Other musicians have used similar “love-making” analogies to describe the relationship between drummer and bassist. When talking about his. The relationship between bass and drums is a special and unique one. we learn to trust and openly communicate with our partners in crime. I feel that understanding how a guitar or bass interacts with the drums allows me I always felt that they had more connection to the inner workings of the songs .. ensemble more than yourself to make it work by creating trust with your band .
You can test the melody against various bass notes and thus find the harmony to go with it. Then you can tinker with the voicings for an even more specific sound. By using the keyboard to record all of the parts including drums you can actually create a working version of your new song.
Not only does it save time, but it also promotes the idea of working more organically towards recreating those sounds that you had in your head when you were inspired to compose the piece in the first place.
As a bandleader, I wish I could say I had the ability to play all of the instruments that I call upon when making my music come to life. The reality is that my knowledge is mostly theoretical, apart from the trumpet which I played as a child and the piano, which I have been trying to keep up with since high school.
Still, the more you know about each individual instrument, the better you will be able to convey your ideas to other musicians just think of the times someone tried to explain to you a drum idea they were hearing in their head.
I have been very humbled at times when, while trying to play a solo on the keys, I would hear the drummer do things that I might have done, which were really not working for me as a soloist.
Time issues and inconsistencies become more obvious if you are trying to lock-in the groove. In a nutshell, it is a great way to realize some things about your own drumming that may be painful. The good news is that it is only after being made aware of the weaknesses that you are able to actually do the work needed to fix them.
Ultimately, though, I do not think that any of what I have laid out so far is absolutely essential for one to be a fine, musical drummer. The one thing we should never forget, however, is that the most important instruments we have are our ears. After all, music is about communicating effectively. And communication rests in equal parts on your ability to articulately express yourself and your ability to hear what others are trying to communicate and express.
To all who are interested in helpful ideas and concepts for developing their listening ability, seek out the Bob Moses book, Drum Wisdom. It is, in my opinion, the MVP of all drum books out there. The interviews were intimate and candid; since Taylor was one of the finest jazz drummers of this time he knew his subjects personally and closely, and played with many of them, as well. So, I thought that maybe, just maybe, the famous trumpeter was giving his drummer friend a hard time.
I kept asking myself how Gillespie could make a statement of this kind while being well aware of folks like Max Roach, Art Blakey, Chick Webb, Lionel Hampton, to name a few percussionists who excelled at leading a group or composing, or both.
Therefore, it is hard to fathom that he would say something so crude and be serious about it. But, even if it was a joke, the old adage says that there well may be an element of truth hidden within. So, deep down, does everyone harbor latent prejudice towards the drums, including the drummers ourselves? And what of those feelings of musical incompetence and inadequacy, which we all must have felt, especially in the beginning stages?
Picture yourself back in that garage, rehearsal studio, or band room.
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Truth be told, because of the nature of our instrument, many drummers stay in the dark about things like these, and in many cases there is a feeling of insecurity this brings about. Marc Dicciani In addition to practicing the drums, almost anything and everything a drummer does, either through learning and studying or just doing, is going to have an effect on their drumming skill.
Of course, some of these pursuits have a more direct and immediate impact on drumming than others. Although learning to play another instrument may be seen as having more influence on our drumming than some of the things mentioned above, I believe it is similar.
Some highly successful drummers play other instruments; most do not. Of course if you do learn to play another instrument or sing or compose it will have some effect on your drumming, but to what degree depends on your goals and purpose.
I feel that being able to physically and musically play another instrument may not be as important for a drummer as being able to play with those other instruments and to recognize their role in an ensemble. Listening intently to other instruments, including voice, and how those musicians phrase, articulate, and develop melodic lines can help inform how you want to develop your own sense of phrasing on drums in soloing, comping, and creating grooves and patterns.
One thing I learned from closely listening to other musicians, especially singers, is how to better make use of space in playing and expression, an important and challenging concept in drumming. If you decide you want to learn to actually play another instrument, which instrument would it be, and why? Some drummers might argue that it should be bass because of the critical interplay required between bass and drums. In order to better know form and structure, maybe you should learn to play piano.
I know an excellent drummer who learned to play pocket trumpet a very compact trumpet because it helps him with his composing and arranging, which in turn, he says, helps him with his drumming. Once you start down this road, there really is no end. For me personally, learning to play timbales and congas has had an immeasurable effect on my drumming and I absolutely would recommend that to everyone, mostly because of the pleasure I get out of playing those instruments. But is it important?
