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