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Bill Powelson's School of Drums

  Issue #2_____\__\__\__\__\__________/__/__/__/__/02/05/97


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                        TABLE OF CONTENTS
                      What is in this issue?
      Contents:
        1. Feature Article: The Beauty Secrets of Simplistic Drumming
        2. Bass Player jokes
    
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                       ***FEATURE ARTICLE***
               THE BEAUTY SECRETS OF SIMPLISTIC DRUMMING!
	Some of the best drummers have a problem with simplicity.  
It sometimes seems that it is much easier to play fast and complex.   
Then, along comes the lifeless boring ballad that will tend to drive any 
drummer up the wall.  
        Most drummers are alike on this issue!  We love songs that cook 
and we hate dull boring music that lacks exciting rhythms. 
       If we are jamming alone at home with the stereo, it is easy to 
simply ignore the draggy stuff and play only the fun music.  Unfortunately, 
we are usually offered no choice in the matter on most professional gigs.  
If the band decides to do a rhythmically boring tune, we must endure!    
The boring songs usually end up by far, the toughest to play!   Boring 
songs are a part of the job, so we need to learn to play them well. 
        Ideally we should strive to play every song the best it
can be played!   There are many secrets to simplicity but the
most important is tempo!  

                          SECRET #1: TEMPO
	TEMPO is everything!  Foremost and always!  If the other musicians 
can hear and feel the tempo we are laying down  . . . everything will sound 
good and they will love their drummer.  But we drummers must
always execute 'near perfect' tempo, no matter how simple the
song or rhythm may be!  If we rush  or drag (speed up or slow
down) . . .  the effect will be felt throughout the entire band.  We 
become tantamount to a 'Dirty ol' egg sucking dog'.  Oooooh that 
is a bad place to be! :>)
        The problems arise when we are unsure of the tempo.  This tends 
to happen more frequently on the very simple songs.  As we
drummers pull-back and play softer, using less energy . . . the
other musicians may lose the 'feel' of the rhythm . . . starting
a chain reaction that sends us tumbling flat on our face.  Ouch!
It hurts every time!  We get the blame anytime another band member screws up.
        The answer to this dilemma comes back to several factors: 
 

                       SECRET #2:  CONFIDENCE:

        CONFIDENCE: We drummers must maintain 'near perfect' tempo at 
all costs.  Now, it is common for any open-minded drummer to be 
over-influenced by another player onstage.  In other words  . . . if the 
bass player or piano player inaccurately tugs on the tempo . . . and we 
follow . . . we must shoulder the blame if they are wrong.  It seems that 
the offending member never gets blamed!  It is our fault if we follow them 
into the pit of doom!  We must have the confidence to hold the tempo and 
know instinctively, when the others are wrong!  This is the thing that 
drives all drummers crazy  . . . and trust me  . . . most professional 
drummers have dealt with this more than they would like. It goes with the 
job!

                         *** THE SOLUTION ***

     A tool is needed here that will always keep us in line with
'near perfect' tempo even when those around us are falling apart. I am not 
referring to a metronome or click track.  Nothing like that!.   I am 
talking about the BeatBug.  The Beatbug is  a miraculous little device 
that attaches to your snare batter head and acts like the speedometer in 
your automobile.  The only difference is, it measures the number of beats 
per minute you are playing, rather than miles per hour.  
     If you haven't read about the Tempo Ref, you should do so.  
Go to this URL:

www.luglock.com



                      SECRET #3:  DYNAMIC FINESSE:

     DYNAMIC FINESSE:  This is largely 'acquired' wisdom.  We 
drummers must know instinctively, 'When NOT to play'.  There will be many 
places in the music where little or no drums are required.  This happens 
more frequently in Hymns, Country Ballads and softer music styles.  
Sometimes it takes real guts to stop playing and layout completely.  
As you do this, at just the right moments in the music, something 
cool will happen!  New (low end) dynamics will be added to the overall 
sound of the group/band.  You will be missed and appreciated at the 
same time.  Your contribution to the overall sound will then become 
even more obvious as you reenter the music with thunderous rhythmic 
confidence.  Try this with your own band!  If it is done correctly, 
you will begin to get the respect you deserve.  Try doing this at 
every appropriate opportunity!  I think you will notice a few more 
appreciative nods coming from the other band members. 
NOTE:
     If you notice that the band tends to fall apart when you drop 
out, try keeping a very soft backbeat with the hi-hat  . . . only a
very soft 'chick' sound and that is all.  Just enough to help the 
group stay together but not enough to be heard by the audience.   
Then, when you come back in . . . do it with gusto!  This sort of 
DYNAMIC FINESSE tends to make a point.  That point is this: 'Most 
of the tempo problems occur when you AREN'T playing'!  The other 
players will then be forced to concentrate on maintaining their own 
'near perfect' tempo.  It is good for the group as a whole and it 
will make your job easier!

