It has been 2 years now that I have been writing this blog. Two Years ago I felt I needed to improve several aspects of my musicianship. Technique and stage presence were two of the most important areas I wanted to concentrate on. Practicing will always be the way to improving technique and the same can be said for showmanship - but only to a point.
At the Christmas Jam, I had the pleasure of watching Gearl Jam perform a set. I have seen them perform a few times and I can't get tired of it. They have a great selection of songs that keep you pumped, and there's always something cool you don't catch the first time - like a good movie. The drummer (M.H.) has that wonderful stage presence that isn't an act. She obviously loves playing and singing, you can see it in her big, bright smile. Even when she has to play bass drum, shaker, high-hat AND sing, she looks genuinely happy. When I play anything, even something simple, I tend to grimace like Al Bundy when Peggy asks him to rub her tummy. In any case, if you haven't been to a Gearl Jam show, make sure you do in 2014.
I may not have improved much as a showman, but I have up'd my game as a player. Many of the exercises I have mentioned in previous posts have had an impact on my strength, speed or control. I have also spent more time with other drummers in my area, watching them and discussing various aspects of drumming. Watching video of some the greatest drummers in the world has always been part of my improvement philosophy. Learning and practicing takes a lot of time and a long time. I still have so much to learn and practice, but when I reflect back on the previous 2 years, I feel good about where I am.
At our last gig - New Years Eve - I felt it was my strongest performance ever. Not that it was flawless, but I had the control and strength that I have been trying to achieve for a long time. There was a distinct, tangible difference from previous shows, my arms and fingers had a level of power that I hadn't felt before. As the evening rolled into morning, Old Year into New Year, I could only think of how great the band sounded and how good it felt to be backing them up. It made me remember why I fell in love with drums in the first place. Its always the best seat in the house... and sometimes the only seat.
So what am I going to do this year to improve? Not sure of the specifics yet, but it will include watching and listening to new drummers, bands and music. Exploring new rhythms and styles should be top of the list but I still have that image thing that needs attention.
In any case I would like to wish everyone a happy, prosperous new year and hope you set aside time for self improvement.
Sunday, 5 January 2014
Monday, 25 November 2013
Change of Scenery
I have been using the same sticks for as long as I can remember. Vater Manhattan 7a. I liked the thinner shaft, maybe because my hands are relatively small.
Recently I have been getting together with another drummer who toured with a few performers back in the 70's, and although he gave up the throne and sticks for about 20 years, he still plays with smooth chops and a great feel. During our get-togethers I like to try to learn what I can from him, things like stick grip, patterns that I can work on and albums I should listen to. I take my own sticks, which have been the Vaters, but one day we swapped sticks. He immediately stated that my Vater's were heavy and he didn't like the balance. I found that his maple sticks were in fact lighter and responded differently than mine. I actually liked how they handled.BINGO! A revelation! The sticks I have been using for years weren't the best fit for me. With that poke-in-the-eye, I decided to hit a music store and buy a few different models to test drive.
Above are the four I picked out and at the next practice I tried and evaluated them all.
Next, the sexy palm sisters cupped the pair of Vic Firth American Classic eSticks. Magic! Although these sticks were designed for Electronic drumkits, I found the weight and response to be just right for me. They have a longer taper with a small barrel tip and are made of hickory. Rolls and paradiddles seemed to require less effort, rimshots had nice depth without the cochlea irritation I suffer from heavier sticks and there was still enough weight to make a cymbal crash fill the room.
Once my infatuation with the Vic Firth pair waned a bit, I picked up the pair of ProMark's 'The Natural' 5A sticks. I liked the rough, raw wood feel because they didn't have the slick touch of the varnished pairs, but they are a little shorter and did not have all of the strong aspects of the previous two pairs of sticks. Still, I enjoyed having them in my hands for a few songs, but I am just not sure why. They were a little lighter than the Zildjian but still heavier than the Vic Firth in the hand but the balance leaned toward the teardrop shaped tip. The ride cymbal is where they felt and sounded most pleasing. A firm but controlled touch on the bell provided a distinct sound on my Sabian Medium Heavy 20" ride.
