|
http://www.vicfirth.com/education/articles/flinn_2-2-09.html
How to use transcription software to improve your drumming
The soft machine recordings
Soft Machine’s John Marshall chats with MD Pro Panelist Paul Wertico in the Ask a Pro section of this month’s MD. Here, we present Marshall riffing on his quintessential recordings with the British jazz-rock institution. But first check out this trailer of a DVD capturing John and the band performing for German TV’s
Fifth
I was the new boy trying to fit in for the second side of the record. The first rehearsal was like walking into a refrigerator. [Saxophonist] Elton Dean wanted to go free, and [bassist] Hugh Hopper and [keyboard player] Mike Ratledge were into more structured music. After playing with Jack Bruce, the music was quite straightforward. On my song “LBO” I looped music from the previous track and drummed over it.
Six
I like “Gesolreut,” which has a groove in 6/4. I played the solo track, “5 From 13 (For Phil Seamen With Love & Thanks),” as a dedication to Phil; he was a big influence on me. “Lefty” and “Stumble” segue into one another; it starts free, goes into a riff-based tune, and then there’s the drum solo.
Seven
Many musicians find that interesting. But the material didn’t work out well live. “Nettle Bed” was an intricate piece by [keyboardist/saxophonist] Karl Jenkins, and drummers often seem to like it. The band had so much energy, but we needed someone else to channel the energy. That arrived in [guitarist] Allan Holdsworth for Bundles.
Bundles
It was fantastic with Allan. It worked out exactly as we thought it would and changed the band completely. We began playing completely new material live, which was a risk. Suddenly, there was someone who was really into soloing, and Karl came up with these great compositions. Allan was a real shot of energy. Bundles is a very good picture of what I’m about. That’s my favorite.
Softs
This album features some of Karl’s best writing, like “The Tale of Taliesin.” There’s also “Kayoo,” a drum intro to “The Camden Tandem.” That song is a duet between me and John Etheridge, who replaced Holdsworth.
Alive & Well: Recorded in Paris
That includes “The Nodder.” The bars change between six and five and four and three. But it’s very logical; it goes round and round. The bass and keyboards stick to the sequence while John Etheridge and I solo over the structure.
http://www.moderndrummer.com
DRUM TEACHER/GURU HENRY ADLER
Drumming pioneer, music retailer, author, and teacher Henry Alder was born in New York on June 28, 1915. His first professional playing job took place when he was fifteen years old at the Belmar Hotel in New Jersey. He subsequently worked in several pit orchestras in theaters, as well as for traveling big bands. He can be heard on recordings with the Larry Clinton Orchestra, includingLarry Clinton & His Orchestra 1937-38 on the Hindsight label. Adler was known for constantly arranging sessions with other drummers and teachers to improve his own skills. What developed, in addition to his techniques as a drummer, were his techniques as a teacher.
Among the drummers Henry taught over the years were Dave Tough, Roy Burns, Alvin Stoller, Louie Bellson, Sandy Feldstein, and Buddy Rich, with whom Henry co-wrote the instructional book Buddy Rich’s Modern Interpretation Of Snare Drum Rudiments. The book was first published in 1942, having been introduced by Buddy’s boss at the time, famed bandleader Tommy Dorsey. Today it’s regarded as one of the most important snare drum rudimental books written.
The success of the book led to an expansion of Adler’s teaching studios and the opening of Henry Adler’s Drum Shop, in the heart of Time Square in New York City. The store became a hub for percussionists and a candy store for starry-eyed students such as future composer and educator Sandy Feldstein (1940-2007). In his own NAMM Oral History interview in 2003, Feldstein recalled, “Henry Alder’s was the place to be. I got such a kick out of just being in there. The drumsets were all so new and innovative to me, and often I would rub shoulders with the great drummers. I got to shake hands with Gene Krupa in Adler’s once. I won’t forget that.”
While running the teaching studio and the drum shop, and doing gigs himself, Henry set out to develop his own teaching style. In order to develop his now classic instructional system, Henry researched the physics and mechanics of arm, hand, wrist, fulcrum, and finger motions, applying these findings to the art of drumming. Known as the Adler Technique, the rigorous system emphasizes complete ambidexterity, mind-body coordination, elimination of all unnecessary arm or wrist motions, fulcrum muscle development, sight-reading, syncopation, and mastery of varied musical styles.
