dec70.53-60

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R E A D I N G A T T H E D R U M S E T

B y : P e t e r M a g a d i n i

"About the Author:Peter C. M ag ad lni has tau gh t Percussion an d Theory at the San Francisco Conservatory

of Music. In add i t ion , he has recently (196 8) been aw ard ed a Fe l lowship to the Berksh ire

Music Center a t Tanglewood.As a drummer he has p layed wi th ma ny and d iverse ar t is ts a nd organ izat ions inc lud ing

the Denny Ze l t len Tr io , the Oakland Symphony Orchest ra , John Handy Quin te t , the San Fran-cisco Art ist 's Ensemble, Mose All ison , Barney K essel, an d A rt Pepper, to name a fe w .

Am ong h is teachers he l is ts the fo l low ing : Percussion is ts Roland Ko hlo f f and Don ald Both-we l l ; Drummer, Roy Burns; East Ind ian Ta bla Master, M ahapurush Misra ; a nd Com poser,

Robert Erlckson.Current ly, he lives in Los Angeles a nd teaches at the Professional D rum Shop.

M a n y d r u m m e r s ( s t u d e n t s a n d p r o fe s si o na l ) h a v e s h a r e d in a

p e r p l e x i n g p r o b l e m a n d f r e q u e n t l y h a v e a s k e d t h is q u e s ti o n . " W h y

d o I h a v e t r o u b le r e a d i n g d r u m - s e t m u s i c a f t e r h a v i n g a g o o d b a c k -

. g ro u n d in r e a d i n g s t a n d a r d s n a r e d r u m r e p e r t o i re , c o n c e r t b a n d a n d

o r c h e s t ra p a r t s ? "F i r s t , t h e c o n c e r t s n a r e d r u m p a r t a n d s olo e x e r c is e s ( a s f o u n d

in m a n y s n a r e d r u m m e t h o d b o ok s) a r e m e a n t t o b e p l a y e d a n d in -

t e r p r e t e d e x a c tl y a s w r i t t e n w i t h n o t e s a n d r e s t s p l a y e d t o t h e i r

f ul l v a l u e . T h e q u a l i t y o f a w e l l p l a y e d s n a r e d r u m p a r t r e s t s e n -t ir e ly o n p r e ci si o n r e a d i n g a n d e x a c t i n t e r p r e t a t i o n o f th e n o t e

v a l u e s a n d d y n a m i c s w r i t t e n b y t h e c o m p o s e r. T o d o th i s w e ll a n d

m u s i c al ly r e q u i r e s a c o m p e t e n t r e a d e r a n d m u s ic ia n .

| E x a m p l e :t . . . . . . . . . . . . . . . . . .

i T - . ~ i -- - - - ~

; , r . . ~ " ¢ , , $ . . ~ . . ~ - - - ~ . . . .

• • . . . . . :

! i ; , ' g e

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~ J ~I " ~

r e r - - - - ~ c c e ~ . . . . ~ r t " ~ ~ ' "

The pez~onner at the d rum set also concerns ]~mse~ ~ t h notes,rests and dynamics an d, as the conce~ musician, is subject to the

boundaries of the + char t as writt en by the composer.This, for the most part, is where the similarities end. When

reading at the drum set the values of notes and' res ts are subject

to change depending on the style and tempo of the composition.

Dynamics and accents are also flexible, often-times left to the dis-

cretion of the drummer. Here are a few examples of the same note

values firs t in the strict and accurate style of the concert snaredrum part, then in the idioms of jazz and rock.

J . t~o s ' l ' ~ b t "

. . . . ~ ~ ~ ~ i ~ ~ •

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e k j . •. ,,

- .

~ c o ' c e ~ . ] 1 - s ~ ; c ' r . . . . . . . .

N N N J , J

+ D r u m C h a r t = D r u m p a r t

* I n r o c k d r u m p a r t s t h e s t r o n g a c c e n t o n t h e 2 n d a n d 4 t h b e a t so f a 4 / 4 b a r i s f e l t a n d p l a y e d w h e t h e r w r i t t e n o r n o t .

I n r e a d i n g a n d p l a y in g t h e s e s h o r t g e n e r a l / e x a m p l e s y o u m a y

f i n d y o u r s e l f h a v i n g d i ff ic u lt y i n u n d e r s t a n d i n g t h e d i f f e r e n c e s o f

t h e t h r e e i d io m s . U n l e s s a m u s i c ia n i s s o m e w h a t f a m i l i a r w i t h t h e

s t y l e o f m u s i c b e f o r e h a n d h e c a n n o t f u l ly r e c r e a t e t h e r e q u i r e d

s e n s i ti v e n e s s a n d p e r c e p t io n n e c e s s a r y t o p l a y c o n c e r t, j a z z o r r o c k

t h r o u g h n o t a t io n a lo n e . T h e d r u m m e r , w h o s i n c e re l y d e s i r e s t o l e a r n

t h e a r t o f r e a d i n g , m u s t s p e n d t i m e l is t e n in g a n d p r a c t i c in g t h e

a r e a s o f m u s i c h e w a n t s t o p l ay .