Last up were the Regal Tip 5A drumsticks. These are thicker but not any heavier than the ProMark pair. For me, the diameter was a little too big and bulky, though the balance was nicely placed and rimshots sounded thick and deep. I felt a little awkward and fumbly playing the ride or hi-hats with a quick swing or shuffle pattern and therefore put them back in the stick holder.
Going back to the Vic Firth pair confirmed my earlier evaluation which is why I will be switching my allegiance to the American Classics. Now I'm off to the store to pickup a few more pairs because I'll be wearing these out regularly.
As I write this, the band sits at #40 on the Reverbnation Rock chart for All of Canada and I am proud albeit bewildered that we have so many great fans who enjoy our music. If you haven't already, go to http://reverbnation.com/shootthemoonband and play a tune. I think you'll like us.
Monday, 21 October 2013
Death Grip
I was told that when a canine has you in a death grip, you should stick your finger in its ass. The dog will immediately loosen its grip and submit. That's what I heard and I'm not sure if I believe it, but I don't ever want to find myself in a situation where I need to penetrate an anus to save my life.
This profound wisdom was bestowed upon me at the last band practice.
At this same jam session, while playing through one of our new original songs, I started to play the high-hat and foot trigger at the same time - with the same foot. The foot trigger was set to a tambourine sample and sounded good on the off beat during a reggae-style groove in the chorus. This was new for me, something I have never attempted or even had the idea of attempting before. I think it developed from some off-kit practicing I have been doing when I have some time to kill and not near a drumkit. Earlier in the day I was filling the cow water tub and since it takes 15 or 20 minutes to top up, I sat down on a rock and worked on my foot technique.
The exercises I use are from Steve Smith's Drumset Technique DVD in which he describes using three different motions to play the foot pedals. Toe, foot and ankle. Start with the heel up off the pedal and push the ball of your foot down, then use your leg in an up/down motion and use your whole foot to play the pedal. Thirdly, place your heel on the pedal and push your toes down. Steve says to do six of each repetitively and become smooth in the transition from one to the other. For a better understanding I would suggest purchasing this if you haven't already.
And there I was sitting on the small boulder watching the water while both feet were doing 'toe, toe, toe; leg, leg, leg; ankle, ankle, ankle'. The rubber boots I was wearing provided some resistance and helped with ankle strength so I would highly recommend wearing them. That went on for about a minute when I noticed the Bull trying to nurse one of the cows - a no-no. So I grabbed a few small rocks an practiced my fastball. (Maybe I should have stuck a digit in his behind)
Playing the High-hat and foot trigger with one foot started by using my leg to come down on the hat with my toe and the trigger with my heel. But I couldn't keep sticking the high-hat because it was open half the time. As we continued to go through the song, I found I could play the trigger with my heel while keeping the high-hat closed with my toe. And with a little more practice I could open the high-hat for necessary effect and keep the heel hitting the trigger on the off beats with the guitar. This goes to show that practice helps and it doesn't have to be at the kit.
Band News:
Lance and Woody have been recording Podcast sessions and we will be making them available online in the near future. Watch for them at http://reverbnation.com/shootthemoonband.
This profound wisdom was bestowed upon me at the last band practice.
At this same jam session, while playing through one of our new original songs, I started to play the high-hat and foot trigger at the same time - with the same foot. The foot trigger was set to a tambourine sample and sounded good on the off beat during a reggae-style groove in the chorus. This was new for me, something I have never attempted or even had the idea of attempting before. I think it developed from some off-kit practicing I have been doing when I have some time to kill and not near a drumkit. Earlier in the day I was filling the cow water tub and since it takes 15 or 20 minutes to top up, I sat down on a rock and worked on my foot technique.
The exercises I use are from Steve Smith's Drumset Technique DVD in which he describes using three different motions to play the foot pedals. Toe, foot and ankle. Start with the heel up off the pedal and push the ball of your foot down, then use your leg in an up/down motion and use your whole foot to play the pedal. Thirdly, place your heel on the pedal and push your toes down. Steve says to do six of each repetitively and become smooth in the transition from one to the other. For a better understanding I would suggest purchasing this if you haven't already.
