashgate.
Nicholls, Geoff. 2008. The Drum Book: A History of the Rock Drum Kit. Backbeat Books.
Nicholls, Geoff. 2008. The Drum Book: A History of the Rock Drum Kit. Backbeat Books.
Nobile, Drew. 2020. Form as Harmony in Rock Music. Oxford University Press. https://doi.org/10.1093/oso/9780190948351.001.0001.
Nobile, Drew. 2020. Form as Harmony in Rock Music. Oxford University Press. https://doi.org/10.1093/oso/9780190948351.001.0001.
Nobile, Drew. 2022. “Teleology in Verse–Prechorus–Chorus Form, 1965–2020.” Music Theory Online 28 (3). https://mtosmt.org/issues/mto.22.28.3/mto.22.28.3.nobile.html.
Nobile, Drew. 2022. “Teleology in Verse–Prechorus–Chorus Form, 1965–2020.” Music Theory Online 28 (3). https://mtosmt.org/issues/mto.22.28.3/mto.22.28.3.nobile.html.
Osborn, Brad. 2010. “Beats that Commute: Algebraic and Kinesthetic Models for Math-Rock Grooves.” Gamut 3 (1): 43–67.
Osborn, Brad. 2010. “Beats that Commute: Algebraic and Kinesthetic Models for Math-Rock Grooves.” Gamut 3 (1): 43–67.
Osborn, Brad. 2013. “Subverting the Verse/Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music.” Music Theory Spectrum 35 (1): 23–47. https://doi.org/10.1525/mts.2013.35.1.23.
—————. 2013. “Subverting the Verse/Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music.” Music Theory Spectrum 35 (1): 23–47. https://doi.org/10.1525/mts.2013.35.1.23.
Osborn, Brad. 2017. Everything in its Right Place: Analyzing Radiohead. Oxford University Press. https://doi.org/10.1093/acprof:oso/9780190629229.001.0001.
—————. 2017. Everything in its Right Place: Analyzing Radiohead. Oxford University Press. https://doi.org/10.1093/acprof:oso/9780190629229.001.0001.
Osborn, Brad. 2023. “Formal Functions and Rotations in Top-40 EDM.” Intégral 36: 35–54.
—————. 2023. “Formal Functions and Rotations in Top-40 EDM.” Intégral 36: 35–54.
Peart, Neil. 2020. “How Did Neil Peart Learn a Song?” Drum Channel. YouTube video, 4:59. Accessed June 28, 2023. https://www.youtube.com/watch?v=R_YJ6GXDhaU.
—————. 2020. “How Did Neil Peart Learn a Song?” Drum Channel. YouTube video, 4:59. Accessed June 28, 2023. https://www.youtube.com/watch?v=R_YJ6GXDhaU.
Peres, Asaf. 2016. “The Sonic Dimension as Dramatic Driver in 21st-Century Pop Music.” PhD diss., University of Michigan.
Peres, Asaf. 2016. “The Sonic Dimension as Dramatic Driver in 21st-Century Pop Music.” PhD diss., University of Michigan.
Peres, Asaf. 2018. “Sonic Functions: The Producer’s Alternative to Harmonic Functions in Modern Music.” Top40 Theory. Accessed June 28, 2023. https://www.top40theory.com/blog/sonic-functions-the-alternative-to-harmonic-functions-in-modern-music.
—————. 2018. “Sonic Functions: The Producer’s Alternative to Harmonic Functions in Modern Music.” Top40 Theory. Accessed June 28, 2023. https://www.top40theory.com/blog/sonic-functions-the-alternative-to-harmonic-functions-in-modern-music.
Pillsbury, Glenn T. 2006. Damage Incorporated: Metallica and the Production of Musical Identity. Routledge.
Pillsbury, Glenn T. 2006. Damage Incorporated: Metallica and the Production of Musical Identity. Routledge.
Riley, Jim. 2015. Survival Guide for the Modern Drummer: A Crash Course in All Musical Styles for Drumset. Alfred Music.
Riley, Jim. 2015. Survival Guide for the Modern Drummer: A Crash Course in All Musical Styles for Drumset. Alfred Music.
Smith, Mandy J. 2021. “The Meaning of the Drumming Body.” In The Cambridge Companion to the Drum Kit, ed. Matt Brennan, Joseph Michael Pignato, and Daniel Akira Stadnicki, 197–209. Cambridge University Press. https://doi.org/10.1017/9781108779517.019.
Smith, Mandy J. 2021. “The Meaning of the Drumming Body.” In The Cambridge Companion to the Drum Kit, ed. Matt Brennan, Joseph Michael Pignato, and Daniel Akira Stadnicki, 197–209. Cambridge University Press. https://doi.org/10.1017/9781108779517.019.
Spicer, Mark. 2004. “(Ac)cumulative Form in Pop-Rock Music.” Twentieth-Century Music 1 (1): 29–64. https://doi.org/10.1017/S1478572204000052.
Spicer, Mark. 2004. “(Ac)cumulative Form in Pop-Rock Music.” Twentieth-Century Music 1 (1): 29–64. https://doi.org/10.1017/S1478572204000052.
Stroud, Cara. 2022. “Codetta and Anthem Postchorus Types in Top-40 Pop from 2015 to 2015.” Music Theory Online 28 (2). https://doi.org/10.30535/mto.28.2.9.
Stroud, Cara. 2022. “Codetta and Anthem Postchorus Types in Top-40 Pop from 2015 to 2015.” Music Theory Online 28 (2). https://doi.org/10.30535/mto.28.2.9.
Summach, Jay. 2011. “The Structure, Function, and Genesis of the Prechorus.” Music Theory Online 17 (3). https://doi.org/10.30535/mto.17.3.2.
Summach, Jay. 2011. “The Structure, Function, and Genesis of the Prechorus.” Music Theory Online 17 (3). https://doi.org/10.30535/mto.17.3.2.
Tamlyn, Gary Neville. 1998. “The Big Beat: Origins and Developments of Snare Backbeats and other Accompanimental Rhythms in “Rock’n’Roll.” PhD diss., University of Liverpool.
Tamlyn, Gary Neville. 1998. “The Big Beat: Origins and Developments of Snare Backbeats and other Accompanimental Rhythms in “Rock’n’Roll.” PhD diss., University of Liverpool.
Temperley, David. 2018. The Musical Language of Rock. Oxford University Press. https://doi.org/10.1093/oso/9780190653774.001.0001.
Temperley, David. 2018. The Musical Language of Rock. Oxford University Press. https://doi.org/10.1093/oso/9780190653774.001.0001.
1. For a historical overview of the drumset, see Geoff Nicholls (2008) and Matt Dean (2012).
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2. Adopting slightly different language, Asaf Peres (2016) refers to these as “sonic functions” and Kyle Adams (2019) refers to them as “rhetorical functions.” I discuss teleological functions in greater detail below in paragraph [4.2].
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3. Formal cycles are a popular song’s recurring, multi-section formal units (Nobile 2022). Related terms include formal rotations (Osborn 2023) and verse-chorus units (Temperley 2018).
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4. Peres (2016, 2) defines sonic syntax “as a musical grammar that relies on manipulation of timbre, sonic density (the presence and amplitude of frequencies across the sonic spectrum at any given moment), and rhythmic intensity.” For more details about sonic syntax, see paragraph [4.2] below.
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5. Rather than providing comprehensive theoretical methodologies or detailed analyses, much of the existing scholarship that addresses the formal functions of drum patterns has a more limited scope (Butler 2001; Butler 2006; Pillsbury 2006; Biamonte 2014; Easley 2015; Peres 2016; Osborn 2017; Peres 2018; Adams 2019; Hanenberg 2021; Hudson 2021; Hudson 2022; Osborn 2023).
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6. Some specific challenges of applying tonal metaphors to analyze drum patterns include the concepts of monotonality, harmonic functions, cadences, and closure (Peres 2016, 101–3).
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7. Examples 3 and 5 include asterisks to identify drum patterns that have slight variations on some repetitions. This is a common practice in many popular styles, but it is a rarity in post-millennial pop where drum patterns typically repeat without variation.
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8. For more on “energy” in popular music, see Temperley (2018, 136–49).
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9. The notation in Example 3 is taken from Joseph Connell (2018).
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10. For the sake of brevity, in the remainder of this article I do not include complete lists of a song’s songwriters and producers; instead, I name only the listed artists. It is not uncommon for a post-millennial pop song’s creative team to include half a dozen or more artists, all of whom play an important role in the composition, performance, and production processes. Further, it is not always clear who is responsible for creating each part, including the drum patterns.
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11. Throughout this article, I refer to passages without drums as a tacet “drum pattern” since almost all pop songs weave between sections with and without drums in formally expressive ways, making tacet “realizations” a counterpart to sounding drum patterns.
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12. In my corpus, most drum patterns are created by producers with a digital audio workstation or related type of music technology, but many are performed by drummers on a physical drumset. Each creative medium has its own musical affordances, but they also share a high degree of overlap, and music production techniques applied to performed drum parts further obscure their differences. This article focuses on drum patterns in post-millennial pop as a whole, and my analytical system is designed for both programmed and performed drum patterns.
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13. Everett (2009, 304) defines groove as “a regularly repeating pattern in drums, bass, rhythm guitar, keyboard, and backing vocals.”
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14. Nicole Biamonte (2014, [6.3]) also observes that instrumentations other than bass drum, snare drum, and hi-hat can fulfill a drum pattern’s functional drum layers, like foot stomps and hand claps in Queen’s “We Will Rock You.”
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15. As detailed below, a drum pattern’s referential rhythm can be different than its surface rhythm (Riley 2015; Temperley 2018). The bass drum’s surface rhythm in drum pattern 2 includes a light tresillo embellishment in every other measure, but its referential rhythm is still four-on-the-floor.
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16. The annotative system uses superscripts to depict instrumentations other than bass drum, snare drum, and hi-hat.
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17. The referential rhythms and other options in Example 14 are specific to drum patterns in post-millennial pop songs. They are not universal to all popular styles, which may include different referential rhythms and other options.
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18. The tresillo (3+3+2) referential rhythm includes both two dotted quarter notes plus quarter note, shown in Example 14, and two dotted eighth notes plus eighth note. I call these a full-measure tresillo rhythm and a half-measure tresillo rhythm, respectively.
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19. Another reason to interpret and classify a drum pattern’s sounding components according to functional drum layers is that it identifies relationships that are otherwise methodologically unavailable. For instance, in Marshmello’s “Happier” featuring Bastille (see Example 19), the middle layer’s backbeat rhythm is performed by snaps, claps, and snare drum. Interpreting each instrumentation as an independent layer neglects their shared functional role within the excerpt’s drum patterns.
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20. Normal-time feel drum patterns alternate bass drum and snare drum attacks at a quarter-note rate, half-time feel patterns alternate attacks at a half-note rate, and double-time feel patterns alternate at an eighth-note rate (De Clercq 2016).
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21. There are some overlaps of instrumentation between the three drum layers. For instance, hi-hat typically performs the high layer’s eighth-note and sixteenth-note referential rhythms, but it also occasionally performs the middle layer’s backbeat rhythm. The flexibility of instrumentation in post-millennial pop songs is another reason why I prefer to interpret and classify a drum pattern’s sounding components according to functional drum layers.
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22. Prechorus 1 ends with a two-measure drum fill composed of a bass drum rhythmic acceleration. While drum fills also participate in expressing musical form (Hanenberg 2020), the focus of this article is drum patterns.
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23. Attas (2015) also combines object and process orientations to analyze popular music grooves and form.
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24. Peres (2018) states that “although setup, buildup, and peak are the main and most important sonic functions in the genre, they are not the only possible ones.”
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25. Barna (2020) and Nobile (2022) adopt similar diagram formats.
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26. As Nobile (2022, [1.2]) states, “teleological arrival is both a specific moment and an entire section; the arrival moment is the first downbeat of the arrival section, and the remainder of the section sustains that moment’s energy in a celebratory plateau.”
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27. In Example 22, I label the removal of drums with a “diffusion sonic function” (Peres 2018). An outro is an after-the-end section (Caplin 2009) with a “conclusion” function (Peres 2016; Temperley 2018).
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28. Nobile (2020, 121–22) uses the term “chorus outro” for a similar phenomenon in rock songs.
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29. For more about these section types and their teleological functions in post-millennial pop songs, see Peres (2016), Adams (2019), Stroud (2022), Nobile (2022), and Osborn (2023).
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30. For a more detailed discussion of the formal design in Example 26, see Nobile (2022, [4.8]) and Osborn (2023, 41–44).
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31. For another example of verse–chorus–postchorus form with a buildup chorus, see Osborn’s (2023) analysis of Carly Rae Jepsen’s “Party for One.”
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32. For another example of verse–prechorus–riserchorus–drop form with an anti-telos and riser chorus, see Nobile’s (2022) analysis of The Chainsmokers’ “Closer.”
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33. Peres also states that “all three of these sonic functions are anticipatory, to varying degrees. The setup, as its name would suggest, sets up an expectation for a buildup. The buildup builds up tension toward the peak/climax. The peak represents a high level of tension waiting to be released” (Peres 2016, 73). In a sense, then, all three functions have a degree of tension caused by anticipation.
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34. The third formal cycle in “Ride” includes a buildup prechorus with dramatically different musical characteristics compared to the down prechorus in Example 28—making this example a particularly helpful illustration of the prechorus’s flexible teleological function.
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35. Songs from other popular genres also typically build from start to finish and peak at the conclusion (Spicer 2004; Osborn 2013).
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For a historical overview of the drumset, see Geoff Nicholls (2008) and Matt Dean (2012).
Adopting slightly different language, Asaf Peres (2016) refers to these as “sonic functions” and Kyle Adams (2019) refers to them as “rhetorical functions.” I discuss teleological functions in greater detail below in paragraph [4.2].
Formal cycles are a popular song’s recurring, multi-section formal units (Nobile 2022). Related terms include formal rotations (Osborn 2023) and verse-chorus units (Temperley 2018).
Peres (2016, 2) defines sonic syntax “as a musical grammar that relies on manipulation of timbre, sonic density (the presence and amplitude of frequencies across the sonic spectrum at any given moment), and rhythmic intensity.” For more details about sonic syntax, see paragraph [4.2] below.
Rather than providing comprehensive theoretical methodologies or detailed analyses, much of the existing scholarship that addresses the formal functions of drum patterns has a more limited scope (Butler 2001; Butler 2006; Pillsbury 2006; Biamonte 2014; Easley 2015; Peres 2016; Osborn 2017; Peres 2018; Adams 2019; Hanenberg 2021; Hudson 2021; Hudson 2022; Osborn 2023).
Some specific challenges of applying tonal metaphors to analyze drum patterns include the concepts of monotonality, harmonic functions, cadences, and closure (Peres 2016, 101–3).
Examples 3 and 5 include asterisks to identify drum patterns that have slight variations on some repetitions. This is a common practice in many popular styles, but it is a rarity in post-millennial pop where drum patterns typically repeat without variation.
For more on “energy” in popular music, see Temperley (2018, 136–49).
The notation in Example 3 is taken from Joseph Connell (2018).
For the sake of brevity, in the remainder of this article I do not include complete lists of a song’s songwriters and producers; instead, I name only the listed artists. It is not uncommon for a post-millennial pop song’s creative team to include half a dozen or more artists, all of whom play an important role in the composition, performance, and production processes. Further, it is not always clear who is responsible for creating each part, including the drum patterns.
Throughout this article, I refer to passages without drums as a tacet “drum pattern” since almost all pop songs weave between sections with and without drums in formally expressive ways, making tacet “realizations” a counterpart to sounding drum patterns.
In my corpus, most drum patterns are created by producers with a digital audio workstation or related type of music technology, but many are performed by drummers on a physical drumset. Each creative medium has its own musical affordances, but they also share a high degree of overlap, and music production techniques applied to performed drum parts further obscure their differences. This article focuses on drum patterns in post-millennial pop as a whole, and my analytical system is designed for both programmed and performed drum patterns.
Everett (2009, 304) defines groove as “a regularly repeating pattern in drums, bass, rhythm guitar, keyboard, and backing vocals.”
Nicole Biamonte (2014, [6.3]) also observes that instrumentations other than bass drum, snare drum, and hi-hat can fulfill a drum pattern’s functional drum layers, like foot stomps and hand claps in Queen’s “We Will Rock You.”
As detailed below, a drum pattern’s referential rhythm can be different than its surface rhythm (Riley 2015; Temperley 2018). The bass drum’s surface rhythm in drum pattern 2 includes a light tresillo embellishment in every other measure, but its referential rhythm is still four-on-the-floor.
The annotative system uses superscripts to depict instrumentations other than bass drum, snare drum, and hi-hat.
The referential rhythms and other options in Example 14 are specific to drum patterns in post-millennial pop songs. They are not universal to all popular styles, which may include different referential rhythms and other options.
The tresillo (3+3+2) referential rhythm includes both two dotted quarter notes plus quarter note, shown in Example 14, and two dotted eighth notes plus eighth note. I call these a full-measure tresillo rhythm and a half-measure tresillo rhythm, respectively.
Another reason to interpret and classify a drum pattern’s sounding components according to functional drum layers is that it identifies relationships that are otherwise methodologically unavailable. For instance, in Marshmello’s “Happier” featuring Bastille (see Example 19), the middle layer’s backbeat rhythm is performed by snaps, claps, and snare drum. Interpreting each instrumentation as an independent layer neglects their shared functional role within the excerpt’s drum patterns.
Normal-time feel drum patterns alternate bass drum and snare drum attacks at a quarter-note rate, half-time feel patterns alternate attacks at a half-note rate, and double-time feel patterns alternate at an eighth-note rate (De Clercq 2016).
There are some overlaps of instrumentation between the three drum layers. For instance, hi-hat typically performs the high layer’s eighth-note and sixteenth-note referential rhythms, but it also occasionally performs the middle layer’s backbeat rhythm. The flexibility of instrumentation in post-millennial pop songs is another reason why I prefer to interpret and classify a drum pattern’s sounding components according to functional drum layers.
Prechorus 1 ends with a two-measure drum fill composed of a bass drum rhythmic acceleration. While drum fills also participate in expressing musical form (Hanenberg 2020), the focus of this article is drum patterns.
Attas (2015) also combines object and process orientations to analyze popular music grooves and form.
Peres (2018) states that “although setup, buildup, and peak are the main and most important sonic functions in the genre, they are not the only possible ones.”
Barna (2020) and Nobile (2022) adopt similar diagram formats.
As Nobile (2022, [1.2]) states, “teleological arrival is both a specific moment and an entire section; the arrival moment is the first downbeat of the arrival section, and the remainder of the section sustains that moment’s energy in a celebratory plateau.”
In Example 22, I label the removal of drums with a “diffusion sonic function” (Peres 2018). An outro is an after-the-end section (Caplin 2009) with a “conclusion” function (Peres 2016; Temperley 2018).
Nobile (2020, 121–22) uses the term “chorus outro” for a similar phenomenon in rock songs.
For more about these section types and their teleological functions in post-millennial pop songs, see Peres (2016), Adams (2019), Stroud (2022), Nobile (2022), and Osborn (2023).
For a more detailed discussion of the formal design in Example 26, see Nobile (2022, [4.8]) and Osborn (2023, 41–44).
For another example of verse–chorus–postchorus form with a buildup chorus, see Osborn’s (2023) analysis of Carly Rae Jepsen’s “Party for One.”
For another example of verse–prechorus–riserchorus–drop form with an anti-telos and riser chorus, see Nobile’s (2022) analysis of The Chainsmokers’ “Closer.”
Peres also states that “all three of these sonic functions are anticipatory, to varying degrees. The setup, as its name would suggest, sets up an expectation for a buildup. The buildup builds up tension toward the peak/climax. The peak represents a high level of tension waiting to be released” (Peres 2016, 73). In a sense, then, all three functions have a degree of tension caused by anticipation.
The third formal cycle in “Ride” includes a buildup prechorus with dramatically different musical characteristics compared to the down prechorus in Example 28—making this example a particularly helpful illustration of the prechorus’s flexible teleological function.
Songs from other popular genres also typically build from start to finish and peak at the conclusion (Spicer 2004; Osborn 2013).
Copyright Statement
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This document and all portions thereof are protected by U.S. and international copyright laws. Material contained herein may be copied and/or distributed for research purposes only.
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https://www.tiktok.com/discover/best-drum-type-beat
|
en
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Make Your Day
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2202
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https://gimletmedia.com/shows/chompers/j4ho9ba
|
en
|
Bodies Week Night Jokes (1-1-2020)
|
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[] |
[] |
[
""
] | null |
[
"Chompers"
] |
2021-01-01T20:00:00+00:00
|
Why did the knee make so many jokes? Find out on today's Chompers!
|
en
|
/images/favicon/196x196-bb8f723b8e1049dfe9c38a906d0b05e6.png?vsn=d
|
Gimlet
|
https://gimletmedia.com:443/shows/chompers/j4ho9ba
|
>> Rachel: It’s that time again! Time for Chompers, your morning and night toothbrushing show!
Pick a side on the top of your mouth, and make little circles with your brush around each tooth.
>> Kids: 3, 2, 1 brush!
>> Rachel: It’s Bodies Week on Chompers, and tonight we’ve got a bunch of jokes HEAD-ing your way! (SFX RIMSHOT)
Alright, what’s a pirate’s favorite body part?
>> Jasmine: Is it the ARRRRRM?
>> Rachel: YAARRR you think it’s the ARRRRRRm but its The booty (SFX RIMSHOT)
Your ARRRRM is actually where your funny bone is located.
Switch your brushing to the other side of the top of your mouth (SFX), and give your front teeth a brush too.
You know when you bump your elbow against something it feels really funny. (SFX) It doesn’t exactly hurt .. it feels sort of buzzy? That’s your funny bone! But actually … it’s not a bone at all! It’s a NERVE connected to the humerus bone in your arm. (SFX RIMSHOT) That’s not a joke! The funny bone really is connected to the HUMERUS!
Give your tongue a quick brush, (SFX TONGUE BRUSH) then switch your brushing to the bottom of your mouth (SFX SWITCH)
Here’s another joke:
Why did the knee make so many jokes?
>> KIDS: I don’t know.
>> Rachel: It was a kidney (SFX RIMSHOT/LAUGHS)
Your kidneys are like your body's filtration system: they keep your blood clean, and remove any unnecessary chemicals that might be hanging out in there. Anything your body doesn't need your kidneys put in your urine, so you pee it right out! (SFX flush)
Switch your brushing to the other side of the bottom of your mouth (SFX), but not tooo hard.
Alright here’s your LAST JOKE:
>> Rachel: Why did the butt fall asleep?
>> KIDS: Why?
>> Rachel: Because he was pooped (SFX RIMSHOT/FART)
Well now I’M pooped after telling you all those jokes. Get a good night’s sleep and come back tomorrow for a fresh episode of Chompers. Until then, rinse with water before you...
>> Kids: 3, 2, 1 spit!
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2202
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dbpedia
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| 44
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https://www.musiciansfriend.com/accessories/evans-st-dry-coated-snare-drumhead
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en
|
Musician's Friend: Musical Instruments Store
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] |
[] |
[] |
[
""
] | null |
[] | null |
Shop our selection of instruments, musical equipment & supplies. Get the lowest prices & free shipping on most orders. Check back daily for special savings.
|
en
|
https://static.musiciansfriend.com/img/brand/mobile-mf/favicon-mf.ico
|
https://www.musiciansfriend.com/
| ||||||
2202
|
dbpedia
|
3
| 11
|
https://en.wikipedia.org/wiki/Snare_drum
|
en
|
Snare drum
|
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[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2001-05-24T14:10:37+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Snare_drum
|
Type of percussion instrument
SnarePercussion instrumentOther namesField drum, side drumClassification
Percussion
Drum
Unpitched
Hornbostel–Sachs classification211.212.11
(Individual double-skin cylindrical drums, one skin used for playing)Developed13th centuryRelated instruments Tabor
The snare drum (or side drum) is a percussion instrument that produces a sharp staccato sound when the head is struck with a drum stick, due to the use of a series of stiff wires held under tension against the lower skin. Snare drums are often used in orchestras, concert bands, marching bands, parades, drumlines, drum corps, and more. It is one of the central pieces in a drum set, a collection of percussion instruments designed to be played by a seated drummer and used in many genres of music. Because basic rhythms are very easy to learn to play on a snare drum even for children, the instrument is also suitable for the music education for young children and a rhythm band.
Snare drums are usually played with drum sticks, but other beaters such as the brush or the rute can be used to achieve different tones. The snare drum is a versatile and expressive percussion instrument due to its sensitivity and responsiveness. The sensitivity of the snare drum allows it to respond audibly to the softest strokes, even with a wire brush. It can be used for complex rhythmic patterns and engaging solos at moderate volumes. Its high dynamic range allows the player to produce powerful accents with vigorous strokes and a loud metallic click when rimshots are used.
The snare drum originates from the tabor, a drum first used to accompany the flute. The tabor evolved into more modern versions, such as the kit snare (the type usually included in a drum kit), marching snare, tarol snare, and piccolo snare.[1] Each type is a different size, and there are different playing styles associated with each of them. The snare drum that one might see in a popular music concert is usually used in a backbeat style. In marching bands, it can do the same but is used mostly for a front beat.[citation needed] In comparison with the marching snare, the kit snare is generally smaller in length, while the piccolo is the smallest of the three. The snare drum is easily recognizable by its loud cracking sound when struck firmly with a drumstick or mallet. The depth of the sound varies from one drum to another because of the different techniques and construction qualities of the drum. Some of these qualities are head material and tension, dimensions, and rim and drum shell materials and construction.
The snare drum is constructed of two heads—both usually made of Mylar plastic in modern drums but historically made from calf or goat skin—along with a rattle of beads(metal, plastic, nylon, or gut) called "snares" in close contact with it, on the bottom head, which vibrate when the drum is struck. The snares can also be on the top, as in the tarol snare drum, or on both heads as in the case of the Highland snare drum. The top head is typically called the batter head because that is where the drummer strikes it; the bottom head can also be called the snare head (if the snares are located there). The tension of each head is held constant by tension rods. Tension rod adjustment allows the pitch and tonal character of the drum to be customized by the player. Most snare drums have a lever (the strainer) to engage or disengage contact between the snares and the head, and which also permits adjustment of the snare tension. When the snares are disengaged, the sound of the drum resembles a Floor tom. The rim is the metal or wooden ring around the batter head that holds the head onto the drum and provides tension to the head; the rim can also be used in some playing techniques, notably the rimshot, in which the head and rim are struck together with a single stick to create a clicking, or tapping sound.
Playing
[edit]
When the top head is struck, the bottom (resonant) head vibrates in tandem, which in turn stimulates the snares and produces a cracking sound.
The drum can be played by striking it with a drum stick or any other form of beater, including brushes, rute and hands, all of which produce a softer-sounding vibration from the snare wires. When using a stick, the drummer may strike the head of the drum, the rim (counterhoop), or the shell.
The snares can be thrown off (disengaged) with a lever on the strainer so that the drum produces a sound reminiscent of a tom-tom.[2] Rimshots are a technique associated with snare drums in which the head and rim are struck simultaneously with one stick (or in orchestral concert playing, a stick placed on the head and the rim struck by the opposite stick). In contemporary and/or pop and rock music, where the snare drum is used as a part of a drum kit, many of the backbeats and accented notes on the snare drum are played as rimshots, due to the ever-increasing demand for their typical sharp and high-volume sound.
A commonly used alternative way to play the snare drum is known as "cross-stick", "rim click", or "side-stick". This is done by holding the tip of the drumstick against the drum head and striking the stick's other end (the butt) against the rim, using the hand to mute the head.[3] This produces a dry high-pitched click, similar to a set of claves, and is especially common in Latin and jazz music. So-called "ghost notes" are very light "filler notes" played in between the backbeats in genres such as funk and rhythm and blues. The iconic drum roll is produced by alternately bouncing the sticks on the drum head, striving for a controlled rebound. A similar effect can be achieved by playing alternating double strokes on the drum, creating a double stroke roll, or very fast single strokes, creating a single stroke roll. The snares are a fundamental ingredient in the pressed (buzz) drum roll, as they help to blend together distinct strokes that are then perceived as a single, sustained sound. The snare drum is the first instrument to learn in preparing to play a full drum kit. Rudiments are sets of basic patterns often played on a snare drum.[4]
Construction
[edit]
Snare drums may be made from various wood, metal, acrylic, or composite, e.g., fiberglass materials.[5] A typical diameter for snare drums is 14 in (36 cm). Marching snare drums are deeper (taller) in size than snare drums normally used for orchestral or drum kit purposes, often measuring 12 in deep (tall). Orchestral and drum kit snare drum shells are about 6 in (15 cm) deep. Piccolo snare drums are even shallower at about 3 in (7.6 cm) deep. Soprano, popcorn, and firecracker snare drums have diameters as small as 8 in (20 cm) and are often used for higher-pitched special effects.[2]
Most wooden snare drum shells are constructed in plies (layers) that are heat- and compression-moulded into a cylinder. Steam-bent shells consist of one ply of wood that is gradually rounded into a cylinder and glued at one seam. Reinforcement rings, so-called "re-rings", are often incorporated on the inside surface of the drum shell to keep it perfectly round. Segment shells are made of multiple stacks of segmented wood rings. The segments are glued together and rounded out by a lathe. Similarly, stave shells are constructed of vertically glued pieces of wood into a cylinder (much like a barrel) that is also rounded out by a lathe. Solid shells are constructed of one solid piece of hollowed wood.
The heads or skins used are a batter head (the playing surface on the top of the drum) and a resonant (bottom) head. The resonant head is usually much thinner than the batter head and is not beaten while playing. Rather than calfskin, most modern drums use plastic (Mylar) skins of around 10 mils thickness, sometimes with multiple plies (usually two) of around 7 mils for the batter head. In addition, tone control rings or dots can be applied, either on the outer or inner surface of the head, to control overtones and ringing, and can be found positioned in the centre or close to the edge hoops or both. Resonant heads are usually only a few mils thick, to enable them to respond to the movement of the batter head as it is played. Pipe band requirements have led to the development of a Kevlar-based head, enabling very high tuning, thus producing a very high-pitched cracking snare sound.
A new technique used to improve the sound quality during snare drum construction is symmetrical venting. In contrast to a standard single vent hole, air can easily travel through and around the instrument without getting caught. This rapid movement creates a smoother, stronger sound.
History
[edit]
The snare drum seems to have descended from a medieval drum called the tabor, which was a drum with a single-gut snare strung across the bottom. It is a little bigger than a medium tom and was first used in war, often played with a fife (pipe); the player would play both the fife and drum (see also Pipe and tabor).[6][7] Tabors were not always double-headed[8] and not all may have had snares. By the 15th century, the size of the snare drum had increased and had a cylindrical shape. This simple drum with a simple snare became popular with the Swiss mercenary troops who used the fife and drum from the 15th to 16th centuries. The drum was made deeper and carried along the side of the body. Further developments appeared in the 17th century, with the use of screws to hold down the snares, giving a brighter sound than the rattle of a loose snare. During the 18th century, the snare drum underwent changes which improved its characteristic sound. Metal snares appeared in the 20th century. Today the snare drum is used in jazz, pop music and modern orchestral music.[9]
Much of the development of the snare drum and its rudiments is closely tied to the use of the snare drum in the military. In his book, The Art of Snare Drumming, Sanford A. Moeller (of the "Moeller Method" of drumming) states, "To acquire a knowledge of the true nature of the [snare] drum, it is absolutely necessary to study military drumming, for it is essentially a military instrument and its true character cannot be brought out with an incorrect method. When a composer wants a martial effect, he instinctively turns to the drums."
Before the advent of radio and electronic communications, the snare drum was often used to communicate orders to soldiers. American troops were woken up by drum and fife playing about five minutes of music, for example, the well-known Three Camps.[10] Troops were called for meals by certain drum pieces, such as "Peas on a Trencher" or "Roast Beef". A piece called the "Tattoo" was used to signal that all soldiers should be in their tent, and the "Fatigue Call" was used to police the quarters or drum unruly women out of the camp.[11]
Many of these military pieces required a thorough grounding in rudimental drumming; indeed Moeller states that: "They [the rudimental drummers] were the only ones who could do it [play the military camp duty pieces]".[12] Moeller furthermore states that "No matter how well a drummer can read, if he does not know the rudimental system of drumming, it is impossible for him to play 'The Three Camps', 'Breakfast Call', or in fact any of the Duty except the simple beats such as 'The Troop'."[13]
During the late 18th and 19th century, the military bugle largely supplanted the snare and fife for signals. Most modern militaries and scouting groups use the bugle alone to make bugle calls that announce scheduled and unscheduled events of the organization (from First Call to Taps). While most modern military signals use only the bugle, the snare is still retained for some signals, for example, the Adjutant's Call.
Snare drumheads were originally made from calfskin. The invention of the plastic (Mylar) drumhead is credited to a drummer named Marion "Chick" Evans, who made the first plastic drumhead in 1956.[14]
Drum rudiments seem to have developed with the snare drum; the Swiss fife and drum groups are sometimes credited with their invention.[15] The first written rudiment was drawn up in Basel, Switzerland in 1610.[16] Rudiments with familiar names—such as the single paradiddle, flam, drag, ratamacue, and double stroke roll, also called the "ma-ma da-da" roll—are listed in Charles Ashworth's book in 1812.[17]
Definitions
[edit]
Military drum/field drum: a snare drum with a diameter of 14–16 in and 9–16 in deep, with a wood or metal shell and the two heads stretched by tensioning screws. It has a snare-release lever to activate or deactivate a minimum of eight metal, gut, or plastic snares. The term came into use in 1837 with the invention of the tensioning-screw mechanism. While it frequently placed on a stand, it can also be played without the stand, screws and the lever in marching configuration.[18] Also called a Tamburo Militare in Italian, a Militär-Trommel in German, a Tambor in Spanish, a Tamboer in Dutch or a Tambour Militaire or Tambour D'ordonannce in French, or uncommonly a Street Drum in English.[19]
Side drum: a common British and Scottish Highlands term for a snare drum.[20] Also known as a Piccolo Cassa or Tamburo Piccolo in Italian, Kleine Trommel in German, Caja in Spanish, or Caisse Claire in French.[19] Refers commonly to an orchestral snare drum in America, while in the Commonwealth it refers to a marching snare.
Tabor: a large drum with a single snare on the batter head used in the Middle Ages and sometimes called for in orchestral repertoire. Also known as a Tenor Drum, a Tamburello in Italian, a Tamburin in German, or a Tambourin Provençal in French.[19] Not to be confused with the Scottish pipe band tenor drum which has no snare.
Guillotine drum:
Types
[edit]
There are many types of snare drums, for example:
Marching snare ("regular" and "high tension")
Marching snares are typically 12 in (30 cm) deep and 14 in (36 cm) wide. The larger design allows for a deeper-sounding tone, one that is effective for marching bands.[21] Many marching snares are built to withstand high amounts of tension, tightened by a drum key. They are often played with a heavier and thicker stick, more commonly referred to as "marching sticks". Snares are often nylon or gut.
Pipe band snare
Similar to a marching snare, pipe band snares are deep and tuned quite tightly. The major difference is that they feature a second set of snare wires beneath the batter head, along with the normal set on the resonant head.[22] This gives them an even more crisp and snappy sound. Snare drummers form an integral part of pipe bands, accompanying the bagpipes, and playing music written to fit the pipe tunes. A bass drummer and several tenor drummers, who also perform visual representations of the music, known as flourishing, add to the percussion section of a pipe band. The music played by pipe band snare drummers can be technically difficult, and requires a high degree of rudimental ability, similar to that of marching bands. Pipe Band snare normally use the traditional grip.
Drum kit snare
Drum kit snares are usually about a third to half the depth of a marching snare. They are typically 14 in (36 cm) in diameter and 5, 5+1⁄2, 6, 6+1⁄2 or 7 in (13, 14, 15, 17 or 18 cm), with 8 in (20 cm) depths also available.[21] Typically uses coiled metal snare wires.
Piccolo snare
The piccolo snare is a type of snare used by drummers seeking a higher-pitched sound from their snare. Because the piccolo snare has a narrower depth than that of the marching snare or set snare, a higher-pitched "pop" is more widely associated with it. Although the piccolo snare has a more distinctive, unique sound, it has some downsides. Because of the "sharper" sound of the piccolo, its sound travels further and is picked up by microphones further away during recording, making it difficult to record effectively.[23] There are many kinds of piccolo snare which can be piccolos, including the popcorn, soprano and standard snares. Popcorn snares typically have a diameter of 10 in (25 cm), sopranos 12–13 in (30–33 cm), and standard piccolos 14 in (36 cm).[23] A well-known user of the piccolo snare was Neil Peart, the drummer of Rush, who used a 13 in (33 cm) X Shell Series Piccolo.
Orchestral snare
Orchestral snare drums usually conform to the dimensions of drum kit snares, but often have a calf skin head or a synthetic approximation of a natural head material. They also typically use snares made of metal cable, gut, synthetic cord, or nylon,[21] with some orchestral snare strainers supporting 3 different materials simultaneously and the ability to tune each bundle of snare material independently.[24]
Tabor
The tabor snare dates back to around the 14th century, and was used for marching beats in wars. It is a double-headed drum with a single snare strand, and was often played along with the three-holed pipe flute. The dimensions vary with the different types of tabor. It is typically 4+1⁄2 in (11 cm) wide and around 11–13 in (28–33 cm) in diameter.[25]
Tarol
The tarol snare has similar dimensions to the kit snare. The major distinction is that the snares in this type are on the top head rather than the bottom one.
Caixa malacacheta
"Caixa" meaning "box". This is a simple 12 or 14 in (30 or 36 cm) diameter, 8 in (20 cm) deep snare typical of Samba played in Southern Brasil. Made from aluminum or steel with the snare wires on top, it can be played from a sling or "em cima" – on the shoulder to project the sound.
Famous solo works
[edit]
"Three Dances for Solo Snare Drum" by Warren Benson
"Trommel Suite" by Siegfried Fink
"American Suite for Solo Snare Drum" by Guy Gauthreaux II
"Prím" by Áskell Másson
"March-Cadenza" by Gert Mortensen
"Douze Études pour Caisse Claire" by Jacques Delécluse
Famous orchestral repertoire
[edit]
Lieutenant Kije by Sergei Prokofiev
Scheherazade by Rimsky-Korsakov
"The Stars and Stripes Forever" by John Philip Sousa
Polovetsian Dances by Alexander Borodin
Carl Nielsen's Fifth Symphony
Ionisation by Edgard Varese
Bolero by Maurice Ravel
Dmitri Shostakovich's Seventh Symphony, "Leningrad" and Eleventh Symphony, "The Year 1905"
Béla Bartók's Concerto for Orchestra
Popular brands
[edit]
Brady Drum Company
DW
Fibes
Gretsch
Ludwig
Mapex
Pearl Drums
Pork Pie Percussion
Premier
Remo
Rogers
Slingerland
Sonor
Tama
Yamaha
See also
[edit]
Snare drum hardware
Double-drumming
References
[edit]
Sources
[edit]
Beck, John (1995). Encyclopedia of percussion instruments. New York: Garland Publishing. ISBN 0-8240-4788-5. Google Books preview. Accessed 8 September 2009.
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https://blog.landr.com/what-is-an-808/
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What is an 808? History & Tips for Great 808s
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2020-09-18T17:00:25+00:00
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The Roland TR-808 is legendary drum machine that inspired a generation of music. But what makes it sound so good and why is the 808 kick so huge?
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LANDR Blog
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https://blog.landr.com/what-is-an-808/
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You’ll hear 808s in pretty much every trap track in existence. It’s used extensively in pop music and most other forms of electronic music too.
So what makes an 808 so important to producers and how can you get pro-sounding 808s in your tracks?
In this article, we’ll look at why the 808 is such an appealing sound, where it came from and how to make tracks with perfect 808s.
What is an 808?
808s are a type of electronic percussion sample that originates from the Roland TR-808 drum machine. They’re characterized by a punchy low-end subby-ness that is easily tunable to different pitches.
The original TR-808 comprised programmable kick, snare, low tom, mid tom, hi tom, clap, cowbell, open hi-hat, closed hi-hat, low conga, mid conga, hi conga, clave, rimshot, maracas and cymbal sounds.
808s are based on static noise that is carefully sound designed to electronically re-create the strike of a beater and resonating drum head.
Generally, that means a loud attack and a quick resonating decay.
But today, 808 drums don’t always sound like the original 808s of the TR-808.
Producers have spent a lot of time twisting and sculpting the classic sounds into their own versions, adding distortion, playing with attack and decay, adding compression and more.
Just search 808 on an online sample market and you’ll hear hundreds of different versions.
You’ll hear 808s in pretty much every trap track in existence.
TR-808 origins
The 808 sound originated from the Roland TR-808. This drum machine defined the sound of techno and house in the 80s and 90s.
Beyond dance music, the drum machine inspired early hip hop producers like Rick Rubin and Afrika Bambaataa to pioneer the 808 laden sound of 90s hip hop.
It’s a rare piece of vintage gear that’s still sought after today.
The TR-808 drum machine defined the sound of techno and house in the 80s and 90s.
The 808 bass was of particular interest to these early hip-hop producers.
That’s why today 808 generally refers to the widely used 808 bass drum sample. But still, the snare, clap, cowbell, cymbal hi-hat and other 808 sounds are well-loved and heavily used by many producers.
The 808 bass’ tendency to rattle trunks and shake club walls gave them an ominousness and intensity that worked well with the lyrics rappers we’re writing during the early 90s.
It wasn’t long until producers began tweaking the TR-808 stock sounds to create even more hard-hitting versions of the subby kick.
How to make great 808 drums
Fortunately, you don’t need to shell out thousands and buy a vintage drum machine to get an interesting and authentic 808 kick.
In fact, the modern 808s you hear in trap and electronic music have usually gone through a ton of processing to make them boomier and more distorted.
There are many ways to affordably create great sounding 808s, let’s take a look at 7 of the most common 808 production techniques.
1. Start with a great 808 sample
To get started with 808s you need a good sample to work with.
To get started with 808s you need a good sample to work with.
Your DAW most likely comes with a few options, but if you’re looking for a specific kind of 808 you might want to turn to an online samples market like LANDR Samples.
You’ll find 1000s of 808s designed by the industry’s best producers.
2. Tune your 808
808s are essentially a short sub-oscillator frequency burst. That means they oscillate to a specific pitch.
If your 808s aren’t tuned properly they won’t sound right in your arrangement. So make sure you tune your 808s to the key of your track before writing them in.
We’ve written articles about finding the key of your track before, if you need help.
We’ll talk a little bit more about 808 music theory later in this article.
3. Know your frequency spectrum
808s by default will take up a ton of space in the low-end of your mix.
The main concern here is that your 808 sits the more powerful range of the sub-frequency spectrum—ideally above 30Hz.
If your 808 is too subby it won’t have any power, just make sure your aren’t getting into higher bass frequencies either.
Really, the ideal sub frequency range lies between 30Hz and 60hz.
Hot tip: Most speaker systems struggle to reproduce frequencies below 40 Hz. Take extra care around these ultra-low frequencies and make sure to set your high pass filter high enough to deal with them.
4. EQ your 808s to the bottom of your mix
When you’re using 808s there’s no debate—the 808s are the only thing that should occupy the bottom end of your mix.
That means you must EQ some of the low-end out of your kicks and synth bass frequencies. Otherwise, you’ll weaken the impact of your 808s.
5. Increase the attack time on your 808 drums
One way to distinguish your 808 bass from the other sounds in the low-end of your track is by increasing the attack time of your 808 bass.
This delays the peak volume of your 808 hits so that you hear the kick first and then the swell of the 808 sub frequencies.
Increasing the attack time is what helps round out the overall sound of your kick.
6. Clean up the lows with a hi-pass filter
For any part of your track that isn’t in the low-end the EQ process to bring out your 808s is simple—hi-pass filter any low-end frequencies.
This ensures that instruments like hi-hats and snares aren’t taking up any of the low-end room that your 808 needs.
7. Sound design your own 808 drum sample
You can use pretty much any single-cycle waveform to develop your own 808 sound. The original 808 was made with a white noise sample after all.
You can use pretty much any single cycle waveform to develop your own 808 sound.
In this video, Andrew Huang shows a process anyone can follow to create their own personal 808 bass sound.
There’s some pretty technical sound design concepts at play, but if you want the learn the ins and outs of what’s inside an 808 this is the perfect tutorial.
808s and Music Theory
The 808 isn’t just a drum, it’s a melodic instrument
So, understanding the role of 808s in music theory will greatly improve the quality of your productions.
While the 808 is most commonly recognized as a percussive sound, it has a clear pitch.
This means it doesn’t just occupy a rhythmic role; it can contribute to the harmonic and melodic structures within your track.
An 808 kick, particularly when it has a long decay, effectively functions as a bass instrument. That’s why tuning your 808s is so crucial.
If the pitch of your 808 kick doesn’t match the key of your song, it can create a dissonant effect, which may or may not be what you’re going for.
In most contemporary music genres, especially in trap and hip-hop, the 808 often carries the bassline, providing both the low-end foundation and outlining the harmonic progression of the song.
So tune your 808s to play the root notes of the chords in your progression, reinforcing the harmonic structure of your track.
Or try tuning your 808s to play fifths (the fifth note in your scale) and octaves can bring a different vibe to your music—rappers like Lil Baby and Juice WRLD love beats that use a gliding effect from note to note, to give their 808s a sliding sound
Some producers will also program their 808s to follow or counter the melody line, introducing a layer of complexity and interest to the track.
Celebrate the 808
It’s not very often that a single sound or piece of gear sparks an entire new generation of music.
But the TR-808 and the 808 bass absolutely falls into this category.
There’s nothing better than the feeling of hearing your track pound through a club’s sound system with the help of a great sounding 808 kit.
Now put some 808s in your next track!
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Kontakt Instruments
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[] | null |
Discover Rimshot tagged Kontakt Instruments at Loot Audio. Download the best in Rimshot Kontakt Instruments, Plugins, Presets, Sounds and Sample Packs today.
|
en
|
/_assets/core-images/icons/favicon.png
|
https://www.lootaudio.com/category/kontakt-instruments/tag/rimshot
|
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2202
|
dbpedia
|
0
| 64
|
https://www.zzounds.com/item--ROLTD07KVX
|
en
|
Roland TD-07KVX V-Drums Electronic Drum Kit
|
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[] |
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[
""
] | null |
[] | null |
Say hello to the pinnacle of the TD-07 series! The Roland TD-07KVX V-Drums kit features 25 preset kits and over 140 instruments to sculpt your ideal kit.
|
en
|
https://www.zzounds.com/item--ROLTD07KVX
|
Split your cost over a number of months using your own payment card, and never pay a penny of interest, ever!
Place your order and make your first monthly payment today, and your in-stock gear will be in your hands in about two days.
It couldn't be any easier.
|
||||||
2202
|
dbpedia
|
2
| 92
|
https://vitalinformation.com/news/drumtalk/md1.htm
|
en
|
Steve Smith :: Confessions of a U.S. Ethnic Drummer (part 1)
|
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[] |
[] |
[
"steve smith",
"drummer",
"drums",
"vital information",
"steve smith's jazz legacy",
"raga bop trio",
"steps ahead",
"jean luc ponty",
"journey",
"journey band",
"summit",
"tom coster",
"frank gambale",
"baron browne",
"vinny valentino",
"jazz",
"fusion",
"electric jazz",
"contemporary jazz",
"Vic Firth",
"Remo",
"sonor",
"zildjian",
"hudson music",
"buddy rich",
"buddy's buddies"
] | null |
[] | null |
Steve Smith Drumtalk: Confessions of a U.S. Ethnic Drummer article (part 1).
| null |
Steve Smith's Drum Talk:
Confessions of a U.S. Ethnic Drummer (part 1)
By Bill Milkowski (Modern Drummer)
There was a defining moment at the Drummers Collective 25th Anniversary Celebration last November in New York City in which Steve Smith revealed himself to be hipper than the room. Following an awesome display of mondo-technique from a succession of heavyweight chopmeisters Kim Plainfield, Dave Weckl and Horacio "El Negro" Hernandez (all which the packed house of aspiring drummers ate up with the delight), Smith took the stage and proceeded to hold court with simply a snare and a pair of brushes. No imposing double bass drum flailing, no acrobatic fills or traversing the kit with pumped up attack, no heroic cross sticking or clave action on a wood block triggered by a foot pedal. No chops grandstanding, no flailing, no sweating. Just snare and brushes, a totally relaxed approach and a deep desire to make music. It was the perfect zen-like response to the parade of whirlwind sticking the had preceeded him; the ultimate example of "less is more."
If Smith hadn't won the crowd over by that point -- playing Ed Thigpen in the wake of Billy Cobham's thunder -- he certainly did with his next savvy maneuver. Taking his hi hat and a single stick to the front of the stage, he proceeded to wow the crowd with a demonstration of stick balancing points that was part Papa Jo Jones, part Harlem Globetrotters. By the time he had the stick balancing and rebounding in seamless sequence off his shin, his ankle, his arm, rolling it between fingers without dropping a beat, the crowd offered up ecstatic applause. It's an old school move that never fails to entertain. Papa Jo himself did it himself before an awed crowd at the 1957 Newport Jazz Festival and living legend Roy Haynes continues to do it to this day on the bandstand. But no one expected a bona fide fusionhead, Mr. Vital Information, to pull off such a slick old school trick with such smooth aplomb. Everyone in the house knew that Steve Smith was a killer drummer. But who knew he was so hip? As Roy used to say of himself, "There might be a better drummer than me, but there's no one hipper."
It might be because Smith had been spending a lot of time in the past, so to speak, that he channeled such old school shtick. Or perhaps he is precisely what drum elder and bop guru Freddie Gruber called him -- "an old soul in a young body." As the writer, narrator and demonstrator of "Drumset Technique/History of the U.S. Beat," a two-disc DVD set from Hudson Music that thoroughly examines the evolution of the drumset in U.S. music while offering examples of how the kit was used in all the major styles, Smith immersed himself in studying the origins of this uniquely American instrument, going all the way back to Africa to find clues on how the drumset came to be. Using a comprehensive and scholarly approach, he traced the evolution of the drumset from hand drums and talking drums to "patting juba" to incorporating cymbals and development of the first practical bass drum pedal. This enlightening musical travelogue progress from early New Orleans jazz at the turn of the 20th century to big band jazz in the '30s, bop in the '40s, followed by rhythm 'n blues, blues, country, gospel, rock 'n roll, funk and culminating in '70s fusion. Steve provides detailed examples along the way of how the drummers implemented the kit into the style of the times. In addition, his group, Vital Information, performs seven complete tunes that feature applications of the techniques and complex rhythms that Steve broke down in complete detail in Disc One.
A massive undertaking, this comprehensive two DVD set runs over four and a half hours, providing enlightening and entertainment along the way for drummers and non-drummers alike. We caught up to Smith on the evening just prior to his showcase appearance at the Drummers Collective 25th Anniversary Celebration.
MD: Did you consciously put yourself into a scholarly frame of mind to do this project, "Drumset Technique/History of the U.S. Beat"?
STEVE SMITH: That mindset of exploring the history of U.S. music is just something that I've been living for a long time, so I've been in that headspace for quite a few years.
MD: Then this project was merely formalizing something that you've been thinking about anyway?
SS: Yeah, exactly. I guess the place to start is the Vital Information album "Where We Come From." Before we did that album back in 1997 I had spent some time investigating Afro-Cuban music. I realized I could learn the patterns of that style of drumming and I could play it to a degree but I didn't really play it well, in my opinion, because I didn't grow up in the culture. I realized that the best musicians of the genre are literally all from Cuba or Puerto Rico or somewhere in the Caribbean and most of them know the history of their music and culture. This inspired me to focus on the music of my own culture and use that same approach. I had to admit that as a U.S. drummer I didn't know a lot about the origins of my own music. I knew some jazz history and I had lived through '60s rock and the fusion era but I didn't know a lot about early jazz or the early rhythm and blues, blues, country and gospel and all that. And at a point I really started seeing myself as part of a lineage, a U.S. ethnic drummer playing the percussion instrument of the United States -- the drum set.
MD: And that triggered your whole investigation of the past?
SS: Definitely. I wanted to be informed about my own past and what I was connected to. I became very engrossed in learning about the whole U.S. music scene in general and the development of the drum set in particular. So now I really do see myself as a U.S. ethnic drummer that plays all the different styles of U.S. music, not that I'm a unique person doing it because I think there's a lot of guys doing it but they may not have identified themselves as that. It's been helpful for me to think of myself as a U.S. ethnic drummer. It's a bigger perspective than "a jazz drummer" or "studio drummer" or "fusion drummer."
MD: How did this project come to fruition? How did you research it and what areas in particular did you have to study that you weren't well acquainted with?
SS: I started from the perspective of a jazz drummer because that's essentially how I first learned to play the drums. As a kid I took lessons from a teacher named Billy Flanagan who lived in Brockton, Massachusetts. In the 1960s he was already in his 60s so he had played in the '30s and the '40s. He was a swing drummer like a Louis Bellson or a Buddy Rich and that's the concept that I learned from him. So through Billy my earliest background was in big band swing music but growing up in the '60s I just sort of intuited rock 'n roll because it was in the culture. I find that you don't so much have to study the music that is of the culture that you're growing up in, you just seem to get it. I just got Led Zeppelin and Jimi Hendrix so I didn't have to really study that music, just like a kid today wouldn't have to study Blink 182, Tool or whatever bands they're listening to. And with fusion, I saw it all happen first generation because when I got out of high school in '72 and went to Berklee, I got to see Return To Forever, Billy Cobham's band, Tony Williams Lifetime, the Headhunters and all of that. That music, because it was in the air, was part of the culture of my time.
MD: So what styles did you have to study in order to prepare for this DVD project?
SS: Well, initially I had done research on older styles without ever thinking about doing a DVD. It was just something I was doing, following my own interests because I was curious and wanted to expand my knowledge and playing ability. But in preparing the DVD, I had to go back and study those styles that didn't come naturally to me. For example, I had to study the early New Orleans drumming. Obviously, I didn't grow up in New Orleans and I didn't grow up in the '20s or the '30s so that was definitely something I had to investigate. So I studied the early New Orleans thing and just followed it sequentially through the swing bands and bebop and rhythm and blues and all of that. And then I eventually branched out and started to learn more about all the different styles of U.S. music that at first didn't have drums but were still a big part of the culture. I looked for the earliest blues, gospel and country recordings that I could find. So it started with the jazz drumming and then I followed it back as far as I could go through recordings, writings, listening and talking to people and just everything I could do to get educated.
MD: I understand that you're currently involved in another musicological undertaking?
SS: Yes, another project we're doing with Hudson Music is a history of rock 'n roll drumming. And through that I've gotten to meet some of the early rock 'n roll drummers, like Buddy Harman, who was probably the first Nashville country drummer, and D.J. Fontana, who toured and recorded with Elvis Presley. Also Jerry Allison from Buddy Holly's band The Crickets and J.M. Van Eaton who was the house drummer at Sun Records. So I've gotten a chance to talk to and interview these guys -- Earl Palmer, Hal Blaine, Sandy Nelson. I'm getting a lot of input for this next project and learning about these other styles of music.
MD: Any revelations from that project?
SS: I found it somewhat of a revelation that there was no such thing as country drummers, blues drummers, gospel drummers or rock drummers in the very first generation of adding drums to those styles of music. It turns out that most of the guys who played on the early country, blues, gospel and early rock 'n roll sessions considered themselves jazz drummers. For example, in 1935 when Bob Wills wanted to add a drummer to his Western Swing group the Texas Playboys he got Smokey Dakus, who was a jazz drummer, because there was no such thing as a country drummer at the time. Drums weren't added to Nashville country music until the '50s. And the guy who did most of those early country sessions, Buddy Harman, was a jazz drummer as well. There were no real country drummers at that time. If a country musician wanted a drummer on his record at that time, he hired a jazz drummer. So the real revelation is that for about the first 50 years of U.S. music history the only kind of drumming going on was jazz drumming, whether it was New Orleans style, swing style, bebop or early rhythm and blues drumming, which is really more of a big band concept applied to a small group with a singer or sax player out front.
MD: And even into the '60s with Motown...those session guys were all working jazz musicians before Motown hired them as the house band.
SS: Exactly. And the same with the blues guys. When Chess Records added drums to Muddy Waters and other blues players recordings in the early 50s...there were no blues drummers yet so they added jazz drummers like Fred Below. Same with gospel recordings. They'd have Panama Francis play or some other New York or Memphis drummer who had a jazz background. It was real interesting for me to see that the jazz drummers were really the original drummers in every genre in American music.
MD: That's the common ground that makes it such quintessentially American music.
SS: Yeah! And it was even the same thing with early rock 'n roll. Earl Palmer, who is essentially a bebop drummer from New Orleans, played on all those early Fats Domino and Little Richard sessions recorded in New Orleans during the '50s. So the very first drummers in all the genres -- guys working for a living and playing sessions -- were jazz drummers. And then shortly thereafter you did have young drummers who began identifying themselves as drummers other than jazz drummers. When I did these interviews with the early rock drummers I asked them how they saw themselves and D.J. Fontana said he clearly saw himself as a jazz drummer. He grew up in the northern part of Louisiana listening to Gene Krupa and wanting to play jazz but ended up getting the gig with Elvis. And it was a great gig so he did it but he still saw himself as a jazz drummer. And Jerry Allison when he was a kid saw Elvis and saw D.J. playing with Elvis, but Jerry Allison was then 14 and he said, "I wanna be a rock 'n roll drummer." He grew up with and played with Buddy Holly and perceived himself as a rock drummer. But if you listen to what D.J. and Jerry play on the records, their playing is not that far apart from each other, they're both swinging and they're both playing some real nice parts. The main difference is how they perceive themselves as far as one saw himself as a jazz drummer playing rock and the other saw himself as a rock drummer. And you could extend that to today where maybe an r&b drummer is playing on the first rap record in the late 70s and he's not considering himself as a rap drummer because there was no such thing at the time. But then quickly, probably within a year or so, there would be a young drummer growing up with the attitude of "I'm a hip-hop drummer," and that's his concept. So it doesn't take long for the thing to catch on where you identify yourself as a particular kind of drummer. But personally I guess I see myself as this overall U.S. drummer.
MD: And now you're a scholar too.
SS: I guess so. But I want to address the common ground that you mentioned earlier, the rhythmic common denominator of U.S. music that connects all of these drumming styles. Just like the clave is the rhythmic common denominator of Afro-Cuban music, the swing pulse is the rhythmic common denominator of all U.S. music. And if you listen to the early recordings of jazz, rhythm and blues, country, gospel, blues or rock 'n roll, it's all swing. All of those early guys were swinging, from Louis Jordan and Cab Calloway right up to Elvis and Jerry Lee Lewis. It all swung! It's a later development where things started to get a little more straight eighth note oriented, which comes out of the boogie woogie piano influence. And that's a long transition. You can hear records where Little Richard is playing more even eighth notes on piano while Earl Palmer is still playing with a shuffle swing feel underneath. But eventually the drummers started to play more and more with the piano players and then the guitar players also began to imitate the piano sound with a more straight eighth feel. Listen to Chuck Berry's "Johnny B. Goode." Fred Below is the drummer on that and he's playing swing with a backbeat against the straight eighth guitar. So the point is, if you develop a strong swing pulse in your playing it opens the door to then being able to play all the different styles because that is the rhythmic common denominator of all U.S. music. After you have a strong swing pulse then you can adapt yourself to whatever the music needs. And you figure out what the music needs by hanging with the cats, by just hanging with the guys who do it and listening.
