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Bill Powelson's School of Drums

 Back to the Tempo Dispatch Archives  

 Issue #11___\__\__\__\__\__________/__/__/__/__/ November 97

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                        TABLE OF CONTENTS
                     What is in this issue?
             Contents:
               1. Feature Article: Special Help with FATBACK
               2. Bar Jokes of the Month

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                        FEATURE  ARTICLE

                SPECIAL HELP WITH CONFUSING RHYTHMS:
                        ***  FATBACK  ***

      As we focus our ears into the depths of a song, it often
occurs that many beat and roll patterns are only intriguing sounds
at first.  Rhythmic sounds abound . . . They intrigue, overwhelm,
bombard and confuse us constantly!  We can often 'feel' certain rhythms,
but we can't play them!  That is . . . Until we memorize and study the
techniques being used to create those sounds. Once the techniques have
been memorized and mastered, our natural talents 'kick in' and everything
falls into place within the music . . . like a big Jig-saw puzzle.
      Much of the time (but not always), we are hearing repeating
rhythms over and over again in song after song.  These repeating
rhythms are the obvious starting place for any student of drums.

      THE SECRET TO ACCELLERATED PROGRESS IS
        IN KNOWING WHICH BEATS AND ROLLS
      ARE WORTHY OF OUR TIME AND ATTENTION.

===================================================
NOTE:
      This is where an experienced drum instructor can prove their
worth (hint, hint.)  It helps to have someone point out the more
valuable study areas.  Someone who has paid those dues already.
Otherwise, you may devote decades to mastering techniques that will
be of little or no use on a real gig.  Meanwhile, the more valuable
techniques may go unchallenged and . . . as the years roll by, you'll
wonder why the BIG opportunities never materialized  . . .

===================================================

      Certain rhythm patterns resurface year after year in song after
song.  This has been the norm since the beginning of the recording
industry.  The lyrics change and super stars come and go, but these
same beat and roll patterns continue as the underlying structures
in most of the music we listen to and play.
       The upside of this very real fact reveals that if we can
overcome our musical prejudices . . . we soon discover how easy it
is to play the music of nearly any era or style . . . using the
SAME ARSENAL of Beat & Roll patterns over and over again . . .

SWING & SHUFFLE:
      Swing & Shuffle were the predominate popular rhythm
structures between 1925 and 1955.  They are still very common
in todays music, but not to the same degree.  The beginning
of the modern Rock era around 1955, ushered in a big change
for drummers.  Eighth-note 4/4 (rock) began to take center stage
about that time and has been the recurrent dominate rhythm pattern
of choice ever since.

     By 1965, the musicians and buying public had grown weary
of hearing the 'simple' basic rock beat. Drummers began to
experiment with permutations of the pattern.  One 'catchy'
permutation took hold about that time and is still dominating
the music scene today.  Someone (I don't know who) nicknamed
that 8th-note 4/4 permutation, 'Fatback' . . .

FATBACK:
     'Fatback' is a term you will not find in most dictionaries,
but every modern musician worth his salt should have a general idea
of what the rhythm sounds like.

     The term 'Fatback' originated with the southern blacks I guess.
Initially 'Fatback' was considered a 'soul' food . . . pork rinds
cooked in deep fat.  I speculate that the musical term 'Fatback'
took its meaning from the unique sounds the soul food made as it
fried . . . in the deep fat.  Much of the older 'Soul' and 'Funk'
music of the 1960s and 1970s was based in the classic rhythms, now
called Fatback.  On the other hand, as you listen to music of the 1990s,
the same general 'Fatback' rhythms still predominate in song after song.

     Another definition of the term ''Fatback", goes like this.  Some say,
the term originates in a more common-sense way.  This makes sense to me
as well.
     "FAT-BACKBEAT"!
      In other words, any syncopated 8th 4/4 permutation (variation) with a 
consistent loud or accented BACKbeat.  Shortened to "FATBACK".  If
this is the definition, then there are thousands (maybe millions or billions)
of 8th rock syncopations and variations that might qualify as "Fatback" beats.

     The point I am making is this . . .   'Fatback' beats
are definitely worth your time, effort and attention.
     Mastering the 'Fatback' rhythms can be a real challenge for the
average beginning drummer, but diligent, persistent effort will
eventually pay off in a big way. This beat form will crop up in a
large percentage of the music you may choose to play . . . no
matter what style of music you may prefer.

     'Fatback' will often confuse and frustrate the natural 'ear' of
many beginning students.  When a beginning student hears 'Fatback'
in a song, it may intrigue them, though their coordination hasn't
developed to a point where they can jump in and play along.

     IT IS ONLY A MATTER OF PRACTICE!!!

     These students may need a few more hours of repetition before
the natural creative flows will kick in.  Just continue to jamm.
Practice the simpler forms of the beat first (without music.)
Later, continue to have fun playing YOUR MUSIC, doing all the things
you CAN do.  As you return to playing recorded music . . . the
coordination problems will gradually dissipate and recognition will
eventually occur. Sooner or later, a 'Fatback' type song will turn
up in your list of favorites.  This kind of specific exposure may
be all that is needed to get you smokin' with the beat.  It will
often happen naturally when the time and the song is right.