And there I was sitting on the small boulder watching the water while both feet were doing 'toe, toe, toe; leg, leg, leg; ankle, ankle, ankle'. The rubber boots I was wearing provided some resistance and helped with ankle strength so I would highly recommend wearing them. That went on for about a minute when I noticed the Bull trying to nurse one of the cows - a no-no. So I grabbed a few small rocks an practiced my fastball. (Maybe I should have stuck a digit in his behind)
Playing the High-hat and foot trigger with one foot started by using my leg to come down on the hat with my toe and the trigger with my heel. But I couldn't keep sticking the high-hat because it was open half the time. As we continued to go through the song, I found I could play the trigger with my heel while keeping the high-hat closed with my toe. And with a little more practice I could open the high-hat for necessary effect and keep the heel hitting the trigger on the off beats with the guitar. This goes to show that practice helps and it doesn't have to be at the kit.
Band News:
Lance and Woody have been recording Podcast sessions and we will be making them available online in the near future. Watch for them at http://reverbnation.com/shootthemoonband.
Monday, 16 September 2013
Weekend Wisdom
My neighbour was sitting on his back porch the other day when I visited. I sat down with him and he and I enjoyed the view over his beautiful flower gardens and old pasture fields beyond. I mentioned that I had started a bon-fire in my driveway - between the barn and the metal shelter. He leaned forward in his chair, looked at me and said that was just the greatest place to relax and have a fire at our farm. The fire pit was perfectly in the middle of our family of animal pens and homestead. I thought about that for only a few seconds and realized how accurate he was - give or take.
When sitting around the fire, the Barn is due south housing goats and sheep, east of that are the bucklings, ram lambs and ewe lambs that we have kept to date. The quonset is due north with stored bales of hay and our second and third year does. North-east is our house and to the north of that is the pen of our newest doelings. South-east are more doelings that we are weaning. Straight east you'll find the Irish Dexter cattle roaming our fields. So virtually centered in our group of animals is the little space we use to wind down and have some quiet time on weekends. Whenever we have a fire it seems there is always a stunning sunset with either the neighbours log house or the other neighbours barn (the party barn) in view. It's a settling feeling to know we are surrounded by family and friends.
Earlier that same day I had a similar enlightenment. I was finally together for lunch with my father. We are both plenty busy and have missed lunch dates for my birthday and Father's day. We had a good chat as we both had many stories to catch up on. I had sent a link to this blog the day before so we spent a few minutes discussing it which led to his latest venture (one that has been on the back burner for forty years). He is going through all of Stephen Leacock's work and making plays out of several of his favourites. As we bantered about the merits of each of our extra-curricular activities, my father ended that topic with a few words I took home: 'It's not what you say, it's how you say it'.
Another slice of wisdom that surfaced last weekend was this: Don't forget your snare drum stand when you are playing a gig 100 miles away! My old friend Jeff (see Livin' and Giggin') was playing a show near me for the first time in a LONG time. Many of his friends and family are in my area and were very excited to find out we would have a chance to see him and his band play. On the day of the show, in the mid-afternoon I got a call from Jeff. He was in a bit of a panic because he forgot to pack his snare stand. Almost any other piece of hardware would not have been as critical to forget, but as luck would have it - THE SNARE STAND!
I am glad he called and was happy to help him out. My stand was handy and it only took 30 minutes or so to get it to him. I am sure he would do the same for me. Jeff and I found it amusing that he had written that blog just a couple of months ago. Maybe he should have read it before leaving the house.
When sitting around the fire, the Barn is due south housing goats and sheep, east of that are the bucklings, ram lambs and ewe lambs that we have kept to date. The quonset is due north with stored bales of hay and our second and third year does. North-east is our house and to the north of that is the pen of our newest doelings. South-east are more doelings that we are weaning. Straight east you'll find the Irish Dexter cattle roaming our fields. So virtually centered in our group of animals is the little space we use to wind down and have some quiet time on weekends. Whenever we have a fire it seems there is always a stunning sunset with either the neighbours log house or the other neighbours barn (the party barn) in view. It's a settling feeling to know we are surrounded by family and friends.
