Archive 3

  Issue #3_____\__\__\__\__\__________/__/__/__/__/03/05/97

  

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                        TABLE OF CONTENTS
                      What is in this issue?
      Contents:
        1. Feature Article: SOLO TIPS & FAQ
        2. Bass Player joke

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                   *** FEATURE ARTICLE ***
                        For March 97

                       DRUM SOLO TIPS
                 

	Drum solos' are a very popular topic at the website!  It seems 
that the most frequently asked questions come from students who want to 
improve their solo techniques.  I usually reply in the following way . . .
  
        Learn from the best, by doing! Begin a collection of drum
solo recordings.  Listen to all the great players old and new . . . everyone 
from Baby Dobbs to Neil Peart!

                            *** TIP: *** 
           *** How to get drum solo recordings for FREE! ***

	Many public libraries will let you check out records, tapes and 
CD's for free.  Our local library here in Daytona Beach, has a great 
collection of drum solo material.  It is possible to dub all the various 
solos' onto one tape, then keep that tape for the purpose of study.  I 
have done it . . . and would sell copies, but this is considered an 
illegal practice, because of copyright laws. Sorry!  Visit your local 
library.  Maybe you can dub your own study tape.
	The point is a simple one.  Before your solos' can develop, you 
will need *INPUT* . . . and a lot of it. You will need to absorb a 
heavy diet of the very best drum solos' the 20th century has to offer.  

              THE SECRET TO DEVELOPING AWESOME SOLOS'

ACQUIRE THIS HABIT: ( Do it every day . . . It works!)
	Put your favorite drum solo on the sound system.  Put on 
the headphones, sit back a relax. (Grab a sandwich and a cola).   
Listen with all your concentrating ability . . . FEEL the solo 
as it plays.  Replay it several times, let it soak into the soul.  
Make this a 15 minute project . . .
	Now ( 15 minutes later) when you are ready.  Do not pass go!  
Do not collect $200 Dollars!  Do not go to the bathroom!  
	Take a seat behind your drumset immediately while the rhythms 
are rolling around in your brain! Begin to thrash at the drums.  Play 
what you are thinking! 
        Hit 'em!  
        Let it go!  
        Feel it!  This is YOUR solo!  Do anything you want to do!  
Get frantic! Do not try to copy what you have just heard . . . simply 
imitate!  Aim for generalization!  Go at it for long periods of time.  
Challenge yourself to play longer and longer solos!  You may not sound 
anything like Buddy Rich or Neil Peart at first, but I guarantee
eventual results!  The solos you play will be uniquely your own
and each should be somewhat different from the last. There should
be no reason to do anything 
in a specific way.  This is CREATIVITY and the objective is to be 
different . . . but better . . . ALWAYS BETTER THAN BEFORE!
	Try recording your solos' on tape.  Hopefully, you will be 
pleasantly surprised and amazed to hear how good you sound!  Within a very 
short time your solos' will come alive and a new drumming genius will take 
aim at the big time. Yep!  That's YOU! You can do it if only you think you 
can! So, think positive! 
	If you will do this every day, the solos you play will improve
tremendously within a relatively short time frame.  Your confidence, 
technique and finesse will soar beyond your wildest expectations in only a 
matter of weeks!  
	Studying solos in this way will help perfect those rudiments 
you have been struggling to master, too.  After a few wild solo sessions 
there will be marked improvement in all your rolling techniques. The 
fingers, hands, arms, legs and feet will strengthen from all the strenuous 
(but fun) exercise.  You will grow by leaps and bounds effortlessly and it 
will not seem like work!  You should be having the time of your life! I 
might add that this is great therapy too!  
        Now you can fire the shrink!
        Good luck!     
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                   *** WEBSITE E-MAIL *** 
              Frequently Asked Questions & Answers
      
	The website generates a ton of E-mail questions every month. 
I have decided to focus on a few of the more common topics as a portion 
of this months feature article.  

                           *** FAQ ***

	1.  TUNING TIPS:  One of the most common questions to grace my 
E-mail 'in' box pertains to tuning the drumset.  This question has been 
asked so many times, I have decided to put up a special webpage of tuning 
tips. So, if you are needing a little help getting that new drumset 
sounding just right, you can simply visit the following webpage. 

 Tuning Your Drum Set. 

                 *************************

	2.  SEATING ARRANGEMENT: Students often ask for advice about 
positioning themselves at the drumset.  This question then leads to 
a short discussion about kicking the pedals. 

ANSWER:
        The way you sit at your drumset is a personal thing.  Much will 
depend on the way you attack the pedals.  Most of today's younger more 
modern drummers are attacking the pedals with a 'toe kick', rather than 
the 'heel down' style of playing. This requires the player to move in a 
bit closer to the drumset.  Place your toes (only) on the pedals with your 
heels in the air. Your shins will be on (or near) a 90* angle to the floor.  
Be your own judge here . . . find your own 'most comfortable' position and 
the style that suits you best.  
	Most of today's drum instructors will recommend the 'toe kick' 
because it allows the greatest speed and power.  
	The 'heel down' style of playing requires the player to sit 
further back from the kit.  This will put the shins at an angle to the 
floor.  'Heel down' tends to develop calf muscles while the 'toe kick' 
develops upper leg and thigh muscles.  Try both methods then make your 
own decisions.  Keep in mind that the 'toe kick' style is most popular 
with modern rock players while the 'heel down' style of playing was 
favored by the older jazz players.