                  SECRET #4: GO EASY ON YOURSELF!

     The odds are very much in your favor that you are being TOO HARD 
ON YOURSELF!  Taking the blame for the inadequacies of the other band 
members is a common occurrence with good drummers.  We automatically 
shoulder the blame when the other guy gets out of time!  But, this is 
self defeating!  I recommend against it!  Make each player responsible 
for playing in time!  That is the best we can do as drummers . . . the 
rest is up to them!  If they insist on playing out of time, simply pull 
back and let them fall on their face a time or two.  Before long they 
will get the message and become a little more tempo conscious.

            SECRET #5:  BASIC DANCE BEAT MEMORIZATION:

     BASIC DANCE BEAT MEMORIZATION:  Total and complete 
memorization of the Basic Dance Beats will help add solidarity to 
your playing.  Count, count, count!  Always count everything!  If 
you are playing 16th 4/4 . . . be sure that 16 hi-hat notes are 
'felt' in every bar.  Never 15 or 17  . . . Always 16!  12/8 = 12 
notes on the hi-hat, 6/8 = 6 hi-hat notes, 8th 4/4 = 8 hi-hat notes 
and so on. You will grow to feel these counts with more experience 
and enough memorizing effort.  

                    TEST YOURSELF RIGHT NOW!!!
    This is a great confidence builder!
    Play each of the basic dance beats from memory right this minute!  
DON'T LOOK AT THE WRITTEN NOTATION!  Play them from memory!  If you 
can't play the following beats from memory then return to the Basic 
Dance Beat lesson at the website and practice each beat until you have 
total and absolute instant recall!  Your future success as a drummer 
may depend largely on your ability to do this:

            PLAY THESE BASIC DANCE BEATS FROM MEMORY!!!
 
    1.  16th 'Rock' 4/4
    2.  6/8, 12/8 Blues (Also called triplet 2/4 & Triplet 4/4)
    3.  8th 'Rock' 4/4
    4.  Shuffle/Swing
    5.  Quarter (4th) 4/4 (Also called Cut-Time 2/4  . . . it depends on 
how the thing is written)
    6.  Waltz:
          a.  16th Waltz
          b.  Triplet 3/4 'Blues' Waltz (Also called 9/8)
          c.  8th Waltz
          d.  Shuffle/Swing Waltz
          e.  Quarter (4th) 3/4 'Waltz'
=========================================================

                        HAVING TROUBLE?

     If you have trouble with any of these beats then visit the 
following URLS:
      
 BASIC 4/4 DANCE BEATS:
     
 BASIC 3/4 WALTZ DANCE BEATS:

                 SECRET #6: LISTEN TO THE BEST!
	As a final thought towards playing eloquent and simplistic.  
Listen and imitate those who do it best.  I am referring to the great 
session drummers right there on your recordings.  Listen closely to 
the tricks and techniques they are using on the simple songs.  As you 
acquire and adapt those licks, the boring songs will take on a whole 
new feeling.  They will become fun to play!



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                          BASS PLAYER JOKES

A scientific expedition disembarks from its plane at the final
outpost of civilization in the deepest Amazon rain forest. They
immediately notice the ceaseless thrumming of native drums. As they 
venture further into the bush, the drums never stop, day or night, 
for weeks. The lead scientist asks one of the natives about this, 
and the native's only reply is "Drums good. Drums never stop. Very 
BAD if drums stop." The drumming continues, night and day, until one 
night, six weeks into the trip, when the jungle is suddenly silent. 
Immediately the natives run screaming from their huts, covering their 
ears. The scientists grab one boy and demand "What is it? The
drums have stopped!" The terror-stricken youth replies "Yes!
Drums stop! VERY BAD!" 
The scientists ask "Why? Why? What will happen?" Wild-eyed, the boy responds, 
                       " . . . BASS SOLO!!!" -
Zeus T. Serious - Trombone/Bass guitar/Drums/Guitar/Banjo/Kazoo) - Nottingham,
England


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Here's something that may be more important that you think.

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CYA NEXT TIME! END OF TEMPO DISPATCH #2 2/5/97