DRUMSTICK SPINNING, LESSON ONE!

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Applying drum rudiments in the context of genre

Drum rudiments are those beat groupings and phrases underlaying particular drumbeats that are associated with a certain drumming style or tradition. Essentially, rudiments are building-blocks of drumming styles which, over time, have been standardized and institutionalized by experts or have been constantly practiced and played by musicians.

Creating standard rudiments

Drumming was not always organized as we know it today. According to Paul Schmidt, "By the year 1918, professional drummers were taking drum rudiments seriously enough to argue about them". He further explained that it was within this period that drumming pundits and enthusiasts expedited efforts to improve the craft.

This move, Schmidt explains, was welcomed because, "drumming students felt content to take shortcuts and neglect rudiments," and as a result, "there was a wanton proliferation of below-par percussion sections, which handicapped the progress of bands and orchestras."

Creating good drummers

Schmidt outlines that as a result of this, there was a growing demand for better drummers everywhere.Thanks to the efforts of Sanford A. Miller, an expert of the day who was inspired into action, a comprehensive rudimental book called The Moeller Book was published. It started a natural response by other master drummers and instructors; music as we know it today is greatly indebted to this. Moeller's tutelage was instrumental in shaping Gene Krupa's illustrious career along with Jim Chapin, and others.

Drumming education and tuition

Nowadays, courtesy of the ready availability of drumming instruction via a plethora media comprising schools and colleges and regular drum lessons, there is a far larger and better pool of technically sound drummers to pull from.

Can't read drum charts?

Within my circle, I have found that many professional and gifted drummers never received formal training, yet they know how to play and manipulate rudiments masterfully. This is because they have listened to recordings and have taken wisdom from them. Plenty of them also have no clue how to interpret drum charts. These individuals however have developed all the other skills which are in demand e.g. smooth time, feel, proper placement of fills and the ability to improvise in a musically tasteful manner.

World music and drumming

If you should listen to recorded beats from several recognized genres of music around the world, and compare them to each other, they will absolutely be driven by different feels, grooves, and even time signatures. But thanks to the prevalence of standardized international rudiments, there is a strong level of coherence among them.

Savvy drummers may recognize that triplet rudiments are commonly played in jazz, and that its defining feature is the use of syncopation along with the triplet or sometimes eight-note ride beat. Another marker of style could be the common application of paradiddle rudiments to funk and rock drumming.

Reggae drumming

Personally, in my own study of reggae drumming, I realize that the phrasing of fills and drum parts bears a direct jazz influence. Note that reggae drummers use a lot of syncopated strokes along with rim-shots.

They also apply triplet, eight-note and drag rudiment concepts to fills. in terms of its feel, the beats and fills are most times laid-back in a swinging manner, in a way that they lock in with the bang and shuffle of the accompanying keyboard or organ. Another characteristic of reggae is the steadiness and metric simplicity of its hi-hat pattern, whether it be triplet, eight-note, accented quarter notes, 16th notes, or any mixture in-between.

The study of the rudiments which mostly characterize a particular genre is probably the best way in mastering or authentically reproducing beats and fills. Also quite a few genres utilize the various Latin clave patterns, or variations of each. I've recognized both the rumba and son clave rhythms in reggae applications. Learning these universal rudiments also helps in better understanding various drumming styles.

Rudiments used in different styles however may not directly mirror any standardized rudiments, but may be identified as being hybrid rudiments of a specific genre. I have also noticed that, in reggae songs over the years, these patterns are repeated in recordings like motifs, and may be short-lived or may be used on a continuum over the years as new drummers go into the recording industry.

For better drumming results, I would encourage any drummer to be very mindful of the various standard rudiments out there for your manipulation, and also the ones which are specific to your own genre of specialty which you must learn quite well.

Djembe: Examining The Art of Djembe Drumming

The Djembe drum, otherwise known as the goblet drum, is a uniquely shaped, skin-covered, African drum. It is traditionally used for ceremonial and other purposes in countries such as Mali, Guinea and also in Senegal.

Djembe players may take the lead in a drum circle performance or they may serve as accompaniment for the many dances which are practiced on the continent.

Traditional woods used in Djembe drum construction in Africa

The Lenge tree has been the source of lumber for traditionally rendered djembe drums. This wood is known for its distinctive sound and spiritual properties, among the Malinke people. This choice of wood was not hard and fast, however.

Owing to the rarity of the wood, drum-makers sought other hardwood substitutes. Surprising enough, the interior of the drum must not be smooth, but must have a spiral which runs through it, this will allow your drum to produce better sounds.

What was used to make traditional djembe drum heads?

For centuries, the playing surface of the djembe was made of goat, antelope or cow skin. This was anchored to the bowl or shell of the drum with sinewy parts of the animal, the intestine, or with raw-hide that was cut and stretched.