MD: Will your investigation of U.S. drumming eventually lead you to more current styles like hip-hop or drum 'n bass?
SS: I am going to do a book that will accompany this DVD and go a little further with it in terms of 60s jazz drumming and present-day styles. But as far as doing several volumes of DVDs, I don't really see the point of it because, to me, all the essential ingredients to playing just about any kind of music that you're presented with today was developed by sometime in the 1970s.
MD: No major innovations on the drums after that?
SS: After the '70s, drumming-wise, the next most influential thing that came on the scene was the drum machine. So things really changed in the '80s with that drum machine influence. Throughout time there were key players who had innovated playing concepts on the drums. On the DVD I talk about how the hi hat comes into play on the kit...that's like Papa Jo playing with Count Basie; the floor toms is Gene Krupa with Benny Goodman, the bebop style is Kenny Clarke and the rhythm and blues style...that's really no one particular drummer but rather a lot of guys who played with, say, people like Louis Jordan or Louis Prima. And then with the fusion stuff, of course, there's Billy Cobham and Lenny White and Mike Clark. And then the next drummer who really turned everyone's head around with a new concept was Steve Gadd, who brought a real studio consciousness to his playing. Steve was probably the first drum star that embodied a heavy studio consciousness. All the other drum stars before that from Gene Krupa and Buddy Rich to Tony Williams to Billy Cobham were guys who played live. They recorded but you wouldn't think of them as studio drummers, per se and the studio players weren't stars. With Gadd, things really started to shift. You got the studio sound and deep feel and the very, very accurate time. And then after him, the next major innovation in drumming was really the drum machine itself. The Linn drum machine became hugely influential. It was used on so many of the pop tunes of the '80s that it triggered a concept change where drummers had to play like that in order to be a pop drummer. It's like you had to play like a machine in order to get work.
MD: It's like the machine was emulating Gadd, and then the next generation emulated the machine.
SS: Yeah, it's a real twist and a real shift. And so, to me, there's not a lot of new drum vocabulary since the '70s, the emphasis became execution -- perfection. Different music's have developed since then but a whole lot of new vocabulary isn't necessary to play it. You can pretty much recycle everything that developed up until the '70s to play the music. For example, drum 'n bass is basically funk drumming speeded up and hip-hop is funk slowed down. And both come directly from James Brown, it's still essentially the same rhythms and beats that the James Brown bands developed in the '60s and '70s. So even though some things have evolved and changed, it remains the same. Hopefully some new things will evolve but for the most part the lion's share of the vocabulary is already there for drummers.
MD: What were some of the surprises that you had in researching the early years...even the African connection. Were there any revelations about how this music developed as you found out about it in your research?
SS: I think what was significant to me is that in the United States there's no hand drum tradition, which in fact led to the drum set becoming the rhythmic voice of the African American community. Whereas, if history had played itself out differently and let's say we had a hand drum tradition in the United States, the drumset may have never been a necessary invention because we would've had a whole percussive orchestra just with hand drumming. But because of the no-drumming laws that were enforced during the time of slavery, the hand drum tradition that develops directly out of African drumming was squelched in this country. It is true that slaves in New Orleans were allowed to play hand drums once a week at Congo Square. But when you look at that in the scope of how long slavery existed in the United States, which is from the 1500s until the mid 1800s, Congo Square only represents about 40 years in the scheme of things. It began in 1817 and lasted until the mid 1850s. I think in some ways the significance of Congo Square has been a bit overemphasized. Congo Square had the drumming legally but there were other places in Louisiana and all over the South that had the African polyrhythmic percussive concepts still being practiced illegally or underground for the entire history of slavery in the U.S. There's a great book by Dena Epstein called "Sinful Tunes and Spirituals," which is a documentation of everything she could find on the African polyrhythmic concept surviving in the United States throughout the years of slavery. She found that people kept the African pulse alive in many ways such as playing washboards, jawbones, beating sticks on the floor, or stomping their feet on the floor. Even some African hand drums or African styled drums that were made in secret here in the U.S. have been found.
MD: And you make an interesting point in the DVD about the polyrhythmic style of "patting juba" leading to the development of the drumset.
SS: That's another percussion instrument, so to speak, that was developed in the U.S., where the person is playing with feet and hands, incorporating all the limbs just like the drumset. It's an African polyrhythmic concept and it was eventually applied to the drumset, which is the only percussion instrument in the world that uses all four limbs. So in effect, the slaves being deprived of hand drums set the stage for the African American community to embrace the drumset. Without hand drums they were forced to adapt to the European percussion instruments that were available in the1800s, the snare drum and the bass drum, so they were comfortable with the individual instruments that would make up the drumset. I find it real interesting that basically the invention of the drum set is the invention of the bass drum pedal. After that happened in the late 1800s, basically the drum set wasn't used for any other purpose than playing jazz, which was a creation of the African American community. So when people first played the drumset they wanted to play with that concept -- one person playing a snare drum and a bass drum with that African American swing rhythmic concept. The drumset could've just as easily been used in a symphony orchestra but it wasn't. It had some applications in, say, vaudeville and maybe a few situations here and there other than jazz but they never took off as playing concepts. The playing concept that we now take for granted is essentially an African American concept of how to use the instrument. This concept has been so thoroughly assimilated into the culture that most people don't even think about it or question how it came to be. Today the drumset is an instrument that's been accepted all over the world but it is quintessentially a U.S. instrument that developed from our unique history and culture.
MD: Has the drumset continued to develop as a vital expression in recent years?
SS: Yes, there are some drummers who are developing new ideas and abilities on the instrument and there are some players that are simply great musicians playing great music on the drumset. But in general, during the last decade or so, it's being used in such a limited and basic way, especially in pop music, that I find it uninspiring. For example they hit the snare drum and get one sound, hit the bass drum and get one sound and play at one dynamic level rather than really getting into the nuance of everything you can do on the drumset as an instrument. There's so many sounds in just the snare drum alone, from a soft press roll to a rimshot...a stick in the middle of the head to the edge where you get a higher pitch and more ring.
MD: And why is that being phased out?
SS: Well, since the music industry is so driven by fashion and pop culture, there's really not much music left in what passes for music these days.
MD: It's so homogenized to the point that the tones themselves are homogenized?
SS: Yeah, in pop music. Machines are playing most everything so people sample a sound and you get one sort of sound or noise and that suffices as a backbeat. And that's what's used rather than getting into the nuance of actually playing the instrument. Meanwhile, I'm getting more and more into the instrument myself. Just the art of playing the snare drum itself...there's so much to it as far as getting a nice sound out of it and exploring all the tones that are available just on the one instrument, or getting into the nuances of playing a ride cymbal. There's so much there.
MD: Well, there's still room for that in jazz.
SS: There is. And thats encouraging.
Continue to Part 2...
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https://www.bostondrumlessons.com/bostondrumlessonsblog/2019/6/24/tone-town
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Boston Drum Lessons - Tone Town: Exploring the Tonal Range of Drums and Cymbals
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2019-06-24T00:00:00
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In our last blog post, we discussed the significance of dynamics and how to achieve and utilize a wide dynamic range on the drums. During your practice since then, you may have began discovering all kinds of different tones through exploring different volumes. Everybody knows what drums hit hard sou
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Private Drum Lessons in Boston, MA | Boston Drum Lessons
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https://www.bostondrumlessons.com/bostondrumlessonsblog/2019/6/24/tone-town
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In our last blog post, we discussed the significance of dynamics and how to achieve and utilize a wide dynamic range on the drums. During your practice since then, you may have began discovering all kinds of different tones through exploring different volumes. Everybody knows what drums hit hard sound like, but few realize the enormous tonal range drums can produce at medium and low volumes.
Tone is used to describe the quality of a sound. Some descriptors of tone include bright, dark, harsh, soft, metallic, hollow, shrill, clean, glassy, distorted, etc. Like dynamics, tones are analogous to shades of colors. Many tones can be combined to create different sonic textures.
Conceptualizing Tone
To illustrate the variety of tones drums can create, let’s think about everything in the observable universe. Kind of overwhelming, right? But there are many different scales at play; galaxy clusters full of galaxies, hundreds of millions, if not billions, of stars within each galaxy with planets potentially orbiting around each star, moons orbiting around planets, and so on. All of those things are incomprehensibly large in their own right, but they’re all composed of things much too small to see with the naked eye.
There’s an entire microscopic layer to everything around us, and without all the really tiny stuff, like atoms, protons, neutrons, and electrons, there wouldn’t be any big stuff. Timbre functions very similarly. Loud sounds are still a combination of subtler tones, but a lot of those tones get buried under noise.
Striking a drum or cymbal using various techniques can highlight particular tonal characteristics. A snare drum or ride cymbal, for example, can produce a very wide range of sounds depending on how hard it’s struck, where it’s struck, and with which part of the stick it’s struck. Layering and blending tones together adds even more dimension to music than dynamics alone.
Tonal Qualities of a Snare Drum
Let’s explore the tonal range of a snare drum. When struck directly in the center with the tip of a stick, the drum produces a full, focused tone with little resonance and a defined articulation. However, striking the snare off center by just a couple of inches results in much more resonance and a less clear attack. Articulations become less defined and resonance increases the further from the center the drum is struck. For an even wider articulation, try flipping the stick around and hitting with the butt end.
There are some less-than-obvious ways of striking a snare drum to produce all kinds of unique tones. Striking the rim and the center of the drum at the same time, called a rimshot, produces a much sharper tone capable of cutting through the air like a razor. Many drummers use rimshots to accentuate the backbeat in grooves. Striking the rim and away from the center of the surface produces rim shots that contain much more resonance and highlight overtones.
To bring out more of the tone of the drum shell instead of the heads, drummers use a technique, known as cross sticking, to play rim knocks. Rim knocks create a much more hollow, woody tone similar to that of a wood block or a pair of claves. To play a rim knock, anchor one end of the stick to the surface of the drum, approximately 1-2” from the rim. Keeping the base of your hand resting on the surface of the drum, lift the stick and strike the rim. Pivot over the end of the stick that’s anchored to the surface. Many drummers elect to hold the stick backwards and strike the rim with the butt end to create a wider, clearer tone.
Drummers can evoke many other tones from a snare drum by using different types of sticks and different techniques, like scraping the surface (perhaps with brushes), or by pressing one stick into the drum while striking the stick with the other. Simply shutting off the snares (lowering the wires from the bottom head) and applying each of the above techniques reveals even more tonal possibilities. It’s remarkable how many sounds just a single drum can create!
Tonal Qualities of a Ride Cymbal
Cymbals also produce different tones when struck with different techniques. Striking with the tip of the stick toward the outer edge of the cymbal produces lower frequencies with ample sustain. Playing a little further from the edge of the cymbal will produce more mid-range frequencies and a balanced tone, while playing on the bell in the center of the cymbal produces high-pitched frequencies.
Using the tip of the stick results in very clear articulations, which have enough definition to sit on top of the cymbal’s resonance. But there are plenty of times where drummers require volume over finesse. To get a wider articulation and a more washy tone from the ride cymbal, simply strike with the side of the stick instead of the tip. With this technique, the ride cymbal begins functioning more like a crash cymbal. Striking with the side of the stick on the edge of the cymbal will make the cymbal roar at the expense of a clearly defined attack. Playing on the bell of the cymbal with the side of the stick results in a more piercing metallic tone, which is great for cutting through loud, energetic sections of music.
All that being said, the tones a cymbal can produce greatly depend on the cymbal’s design. There’s an enormous array of cymbal sizes, thicknesses, and finishes. Thicker cymbals posses the ability to produce higher volumes and very clear articulations, while thinner cymbals generally have a lower volume ceiling with a less-defined attack.
The Light and Dark Sides
Cymbals with a shiny, brilliant finish typically produce clean, bright, glassy tones with a longer sustain. Take the Zildjian A Custom Ping Ride as an example (pictured bottom left). It’s relatively thick and has a mirror-like finish. It produces an extremely clear stick definition and it gets LOUD. This cymbal is great for rock music and can easily project sound to the back of any room. Check out a sound bite here.
Cymbals with a dull, rough finish typically generate dark, complex, dry tones with a shorter sustain. The Meinl Byzance Extra Dry Thin Ride (pictured bottom right) is essentially the complete opposite of the Ping Ride. Razor thin, unfinished, and dark, the Meinl ride creates complex, washy tones. While it can’t quite match the volume of the Ping Ride, its tonal complexity makes it an easy pick for small-room gigs. Get a preview of its sound here.
Tonal Masterminds
The ability to implement various tones on the drums allows for much greater musicality and depth to parts. Below are a few examples of drummers utilizing a huge tonal range on the drum set.
Jojo Mayer uses various techniques to evoke wildly different tones from the drums and cymbals in this incredibly musical solo.
In this video, Benny Greb demonstrates a few different ways to “prepare” a drum set in order to achieve various tones.
In the first minute of this performance, Jim Black uses all kinds of techniques and even different objects to strike the drums and cymbals to bring out specific tonal qualities.
Exploring different tonal properties of drums and cymbals adds another creative parameter to your drumming and music making. Through trial and error, you’ll discover dozens of unique tones and techniques to realize the full sonic potential of a drum set.
|
||
2202
|
dbpedia
|
0
| 25
|
https://www.academia.edu/101829749/Drum_Sound_Analysis_for_the_Manipulation_of_Rhythm_in_Drum_Loops
|
en
|
Drum Sound Analysis for the Manipulation of Rhythm in Drum Loops
|
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[
""
] | null |
[
"juan daniel bello",
"independent.academia.edu"
] |
2023-05-15T00:00:00
|
Drum Sound Analysis for the Manipulation of Rhythm in Drum Loops
|
https://www.academia.edu/101829749/Drum_Sound_Analysis_for_the_Manipulation_of_Rhythm_in_Drum_Loops
|
Nowadays, digitized drum kit and percussive samples, loops and beats are ubiquitous and pivotal elements in every sound recording studio, and the overwhelming pace in the dissemination of new sound resources is an evident and growing reality. Withal, the lack of any consistent convention or homogeneous offer (naming conventions, metadata, etc.) shifts a potentially positive profusion into an organizational nightmare, given the necessity of a tedious and cumbersome manual classification for achieving some benefit of such a huge asset. Consequently, the need of automatic tools for efficient management of this sonic content plethora becomes indisputable. This thesis focuses on the study of the automatic characterization of percussive samples, specifically through the use of semantic descriptors. We start by implementing an automatic taxonomic classification system, in order to find and validate suitable set(s) of features. Commonly, acoustic and psycho-acoustic descriptors are extracte...
This article presents a study on music genre classification based on music separation into harmonic and drum components. For this purpose, audio signal separation is executed to extend the overall vector of parameters by new descriptors extracted from harmonic and/or drum music content. The study is performed using the ISMIS database of music files represented by vectors of parameters containing music features. The Support Vector Machine (SVM) classifier and co-training method adapted for the standard SVM are involved in genre classification. Also, some additional experiments are performed using reduced feature vectors, which improved the overall result. Finally, results and conclusions drawn from the study are presented, and suggestions for further work are outlined.
|
|||||
2202
|
dbpedia
|
3
| 27
|
https://www.drumeo.com/beat/a-drummers-guide-to-punk/
|
en
|
A Drummer’s Guide To Punk
|
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[] |
[
""
] | null |
[
"Brandon Toews"
] |
2019-09-29T12:04:57-07:00
|
Think of this guide as 'Punk 101' for any drummer who's new to the genre.
|
en
|
Free Online Drum Magazine | The Drumeo Beat
|
https://www.drumeo.com/beat/a-drummers-guide-to-punk/
|
This is an excerpt from The Drummer’s Toolbox: The Ultimate Guide To Learning 101 Drumming Styles. The book goes into even more detail about punk drumming!
Punk: A brief introduction to the genre
Punk music is an energetic, no-holds-barred style that has broken a lot of ‘rules’ since its inception. As rock music developed during the 1970s, punk rock and its associated rebellious subculture began to rise in Australia, the United States, and the United Kingdom.
Punk is an aggressive style of rock music featuring political lyrical content, fast tempos, short song durations, and minimal instrumentation. You’ll typically hear only one or two electric guitars, a bass guitar, drums, and vocals in a punk song. Because these bands often produced their own music, the production quality of punk rock is typically much lower than other styles of rock music. Take a minute to listen to one pop rock recording, and then compare it to a punk rock recording. You’ll probably hear a drastic difference in production quality between the two songs. Bands like the Ramones, the Sex Pistols, Black Flag, The Clash, and NOFX are some of the most famous names in punk rock music.
Think of punk rock drumming as similar to hard rock drumming, but played much faster. Over the years, this style has become more and more aggressive and extreme (especially when it comes to tempo) and has broken down into further subgenres such as hardcore punk, crust punk, and ska punk. Some of the most recognizable punk rock beats feature snare drum backbeats on every upbeat (or the ‘and’s), quick doubles played on the bass drum, and “sloshy” open hi-hats. Be sure to play every snare drum backbeat as an accented stroke or a rim shot for an authentic punk rock sound.
Learn Punk Rock Drum Beats
This groove is played by Brett Reed in the song “Side Kick” by Rancid. This is an iconic punk rock groove that can be heard on tons of punk rock recordings. You can hear this groove in the recording starting at 0:07. (142 BPM)
First, start by playing steady eighth notes on the hi-hats.
Next, add in a snare drum backbeat on every upbeat.
Lastly, add in the bass drum part.
This famous punk rock groove incorporates sixteenth note doubles on the bass drum.
This variation is played with closed hi-hats.
Here’s an example that incorporates eighth note triplets.
Topper Headon performs this groove on the 1978 song “Tommy Gun” by The Clash. Notice how the snare drum backbeats are played on every downbeat in this groove (as opposed to being played on every upbeat). You can hear it in the recording at 0:31. (168 BPM)
This example is a variation of the previous groove. You’ll be playing steady eighth notes on your ride cymbal and also adding in another group of doubles on the bass drum.
With quick 16th notes on the bass drum being a defining feature of many punk beats, I would recommend checking out this lesson to help you build a faster single kick:
You may also want to develop your single stroke rolls for quick transitions and fills in punk songs:
Here’s a quick tips lesson to improve your punk drumming:
Pop Punk
By the early 1990s, one of the most popular styles of music in the United States – specifically among teenagers – was pop punk, a more mainstream version of punk rock with higher production. Pop punk incorporates musical characteristics from punk rock like distorted guitars, simple chord progressions, and fast song tempos with “catchy” pop rock-influenced vocal melodies. The instrumentation used in pop punk is similar and often identical to punk rock, usually featuring electric guitars, bass guitar, drums, and vocals. Some of the most successful pop punk bands of all time include Green Day, Blink-182, All Time Low, Sum 41, and The Offspring.
Pop punk drumming is very similar to punk rock drumming. It requires speed and endurance because many of these songs are played at very fast tempos. The main difference between punk rock and pop punk isn’t the drumming; it’s the vocals and the lyrical content, which tends to focus on topics related to teenage life and growing up.
Learn Pop Punk Drum Beats
Travis Barker plays this groove in the song “Dumpweed” by Blink-182. If you want to sound like Travis Barker, try playing every backbeat as a rim shot. You can listen to this groove in the recording at 0:10. (200 BPM)
This eighth note groove is commonly used in the verse sections of pop punk tunes.
This type of tom groove is also used in verse sections.
Cyrus Bolooki performs this groove in the song “My Friends Over You” by New Found Glory. This example is very similar to some of the grooves in the “Punk Rock” section. You can listen to this beat in the recording at 0:36. (180 BPM)
This a common beat used in chorus sections of pop punk tunes.
Tré Cool plays this groove in the song “American Idiot” by Green Day. Notice how the bass drum pattern is following the rhythm and melody of the bass guitar and the electric guitar. You can hear him play this groove right at the beginning of the song. (189 BPM)
The Equipment
A defining characteristic of punk music that differs from other styles like jazz, rock, and metal is the fact that equipment doesn’t matter as much as the energy and emotion behind the playing. Many punk drummers did, and still do play on whatever gear they can afford or get their hands on.
As a starting point, you’ll want to use equipment that can handle a real bashing; this means thicker, more durable drumheads and louder, heavier cymbals. Check out the equipment section in ”A Drummer’s Guide To Rock” for some recommended gear that will hold up to punk drumming.
The Greats
Here is a list of ten punk drummers you should know. Some of them helped pioneer the genre, while others came later. Click on each name to watch them perform!
The Records
Here are fifteen essential punk albums that every drummer should check out. From early punk to hardcore and pop punk, you’ll hear a spectrum of aggressive and exciting sounds that have come from this genre.
Punk Listening List
This curated playlist starts with punk rock – classic and modern – and ends with pop punk.
Wow! You made it to the end!
Even though it’s the end of the article, it’s not the end of the great content we have available. If you want to become the best drummer you can be, check out the Drumeo members area.
We bring in the world’s best drummers to teach you how to play the drums.
160+ step-by-step courses
2000+ on-demand lessons
230+ play-along songs
90+ song breakdowns
20 different genres of music
Live lessons every week
Student plans and reviews
Helpful community forums
Includes song breakdowns for:
Green Day – American Idiot
Green Day – Basket Case
Blink-182 – All The Small Things
Blink-182 – First Date
Member-exclusive courses by:
Stephen Taylor
Aaron Edgar
Dave Atkinson
Check out the Drumeo members area »
|
|||||
2202
|
dbpedia
|
2
| 84
|
https://medium.com/%40indgirka/what-is-drum-tension-everything-you-need-to-know-c740c1a41843
|
en
|
What is Drum Tension? — Everything You Need To Know
|
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[] |
[] |
[
""
] | null |
[
"Indgirka",
"medium.com"
] |
2024-02-29T11:17:20.881000+00:00
|
Drum tension is a fundamental aspect of drumming that significantly impacts sound quality, playability, and overall performance. Whether you’re a seasoned drummer or just starting your musical…
|
en
|
https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19
|
Medium
|
https://medium.com/@indgirka/what-is-drum-tension-everything-you-need-to-know-c740c1a41843
|
Introduction:
Drum tension is a fundamental aspect of drumming that significantly impacts sound quality, playability, and overall performance. Whether you’re a seasoned drummer or just starting your musical journey, understanding drum tension is essential for achieving the desired tone and feel from your drums.
In this comprehensive guide, we’ll explore everything you need to know about drum tension, including its definition, importance, factors influencing it, and techniques for adjusting it to suit your preferences and musical style.
Understanding Drum Tension
Drums are more than just instruments; they are complex systems of tension, resonance, and rhythm. At the heart of every drum’s sound lies its tension, a fundamental aspect that shapes its pitch, resonance, and responsiveness. In this chapter, we embark on a journey to unravel the mysteries of drum tension, exploring its significance and the tools used to manipulate it.
What is Drum Tension?
Drum Tension refers to the level of tightness or tension applied to the drumhead, which directly impacts its sound characteristics. Imagine the drumhead as a stretched membrane, like the skin of a drum, which vibrates when struck to produce sound waves. The tension of this membrane determines how it vibrates and thus the sound it produces.
Role of Drum Tension in Sound Production
The tension of the drumhead affects several key aspects of the drum’s sound:
1. Pitch: A higher pitch is produced by higher tension, and a lower pitch is produced by lower tension. By adjusting the tension of the drumhead, drummers can tune their drums to specific pitches, allowing for precise control over the musicality of their performance.
2. Resonance: Tension also influences the resonance or sustain of the drum. Higher tension typically yields a brighter, more focused sound with a shorter sustain, while lower tension produces a warmer, more resonant sound with a longer sustain. This aspect of drum tension can dramatically impact the overall tone and character of the drum.
3. Responsiveness: The tension of the drumhead affects its responsiveness to strokes or hits. Higher tension results in a more responsive drum with quicker attack and rebound, making it ideal for fast-paced rhythms and intricate patterns. Lower tension, on the other hand, provides a softer, more forgiving feel, allowing for greater expression and dynamics in playing.
Tools of Drum Tension: Tension Rods and Drum Tuning Keys
To manipulate drum tension effectively, drummers rely on two primary tools: tension rods and drum tuning keys.
1. Tension Rods: Tension rods are threaded metal rods that pass through the lugs of the drum shell and attach to the hoop, exerting pressure to hold the drumhead in place. By tightening or loosening the tension rods using a drum key, drummers can adjust the tension of the drumhead evenly across its surface, ensuring uniformity in pitch and response.
2. Drum Tuning Keys: Drum tuning keys, also known as drum keys or drum wrenches, are specialized tools designed for turning tension rods. They typically feature a T-shaped or crossshaped handle that fits snugly onto the square-shaped head of tension rods, allowing for precise adjustments to be made quickly and easily.
Why Drum Tension Matters?
Drum tension is more than just a technical aspect of drumming; it is the foundation upon which the entire sound and feel of the drum are built. Here’s why drum tension is crucial for drummers of all levels:
1. Clarity and Projection: Proper tensioning ensures that the drumhead vibrates evenly and consistently, resulting in clear, articulate sound production. When the tension is balanced across the drumhead, the energy from each stroke is efficiently transmitted, enhancing projection and ensuring that the sound cuts through the mix with clarity and precision.
2. Articulation and Dynamics: The tension of the drumhead directly affects its responsiveness to variations in playing technique and dynamics. With optimal tension, drummers can achieve greater control over articulation, from crisp, tight strokes to subtle ghost notes and accents. This level of dynamic range allows for expressive and nuanced performances across a wide range of musical styles and genres.
3. Tonal Balance: Balancing tension across the drumhead is essential for achieving a harmonious tonal balance across the drum kit. When each drum is properly tensioned, the overall sound of the kit is cohesive and well-rounded, with distinct tonal characteristics that complement each other. This ensures that the drums blend seamlessly in ensembles and recordings, enhancing the overall musical experience.
4. Durability and Longevity: Maintaining proper tension not only improves the sound of the drums but also prolongs the lifespan of the drumheads. Overtensioning or under tensioning can lead to premature wear and tear, causing the drumheads to stretch, warp, or break more easily. By consistently monitoring and adjusting tension levels, drummers can preserve the integrity of their drumheads and enjoy enhanced durability and longevity.
Achieving Optimal Drum Tension
To achieve optimal drum tension, drummers must pay attention to several key factors:
Even Tension: Ensure that tension is evenly distributed across the drumhead by tightening or loosening tension rods in a balanced manner.
Tuning Sequence: Follow a systematic tuning sequence, starting from the opposite sides of the drum and gradually working your way around in a star pattern to maintain uniform tension.
Listening and FineTuning: Use your ears as a guide and listen carefully to the sound produced by each drum stroke. Make subtle adjustments as needed to achieve the desired tone, pitch, and response.
Some key factors on Drum Tension:
Drumhead Material: The material composition of drumheads plays a significant role in determining their elasticity, durability, and responsiveness. Common drumhead materials include:
Plastic (Mylar): Plastic drumheads, typically made from polyester film (Mylar), offer durability and consistency in tension. They work well with a variety of musical styles because they have a moderate sustain and bright, focused sound.
Calfskin: Calfskin drumheads provide a warm, vintage tone with rich overtones and natural resonance. However, they require more frequent tuning and are sensitive to changes in humidity and temperature.
Hybrid: Hybrid drumheads combine elements of plastic and calfskin to achieve a balance of durability, tone, and playability. They offer the warmth and character of calfskin with the reliability and consistency of plastic.
Drum Shell Construction
The construction of the drum shell, including its size, thickness, and material, can influence drum tension in several ways:
Wood vs. Metal: Wooden drum shells, such as maple, birch, or mahogany, tend to produce warmer, more resonant tones with enhanced lowend frequencies. Metal shells, such as steel or aluminum, offer brighter, more cutting tones with pronounced attack and sustain.
Thickness and Depth: Thicker drum shells generally produce deeper, fuller sounds with increased projection and volume. Shallower shells yield tighter, more focused tones with quicker decay and articulation.
Hoop Design: The design and material of the drum hoops, whether triple-flanged, diecast, or wood, can impact drum tension and overall sound characteristics:
TripleFlanged Hoops: Tripleflanged hoops are lightweight and flexible, allowing for easier tuning and greater dynamic range. They produce a more open, resonant sound with a pronounced rim click.
DieCast Hoops: Diecast hoops are heavier and more rigid, providing enhanced tuning stability and rimshot consistency. They produce a focused, controlled sound with increased projection and rimshot articulation.
Wood Hoops: Wood hoops offer a warm, organic tone with natural sustain and resonance. They provide a softer, more rounded attack and are favored for their vintage aesthetic and feel.
Techniques for Adjusting Drum Tension:
In this practical chapter, we’ll delve into the art of adjusting drum tension effectively, providing step-by-step instructions and techniques for achieving optimal sound quality and playability. Whether you’re a novice drummer or a seasoned pro, mastering drum tuning is essential for unlocking the full potential of your instrument.
Basic Drum Tuning Techniques
1. Preparation: Start by ensuring that your drum is set up securely on a flat, stable surface. Remove any accessories or hardware that may obstruct access to the drumhead.
2. Even Tension: Using a drum tuning key, begin by tightening or loosening the tension rods around the drumhead in a star pattern, moving from lug to lug in opposite pairs. This helps to distribute tension evenly across the drumhead.
3. Tuning Pitch: Tap the drumhead near each tension rod with a drumstick and listen to the pitch produced. Adjust the tension of each rod gradually until the pitch is consistent across all points of the drumhead.
4. FineTuning: Once the overall tension is balanced, finetune the pitch of the drum to your desired frequency by making small adjustments to individual tension rods. Listen carefully to the sound produced with each adjustment to achieve the desired tone.
Advanced Tensioning Techniques
1. Finger Tightening: In addition to using a drum tuning key, experiment with finger tightening to make initial adjustments to tension rods. This allows for a more tactile approach and can help identify areas of uneven tension more easily.
2. Drum Tuning Apps: Consider using drum tuning apps on your smartphone or tablet to assist with pitch measurement and tuning accuracy. These apps typically utilize audio frequency analysis to provide realtime feedback on drumhead tension and pitch.
3. Ear Training: Develop your ear for drum tuning by practicing active listening and comparing the sound of your drum to reference pitches or recordings. This can help you develop a more intuitive understanding of how tension adjustments affect sound quality and resonance.
Drum Tension and Musical Styles
In this chapter, we embark on a journey to explore the nuanced relationship between drum tension and various musical styles and genres. From the thunderous beats of rock to the intricate rhythms of jazz and the funky grooves of funk, drum tension plays a pivotal role in shaping the character and feel of drum performances. Let’s delve into how tension preferences vary across different musical contexts and the importance of adaptation and experimentation in achieving the perfect sound.
Rock Music: In the realm of rock music, drummers often prefer higher tension settings to achieve a bright, punchy sound with pronounced attack and sustain. This allows the drums to cut through the mix and provide the driving force behind the music. Taut drumheads with ample rebound are favored for delivering powerful backbeats and energetic fills, while tighter snare tension enhances the crispness of rimshots and accents.
Jazz Music: Jazz drumming is characterized by its subtlety, finesse, and improvisational nature. Drummers in jazz settings typically opt for lower tension settings to produce a warmer, more resonant sound with a smoother decay. Loose drumheads with moderate tension allow for greater dynamic range and articulation, facilitating intricate brushwork, delicate cymbal accents, and fluid ride patterns. The emphasis is on musical expression and interaction within the ensemble, requiring a delicate balance between tension and sensitivity.
Funk Music: Funk drumming is all about groove, rhythm, and syncopation. In funk music, drummers often seek a balance between tightness and looseness in tension settings to achieve a crisp, responsive sound with a deep pocket and infectious groove. Medium tension on the snare drum produces a fat, snappy backbeat, while slightly looser tension on the toms allows for expressive fills and melodic accents. The kick drum is typically tuned low for a deep, thumping sound that anchors the rhythm section.
Orchestral Music: In the realm of orchestral percussion, drum tension preferences vary depending on the repertoire and performance context. Timpani, for example, requires precise tuning and tension adjustments to produce specific pitches and blend seamlessly with the orchestral ensemble. Snare drums and orchestral toms may require higher tension settings for projection and articulation, while bass drums and concert toms may benefit from lower tension settings to produce deeper, fuller tones.
Conclusion:
Drum tension is a critical element of drumming that influences sound quality, playability, and musical expression. By understanding the principles of drum tension and mastering techniques for adjusting it effectively, drummers can unlock the full potential of their drums and achieve their desired sound. Whether you’re a beginner or an experienced drummer, the knowledge and skills gained from this guide will empower you to take your drumming to new heights.
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https://lyricassistant.com/how-to-write-reggae-song/
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How To Write Reggae Song
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Get to know the roots of reggae, understand its rhythm and instruments, and explore a step-by-step guide on how to write a reggae song.
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en
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/wp-content/uploads/fbrfg/apple-touch-icon.png
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Lyric Assistant - Write The Perfect Song In Minutes
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https://lyricassistant.com/how-to-write-reggae-song/
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There's something magical about reggae music that makes you feel good and want to dance. It's no wonder this genre, which originated in Jamaica in the 1960s, has gained worldwide popularity. The laid-back vibe, the infectious rhythms, and the deep social commentary in reggae music have captured the hearts of many. And now, you're here because you want to write your own authentic reggae song? Don't worry, mon – we got you! This guide will show you the crucial elements of writing a reggae song, a realistic example, and how Lyric Assistant can help you create your masterpiece with ease. So, let's dive right in!
1. Understand the roots of reggae
Before you start writing your reggae song, it's essential to have a deep understanding of the genre's roots. Reggae music is a fusion of various musical styles, including ska, rocksteady, African drumming, and American R&B. It is often used as a medium for promoting social and political messages, reflecting the struggles and realities faced by marginalized communities. So, immerse yourself in the world of reggae, listen carefully to classics from icons like Bob Marley, Peter Tosh, and Burning Spear – and let these influences form the foundation of your songwriting.
2. The reggae rhythm
At the core of every reggae song lies its rhythm – a distinctive syncopated beat known as the "skank." The skank is characterized by an emphasis on the offbeat, typically on the second and fourth beats of a 4/4 time signature. This syncopation creates the infectious groove that is synonymous with reggae music. Additionally, incorporating layered drums, including a steady kick drum and a snare rimshot, will help you nail that signature sound.
3. Basslines and guitars
Another fundamental element of reggae music is its prominent basslines. In reggae songs, the bass often acts as the main melodic component, providing the low-end groove that drives the music forward. So, make sure your song's bassline is catchy and strong enough to be memorable.
As for the guitar, the role of the instrument in reggae music is more about providing rhythm and texture rather than melodic content. Invest time in creating skanking guitar chords that are clean, short, and syncopated, using guitar techniques such as palm muting and quick upstrokes to emphasize the offbeat.
4. Meaningful lyrics and structure
When it comes to writing lyrics for a reggae song, don't hold back on expressing your thoughts and beliefs. Thanks to its roots, reggae music is a powerful medium for addressing pressing social, political, and spiritual issues, and your lyrics should reflect that. Remember, powerful messages delivered with genuine emotions resonate with the listener.
As for the structure, reggae songs often follow a more flexible approach, but you can still apply the conventional verse-chorus-bridge format. Feel free to improvise, and let the powerful message and musical components dictate the flow of your song.
How To Write Reggae Song Example
Here's a simple reggae song structure with a strong message based on social issues:
- Intro (instrumental with skank, drums, and bass establishing the vibe)
- Verse 1 (describing a societal problem or personal struggle)
- Chorus (offering hope or a call to action)
- Verse 2 (deepening the story, adding more details or perspective)
- Chorus (reinforcing the main message)
- Bridge (bringing in a new angle or an emotional shift)
- Chorus (strong finale, with a catchy melody to drive the message home)
- Outro (winding down with an instrumental section, fading out)
Now that you've learned the fundamentals of writing a reggae song, let's get jammin'! Remember, the key to success is to let your creativity flow, connect with your emotions, and immerse yourself in the rich history and essence of this beautiful genre. And to make your songwriting journey even more enjoyable and efficient, consider using Lyric Assistant to help you craft the perfect reggae tune in just minutes. With Lyric Assistant, you'll have the tools to create a unique, powerful, and engaging song that's sure to captivate your audience. So, don't wait – try Lyric Assistant today and let the magic of reggae music come alive!
Frequently Asked Questions
What defines a song as Reggae?
Reggae is characterized by a rhythmic style that incorporates a steady, offbeat rhythm often referred to as the 'skank'. It typically features a prominent bass line, drum patterns that adhere to a one-drop or rockers rhythm, and, lyrically, often speaks to social and political issues, as well as love and positive messages.
What are the key musical elements of a Reggae song?
The key musical elements include a steady tempo around 60-90 bpm, offbeat guitar or keyboard rhythms, a prominent bass line, and the one-drop on the third beat of the bar. Horn sections, organ shuffles, and vocal harmonies are also frequently used.
How do I start writing a Reggae song?
Start by getting acquainted with the rhythm and feel of Reggae. Listen to classic artists and immerse yourself in the genre. Then, start with a simple chord progression or a bass line that captures the Reggae groove, and build your song from there.
Can Reggae music only be about social injustice and love?
No, while these are common themes, Reggae music can cover a wide range of topics. Anything from storytelling, personal experiences, spirituality, and humor can be expressed through Reggae songs.
What chord progressions are commonly used in Reggae music?
Reggae often uses simple chord progressions with a focus on minor and major triads. The I-IV-V progression is popular, as are variations like ii-V-I and minor progressions like i-iv-vii.
How important is the bass line in Reggae music?
The bass line in Reggae is critical—it is the heart of the rhythm and often carries the main melody, providing depth and warmth to the song. A strong, melodic bass line can define the entire feel of a Reggae track.
What lyrics work best with Reggae?
Authentic and heartfelt lyrics that resonate with everyday experiences, social commentary, or universal themes of love and unity tend to work best with the Reggae sound.
Do I need to use Patois in my Reggae music lyrics?
Using Patois can lend authenticity to your Reggae song, but it is not a requirement. What's most important is to convey your message in a way that is true to you and your artistic expression.
What instruments are essential in a Reggae band?
Typical instruments include the drums, bass guitar, rhythm guitar, keyboard or piano, and sometimes horns like the trumpet, trombone, and saxophone. An organ or synthesizer may also be used for additional textural layers.
How can I effectively use dynamics in a Reggae song?
Dynamics in Reggae are important for creating interest and emphasis. Experiment with varying the intensity of your playing throughout the song—quieter verses with louder, more energetic choruses, for example.
Can I incorporate digital instruments and effects in my Reggae music?
Absolutely. Modern Reggae utilizes digital synthesis and effects, such as reverb, delay, and modulation effects to enhance the traditional sound or bring a new dimension to it.
How do I make sure my Reggae song doesn't sound monotonous?
Variation is key. Change up your chord progressions, introduce a bridge, vary the rhythm, or add a musical break. Creative vocal melodies and harmonies can also maintain listener interest.
How can I develop a catchy melody for my Reggae tune?
Listen to a lot of Reggae music to get a sense of the melodic contours typical of the genre. Sing or hum over your Reggae rhythms until you find a catchy hook that sticks. Simplicity and repetitiveness can be very effective.
Are there any specific topics I should avoid writing about in Reggae?
While Reggae is a broadly inclusive genre, it's wise to avoid topics that may be offensive or disrespectful to the culture and roots of Reggae. Insensitivity to these aspects can alienate your audience.
What makes a Reggae song authentic?
Authenticity in Reggae comes from a true understanding of its roots and culture, the rhythm and soul of the music itself, and lyrics that speak true to the spirit of Reggae, whether they're about peace, struggle, or celebration of life.
How can I learn to write better Reggae rhythms?
Practice is key. Study the drums and bass lines of Reggae classics, and work with a metronome to get the feel for the offbeat syncopation. Don't be afraid to experiment and play around with different rhythmic patterns.
How should I structure my Reggae song?
While Reggae songs often follow a traditional verse-chorus structure, feel free to experiment. Some Reggae songs have a fluid structure that may include extended instrumental solos, a deejay toasting over the beat, or a dub section.
Is it possible to write a Reggae song if I'm not from Jamaica?
Yes, Reggae music has become a global genre and is produced and enjoyed worldwide. Respect for the genre's roots and culture is crucial, but your geographic origin does not limit your ability to craft a genuine Reggae song.
How important is the message in a Reggae song?
The message in a Reggae song is often of great importance, as the genre has roots in activist and countercultural movements. Whether your song's message is political, societal, or personal, delivering it with sincerity is key.
Can I mix Reggae with other musical genres?
Yes, fusion genres are common and can lead to innovative music. Reggae has been successfully mixed with rock, hip-hop, electronic music, and more. The fusion should feel natural and cohesive, maintaining the integrity of the Reggae vibe.
What aspect of Reggae is most important when writing a song in this genre?
The most important aspect is capturing the essence of Reggae—its rhythm, positive vibe, and the connection to its cultural history. Always keep the core elements in mind while adding your unique touch.
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Drum Notation Guide - Drum Key
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Written by Nate Brown & Steve Ley The Basic Drum Key (above) is a quick-reference for the most commonly used notations. Our Master Drum Key (below) includes both basic and advanced notations. We've included detailed explanations and videos below the key. Feel free to print the Master Drum Key for your referenc
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https://www.onlinedrummer.com/pages/drum-key
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Written by Nate Brown & Steve Ley
The Basic Drum Key (above) is a quick-reference for the most commonly used notations.
Our Master Drum Key (below) includes both basic and advanced notations. We've included detailed explanations and videos below the key. Feel free to print the Master Drum Key for your reference.
PRINT MASTER DRUM KEY
You'll find detailed explanations, graphics and videos below. Read this section straight-through or skip ahead to the notations you need further support with.
Bass
Bass 1 is the standard bass drum played with the primary bass drum pedal.
Bass 2 is played either on a secondary bass drum or on the same bass drum with the slave pedal of a double bass drum pedal (see below).
Toms
Our drum key includes 7 toms arranged from lowest pitched to highest. It's unlikely that you will encounter many songs that require 7 toms. However, because some do require 7 toms, we've identified the notation on this master drum key.
Arranged from lowest pitched to highest pitched, the toms are as follows:
Floor tom 2
Floor tom 1
Tom 3
Tom 2
Tom 1
Additional tom(s)
A traditional drum set arrangement has 3 toms. This is the most common arrangement you're likely to encounter in drum sheet music. In the master drum key, they are identified as floor tom 1, tom 2 and tom 1 (see below).
Another common tom arrangement is called, "Two Up, Two Down." This arrangement features two toms mounted above the bass drum (i.e. "up") and two floor toms resting on the ground (i.e. "down"). In the master drum key, they are identified as tom 1, tom 2, floor tom 1 and floor tom 2 (see below).
A similar tom arrangement to the "Two-Up, Two-Down" is the "One-Up, Two-Down" arrangement. As the name implies, one tom is mounted above the bass drum (i.e. "up"), and two floor toms are resting on the ground (i.e. "down"). The toms for this arrangement are identified in the graphic below.
IMPORTANT: If your drums are setup in this arrangement, it's common (and often necessary) to play floor tom 1 as your tom 2 and floor tom 2 as your floor tom 1 when reading drum sheet music.
The two highest pitched toms in our Master Drum Key are called "additional toms" because they are additions to the most common tom arrangements. Additional toms aren't often used in mainstream music, but you will come across these from time to time. If you don't have seven toms, you will have to substitute your tom 1 (or another tom) for the additional toms in the sheet music.
Note on floor toms: Floor toms rest on the floor on three legs. In some setups, the lowest tom(s) are attached to a cymbal stand with a clamp rather than resting on the floor. It's fine to use an "attached" low tom(s) in place of a traditional floor tom(s).
Modifiers
Drum Modifiers change the way you strike a drum or cymbal. Our Master Drum Key shows these modifiers in the snare drum space, but they can apply to any drum or cymbal. For example, you may find a ghost on a tom stroke, hi-hat stroke, bass drum stroke, etc.
Cross-stick: Video Example (explanation starts at 1:05)
A stroke played with the butt of the stick against the rim while the tip of the stick remains resting on the drum head. Grip the stick in between your thumb and index finger. On the down-stroke, your remaining the fingers will touch the drum head. On the up-stroke, be sure that the tip of the stick remains on the drum head.
Ghost: Video Example
A very quiet stroke. You can think of a ghost stroke as a light tap (or drop) against the head. Generally, ghost strokes are played with the stroke starting at about 2 inches above the drum head.
Accent: Video Example
An accented stroke is to be played louder than other strokes. In other words, it should stand out.
Marcato:
A marcato is a type of accent, but the marcato stands out even more than a normal accent. You can think of a marcato as a 'strong accent.'
Flam: Video Example
In a right-handed flam, the left stick plays a quiet grace stroke slightly before the right stick plays the main, primary stroke. Traditionally, a flam should be played with one motion (i.e. both hands move at the same time). The stick you're playing the grace stroke with should start about 2 inches above the drum head while the primary stroke starts in normal position.
Additional flam notes: A power flam is achieved by playing the flam's grace stroke at the same volume as the primary stroke. This type of flam is often used in rock music. Another type of flam is a flat flam. This is played by playing both the grace stroke and primary stroke at the same time.
Drag: Video Example
A drag is sometimes referred to as a ruff. You can use the terms interchangeably. The drag is very similar to a flam but the drag has 2 grace strokes instead of 1. The grace strokes can be achieved by bouncing the stick, or for a more orchestral sound you can play the grace strokes as a buzz against the drum head.
Rimshot: Video Example
A rimshot is played by striking both the head of the drum and the rim of the drum at the same time. The tip of the stick strikes the drum head, generally just off-center, and the shaft of the stick strikes the rim. This produces a higher-pitched, louder (and often 'ringy') sound. You can experiment with moving the tip of the stick closer to the edge of the drum head to product different sounds.
Click sticks:
Strike the sticks together. Usually, the left stick stays stationary while the right stick strikes the left stick (if you're a right handed drummer).
Rim:
Play the rim of the drum. For the snare drum, the rim is usually hit at the point where it's furthest away from the drummer (i.e. the 'top'). For toms, the rim is usually struck at the closest point to the drummer (i.e. the bottom). These are not hard and fast rules, however. It's ok to experiment with where you hit the rim.
Electronic pad:
In today's music, electronic drums are becoming more and more common. Hybrid combinations where a drummer is using both acoustic drums and electronic drums are also becoming common. Sometimes, only certain sections of the song use electronic drums. A square note head indicates that this drum is supposed to be played on an electronic drum (or pad). If you don't have an electronic drum, it's ok to play the part on your standard acoustic drums.
Cymbals
Cymbal arrangements vary greatly from drummer to drummer. The standard, cymbal starter kit includes a hi-hat, crash and ride cymbal (see below).
If you play with this cymbal setup, you'll need to play any crash 2 in the sheet music with your crash 1. Also, any auxiliary cymbals, such as Chinas or splashes will need to be played on the crash.
Here's another common cymbal setup that features 2 crash cymbals. As with the previous, starter setup, if there are any auxiliary cymbals (i.e. Chinas or splashes) in the sheet music, you'll have to substitute by playing either your crash 1 or crash 2 for those strokes.
Splash cymbals and China cymbals are great additions to any cymbal setup. They're not used as often as the cymbals identified above, but they do make their way into mainstream music and other classics throughout past decades.
A splash cymbal is a smaller cymbal that makes a sound similar to a metallic "splash." Listen to the 10 inch splash cymbal being played in this video:
A China cymbal has a unique, almost "trashy" sound and is to be mounted upside-down. Here's a video of an 18 inch China being played:
Note on crash cymbals in sheet music: Since every drummer has their own unique cymbal choices and placements, you'll sometimes have to get creative when interpreting drum sheet music. Often, it doesn't really make much of a difference which crash cymbal you hit. Get creative.
Cymbal Modifiers
At times, special instructions need to be given to the reader regarding how to hit a cymbal. Cymbals are very dynamic and produce distinct sounds depending on how they are hit. Below are cymbal modifiers that we use to communicate how to hit the cymbals.
Crash ride
This indicates that the ride should be hit with the shoulder of the stick on the edge of the cymbal. In other words, hit it the same way you would hit a crash cymbal to make it "crash."
Ride bell
Play the ride bell. To produce a louder sound, you can play the ride bell with the shoulder of the stick rather than with the tip.
Crash w/tip
Hit the crash cymbal on the bow with the tip of the stick. A Crash w/tip should sound (and feel) similar to playing a normal ride cymbal stroke. It shouldn't "crash."
Crash bell
Hit the crash cymbal on the bell, either with the tip of the stick or with the shoulder of the stick to produce a louder sound.
Choke crash Video Example
Hit the crash cymbal as usual (i.e. with the shoulder of the stick on the edge of the cymbal), producing a crash. Then, choke the cymbal by grabbing it with your other hand, cutting off the sound. For an advanced choke, you can both hit the crash and catch it with the same hand.
Let ring
Cymbals are meant to let ring out unless some other type of instruction has been given. For example, a cymbal choke or hi-hat close. However, sometimes including the "let ring" symbol (i.e. an unconnected tie) makes it clearer to the reader and reinforces that the cymbal is to let ring. It is especially helpful if there are rests after the crash cymbal. Telling the reader to let the cymbals ring out throughout those rests gives the reader extra confidence.
Splash HH Video Example
The hi-hat splash is achieved by hitting the hi-hat cymbals together with the foot, and then quickly releasing them apart to let them ring out. It's similar to an orchestral crash cymbal.
Loose HH
The slashed circle above a hi-hat stroke means to play the hi-hat "loose." In other words, instead of pressing the hi-hat pedals together tightly, lift up on the pedal a little to allow the cymbals to reverberate when hit. This gives a "loose" sound.
Open HH Video Example
The open hi-hat is indicated by a circle above the note head. This means that the two cymbals should be "open" (or not touching) when the hi-hat is hit.
Closed HH
A hi-hat should be played "closed" by default. That means both cymbals will be pressed together when striking the hi-hat. However, sometimes it's important to reinforce to the reader that the hi-hat stroke needs to be played closed. When you see a + above a hi-hat stroke, it means that stroke should be played "closed."
Open/close HH
Strike the hi-hat in "open" position (i.e. the top and bottom cymbal are not touching). Then, quickly close the hi-hat. This creates a fast attack with the open hi-hat, but then chokes the sound quickly by pressing the hi-hat cymbals together.
Section Modifiers
When a modifier is to be applied to many (or all) of the cymbal strokes in a section, we use a "section modifier" to communicate that the entire section should be played a certain way. This keeps our sheet music clean and clear.
Tight: Play the hi-hat with the cymbals clamped tightly together.
Closed: Play the hi-hat with the standard amount of pressure, closing them enough so that they don't reverberate.
Relaxed: Play the hi-hat with a 'relaxed' tension, allowing the hi-hat cymbals to reverberate slightly.
Loose: Play the hi-hat with a loose tension, allowing the cymbals to reverberate greatly.
Crash Ride: Play the ride cymbal as if you were crashing a crash cymbal, with the shoulder of the stick hitting the edge of the cymbal.
Loose HH for several notes: A line placed next to a loose hi-hat cymbal extends the loose hi-hat section for multiple strokes. Any strokes under the line should be played with a loose hi-hat. This method keeps the sheet music looking cleaner without the need for multiple loose hi-hat symbols in a row.
Loosen hi-hat: The technique is a commonly used technique to "build" into a section of the song or transition between two parts. Start the section with a slightly loose hi-hat, and gradually loosen the hi-hat tension for all of the strokes under the dotted line.
Rolls
Open roll
An open roll is played with clear double strokes (i.e. diddles). In the graphic above, the "Open roll (written out)" shows all of the strokes of the roll written out in 32nd-note notation.
Buzz roll/Closed roll Video Example
A closed roll is played by buzzing the sticks rather than playing clean double strokes (i.e. diddles.) This roll is either referred to as a buzz roll, closed roll or sometimes an "orchestral" roll. In our sheet music, we use the Z symbol on the note stem to clearly indicate when you should use buzz strokes over diddles. In the graphic above, the "Buzz roll/Closed roll (written out)" shows all of the strokes written out in 16th-note notation (with buzzes).
Single-stick buzz
This stroke is played by pressing the tip of the stick against the head creating a "buzz" sound. See the video example above for "Buzz roll/Closed roll" for an example of how to play a "buzz" stroke.
Crushed buzz
A crushed buzz roll is achieved by "buzzing" both sticks on the drum head at the same time. Preferably, try to let the sticks "buzz" for the duration of the note. In the graphic above, the "crush" symbol is over a quarter note. So, you'd let those sticks buzz for one entire beat.
Slowing Down / Speeding Up
Sometimes, a roll gradually speeds up. The 'feathered beams' indicate whether the selection should speed up or slow down.
Crescendo roll
A crescendo roll starts quietly and gradually gets louder until the end of the roll. The crescendo will have to be quick on shorter-duration rolls. Be sure to play the crescendo consistently, avoiding getting too loud to quickly (or vice versa).
Drop-away buzz
The drop-away buzz starts loud (i.e. forte) but immediately drops off to quiet (i.e. piano).
Other Considerations
This master drum key isn't exhaustive, meaning that we didn't include every possible notation that you might encounter. We've included the most commonly used notations and symbols. All of our premium sheet music includes a song-specific drum key on the top of the first page for each song. If we've used any special notations or symbols, they will be identified in the song-specific key.
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Rim Shot 1959 signed with artist's initials, titled and dated 1959 ; signed, titled and dated 1959 on the reverse oil on canvas 69 5/8 by 65 in. 176.8 by 165.1 cm.
|
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/favicon.ico
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https://www.bonhams.com/auction/27449/lot/42/hassel-smith-1915-2007-rim-shot-1959/
|
ALL BIDDERS MUST AGREE THAT THEY HAVE READ AND UNDERSTOOD BONHAMS' CONDITIONS OF SALE AND AGREE TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER'S PREMIUM AND ANY OTHER CHARGES MENTIONED IN THE NOTICE TO BIDDERS. THIS AFFECTS THE BIDDERS LEGAL RIGHTS.
If you have any complaints or questions about the Conditions of Sale, please contact your nearest client services team.
For all Sales categories excluding Arms & Armour, Coins and Medals, Motor Cars, Motorcycles, Wine & Whisky
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and 14.5% of the hammer price of any amounts in excess of $6,000,000.
A 3rd-party bidding platform fee (the "3rd-party bidding platform fee") equal to 4% of THE BID PRICE shall be payable by buyers whose successful bid is submitted via 3rd-party bidding platforms, including Invaluable; Live Auctioneers; The Saleroom; Lot-tissimo.
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Please note that all lots marked with a W in the catalog are oversized and subject to additional storage and shipping methods. All additional lots purchased with W lots are considered group lots and will be subject to the same terms as W lots.
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FURNITURE/LARGE OBJECTS
Transfer .................. $75
Daily storage........... $10
Insurance (on Hammer + Premium + tax) 0.3%
SMALL OBJECTS
Transfer ................. $37.50
Daily storage........... $5
Insurance (on Hammer + Premium + tax) 0.3%
Please note property is also subject to a Cross Dock Release Fee ($25 for Smalls and $45 for Furniture and Large Objects) & if charges are paid with a credit card, Door to Door Fine Art Services will charge a 3% Convenience Fee.
If you have any questions, please contact our Client Services team.
|
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https://emastered.com/blog/what-is-an-808
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What is an 808
|
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Wondering what an 808 is and how you might use it? Read this detailed post to learn all you need to know about 808s.
|
en
|
https://emastered.com/blog/what-is-an-808
|
Sir Mix-a-Lot famously said,
"The 808 makes the girlies get dumb."
For more than three decades now, the sound of the 808 has been the staple of hip-hop . To this day, it is one of the most popular sounds in modern music and probably as important as the Fender Stratocaster is to rock and roll.
So what about the 808 makes it such a sought-after sound, and how can you make some dope-sounding 808s for your tracks?
Come dive in with us as we explore all there is to know about the foundation of hip-hop: The 808.
What Is An 808?
Long before beatmakers started downloading samples from Splice and transferring gigabytes of drum sample packs from one hard drive to the next, there was the Roland TR-808 Drum Machine . This iconic drum machine, which used unique sound-generating hardware, bore several unique drum samples, including the famous 808.
The beauty of the original 808 came from its deep and subby characteristics, which producers could tune to various pitches depending on the track material.
However, the original Roland TR-808 had several sounds beyond the 808, including:
Kick
Snare
High Tom
Mid Tom
Low Tom
Cowbell
Clap
Closed Hat
Open Hat
High Conga
Mid Conga
Low Conga
Rimshot
Clave
Maraca
Cymbals
With static noise at its foundation, the 808 was uniquely designed to sound similar to a beater striking a resonant drum head. As a result, the original 808 had a fast, pointy attack and a short decay.
Of course, today's 808s have changed quite drastically.
Roam around Splice, and you'll hear thousands of 808 recreations, many of which have been compressed, distorted, and transient-manipulated.
History of 808s
“The Roland gear began to be a kind of Esperanto in music. The whole world began to be less separated through this technology.”
Graham Massey - 808 State
As we said before, the 808 came from the Roland TR-808 Drum Machine, which came out back in the early 80s. When it first hit the market, it was a commercial failure. Many people saw the TR-808 as a little robot toy that would never make it a "serious" instrument in the studio.
During this time, electronic music hadn't quite broken through. Plus, the Linn LM-1, which had a higher fidelity sound, garnered much more attention. But, of course, many underground producers couldn't stomach the $5,000 price tag for the Linn LM-1 and felt that the $1,200 price tag for the TR-808 was much more justifiable.
Compared to the LM-1, the TR-808 had 16 pre-loaded analog sounds and a more intuitive interface.
During the 80s and 90s, the 808 was mainly used by house and techno producers. However, pioneering hip-hop producers in the 90s also found something quite unique about the 808.
Producers like Afrika Bambaataa and Rick Rubin began using the 808 in early hip-hop, changing the auditory landscape. In fact, Bambaataa was one of the first major hip-hop acts to put the 808 on the map back in 1982 with the release of "Planet Rock."
In 1983, after selling next to 12,000 Roland TR-808 units, Roland discontinued the drum machine. However, in 1984, Roland replaced the unit with the TR-909, which was the very first drum machine to use MIDI.
When samplers and DAWs came about, standalone drum machines began dying out. However, we're now starting to see a resurgence of modern drum machines with new, high-end features that trump the vintage drum machines of the 80s and 90s.
How To Make 808s
Don't have thousands of dollars at your disposal to buy the original drum machine?
You're in luck, as there are millions of 808 samples online. The beauty of modern 808s is that they've been processed for added girth and power.
Let's take a look at how you can make an 808 that works for your production.
1) Find The Right Sample
First things first, you must start with a good sample.
There is no use in wasting your time trying to shape and tune a low-quality 808 sample. Depending on the DAW you're using, there might be some stock 808s to work with.
However, if you want more options, we recommend heading out to Splice and checking out the platform's massive database of 808 samples.
2) Sample & Tune
Because 808s are made with sub oscillators, you can tune them to specific pitches. Tuning your 808 is crucial . It's pretty tricky to get away with an 808 that isn't in the key of your track.
Finding the key of your track is an entirely different lesson that would require a new article, though there are hundreds of resources online to help you determine the key you're in.
Once you know what key your track is in, you can throw your 808 samples in a digital sampler and adjust the tuning up or down.
3) Fit Within the Context of Your Mix
An 808 that sounds great on its own is pretty cool, though if it feels weak or overpowering in the context of a mix, you may have some adjustments to make. Ideally, the fundamental frequency of your 808 should lie somewhere between 30Hz and 60Hz .
You might have a bassline and kick in your mix too, which also occupy that frequency range. If that's the case, you'll need to perform some puzzle-piece EQing to gel everything together.
More often than not, you'll have to EQ some of the low-end out of your bass and kicks for your 808s to fit nicely.
