Tuesday, July 18, 2017

FIGURE CONTROL: 6/4 - Free Design riff

Stretching the concept of my Funk Control series a little bit. Here we're just doing some basic orchestrations with a rhythmic figure, the vamp in 6/4 from Stereolab's The Free Design, which I posted before as a fun practice loop.



The idea behind this and the Funk Control series is to learn all the patterns, play them many times, then do all possible combinations of patterns using the following logic:

A-B, A-C, A-D... B-C, B-D, B-F... C-D, C-E... etc

Play each combination many times, playing each component pattern one or two times:

||: A - B :||  or  ||: A - A - B - B :||


Feel free to move your hands around the drums and cymbals. The cymbal part can be played on the ride cymbal or hihat— obviously any that include open hihat must be played on the hihat. There are some places where the hands are in unison; feel free to play the right hand on a tom tom instead of the cymbal. The part written on the snare drum line in the middle of the staff can be played on the snare, or on any drum.

The first two lines just illustrate the foundation rhythm, and the basic orchestrations from which the other orchestrations are derived.

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Friday, July 14, 2017

Todd's funk shuffle drill

This is a loose collection of stuff with which you can drill a rather busy, modern funk shuffle feel or triplet funk feel, a la Lopsy Lu or The Brecker Brothers' Inside Out:



OK, those examples are 40 years old, but people still play this way— if they're lucky, actually...

And this is indeed another practice method for use with Ted Reed's Syncopation— if you're not practicing that way, you'd better get on it. Talk to your teacher about it, or get some Skype lessons with me— something. This is how you learn to play. The examples here use the very famous first line of the very famous p. 37 exercise (which is on p. 38 of the new edition of the book):




We'll be using the Syncopation section of Reed— pp. x-x— reading the top line only, as is usual for that book. Play the book rhythm on the bass drum, except notes on the 2 and 4, which you play on the snare drum. We want to have a running snare drum backbeat, so if there's a rest or a held note on the 2 or 4, go ahead and add snare drum. Play quarter notes on the hihat or ride. Swing the 8th notes.




Next, do the same thing, but play entire line on the bass drum as written, plus the 2 and 4 on the snare, and the quarter notes on the cymbal. There will be some unisons between the snare and bass now. I haven't notated anything for the left foot here, but when your right hand is on the ride cymbal, you can add left foot on 2 and 4, or wherever you like.




The next few things are based on a very common Reed method, in which the RH/RF are played in unison, and the LH fills in the triplets. I usually move the RH to the snare occasionally to break up any multiple lefts, you can do this, or not:




Do this same method, except accent the 2 and 4 on the snare drum. If there is no snare on 2 or 4, add it:




Do that again, with quarter notes on the cymbal:




And with a jazz rhythm on the cymbal:




You could also do it with a straight shuffle rhythm on the cymbal if you are so moved. That gets to be a whole lot of activity when filling in the triplets, so I only bother with it when playing the simpler version.

As I'm further along in drilling this, I will occasionally go to the alternating-sticking version of the triplet way, with accents on the cymbals. On either the last measure of a line or the last two measures, like a fill. In this style of playing, doing this fill-like thing, I will play the snare drum fairly strongly— for the rest of this drill the snare should be played softly, except for the 2 and 4.




That adds up to a lot of stuff. You can rigorously play all these things with all the exercises, and it will take maybe 90 minutes to just play through it. If you've played that first triplet interpretation before, you can get through it much faster. Make about a 30-45 minute drill out of it, moving fairly quickly through the easy parts, combining methods, adding your own fills (alternating triplets on the drums or with both hands in unison are always good). We're interested in improvising, reading, and developing musically here, so you don't need to be too picky about getting every detail of the instructions exactly right.

Wednesday, July 12, 2017

The hard way

Lately I've been noticing a lot of talk about doing things the hardest way possible— among
drumming students there's a great fear of “crutches” and “cheating.” The path of least resistance offends people's protestant work ethic, or it doesn't jibe with their athletic sensibility of no pain, no gain.

this
This mindset is all wrong. Craftsmen in every field economize and mechanize, and use whatever tools are available to them to make their job easier, and give them reliable results. Work smarter, not harder, is what they say.

