tag:theworrybirds.com,2005:/blogs/pipe-band-drummer?p=4The Ups and Downs2022-05-11T16:59:55-03:00Pipe Band Drummerfalsetag:theworrybirds.com,2005:Post/69688812022-05-11T16:59:55-03:002023-10-16T11:49:59-03:00And We’re Back: Gratitude Emerges After Difficult Times <p>Last July my life changed forever. I was teaching a drum kit lesson to one of my adult students and, as I was packing up to leave, I felt a sharp pain in my lower back. </p>
<p>I don’t remember much after that. I remember briefly waking up on the floor, then again in the ambulance, then again in the hospital, then again two days later. </p>
<p>I found out later that my splenic artery had ruptured. I also learned that, after a failed attempt to stop the bleeding with a non-invasive procedure, I needed emergency surgery to remove my spleen and part of my pancreas. After the operation I developed blood clots in my lungs as well as pneumonia and spent six days, unconscious, on a ventilator in the ICU. </p>
<p>One in four people don’t survive what I went through. That has been interesting to think about. </p>
<p>If the ambulance had been a few minutes later I wouldn’t have survived. That has also been interesting to think about. </p>
<p>There was a lot of luck involved: the timing of the ambulance, the fact that if the rupture had happened five minutes later I would have been driving and the fact that there was someone there with me when it happened to call an ambulance (I wasn’t really able to speak let alone call 911). I’m still coming to terms with the dumb luck of it all. </p>
<p>As someone who engages frequently in self-reflection, I find it interesting to notice how thankful I’ve become lately. I am thankful to be alive. I am thankful for my quick-thinking student that saved my life, I am thankful for the health professionals that took care of me and for wife and extended family that supported me through the whole ordeal. </p>
<p>I am thankful for the small victories of my recovery: the first time I walked up and down the hospital hallway, the first time I went outside after the operation and the first time I had a shower (one of the best feelings I think I’ve ever had). </p>
<p>I am thankful for friends and family that visited me and checked up on me. I’m thankful I was able to return to work teaching drum kit. And, I’m thankful that I’m back working with the drum corps in Dartmouth and District. </p>
<p>As more time passes I am struck by the fact that my gratitude has not diminished in the least. Every morning I wake up I am grateful for the day ahead of me and appreciative of those behind me. </p>
<p style="text-align: center;">* * *</p>
<p>For the last two-plus years of the global pandemic, the pipe band community has itself been on life support. Pipe bands around the world have struggled with cancellation of parades and competitions, Zoom rehearsals, an outright ban on indoor piping and a complete lack of revenue. </p>
<p>Let’s not forget the two best things about being in a pipe band: playing music together and socializing afterwards. What has been discouraged for the last two years? Playing music together and socializing afterwards! </p>
<p>Online rehearsal have become the bane of every pipe majors’ and lead drummers’ existence. To this day I still have no idea if my drummers were playing with me during our Zoom practices! </p>
<p>It’s been really hard to stay motivated through it all. It’s been hard to retain players. Only three snare drummers remain from our 2019 North American Championship drum corps. I was talking with another lead drummer the other day that lost their entire tenor section. Yet another band lost their lead drummer. Our grade 5 band also lost their lead drummer. Almost every pipe band has a similar story. </p>
<p>So why then is there so much optimism this year when so many things have gone wrong? I think the answer is the same for the pipe band world as it was for me. </p>
<p><em>Gratitude emerges after difficult times. </em></p>
<p>Just to keep it real, my drum corps is not trying to win any prizes this year. Our goal is to get on the field and play the best we can. We are so thankful that we are even having a season! There is a relentlessly positive vibe in our rehearsals—we are grateful to be practicing in the same room! No one is getting upset but everyone is working hard and we are grateful to finally have a pipe band contest to motivate us! </p>
<p>For the last two years I lost the ability to play in a pipe band. Now that our competition season is approaching I am not taking it for granted, and I think a lot of you will be doing the same. Best of luck to you all as you prepare to get back to it. </p>
<p>We’re baaaaack….</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/68977582022-02-14T20:15:02-04:002022-02-15T12:54:20-04:00"Is this an Accent or a Tap?": Using 300 year old Italian Symbols to Improve Our Notation<p>"Is this an accent or a tap?"</p>
<p> </p>
<p>If you are a lead drummer you have answered this question hundreds of times. If you are a corps drummer you have <em>asked</em> this question hundreds of times. These questions are asked whenever drummers learn what has always been known as an "accented roll sequence".</p>
<p> </p>
<p>For those unfamiliar with accents, they are a musical symbol that, when placed above a note, indicate an added emphasis or stress. The accent symbol looks like a "greater than" sign (>).</p>
<p> </p>
<p>An accented roll sequence is a series of rolls strung together for musical effect. They contain a mix of taps, accents and buzz strokes. Accented rolls provide an excellent opportunity for both syncopation (off beats) and dynamics (changes in volume). Even though accented rolls are common in each of the five pipe band styles, they are found in their longest and most complex forms in the strathspey style. The example below is taken from a grade 3 level strathspey. Note the use of accents to define the rolls that start with a tap.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/37ecc49741d5b04b0309139e6e7b49ba0278c415/original/screenshot-2022-02-14-at-7-07-19-pm.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>If I showed this to my drum corps, there would be an immediate chorus of "which accents are <em>accents</em> and which ones are taps?" And, the drum corps would be right to ask me! I would have to go through every accent, note by note, and explain which ones I wanted played as accents and which ones were only quiet taps.</p>
<p>Most experienced drummers would look at the roll passage above and be able to get most of it. Experience would allow a drummer to catch the crescendo at the beginning of the roll sequence and, as it is impossible to crescendo when already playing at full volume, assume that the second "accent" in the passage should be played as a quiet tap. An experienced drummer would also know that volume shouldn't peak too early in a long crescendo roll. Therefore, when executing these rolls they would hold their volume back until the final two accents. So, out of nine accents in the entire sequence, only three are <em>actually</em> played as accents.</p>
<p> </p>
<p>Confused?</p>
<p> </p>
<p>A lot of new or younger drummers certainly are!</p>
<p> </p>
<p>That is why, as a drumming community, we need to solve this issue. We need a way of notating taps that is <em>different</em> from how we notate accents.</p>
<p> </p>
<p><strong><span class="font_large">May I have a long, complex, strathspey-type drum roll please!?</span></strong></p>
<p> </p>
<p><strong><span class="font_xl">Introducing: The Staccato!!!</span></strong></p>
<p> </p>
<p>The staccato symbol is borrowed from classical music. Staccato is Italian for "detached" and it has been used to indicate notes of a slightly shortened duration since the 1600s. The symbol for staccato is a small dot placed above the note head. Assigning the staccato symbol to represent a quiet tap in a pipe band drum score makes sense for a couple of reasons. First, the staccato is physically smaller than the accent symbol. This makes it easy to remember that the <em>sound</em> it represents is <em>also</em> smaller than the sound produced by an accented note. Secondly, the staccato has been used to represent a detached note for hundreds of years. A "tap" is just that--a single note detached from the buzz strokes that provides rhythmic definition in a roll sequence.</p>
<p>The following example shows two identical roll sequences: one using "accent-only" notation and one using staccato. From looking at the second example it is clear which accents are meant to stand out. The first "accent-only" example is sure to elicit many questions. The second example gives you the answers you need!</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/0ed29da4255b1fb5c5d5fde42c937b72c3e1f775/original/screenshot-2022-02-14-at-6-16-58-pm.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_orig justify_center border_none" alt="" /></p>
<p>It is easy to replace accents with staccato symbols in your handwritten scores. Where the use of staccato becomes more difficult is when using software notation programs. Not all pipe band drumming-specific notation software contains the options to use staccato. However, the program that I currently use, <a contents="Ensemble" data-link-label="" data-link-type="url" href="https://www.thisisensemble.com/" target="_blank">Ensemble</a>, does provide this functionality. Other software programs that allow the use of staccato are: Sibelius, Finale, Musescore, Noteflight, and Flat.</p>
<p>Pipe band drumming is a relatively young artform and our notation is even younger. The more steps we can take to improve it, the less confusing it will be for everyone. Have fun adding staccato into your drum scores and enjoy all the questions about accents that you no longer hear! Until next time, happy drumming!</p>
<p> </p>
<p> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/68655142022-01-11T13:26:50-04:002022-04-22T10:41:20-03:00Welcome to the Club: Easier Massed Band Scores Released at the Perfect Time<p>Change, when made purposefully and for the good of everyone, is always a good idea. But, sometimes, change can take a while.</p>
<p>In the pipe band world, things can take a <em>long</em> time to change! One of the most common things I hear from members of the pipe band community (both pipers and drummers) is that ridiculous nausea-inducing phrase "we've always done it that way". Truly, the rate of evolution for all things pipe band-related could best be described as "glacial".</p>
<p>To be in a pipe band is to be in a "club" of sorts. For aspiring pipe band drummers the price of admission into this "club" is a <em>large</em> time commitment (usually at least two years) which is spent learning how to read, attempting to master rudiments and honing technique, all geared toward learning [in a loud "God-like" voice] THE MASSED BAND DRUM SCORES!!!</p>
<p>The North American massed band snare drum scores are <em>difficult</em>. They contain elements of drumming that challenge players into their fourth and fifth year on the instrument--sometimes even longer. There are left drags, runs of singles that switch between sixteenth note triplets and thirty-second notes as well as accented roll passages. In short, they are complex and require a long list of skills that takes several years to acquire.</p>
<p>For tenor and bass drummers, there is nothing. No music, no guidance. Nothing. Only the faint whispers of a disinterested lead drummer...</p>
<p>"Do whatever you like... " [<em>bass section shrugs shoulders</em>]</p>
<p>"I don't care what you play... " [<em>bass section rolls eyes</em>]</p>
<p>This is why I am so happy that the PPBSO (Pipers and Pipe Band Society of Ontario) has released a new set of scores for massed bands. These scores are much easier than those currently in use and the timing of their release couldn't be better.</p>
<p>Take for example the new massed band 3/4 score. In the first part there are only four rudiments used: a right-handed flam, seven-stroke roll, thirteen stroke roll and an accented paradiddle. Tenor drummers and bass drummers are assigned quarter notes where basic flourishes can be inserted easily.</p>
<p>If massed band scores are easier, more students can learn them quickly! When students learn scores more quickly they gain admission into the pipe band "club" <em>sooner</em>, thereby growing the ranks of drummers. And, from what I've seen in the past, if a drummer is outfitted with a uniform and drum and gets to experience a massed bands at a highland games, there is a very good chance they "catch the drumming bug" and stick around.</p>
<p>If there is a faster way to get drummers into our drum corps then we should do it! The last two years of the pandemic have been hard on every pipe band. Attendance is down. Gigs have dried up. Morale is at an all-time low. We need every strategy in our arsenal to help restock our bands with new drummers.</p>
<p style="text-align: center;">* * *</p>
<p>Unfortunately I have encountered some negativity regarding the new massed band scores. I have heard things like "these aren't challenging enough" or "they're too repetitive" to which I say "these scores are not for you!" Any negative responses I've heard are from those drummers who are <em>already</em> in the pipe band drumming "club". These new scores are for those hoping to <em>gain</em> <em>entry</em>.</p>
<p>As a final note, simpler scores usually mean better execution. So many massed band drum corps sound terrible because only 50% of the drummers are actually playing the music correctly. What we get when we listen to a typical massed bands is the "average" of all the different versions of the score being played. Hopefully, with the introduction of these new scores, we will start to hear some massed band performances that include better unison and musical precision.</p>