D R U M S E T R E A D I N G

I n d r u m s e t r e a d i n g , t h e d r u m c h a r t m u s t b e i n t e p r e t e d b y t h ep e r f o r m e r . M a n y d r u m c h a r t s a r e m e r e l y r o a d m a p s , o ff e r in g a t

b e s t a g e n e r a l o u t li n e o f t h e m u s i c . S p ec if ic r h y t h m i c p a t t e r n s ,

e x c e p t ~ vh en u n m i s t a k a b l y w r i t t e n , a r e o f t e n l e f t t o t h e i n v e n t iv e n e s s

o f t h e d r u m m e r .H e r e n o w a r e f o u r b a s ic e x a m p l es o f d r u m c h a r t s r e q u i r i n g

t h e ta l e n t s o f t h e r e a d i n g d r u m m e r . T h e s e e x a m p l e s a n d e x er c is e s

a r e g e n e r a l l y a n a l y z i n g t h e e s s e n t i a l q u a li ti e s o f t h e f o l lo w i n g s t y l es

o f m u s i c . I t w o u l d b e i m p o s s i b le t o i n c l u d e a ll t h e e x c e p t io n s i nt h i s s h o r t S . A .

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1. Shows - a show may have many tunes and several stylesof music. The drummer may be required to read in a fast 2/2 for

half a page, then, on cue, change to a moderate 4/4 swing.

a . , •

. . . . . . . . . . . ~ . ~ - ' ~ " . ' L 2 Z T " 7 " ' - . .

V N ~ P % C U e : S ~ W ~ lt = ~ . . F , iI_ ~ ~ ~- - F I N - • •~ . . . ~ ¢ ~ - ~ . . - - 4 . - a l ; . ~ j -~- ~ , , - ~ . r ~ , ~ . . _ _ _ .: :

* This symbol is used to indicate the notes are to be played ona cymbal.

+ Bass drum notes are sometimes ~ i t t e n however, they aremany times left out of a par t. Unless the bass drum has an unmis-

takable figure the general rule is that the drummer uses the bassdrum to enhance and punctuate the written part.

The show drummer may also be called upon to play the ac-

cessories (wood block, cowbell, tambourine, etc.) along with the

drum par t. This is known as doubling. Although doubling is not

uncommon the usual practice is one player to play the drum set

part and a second percussionist to play the accessories along with

any timpani and mallet parts thatare written.

Shows vary tremendously and the competent show drummermust have a knowledgeable understanding of many types of music--

a Broadway show (usually a large orchestra in a pit below the

stage), a nightclub show (usually a singer with anything from a trio

to a big band), also comics, rock shows (Hair), and television va-

riety. The good show drummer has to be alert and responsive to

many outside events such as visual cues from the conductor, word

cues from a performer on stage, dance moves, light cues and ahundred other things tha t might require a flexible drummer .

The complete show drummer is a fine musician and many timeshis important job goes by unheralded by the cast and audience.

Example:

,f,,r,~l r r n . r m . O , ~ j - J i ~ ~ i.J~..~.j.l .....

I - ' J . ~ ; I . . . . . . : : ~ . . , ; ~ L - - - 1 ' R - : t " -s , o . ~ " " ~ h . ~ - " - ? f ' = = ' - = " --

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J . ~ J f " l i " : : : t ~ " ! ~ ' I ' ~ - IF ,~ I: , ,m ,~ .r J P ~ - ;A , u : t. . . . . . .

r r := == '= ~_ ~: ~= f : :F T= T = ': :- :=

2 . B i g B a n d - T h e b i g b a n d s (1 0 t o 2 0 m u s i c ia n s o r m o r e )

c u s t o m a r i l y r e q u i r e a d r u m m e r w i t h p o w e r a n d a so li d d r i v i n g

p u l s e . T h e e x c i t e m e n t c r e a t e d b y a b i g b a n d r e v o l v e s a r o u n d t h e

f e e l i n g c r e a t e d b y t h e r h y t h m s e ct io n ( p ia n o, b a s s , g u i t a r a n d

d r u m s ) . B i g b a n d r e a d i n g , a t t i m e s , p a r a l l e ls s ho w r e a d i n g . H o w -

e v e r , t h e b i g b a n d c h a r t u s u a l ly d o e s n ' t h a v e c u e s a n d t e m p o

c h a n g e s a s d o e s t h e s h o w p a r t . T h e b i g b a n d c h a r t a ls o l e a v e s

m o r e f r e e d o m f o r t h e d r u m m e r t o i m p ro v is e a n d c r ea t e . T h e bi g

b a n d d r u m m e r is t h e s t r e n g t h o f t h e r h y t h m se c ti on a n d h e a r t b e a t

o f th e b a n d .

