House of Drumming.com

So, as paradoxical as it that I'm sitting here at present working over a few technical niggles on a pad, having really got into the idea of producing a good TONE as well as consistency has been what I've been chewing over so to speak. Having just rewatched some of Steve Jordan's The Groove Is Here (made all the more poignant by Levon's passing - that's now officially an historical document as well as a philosophical/ musical masterpiece), where Steve talks about when he was a tympanist and having to start and stop a quarter note and understanding duration, therefore giving him a greater awareness of the top/ middle/ bottom side of a quarter note has pricked up my ears and got the ol' grey matter firing as well as this quote from an interview on Billy Ward's site

"If you're thinking, whole note on a floor tom, do you play it as a whole note, or do you actually play a quarter note with three quarter rests? Developing a sensitivity to touch and tone is all psychological."

Does anyone here (perhaps even Billy himself!!!) have any thoughts on this (ie the "psychology" behind this, as Billy puts it). Perhaps not easy to explain in words, but nonetheless it's one that bugs me endlessly!

Simon Phillips said something similar in an interview I read many years ago. He was describing the drum pattern in "Face The Face" that he played (Pete Townshend song). Something about playing the bass drum and snare as half-notes and letting the groove breathe.

Yeah this underlines the importance of learning another instrument, piano for example, where reading and interpreting notes for their actual duration is key as opposed to simply how long until the next note is struck (if playing a staccato instrument like drums). I think a good exercise is to work through a reading book, Bellson or Reed etc but sing the actual note duration.

Like percusski said, if you have any classical background this is all inherent. Mallet, Timpani, etc all deal with note duration. Even rolling is based on creating a long(er) note.

Playing another instrument definitely changed and evolved my playing though. Use of space, melodies, interaction with other instruments, phrasing, etc

But honestly I don't consciously think about stuff when I'm playing, I doubt anyone does, it's all automatic inherent musical response. Now sitting down and orchestrating a drum part on the other hand is different, but even then you can't be too clinical about things or music just becomes an exercise and not expression.

Josiah - very true! I just like to "chew over" things like this from a place of curiosity... I may already do this kind of thing unconsciously myself, I'm not sure... I was fortunate enough to study with Bob Armstrong and he was very thorough about the understanding of long and short notes.... Yes, what you say about the instinct/ intellect problem in performance is very interesting, because I've been playing from my ego for far too long.... I dunno why I philosophise about these things, because I'm a shockingly AVERAGE player!.... I suppose some are put on earth to blaze a trail while the rest of us cough on the dust they've left behind... I'm just intrigued by what Billy Ward/ Dave DiCenso use as an educational framework, because the former is very much the idea of using your limitations/ own creativity to create art from an authentic personal space (reminds of what Bill Bruford says on his video) and the latter is using that right side brain "feminine enthusiasm" and channeling it to have a greater musical understanding and push things forward and improve from that space, rather than dry, arrid excercise for excercise's sake.

If you read a big band chart or a broadway style chart, you will pay attention to the durations of notes. Other than that, being familiar with your drums and cymbals will let you know what to do.

I believe what Hal Galper has to say here is pertinent, and it gave me some insight into the mechanics and sound of the instrument(s):
http://www.youtube.com/watch?v=JJRjEpjd9S4&feature=player_detailpage#t=764s

MARACATU - Thanks! I saw a Hal Galper vid a while back - he's up there in my esteem with Kenny Werner. Jim - Wow! I've gotta say, I wish I could make my point in as few words and as profopundly as you did there, but I have a tendency to ramble!

Jim Richman wrote:If you read a big band chart or a broadway style chart, you will pay attention to the durations of notes. Other than that, being familiar with your drums and cymbals will let you know what to do.

Well said.