Earlier that same day I had a similar enlightenment. I was finally together for lunch with my father. We are both plenty busy and have missed lunch dates for my birthday and Father's day. We had a good chat as we both had many stories to catch up on. I had sent a link to this blog the day before so we spent a few minutes discussing it which led to his latest venture (one that has been on the back burner for forty years). He is going through all of Stephen Leacock's work and making plays out of several of his favourites. As we bantered about the merits of each of our extra-curricular activities, my father ended that topic with a few words I took home: 'It's not what you say, it's how you say it'.
 |
| The Road Runners |
Another slice of wisdom that surfaced last weekend was this: Don't forget your snare drum stand when you are playing a gig 100 miles away! My old friend Jeff (see Livin' and Giggin') was playing a show near me for the first time in a LONG time. Many of his friends and family are in my area and were very excited to find out we would have a chance to see him and his band play. On the day of the show, in the mid-afternoon I got a call from Jeff. He was in a bit of a panic because he forgot to pack his snare stand. Almost any other piece of hardware would not have been as critical to forget, but as luck would have it - THE SNARE STAND!
I am glad he called and was happy to help him out. My stand was handy and it only took 30 minutes or so to get it to him. I am sure he would do the same for me. Jeff and I found it amusing that he had written that blog just a couple of months ago. Maybe he should have read it before leaving the house.
Tuesday, 3 September 2013
Comfort Zone
"Life Starts at the end of your comfort zone." You might expect that phrase to come from a mountain climber or skydiver, but I recently read that line in a magazine for drummers and it struck me as an interesting philosophy. Maybe the line stood out for me because I have recently been tasked with playing a drum solo in the middle of one of our original tunes. I have not played a drum solo since the mid-nineties and certainly haven't put any thought into the concept lately. I remember how it came about - it was during our weekly practice, I was just minding my own business, accompanying my bandmates, when Woody said: "Phil, you're putting a solo here!"
When I regained consciousness, he hadn't changed his mind.
We had a gig soon after and I had no time to prepare for an intimate moment with the crowd. I just threw in a few round-abouts on the toms and we kept it to 4 phrases. It just didn't seem right to me, but it was all I could muster and I was definitely out of my comfort zone. Over the course of the next few gigs I added a little more, but nothing that stated 'Drum Solo'. I still hadn't had a lot of time to think about the start, middle and end of it - or what I should do to make it a 'Drum Solo'. At our most recent show, Woody gave me 12 phrases to myself - unbeknownst to me - so I did my thing until I thought he was going to come back in, but... HE DIDN'T. After the show, my good friend Jeff (see previous post) said it looked like I ran out of ideas. When I watched the video later - that's exactly how it looked. The only person to blame is myself. I was unprepared and the rest of the band was confident I would keep it going until they were ready to bring it back into the song.
So now I am researching, pondering, and making notes of how I would like to express myself with a solo. I have watched Bill Bruford and Neil Peart, read web articles about soloing and contemplated various patterns while driving to work. Omar Hakim likes to play in 6/8 time. Steve Smith and Dave Weckel, unbelievably fast with crazy changing time signatures. Maybe I'll try some 7 over 4 like Vinnie Colaiuta. That would certainly make me anxious and uncomfortable to play in front of a crowd, but I know how good it feels once I'm finished. One of the best feelings in life.
On the farm I occasionally find myself out of my comfort zone and in not-so-comfortable situations. Loading bulls on a trailer was a nerve-racking event the first few times, assisting births is NOT my cup of tea and hauling a load of hay down a steep hill always makes me grip the steering wheel extra tight. And although its not a life or death scenario to play a tricky drum part, I still feel anxious and get a tingle from a little adrenaline release.
All of those anxious moments have worked out well, making the experience something I can look back on, knowing I have become more comfortable with life. Even the situations that were closer to precarious have given me some humility and at the same time bravado.
I am looking forward to the band's debut EP release in the coming weeks, with the launch date and CD release party yet to be determined. Every song on it took me out of my comfort zone in various ways, while making me a better drummer.
Stay in tune with our Facebook page for information on our upcoming Album.
When I regained consciousness, he hadn't changed his mind.
