harlara deshaune gonzales
Osias Baptist
The last 20 years has seen the rise of digital audio workstations (DAWs), such as Pro Tools and Garageband. These recording software programs have come way down in price and are now often used in home studios. Loops replacing drummers, plug-ins, and quantizing drum performances to a grid are more and more common.
These technological advancements are now vital to many songwriters, engineers, and producers out there, but it begs some important questions: Yes, loops are easier, but are they better? Is it really necessary for so many pop songs to use quantized drum performances?
A group dynamic that squanders original thought and risk-taking might be the culprit here. The following list of suggestions will hopefully help you find creative solutions to compensate for these issues and keep the creative fires burning. Keep in mind, though, that artistry is in the eye of the beholder. In other words, what you think is a creative drum groove or lick may or may not seem so to the audience or your bandmates.
The following is an exercise that combines noodling with organized practicing. The songo is one of my favorite grooves to play and teach. Start out by playing a basic Songo to warm up (Ex. 1).
Now begin to noodle around within the pattern. In other words, alter the sticking, add additional bass drum and/or hi-hat notes, orchestrate the sticking around various sounds sources, and change the rhythmic structure. Here are two patterns fleshed out in this way (Exs. 2-3).
Creative drummers often allow the sounds of the drum set to determine what to add or take away. In this tribal pattern, high-frequency rim-clicks meld well with lower frequency toms and bass drum notes (Ex. 4).
Imitating: This can be just as annoying as having someone repeat back every word you say. However, there are times when this can be effective. Paraphrasing (repeating back a lick in your own way) also works well.
Fully engaging your brain by using abstractions can produce creative licks and grooves. Abstract thought may seem unrealistic to drummers who play mostly backbeats for a living. However, if you open yourself up to this possibility, you will be pleased by the result.
Try this: Play a groove from a different genre every day of the week. Once a week, morph two of these grooves together to form a hybrid. If you like the end result, write it down and keep a log for one year.
Why is JR Robinson one of the most recorded drummers in history? Is it because JR is a nice guy? That might be part of the picture, but the rest is likely due to his ability to affect listeners with his amazing feel and phrasing. If you focus on the concepts in this section, you might become the next JR.
Space: Just like in the visual arts, space is just as important as putting down ideas. It allows the artist or musician to frame their work. Using space takes a great deal of restraint. Here is an exercise to help you develop your sense of space (Ex. 23). Play this with and without a metronome.
Rhythmic Density/Taste: Rhythmic density involves painting with grays rather than with just black and white. It involves subdividing into bigger or smaller pieces and using more or fewer limbs or sound sources. The following four-measure phrase builds density in both of these ways (Ex. 24).
Long And Short Notes: Each part of the drum set resonates differently. For instance, ride cymbals vibrate for longer periods of time than snare drums. However, by using your hand as a muffling device, even the longest ringing cymbals can produce a short sound.
The following syncopated exercise has either staccato/short sounds (symbolized by a dot) or long sounds (symbolized by an accent). Experiment using all the parts of the drum set to produce both long and short sounds (Ex. 25).
Sloppiness vs. Articulation: Bucking the trend of quantized music, playing a lick in a sloppy or greasy manner can be refreshing. If you try this at a gig and get a mean look, you can blame me!
Displacements: Displacing a pattern is a very quick way to create a dramatic effect. In the following exercise, the downbeat and the backbeat are displaced three times (Ex. 26).
Kit Setups: Do you feel more comfortable playing on a huge drum kit or a smaller one? Small kits promote getting the most sounds out of fewer choices, while a larger kit affords you the greatest freedom of choice. Depending on the individual, either of these could increase creativity.
Big drums? Small drums? Cymbals? Metal vs. wood hoops? Drumhead selection? The choices are endless; but if you can find what best fits your personality, body type, and technique, it will allow your imagination to flow.
Try these: Play a jazz gig with just a hi-hat, snare drum, and ride cymbal. Play a rock gig without a hi-hat ( la Keith Moon) or without any cymbals at all. Switch your toms around. Try different kinds of cymbals. Set your drum throne higher or lower than normal. Experiment with the settings on that incredibly complicated bass drum pedal. Discover found percussion. (Check out Glenn Kotche from the band Wilco.)
Hybrid Kits: Walfredo Reyes Sr., Richie Gajate-Garcia, and Stanton Moore (among others) have revolutionized the fusion of ethnic percussion with traditional drum set. Follow their lead, and find some new sounds that are yours alone.
Tuning, Muffling, And Drum Stick Implements: The way drums are tuned and muffled and the sticks that you use not only help define your style, but also effect the overall band sound. Try these: The Hat Shake, Hat Trick, Stickball, and Jingle Kick to name a few.
Gaining jaw-dropping independence or coordination will not necessarily make you the most creative drummer in town, but the lack of it can certainly be a major stumbling block. Learning how to play jazz and Latin might be the best way to attain the coordination that you need, while making you more hirable. Here is another excerpt from Drum Aerobics. The hands play a blues shuffle pattern between the ride cymbal and snare, while the feet play in various eighth-note triplet spots (Ex. 27).
Practicing without a metronome or using it in unique ways can help to stimulate the creative part of your brain. Playing behind, on, or ahead of the click can make the surrounding instruments and music feel quite different. Find a drum teacher with studio experience to show you the ropes of playing with a click.
Some people are born with more creativity than others. Hopefully, the plan that I just presented will give you some ideas on how to catch up with those artsy folks. Like most things in life, it will take hard work to makes significant gains.
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