4) Shape Your 808 with ADSR
More often than not, you want your 808 to have a hard-hitting attack. People want 808s to rattle their trunks, not slide gently against their speakers like some kind of electronic cello.
To help your 808 hit, try increasing the attack time. If you have a kick alongside your 808, however, you might decrease the attack time so that the kick has a chance to pop through before your 808 comes in.
It's also a good idea to shape the decay, sustain, and release of your 808 so that it moves in time with your track.
5) Get Funky With The Sound Design
Just like you know you're listening to John Bonham when you hear his booming drums or Jimi Hendrix when you hear a fuzzy Strat riff, there are many producers out there who have shaped their 808s in such a way that they've found a way to stand out from other producers.
From distortion to compression and beyond, there are so many music production techniques you can use to alter the sound of your 808.
Features of 808
The 808 drum machine is packed with several features and sounds, including the bass drum, snares, toms, claves, a cowbell, hi-hats, cymbals, and the almighty handclap.
The "TR" in the TR-808 name stands for transistor rhythm.
This vintage drum machine uses transistors to create a step sequencer, allowing music producers to program up to 32 distinct patterns. With the CR-78 feature, producers can place accents on individual drum sounds.
With numerous audio outputs, DIN sync, and volume knobs, old producers could sync up their TR-808s with other synthesizers and musical equipment.
The Reception of This Iconic Drum Machine
While the TR-808 drum machine might seem legendary to modern hip-hop music producers, it didn't always have that reputation. For many years, it was ignored by the popular music industry and put off as a toy rather than a serious drum machine.
However, this booming bass drum machine became a staple for underground hip-hop and electronic music artists thanks to its affordability.
As more and more underground artists used the Roland TR-808 drum machine, famous artists began taking note. It wouldn't be long until artists like LL Cool J, Whitney Houston, Marvin Gaye, Public Enemy, and Run-DMC would use the TR-808 in their production.
An old-school UK electronic music group by the name of 808 State popularized the Roland TR-808 in early dance music production. It continued to grace music production throughout the new wave era and into the age of acid house and rave culture.
Famous Songs That Use 808s
Listen to many popular songs, and you'll hear lyrical references to the sound of the 808, including songs from Lil Wayne, Kanye West, Outkast, Kelis, and the Beastie Boys.
However, what really helped the 808 achieve mainstream success was its actual use in popular music. Here are some of the most iconic songs that make use of the 808 drum sound.
Sexual Healing - Marvin Gaye
Electronic percussion solidified itself in popular music thanks to Marvin Gaye, who made this ultra-popular hit after he cut ties with Motown back in 1982. Not only did "Sexual Healing" have one of the strongest vocal melodies in his career, but the way that unique coupled 808s with hyperactive guitar parts was something people in the pop music industry had never quite heard before. In many ways, people believe it was Marvin Gaye that started the TR-808 revolution.
I Wanna Dance With Somebody - Whitney Houston
The Roland TR-808 had taken over the industry by the late 80s, and you could hear it on more hits than any other drum machine on the market. One of the best examples of its use was on the opening bar of Whitney Houston's "I Wanna Dance With Somebody."
While critics initially tore the track apart, it eventually became Houston's most famous song.
Let The Beat Build - Lil Wayne
The Carter III is arguably one of Lil Wayne's best records, and the fact that he sprinkled the sounds of the TR-808 all over "Let The Beat Build" proved his obsession over the drum machine. If the TR-808 samples weren't enough to make the point, the line, "Heh, c'mon, just a snare and an 808" should give you a clue.
Love Lockdown - Kanye West
808s & Heartbreak was one of Kanye West's most significant hit records, spawning a new point in his music career. Like many tracks on this album, "Love Lockdown" used an iconic 808 beat that is almost instantly recognizable.
Drunk in Love - Beyonce
"Drunk In Love" was an instant classic from the moment people streamed it off her 2013 BEYONCE album. While there is plenty to love about the song, including Jay-Z's "eat the cake" lines and Be's "surfbort," the harsh, heavily-processed 808s push speakers to their limits.
The Difference Between 808 and Kick
While the original "808" term was used to describe the TR-808 machine as a whole, the term is now used to describe the sound of the bass, which is often used in conjunction with a kick drum. It might be confusing for those who grew up in the 80s, where the original TR-808 kick was actually a kick drum, not a bass.
While you can still use the term 808 to describe the hi-hats, snares, or toms on the original machine, you can almost always assume that someone is talking about the sound of the bass when they say 808.
Nowadays, the main difference between a kick drum and an 808 is that the kick drum provides the initial attack for the low-end, while the 808 provides the bass sound that emanates after the initial kick sound. An 808 has a very particular pitch that a music producer can use to create basslines.
808 VST Plugins
Trying to find one of these vintage drum machines can be a challenge, which is why so many producers turn to the digital world to get the sounds they're after. Here are our top three favorite VST plugins for those looking to harness the sound of the 808.
Future Audio Workshop SubLab
One of our absolute favorite 808 VST Plugins is Future Audio Workshop SubLab . The beauty of this VST is that it was made for a single purpose, which is creating 808s. No matter what kind of sub-tone you are looking to create, whether, for hip-hop, dance music, or experimental electronic, SubLab gives you the tools to do with ease.
We like to think of SubLab as a hybrid VST of sorts, using an X-Sub bass synth layer underneath an analog synth. The interface is intuitive, giving producers an oscillator waveform and spectrogram to get better feedback about their samples.
You can easily create MASSIVE sub sounds and 808s using multiple layers and add saturation and compression with the built-in modules to bring your 808s to life.
With 69 included presets, you have plenty of starting points. However, if you choose to make your samples from scratch, it's nice knowing that this is one of the most user-friendly VST plugins on the market.
Niche Audio Planet 808
One of the best ways to speed up your music production is by using 808 kits that have already been processed to fit the vibe of your tracks. Niche Audio Planet 808 comes with 15 vibe-driven 808 drum kits perfect for a wide range of genres. The beauty of these kits is that each has various pitches, allowing you to easily fit them into your production, regardless of the key.
If you use Maschine or Ableton Live, know that the plugin has been carefully sculpted for intuitive digital sampling.
Wave Alchemy Revolution
Many people say that Revolution from Wave Alchemy is one of the most sonically accurate virtual drum machines on the market o today. You'll find several classic drum machines sprinkled into Revolution's interface, including the 909, 78, 606, and OB-DX. However, in our eyes, the TR-808 sounds are where this plugin really stands out.
Wave Alchemy programmed this virtual drum machine with thousands of 808 sounds and samples so that each time you play a note, you get extremely subtle differences. These differences in sound are what make the sound of analog so unique.
Plus, the sounds were recorded into a NEVE 1073 preamp and balanced Radial JDI, allowing the design team to capture the fullest frequency response possible. One of our favorite things about the Wave Alchemy Revolution is that you can mix and match iconic sounds to craft Frankenstein kits. If you're looking to get creative, Revolution can help you do it!
808 FAQs
Is 808 a Bass or Kick?
In modern music terminology, when people say 808, they are typically referring to the 808 bass sound. However, the original sound found on the TR-808 was a kick drum, much different than what we hear in modern production.
Who Invented the 808 Beat?
Ikutaro Kahehashi invented the 808 beat along with the Roland Corporation back in 1980, though the way that people utilized the TR-808 drum machine drastically changed over time.
What Are The Effects of 808?
When mixed and tuned properly, the effects of the 808 bass can be extremely powerful. With tons of low-end and hard-hitting attack, a great 808 bass sound can shake club walls and rattle trunk speakers.
What 808 Do Producers Use?
Producers use many different 808 samples in today's music, though most of these samples don't come from the original drum machines. If you're looking to find great 808 samples, we recommend heading to Splice and trying to find sample packs from your favorite producers.
How Loud Should Your 808 Be?
It's often best to keep your 808 at the same level as your kick drum or slightly quieter. Producers often think they need to make their 808s much louder, which can often result in muddy mixes and overwhelming low-end.
Do You Have To Sidechain Kick and 808?
A good rule of thumb is if your kick drum has a very sharp transient, you probably don't need a sharp transient on your 808 bass. One of the best ways to help your kick cut through is by sidechaining it to the 808 so that you 808 drops in level for a split second every time the kick hits.
Should Your 808 Be Mono?
Generally speaking, low-frequency 808 sounds should be in mono. However, if you want to spread your 808 bass, you can make a copy of it, high-pass it, and add delay, reverb, or chorus effects to spread it out while still maintaining the mono low-end.
Should You EQ Your 808 Bass?
It's always important to consider the relationship of your 808 bass to the rest of the tracks in your mix. We often recommend using subtractive EQ, such as a hi-pass filter, if you feel like your 808 is taking up too much room in your mix. If your 808 is having trouble poking through the mix, you can use additive EQ in the 400-800Hz range to give it a bit of grit.
Do Producers Use 808 Samples?
When it comes to modern music production, the sound of the 808 is a staple. From hip-hop to electronic music, it is one of the most iconic sounds around.
Can You Pan 808?
It is often better to keep your 808 sounds in mono, as panning them can result in a skewed stereo image. The same thing goes for your kick drums, bass, and snares. Having a foundation at the center of your track can help it hit much harder.
|
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https://music.tutsplus.com/making-the-beat-jazz-drums--audio-8030t
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Making the Beat: Jazz Drums
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[
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[
"Mike Elliott"
] |
2010-10-15T12:00:46+00:00
|
Welcome to the fourth drum based tutorial in the series that will show you what the beats are and how to make them sound good. In this tutorial we are going to continue to cover one the hardest...
|
en
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https://static.tutsplus.com/packs/static/images/favicon-f8d459d2fa865233f59c.ico
|
Music & Audio Envato Tuts+
|
https://music.tutsplus.com/making-the-beat-jazz-drums--audio-8030t
|
Welcome to the fourth drum based tutorial in the series that will show you what the beats are and how to make them sound good. In this tutorial we are going to continue to cover one the hardest styles to sequence, Jazz.
Also available in this series:
Making the Beat: Rock Drums
Making the Beat: Afro-Cuban Drums
Making the Beat: Brazilian Drums
Making the Beat: Jazz Drums
Making the Beat: Drum N Bass Drums
Jazz or swing has groove all its own that no other style can lay claim to. Whether its fast big band or a slow club feel, the Jazz sound is unmistakable. What makes Jazz drums so hard to sequence? The problem is every sequencer is usually set to have four even subdivisions per beat (these are your 16th notes). Jazz however has a subdivision of three (triplets).
But fear not, we will approach this tutorial in the same fashion, just keep track of the concepts and the numbers and you will be good to go! The last time we talked we built beats from smaller elements that when summed together formed our bigger beats; this tutorial will do so as well. With that all in mind, get ready to swing!
Setting Up
Setting Up: What You Need
If you have read my previous tutorials then this section will not be anything new to you. If you have not read it, then by all means do so! It is important to have an initial game plan on how you want to approach programming your drum beats, and this section will outline your options for you.
This tutorial is aimed to be predominantly DAW and plugin independent; you work with what you feel most comfortable using. However, some tools within the DAW or plugin are necessary to have in order to effectively complete this tutorial.
You will need either a step sequencer or a piano roll in order to place the rhythms.
A well rounded sample library for all drums and cymbals (you can use a drum synth if you so choose but make sure you can create a lot of different sounds with it).
The ability the change the volume of various hits throughout the drum pattern. Make some cymbal hits softer or louder than others, etc. Some may do it via MIDI, other might just change the actual volume of the hit.
Setting Up: What to Use
There can be features of a particular editor that make more advantageous over another when it comes to making drum beats on the computer; but it may have disadvantages as well. Here we will go over the different approaches to constructing drums on the computer and you can decided which methodology is works best for you.
Individual Sampler
This method involves loading samples into a sampler that can only play one sample at a time. Why use it? Usually these samplers have a lot of tools that allow you to manipulate the sample far beyond other samplers. Usually when using these samplers you either have piano roll access or a step sequencer. The disadvantage to this however is that most likely you will not be able to see the whole rhythm of the kit and will need to know exactly how the different instruments fit together.
Pre Constructed Kits
Some programs offer prebuilt kits and usually have the kit laid out across a piano roll so that you can see the whole kits rhythm. You usually will have finer control over the placement of each hit over a step sequencer. The disadvantage is that you may or may not be able to edit each individual sample to the fullest depending on the program.
Multi-Sample Sampler
These samplers are designed usually with drum sets in mind. They allow for multiple samples to be loaded in and sometimes multiple samples per instrument. Why would you want multiple samples per instrument? So that as you program volume changes the sampler will load different samples. This way you don't need 5 different hi-hats channels, 5 different rides, etc. You just program volume changes. Be careful though, sometimes these samplers can be very CPU intensive and can easily bog down your system if you're not careful. In regards to rhythm placement, some use piano rolls and others use step sequencers; it will depend on the plugin.
My Recommendations
I personally am an advocate of having the most versatility at my finger tips, but maintaining ease of use. I like the multi-sample drum samplers with piano roll access and mixer track access because I will have the most control over my sound without overloading myself with controls. If you are not looking for a lot of fine tuned control then try for a pre-constructed kit. If you are looking for glitch kit design or a lot of manipulation you might need the utmost intensive control and opt for the individual samplers. The choice is yours, and remember that these are general guidelines; there can easily be other approaches or different combinations of the above.
Need to Swing: Jazz Drum Theory
Jazz is an all American music and is Americas true form of music. Its roots come deep from the blues in both rhythm and chord progression. Jazz has a push and pull to it that is definitely felt and changes depending on style and tempo. A slow piece will have a much tighter swing where as a medium to fast tempo tune will be a bit looser.
For Jazz drums, the priority list changes a great deal from Rock and Pop drums but generally differs less from Latin. In Jazz terms, the offbeat accent is extremely important in coloring the rhythmic sound to give it some variety. Also the hi-hat is the rock solid foundation to the entire ensemble and is what everything else is based around. The ride also plays a big role in making sure the beats don't get too monotonous. Lets look deeper into the function of each drum in a Jazz setting.
The Kick
The kick drum in Jazz music is used as a color to accent the beat as a whole. You typically will not find the heavy downbeats on beats one and three like in Rock music (but you definitely still can if you want to). By mixing the kick between down beats and off beats it creates the form to the overall beat. In addition, it is also used to bring attention to various parts of the melody and help shape the form of the tune.
The Snare
The snare behaves much like the kick in Jazz music. It provides a counter to the deepness of the snare drum sonically, but still functions in much the same way. The snare also usually has a lot of interplay in between the ride patterns to keep the sound moving and accent various parts of the measure that might go unaccented. Also like the kick, the snare will help outline the melody and form of the song by accenting parts of the melody.
The Cymbal
The cymbals play a very crucial role in the Jazz drum sound. The hi-hat almost always is on beats two and four, no questions. The hi-hat usually has a very tight sound and needs to be very strict in tempo. The ride provides the basic rhythm that sits over top of the hi-hat and is what gives us that basic swung feel. The only issue the ride has is that if the ride pattern does not change it can become very cheesy and boring. As such, it usually changes to reflect different parts of the song and fit with the melody.
The Toms
The toms usually are not played outside of fills or solos. While they certainly can be (and have by many drummers) it is always safe to keep them reserved for fills and solos. The toms play a very key role in fills since they add a change to the same tired rhythms. Simply altering what beat gets hit by a tom instead of a snare or kick can make a very good fill.
Start Walking
Jazz is a art of creation and exploration. The best Jazz drummers create on the spot to whatever song they are playing. They can usually play along with just about anyone who knows the song and every performance is a new story. However to get that sort of control and artistry, they needed to know the basics. This section will cover the basics of Jazz drums and get your foundation more solid so that the rest is a piece of cake.
The format throughout the rest of the tutorial for presenting the actual rhythms will list each instrument and which notes the instrument plays on in a 12 note measure. A 12-note pattern assumes that your smallest note subdivisions are 12 triplets in a four beat pattern. Each pattern will be listed from top to bottom so that cymbals are on the top and kick are on the bottom just as you would see if reading musical notation. Each will be accompanied with a picture to help visualize the pattern.
Start Walking: Basic Jazz
The very first pattern is the most basic essential Jazz pattern. I give this one pattern its own short section because its that important. This will be the backbone on which all the other variations are based. I will not notate that part of the beat if it does not change since it is so integral you should know it by memory. Lets take a look at this most basic beat...
Basic Jazz Pattern
Cymbal: 1,4,6,7,10,12
Hi-Hat: 4 and 10
As I said before, this is the most fundamental Jazz rhythm. Slow or fast, loud or soft, you cannot go wrong with this rhythm. Internalize this rhythm so you don't even need to think about it, you just know what it is. Try to feel the slow phrasing from beats 2 to 4 and the quick phrasing occurring on the downbeat.
From here on out I will be using this pattern as a base on which to add the different drums.
Start Walking: Snare and Kick
Lets first take a look at adding the kick and snare to beats 1,2,3, and 4 and work from there...
Jazz Beat #1
Snare: 4 and 10
kick: 1 and 7
Very simple and has that very heavy emphasis on each beat like the basic Rock pattern. While this is all well and good, its very cheesy and usually is reserved for a situation that needs to sound corny or amateur. By simply removing some of the notes it can sound a lot cleaner and not so corny. Here are two examples...
Jazz Beat #2
Snare: 4
Jazz Beat #3
Snare: 10
kick: 1
Still very basic, but sometimes that is all you will really need. Lets try putting some hits on beats other than the downbeat and see what happens.
Jazz Beat #4
Snare: 6 and 10
Jazz Beat #5
kick: 1 and 6
These beats are far from complex but they add a nice variation to downbeat based rhythm. Incase you have not noticed, the 'offbeat' is not truly off like in rock and other straight styles. For swung music, the offbeat is the third note in a triplet beat. This a very important concept to understand and will help out immensely later on down the road.
Here is another offbeat pattern for your learning pleasure...
Jazz Beat #6
Snare: 9
kick: 1
Experiment with different placements of these single hits, don't start trying to add two in a row (that's what this next section is for). Jazz is a very creative art so be creative!
Start Walking: Adding more Notes
Next we are going to cover how you add more notes in a row to the beat. While this might seem like such a simple concept (and it is) you need to know how to do it so that it does not come across as cheesy. Yes, mathematically placing the notes will eventually render you the same rhythms but that's not the point. The point is to know why you are adding certain rhythms and how they actually function. I will add some additional notes to a beat and see if you can tell why I added the extra notes where I did...
Jazz Beat #7
Snare: 6,8,9
kick: 1
Give up? I placed it in the space between beats 3 and 4. If you were to look at the ride beat as musical notation, beats 1 and 3 are quarter notes. This is a very optimal place to add those additional notes. Here is another example for you to work with...
Jazz Beat #8
Snare: 2 and 3
kick: 9
Now you don't have to add the extra notes just in the space, you can double the ride in parts and can be just as effective. Have a look at this example and tell me what you think.
Jazz Beat #9
kick: 1 and 12
Simple yet effective if I do say so myself (anyone ever mention Jazzers can have egos?).
Here is one more variation to give you some more creative ideas to work with. Note how I use the snare and kick in sequence this time.
Jazz Beat #10
Snare: 3,6,8,10
kick: 1,9,12
Start Walking: Wrap Up
If you follow the above examples and experiment with your own you are very much on your way to making Jazz drums. Think of the groove as a whole and not just beat by beat. Try to make the snare and kicks outline different aspects of your melody in a song and don't feel like you need a lot of snare or kick motion; if it doesn't sound right it isn't!. These are just some beats though, now we need some variety to keep it interesting.
Swing It
This next section will revolve around making those beats have a little more character to them. Jazz is very much about touch and control and you need to reflect that as best as possible in your sequencing. One of the best ways to replicate this touch is through dynamic contrast. As I mentioned earlier, another characteristic of a good Jazz drummer is how they change the ride pattern. The final concept that will really set off your sequencing is knowing how to work in 3/4 meter; known more commonly as a Jazz Waltz. Lets look at these variations and concepts and see how they work.
Swing It: Dynamic Contrast
While our beats were cool earlier, they were a little flat sounding. Lets look at the multi-hit patterns and try to replicate how the drummer might play these.
The first trick is to not make any two hits or more the same volume. For a drummer this can be very difficult especially at fast tempos. Lets try making the last note and accent instead. Here is an example...
Jazz Dynamic #1
Snare Accent: 9
Snare: 8
Jazz Dynamic #2
Snare Accent: 3
Snare: 2
Kick: 1 and 6
Same types of rhythms as before but has a much more natural feel to it. Don't let this be your only trick however. Here is an example that accents the first note in the series instead of the last...
Jazz Dynamic #3
Snare Accent: 2
Snare: 3
Once again it works just fine. Try now combining both into single groove and see what you get. Here is what I came up with...
Jazz Dynamic #4
Snare Accent: 3 and 10
Snare: 2 and 11
Kick: 1,6,12
You can do these tricks with the kick and toms, not just the snare. Experiment with the sounds and see what works best for your beats.
Swing It: Ride Variations
One of the best ways to alter your sound is by changing the ride beat. Theoretically you could use any variation on the triplet to get your ride beat. However, I will show you some of the more prominent versions that will always be useful.
The most prominent variation is using simple quarter notes like so...
Jazz Ride #1
Cymbal: 1,4,7,10
We use this pattern when the piece needs a very tight straight ahead feel. Also at faster tempos a real drummer will probably use quarter notes more often since its easier on the hands. It also works well for those snare and kick patterns that bounce off of the quarter note ride like we talked about earlier.
This next pattern is a simple combination of the quarter note and traditional beats...
Jazz Ride #2
Cymbal: 1,4,7,10,12
Essentially we are keeping beat four the same as the original but making the first three beats the quarter variation. Try making beat two have the additional notes instead of the fourth for another variant.
This last variation is different than the rest and adds a syncopated feel to the ride. Have a listen...
Jazz Ride #3
Cymbal: 1,3,6,10,12
Cool right? Try to use this pattern less frequently so that it really hits home when you do use it. Using it at the end of a phrase works really well too.
You can really do any variation you want but these are good go to beats if you are unsure. Remember be creative!
Swing It: Waltz
For those of you unfamiliar with what a Waltz is, a Waltz is a dance done in a 3/4 meter. It has the 'boom-cha-cha' feeling to it with an emphasis on the downbeat. Jazz has its own version of this dance know as the Jazz Waltz. Lets look at how this version differs from the regular Jazz swing. Keep this in mind, since we are now in a 3/4 meter, we will have a maximum of 9 beats per bar instead of 12. These patterns I will show you encompass both feet and ride beats that you can intermix. Also try adding some of the snare and kick concepts from earlier to give yourself even more beats.
Jazz Waltz #1
Cymbal: 1,4,6,7
Snare: 6
Hi-Hat: 4
Kick: 1
Got that 3/4 feeling? It's a really cool feel if you want to try working out a song in a Jazz Waltz. Here is another beat to try out, keep in mind the hi-hat.
Jazz Waltz #2
Cymbal: 1,3,6,7
Snare: 7
Hi-Hat: 4 and 7
Kick: 1
This pattern really accentuates the three feel by having the hi-hat on both beats two and three. It mimes the 'boom-cha-cha' as best as one possibly can on the drums. The last hi-hat variation is to put a hi-hat on just beat three. However, there is one more common variation that involves the kick. Take a listen...
Jazz Waltz #3
Cymbal: 1,4,7,9
Hi-Hat: 4
Kick: 1 and 6
This kick pattern adds a nice syncopated feel to the groove can be used with any of the hi-hat or ride variants in a Jazz waltz.
Swing It: Review
Making Jazz sound right is not an easy task for sequencing. You will most likely need to write out every measure in your song as if you were the drummer to make it sound right; copy and pasting beats doesn't work that well. However, with these couple tricks up your sleeves your life will be much easier it making sure it sounds good. Dynamic contrast and the appropriate amount of variety are the key to making it sound right.
Sound Color
Now comes the part where we talk about the samples and what works and what doesn't for the style. Up until now we have focused on creating the beats in the Jazz style. However, we need to make sure we are getting a good sound out of each drum. If you read my previous tutorial then you know that some people are on a perpetual quest for the perfect drum sound. Once again, if you are one of these people let me tell you that it does not exist. When dealing with programmed drums trying to sound real, you need to have the best samples you can get a hold of; end of story. Process all you want, but good samples are key to good drum sound. Now, you still will need some processing regardless so do not count yourself out yet if your samples are not godly. What we will focus on is making the kit as a whole sound more live and real and what you need to do in order to achieve that end. As I said in the beginning of this tutorial, you will need a lot of samples in order to get a good feel out of your programmed kit. Now we will go in depth on how to use them.
Sound Color: The Kick
A good kick is key to the creation of a quality drum sound regardless of genre. The kick is not the center of the Jazz world but it is still important. With Jazz kicks you have a few choices to pick from. You most likely will have kicks that sound natural, full, or cushioned; sometimes crossbreeds between two of them but not very often How do you decide which to use? Think of how you want your kit to sound.
- A traditional jazz/Latin album will have a very natural sound and you will want to hear the sound of the drum itself, not some processed pop tone. Keep this mind as well, sometimes this sort of tone will remove some attack from the kick and give it that cushioned quality. I like kicks that have a little bit of a ring to them for Jazz; not too much ring either though!
-If you want a fuller more Hollywood style sound then you will want a kick that has a nice bottom end with some attack. It should not be completely pop sounding, but not the natural tone either.
These of course are just guidelines but it hopefully gives you a sense of direction when trying to figure out your kick sound.
When actually programming of the kick you should probably have two, but definitely no more than three kick sounds. The kick tonally stays the same most of the time when being acoustically played. You will probably want a kick sound for quiet passages and another for louder passages; also regular kick vs accented kick.
Like always, if you ever have two kicks in rapid succession make sure they don't sound exactly alike. As a whole, it is difficult for a drummer to keep them 100% the same that fast.
Sound Color: The Snare
The snare is an interesting subject in the Jazz domain. Some people are very snare heavy while others rarely use it. Either way, your snare should have a tight natural sound to it. Often times people will play the unaccented notes very softly and it sounds like just a little bit of noise. This is known as chatter in the drum world. Make sure you have at least two snare sounds, the accented and the chatter.
I recommend starting with a good open snare sound that compliments the kick and does not conflict with the hi-hat or cymbals. Whenever you do pick your snare tone, make sure you start with your primary snare sample and build off that. If you have a harmonically rich snare you sometimes can EQ off other parts to create your additional snare sounds instead of sample hunting. Generally the softer hits are slightly higher in pitch/tone than the heavier hits but it can change depending on the drum. You should however have more contrast in your snare samples than your kick samples.
Do not forget the snare clicks or rimshots either. Clicks work well when sparsely used in soft or slow passage and rimshots work great for loud fast solos.
Sound Color: The Cymbals
Cymbals tend to fall into two categories when it comes to the cymbals actual timbre; dark or bright. Dark cymbals tend to have a rounder, warmer, and heavy tone to them while the bright cymbals are cutting, sharper, and higher toned than their darker counter parts. Also, you can have a combination of both dark and bright cymbals and get what some call a rich cymbal. This applies not just hi-hats and rides, but crashes as well. While these might be the way we categorize the actual cymbals, we also have to consider how the cymbal is played.
You are going to want a tight set of hi-hats that when closed together will not leave any extra ringing and leave you guessing on the beat. Your ride cymbals should have a little bit of stick noise from the initial impact if you want a slightly more authentic sound.
If you want a tighter ride sound make sure your sample doesn't have too much of a ring afterwards. However if you want a more of a wash, go for that longer decay sample.
How do we use cymbal samples? This will by far be the biggest pain in the entire tutorial but one of the most essential. Your cymbal samples should be fairly similar, closer to the way we did the kick. Why? Because most people do not actually sit there and intently listen on the tone of the cymbals. There is always variety but it is usually subtle and so to should your samples. You usually have to randomly assign your cymbal samples to get that psychoacoustic effect of knowing it is there but not noticing it. However, if you are lucky enough to be using a multi-sample sampler, then see if your plug-in can randomly playback your samples for you in your cymbal channel (see what I mean when I said I love multi-sample samplers?) You generally will need about 3-4 samples to get the effect.
Sound Color: Toms
Toms fall back into their normal place in drumset music as almost strictly fill based. You still will want a good set of natural sounding toms. Some people like higher pitched ones for Jazz but plenty of drummers have still used a boomy set of toms. Whatever style of toms you decide to go with, make sure you have a corresponding set of rimshot samples to give your self some sonic characteristics to work with.
Sound Color: Review
As a hole you will about the same amount of samples in this tutorial as you did in the previous one. However, if you completed either one of my last two tutorials then you could probably use the exact same setup since Latin and Jazz usually go hand and hand. Make sure each sample fits well with the others and if you have to over process to make it fit, get a better sample. If you have the option of being able to randomly assign samples from a multi-sample sampler then by all means go for it; it will make your life a lot easier.
Fills, Fills, Fills
I like to repeat myself so once again we find ourselves in the final section of the tutorial; fills! As a drummer I have told your and will tell you again that fills are your chance to be expressive, and that the possibilities are beyond what you could write in words. Therefore, to me it is probably least most important section for programming drums; also in my experience most people don't want to be bothered to write out a drum fill so I won't flood you with long winded fills that you would have to painstakingly rewrite.
Fills, Fills, Fills: The Accent
Probably the most important aspect to fills and solos in the Jazz style is the accented notes (much like its Latin counterpart). When you look at the grooves, we accent certain aspects to draw attention. By carefully placing accents in your fills you can make them more melodic.
As with Latin music, off-beat accents are king in Jazz as well. The offbeat is where the syncopation comes in and is how your fills can sound less square. However, this does not mean you can abuse offbeat accents all the time. Add some variety between on beat and off-beat accents. Remember with triplets, the offbeat is the third note of each set of triplets; or if you prefer, notes 3,6,9,12
Here is a quick fill based around accents to get your creative juices flowing. Notice the offbeat accents in the beginning.
Fill Me In: And Lead Me In
Not all fills are long intricate ideas, some are simple a few notes long. These short quick fills usually lead into a big hit by the rest of the band. Jazz often makes heavy use of this technique. Most of the time they are not flashy and usually are played on their own without any moving notes from the rest of the band. Essentially the band plays, cuts out, the quick fill is played, and everyone comes back in full board on the last note of the fill. There isn't much more to say about these fills other than look at what I have come up with and get some ideas. You will hear one bar of groove and the last 2 beats of the second measure are the lead in fill...
Fills, Fills, Fills: Patchwork
There is no real trick to creating these other than experimenting. The only methodology you really have is to take one beat fragments and patch work them together until you get a fill you like. Again, break your fill ideas down into one beat fragments so that they are easier to manage and vary where your notes land on the different drums.
Another trick is to mimic the melody of the song but in the amongst the tone of the drum set. If you go this route, try adding various rhythmic flourishes to the melody and interject sections that are not the melody and are strictly just drum fill.
Here is a longer fill that encompasses different ideas so that you can hopefully get some ideas yourself...
Fills, Fills, Fills: Review
There is not much to say about Jazz fills other than be creative and don't be scared to try something new. Jazz fills can be extremely hard to do even for a drummer because they are so based off improvisation. If you are a more methodical person then try going the melodic mimic route. Either way should expand your mind and be creative; think like a musician!
Jazz in Review
Did I mention I like to repeat myself? I think I did. But if you didn't get the idea already here is something you may have heard before. That is an awful lot of material to cover! Jazz music is tricky to say the least and is not normally something you hear everyday since Jazz has somewhat fallen out of mainstream music. Keep in mind that the hi-hat is the grounding element to Jazz music, without it everything falls apart. Remember also that the offbeat accent is integral to a Jazz feel but it should be exploited either. I hope you have learned a lot from reading this tutorial and now have more musical choices at your disposal. Thanks for reading!
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Type of percussion instrument
SnarePercussion instrumentOther namesField drum, side drumClassification
Percussion
Drum
Unpitched
Hornbostel–Sachs classification211.212.11
(Individual double-skin cylindrical drums, one skin used for playing)Developed13th centuryRelated instruments Tabor
The snare drum (or side drum) is a percussion instrument that produces a sharp staccato sound when the head is struck with a drum stick, due to the use of a series of stiff wires held under tension against the lower skin. Snare drums are often used in orchestras, concert bands, marching bands, parades, drumlines, drum corps, and more. It is one of the central pieces in a drum set, a collection of percussion instruments designed to be played by a seated drummer and used in many genres of music. Because basic rhythms are very easy to learn to play on a snare drum even for children, the instrument is also suitable for the music education for young children and a rhythm band.
Snare drums are usually played with drum sticks, but other beaters such as the brush or the rute can be used to achieve different tones. The snare drum is a versatile and expressive percussion instrument due to its sensitivity and responsiveness. The sensitivity of the snare drum allows it to respond audibly to the softest strokes, even with a wire brush. It can be used for complex rhythmic patterns and engaging solos at moderate volumes. Its high dynamic range allows the player to produce powerful accents with vigorous strokes and a loud metallic click when rimshots are used.
The snare drum originates from the tabor, a drum first used to accompany the flute. The tabor evolved into more modern versions, such as the kit snare (the type usually included in a drum kit), marching snare, tarol snare, and piccolo snare.[1] Each type is a different size, and there are different playing styles associated with each of them. The snare drum that one might see in a popular music concert is usually used in a backbeat style. In marching bands, it can do the same but is used mostly for a front beat.[citation needed] In comparison with the marching snare, the kit snare is generally smaller in length, while the piccolo is the smallest of the three. The snare drum is easily recognizable by its loud cracking sound when struck firmly with a drumstick or mallet. The depth of the sound varies from one drum to another because of the different techniques and construction qualities of the drum. Some of these qualities are head material and tension, dimensions, and rim and drum shell materials and construction.
The snare drum is constructed of two heads—both usually made of Mylar plastic in modern drums but historically made from calf or goat skin—along with a rattle of beads(metal, plastic, nylon, or gut) called "snares" in close contact with it, on the bottom head, which vibrate when the drum is struck. The snares can also be on the top, as in the tarol snare drum, or on both heads as in the case of the Highland snare drum. The top head is typically called the batter head because that is where the drummer strikes it; the bottom head can also be called the snare head (if the snares are located there). The tension of each head is held constant by tension rods. Tension rod adjustment allows the pitch and tonal character of the drum to be customized by the player. Most snare drums have a lever (the strainer) to engage or disengage contact between the snares and the head, and which also permits adjustment of the snare tension. When the snares are disengaged, the sound of the drum resembles a Floor tom. The rim is the metal or wooden ring around the batter head that holds the head onto the drum and provides tension to the head; the rim can also be used in some playing techniques, notably the rimshot, in which the head and rim are struck together with a single stick to create a clicking, or tapping sound.
Playing
[edit]
When the top head is struck, the bottom (resonant) head vibrates in tandem, which in turn stimulates the snares and produces a cracking sound.
The drum can be played by striking it with a drum stick or any other form of beater, including brushes, rute and hands, all of which produce a softer-sounding vibration from the snare wires. When using a stick, the drummer may strike the head of the drum, the rim (counterhoop), or the shell.
The snares can be thrown off (disengaged) with a lever on the strainer so that the drum produces a sound reminiscent of a tom-tom.[2] Rimshots are a technique associated with snare drums in which the head and rim are struck simultaneously with one stick (or in orchestral concert playing, a stick placed on the head and the rim struck by the opposite stick). In contemporary and/or pop and rock music, where the snare drum is used as a part of a drum kit, many of the backbeats and accented notes on the snare drum are played as rimshots, due to the ever-increasing demand for their typical sharp and high-volume sound.
A commonly used alternative way to play the snare drum is known as "cross-stick", "rim click", or "side-stick". This is done by holding the tip of the drumstick against the drum head and striking the stick's other end (the butt) against the rim, using the hand to mute the head.[3] This produces a dry high-pitched click, similar to a set of claves, and is especially common in Latin and jazz music. So-called "ghost notes" are very light "filler notes" played in between the backbeats in genres such as funk and rhythm and blues. The iconic drum roll is produced by alternately bouncing the sticks on the drum head, striving for a controlled rebound. A similar effect can be achieved by playing alternating double strokes on the drum, creating a double stroke roll, or very fast single strokes, creating a single stroke roll. The snares are a fundamental ingredient in the pressed (buzz) drum roll, as they help to blend together distinct strokes that are then perceived as a single, sustained sound. The snare drum is the first instrument to learn in preparing to play a full drum kit. Rudiments are sets of basic patterns often played on a snare drum.[4]
Construction
[edit]
Snare drums may be made from various wood, metal, acrylic, or composite, e.g., fiberglass materials.[5] A typical diameter for snare drums is 14 in (36 cm). Marching snare drums are deeper (taller) in size than snare drums normally used for orchestral or drum kit purposes, often measuring 12 in deep (tall). Orchestral and drum kit snare drum shells are about 6 in (15 cm) deep. Piccolo snare drums are even shallower at about 3 in (7.6 cm) deep. Soprano, popcorn, and firecracker snare drums have diameters as small as 8 in (20 cm) and are often used for higher-pitched special effects.[2]
Most wooden snare drum shells are constructed in plies (layers) that are heat- and compression-moulded into a cylinder. Steam-bent shells consist of one ply of wood that is gradually rounded into a cylinder and glued at one seam. Reinforcement rings, so-called "re-rings", are often incorporated on the inside surface of the drum shell to keep it perfectly round. Segment shells are made of multiple stacks of segmented wood rings. The segments are glued together and rounded out by a lathe. Similarly, stave shells are constructed of vertically glued pieces of wood into a cylinder (much like a barrel) that is also rounded out by a lathe. Solid shells are constructed of one solid piece of hollowed wood.
The heads or skins used are a batter head (the playing surface on the top of the drum) and a resonant (bottom) head. The resonant head is usually much thinner than the batter head and is not beaten while playing. Rather than calfskin, most modern drums use plastic (Mylar) skins of around 10 mils thickness, sometimes with multiple plies (usually two) of around 7 mils for the batter head. In addition, tone control rings or dots can be applied, either on the outer or inner surface of the head, to control overtones and ringing, and can be found positioned in the centre or close to the edge hoops or both. Resonant heads are usually only a few mils thick, to enable them to respond to the movement of the batter head as it is played. Pipe band requirements have led to the development of a Kevlar-based head, enabling very high tuning, thus producing a very high-pitched cracking snare sound.
A new technique used to improve the sound quality during snare drum construction is symmetrical venting. In contrast to a standard single vent hole, air can easily travel through and around the instrument without getting caught. This rapid movement creates a smoother, stronger sound.
History
[edit]
The snare drum seems to have descended from a medieval drum called the tabor, which was a drum with a single-gut snare strung across the bottom. It is a little bigger than a medium tom and was first used in war, often played with a fife (pipe); the player would play both the fife and drum (see also Pipe and tabor).[6][7] Tabors were not always double-headed[8] and not all may have had snares. By the 15th century, the size of the snare drum had increased and had a cylindrical shape. This simple drum with a simple snare became popular with the Swiss mercenary troops who used the fife and drum from the 15th to 16th centuries. The drum was made deeper and carried along the side of the body. Further developments appeared in the 17th century, with the use of screws to hold down the snares, giving a brighter sound than the rattle of a loose snare. During the 18th century, the snare drum underwent changes which improved its characteristic sound. Metal snares appeared in the 20th century. Today the snare drum is used in jazz, pop music and modern orchestral music.[9]
Much of the development of the snare drum and its rudiments is closely tied to the use of the snare drum in the military. In his book, The Art of Snare Drumming, Sanford A. Moeller (of the "Moeller Method" of drumming) states, "To acquire a knowledge of the true nature of the [snare] drum, it is absolutely necessary to study military drumming, for it is essentially a military instrument and its true character cannot be brought out with an incorrect method. When a composer wants a martial effect, he instinctively turns to the drums."
Before the advent of radio and electronic communications, the snare drum was often used to communicate orders to soldiers. American troops were woken up by drum and fife playing about five minutes of music, for example, the well-known Three Camps.[10] Troops were called for meals by certain drum pieces, such as "Peas on a Trencher" or "Roast Beef". A piece called the "Tattoo" was used to signal that all soldiers should be in their tent, and the "Fatigue Call" was used to police the quarters or drum unruly women out of the camp.[11]
Many of these military pieces required a thorough grounding in rudimental drumming; indeed Moeller states that: "They [the rudimental drummers] were the only ones who could do it [play the military camp duty pieces]".[12] Moeller furthermore states that "No matter how well a drummer can read, if he does not know the rudimental system of drumming, it is impossible for him to play 'The Three Camps', 'Breakfast Call', or in fact any of the Duty except the simple beats such as 'The Troop'."[13]
During the late 18th and 19th century, the military bugle largely supplanted the snare and fife for signals. Most modern militaries and scouting groups use the bugle alone to make bugle calls that announce scheduled and unscheduled events of the organization (from First Call to Taps). While most modern military signals use only the bugle, the snare is still retained for some signals, for example, the Adjutant's Call.
Snare drumheads were originally made from calfskin. The invention of the plastic (Mylar) drumhead is credited to a drummer named Marion "Chick" Evans, who made the first plastic drumhead in 1956.[14]
Drum rudiments seem to have developed with the snare drum; the Swiss fife and drum groups are sometimes credited with their invention.[15] The first written rudiment was drawn up in Basel, Switzerland in 1610.[16] Rudiments with familiar names—such as the single paradiddle, flam, drag, ratamacue, and double stroke roll, also called the "ma-ma da-da" roll—are listed in Charles Ashworth's book in 1812.[17]
Definitions
[edit]
Military drum/field drum: a snare drum with a diameter of 14–16 in and 9–16 in deep, with a wood or metal shell and the two heads stretched by tensioning screws. It has a snare-release lever to activate or deactivate a minimum of eight metal, gut, or plastic snares. The term came into use in 1837 with the invention of the tensioning-screw mechanism. While it frequently placed on a stand, it can also be played without the stand, screws and the lever in marching configuration.[18] Also called a Tamburo Militare in Italian, a Militär-Trommel in German, a Tambor in Spanish, a Tamboer in Dutch or a Tambour Militaire or Tambour D'ordonannce in French, or uncommonly a Street Drum in English.[19]
Side drum: a common British and Scottish Highlands term for a snare drum.[20] Also known as a Piccolo Cassa or Tamburo Piccolo in Italian, Kleine Trommel in German, Caja in Spanish, or Caisse Claire in French.[19] Refers commonly to an orchestral snare drum in America, while in the Commonwealth it refers to a marching snare.
Tabor: a large drum with a single snare on the batter head used in the Middle Ages and sometimes called for in orchestral repertoire. Also known as a Tenor Drum, a Tamburello in Italian, a Tamburin in German, or a Tambourin Provençal in French.[19] Not to be confused with the Scottish pipe band tenor drum which has no snare.
Guillotine drum:
Types
[edit]
There are many types of snare drums, for example:
Marching snare ("regular" and "high tension")
Marching snares are typically 12 in (30 cm) deep and 14 in (36 cm) wide. The larger design allows for a deeper-sounding tone, one that is effective for marching bands.[21] Many marching snares are built to withstand high amounts of tension, tightened by a drum key. They are often played with a heavier and thicker stick, more commonly referred to as "marching sticks". Snares are often nylon or gut.
Pipe band snare
Similar to a marching snare, pipe band snares are deep and tuned quite tightly. The major difference is that they feature a second set of snare wires beneath the batter head, along with the normal set on the resonant head.[22] This gives them an even more crisp and snappy sound. Snare drummers form an integral part of pipe bands, accompanying the bagpipes, and playing music written to fit the pipe tunes. A bass drummer and several tenor drummers, who also perform visual representations of the music, known as flourishing, add to the percussion section of a pipe band. The music played by pipe band snare drummers can be technically difficult, and requires a high degree of rudimental ability, similar to that of marching bands. Pipe Band snare normally use the traditional grip.
Drum kit snare
Drum kit snares are usually about a third to half the depth of a marching snare. They are typically 14 in (36 cm) in diameter and 5, 5+1⁄2, 6, 6+1⁄2 or 7 in (13, 14, 15, 17 or 18 cm), with 8 in (20 cm) depths also available.[21] Typically uses coiled metal snare wires.
Piccolo snare
The piccolo snare is a type of snare used by drummers seeking a higher-pitched sound from their snare. Because the piccolo snare has a narrower depth than that of the marching snare or set snare, a higher-pitched "pop" is more widely associated with it. Although the piccolo snare has a more distinctive, unique sound, it has some downsides. Because of the "sharper" sound of the piccolo, its sound travels further and is picked up by microphones further away during recording, making it difficult to record effectively.[23] There are many kinds of piccolo snare which can be piccolos, including the popcorn, soprano and standard snares. Popcorn snares typically have a diameter of 10 in (25 cm), sopranos 12–13 in (30–33 cm), and standard piccolos 14 in (36 cm).[23] A well-known user of the piccolo snare was Neil Peart, the drummer of Rush, who used a 13 in (33 cm) X Shell Series Piccolo.
Orchestral snare
Orchestral snare drums usually conform to the dimensions of drum kit snares, but often have a calf skin head or a synthetic approximation of a natural head material. They also typically use snares made of metal cable, gut, synthetic cord, or nylon,[21] with some orchestral snare strainers supporting 3 different materials simultaneously and the ability to tune each bundle of snare material independently.[24]
Tabor
The tabor snare dates back to around the 14th century, and was used for marching beats in wars. It is a double-headed drum with a single snare strand, and was often played along with the three-holed pipe flute. The dimensions vary with the different types of tabor. It is typically 4+1⁄2 in (11 cm) wide and around 11–13 in (28–33 cm) in diameter.[25]
Tarol
The tarol snare has similar dimensions to the kit snare. The major distinction is that the snares in this type are on the top head rather than the bottom one.
Caixa malacacheta
"Caixa" meaning "box". This is a simple 12 or 14 in (30 or 36 cm) diameter, 8 in (20 cm) deep snare typical of Samba played in Southern Brasil. Made from aluminum or steel with the snare wires on top, it can be played from a sling or "em cima" – on the shoulder to project the sound.
Famous solo works
[edit]
"Three Dances for Solo Snare Drum" by Warren Benson
"Trommel Suite" by Siegfried Fink
"American Suite for Solo Snare Drum" by Guy Gauthreaux II
"Prím" by Áskell Másson
"March-Cadenza" by Gert Mortensen
"Douze Études pour Caisse Claire" by Jacques Delécluse
Famous orchestral repertoire
[edit]
Lieutenant Kije by Sergei Prokofiev
Scheherazade by Rimsky-Korsakov
"The Stars and Stripes Forever" by John Philip Sousa
Polovetsian Dances by Alexander Borodin
Carl Nielsen's Fifth Symphony
Ionisation by Edgard Varese
Bolero by Maurice Ravel
Dmitri Shostakovich's Seventh Symphony, "Leningrad" and Eleventh Symphony, "The Year 1905"
Béla Bartók's Concerto for Orchestra
Popular brands
[edit]
Brady Drum Company
DW
Fibes
Gretsch
Ludwig
Mapex
Pearl Drums
Pork Pie Percussion
Premier
Remo
Rogers
Slingerland
Sonor
Tama
Yamaha
See also
[edit]
Snare drum hardware
Double-drumming
References
[edit]
Sources
[edit]
Beck, John (1995). Encyclopedia of percussion instruments. New York: Garland Publishing. ISBN 0-8240-4788-5. Google Books preview. Accessed 8 September 2009.
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Snare drum
History
The frame drum and timbrel in the Middle Ages
Medieval Europe was home to an enormous variety of drums, most of which had originated in the Orient. The most widespread forms were the frame drum and the timbrel, a forerunner of the present-day tambourine. The frame drum consisted of a rectangular or circular wood frame with a head; the underside was open. The main difference between the frame drum and the timbrel was the presence of the jingles that were attached to the latter's shell. While the timbrel was still struck with the flat of the hand in the Middle Ages, like its predecessor in antiquity, an additional, one-handed technique was emerging for the frame drum: traveling minstrels used it mostly to accompany the single-handed pipe and hung it to one side on a strap over the shoulder, where the musician struck it with a beater while playing the pipe with the other hand.
*Frame drum (from: Praetorius, Syntagma musicum, 1620)*
The medieval tabor
Evidence of a forerunner of the snare or side drum in Europe exists at least from the 14th century in the form of the tabor, a small, double-headed drum with a cylindrical shell of wood and one or more snares stretched across the batter head. The calfskin or sheepskin heads were rope tensioned, the ropes criss-crossing between the hoops of the batter and snare heads. The drum hung at the side of the âplayer of the pipe and taborâ who beat the rhythm with a drumstick while playing a melody on the single-handed pipe with the other hand. The minstrels' drum had to be fairly light and easy to carry because it hung over the player's forearm, and for this reason it was rather small and not very loud.
*Tabor (from: Praetorius, Syntagma musicum, 1620)*
Drum names
In the Middle Ages there were no standard names for drums. The oldest appellation was probably the Latin tympanum, which originally described flat frame drums but in the later Middle Ages was used for every drum-like instrument (including timpani). In addition to this the term tabor (German tambur, French tabour, tambour) became widespread. In German-speaking countries the onomatopoeic name Trommel (from the Old High German trumme, trumbe = booming instrument) appeared in the 12th century and initially described both membranophones and trumpets. It is from this term that the English word drum (drome, drume) evolved which replaced the name tabor in the 16th century.
Side drum or field drum
In the 14th century the practice of one man playing both pipe and drum ended, the instruments being played henceforth by two musicians. This separation was a consequence of the way the two instruments were evolving: the pipe's compass was increased, making it necessary to use both hands to play the instrument, and the relatively soft-sounding tabor was made larger to increase its volume, which was a requirement particularly of military music. The result was the side or field drum.
The history of the town of Basel in Switzerland records the existence of an âAssociation of Drum and Fifeâ as early as 1332. The members of this âguildâ were important figures at public festivities.
*Lansquenet drum ("Soldiers' drum", from: Praetorius, Syntagma musicum, 1620)*
In the course of the 15th century the drum that was struck from the side became ever larger and ever louder to meet the changing requirements of military bands. It became too large to be hung over the forearm and was now attached to a strap over the drummer's shoulder or tied to a belt around his waist. The widely known âSwissâ drums became the model for drum-makers all over Europe. The small tabor remained in use as a folk instrument while the new, large drum became an important instrument with lansquenets (German foot soldiers). It is for this reason that the side drum is sometimes also called the field drum, or, in historical contexts, the lansquenet drum (tambour de lansquenet) or long drum. âFife and drumâ symbolized the common foot soldiers, while trumpets and kettledrums represented the cavalry.
The field drum was between 50 and 70 cm deep (some models were as deep as one meter) and had a diameter of 50 cm. It was beaten with a pair of heavy sticks. From the 16th century the snares were stretched across the lower skin, the snare head.
Basel drum
The field drum's main task was to give signals and mark the marching rhythm. Single and double beats and rolls were already standard playing techniques. In the 17th and 18th centuries the field drum continued to evolve within the context of military bands. One of the principal aims was to reduce its dimensions, especially the depth of the shell, while retaining the volume.
*Basel drum*
This smaller version of the field drum is nowadays called the Basel or parade drum. The drums used by the distinguished Basel Drum Associations still have the original form, the head tensioned extremely tightly by criss-crossing cords to produce a bright tone. The Basel drumming style has a long tradition in which bounces and virtuoso embellishments play an important role. On contemporary models of this drum the head is tensioned with screws.
Military side drum
When in the mid 18th century the bass drum and Turkish drum arrived at the courts of European princes with Janissary music the depth of the side drum's shell had already been reduced to 40â45 cm, its diameter to 40 cm. The body, previously made of wood, could now also be brass.
In the 19th century the drum's dimensions were reduced to a shell depth of about 40 cm and a diameter of 40 cm, in other words, the depth now corresponded to the head diameter. Such drums became widespread in many countries. English speakers called it the military snare drum, Germans the Militärtrommel, the French the tambour militaire and the Italians the tamburo militare. This drum is still used in military bands today.
At the same time manuals on the basics of drumming began appearing in Europe and the USA. In addition, drummers in military bands had to be able to play a large number of signal calls which with orders were passed on to the troops in a coded drum pattern. In the 19th century bugles took over this task. Drums were also used as signaling instruments in shipping and navigation, and, albeit rarely, in civilian life.
Admittance into the orchestra
100 years later than the timpani â in the second half of the 18th century â the side or field drum appeared in the orchestra for the first time, under the name tambour: Georg Friedrich Handel and Christoph Willibald Gluck used the instrument in their Fireworks Music (1749) and Iphigenie auf Tauris (1779) respectively. But drums have never achieved the same importance as timpani in the orchestra and their chief province remains marching music to this day. Because the drum had often been used in the midst of battle its first tasks in the orchestra were to evoke a military atmosphere, as in Josef Haydn's Military Symphony (1794). Ludwig van Beethoven gave the drums authentic tasks in his battle symphony Wellington's Victory (1813), giving each of the armies its own drum signal.
The drum was used more extensively in the opera orchestra, e.g. by Gioacchino Rossini, who even used it as a solo instrument in his opera The Thieving Magpie (1817), which earned him the nickname âTamburossiniâ.
*Tambourin (tambour provençal)*
Beside the tambour â in historical scores this refers to whichever form of the side drum was in use at the time â an instrument with the name tambourin enjoyed huge popularity especially in 18th century French opera. This was a drum played with one hand and made of very light wood, with a shell about 70 cm deep and a single head. Direct descendants of this tambourin or tambour provençal are still used today in folk music in southern France. The instrument should not be confused with the tambourine with its jingles.
Die Kleine Trommel
In 1837 the Englishman Cornelius Ward was a central figure in the invention of screw tensioning, which rapidly replaced rope or cord tensioning. This innovation meant that the snare drum could now be even flatter: the shell depth was reduced to 20 cm, in some instances even to 10 cm.
In the second half of the 19th century flat drums with a larger diameter (approx. 35 cm) than shell depth were adopted as rhythm instruments by salon orchestras, dance bands and jazz ensembles. At the beginning of the 20th century this small version became generally known as the snare drum or side drum. The best-known orchestra piece in which the snare drum plays a vital role is Maurice Ravel's Boléro (1928).
New impulses from jazz
At the beginning of the 20th century the snare drum was already an essential component of jazz percussion. The influence of jazz brought a host of innovations to the snare drum's construction and playing techniques.
The hoops, which until the end of the 19th century had been made of wood, were replaced by metal ones. In 1898 the percussionist Ulysses Grant Leedy made the first adjustable stands for the snare drum. In about 1914 Robert Danly invented the snare strainer to lift off the snares, making it possible to produce a kind of tom-tom effect on the snare drum. In 1957 the first drum with a synthetic head appeared on the market. Because of its resistance to changes in temperature and humidity â it is waterproof, robust and cheap â the plastic head proved a huge success in popular music, whereas orchestra musicians preferred to continue with natural heads, which, for the most part, they still do today.
20th century composers expanded the snare drum's range of tasks: beside its traditional rhythmic function, which became more complex and varied, tonal aspects gained importance. Moreover, the drum was also used as a solo instrument. Efforts to find new timbres resulted in experiments with the striking spot and various types of stick. Ultimately new techniques such as striking the rim, or the rim shot (striking the head and the rim at the same time) or playing with wire brushes were able to establish themselves in more recent orchestral works.
Construction
Shell
1 Tensioning mechanism
2 Snare release lever
3 Shell
4 Tensioning brackets
5 Counter hoop
6 Tensioning screw
The shell of the snare drum is relatively shallow and is generally made either of wood or metal. Plastic is only rarely used.
On the underside of the shell there are grooves for the snares. These are called the snare bed. When the strings are stretched taut they are pressed into these grooves, which improves their contact with the head.
The tensioning mechanism for the snares is on the side of the shell: the percussionist tightens or loosens the strings with a lever, so that they are either pressed against the head or lifted off of it. In addition, the lever is fitted with a screw which allows precise adjustment of the string tension.
The shell always has a small hole for pressure compensation of the enclosed air when the drum is struck.
Extremely shallow versions of the snare drum have become known as piccolo snare drums.
Heads
Over both openings of the cylindrical shell a head of calfskin or plastic is stretched. Plastic heads are either clear or coated. The batter head is at the top of the drum, the snare head at the bottom.
The heads are stretched over a flesh hoop, which has a slightly larger diameter than the shell. A counter hoop placed on the flesh hoop is screwed with long screws or threaded rods to the tensioning brackets which are mounted approximately in the middle of the shell. Rope or cord tensioning, as on the medieval side drum (field drum), is rare today. In order to produce a good tone the heads, which must not be too thick, must have an even tension over-all.
To produce a tone with indefinite pitch the head must meet two criteria:
Thickness: the thicker the head, the more likely the instrument is to develop a definite pitch. To prevent this, the snare head is somewhat thinner and more elastic than the batter head.
Tension: it must be possible to tune both heads independently. Most drummers prefer the batter head to be more tightly tensioned.
Until the 20th century musical opinion dictated that a definite pitch was something to be avoided at all costs. Today, however, the tuning of the snare drum to an exact pitch is occasionally required.
Snares
The snares, of which there are usually 8â18, are stretched across the snare head and are primarily responsible for the instrument's crisp sound. What the snares are made of depends on how and where the drum is employed or from where it originated:
In military bands, gut snares are often still preferred for their precise and snappy sound.
In jazz, rock and pop music, wire coil snares create a buzzing and diffuse impression. The snares on orchestral drums are somewhere between these two extremes, being made of silk or nylon wound with metal, although there is currently a tendency to revert to gut snares.
Taut snares containing metal are very susceptible to sympathetic vibration in the orchestra, and can vibrate from the sound of other instruments (such as the horns, or the timpani, which are often close to the snare drum). To prevent this, the drummer immediately releases the snares (hopefully! -:) when the instrument is not being played.
Stand
For playing, the snare drum is placed on a firm stand, the height and angle of which can be adjusted.
Sticks & Mallets
Drumsticks and other sticks
Snare drum sticks
The snare drum is usually beaten with special drumsticks: these are thin, tapering to the tip, about 36 cm long, made of hard wood and have round or oval tips. Oval tips are sometimes covered in plastic.
In military music it is customary to use relatively thick and heavy sticks, whereas in jazz, thin and light sticks are preferred. Orchestral musicians choose their sticks according to the requirements of the work to be performed.
Snare drumsticks. Far right: a field drumstick for comparison
Other sticks
Occasionally other sticks are used on the snare drum:
Wire brushes: striking or brushing with one or two brushes. This practice is very common in jazz (on drum kits) Small timpani mallets: produce a short, dead tone and are generally used with the snares off. Hard felt mallets: when the snares are released these mallets produce a precise, coarse sound. Marimba beaters: when the snares are released these beaters produce a dark sound.
Notation
Modern notation
Since the 20th century the snare drum part has been written on a single line with no clef. This type of notation became standard because the drum has no definite pitch.
As a rule, the snare drum is played with tightened snares, and this is not indicated in the score. What is explicitly written into the score is the composer's instruction to play snares off (German: ohne Schnarrsaiten, French: sans timbre, Italian: senza corde). In historical scores playing without snares is often indicated by the instruction muffled (German: gedämpft, Italian: coperto).
Notation of tied trills, press rolls and open rolls
Tied trills, press rolls and open rolls are notated as if they were either tremolos or trills.
When a trill (or tremolo) occurs in the score the drummer's decision of whether to play it as a tied trill, press roll or open roll is dependent on the tempo. At a fast tempo with two strokes in rapid succession a tied trill is always played; press rolls or open rolls are more suitable for longer rolls.
Historical notation
In older works the snare drum part is usually written in treble clef on the C5 line.
In works from the mid 19th century onward a tambour militaire is often asked for. In the orchestra such parts are usually performed by a snare drum tuned to a lower pitch (or a tenor drum), because the military snare drum with its somewhat deeper shell is often not available. If both a tambour militaire and a caisse claire are required in the same part, two snare drums of different sizes or with distinct tunings are used.