Henry used the teaching method to write a series of popular instruction books, including Henry Adler: Hand Development Techniques, 4-Way Coordination: A Method Book For The Development Of Complete Independence On The Drum Set, and How To Play Latin American Rhythm Instruments, which he co-authored with Humberto Morales, F. Henri Klickmann, and Ernesto Barbosa.
Adler’s career also included establishing and running his own music publishing company. The Henry Adler Music Publishing Company (also called Henry Adler Inc.) produced a steady stream of inventive method books and music, including titles by Adler and others. Among them were Elementary Drum Methods by Roy Burns (1962) and Odd Time Reading Text by Louis Bellson (1963).
In 1985 Adler tried is hand at acting and appeared as the Magic Club drummer in Desperately Seeking Susan, starring Rosanna Arquette and Madonna. In 1988 he was inducted into the Percussions Arts Society’s Hall of Fame. Adler died in 2008 at ninety-three years old.
http://www.moderndrummer.com
AIRPLAY: DRUMLESS DRUMMING
Drumless Drumming – Richard Lee
- Synopsis: What do you do in your spare time? Richard Lee creates the world’s most portable drum kit. The Drumless Drumming Project as he words it, was initially started during his postgraduate study at Trinity College Dublin. He was inspired by the aim to make drumming more accessible for a trade that can sometimes feel cumbersome.
OLD: How does it work?
Richard: The version of the system I have shown relies on a rather expensive optical motion capture set-up that uses multiple cameras to track the positions of small reflective markers in real-time.
By attaching these markers to drumsticks and shoes I can infer where they are, how they are oriented, and how fast they are moving. This information is then used to detect when a drum is hit and these hits result in a sound being played, which is selected based on the hit speed and stick orientation.
The orientation information is useful to detect rimshots or if the top or the edge of a cymbal was struck. A belt with additional reflective markers can optionally be worn which allows the drum kit to follow the user as they run or jump around. I like to think of this as aerobics for drummers – airdrummerobics, if you will.
OLD: You have said you were creating a new version – what will that be like?
Richard: The new version behaves similarly in that it tracks sticks with reflective markers attached to them. The big difference is that instead of relying on multiple motion capture cameras, it only requires a laptop with a webcam and a few electrical components costing about $10.
This makes it cheap and portable without compromising the quality, or responsiveness of the simulation. The only downside compared to the other version is that you have to be seated so that you are visible to the webcam.
OLD: Can you input multiple drum kit sounds or sampled sounds?
Richard: Yes, there is complete flexibility in the layout of the drum kit and what sounds are heard. You can easily trigger non-drum samples for instance, or make the sample selection dependent on the hit volume or hit angle. If the user already has drum samples, it is simple to use these as a substitute.
OLD: What inspired you to create this idea?
Richard: Unlike most other popular instruments, drums are loud. Really loud! From the time I started playing drums in my teens this was always a problem for me. I ended up striking a deal with my neighbors shortly after I got my first kit, which permitted me to practice drums for a fraction of the time I would have liked. Drums are also bulky. When I got older and joined bands the problem became how to arrange transport to get my kit to and from rehearsal.
The new version of the system I’ve developed is intended to avoid both problems. The fact that you don’t have to hit physical surfaces means that you can practice in complete silence with headphones. The fact that all the necessary equipment fits snugly in a shoulder bag means that you can easily bring your instrument for a jam at a friend’s house (or maybe the local park on a nice day).
Finally, for people who would like to learn to play drums but are put off by the expense of a drum kit, this system provides a cheap alternative and a great way to learn. With the touch of a button the system allows you to record, play back, and print the sheet music for whatever you just played.
OLD: Do you have to go down an academic route to do this kind of work?
Richard: In fact, this was only ever a hobby project I worked on in my spare time. Although the first version of the system does rely on equipment I was lucky enough to have access to in the academic research lab where I did my post-grad. However, the new version does not use any special hardware that would prevent anyone else from developing a similar system.
OLD: What advice then, would you give to anyone attempting similar ideas?
Richard: There are three keys to making the system feel natural. The first is allowing the user to be very imprecise in their hits so whether they hit a few inches above the snare or below it, a hit will still be registered. This makes it possible, for example, to play a double-stroke roll in the air. Even though your hands will naturally drift about, this won’t affect the hits that are detected by the system.
The second is responsiveness. If there is more than about one hundredth of a second delay between the time the user makes a hit and the time the sound is heard, this lag will be felt. This will then break the illusion of playing drums.
