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Bill Powelson's School of Drums

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 ISSUE #17___\__\__\__\__\__________/__/__/__/__/ MAY, 1998

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               TABLE OF CONTENTS
            What is in this issue?
     Contents:
      1. Feature Article:
           PERFECTION / Internal Clocks & Rudiments
      2. Bass Player Joke


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        Perfecting Internal Clocks & Polishing Rudiments

      Most of the professional musicians I know, will all
  tell you the same thing . . .

      "There is NO substitute for 'MUSIC' if you really want to
  perfect your 'MUSICAL' skills".

      Music is the single most important 'practice' ingredient of
  all. It is that simple!  We drummers need to jam routinely with 
recorded music or no amount of lessons will help!

      Far too many instruction books, educators and students
  (myself included) tend to become so involved in dissecting the
  trees that we fail to see the forest.

      I honestly believe that our internal clocks and
  rudimental finesse can be honed to absolute perfection
  as we enjoy the thrills of playing along with the real
  thing.  Music!
      Yes!  I am suggesting a totally different mind-set than
  you may be expecting.

                 PLEASE HEAR ME OUT ON THIS . . .
       IT MAY MAKE THE DIFFERENCE IN YOUR MUSICAL FUTURE!

      Music is normally recorded in near perfect time.  Just
  like a metronome, the beat of the music is always metered and
  constant.  The big difference is, when you practice with
  recordings, MAGIC happens!  We naturally gravitate to the 'feel'
  of the beat and the 'flow' of the song.  The creative juices
  begin to stir and the next thing you know, hours pass while we
  savor the thrill of it all.  The end result is, we enjoy a
  wonderful practice experience and our technique
  improves dramatically in the process.

      It just makes more sense to follow a song, rather than a
  metronome?  The more we play REAL music, the more accurate
  the internal clock will become anyway.  Practicing along
  with recorded music is exactly the same as practicing with a
  metronome, only we have more fun.  FUN IS THE SECRET, MAGIC
  INGREDIENT!
      If we are having real fun, we tend to practice
  longer durations. With the increased length of our practice
  sessions, the muscles and timing-senses improve at an
  accelerated rate.

      Perfection, finesse and control will arrive
  gradually over the longer periods of time devoted
  to our new found passion . . . REAL MUSIC!

      If your confidence is totally down with regards to tempo
  and the internal clock, see:
www.luglock.com  . . . Read about the Tempo Ref



  NOW, A NEW FOCUS TOWARDS RUDIMENTAL STUDY!

      It is true that rudimental study is a necessary evil
  if we hope to improve our technique and creative potential.
      We each need to develop our rudimental skills to absolute
  perfection.  This is very important.

  MY POINT IS THIS . . .
      Rudiments needn't be boring either!
      Ninety percent of our rudimental exercising can be done
  within the framework of a song while having a great time!
  The OTHER 10% can be done in very short, fun-filled increments
  while we occupy our 'intelligent minds' with 'simultaneous' (more
  enjoyable) activities like watching TV or ignoring our babbling
  spouse . . . (Oops, now I AM in BIG trouble)! :>)

      Anyway, here are three of my best suggestions for fine tuning
  the rudimental skills.

      1.  Practice NEW rudiments every day, no matter where you are
  or what you are doing.  Practice pads are great if you have one
  handy, but if you're in the car, practice on the steering wheel.
  If you're in your easy chair, practice on the chair arms.
  If you are at the desk, use that.  You don't need a pair of sticks
  in your hands either.  When learning a NEW rudiment, memorize the
  basic movement . . . start repeating it ever so slowly
  until it becomes entrenched in your mind.  There will be plenty of
  time to perfect the stick control and bounce in the next fun
  suggestion.  The idea here is to get into the habit of practicing
  a rudiment of some type, any time you are bored or any time you
  are mentally occupied with some other 'lightweight' but fun mental
  activity, (like watching TV or  . . . well, you know.)

  ................................................................
  NOTE:
       The only exceptions to all this might be rolls that are crushed
  or pressed.  You may need a pad or real drum in those cases.
................................................................

       2.  Once you have a rudiment memorized and can keep it going
  at a slow to moderate rate, it will be time to start having fun
  with it.  Learn to use it in a song!  This is where most of the
  instruction books let us down!  But it is really just a 'common
  sense' kind of thing.
        First, take your new rudiment and learn to use it as a half
  measure 'fill'.  Don't worry about trying to create a solo with it yet,
  just learn to fit it into a slow beat.  Medium to slow 8th Rock is
  usually best.

  HERE IS HOW . . .
        When we play a full bar of Basic 8th 4/4 rock, there will
  be two bass notes.  The first bass is on the count of 'one' and
  the other on the count of three.  A half measure fill will begin on
  one bass and end on the next.  Most (but not all) of the rudiments
  may be applied as fills in this way.  You will usually place a bass
  on the first note of your fill.  The trick is to play one or two
  repetitions of the rudiment and be back to the beat as you connect
  with the next bass drum.  For a MORE HELP with this, see:

 'Rudiments, Rolls & Fills: Part I'.

                     * THEN VISIT *

 'Rudiments, Rolls & Fills: Part II'. 

       Gradually, get into the habit of using these little 'fills'
  everywhere you can, in song after song.
       Don't worry that the drummer on the recording isn't
  using that roll as you are.  Just try to toss in different
  half measure rudimental fills and make them fit 'in-time' with
  any song.  Try slow songs at first then graduate into quicker
  tempos when you are ready.  Soon, those fills will become a
  part of your habitual playing style and you will find hundreds
  of ways to re-apply them.

       Now the best part . . .

       2 halves = 1 whole
       4 halves = 2 wholes

       Two half measure fills equal one whole measure fill.  In
  other words, once you are totally confident with half measure
  bursts, just double, triple or quadruple them.  Your fills may
  be any length you choose.  The only rule is that we must stay
  'in-time' with the music.
       The next thing would be to move those longer fills all
  around the kit.  Never play them on the same drums in the same
  order twice.  That new rudiment will be shining like a brand new
  silver dollar before you know it and you will be having the time
  of your life.  It's really fun to practice this way!

  ONE FINAL THOUGHT . . .

       As you practice these fills with recordings
  at home in the drum room, there isn't any reason
  to play every song exactly like the record. The idea is
  to master these boring rolls in a creative and innovative
  way.
       So for now, strive to do things with recorded music
  that the original drummer COULD HAVE, BUT DIDN'T DO.
  Later on, as you learn more and more techniques you will
  find it easy to imitate the recorded drummer note for note
  when it becomes a necessity.

       Most of all . . . HAVE FUN!!!!
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    |________________________________________________________|
                      Bass Player Joke

     Bass Players are now being used in research
     instead of lab rats. When researchers were asked
     why, they gave three reasons:

       1. There are more of them.
       2. The lab assistants don't get attached, and
       3. There are some things a rat won't do.
                 ...............................

       NOTE: Previously a 'lawyer joke' lifted from:
  www.pacificocean.com/weblinksbloomingtonormal/Clean-Jokes.html

       HERE IS DRUMMER THINGY!  :>) HAHA, I Love it!

      Chinese Proverb:

       "If your enemy wrongs you, buy each of his children
        a drum".
                  ...............................
                                        Thanks, Azmodan
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Your future career may LITERALLY depend on  THIS IDEA.

           
             END OF TEMPO DISPATCH #17  MAY, 1998







 





Copyright Bill Powelson 1994 all rights reserved.