<p>If anyone would like a copy of the new North American massed band scores, please send an email to zach@pipebanddrummer.com and I'll be happy to send them along. Hopefully we can hear these new scores at a Highland Games this summer. I hope everyone is happy and healthy as we try to move forward in 2022. Stay safe my friends. Hopefully some hugs and high-fives in the beer tent are on the horizon.</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/66877942021-07-14T15:22:42-03:002021-07-15T09:14:19-03:00If You Can't Say Anything Nice, Don't Say Anything at All: Resetting Pipe Band Culture<p>The phrase I heard most often as a child growing up was repeated constantly by my mother: "If you can't say anything nice, don't say anything at all". My mother worked for many years as the fellowship coordinator at our church. Her job description was relatively simple. First, get as many people involved in church activities as possible. Second, welcome any new members and make a connection with them. And finally, make each person in our church feel like they are important, valued and appreciated.</p>
<p>Yes, the job description was simple. However, in practical terms it was very hard work.</p>
<p>Why?</p>
<p>Because people are people! Whether it's in a church, in an office or in a pipe band, people come in different shapes, sizes and colours with a variety of opinions, world views and personalities. I was constantly amazed by my mother's ability to navigate the sometimes choppy waters of human behaviour with humility, grace and patience.</p>
<p>I would describe my mother as an extra-vert, through and through. She got her energy from people. She loved talking with them, developing relationships and learning what made them tick. She was invested in her work and it was clear she genuinely loved it.</p>
<p>That doesn't mean it was always easy, however. Again, people are people and there were many challenging times during her ten year tenure with the church. However, she always tried her hardest and even the most difficult people recognized this fact and respected her for it.</p>
<p>Thanks in large part to the example set by my mother, our church became a welcoming place. All members of the congregation were expected to participate not just in the church services themselves but in the church community. Even after her departure the groundwork she had set in place remained for many years. Through hard work, dedication and an unyielding eye to the future, my mother succeeded in changing the culture of our church.</p>
<p>So, what did this "culture change" look like at the grass roots level?</p>
<p>Every Thursday, we would have a revolving door of dinner guests--usually at least ten. They were treated to a three-course meal, conversation and a chance to meet new friends. Usually, Mum tried to invite at least one young family and several elderly members of the congregation. These meals happened weekly for years on end. My family knew every member of our church (there were several hundred).</p>
<p>The singles group met at our house, the bible study group met at our house, the fellowship committee (of which Mum was the chair) met at our house. It was an unending stream of people meeting, eating and talking.</p>
<p>During her workday, Mum had lists of phone numbers that she used to keep track of church members with whom she'd not spoken recently. She was always on the phone, asking for volunteers for the Tea and Sale or the annual corn boil and setting up meetings to talk with others about new activities and groups to increase participation.</p>
<p>The fact that I had a front row seat to my mother's efforts has helped me greatly as a lead drummer. If I could take one thing away from my experiences watching her over the years it would be this: treat people with respect.</p>
<p> </p>
<p><span class="font_large">The Importance of Respect</span></p>
<p>Respect is defined as the "due regard for the feelings, wishes, rights, or traditions of others". In the pipe band world, or in any organization, respecting people is the most important thing you can do, whether you are in a leadership position or a new member.</p>
<p>Respect means thinking about what you say before you say it. It means avoiding any inappropriate language that might offend someone. It means keeping your emotions in check to avoid unnecessary outbursts. It means being kind, accepting, accommodating and aware of others feelings. Being respectful requires vigilance and self-discipline.</p>
<p>I am often frustrated by the lack of respect for others that I see in the pipe band world. On social media, people too often hide behind anonymity or misplaced ego and freely offer negative criticism, comments or insults. In pipe band practices, pipe majors and lead drummers scream at, and insult, their players, berating their effort and ability. I have heard racist jokes, misogynistic quips, sexist remarks and reinforcement of tired stereotypes. It's exhausting. And, we can do <em>better</em> as a pipe band community.</p>
<p>I have also heard how exhausting it is to be politically correct all the time. This, honestly, is the stupidest thing I have ever heard. If you are feeling exhausted about being politically correct you are obviously white and most likely a man--the most privileged demographic on the planet. If you are tired of being politically correct, how tired do you think the less privileged members of your band feel when they hear inappropriate comments and tired stereotypes!</p>
<p>If we are going to change the (often toxic) culture in the pipe band world we <em>have</em> to start thinking of others first. If we can't say something nice, we really shouldn't say anything at all.</p>
<p>It is important to note that most pipe bands do not have a "toxic" culture per se. Most bands are welcoming to various degrees and maintain a focus on having fun and playing good music. However, because pipe bands are made of up people, they will always have <em>some</em> issues treating all members with the respect they deserve.</p>
<p>So, is it possible for your pipe band to be a perfect place where everyone is respectful of each other 100% of the time?</p>
<p>No.</p>
<p>My mother wasn't perfect.</p>
<p>But she tried very, very hard to be.</p>
<p>Her <em>effort</em> was perfect.</p>
<p><em>That </em>is the key to changing our culture.</p>
<p>The pandemic has wrought havoc on the pipe band world. With no competitions or parades on the horizon, interest in many bands has waned dramatically. Membership numbers are down. As a community, we need to recruit, train and retain as many players as we can to keep our art-form alive. A culture of mutual respect will allow this to happen. We don't have the luxury to go back to "the way things were". This pandemic has given the pipe band community world-wide a chance to press the "reset button". Let's all take this opportunity to move forward as a collective with a more inclusive and respectful mindset. The world is changing and the pipe band world must change with it.</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/58711352021-05-18T14:41:25-03:002021-05-19T18:02:36-03:00The Ups and Downs: My Eight Year Journey as a Lead Drummer<p>On August 2, 2019, the Dartmouth and District Pipe Band from Nova Scotia won the North American Pipe Band Championships in grade 4. I am fortunate to be the lead drummer. We won every judging category (1,1,1,1) against some very stiff competition. We got to march off to cheers from all the other Canadian East Coast bands, play in the beer tent to hundreds of screaming folks and continue the party throughout the bus ride home and into the wee hours of the night. It was a day and night that we won’t soon forget. </p>
<p>Upon our arrival in Nova Scotia we were inundated with texts, messages and phone calls all congratulating us on our accomplishment. Our phones were exploding with congratulations from other East Coast bands. We made the paper. We were on the radio. CBC news called. It all seemed a bit surreal for a small grade 4 pipe band from Nova Scotia. Even though we never expected to receive this kind of reaction we have all relished those few days. Winning in Maxville is very hard to do and this may be a once in a lifetime accomplishment—especially winning straight firsts across the board. So, we appreciate it. We appreciate it because we know the story behind it. We remember the lowest moments. We remember how we got here.</p>
<p>Now we are in a global pandemic. Canada is currently experiencing a brutal third-wave of COVID with most provinces posting their highest case numbers since the pandemic began. These are uncertain times.</p>
<p>I have had an eight-year run as the lead drummer of the Dartmouth program. There have been many ups and downs with many challenges. The following is a history of my time with Dartmouth from the early days of joining the band to the present day.</p>
<p>Once upon a time I joined a pipe band...</p>
<p> </p>
<p><strong><span class="font_large">Early Days </span></strong></p>
<p>In 2011, I got a message from a friend asking if I would be interested in playing with Dartmouth and District. I had last played at a highland games in 1992 with the Rob Roy Pipe Band from Kingston, ON. I then took almost two decades away from pipe bands getting my music education degree, gigging, touring, teaching drum kit and learning to navigate the music business. After meeting with my friend and several others from the band at a local Starbucks I agreed to give it a go. My wife Adelle (having never played in a pipe band before) even decided she would try tenor drumming. </p>
<p>At my first practice, I realized the severity of my mistake in taking twenty years off from pipe band drumming. My hands were garbage, I couldn’t read the music very well and memorizing the scores seemed like an insurmountable challenge—I eventually got my music (mostly) memorized sometime in July. Despite my initial failings, I enjoyed being part of a drum corps again and so did Adelle. All was good. </p>
<p>The band travelled to Scotland in 2012 and got a respectable ninth place finish in grade 3A. It was the first time Dartmouth had been to the Worlds and everyone was pleased with the result. We enjoyed the trip, even stopping over in Iceland for a couple of days. Great first year. </p>
<p>My second year with the band was also a success—to a degree. We played well in competition and the drum corps placed well, eventually winning best grade 3 drum corps at the North American Championships in Maxville. Things were going well... </p>
<p>But things were about to change... </p>
<p>In the fall of 2013, Dartmouth’s lead drummer left and took with him most of the grade 3 drum corps. Three snare drummers and a bass section remained. Upon hearing the news, the band executive began a search for a new lead drummer. The search for experienced/qualified candidates dragged on through September and late into October. In what I still believe was an act of desperation the band eventually reached out to me. Members of the executive knew I taught drum kit and that I had a music education degree and, for them, that was enough “qualifications” to offer me the position. I thought about it and accepted, having no real idea what I was in for. It would be a very interesting seven-year run... </p>
<p> </p>
<p><span class="font_large"><strong>Year One</strong> (2013/2014) </span></p>
<p>Dartmouth began year one with a strong pipe corps and a meagre drum corps. Fortunately, snare drummers that had either played in Dartmouth before or with other bands signed up to play with me (I have no idea why, as I was a complete unknown). We set about learning the music and learning about each other. The vibes were good. Everyone knew they would play every competition (I abhor cutting drummers) and we had a lot of fun. </p>
<p>But, in May of 2014, something truly terrible happened: we got the news that Ian Green, one of our young tenor drummers, had passed away. He had been at band practice goofing off and making jokes the day before. We were stunned. The band lost one of its favourite members. We attended the wake. We played at the funeral. It was truly awful. </p>
<p>None of us felt like playing that summer, let alone competing. But, the memory of our friend and bandmate made it impossible not to. We all knew he would want us to play—so we did. </p>
<p>Watching the members of the tenor corps that year was heart wrenching. Not wanting to let the band down, Ian’s friends in the tenor corps gutted it out through the entire season. One tenor drummer’s sister stepped in and learned all the music in a month to replace Ian’s part. Practice was a daily and painful reminder of how much we all missed him. </p>
<p>Before the first competition of the season we placed his picture in the bass drum so he could be in the circle with us at every contest. The drum corps dedicated its season to Ian. </p>
<p>At the Antigonish Highland Games that year something special happened. Ian’s mother showed up to present the first “Ian Green Award” for best bass section at the games. The band greeted her with hugs and kind words as we waited to hear the results of the day. Then the competition results were announced. Dartmouth and District grade 5: first place. Dartmouth and District grade 3: first place. And, after challenging up to grade 2, Dartmouth and District: first place. The emotions poured out of us. People were openly crying throughout the band, hugging each other and the march off was one of the most emotional moments I’ve ever experienced. </p>
<p>The competition season of 2014 passed by in a blur. Our results were mixed but we almost didn’t care. We were thinking of things more important than pipe band. </p>