The third is speed detection. I found that accurately estimating the speed that the stick is moving,and faithfully translating this speed into volume is crucial to making the system feel realistic.
OLD: Could you explain the complications with producing this idea for something like Xbox Kinect?
Richard: People have attempted similar projects using the Wii controllers and using Xbox Kinect.
From what I have seen, lack of responsiveness is the fundamental reason these experiments have not been a big success. For example, the Kinect’s sensor outputs video at a rate of 30 frames per second. This means that you can strike a drum but not hear the response until 30 milliseconds later,which will certainly be felt by the user. In theory, it is possible for the software to predict ahead of time when a hit will occur but I’m not aware of any software that does this.
OLD: How do you see this idea becoming a product?
Richard: Unfortunately for me, I lack the resources to turn this into a commercial product. Fortunately for drummers everywhere, this means my current plan is to release the software for free when it’s finished, along with DIY instructions for making the necessary modifications to the drumsticks. I definitely don’t want to let this project die before I get it into the hands of others. I have already been contacted by a lot of drummers who are very interested in it, including a wheelchair user from the Netherlands who thinks it could help him play drums, and a professional Latin percussionist who was wondering about the system’s adaptability to other percussive instruments.
OLD: When is your next demo being posted? What are you planning for future events?
Richard: I am putting the finishing touches on the new version at the moment so I should have some new videos online in a couple of weeks. Some people who contacted me have been wary about the system’s ability to handle fast double strokes with no physical surface to strike so this is something I will specifically demo in the next video. Of course, if you prefer to hit real surfaces instead of thin air there is nothing stopping you from doing so. You can build your virtual drum kit out of pillows, magazines, whatever you like!
OLD: If you could describe your project in five words, which would they be?
Richard: Cheap, noiseless, portable,programmable drumming
http://onlinedrummer.com/article.php?id=110
Great Grooves by Steve Jordan
Check out these grooves by Steve Jordan:
http://www.drummerworld.com/Videos/stevejordangrooves.html
One Handed Roll
he fifth lesson in our Speed Development series concentrates on a one-handed roll using sixteenth-notes. This is similar to Speed Lesson #3, except that we will now be playing groups of four sixteenth-notes instead of eighth-note triplets (three notes) for each beat of the metronome. As in Speed Lesson #3, finger technique will be required to produce each down stroke when attempting to play at the maximum recommended speed. (For more on one-handed rolls, see Speed Lesson #3.)
Regular and dedicated practice of these exercises will not only help you develop the ability to play a continuous ostinato vamp with either hand (aka: one-handed roll), but will also increase your level of coordination and control when you attempt to put both hands together to execute a single stroke roll.
Tension-Free Finger Technique
Keep the stick as close to the drumhead as possible when using finger technique, an inch or less is best. This will allow you to play with maximum speed. If you play right-handed traditional grip, the first finger of your left hand should be used to execute the down stroke. If you play left-handed traditional grip, use the first finger of your right hand. In either case, your opposite hand or both hands (if you play matched grip) should use a combination of middle, ring, and pinky fingers to produce the down strokes.
The basic technique is as follows: Throw the stick down with your finger or fingers and let the natural rebound of the stick carry it back up to your finger so you can throw it down again to produce the next stroke. This is similar to dribbling a basketball. When you first practice this technique at the minimum recommended tempo (quarter-note equals 60 as shown on the written exercise), it’s okay to use some wrist along with your fingers. But as you gradually increase the speed, you should stop the motion of the wrist and let your fingers alone move the stick.
Exercises To Develop The One-Handed Roll
Before attempting to play the eight written two-bar exercises, watch my video demo. I’m playing the exercises at two tempos – slow and up to speed. Unlike my demo, you should repeat each two-bar exercise once before moving to the next. Once you work through all eight exercises using your left hand alone, repeat them from the beginning with the right hand. As always, start slowly and use a metronome. Once you are able to play each exercise precisely at a given tempo, increase the speed and write down your metronome marking to keep track of your progress. Although you should start by practicing these exercises at a metronome tempo of quarter-note equals 60 or slower, your goal should be to work up your one-handed roll to speeds in excess of quarter-note equals 150 or higher. Watch my video demo to check out the one-handed roll at a metronome speed of 150 bpm. For further practice you should also play these exercises as flat-flams. That is, play both hands together at exactly the same time. While you’ll find this extremely challenging at higher speeds, it will greatly contribute to your development of a clean single stroke roll.