                 **************************    

	3.  PERIPHERAL DRUM ARRANGEMENTS: The question of arrangement 
tends to come up quite a lot. This can be a very opinionated topic.  
Go with your own logic here. 

ANSWER:
        'Time in motion'  . . . or . . . 'ease of transit' . . . These 
are thoughts to keep in mind when positioning the individual drums in 
your kit. Personally, I like all the drum rims 'flush' but not touching.  
This allows for quick and easy movement from drum to drum.  It is a 
'common sense' thing.  Continue to experiment until you find what you 
like. Be aware however, if the rims are touching . . . this can
transfer vibrations and undesirable tones from one drum to the next. 

                  **************************
	
        4.  WEAK HAND: Another common topic of concern is the 
'weak left-hand' issue.   Most of us will favor one hand over the 
other.  This is an on going aggravation for all but a limited few.

ANSWER:  
	'Alternating' rudiment studies will definitely help with this 
problem. Repetitious rudiment studies are probably the best remedy for 
sluggish hands.  
	Also, as you learn the more complicated beat patterns like 
syncopations and Independence, your weak hand will gather more
control.  Sometimes, it is a matter of learning to do things VERY slowly, one 
note at a time, then gradually build speed over long periods (hours) 
of boring repetition.

                           *** TIP: ***
            How To Take The Work Out Of Boring Practice!
  
	I do most of this boring stuff during the day while away 
from the set.  Learn to study while watching tv, websurfing or 
riding in your car.  Simply get an idea (rudiment or beat) in your 
head and focus on it as a study item.  Practice it as you go through 
your day, anytime you have a few idle moments.  Then when you sit 
down behind the kit, you will be ready to burn those drums to the 
ground.
        When I am at the drumset, I prefer to just jam and have fun 
with solos' and recorded music.  It is amazing how the techniques that 
have been studied during the 'idle moments' will find their way into 
your playing style this way. 

        ************************************************

                        *** SPECIAL NOTE: ***     
                         ABOUT RECORDED MUSIC!

	Playing with recorded music is ESSENTIAL to your overall 
development!  Wait . . . that hasn't been stated strong enough!  
        Maybe I should *SCREAM* it this way . . . 

                   "PLAYING ALONG WITH RECORDED MUSIC 
                    IS ESSENTIAL TO YOUR DEVELOPMENT!!!"

	This is very important!  You need to discover the FUN of 
practicing with recorded music very early on.  You will notice that 
the lessons at my site are structured from the top down with this 
sort of 'ear' training or 'jamming' in mind.  If you are not playing 
along with your own favorite recordings already . . . you are missing 
the point entirely!  START DOING IT TODAY! 
	Take the first three lessons at the website if you are having 
trouble.  You will hopefully, be having a terrific time one hour from 
now.  This will create total addiction to the instrument and a hot new 
drummer. (THAT'S YOU!)

            THE FIRST THREE LESSONS AT THE WEBSITE:

 DRUMMERS APTITUDE TEST:

 READING DRUM NOTATION:

 BASIC DANCE BEATS:

      Jamming with recorded music should be a regular part of your 
daily practice routine.  Drum lessons, techniques and method books 
are ALL virtually worthless, unless the knowledge can be applied to 
'REAL WORLD' music every day, in a practical, common sense way.
Forget discipline and have some fun! :>)
      If you can't seem to make this happen . . . well, uuh. . . don't 
quit your day job just yet! :>)  

           ================SPECIAL NOTE====================

        It isn't unusual to experience problems with some songs.  Very 
often the drum parts are far too complex for the average beginner.  
Other songs may not present 'enough' challenge.  This is normal!  However, 
If you know your basic dancebeats by heart, you should find
that about 80% of the music on the radio is a snap.  
        Play only the songs that come easy to you at first and graduate 
into the more complex music later.  Your confidence and ability will 
increase proportional to the amount of fun you are having.  If
you are not having fun, it may be a real bad sign! 
        After memorizing all the basic dancebeats, if you still can't 
do it, please explain your specific problems to me in an E-mail note and 
send it to:
           powelson@america.com  
        I will try to provide a little 'high test' fuel to get
your motors running.

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                          BASS PLAYER JOKE

        There was a poor ragged bass guitarist panhandling 
for spare change on a street corner. One day someone came by 
and threw a brass lamp into his guitar case. Upon rubbing the 
lamp, a genie appeared and offered the bass player three wishes. 
"I wish I was a better musician", said the bass man. Next thing
he knew he was in a band that was cutting its first CD and
had a loyal following. He was pretty happy, but he wanted
more. "I wish I was an even better musician", said the
bassist. Before long he was playing on an extended world
tour in front of tens of thousands of adoring fans. He was
ecstatic, but he wanted even more. "Genie", he said, "make
me an even BETTER musician!" Poof! He found himself
standing on his old street corner . . .  playing drums.

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 Your future career may LITERALLY depend on  THIS IDEA.

CYA NEXT TIME! END OF TEMPO DISPATCH #3 3/5/97