<p> </p>
<p><span class="font_large"><strong>Year Two</strong> (2014/2015) </span></p>
<p>In September, the band decided to go to Scotland. We set about learning a new MSR and Medley for the trip. I had never written an MSR drum score so I assembled scores written by others—a “dumbed down” version of a complicated march score, Duthart’s “Maggie Cameron” and I wrote a score for Loch Carron. The Duthart strathspey turned out to be more difficult than the corps could handle so that also had to be simplified. </p>
<p>Then the learning began. As I had virtually no experience teaching a strathspey it took a while for me to wrap my head around it. Strathspeys are very complicated (a fact of which I was slowly becoming aware) and the corps struggled with it. We were playing virtually no dynamics and weren’t really paying attention to how the music gelled with the pipe corps. This was evident when we got our first sheets back at our contests in the Maritimes: “No lift”, “lacking forward motion”, “no dynamics” etc. I was frustrated and didn’t know where to look for answers. But the answers would have to wait—we were going to Scotland (gulp). </p>
<p>Two days before leaving for Scotland I got a call from one of my drummers letting me know he wouldn’t be able to make the trip. Unfortunately, he had been taking care of drum tech duties for us all season. Due to laziness, delegation and a feeling of overwhelm with the drum scores, I had neglected to learn how to properly tune a snare drum! I knew I would have to try and learn to tune the corps quickly. It was going to be baptism by fire. </p>
<p>Upon arrival in Scotland our drums sounded terrible. The heads had been loosened before the flight to prevent them from breaking in transit and, try as I might, I could not get them up to pitch. I had another corps member step up to help me but neither of us was having much luck. </p>
<p>We attended North Berwick and finished middle of the pack—with several comments about the drum sound. Next day, we went to Perth and again tried bringing the drums up to pitch. We finished 17th out of seventeen drum corps. I was discouraged beyond belief. I felt useless and stupid. We had paid all this money to come to Scotland and our drum sound was going to be our downfall?? </p>
<p>Coupled with our drum sound issues was a major problem with our intro rolls. They were terrible!! We had received comments about them at every contest up to that point and, after a weekend of bad results I finally lost my patience. I can’t remember what day it was but the drummers were subjected to a very blunt and grumpy lead drummer leading an “intro rolls only” practice for more than an hour. For the practice to end, my requirement was that each corps member would need to play ten good intro rolls in a row with me. Once they accomplished that, I would move onto the next drummer (victim). I never got past the third or fourth drummer. I was steaming mad. What I failed to realize at the time was that our terrible rolls were all my fault. We hadn’t worked on them much at all and I was blaming the drum corps for my mistake. My stress level was nearing the breaking point. </p>
<p>After Perth I was chatting/apologizing to our pipe major when he suggested I contact Hugh Cameron to help with our drum sound. For those who don’t know Hugh he has been a fixture in the pipe band scene in Ontario for more than 50 years. He is always willing to help when he can and his reputation for tuning snare corps precedes him. He told me he would meet our corps on the Green the day of the Worlds and help us out before our contest. This made me feel a little better at least, knowing that some help was on the way. </p>
<p>The morning of the Worlds I put my drum on the bus early in the morning and walked down to the Green alone. It was nice to have some time to think and reflect on what had happened on the trip so far. I was the first one to arrive at the Dartmouth tent. The Green was quiet but growing slowly louder as the crowds began to file in. Hugh arrived fifteen minutes later and began working on the drums. As he tuned he told us exactly what he was doing. It was an impromptu tuning clinic on a competition day! The drums started to come up to pitch and you could see the stress dissipate from the snare drummers’ faces. The stress of our wonky drum sound had been so intense that it felt like a huge weight had been lifted. We went out and played and the drummers got third place in the qualifier. The band was going to the finals! </p>
<p>When we heard that we made the finals we were over the moon. That had been our goal all along. Our goal was never to place at the Worlds. It had never even occurred to us. We went out and played like we had nothing to lose and we played great. After our play, we had no expectations at all. We didn’t really talk about it, we just grabbed a drink at the beer tent and waited for the march past. </p>
<p>Standing, listening to the results, is something I’ll always remember. “Fourth place: Dartmouth and District”. We freaked out. After all of the ups and downs of the trip we got this incredible result! The 78th Highlanders Halifax Citadel sprinted over to us to join in the celebrations. It was crazy. The celebrations continued into the night. The drum corps shaved my head. The pipers shaved our pipe majors head. It was an improbable but incredible feeling. </p>
<p>The next morning I was on a train to London to visit my wife’s family. The pipe band season melted away. </p>
<p> </p>
<p><span class="font_large"><strong>Year Three</strong> (2015/2016) </span></p>
<p>My struggles with drum score writing and execution had finally caught the attention of our pipe major who suggested I could use some help. I agreed completely. In 2015, we got a grant and brought Reid Maxwell in from B.C. Reid is one of the best drum score composers on the planet and walks the walk as only the top drummers can. Reid’s visit was the beginning of my pipe band drumming education. </p>
<p>Reid made some changes to our drum scores. By “some” I mean EVERYTHING! Marches were reworked, strathspeys were completely rewritten and medley arrangements were turned on their head. I had so many passages scratched out and arrows pointing every which way that most of my scores were illegible. It was a complete reworking of every aspect of our music. I would describe that two-day workshop as perhaps the most mentally taxing two days of my life. I learned a ton of new information about composing, arranging, chips, placement of dynamics and personnel management. I drove Reid around the city to his hotel and back and the learning continued in the car. It was an unbelievable two days. </p>
<p>One week after the workshop we had a gig promoting the band at a local pub. We had decided as a group to try our best to play Reid’s new versions of our drum scores. It did not go well. I remember a drummer from another band coming up to me after our performance offering the comment “that was interesting!” </p>
<p>The competition season turned out a little better thanks to Reid’s help. We got some good results and we were feeling good going into Maxville. We were proud of our 4th place finish at the Worlds the year before and we were feeling confident we could keep our positive momentum going. </p>
<p>On the day, I thought we played well. The morale was good in the corps and spirits were high in the beer tent. When the results were announced, we found out the band had come second—very respectable... until I heard the drumming results: eleventh out of 14. Ugh. </p>
<p>The feeling of thinking you’ve done well, and then finding out you really didn’t, is not a good one. It causes you to lose trust in yourself. It causes you to question everything you’ve been doing. </p>
<p>And I did. </p>
<p>I struggled to figure out why. I just didn’t know. I needed to know. So, I started asking questions: “What is lift?”, “How do you get better at dynamics?”, “How do I improve our unison?”, “How can I write a good strathspey?”. I came up with as many questions as I could and I started asking. </p>
<p>Some bands would have lost patience with me but Dartmouth stuck with me for some reason. My drum corps made it clear they had my back and, even though they were disappointed, they all let me know they were willing to redouble their efforts to improve. It was during this difficult time that the idea for PipeBandDrummer.com was conceived. </p>
<p>It was clear, after our Maxville results, that our drum corps was lacking many of the fundamentals we needed to succeed. Many members of our corps couldn’t read music, many struggled with their rudiments and it was clear I needed to completely overhaul the Dartmouth teaching program. </p>
<p>In the fall, we set up a system of rudiment standards for each band. Every drum corps member in the organization was required to play all rudiments with a metronome. This was the beginning of the process that began to “turn the ship around”. </p>
<p>For the final three months of 2016 I worked on the planning for PipeBandDrummer.com. I wanted the site to offer free resources to pipe band drummers that hadn’t been available to me. I wanted it to have a reading component, a rudiment component and some world-class practice tracks drummers could use to practice their solos. The site was released in January of 2017 with little fanfare, essentially as a tool to help the drummers in my drum corps improve their fundamentals. Slowly but surely things began to change. More drummers could read and our rudiments were improving. Things were moving in the right direction... </p>
<p> </p>
<p><span class="font_large"><strong>Year Four</strong> (2016/2017) </span></p>
<p>In September of 2016 I was informed that the band was moving up from grade 3 to grade 2. I knew this was a giant step for the band but I also knew we were up for the challenge. The drum corps began working on more complex rudiments, we got some scores from Reid and I started to use the knowledge I’d gained on Reid’s last visit to write our remaining scores. </p>
<p>Soon, however, we realized we had a massive challenge in front of us. Grade 2 requires two MSRs and that is a big chunk of material to wrap your head around. It took us almost the entire year to learn our music. We were struggling with mistakes and memory lapses right up to our first contest. </p>
<p>I was very proud of how hard everyone worked. We grinded it out with difficult scores and exercise sheets all year. There were many moments of frustration and feelings of hopelessness as we worked our way through the material but, looking back, it was probably the best development year for the corps. </p>
<p>We tried our best during that competition season but it was clear the drum corps was out of its depth. We didn’t have much success at all and were constantly dragging the pipers’ results down with low drumming marks. </p>
<p>Then we got to Maxville and things went from bad to worse. My wife and I had gone up to Ottawa a couple of days early for a mini-vacation. We did a ton of walking around the city (mostly on pavement) and after a few days I started to notice a tightening in my back. I’d had a history of back trouble dating back to my time carting a drum hardware bag across the country. As we joined up with the band a couple of days before the competition I could sense that my back problems were going to be an issue. </p>
<p>On competition day, my back was very sore. It was hard to stand upright and I had trouble walking. I had told our pipe major but I hadn’t let anyone know exactly how bad things were. I avoided putting a drum on for as long as I could but when I finally did the pain was intense. </p>
<p>My back spasms started on the walk over to final tuning. To say I was distracted was an understatement. I tried my best to keep everything to myself but at this point it was getting hard to hide what was happening. We played our medley first and I managed to hold it together. Then we marched over to play our MSR and the pain increased. On top of everything else the skies opened up and poured rain for the duration of our performance. We finished and I hobbled back to our bus, took my drum off gingerly and eventually managed to sit down. The back spasms continued. I couldn’t move. The rest of the band went off to the beer tent and I remained at the bus, sitting in a lawn chair wincing for the next five hours. </p>
<p>Eventually, one of the drummers returned and let me know the results: two last place finishes. Morale was low in the corps and my personal morale was even lower. We had worked so hard all year to get these terrible results. </p>
<p>Upon returning to Ottawa I went straight to bed. I didn’t want to talk to anyone. I wanted to quit. </p>
<p> </p>
<p><span class="font_large"><strong>Year Five </strong>(2017/2018) </span></p>
<p>Even after our poor showing in Maxville I was told that the band would remain in grade 2. I was also informed that we would be going to Scotland—a decision that I, and most of the band, disagreed with. Many of us knew that continuing in grade 2 was not sustainable but we began the year with the mindset that we would be competing in grade 2 the following summer. </p>
<p>To make a long story slightly shorter, our grade 2 band folded in May of 2018. Attendance had been atrocious all year and the Scotland trip disintegrated. Now Dartmouth was left with two bands: one in grade 4 and one in grade 5. </p>
<p>One of my philosophies is to train new lead drummers whenever possible. I like inexperienced players to play lead at parade band practice or, in some cases where I feel they are ready, to experience leading their own drum corps. The grade 4 and 5 bands were already set up with their own lead drummers so, rather than step in and take over, I decided I would learn the music for our grade 4 band and simply play in the corps. Several other players from the grade 2 followed suit. </p>