Sound production
Attack
The snare drum is beaten with two drumsticks, held one in each hand. Unlike the timpani, striking the head of the snare drum does not produce a definite pitch, or at least one that can only be determined with difficulty.
It is the construction of the drum that causes it to have no definite pitch. Heads are stretched across both ends of the shell. The vibrations stimulated by striking the head are magnified by the resonance of the shell and the air inside it. They cause the snare head to vibrate and this reacts both on the batter head and outwardly. The sound contains a great many inharmonic partials in close proximity to each other and this results in a sound which has very much the character of noise. Because the two heads have neither same degree of tension, nor the same thickness, the batter head and snare head vibrate at different rates which contributes to the indistinctness of pitch.
There is always a small hole in the shell that acts as a vent, preventing a build-up of excessive air pressure inside the shell.
The striking spot, the point on the head that produces the best sound, is more or less in the center of the batter head (unlike the timpani, where it is about a hand-width from the rim). The nearer the rim the head is struck the less volume of sound is produced on the snare drum and the less discernible its fundamental pitch â the upper register dominates. It is for this reason that the drummer plays nearer the rim to achieve decrescendo and piano effects.
Compared to the bass drum the snare drum's resonance is very short, owing to its smaller dimensions. The drum's small resonant chamber means that its pitch is relatively high, somewhere in the region of one octave above middle C. The hard drumsticks produce a particularly bright sound.
Grip
Traditional grip
Traditional grip, which developed in the Middle Ages, when the drum rested at an angle on the marching drummer's left hip and was struck from the side:
The right hand holds the drumstick like a timpani mallet and beats straight up and down. The left hand makes a sweeping movement, the drumstick rests in the cleft between the thumb and index finger and on the bent ring and little fingers, while the tip of the middle finger holds the stick steady on the ring finger.
Matched grip
Today the drum is usually placed on a stand, and is only rarely played hanging to one side from the drummer's shoulder, e.g. in (military) parades. The traditional grip has therefore become less appropriate and many drummers prefer to use the so-called matched grip, holding both sticks like timpani mallets.
Snares
The snare drum is generally played with the snares taut. It is the snares that are chiefly responsible for the drum's characteristic sound: the snare head vibrates against the snares, which lie taut across it, causing these to vibrate in sympathy. This results in a metallic-bright, hissing to crisp sound which to the ear sounds about an octave higher than the drum without snares.
More loosely tensioned strings vibrate more than tightly tensioned ones. In addition, the snares vibrate more strongly the nearer the rim the batter head is struck.
Playing position
In the orchestra the snare drum is placed on a stand. Some drummers prefer to play it seated, others remain standing.
Playing Techniques
General
The performance of grace notes (drags and flams), rolls and rhythmic figures of all kinds are part of the snare drum's characteristic repertoire. The bounce â allowing the stick to rebound and strike the head a second time â plays an important role in drumming technique. Such double strokes, which are known as mammy-daddy beats (notation: LLRRLLRR), constitute the basis of a great many playing techniques. Bounces are not used either on the bass drum or the timpani.
Single stroke
Single strokes are very short sounds and are played with either the left or the right hand (L or R) as the drummer prefers.
If single strokes are to be accentuated they are either played more loudly (notated accent) or, very occasionally, with both sticks simultaneously. This is indicated in the score by double-stemmed notes. Single strokes are occasionally played by one drummer on two drums at the same time.
Double stroke
The drummer makes use of the stick's rebound, allowing it to bounce again after the first beat with the same force by applying pressure with the finger. Also known as mammy-daddy beats or rolled grace notes, depending on the context. (LL or RR).
Repetitions
A sequence of single beats is played either with the left and right hand alternately (LRLR) or as a combination of single and double strokes (LRRLRR or RLLRLL), depending on the rhythm, accentuation and tempo. Repetitions can be performed at a very fast tempo up to roll speed. The paradiddle is a kind of rhythmically accentuated repetition.
Grace notes
Are among the snare drum's typical techniques.
Flam:
One faint beat is played as a grace note before the main stroke (lR or rL).
Drag:
Two faint beats are played as grace notes before the main stroke either as single strokes (lrL or rlR) or as a double stroke (rrL or llR).
Three stroke ruff:
Three faint beats are played as grace notes before the main stroke: three alternate single strokes (rlrL or lrlR) or a double stroke plus a single stroke (llrL or rrlR, or rllR and lrrL). At very fast tempos the three grace notes can also be played as a tied trill.
Four stroke ruff:
Four faint beats before the main stroke. Possible variations: alternate single strokes (lrlrL or rlrlR) or two double strokes (llrrL or rrllR). At very fast tempos the drummer may choose to play the four grace notes as a tied trill.
Paradiddle
This is one of the rudiments of drumming and is used mainly in military music. A rhythmic figure which alternates between a pair of single strokes and a double stroke (mammy-daddy stroke): L R LL R L RR L R LL R L RR etc. This gives the drummer the possibility of lively phrasing.
Tied trills
The drummer strikes the batter head with the drumstick, which he allows to bounce as long as required by the note value. The individual bounces should not be countable or heard as single beats. Multiple ruffs are often played as tied trills.
Rolls
The supreme drumming technique â a series of strokes which are not perceived as individual beats and are free of accentuation. Rolls can be performed in various ways:
As a rapid series of tied trills alternating between the left and right hand and overlapping. It is essential that the sound of the drumstick making contact with the head is not heard, which is extremely difficult to master. This type of roll is called the press or closed roll.
As a series of double strokes (the two-stroke or âlegitimate rollâ). This is the traditional roll and is preferred by a number of orchestra percussionists. It is the open roll.
As a series of single strokes (one-stroke roll). This technique originated on the timpani and was adopted chiefly by rock and pop drummers in the 20th century.
In more recent times, rolls have usually been notated as trills. In older scores they were also notated as tremolos.
Rim shot
The head and rim are struck simultaneously with one drumstick, which results in a cracking noise like a pistol shot. The technique originated in jazz and is extremely difficult to perform with precision.
Stick on stick
The drummer places one of the drumsticks on the drum so that the handle rests on the rim and the tip on the head between the center of the head and the rim. This stick is then struck with the other one. This technique is often used instead of the rim shot, which is extremely difficult to perform with precision, although the effect is far less impressive.
Rim click
The drummer places one of the drumsticks on the drum so that the handle rests on the rim and the tip on the head between the center of the head and the rim. While the tip remains lying on the head the handle is struck against the rim, which results in a clicking noise.
Wire brushes
The drummer either strikes the head with the brush or firmly brushes it, which produces a bright rushing sound (in silent films this technique was used to imitate the sound of steam locomotives).
With two brushes beating alternately rapid sequences up to roll speed are possible. This is another technique that entered the orchestra by way of jazz.
On the wood
Some early 20th century scores contain the instruction âon the woodâ (German: auf dem Holz, French: sur le bois). This was an instruction to strike the rim on the counter hoop, which at that time was still made of wood. Nowadays the wood or metal hoop is struck, or the shell, if this is made of wood.
With released snares
(German: ohne Saiten, French: sans timbre, Italian: senza corde).
Playing without snares. The sound is similar to the tom-tom, though usually brighter. Felt-covered mallets are often used. The softer the stick when playing snares off and the nearer the rim the head is struck, the more diffuse the sound..
Coperto
(Muffled; French: voilé)
The batter head is covered with a cloth, a (clean!) handkerchief or an eraser and then struck. This technique is used primarily in funeral marches.
Many composers also wrote âmutedâ (damped) in the score when they meant that the snares should be released.
Sound characteristics
Bright, hard, clear, precise, metallic, shrill, noise-like, sharp, penetrating, rustling, hissing, shuffling, rattling, clattering, dry, cracking.
The sound is dependent on a number of factors:
The snares: if the snare drum is played snares off it sounds hard, dry, dead and lower-pitched.
The sticks: if timpani mallets (or marimba mallets) are used the sound is dark and muffled.
Head tension: if the batter head is braced more tightly, the pitch rises.
The shell: the deeper the shell, the darker (lower-pitched) the sound.
The striking spot: generally in the center; the closer to the rim, the quieter the tone.
Snare tension: the tighter the strings are tensioned, the higher the sound (slight variations only).
The term âtoneâ is used when talking about drums even though the instrument does not produce a definite pitch. The snare drum's register is somewhere in the region of one octave above middle C.
Following the attack only a short tone sounds which can last between 0.5 and 3 seconds depending on the string tension. What is then heard, however, is only the vibration of the strings which usually takes the form of a single tone.
The snare drum can be played from very quietly to very loudly and is quite capable of leading an entire orchestra; it can always be heard.
Sound combinations
The snare drum's tasks are first and foremost rhythmic (rhythmic sound effects).
Probably the most famous example of this is Ravel's Boléro, in which two drummers lead the whole orchestra and can even reduce the conductor to the status of a spectator! (-:
However, since the Romantic period it has been entrusted with more and more tonal tasks, for instance lending other instruments a sharper edge by brightening their sound. Playing techniques such as tremolos, trills and bow noises produced by the strings can be emphasized by a drum roll, but single notes such as a pizzicato can also be accentuated by the snare drum.
The snare drum's classic task is the roll in build-ups and tutti passages. In addition to this, the instrument has also seen service as a solo instrument in 20th century works such as Ravel's Boléro (with snares) and Bartók's Concerto for Orchestra (without snares).
Snare drum + other percussion instruments
In the drum group in the orchestra the snare drum brightens the sound. It usually plays rhythmic figures while the bass drum with its dark timbre accentuates the underlying beat and the dark and somber-sounding tenor drum plays the rolls. The drum group is often complemented by the timpani.
The possible combinations of the snare drum with other percussion instruments are of course many and varied. Which combination is chosen depends on the type of effect desired: together with bright and ringing instruments such as the cymbals, triangle, anvil etc. the composite sound is particularly hard. With darker and softer-sounding instruments, the snare drum is often played snares off.
Snare drum + woodwinds
The woodwinds' staccato is accentuated by the snare drum's precise sound.
A sort of blend is achieved especially with the high woodwinds: the snare drum gives the flutes, oboes and clarinets a sharper edge, while its own sound is cloaked.
In combination with the snare drum the bassoon takes on extra brightness, but the two instruments are heard as two distinct lines.
Snare drum + brass instruments
The metallic properties of the brass's timbre are emphasized by the snare drum. There is no blend, however, the sounds remain disparate and are heard as distinct lines.
There is a similarity between the sounds of the snare drum and the trumpet played with a metal mute, since the timbre of the muted trumpet also possesses a high noise level. The effect of the trumpet's noise-like flutter-tonguing is also similar to that of the drum roll.
Snare drum + strings
The snare drum accentuates the strings' staccato, marcato and pizzicato. Because the snare drum is in the treble register this is particularly effective with the high strings.
The noise level of col legno (with the wood) playing and the bowed tremolo is also emphasized, which produces an eerie effect.
Repertoire (selection)
Hector Berlioz
Marche funèbre pour la dernière scène d'Hamlet (1844) (6 snare drums)
Charles Gounod
Margarethe (1859)
Nikolai Rimsky-Korsakov
Capriccio Espagnol (1887)
Sheherazade (1888)
Gustave Charpentier
Louise (1900)
Giacomo Puccini
Tosca (1900)
Claude Debussy
Fêtes (1899)
Iberia (1912)
Maurice Ravel
Alborada del gracioso (1907)
Boléro (1928)
Igor Stravinsky
Histoire du Soldat (1918)
William Walton
Façade (1921â23) (snare drum without snares)
Darius Milhaud
La création du monde (1923)
Carl Nielsen
Clarinet Concerto (1928)
Charles Ives
Three places in New England (1931)
Bela Bartók
Cantata profana (1930)
Sonata for two pianos and percussion (1937)
Concerto for orchestra
Edgar Varèse
Ionisation (1933) for 13 percussionists, piano and sirens
Malcolm Arnold
Beckus the Dandipratt (1943)
Benjamin Britten
The rape of Lucretia (1946)
Elliott Carter
Variations for orchestra (1954â55)
Concerto for orchestra (1968â69)
George Gershwin
Porgy and Bess
André Jolivet
Concerto for Ondes Martenot and orchestra
Luciano Berio
Tempi concertati (1958-59)
Leonard Bernstein
Candide overture: (2 snare drums with different tuning)
Snare drum solo
Michael Colgrass
6 unaccompanied solos for snare drum
Bent Lylloff
Etude for snare drum
Siegfried Fink
Sonata for snare drum solo
Drum suite
Nicolaus A. Huber
Dasselbe ist nicht dasselbe
Mika Marcovich
Tornado
Piccolo snare drum
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Realistic Drum Programming, Lesson 3: SIMPLE FILLS
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[
""
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[
"Armistice Son of Yoda",
"V Vhyle New member",
"G Greg_L Banned"
] |
2012-07-23T01:03:11-06:00
|
Hey folks, sorry it took me so long to get around to posting this lesson! Life gets in the way sometimes; you know how that goes.
Here we go - drum fills...
|
en
|
/favicon.ico
|
HomeRecording.com
|
https://homerecording.com/bbs/threads/realistic-drum-programming-lesson-3-simple-fills.345408/
|
Hey folks, sorry it took me so long to get around to posting this lesson! Life gets in the way sometimes; you know how that goes.
Here we go - drum fills! If you're stuck programming a monotonous drum beat to your guitar track (or whatever other instrument you're recording), and maybe you're slightly intimidated, or just unsure of how to break up the monotony with a tasty drum fill, these following lessons should be of great value to you.
This first lesson in fills covers a few concepts on creating tasteful, fairly simple drum fills. In future lessons, I'll cover more complicated fills (jazz, prog metal/rock, odd time signatures, extreme metal, so on). Drum fills can possibly span TONS of lessons, but I'll try to keep it as simple as I can in just a few lessons. The knowledge you will potentially gain from these lessons should open up a whole new aspect of your drum programming.
And as always, if something is amiss or just doesn't make sense, don't hesitate to post in this thread and ask questions. I'd be more than glad to help you out, and clarify anything that needs it.
Alright - once again, we'll use 120bpm at 4/4 time - default format for Reaper. No need to change it for this lesson, so we'll just leave it at that.
Here is the sample fill we're using. Simple 16th-note drum fill. Nothing frilly. This example here shows no velocity changes; no dynamics. It sounds stale, uninteresting and fake.
Now, a few simple edits to the velocities. All I did was change the last snare hit to a rimshot (the highlighted note on the left side - a separate line for snare rimshots, as covered before), and change the velocities for most of the tom hits. I varied them a little bit, adding some much-needed dynamics. These changes took all of about one minute to do, and it made the fill sound much more realistic.
Third very minor change - this took even less time; about 10 seconds to do. All I did was add a hi-hat close on the quarter notes. Lots of drummers will keep time with the hi-hat pedal during their fills. This is exactly what that is - keeping time during the fill.
Now, let's make the fill a little more complicated. I added a few changes to the sticking patterns and the notes during the fill. I'll explain each change, which are numbered:
1) Added a 64th-note flam. The grace note of the flam is a normal snare hit, and the accented note is a rimshot. I covered flams in an earlier lesson. As I said before, there IS an actual flam sample already in EZ Drummer, but creating a flam manually like this makes it more realistic. You can also change the note duration this way.
2 and 3) Two 32nd notes followed by the two 16th notes - in the world of drum rudiments, this is called a "herta". Very common rudiment played by lots of drummers of many genres. Add these into a drum fill and it will add a bit more complexity and taste to the fill.
4) 16th-note triplets, in crescendo (volume increase). Note the velocities.
Now it's time for a different fill altogether. Just another example fill in a world of a million possibilities. I'll explain this one as well.
1) 32nd notes at low, varying velocities - this simulates a drum roll. Simple to do, and effective.
2) These are hi-hat strokes, followed by immediate chokes (the top line is the open hi-hat samples, and the two lines below it are the hi-hat closing; the same line we used in fill #3 above). Your MIDI editor will recognize this, and actually choke the hi-hat in the note duration that you want. For this, I used 32nd notes.
Another thing to think about during drum fills is the sticking pattern. In this fill, you have the two rimshots, followed by the drum roll, then three full 16th note snare strokes, and then the hi-hat chokes, ending with a crash. The sticking pattern on those hi-hat chokes would be performed like this: R L L R L L R. Right hand on the hi-hat, left hand on the snare. You can take this concept of changing the sticking patterns to anywhere on the drum kit. It's important to understand this concept, because drum fills are not always R L R L R L R L R L and so on. If you know of a drummer who strictly plays drum fills like this, then chances are his fills are very boring! Changing up the sticking pattern can let you access different parts of the drum kit at any point during any of your fills. The possibilities are endless!
Here's one more fill. This one is effective and powerful. It's commonly heard in metal songs. It involves varying the hands with the feet of a double-kick drum kit. This particular fill is commonly performed by drummers like Mike Portnoy, Martin Lopez, Vinnie Paul, and the like.
These are 16th note triplets - four on the hands, followed by two on the feet, repeated. These fills work great in metal songs, as they allow the drummer to execute fast, powerful fills. Of course, it doesn't have to be 16th note triplets. They can be any note duration you want! 32th notes, 16th notes, 8th note quintuplets, 16th note septuplets... anything! It's all up to you. As long as you keep the expectations that a live drummer very well may play this stuff for you and your music in mind, then it will be fine.
Just remember this during these lessons - drummers have two hands and two feet. Until an octopus evolves to the point of becoming musically inclined, this will not change.
(but don't worry... if an octopus DOES learn to play the drums, I will cover that in future lessons as well!)
That concludes the first lesson in drum fills. These are fairly simple fill samples. Once you grasp the concept of these fills, you can create limitless amounts of easy, flowing fills for your tracks. The next lesson will shed some light on some more complex fills and concepts. Enjoy!
If you have any questions, ask away! And also, let me know about anything you'd like to see in future lessons. Or if you have something to show me, I'm all ears!
|
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2202
|
dbpedia
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2
| 68
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https://studydrums.com/cha-cha.html
|
en
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Drum lesson Menu #3: Latin Rhythms
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Drum Set Lesson: Cha Cha
| null |
Drum Set Lessons / LATIN RHYTHMS:
(Cha-Cha)
(EZ Cha-Cha: Step #1.)
Hear it! It's the simplest Latin Rhythm on the Planet!
We'll call the above beat pattern a 'quasi' Cha-Cha. It is a great little 'wannabe' and will work (in a pinch) as a Cha-Cha if you can't play the more difficult, classic Cha-Cha patterns (below). This one is pretty easy! You will be dropping a lay-over rimshot on every count.
This one will gradually help you get that lay-over rimshot under control and set you up for the more complex variations to come. If you aren't accustomed to playing the lay-over rimshot, you may need some time to play quite a few Cha-Cha recordings before moving on. These techniques develop and improve as we jam and play the music. All the classic fills will work with this pattern just as if you were playing an 8th rock beat. It IS an 8th-note 4/4 (or 2/4) pattern . . . with a rimshot twist.
Now notice the accent marks on the Cowbell (above.) You'll be accenting on every number count. This gives the pattern a Quarter-note 'feel' even though we are playing 8ths on the Cowbell. These two beats sound alike! I couldn't get the midi maker to play accents on the cowbell! VIDEO: Click here to see, and hear the above pattern. This vid is designed for Internet Explorer (IE) using Windows Media Player (WMP).
Video: For almost all handheld devices and other browsers.
VIDEO: Click here to see, and hear the above pattern. You know the drill by now. For IE using WMP.
Video: For almost all handheld devices and other browsers.
This 'CLASSIC CHA-CHA' (above) looks and sounds simple enough, but is it simple? Yes! Though it takes awhile to get the left hand flowing from a lay-over rimshot on the snare, up to the high-tom for two strokes with the butt of the stick and then back again to the next lay-over rimshots on the snare. Now try to add those accents on the Cowbell as in the above example. Remember 'Santana' 0f 60s & 70s Latino Rock? 'Black Magic Woman' might be a good song to try with all these beat patterns. I had to jerry-rig my midi maker to get this sounding decent. It should sound better than this on a real drum kit. EASY RHUMBA & BOLERO RHYTHMS:
It is pretty easy to turn the above Classic Cha-Cha into Bolero or Rhumba by simply moving your right hand off the cowbell and to the snare batter. With the tip of your right stick, near the rim . . . trade off random snare and power rimshot effects with your right while maintaining the left hand as it was in the classic Cha-Cha pattern.
Incidentally the snare lever needs to be released on all these patterns, converting your snare into a high-pitched tom (similar to a high-Timbali). Flip the lever on the side of your snare into the 'off' position, to produce these more authentic Latin tones.
VIDEO: Click here to see, and hear the above pattern. For IE using WMP.
Video: For almost all handheld devices and other browsers.
VIDEO: Click here to see, and hear the above pattern with Internet Explorer.
Video: For almost all handheld devices and other browsers.
You can play a lot of years without the variation in the above example, but I like it! It's a more sophisticated form of Cha-Cha. Here, we are catching a quick butt-of-the-stick to the snare (batter) just prior to moving to the high tom. It adds a nice touch of class to the pattern.
VIDEO: Click here to see, and hear the above pattern using IE. It's a lot easier when you see it done.
Video: For almost all handheld devices and other browsers.
It is also VERY common to play Quarter Notes on the Cowbell, Now we are playing 'Quarter-note Cha-Cha'. You can add that passing butt-of-the-stick (trick) to this pattern too, if you wish. Copyright Bill Powelson 1965-1996-2008-2014 @ all rights reserved.
Drum Solo Video: Click to 'LEARN'
Watch and Learn Now! PLAY Great Drum Solos within hours (not years).
NEW 'Subliminal Method' teaches drum solo techniques PAINLESSLY! Master rudiments 'NATURALLY' without boring regimentation or serious discipline.
Listen, watch and PLAY your way to awesome drum solos (and polished rudiments) BY SIMPLY HAVING FUN. . . . It works, folks! Don't be a skeptic until you at least try it first.
Lesson Menu #1 (Beginners)
Lesson Menu #2 Intermediate)
Lesson Menu #3 (Latino)
Lesson Menu #4 (Archived NL)
Landing Page
7 EZ lessons to Rhythm-Guru Status.
Make $$ from drumming, NOW!
E-mail support: (til I croak).
EZ Downloads to CDs/Flashdrives
Special Secret Seeds of Rhythm.
Special Career Guidance:
Breaking-into Career Drumming $$
Coordination Solutions
Musical Time - Finite to Infinity: Learn to easily jam and play music comfortably within any odd or even time signature. This material isn't currently taught in music-theory classes, yet it is simple enough for grade-school students. Discover more than 18 quintillion unique and different (modern music) song-beat structures.
Discover the (lost) 500 year-old enigmatic secrets hidden within the current time-signature system. Seven short mesmerizing and easy-to-follow lessons will lead you quickly and easily towards (musical-time) guru status. You will learn to visualize (read, write or feel) the existence More . . .
"Old Drums into New Money:"
This very informative little booklet will amaze you with hundreds of valuable tips and insider secrets!
HOW TO: Purchase old/used drumsets for pennies and resell them for decent profits. How to find the bargains, create thousands of attention getting finishes at low cost. Brighten old cymbals and learn to rebuild old drumsets from the gound up.
|
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2202
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dbpedia
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https://www.ujam.com/tutorials/how-to-build-a-groove/
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en
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How To Build A Groove
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[
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Learn how to pick ideas rattling around in your brain and build them into the perfect drum groove, in any genre you like.
|
en
|
/typo3conf/ext/site_base/Resources/Public/Icons/favicon.ico
|
https://www.ujam.com/tutorials/how-to-build-a-groove/?srsltid=AfmBOorYpz0AidBE0bo_ERssARRzYK4ZYrpwgpVSAdns3DmcpEzmRIW0&cHash=7599cd86f54330edb726fe0ff307551c
|
Melodies are the first thing that comes to mind for most listeners when remembering or identifying songs, with harmony coming in at a distant second. But what about the heartbeat, the core of a song--the groove? It comes in many different forms, whether through drum machines, live kits or hand percussion, but rhythm often goes unappreciated. Without it, however, most songs would completely fall apart--and so you want to pay close attention when the time comes to lay one down. If you want to dive deeper into creating the right groove, this will serve as a primer in producing music for beginners who still haven’t gotten their feet wet.
Working With Time
Creating the Feel
Adding Variety
Going From Your Head To The DAW
Putting It All Together
Working With Time
Many drummers will insist you work to a click (or metronome), and for good reason--the first step to creating a strong groove is to establish the tempo and stay consistent with it. Before you start switching up beats and adding in creative drum fills, honor your commitment to the click track!
Why?
Because without a core beat driving the groove--and this goes for any genre--the entire track will fall apart. The band gets its rhythm from the drummer, but drummers get their rhythm from a click track. Experienced drummers can internalize the beat, but it’s typically best to reference a click track regardless--besides, with a DAW you always have a metronome at arm’s length!
But here’s where things often fall apart--any groove you create must work equally well with and without a click track. That is to say even when there’s no constant quarter note pulse, it must be implied. And implied rhythm is powerful--it liberates you from depending solely on a 4-to-the-floor beat. In any case, there are two primary points of focus in most beats.
As a general rule, the more “laid back” the genre, the less interchange there is between the kick and snare. There are certainly exceptions to this, as some of the greatest funk drummers have mastered a style that is incredibly laid back while still full of energy. The key piece to focus on in any genre is the relationship between the kick and snare--even without adding other percussion like hi hats and hand percussion, these two elements hold the most clout in the drum section as a whole.
Adding Variety
Here’s the cool part--you can create an entirely different beat without ever changing the kick and snare, and you don’t have to look further than your hi hat. The level of activity in your hi hat can mean the difference between a laid back groove and a driving rhythm.
If you play drums, you’ve probably allowed your hi hat performance to get joyfully out of hand a few times--and that’s great! With one major caveat--you should save your most passionate moments for the climactic parts of a song. The less activity there is in the low-key parts, the more impact you’ll be able to be able to generate in the most intense moments. (more 16th notes, varied rhythms, double timing, etc.) The most creative variations on a groove often come from the auxiliary percussion or hats, while the core of the groove largely tends to stay the same. The kick and snare will likely be struck harder on a physical drum set, while in EDM the producer might switch to harder-hitting or “bigger” sounding samples during the drop or chorus. A tried and true tactic across genres is to go from a snare cross-stick to a mid-membrane hit or rim shot, and most drum sequencers will offer you a way to do this with electronic music production as well.
Going From Your Head To The DAW
Typically, the groove you have in your head is mainly the product of a particular genre; it can be multiple genres spliced together, but most everything you hear in your head has its roots in something that’s come before. After all, most of us have been listening to music our entire lives!
So how does this help you?
The deceptively simple way to transfer a groove from your brain into the DAW is to determine which genre you’re primarily writing in by listening to the drum grooves of multiple different genres (for example, you might play with metal, funk, and rock). Then compare your groove to a song you’d like to emulate and tweak your version until it matches up to the genre you decide to lean into. It’s completely acceptable to deviate a bit from the song you reference--in fact, it’s encouraged!--but when you’re struggling, this starting point will likely save you a lot of time and frustration.
But the topic of grooves becomes relevant long before you decide to create a new track. Every idea you have is a direct or indirect result of recorded music you already have swimming around in your head, and the more varieties you listen to, the more naturally your grooves will flow from your head to your fingers, and ultimately into your DAW.
Putting It All Together
If you listen to drum grooves from many different genres, emulate the ones you love and still don’t quite get the result you want, don’t get discouraged! As with every aspect of music production, perfecting a drum groove takes practice.
If you want a leg up, try one of ujam’s Virtual Drummers (acoustic) or Beatmakers (electronic) and select a preset you enjoy--you can adjust the drum grooves to your liking with very little effort by following the MIDI Drag & Drop steps in our Play the Virtual Band article. Think of this as a jumpstart to get your creative juices flowing and get a groove you enjoy into your DAW, using the best drum VST for the job. Once you’re happy with it, you can take it in whatever direction you choose and even add subtle changes to aux percussion and hi hats, however granular you want to get! By using the Micro Timing Bar, you can make subtle changes to the rhythmic feel, instantly adding as much or as little energy to the drum part as you like. This is especially useful when you want to switch between regular, half, and double time feels to see which fits into your song the best.
Keep practicing your grooves, and genre-splice to your heart’s content--the only guide you need to follow is: ‘Does it sound good?’ If so, then you’re good to go!
If you’d like a more detailed virtual drum tutorial, watch this video for a more detailed guide. There’s much more to cover, but this should get you up and running quickly!
|
|||
2202
|
dbpedia
|
2
| 72
|
https://www.audiotechnology.com/reviews/eastwest-ministry-of-rock-and-storm-drum-3
|
en
|
REVIEW: EASTWEST MINISTRY OF ROCK AND STORM DRUM 3 — AudioTechnology
|
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[
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[
"Graeme Hague"
] |
2013-11-14T13:00:00+00:00
|
Storm Drums 3 is all about percussion, so to complete things with traditional drums kits we also looked at Ministry of Rock II [...]Read More...
|
en
|
AudioTechnology
|
https://www.audiotechnology.com/reviews/eastwest-ministry-of-rock-and-storm-drum-3
|
I’ve been programming drums for years, forever searching for the holy grail of realism and authentic sound that will allow me to create convincing drum tracks whenever working with a real drummer isn’t possible. So it was exciting stuff hearing of EastWest’s Storm Drum 3, featuring the legendary Mickey Hart of Grateful Dead fame. After a bit of research I realised SD3 is purely a percussion instrument and doesn’t include what you’d call a traditional drum kit. For that, I needed EastWest’s Ministry of Rock II virtual instrument, which has been around awhile. EastWest came to the party and gave me both SD3 and MORII to review, so heads-up – we’re actually looking at two products here in pursuit of the perfect percussion plug-in.
All EastWest instruments are hosted in its own shell program called Play4 (think Kontakt Player here) and it’s recommended with any EastWest virtual instrument that you download the latest Play4 software first, install it and then continue the sample library load of your chosen instrument through the custom installation option. Not quite the usual “just go ahead and install it” system we’re used to, but EastWest provides a heap of FAQ and How-To info on the website. So if you’re one of those users who always begin installations by flipping the ReadMe file into the trash, think again.
The first thing you might need to do, like me, is buy a new hard drive to store the near 140GB of samples that make up SD3 and MORII provided across 19 dual-layer DVDs. For the record, I bought a 3TB external USB 3.0 drive and it works flawlessly streaming the samples in real time, rather than loading them into RAM.
Ministry of Rock II – Rock and Roll Drumming
To quote EastWest, “the entire MORII library was put together with one goal in mind: to create a virtual instrument capable of producing sounds that could actually produce a hit record or film score without any live drum, bass, or guitar overdubs”. Bass or guitar? That’s right, MORII also has bass and electric guitar samples and we’ll look at these separately.
Snares Galore
Three drum kits in various configurations are included in full or Lite load-outs, a DW, Gretch and Ludwig kits. There are six extra snares with a Brady, Tempus, Noble and Cooley 1, Noble and Cooley 2, Sonor and GMS types, and you get a choice of Instanbul, Sabian or Zildjan cymbals. Everything can be swapped in and out, so the possible combinations provide an extensive palette of drum sounds. The actual samples are superb with a wide range variation of how the drum is struck – snare hits are loaded with centre, edge and rimshot samples, as are the high hats samples with top and edge hits included. As an illustration, if you choose to rack up a different snare more than a thousand files are quickly exchanged.
The drum kits are separated into five subgroups of Kick, Snare, Hats, Cymbals and Toms. This allows you to tweak settings for microphone levels, effects, reverb, panning and volume for each the five subgroups individually – and yes, we’ve just gone beyond that authenticity I was after, because in the real world you simply couldn’t have the cymbals in the overhead mics and not the toms, snare and so on. It’s a common cheat in drum samplers and I’m not complaining, since it introduces a lot more versatility in the drum sounds. The three microphone mix settings are Close/OH, Room, and Room with Compression. The latter two can’t be simultaneously on, it’s one or the other. EastWest refers to the Room/Comp level as a “magic” slider and it’s true, bringing all the kits impressively to life. However, I found many of the presets were too saturated with this setting and needed pulling back. The effect was created during the recording of the kits by using a blend of the close microphones, some different room mics (rather than those used on the Room effect) and processing these through a Fairchild compressor and a Manley Massive Passive EQ – with that kind of outboard, now you know why it works well.
EastWest calls the various drum setups “Articulations” and it’s possible to have more than one loaded at the same time. You can have multiple kick drums active, if you like. I found this feature best used (as I expect it’s designed) for quickly comparing different kit components before unloading the pieces you discard. Once you’ve settled on your final kit configuration you can apply effects like ADHSR, a doubler parameter (apparently pioneered by The Beatles), delay and a filter. These are pretty much fine-tuning options that can let you build an exacting sound or you can get radical to create off-the-wall drum kits.
The sounds of the kits are excellent, although as always with virtual instruments like this you’ll no doubt find drums that you’ll never like or use. For an added dose of reality MORII has a neat trick up its sleeve called Repetitions. Embedded inside some of the sample types (snares and kicks, for example) are alternative sound files that are automatically triggered when MORII senses you’re playing very fast repetitions such as a rapid snare fill, avoiding the dreaded machine gun effect that can happen. It’s clever and works well.
A few things in MORII were disappointing. While it uses pretty much an accepted key mapping for all drum samplers beyond General Midi, I discovered some slight differences that prevented me using my programming with other drumming software. Usually, you can tweak the midi assignments accordingly, but I couldn’t find a way of doing this in MORII. Also, the GUI doesn’t display exactly what kind of sample you’re playing. I realise you’re supposed to hear that, but it’s not always so clear. Is that the centre of the snare or the edge? The bell of the ride or the crash cymbal? The only way to know for sure is referring to the PDF manual list as you go. Eventually, I suppose you’ll remember what’s mapped where.
Guitars and Basses
MORII also has a huge library of bass and electric guitar samples. The latter is biased towards heavier, metal and rock sounds although there is a Fender Telecaster and Jaguar. You get single notes that can be combined for chords, strumming patterns, palm-mutes, squeaks, clicks and pick sounds… the whole gamut. All of the samples are well-produced, authentic and are certainly a far cry from the tortured noises that many virtual instruments emit in attempts to emulate electric guitars. The problem is that the learning curve required to program realistic guitar playing is almost as steep as teaching yourself the real thing. The heavy guitars in MORII come into their own best for creating power chords, huge progressive-rock walls of sound or, in the least, chunky and distorted rhythms. Just jam down a key and let the grunge flow. With a little more finesse the telecaster sounds will make passable country licks and other clean melodies. Basically, if you have a lot of programming patience you can theoretically, eventually achieve anything, because the sounds are all there. But you soon hit a threshold where finding a real guitarist will be easier.
The bass sounds, on the other hand, are spot-on and even grumpy old bass players like myself will be tempted to leave the trusty Fender in the case and use the bass sounds provided in MORII, particularly if you don’t have a five-string. You get a Stingray five-string along with a good range of other basses like Fender, Hofner and Rickenbacker with both fingered and picked playing. The different samples are really usable and convincing, and the only thing missing is an upright bass – but this is the Ministry of Rock right? Nobody seriously plays an upright bass for rock music.
It’s worth noting that all of the effects available for the drumming patches work with the guitar and bass sounds too, so you can tweak them into cool alternative noises using the filters and reverbs.
Talking of cool noises, this brings us to where we should have started – the Storm Drum 3 virtual instrument and Mickey Hart’s percussion Nirvana.
Storm Drum 3 – What the Heck is That Noise?
Remember that SD3 is a completely different instrument that opens inside the same Play4 shell, so launching it produces a new GUI, although some aspects like the mixer remain the same. The best way to describe SD3 is inspirational – but not quite how you might expect.
It’s a percussion virtual instrument filled with hundreds of familiar, unknown, esoteric and downright baffling drums, gongs, cymbals and all manner of noise-making… well, things. Each one is played in a wide variety of techniques from the softest brush of the fingers to flat-out whacking with a cricket stump in each hand. If you require any kind of percussion sound at all, Storm Drum 3 will have it.
But what exactly do you need?
That’s the problem. Unless you’re some sort of an expert on percussion (like Mickey) a lot of the instrument names will mean little to you. The browser helps by sorting them into categories of Big Drums, Small Drums, Metals (bells, cymbals, etc), Shakers, Woods, Taiko Family, Live Loops (by Hart) and “Gongs, Clocks and Waterphones” – this final one pretty much says it all. Inside these categories a whole universe of World Music percussion opens up and there’s only one thing you can do – start hitting things and find out what they sound like.
This is where the inspirational side of SD3 is so prominent. You constantly discover sounds that capture your imagination, letting you consider all kinds of wonderful possibilities. Almost all the instruments have single hits of every type, plus rolls and flams played by Hart. That’s aside from the length and tempo-synced samples in the Live Loop category.
It’s the opposite side of the coin that is hard to imagine – that someone will ever think, “Hmm, I reckon the start of the second chorus needs tuned Englehart bells hit with a stick…” and they go straight into SD3 to find it. Unless, as I said before, you’re the full bottle on world percussion you can expect a long period of exploration and innovation with SD3 before you’re familiar enough to have go-to sounds. Don’t worry, it’ll be a fun journey.
You’d also think it unlikely that with all these sounds at your fingertips some kind of extra processing is needed – still, it’s there. Storm Drum 3 offers similar effects to MORII packaged in the different GUI. You get AHDSR, reverb and delay, tuning, resonance, stereo spread, panning and a filter. That should keep you busy for a while, if you reckon some of the more weird samples aren’t weird enough.
The only hiccup I encountered with SD3 was a problem loading EastWest’s new SSL/EW FX suite – an SSL console emulation – which is included free in SD3 (and probably all other upcoming, new instruments) or it’s an optional extra costing US$99.00 for owners of older EastWest instruments such as MORII. We’re currently chasing this one down, but I suspect the installation was confused by my installing MORII first, before SD3. I’ll keep you posted on this one – watch for comments.
Summary:
Ministry of Rock II is listed on EastWest’s site at US$299 for the DVD version and Storm Drum 3 is $395 ($495 for hard-drive included versions)… a total of $695 for both which, considering you’re “only” getting drums, percussion, bass and guitar samples is a fair fistful of dollars in any currency. I reckon it’s well worth it. For the money, you get two premium virtual instruments and importantly you’ll never have to buy another drum or percussion sample again. With MORII EastWest has recognised that the primary difference between many drum kits lies in the snare, so providing those extra snares covers a lot more kit styles and sounds beyond the three core kits you’re given. As for Storm Drum 3…well, good luck trying to figure out a sound it can’t deliver. Check out the EastWest website at www.soundsonline.com for pictures and videos about the exhausting recording process of SD3 and I think you’ll agree EastWest and Mickey Hart left no bell, gong, cymbal or drum behind to create such a vast library.
Between Ministry or Rock and Storm Drum 3 you’ll have everything drum-wise covered. What else could you ask?
|
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2202
|
dbpedia
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3
| 69
|
https://music.stackexchange.com/questions/9715/what-factors-affect-the-loudness-of-a-drum
|
en
|
What factors affect the loudness of a drum?
|
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[] |
[] |
[
""
] | null |
[] |
2013-02-13T01:00:27
|
Is it the size of the drum?
The width?
The length?
Particular body materials?
Particular head materials?
Given that there are a hundred different kinds of drums in the world with very different so...
|
en
|
https://cdn.sstatic.net/Sites/music/Img/favicon.ico?v=bd91257aa3d8
|
Music: Practice & Theory Stack Exchange
|
https://music.stackexchange.com/questions/9715/what-factors-affect-the-loudness-of-a-drum
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Well, I can't give you any two dimensional Fourier Analysis here but if I put my practical engineer hat on I can give a rough idea. A drum itself is a passive device in other words you can't extract energy from it without giving more into it. Therefore, as Dr.Mayhem's comment hints the harder you hit, the more energy you put into.
Now the moment you hit the drums all kinds of weird stuff(technically speaking here :) starts happening. The very first thing you need to catch is that the drum stick/mallet or whatever the excitation is given by needs to be taken away as fast as possible otherwise some of the energy is absorbed by the stick. So stick control is essential. When you listen to professionals and amazing greats you'll see that the stick almost never stays on the head. That's why they can sound really loud without actually banging.
After that the the drum itself is the definitive part. The material of the shell and the type of the heads need to resonate. You can think of this as pushing someone on a swing. If you wish to increase the speed of the swing you need to push the swing when it reaches the top point and stays stationary for a moment. Instead if you push early you absorb some energy yourself before the swing starts moving again. Similarly if you push too late you can't exert full force.
So that kind of interplay is essential between the material and the heads. If they work against each other, that drum would sound quieter compared to others. If they work in unison then suddenly it feels like the drums are running on amplifier.
Also the difference between a rimshot and a regular head stroke is related to this. The rim shot also excites the shell vibrational mode together with the heads hence leads to a bolder sound.
Moreover, you might want to balance your precious input energy between high freq and low freq vibrations. In other words, too low tuning would not excite the drum as a whole and the energy would be dissipated via friction due to low tension. Or too high tuning and most of the energy would be spent on high freq overtones instead of high amplitude low freq vibrations since the drum would not have any space to move.
The loudness is the amplitude of the vibration by the way. So if different waves get on top of each other you get a louder sound, if they cancel here and there you would hear complicated ringing. This is essential to any music instrument for harmony etc. so I have to skip that part.
In summary you put finite amount of energy, in turn, the drums and the sticking defines how it is dissipated. It's a different ball game to expain which wood goes with what and unfortunately it's more of an art rather than science. You might encounter some die-hard maple-birch arguers but in the end it's just physics of the head and shell.
Sorry for the vague answer but the underlying mechanism to this innocent question is really a monster to describe. You can check a lot of drum tuning videos online to see what they are trying to achieve to get some perspective.
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https://learndrumsforfree.com/2016/10/10-latin-american-drum-grooves-guest-post-by-paulo-goncalves-do-re-mi-studios/
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en
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10 Latin American Drum Grooves – Guest Post by Paulo Goncalves – Do Re Mi Studios
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2016-10-10T00:00:00
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en
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https://learndrumsforfree.com/2016/10/10-latin-american-drum-grooves-guest-post-by-paulo-goncalves-do-re-mi-studios/
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Welcome to the first ever guest post on learndrumsforfree.com!
The author of this post is Paulo Goncalves from Do Re Mi Studios in Australia. It is also his first ever guest post. The idea came about following this article that linked to learndrumsforfree at the end: ‘Five Drum Grooves Every Drummer Must Know’.
The guest post offers a lesson on Latin American drumming, which I don’t usually post about so I hope this will be useful and interesting to my readers.
Please also find attached a free PDF version of the post, which you may print out.
THE CHA-CHA
Originally from Cuba, the Cha-Cha typically features the beat on the hi-hat with the left hand playing on the snare drum. In addition, the right hand plays on the small tom-tom on the fourth beat.
Groove 1
In Latin American grooves, it is common to play the ‘rim’ of the snare drum instead of the skin. One way to notate a rim shot on a music score is shown below:
Play groove 2 using the rim shot technique on the snare drum.
Groove 2
Latin American grooves often also use the hi-hat closing with the left foot. This is indicated in a music score as shown below:
Play grooves 3 and 4 with the hi-hat closing with the left foot on each beat of the bar. The right hand plays the ride cymbal throughout the rhythm.
Groove 3
Groove 4
THE MAMBO
In a typical mambo groove, the ride cymbal pattern is broken up around the tom-toms and snare drum. The hi-hat closes on the second and fourth beats.
Groove 5
Groove 6
ROCK AND ROLL MAMBO
In grooves 7 and 8, the hi-hat also closes on the second and fourth beats. The cymbal pattern is played on the ride cymbal with the right hand.
Groove 7
Groove 8
THE SAMBA
Originally from Brazil, Samba grooves are played fairly fast. In the groove below, play the tom-tom notes with the right hand.
Groove 9
THE BOSSA NOVA
Like the Samba, the Bossa Nova is also originally from Brazil. Bossa Nova grooves feature the snare and bass drum playing syncopated rhythms.
Groove 10
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https://github.com/RetroCirce/HTS-Audio-Transformer/blob/main/class_hier.json
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en
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HTS-Audio-Transformer/class_hier.json at main · RetroCirce/HTS-Audio-Transformer
|
https://opengraph.githubassets.com/f346f24244bfe5f2cd8e35ddf7a3787477d8e65f8707b8f4621ea70596b34271/RetroCirce/HTS-Audio-Transformer
|
https://opengraph.githubassets.com/f346f24244bfe5f2cd8e35ddf7a3787477d8e65f8707b8f4621ea70596b34271/RetroCirce/HTS-Audio-Transformer
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The official code repo of "HTS-AT: A Hierarchical Token-Semantic Audio Transformer for Sound Classification and Detection" - HTS-Audio-Transformer/class_hier.json at main · RetroCirce/HTS-Audio-Transformer
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en
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GitHub
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https://github.com/RetroCirce/HTS-Audio-Transformer/blob/main/class_hier.json
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Skip to content
Navigation Menu
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https://gimletmedia.com/shows/chompers/76h5d763
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en
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Sports Week Night Jokes (6-17-2023)
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[
"Chompers"
] |
2023-06-17T19:00:00+00:00
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Get ready for more sporty jokes on tonight's Chompers!
|
en
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/images/favicon/196x196-bb8f723b8e1049dfe9c38a906d0b05e6.png?vsn=d
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Gimlet
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https://gimletmedia.com:443/shows/chompers/76h5d763
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[THEME SONG BEGINS]
>>RACHEL: On your mark, get set, Go….grab your toothbrush because it’s time for Chompers, your morning and night toothbrushing show
Start on the top of your mouth, and brush alllll the teeth on one side.
>>KIDS: 3, 2, 1 brush!
[THEME SONG ENDS]
>>RACHEL: It’s sports week, and tonight our sports jokes are doing the heavy lifting.
[RIMSHOT]
>>RACHEL: Here’s the first one:
Why did the basketball player have to go to the doctor?
>>KIDS: Why?
>>RACHEL: He missed all his shots.
[RIMSHOT/BUZZER]
[MUSIC BEGINS]
>>RACHEL: We get shots at the doctor to keep our bodies safe from diseases. In BASKETBALL, players take shots with the ball, hoping to get it in the net and score some points for their team.
Switch to the other side of the top of your mouth…
[SWITCH BELL]
>>RACHEL: -and give your tongue a brush too.
[MUSIC ENDS]
>>RACHEL: Here’s another joke for you:
What kind of Bee flies the fastest?
>>KID: What kind?
>>RACHEL: A FRIZZ -bEE
[RIMSHOT]
[MUSIC BEGINS]
>>RACHEL: A Frisbee is a flat disc that you can throw. Frisbees spin through the air, and lots of people use them to play catch.
[WHIZ]
>>RACHEL: Ultimate Frisbee is a sport you can play with a frisbee and it’s kind of like a mix of soccer and football.
Switch to the bottom of your mouth…
[SWITCH BELL]
>>RACHEL: -and brush the molars in the way back.
Here’s another joke:
What do soccer players drink from when they’re thirsty?
>>KIDS: What?
>>RACHEL: The World Cup
[RIMSHOT]
>>RACHEL: In 2018, 32 countries from all over the world competed in the World Cup Countries like Egypt, Senegal and Mexico sent their best players, but in the end the team from FRANCE won it all and became World Cup champions.
Switch to the other side of the bottom of your mouth... and the inside, outside, and chewing side of each tooth.
[SWITCH BELL]
>>RACHEL: Here’s one last joke before you go:
Why are soccer players so successful?
They always achieve their goooooooooooooooooooooooooooooooooals!
[THEME SONG BEGINS]
>>RACHEL: Ok that’s it for Chompers tonight, I hope you thought our jokes were a slam dunk. Come back tomorrow for more of sports week, and until then, rinse with water before you…
>>KIDS: 3, 2, 1 spit!
[THEME SONG ENDS]
>>RACHEL: Chompers is a production of Gimlet Media.
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https://www.onlinedrummer.com/pages/drum-key
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en
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Drum Notation Guide - Drum Key
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Written by Nate Brown & Steve Ley The Basic Drum Key (above) is a quick-reference for the most commonly used notations. Our Master Drum Key (below) includes both basic and advanced notations. We've included detailed explanations and videos below the key. Feel free to print the Master Drum Key for your referenc
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en
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//www.onlinedrummer.com/cdn/shop/files/Favicon-Logo-Head-2_96x96.png?v=1678577278
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OnlineDrummer.com
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https://www.onlinedrummer.com/pages/drum-key
|
Written by Nate Brown & Steve Ley
The Basic Drum Key (above) is a quick-reference for the most commonly used notations.
Our Master Drum Key (below) includes both basic and advanced notations. We've included detailed explanations and videos below the key. Feel free to print the Master Drum Key for your reference.
PRINT MASTER DRUM KEY
You'll find detailed explanations, graphics and videos below. Read this section straight-through or skip ahead to the notations you need further support with.
Bass
Bass 1 is the standard bass drum played with the primary bass drum pedal.
Bass 2 is played either on a secondary bass drum or on the same bass drum with the slave pedal of a double bass drum pedal (see below).
Toms
Our drum key includes 7 toms arranged from lowest pitched to highest. It's unlikely that you will encounter many songs that require 7 toms. However, because some do require 7 toms, we've identified the notation on this master drum key.
Arranged from lowest pitched to highest pitched, the toms are as follows:
Floor tom 2
Floor tom 1
Tom 3
Tom 2
Tom 1
Additional tom(s)
A traditional drum set arrangement has 3 toms. This is the most common arrangement you're likely to encounter in drum sheet music. In the master drum key, they are identified as floor tom 1, tom 2 and tom 1 (see below).
Another common tom arrangement is called, "Two Up, Two Down." This arrangement features two toms mounted above the bass drum (i.e. "up") and two floor toms resting on the ground (i.e. "down"). In the master drum key, they are identified as tom 1, tom 2, floor tom 1 and floor tom 2 (see below).
A similar tom arrangement to the "Two-Up, Two-Down" is the "One-Up, Two-Down" arrangement. As the name implies, one tom is mounted above the bass drum (i.e. "up"), and two floor toms are resting on the ground (i.e. "down"). The toms for this arrangement are identified in the graphic below.
IMPORTANT: If your drums are setup in this arrangement, it's common (and often necessary) to play floor tom 1 as your tom 2 and floor tom 2 as your floor tom 1 when reading drum sheet music.
The two highest pitched toms in our Master Drum Key are called "additional toms" because they are additions to the most common tom arrangements. Additional toms aren't often used in mainstream music, but you will come across these from time to time. If you don't have seven toms, you will have to substitute your tom 1 (or another tom) for the additional toms in the sheet music.
Note on floor toms: Floor toms rest on the floor on three legs. In some setups, the lowest tom(s) are attached to a cymbal stand with a clamp rather than resting on the floor. It's fine to use an "attached" low tom(s) in place of a traditional floor tom(s).
Modifiers
Drum Modifiers change the way you strike a drum or cymbal. Our Master Drum Key shows these modifiers in the snare drum space, but they can apply to any drum or cymbal. For example, you may find a ghost on a tom stroke, hi-hat stroke, bass drum stroke, etc.
Cross-stick: Video Example (explanation starts at 1:05)
A stroke played with the butt of the stick against the rim while the tip of the stick remains resting on the drum head. Grip the stick in between your thumb and index finger. On the down-stroke, your remaining the fingers will touch the drum head. On the up-stroke, be sure that the tip of the stick remains on the drum head.
Ghost: Video Example
A very quiet stroke. You can think of a ghost stroke as a light tap (or drop) against the head. Generally, ghost strokes are played with the stroke starting at about 2 inches above the drum head.
Accent: Video Example
An accented stroke is to be played louder than other strokes. In other words, it should stand out.
Marcato:
A marcato is a type of accent, but the marcato stands out even more than a normal accent. You can think of a marcato as a 'strong accent.'
Flam: Video Example
In a right-handed flam, the left stick plays a quiet grace stroke slightly before the right stick plays the main, primary stroke. Traditionally, a flam should be played with one motion (i.e. both hands move at the same time). The stick you're playing the grace stroke with should start about 2 inches above the drum head while the primary stroke starts in normal position.
Additional flam notes: A power flam is achieved by playing the flam's grace stroke at the same volume as the primary stroke. This type of flam is often used in rock music. Another type of flam is a flat flam. This is played by playing both the grace stroke and primary stroke at the same time.
Drag: Video Example
A drag is sometimes referred to as a ruff. You can use the terms interchangeably. The drag is very similar to a flam but the drag has 2 grace strokes instead of 1. The grace strokes can be achieved by bouncing the stick, or for a more orchestral sound you can play the grace strokes as a buzz against the drum head.
Rimshot: Video Example
A rimshot is played by striking both the head of the drum and the rim of the drum at the same time. The tip of the stick strikes the drum head, generally just off-center, and the shaft of the stick strikes the rim. This produces a higher-pitched, louder (and often 'ringy') sound. You can experiment with moving the tip of the stick closer to the edge of the drum head to product different sounds.
Click sticks:
Strike the sticks together. Usually, the left stick stays stationary while the right stick strikes the left stick (if you're a right handed drummer).
Rim:
Play the rim of the drum. For the snare drum, the rim is usually hit at the point where it's furthest away from the drummer (i.e. the 'top'). For toms, the rim is usually struck at the closest point to the drummer (i.e. the bottom). These are not hard and fast rules, however. It's ok to experiment with where you hit the rim.
Electronic pad:
In today's music, electronic drums are becoming more and more common. Hybrid combinations where a drummer is using both acoustic drums and electronic drums are also becoming common. Sometimes, only certain sections of the song use electronic drums. A square note head indicates that this drum is supposed to be played on an electronic drum (or pad). If you don't have an electronic drum, it's ok to play the part on your standard acoustic drums.
Cymbals
Cymbal arrangements vary greatly from drummer to drummer. The standard, cymbal starter kit includes a hi-hat, crash and ride cymbal (see below).
If you play with this cymbal setup, you'll need to play any crash 2 in the sheet music with your crash 1. Also, any auxiliary cymbals, such as Chinas or splashes will need to be played on the crash.
Here's another common cymbal setup that features 2 crash cymbals. As with the previous, starter setup, if there are any auxiliary cymbals (i.e. Chinas or splashes) in the sheet music, you'll have to substitute by playing either your crash 1 or crash 2 for those strokes.
Splash cymbals and China cymbals are great additions to any cymbal setup. They're not used as often as the cymbals identified above, but they do make their way into mainstream music and other classics throughout past decades.
A splash cymbal is a smaller cymbal that makes a sound similar to a metallic "splash." Listen to the 10 inch splash cymbal being played in this video:
A China cymbal has a unique, almost "trashy" sound and is to be mounted upside-down. Here's a video of an 18 inch China being played:
Note on crash cymbals in sheet music: Since every drummer has their own unique cymbal choices and placements, you'll sometimes have to get creative when interpreting drum sheet music. Often, it doesn't really make much of a difference which crash cymbal you hit. Get creative.
Cymbal Modifiers
At times, special instructions need to be given to the reader regarding how to hit a cymbal. Cymbals are very dynamic and produce distinct sounds depending on how they are hit. Below are cymbal modifiers that we use to communicate how to hit the cymbals.
Crash ride
This indicates that the ride should be hit with the shoulder of the stick on the edge of the cymbal. In other words, hit it the same way you would hit a crash cymbal to make it "crash."
Ride bell
Play the ride bell. To produce a louder sound, you can play the ride bell with the shoulder of the stick rather than with the tip.
Crash w/tip
Hit the crash cymbal on the bow with the tip of the stick. A Crash w/tip should sound (and feel) similar to playing a normal ride cymbal stroke. It shouldn't "crash."
Crash bell
Hit the crash cymbal on the bell, either with the tip of the stick or with the shoulder of the stick to produce a louder sound.
Choke crash Video Example
Hit the crash cymbal as usual (i.e. with the shoulder of the stick on the edge of the cymbal), producing a crash. Then, choke the cymbal by grabbing it with your other hand, cutting off the sound. For an advanced choke, you can both hit the crash and catch it with the same hand.
Let ring
Cymbals are meant to let ring out unless some other type of instruction has been given. For example, a cymbal choke or hi-hat close. However, sometimes including the "let ring" symbol (i.e. an unconnected tie) makes it clearer to the reader and reinforces that the cymbal is to let ring. It is especially helpful if there are rests after the crash cymbal. Telling the reader to let the cymbals ring out throughout those rests gives the reader extra confidence.
Splash HH Video Example
The hi-hat splash is achieved by hitting the hi-hat cymbals together with the foot, and then quickly releasing them apart to let them ring out. It's similar to an orchestral crash cymbal.
Loose HH
The slashed circle above a hi-hat stroke means to play the hi-hat "loose." In other words, instead of pressing the hi-hat pedals together tightly, lift up on the pedal a little to allow the cymbals to reverberate when hit. This gives a "loose" sound.
Open HH Video Example
The open hi-hat is indicated by a circle above the note head. This means that the two cymbals should be "open" (or not touching) when the hi-hat is hit.
Closed HH
A hi-hat should be played "closed" by default. That means both cymbals will be pressed together when striking the hi-hat. However, sometimes it's important to reinforce to the reader that the hi-hat stroke needs to be played closed. When you see a + above a hi-hat stroke, it means that stroke should be played "closed."
Open/close HH
Strike the hi-hat in "open" position (i.e. the top and bottom cymbal are not touching). Then, quickly close the hi-hat. This creates a fast attack with the open hi-hat, but then chokes the sound quickly by pressing the hi-hat cymbals together.
Section Modifiers
When a modifier is to be applied to many (or all) of the cymbal strokes in a section, we use a "section modifier" to communicate that the entire section should be played a certain way. This keeps our sheet music clean and clear.
Tight: Play the hi-hat with the cymbals clamped tightly together.
Closed: Play the hi-hat with the standard amount of pressure, closing them enough so that they don't reverberate.
Relaxed: Play the hi-hat with a 'relaxed' tension, allowing the hi-hat cymbals to reverberate slightly.
Loose: Play the hi-hat with a loose tension, allowing the cymbals to reverberate greatly.
Crash Ride: Play the ride cymbal as if you were crashing a crash cymbal, with the shoulder of the stick hitting the edge of the cymbal.
Loose HH for several notes: A line placed next to a loose hi-hat cymbal extends the loose hi-hat section for multiple strokes. Any strokes under the line should be played with a loose hi-hat. This method keeps the sheet music looking cleaner without the need for multiple loose hi-hat symbols in a row.
Loosen hi-hat: The technique is a commonly used technique to "build" into a section of the song or transition between two parts. Start the section with a slightly loose hi-hat, and gradually loosen the hi-hat tension for all of the strokes under the dotted line.
Rolls
Open roll
An open roll is played with clear double strokes (i.e. diddles). In the graphic above, the "Open roll (written out)" shows all of the strokes of the roll written out in 32nd-note notation.
Buzz roll/Closed roll Video Example
A closed roll is played by buzzing the sticks rather than playing clean double strokes (i.e. diddles.) This roll is either referred to as a buzz roll, closed roll or sometimes an "orchestral" roll. In our sheet music, we use the Z symbol on the note stem to clearly indicate when you should use buzz strokes over diddles. In the graphic above, the "Buzz roll/Closed roll (written out)" shows all of the strokes written out in 16th-note notation (with buzzes).
Single-stick buzz
This stroke is played by pressing the tip of the stick against the head creating a "buzz" sound. See the video example above for "Buzz roll/Closed roll" for an example of how to play a "buzz" stroke.
Crushed buzz
A crushed buzz roll is achieved by "buzzing" both sticks on the drum head at the same time. Preferably, try to let the sticks "buzz" for the duration of the note. In the graphic above, the "crush" symbol is over a quarter note. So, you'd let those sticks buzz for one entire beat.
