SYNCOPATION, SYNCOPATION IS THE NAME, KEEP THE RHYTHM...

One of the most important aspects of jazz drumming (used less extensively in rock drumming) is something called syncopation.  A simple way to describe syncopation is by saying it is a way of accenting the offbeats in music.  The opposite of that would be a lot of rock and pop music heard today, where most of the accenting is done on the beat. Accenting on the beat allows for music that is easy to dance to (there's nothing wrong with that!).  Accenting off the beat makes for a more interesting and unexpected listening experience.

Syncopation started with a style of music called ragtime. Ragtime was the most popular from the end of the 1800's to about 1918.  Ragtime was in part created by black musicians using African rhythms while playing mainly the piano. Drummers had a fairly limited role in ragtime music, but they did begin to syncopate more, and the beginnings of the jazz ride cymbal pattern was emerging. One drummer who was instrumental during this time was Warren "Baby" Dodds. He created an inverted (inversion of the modern jazz cymbal pattern) pattern that was used a lot at that time.  Listen here: http://en.wikipedia.org/wiki/File:Inverted_ride_pattern.ogg

The next era in jazz drumming was the swing/big band era of the 1930's and 40's.  During this time, less emphasis was placed on syncopation, because the purpose of these bands was to make people dance! You will hear a lot of emphasis put on beats 2 and 4 in this music.  Listen to this example (Jumpin' at the Woodside by Count Basie) and see if you can feel the beat:  http://en.wikipedia.org/wiki/File:Jumpin%27_At_The_Woodside.ogg

Next week will be the last post on drumming, where we will explore bebop and beyond.  This is when things get really syncopated.  Until then, play some music, and if you don't know how, go to Earthtone School of Music's website and take some lessons: http://www.earthtonemusic.org/

Tim Kurteff-Schatz

DRUMMING - THAT NEW ORLEANS SOUND

With so much of America's new art form being formed in New Orleans, that city's music began to have its own sound.  New Orleans music has its own sound to this day.  One main genre coming out of New Orleans that created that "sound" is something called Second Line drumming.

The Second Line in New Orleans marching bands was the line of musicians that was literally the second line of musicians behind the marching band.  Included in that second line were the two main drummers: snare and bass drum players. 

The rhythmic feel of second line drumming was an early forerunner to the swung rhythmic feel in jazz playing.  The second line feel has had a sort of re-discovery by recent jazz drummers.  The way I learned about second line drumming rhythm is that the "swing" is somewhere between playing "straight" and playing fully swung music, like one hears in much jazz music.  Personally, when I try to play this style, I try to imagine the rhythm a train makes while chugging down the track.  Here's an example of that sound in the second line format: New Orleans Second Line Band

Here's that second line rhythm in a modern format - this is a cool variation on drum set using a tambourine.  Listen for that in between straight and fully swung rhythm...chugga chugga chugga: Second Line Groove on Drum Set

I will get into the later history of drum set in the next blog.  Until then, play some music, and you if don't know how, take some lessons at Earthtone School of Music: earthtonemusic.org

Tim Kurteff-Schatz

EARLY DRUMMING AND DRUM SET IN THE U.S.

Another huge influence on the formation of drumming in the U.S. were the traditions that came from slaves, such as the work song, that used a system of call and response.  The forerunners of jazz drums in this country were things the slaves used, such as washtubs, and simply drumming on their bodies, using a rhythm called "pattin' juba." The only place slaves were allowed to play this kind of music, outside of residences, was a place in New Orleans called Congo Square.

Congo Sqare is considered the birthplace of jazz.  One reason for this was the mixing of the African-style drumming/music with many other cultural styles, such as Haitian, European, Cuban and American, along with other lesser known cultures.  How interesting is that!  The coming together of so many styles and tastes was so unique, and lead to America's very own art form: jazz.

The shuffle groove, which came out of early blues, is basically the same rhythm as the pattin' juba. Listen to the shuffle rhythm here: http://en.wikipedia.org/wiki/File:Shuffle_pattern.ogg
You can hear this shuffle groove in so many blues recordings, both old and new.  The blues was the foundation for jazz, and you will still here the shuffle rhythm used today in blues and jazz.  Here is a more modern example of this shuffle pattern: http://en.wikipedia.org/wiki/File:DetroitBlues.ogg

I'll explore more of the early history of drumming in the next blog.  Until then, play some music!  And don't forget to visit Earthtone School of Music's website to learn more, and sign up for lessons: earthtonemusic.org

Tim Kurteff-Schatz

THE BEGINNINGS OF JAZZ DRUMMING!