<p>That summer was the most relaxing summer for me since I’d become a lead drummer. Once I learned the music all I had to do was to show up, play and keep my mouth shut. It was wonderful. The grade 4 band was a fun crew and I enjoyed my time as a corps drummer. </p>
<p>In Maxville that year, the grade 4 band came a respectable fifth place. There was a feeling that things were looking up for the organization—a welcome change from the sometimes-overwhelming stress of the year. </p>
<p>After several discussions with the grade 4 lead-drummer, it was decided that I would return to lead-drummer duties with the grade 4 band for the upcoming season. I couldn’t wait to get back at it. </p>
<p> </p>
<p><span class="font_large"><strong>Year Six </strong>(2018/2019) </span></p>
<p>At the beginning of the year we had a meeting for all the drummers in the organization. I had big plans. We were going to work hard, start several new initiatives and we were going to have fun. The mood in the corps was good and we were all excited to get going. Blaise Theriault, the grade 4 pipe major was very organized and also very ambitious. We had a ton of music to learn and new scores had to be written for all of it. By the end of December, I had written 40 drum scores plus a new drum fanfare. Because of Blaise’s organization (he had the tunes decided before October) I had time to write everything by Christmas—even most of the bass section scores. Incredibly, this beat the previous “I’ve finished writing all the scores” record by four months! Before this year, I had never finished writing all the scores until the end of April. </p>
<p>The extra four months were a gift and they were used to concentrate on some fine details—maintaining our unison during quiet passages, honing the rhythms of a 9/8 march, interpreting a strathspey correctly etc. The most important thing we did in these four months, however, was reps—lots and lots of reps. And, we did reps as a full band at every practice. What’s the best way to memorize music? Lots of reps! Most people were off their written music in February even though we had learned eleven brand new scores and a new drum fanfare. </p>
<p>We also benefitted greatly from workshops by Doug Stronach and Alex Gandy. Doug gave us great ideas on how to improve our unison through attention to subdivision and gave us some great tips to expand our dynamic range. He also pointed out flaws in our fundamentals and execution which, when corrected, vastly improved our overall unison. Just as I had done with Reid a few years earlier, I volunteered myself to chauffeur Doug around town. Every car trip was another drum lesson! </p>
<p>Alex Gandy was the next clinician in late April. He worked primarily with the pipers but was very helpful with the drum corps as well and gave us some great tips to improve our ensemble—especially with our strathspey playing. I was very impressed with Alex. I had always known how great a piper he was but I was even more impressed with his understanding of music in general. In fact, all three clinicians that have come to Dartmouth during my tenure have been great musicians first, pipers and drummers second. </p>
<p>Our competition season began in Moncton, New Brunswick in June. The Atlantic Canadian season currently involves only four contests so there are no real “warmups”. And, as the band travels regularly to Maxville to compete at the North American Championships, each contest becomes even more important (you’ve only got four chances to figure things out). </p>
<p>The band played well in Moncton, not so well in Pugwash, fine enough in Antigonish and quite well in Fredericton. It was one week to Maxville. I couldn’t put my finger on it but I had a good feeling about where we were as a band. Somehow, through the work we had done that year, the band had raised its overall performance standard to a point where even if we had a performance we considered “bad” it would still be considered “okay” by many. We were becoming more consistent and with that consistency came a sort of low-key confidence. No one really talked about it but you could see it during warmups and contests. Maxville was a different beast, however, and during my time as lead in Dartmouth we had never had much success there. </p>
<p>In the previous six years, any drum corps led by me had never finished higher than sixth place at Maxville: 6th in 2013, 6th again in 2014, 11th in 2016 and 6th out of six (other known as “last”) in 2017—mediocre results at best. </p>
<p>Looking back, I remember feeling “behind the 8-ball” from the time I started as a lead drummer. I always felt one step behind and, at times, that it would take forever to catch up. When Dartmouth moved from grade 3 to grade 2 those feelings were amplified ten-fold. But, when the grade 2 band folded and I spent a summer as a corps drummer with the grade 4 band, I had a chance to reflect, accumulate more knowledge and plan for the upcoming year. Then when I assumed the lead position with the grade 4 band it felt like I had a second chance at being a lead drummer. It was like starting again but with six years of experience under my belt. Everything felt more comfortable and for the first time in my career as a lead drummer I finally felt like I belonged there. </p>
<p>Our time at Maxville was unlike anything I’ve ever experienced. There was no talk of beating another band, only talk of playing well ourselves. We played relaxed and with the confidence that had been building all season. We played as well as we could and “left it all on the field”. </p>
<p>As the results were read out, I had to laugh. After so many years of mediocre drumming results bringing down our overall scores, no one celebrated when the placings were read out. Sixth... Fifth... Fourth... Third... Second... </p>
<p>...and then that feeling of dread: “not again!” </p>
<p>Then... first place... “Dartmouth and District”. Then the cheers! East Coast bands and others flooding over to congratulate us. High fives. Hugs. Tears. </p>
<p>Six years of hard work. Six years of self-doubt. Six years of grinding it out. </p>
<p>Finally. Paid. Off. </p>
<p>We got our pins. We formed up at the front of the massed bands and played off as every East Coast band cheered us on. We played all the way to the beer tent and then played <em>in</em> the beer tent surrounded by hundreds of people. It was unreal. I tried to give a speech to the corps. All I could manage to say was “I’m so proud of all of you”. I choked up. I couldn’t talk. I was beyond happy for everyone.</p>
<p> </p>
<p><span class="font_large"><strong>Year Seven</strong> (2019/2020)</span></p>
<p>Fresh off our win at the North American Championships in Maxville the band was riding high. We met as a group in September and decided we would travel to Scotland in 2020 to compete at The World Championships. New repertoire was chosen and I began the score writing process. I managed to write all of the scores before the end of November and in January the band had their entire repertoire memorized--another new record!</p>
<p>At our first performance of 2020, the band played at our Robbie Burns dinner to a standing ovation. In all my years with the organization Dartmouth had never been so prepared for a competition season. We were feeling very optimistic as flights and accommodations for Scotland were booked. It was going to be a great trip.</p>
<p>Then, in February, we started to hear rumblings about a pandemic on the other side of the world. COVID-19 was sweeping the globe and the UK was adversely affected. The pandemic had yet to reach Canada, however, so we kept practicing, all the while hoping that it would die down and we'd still be able to travel.</p>
<p>In March, things were not getting better. The pandemic arrived in Canada. The last practice we had as a band was an all-day workshop with Alex Gandy. The workshop was great but the emotions of everyone were mixed. I remember distinctly the feelings of uncertainty hanging over our heads. One of our band members wore a mask to that rehearsal. It turns out that she was the smartest one of all of us.</p>
<p>Soon after that practice, Nova Scotia was put into a full lockdown. Bagpipes were no longer allowed to be played and group rehearsals were prohibited. The band executive got together and agreed to shut everything down for the season. Our piping and drumming school went online and has remained that way.</p>
<p>The competition season was cancelled. Our Scotland trip was cancelled. All in-person band practices were cancelled. Everything had changed--for everyone.</p>
<p>The summer of 2020 was certainly different from any summer I'd ever experienced. Usually, summer is my busiest time with not only pipe band duties but also with drum kit related gigs around Halifax. All of a sudden, all of that was gone and I had some free time. My wife and I travelled to Cape Breton for a week and explored trails on our mountain bikes. It was nice in many ways just to have some time to ourselves without the usual hustle and bustle that summer brings. As COVID cases dropped to almost zero I remember thinking how nice it would be to get back to pipe band and see everyone in September...</p>
<p>...but things didn't quite turn out as I'd hoped...</p>
<p> </p>
<p><span class="font_large"><strong>Year Eight</strong> (2020/2021)</span></p>
<p>In September of 2020, due to an increasing number of COVID-19 cases in our province, the band deemed it necessary to keep our piping and drumming school online for the foreseeable future. By this time, regulations for musical groups had been ironed out and at least the drum corps was able to get together a handful of times for in-person practices wearing masks and social distancing. The pipers, unfortunately, were relegated to Zoom practices.</p>
<p>Over the next few months, as the COVID cases ebbed and flowed, we were moved back to online, then to in-person, then back to online rehearsals several times. During normal times our drum corps would practice twice a week, on Wednesdays and Sundays, but during this last year we decided that we would change that to once a week, alternating between Wednesdays and Sundays. Sunday practices were used to play through our repertoire. Wednesday "practices" turned into a bi-weekly session exploring music theory and reading.</p>
<p>I was initially enthusiastic about our Wednesday practices. I hosted competitive online quizzes that drilled note values and rhythm syllables. I discussed the five styles of pipe band drumming and got corps members to identify the style of bars of music from unknown repertoire. We had a lot of laughs and many questions were answered. However, the preparation time for these "practices" on my end was substantial and, in November, I started to run out of gas. I became less enthused about these Wednesday practices. This, in turn, led to a lack of preparation. I was less organized--sometimes directionless--and it started to show.</p>
<p>Not long after I noticed this decrease in my own enthusiasm, I started to notice a substantial drop-off in attendance within the drum corps. Not everyone was interested in coming to virtual practices (that weren't always that organized) and I couldn't blame them. Some drummers let me know they were taking time off and some just stopped showing up. The drum corps went from consistent attendance of sixteen down to a group of four or five.</p>
<p> </p>
<p>The attendance at the most recent practice?</p>
<p>One tenor drummer.</p>
<p> </p>
<p>It has been difficult to see my drummers' interest in our drum corps slowly dissipate. In my heart, however, I know that many of my drummers have simply adjusted their priorities and determined that there are more important things in their lives than pipe band. Others just don't have the energy to give to something extra--energy they need to cope with work and family lives. In fact, I have cancelled rehearsals myself because I can't summon the energy I need to run one effectively.</p>
<p>Essentially my role as "lead drummer" this past year has been to keep as many drummers "tethered" to the Dartmouth organization as I can. I try to keep in touch with everyone by sending the occasional text--something to the effect of "still alive?"--or facebook message (usually not about drumming or pipe band). I am hoping that these little messages help my drummers stay connected to the corps in some way--even if that connection feels distant.</p>
<p>In a year of frustration and disappointment like this past one, there have still been some positive moments. Students have made progress with online lessons. Five corps members are now proficient in their use of rhythm syllables and are close to being able to sight-read anything they see. More drummers in the corps understand music theory and how it applies to drumming. Most importantly, I have a core group of drummers that have stuck with me through everything and I appreciate that more than they will ever know!</p>
<p>What does the future have in store for 2021/2022? The uncertainty continues. I am due to receive my first dose of vaccine tomorrow so that's a step in the right direction. Here's hoping that things will progress in a positive way so that, sometime in the near future, we can have a parade, meet on the competition field or gather in a beer tent.</p>
<p style="text-align: center;">* * *</p>