Slowing Down / Speeding Up
Sometimes, a roll gradually speeds up. The 'feathered beams' indicate whether the selection should speed up or slow down.
Crescendo roll
A crescendo roll starts quietly and gradually gets louder until the end of the roll. The crescendo will have to be quick on shorter-duration rolls. Be sure to play the crescendo consistently, avoiding getting too loud to quickly (or vice versa).
Drop-away buzz
The drop-away buzz starts loud (i.e. forte) but immediately drops off to quiet (i.e. piano).
Other Considerations
This master drum key isn't exhaustive, meaning that we didn't include every possible notation that you might encounter. We've included the most commonly used notations and symbols. All of our premium sheet music includes a song-specific drum key on the top of the first page for each song. If we've used any special notations or symbols, they will be identified in the song-specific key.
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https://scottkfish.com/tag/smokey-dacus/
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Smokey Dacus
|
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Posts about Smokey Dacus written by Scott K Fish
|
en
|
Scott K Fish
|
https://scottkfish.com/tag/smokey-dacus/
|
SKF NOTE: Smokey Dacus said he is the first drumset player to play with a country band. The full transcript of our interview is available on my blog here. The start of this tape is clipped because I had switched … Continue reading →
SKF NOTE: This is the first audio excerpt of my phone interview with William “Smokey” Dacus over 35 years ago. Smokey Dacus was the first drummer to play in a country band. Legendary bandleader Bob Wills had the idea, in … Continue reading →
Smokey Dacus: Pioneer of Western Swing Drumming: Pt. 2 by Scott K Fish [SKF NOTE: The back story to this Smokey Dacus interview is in Part 1.] SKF: The playing was different then also. You didn’t have ride cymbals. You … Continue reading →
Smokey Dacus: Pioneer of Western Swing Drumming: Part 1by Scott K Fish Introduction This unpublished phone interview with William Smokey Dacus (pronounced Day-Cuss) has been on my mind for 35 years. In my view, it deserves publishing. It should be … Continue reading →
Smokey Dacus: Pioneer of Western Swing Drumming: Pt. 3by Scott K Fish [SKF NOTE: The back story to this interview is in Part 1. Part 2 is here.] SKF: When you say you are the first drummer in country music … Continue reading →
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https://worshipmatters.com/2010/05/21/three-keys-to-becoming-a-better-studio-or-any-kind-of-drummer/
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en
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Three Keys to Becoming a Better Studio (or any kind of) Drummer
|
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[
"Bob Kauflin",
"Known Youth Ministries",
"www.facebook.com"
] |
2010-05-21T00:00:00
|
Our upcoming Spanish project, Alli en la Cruz, was recently mixed in Nashville by Billy Whittington, a gifted and humble engineer who has participated in other Sovereign Grace projects. He was assisted by John Behrens, who interned with me this past year, and Mauricio Velarde, whose songs and vocals are…
|
en
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Worship Matters
|
https://worshipmatters.com/2010/05/21/three-keys-to-becoming-a-better-studio-or-any-kind-of-drummer/
|
Our upcoming Spanish project, Alli en la Cruz, was recently mixed in Nashville by Billy Whittington, a gifted and humble engineer who has participated in other Sovereign Grace projects. He was assisted by John Behrens, who interned with me this past year, and Mauricio Velarde, whose songs and vocals are featured on the album.
When I asked how it was going, John mentioned that he asked Billy how we could grow, since all the players have limited studio experience. Billy kindly shared his thoughts on “what makes a great studio drummer.” They were clear and to the point, partly because he has had to spend a lot of his “mixing” time lining up drum tracks so they’re tight and consistent. So I asked John to send Billy’s thoughts to me and the drummer who played on the project.
If you’re really serious about growing in your drumming skills, you aren’t going to find what you need at this site. But if you know any drummers who want a better idea of what they could be focusing on to grow, I think these tips are invaluable. Consider them “Keys to Good Studio Drumming,” or maybe, “How Not To Annoy Everyone Else in the Band.” This is the email (slightly edited) that John sent to me and the drummer:
The first key: Play in the pocket.
Lock in to the click and groove with the other instruments. This is indispensable. Practice and/or play with a metronome as often as you can until your time is natural and consistent, and remains the same for each section of a song.
The second key: Play the drums that matter most, and hit them solidly and cleanly.
(A) KICK and SNARE. Hit them solidly. Every time. They are the backbone of the song. Anything else you hit, hit it well too. Why do session drummers sound like a CD when they’re playing? Every hit, no matter what it is, is solid and even. Kick and snare are definitely the most important in this regard.
(B) Following from (A): Don’t play the hi-hat too loud. I figured an expert mixer would be able to work around a loud hi-hat in a few places, but Billy was genuinely stymied for awhile. I ended up literally going through the snare track and pasting in clean snare hits for every hit in the song so that he could get the snare up above the hi-hat in the mix. Hi-hat, ride, riding crashes… keep them all toned significantly down.
(C) Also springing from (A): Figure out whatever technique you need to in order to not double-hit the kick drum. In general non-studio drummers often do this, and it’s partially un-fixable. You can replace the kick track with triggered samples, but the double hits make triggering those samples very time consuming, and the overhead mics still pick up the double hit, which blurs the focus of the kick overall.
(D) Similar to (C): Avoid flamming between the kick and the hi-hat, snare, ride, or cymbals. This is another basically unsolvable problem. In one song there was a lot of this – kick hitting slightly before or after the hi-hat, instead of right together. I went through and slid over the kick track individually to line up with the hi-hat, but again, the overhead mics still pick up the flam, and it really blurs the kick in the track. This is one of those little details that marks a good studio drummer.
Now to the other half of studio drumming key #2. I’ve heard Billy bemoan this several times when talking about other projects.
PLAY LESS! i.e. Play the drums that matter the most. This is especially important with lyric-centered music (i.e. worship music).
What matters most? The kick and the snare. Laying down a solid beat that compliments the song and supports the other instruments. Tricky fills, accents, intricate beats… they’re all frosting on the cake. The meat and potatoes are your basic kick and snare beats. Session drummers can bust out amazing fills, but usually they play simple stuff with excellence. And at the right moment they pull out a tasty fill or a slick beat that compliments the song beautifully. They have a huge bag of tricks, but what makes them good studio drummers is only dipping into that bag at the right times, and pulling out something tasteful.
The third key (literally): Become an expert at tuning your drums.
Of all steps involved in tracking drums, your role in tuning them is easily the most influential in getting the recording to sound good. When they’re tuned up beautifully, it is literally hard to make them sound bad on tape. [There are plenty of videos on YouTube that explain this process thoroughly]
Every time I’ve asked Billy about a killer sound I hear, he has referenced the musician and the instrument they were playing, not the equipment he was using to record it. He even brings in a session drummer to tune up the kit before tracking younger bands.
To summarize:
Hit the drums in time.
Hit them solidly.
Hit the drums that really matter.
And have them tuned well so they sound really good when you hit them
Those are Billy Whittington’s tips. If you’re a drummer that participates in leading congregational worship, what’s the best counsel you’ve received or want to pass on?
|
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https://hub.yamaha.com/drums/stage/the-five-different-kinds-of-snare-drums-explained/
|
en
|
The Five Different Kinds of Snare Drums Explained
|
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[
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] | null |
[
"Steve La Cerra"
] |
2022-08-12T12:00:51+00:00
|
There are a huge variety of snare drums available. In this article, we’ll look at the most common types and their applications.
|
en
|
https://usa.yamaha.com/common/images/favicon.ico
|
Yamaha Music - Blog
|
https://hub.yamaha.com/drums/stage/the-five-different-kinds-of-snare-drums-explained/
|
Characterized by the metal wires or “snares” stretched across the bottom head, the snare drum plays a large role in just about all genres of music, including pop, rock, metal, funk, hip hop, R&B, progressive, marching band, drumlines, orchestral and jazz. When used in popular styles of music, it’s the snare that provides the backbeat on the 2 and 4; in orchestral and jazz pieces, the snare is used for color, accents and embellishments of musical phrases. Because it’s the centerpiece of the modern drum kit, the snare drum is the starting point for beginning drummers, and it often serves as a showcase for advanced players demonstrating their technical skills.
As you might imagine, there are a huge variety of snare drums available. In this article, we’ll look at the most common types and their applications.
Metal
Snare drums can be constructed from a variety of metals, the most popular being steel or stainless steel, aluminum and brass, followed closely by copper and bronze. Metal snare drum shells are constructed either by bending a flat metal sheet into a cylinder and welding the seam (so-called “welded” shells), or by spinning and heating a metal disk while pulling it over a cylindrical form (“spun” shells). The metal can also be melted and cast into a cylindrical mold, which is a very expensive process.
Each of these materials has a unique sound, but in general, metal snare drums produce a sharp “crack,” a quick response, and a lot of overtones. Steel can produce bright, ringing overtones that require damping, while brass tends produce a rich tone with dark overtones. Metal snares in general have good projection, produce great rim shots (where you use a stick to simultaneously strike both the rim of the drum and the top head), and can easily cut through on loud stages, which is why they’re a favorite for hard rock.
Metal snares, like all acoustic snare drums, can be tuned across a wide range, depending upon the player’s preferences. Medium and high tunings generally project better while offering greater sensitivity and dynamic range. Low tunings are great for slow-paced songs like ballads, but can limit the dynamic range — meaning that you really have to smack the drum hard to make it speak.
Here’s the sound of the Yamaha RRS-1465 Recording Custom brass snare drum at a medium tuning:
https://hub.yamaha.com/wp-content/uploads/2022/08/AudioClip1_RRS1465.mp3
Metal snare drum shell depths range from five to eight inches, with 14 inches being the most popular diameter, though there are models with 13- and 15-inch diameters.
A classic example of a metal snare drum can be heard in Led Zeppelin’s “Fool In The Rain.”
Wood
Snare drums have been made from wood going as far back as the 1300s(!), when a drum called a tabor was used for communication purposes. Wood shells can be constructed by gluing together thin plies (layers) of wood, by steam-bending a solid board, or by gluing together wood blocks.
A wide variety of tonewoods are used to make snare drum shells, including maple, birch, oak, poplar and mahogany, as well as more exotic woods such as wenge, jatoba and kapur. Each of these woods has distinct sonic properties. For example, oak produces a low fundamental tone with bright highs, while maple has excellent balance between mids and highs, with a warm low end.
Here’s an audio clip of the Yamaha LHS-1455 Live Custom Hybrid Oak snare drum at a medium tuning:
https://hub.yamaha.com/wp-content/uploads/2022/08/AudioClip2_LHS1455.mp3
Multi-ply shells are most common because the direction of the grain can be alternated, producing a shell that is resonant, strong and stable. Multi-ply construction also enables a manufacturer to use layers of different types of wood to create a unique shell “recipe.” For example, Yamaha Absolute Hybrid Maple snare drum shells have a center ply of wenge, surrounded by layers of maple. This yields a shell that has a wide dynamic range, great response and excellent projection.
Wood snare drums sound warm and fat, and tend to be a bit less ringy than metal snare drums. Sizes range from five to eight inches deep with diameters of 12 to 15 inches, with 14 inches being the most popular. Wood snares provide a wide range of tuning from a low “thwack” to a high crack and everything in-between, making them useful in a variety of musical situations. As with metal snare drums, the tuning of a wood snare will have an effect on not just its tone but also its dynamic range. (See the “Metal” section above.) Ringo Starr played a wood snare almost exclusively throughout his career with The Beatles. For a good example of his signature snare sound, check out the song “Get Back.”
Marching
You’ve probably heard the distinct sound of marching snare drums in a drumline or as part of the marching band in a parade. The most common marching snare has a 14-inch diameter and is 12 inches deep, but diameters vary from 13 to 15 inches and depths range from 9 to 12 inches. Though quite large, marching snares are usually tuned very high, enabling drummers to play extremely precise complex rhythms and rudiments in an ensemble format.
The majority of marching snares employ wood shells, but unlike the snare drums used in drum kits, a marching snare may have retractable legs or suspension hardware that allows it to be held in place or attached to a carrier harness worn by the drummer.
Since they are often played outdoors or in large indoor spaces, marching snares are designed for precise articulation, maximum projection and durability. Marching snare wires are made from nylon or synthetic gut, which produces a dark, dry sound with less sustain than metal wires, and the snares may be independently adjustable. The shells may also have additional air vents for improved articulation and snare response.
Marching snares aren’t often heard in popular music, but there are some notable exceptions including on the songs “Tusk” by Fleetwood Mac and “Lose My Breath” by Destiny’s Child. Here’s what a marching snare sounds like:
https://hub.yamaha.com/wp-content/uploads/2022/08/Marching-Snare.mp3
Piccolo
As the name implies, piccolo snare drums are characterized by their small size: 3 to 4 1/2 inches deep with diameters of 13 or 14 inches (though there are some models with a 12-inch diameter). Piccolo snares provide a high-pitched, sharp “pop” that easily cuts through a mix, and rim shots that have a nice “bark.” They’re often used as secondary or effects snares in a large kit (as used by Rush’s late drummer Neil Peart, for example), but can also be used as the main snare in funk, pop, reggae or hip hop (as used by Yamaha artist David Garibaldi, best known for his work with Tower of Power). Piccolo snares can be made of metal or wood, but wood is generally the more popular choice.
Due to the reduced distance between the top and bottom heads, piccolo snares provide a fast response to quick stick patterns and ghost notes. They may ring quite a bit, but when properly tuned the ring can be musical, and the top head can always be damped to reduce the amount of ring. Here’s what a piccolo snare sounds like:
https://hub.yamaha.com/wp-content/uploads/2022/08/Piccolo-Snare.mp3
Click here to listen to David Garibaldi playing his Yamaha Piccolo Signature snare with Tower of Power on the song “What Is Hip?”
Electronic
Whether used as part of a hybrid acoustic/electronic or all-electronic drum kit, an electronic snare drum is one of the most versatile instruments you’ll ever encounter. A snare drum trigger pad such as the Yamaha XP80, combined with a Yamaha DTX-PRO electronic drum module, can provide a palette with hundreds of different real and electronic snares, as well as other instrument and non-instrument sounds.
An electronic snare gives you the ability to instantly recall different sounds, change tuning, or add effects such as reverb and delay. Some drum modules (like the DTX-PRO) can be used to sample (that is, record) your own snare drums, and the XP80 features multiple zones for playing rim shot and side stick sounds, which makes for realistic playing.
Electronic snare drums can be heard in all types of popular music. Two classic examples are the songs “Running Up That Hill” by Kate Bush, and “In The Air Tonight” by Phil Collins, which combines electronic drums with acoustic drums.
Check out this video of Yamaha Artist Larnell Lewis playing a Yamaha DTX10K-X electronic drum kit:
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https://www.defmediagroup.com/pop-rock-snare-drums-trigger2-expansion-pack
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Darrell Nutt Signature Drums
|
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[
"steven slate trigger 2",
"studio acoustic drums",
"record producer",
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"southwest florida",
"designer"
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Multi-sampled acoustic drum hits for the Steven Slate Trigger 2 drum replacer plug in. I sampled every drum I own for YOU!
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en
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Darrell Nutt
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https://www.defmediagroup.com/pop-rock-snare-drums-trigger2-expansion-pack
|
POP ROCK SNARE DRUMS
6 NEW SNARE DRUMS Not Included in the
KICKS+SNARES+TOMS Complete Expansion Pack!
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https://en.wikipedia.org/wiki/Rimshot
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https://en.wikipedia.org/static/favicon/wikipedia.ico
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2004-09-03T18:43:04+00:00
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en
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Rimshot
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Percussion technique
This article is about the percussion technique. For the joke punctuation sound, see Sting (percussion). For other uses, see Rimshot (disambiguation).
"Gock" redirects here. For the LGBT slang term, see LGBT slang § Terms related to transgender and non-binary people.
A rimshot is a percussion technique used to produce an accented snare drum backbeat. The sound is produced by simultaneously hitting the rim and head of the drum with a drum stick.
The sound and various techniques
[edit]
The sound of rimshots can be described as "part normal snare and part loud, woody accent",[1] or "generally sharper, brighter and more cutting [than a standard accent]",[2] since the technique produces large amounts of overtones.[3]
The stroke is used on the snare in rock, pop, and blues and on the tom-toms in Afro-Cuban music. The technique is also common in bossa nova, ska, reggae, and rocksteady.[2]
In marching percussion, there are three types of rimshots. The most common is the "normal" rimshot, which is played with the tip (bead) of the stick held about three inches (about 8 cm) from the rim. This produces a prominent, accented tone. The second is the "ping shot", where the bead is struck about one inch (2.5 cm) from the rim. This produces a high-pitched sound. The third is a "gock" (also spelled gawk), which is produced by hitting the bead of the drum stick at the center of the drum while the rim is percussed with the distal shaft of the stick (near the hand). This makes a lower sound.
In Latin percussion, timbales players use rimshots near the edge of the head, but these sound very different from gocks in marching percussion.
In orchestral percussion, a rimshot is performed by placing one drum stick with the stick head near the middle of the drumhead, and the shaft pressed against the rim, and striking with the other stick. This produces a less powerful sound, and is easier to execute than a typical rimshot. This variation is also known as a "stick shot".
The rimshot is often confused with the cross stick technique, in which the tip of a drum stick is placed on the head near one of the bearing edges and the shaft of the stick is struck against the rim opposite the tip, thus creating a dry, high-pitched "click" similar to a set of claves.[4] As a result, the stroke is frequently used in bossa nova to imitate the sound of claves; it is also used for ballads in rock, pop, and country music.[2]
More general use of the term
[edit]
The musical phrase played on percussion instruments used to punctuate jokes is known in percussion jargon as a sting. This is often called a rimshot, although some versions of it do not include a rimshot in the technical sense.
A rimshot when used to accent the punchline of a joke being told by a live comedian may or may not simultaneously be played with a small cymbal crash. This was popularized in standup comedy by comedians performing at the resorts in the Catskill Mountains region. Many of these comics were of Jewish heritage and were known as "Borscht Belt comics", after a vacation spot in the Catskills. Comedian Henny Youngman used a drummer to play rimshots after his fast-paced, one-liner type of jokes; his most famous line was "Take my wife… please!"
Sometimes, the comedian would react to the rimshot as if they did not expect it and in doing so, pass the reaction and responsibility for the rimshot on to the drummer, when in fact, the comedian had previously instructed the drummer when to use and when not to use the rimshot. Despite having previously been scripted into the routine by the comedian, these were designed to appear to be improvised by the drummer, so as to accentuate the joke.[5]
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Rim shots and solid backbeat (rock guys)
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[
"DanC \"Get in",
"sit down",
"shut up",
"behind a Rogers kit"
] |
2015-09-23T22:56:03+01:00
|
I use rim shots alla time. What gets my goat is that I go through left-handed sticks like crazy. I got a whole shirtload of right-handed sticks laying around.
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/icons/apple-icon-57x57.png
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[DFO] Drum Forum
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https://www.drumforum.org/threads/rim-shots-and-solid-backbeat-rock-guys.118917/page-4
|
BennyK said:
I'm the drummer. I lay down the beat - " Here it is guys, follow me !" If I'm 2 and 4-ing on the snare ,it has to be emphatic,in a dynamic range to stand out not only from the music happening around me,but from the rest of the kit as well . Hitting the middle of the drum puts in it a ball park very similar to my toms and I happen to believe the groove is weakened and becomes spongey,iffy and anemic because of it .
A paragraph without any punctuation or capitalization OF LeTTeRS can lose its meaning real quick .
Over the last decade, there are people who makes statements ending with an inferred question.To me this implies a lack of confidence and certainty in the guise of being non aggressive and assertive . As if I need to agree with them so they can agree with themselves . B**lls*it !!!
HIT that drum !!!!! , then ,over time learn to control the dynamic level . The snare drum is a fascinating instrument. After 35 years I feel that I'm just scratching the surface of its potential.
I see drummers spending vast amounts of money on snare drums looking for a " sound" and I suspect that sound isn't in the drum at all - it's inside just waiting to be discovered .
Great post! Interesting that Dave C posted a clip with Oz Noy and Weckl - Oz regularly plays a small club in my neighborhood and every drummer that plays with him uses rimshot backbeats - despite the small venue. They know how to control their dynamics, but that rims shot is always there.
David Garibaldi had me play rim shot backbeats (between two lugs) and I still remember Mike Clark telling me years ago to put a rimshot in a shuffle. “Put some bacon fat on it!” he would say...
The rimshot is not a toy, it should be played with care - I do see a lot of rimshot players hitting harder than they probably need too. But that’s not the rimshot’s fault...
I differ from most here as my involvement in music over the past twenty years or so has been in producing live events. As such I see hundreds of pro drummers a year up close and personal. These are artists of various skill levels playing venues from 800 people to stadiums. I get the opportunity to see how they play live, how they handle sound checks, tuning, etc. I can tell you without a doubt that it is few and far between the drummer that does NOT play rimshot back beats. Pretty much everyone I see whether playing rock, blues, funk, country, gospel or almost anything else is playing rim shots. I have watched high end studio cats in sessions play rim shots that were scarily consistent. If they had not, I would garuntee that the producer would say something about it.
So to Dcrigger's comment that any young drummer on this site needs to understand what is part and parcel of contemporary drumming I would completely agree. Certainly everyone develops their own style, but if these guys want to work, it would behoove them to have this skill in their back pocket just like playing a variety of styles authentically or playing to a click track.
Carry on gentlemen.
Seb77 said:
Rimshots are great but not the end-all. To pick up my post above, what about the low snare drum sounds? The low 70s/80s sound seems to have had a comeback in recent years. A lot of Indie Pop, Disco-Punk etc. lives off of a less cracking, more mellow or tonal snare sound. It is indeed more similar to toms, but less energetic? (as stated in another post) I wouldn't say so.
A center rim shot mutes/chokes the fundamental tone, like a slap tone on a conga does. If you want a deep sound, RS is counterproductive.
I’m not really sure that has to be the case. Sure if you dead stroke on the head it will choke the fundamental - but I don't see how "catching" the rim along with the head changes what the head produces at all - it just adds the sound of the rim. At least, that's how it sounds to me.
As for the 70/80's - I probably did more recording during that era than any other time of my career - and in my experience, nothing about a tuned down, low pitch snare, muffled to taste (in the 70's, we weren't using the 80’s flap" technique yet - so pretty standard fare was a folded tissue or paper towel held in place by a piece of gaffers tape) precludes playing rim shots.
I know, because I did it a lot of the time...
Seb77 said:
Ok, I'm learning. Work on the amount of rim in the shot and the fundamntal tone might not get muffled as much (or is it different with different drums(hoops?)
Saw a very good band at a festival where the drummer had that low sound going, but the mixer took some time to find the low fundamental of the snare: great impact once the eq was right. Def. no rimshot, on a big festival (30k).
I think this is crucial ... the amount of rim vs the strength of the hit on the head. When I first tried to learn how to play a rimshot backbeat, I was either accidentally doing the off center accent that is very pingy and high pitched or worrying too much about nailing the rim and ending up with a weak stroke on the head itself. I believe what we are talking about here is a solid hit on the head but adding the rim. If you add the rim into the equation you get that cracking transient, as well as more of the shell tone and even the snares are more fully activated. If your stroke hits the rim but subtracts some of the power from the strike on the head, then I think you get that weaker fundamental tone. A lot of guys who are doing it "right" are not necessarily driving the stick through the rim into the floor; sometimes it's so subtle I think you can observe a rimshot backbeat in an uptempo setting and not even see the rim being struck unless you are watching very carefully.
stickchopper said:
Rimshots for me. I'm a skinny weakling, so gives me a bit more heft. Also more authority - more attitude- like " here it is follow me." - there's no doubt.
As stated, many different variations for different volume levels. For me I somehow do them without causing stress to my hand. Along with my attempts to simplify my playing people I play with tell me I'm "solid" - I think the rimshots help a lot.
Strength has nothing to do with the loudness of any strike. It's technique. If you've got proper technique, your hand s should provide plenty of power for a good loud strike. Learned that many years ago in my first year of marching band in high school under the tutelage of Kurt Wagner, who is now the Band Director and Kansas State University.
drumstuff66 said:
Rimshots 100% of the time if it's in front of 1000 people at the Hynes Convention Center in Boston.
Solid snare sound 100% of the time if it's in front 10 people at a little Irish pub tucked away in Cambridge.
Tough for me to say, "Always rimshots/snare sound no matter what". Venue size, my volume in the overall mix and the mic' situation are usually the deciding factors.
Why would you need to rim shot in front of a 1000 people? Aren't you mic'ed????
we've been through this before. recently in fact. with a thread started by me.
we're not doing it for volume. we're doing it for sound and feel. cool if it's not your thing, but I really think you're in the minority on this in 2015.
Nice backhand.
I took lessons for almost twenty years. Like I said, part of the time was by the now band director of Kansas State. Another was with a locally well known jazz drummer. Rim shots were meant as accents, not backbeats. Somewhere this got lost. Or run of the mill guys decided it was an all the time thing. How's my backhand?
nobody is questioning your skills, your ability, or lineage, or your dietary choices. All some of us are saying is that we like the sound and feel of rimshot backbeats. As do a very large majority of current and former pop. rock, blues, soul, country, and fusion drummers. If you don't like the sound or want to play that way, that's totally cool.
in the end it doesnt matter. If the band likes the way you play, if the audience is responding, if it sounds good, and it feels good then what's not to like ?
You both make a good point here. I would think you'd only use a rimshot in a big band setting for accents in swing tunes. I think for big band funk rimshot on the back beat should be home base. I don't play big band so I'm not an authority.
I think the rimshot really works for rock, funk and blues. It also provides a great contrast for ghost notes. jigga jigga POP, guh jig-ga jigga POP POP! If you know what I mean
If I was in low volume setting like a dinner set. I'd probably stay away from the rimshot on the back beat, but I've gotten pretty good at doing those relatively low volume so it depends on the vibe in the room. If it's background music, it really probably doesn't matter. People are eating and talking.
I have listened to a lot of James Brown and I hear that stuff as rimshot and ghost notes so that's a pretty common approach for me, but I'm not writing rules for the Percussive Arts Society here. Just MHO.
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Music Appreciation 1
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Introduction
A percussion instrument is a musical instrument that is sounded by being struck or scraped by a beater (including attached or enclosed beaters or rattles); struck, scraped or rubbed by hand; or struck against another similar instrument. The percussion family is believed to include the oldest musical instruments, following the human voice.
The percussion section of an orchestra most commonly contains instruments such as timpani, snare drum, bass drum, cymbals, triangle and tambourine. However, the section can also contain non-percussive instruments, such as whistles and sirens, or a blown conch shell. On the other hand, keyboard instruments, such as the celesta, are not normally part of the percussion section, but keyboard percussion instruments such as the glockenspiel and xylophone (which do not have piano keyboards) are included.
Percussion instruments are most commonly divided into two categories: pitched percussion instruments, which produce notes with an identifiable pitch, and unpitched percussion instruments, which produce notes or sounds without an identifiable pitch.
Percussion is commonly referred to as “the backbone” or “the heartbeat” of a musical ensemble, often working in close collaboration with bass instruments, when present. In jazz and other popular music ensembles, the pianist, bassist, drummer and sometimes the guitarist are referred to as the rhythm section. Most classical pieces written for full orchestra since the time of Haydn and Mozart are orchestrated to place emphasis on the strings, woodwinds, and brass. However, often at least one pair of timpani is included, though they rarely play continuously. Rather, they serve to provide additional accents when needed. In the eighteenth and nineteenth centuries, other percussion instruments (like the triangle or cymbals) have been used, again generally sparingly. The use of percussion instruments became more frequent in the twentieth-century classical music.
Timpani
Timpani, or kettledrums, are musical instruments in the percussion family. A type of drum, they consist of a skin called a head stretched over a large bowl traditionally made of copper. They are played by striking the head with a specialized drum stick called a timpani stick or timpani mallet. Timpani evolved from military drums to become a staple of the classical orchestra by the last third of the eighteenth century. Today, they are used in many types of musical ensembles, including concert bands, marching bands, orchestras, and even in some rock.
The basic timpani drum consists of a drumhead stretched across the opening of a bowl typically made of copper or, in less expensive models, fiberglass and sometimes aluminum. In the Sachs–Hornbostel classification, the timpani are thus considered membranophones. The drumhead is affixed to a hoop (also called a fleshhoop), which in turn is held onto the bowl by a counterhoop,which is then held by means of a number of tuning screws called tension rods placed regularly around the circumference. The head’s tension can be adjusted by loosening or tightening the rods. Most timpani have six to eight tension rods.
The shape of the bowl contributes to the quality of the drum. For example, hemispheric bowls produce brighter tones while parabolic bowls produce darker tones. Another factor that affects the timbre of the drum is the quality of the bowl’s surface. Copper bowls may have a smooth, machined surface or a rough surface with many small dents hammered into it.
Timpani come in a variety of sizes from about 84 centimeters (33 inches) in diameter down to piccoli timpani of 30 centimeters (12 inches) or less. A 33-inch drum can produce the C below the bass clef, and specialty piccoli timpani can play up into the treble clef. In Darius Milhaud’s 1923 ballet score La création du monde, the timpanist must play the F sharp at the bottom of the treble clef. Each individual drum typically has a range of a perfect fifth.
Bass Drum
Bass drums are percussion instruments which vary in size and are used in several musical genres. Three major types of bass drums are as follows:
The type usually seen or heard in orchestral, ensemble or concert band music is the orchestral, or concert bass drum (in Italian: gran cassa, gran tamburo). It is the largest drum of the orchestra.
The kick drum, struck with a beater attached to a pedal, usually seen on drum kits.
The pitched bass drum, generally used in marching bands and drum corps. This is tuned to a specific pitch and is usually played in a set of three to six drums.
A bass drum is typically cylindrical with the diameter much greater than the height. There is normally a struck head at both ends of the cylinder. The heads may be made of calf skin or plastic. There is normally a means of adjusting the tension either by threaded taps or by strings. Bass drums are built in a variety of sizes, but size has little to do with the volume produced by the drum. The size chosen being based on convenience and aesthetics.
Snare Drum
The snare drum or side drum is a ubiquitous percussion instrument known for its cylindrical shape and powerful, staccato sound. Snare drums are often used in orchestras, concert bands, marching bands, parades, drum lines, drum corps, and more. The snare is also one of the central pieces in a trap set, a collection of percussion instruments designed to be played by a seated drummer, which is used in many popular genres of music. Snare drums are typically played with drum sticks, although there are other options for a completely different sound, such as the brush.
The snare drum originated from the Tabor drum, which was originally used to accompany the flute. It has evolved into more modern versions including the kit snare, marching snare, and the piccolo snare. Each type presents a different dimension and style of percussion. The snare drum that someone might see in a concert is typically used with a backbeat style to create rhythm. In marching bands it can do the same technique but it is mostly used for a front beat.
In comparison with the marching snare, the kit snare is typically smaller in length between the two heads, while the piccolo is the smallest of the three. The snare drum is known for its loud crack when a person strikes it with a drum stick or mallet. The depth of the sound varies from snare to snare because of the different techniques and construction qualities of the drum. Some of these qualities include tightness of the head, dimensions, and brand.
The snare drum is constructed of two heads—both typically made of plastic—along with a rattle of metal wires on the bottom head called the snares. The wires can also be placed on the top, just like on the Tarol Snare. The top head is typically called the batter head because that is where the drummer strikes it, while the bottom head is called the snare head because that is where the snares are located. Tension of the drum heads is held constant through the tension rods. The ability to tighten them provides an opportunity to differ the sound of the hit. The strainer is a lever that releases and tightens the snare. If the strainer is relaxed, the sound of the snare is more like that of a tom because the snares are not present. The rim is the metal ring around the batter head, which can be used for a variety of things, although it is notably used to sound a piercing rimshot with the drumstick.
Cymbals
Cymbals consist of thin, normally round plates of various alloys. The majority of cymbals are of indefinite pitch, although small disc-shaped cymbals based on ancient designs sound a definite note. Cymbals are used in many ensembles ranging from the orchestra, percussion ensembles, jazz bands, heavy metal bands, and marching groups. Drum kits usually incorporate at least a crash, ride or crash/ride, and a pair of hi-hat cymbals.
The anatomy of the cymbal plays a large part in the sound it creates. A hole is drilled in the center of the cymbal and it is used to either mount the cymbal on a stand or straps (for hand playing). The bell, dome, or cup is the raised section immediately surrounding the hole. The bell produces a higher “pinging” pitch than the rest of the cymbal. The bow is the rest of the surface surrounding the bell. The bow is sometimes described in two areas: the ride and crash area. The ride area is the thicker section closer to the bell while the crash area is the thinner tapering section near the edge. The edge or rim is the immediate circumference of the cymbal.
Cymbals are measured by their diameter often in inches or centimeters. The size of the cymbal affects its sound, larger cymbals usually being louder and having longer sustain. The weight describes how thick the cymbal is. Cymbal weights are important to the sound they produce and how they play. Heavier cymbals have a louder volume, more cut, and better stick articulation (when using drum sticks). Thin cymbals have a fuller sound, lower pitch, and faster response.
The profile of the cymbal is the vertical distance of the bow from the bottom of the bell to the cymbal edge (higher profile cymbals are more bowl shaped). The profile affects the pitch of the cymbal: higher profile cymbals have higher pitch.
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https://www.zzounds.com/item--YAMDTX532K
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Yamaha DTX532 Electronic Drum Kit
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Play e-drums from the acoustic drums giant! With the DTX-PAD snare, 3-zone cymbal pads and a built-in song recorder, the DTX532K kit is perfect for practice.
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en
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https://www.zzounds.com/item--YAMDTX532K
|
Split your cost over a number of months using your own payment card. Place your order today, and your gear will be in your hands in about two days. It couldn't be any easier.
Non-Affirm payment plans are interest-free! Some Affirm plans do charge interest.
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2202
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dbpedia
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2
| 49
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https://timbreandorchestration.org/isfee/extreme-orchestration/percussion/drums
|
en
|
Drums — Timbre and Orchestration Resource
|
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[
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] | null |
[
"Don Freund and David Cutler",
"Don Freund",
"David Cutler"
] |
2021-07-17T07:09:00-04:00
|
Most drums have a single head, made from a stretched membrane, affixed to a shell. Some have a second head on the opposing side (i.e. bass drum), adding resonance by creating a sound chamber between the heads.
|
en
|
https://images.squarespace-cdn.com/content/v1/60808497d3ad1e29c346fe97/66599074-dda6-449b-958a-4e7011a03a0c/favicon.ico?format=100w
|
Timbre and Orchestration Resource
|
https://timbreandorchestration.org/isfee/extreme-orchestration/percussion/drums
|
Most drums have a single head, made from a stretched membrane, affixed to a shell. Some have a second head on the opposing side (i.e. bass drum), adding resonance by creating a sound chamber between the heads. Though a majority of the drums are non-pitched, it is possible to adjust the “pitch” of all drums by tightening or loosening the head. Tightening the head makes the frequency rise and results in a crisper and brighter tone, while loosening it makes the lower and less focused (if loosened beyond a certain point, the timbre will become flabby).
The most common way to play drums is to strike the head with a stick or other beater, approximately halfway between the edge and the center. It is also possible to play the drum “near the edge” for a strident, brittle tone, or precisely “in the center” to produce a dark, blunt thud devoid of upper partials. To return to normal playing, write “ord.” It is also possible to drum “on the rim” or “on the shell” of a drum, for a sharp, dry attack, highlighting the sound of the material being struck. While rim playing can be effective on most rimmed drums, playing on the shell cam damage instruments, and should never be applied to timpani or expensive snare drums. Some drums are commonly played with fingers or hands. Drums that are too resonant may be “muted” by placing a piece of cloth on the head. Most commonly used on larger drumheads, but possible with snare and other smaller drums, this technique softens and darkens the tone of the instrument. It is also possible to muffle or damp a drum with the hand.
Flams, drags, ruffs, and several types of rolls are possible and common on most kinds of drums. Closed or buzz rolls, the default roll for orchestra and wind ensemble settings, are blurry, delivering a steady, sustained sound. Open or crush rolls, commonly used in marching bands, are clear and grainy. If the latter type is desired, write the word “crush” over the roll.
Timpani are the oldest pitched percussion instruments in the orchestra, and orchestral literature features timpani more than any other percussion instrument. Usually, sets of three to five drums are used, with larger drums producing lower pitches than smaller ones. A full set of five timpani, including the high piccolo timpani, extends up to about a two-octave range. It is not necessary to indicate the size of desired drums on a score, but be aware of the ranges available. Determine the number of drums needed in a piece, and space the required combinations of pitches so they are all possible with a standard set of timpani (for example, the drums could never be tuned to a set of five adjacent half steps). An enormous dynamic range, from an almost inaudible pianissimo to a ferocious fortissimo, capable of covering up an entire ensemble, is available.
A pivoting foot pedal controls the specific pitch of each drum by adjusting the tension of the head. By depressing the pedal, the head tightens and the pitch ascends, while raising it loosens the head and lowers the pitch. Though great advancements have been made in timpani technology, even fairly reliable drums often require slight fine-tuning due to factors such as the weather and humidity. To ensure in-tune pedal changes, it is advisable to leave at least five seconds for a timpanist to change the tuning of each drum. Skilled timpanists can effectively “tune-up” even during loud ensemble passages.
Early timpani parts were often restricted to tonics and dominants, but the sophistication of timpani writing has increased dramatically in the last hundred years. They often double slow moving bass lines, or at least highlight important pitches. Some composers have even written melodic passages for timpani. Rolls are quite common, effectively sustaining pedal tones. Though rolls are usually performed on a single drum, it is possible to tremolo between the pitches of two drums. Two drums may also be articulated simultaneously. When the two pitches are a small interval apart it is difficult to perceive the exact notes (best for loud booming effects), but intervals over a third will produce separate comprehensible pitches. To add power to a timpani hit or roll, double it with bass drum.
Rolled and non-rolled timpani glissandos are possible by adjusting the pedal while playing. Glissandos may be rolled or unrolled, and the highest and lowest pitches of the gliss must be playable on the same drum, though it is possible to transfer a gliss to a neighboring drum. Unrolled downward glissandos should be avoided, since the sound will quickly disappear as the head loosens. Other special effects include muting the head with a cloth, striking the instrument dead center, playing the rim of the drum, bouncing coins on the head, or lightly tapping it with the fingertips. It is also possible to roll a cymbal or gong placed upside down on the head of the timpani while adjusting the foot pedal, producing a strange, ethereal tone highlighting changing overtones. Blowing a wind instrument directly into the head of a timpani activates the timpani’s resonant sound chamber, adding reverberation to the sound of the instrument.
Roto-toms are tuned, single headed drums that effectively extend the range of the timpani. By rotating the frame of the drum, the head can be tightened or loosened, changing the pitch. Any of the techniques available on timpani can easily be applied to roto toms besides rolled glissandos, since one hand is required to rotate the drum. Seven roto-toms are available, coming in 6, 8, 10, 12, 14, 16, and 18 inches. The highest three are mounted together, as are the middle two and the lowest two. Composers may ask for one, two, or all three of these sets. When one player must switch between timpani and roto toms, the music is usually notated on two staves, one for each set of instruments.
The snare drum has a long and varied history, associated as much with the orchestra as it is with jazz, popular, military, and concert bands. A two-headed drum, it gets its name because a snare (several strands of wire, nylon, or cat gut) vibrates loosely against the bottom head giving the instrument its unique, brittle rattle. It is possible to turn the ‘snare off’ fairly quickly, resulting with a deeper tone, reminiscent of a tom-tom, cancelled out by the indication ‘snare on.’ Snare drums vary in size and depth. The thinnest drums, called piccolo snare drums, are quite bright and focused. Concert snare drums are about twice as deep, and are the default snare drums in orchestral settings. Field drums, more common to marching bands than orchestras, are deeper in size than concert snares, producing a somewhat fuller and less brittle timbre. There is actually no specific instrument called a tenor drum; it is simply a “snare drum” without snares, resulting in a deeper, blurrier, and more subdued tone, making it less optimal for quick, intricate passages. When tenor drum is specified, players often use a snare drum with snares off.
Snare drum parts are often fairly active, combining flams, drags, and ruffs. Extended rolls at any dynamic level can provide excitement—the saying “drum roll, please” to create anticipation before an announcement refers to a snare roll—and short rolls can be incorporated into moving patterns. A loud, special technique most common on snare, but possible on several drums, is called a rim shot. (This technique should not be performed on field drums because it can ruin the head.) A rim shot results in a very sharp attack, reminiscent of an earsplitting gunshot. Notated by writing “RS” over the pitch in question, it may be produced in one of two ways:
Position the tip of one stick in the middle of the head, the other end resting on the rim, and strike it with the other stick. It takes a second to prepare to play this kind of rim shot, but is the most common type.
Strike the rim and head of the drum simultaneously with a single stick. Because the stick must be positioned at a particular angle, this is slightly risky, but can be effective, especially when combined with normal attacks.
In addition to rim shots, snare drums are capable of many alternative timbres. Jazz and pop drummers often use a technique called rim clicks by positioning the drumstick tip on the head and clicking the other end against the rim. The thickness of the drumstick affects the heaviness of the timbre (to quickly switch to a heavier sound, players will sometimes flip the stick and play with the butt end instead of the tip end). By drumming close to the edge, a more focused sound emerges, while playing directly in the center deadens the tone. Wire brushes are commonly use to strike snare drums for a softer sound than sticks, though they can also be “swished” across the head. Yarn mallets create warm, mellow attacks, especially when combined with snare off. Snare drums can be muffled by placing a handkerchief on the head. Playing on the rim is possible and fairly common.
The bass drum, and lowest orchestral drum, is capable of a surprisingly large array of sonic possibilities. Often used to emphasize single pitches, perhaps in combination with a more active snare drum part, the bass drum has a considerably longer sustain than smaller drums. A fortississimo bass drum hit has such power that it can drown out an orchestra, and writing at such loud levels should be used with caution. Rolls are powerful at louder dynamics and full of suspense when played softly, suggesting light, rumbling thunder in the distance. Bass drums can add power and depth to any moment, and are commonly combined with important timpani or tam-tam hits. More active passages requiring a denser mallet (perhaps wooden) are possible, though they will not have the clarity of a comparable snare part. Be specific about durations of bass drum notes, using staccatos for muffling and open ties or “l.v.” to ensure maximum sustain.
Two other Latin-American drums that are becoming increasingly common to the orchestral percussion section are bongos and congas. Bongos are higher pitched than congas, which should come as no surprise when contrasting the relatively small bongos with the quite long conga drums. Traditionally, a conga drum or set of bongos is positioned between the knees of a sitting player and struck with the hands. Skilled performers can perform amazing feats on these instruments at an incredibly fast pace, ad libing many contrasting timbres by striking various parts of the head and through hand muting techniques. Regular players develop thick callouses on their hands, allowing them to bang away to their heart’s content without the necessity for first aid.
Writing for non-specialists on bongos and congas is another story. When played with sticks or other beaters, they can be called on to perform any of the techniques possible on other drums. Be careful about writing loud dynamics with sticks for congas, as the drum can be damaged. Sticks should never be used on bongos with calf-skin heads. Non-specialists can also achieve a large variety of sounds with their hands, including rolls, muffled tones, playing by the edge, in the center, slaps, etc. But they should not be expected to “jam out” in the same way that those who have devoted their life solely to these instruments would. Complex patterns can require years of training, not to mention that extended hand playing can be excruciating.
Most often these instruments are mounted, and bongos and congas are often used in conjunction, or combined, with timbales. It is possible to be a bit less specific with the notation of bongo and conga writing. Players will automatically inflect pitches as they see appropriate. If one basic technique should be employed, general instructions over slash notation may suffice.
|
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2202
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en
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File:Rim Shot (4053914).jpeg
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dbpedia
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0
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en
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File:Characteristic rock drum pattern rimshot.png
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2014-07-25T16:21:16
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en
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/static/apple-touch/commons.png
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2202
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dbpedia
|
2
| 65
|
https://open.spotify.com/track/1JJaaUrf3kyKEQCFugtE2o
|
en
|
Dance Drum Loop, Reggae Rhythm Rim Shot Hits Beat 130 BPM
|
https://i.scdn.co/image/ab67616d0000b2739e7c83d528e4738fd71e3bea
|
https://i.scdn.co/image/ab67616d0000b2739e7c83d528e4738fd71e3bea
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[] |
[] |
[] |
[
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2012-09-11T00:00:00
|
Listen to Dance Drum Loop, Reggae Rhythm Rim Shot Hits Beat 130 BPM on Spotify. Song · Ultimate Drum Loops · 2012
|
en
|
Spotify
|
https://open.spotify.com/track/1JJaaUrf3kyKEQCFugtE2o
| ||||
2202
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dbpedia
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3
| 91
|
https://www.cliffsnotes.com/study-notes/606507
|
en
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[] |
[] |
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[
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2202
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dbpedia
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2
| 32
|
https://drumthat.com/drum-rimshot/
|
en
|
What it is and How to Play it?
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[
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2023-11-08T14:44:00+00:00
|
A drum rim shot is a percussive sound produced by striking the drumhead and the metal rim of a drum simultaneously. It adds a sharp and distinctive sound to the beat
|
en
|
Drum That
|
https://drumthat.com/drum-rimshot/
|
A drum rim shot is a percussive sound produced by striking the drumhead and the metal rim of a drum simultaneously.
It adds a sharp and distinctive sound to the drumbeat, emphasizing certain beats or creating accents.
In this article, I will teach you all you need to know about the percussive sound used in approximately 95% of modern rock songs.
Let’s dive in.
What’s the drum rim shot purpose? Why drummers play it?
Because of the most important thing in music – SOUND.
This stroke will amplify and change the sound of a drum. It is usually played on snare drum, toms, percussion etc.
It’s simple, if you hit a snare drum in the middle, you get a certain sound, perfect for some beats or genres like jazz and reggae, for instance.
But, some groove or song demand more aggressive drums. In other case this may be appropriate for a live performance on a big stage.
If that’s the case, now, instead of hitting a snare drum or any drum in the middle, your drummer will hit it together with an edge or a rim. This way you get double sounds because now you are hitting two components.
This sound is louder, sharper, it has more attack and, because of that accent, the whole experience is now different. Either you just play it on a snare drum to get a stronger backbeat or you use it in a fill to spice things up it sounds different.
That “different sound” is what rock musicians love.
Here’s a short sample, so you can hear the difference:
How to play drum rim shot? Step by Step
The technique requires precision and control to achieve a clean and balanced sound between the drumhead and rim. If you are wondering you should play it or not, before we jump into learning, here are the benefits of playing rim shots:
Enhanced Accentuation
Increased Dynamic Range
Musical Versatility
Improved Timing and Precision
Distinctive Sound
Hand Placement
Use a traditional or matched grip, depending on your comfort and training. If you play traditional, you will want to adjust the snare drum angle so when you hit rim shots, volume stays consistent.
The stick should be angled so that when you strike, one end hits the drumhead and the other end hits the rim simultaneously. Here’s a quick training:
Step 1. Place a drumstick on a snare drum, so it touches the rim and the center of drumhead simultaneously like this:
Make sure to remember that position.
It’s better to pull the drumstick towards yourself than to push it over the center.
You don’t want a stick falling out of your hand and there’s no need to use the entire stick’s body to hit the drum.
To the center or little less will be enough.
Striking the Drum
Step 2. Now lift the stick so the tip of the stick and strike a drum like this:
via GIPHY
Make sure stick placement is as we practiced in the first step.
You have two approaches here:
First, to hit the drum and move the stick up to get a more open sound.
Second, to strike and leave the drumstick either on a snare drum or closely above.
Perfecting the drum rim shot sound
The tip of the stick should strike near the center of the drumhead, while the shaft (near the other end of the stick) should hit the rim. This requires a bit of practice to get the angle and positioning right.
The motion should be controlled and precise. It’s not just about using force; accuracy is key.
Practice striking with different levels of force to see how it affects the sound. A rim shot can be loud and sharp, but you can vary the dynamics.
After striking, let the stick rebound naturally. This helps in preparing for the next stroke and prevents a stifled sound.
Start slowly, focusing on hitting the rim and the head at the same time consistently.
Gradually increase speed as you become more comfortable and accurate.
Common Mistakes to Avoid during Rim shots
If You’re Not Getting the Distinctive Sharpness of a Proper Rim shot…
Likely Issue: Your stick angles might be inconsistent. This is a common hurdle if you find that your drum rim shots are missing that crisp, sharp sound.
What You Should Do: Focus on the angle at which you’re holding your drumstick. It’s crucial that the tip of the stick hits the drumhead while the shaft simultaneously strikes the rim. Experiment with different angles and grips until you find the one that consistently produces that sharp rim shot sound.
If Your Rim shots Sound Weak or You Often Miss…
Likely Issue: Your stick positioning could be off. This often happens if you’re placing the stick too far from the rim or too close to it.
What You Should Do: Practice finding the ‘sweet spot’ on your drum. It’s usually a spot close to the edge of the drumhead where your stick naturally hits both the head and the rim. Spend time adjusting your positioning until you find this spot.
If Your Rim shots Sound Harsh or Uncontrolled…
Likely Issue: You might be using excessive force. It’s a common misconception that a louder drum rim shot is a better one.
What You Should Do: Work on refining your technique rather than relying on force. A good rim shot is about precision, not power. Practice making controlled, precise strikes where the stick hits the head and rim with just enough force to create a sharp sound.
Why are drum rim shots so loud?
Rim shots are loud because they involve striking both the drumhead and the metal rim of the drum simultaneously, creating a more intense and sharp sound.
The technique used in a rimshot often involves a more forceful strike than a regular drum hit, contributing to the increased volume.
The rim of the drum, typically made of metal, acts as an amplifier. When the stick hits the rim, it produces a sharp, cutting sound that is naturally louder and more piercing than the sound produced by the drumhead alone.
Striking two surfaces (the head and the rim) allows for more energy transfer from the stick to the drum. This energy transfer results in a louder sound.
The design of the snare drum, with its tight drum head and resonant body, further amplifies the sound. The rimshot takes advantage of this design, projecting the sound more forcefully.
What is the difference between ping shot and rim shot?
The difference between a ping shot and a rim shot lies in their execution and the resulting sound:
In a rim shot, the drummer strikes the drum head and the rim of the drum simultaneously with a drumstick. This is typically done on a snare drum.
A ping shot is a technique where the drummer strikes the drumhead very close to the rim but does not actually hit the rim. It’s often executed with the tip of the stick close to the rim of the drum.
Rimshots are loud, sharp, and cutting sound while, the ping shot produces a clear, articulate, and high-pitched tone.
Wrap up
In conclusion, the drum rim shot is a vital technique for drummers seeking to add emphasis and a unique edge to their playing. I
It’s not just about power, but precision and control, striking the perfect balance between the drumhead and rim.
As you practice, you’ll discover how this dynamic technique can significantly enhance your musical expression across various genres. So, embrace the rim shot, refine your skills, and watch as it transforms your drumming performance.
Happy drumming!
Denis Loncaric
My name is Denis. I am a drummer, percussionist, music enthusiast, and blogger. Drums have been my passion for 15 years now. My idea is to write about the things I like and I am interested in. I want to share my drum passion with fellow musicians who walk, talk, and breathe drums.
|
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dbpedia
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3
| 87
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https://issuu.com/tapspace/docs/vdl2.5.5_userguide
|
en
|
Virtual Drumline 2.5 User Guide
|
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[
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[
"Tapspace Follow this publisher"
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2013-07-24T19:59:34+00:00
|
Virtual Drumline 2.5 User Guide (latest version 2.5.5)
|
en
|
/favicon.ico
|
Issuu
|
https://issuu.com/tapspace/docs/vdl2.5.5_userguide
|
Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing.
Here you'll find an answer to your question.
|
||||
2202
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dbpedia
|
2
| 24
|
https://muted.io/drum-patterns/
|
en
|
Drum Patterns: Collection of Midi Drum Patterns & Grooves
|
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A nice little collection of starter drum patterns. Listen to them right in the browser and download as MIDI to use as the basis of your drum grooves.
|
en
|
/images/favicon/favicon2.ico
|
muted.io
|
https://muted.io/drum-patterns/
|
✨ Get the best tools from muted.io right on your desktop. Works on Mac, Windows & Linux.
🧑🏫 You'll be just a click away to interactive music theory references on scales, chords and intervals
🎹 Piano tools like the virtual piano, piano chords and piano references to major and minor scales.
🎸 Guitar tools like the virtual fretboard, tuner, scale reference and chord reference.
🤹♂️ More awesome tools like the circle of fifths, theory cheat sheet, voice tuner, chromatic tuner,...
🪄 Pop your favorite tools as you're practicing your instrument or working on your music.
|
||||
2202
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dbpedia
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1
| 26
|
https://www.thingiverse.com/thing:1926887/files
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en
|
Black Mage (Final Fantasy) by RimShoT
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The Black Mage from Final Fantasy! How cool!I do not own the Black Mage, all rights belong to Square Enix.
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en
|
Thingiverse
|
https://www.thingiverse.com/thing:1926887
| ||||||
2202
|
dbpedia
|
1
| 5
|
https://m.youtube.com/live/sn0tnG2sg6E%3Ft%3D32s
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en
|
Bevor Sie zu YouTube weitergehen
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de
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//www.google.com/favicon.ico
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https://consent.youtube.com/m
| |||||||
2202
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dbpedia
|
1
| 10
|
https://www.yamaha.com/en/musical_instrument_guide/drums/play/play003.html
|
en
|
How to Play the Drum:Drumming techniques
|
http://www.yamaha.com/en/musical_instrument_guide/common/images/drums/play_main.jpg
|
http://www.yamaha.com/en/musical_instrument_guide/common/images/drums/play_main.jpg
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This is the Yamaha Corporation [Musical Instrument Guide] website. This article contains information about the Drums [How to Play the Drum:Drumming techniques]
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There are a variety of rhythms possible on the drum. The 8-beat rhythm is made up of eighth notes, while a 16-beat rhythm has twice as many beats as an 8-beat rhythm. There are a variety of beats-such as the shuffle, samba, bossa nova-found in different musical genres. Let's listen to several different beats!
The head is not the only thing beaten on a drum. On occasion the hoop that surrounds the head is also struck. These are called rimshots, and here we will introduce you to a variety of rimshot effects.
First, there is the rim-only rimshot. The Japanese taiko drum is also played in this way. Next, one of the drumsticks is laid on the rim and it is struck using the other drumstick. One can hear the crack of the wood being struck. Then there is the open rimshot, in which the rim and head are struck at the same time. In jazz, this type of rimshot is shallow, with the contact being made near the edge of the drum. Then there is the closed rimshot that is used in bossa nova and other styles of music. The stick is pinched between the thumb and index finger, and the rim is struck with the shaft of the stick.
For drums, muting is achieved by taping some rolled up tape or tissue to the head, or putting a donut-shaped mute ring on the head. There is also something called the tuning mute, in which the heads are intentionally loosened so that they do not ring. Cymbals can be muted with tape or a handkerchief, and the bass drum can be muted with a blanket, dumbbells, or pillow. There seems to be as many methods as there are drummers.
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https://mtosmt.org/issues/mto.24.30.2/mto.24.30.2.geary.html
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MTO 30.2: Geary, Formal Functions of Drum Patterns
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1. Introduction
[1.1] The drums are a pillar of American popular music. Whether performed by a drummer on a physical drumset or created by a producer with a digital audio workstation (DAW), drum patterns are a primary facet of popular music’s soundscape. The backbeat in particular is, as Steven Baur (2021, 34) puts it, “one of the single most prevalent features of Western popular music.” Drum patterns are not only ubiquitous, but multifunctional; according to Scott Hanenberg (2020), drum patterns convey meter, articulate rhythmic paradigms, express form, and highlight the rhythm of other parts in an ensemble. While a drum pattern’s multifunctionality is acknowledged, the majority of drum scholarship focuses on rhythmic and metric topics. There is less research explicitly about form, and there is no widely adopted method for analyzing how drum patterns help express form throughout complete popular songs.
Example 1. Standard rock and four-on-the-floor drum patterns, and drum notation key
(click to enlarge and listen)
[1.2] Rather than address all popular styles, this article focuses on drum patterns in post-millennial pop songs, specifically the ten years from 2012–2021. Pop songs from this decade are, as Drew Nobile (2022, [4.1]) says, marked by the “cross-pollination of electronic dance music (EDM), hip hop, and mainstream pop.” Grounded in a corpus study from the Billboard Year-End Pop Airplay Songs charts from 2012–2021, I introduce an analytical method that succinctly depicts the main characteristics of pop drum patterns in order to highlight the salient and nuanced ways they help express formal boundaries, teleological functions, and formal motion in songs. I begin by examining drum patterns and their musical functions in scholarly discourse and musical practice. In the latter, I discuss how drummers and producers regularly describe drum patterns’ formal significance, which is also evident in popular songs themselves. Next, I summarize my corpus study data and introduce the analytical system. Drum patterns in post-millennial pop are typically a variation of either a standard rock pattern—also commonly referred to as a backbeat pattern or pop-rock beat—or a four-on-the-floor pattern. These basic patterns are shown in Example 1, along with a drum notation key. My context-based system frames drum patterns as different realizations of three parameters: number of layers, rhythm, and instrumentation. Attending specifically to these parameters and how they vary across a song’s multiple drum patterns foregrounds the drums’ most formally expressive features in post-millennial pop. The remainder of the article presents analytical examples that, in addition to showcasing the system’s utility, emphasize two broad points. The first is that in post-millennial pop songs, form is regularly analyzed according to teleological functions. According to Nobile (2022, [1.2]), “a teleological process underlies each [verse–prechorus–chorus] formal cycle, with the three functions of initiation, buildup, and arrival spanning one section each.” Formal teleology can also be analyzed in cycles with different section layouts, as well as within sections and throughout complete songs (Peres 2016). In all of these contexts, drum patterns can be a primary expresser of teleological functions. The second point is that post-millennial pop has common formal structures as well as an emphasis on formal flexibility. Drum patterns can both reinforce conventional layouts as well as articulate more novel designs.
2. In Theory and Practice
In Theory
[2.1] Historically, research about popular music form has centered musical characteristics other than the drums. Among Allan Moore’s (2012) four functional texture layers—the explicit beat layer, functional bass layer, melodic layer, and harmonic filler layer—the melodic and harmonic layers are considered by many, including Moore, to be form’s main articulators in rock and other popular genres from the twentieth century. John Covach (2005, 66) states that “generally speaking, harmonic structure tends to be a primary factor in determining formal units at all levels of structure,” and Drew Nobile (2020, xiv) notes that “many aspects of a rock song—lyrical structure, instrumental texture, melodic design, and the like—ultimately trace back to the relationship between harmonic trajectory and formal layout.” While Nobile describes the primacy of harmony in rock, he also observes that “form developed between 1991–2010, when texture, timbre, and voice increasingly overshadowed harmony as the primary drivers of formal motion” (Nobile 2022, [0.3]). Asaf Peres agrees, saying that “only in the early 21st century did sonic syntax become consistently dominant in the most popular hit songs” (Peres 2016, 3–4).