Early American military fife and drum playing also had a huge influence on how the drum set was played.  The traditional grip (pictured below) from snare drum players in the military was carried over to the drum set.  This grip is still used to this day by drummers.  The two main grips used today are traditional grip and matched grip (also pictured below).  Neither one of these has been proven to be superior; the choice to use one or the other is up to the drummer, in terms of what feels the most comfortable.

Traditional Grip

Matched Grip

In addition to the traditional grip that was carried over from the military, many of the rudiments (a group of short patterns using particular sticking) were carried over to the drum set by these early drummers.

One important influence on the formation of the jazz genre is a French dance called the quadrille, which is a classical-style genre, but carried over to jazz.  Slaves in the U.S. learned to play this music for their masters' balls. These slave musicians were also allowed to play music originating from Africa and the Caribbean.  These very different styles started to blend together, and voila, we have the beginnings of jazz.

I will delve deeper into the historical roots of jazz in the next blog.  Until then, play some music, and visit our website! earthtonemusic.org

Tim Kurteff-Schatz

DRUMMING STYLES - A BLEND OF MANY CULTURES

Would you believe that the stylistic roots of drumming go all the way back to the Moorish invasion of Europe, starting in the 8th Century?  When this happened, there was quite a bit of cultural exchange between Spain, France and Africa.

The importance of African music/instrumentation on jazz cannot be understated.  One direct influence from Africa on what is now the drum set is the use of unpitched drums.  A couple of stylistic (when playing) techniques that came from Africa were superimposing one rhythmic structure on top of the other (like 2 against 3 - listen here), and use of repetitive rhythms, such as clave rhythms (listen here). Claves are pictured below.

Playing Claves

A huge stylistic influence that came from Africa and was transferred to drum set playing was improvisation. Since jazz was one of the earliest forms of music played on the drum set, improvisation (one of the biggest components of jazz) played a huge role in how the early drum set was played.

I will explore more early culture surrounding the drum set in my next blog. Until then, play some music, and visit our website! earthtonemusic.org

Tim Kurteff-Schatz

WHERE IS THE “LOW BOY” ON THE DRUM SET?

Before I go into culture/genres and drum set use, I feel like I need to talk about one more ingenious invention related to this instrument.  This invention came about in the 1920’s and was called the low boy, which was the predecessor to the hi-hat.  This useful and cool-looking instrument stood about 12 inches high, and had two cymbals that would close together when played with the foot.

Before the invention of the low boy, drummers would accent beats 2 and 4 by choking a cymbal with their hands…that seems like a lot of work!  Once these accented beats could be played with the foot, the hands were freed up to syncopate rhythms to a greater degree.

The low boy was elevated twice in its history – first to 20 inches high, and this became known as the sock cymbal.  Later it got elevated even higher and became known as the hi-hat, which is the incarnation that is still used with contemporary drummers.  The hi-hat came about because drummers wanted the option of playing these cymbals with drumsticks, and not just their foot.

Stop by the Earthtone School of Music website to take drum lessons and learn how to play that hi-hat!  www.earthtoneschoolofmusic.com/drumlessons.html

By Tim Kurteff-Schatz

IT’S ALL THE BASS DRUM PEDAL’S FAULT!

What is meant by the title of this blog is that the invention of the bass drum pedal had a great deal to do with the invention of the drum set. This pedal invention took place in the late 1800’s, and well, it’s not all the bass drum pedal’s fault. The snare drum stand gets equal credit in the formation of the drum set. Before these two inventions, percussionists would strap these drums to their bodies, or set them on a chair.

The main reason for musicians needing to play more than one percussion instrument simultaneously is linked to Civil War-era bands. After the war, bands would often play events indoors, and space limitations would not allow for more than one percussionist in a room, so that person learned to be the octopus-like forbearer of the modern drum set player.

In the next blog, we will start to explore how musical genres and culture began to shape how the drum set was played. Until then, keep playing music, and if you don’t know how, then sign up for some lessons at Earthtone School of Music! earthtonemusic.org

by Tim Kurteff-Schatz