Something else that I recently began doing is painting, which has helped me to visualize and consider balance, structure, and focus in my drumming, and to also think about composition in a non-time-based form of self-expression. Most everything you do is going to affect how you approach drums and drumming. If you do decide to learn to play another instrument, I suggest you do so because your primary goal is just that—to learn to play another instrument.
Whatever you decide to do, paint, cook, exercise, or learn to play guitar, know that there is tremendous intrinsic value in doing so, in and of itself.
I will argue that there is nothing that will help improve your playing as quickly and as deeply as dedicated focused musical practice and listening on your primary instrument. Whatever you decide, make sure you just have fun doing it.
Learning all of these different styles does miracles for developing your vocabulary. All of the jazz vocabulary I worked out plays right into a shuffle context, too. I believe that by having a niche you are more likely get lots of work if they identify you as a strong player in that niche. I can count on one hand the players that are known for and get calls for playing all styles. Try it and then follow your gut, you may just fall in love with another instrument as well! Donny Gruendler In my opinion, the most musical drummers are those who have viewed melody, harmony, and theory through the study of another instrument.
To further clarify, understanding the difference between a rhythm change and modal song will greatly influence your playing and approach to the music. For example, the former has numerous chord changes in rapid succession and the drums should follow this by marking both the A and B sections on different ride surfaces, while also utilizing dense patterns within the snare and bass drum voices.
However, the modal approach simmers by employing one or two chord changes and, as such, the resulting drumset approach should be more repetitive and hypnotic, as well.
Furthermore, and by having this knowledge, you will also be able to participate within the musical discussions of your band mates, too. Jeff Salem If someone is a complete beginner at the drums and has only been studying the instrument for a few months, I would suggest focusing on that instrument for a few years before introducing another one.
I feel it is very important to have solid foundation on one before exploring another one. How important do I feel it is to learn another instrument? I started to learn to play the piano about fifteen years ago. The very first thing I noticed when I started taking lessons was that my reading in the treble and bass clef improved greatly especially reading chords as these notes would be grouped together.
This strength really helped me in sight reading drum charts.
I noticed with advance rhythms or fills orchestrated around the kit it was easier for me to execute the part accurately first time through. So all around my sight-reading improved. My independence and technique greatly improved. I would practice many warm up exercises such as chord inversions and scales at different tempos. I would notice my concentration level became deeper, greater independence from one hand to the next, and my muscles in my fingers became stronger. After practicing the piano for thirty minutes, if I picked up a pair of sticks I felt very loose, relaxed, and had some effortless chops.
The most valuable benefit I gained from learning piano was the ability and comfort in reading a lead sheet. If I was given a lead sheet of a standard jazz tune from the Real Book on a gig I would have a much greater understanding of what the other players were doing, which made my contribution to the song easier and more musical.
There are some incredible drummers who are amazing pianists. I saw these two perform a gig on piano and I was completed blown away. David Stanoch I believe it is important to find a balance. But I also understand the limitations that mindset can manifest for anyone looking to play with others or pursue a career in music from behind a set of drums.
In general, I can break my students down into two categories. The first are those who grow up around musicians and play the drums in a manner often referred to as self-taught. They play with others more than they focus only on the drumset alone and usually have skills on other instruments as well. They usually come to me to increase their stylistic and technical awareness. The second are those who buy a drumset and play it, more often in isolation than in a setting with human interaction.
Often the drumset is their only musical voice. It takes a connection to the human behind the instrument.
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Some of the 15 tips here are music-based and include transcribed examples. The notation examples in this article display a drum part DP shown above the corresponding bass rhythm BR. Only bass-part rhythms are used here to help you more clearly visualize the rhythms that are played between the two instruments. In the sports world, players have to depend on each other in order to get a win. It helps to get to know your low-ender.
Take them out for lunch and ask about their favorite bands and drummers. Let mistakes go with a laugh instead of a mean-spirited glare. Communicate with each other about how to improve the music. This helps them accurately match some or all of the rhythms played on bass drum.
As drummers, we always need to keep at least a fraction of our focus on the bass player.
“Locking in” with the drummer | Worship Guitar Guy
This is quite often much more important than listening to yourself. This will allow you to feel the vibrations coming from the amp and to speak to the player while performing. Keep in mind that bass players normally like to position themselves next to the hi-hat to better hear the highs of the hats and to provide an open field of view to the bass drum.