[2.2] In reaction to popular music scholarship that prioritizes melody and harmony for determining formal syntax and motion, Robert Fink (2011) asserts and demonstrates that rhythm can also express formal teleology:
Secondary parameters like beat and groove are of course highly variable in this music [African American popular music, especially late-1960s songs of Motown Records], but these variations have not been conceptualized by most hermeneutics as having goal-directed syntax, which is a structuring potential usually reserved, even within popular-music scholarship, for pitch relationships. To put it bluntly, the large number of musical analysts who have been interested in musical teleology have not, in general, been very interested in grooves; and the smaller number who have been very interested in grooves have not been at all interested in musical teleology. (Fink 2011, 183)
In many ways, it is unsurprising that research about drum patterns focuses on rhythm and meter since they are often considered to be their primary musical functions. Some scholarship goes so far as to imply that they are drum patterns’ only musical functions. For instance, Baur traces the cultural history of percussive backbeat rhythms, which he says “are exclusively rhythmic in nature, serving no harmonic or other musical function”(2021, 34). Scholarship’s emphasis on rhythm and meter is also unsurprising since these functions alone include a wealth of specific topics. The majority of music-theoretical research addresses various aspects of the standard rock drum pattern, including its historical emergence and prominence (Tamlyn 1998; Baur 2021), its metric interpretation and experience (Butterfield 2006; Attas 2011; Moore 2012; Biamonte 2014; Hudson 2022), drum feels (De Clercq 2016; Garza 2021; Geary 2022), microtiming deviations (Butterfield 2006; Danielsen 2010; Câmara, Sioros, and Danielsen 2022), and asymmetrical and changing meters (Butler 2001; Butler 2006; Osborn 2010; Osborn 2017; Hanenberg 2020; Hanenberg 2021).
[2.3] Despite the emphasis on rhythmic and metric functions, some popular music scholarship does address the formal functions of drum patterns. For instance, Fink (2011) and Mandy Smith (2021) attempt more holistic theoretical systems, but their models have not been widely adopted. Fink (2011) presents the concept of a “tonic rhythm” to characterize producer Norman Whitfield’s use of a four-on-the-floor snare drum rhythm in two late-1960s tracks by the Temptations, “Cloud Nine” and “Runaway Child, Running Wild.” In both songs, Whitfield systematically delays, withholds, and realizes the tonic rhythm to create and resolve formal tension. Smith (2021) extends the tonic rhythm concept to all rock songs: “I term the core groove of a given song—that beat that the drummer plays that feels like ‘home’—the tonic beat pattern. A song’s tonic beat pattern is often some variation of the backbeat pattern, or of another core stylistic beat pattern. . . . Try as I may, I cannot find a single tune in rock music that has drumming that does not adhere to the Tonic Beat Pattern Theory” (Smith 2021, 204–5). Fink and Smith’s analyses are compelling, but I join Peres (2016) in questioning the direct application of tonality’s metaphors to analyze non-pitch elements. Instead, I have found that a context-based analytical method is more effective, where a song’s multiple drum patterns are identified, characterized, and compared internally and non-hierarchically.
In Practice
[2.4] In musical practice, drummers and producers consistently speak, write, perform, teach, and compose in ways that demonstrate the formal functions of drum patterns. Session drummer Jim Keltner (2020) describes his drum patterns in relationship of form, saying that “it’s all in how you hear the structure and how you add to the structure.” Carter Beauford (2002) provides a self-titled “analysis” of his drum part in the Dave Matthews Band’s “#41,” alternating between performing and describing his different drum patterns for various sections. Neil Peart (2020) shares how he would often spend multiple days internalizing his drum parts, “learn[ing] the piece inside and out” and “mak[ing] sure that I’m playing the best possible thing for this part and that part.” Producer Young Guru (Guru and Vincent 2023) notes how he applies effects to his drum parts to provide “a little flavor that comes in and lets you know we’re about to go to a different section.”
[2.5] Pedagogical resources for drumset performance also highlight the formal functions of drum patterns. Generally written by professional drummers, these books typically present a series of chapters that each focus on a particular musical style, weaving together short passages of prose and long lists of notated drum patterns. Jim Riley (2015) begins with a chapter about pop drumming and spends a full page describing the importance of thinking formally: “One of the key elements to becoming a more musical drummer is being able to understand how songs are constructed. There are identifiable parts in every song, and so if you realize what they are and how they function within the song’s form, then you can create parts for each section that will support the song’s structure” (Riley 2015, 11). His pop chapter includes more than sixty notated drum patterns, almost all of which are variations of the standard rock and four-on-the-floor patterns with different rhythms and instrumentations. The variations range from subtle to grand, but Riley’s point is that it is precisely these varied parameters, even the small ones, that help drum patterns participate in expressing musical form.
Example 2. The Beatles, “Day Tripper” (1966), verse 1
(click to enlarge and listen)
Example 3. James Brown, “Super Bad” (1970), verse and bridge
(click to enlarge and listen)
Example 4. Nirvana, “Smells Like Teen Spirit” (1991), cycle 1
(click to enlarge and listen)
Example 5. Carrie Underwood, “Before He Cheats” (2005), cycle 1
(click to enlarge and listen)
[2.6] The clearest demonstration of drum patterns’ formal functions is found in popular songs themselves. Drum patterns do not articulate form in the same ways or to the same degree in all popular songs and styles. But they do consistently participate in expressing formal boundaries, teleological functions, and formal motion across genres. More specifically, drum patterns often play a significant role in conveying a song’s teleological structure (Nobile 2022) and sonic narrative (Peres 2016), including the songs in Examples 2–5. Example 2 shows the two drum patterns performed by Ringo Starr in verse 1 of “Day Tripper” by the Beatles. A modified twelve-bar blues, the A sections have an embellished standard rock drum pattern. The expanded B section grows energetically and switches to straight-four rhythms in the bass and snare drums. In James Brown’s “Super Bad,” John “Jabo” Starks performs different drum patterns in the verse and bridge sections. Notated in Example 3, both patterns include funk’s hallmark rhythmic syncopation and highlight the rhythm of other parts in the ensemble. But the bridge’s drum pattern has a more animated and varied snare drum rhythm and switches from hi-hat to ride cymbal, and these changes contribute to the section’s sonic intensification. Example 4 shows how Dave Grohl’s drum patterns build across the verse, prechorus, and chorus of Nirvana’s “Smells Like Teen Spirit.” The verse starts with a simple variation of the standard rock pattern, using eighth notes in the bass drum and a single open hi-hat accent. The prechorus’s first drum pattern begins with a crash cymbal and shifts from closed to half-open hi-hat. Then, in the second half, Grohl adds bass drum attacks after each snare drum backbeat. Finally, the chorus unleashes the song’s iconic and most embellished standard rock beat. In Carrie Underwood’s “Before He Cheats,” Kayleigh Moyer performs three drum patterns in the first verse and chorus. Provided in Example 5, the verse begins with a standard rock variation where the backbeat rhythm alternates between accented hi-hat and rimshot attacks. The second half of the verse grows sonically by switching to all rimshot attacks, and the chorus grows sonically again with another instrumentation change—this time, to snare drum.
Example 6. Halsey, “Without Me” (2018), cycle 1
(click to enlarge and listen)
[2.7] In post-millennial pop, Halsey’s “Without Me” is an exemplar of how drum patterns participate in expressing musical form. Example 6 transcribes the first formal cycle. Timbral and textural changes permeate the excerpt, and the drum patterns’ frequent and sonically salient changes help drive the cycle’s formal teleology. “Without Me” also highlights the commonplace of formal flexibility in this repertoire, a point addressed more below in Section 4. In short, after the introduction, “Without Me” includes five sections, each four measures long, which invites interpretation about how best to identify these formal units with verse, prechorus, chorus, and postchorus labels.
[2.8] “Without Me” begins without drums in the introduction, which I consider a type of drum pattern for purposes of discussion. Verse 1 then introduces a two-layer drum pattern composed of an embellished standard rock bass drum rhythm and backbeat claps. In the prechorus, drum pattern 3 adds sixteenth notes in the hi-hat, which contributes to the section’s buildup function (Summach 2011; Peres 2016; Nobile 2022). Next, measures 13–16 have the markers of a new formal unit, but its section label is unclear. The vocal melody ascends, the harmonic layer changes instrumentation and rhythm, the bass layer drops out, and drum pattern 4 removes the bass drum and hi-hat layers and shifts the backbeat rhythm from claps to snaps. It isn’t the chorus, which begins in measure 17 with the song’s title line and drum pattern 6—the excerpt’s fullest pattern, composed of bass drum, snare drum, and hi-hat. Further, the section’s drop in energy disrupts the typical teleology of formal cycles, which tend to build incrementally and consistently from verse to chorus (Summach 2011; Peres 2016; Nobile 2022). But it also isn’t a riserchorus (Osborn 2023)—again, due to the lack of chorus lyrics. Described more below in Section 4, I believe this section can be interpreted as a second and distinct type of prechorus that is defined largely by its sonic characteristics and teleological function. I call it a down prechorus in contrast to the buildup prechorus in measures 9–12. Of my corpus songs that include a prechorus, 15% include a down prechorus that begins with a drum pattern “fall” and maintains low sonic energy throughout. Further, about a quarter of the songs with a down prechorus include the same double prechorus layout as “Without Me.” In Example 6, the down prechorus leads to the cycle’s sonic peak in chorus 1. The excerpt concludes with a postchorus marked by its lyrical tag, removal of the harmonic layer, and drum pattern 7’s one-layer realization of woodblock performing the backbeat rhythm.
3. An Analytical Framework
[3.1] “Without Me” is not a stylistic outlier. Just as drum patterns play a significant role in expressing Example 6’s formal teleology, the same is true for post-millennial pop as a whole. To better understand the formal functions of drum patterns in this repertoire, I completed a corpus study of Billboard Year-End Pop Airplay Songs charts from 2012–2021, taking the top ten songs from each year. For each song, I identified the total number of drum patterns and classified and compared their sounding characteristics. I also analyzed each song’s formal layout and examined how the drum patterns were organized formally. In this paper, I use the term “drum part” to refer to the totality of what the drums perform. “Drum patterns” are the drum part’s repetitive ostinatos. For my corpus study, I required that the ostinato repeats for at least one complete “groove” cycle (Everett 2009), though most drum patterns repeat for a full section. As I describe more below, the characteristic differences between a song’s multiple drum patterns range from subtle to grand. But as Riley (2015) notes, all types of drum pattern changes can be formally expressive.
[3.2] Examples 7–10 summarize my general findings from the corpus. Example 7 shows that the average song has 5.43 drum patterns, with a range of 1–17. Example 8 shows that the average song has 9.97 drum pattern changes—which is the action of moving between drum patterns—with a range of 0–18. Example 9 outlines the average number of drum patterns and drum pattern changes for each year. As shown in Example 10, the average song also has 9.15 formal sections, with a range of 5–15. With these general findings alone, it is easy to imagine how drum patterns can participate in expressing a song’s form. The average pop song’s five or six drum patterns often match the teleological functions of various sections, and the nearly identical number of drum pattern changes and formal sections indicate that drum patterns regularly help articulate section boundaries.
[3.3] Drum patterns, of course, are not the only form-expressing feature in post-millennial pop songs. Form is multifactorial. But the specific analysis in Example 6 and the general findings in Examples 7–10 demonstrate that drum patterns are a consistent and significant articulator of formal boundaries, teleological functions, and formal motion in this repertoire. In terms of boundaries, drum patterns regularly change at phrase and section junctures. In terms of teleological functions, drum patterns contribute to formal units’ sonic energy and musical temporality (Caplin 2009; Peres 2016; Nobile 2022). And in terms of motion, shifting between drum patterns can create a sense of musical movement and progression across different durational spans.
[3.4] To help illuminate these formal functions, I created an annotative system that succinctly summarizes the main characteristics of drum patterns in post-millennial pop songs. The system is designed specifically for analyzing drum patterns within a song rather than across multiple songs. Most drum patterns in this repertoire are a variation of either a standard rock or four-on-the-floor pattern, and my analytical framework conceptualizes drum patterns as different realizations of three parameters: number of layers, rhythm, and instrumentation. The rest of this section describes each parameter individually, focusing on their possible realizations and how each parameter can vary across a song’s multiple drum patterns through drum pattern changes. In this section, I also introduce my annotative method in stages as it applies to each parameter. The Appendix and Example 33 below provide a concise summary of the drum pattern labeling system.
Number of Layers
Example 11. Drum layers
(click to enlarge)
[3.5] One of a drum pattern’s most identifiable attributes is its number of sounding components. The archetypal standard rock drum pattern, for instance, has three: bass drum, snare drum, and hi-hat. In post-millennial pop songs, like Halsey’s “Without Me,” other percussive instruments and sounds can replace these drumset staples. As a result, a drum pattern’s sounding components can be classified as fulfilling one of three functional drum “layers” based upon their register, rhythm, and timbre. I call them low, middle, and high. In post-millennial pop, virtually all drum patterns have zero to three layers and perform different combinations of low, middle, and high. The top of Example 11 transcribes different standard rock realizations as an illustration. A zero-layer drum pattern is a tacet “realization” and a three-layer drum pattern includes low, middle, and high. One-layer and two-layer patterns, however, can perform different realizations and combinations. The bottom left table of Example 11 shows that across my corpus’s 543 total drum patterns, two- and three-layer patterns are more common than zero- and one-layer patterns. The center and right tables show that the most common one-layer realization is the middle layer alone, and that the most common two-layer realization is a low-middle combination.
[3.6] Example 11 also introduces the basic framework of my annotative system. From left to right, a drum pattern label communicates the presence or absence, rhythm, and instrumentation of the three drum layers. An “X” indicates a layer’s absence, and other symbols depict a layer’s “referential rhythm,” which I describe in greater detail below. For example, “R – B – 8” in Example 11 communicates a standard rock (R) rhythm in the low layer (i.e., hits on 1 and 3), a backbeat (B) rhythm in the middle layer (hits on 2 and 4), and an eighth-note (8) rhythm in the high layer. Drum labels are not meant to depict every detail of every drum pattern. Instead, they are designed to summarize the main characteristics of a song’s multiple drum patterns as a way to highlight their formally expressive features.
Example 12. Ellie Goulding, “Lights” (2011), introduction to verse 1
(click to enlarge and listen)
Example 13. Billie Eilish, “Bad Guy” (2019), introduction to chorus 1
(click to enlarge and listen)
[3.7] Post-millennial pop songs regularly shift between zero-, one-, two-, and three-layer drum patterns, and it is easy to imagine how adding and subtracting layers can help express a song’s teleological structure. Across my corpus, 96% of songs include drum patterns with different combinations of drum layers. A prevalent and effective gesture is to add drum layers across the first few phrases and sections of a song (Spicer 2004; Attas 2015). Shown in Example 12, Ellie Goulding’s “Lights” begins without drums, a zero-layer pattern, in the introduction. When Goulding’s melody enters in verse 1, drum pattern 2 performs a one-layer pattern composed of a bass drum four-on-the-floor referential rhythm. Halfway through the verse, drum pattern 3 adds two layers—a snare drum backbeat and offbeat eighth notes in the hi-hat—which creates sonic growth between the verse’s two halves. Billie Eilish’s “Bad Guy” also begins by accumulating drum layers. Rather than starting without drums, the introduction in Example 13 begins immediately with a four-on-the-floor bass drum rhythm, which continues into the verse. Like “Lights,” “Bad Guy” includes a sonically intensifying drum pattern change within verse 1, adding backbeat snaps in the second half. Finally, in the chorus, drum pattern 3 performs a three-layer realization with offbeat eighth notes in the hi-hat.
Rhythm
[3.8] The second characteristic of drum patterns is rhythm. Popular music drummers, producers, and scholars regularly distinguish between the rhythmic schemas of drum patterns and a drum pattern’s actual realization of those schemas (Riley 2015; Temperley 2018). I call the former referential rhythms and the latter surface rhythms. For instance, the backbeat is a referential rhythm. A drum pattern’s surface rhythm can be an exact realization of the backbeat referential rhythm with attacks on just the second and fourth quarter notes of a measure, but a drum pattern’s surface rhythm can also include embellishments and still project the backbeat schema. Both strict realizations and embellishments occur in “Smells Like Teen Spirit” from Example 4. In the verse and prechorus, the snare drum’s surface rhythm is an exact realization of the backbeat referential rhythm. In the chorus, Grohl adds two snare drum attacks in the middle of the measure, changing the surface rhythm while maintaining the referential rhythm.
Example 14. Referential rhythms and other options
(click to enlarge)
[3.9] Through my corpus study, I found that each drum layer has its own set of three common referential rhythms. They are provided at the top of Example 14, and the tables below identify each one’s prevalence across the corpus’s 543 total drum patterns. For the low layer, the standard rock (R) rhythm is most common followed by the four-on-the-floor (4) rhythm. A tresillo (T) rhythm is the third option, but it occurs far less frequently. For the middle drum layer, the backbeat (B) is by far the dominant referential rhythm, though tresillo (T) and straight four (4) rhythms are also possible. For the high layer, eighth notes (8) and sixteenth notes (16) are the most common referential rhythms, but some drum patterns use quarter notes (4).
Example 15. Ariana Grande, “Positions” (2020), verse 1
(click to enlarge and listen)
[3.10] In addition to each drum layer’s three referential rhythms, there are three more categories to account for other options. “X” indicates that a drum layer is absent in a particular drum pattern, and “O” represents a surface rhythm that does not relate clearly to a referential rhythm. Finally, the hybrid category takes into account both the number of layers and the instrumentation, and describes instances where multiple instruments with different referential rhythms work interdependently to comprise a single drum layer. For instance, the drum pattern in verse 1 and prechorus 1 of Ariana Grande’s “Positions” includes four sounding components. They are transcribed on two staves in Example 15 for ease of reading. Notated on the bottom staff, the bass drum performs an embellished standard rock rhythm and claps perform a backbeat rhythm, fulfilling the low and middle drum layers. Notated on the top staff, two instruments perform different high layer referential rhythms. The tambourine has eighth notes, the hi-hat has a lightly embellished sixteenth-note pattern, and the pair can be depicted with the annotative system as 16/8TAM. On the one hand, Example 15 can be considered a four-layer drum pattern since there are four sounding components. But on the other hand, I believe it is more constructive to interpret and classify a drum pattern’s sounding components within the three-layer framework, which recognizes that a drum pattern’s various components fulfill certain sonic and rhythmic roles.
Example 16. Ariana Grande, “Positions” (2020), chorus 1
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Example 17. Ed Sheeran and Justin Bieber, “I Don’t Care” (2019), prechorus 2 to chorus 2
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Example 18. Flo Rida, “Good Feeling” (2011), bridge to chorus 3
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[3.11] Like number of layers, post-millennial pop songs also regularly vary rhythm through drum pattern changes. Seventy-seven percent of songs in my corpus include rhythmic variation, of which there are three types. The first occurs when the surface rhythm changes without changing the underlying referential rhythm. Example 16 provides the continuation of “Positions” after Example 15. This chorus has a more animated embellishment of the bass drum’s standard rock referential rhythm, as indicated with a plus symbol in the drum label. The second type occurs when a drum layer’s referential rhythm changes. Switching between eighth notes and sixteenth notes in the high layer is particularly common, such as in the second prechorus and chorus of Ed Sheeran and Justin Bieber’s “I Don’t Care,” shown in Example 17. The third type of rhythmic variation occurs when the drum feel changes, for instance from normal-time to half-time (De Clercq 2016; Garza 2021; Geary 2022). Flo Rida’s “Good Feeling” uses normal-time feel drum patterns throughout the song but pivots to half-time feel in the bridge. Provided in Example 18, the bridge ends with a two-layer, half-time feel realization before returning to a normal-time feel pattern in chorus 3. The drum labels use parentheses to communicate half-time feel (HT) and double-time feel (DT) patterns.
Instrumentation
[3.12] Finally, the third characteristic of drum patterns is instrumentation. In my corpus, most drum patterns are created by a producer with a DAW, but some are performed by a drummer on a physical drumset. Bass drum, snare drum, and hi-hat are the most common options for the low, middle, and high drum layers, but other instrumentations are possible. The low layer is the least variable. Across the corpus, the overwhelming majority of drum patterns use bass drum and only a few use stomps or toms. In the high layer, options include closed and open hi-hat, tambourine, ride cymbal, crash cymbal, triangle, and cowbell. The middle layer is the most flexible, which includes snare drum, claps, snaps, hi-hat, rim shot, woodblock, toms, tambourine, and conga. For the annotative system, bass drum, snare drum, and hi-hat are implied, and abbreviated superscripts communicate other instrumentations. Superscripts can also be used to distinguish between different samples of an instrument like “SN1” and “SN2” for different snare drums, and to communicate instrumentation doublings like “CL/SN” for claps and snare drum performing the backbeat rhythm together.
Example 19. Marshmello, “Happier” (2018), verse 1 to chorus 1
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[3.13] Seventy-eight percent of songs in the corpus change instrumentation across their multiple drum patterns. Thirty-two percent of songs change the low layer’s instrumentation, 73% change the middle layer’s instrumentation, 32% change the high layer’s instrumentation, and 14% change instrumentation in all three layers. The middle layer’s frequent variability can be seen in the beginning of Marshmello’s “Happier” featuring Bastille. Example 19 shows that across the excerpt’s five drum patterns, the middle layer’s backbeat rhythm progresses through three instrumentations—each one corresponding with a different formal section. The verse begins with snaps, the prechorus builds to claps, and the chorus concludes with snare drum.
Drum Pattern Changes
Example 20. Drum pattern changes
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[3.14] Drum patterns are a type of musical object, and analyzing a song’s multiple drum patterns according to their number of layers, rhythm, and instrumentation helps pinpoint their role in expressing the teleological functions of durational units. At the same time, drum pattern changes are a type of musical action, and analyzing a song’s movements between drum patterns spotlights the drums’ ability to articulate formal boundaries and create a sense of formal motion. Summarized in Example 20, a drum pattern change can be classified as a build (B) or fall (F) according to the three characteristics of drum patterns described above. A drum build adds layers, quickens or enlivens rhythm, loudens or registrally expands instrumentation, or performs a combination of these characteristics. A drum fall removes layers, slows or relaxes rhythm, softens or registrally contracts instrumentation, or performs a combination of these characteristics. In post-millennial pop songs, it is often clear whether a drum pattern change is a build or a fall. But some combine actions from both categories, therefore requiring interpretation to determine their composite effect.
4. Analysis
[4.1] To summarize, drum patterns in post-millennial pop songs can be conceptualized as different realizations of three parameters: number of layers, rhythm, and instrumentation. A song’s multiple drum patterns can be analyzed and compared according to these characteristics, and these characteristics can also be used to classify drum pattern changes as builds or falls. The theoretical approach introduced above in Section 3 is a new and effective way to analyze the significant and specific ways in which drum patterns and drum pattern changes participate in expressing form in post-millennial pop songs.
[4.2] More specifically, this article’s analytical approach can also help reinforce and refine our understanding of two commonly identified formal phenomena in post-millennial pop songs. The first is that formal units fulfill teleological functions. According to Peres, sonic syntax is a primary expresser of these functions:
I define sonic syntax as a musical grammar that relies on manipulation of timbre, sonic density (the presence and amplitude of frequencies across the sonic spectrum at any given moment), and rhythmic intensity. I refer to the sum of these elements as sonic energy. In most recent pop songs, a section or subsection [or cycle] functions as a sonic setup, buildup, or peak. The setup and peak respectively represent the relatively low and high instants of sonic energy in a sonic progression, while the buildup represents the gradually increasing tension between these points, caused by either increasing sonic energy or by radically and abruptly decreasing it. (Peres 2016, 2)
Nobile (2022) substitutes the terms “initiation,” “buildup,” and “arrival,” which I adopt in my analyses below. While teleological functions are typically analyzed according to texture, timbre, vocal delivery, production techniques, and other sonic features in this repertoire (Peres 2016; Adams 2019; Barna 2020; Stroud 2022; Nobile 2022; Osborn 2023), the analytical examples below demonstrate with greater specificity how drum patterns participate in the expression of these functions within sections, across cycles, and throughout songs.
[4.3] The second commonly identified phenomenon in post-millennial pop songs is the genre’s balance between formal conventions and flexibility. Not unlike other popular styles, post-millennial pop has its own conventions for section types, teleological structures, and song designs. But it also has what some have identified as a heightened interest in formal flexibility. According to Nobile, “playing with [formal] conventions in this way is what songwriters have been doing for decades. But the 2010s saw more of a sea change across this musical landscape, with the cross-pollination of electronic dance music (EDM), hip-hop, and mainstream pop coinciding with a seismic shift in consumption patterns as audio streaming took over” (Nobile 2022, [4.1]). One area of flexibility is teleological structure. For instance, not every formal cycle includes all three functions—bridge–chorus cycles, for example, include just two (Peres 2016, 137)—and some cycles include sections with alternative functions—like dance choruses with a “celebratory” function (Adams 2019). The analytical examples below demonstrate that drum patterns and drum pattern changes help express post-millennial pop’s conventional layouts as well as more novel designs.
Within sections
[4.4] In post-millennial pop songs, individual sections tend to have one teleological function; in verse–prechorus–chorus form, each section has the function of initiation, buildup, and arrival respectively. But Peres (2016) also observes that what we’re calling the teleological functions of initiation, buildup, and arrival (his setup, buildup, and peak) can be analyzed hierarchically, including within sections. In my corpus, the top one hundred pop songs from 2012–2021 have a total of 997 formal sections, 749 of which contain only a single drum pattern. In other words, it is most common for a section to have one drum pattern participating in the expression of one teleological function. But this statistic also reveals that there are 248 sections with multiple drum patterns, and these 248 sections are spread across 85% of the corpus songs. This means that the majority of post-millennial pop songs have at least one section with a drum pattern change that can help express an intra-section function progression. A two-part build is most common, where progressing from one drum pattern to a second across a section’s two halves builds momentum. This occurs above in Example 12 in Goulding’s “Lights.” The verse’s drum pattern change from 4 – X – X to 4 – B – 8 can be interpreted as progressing from an initiation to a buildup function before the chorus’s arrival function.
Example 21. Cardi B, Bad Bunny, and J Balvin, “I Like It” (2018), verse 2
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[4.5] Other drum pattern designs within a section are possible and demonstrate some of mainstream pop’s formal flexibility. One example is verse 2 of “I Like It” by Cardi B, Bad Bunny, and J Balvin. Example 21 shows the excerpt. The horizontal axis represents time, the vertical axis depicts sonic energy, and the color indicates section type—in this case, verse. Further, each durational unit’s teleological function is written out, and the intervening parentheticals communicate the type of drum pattern change—here, builds (B). Instead of a two-part, intra-section build like in Examples 12, verse 2 of “I Like It” has a three-part build, augmenting the accumulation effect and performing its own complete initiation–buildup–arrival progression. It also shows that Bad Bunny’s phrasal shifts between Spanish and English align with the drum pattern changes. The excerpt begins with drum pattern 1’s X – BCL/CG – X. Claps perform the backbeat rhythm, and I interpret the additional claps and conga attacks after every other backbeat as rhythmic embellishment. Next, an embellished standard rock bass drum rhythm is added as Bad Bunny switches to English. The verse has an overall sentential design, 2+2+4, and verse 1.3 is the section’s arrival point. Bad Bunny returns to Spanish, drum pattern 3 presents the excerpt’s fullest pattern, and the second drum build varies all three parameters. The high layer adds an embellished sixteenth-note rhythm, the low and middle layers have surface rhythm changes, and the middle layer switches instrumentation to snare drum.
Example 22. Post Malone, “Circles” (2019), choruses
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[4.6] Drum builds within a section can create momentum towards what comes next. Alternatively, drum falls can create a sense of resetting, repose, or closure. In my corpus, many intra-section drum falls occur at song endings and recast previously heard material. For instance, Post Malone’s “Circles” has three choruses. Shown in Example 22, Choruses 1 and 2 perform one drum pattern, 4 – B – 8, and a consistent instrumental accompaniment that express the section’s arrival function from start to finish. Chorus 3 begins like the earlier chorus iterations. But the drums are removed in the second half and other instrumental parts are stripped away in the final four measures. This is an example of what de Clercq (2017, [3.8]) refers to as a “formal blend,” where “aspects of two (or more) section roles appear to exist within the same passage.” Malone’s unchanged vocal melody helps sustain chorus 3’s formal climax. But removing the drums and other instrumental parts is typical outro rhetoric. Adopting de Clercq’s (2017, [1.6]) “both/and” approach, the experiential result in “Circles” is not chorus or outro, but chorus and outro.
Across Cycles
Example 23. Bazzi, “Mine” (2017), cycle 1
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[4.7] Formal cycles in post-millennial pop songs do not have just one archetype. Most cycles in my corpus exhibit different combinations of verse, prechorus, chorus, postchorus, riser, and/or drop sections, with a total of 2–4 sections in each cycle. Examples 23–26 demonstrate some of these conventional designs and how drum patterns consistently help express their teleological structures. The first cycle of Bazzi’s “Mine” has two sections. Shown in Example 23, it includes an initiating verse and climactic chorus, each with its own drum pattern. The drum pattern labels are bulky, but they nonetheless clearly depict each drum pattern’s sounding characteristics and the build drum pattern change. Verse 1’s drum pattern alternates measures of tacet and R – BSN1 – 16HH1/8HH2/OSC. The bass drum performs a richly embellished standard rock rhythm, and the snare drum performs a straightforward backbeat. The high layer includes three sounding components: one hi-hat performing sixteenth notes, a second and more open hi-hat performing intermittent eighth notes throughout the measure, and a suspended cymbal roll on the last quarter note. The arrival of chorus 1 is announced not only with the song’s title text but also with drum pattern 2. The tacet measure is removed, the low layer remains the same, and the middle layer switches to a more resonant snare drum. In the high layer, the sixteenth-note pattern changes to a third hi-hat sound, the eighth-note pattern continues without variation, and the suspended cymbal roll is removed.
Example 24. The Weeknd, “Can’t Feel My Face” (2015), cycle 1
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Example 25. Maroon 5, “Girls Like You (2018), cycle 1
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[4.8] Example 24 and Example 25 present cycles with three sections. In the former, The Weeknd’s “Can’t Feel My Face” has one drum pattern for each section. The verse begins with a tacet pattern and the prechorus builds by adding backbeat snaps. The cycle ends with drum pattern 3 in chorus 1, which introduces the low and high layers, and shifts the backbeat instrumentation to snare drum and claps. The first cycle of Maroon 5’s “Girls Like You” also has three sections. But instead of verse–prechorus–chorus like “Can’t Feel My Face,” “Girls Like You” is verse–chorus–postchorus. Despite their different section types, the two songs have quite similar drum patterns and teleological progressions. Shown in Example 25, “Girls Like You” begins with a tacet drum pattern in the verse, builds with half-time feel backbeat claps in the chorus, and sonically peaks with R – BCL – O (HT) in the postchorus.
Example 26. Taylor Swift, “I Knew You Were Trouble” (2012), cycle 1
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[4.9] Finally, cycles with four sections are not uncommon. Provided in Example 26, the first cycle of Taylor Swift’s “I Knew You Were Trouble” includes a verse, prechorus, riserchorus, and drop. The verse starts with bass drum performing a tresillo rhythm, and the prechorus builds by adding hi-hat with the same rhythm. Instead of progressing to a climactic chorus, however, the riserchorus starts with a tacet drum pattern 3 that contributes to the anti-telos effect (Nobile 2022). The riserchorus then builds in the second half, where an automated low-pass filter sweep is applied to drum pattern 4. Drum pattern 4 resumes the bass drum and hi-hat tresillo rhythm and adds snare drum attacks on the intervening eighth notes. Finally, the cycle peaks in the drop with drum pattern 5, a two-layer, half-time feel pattern composed of a standard rock bass drum rhythm and a backbeat snare drum rhythm.
[4.10] Examples 23–26 showcase some of mainstream pop’s most conventional layouts across a cycle. But they also highlight a type of formal flexibility common to the genre—that a single section type can have a different or more nuanced teleological function than its typical role in a cycle’s structure. For example, a chorus’s most common teleological function is arrival (Peres 2016; Nobile 2022), which can be seen in “Mine” and “Can’t Feel My Face.” In “Girls Like You,” though, the chorus has a buildup function and serves as the teleological “middle” between the verse and postchorus. Different still, the riserchorus in “I Knew You Were Trouble” begins with an anti-telos effect in the first half and has a second buildup function in the second half. In all of these examples, drum patterns play a significant role in expressing teleological function.
[4.11] Through my corpus study, I found that the prechorus can also have a flexible teleological function within a cycle. In short, there is more than one way that the section can express middle-ness between a verse and chorus, and drum patterns are often a main musical marker of this. A buildup prechorus is most common, like in Example 24, and fulfills the medial function in a typical initiation–buildup–arrival progression (Summach 2011; Peres 2016; Heetderks 2020; Nobile 2022; Osborn 2023). Another possibility is what I refer to as a down prechorus that is marked by an initial sonic drop and drum fall, and the continuation of low sonic energy throughout. A down prechorus is different from a riserchorus or an anti-telos chorus (Nobile 2022) in that it does not include chorus lyrics. It is also different from a buildup prechorus that begins with a sonic drop and reaccumulates sonic energy throughout. In cycles with a down prechorus, the teleological destination is still arrival function in the chorus, but the form functioning path is different. Rather than an energetic ramp between verse and chorus, the prechorus is an energetic valley that serves as a section of repose, rest, and recovery.
Example 27. DJ Khaled, “No Brainer” (2018), cycle 1
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[4.12] DJ Khaled’s “No Brainer” featuring Justin Bieber, Chance the Rapper, and Quavo includes a clear down prechorus. Example 27 depicts the first formal cycle, and the second and third cycles have identical section and drum pattern layouts. Rapped by Quavo, verse 1 begins with an embellished standard rock bass drum rhythm and an embellished backbeat rhythm where snaps perform the backbeat and snare drum performs the embellishment. In the second half of the verse, drum pattern 2 builds by adding a unique hi-hat rhythm that combines sixteenth notes, triplet eighth notes, and tremolos. The chorus and postchorus, sung by Bieber, have the same progression from drum pattern 1 to drum pattern 2. Between the verse and chorus, the prechorus removes the drums and strips back to just melody and bass. As stated above, cycles 2 and 3 of “No Brainer” also have this section and drum pattern layout. In other words, the prechoruses are the only sections of repose in the otherwise consistently energized pop song.
Example 28. Twenty One Pilots, “Ride” (2016), cycle 1
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[4.13] The first cycle of Twenty One Pilots’ “Ride” also includes a down prechorus. Shown in Example 28, the excerpt begins with a two-part verse. The first half has a tacet drum pattern and the second half has R – B-SN1 – 16, the latter also used in the chorus. In between the two iterations of drum pattern 2, the prechorus falls to just a snare drum backbeat along with the organ’s laid-back, reggae-style offbeat attacks.
[4.14] Again, a down prechorus’s defining features are that it begins with a sonic drop, including drums, and maintains low sonic energy throughout. Peres also identifies instances where a prechorus removes key elements and has low sonic energy, but he believes it expresses a buildup function. “The tension generated by the removal of the bass is designed to draw you in and make you listen more closely. As a listener, in part because you are probably familiar with the genre’s idioms, you not only know that the bass will return, but you know it will return in combination with other elements to form a climax, and you are likely to listen in anticipation of this arrival” (Peres 2018). I agree that abruptly removing sonic layers in a prechorus creates an anticipation for their return. But analyzing a sonically subdued prechorus with a buildup function minimizes the fact that these sections also provide time to aurally, and sometimes physically in the case of performers and concertgoers, rest and recover. A prechorus can both be an energetic drop and anticipate a strong chorus arrival, and the anticipation of the future event does not discount nor necessarily supersede the sensation of repose in the present. As a result, I believe the rhetorical differences between the buildup prechoruses in Examples 24 and 26 and the down prechoruses in Examples 27 and 28 warrant treating them as functionally distinct.
[4.15] Distinguishing between buildup prechoruses and down prechoruses can also help clarify another flexible formal feature in post-millennial pop songs. Recall that the first cycle in Halsey’s “Without Me” above in Example 6 includes five sections, which I interpret as verse, buildup prechorus, down prechorus, chorus, and postchorus. While it is possible to read measures 9–16 as one prechorus with two parts, I believe maintaining consistent section lengths coupled with the differences in melody, instrumental texture, and drum patterns tip the interpretive scale in favor of two distinct prechoruses sections.
Example 29. Dua Lipa, “Don’t Start Now” (2020), cycle 1
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[4.16] Dua Lipa’s “Don’t Start Now” also includes this phenomenon, which I refer to as a double prechorus. Shown in Example 29, the verse begins with 4 – B – 8HH1 and the buildup prechorus’s drum pattern 2 amends the middle and high layers. Claps are added to every other backbeat, and breath exhalations alternating with half-open hi-hat attacks sound on the third beat of each measure. Then, rather than building directly into the chorus, the down prechorus begins with a drum fall and texture change. Drum pattern 3 drops to backbeat claps, and the verse and buildup prechorus’s animated bass line switches to sustained chordal punctuations. The second half of the down prechorus adds tambourine sixteenth notes and a descant violin synthesizer, augmenting the sense of anticipation towards the chorus without superseding the sense of repose established at the section’s onset. Finally, the cycle concludes climactically with drum pattern 5 in the chorus, which combines the low and middle layers from drum pattern 2 with the high layer of drum pattern 1.
Throughout Songs
Example 30. Sia, “Cheap Thrills” (2016)
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[4.17] Finally, drum patterns and drum pattern changes help express form throughout complete songs. Like cycles, there is not just one formal design that perfectly encapsulates every post-millennial pop song, but Sia’s “Cheap Thrills” in Example 30 has one of the most conventional layouts: an introduction; two cycles of verse, prechorus, and chorus; a third cycle of bridge and chorus; and an outro. Further, the six drum patterns play a prominent role in expressing the song’s teleological structure, particularly within each formal cycle. The introduction begins with tacet drums before adding a four-on-the-floor bass drum rhythm in the second half, which continues into verse 1. Prechorus 1 builds with drum pattern 3’s introduction of woodblock and quiet snaps performing a backbeat rhythm. The first cycle peaks in the chorus with drum pattern 4: a four-on-the-floor bass drum rhythm, a snare drum performing a half-measure tresillo rhythm, and woodblock and snaps continuing the backbeat. The second formal cycle has another initiation–buildup–arrival progression. It has the same drum pattern progression as the first cycle, with the exception of chorus 2’s addition of a quiet swung sixteenth-note referential rhythm. In the third cycle, the bridge starts without vocals and a return to drum pattern 2’s four-on-the-floor bass drum rhythm. Finally, chorus 3 restates drum pattern 5 before the outro falls to drum pattern 6 and then to drum pattern 1.
[4.18] Similar to individual sections and formal cycles, complete songs have their own teleological structure. Many post-millennial pop songs build from start to finish and peak in the final chorus, postchorus, or drop, depending on the song’s particular design. Pop producer and songwriter Max Martin describes this phenomenon in his creative approach. “I like it when a song is like a journey, building up along the way. That they start out smaller than they end. Along the trip, you add elements that make the listener less likely to tire. Then, at the end, euphoria” (Gradvall 2016). Peres (2018) specifically maps the initiation, buildup, and arrival functions—or using his terminology, setup, buildup, and climax—onto a song’s three formal cycles. Other research focuses on specific techniques that pop artists use to create song-ending peaks. Megan Lavengood (2021) describes how “complement” and original chorus melodies can combine to create a final “cumulative chorus.” Osborn (2023, 51) observes that many Top-40 EDM hits combine chorus melodies and drop grooves in the third cycle to create a “super-hybrid section I call [the] riserchorus-drop.”
[4.19] Drum patterns can also help express a song’s energetic growth and formal culmination. To express formal culmination, many post-millennial pop songs introduce a new drum pattern in the final chorus. In my corpus, the most common technique is to accelerate the hi-hat rhythm from eighth notes heard throughout the song to sixteenth notes in the last chorus. Examples include Ellie Goulding’s “Love Me Like You Do” and Charlie Puth’s “Attention.” Other songs introduce a more novel drum pattern, such as Bruno Mars’s “Locked Out of Heaven” using the song’s only half-time feel groove and Eilish’s “Bad Guy” introducing a dramatic tempo shift.
Example 31. Ed Sheeran, “Perfect” (2017)
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[4.20] In addition to articulating song-ending peaks, drum patterns and drum pattern changes can also, as Riley (2015, 11) notes, “help ramp up the energy of a song from beginning to end.” Ed Sheeran’s “Perfect” is a unique example. The song’s many vocal and instrumental parts work together to express its teleological structure, but the almost exclusive use of drum builds, with only one drum fall, contributes significantly to the song’s steady and incremental sonic growth from the first verse to the final chorus. Shown in Example 31, verse 1 begins with tacet drums. Then, prechorus 1 introduces quiet snaps performing a backbeat rhythm, which continues into the chorus. A brief and drum-less link connects the two cycles before verse 2 resumes the drum patterns’ builds. In drum pattern 3, the backbeat snaps continue from drum pattern 2, tambourine attacks are added to every other backbeat, and the bass drum begins an embellished standard rock rhythm. Drum pattern 4 in prechorus 2 builds again, which continues through chorus 2 and into the bridge. The high layer adds hi-hat eighth notes, backbeat snaps switch to snare drum, and the tambourine now articulates every backbeat. Finally, chorus 3 is the song’s sonic peak across the vocal and instrumental parts. Drum pattern 5 maintains the low and middle layers while the high layer quietly switches to sixteenth notes. The song concludes with drum pattern 1 in the outro.
Example 32. Khalid and Normani, “Love Lies” (2018)
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[4.21] The near uniformity of drum builds found in “Perfect” is rare. But there are other ways that drum patterns can build from beginning to end as a way to express teleological motion throughout a song. One technique is to build both within and between a song’s three formal cycles. Put differently, each cycle can build towards its chorus, and each chorus can build from one to the next. An example is Khalid and Normani’s “Love Lies.” Example 32 shows that there are four drum patterns that vary only according to number of layers. Drum pattern 1 is X – X – X, drum pattern 2 is X – BSP – X, drum pattern 3 is X – BSP – 16, and drum pattern 4 is R – BSP – 16. The drum patterns’ characteristic differences are simple and straightforward. But their formal organization and frequent changes, thirteen total drum pattern changes, drive their expressive power. “Love Lies” begins with a progression through all four drum patterns. After tacet drums in the introduction, verse 1 begins with backbeat snaps, and hi-hat sixteenth notes are added in the second half. Prechorus 1 builds again by introducing an embellished standard rock bass drum rhythm. Chorus 1 is an anti-telos chorus. Instead of functioning as the cycle’s climactic arrival, it subverts formal expectations with a drum fall back to drum pattern 2. The second formal cycle begins the same as the first, progressing through drum patterns 2, 3, and 4 in the verse and prechorus. Chorus 2 also begins the same as chorus 1 with a drum fall back to drum pattern 2. But unlike the first cycle, chorus 2 is twice as long as the first chorus iteration, and the reintroduction of drum pattern 4 in the second half shifts the section’s overall effect back to a climactic arrival. Finally, the third cycle compresses the progression through drum patterns 2, 3, and 4 into one section, the bridge. Then, instead of a third anti-telos chorus, chorus 3 finally states at the onset drum pattern 4’s full, three-layer realization, serving as the formal climax for both the third cycle and full song.
5. Conclusion
[5.1] While drum patterns perform rhythmic and metric functions, they also play a significant role in expressing musical form, particularly in post-millennial pop songs. The primary goal of this article is to introduce a new and practical analytical method that highlights the formally expressive features of drum patterns and drum pattern changes in this repertoire. Analyzing a song’s drum patterns according to their number of layers, rhythm, and instrumentation highlights the principal ways that drum patterns and drum pattern changes articulate formal boundaries, teleological functions, and formal motion. These formal functions are not reserved for any one level of form. Rather, drum patterns are formally expressive within sections, across cycles, and throughout songs. Furthermore, drum patterns do not only articulate conventional formal layouts in post-millennial pop, they also help express more novel section, cycle, and song designs.
[5.2] While this article’s analytical framework is effective for spotlighting the formally expressive features of drum patterns and drum pattern changes in post-millennial pop songs, it does not strive to account comprehensively for all of the drums’ formally expressive features. Post-millennial pop songs include drum patterns that strain and exceed my annotative system’s capacities. Drum patterns and drum pattern changes are also formally expressive in other popular styles, but in nuanced ways compared to post-millennial pop that to analyze appropriately would require amendments to this article’s approach. Finally, drum fills, drum solos, and other aspects of drum parts express musical form. Not only would these and other avenues for future research refine our understanding of the drums’ formally expressive features, but they would also further underscore the instrument’s multifunctionality.
Appendix. Drum Pattern Labeling System
Example 33. Drum pattern labeling system
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In post-millennial pop songs, drum patterns are typically a variation of either a standard rock or four-on-the-floor pattern. My analytical method frames drum patterns as different realizations of three parameters: number of layers, rhythm, and instrumentation. Example 33 summarizes my drum pattern labeling system. From left to right, a drum pattern label communicates the presence or absence, rhythm, and instrumentation of the low, middle, and high drum layers. For the primary symbols, each drum layer has a set of common referential rhythms: standard rock (R), four-on-the-floor (4), and tresillo (T) for the low layer; backbeat (B), straight four (4), and tresillo (T) for the middle layer; and eighth notes (8), sixteenth notes (16), and quarter notes (4) for the high layer. Other options are possible that can apply to all three drum layers: other (O), where a particular surface rhythm does not clearly relate to a referential rhythm; hybrid (variable labels), where multiple instruments with different referential rhythms work interdependently to fulfill a single drum layer; and absent (X), where a layer is tacet. Auxiliary symbols can be added to express aspects of rhythm and instrumentation. First, plus (+) and minus (-) symbols depict comparative amounts of surface rhythm embellishment of a single referential rhythm. Second, bass drum, snare drum, and hi-hat are the assumed instrumentations for the low, middle, and high drum layers. Abbreviated superscripts communicate other instrumentations. Third, the annotative system assumes a normal-time feel, and parenthetical addenda express half-time feel (HT) and double-time feel (DT) patterns.
David Geary
Wake Forest University
Scales Fine Arts Center, M312
Winston-Salem, NC 27109
gearyd@wfu.edu
Works Cited
Adams, Kyle. 2019. “Musical Texture and Formal Instability in Post-Millennial Popular Music: Two Case Studies.” Intégral 33: 33–45.
Adams, Kyle. 2019. “Musical Texture and Formal Instability in Post-Millennial Popular Music: Two Case Studies.” Intégral 33: 33–45.
Attas, Robin. 2011. “Meter as Process in Groove-Based Popular Music.” PhD diss., University of British Columbia.
Attas, Robin. 2011. “Meter as Process in Groove-Based Popular Music.” PhD diss., University of British Columbia.
Attas, Robin. 2015. “Form as Process: The Buildup Introduction in Popular Music.” Music Theory Spectrum 37 (2): 275–96. https://doi.org/10.1093/mts/mtv020.
—————. 2015. “Form as Process: The Buildup Introduction in Popular Music.” Music Theory Spectrum 37 (2): 275–96. https://doi.org/10.1093/mts/mtv020.
Barna, Alyssa. 2020. “The Dance Chorus in Recent Top-40 Music.” SMT-V 6 (4). https://doi.org/10.30535/smtv.6.4.
Barna, Alyssa. 2020. “The Dance Chorus in Recent Top-40 Music.” SMT-V 6 (4). https://doi.org/10.30535/smtv.6.4.
Baur, Steven. 2021. “Towards a Cultural History of the Backbeat.” In The Cambridge Companion to the Drum Kit, ed. Matt Brennan, Joseph Michael Pignato, and Daniel Akira Stadnicki, 34–51. Cambridge University Press. https://doi.org/10.1017/9781108779517.005.
Baur, Steven. 2021. “Towards a Cultural History of the Backbeat.” In The Cambridge Companion to the Drum Kit, ed. Matt Brennan, Joseph Michael Pignato, and Daniel Akira Stadnicki, 34–51. Cambridge University Press. https://doi.org/10.1017/9781108779517.005.
Beauford, Carter. 2002. Under the Table and Drumming. DVD. Warner Bros. Classics.
Beauford, Carter. 2002. Under the Table and Drumming. DVD. Warner Bros. Classics.
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Biamonte, Nicole. 2014. “Formal Functions of Metric Dissonance in Rock Music.” Music Theory Online 20 (2). https://doi.org/10.30535/mto.20.2.1.
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Butler, Mark. 2001. “Turning the Beat Around: Reinterpretation, Metrical Dissonance, and Asymmetry in Electronic Dance Music.” Music Theory Online 7 (6).
Butler, Mark. 2006. Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. Indiana University Press.
—————. 2006. Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. Indiana University Press.
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Butterfield, Matthew. 2006. “The Power of Anacrusis: Engendered Feeling in Groove-Based Musics.” Music Theory Online 12 (4). https://doi.org/10.30535/mto.12.4.2.
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Câmara, Guilherme Schmidt, George Sioros, and Anne Danielsen. 2022. “Mapping Timing and Intensity Strategies in Drum-Kit Performance of a Simple Back-Beat Pattern.” Journal of New Music Research 51 (1): 3–26. https://doi.org/10.1080/09298215.2022.2150649.
Caplin, William E. 2009. “What Are Formal Functions?” In Musical Form, Forms, & Formenlehre: Three Methodological Reflections, ed. Pieter Bergé, 21–40. University of Leuven Press. https://doi.org/10.2307/j.ctt9qf01v.5.
Caplin, William E. 2009. “What Are Formal Functions?” In Musical Form, Forms, & Formenlehre: Three Methodological Reflections, ed. Pieter Bergé, 21–40. University of Leuven Press. https://doi.org/10.2307/j.ctt9qf01v.5.
Connell, Joseph. 2018. “John ‘Jabo’ Starks: ‘Superbad.’” Modern Drummer. Accessed June 28, 2023. https://www.moderndrummer.com/2018/05/john-jabo-starks-superbad/.
Connell, Joseph. 2018. “John ‘Jabo’ Starks: ‘Superbad.’” Modern Drummer. Accessed June 28, 2023. https://www.moderndrummer.com/2018/05/john-jabo-starks-superbad/.
Covach, John. 2005. “Form in Rock Music: A Primer.” In Engaging Music: Essays in Music Analysis, ed. Deborah Stein, 65–76. Oxford University Press.
Covach, John. 2005. “Form in Rock Music: A Primer.” In Engaging Music: Essays in Music Analysis, ed. Deborah Stein, 65–76. Oxford University Press.
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Danielsen, Anne. 2010. “Here, There, and Everywhere: Three Accounts of Pulse in D’Angelo’s ‘Left and Right.’” In Musical Rhythm in the Age of Digital Reproduction, ed. Anne Danielsen, 19–35. Ashgate. https://doi.org/10.4324/9781315596983-2.
De Clercq, Trevor. 2016. “Measuring a Measure: Absolute Time as a Factor for Determining Bar Lengths and Meter in Pop/Rock Music.” Music Theory Online 22 (3). https://doi.org/10.30535/mto.22.3.3.
De Clercq, Trevor. 2016. “Measuring a Measure: Absolute Time as a Factor for Determining Bar Lengths and Meter in Pop/Rock Music.” Music Theory Online 22 (3). https://doi.org/10.30535/mto.22.3.3.
De Clercq, Trevor. 2017. “Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991.” Music Theory Online 23 (3). https://doi.org/10.30535/mto.23.3.4.
—————. 2017. “Embracing Ambiguity in the Analysis of Form in Pop/Rock Music, 1982–1991.” Music Theory Online 23 (3). https://doi.org/10.30535/mto.23.3.4.
Dean, Matt. 2012. The Drums: A History. Scarecrow Press.
Dean, Matt. 2012. The Drums: A History. Scarecrow Press.
Easley, David. 2015. “Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83).” Music Theory Online 21 (1). https://doi.org/10.30535/mto.21.1.3.
Easley, David. 2015. “Riff Schemes, Form, and the Genre of Early American Hardcore Punk (1978–83).” Music Theory Online 21 (1). https://doi.org/10.30535/mto.21.1.3.
Everett, Walter. 2009. The Foundations of Rock: From Blue Suede Shoes to Suite: Judy Blue Eyes. Oxford University Press.
Everett, Walter. 2009. The Foundations of Rock: From Blue Suede Shoes to Suite: Judy Blue Eyes. Oxford University Press.
Fink, Robert. 2011. “Goal-Directed Soul? Analyzing Rhythmic Teleology in African American Popular Music.” Journal of American Musicological Society 64 (1): 179–238. https://doi.org/10.1525/jams.2011.64.1.179.
Fink, Robert. 2011. “Goal-Directed Soul? Analyzing Rhythmic Teleology in African American Popular Music.” Journal of American Musicological Society 64 (1): 179–238. https://doi.org/10.1525/jams.2011.64.1.179.
Garza, Jose M. 2021. “Transcending Time (Feels): Riff Types, Timekeeping Cymbals, and Time Feels in Contemporary Metal Music.” Music Theory Online 27 (1). https://doi.org/10.30535/mto.27.1.3.
Garza, Jose M. 2021. “Transcending Time (Feels): Riff Types, Timekeeping Cymbals, and Time Feels in Contemporary Metal Music.” Music Theory Online 27 (1). https://doi.org/10.30535/mto.27.1.3.
Geary, David. 2022. “Analyzing the Beat in Metrically Consonant Popular Songs: A Multifaceted Approach.” Music Theory Online 28 (4). https://mtosmt.org/issues/mto.22.28.4/mto.22.28.4.geary.html
Geary, David. 2022. “Analyzing the Beat in Metrically Consonant Popular Songs: A Multifaceted Approach.” Music Theory Online 28 (4). https://mtosmt.org/issues/mto.22.28.4/mto.22.28.4.geary.html
Gradvall, Jan. 2016. “World Exclusive: Max Martin, #1 Hitmaker.” Di Weekend. Accessed December 1, 2019. https://www.di.se/weekend/max-martin-haller-tempot/.
Gradvall, Jan. 2016. “World Exclusive: Max Martin, #1 Hitmaker.” Di Weekend. Accessed December 1, 2019. https://www.di.se/weekend/max-martin-haller-tempot/.
Guru, Young, and Reuben Vincent. 2023. “How to Produce a Track with the Pros: Young Guru and Reuben Vincent.” iZotope. YouTube video, 25:33. https://www.youtube.com/watch?v=Bp6B3ld1Yqw.
Guru, Young, and Reuben Vincent. 2023. “How to Produce a Track with the Pros: Young Guru and Reuben Vincent.” iZotope. YouTube video, 25:33. https://www.youtube.com/watch?v=Bp6B3ld1Yqw.
Hanenberg, Scott J. 2020. “Using Drumbeats to Theorize Meter in Quintuple and Septuple Grooves.” Music Theory Spectrum 42 (2): 227–46. https://doi.org/10.1093/mts/mtaa005.
Hanenberg, Scott J. 2020. “Using Drumbeats to Theorize Meter in Quintuple and Septuple Grooves.” Music Theory Spectrum 42 (2): 227–46. https://doi.org/10.1093/mts/mtaa005.
Hanenberg, Scott J. 2021. “Theorizing Complex and Irregular Grooves.” In The Cambridge Companion to the Drum Kit, ed. Matt Brennan, Joseph Michael Pignato, and Daniel Akira Stadnicki, 94–111. Cambridge University Press. https://doi.org/10.1017/9781108779517.010.
—————. 2021. “Theorizing Complex and Irregular Grooves.” In The Cambridge Companion to the Drum Kit, ed. Matt Brennan, Joseph Michael Pignato, and Daniel Akira Stadnicki, 94–111. Cambridge University Press. https://doi.org/10.1017/9781108779517.010.
Heetderks, David. 2020. “Play with Closing Markers: Cadential Multivalence in 1960s Prechoruses and Related Schemas.” Music Theory Spectrum 41 (1): 1–23. https://doi.org/10.1093/mts/mtz023.
Heetderks, David. 2020. “Play with Closing Markers: Cadential Multivalence in 1960s Prechoruses and Related Schemas.” Music Theory Spectrum 41 (1): 1–23. https://doi.org/10.1093/mts/mtz023.
Hudson, Steven. 2021. “Compound AABA Form and Style Distinction in Heavy Metal.” Music Theory Online 27 (1). https://doi.org/10.30535/mto.27.1.5.
Hudson, Steven. 2021. “Compound AABA Form and Style Distinction in Heavy Metal.” Music Theory Online 27 (1). https://doi.org/10.30535/mto.27.1.5.
Hudson, Steven. 2022. “Bang Your Head: Construing Beat through Familiar Drum Patterns in Metal Music.” Music Theory Spectrum 44 (1): 121–40. https://doi.org/10.1093/mts/mtab014.
—————. 2022. “Bang Your Head: Construing Beat through Familiar Drum Patterns in Metal Music.” Music Theory Spectrum 44 (1): 121–40. https://doi.org/10.1093/mts/mtab014.
Keltner, Jim. 2020. “Drummers Who Compose | Part 1 of 4.” Drum Channel. YouTube video, 23:00. Accessed June 28, 2023. https://www.youtube.com/watch?v=llY1_4fZzJ8.
Keltner, Jim. 2020. “Drummers Who Compose | Part 1 of 4.” Drum Channel. YouTube video, 23:00. Accessed June 28, 2023. https://www.youtube.com/watch?v=llY1_4fZzJ8.
Lavengood, Megan L. 2021. “‘Oops!... I Did It Again’: The Complement Chorus in Britney Spears, The Backstreet Boys, and *NSYNC.” SMT-V 7 (6). https://doi.org/10.30535/smtv.7.6.
Lavengood, Megan L. 2021. “‘Oops!... I Did It Again’: The Complement Chorus in Britney Spears, The Backstreet Boys, and *NSYNC.” SMT-V 7 (6). https://doi.org/10.30535/smtv.7.6.
Moore, Allan F. 2012. Song Means: Analysing and Interpreting Recorded Popular Song. Ashgate.
Moore, Allan F. 2012. Song Means: Analysing and Interpreting Recorded Popular Song. Ashgate.
Nicholls, Geoff. 2008. The Drum Book: A History of the Rock Drum Kit. Backbeat Books.
Nicholls, Geoff. 2008. The Drum Book: A History of the Rock Drum Kit. Backbeat Books.
Nobile, Drew. 2020. Form as Harmony in Rock Music. Oxford University Press. https://doi.org/10.1093/oso/9780190948351.001.0001.
Nobile, Drew. 2020. Form as Harmony in Rock Music. Oxford University Press. https://doi.org/10.1093/oso/9780190948351.001.0001.
Nobile, Drew. 2022. “Teleology in Verse–Prechorus–Chorus Form, 1965–2020.” Music Theory Online 28 (3). https://mtosmt.org/issues/mto.22.28.3/mto.22.28.3.nobile.html.
Nobile, Drew. 2022. “Teleology in Verse–Prechorus–Chorus Form, 1965–2020.” Music Theory Online 28 (3). https://mtosmt.org/issues/mto.22.28.3/mto.22.28.3.nobile.html.
Osborn, Brad. 2010. “Beats that Commute: Algebraic and Kinesthetic Models for Math-Rock Grooves.” Gamut 3 (1): 43–67.
Osborn, Brad. 2010. “Beats that Commute: Algebraic and Kinesthetic Models for Math-Rock Grooves.” Gamut 3 (1): 43–67.
Osborn, Brad. 2013. “Subverting the Verse/Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music.” Music Theory Spectrum 35 (1): 23–47. https://doi.org/10.1525/mts.2013.35.1.23.
—————. 2013. “Subverting the Verse/Chorus Paradigm: Terminally Climactic Forms in Recent Rock Music.” Music Theory Spectrum 35 (1): 23–47. https://doi.org/10.1525/mts.2013.35.1.23.
Osborn, Brad. 2017. Everything in its Right Place: Analyzing Radiohead. Oxford University Press. https://doi.org/10.1093/acprof:oso/9780190629229.001.0001.
—————. 2017. Everything in its Right Place: Analyzing Radiohead. Oxford University Press. https://doi.org/10.1093/acprof:oso/9780190629229.001.0001.