<p>In closing, I know our pipe band is not special. Every band is like ours. Every band goes through the highs and lows. Members come and go. The band moves up a grade, then back down, then maybe down again, then up again. We struggle choosing music and writing scores. We all host fundraisers and try to increase our visibility in the community to attract new players. We all have fun times and sometimes we’re all miserable. </p>
<p>The reason we all choose to play in a pipe band is that we love it. We love playing music, we love being part of a team and we love to compete. </p>
<p>Whatever happens in your own band, make sure to stick with each other through the ups and downs. You’ll be glad you did. </p>
<p> </p>
<p>I’ve learned a lot of lessons over the last six years. Here’s a few of them... </p>
<p> </p>
<p><strong><span class="font_large">My Takeaways from the Last Eight Years </span></strong></p>
<ul> <li>Hire a clinician to help your band. Do it as soon as you can. </li> <li>Learn as much as you can. </li> <li>Ask questions and pay attention to the answers. </li> <li>Help others to learn. </li> <li>Stay humble. </li> <li>Know that it’s okay to doubt yourself but don’t ever give up. </li> <li>Lead by example. </li> <li>Trust your corps members. Don’t "micro manage". </li> <li>Results aren’t everything but it’s nice to win sometimes. </li> <li>Appreciate your successes and build on your failures. </li> <li>There’s no shame in asking for help. </li> <li>Let your drummers know you appreciate them and they’ll stick with you. </li> <li>Don’t yell—keep it positive. </li> <li>Work hard to get better every day. </li> <li>Communicate effectively with every member of your corps—not all people communicate the same way. </li> <li>If your corps is doing something wrong, figure out how to fix it. If you can’t figure it out, ask someone who knows.</li>
</ul>Pipe Band Drummertag:theworrybirds.com,2005:Post/66048002021-04-15T12:33:31-03:002022-05-25T15:14:07-03:00Drum Together: Two Bar Phrases for Snare, Tenor and Bass in the March Style<p>A drum corps is composed of three types of drummers, none more important than the others. The bass drum provides the rhythmic and harmonic foundation for the band as a whole, the snare drummers provide the drive and dynamics and the tenor drummers add visual and melodic support to the rhythm of the snares and the pipe melody. For a pipe band to achieve success on the competition field, each part of the drum corps must be in sync with each other and groove together.</p>
<p>Too often, at band practice, members of the bass section will be told to go to another room (often without a rehearsal plan) while the snares work on their music separately. The time that a drum corps is split into separate parts is time that isn't getting used to create a cohesive unit.</p>
<p>For many bands, practicing their drum scores is the only way to get everyone in the same room. Rudiments have traditionally been the domain of snare drummers. Flourishing is the responsibility of tenor drummers. And what about the bass drummer?</p>
<p>In the last several years I have received many requests from drummers on the mailing list for materials that an entire drum corps can work on together. "Drum Together" is a five page worksheet containing common phrases found in 2/4 marches (and the march style in general). The two bars on the left hand side of each page are played by snare drummers and the two bars on the right are played by bass and tenor drummers.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/2da55413cc6967b5b70e8da24e56da193c7a76c2/original/screenshot-2021-04-15-at-12-21-57-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>These phrases are intended for drummers who are in the first few years of their pipe band drumming journey--they contain only rudiments found in Level I of the Zero to 60 rudiment book and "Group A: The March Style" in The Bare Bones book. The phrases start simply and the difficulty level increases incrementally as you progress through them.</p>
<p>It is my hope that working on these exercises together will help your drum corps gel more quickly. For those interested in composing drum scores, please feel free to steal and manipulate these phrases for your own purposes. The more phrases you know and understand, the more options you will have when composing!</p>
<p>As always it is free to subscribe to the PipeBandDrummer.com mailing list. I will be posting a link in the "Subscribers" section of the site so you can access the PDF. In the coming weeks I will also be adding a play-along video on the Youtube channel.</p>
<p>Hope everyone is safe and healthy.</p>
<p>Z</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/65889622021-03-30T13:31:32-03:002023-05-14T08:59:14-03:00The Groove, The Feel and The Pocket: How to Improve Unison in your Drum Corps<p>Photo Credit: <a class="no-pjax" href="https://www.ruggedmotorbikejeans.com/collections/mens-biker-jeans" target="_blank" data-link-type="url">Rugged Motor Bike Jeans</a></p><p>Unison problems plagued my drum corps for my first six years as lead drummer. In my seventh year, however, I discovered (upon much reflection) that there was a solution to my unison issues sitting right in front of me that I had been ignoring. I had a "face palm moment". In all my years playing drum kit with different bands the words "groove", "feel" and "pocket" were constantly mentioned when discussing great drummers. As a kit drummer your goal is to be described as someone with "great feel" and you constantly work towards being the grooviest pocket player you can be. It was when I started to think of these three words (and how they might apply to pipe band drumming) that the proverbial light bulb went on.</p><p> </p><p><span class="text-big"><strong>Groove</strong></span></p><p>To most people "being groovy" evokes images of Woodstock or Austin Powers. To musicians, however, groove is something different. To be called "groovy" is a compliment of the highest order! So, as musicians, we need to understand what groove is and how to achieve it.</p><p>In basic terms we can begin to understand groove by imagining a piece of wood with a channel (or groove) carved into it from top to bottom. Then, imagine that piece of wood on a slight incline. If you were to place a marble into the channel and watch it roll down, it would follow the path of that groove all the way to the bottom. Then, if you placed another marble in the channel, it would follow the same path as the previous one. Every subsequent marble you placed into that groove would follow that same path.</p><p>In a musical context, the "groove" is the underlying rhythmic subdivision and feel of a particular style. In very general terms simple rock music uses an eighth note subdivision of "1 & 2 & 3 & 4 &". Funk music tends toward a subdivision of 16th notes "1 e & a 2 e & a" and blues generally uses a subdivision based on the first and last of a group of three notes "1 (trip) let 2 (trip) let" where the syllables in brackets are said but not played.</p><p> </p><p><span class="text-big"><strong>Feel</strong></span></p><p>Within the groove of a particular style, "feel" is the musical element that defines <i>how</i> that groove is played. For pipe band drummers the feel is the degree of "pointing" or "swing" in each of the five pipe band styles. The feel with which a groove in a particular style is played depends on several factors: the style being played, the overall skill level of the player (or band) and the tempo at which a tune is played.</p><p><strong>Style</strong>: Marches in simple time, pointed reels, marches in compound time and strathspeys all use dot/cut or cut/dot rhythms with varying degrees of pointing. Marches and pointed reels use a moderate amount of pointing and strathspeys and marches in compound time use significantly more.</p><p><strong>Skill Level</strong>: If a band is highly skilled, players will be able to achieve extreme pointing is some styles--especially strathspeys. This extreme approach to pointing requires a great deal of technical expertise that only very experienced players will be able to achieve. In lower grade bands, pointing is more moderate (or should be) and should mirror players' technical capability.</p><p><strong>Tempo</strong>: Tempo is often ignored when it comes to feel and this is a huge mistake! If a tune or score is being played at a faster tempo, achieving the required pointing can become very difficult, especially for players in the lower grades. Similarly, playing a tune too slowly can also affect the feel in a negative way by drawing out the pointing and falling out of the groove. Tempo and feel are <i>partners</i> and should always be treated as such!</p><p> </p><p><span class="text-big"><strong>Pocket</strong></span></p><p>If you have ever seen a concert by a rock, funk or blues band you will have caught yourself spontaneously dancing, clapping, tapping your foot or otherwise moving to the music. These reactions happen because the band is grooving hard and playing in the "pocket".</p><p>The "pocket" is achieved when each member of a band links every note they play to the underlying groove of a given musical style with the same "feel". If this <i>precise</i> subdivision occurs, band members move through the music not as individuals but as one cohesive unit.</p><p>In pipe band drumming we play five styles of music, each with its own groove. If we are to find the "pocket" as pipe band drummers we need to make sure everyone in our drum corps is experiencing the groove and feel of each style in the <i>same way.</i></p><p> </p><p><span class="text-big"><strong>The Next Step: Playing Together</strong></span></p><p>If you have ever played in a rock band it is pretty rare that the drummer and bass player break off and rehearse in one room while the keyboard, guitarist and lead singer rehearse in another. Instead, most rock bands play together as a band all the time. This is the best way to get "tight" as a band. The word "tight" is another way to describe a band that plays "in the pocket".</p><p>A pipe band drum corps is said to be "tight" if the unison is excellent. However, there is a common misconception that unison must be practiced and that it is somehow a separate skill. This is 100% false. Unison means "playing together at the same time" and that can only be improved by an understanding of groove, feel and how to achieve the pocket. If every drummer in a drum corps understands the underlying subdivision of each style (groove) and links the rhythms inherent in that style to the groove with the correct amount of pointing (feel), they will find themselves playing in the pocket! Once your drum corps gets to this point your unison issues will be a thing of the past!</p><p> </p><p><span class="text-big"><strong>How Do I Know When My Drum Corps Achieves "The Pocket"?</strong></span></p><p>Since I have been a pipe band drummer I have always been told to watch the lead drummer's sticks. While this is a good idea for many reasons (tempo cues, checking stick heights etc.) it can actually handicap your drum corps when you are trying to achieve "the pocket". Sometimes watching the lead drummer can compensate for a lack of understanding of groove, feel or pocket. If your drum corps can maintain good unison <i>without</i> watching the lead drummer it is a great indicator that your corps' understands these three elements and is implementing them successfully.</p><p> </p><p><span class="text-big"><strong>Are There Tools Available to Improve My Sense of Groove, Feel and Pocket?</strong></span></p><p>In the last year I have used "The Bare Bones: A Reading Method for the Pipe Band Drummer" in a workshop setting to improve the three elements of unison with local bands and drummers in Atlantic Canada to great results. The whole system is available for free <a class="no-pjax" href="https://pipebanddrummer.com/the-bare-bones" target="_blank" data-link-type="url" contents="here">here</a> if you'd like to check it out. If you think I can help your band improve their rhythmic awareness please get in touch. Group classes are available for drum corps of all levels using the Zoom platform at $30.00 for a one hour session. Please send me an email if you or your drum corps are interested.</p><p> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/65565512021-02-24T16:03:22-04:002022-05-10T09:25:19-03:00Getting into the "Zone": The Benefits and Unintended Consequences of the Flow State<p><em>In psychology, the "flow state", also commonly known as "being in the zone", is the mental state in which a person performing an activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process. In essence, flow is characterized by the complete absorption in what one does, and a resulting transformation in one's sense of time</em>. (<a contents="Wikipedia" data-link-label="" data-link-type="url" href="https://en.wikipedia.org/wiki/Flow_(psychology)" target="_blank">Wikipedia</a>)</p>
<p>The positive mental health effects of the flow state are well documented and, in a time where our collective mental health is suffering at the hands of a global pandemic, we, as musicians, should seek it out as much as possible.</p>
<p>The flow state can help us block out the outside world and exist solely in (and for) the moment. When the flow state is achieved, things become easier and you begin to relax and enjoy an activity more fully. As drummers, everything becomes easier; hands and arms are free from tension, we're more comfortable taking risks and we can do things we couldn't do before. The flow state brings positive feelings to the surface: happiness, optimism, satisfaction, a sense of accomplishment as well as a reduction in self-conscious thinking and insecurity.</p>
<p>Anyone who has ever achieved the flow state knows that it feels great! I personally have achieved the flow state many times during practice sessions, jamming with a band, writing a blog post, writing drum scores or recording music. It is not always easy to predict when or where you may enter the flow state but there are several steps you can take to help you achieve it.</p>