E x a m p l e :

, , . ~ . ~ . u - - , ~ • , -F , '# - - ,- - , / : Z ~ - : . . . . : . . . . . . - - " ~ "

J , - r = ~ = - _ ~ _ C r = : r - I + / / Y / I

~ : ; . i " - ~ . : f ~ ' L ~ t . ~ ,~ l ~ f f ~ = . l : ~ ~ , ~ " : 1 ' ) , ' ~ , " ~

I ~ J - j - . . ~ u - - - ~ J ~ " l / / / ~ I

• rN - " ¢ P

3 . Sm a l l J azz ( t r io to oc te t )

I n s m a l l g r o u p p l a y i n g , c r e a t i v e f l e x i b i l i t y i s a n i m p o r t a n t o b -

j e c ti v e t o t h e a r ti s ti c d r u m m e r . T h e s m a ll g r o u p d r u m m e r m u s tm a s t e r m a n y s u b t le t e c h n iq u e s n e c e s s a r y f o r p r o p e r s h a d i n g s a n ds e n s it i v e d y n a m i c s , w h i l e c o m b i n i n g a w r i t t e n d r u m p a r t t o t h e

o v e r - a l l s o u n d o f t h e g r o u p .T h e a r t o f r e a d i n g w h i l e a t t h e s a m e t i m e i m p r o v i si n g a n d

c r e a t i n g , i s t h e e s s e n t i a l p r i n c ip l e b e h i n d t h e s m a l l g r o u p d r u m

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chart.

Example: •

- t o * ,

~r

- s , / - o _ . _ ~ . . ~ - - c , c ~ - ~ , - - : ~ ; - . .

l l v / / / ' l " , , ' , / , / I / / ~ " z / / / I / M / I::--

' , 7 ' i- I / I , . ~ s ~ . , ~. ~,/,./ / " I " I - I / / / , I / / / , :ll -

.... ~ )

~ I ) J ! ...~ T T " "

4. Rock - the rock drum part is interpreted and felt around the

accented second and fourth beat of the 4/4 bar. The fortification

of the second and fourth beats (theoretically known as the weak

beats of a 4/4 bar) is the primary reason for the driving moving

pulse of the music. When read ing a rock drum char t this pulse

must not stop or the essential rhythmic drive will be lost. In rock

playing eighth notes are predominant and played to their full value.

The bass drum patter ns and the interpretations of the rock "feel "are usually not written in the part but left to the drummer's owntaste and style.

Example:

. ~ 7 ~ . P

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T h e s e a r e f o u r b as ic s i tu a t io n s th a t m a y r e q u i r e a r e a d i n g

d r u m m e r . A l t h o u g h t h e s t yl e o f p l a y i n g d if f er s a n d e a c h s i t u a ti o n

is u n i q u e , t h e r e a r e t w o f a c to r s t h a t a r e c o m m o n t o a ll .T h e f i r s t a n d f o r e m o s t c o n s id e r a ti o n i s t h e d r u m m e r ' s r e sp o n -

s ib i li ty a s t i m e k e e p e r , t e c h n i c a l sk il l a n d r e a d i n g p r o f i c ie n c y m e a n

n o t h i n g i f t h e t i m e i s n o t s t e a d y a n d r e l i a b l e . T h e t i m e h a s t o b e

p l a y e d c o n s i s t e n t l y i n a l l f o u r s t y l e s o f m u s i c . Y e t t h i s t i m e h a s t o

c o n f o r m w i t h t h e m u s i c b e i n g p l a y e d . A j az z t i m e f e e l in g d o e s n o t

w o r k w e l l i n a r o ck g r o u p . O n t h e o t h e r h a n d a r o c k " b a c k b e a t "

(2 & 4 ) p l a y e d t h r o u g h a n e n t i re j az z t u n e , t h a t t e n d s t o f l o a t o n a

s t r a i g h t (1 , 2 , 3 , 4 ) s y n c o p a t e d t i m e f e e l, w o u l d l im i t g r e a t l y t h e

f r e e d o m o f t h e o t h e r m u s i c ia n s . T o t h e s e t r e a d i n g d r u m m e r t h is

m e a n s n o t o n ly p l a y in g t h e t i m e t o f i t t h e m u s i c b u t t h e i n te r -

p r e t a t i o n o f n o t e s a n d r e s t s t o c o n fo r m w i t h t h e t im e .