Osborn, Brad. 2023. “Formal Functions and Rotations in Top-40 EDM.” Intégral 36: 35–54.
—————. 2023. “Formal Functions and Rotations in Top-40 EDM.” Intégral 36: 35–54.
Peart, Neil. 2020. “How Did Neil Peart Learn a Song?” Drum Channel. YouTube video, 4:59. Accessed June 28, 2023. https://www.youtube.com/watch?v=R_YJ6GXDhaU.
—————. 2020. “How Did Neil Peart Learn a Song?” Drum Channel. YouTube video, 4:59. Accessed June 28, 2023. https://www.youtube.com/watch?v=R_YJ6GXDhaU.
Peres, Asaf. 2016. “The Sonic Dimension as Dramatic Driver in 21st-Century Pop Music.” PhD diss., University of Michigan.
Peres, Asaf. 2016. “The Sonic Dimension as Dramatic Driver in 21st-Century Pop Music.” PhD diss., University of Michigan.
Peres, Asaf. 2018. “Sonic Functions: The Producer’s Alternative to Harmonic Functions in Modern Music.” Top40 Theory. Accessed June 28, 2023. https://www.top40theory.com/blog/sonic-functions-the-alternative-to-harmonic-functions-in-modern-music.
—————. 2018. “Sonic Functions: The Producer’s Alternative to Harmonic Functions in Modern Music.” Top40 Theory. Accessed June 28, 2023. https://www.top40theory.com/blog/sonic-functions-the-alternative-to-harmonic-functions-in-modern-music.
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Pillsbury, Glenn T. 2006. Damage Incorporated: Metallica and the Production of Musical Identity. Routledge.
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Riley, Jim. 2015. Survival Guide for the Modern Drummer: A Crash Course in All Musical Styles for Drumset. Alfred Music.
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1. For a historical overview of the drumset, see Geoff Nicholls (2008) and Matt Dean (2012).
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2. Adopting slightly different language, Asaf Peres (2016) refers to these as “sonic functions” and Kyle Adams (2019) refers to them as “rhetorical functions.” I discuss teleological functions in greater detail below in paragraph [4.2].
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3. Formal cycles are a popular song’s recurring, multi-section formal units (Nobile 2022). Related terms include formal rotations (Osborn 2023) and verse-chorus units (Temperley 2018).
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4. Peres (2016, 2) defines sonic syntax “as a musical grammar that relies on manipulation of timbre, sonic density (the presence and amplitude of frequencies across the sonic spectrum at any given moment), and rhythmic intensity.” For more details about sonic syntax, see paragraph [4.2] below.
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5. Rather than providing comprehensive theoretical methodologies or detailed analyses, much of the existing scholarship that addresses the formal functions of drum patterns has a more limited scope (Butler 2001; Butler 2006; Pillsbury 2006; Biamonte 2014; Easley 2015; Peres 2016; Osborn 2017; Peres 2018; Adams 2019; Hanenberg 2021; Hudson 2021; Hudson 2022; Osborn 2023).
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6. Some specific challenges of applying tonal metaphors to analyze drum patterns include the concepts of monotonality, harmonic functions, cadences, and closure (Peres 2016, 101–3).
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7. Examples 3 and 5 include asterisks to identify drum patterns that have slight variations on some repetitions. This is a common practice in many popular styles, but it is a rarity in post-millennial pop where drum patterns typically repeat without variation.
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8. For more on “energy” in popular music, see Temperley (2018, 136–49).
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9. The notation in Example 3 is taken from Joseph Connell (2018).
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10. For the sake of brevity, in the remainder of this article I do not include complete lists of a song’s songwriters and producers; instead, I name only the listed artists. It is not uncommon for a post-millennial pop song’s creative team to include half a dozen or more artists, all of whom play an important role in the composition, performance, and production processes. Further, it is not always clear who is responsible for creating each part, including the drum patterns.
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11. Throughout this article, I refer to passages without drums as a tacet “drum pattern” since almost all pop songs weave between sections with and without drums in formally expressive ways, making tacet “realizations” a counterpart to sounding drum patterns.
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12. In my corpus, most drum patterns are created by producers with a digital audio workstation or related type of music technology, but many are performed by drummers on a physical drumset. Each creative medium has its own musical affordances, but they also share a high degree of overlap, and music production techniques applied to performed drum parts further obscure their differences. This article focuses on drum patterns in post-millennial pop as a whole, and my analytical system is designed for both programmed and performed drum patterns.
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13. Everett (2009, 304) defines groove as “a regularly repeating pattern in drums, bass, rhythm guitar, keyboard, and backing vocals.”
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14. Nicole Biamonte (2014, [6.3]) also observes that instrumentations other than bass drum, snare drum, and hi-hat can fulfill a drum pattern’s functional drum layers, like foot stomps and hand claps in Queen’s “We Will Rock You.”
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15. As detailed below, a drum pattern’s referential rhythm can be different than its surface rhythm (Riley 2015; Temperley 2018). The bass drum’s surface rhythm in drum pattern 2 includes a light tresillo embellishment in every other measure, but its referential rhythm is still four-on-the-floor.
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16. The annotative system uses superscripts to depict instrumentations other than bass drum, snare drum, and hi-hat.
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17. The referential rhythms and other options in Example 14 are specific to drum patterns in post-millennial pop songs. They are not universal to all popular styles, which may include different referential rhythms and other options.
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18. The tresillo (3+3+2) referential rhythm includes both two dotted quarter notes plus quarter note, shown in Example 14, and two dotted eighth notes plus eighth note. I call these a full-measure tresillo rhythm and a half-measure tresillo rhythm, respectively.
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19. Another reason to interpret and classify a drum pattern’s sounding components according to functional drum layers is that it identifies relationships that are otherwise methodologically unavailable. For instance, in Marshmello’s “Happier” featuring Bastille (see Example 19), the middle layer’s backbeat rhythm is performed by snaps, claps, and snare drum. Interpreting each instrumentation as an independent layer neglects their shared functional role within the excerpt’s drum patterns.
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20. Normal-time feel drum patterns alternate bass drum and snare drum attacks at a quarter-note rate, half-time feel patterns alternate attacks at a half-note rate, and double-time feel patterns alternate at an eighth-note rate (De Clercq 2016).
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21. There are some overlaps of instrumentation between the three drum layers. For instance, hi-hat typically performs the high layer’s eighth-note and sixteenth-note referential rhythms, but it also occasionally performs the middle layer’s backbeat rhythm. The flexibility of instrumentation in post-millennial pop songs is another reason why I prefer to interpret and classify a drum pattern’s sounding components according to functional drum layers.
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22. Prechorus 1 ends with a two-measure drum fill composed of a bass drum rhythmic acceleration. While drum fills also participate in expressing musical form (Hanenberg 2020), the focus of this article is drum patterns.
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23. Attas (2015) also combines object and process orientations to analyze popular music grooves and form.
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24. Peres (2018) states that “although setup, buildup, and peak are the main and most important sonic functions in the genre, they are not the only possible ones.”
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25. Barna (2020) and Nobile (2022) adopt similar diagram formats.
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26. As Nobile (2022, [1.2]) states, “teleological arrival is both a specific moment and an entire section; the arrival moment is the first downbeat of the arrival section, and the remainder of the section sustains that moment’s energy in a celebratory plateau.”
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27. In Example 22, I label the removal of drums with a “diffusion sonic function” (Peres 2018). An outro is an after-the-end section (Caplin 2009) with a “conclusion” function (Peres 2016; Temperley 2018).
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28. Nobile (2020, 121–22) uses the term “chorus outro” for a similar phenomenon in rock songs.
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29. For more about these section types and their teleological functions in post-millennial pop songs, see Peres (2016), Adams (2019), Stroud (2022), Nobile (2022), and Osborn (2023).
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30. For a more detailed discussion of the formal design in Example 26, see Nobile (2022, [4.8]) and Osborn (2023, 41–44).
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31. For another example of verse–chorus–postchorus form with a buildup chorus, see Osborn’s (2023) analysis of Carly Rae Jepsen’s “Party for One.”
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32. For another example of verse–prechorus–riserchorus–drop form with an anti-telos and riser chorus, see Nobile’s (2022) analysis of The Chainsmokers’ “Closer.”
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33. Peres also states that “all three of these sonic functions are anticipatory, to varying degrees. The setup, as its name would suggest, sets up an expectation for a buildup. The buildup builds up tension toward the peak/climax. The peak represents a high level of tension waiting to be released” (Peres 2016, 73). In a sense, then, all three functions have a degree of tension caused by anticipation.
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34. The third formal cycle in “Ride” includes a buildup prechorus with dramatically different musical characteristics compared to the down prechorus in Example 28—making this example a particularly helpful illustration of the prechorus’s flexible teleological function.
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35. Songs from other popular genres also typically build from start to finish and peak at the conclusion (Spicer 2004; Osborn 2013).
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For a historical overview of the drumset, see Geoff Nicholls (2008) and Matt Dean (2012).
Adopting slightly different language, Asaf Peres (2016) refers to these as “sonic functions” and Kyle Adams (2019) refers to them as “rhetorical functions.” I discuss teleological functions in greater detail below in paragraph [4.2].
Formal cycles are a popular song’s recurring, multi-section formal units (Nobile 2022). Related terms include formal rotations (Osborn 2023) and verse-chorus units (Temperley 2018).
Peres (2016, 2) defines sonic syntax “as a musical grammar that relies on manipulation of timbre, sonic density (the presence and amplitude of frequencies across the sonic spectrum at any given moment), and rhythmic intensity.” For more details about sonic syntax, see paragraph [4.2] below.
Rather than providing comprehensive theoretical methodologies or detailed analyses, much of the existing scholarship that addresses the formal functions of drum patterns has a more limited scope (Butler 2001; Butler 2006; Pillsbury 2006; Biamonte 2014; Easley 2015; Peres 2016; Osborn 2017; Peres 2018; Adams 2019; Hanenberg 2021; Hudson 2021; Hudson 2022; Osborn 2023).
Some specific challenges of applying tonal metaphors to analyze drum patterns include the concepts of monotonality, harmonic functions, cadences, and closure (Peres 2016, 101–3).
Examples 3 and 5 include asterisks to identify drum patterns that have slight variations on some repetitions. This is a common practice in many popular styles, but it is a rarity in post-millennial pop where drum patterns typically repeat without variation.
For more on “energy” in popular music, see Temperley (2018, 136–49).
The notation in Example 3 is taken from Joseph Connell (2018).
For the sake of brevity, in the remainder of this article I do not include complete lists of a song’s songwriters and producers; instead, I name only the listed artists. It is not uncommon for a post-millennial pop song’s creative team to include half a dozen or more artists, all of whom play an important role in the composition, performance, and production processes. Further, it is not always clear who is responsible for creating each part, including the drum patterns.
Throughout this article, I refer to passages without drums as a tacet “drum pattern” since almost all pop songs weave between sections with and without drums in formally expressive ways, making tacet “realizations” a counterpart to sounding drum patterns.
In my corpus, most drum patterns are created by producers with a digital audio workstation or related type of music technology, but many are performed by drummers on a physical drumset. Each creative medium has its own musical affordances, but they also share a high degree of overlap, and music production techniques applied to performed drum parts further obscure their differences. This article focuses on drum patterns in post-millennial pop as a whole, and my analytical system is designed for both programmed and performed drum patterns.
Everett (2009, 304) defines groove as “a regularly repeating pattern in drums, bass, rhythm guitar, keyboard, and backing vocals.”
Nicole Biamonte (2014, [6.3]) also observes that instrumentations other than bass drum, snare drum, and hi-hat can fulfill a drum pattern’s functional drum layers, like foot stomps and hand claps in Queen’s “We Will Rock You.”
As detailed below, a drum pattern’s referential rhythm can be different than its surface rhythm (Riley 2015; Temperley 2018). The bass drum’s surface rhythm in drum pattern 2 includes a light tresillo embellishment in every other measure, but its referential rhythm is still four-on-the-floor.
The annotative system uses superscripts to depict instrumentations other than bass drum, snare drum, and hi-hat.
The referential rhythms and other options in Example 14 are specific to drum patterns in post-millennial pop songs. They are not universal to all popular styles, which may include different referential rhythms and other options.
The tresillo (3+3+2) referential rhythm includes both two dotted quarter notes plus quarter note, shown in Example 14, and two dotted eighth notes plus eighth note. I call these a full-measure tresillo rhythm and a half-measure tresillo rhythm, respectively.
Another reason to interpret and classify a drum pattern’s sounding components according to functional drum layers is that it identifies relationships that are otherwise methodologically unavailable. For instance, in Marshmello’s “Happier” featuring Bastille (see Example 19), the middle layer’s backbeat rhythm is performed by snaps, claps, and snare drum. Interpreting each instrumentation as an independent layer neglects their shared functional role within the excerpt’s drum patterns.
Normal-time feel drum patterns alternate bass drum and snare drum attacks at a quarter-note rate, half-time feel patterns alternate attacks at a half-note rate, and double-time feel patterns alternate at an eighth-note rate (De Clercq 2016).
There are some overlaps of instrumentation between the three drum layers. For instance, hi-hat typically performs the high layer’s eighth-note and sixteenth-note referential rhythms, but it also occasionally performs the middle layer’s backbeat rhythm. The flexibility of instrumentation in post-millennial pop songs is another reason why I prefer to interpret and classify a drum pattern’s sounding components according to functional drum layers.
Prechorus 1 ends with a two-measure drum fill composed of a bass drum rhythmic acceleration. While drum fills also participate in expressing musical form (Hanenberg 2020), the focus of this article is drum patterns.
Attas (2015) also combines object and process orientations to analyze popular music grooves and form.
Peres (2018) states that “although setup, buildup, and peak are the main and most important sonic functions in the genre, they are not the only possible ones.”
Barna (2020) and Nobile (2022) adopt similar diagram formats.
As Nobile (2022, [1.2]) states, “teleological arrival is both a specific moment and an entire section; the arrival moment is the first downbeat of the arrival section, and the remainder of the section sustains that moment’s energy in a celebratory plateau.”
In Example 22, I label the removal of drums with a “diffusion sonic function” (Peres 2018). An outro is an after-the-end section (Caplin 2009) with a “conclusion” function (Peres 2016; Temperley 2018).
Nobile (2020, 121–22) uses the term “chorus outro” for a similar phenomenon in rock songs.
For more about these section types and their teleological functions in post-millennial pop songs, see Peres (2016), Adams (2019), Stroud (2022), Nobile (2022), and Osborn (2023).
For a more detailed discussion of the formal design in Example 26, see Nobile (2022, [4.8]) and Osborn (2023, 41–44).
For another example of verse–chorus–postchorus form with a buildup chorus, see Osborn’s (2023) analysis of Carly Rae Jepsen’s “Party for One.”
For another example of verse–prechorus–riserchorus–drop form with an anti-telos and riser chorus, see Nobile’s (2022) analysis of The Chainsmokers’ “Closer.”
Peres also states that “all three of these sonic functions are anticipatory, to varying degrees. The setup, as its name would suggest, sets up an expectation for a buildup. The buildup builds up tension toward the peak/climax. The peak represents a high level of tension waiting to be released” (Peres 2016, 73). In a sense, then, all three functions have a degree of tension caused by anticipation.
The third formal cycle in “Ride” includes a buildup prechorus with dramatically different musical characteristics compared to the down prechorus in Example 28—making this example a particularly helpful illustration of the prechorus’s flexible teleological function.
Songs from other popular genres also typically build from start to finish and peak at the conclusion (Spicer 2004; Osborn 2013).
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This document and all portions thereof are protected by U.S. and international copyright laws. Material contained herein may be copied and/or distributed for research purposes only.
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https://www.academia.edu/35452589/Stadnicki_D_A_2017_Play_like_Jay_Pedagogies_of_drum_kit_performance_after_J_Dilla_Journal_of_Popular_Music_Education_1_3_pp_253_280_doi_10_1386_jpme_1_3_253_1
|
en
|
Stadnicki, D. A. (2017), ‘Play like Jay: Pedagogies of drum kit performance after J Dilla’, Journal of Popular Music Education, 1:3, pp. 253–280, doi: 10.1386/ jpme.1.3.253_1
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[
"Daniel Akira Stadnicki",
"kentwalker.academia.edu"
] |
2017-12-17T00:00:00
|
This article explores the legacy of hip-hop producer J Dilla (1974–2006) through examining his impact on live drum kit performance and pedagogy. Specifically, it addresses how the so-called ‘Dilla-feel’ is emulated by drummers and rhythm section
|
https://www.academia.edu/35452589/Stadnicki_D_A_2017_Play_like_Jay_Pedagogies_of_drum_kit_performance_after_J_Dilla_Journal_of_Popular_Music_Education_1_3_pp_253_280_doi_10_1386_jpme_1_3_253_1
|
This paper will examine a variety of ways that drum makers approach their craft by comparing the processes of distinct forms of drum construction as well as the philosophies and aspirations of these artists. This dissertation will review the various choices of drum makers by: (1) providing a brief history of the drum set, (2) comparing the processes of manufacturers, both prominent and independent, and (3) narrating a firsthand project of making a drum with an independent drum builder while incorporating a handmade drum into original compositions and recordings. The paper will also explain the creative decisions of drum makers and how they have reflected the needs of artists throughout history. The motivation that underlies the various techniques will be discussed: that all drum builders are driven by a desire to provide instruments that are musical, extraordinary, unique, and, above all, true works of art. Uncommon approaches to making drums will also be presented to illustrate the...
In this paper, I examine the implications of post-racial ideology as a form of anti-racism in the 21st century. I argue that post-racial positions can detrimentally affect collective understandings of difference, diminish awareness of the persistence of racism and of the difficult history of race relations in North America, and pose a number of theoretical issues for the study of popular music and culture. Drawing upon critical race theory, ethnomusicology, popular music studies, and the work of Slavoj Zizek— particularly his theory of enjoyment as a political factor—this study will outline how the capitalistic ideal of instant gratification is invested in post-racial outlooks. As a case study, I will refer to my research on black Pentecostal ‘gospel drumming’ and on the mainstream drumming industry in order to frame this discussion.
This article contextualises music technology within the Hip Hop tradition of beat making. While literature exploring music technology in music therapy has proliferated in recent years, much of this has focused on the “assistive” function of technology, where it is used to facilitate music making for clients who have limited access to playing acoustic – or non-tech-based – instruments. This paper argues for an alternate lens that positions music technology within the tradition of beat making and that this is a musicing practice of value in its own right. To do so, a brief historical account of the beat making tradition is provided, which locates its origins within Hip Hop culture and acknowledges the evolution of the myriad beat-based genres that have and continue to emerge around music technology. A basic typology of beat making equipment is then provided to foster greater understanding of these technologies as instruments in their own right and their role in shaping contemporary music. To account for the rapid innovation in this area, the typology focuses on pieces with historical significance and the primary functions that remain the building blocks of composition and performance in beat making to this day. Brief accounts of how these instruments can and are integrated into therapeutic practice are also provided. It is acknowledged that this paper itself represents only one, brief account of beat making traditions and instruments. Yet, it is hoped it will promote understanding of their significance and serve as a useful reference in helping practitioners consider how these instruments may enrich practice. It is argued that such consideration is not only useful, but critical for reasons of cultural sustainability, and ensuring the relevance of music therapy practice in the 21st Century.
'Towards a musicology of analysis in drumming with reference to popular music genre of Heavy Metal.' This paper was submitted as part of my MA Music at Middlesex University and offers a brief introduction to my work regarding drum set performance and the search for meaning in its obsession for virtuosity. Drum set performance in the twenty first century is continuing to develop in technique to levels of ability that were never previously conceived. However, if the status of this instrument is to be brought to the forefront of musicological thought then a solid argument in its defence is overdue. Therefore, the central focus in this paper is to establish what defines virtuosity on the drum set and to explore how this can be, and has been, analysed from a musicological standpoint.
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https://rhythmnotes.net/latin-grooves/
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https://www.mesonline.biz/drum_machines/details_roland-cr5000.html
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Roland CompuRhythm CR
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ROLAND CompuRhythm CR-5000 Drum Machine
Clicking on Thumbnail will open larger view. Status: Gently Used
You are looking at a gently used 1980-1981 ROLAND CompuRhythm CR-5000 Micro Computer Controlled Rhythm Machine. Accompanying images accurately describe the CR-5000's appearance. I would rate it a conservative 9 - 9½ out of 10. Classic tone from a rare drum machine, especially in this condition. Everything works as designed.
You can click HERE to view a PDF of the original CR-5000 Owners Manual.
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https://www.vintagesynth.com/linn-electronics/linndrum
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Linn Electronics LinnDrum
|
https://www.vintagesynth.com/themes/custom/vintagesynth/favicon.ico
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https://www.vintagesynth.com/themes/custom/vintagesynth/favicon.ico
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[
"admin"
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2017-05-05T11:18:14+00:00
|
en
|
/themes/custom/vintagesynth/favicon.ico
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The LinnDrum was the second machine from Linn Electronics. It's basically an upgraded version of the original LM-1 with added crash and ride cymbals to the kit. The LinnDrum uses samples of acoustic drum sounds. At the time, they sounded great and much more realistic and they were a fresh alternative to the analog drum sounds of the '80's drum machines. The LinnDrum also had a handy upgrade option, a well designed layout and interface, and live drum trigger inputs.
The LinnDrum had beefed up the sampled sounds from 28 to a 35kHz sample rate. It features 15 sounds including bass, snare, rimshot, hihat, crash, ride, three toms, cabasa, tambourine, high and low congas, cowbell, and clap. Up to 12 sounds are available simultaneously. Individual controls are available to tune, pan, and mix each drum sound via dedicated knobs and sliders. An Accent is available for the kick, snare and hats. The handy upgrade options involve inserting new chips containing new sets of sampled drum sounds created by many session drummers of the time.
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https://87bpm.wordpress.com/2006/11/02/ping-shot-vs-gock-vs-stick-shot/
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Ping Shot vs. Gock vs. Stick Shot
|
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[] |
2006-11-02T00:00:00
|
>>A rimshot is the sound produced by hitting the rim and the head of a drum at once, with a drum stick. Rimshots are usually played to produce a more accented note, and are typically played loudly. There are two standard types of rimshots in marching percussion. The first, more common shot is called a…
|
de
|
E-BEATS
|
https://87bpm.wordpress.com/2006/11/02/ping-shot-vs-gock-vs-stick-shot/
|
>>A rimshot is the sound produced by hitting the rim and the head of a drum at once, with a drum stick. Rimshots are usually played to produce a more accented note, and are typically played loudly.
There are two standard types of rimshots in marching percussion. The first, more common shot is called a „ping shot“. In a ping shot, a drum stick hits the head and the rim at the same time, with the bead very close to the rim. This produces a high pitched sound. The other, called a „gock„, is produced by putting the bead of the drum stick close to the center, the rim making contact closer to the hand than in a ping. This makes a lower sound.
In orchestral percussion, a rimshot is performed by placing one drum stick with the stick head near the middle of the drumhead, and the shaft pressed against the rim, and striking with the other stick. This produces a less powerful, but more precise and accurate rimshot than its marching cousin. This method is known as a „stick shot„.<<
Wikipedia
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https://jazzprofiles.blogspot.com/2016/06/walpurgis-night-whitney-balliett-on.html
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JazzProfiles: "Walpurgis Night"
|
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"Steven Cerra"
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Buddy Rich, Whitney Balliett
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en
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https://jazzprofiles.blogspot.com/favicon.ico
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https://jazzprofiles.blogspot.com/2016/06/walpurgis-night-whitney-balliett-on.html
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Focused Profiles on Jazz and its Creators while also Featuring the Work of Guest Writers and Critics on the Subject of Jazz.
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2202
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dbpedia
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https://anyflip.com/hrxlr/fuvb/basic
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12.EE 2000 - Percussion & Drums book1 - Flip eBook Pages 1-50
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"12.EE 2000 - Percussion & Drums book1",
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"Flip eBook",
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"ดราฟ'ฟ ธนาคิมห์",
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2023-02-21T00:00:00
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View flipping ebook version of 12.EE 2000 - Percussion & Drums book1 published by ดราฟ'ฟ ธนาคิมห์ on 2023-02-21. Interested in flipbooks about 12.EE 2000 - Percussion & Drums book1? Check more flip ebooks related to 12.EE 2000 - Percussion & Drums book1 of ดราฟ'ฟ ธนาคิมห์. Share 12.EE 2000 - Percussion & Drums book1 everywhere for free.
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PERGUSSION BOOK 1 Inctueles l(eybocrrd Percussior ESSENTIAI CON'TPREHENSI\/E BAND |nETHOD TIN'I TAUTZENHEISER JOHN HIOGINS GHARTES II'IENGHINI PAUL TAVENDER rO'N G. RHODES DON BTERSGHENK Percussion consultont ond editor WILL RAPP 'Lfts VFf ar ol F.^rr\r,,.r?n@,
a D I I I I I I f I I I I I I I I I I I I I t I I I t I I I I I I T I I I I I I I I I I D I PER.CUSSiON:BOOK T ESELSENTIALTS CO'nPREHENSI\/E BAND INETHOD TT|t,l TAUTZENHEISER PAUI TAVENDER JOHN HIGGINS ro|n C. R.HODES Percussion consultont ond editor \,yILL RAPP CHARLES N'IENGHINT DON BIERSGHENK Band is... Making music with a family of lifelong friends. lf nderstanding how commitment and dedication lead to success. Sharing the joy and rewards of working together. I ndividuals who develop self-confidence. Creativity-expressing yourself in a universal language. Band is...ftfUStC! Strike up the band, Tim Lautzenheiser P"r.urrion instruments were invented by prehistoric cultures. However, most percussion history is connected with military groups. Drums were used in the 700 A.D. Moorish invasion of Africa. These instruments were ancestors of the snare drum and timpani. Both the Scots and Swiss developed the snare drum around 1300. Around 1450,Turkish military bands featured triangles, cymbals and several sizes of drums. The instruments used in these "Janizary Bands"communicated signals to large numbers of fighting troops. J.S. Bach, Mozart, Beethoven, Berlioz, Debussy, Sousa and Stravinsky are all important composers who have included percussion in their writing. Common percussion instruments are the snare drum, bass drum, crash cymbals, triangte and timpani. Famous percussionists include Vic Firth, Peter Erskine, Buddy Rich and Al Payson. tSBN 0-634-00327-s copyright @ 2004 by HAL LEONARD CORPORATTON International Copyright Secured All Rights Reserved -21 TIJHRL.LSoNARD' L--coRPORA-t-toN 7A7A W. BLUEMOUND RD. P.O. BOX I3A I 9 MILWAUK€E, vl't 532I 3 - , ,II .lUl':, -l. i;(E),, - l .< O , !F ;, !,, H ''6..'.. 71.," (E',tl 'Y)'-. '.5.',1 rI:o', -.:j : -;i:.l!-liii ,c'l:i: l . '_: ;:. . "ll": : .r.a . .:
2 _ MATCHED GRIP rHE BASICS Poslure Stand near your instrument, and always keep your: . Spine straight and tall . Shoulders back and relaxed . Feet flat on the floor Mcrtched Grip fA Ncrturcrl Sfick Positionl Every percussion instrument requiring sticks or mallets can be played with this basic grip. Both sticks or mallets are held exactly the same "matched" way. . Place the sticks in front of you with the tip of the sticks pointing forward. . Extend your right hand as if shaking hands with someone. . Pick up the right stick with your thumb and index finger about 1/3 from the end of the stick. . The curve of your index finger's top knuckle and the thumb hold the stick in place, creating a pivot point. . Gently curve your other fingers around the stick. . Check to be sure the stick is cradled in the palm of your hand. . Turn your hand palm-down to a comfortable resting position. . Follow the same procedure for your left hand. Prcrclice & Performdnce Position . Put the practice pad on a flat surface slightly below your waist. . Stand up straight with your arms relaxed at your side. Raise your forearms by bending your elbows. . Form the cutline of a slice of pie with the sticks about 2 inches above the practice pad. . Move your wrists to raise the sticks 6-8 inches from the practice pad. This is the "up" position. . Begin with your right hand. Strike near the center using a quick, reflex-like wrist action. Let the stick return to the "up" position to prepare for the next strike. . Follow with your left hand, and strike about 1 inch away from your first right hand strike. Return to the "up" position. . When resting, keep the sticks about 2 inches above the practice pad in the outline of a slice of pie. Sficking Work-Ouls R. - Right hand stick L - Left hand stick Play the following sticking work-out on your practice pad, keeping an even pulse vvhen playing and resting: O = Strike near the center of the practice pad. L o R o t o R o R o E 3 R o : Inrsrl You will learn several"sticking" methods in this book. The method above is called Right Hand Lead (Rr-nr-...RLRL, etc.). I nrsr I
a D I I D I I t t I I I I I I I I I I I I I I I t I I t ) I I ) I I ) I I t ) ) ) ) t ) ) I Getting'lf Together The two ways to set up the snare drum depend on which grip you are using. Matched Grip = level drum set-up. Traditional Grip - angled drum set-up. 9tep I Open the bottom legs of the snare drum stand. Lock them into place by tightening the tripod base screw. Grasp the bar and raise stand below your waist. Tighten the height adjustment screw and lock into place. Step 2 Put the two support bars closestogether in front of you. Be certain they are even. lf your stand has an adjustable arm, it should point away from you and be extended. The bars should be parallel to the ground. Tighten the angle adjustment screw. Sfep 3 Carefully place the snare drum in the stand so the snare strainer lever faces you. Step 4 Slide the adjustable arm until it fits snugly against the shell of the drum. The top batter head should be slightly below your waist. Lock your drum stand into position. Tighten all screws each time you play. Step 5 Tighten the snare strainer. Tap the head of the snare drum. lf the sound is not crisp, tighten or loosen the tension control screw. The snares should rest lightly againsthe bottom head. Stand by the drum as shown: 3 - MATCHED GRIP MATCHED GRIP SNARE DRUM SET-UP support DerfS ongle odiustrnent SCrew rdpod Delse' sc?ew ldentify and draw each of these symbols: Ledger-n"t Meqsures Measure & Bor Lines Measure READING MUSIC Music Stoff The music staff has 5 lines and 4 spaces where notes and rests are written. Ledger lines extend the music staff. Notes on ledger lines can be above or belorry the staff. Bar Line Bar Line Bar lines divide the music staff into measures. I Bar Line
a t I I I I I t I I I I I I I I I I I I I t I I t I D I ) I I ) I I ) I I , ) t ) ) ) ) ) I Gelting lt Together The two ways to set up the snare drum depend on which grip you are using. Matched Grip = level drum set_up. Traditional Grip = angled drum set-up. step I open the bottom legs of the snare drum stand. Lock them into place by tightening the tripod base screw. Grasp the bar and raise stand below your waist. Tighten the height adjustment screw and rock into prace. Srep 2 Put the two support bars closestogether in front of you. Be certain they are even. lf your stand has an adjustable arm, it should point away from you and be extended. The bars should be parallel to the ground. Tighten the angle adjustment screw. Srep 3 Carefully place the snare drum in the stand so the snare strainer lever faces you. Step 4 slide the adjustabre arm untir it fits snugly against the shell of the drum. The top batter head should be slightly below your waist. Lock your drum stand into position. Tighten ail screws each time you pray. step 5 Tighten the snare strainer. Tap the head of the snare drum. lf the sound is not crisp, tighten or loosen the tension control screw. The snares should rest lightly againsthe bottom head. stand by the drum as shown: 3 - MATCHED GRIP MATCHED GRIP SNARE DRUM sET-UP Meqsures & Bor Lines Measure Measure support l'erfs rripod l'etge' READING MUSIC Music Stoff The music staff has 5 lines and 4 spaces where notes and rests are written. ldentify and draw each of these symbols: redserl* = Ledger lines extend the music staff. Notes on ledger lines can be above or belol the staff. SCfew .\4 5 Bar Line Bar Line .\ Bar Line Bar lines divide the music staff into measures.
I D t I I I I t I I , I I I I I I I I I I I I I I ) t ] I I t I I t I I I t I I I I I l I I Getting lt Together The two ways to set up the snare drum depend on which grip you are using. Matched Grip = level drum set-up. Traditional Grip - angled drum set-up. Slep I open the bottom legs of the snare drum stand. Lock them into place by tightening the tripod base screw. Grasp the bar and raise stand below your waist. Tighten the height adjustment screw and lock into place. Step 2 Put the two support bars closest together in front of you. Be certain they are even. Put the remaining support bar on your left and raise it about 2 inches. Tighten the angle adjustment screw. Srep 3 carefully place the snare drum in the stand so the snare strainer lever faces you. The left side should be angled higher. step 4 Slide the adjustable arm until it fits snugly against the shell of the drum. The top batter head should be slightly below your waist. Lock your drum stand into position. Tighten all screws each time you play. Slep 5 Tighten the snare strainer. Tap the head of the snare drum. lf the sound is not crisp, tighten or loosen the tension control screw. The snareshould rest lightly against the bottom head. Stand by the drum as shown: READING MUSIC Music Sfoff The music staff has 5 lines and 4 spaces where notes and rests are written. ldentify and draw each of these symbols: Ledserg"t 3 _TRADITIONAL GRIP TRADITIONAL GRIP SNARE DRUM SET_UP rim balter head snote strcriner lever Meqsures & Bor Lines Measure Measure Ledger lines extend the music staff. Notes on ledger lines can be above or below the staff. Bar lines divide the music staff into measures. -\ Bar !-ine ] Bar Line -\ Bar Line
4-A t I I I I I I I I I I I I I I I I I I I I I I I I I I ( ( I I I I I I I I I I I ( ( I ( I I BASIC PERCUSSION INSTRUMENTS Percussionists play several instruments. Snare drum and keyboand percussion instruments provide the basic techniques to play all other instruments in the percussion section. Ask your director to help you identifu each of these basic percussion instruments and mallets you may have in your school's band room. INSTRUMENT Concert Snare Drum with stand Concert Bass Drum with stand Crash Cymbals (16"to 18") Suspended Cymbal and stand (16"to 18") Triangle with cllp Wood Block Timpani (23': 26': 29': 32') Bells Xylophone Chimes Marimba Vibraphone General Accessories: Tambourines (with and without head), Cowbell, Bongos, Congas, Timbales, Maracas, Gu i ro, Claves, Casta nets, Slapstick, Sleigh Bells, Slide Whistle. MALTET/STICK 58 or 28 sticks 1 pair medium bass drum mallets Played in pairs 1 pair medium yarn mallets 1 pair metal beaters 1 pair medium rubber mallets 1 pair hard rubber mallets 1 pair general timpani mallets 1 pair hard timpani mallets 1 pair very hard lexan mallets 1 pair hard rubber mallets 1 pair hard rubber mallets 1 pair medium rubber mallets 2 plastic or 2 rawhide mallets Various yarn and rubber mallets Various yarn and rubber mallets
1&2 & 3 & 4 & 1& 2 & 3 & 4 & 1& 2 & 3 & 4 & I & 2 & 3 & 4 & l. lltlllt lf lttlll llltttll ltltitJt 2. , I I I D I I I I I t I I I I I I I I I I I I I D I I ) ) I I I I I I I I t t I I ) I ) ) I The Beot : The'beat is the pulse of musit, and like your heartbeat it should remain very steady. Counting aloud and foot-tapping help us maintain a steady beat. Tap your foot down on each number and up on each "&." Onebeat = 1 & .1. t 4-B Notes And Resfs Notes tell us how high or low to play by their placement on a line or space of the music staff, and how long to play by their shape. Rests tell us to count silent beats. I a Quarter Note = 1 beat l Quarter Rest = I silent beat I. THE FIRST NOTE Snare Drum R Play your quarter note as the band plays their long tone. L COUNT AND PLAY RRRR Count: Tap: 3. A NEW NOTE L 4. TWO'S A TEAM LLL I Start with right-hand stick \ Play sticking os marked. I a t af, Count&Tap:l & 2 & 3 & 4 & 1 & 2 & 3 & 4 & & 2 & 3 & 4 & 1a 2 & 3 & 4 & 5. HEADING DOWN Always stand straight and totlwith your shoulders relaxed. R L 6. MOVING ON UP RRR - t t t Count&Tap:1 & 2 2&3&4& & 2 & 3 & 4 & & 2 & 3 & 4 &
5-A E 4 o ttl - F Snare Drum Bass Drum Cymbals Drum Set Accessory Instruments le Clef Bells Xylophone Marimba Vibraphone Chimes Note Nqmes Each note is on a line or space of the staff. These note names are indicated by the Clef. Clef Timpani Marimba Older snare drum and bass drum publications often use the bass clef. h* ho. Bqss = gE o II !E ltr e (l ', CIefS indicate a new line of music and a set of note names. Percussion istruments use three common clefs: Percussion Clef Treb # Time Signoture indicates how many beats per measure and what kind of note gets one beat. 4 = 4 beats Per measure -*- = Quarter note gets one beat ShOfp # raises the note and remains in effect for the entire measure. Flqf b lowers the note and remains in effect for the entire measure. NqtUfql ! .un.uls a flat (b; or sharp (fi) and remains in effect for the entire measure. Keyboqrd Percussion This chart will help you play notes on orchestra bells. Practice all exercises with other percussionists using the keyboard percussion section at the end of this book. Switch parts often! Gt / Ab At /sv ci /D, Dil /Eb ft /Gb Gl / Ab Ai /Bb cI /Db Dil /Eb Ft /Gb G{/Ab Ai /Bb €-u A B T' G
5-B DOUble Bqr :-=il indicates the end ' -------tl of a piece of music. Repeor sisn : U:f;:*"1#lgi'Iff:" 7. THE IONG HAUI R 8. FOUR BY FOUR RLR Practice Right Hand Lead as marked. L R Count&Tap:l & 2 & 3 & 4 & I a 2 & 3 & 4 & 9. TOUCHDOWN L lo. THE FAB FIVE Risht Hand Lead RRR a I t I I D I I I I I I I I ) ) t ) I ) ) ) ) ) ) t ) ) ) I ) ) ) ) ) ) ) I ) I I I I I l l t - &2&3&4& 1a2&3&4& 1a2&3&4& 1a2&3&4& sna&Drum \ , The bass drum is one ofthe most important instruments in band. Hold the bass drum BqSS DfUm "lT--zF: mallet.with you-r right hand{matched grip). Place your left hand on the head opposite rL_- the striking surface. Strike the bass drum half-way between the center and the top rim, o*s o'.r- y' | pulling the sound out ofthe bass drum. B.D. is the abbreviation for bass drum. | | . READING THE NOTES Compare this to exercise rI,THE FAB F|VE. RRRLRLR 1a 2 & 3 & 4 & 12. FIRST FLIGHT ESSENTIAL ELEMENTS QUIZ Fillin the remaining note names before ptaying. [r 13. 74 7-- -- BbCD RLRLR RLRLR
6-A 14. ROTLING ALONG R L Go to the next line..,t L R S.D. Holf Note I d > =2Beats ,, : " 1a2& Holf Rcsf =",!1Silen! B.gags I ^ I .,&, i:2 .'&,' 15. RHYTHM RAP Clap the rhythm while counting and tapping. Clap Repeat Sign 1 I &2&3&4& I &2&3&4& 1&2&3&4& 1&2&3&4& I &2&3&4& t &2&3&4& Alierlote .,Sticking . n5anaffi"d,Brjetln$0"f,'_",,1!.iyrylryptsilnins w;t1i,1 rieht:hand . ': .!.. B0SS DfUm When playing half notes, use a stower stroke to pul/the sound out of the bass drum. | 6. THE HALF COUNTS Practice Alternate sticking as marked. RLRLRLRLRLRL ttl
17. HOT CROSS BUNS RLL 6-B R , - a) I8. GO TEIL AUNT RHODIE L L American Folk Song R L | 9. ESSENTIAL ETEMENTS QUIT using the note names and ftythms below, drow the metody notes on the stqff beforc ptaying. ) I I I I I I I I I I I I t I I I I I t I I I I ) I ) ) ) I I ) I ) ) t I ) ) l ) ) D ) ) ) ffi )))) EbDEbD )J cBb L d c R a D R ))) EbDEb
7-A Whole Nofe O__-_+>=4Beats 1a2a3a4a Whole Rest - 1a2a3a4a A Whole Measure of Silent Beats Whole Rest Half Rest ------r------ I hangs from sits on a a staff line. staff line. 20. RHYTHM RAP Clap the rhythm while counting and tapping. Clap I I I I I I I I I I I I l I ( I I I I I t &2&3&4&'l &2&3&4& t &2&3&4& 1&2&3&4& 1&2&3&4& 1&2&3&4& L Multiple bounce sticking is your first step to learning the roll. a Simply let the stick bounce freely on the drum head,like this: ooooc'oQoooo' Ji-t ,t tJJ l.l Jltr ) RRR R R R R L L L L L L L Multiple Bounce Special Percussion Exercise d))yti 1];,uti 1 Keep counting and maintain a steady tempo. 2I. THE WHOTE THING RLRLRL Practice this exercise with Alternate Sticking. RLRLRLRL 1JJuti (JJJlr) Duet A composition with two different parts, played together. BOSS DfUm When playlnn whole notes, use a very slow,long stroketo pullthe sound out. 22" SPIIT DECISION - Duef Playyourpercussionpartasthebrassandwoodwindsplaytheirduetparts. RLRL RLR
The Key Signature tells us which notes to play with sharpr (#) o, nut, (b) throughout the music. When playing keyboard percussion, this key signature indicates the Key of Bb - play all B's as B-flats, and E's as E-flats. 7-B { - E o *t Key Signoture 23. MARCH STEPS L I t - , - t - 24. LISTEN TO OUR SECTIONS Percussion Woodwinds Brass RLRL Percussion RLL Woodwinds Brass Perc. R Ww. Brass All R t?- t l I I --- - - 7t ,. ---) 25. LIGHTIY ROW Markyour own sticking before you play. t t t I I I I I I I I I I I D I I I I I I I I I ) I I ) ) I I ) I l ) ) ) t ) ) ) ) ) ) ) ) -t-a +.Ftl - - - - - - - - - t - t a - +tl - - - - - - - t - t 26. ESSENTIAL EtEn ENTS GIUIZ Drow in the bor lines before you ptay. .ft' -
8-A Fermqfq 27. REACHING HIGHER r-R n L A Hold the note (or rest) longer than normal. RUdimenfS Rudiments are the basic techniques of playing snare drum. You should practice and memorize rudiments to improve your skill. The flam is your first rudiment. --*-lFlom -URight Hqnd Flom Left Hond Flqm A flam produces a sound that is slightly longer than a regular note (a tap). Listen to the difference between flams and taps. The small note is a grace note. lt has no rhythmic value and sounds just ahead of the regular sized, or primary note. The primary note sounds on the beat. r-R I --*-f-- --77- n L I --*-1-- ---nJHold the left stick about 2 inches above the drum head. Hold the right stick in the "up" position. Move both sticks at the same speed. The left stick will hit the drum just before the right stick. Let the left stick rebound to the "up" position, and the right stick rebound to the 2 inch position. Hold the right stick about 2 inches above ih" drur head. Hold the left stick in the "up" position. Move both sticks at the same speed. The right stick will hit the drum just before the left stick. Let the right stick rebound to the "up" position and the left stick rebound to the 2 inch position. Fermata I A 28. AU CTAIRE DE tA rR R L tUNE r-R t 29. REMIX r-R a a A I - a- - -
a 8-B l= I HOrmony Two or more nQtes played together. Each combination forms a chord. I i"nto,n;b;id-:;'#;;;,y;i.ir"v""pr,v.-- - --""* €l I ; 30. TONDON BRIDGE Matk your own sticking before you p.tay. Engtish Fotk song I t I I t I I I Austrian composer wolfgang Amadeus|t{ 6zarl (1756-1791\ was a child prodigy who started playing professionitlly at . .= ] : age six, and lived duringthe time of the American Revolution. MozartS music iimelodic and imajinaiive. He wrote more i a than 600 compositions during his short life, including a piano piece based on the famous song,"Twinkle,Twinkle, Little star." E, I I rh'rnangle should be suspended on a clip and held at eye level. Use a metaltriangle beater I Triongle uni iit tt " ttiungl" opposite the open end. To stop the sound, touch the instrument with your I fingers. Tri. is the abbreviation for trianole_ I r 3t. A t\ ozART METODY Adaptation I -:: i rvrvrtr{rrr rvrEIr\. S.D. B.D. I Triangle ,4 J t t ) l'll t t rl ) I I I I 32. ESSENTIAL EIEMENTS QUIZ Draw these symbols where they belong and write in the note names before you play: 6 il 'll 7) ,i:" :l
9-A Eighth Note & Eighth Rest 33. DEEP POCKETS RLRRLR Each Eighth Note or Rest = l/z Beat 2 Eighth Notes or Rests = I Beat dtahb '1 & 77 ) * n 1 & J7 a+ n 2 & )7 Eighth Notes groups have a beam. 2-notebeam 4-notebeam n n=rTT 34. DOODLE ALL DAY Mark the sticking before you play. Doubling or Double Stickittg A pattern in which two consecutive notes are played with the same hand (R R L L, R R L L). Double Sticking, or Doubling is an important skill for snare drum. T I I I I I I I I I I I I I I I I I I I I I I I I I I ( I I I I ( I ( ( ( ( ( ( I ( ( I ( { 35. JUi P ROPE rollow tne Double Sticking corctully and strive fot a consistent sound. B LLFI LL R LLR LL BRL RAL R LLR Pick-Up Nofes Rudiment Porodiddle 36. A-TISKEL A-TASKET Pick-up R R L R L R R One or more notes that come before the first ful/ measure. The beats of Pick-Up Notes are subtracted from the last measure. RLRRLRLL A snare drum rudiment (see measure 7.) '1 Paradiddles RLR 4& 1 & 2 & 3 & RLRLL
9-B Dynomics 37. IOUD AND SOFT Clap f - !?:n,.(play.loudly) lift sticks higher ,!f - mezzo forte (play moderately loud) normal stick height p -,piano. (play softly) bring sticks close to head ' o : ' 38. JINGTE BETLS J. S. Pierpont I I I I I I I t f I I I I I I I I I I D I I I I I I I D I I t l I I I I I I I I I I I t I D 39. MY DREYDT r-R L Practice "Doubling" in this exercise. L R L L I.R L L R R Traditional Hanukkah Song RLRLR
10-A 40. RHYTHM RAP Ctap the rhythm while counting and tapping. 1&2&3&4& 1&2&3&4& 1&2&3&4& 1& 2 & 3 & 4 & Multiple Bounce Eighth Notes RLRLRLRL RLRLRLRL RLRLRLRLRLRLR Special Percussion Exercise + + Connect J J so the bounces sound even and consistent. 4I. EIGHTH NOTE JAM Suspended Cymbol 1& 2 & 3 & 4 & 1a 2 & 3 & 4 & 1& 2 & 3 & 4 & 1a 2 & 3 & 4 & One single cymbal suspended on a stand. Always use yarn mallets, not timpani mallets. Sus. Cym. is the abbreviation for suspended cymbal. l I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I { I I I I I I I I I I I I I I SKIPTO MY tOU "f American Folk Song 42. lffi Sus. Cym. 'f 43. LONG, IONG AGO
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1 1-A ! ;. p Time Signofure E4 ,'-{'1,,, ffi = 2beatspermeasure ,,F, ',:. Lt*- = Quarter note gets one beat '",',t, 46. RHYTHM RAP Clap | | | | Conducfing Practice conducting this two-beat pattern. {b Rudiment Flom Top After you play a flam, play a tap, always with the low hand. This will keep your hands correctly positioned for the rest of the exercise. Remember, a tap is played with the stick closest to the drum head. Solo ln ensemble music,So/o marks a passage where one instrument takes a leading part. In the next exercise, the Bass Drum is featured in the places marked 5o/o. 47. TWO BY TWO Be corefulto maintain the same tempo when going from flam taps (measures 1 and 2) to the regular flams in measure 3. Solo Tempo Morkings Solo Tempois the speed of music. Tempo markings are usually written above the staff, in ltalian. Allegro - Fastempo Moderato - Medium tempo Andante - Slower walking tempo 8.H Allegro ,.o.4 IGH SCHOOL CADETS - Mqrch John Philip Sousa 4 ,f Use a slower motion on half note croshes.
1 1-B Tqmbourine Hold the tambourine steady in your left hand at a slight upward angle. Your right hand strikes the head of the instrument according to the written dynamics: Soft light sounds use one or two fingertips near the edge of the head. Medium loud sounds use tips of all fingers one-third of the way from the edge to the center. Loud sounds knuckles on head, half-way between edge and the center. Use a motion similar to knocking on a door. NOBODY'S HOME Crescendo (gradually louder) Decrescendo or Diminuendo (gradually softer) Dynomics I t I I I I I t t I I I I I I I I I I I I t I l D D I t I I I , ) t ) I I ) ) ) ) ) ) ) ) ) 50. CTAP THE DYNAMICS lt I - - -' - - - - - - - - tl ,) J tt ,J tt ,J-] I l) tl ,J tl ,J J-l l-l l' l, Suspended Cymbol Roll With yarn mallets on a suspended cymbal, use a rapid series of alternate strokes on the opposite edges of the cymbal (3 o'clock and 9 o'clock). Increase the speed of the roll to build an effective crescendo 5I. PIAY THE DYNAMICS Sus, Cym. I 7
12-A PER.FORMANCE SPOTLIOHT 52. PERFORMANCE WARM-UPS TONE BUILDER I I I I I I I I I I I I I RHYTHM ETUDE I "f Tambourine Remember: how your hand strikes the tambourine is determined by the dynamicsI J ^ = Let the sound continue to"ring"without stopping. lt is a common indication for triangle or cymbals. The same effect is sometimes marked Lv. (let vibrate) or /.r. (let ring). Let Ring CHORALE Andante Sus. Cym. I 7 Remember: start softly to make an effective crescendo. I Let the sound continue.
I 12_B t L:,,.,fttdnntr-. I .l t' ""' , . I ! ta. OU* IEE - Duer or Bond Arrongemenf a - George R. Poulton I '?,-' ;-:- q _> ? =-=:==:=:::= ),,o2 to< r? t? ,? ,1 I Triansle I D -ryf I I 444.- f ,'3 - t( --- rZ rZ r? '..l^l D I I ,!f -p A I .s.D.C r I r , @ ) uK rZ ,2 ,1 ,2 ,. I l? I I Sl. fninf JACQUES - Round (when srcup A reaches@,sroup B besins at@) I Modir.aro - ^- - - French Forksong lr I I l' ) ) BD I ryf Wood Block ,r2 ) t J l' ) ) l' ) ) l' ) ) l' ) ) l. ) ) l. ) ) lI llI I I t I t I , t l
13-A PER FO R.TNANCE . SPOilI OHT 55. WHEN THE SAINTS GO MARCHING lN - Bond Arrongement E: uegyriylg; Arr. by John Higgins S.D B.D. I p Cr. Cym. I f J^t l" ,!f l' J^r a l ( I I J^\ f'rf f Sus. ,Cym. wifh'sticks When playing sus. cym. with sticks, the best sound is usually one thifd or one half the distance from the edge to the dome. MACDONALD HAD A BAND - Section Feoture l"li f ,J^ ) - cl , J^, J^ I cl I I J^ \ .,J^ ryf Choke l'l' f I ct'ot. I J}J\ 56. OLD Allegro rk ll 'o), ( | | t"' cym. witl w+imf Sus. Cym. with sticks After repeating,go on to next page
13-B Ludwig van Beethoven Arr. by John Higgins TO No. 9) El *----ztl-= f tl #,- rl f 7. ODE Moderato ;bu ffi uo I t mf +;- Triangle (Ren a I I I l I D t t I D I I I I ) JOY (from Symphony ,t,llll l-l Fundamental or overtones -your choice) 5 (Remember: .D. uo I t mf ,fl" . - r .r .r T t .f t "f E I. c Sus. Cym. with yarn mallets T I I ? , A I t , tttl , c l'l f j^l r .f r I- .- '\7 John Higgins 4ff _ ? --T.k ---r-aa ---r-, llI I ore [FL[:- r#L 58. Hl Allegro rffi Tambourine FLh's I ) ) ) ) ) ) ) ) ) ) ) ) ) t ) ) ) ) ) ) l I I I I : . HARD ROCK BTUES - Enc llegro A T t .f I I , l'l J^| r I t\:/ A , d -l t -l r - c S.D. 'ol 'vl I r Sus. Cym. with sticks ,4 J-Iri fi-J-l l. illl ,tf - ll J I I 'VI I f .rlnJ-J-J-I l.||ll mf JI J J | 'vl I f J'J-J] J-J-J'] Ir |tl mf llll 7t i' l f- rl t" l f rl f l l r rl r l I I tl | | rj l"tttl JI J I l"rl f goto) llll | ll f , J-J-fi v I t-i " l"rl (Solo) llll | 'vl I l-l-J-l J-l-Jl tttl J J:I ] t t I I t t l rl r l
14-A Tie Pifched Percussion (Keyboards and Timpani) Other Percussion (S.D., B.D.,Tamb., Cym., etc.) 59. FIT TO BE TIED 1 2 beats = 2 Beats A curved line connecting notes of the same pitch. Play one note for the combined counts of the tied notes. A curved line connecting two notes on the same staff line or space. Play one note for the combined counts of the tied notes. 60. ATOUETTE French-Canadian Folk Song t l I t I I I I I a I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I Doffed Holf Note ). -+ =3Beats 1&2&3& I d-<Dot A dot adds half the value of the note. C'---to J i = ). 2beats+lbeat= 3beats 61. ATOUETTE - THE SEQUEI French-Canadian Folk Song American composer Stephen Collins Foster (1826-1864) was born near Pittsburgh, PA. He has become the most recognized song writer of his time for work5 such as "Oh susanna,"which became popular during the California Gold Rush of 1849. Among his most well-known songs are"My Old Kentucky Home" and "Camptowri-Races."