<p>The first step is to pick an activity where intense concentration is required. I have never achieved the flow state by playing through already familiar music. I need to find a challenging activity that uses my brain like score writing, practicing drag paradiddles, voicing tenor notes or recording music. I tend to get "lost" in these activities and lose track of time. This "loss of time" is a clear indication the flow state has been achieved.</p>
<p>Second, you must be prepared to persist with the activity you choose for a good chunk of time. Be sure to set aside a couple of hours for whatever you're planning.</p>
<p>Next, be patient. It takes some time to get into the "flow". For me, usually about a half an hour. After that, time starts to slip away.</p>
<p>Finally, once you are "in the zone", don't forget to appreciate it and enjoy it. Take advantage of the positive energy you feel and get some good work done. When you've finished the activity you've chosen, or when you realize it's 9:00 pm and you forgot to eat supper, notice the positive feelings you experience. Just as negativity breeds more negativity, acknowledging and appreciating positive feelings leads to <em>more</em> positive feelings!</p>
<p>Late in 2020 my regular work on PipeBandDrummer.com ground to a halt. I found myself struggling with motivation to write blogs, post new videos and come up with new material to add to the site. To compound matters my pipe band had not practiced together since March of 2020 and it was affecting me in a noticeable and negative way. I found myself concentrating more on avoiding burnout than improving my quality of life as the days blurred together in a seemingly endless cycle of eat, work, sleep, TV.</p>
<p>I still held practices with my drum corps over Zoom and even, when the regulations permitted, in person with masks and social distancing. However, my creative drive continued to decline. About a month ago, my downturn came to a head when I experienced several days of acute, paralyzing anxiety. I didn't want to get out of bed. I took a couple of days off work. I sat in a chair staring at the wall between naps. I knew I had to do something or my downward spiral would continue.</p>
<p>That's when I decided to ignore PipeBandDrummer.com and start working on recording a song I'd written several years before. The song used the Robbie Burns poem Culloden for the lyrics. I hadn't worked on arranging a song in quite a while and I figured I'd try to embrace the arranging/recording process and complete the project on my own.</p>
<p>First I had to settle on an arrangement. I recorded some rough tracks and listened to them over and over. One idea led to another and eventually the song began to take shape. The flow state I experienced as I jammed along with my rough tracks began to make me feel better--excited even--as the parts started to come together. Small victories started to mount as new ideas materialized. The more I worked on the song, the more work I <em>wanted</em> to do the work. Every few nights I would sit and play along with the song, listen to it, mess with the mixing and tinker with the arrangement. I started to look forward to these nights! The entire process took a little more than a month to complete but I was very happy with the results. I had never before released a song where I bore the sole responsibility for writing, arranging, performing and recording. When I finally finished I felt pretty good about it. Here's the song if you're interested...</p>
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<p>Then, I experienced some unintended consequences...</p>
<p>New blog post ideas for PipeBandDrummer.com started popping into my head. So did ideas for new videos. I started practicing for and releasing some Instagram posts. After having had absolutely zero motivation for months I felt much better returning to the thing that had been the source of my evaporating motivation. And now this--the first blog post since Oct. 29, 2020.</p>
<p>I have learned a very valuable lesson over these last few months: The benefits of the flow state are <em>many</em>! Simply by engaging in another activity unrelated to pipe band, and finding the flow state within that activity, I began the process of improving my overall attitude, mental health and general well-being.</p>
<p>I hope that you, too, can reap the benefits of finding your "zone" as pipe band drummers. Find yourself an activity, even one that's unrelated to pipe band drumming and dive in. Pick up your guitar, make something with your hands, write a drum score, a letter to your mother or a song. Do something hard that you love and get into the zone!</p>
<p>I hope all of you are getting through this pandemic as best you can. Wishing all of you good health as we (hopefully) begin to come out of this difficult time. Stay safe and stay well.</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/63999412020-10-29T12:36:03-03:002020-10-29T17:36:08-03:00It's Nothing Personal: Requesting, Accepting and Responding to Criticism<p>Taking criticism is hard. Sometimes it hurts and sometimes your pride and self-worth can take a brutal beating. What is criticism? From whom should we accept it? Why is it hard to take? Let's start with a definition.</p>
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<p><span class="font_large"><strong>What is Criticism?</strong></span></p>
<p>Criticism is a specific type of <strong>informed opinion</strong> regarding someone or something. Criticism can be either positive or negative but tends to lean more on the negative side. Those that form, research or publish these informed opinions are called "critics". The wealth of experience and expertise that critics have amassed over their career adds weight and a high degree of respectability to these opinions.</p>
<p>In the pipe band world we hire experienced pipers and drummers to critically evaluate our competition performances--they are called judges.</p>
<p>Judges offer what is known as "constructive" criticism which is intended to encourage improvement (as opposed to "negative criticism" that is intended to show someone they are wrong).</p>
<p> </p>
<p><span class="font_large"><strong>Avoiding the Defensive Response</strong></span></p>
<p>When someone hurls an insult in your direction you may notice that your mind and body initiate a defensive response. Your blood may start pumping and you might yell back. Then your adrenaline kicks in and your body prepares for the possibility of a fight. Your mind and body are literally preparing to defend themselves from attack. Sometimes, under certain circumstances (especially where stress is involved), criticism on a judging sheet can elicit a similar response.</p>
<p>It's easy to understand why negative comments can make pipers and drummers defensive. We all work hard on our competition music all year only to have someone make (in our opinion) a flippant comment like "rushing 2nd part" or "no lift here". We sometimes treat these comments as if they are personal insults.</p>
<p>They are not.</p>
<p>These comments are part of a larger, informed opinion from an expert in our field. We call these opinions "sheets". These judging sheets bring to light certain aspects of our playing that need attention so that we may improve for next time.</p>
<p>That's it. Nothing personal.</p>
<p> </p>
<p><span class="font_large"><strong>Accepting Criticism</strong></span></p>
<p>Avoiding the defensive response is key here. When reading your judging sheets, take the comments as they are intended: as suggestions to help you improve. Also, remember that judges are human and every judge will be looking for elements of your performance they deem to be important. Some judges are fixated on dynamics. Some others are concerned with execution of rolls and some are concerned with establishing and maintaining a consistent tempo. If you have the same judge several times during a competition season it is possible that the same comments will appear on your sheets multiple times. The judge is not picking on you! Instead, they are noticing that their initial criticism has not been addressed and they are reminding you to pay attention to it.</p>
<p> </p>
<p><span style="font-size: 16.8px;"><b>Asking the Right People for Criticism</b></span></p>
<p>If you want to improve your drumming it is important to note that not everyone is worthy of a request for criticism. If all you are looking for is casual feedback about an aspect of your playing, you can ask anyone. If you are looking for an <em>informed</em> opinion that will truly help you improve it is important to ask the<em> right </em>people. These people can include pipe majors, lead drummers, accomplished soloists, reputable clinicians/educators and judges.</p>
<p>When someone offers criticism about an aspect of your drumming think about that person and the resume they have before reacting to it or addressing it. If the "critic" has experience, knowledge and reputation to back up their comments, they are worth listening to. If the "critic" is an anonymous YouTube "troll" you should disregard their "advice".</p>
<p> </p>
<p><span class="font_large"><strong>Criticizing Others</strong></span></p>
<p>I have one rule when it comes to criticizing others: I never do it unless I'm asked. If someone comes to me for a lesson, I assume they are interested in receiving criticism so I offer it freely. If my drum corps wants to win a competition I assume they want to receive criticism that will help them achieve a good result.</p>
<p>Offering unsolicited criticism is never a good idea. It can cause hurt feelings and create rifts between bands or even in your own band. Before offering criticism it is important to know your place in the pipe band world. Think of the body of knowledge you have. Have you led a drum corps? Are you a successful soloist? An accomplished teacher? A successful composer? Has your band had success on the competition circuit?</p>
<p>If the answer is "no" to these questions it is probably best to keep your criticism to yourself. Keep your mouth closed and your ears and eyes open. Work towards adding to your own body of knowledge that will someday grow to a point where you earn the right to criticize others.</p>
<p> </p>
<p><strong><span class="font_large">The Problem with Social Media</span></strong></p>
<p>The huge problem with social media is that <em>everyone</em> is a critic. You don't need credibility, experience or expertise to post your comments and often you can do it anonymously. Lately I noticed some negative "criticism" on social media directed at beginner level players looking for helpful advice. These novice players are looking for help and they are "rewarded" with sarcasm and other negative comments. "Critics" (trolls) who leave unhelpful or hurtful comments are most often untrained or inexperienced themselves and have not earned the right to offer their opinion. Just because you have the opportunity to express an opinion doesn't mean that you should!</p>
<p>Please ask yourself a couple of questions before you post on social media. Are your comments helpful or hurtful? How would you feel if someone left a comment like that on <em>your</em> social media page? There is enough negativity in the world the moment. As my mother used to say: "if you can't say anything nice, don't say anything at all".</p>
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<p><span class="font_large"><strong>Criticism Hurts Sometimes (and that's okay)</strong></span></p>
<p>We are all human and sometimes it hurts when we are criticized, even when it comes from someone we admire and respect. When we receive criticism there is sometimes a "sting" attached to it and it often takes a while for that "sting" to fade. Do not be ashamed if you take criticism personally. You are not alone. It takes courage to pick yourself up, address the criticism and move forward. Learning and improvement is hard. This is why there are only a handful of "greats" out there. If you can consistently find the courage to address the weaknesses brought to your attention by criticism, you, too, will be on the path to greatness!</p>
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<p> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/64428372020-09-25T14:15:16-03:002020-10-31T12:31:29-03:00Pipe Band Tempo Wars: Avoiding the Blame Game<p>Tempo has been an issue in every pipe band in which I've ever played. There have been tempo discussions at practice, tempo related comments after competitions and I have been yelled at and lectured at for tempo related issues. Tempo is a <em>big</em> problem for most pipe bands.</p>
<p>But, with some planning, organization and directed practice, tempo needn't be an issue for any band.</p>
<p>To understand the root of tempo issues in pipe bands it is important to know the key members of a band involved in setting and maintaining tempo throughout a performance.</p>
<p>The pipe major sets the tempo at the beginning of a performance. This tempo is set when the pipe major marks time in front of the band. A good pipe major will mark time for several paces before the commands "BAND - BY THE RIGHT - QUICK MARCH". The command "BAND" should fall on the left foot. The command "BY THE RIGHT" should fall on the next left foot and "QUICK MARCH" should fall on a left, then a right, at which point the entire band steps off on the left foot.</p>
<p>This is where the drummers take over and reinforce the tempo by playing their intro rolls at the same tempo established by the pipe major's commands.</p>