T h e s e c o n d a n d p e r h a p s t h e m o s t d i f f ic u l t o b s t a c l e i n s e t r e a d -

i n g i s t h e p r o b l e m o f s p a ce . A s p r e v io u s ly m e n t i o n e d t h e c o m p o s e d

s n a r e d r u m b o o k o r c o n c e rt d r u m p a r t , h a s t h e sp a c e s i n d i c a te db y r e s t s . I n t h is p l a y i n g s i tu a t io n t h e d r u m m e r s t o p s a n d c o u n ts ,

e x a c t l y t h e f u ll d u r a t i o n o f t h e r e s t . T h e s i le n c e i s c o m p l e te . T h e

c o n t r a r y g e n e r a l l y a p p l ie s t o a d r u m s e t c h a r t . W h e n a d r u m m e r

h a s r e s t s d e s i g n a t e d o n a c h a r t t h e r e s t s a r e f r e q u e n t l y a n i n di ca -

t i o n f o r d r u m * " f i l l s " . I n o r d e r t o k e e p t h e m u s i c a l i v e t h e d r u m -

m e r u s u a l l y f il ls t h e s p a c e i n d i c a t e d b y r e s t s a n d l o n g n o t e d u r a -

t io n s . M a n y t i m e s t h e w o r d " f i l l " i s w r i t t e n o v e r t h e re s t s w h e n

t h e c o m p o s e r f e e l s i t i s f i t t in g . H o w e v e r , t h i s i s n o t a l w a y s t r u e ,

t h e r e f o r e t h e d r u m m e r m u s t s o m e t im e s i n st in c ti v el y s e n s e w h e r e a n d

w h e n a d r u m fil l w o u l d e n h a n c e t h e m u s ic .

T h e a b i li ty t o f e e l s p a c e , lo n g a n d s h o r t , i s t h e a r t o f a c r e a t i v e

d r u m s e t r e a d e r . T h e c o m p e t e n t d r u m m e r h a s d e v e l o p ed t h e t a l e n t

t o p l a y w h a t i s w r i t t e n a n d i m p r o v i s e w h a t i s n o t .

E x a m p l e :

* A f i ll i s a s h o r t i m p r o v i s e d d r u m s o lo a n y w h e r e f r o m o n e b e a t t o f o u r b a r s l o n g .

T h e f il l i s p l a y e d i n o p e n s p a c e s f r o m o n e w r i t t e n n o t e t o a n o t h e r .

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P R A C T I C E

H e r e a r e s o m e p o i n t e r s w h i c h m a y h e lp in t h e d e v e l o p m e n t o fd r u m s e t r e a d in g .

F i r s t r e a d a s m a n y s y n c o p a te d r h y t h m s a s y o u c a n f i nd . D r u m

s e t t e c h n i q u e r e q u i r e s t h e a b i l it y t o r e a d s y n c o p a t i o n a t s i g h t . A l o n g

w i t h s i g h t r e a d i n g y o u s h o u l d w o r k o n f il ls . P r a c t i c e l o n g a n d s h o r tf il ls w h il e p l a y i n g f r o m o n e w r i t t e n d r u m f i g u r e , f i l l t h r o u g h t h e

r e s t , t o a n o t h e r . H e r e a r e s o m e e x e r c i s e s u t il iz i n g t h e d r u m fil l.

I t i s a ls o s u g g e s t e d t h a t y o u w r i t e o u t y o u r o w n d r u m f i g u re s .

W r i t in g y o u r o w n d r u m c h a r t e x e rc i se s h e lp a g r e a t d e a l i n u n d e r -

s t a n d i n g s o m e o f t h e p r o b l em s a c o m p o s e r m a y h a v e w h e n w r i t i n ga d r u m p a r t .

E x a m p l e :

F i n a ll y , w o r k o n r e K d i n g a l l s t y l e s a n d t e m p o s . T h e s a m e c h a r t

h a s s h o r t e r s p a c e s a t f a s t e r t e m p o s a n d lo n g e r s p a c e s a t s lo w e rt e m p o s . T h is a u t h o r r e c o m m e n d s a n e x c e ll e nt b o o k b y R o n F i n k

c a lle d " D r u m S e t R e a d i n g , " P u b l i sh e d b y R o n F i n k, N o r t h T e x a s

S t a t e U n i v e r s i t y S c h o o l o f M u s ic , D e n t o n , T e x a s .

A b o v e a ll e l se , w h e n y o u a r e b e h i n d t h e , d r u m s e t i t 's y o u rc h a i r , b e c r e a t iv e .

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