FATBACK FORMS:
     Fatback beats take many forms.  This tends to add to the
confusion.  Nearly all of the potential 4.3 billion permutations
of 8th-note 4/4 'might' be considered (by some) as possible Fatback
variations.
    Also, there are other applications of 'Fatback' existing
in 16th 4/4, Quarter-note 4/4 and other time signatures as well. Take
heart . . . IT IS EASIER THAN THAT!  These obscure forms and applications
will actually be very easy to learn . . . once you have mastered the
8th-note examples I am about to show you.


PRIMARY FATBACK: (8th-note 4/4)
     The good news is that one permutation (variation) stands
out as the MAIN Fatback beat, then there are two or three others that
are similarly important.  Most of the remaining potential Fatback
type permutations tend to remain unnoticed and rarely used!

     You will find the main Fatback beat discussed in the
lesson entitled,  'Popular Rock Variations' 

     Primary Rock Variation #1, discussed in the above webpage lesson,
IS the 8th-note 4/4 permutation most often classified as 'Fatback'.
Listen to the midi sound file if possible.  Get this rhythm flowing
in your mind . . . and memorize it!  The next time you turn on your
radio or play your favorite CDs . . . it will turn up again and again.

MORE FATBACK:
      Also, if you are up to it . . . check out the lesson entitled,
 'Rock Syncopations'
      Paid students: It's on Lesson Menu #1, if that link above isn't working.  
You need to see and hear these rhythms.  Find that lesson!

     This lesson culminates in the addition of a syncopation to the
primary 'Fatback' pattern.  Listen to the sound file, get it flowing
in your mind and practice until you can play it rapidly on command.

BEGINNING STUDENTS:
     Beginning students may become frustrated quickly with some of these
patterns.  This next lesson is very long and it progresses rapidly into
difficult techniques.  Take it very, very slow!  Some of you may need to wait
until you are ready!  Just listen to the sound files and get the rhythms
flowing in your mind.  Continue to jamm with recordings everyday!  You
will soon begin to recognize these and other similar patterns in your
favorite music.  As that begins to occur . . . it will hopefully prepare
you to return to these lessons and try again.  Anyone can play these
beat patterns, given enough persistance and effort.  Don't let this material
discourage you!  Continue to jamm with recordings and patiently wait for
everything to make more sense.  It will . . . I promise!

NOW FOR THE GOOD STUFF!!!
     Now, surf over to E-M lesson #3  ADVANCED SYNCOPATIONS. 
If the link above isn't working, this one is on Lesson Menu #2.  
It'll be the 3rd lesson down on that menu.  Look for,
 "E-M LESSON #3: EIGHTH ROCK VARIATIONS, SYNCOPATIONS & FILLS".

     This is one of my special 'hidden' lessons and it is intended for
advanced (paid) students only.   I am giving it away to all the subscribers
of this rag.  Anyway, The 'Fatback' study  continues in great detail
within this lesson. Here you will learn some of the more complex forms
of Fatback and other 8th-note 4/4 'rock' syncopated permutations.

ENCOURAGEMENT:
     Sometimes, we need just the right song to make it all
happen.  Jam with your favorite songs on a regular basis
and keep an 'ear' out for anything that resembles the Fatback
patterns we are discussing.  You shouldn't need to go too far
before discovering a song that fits the mold.  I estimate that
a minimum of 20% of all 8th rock music from 1965 forward has
employed some form of Fatback.  Sometimes the 'Fatback' beats
are syncopated and sometimes they aren't.
    Find a song that fits the mold and jump in playing.  Don't
be too much of a perfectionist!  Just do what you can do with
the music!  Play and enjoy! Then, as time passes you will discover
that your limbs will gravitate naturally to something 'very close'
to the rhythm of the song.  You must just relax, and let it happen.
It is all too common to kill the fun with excess self-criticism.
Don't pick at your shortcomings!  Just focus on the things you are
doing correctly and gradually expand on them in a positive,
constructive way.  It is ok and acceptable to alter a beat pattern
to some degree from the actual recording.  Pro drummers do this all
the time!  Part of the creative thrill is to continuously change
things around.  You needn't worry too much about playing a song
'exactly' right.  Even the session drummers will often change their
own rhythmic arrangements when they go out on a 'live' gig.
     Of course we all strive for exacting techniques but with time
and ample 'fun-practice', the perfected techniques will follow
automatically and easily.
     KEYWORD = FUN!
                                                    Bill Powelson

BONUS LESSON:
        To help you get a better handle on improvised fills,
visit E-M lesson #5 Improvised Fills w/ALL Dancebeats. 

        The above 'hidden' lesson is actually an old Tempo Dispatch
feature article that I have converted into a webpage lesson.

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                       BAR JOKE OF THE MONTH
      ------------------------------------------------------
         One day a piece of string walks into a bar and the bartender
   says, "sorry but we can't serve strings in here.
         So the string walks out of the bar and  pays a bum on the road
   to tie him in the middle and fray his ends . . .
         The string walks back into the bar and the bartender says,
   "Are you the string I just sent out of here"?
        And the string says . . .

         "NO, IM AFRAID NOT"!!!!

  (frayed knot!) GET IT? :>0

   Thanks to Punkdrum03

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 FAST RESULTS WILL REQUIRE THIS 'SPECIAL' ACTION! 


          END OF TEMPO DISPATCH #11  November, 1997







 





Copyright Bill Powelson 1994 all rights reserved.