Take a look at an pre-computer cartooning or commercial art how-to book— that example leaps to mind for me because we had books like that around when I was young— the entire project is based on doing everything the easiest, most repeatable way possible, while keeping the hard parts to an absolute minimum (which is not to say there are no hard parts). You've got a deadline to keep, and can't just draw everything freehand directly from your mind onto the page. They have an entire arsenal of tools and techniques that are essentially cheating, if you have the above attitude.

If I were to apply a pure production mindset to drumming, I would probably be doing a lot  with sequencing, using electronics, triggering, click tracks, quantizing and editing in Pro Tools to make the few things I had to actually play “freehand” absolutely perfect. There are people who do that, and that's their job.

Most of us are not doing a lot of commercial work like that, and we're more concerned with playing the drums well, and creatively. How do we economize the actual performance aspect? That's largely the subject of this entire blog, so there's not really a quick answer for that. How you actually engage that mindset gets very particular. Very broadly speaking, though:

Become economy-oriented. This is a great time to re-read William S. Burroughs's The Discipline of DE.

not this
Know what you're trying to do. You're looking for the easiest way to learn to play creatively and appropriately in the moment while listening to the other players, playing the music, maybe reading, and not getting lost, while grooving the entire time.

Understand that it's one instrument played by one person. We have a complex job, playing a four-limbed instrument while doing all the things I listed above, and we need to look for ways to simplify and make the parts work together—there's just one person working the controls, so there's really no choice. Most often, everything is derived from, and reduces to, a single idea. There are a number of ways of accomplishing that, including, but not limited to, all the things we do with the book Syncopation. It's why I harp on that book so much.

Simplify. This doesn't mean you can't play busy, or that you have to play quarter notes the rest of your life. It means, look for ways to sound good with a minimum of technique. My general approach is oriented around exploiting singles and doubles, unisons, and simple multi-limb patterns for example. I lot of drummers use simple ostinatos, as well. Bob Moses's “non-independent” (or “dependent”, he'll say at other times) method is another example of what I'm talking about.

Everything is not a muscle— stop trying to develop playing skills like one. Not all of them, and not all the time, at least. Look into Pilates, Yoga, or Tai Chi for an alternative mindset.

Another book you might want
to pick up.
Be realistic about the hard stuff you practice. Am I ever going to perform this? If not, what exactly am I trying to accomplish? Will doing it this way help me perform? Is it worth the time I'm investing in it? Is there something else I can spend my practice time on that will help my real playing more?

Learn to spot pointless rigor: for example, in a recent online discussion a player was advocating improving time by practicing very slowly without subdividing. I'm not saying this is a pure waste of time, but it's a little like a carpenter trying to build a house without a tape measure— or any measuring device. Maybe after completing that messed-up project he'll be a little better at guessing how long a yard is, but not enough for any practical effect on how he does his work. He's always going to need his tape measure. Likewise, there's never a reason not to subdivide, and never an instance where you'll be deprived of that ability, so there's little to be gained by imposing that pointless handicap.

Learn licks and techniques. This is a common approach on the internet: learning a particular little technique for doing one thing— a certain kind of bass drum lick, an uptempo ride cymbal thing, whatever. I do very little of that; Metal drumming is almost all that. To me it's a formulaic approach to playing which I do not like, but it has its place, and it's a relatively easy way for players to sound impressive regardless of whether they actually have anything to say musically.


Thursday, June 29, 2017

Displacing a groove - 16th notes - 02

Part 2 of the previous displacement thing. This is the kind of thing that's so obvious I don't like to put it on the site, but it's an intermediate step to the next thing, and it's not totally without value. Play it a few times, and take advantage of its easiness to work on your sound and accuracy. The goal is to learn a certain creative move based on a basic beat— once you know it's a thing you can do, and can execute it with confidence, you can move on. It won't take long.




Again, it's not a terrible idea to play each pattern alternating with pattern 1. You can do both of these pages with the various standard cymbal rhythms— quarter notes, offbeat 8th notes, 16th notes, 16th notes alternating, 1 &a-2 &as.