62. CAMPTOWN RACES LR R Practice FlamTaps in this exercise. rR R "t4-B Stephen Collins Foster ,f wd. Btk. S.D. BD I I ryf ,nit J t J I t I I J I I I r <J^ tl .-J^ I I 63. NEW DIRECTIONS nL L }J} J I t l a }J} J lll' ,I J JI , , I c 64. THE NOBTES '7 3 beats 65" ESSENTIAI ELEMENTS QUIZ ffi"
i 5-A 4 o lrl - h l ? tt-iSnofure Conducting Practice conducting this three-beat pattern. =' 3 beats per measure =. Quarter note gets one beat rN t I I I I I I I I I I I I I Rudimenf Double Pqrodiddle 67. THREE BEAT JAM RLRLRR t , - - - - - - - - - - - 68. BARCAROLLE Jacques Offenbach Moderato mf ','!1: :a;-. E . 'iQ;:; ,:|:,1 .19|' i I,S, Rudiment Flom Accent 69. MORNING (from Andante r-R L R nL R L _-rNorwegian composer Edvard Grieg (1843-1907) wrote Peer Gynt Suite for a play by Henrik lbsen in 1875, the year before the telephone was invented by Alexander Graham Bell. "Morning" is a melody from Peer Gynt Suite. Music used in plays, or in films and television, is called incidental music. r-R Peer Gynt) After you play a flam, play two strokes, always with the high hand. This will keep your hands properly positioned. Edvard Grieg S.D. B.D. I p Tri. I J. I J J lll - JJ I I "f J l-__l tl l l dlv I p I J. p
1s-B Accenf Emphasize the note. 70. ACCENT YOUR TATENT -t-- ) Latin American music has its roots in the African, Native American, Spanish and Portuguese cultures. This diverse music features lively accompaniments by drums and other percussion instruments such as maracas and claves, Music from Latin America continues to influencejazz, classical and popular styles of music. "Chiapanecas"is a popular children's dance and game song. MqfqCqS Hold maracas by the handles. Use GlqVeS cup your left hand to form a resonating chamber. Hold a short, precise wrist motion to shake the lower pitched clave in your left hand. Use the clave maracas. Maintain a steady tempo. in your right hand to strike the center of the left clave. *;t -. =- Place tip of left stickon center ofdrum. Rest stick on rimand hold firmly. strikewith right stick Klm lnot - about l/3 away from tip of left stick R.s. is the abbreviation for rim shot. 71. MEXICAN CLAPPING SONG ("Chiopqnecos'/) Latin American Folk Song - I 9l' { O ; -, ) I I I I I I I I I D I I I I I I I I I I D I D I I t D D I I I I I t I D I l D I ) t I I I Claves l f rl nj'lJ-l I soul ' tl )\-l cll t l I I a a a a)) I t I t 72. ESSENTIAL CREATIVITY Compose your own melody for measures 3 and 4 using this rhythm: S.D. I l-1 1 l I B.D. This percussion part con be played to accompany a band member's melody. --- nt'..7,- '!a:...-
16-A 73. HOT MUFFINS 74. COSSACK DANCE - S.D. BASIC BIUES f Tamb. 75. lffi Key Signoture The Key Signature tells us which notes to play with sharps or flats throughout the music. For keyboard percussion,thi5 Key Signature indicates the Key of F - play all B's as B-flats. I sf & 2nd Endings Play through the lst Ending. Then play the repeated sectlon o-f music, skipping the l st Ending and playinQ the 2nd Ending. , F. llr--_-l 76. HIGH FTYING B.o. l ,f Triangle 2nd time
Japanese folk music actualtyhas jts orfgins in ancient China. 'Sakura, Sakura"was performed on instrumentsuch as the koto, a 13-string instrument'that is more than 4000 years old, and the shakuhachi or bamboo flute. The unique sound of this ancient Japaneie melody resutis from tne:pentatonic (or five-note) sequence used in this tonal system. 16-8 '_., I . ,:.!t . I i,vt !l;l l r,,iiO': '-: .{ Snqre Drum Turning the snares off can create an effective, dark sound, similar to a tom-tom. 77. SAKURA, SAKURA - Bond Arrongemenf Andante Snares off Japanese Folk Song Arr. by John Higgins S.D. BDI | | t ryf Sus. Cym. I ,1r. J^ \ lll' J^) - t t J^, J^) .\ I S.D.and B.D.can share the same rest. '4 r ,f Triangle ) I ,/t r t j ^ t I}J^ r. c I}J^ t.tl Itll r1 ^t.1 r,l^ I t l l r 4f Wood Block p ) I I I I D I I I D I I D I D I I I I I D I I I I I I D D t I I I I t D I I D I I I t I I I l.,l^I rll t r/ .,r,^ Shared rest Y/ t f ^J^ , J^ ) rrrt ttl ttl -rI F vl^ ) p J^ I c t f ,J l l ,l t l I J -r- l J^l l^I I r all ^ t */ r.' t p _ Choke t(tll J^a J J J t l .r .rlr , p f -
17-A Sleigh Bells Sleigh bells are usually shaken on the rhythm indicated. However, handle-mounted sleigh bells can be tapped gently in time with the fist by holding the instrument perpendicular to the floor. UP ON A HOUSETOP Snares on 79. JOLLY OLD ST. NICK Remember to emphasize the accented notes. Moderato s.D. \ l-t l-t I I I I ! I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I 80. THE BIG AIRSTREAM 8t. wAtTz THEME (THE MERRY WTDOW WATTZ) Franz Lehar 6 Glocken Verlag Ltd., London
17-B Sixteenfh Nofes EI Fr-rF-il t'ttl attaa 1 e &"a JT I aJl: II- rri-t aaaa 2 e &.a l/,t\ :1, I t : .)- F-t ) ) --- rTl-] aaao f eAa J ,t R L R L R L R L RLRLR L RLRLR L R L RLRLR 3&4 & 1e&a2&3eaa4& 1&2e&a3&4 & Special Percussion Exercise 1 82. AIR TIME Each Sixteenth Note = 1/+ Beat 4 Sixteenth Notes = 1 Beat Count carefully and maintain a steady tempo. f I I I I t D I I t I I I I I D I D I I I I I I I I I I t I I I I I I I t D I I I D I I I D I 84. ESSENTIAI EIEMENTS QUIZ Moderato S.D. 74 a ESSENTIAL CREATIVITYlmprovise your own part for measures 3-8 using these rhythms: ), n, ffi 83. DOWN BY THE STATION Allegro BD I "!f t t I f tl t l Solo Cr. Cym. I )\ay'^ Solo I p --
18-A nDAILY WARM.I'PS 86. TONE BUITDER WORK-OUTS FOR TONE &TECHNIQUE 87. RHYTHM BUITDER 88. TECHNIGIUE TRAK Paradiddles RLRRLRLLR FlamTaps L R R 89. CHORATE ^dapted from Cantata 147) Paradiddles RLRRLRLL RLRLRLRLRLRLRLRL RLRLRLRLRLRLR Johann Sebastian Bach A E o lrl E F A musical form featuring a theme, or primary melody, followed by variations, or altered versions of the themc. p - Theme ond Vqricrfions
) 18-B I go. vannmoNs oN A FAM|L|AR THEME I .,-., tnitu 3w Dll "f 3t!-r; D Variation 1 lrChange to Triangle l| Variation2 - - - - - 11rl I | 1,, Change to Cr. Cym. | | t: ' I I ; D.c. or Fine illl,ii;!;1#i"-li3l?::i"":'#:::,'f:lill'"fi;'*rue"X*HJ';1'"i:?;""",." I I a-> . 1 I Eishth-Nore _ .ffi = re"ut ffi=fE n n : Two Sixteenths I e & a subdivide each beat into 4 equal parts. l-e & a a I r J r li-r'l -rl-l aaaaaaaa I t e&a2e&a lrrrf 191. BANANABOATSONG t Moderato Caribbean Folk Sono D - ,.o. tlu'"'otl ? Fine Change to Cr. Cym. lrffi nlf , irffi + ,fr,f] fTll ttl rII: fTTl t t rTIf fTll lll' rTT TTrl l- -v - D.c. ar Fine l I I D )
19-A 92. RAZOR'S EDGE Snares on 93. THE MUSIC BOX African-American spirituals originated in the 1700's, midway through the period of slavery in the United States. One of the largest categories of true American folk music, these primarily religious songs were sung and passed on for generations without being written down. The first collection of spirituals was published in'1867,four years after The Emancipation Proclamation was signed into law. 94. EZEKIEL SAW THE WHEET Africa n-America nS pi ritua I 95. SMOOTH OPERATOR Rim Shot A 7 Note how the pattern changed.
t le-B D D CC. Of.lOlNG ATONG prcctice -Doubting" in this exercise. Rimshot I |-tLRL R LLRLRLR LLRLRL R LLRLRLR LLRLRL R L RLRLB A - -l!!! - t I I R R L RLRLRLRLR lRLLRLLBLLRLRLRLLFLLRLLRLRLRLLRLLRLLRLRL>>> D I , I I : Ragtime is an American music style that was popularfrom the 18903 untilthetimeof Wo dWarl. This earlyform of a jaz brought fame to pianists like "Jelly Roll" Morton and Scott Joplin, who wrote "The Entertainer'and "Maple Leaf Rag.' I Surprisingly, the style was incorporated into some orchestral music by lgor Stravinsky and Claude Debussy. - The trombones now learn to play a glissando, a.technique used in ragtime and other styles of music. I I I 97. TROMBONE RAG t Atleero D ^^ o"Ri'" lI a I I ) ) ) ) t ) ) 98. EssENTrAr ETEMENTs clurz ) Andante l,w' ) ) D.C. al Fine t ) ) ) i
20-A 99. TAKE THE LEAD Practice Right Hand Lead in this exercise. e o El - II oo. A musical"sentence"which is often 2or 4measures long. Percussionists should match the dynamics of the band.' Phrqse THE COID WIND p I ol. PHRASEOTOGY 4 (t tg ITF Mu tripte Meosure Resr n:ijl$j :j,i:::H:ff"j::ff ,:".Y,T;ll ll'Iu"n.", E# 1-z-z-+ 2-z-z-q Simile gim.) IO2. SATIN LATIN Allegro Snares off R LLR L R L Continue playing in the same sryle. Proctice Double Sticking in this exercise. R L R LLR L RLRLR L I tttl -v-- | 'vl I | || ffi- 'ta ta ta ta tatatata- t a tllt rTTl fTTl I t rl | | | / | r - - - il llrr'-il a a - ta tatatatata t ) rll' rTtl fTTl Go on to next page
20-B | '? | | e Soli b '? | | | ttrTr..]tl "-t-/--)----) ta )) ) . JJ- n ^ffi[-) ryf L R t t 'v | | cllt n-ll ffi,|-J ffiffi) - I 6 -l o F 2 D I I I I D I I D D D I D I I I I D I I t D I I I I D I I I D D t I D D I t I I D D I t l D 1 -z-z-q 2 -z-t-q German composer Johann Sebastian Bach (1685-1750) was part of a large family of famous musicians and became the most recognized composer of the Baroque era. Beginning as a choir member, Bach soon became an organist, a teacher, and a prolific composer, writing more than 600 masterwork. This Minuet,or dance in 3/4 time, was written as a teaching piece for use with an early form of the piano. I 03. MINUET Moderato Johann Sebastian Bach 1 -z-z-q 2 -z-z-q 2 | 'v | | -:- ) ) ) ) ))))) ) c - : ttl . . / ) ))))) *f l04. ESSENTIAT CREATIVITY This melody can be played in 3/4 or 4/4. Pencil in either time signature, drcw the bar tines and play- Now eruse the bar lines and try the other time signoture. Do the phrases sound diffetent?
21-A I 05. NATURALLY Risht Hand Lead R RLR L RLRLRL sin E o h vl I trE o t{ - F Austrian composer Franz Peter Schubert (1797-:1828) lived a shorter life than any other great composer, but he created an incredible amount of music: more than 600 art-songs (concert music for voice and accompaniment),en symphonies, chamber music, operas, choral works and piano pieces. His "March Militaire" was originally a piano duet. One Meqsure Repeot Repeat the previous measure. I 06. MARCH MITITAIRE Allegro RLLRLRL Proctice "f)oubling" in this exercise. L R L r-R R nL L Franz Schubert B-D. f Cr. Cyrn. I IO7. THE FLAT ZONE
21-B I 08. ON TOP OF OtD SMOKEY American Folk Song f t t a a , J^ tn t t J^ t t rtl JJ J I J) Boogie'woogie is a style of the blues, and it was first recorded by pianist Clarence "Pine Top" Smith in 1928, one year after Charles Lindbergh'solo flight across the Atlantic. A form of jazz,blues music features altered notes and is usually written in 12-measure verses, tike "Bottom Bass Boogie." I 09. BOTTOM BASS BOOGIE Allesro ;E; .i:- :,.6:, :'-l , "€)' 7 ' ,'r< i f Sus. Cym. (with S.D. stick) I | 'v | ' ,, J-J-TI J-TT1 | '? | ' JTII JJ-l--] | '? | ' JT]-I J-J-JI | ., v | | J'TT1 l-l-J-.J
22-A Doffed Gluqrfer & Eighth Notes I I O. RHYTHM RAP . J.-->J= 2 Beats 1e2& A dot adds half the value of the quarter note. J.--*'b J-..-.Ja 1a2& I I I I I I I I I I I I I Clap I I I. THE DOT ALWAYS COUNTS ctosed Ro[ j :f,1]':"ilff[iiTi;qiiit',15i]jii"'"T"""T"'"H"ncesassmoothrvaspos5rQre' 1_ TZZt ta - taaaa II2. Att THROUGH THE NIGHT D.C. al Fine I 13. sEA CHANTY English Folk Song Moderato
D 3 r t^l;",?cARBoRoucH FArR 22-6 English Folk Song *f f -_ l_ ,J. ,b I J. IfJ J J\J p *f IIIIIIIDDIIIIIItIII)DII)t)D))ItIl),))))I))) I 15. RHYTHM RAP Clap I *f J Ij )J IpJ 2 & 3&4 & 2 & 3&4 & I 16. THE TURNAROUND ll7" ESSENTIAT ELEMENTS QUIZ - AUID IANG SYNE Andante Scottish Folk Song m-
23-A PERFORTNANCE SPOTLIOHT Solo with Piqno Accomponiment | | 8. HUNGARIAN DANCE NO. 5 - Snore Drum Solo Allegro You can perform this snare drum solo with a piano accompaniment. Play it for the band,the school or your family. The theme in the piano part is a well-known melody from a setof orchestral works called Hungarian Dances, by the German composer Johannes Brahms (1833-1897). Many of Brahms'works include dance and folk styles he learned from touring Europe as a young mbn. Johannes Brahms Arr. by Will Rapp RLRLRRLR Snare Drum L f J Single Paradiddles @ .-l Measure Number Stick Clicks* Stick Clicks Rim Shot LRRL LRLRRLR *Hit sticks together.
I | 8. HUNGARIAN DANCE No. 5 - Piono Accomponimenf 23-B Johannes Brahms Arr. by Will Rapp t- --1t! _1_. ---.--.-7 aJ tf" I J ' tf" e -/- t I t I I D I I I I ) ,rl D] r1rf I I I ) ,r\ri )l l( D I ) ,rI t) D) r( I D I r(r) 31 u-e p JJJ J ,,1 r -iJ-Tf I !7 "7 7 E I I D I I I I D I I D I ? o r f ?? ? t Lta a/ etj. -+ w -r't I' I -p-
24-A Grcat musicians give encouragement to fellow peiormers.On this page,cla netists leon their instruments'upper rcgistet in the Grenadillq Gorilla.!umps" (named ofter the grenadilla wood used to mal<e cladnets). Brass players learn lip slurS a new warm-.up pattern and percussionists combine new sticking paftems. The success of your band depends on everyone's effort and encourugement. Snqre Drum The following exercises will help you develop important skills. Follow the written sticking very carefully to help build your snare drum technique. | | 9. GRENADIIIA GORlttA JUMP No. I R LLR LLRLRRL L R LLR L L LR LLRLRRL R LLR I2O. JUMPIN' UP AND DOWN RLRRLRLLR LLR L RLRRL R R LRLLRLRRL RRL R LRLLR L L RRLLR l2l. GRENADITLA GORlttA JUMP No. 2 RRL RRL RLRRL L sim. RLRRLR LR LLR RLRRL R R I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I ( I ( I I I I ( I ( R R L R R L I.R L R I22. JUMPIN' FOR JOY r-R R L R L L R L r-R R n L L RRL r-R R L R L L R L R L RRL R L RRL
24-B 123. GRENADILIA GORILLA JUMP No. 3 RRRRRRRRRRRR RLRLR L RLRLR L I24. JUMPIN'JACKs RLR LRL RLRLR LR LRL R L RRL {} {> , I I I I I I I D D t D t I I I D D I I I I D I I I t t , I I D I I I D D I t I I I I ) I ? Intervsl 2nd-t 3rd-1 4th-1 5th-t 6th-1 "716 ESSENTIAI ETEMENTS QUIZ A quiz on intervols appeors in the keyboard section (page 24). The distance between two pitches is an interval. Starting with "nl" on the lower note, count each line and space between the notes. The number of the hi{er note is the distance of the interval. octave -l 125. ,n
25-A 126. GRENADIIIA GORILIA JUMP No. 4 R L IR L R L R L R L R L I.R L R L R Practice Alternate Sticking os marked' L R L R L I-R L R L R L R L RLRLR L R LRL I27. THREE 15 THE COUNT I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I e I T 128. GRENADITLA GORlttA JUMP No. 5 Closed Roll n aa Subdivide each J into 2 equal strokes, and connect the multiple bounces as smoothly as possible. - : I I _ ZZ I a a -aoa 129. TECHNIQUE TRAX
26-A Repeot Signs Repeathe section of,music enclosed by the repeat signs. (tf Ist and 2nd endings ore used,they are played as usual- but go back only to the first repeat sign, not to the beginning.) I I I I I I I I I I I = = 132. MICHAEL ROW THE BOAT ASHORE Flam accents con also apply to eighth notes. r-R L RnL R Lr-R African-American Spiritual Andante Snares on I33. AUSTRIAN WALTZ Moderato Austrian Folk Song Australian Folk Song
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https://pitchfork.com/tv/under-the-influences/tame-impalas-kevin-parker-breaks-down-his-favorite-drum-sounds/
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Tame Impala's Kevin Parker Breaks Down His Favorite Drum Sounds
|
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Tame Impala's Kevin Parker sits down with Pitchfork to talk about some of his favorite drum sounds.
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Pitchfork
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https://pitchfork.com/video/watch/under-the-influences-tame-impala/
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You're not fully gripping.
You're kind of just, sort of, pinching them
and letting them bounce.
[drum rolls]
Hey, I'm Kevin from Tame Impala,
and I'm gonna be talking about
some of my favorite drum sounds and drum parts
that I've loved and cherished
over the years, and probably been influenced by.
[upbeat music]
I think people think I'm kind of joking
when I say I spend 90% of my time on drums
when I'm working on a song, but it's dead true.
It's like me chasing the dragon, you know?
[laughs]
I love drum sounds that are just fuzzed out
and destroyed-sounding.
But I also love--
I also love the opposite of that.
I had to narrow the category
or it was gonna be way too difficult to pick my favorite.
I just had to say like,
Okay, it's drums that are played by people.
you know, that recorded real drums.
[Program plays]
And then that one's incredible
because that was recorded in like '67 or something.
It's like a break beat.
It's like a break beat before they were break beats.
It's so robotic and repetitive
that I feel like if that song came out today,
it would be filed under electronic, you know?
Even though it's just someone playing the drums.
The hi-hat, which goes up and down,
you control it with your left foot.
When you play a sort of a jazz beat,
you keep that going to keep time.
But if you're really clever,
you can do it on the offbeat,
which means you do it--
You do it in between those onbeats.
So instead of going
[ts, ts, ts, ts]
you go,
[claps, ts, clap, ts, clap, ts]
[Program plays]
Playing on the ride symbol--
The ride symbol is the big brass one.
Playing that with a sort of a trip hop,
kick and snare and counting on our hi-hat,
that's how you get that sound.
I feel like everyone has that
like riff that they just play
when you pick up a guitar.
It's like muscle memory.
Like that beat is the one I do
when I jump on drums now, because it sounds the coolest.
[Good Times Bad Times plays]
Obviously no discussion, about drum sounds
and drum playing, would be complete
without talking about John Bonham
and the led Zeppelin drum sound.
Like the famous Led Zepplin drum brake
is Levee, When the Levee Breaks.
So I was going to do When the Levee Breaks,
but I kinda just felt like everyone else--
It's been covered you know?
I feel like most people got the wrong idea.
Like there's this idea that Led Zeppelin drums are like
super, like, powerful, solid.
People say you hit like a brick layer,
but I don't think that's actually true.
I think there's a lot more of a delicate way that he played.
The way he sort of goes from smacking the drum
and playing a teensy little ghost note.
It's just a really quiet hit.
And it's usually a really quiet hit
in between a normal hit.
It just adds dynamic to your playing.
[Good Times Bad Times plays]
Also with the double kick, I noticed there.
So double kick is ba-boom,
[imitates drums].
You've got one foot on the kick pedal,
but you do it twice, super quick,
which is a technique that takes a long time to get.
But I think he kind of like exploited
his ability to do that.
And then from then on, everyone
was trying to do double kick.
That was like, became a part of skilled rock drumming.
[Good Times Bad Times plays]
So I think the reason why people think
that Bonham hit the drums so hard,
and why people, when they try to replicate Bonham,
they just smack the drums
is because the compression makes
it sound louder than it is.
You can drum quite quietly and using compression,
you can make it sound a lot more energetic,
but for me, like, emotion in rock drumming
is just John Bonham.
You know, that's it.
[Living For the City plays]
So I'm pretty sure Stevie Wonder
is playing drums in that song.
I read somewhere that he did the drums first,
and he had the whole--
He knew the whole song in his head,
he just played the drums with no backing, no nothing.
He just played along to the song in his head,
and then just played the song
back over the top of that with all of the other instruments.
Which is mind-boggling.
And in that way, it's almost--
It's like the most expressive,
some of the most expressive, drumming.
He's kind of just feeling it out, in real time.
Which, again, is kind of what reminds me of me.
I obviously I've got the drum beat
in my head before I start, but it's fun.
It's like--
Drumming's the most fun
when you don't know what you're doing.
He's playing it quite heavy on the hi-hat, which is cool.
Like some drum sounds just make me dream.
You know, I'm just like.
[sighs]
And the hi-hat on that song,
particularly, I just go.
[sighs]
I could just listen to that on its own, over and over.
[Living For the City plays]
Some drums make you wanna dance
and some drums make you wanna strut.
And that's a strut.
[L'hotel Particulier plays]
I just love that, counting on a hi-hat in that song.
And it's just so, so brooding and so ominous even.
And it's just the simplest thing.
It's just counting the hi-hat on quarter notes.
I don't think it was an accident that,
that ended up being so loud in the mix.
I feel like if he was just counting,
they would have turned it down in the master,
the bounce down, but it's nice and loud.
And with all the strings swelling in the background.
[L'hotel Particulier plays]
There is something categorically different
and qualitatively different
about someone hitting something,
multiple hits of the same thing,
versus someone hitting it once
and then digitally reproducing it.
I believe that the brain can pick up
when something is being digitally reproduced.
If it was someone that just sampled a hi-hat
and they just played it, ts, ts, ts.
I think that would give a different feeling
to the sound of someone that's going ts, ts, ts.
Do you know what I mean?
[Mysterons plays]
Portishead drum sounds are like a Holy--
Just one of the Holy Grail drum feels
and like approaches to drums,
and have been for years.
It's a break beat.
It's a break beat category,
But obviously so much more moody.
I love, I just love Jeff Barrow's approach to drums.
It's pretty standard pattern.
[imitates drum sounds]
He does a--
Actually, I don't actually know
what that's called at the end.
Like a buzz roll.
[Mysterons plays]
You can hear that in Tame Impala drums.
So Endors Toi has it,
[imitates drums]
When I'm doing that.
[Endors Toi plays]
And it's like a marching technique.
You sort of push it into the drum
so that it sort of bounces along.
So you're bouncing the sticks on the skin,
and it just creates this kind of flutter of sound.
Which is just so, kind of like, cool sounding.
Ah, do you want to get us the snare drum on the Ludwig?
Oh, thanks bro.
You're not fully gripping.
You kind of just sort of pinching them
and letting them bounce.
[drum rolls]
I actually have really bad technique.
Like I've never---
I never got taught to do that.
I kind of just did it from ear.
[Mysterons plays]
So those drums, they sound super impactful and punchy,
but they're hitting it extremely quietly.
But because of the compression, it sounds,
like they're hitting a lot harder than they are.
It's too loud for the medium and kind of,
it gets a bit crushed.
That's where you can get some real energy in the sound,
because it just sounds distorted and blown out.
[Race for the Prize plays]
That's Steve Drozd playing drums there.
I love his style too.
It's just so bombastic, but emotive.
It shows you that drumming that is loud and strong,
doesn't have to sound angsty.
It can sound ecstatic and uplifting.
That's the thing, that pattern
is really common and really standard.
But for some reason, it's just,
just played with such feeling.
[imitates drums]
[Race for the Prize plays]
So those drums are super saturated.
Saturation is kind of like,
the classy word for distortion.
'Cause distortion can sound angry and
like, you know, metal obviously has a lot of distortion.
Distortion is when the signal is too loud
for what it's trying to get through.
If this is a wave form,
it'll cut it off there.
So it'll go, ah, you know, and it can't--
So that creates this distortion sound.
But in that context, to me,
it just sounds so psychedelic
and so ecstatic and uplifting.
It changed everything for me, with drum sounds.
Suddenly I just wanted all my drums
just to be completely blown out.
[Race for the Prize plays]
You can see where I--
Where at which point I went to Japan
and saw The Flaming Lips live,
and then went back and recorded Lonerism.
The drums sounded like that.
You can hear.
So I mean like a big part of me
going to Dave Fridmann was like, I want that drum sound.
He's the one that mixed Innerspeaker and Lonerism.
I'd be remiss if I didn't mention his name in all this,
'cause it's his production that led to that drum sound.
[Chemtrails plays]
Sick, sick drumming.
The drummer's name is Joey Waronker,
who actually came to the studio once.
He played in my friend's band, he played on a song.
We've always been a big fan of his drumming,
I guess probably since that song, you know.
I think it's more coming from jazz drumming,
'cause that's where like psych-rock, like,
like rock drumming.
That's what its roots are in.
All those early psych-rock drummers were jazz drummers,
or their favorite drummers were jazz,
like Alvin Jones and stuff, Elvin Jones.
For me, it's kind of like a benchmark
in like modern drum sound.
Like the drum sounds are so kind of,
psychedelic and unhinged.
There's more drum fill than regular beat.
It's basically just one big drum fill,
which is obviously just--
It's probably what Beck wanted him to do,
was just like, let him loose, you know?
[Chemtrails plays]
Yeah, 'cause it's just such a free sound.
It's just someone just rumbling around the kit.
Not feeling like they're that they have a job to like,
hold down the band, you know?
Cause, like, traditionally that's the drummer's role.
It's like you're holding down the rhythm section,
holding it down.
But like that's a song that's a good example of
that's not the drummer's role.
The drummer can be going wild over the top.
[Go With The Flow plays]
Love that song.
I feel like that album,
it was one of the last great rock albums.
tha whole album's drumming, it's Dave Grohl,
who is obviously of Nirvana drumming fame.
Queens of the Stone Age,
A lot of that Queens of the Stone Age songs
is just that like motoric,
[imitates drums]
like robotic rock and roll.
And then like Dave Grohl is,
like the modern rock drummer, right?
He's so disciplined, so metronomic,
so hard, you can tell, he's whacking them.
Like John Bonham, he uses drum fills as a motif, sometimes.
So like in that bit, like,
bah doom doom do bah,
[imitates drums]
[Go With The Flow plays]
Any regular drummer would've just played through that.
[imitates drums]
But he made a part out of it,
and that created kind of like
the heart of the song, in a way.
Like, that kind of section of music,
it made it into a thing.
I think Dave Grohl recorded the drums
to a metronome on top of all the music, I think.
Maybe that's a secret.
But anyway, seeing it being recorded
on like pro tools or whatever to the grid,
which is like the metronome, it was like, he said,
it was just mesmerizing, how spot on he was.
Like hit after hit.
It's human to the drift in and out with it.
'Cause it's really difficult to always be on time.
But apparently, like, he's unbelievably good.
[Off Screen Voice] Dave playing on the beat,
is that an example of a drummer being in the pocket?
The pocket, yeah.
The pocket is a funny concept
and I still don't know where I stand on it,
but a drummer playing in the pocket
is kind of like laid-back,
not too excited, not ahead of the beat,
but kind of just behind it,
but not so behind it that they're out of time.
Playing in the pocket is more of a feeling, I believe.
I don't think Queens of the Stone Age drumming
is about, necessarily, being in the pocket.
I think it's just about having that
just unrelenting, robotic feel.
I feel like one of the important--
One of the things that has to happen
for you to want to dance or like, strut
or air drum, is that you have to feel
like you can rely on the drums.
And when you feel that you can't rely on the drums,
you're like,
Oh, I'll probably just like sit down here.
But in that song you like,
Oh yeah, yeah, when I do that,
it's going to be that.
Even he does a drum feel, they sound reliable.
[New Person, Same Old Mistakes plays]
When I was asked to pick
a couple of my own songs for drum sounds,
after having listened to all my favorite drum sounds,
listening to mine, I was like,
That's trash, that's trash, trash.
[chuckles]
Even though I care so much about my drums,
and I am proud of them.
I'm proud of my drum sounds.
But it was tough.
I'm playing a pretty sort of standard hip hop beat,
moving from normal snare, hit, to a rimshot.
In fact, you can hear--
The start of that song, you can hear me,
I haven't quite decided
on how I'm going to hit the snare.
Rimshot is when you hit like, just the rim of the snare,
you get that kind of.
[clicks]
[New Person, Same Old Mistakes plays]
The drum sound in this song, it's kind of a coming together
of a lot of different styles and drum sounds that I love.
Which is sometimes the hard bit
about me writing a drum part
and recording and producing drum sounds.
Because I love so many different things
that are the opposite ends of the spectrum.
I love drums that are super minimal,
like R&B kind of just like
[imitates beat]
and there's nothing else in the mix,
other than just maybe like a really quiet,
small sounding hi-hat.
But I also love Race for the Prize.
Distorted, blown out, thrashy drums,
you know, like I'm never truly happy
with a drum sound.
Whenever I finish a song or an album,
I'm like, well, I did as well as I could,
in the time that I had.
I send it off to the master and it's like,
It wasn't the best drum sound, but I'll get it next time.
You know?
Like, [indistinguishable]--
Like, a month later,
a couple of months later I was walking past a bar.
You kinda hear the drums before you the music.
And I was like,
Oh, that's a nice drum sound.
And it was that song.
I was like, Oh shit, it's me.
Oh shit, it's new person.
I was like, that was a great snare sound.
I remember thinking like,
Great snare sound, I actually,
probably should be shazamming this.
Which I guess shows me that like,
you're your own worst, harshest critic.
So it took me listening to it,
thinking it was someone else's drum sound,
for me to actually appreciate it.
Which you know, this is the way it goes, I guess.
Yeah, it was good enough for Rihanna apparently.
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https://www.production-expert.com/production-expert-1/6-drumming-cliches-to-embrace-and-how-to-subvert-them
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6 Drumming Cliches To Embrace And How To Subvert Them
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2021-10-09T07:30:00+01:00
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Here are half a dozen ways to make sure your MIDI-generated beats tick the right authenticity boxes, along with a few suggestions as to how you might mess with them in the name of experimentation.
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https://images.squarespace-cdn.com/content/v1/54d696e5e4b05ca7b54cff5c/1512982841888-GQMI5RHKXPO0ZY4NHYUF/favicon.ico?format=100w
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Production Expert
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https://www.production-expert.com/production-expert-1/6-drumming-cliches-to-embrace-and-how-to-subvert-them
|
Last year, we shared 6 drumming cliches to steer clear of when you want to make your programmed rhythm tracks stand out from the crowd. For those, probably more frequent, occasions when ’real drummer’ performance realism is in fact your goal, here are half a dozen ways to make sure your MIDI-generated beats tick the right authenticity boxes, along with a few suggestions as to how you might mess with them in the name of experimentation.
Off-beat hats
Outside jazz, disco and a few other genres, for most drummers, the de facto default hi-hat pattern is a continuous run of straight eighth-notes – it just almost invariably works. And unless the player is unusually stiff-armed or aiming for a deliberately mechanical feel, they’ll generally strike land hits either on or off the beat harder than the others.
While on-beat accenting provides a bit of extra anchoring for the pulse, emphasising the off-beats on the hats can utterly transform a groove, adding a particular swagger and lilt, and upping its perceived pace. Indeed, so profound is the effect of this funky syncopation that drummers will sometimes drop the on-beat hits altogether, stripping back to off-beat quarter-notes instead – a common manoeuvre in ska, for example.
Easily replicated in MIDI, off-beat hats are always worth a go if your programmed ’live’ drum track is feeling a little clunky or heavy-handed. And for characterful alternatives, try mixing up on- and off-beat accents within the bar, or shifting some of those off-beats from your sampled drum kit’s closed hi-hat articulation to the open one. Be aware, though, that applying that last suggestion to every off-beat will see you entering old-school disco territory – speaking of which…
16th-note hats
In disco-influenced dance and pop music (not to mention actual vintage disco), 16th-note hi-hats, played with alternating left and right hand strokes, are de rigueur, imbuing the rhythm track with a manic sense of drive and momentum that eighth-notes can’t match. When programming such parts, remember to skip the hi-hat when the snare lands, just as a real drummer would; and throw in hits on your virtual kit’s open hat articulation for that ‘pea soup’ vibe – on every off-beat, as described above, or less frequently, as befits the song.
Perhaps the most important consideration with this style of pattern, though, is accenting the closed hats, as a constant stream of fixed-velocity 16ths will sound very robotic indeed. If you’re programming drum machine parts for classic house or synth pop, that might be the desired effect, but in just about all other scenarios, you’ll want to vary the velocity from note to note, in order to either simulate the nuances and dynamism of a real drummer’s performance, or just make your electronic beat sound more interesting. This variation can be cyclical – ie, tweak the velocity across four or eight hits, then copy them out to the rest of the track. And if your virtual kit features separate left and right hand articulations, take advantage of them for further subtle note-to-note differentiation.
There are numerous possibilities when it comes to putting your own spin on the 16th-note hi-hat standard, including the introduction of triplets to the pattern (a la trap and hip-hop), injecting occasional five-stroke rolls and other embellishments, and leaving out certain hits to break up the regularity of the line.
Doubling the kick drum and bassline
In most beat-driven styles of music, it’s pretty much standard practice to have the bassline and kick drum work together as a composite low-end entity. This generally involves the bass player (or programmer) following the kick drum pattern in terms of the placement and sometimes dynamics of the notes played, so that the two instruments fuse into a unified groove, the kick providing the essential percussive pulse and the bass rhythmically underpinning the harmonic structure of the track as a whole. Don’t take this concept too literally, though. It’s rare to find a bassline that slavishly doubles the kick note for note, and the aim, really, is to strike the right balance between adherence and artful interplay – the bass doubling the main kick hits, with incidental notes in between, say.
Subverting this one, unsurprisingly, is a simple matter of making sure the kick and bass never coincide. There’s already a precedent for this in dance music, with the offbeat basslines of trance; but far more interesting things can happen when you challenge a real-life drummer and bassist to piece together a viable groove under the ‘no doubling’ rule, so put yourself in both of their shoes and see what you can come up with in your piano roll MIDI editor.
Switching to the ride cymbal in the chorus
A staple of rock and pop drumming since time immemorial, moving the leading hand from the hi-hats to the ride cymbal is a great way to kick things up a gear for the chorus, the washier sound of that particular metalwork contrasting beautifully with the tight ‘chick’ of the hats in the verse. You have two ‘voices’ to play with here: the ping and subsequent sustain of the tip of the stick striking the bow of the cymbal (this will be the main ride cymbal articulation in any sampled kit), and the shorter, more clangorous ‘tang’ of the shoulder of the stick on the bell. Use one or the other, or alternate between the two, with the bell on or off the beat, depending on your intended emphasis.
Reimagine this tub-thumping fundamental by transferring the ride pattern to a crash cymbal for a more aggressive attack, or a cowbell for an alternative staccato report to the hats. Or swap the hi-hat and ride cymbal roles around, playing the latter in the verse and the hats in the chorus – assuming the track in question is open to such strange orchestration, of course. Oh, and phasing or flanging the ride cymbal can yield wonderfully ear-catching results, too.
Backbeat rimshots on the snare
When a drummer really digs into a pop or rock track, they’ll often play rimshots on the snare to lay down a much louder, harder and more emphatic backbeat than would be achieved using regular ‘head only’ hits. To be clear, a rimshot – frequently confused with the very different sidestick – is played by hitting the rim of the drum with the shaft of the stick and the centre of the head with the tip at the same time, and it’s an automatic component of any decent drummer’s technique, applied unconsciously as the primary snare sound on beats 2 and 4 much of the time.
To bring this to your programmed drum parts, simply ensure that your backbeat snare hits are triggering the ’rimshot’ (not sidestick!) articulation in your sampled drum kit, rather than the ‘centre’ articulation. The difference in punch and impact will be immediately obvious, as will the contrast between the backbeat and the non-rimshot ghost notes in between.
Don’t abandon the centre articulation completely for those focal hits, though, as you won’t always want your snare to be that powerful – when working on more acoustic material, for example, or dropping the intensity for the verse relative to the chorus.
Kicks and snares under crash cymbals
Last but not least, it’s written in the musical statutes that every crash cymbal hit has to be backed up with a kick or snare drum hit, since a crash on its own is a floaty, light, distracting thing that can sound more like a mistake on the part of the drummer than the explosive accent it truly wants to be. Honestly, listen to just about any (non-jazz) drum track and you’ll be hard pressed to find a crash, splash or China-type that isn’t tightly coupled to a bolstering drum – and if you do, it’ll likely stand out as unusual. Make it so.
Unless you don’t want to! Yes, throwing the odd isolated crash cymbal into a drum groove might occasionally work, depending on what’s going on around it. If your beat is of the more delicate, jazzier variety, for example, integrating small crash cymbals for atmosphere can be surprisingly effective, as ably demonstrated by Alex Reece in his drum ’n’ bass classic, ‘Pulp Fiction’, and drumming demigod Manu Katché on Peter Gabriel’s ‘I Hear That Voice Again’.
Do you have any other rules of thumb for realistic drum programming to share? Let us know in the comments.
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An introduction to the music of Nigel Westlake – Rimshot
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AN INTRODUCTION TO THE MUSIC OF NIGEL WESTLAKE
by Philip Cooney
Nigel Westlake is an Australian composer whose music is known and loved by audiences all over the world. He is the composer of music for feature films such as Babe, Babe-Pig in the City, The Nugget, A Little Bit of Soul, Children of the Revolution, and Imax classics such as Antarctica, The Edge and Solarmax. Several of his compositions were incorporated in feature international T.V. broadcasts during the Sydney Olympics 2000. However his music encompasses a wide range of genres, including theatre, and the major part of his composing output has been concert hall works for soloist, chamber ensembles and orchestra.
He has received numerous awards for his compositions including the Gold Medal at the New York International Radio Festival, several APRA and Screen Composer Guild awards for his concert and film music, including the 2005 APRA-AMC Classical Music Award for Best Instrumental Work for Six Fish, composed for the guitar ensemble Saffire. In 2004, Westlake was awarded the prestigious HC Coombs Creative Arts Fellowship by The Australian National University.
Performer and Composer
Like his contemporaries, Carl Vine, Elena Kats-Chernin and Brett Dean, Westlake began his professional musical life as an accomplished performer. The son of professional musicians, he left school at the end of Year 10 to pursue a musical career, working freelance with orchestras and ensembles. In 1975, at the age of 17, he made his first professional recording with the Sydney Symphony Orchestra, playing bass clarinet in Stravinsky’s Rite of Spring. He premiered many of his own compositions as soloist or as a member of groups such as the Magic Puddin’ Band (in the early 1980s), the Australia Ensemble (from 1986 until 1992), and Attacca, with John Williams (in the early 1990s). Westlake said at the time, “I’m a performer/composer, in that all my ideas are taken from my experience as a performer, and the reason that I write music is to perform it.”(1)
Westlake says that composing “infiltrated” his life over a very long period of time, and that composition feels like a natural evolution or expansion of his playing career. Indeed it was while studying the clarinet with his father that Westlake first began to write what he calls “strange concoctions” and ideas that he would try out with his friends. This eventually led to him forming the Magic Puddin’ Band, which played a fusion of classical, jazz, rock and ethnic music; and subsequently a period as composer and performer with the Flying Fruit Fly Circus. The impetus to write came from a desire to imbue his performances of the clarinet repertoire that he was learning with a deeper meaning. Composing his own music was a way of entering “the mind of the composer”. One aspect of this search for a deeper meaning was to bring to the music an individual statement, unique interpretation, insight or depth of understanding as a performer. Once he started experimenting he found himself open to a wide range of music, and listening in a completely different way. Speaking in 1997, Westlake said that, “These experiences in all my formative years all play a role in my musical identity and in some ways, I believe my ambition to compose is an attempt to recapture the magic of those very first encounters in music.” (2)
Westlake undertook formal composition studies at the Australian Film, Television and Radio School under William Motzing, then in Holland with Theo Leovendie whilst studying bass clarinet performance with Harry Sparnaay. He was awarded an Australia Council grant to study orchestration, which he completed in 1993, with Richard Meale and Richard Mills, with whom he also studied conducting
Feeling that the commitment to remain a solo performer could not be managed together with the time needed for composition, Westlake gave up performing in the early 1990s and composed full-time instead, including the movie score for Babe and a Bass Clarinet Concerto that was commissioned by the Adelaide Chamber Orchestra. Part of that commission was that he would be soloist for the concerto and so, after not having played for a couple of years, he spent some months in preparation, as he says “getting my chops back”, before traveling to Adelaide for the premiere. He later performed the concerto with various other orchestras and recorded it for ABC Classics. These were his last concert performances as a soloist. In 1997 Westlake made his conducting debut was with the Queensland Symphony Orchestra, and he has since conducted film scoring sessions and performances in all the east coast capital cities.
Even though playing the clarinet was the way Westlake began writing music, he says that young composers must move beyond their own instrument if they are to develop their writing skill. This is part of the process of listening and thinking in a new way.
Composing must encompass a much broader perspective and you must try to think like a percussionist or a pianist in order to write for these instruments. One way to achieve this is to study the music of the particular instrument for which you are writing. When I embark upon a new guitar piece (I don’t play guitar at all and find it the most difficult instrument to write for), I usually spend some time going through guitar scores and listening to my favourite guitar composers. Also talking to instrumentalists about certain pieces and technical issues [such as the practicalities of the percussion layout and sticking and mallet issues in the new Percussion Concerto] is incredibly informative.
Study the music that attracts you. Studying the work of other composers is common practice among all composers. If you are writing a string quartet (or whatever), listen to as many different string quartet pieces as you can find. Listen out for something that attracts you to the work of a particular composer or a certain piece. Get the score of that piece and find out what makes it tick. What is it about that particular piece that awakens something within you? Incorporate some of those ideas into your own work.
The Composition Process
Westlake composes in a converted garage, which is set up with a computer-based recording studio and film edit suite. While electronic music was an early influence, and was a medium incorporated very effectively in earlier pieces such as Onomatopoeia (1984) and Entomology (1990), this equipment now serves as a tool for creating demonstration recordings of ideas for acoustic ensembles, as well as scoring completed pieces.
Westlake says that, “the creative process is a mystery I don’t really understand. I might embark on a new work armed with two basic concepts – the germ of an idea and an overview of the shape and from of the final work. By constantly asking myself what needs to occur to my basic idea in order to germinate and transform it into the finished work, I subject it to a series of rigorous processes and refinements.” (3) One reason for Westlake’s description of the creative process as “mysterious” is the period, following a car accident in 1993, when he found himself unable to write. He describes this time as “shocking and dark”, and it gave him a new appreciation of the precious and indefinable nature of the creative spark. The aptly named piece, Out of the Blue (1993), was his first composition to follow.
The combination of inspiration and perspiration that is the experience of composers has its own rewards for Westlake. “Composing, whilst in some cases is such a rewarding experience, but … also very painful and I think I’m not the only composer who feels that, I think that that’s pretty common. I’ve set that goal for myself because I know that I’d probably be bored otherwise if I didn’t aspire to do something that was creative and I thought was contributing something to the world.” The composer says that these goals lead to a constant questioning as to the purpose and value of his music and an avoidance of a safe formula or set process in writing. “I try to re-invent the wheel at every opportunity and that’s painful but when it works it’s also incredibly rewarding.”(4)
This reinvention, and the eclectic nature of Westlake’s compositions, which reflect the broad range of his experience as a performer and composer, will be discussed later. However, it is important to emphasise that this does mean that his music is derivative. Westlake says, “originality and clarity are the qualities I most admire in composition”.(5) While writing for film often requires adherence to recognised musical conventions, using a language that is easily understood by the audience, there is also room for innovation in the way diverse elements and styles are combined. This offers a composer the opportunity to contribute to the evolving syntax of the cinematic language. Westlake’s concert music demonstrates a similar balance between an awareness of the diverse elements that make up the musical landscape and language of the Twenty-first Century, and the desire to contribute to the evolution of that language. Westlake is not yet sure of the exact nature of his original contribution, recognising that the development of an individual “voice” takes a long period of time. However, this remains a primary goal, and the current lull in the Australian film industry has given Westlake the opportunity to concentrate his energies on concert commissions and reflect on the nature of his compositional voice. This was also assisted by his period at ANU as the Harold Coombes Creative Arts Fellow, during which time Westlake wrote a second piano sonata for Michael Kieran Harvey, and Kalabash for the ANU percussion ensemble, “Drumatix”. During that year he also had the opportunity to do two major revisions of existing works, the Piano Concerto (originally written for Michael Kieran Harvey and the Melbourne Symphony Orchestra in 2000) and Shadow Dances (a concerto for guitar and chamber orchestra – originally written for Timothy Kain also in 2000). He also arranged a thirty-minute orchestral concert suite of his film music called Moving Pictures.
Westlake places great importance on music that speaks; that addresses the heart; music that is honest. He wants to speak to the audience, but rather than being populist or writing to a commercial formula, Westlake chooses to use his own aesthetic values to guide his writing. While growing up he remembers vividly an occasion when his mother told him “Music must always be beautiful”. In an interview with ABC Radio’s Peter Thompson, Westlake adds this about the communication between composer, performer and audience:
It’s being able to realise things that are in your head that no-one can hear and bring them out into the world; and for them to be appreciated is a wonderful feeling. When you feel that a performer has communicated the original intentions of the work in a clear fashion that has been understood by an audience, that is a very wonderful feeling. It doesn’t always happen that way, but when it does nothing beats it. For me it’s creating your own sacred environment. You’re surrounding yourself with this chasm of beauty and creativity. I can’t imagine life without it. (6)
Westlake is on record as saying that he likes to visualise the performers for whom he is writing, on the stage, ready to perform. “Then [he says], if he listens carefully to his imagination, he can even hear the performers playing parts of the work he is about to write for them.”(7) The personality, or rather the musical aesthetics and technical abilities of the performers, also contribute to the quality of the music he is writing for them. Thus, the piano music written for Michael Kieran Harvey is rhythmic and powerful, while the guitar music written for John Williams is lyrical and warm. However, Westlake says that this is more of a subliminal process, rather than a conscious attempt to draw on specific aspects of the performer’s personalities to include in the piece.
In the case of Rebecca Lagos, for whom Westlake is writing a new percussion concerto, the composer says that what strikes him is her ‘cool as a cucumber’, unflustered approach to playing. “Whether she’s playing a single triangle note or some fiendish Messiaen xylophone lick, she appears to be completely unfazed and so relaxed – yet the sound she’s producing is extraordinarily vital, focussed and precise. Her mallet playing is extremely well developed, technically, and her ability to play really fast accurate passages is something that I will be exploiting to its fullest potential.” The writing process will continue for many months yet, and as composer and performer get further into the piece, Westlake says there may be specific aspects of the concerto upon which she has unwittingly had an influence.
I’m trying to write a piece that Rebecca will find rewarding to play on a technical and musical level. As I feed her bits and pieces of score, her feedback will inevitably shape the piece to some extent. For instance, if she’s particularly excited about a certain musical phrase or gesture, then I might be encouraged to extend that idea or develop it further.
Film Music
One important difference for Westlake between film music and concert music, which makes up the larger part of his output, is that the latter is often produced in isolation; an experience that he describes as “very challenging”. Film making, on the other hand, is a collaborative process. Film, by nature, is a director’s medium. Directors, Westlake says, “are, by their very essence, quite fascinating people and they’re very inquisitive, they’re knowledgeable, they have great depth of understanding of human nature. And so it’s great to hang around them, and it makes a great contrast to spending all day in a room on your own.”(8)
Film music requires composers to create music cues that embrace a wide range of musical styles, often within the same film, and even within the same scene. The cues, whether used alone or in a collage, are often motivic. They must be able to suggest a mood, emotion or setting in a very short space of time, evoking a response of both recognition and relationship between the audience and the film’s setting, plot and characters. Westlake has demonstrated an effective and celebrated ability to create original music and adapt musical ideas to both express the director’s concept and enhance the audience’s viewing experience.
He understands the power of musical suggestion, whether the sprightly, but craggy bassoon theme for Farmer Hoggett in Babe, or the hint of uilleann pipes or pan pipes which transport the viewer across the world in the Imax film, Solarmax. In The Celluloid Heroes, which is a four-hour film about the history of Australian cinema, the music depicts the courage, adventure and romance of this journey, covering every mood and genre and capturing both action and tender emotion in a seamless tapestry.
Similarly, the music for Antarctica (1992), another Imax film, has an epic character, combining a yearning lyricism (Threnody), with a real sense of nature’s power (Canyons of Ice), leavened at times with comic writing (Penguin Circus). Westlake employs a variety of well-chosen instrumental and vocal tone colours. From the chorus and orchestra in Canyons of Ice, to the wordless soprano, alto and chorus in Meltponds/Dry Valleys/The Ice Core, and the very playful character of the percussion in Penguin Circus. At the Pole is, predictably, a triumphant, percussive fanfare-like piece.
Westlake describes his film music as having “a life of its own” (9) While powerful when combined with the film vision, the music is just as evocative in orchestral performance, in individual pieces such as the Threnody for Cello and Orchestra, or in the Antarctica, Suite for Guitar and Orchestra (1992), written for John Williams.
Concert Music
Film music is applied music. Virtually every note becomes part of a score for a specific reason, in support of the drama and subtext of the images. Concert hall music can be drawn from film music, theatre music, or follow some form of program. More commonly, it is a pure, or self-referencing art form. Westlake says that when writing concert music:
I hardly ever draw inspiration from visual references, so in a sense, a listener who perceives this in my music is simply using the sound to trigger a visual response from their own imagination. ‘Music is powerless to express anything other than itself’, a famous Stravinsky quote, has some relevance in relation to my point here. To me composition is about how notes work together and the building of resonances, melodic contours and rhythmic impetus to create sonic constructions that I find aesthetically pleasing. I don’t consciously use visual references as inspiration, although after a piece is written, the sounds might remind me of a certain place or event and a title might come to mind.
Examples where the music may recall for the composer a memory of places or events, include pieces such as Silence and Moonlight, which reflects a dramatic event from the composer’s teenage years, and Our Mum Was a Waterfall (1985), which is described as “an evocation of a childhood spent in the Australian bush.”(10) The composer says, “I think you pack those life experiences away into your sub-conscious and you’re always drawing upon them. They are the food of composition for me, those types of experiences and even though you’re not consciously re-creating them, the intensity of those types of occurrences [is] the stuff that drives you to do what you do.”(11)
However, despite his insistence that his concert music is not programmatic or necessarily inspired by external stimuli, listeners do perceive descriptive elements in pieces such as the award-winning Six Fish Suite (2004), written for the Australian Guitar Ensemble, Saffire. A review in Melbourne’s Age Newspaper included references to arpeggios being used to suggest the movement of fish through the ocean, drifting and darting in the ocean current, and a dobro contributing a plaintive whale call. Another review, in Brisbane’s Courier-Mail refers to the writing in the Piano Trio as evoking “ the desolation of deserts, Australian sun burning the earth, the same earth springing to life after rain”. The reviewer goes adds that, “ You could glimpse shafts of light penetrating tropical forests, hear Clancy [of the Overflow] and horses hoofs thundering around alpine ridges, and catch an urban commotion in its urgent drive”. Refractions at Summer Cloud Bay (1989), captures the image of light and water; the atmosphere is generally holiday-like in its joyful, jumpy motives and melodies. The opening of Shimmering Blue (2003) is another fine example of descriptive writing, suggesting the shimmering of the ocean.
However, as with the other examples, Westlake’s writing in Shimmering Blue is not about mere description. His music takes his audience from the surface imagery, to a deeper response and exploration of the theme. The power, danger and vastness of the ocean are all considered, and even beyond that, further levels of meaning are opened up for the listener within the music. There are watery passages in Between Silence and Moonlight, and though the music is full of drama, it is also imbued with a sense of optimism and awakening that creates a human perspective in the piece. Westlake believes that the intentions of a composer should be immediately obvious to the listener. The evocative titles, added after the composition is completed, can provide a trigger for the audience’s imagination, and serve as a pathway into the sound world for them.(13)
There have been some attempts to label Westlake’s music. Like many contemporary Australian composers such as Martin Wesley-Smith, Graeme Koehne and Matthew Hindson, his music is an eclectic mix of influences from both art music and popular music. It resonates with classical, jazz and rock influences. The fast movements of Piano Sonata No. 1 (1998) are based on rock-and-funk-inspired rhythms, combined with strong dissonances not readily associated with popular music. However, it needs to be said that, accessible as many find Westlake’s music, the orchestral pieces make no compromise for any sense of popular taste. While the rhythmic exuberance and energy is comparable to popular genres, the melodic and harmonic language is influenced by many of the significant orchestral composers of the twentieth and twenty-first centuries. Many of the tone colours and techniques Westlake uses are derived from the avant-garde of the Twentieth-century, including a range of string techniques, and wind techniques such as multiphonics and vocalised harmonic glissandos. Others are from the vocabulary of Jazz, and some from the film composer’s palette.
The rhythmic energy of the music is often paired with angular, sometimes chromatic melodies, or an insistent repetition of motives that can be relentless at times. In many pieces the structure does not revolve around a single climax point. A more even, continuous texture is more often employed, with parallel presentations of melodic material (at varying pitch intervals) against the ostinato figures. In the earlier works, the moments of dynamic and textural contrast frequently serve as only brief resting points before the music takes off again. In most pieces, there is barely a bar that does not have employ syncopation, cross rhythm or some other form of rhythmic interest. The longer and slower melodies are often accompanied by a faster accompanying figures or ostinatos. The rhythmic liveliness and strength of the Stravinsky tradition is evident in many pieces, and Westlake acknowledges the influence that playing in The Rite of Spring had all those years ago.
Like Stravinsky, Westlake’s harmonies are often dissonant, but with a recognizable tonal centre, and they eschew a sense of resolution. However, they also demonstrate other influences. The extended use of tonal centres, which some describe as “unadventurous”, combined with such rhythmic complexity, are characteristic of Fusion Jazz. The slow rate of harmonic change in some works can be deceptive. Although one chord may be held, one or more of the tones are often varied, creating interesting harmonic colours. Most of the harmonies employ extended chords with 2nds, 9ths, 11ths and 13ths; altered chords with augmented intervals, as well as 7ths and major 7ths (the “parallel” writing between Piccolo and Bass Clarinet in the third movement of Refractions at Summer Cloud Bay, is an example of these last two intervals). These may also be considered as derived from Jazz, but they were originally the language of Debussy, Ravel and many following Twentieth-Century composers. Westlake combines elements of both Jazz and Impressionism in the third movement of his Bass Clarinet Concerto, and the opening of both the Piano Concerto (2004) and the Piano Trio (2004) is Impressionistic in colour. The musical ambiguity and freedom that Debussy, and later the exponents of Bebop found in this vocabulary, is also enjoyed and used to great effect in Westlake’s music.
The motivic nature of much of Westlake’s concert music, where short melodic ideas are subject to repetition and slight variation, as well as the use of ostinato, may derive originally from the influence of Rock music and even African and Indian music, (as the composer suggests), and possibly the nature of film music. However, it is also a characteristic of many contemporary orchestral music works. These motives are often shared between instruments and sections in a type of call and response. Sometimes a dialogue or alternation between two different motives is used. At other times imitation and contrapuntal writing between instruments is alternated with the parallel presentation of melodic material referred to above.
As mentioned earlier, it is easy to suggest particular influences on Westlake’s music. Influences ranging from the dissonant pounding of Stravinsky, or the syncopated melodic clarity of Copland, to the static harmonic richness of Tippett; the beauty of Debussy’s harmonies, the colour and complexity of Messiaen, and the melodic inventiveness of Prokofiev. Some have sought, incorrectly, to compare Westlake’s music with Minimalist composers such as Steve Reich. There are even glimpses of Sculthorpe and Edwards in some passages. However, while the composer himself recognises such influences, it is more correct to see these examples as Westlake employing a now-established musical language and tradition, rather than borrowing from the sound world of these other composers. It is in the thoughts, images and attitudes that he expresses with this language, that Westlake’s original musical contribution lies.
It is also worth adding that an arbitrary distinction should not be drawn between Westlake’s film and concert hall music. While often marginalised during the Twentieth-century as a cul-de-sac of Romanticism, film music doesn’t only rely on soaring melodies and lush harmonies. Composers such as Bernard Hermann, and later, Jerry Goldsmith employed avant-garde techniques of their times in many of their landmark scores. David Raksin and Henry Mancini were among many composers who brought an intimate knowledge and love of Jazz to their film writing. Westlake, following in this tradition, is able to employ a richly detailed knowledge and experience of many musical styles to all his writing for film and concert hall. His writing for particular instruments or instrumental combinations is often idiomatic. Westlake is commanding in his ability to employ the particular strengths and colours of the orchestra. However, the immediacy and impact of the variety of colours and effects he achieves, often belies the detailed scoring the composer uses in all of his writing.
While well-known for his use of lively rhythms and bright tone colours, Westlake is not adverse to using long, lyrical melodic lines, beautiful sonorities and translucent textures. The muscular strength and force of much of the writing is balanced by delicate moments. While in pieces such as the Piano Trio and Kalabash the composer will surprise the audience with a quiet ending. Westlake has also demonstrated the ability to create and sustain an ethereal sense of stillness, when desired, as in the second movement of the Piano Trio. The melodies often have an improvised character, gradually evolving from the initial impetus, which may be a single pitch or interval. This is especially evident in the reflective movements and sections of works such as the fourth movement of Refractions at Summer Bay (1989); the third movement of Invocations (1995), the concerto for bass clarinet and orchestra; the central section of Out of the Blue (1993); the Guitar Concerto, Shadow Dances (2004); and the previously mentioned second movement of the Piano Trio (2004). Rather than a predictable use of internal repetition and contrast, the melodies move to new or similar ideas from which the larger structure is built. In some pieces the melody is constructed from a variety of these shorter, complementing phrases, much in the manner of Stravinsky.
Westlake recognises the value of structure in concert pieces, a point of distinction between film and concert music. In film music, the musical structure follows the narrative and sequence of images, determined by collaboration between director, music editor and composer. In concert music, the structure is determined solely by the composer. The structure is important, as it provides the framework and points of reference that can guide the audience. In modern music, these are not always as overt as the formal structures of earlier periods and may, as in the case of Westlake, be derived in an intuitive way. The return of the morse code like opening theme throughout Between Silence and Moonlight is an interesting example. It serves structurally both as a unifying element, and by contributing variety in the different character it takes on at each appearance. In other works whole sections or melodies are repeated, either as a recognised recapitulation, or in a varied form, using different tone colours, slightly-altered rhythms and intervals, counter-melody and harmonic variation. In the “Wooden Ships” movement of Antarctica, the whole melody is repeated in this way. In Shimmering Blue, there is obvious recapitulation and variation of sections, while in the percussion quartet, Kalabash, the composer treats shorter melodic ideas in a variety of these ways throughout the piece.
Australian Music
Westlake says that, even though people say that they can hear the sounds of the Australian landscape in his music, there is no conscious attempt by him to sound Australian.
There is no doubt that living and working in Australia has had a profound effect on my approach to composition but this influence is operating on a subliminal level. I hardly ever embark on a composition with the intention to portray or embrace sentiments that are in some way related to an “Australian” emotional or physical landscape. The notes always come first. In some instances a title might present itself at the conclusion of the writing process that may be “Australian” in one way or another, but the way the notes fit together remains my primary concern throughout the writing process
He admires the work of older composers such as Peter Sculthorpe and Ross Edwards in their ability to imbue their music with a sense of place, that distinguishes it as Australian. Like Edwards, Westlake was influenced by the spatial relationships, timbres, cross rhythms, metric modulations and polyrhythms in the sounds of the bush he would hear when he was living on the edge of Dharug National Park north of Sydney. The sound of the bush has been incorporated into Entomology (1990), where samples of various insects and other sounds of rural life, form ostinatos for the acoustic instrumental parts. However, a stronger link with Sculthorpe and Edwards, and one that Westlake also shares with other composers of his own generation, is a strong sense of optimism and celebration in their music that distinguishes it from their European counterparts.
The Percussion Concerto
The working title for this new piece is “Big Bang Theory” (Concerto for Percussionist and Symphony Orchestra.). Westlake says that this is a very “tongue in cheek” nod to the Belgian priest Georges Lemaître, who was the first to propose that the universe began with the explosion of a primeval atom, “although the literal meaning of the title in this context is probably more relevant – i.e. the business of actually hitting stuff to make sound”.
This work is a development and further exploration of the composer’s long association with Australia’s percussion community that began some twenty-five years ago. This long and fruitful relationship has led to numerous collaborations, commissions and the creation of percussion-orientated film scores with many of Australia’s finest players and ensembles. Westlake says, “Although we’ve worked together in the past with Synergy, this is the first time Rebecca and I have collaborated so closely on a piece together. I sense that she’s really excited about the piece, which is a best-case scenario for a composer and which I find very encouraging.”
Westlake describes the kernel of the music thus:
From blistering xylophone virtuosity to the meditative sustain of Japanese temple bowls, the soloist revolves around several percussion “kits” featuring dozens of percussion instruments (wooden, metal and skin) in an engaging dialogue with orchestra that is at times driven by a pulsating rhythmic impetus, counter balanced by moments of reflection and introspective contemplation.
Westlake says that he hopes “to retain and develop any sense of fun, energy and colour that may have been present in earlier works such as Clowning, Penguin Circus, and even Malachite Glass”, adding:
To me percussion music has a great sense of theatre and celebration and so far the material I’m working with certainly embraces some of the elements [of these earlier pieces]. Listening to the percussion music of Messiaen and James Macmillan (his percussion concerto “Veni Veni Emmanuel”), I have become aware of the ability to embrace more profound sentiments as well using percussion. As I get into the piece I am attempting to cover as much ground as I can, emotionally and technically. Of course in this process many ideas don’t cut the mustard and fall by the wayside, so it’s difficult to say at this stage just exactly how it will end up.
Conclusion
Nigel Westlake began composing as a way to better understand and express the meaning of music. By speaking in a language that is direct, yet rich and beautiful, Westlake invites both performer and audience to share that understanding. His music has an integrity that encompasses a range of emotions, and imbues them with an over-arching sense of wit and optimism. It draws on a wide musical heritage, employing those elements that have significance and attraction for the composer and combining these in a vibrant and colourful language. With this Westlake is able to create and craft compositions that entertain and enrich, challenge and inspire, whatever the genre.
1. Interview with Bill Mackay for Sounds Australian, Spring 1989
2. Interview, 4MBS May 1997
3. Jillian Graham, Collaboration in Creation – An Interview with Nigel Westlake, nd rimshot.com.au
4. The Wisdom Interviews: Nigel Westlake and Peter Thompson. Sunday 11 August 2002, abc.net.au/rn
5. Jillian Graham, Collaboration in Creation – An Interview with Nigel Westlake, nd rimshot.com.au
6.The Wisdom Interviews: Nigel Westlake and Peter Thompson. Sunday 11 August 2002, abc.net.au/rn
7. Katarina Kroslakova rimshot.com.au
8. Andrew Ford on The Music Show ABC Classic FM
9. CD liner notes for Antarctica, Tall Poppies TP012, 1992
10. Nigel Westlake, CD Notes for Onomatopoeia, Tall Poppies TP047, 1994
11. The Wisdom Interviews: Nigel Westlake and Peter Thompson. Sunday 11 August 2002, abc.net.au/rn
12. These and other reviews may be found on Westlake’s website, rimshot.com.au
13. Nigel Westlake, Introduction to Between Silence and Moonlight, Sydney Symphony Australian Composition Resource Kit, 2000
All other quotes are from responses kindly prepared especially for the 2006 Sydney Symphony Education Program. The full transcript of these comments may be found at rimshot.com.au
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