Practical Applications
Regular practice of these exercises will enable you to increase your speed, control, and endurance. Once you develop a clean sounding one-handed roll, your solo repertoire and ideas will expand as you become more comfortable with your newfound skill. For example, take the first three pages in the book Stick Control by George Stone and play the sixteenth-note one-handed roll with your left hand on the snare drum while playing the book’s written right hand part with your right hand on various toms. Add a foot pattern and you’ve got some great sounding fills and solo patterns that only drummers who can execute continuous one-handed rolls can cut. For more fun, reverse the sticking and play the written left hand part with your left hand on the snare drum while vamping with your right hand playing a continuous one-handed roll on a tom. As you continue to experiment, I’m sure you’ll find many more practical applications for the drum set.
For questions on this month’s Speed Lesson, contact me at http://www.tigerbill.com. Practice regularly, stay loose, and stay tuned.
Simple yet effective Tom Petty Groove fro American Girl.
This is a great groove exercise as it brings in the open hi-hat. Concentrate on getting a consistent sound between the instruments.
http://onlinedrummer.com/video.php
How to use Transcription Software to Improve Your Drumming
Here’s an article the Vic Firth Company asked me to write.
How to use transcription software to improve your drumming
by Stephen Flinn
Transcription software is a valuable learning tool for any drummer, and it’s often much more fun to work with than a one-dimensional drum book. You see, the software isn’t just intended for putting pencil to paper: today’s software is ideal for play-a-long and analysis purposes.
For example, most drummers like the idea of learning from cds, but often have trouble playing along with the recordings because of the up-tempo nature in which the tracks are recorded. Transcription software enables you to slow down a recording, while adjusting the pitch, and then, if you want, you can export multiple repetitions of a complete song or highlighted selection to an iPod or CD for use in your practice studio.
Practicing a groove or figure at comfortable tempo puts you in a position to learn and play it with relaxation and confidence. This is paramount. Why? Because when you’re practicing in a relaxed and focused manner you’re practicing mastery and not tension. Tension is what you’re practicing when you’re trying to play a grove or figure at a tempo faster than your current level. It’s always best to play whatever you’re practicing in a relaxed manner, because this creates a positive spillover into every musical situation you’ll find yourself. This also applies to slow selections, which may create trouble. If a groove is too slow for you to play with mastery, speed it up to where you can learn it with relaxation and mastery and then go back and slow it back down to its initial recorded tempo.
Two of the most utilized transcription software products on the market are Transcribe (Mac) and Riffster (PC). Free trial versions of the software can be found atwww.download.com. After downloading and installing the software, you’ll find the processes of adjusting the pitch, tempo, and exporting the music to a CD or iPod to be fairly intuitive.
It’s important to adjust the tempo to a setting that will allow you to clearly understand the figures you’ll be asked to play. Start slowly and then gradually adjust the temp to where you see fit. After you become proficient, steadily increase the tempo until you can play the selection in real-time. You’ll find that by practicing slowly and then gradually increasing the tempo, you’ll play the music with much more confidence, relaxation, and conviction.
Another feature of this process is that you can highlight a specific section of a tune that is giving you trouble, and work on that section exclusively. You can even loop it and listen to it over and over while resting. Slowing a figure or pattern way down increases your ability to really hear how the instruments of the drum kit are interrelating. And, by listening to something in a repetitive way, it really hammers the sounds into your head and body, which is where you want the music. You can have great chops, but if you don’t have the music in your mind, body, and soul, the chops are useless and unmusical.
Stephen Flinn can be reached at www.beyonddrumlessons.com
Stephen Flinn is a postmodern improviser, drummer, and percussionist who has performed throughout Europe, Japan, and the United States with many notable internationally recognized musicians. In addition, in 2006 he conducted a national solo percussion tour of the United States, and released a solo CD, (Architect of Adversity), of spontaneous percussion improvisations on the esteemed Creative Sources label. He is based out of Los Angeles, California where he operates a thriving teaching practice and recording studio. Visit his website athttp://www.beyonddrumlessons.com
Buddy Rich Drum Transcription
http://www.drummerworld.com/Videos/buddyrich72dolphineslow.html
john bonham shuffle transcription
Here’s a transcription of John Bonham’s Fool In the Rain. It’s an interesting shuffle and worthy of wood-shedding.
http://www.drummerworld.com/Drumclinic/johnbonhamfoolinthterain.html
Follow Us!