Why Drum Beats Sound So Different Today

First things first - grab your free transcription here.

Drum beats had one thing constant from almost their inception until just a few years ago, and now they don’t.

Of course, I’m speaking about the snare drum.

Mainstay of “holding it down” since almost before drum kits were a thing. If you follow back to its origins, many historians credit Wynonie Harris as one of the earliest precursors. Snare on “2 and 4”.

Follow it earlier than that, to New Orleans. Snare on 2 and 4, with shades of gray, at least with press rolls.

Follow it forward: the rock age. Funk. Reggae. Electronica. Punk. Alternative rock. Modern live arrangements.

All with the snare drum as the centerpiece of the backbeat.

Until now.

I’m not saying the snare will ever go away, but increasingly, drummers are using another device as their “backbeat locus”. The stack.

But wha?

How did this seemingly-very-niche invention, by the great Trevor Lawrence in 2017/18 do what all the other drum inventions failed to do.

That includes tambourines, bells on the drums, bongos on the kick, Zil Bells, gong drums, synth pads, and a partridge in a pear tree.

Nothing doing. The snare still reined supreme.

To understand why the stack is “seeping in” to modern drum beats, in my humble opinion, we need to go back the origin of “beats” as we know them: worship songs in black churches around the turn of the century. And what do we find in recordings from that period? Hand claps.

If we take the paradigm that the snare was a “good enough” replacement for hand claps in music, it all makes sense.

Whatever else you’re doing, you have to have that “2 and 4”.

And nothing really messed with the snare when came to being a decent facsimile of the clap. (We didn’t get good synthesized claps until the early ‘80s. And synth pads are heavy, expensive, delicate to transport, and require a PA/monitor system to use.)

Until Trevor’s invention. Acoustic. Compact. Fits in a cymbal bag. Does not require amplification.

In addition to understanding how/why the stack is slowly competing with the snare for backbeat primacy, we’ll all look at some very specific beats, and ways of using it.

Hope you enjoy!

I Wish Someone Had Told Me This About Double Stoke Rolls

First things first - grab your free transcription here.

It’s often the case that when we seek to understand an abstract concept, we see lots of differing opinions among “experts”. Plenty of great drummers have good double stroke rolls, so why is it that opinions vary so widely on how to teach/learn them?

That could extend to videos in which the presenter has some unorthodox learning method. Like me in the thumbnail for this week’s video. “What are the odds that all the great drummers throughout history, from Papa Jo to Tony Williams to modern greats all did this thing, and this one random guy is going to come up with something new or novel in the approach. I guess they were all wrong?”

Such is the question in my head whenever I seek to deconstruct a physical movement.

To start with, those great drummers weren’t wrong. If you can do it, there’s not much more to say. The issue comes with communication.

Imagine there’s a feeling of double strokes being right. We don’t have telepathy or Neurolink, so I can’t connect a cable from my brain to your brain to incept you with the feeling. So I have to do the next best thing: use words, and visuals.

Double strokes, and hand technique in general is especially difficult, because the movements are small, and they’re often hidden from view, inside the hand. (As opposed to, say, a golf swing.) So visuals only get you so far.

In my opinion, much of drum instruction tackles this problem by getting the student “in the territory” of correctness, then assuming if they just add reps, they’ll eventually get it.

In that paradigm, this video is just an attempt to geolocate that neighborhood more precisely. i.e. with this method, you’ll need hopefully less time to get the feeling for yourself.

We do that by focussing on the hardest part of the double stroke - what’s actually happening in the bounced double - and slowing it down, to almost infinity. In that region, the drop-catch mechanics that tons of great drummers do without thinking, but which Gordy Knudtson pointed out most effectively, are our key.

If we can increase the time between the first and the second double to infinity, we solve the most pernicious problems of double strokes: the evenness between strokes without forcing it, and the “dead zone” between articulating and bouncing.

Come with me on the journey;)

Hope you enjoy!

Pros Use This For More Exciting Drum Fills - Do You?

First things first - grab your free transcription here.

We spill a lot of ink and occupy gigabytes of SD cards talking about “secrets of pro drummers”, like subtle stickings that you wouldn’t see are the same unless you slowed them down, or weird “below-the-surface” muscle memory stuff you won’t understand until you feel it.

Today’s video is not about that. Today’s video is about something everybody sees great drummers do every day, then promptly forgets about when we go back to our own drumming.

I’m talking about bog-standard, stupid-simple, boilerplate, block-and-tackle subdivision changes.

Like, “use a sextuplet for once Seamus! It won’t kill ya!”

Then Seamus screams “nevaaaaaaaah!” Across his pint, then steps out into the rain and shuffles away alone, to a sad violin soundtrack. And scene. I’d like to apologize for any negative Irish stereotypes in this vignette.

But I bet if you added up the variety of subdivisions our favorite drummers use in their improvisation and compared it to the average drummer, they’re doing it way more. And I’m not saying “spam” it. Just, it’s like we all have an obvious musical tool, and they use it, and we always forget.

Why?

Well beyond simple “this is how I’ve always done it” inertia, I can think of 3 reasons. 3 reasons we’ll try to “de-claw” in this video:

• They seem faster, which is “scury”.

• They have a base of 3 or 6 instead of 2/4/8, so we worry our existing ideas won’t work.

• We worry we’ll get lost with the counting.

Beyond this, there’s also one “secret” reason people don’t think about, but which I think is actually the biggest issue. But you have to watch the video to hear about it. Woooooo.

But in all seriousness, let’s normalize the musical use of subdivision. We wouldn’t talk in monotone, at the same speed always. So why not make our playing more fluid, so we can make better music?

Hope you enjoy!

Is The Metronome Hurting Your Drumming?

First things first - grab your free transcription here.

Is the metronome hurting your time?

Like many things, I think there’s an “adult” and a “pre-school” version of this discussion.

I don’t spend much time entertaining the suggestion, for instance, that a metronome “kills your natural, human feel”. The reality, in my opinion, is that our inherited time perception instincts are badly calibrated to produce danceability, filled with distortions as they are.

We rush offbeats, hemiolas, double time, and most syncopation, while we drag downbeats or sparse rhythms.

What’s more, the “natural” rhythms many cite as examples of our “innate human timekeeping” - take folkloric drumming, for example - result less from anything innate and more from decades of training, beginning in early childhood.

The “natural”/”innate” timekeeping we’re born with mostly results in boring, weighty, unreliable, at-times-frantic playing. Not very danceable.

So we use the metronome to train our perceptions so our groove listening back to our own recordings matches our perceptions in the moment/as we play. (And play along with recordings to capture that “loose”/”human” feel I argue is the result of years of training and refinement.)

But there’s an “adult” version of the argument. Can the metronome be a crutch?

Absolutely.

At first, simply because we use it on quarters for too long, and only learn to “follow”, but not to “lead”. (Plus it becomes easier to ignore.) That’s the reason for unorthodox placements like 16th offbeats and beat “4”.

But eventually, because we can become used to having it accompany us in any capacity.

So - advanced players only, use with a grain of salt. But yes - sometimes it is important to turn the metronome off and rekindle your trust of your own timekeeping. It’s something I’ve been doing increasingly lately.

For the whole in-depth argument, you’ll want to watch the video.

Hope you enjoy!