<p>Establishing tempo is the responsibility of the pipe major. This is why they make the "big bucks".</p>
<p>Once the tempo is established and the intro rolls have been played the tempo is now set. Contrary to popular belief it is <em>not</em> the lead drummer's job to maintain the tempo of the music. It is the responsibility of <em>every</em> member of <em>every</em> section!</p>
<p>If a band is performing a competition medley, the pipe major is in charge of changing the tempo as the styles of the tunes change (moving from a march to a strathspey). The new tempo is established by the pipe major's foot taps.</p>
<p>The responsibility of the lead drummer is to prevent members of the corps from deviating from the set tempo. An important thing to note here: a lead drummer is <strong>powerless</strong> to influence rushing or dragging of corps drummers during a performance or competition. A lead drummer should plan months in advance to avoid these issues. I'll discuss this in more detail later.</p>
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<p><strong><span class="font_large">The Importance of Confidence in Maintaining Tempo</span></strong></p>
<p>When I started out playing drum kit in rock bands my tempo was... questionable at times. This was due to a few different factors--alcohol among them--but my main problem was that I played in a few bands where my tempo was often questioned by other band members. As the years have gone by I have become somewhat desensitized to criticism (in fact I crave it now) but that was not the case in my younger years. I took every critique of my time-keeping personally. The constant comments about my tempo eventually caused me to lose confidence in my ability to maintain the speed of a song. And, once I lost the belief in my time-keeping, my ability to play at a constant tempo sufferered. I over-analyzed, over-thought and over-compensated constantly. Those were difficult years for me as a musician.</p>
<p>In the middle of my tempo crisis I was invited to join a band of veteran musicians. To this day I have no idea why they chose me but it turned out to be a turning point in my music career. The band, "Good Question", was well established in Halifax at the time and all the members had been playing for many years. In my first rehearsal I learned what it was like to play with true professionals. They were so confident in their <em>own</em> sense of time that I didn't have to worry about my time sense at all. I just played. They never commented about my tempo and even set me up playing with backing tracks to a click track. They were complimentary of my playing and respected the skills I brought to the group. After a while, my confidence returned and with it, my sense of time.</p>
<p>When pipe majors constantly blame drummers for tempo issues it erodes drummers' confidence. The more they are blamed, the worse they will play.</p>
<p>I have lived it and it's not fun.</p>
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<p><span class="font_large"><strong>Using a Metronome</strong></span></p>
<p>First, let's bust a myth that a metronome is somehow a crutch and those that use one don't have a good sense of time. That is ridiculous. A metronome is merely a useful tool that can be used to improve your performance and reinforce tempo. Anyone who has ever recorded anything in a studio must be comfortable playing to a click track. This skill is expected for every professional musician. In my experience, anyone who thinks the use of a metronome is a bad idea is usually someone that can't play to one! A metronome can be used to improve a pipe band's sense of time by following these simple steps:</p>
<p>First, it is imperative that the pipe major figure out the tempos at which they would like the music performed and then communicate those tempos to the lead drummer. Then, during every practice, a metronome should be used to reinforce these tempos. Next, both pipes and drums should play to a metronome often--both when practicing separately and playing together as a full band. If a metronome is used often a "feel" for the speed of the music is "installed" in each player's brain and body. After eight months of rehearsing the correct tempos players' "spidey senses" will start to "tingle" if the music strays from its intended metronomic "sweet spot". And, with enough repetition, this "sweet spot" will become automatic, even with the increase of adrenaline before a competition.</p>
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<p><span class="font_large"><strong>Mitigating the Adrenaline Issue</strong></span></p>
<p>Adrenaline is the main cause of tempo issues in most pipe bands. Typically, a rush of adrenaline stemming from nervousness or excitement causes individual members to rush. This rushing causes a "musical fight" within the band as the pipe major struggles to reign in the tempo by stomping their foot emphatically and contorting their face into a "slow the hell down" expression. Inevitably this leads to a blame game and sometimes an all-out fight between band members or section leaders. With the use of a metronome, this extraneous "tempo drama" can be avoided.</p>
<p>Before a competition, and if possible, just before marching up to the line, the pipe major and lead drummer should briefly check the metronome. It is amazing the difference that nerves, weather, mood and myriad other factors have on a player's perception of tempo. The metronome check will eliminate many of these factors and greatly improve a band's chances of executing their planned performance speed.</p>
<p>Once a band enters the competition circle all band members should understand where to look in order to keep their tempo in check. The "conductor" of the pipe band is the pipe major. The pipe major "conducts" the band with their foot. Pipers should watch the pipe major's foot for breaks between tunes and their fingers <em>during</em> tunes. The bass drummer should watch the pipe major's foot exclusively. Tenor drummers should watch either the pipe major's foot or the bass drummer's arms (if they are blocked from seeing the pipe major). Snare drummers should watch the lead drummer and the lead drummer should watch the pipe major's foot. In addition, every band member should <em>listen</em> to what's going on around them! Listening and watching is the "glue" that holds a band together.</p>
<p> </p>
<p><span class="font_large"><strong>Tempo Security</strong></span></p>
<p>Section leaders who are insecure about their ability to set and maintain tempo are the cause of most speed-related drama. It is the duty of section leaders to lead by example and they <em>must</em> be the best time-keepers in your pipe band. If you're going to be a pipe major you need to be able to tap your foot and play to a metronome at a high level. If you're going to be a lead drummer you need to be able to play <em>anything</em> to a metronome, no matter how syncopated, and also be able to tap your foot simultaneously.</p>
<p>In addition, if your section leaders are secure in their sense of tempo they will be able to have calm, logical discussions about tempo without shouting or arguing. No one will be offended or defensive and, in most cases, the section leaders will agree about any tempo issues that crop up.</p>
<p> </p>
<p><span class="font_large"><strong>Practice Your Time Keeping</strong></span></p>
<p>Some musicians have natural time-keeping ability. Others have some natural ability that needs to be augmented by regular metronome work (like myself). Time-keeping is a skill that should be practiced regularly. If you want to be a lead drummer someday you must be able to play at a steady tempo. The beauty of metronome practice is that it can immediately be added to your practice routine! Practice your rudiments, technical exercises and drum scores along with a metronome every day and your confidence will grow!</p>
<p>Help keep the world free of pipe band "tempo drama". There's a lot more important stuff to worry about in the world these days. Stay safe everyone and happy practicing!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/63860572020-07-16T16:23:16-03:002020-09-17T10:05:06-03:00The 6/8 Quandary: How Drummers Can Fix a Broken Style<p>Chris Thile is an incredible musician. He is without doubt the most talented mandolin player on the planet. His current band, The Punch Brothers, has pushed the boundary of bluegrass to new and unique places using unorthodox chords, complex harmonies, odd time signatures and a level of virtuosity unparalleled in the style. Even though much of The Punch Brothers' music is rooted in the bluegrass style, they are not known as a bluegrass band. Instead, they have been labelled as "progressive bluegrass" or "new grass". Even though he began as a bluegrass player Thile's musicianship transcends any style. Even in this clip of a performance with the Fearless Flyers you can still hear a hint of his early bluegrass beginnings. Prepare to be amazed!</p>
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<p>Traditional bluegrass, however, involves much simpler chord progressions, simple harmonies and standard instrumentation: multi-part vocals, guitar, mandolin, fiddle, banjo and bass, all standing around one microphone. That is what bluegrass is, plain and simple (literally). When Chris Thile pushes musical boundaries his music is not labelled as bluegrass but as something different. Traditional bluegrass is simple and it stands alone as a well-loved musical style. There is no need to add synthesizer, electric guitar or drums. Bluegrass is what it is.</p>
<p>Similarly, 6/8 marches are what <em>they</em> are. The dot/cut feel in compound time provides a unique swing and bounce unlike that found in the other four pipe band styles. It is rhythmically simple compared to either a march or strathspey.</p>
<p>So why do bands have so much difficulty executing 6/8s?</p>
<p>The answer: it's the drummers fault!</p>
<p>So often, even in high-level bands, drummers try to cram in as much fancy stuff as they can. Most of the time this "stuff" destroys the basic 6/8 feel and the pipes and drums end up in a musical "fight", ruining the distinctive 6/8 "swing". Like Chris Thile's boundary pushing, drummers insistence on overplaying transforms the 6/8 march into something else. This "something else" is a weird sounding half 6/8, half 2/4 lumbering non-musical mess. Even though it is our fault that 6/8s sound bad we can make <em>two</em> specific changes in the way we approach the style that can have some immediate and positive impact on our band's performance. The first change is to make sure every drummer in the corps understands how to subdivide the 6/8 style.</p>
<p> </p>
<p><strong><span class="font_large">Subdivision</span></strong></p>
<p>Over the years, drummers have been criticized for playing 6/8s that sound like 2/4 marches. This is due to the fact that drummers don't understand the basic 6/8 subdivision that runs underneath each tune. This subdivision is comprised of a dotted eighth note, a sixteenth note and a regular eighth note grouped in three. The rhythm of the 6/8 march is the same as the words "Ammmm-sterdam" or "Ehhhhh-xcellent" (as said by Mr. Burns on the Simpsons--thanks to Chris Coleman from the College of Piping in PEI for that one). The "Amsterdam" rhythm looks like this:</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/a6fbcb3e64e2991c9e8c17bdd4885e273de1394c/original/screenshot-2020-07-16-15-31-28.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>When drummers first encounter the "Amsterdam" rhythm they tend to play it using a 2/4 feel, simply because it's easier. Yes, it's easier, but it also makes the 6/8 sound lazy and robs it of its characteristic bounce. The subdivision most drummers play looks like the example below taken from a 2/4 march:</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/29accb11ace398119bfc0ff4e4da70bb1598f1b4/original/screenshot-2020-07-16-15-31-00.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>In short, pipe band drumming teachers and lead drummers have to do better. It is our job to demonstrate the correct 6/8 feel early on in a beginning drummer's education, then hammer the point home repeatedly until the correct feel is achieved. Teaching the feel <em>first</em>, using a bare bones-type "rhythm only" approach (before adding rolls, flams, accents etc.) is the best way to achieve this. Even more helpful is the use of rhythm syllables, or counting, to reinforce these rhythms. Once the rhythms are learned, only then should other musical elements be added.</p>
<p> </p>
<p><span class="font_large"><strong>Composition</strong></span></p>
<p>The only musical element that sets 6/8 and 9/8 marches apart from the other pipe band styles is rhythm. Therefore, as composers of drum scores, we should do everything in our power to fortify and emphasize the 6/8 subdivision. A 6/8 march is not the place to showcase long complex note sequences or lengthy syncopated roll passages. Composers need to remember that a simple style requires simple scores. The only musical element that should be showcased is the feel of the 6/8, not the number of notes you can stuff into a bar!</p>
<p>Every style of music in the world includes a unique musical element that separates it from the others. In jazz, that element is improvisation. In reggae that element is the off-beat guitar pulse. In hip hop it's the rhythmic counterpoint of drum groove and spoken verse. In pop music it's the melodic hook.</p>
<p>In a 6/8 march the most important musical element is the "Amsterdam" rhythm.</p>
<p>So, if you're composing a score (especially for lower grade bands) there are a few things to remember:</p>