We had a gig soon after and I had no time to prepare for an intimate moment with the crowd. I just threw in a few round-abouts on the toms and we kept it to 4 phrases. It just didn't seem right to me, but it was all I could muster and I was definitely out of my comfort zone. Over the course of the next few gigs I added a little more, but nothing that stated 'Drum Solo'. I still hadn't had a lot of time to think about the start, middle and end of it - or what I should do to make it a 'Drum Solo'. At our most recent show, Woody gave me 12 phrases to myself - unbeknownst to me - so I did my thing until I thought he was going to come back in, but... HE DIDN'T. After the show, my good friend Jeff (see previous post) said it looked like I ran out of ideas. When I watched the video later - that's exactly how it looked. The only person to blame is myself. I was unprepared and the rest of the band was confident I would keep it going until they were ready to bring it back into the song.
 |
| Canada Day 2013 photo courtesy Stacey Bee |
So now I am researching, pondering, and making notes of how I would like to express myself with a solo. I have watched Bill Bruford and Neil Peart, read web articles about soloing and contemplated various patterns while driving to work. Omar Hakim likes to play in 6/8 time. Steve Smith and Dave Weckel, unbelievably fast with crazy changing time signatures. Maybe I'll try some 7 over 4 like Vinnie Colaiuta. That would certainly make me anxious and uncomfortable to play in front of a crowd, but I know how good it feels once I'm finished. One of the best feelings in life.
On the farm I occasionally find myself out of my comfort zone and in not-so-comfortable situations. Loading bulls on a trailer was a nerve-racking event the first few times, assisting births is NOT my cup of tea and hauling a load of hay down a steep hill always makes me grip the steering wheel extra tight. And although its not a life or death scenario to play a tricky drum part, I still feel anxious and get a tingle from a little adrenaline release.
All of those anxious moments have worked out well, making the experience something I can look back on, knowing I have become more comfortable with life. Even the situations that were closer to precarious have given me some humility and at the same time bravado.
I am looking forward to the band's debut EP release in the coming weeks, with the launch date and CD release party yet to be determined. Every song on it took me out of my comfort zone in various ways, while making me a better drummer.
Stay in tune with our Facebook page for information on our upcoming Album.
Tuesday, 30 April 2013
Livin' and Giggin'
In this edition of Phil's Fills, I am publishing some good info and advice that a friend of mine wrote. Jeff Traplin has been playing and performing for about 30 years. I often poke him to get his opinion on specific hardware I am considering or techniques I am trying. It usually ends up with me banging my head laughing after Jeff says something insane. Here he has provided some insight not only into his life but how drummers in general like to be surrounded by hardware.
A couple of months ago I purchased the last drum kit I’ll ever buy…again.
My first was a late ‘60’s Raven 4-piece which my dad picked up for me in the early ‘80’s. I’m not a 100% sure, but there might be a shell or two in the folk’s garage still. No cymbals though. Shredded through those tin pans by the end of that summer. Currently I own three drumkits: The new one for studio recording, the live kit, and the Roland V’s for practice. There have been three others between the Raven’s and the new one I think…I’ll have to check the garage.
I think drummer’s lean more towards the collecting side of things as opposed to the hoarding side which our wives or girlfriends might want us to believe. Over the years, new products pop up which help us become a more comfortable player; a remote high-hat, a double kick pedal, cymbal stand extensions etc., and as these new products make their way into our garage or basement, other items get “moved down the bench…”
Gone are the second kick and the 30lb. boom stands. The old suitcase full of Latin percussion instruments has been replaced by an electronic drum module. Constant live gigging miraculously shrinks the size of a kit too. This is a combination of playing clubs with a small or no stage, and loading fatigue. What starts out as a 7 piece ends up as a 4 piece by the time the tour ends. But is that second kick and are those 30lb. booms really gone? It seems a makeshift drum store has materialized in the garage.
Getting rid of old drums is tough. Getting rid of the old hardware is tougher. I’ve rummaged through the pile over the years to see what I could use again; a clamp, maybe a boom arm, but what I found most useful was the wing nuts and cymbal felts. This was the beginning of what I like to call the drummers First Aid Kit. These are items which I’ve found to be a necessity to have close by when gigging, and yes, this list was partially built from learning the hard way.
Kick Pedal
Chances are if you’ve bought a new kick pedal, you still have your old one. Keep It.
At one of my first gigs in Toronto, my pedal strap snapped close to the end of the first set. We cut the set short, and since the crowd was compiled of mainly musicians, a drummer in the crowd had his pedal in his car and lent it to me for the remainder of the show. I switched to a chain after that, and a double kick since, but I’ve always brought the spare. It doesn’t take up much room in the car.
