The power of the single and double stroke

This week I want to talk about two fundamental movements for the drummer.  While analyzing the basic 26 American Corps Drum Rudiments I noticed that the stickings fall into four basic styles: flams, roughs, single strokes and double strokes.  Let’s put aside the flams and roughs for a moment and focus on the two very basic stickings: the single stroke and the double stroke.

The singles stroke is your typical RLRLRL…pattern.  When you let the sticks bounce this soon becomes your basic drum roll.  This is the predominant sticking when playing sixteenths, be it on the hi-hat for funk-based stuff or around the kit for a fill.

The double stroke is the RRLLRRLL…pattern, and consequently my favorite type of sticking because it gives the illusion of a single roll with one hand, say on the snare, while you move the other hand around the kit.

When analyzing the rudiments you will find that most of them are based on either one of these stickings, and some, like your paradiddles use both. 

The late Joe Morello new the importance of these two movements around the kit and often used a simple exercise with them to promote his “Master Studies” books.  The exercise goes like this.  Play four bars of single strokes(RLRL), than four bars of doubles (RRLL), and then four bars of single paradiddles (RLRR, LRLL).  You can increase to eight, sixteen or twenty-four bars of each per your liking.  Use a metronome to stay honest and increase your speed gradually without any spaces in between stickings.  For you double bass enthusiast out there the same exercises can be done with a double bass drum pedal or dual bass drums.  Either way you will be amazed at how quickly your skill sets will improve through the use of this exercise.

These movements are not just stickings, but rather a way to unlock complicated drum parts you may encounter.  Because most drumming will fall under one of these movements you can use that knowledge to figure out how your favorite drummer is moving around the kit.  Is he playing that fill hand to hand (LRLR) or with double strokes (RRLL)?  I often analyze new grooves by trying both movements and soon find that one produces an easier flow for the song, and surprisingly that is the right way the original guy played the part.

There are reasons that the rudiments are built around these two movements and with proper practice and insight they can help you unlock any complicated drum part.

Drum on!

How much does a Gold Album get you?

Here is the breakdown.  Prepare to be amazed (or disturbed)...

Our artist has made a gold record and sold 500,000 copies.  He has a royalty rate of 14%, pays the producer 3%.  Has recording costs of $250,000 and tour support of $50,000.

Wholesale Price (what they base your royalty rate on)                $12.05

Royalty Rate (14% all-in, minus 3% for producer)                       $1.32

Royalty X 500,000 Units                                                             $640,000

Less 10% Free Goods (Promo copies)                                      -$64,000

                                                                                                     ____________

                                                                                                     $576,000

Less: Recording Costs                                                                -$250,000

Less: 50% of Independent Promotion                                        -$75,000

Less: 50% of Video Costs                                                          -$50,000

Less: Tour Support                                                                     -$50,000

                                                                                                    ____________

Total:                                                                                          $151,000

To add salt in the wound the record company holds a reserve on your gross royalties ($576,000) meaning they keep 35-50% of your royalties in case your sales boomerang.  At 35% that is $201,600.  So in this first statement you get NOTHING. You may get that back if yo continue to sell, but they still have you.

And it gets worse…

Suppose you took the record companies advance of $300,000 towards this album.  That means after this album you are in the hole $149,000.  Which they will gladly take from the royalties of your next album, if you have a two-album deal.

Still want to become a rock star?

I got these figures from a great book “All You Need to Know About the Music Business” by Entertainment Attorney Donald S. Passman.

Understanding the infamous 6/8 time signature.

I got an interesting text the other day.  A friend of mine was stuck in an argument over the difference between 6/8 and 3/4 time signatures.  She asked “can’t we just count 6/8 in 3/4 time because they add up mathematically?”  I thought it was a valid point after all time in music is just simply math and counting, and, yes, 6/8 can be divided into 3/4 in math.  But in music it is the way we count 6/8 that makes it different and helps give the music that “Latin” feel.  So I will try to explain.

3/4 time is quarter note based, meaning that each of the three notes is a quarter note.  Counted it would be one, two, three, one, two three, one, two, three… This is what I will call a straight forward based feel.  In Jazz we may give the “ones” a little longer of a feel creating that infamous swing feel.  6/8 is different because the musician must keep in mind that it is actually triplet based.  So one measure of 6/8 is actually two sets of triplets counted trip-e-let, trip-e-let…or a quicker 1,2,3,4,5,6...  In this 6/8 feel the usual snare hit that will fall on beat 2 in rock feels falls on the “let’s”(counted beats 3,6) of the 6/8 measure.  It gives the music that lift feel that is cornerstone to Latin music.

Now my friend was right because you can subdivide 6/8 into two 3/4 phrases and this will come in real handy if you ever have to play fast 6/8 music.  In these situations it is often difficult to count 1,2,3,4,5,6 over and over again real fast so I may count 1,2,3 in a quarter note counting method while playing the fast Latin 6/8 underneath.  I just have to remember that if the music calls for eight bars I can only count it in that quarter note 3/4 feel for four bars. 