Djembe drum and its popularity in drum circles and mainstream music

With heightened demand, and the popularity of the drum that ballooned over the last fifty years or so, alternative ways of construction have come to the fore. A new-found reliance on synthetic and industrialized materials including: steel hoops, nylon-core ropes and rubber tires.

This is due in part to the favor that the drum had won, through the exploits of the largely popular, West African Ballets. In a bid to mass produce the drum, to meet international demand created by the proliferation of drum circles and djembe use within mainstream music, there are myriad replications of the traditional model and decor of the drum.

Modern djembe drums, drum-heads and shells are made with high quality synthetic material

The bowls and heads of these commercialized drums are usually composed of plastic or resinous materials like fiberskyn. Some drums feature metal mechanical key tuning mechanisms, instead of ropes.These modern counterparts of the eminent African drum are produced and branded by top percussion manufacturers like: Pearl, Meinl, Toca, Remo, and Latin Percussion.

How to play the djembe the correct way: There are traditional djembe drumming positions to learn

Traditionally, the performer stands with the Djembe secured around the waist, with the playing surface also at waist level. The drum is sometimes suspended between the legs of the performer and the far side of the drum-head is slanted to a slightly downward angle. It is also a rule of thumb that the hands should be positioned so that the tips of the index fingers form a right angle.

Djembe drum: This popular African drum is now used in World Music and Jazz

Over the years, the Djembe has taken on diasporic significance in music. This is especially true of its use in modern music, which generally relies on a strong percussive rhythm section. The Djembe has been featured in the music of: The Beatles, U2, and a slew of other rock and jazz bands.

African Master players of the traditional djembe drum from Guinea and Senegal

There have been several djembe masters over the years, some of whom are: Famadou Konate of Guinea, Abdoulaye Diakite of Senegal and Abdoulaye Sylla.

One world renowned master player and educator is Babatunde Olatunji who won a following among top jazz acts like: John Coltrane and John Hammond of Columbia records. He also performed on recordings with the likes of Carlos Santana and Airto Moreira.

Djembe drumming may be seen on television at Christmas and on other holidays

I vividly remember watching the now deceased Olatunji and a young boy, probably his understudy, on television in the Christmas season as they accompanied the song, Little Drummer Boy. He played drums that were surprisingly tall, to the point that he had to stretch above his head to reach the surface. This was a rare spectacle.

Maya Angelou's famous poem and accompanied by master drummer Babatunde Olatunji

This was a tasteful musical performance. Another unforgettable performance by Olatunji that i had listened to also featured a jazz ensemble which accompanied Maya Angelou's very famous poem entitled "I Know Why the Caged Bird Sings."

His wonderful drumming helped to package Angelou's equally awesome rendition of her own creation.

Uses of the djembe- The djembe was used in religious ceremonies and for healing

The Djembe: a very important musical and religious component of African traditions, has been included in percussion courses and lessons, primarily for the rich tonalities that it offers, also for its religious and romanticized healing properties, to a lesser extent. According to Friedberg,(2003) "the variety of djembe drums in Africa, have an infinite range, each of them exuding its own tenor."

It must be understood however, that the drum has poignant linkages to African religion and is sometimes dangerous if used incorrectly. The drum is known to offer a level of freedom to international, modern players.

Traditional djembe players Versus Non-traditional Players of the djembe drum

The Djembe has been incorporated into mainstream music in a way that African Djembe players who were traditionally schooled are at odds with some international exponents of the craft, due to their divergence from some of the core elements of technique and interpretation that old masters have grown to appreciate and even revere.

This may have roots in the fact that, in this era, students are not within the traditional African apprenticeship setting between the djembefola or student and his master, in which tutelage was more intimate and lifelong.

Another undeniable fact is that written transcriptions of the rhythms tend to be imprecise as they capture only the essence of the rhythm, since the full feel of the rhythms cannot be totally expressed on paper (Charry, 1996).

Eastern versus Western Musical notation: djembe rhythms for beginners and advanced players

On an important note, there are different djembe swing patterns that transcend the effectiveness of western notation systems, as West African music is quite peculiar and exclusive.

As such, "there is a great scarcity if not unavailability of written material for advanced players, while there is an abundance of general information that is readily obtained."

How to produce the right playing tone from the djembe drum

The masters will tell you that playing the drum effectiviely requires subtle technique. According to Charry (1996), "the proper sound is achieved with minimum effort for maximum effect", as "the key is to either focus or disperse the hand's energy and to position the hand in the correct place."

This is key in properly producing the three primary tones required: the bass-tone, middle-tone and the high tone. In order to make the bass tone for example, the player must strike the skin with his fingers aimed at the centre of the drum.

Eduardo et al (2001), also outlines that, "in traditional teaching language, each tone is given a separate name depending on whether it is produced by the dominant or weak hand.