Snare Drum/Head/Muffling Rings
It seems I’ve amassed a small collection of snare drums in the garage too. A spare snare in the trunk comes in handy since these babies take such a beatin’. If you cannot afford a second snare, then I recommend keeping extra heads nearby. I do both, in case I forget the backup snare (it’s happened). I keep a skin jammed in my cymbal bag along with a pack of dampening rings for my lower toms. Rings tend to bend during set-up/tear-down sometimes, so I’ve added moon gel to my odds and ends bag…
Odds and Ends
As mentioned above, this comprises mostly of cymbal pads, wing nuts, lugs, and drum keys.
Unless they fly off and hit you in the face, which they do from time to time, we never realize we’ve lost a wing nut and/or felt pad until tear-down after the gig or the cymbal itself comes crashing down. Nothing like trying to find a frickin’ wing nut in a dark, cavernous dance club! A ziplock bag works for me for this stuff.
Drum keys for me are everywhere: on my car keys, in my cymbal bag, one in the hardware case, in my leather coat, one in my suit jacket that I wear to wedding gigs and one in my stick bag...
Ah Yes. The stick bag. Load ‘er up kids. Minimum 6 pair.
Spring cleaning is just around the corner, and I’ve noticed the neighbour’s kid across the street loading a kit into his basement. Maybe I’ll pop over and see if there’s anything he wants to buy…or sell.
A couple of months ago I purchased the last drum kit I’ll ever buy…again.
My first was a late ‘60’s Raven 4-piece which my dad picked up for me in the early ‘80’s. I’m not a 100% sure, but there might be a shell or two in the folk’s garage still. No cymbals though. Shredded through those tin pans by the end of that summer. Currently I own three drumkits: The new one for studio recording, the live kit, and the Roland V’s for practice. There have been three others between the Raven’s and the new one I think…I’ll have to check the garage.
I think drummer’s lean more towards the collecting side of things as opposed to the hoarding side which our wives or girlfriends might want us to believe. Over the years, new products pop up which help us become a more comfortable player; a remote high-hat, a double kick pedal, cymbal stand extensions etc., and as these new products make their way into our garage or basement, other items get “moved down the bench…”
Gone are the second kick and the 30lb. boom stands. The old suitcase full of Latin percussion instruments has been replaced by an electronic drum module. Constant live gigging miraculously shrinks the size of a kit too. This is a combination of playing clubs with a small or no stage, and loading fatigue. What starts out as a 7 piece ends up as a 4 piece by the time the tour ends. But is that second kick and are those 30lb. booms really gone? It seems a makeshift drum store has materialized in the garage.
Getting rid of old drums is tough. Getting rid of the old hardware is tougher. I’ve rummaged through the pile over the years to see what I could use again; a clamp, maybe a boom arm, but what I found most useful was the wing nuts and cymbal felts. This was the beginning of what I like to call the drummers First Aid Kit. These are items which I’ve found to be a necessity to have close by when gigging, and yes, this list was partially built from learning the hard way.
Kick Pedal
Chances are if you’ve bought a new kick pedal, you still have your old one. Keep It.
At one of my first gigs in Toronto, my pedal strap snapped close to the end of the first set. We cut the set short, and since the crowd was compiled of mainly musicians, a drummer in the crowd had his pedal in his car and lent it to me for the remainder of the show. I switched to a chain after that, and a double kick since, but I’ve always brought the spare. It doesn’t take up much room in the car.
Snare Drum/Head/Muffling Rings
It seems I’ve amassed a small collection of snare drums in the garage too. A spare snare in the trunk comes in handy since these babies take such a beatin’. If you cannot afford a second snare, then I recommend keeping extra heads nearby. I do both, in case I forget the backup snare (it’s happened). I keep a skin jammed in my cymbal bag along with a pack of dampening rings for my lower toms. Rings tend to bend during set-up/tear-down sometimes, so I’ve added moon gel to my odds and ends bag…
Odds and Ends
As mentioned above, this comprises mostly of cymbal pads, wing nuts, lugs, and drum keys.
Unless they fly off and hit you in the face, which they do from time to time, we never realize we’ve lost a wing nut and/or felt pad until tear-down after the gig or the cymbal itself comes crashing down. Nothing like trying to find a frickin’ wing nut in a dark, cavernous dance club! A ziplock bag works for me for this stuff.