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Tuesday, June 27, 2017

Drum lessons with Todd Bishop IN SEATTLE

Actually this is about the neighborhood
where I'll be teaching.
UPDATE: Bumping this to the top again. Get in touch if you have any interest.

Announcement for my Seattle followers:

I may soon begin teaching in your fair city.

I'm talking with Mark Di Florio, a great drummer and teacher, about taking on a portion of his student load as he is moving to Los Angeles at the end of the summer. This will put me in Seattle one day a week (probably Mondays), teaching at a music store (TBD) somewhere within the Ballard-Northgate-U District triangle.

If you would be interested in private lessons please get in touch— I need to put together several hours of lessons to even be able to do this, so your call now may make the difference with it happening.

And let me assure you: we get into some pretty heavy stuff on the site, but I am delighted to work with all levels of students to help you play better and have more fun with the drums. In fact, I encourage you to contact me especially if you think you're a hopeless case. I can fix you up.


Email Todd | call or text message (503)380-9259


Sunday, June 25, 2017

Practice loop in 6/4: The Free Design

A fun practice loop, in a fast 6/4, sampled from The Free Design, by Stereolab. Tempo is about quarter note = 217 BPM.





The rhythm for the bass vamp:




Have fun. This loops seamlessly, if one were to use one of those audio-ripping browser extensions, and put it on one's mp3 player... 

Saturday, June 24, 2017

Displacing a groove - 16th notes - 01

This is an easy funk exercise, getting acquainted with rhythmic displacements that happen routinely in funk drumming, while relating them back to a simple groove. When this word displacement comes up, it's usually suggestive of some kind of rhythmic trickery, for people who are too cool to play things other people can follow. That's not what we're about here— we're just learning one simple creative move for use in normal, groove-oriented playing.




Play each pattern four times, then move on to the next one without stopping. If you have any difficulty with any of the patterns (I'm guessing, the ones without a bass drum on 1), you can alternate it with pattern 1— repeat pattern 1 and the problem pattern one time each for a minute. Most people won't need to work this to death; you can play through the page in 5-10 minutes, during 1-3 practice sessions, and you will have learned everything it has to show you. Like a lot of fairly dry exercises, this will be more fun if you play it with a practice loop.

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Friday, June 23, 2017

Groove o' the day: James Gadson - Shout It Out

Another “enhanced” groove o' the day (that is not a thing), from a Patrice Rushen record, this time with the great James Gadson on drums. The record and tune is Shout It Out, and it's very 1977, very LA. By now you'll recognize the presence of Tom Scott's a-little-too-cute saxophone stylings. I've written out a few bars from the middle of the tune, at the end of a breakdown, so you can see the fill he plays to get back to the groove, a few little fills, and a bigger fill at the end of the phrase:




The tempo is about quarter note = 77 BPM . Gadson plays four tom toms here— probably a normal 5-piece set plus two concert toms— 8"/10" or 10"/12". Ndugu Leon Chancler played a similar set. Since we've been listening to some Ndugu recently, note the difference in approach here: Gadson's fatter, cleaner sound; this is more of a straight funk performance— Chancler is perhaps more of an improviser.

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Tuesday, June 20, 2017

Groove o' the day, ENHANCED: MORE NDUGU

This is how it goes around here, I get into a certain thing and do only that, and the blog content becomes unbalanced. What do I care, I love Ndugu Leon Chancler's playing. You can take these transcriptions as follow up on the Playing Funk Effectively post— they illustrate some of the things I was talking about there.

This is a short transcription that is mostly groove, plus a few very cool fills, so we'll call it a “Groove o' The Day ENHANCED”, like that's a thing. It's the intro from a tune called Haw Right Now, from Patrice Rushen's Prelusion album. There are a bunch of great LA players on this record.




Chancler does a number of hip things here: the opening fill, the crash on the & of 4 in the middle, the audaciously long fill at the end. All a little unusual in small ways, revealing of the player's intelligence, and COOL-SOUNDING.

I don't know what's going on at the beginning of that ending fill— it looks like it needs to lead with the left, but the last four beats seem to be a mixed sticking with the right hand on the toms, left hand on snare drum. The specifics aren't real important.

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