This is one of those that you will have to practice with a metronome or a good written piece of music with an included audio file.  Or better yet go find a friend from one of the South American nations and ask to borrow some music. 

Understanding Drum Charts

Perhaps the one thing that scares drummers the most is reading a chart for a gig.  There is a lot of justification behind that fear.  Charts can be scary, especially if you have never read music before, and for those of us who have an understanding of note values the drum chart can still be scary.  On cruise ships and in pit bands charts are often handed down from drummer to drummer each bearing markings carried over from generation to generation resembling the changing show.  Entire sections can be scratched out.  Pencil, and worst yet pen marks, scar the entire piece making it difficult to decipher what you should be playing.   And to be honest many drummers do not understand how they should be reading the music that is in front of them in the first place.

For a drummer reading music is much different than any other member of the band, but with a few basic understandings of what is expected of you, you can achieve the task at hand.  I am going to assume that you have an understanding of what notes look like and what values those notes hold.  If you have never read music before you may want to start off by finding a basic music theory book that explains rhythms, for the drummer a simple snare drum reading book from grade school will work just fine.  Look for anything by Mel Bay or Alfred Music Group.  Once you understand the basics of notes you will be surprised at how easy reading a drum chart can be.  So let’s move on.

The fundamental rules for the chart-reading drummer are these.  You must keep the beat.  Even if you do not know what is happening on the music the band will require you to keep the music going.  After all the rest of the musicians just need to regurgitate what they see on the page.  KNOW THE ROAD MAP FIRST!  Look for repeats, D.S. signs and first and second endings.  You must know where you are going in the music. The second rule is this: drum charts are interpreted not read.  Very few composers will write out the exact beat and fills you are to play.  They understand that you must keep the music going so they will give you a basic understanding at the beginning and then fill in the bars with time slashes |////|////|////| so you know how many bars you are to keep the beat going. With practice you will learn to love this writing style because it gives you the freedom to be creative with your time keeping and add you own distinctive style to the music.

Section Hits and Ensemble Hits:

As you read through the chart you will begin to notice that the composer has written in specific hits throughout the piece.  These hits will be written above the bar line (Section Hits) and through the staff (Ensemble Hits).  Think of it like this if the hits are written above the staff you are to keep on playing and make the hits with the section that is playing those notes.  Keep these hits simple using the snare and/or bass drum to mimic what that part of the band is playing.  If the notes are written through the staff the entire group will be making the hits together and you will not be grooving through them.  These hits often occur at the beginning or end of the piece.

Setting Up the Band:

When you encounter Ensemble Hits it will be your job to set up the next hit.  Each drummer will develop their own style for this task but the basics of the job are the same.  You lead into the hit with a simple roll, flam, or other stylistic maneuver.  Your hits should be simple so the group can anticipate the hits together and make the stabs at the same time.  Listen to some old Buddy Rich, Joe Morello, or Peter Erksine so you can get an idea of what I am saying.     

Understanding the Markings:

Always look for the freshest set of markings.  I always take some time to talk with the band director before rehearsal to see which hits are the newest ones.  It never hurts to look over other instrument's music, especially the piano parts because they have both the treble and bass clef, so you can gauge what is happening in the piece.  And when it is your turn to mark charts ALWAYS USE A PENCIL.  If you are serious about your craft always carry a pencil and big eraser in your gig bag because when the gig is over you are usually required to clean your markings.  I always make notes to myself and have created my own little set of symbols to dictate what I should expect.  Circle those D.S., Coda, and repeat measures because it is vital that you know the road map over all the little hits.  In fact here is a little sight-reading tip.  Read through the road map first, then the specific hits.  You are the drummer and you must be able to keep the song going from start to finish no matter where all those repeat markings may take you!

 

Final Notes:

Drum charts are usually long with many pages for one piece and because we use all our limbs it may be hard to flip pages while keeping the groove.  I usually tape pieces together and use a double music stand or elongated piano stand for my charts.  Make sure you place your music in a spot that is convenient so you can read the music, see the band director, and actually hit all your drums easily.  Always use a stand light if you can, pencil markings are hard to read under low lights. 

If you do not have or can’t find the drum charts piano charts are best.  They cover both clefs and you can gauge what the bass and other top instruments will be doing. 

Broadway books will usually give you a kit set-up diagram at the beginning of the chart book.  You should set-up your kit as close to their recommendations as possible.  It will make your movement from song to song and drum to drum much more efficient. 

If you don’t read you will loose it, so take time to practice your reading.  Tommy Igoe has a great set of groove songs with charts available called “Groove Essentials 1.0 and 2.0”.  Steve Houghton has a great book called “The Ultimate Drumset Reading Anthology” and Bobby Gabriele has a great introductory book called “The Chart Reading Workbook.”

Finally you must understand playing to charts will require you to have your fundamental skills down solid.  You will be required to play different styles effortlessly.  Perhaps the biggest challenge will be independence.  Often you will have to keep a groove going while making the Section Hits.  All your limbs and your brain will need to be working on all cylinders.  You will need to have your basic time keeping, independence, and technical skills in check or it will be that much harder to bring the charts to life.  In return chart reading will step up your game.  You will begin to notice that well written music follows specific divisions of four in four, eight, twelve and sixteen bar sections.  After a while you will be able to feel when the music is about to change from section to section.  You will become a better musician and not just a drummer. 