Drum keys for me are everywhere: on my car keys, in my cymbal bag, one in the hardware case, in my leather coat, one in my suit jacket that I wear to wedding gigs and one in my stick bag...
Ah Yes. The stick bag. Load ‘er up kids. Minimum 6 pair.
Spring cleaning is just around the corner, and I’ve noticed the neighbour’s kid across the street loading a kit into his basement. Maybe I’ll pop over and see if there’s anything he wants to buy…or sell.
Monday, 1 April 2013
Strength and Stamina
As I was rummaging through the Internet's drawers, looking for something to help me build speed and strength in my wrists and fingers when I am not near a drumkit. I did manage to find a couple of gems in the clutter of websites, but I also recalled that I used a couple of exercises that were developed out of necessity last year. The exercises used a 2 litre plastic pop bottle filled with water (and in our case powdered goat milk). Once a year for several weeks we bottle raise baby goats (for serious farm reasons, not because we think its fun or cute) and we need to make milk 4 times a day. Its that time of year again which is how I remembered the exercises.
Part of the reason for my quest was an inspiring blog I read when searching for info on Gil Sharone (Stolen Babies). http://drummingasart.tumblr.com/ describes Gil's work with great use of visually creative language and really increased my desire to improve everyday. This blog is a must-read for anyone. I can only hope to be written about on this blog (good or bad), but since the odds of living to 150 years is against me, I don't see it happening.
Gil Sharone himself is a great source of inspiration and material to use for practice. I have owned Wicked Beats (his instructional DVD) for a few months and seem to watch it every couple of weeks. His hi-hat work with his right hand is truly outstanding and is a great foundation for many styles of music.
I know there's no practice like actually playing, but I find myself sitting in my car for hours at a time or at my desk, wasting good practice time. I keep a drumstick in the car and when stuck in traffic I bounce it on my leg or car seat. A couple more tricks I found in my searches include:
1. Practice rolls on a pillow-top matress or car seat. The less bounce the better, make your wrists do the work.
2. Hold stick near the tip and slap the body of the stick against your wrist using pinky, third and middle fingers.
The pop bottle exercise I developed goes like this:
Hold a 2 litre plastic pop bottle (full of water, not pop) in one hand sideways (palm up) shoulder high, and twist back and forth for 2 minutes. Take the same bottle in both hands stomach high and throw the wrists down like playing drums, then raise it and do it over for 5 minutes. The main purpose of the actions are to mix the powder into the water, so shake vigorously. I found that it improves strength AND endurance. Do this 4 times a day for 8 weeks. After 8 weeks, wait one year and start over. Well, that's my regimen, you can set your own schedule.
Part of the reason for my quest was an inspiring blog I read when searching for info on Gil Sharone (Stolen Babies). http://drummingasart.tumblr.com/ describes Gil's work with great use of visually creative language and really increased my desire to improve everyday. This blog is a must-read for anyone. I can only hope to be written about on this blog (good or bad), but since the odds of living to 150 years is against me, I don't see it happening.
Gil Sharone himself is a great source of inspiration and material to use for practice. I have owned Wicked Beats (his instructional DVD) for a few months and seem to watch it every couple of weeks. His hi-hat work with his right hand is truly outstanding and is a great foundation for many styles of music.
I know there's no practice like actually playing, but I find myself sitting in my car for hours at a time or at my desk, wasting good practice time. I keep a drumstick in the car and when stuck in traffic I bounce it on my leg or car seat. A couple more tricks I found in my searches include:
1. Practice rolls on a pillow-top matress or car seat. The less bounce the better, make your wrists do the work.
2. Hold stick near the tip and slap the body of the stick against your wrist using pinky, third and middle fingers.
The pop bottle exercise I developed goes like this:
Hold a 2 litre plastic pop bottle (full of water, not pop) in one hand sideways (palm up) shoulder high, and twist back and forth for 2 minutes. Take the same bottle in both hands stomach high and throw the wrists down like playing drums, then raise it and do it over for 5 minutes. The main purpose of the actions are to mix the powder into the water, so shake vigorously. I found that it improves strength AND endurance. Do this 4 times a day for 8 weeks. After 8 weeks, wait one year and start over. Well, that's my regimen, you can set your own schedule.
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