The New Musical Customer.

“Let’s play “In the mood”, than “Moon River”, than “Blue Bossa”, hey wait were are all the customers?”

I can’t tell you how many bands I have worked with who do not understand the present market of music listeners.  A vital mistake that leads to an increasingly smaller crowd and eventually a lost gig.  These are all tunes we love to play along with other “Real Book” standards that show off our jazz skills, but something is missing.  That something…the understanding of who is in the audience and what music the customer is used to.

Let’s take cruise ships for example.  The average cruise guest is now about 46, based on what I have been told by countless Entertainment Directors.  Let’s take that and do some math. 

The average person develops their musical taste and memories around age 18.  So subtract 18 from46 and you get 28 years ago.  Now subtract 28 from 2011 and you get 1983.  That leads me to believe that the average customer on a cruise ship will respond to songs from the late 70’s through 80’s much better than those jazz tunes from the early 50’s and 60’s.  Sure there are some timeless pieces that everyone loves, and sure if you are in a jazz club this math doesn’t work.  But when you are a club band on a cruise ship, in a bar or in a hotel the math doesn’t lie.  Your customers, if they fall into that age 46 median, are going to want a little more Michael Jackson and a lot less Glen Miller.

To make a living giging…understand your financial picture.

So you want to be a professional musician huh?  Well here is a little advice. 

Because this is such a competitive industry now flooded with millions of new artists the chances of you landing a gig that will pay the mortgage, car payment, electric bill, cable, internet and put some food on the table is not that easy.  Trust me I have been doing this for a while now.

You are going to have to take an unbiased look at your financial picture.  If you have kids, a home and a wife whom likes the good life you may find it tough to make all that happen on the few dollars you will make playing dingy bars and clubs.  Think about this.  I have been playing professionally full time for a while now and I still average about $100 bucks a gig even after six years of playing.  This isn’t a fortune five hundred company and there is no cost of living increase yearly.  Compound that with the growing fact that fewer and fewer clubs are hiring live bands and many have music just one night and that equals a weekly paycheck of about $200.  Unless you live in Mexico this will not pay the bills.

Now don’t be discouraged by these facts.  Instead look at it as an opportunity to gauge the market.  Try finding those better gigs such as cruise ships, theaters, and hotels (if you got the chops) that provide somewhat stable income and incentives such as living quarters and meals. 

A second thought is this.  Your gross income is what you take in versus what you pay out.  So if you are a younger cat with fewer bills try keeping those expenses as low as possible.  Don’t lease a Mercedes when a VW will do.  Find cheaper rent and avoid eating out as much as possible and you will be surprised at how far your gig income will go. 

If you are serious about making a living as a musician you are going to have to become great with your money, and trust me musicians are notorious for not being good with the green, unless it can be smoked.  So don’t do what all the other players do, take some initiative in your financial picture and you will get by doing what you love. 

Sacrifices and Musical Reward

There is going to be a special moment in any true musicians life. A moment when you feel that pull of music, a force that will pull you away from the concept of a normal life, as you foster that force you will begin to notice how much sacrifice you are willing to accept to chase music’s pulling force.

I have felt that pull and with it I have endured my own sacrifices for music.  My first major challenge was handing over my interests in a successful and growing company.  Since then I have sacrificed so many facets attributed to a normal life.  Now in my early thirties I have no home, no wife, and no kids.  I lack so many of the possessions a person of my age should have.  In some sense of the word I have become a gypsy roaming from gig to gig.  But, with those sacrifices I have seen what I consider great rewards.  I have seen the world and met many interesting individuals along the way. Perhaps the greatest thing I have received is the music, be it playing in a small club to a few patrons or rocking thousands after they have demanded another encore.  I guess it is these small playing moments that make all the sacrifices worthwhile, for these small moments are something very few will ever experience.

Just the other evening I had one of these small moments.  A terrible illness had grounded our bandleader and front man, leaving the rest of us to make up a set of songs with what we had.  And, I have to say we rose to the challenge.

The first thing I must point out is that our regular show band consists of a repertoire of dance and top 40 hits from the 60’s to today.  Songs such as My Girl, Mustang Sally, and Pretty Woman, but without Jim’s leadership and vocal abilities these songs are difficult to achieve, so to make the evening successful the band changed up gears in moments. 

The bass player Brad and I made our way to the hotels five star dining room and approached pianist Greg Goodwin about helping us out.  With his acceptance we were able to match his amazing piano voicings with saxophonist EJ Hughes smooth style, Brad’s tick tock time and my old school jazz brushwork into a night of contemporary smooth jazz that was not only well received, but also well enjoyed.

I guess it is strange to say that all of those sacrifices were vindicated by such a small experience, but they were.  It is a powerful feeling as a musician to walk into an evening preparing for a train wreck only to have your musical brothering and your own skills reach the surface and show you just what you are made of musically, and what you have earned.