<p>1) Try to write literally for the most part. A literal score is one that keeps to the rhythm of the pipe tune. Keep complementary rhythms to a minimum and avoid both rhythms and rudiments your drum corps finds hard to execute. If the score is simple there is a much higher chance that your corps will play it well and a well-played score will accentuate the correct feel! Sometimes literal scores can get a bit tedious and repetitive as pipe music lacks the rhythmic complexity inherent in drumming. This is where creative use of flams, drags, accents, rolls and ruffs can be used to great musical effect. Simple doesn't have to mean boring!</p>
<p>2) Never use a seven-stroke roll starting on an eighth note! There are only a handful of exceptional drummers that can play a seven in this location with rhythmic accuracy. Beginners have no hope as the buzzes of the seven-stroke roll must be executed at high speed to maintain rhythmic integrity. Avoid this at all costs!!</p>
<p>3) Remember that as a composer your allegiance is to the <em>music</em>, not the drummers. A fancy drum part is fine as long as it is musical. Ego should never enter into the equation when composing a drum score and certainly not when writing 6/8 marches. Again, 6/8s are about the <em>feel</em>, not about fancy drumming.</p>
<p>4) Respect the groove! Groove is that intangible musical feeling you get when everything falls into place and everyone is playing together. Groove is that thing that makes you happy and puts a smile on your face; it makes the audience move and tap their feet and causes people to cheer a bit louder at the end of a band's performance. As a composer, take the time to get it right. Make sure your rhythms and musical phrases align with the pipe tune in a way that flows easily without any awkward movements. The score doesn't have to be easy but it should be easy to <em>play</em>.</p>
<p>As drummers, if we make the effort, we can flip the narrative surrounding 6/8 marches. Poor execution of the 6/8 feel doesn't need to be our fault any longer! If your band doesn't play 6/8s the way they <em>should</em> be played, it's time to make a change. Together we can save this important musical style!</p>
<p>Until next time, happy drumming!</p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/62879702020-04-21T00:54:35-03:002020-09-03T10:39:03-03:00The Ups and Downs of Our New Reality<p>This past September my pipe band was buzzing with excitement as we made plans to go to Scotland for the World Championships. Adding to this excitement was the fact that three other pipe bands from the Canadian Maritime provinces would also be traveling to The Worlds. There were plans in the works for an "East Coast Embassy" hangout at a Glasgow pub. I was in the preliminary stages of booking a spot to meet up with PipeBandDrummer.com subscribers. Almost our entire band had purchased tickets to the Inveraray Concert and my wife and I had booked a post-worlds tour of the highlands with our nieces from Winnipeg.</p>
<p>Then, in late February, we started to hear whispers about Covid-19.</p>
<p>Would schools be cancelled?</p>
<p>Would we be able to travel to the UK?</p>
<p>A couple weeks later those whispers started to become real. Schools closed, Canadians were encouraged to cancel their March break plans and many stores and restaurants began closing. Soon after that, friends started getting laid off, grocery stores began running out of toilet paper, flour and yeast (among many other things) and life, as I had known it ground to a halt.</p>
<p>I am one of the fortunate ones and I appreciate that fact every day. Besides running PipeBandDrummer.com I teach drum kit at a local music school. Thanks to Zoom I was able to keep my full student load. Due to reclaimed time from cancelled gigs, clinics, pipe band practices and social engagements, I've been able to dive into a project that has been on the back burner for a while: <a contents="Music Theory for Pipe Band Drummers" data-link-label="" data-link-type="url" href="https://www.youtube.com/playlist?list=PLupUCJ25Y-DKJjoMDeEfOVFtHzVuZpLDT" target="_blank">Music Theory for Pipe Band Drummers</a> (a video series on the YouTube channel). I count my blessings daily as I have many musician friends that are struggling--especially those who earn the majority of their income from performing.</p>
<p>In many ways, life has become more complicated. However, in other ways, life is simpler now. My daily routine now involves only a few things: get up, check email, keep in touch with friends and family, work on content for PipeBandDrummer.com or YouTube, plan and organize my teaching day, teach Zoom lessons, eat three meals, watch a Netflix show to slow my brain down at the end of the night and go to bed. Interspersed throughout the week are grocery shopping, financial planning and walks through the neighbourhood.</p>
<p>Rinse and repeat.</p>
<p>Even with a "simple" plan for each day there are some days where I feel very low. I sleep in until 11:00 am, I struggle to eat three meals and I watch four Netflix shows instead of just one. These down days are hard. If I'm only running at 50% energy when I begin a teaching day, at the end of the day I end up at 0%. And, to be honest, I'm not a very fun person to be around when I'm at 0%. To make matters even more confusing my mood doesn't seem to be determined by quality of sleep, the nutrients in the food I'm eating or the amount of exercise I'm getting. Some days I wake up and just feel like crap.</p>
<p>Those days are a battle.</p>
<p>The next day I can wake up with a ton of positive energy. It seems very random.</p>
<p>Sunday was a down day for everybody. I awoke to news that 18 people had died in an act of violence so heinous that it has affected everyone in Nova Scotia. Social media was flooded with people trying to come to terms with one of the most violent days in the history of the province. I thought about it all day and into the next. It still doesn't seem possible that something so terrifying and destructive happened in our peaceful corner of the world.</p>
<p>Down.</p>
<p>Up.</p>
<p>Down.</p>
<p>Up.</p>
<p>So what does all this have to do with pipe band drumming? I have no doubt that most pipers and drummers watched with disappointment, sadness and frustration as the inevitability of a cancelled competition season grew slowly from rumour to reality. It is now a fact: there will be no pipe band this summer.</p>
<p>At the outset of the epidemic, as cancellations mounted, our band tried several things to keep people motivated and engaged. I had a facebook live rehearsal with the drummers to mixed results, the Halifax area bands staged a virtual beer tent, and requests were made to submit recordings to keep people practicing. After a couple weeks I realized that it was simply too hard to have regular drum corps practices. People were dealing with so much; layoffs, changes at work and school, childcare, money issues and physical/mental health all moved to the top of the priority list. The writing was on the wall. All pipe band related activities in Dartmouth stopped cold.</p>
<p>Ugh.</p>
<p>Down.</p>
<p>It took me a couple of weeks to get settled into teaching drum kit online. After a week of technical glitches and getting Zoom figured out I started to settle into a groove with it (pun intended). I called my pipe major and chatted about the uncertainty of it all but we agreed we'd keep in touch, send music back and forth and maybe collaborate on a couple of videos. I also taught a couple of one-on-one lessons to drum corps members and picked up a couple of new pipe band drumming students. I started adding to the YouTube channel and doing some broad outlines for new projects. I started practicing more. Things got a little bit better.</p>
<p>Up</p>
<p>There are lots of things we can do to keep our heads in the pipe band game. First off, keep in touch with your fellow drummers--whether it be on social media or through Zoom, Skype or Facetime. We can always practice more too. I'm looking forward to diving into the pile of scores in my file box that have been sitting there, seemingly waiting for this pandemic. We can also learn to write better drum scores and get some practice reading new ones. We can learn theory or how to interpret drum rolls in different styles. We can practice the fundamentals and improve our technique. We can scour the web for new resources and, when we find a good one, let everyone know about it. We can subscribe to facebook groups, follow our favourite drummers on Instagram and enter online drumming contests to keep our chops up!</p>
<p>There are going to be ups and downs over the next while. If we mirror the ups and downs of the world with the ups and downs of our sticks while we play, practice, write, read and create, we can weather this storm!</p>
<p>I hope you are all healthy and doing okay. Sending out positive thoughts to you all as we try to navigate this new reality.</p>
<p>Keep your heads up and stay safe,</p>
<p>Zach</p>
<p> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/62585602020-03-22T23:03:58-03:002020-03-22T23:09:35-03:00Practicing Subdivisions in each of the Five Pipe Band Styles<p>As a rock drummer, it is helpful to know a little bit about many different styles of music. Understanding, and playing different styles helps drummers to create their own style, based on what they take away from each new one they learn. A good rock drummer should have at least a working knowledge of rock, funk, fusion, disco, punk, metal, swing, blues shuffles, reggae, train beats, latin/Afro Cuban, second-line and odd times among others. The more a drummer becomes proficient in each style, the more they bring to the table as a musician.</p>
<p>In pipe band drumming, we also need to master different styles--five to be exact. They are <strong>marches</strong> (including 2/4, 3/4, 4/4, 5/4 and 2/4 pointed hornpipes), <strong>round reels</strong> (including round hornpipes), <strong>jigs</strong> (including 9/8 slip jigs), <strong>6/8 marches</strong> (including 9/8 and 12/8 marches) and <strong>strathspeys</strong>.</p>
<p>Each of the pipe band styles has its own "feel". This "feel" is created by a primary <strong>underlying rhythm</strong> that permeates both the pipe tune and the drum score. This primary underlying rhythm is known as a <strong>subdivision</strong> and it is the pulse to which almost everything in the pipe tune or drum score is connected.</p>
<p> </p>
<p>In a march, the underlying subdivision is a dot/cut sixteenth/thirty-second note rhythm--known to owners of The Bare Bones book as "Bay-bee Bay-bee".</p>
<p> </p>
<p>The underlying subdivision of a round reel is the eighth note pulse--"ti-ti ti-ti".</p>
<p> </p>
<p>The jig subdivision is "jig-gi-ty jig-gi-ty" (the groupings of three eighth notes).</p>
<p> </p>
<p>The 6/8 march uses the dot/cut triplet rhythm "Am-ster-dam Am-ster-dam".</p>
<p> </p>
<p>And the strathspey... well... the strathspey is a pain in the you know what. Strathspeys use multiple subdivisions (three to be exact) and that's why they are so confusing stylistically. In most strathspeys, subdivisions alternate between dot/cut eighth/sixteenths, eighth note triplets and rolls that are often pulsed with sixteenth notes--although sometimes triplets are used in certain passages. Yep, strathspeys are confusing!</p>
<p>For subscribers to the mailing list I've placed five subdivision sheets in the "subscribers" section of the site. You can find them under the heading "Five Long Minutes of Subdivision". Click on the images of the sheets to download the PDF. These sheet are also linked to videos on the YouTube channel.</p>
<p>Besides the primary subdivision in each style there are several other ways that each style can be subdivided. Every sheet contains at least five different ways to subdivide within a given style. Some of the subdivisions are easy and go right with the "click" of the metronome. Some are more difficult and seem to happen between metronome "clicks". Have patience with yourself as you progress through the subdivisions of each style. It takes time to get comfortable but the time you spend will help you familiarize yourself with the unique "feel" of each style. If the YouTube videos are too fast for you, go to the settings on YouTube and choose a slower speed.</p>
<p>Have fun subdividing and hopefully these sheets can help you through this period of isolation that we're all experiencing. Stay safe and get some good practice time in. Until next time...</p>
<p>Happy Drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/62372852020-03-04T16:32:07-04:002022-07-11T15:02:36-03:00NOW WHAT??: Tackling the "Three RRRs" (Reading, Rolls and Rudiments)<p>The <strong>Three RRRs</strong> are the elements every drummer needs to fully understand pipe band drumming: <strong>Reading</strong>, <strong>Rolls</strong> and <strong>Rudiments</strong>. To help drummers with these three elements I've created three books:</p>
<p> </p>
<p><strong>The Bare Bones</strong> introduces applicable music theory concepts and breaks down the complex rhythms of the five pipe band drumming styles (march, round reel, jig, 6/8 march and strathspey) into bite-sized chunks using rhythm syllables. The streamlined approach of The Bare Bones presents the fastest and most time-efficient method for learning to read pipe band drumming.</p>
<p> </p>
<p><strong>Roll Call</strong> teaches drummers to both identify and execute rolls in the five pipe band styles by providing visual examples and rhythmic breakdowns of every roll used in each style.</p>
<p> </p>
<p><strong>Zero to 60</strong> is a complete "rudiment manual" that covers every variation of every rudiment in each of the five pipe band styles.</p>
<p> </p>
<p>All together, these three books contain over 300 pages of music theory, technical exercises, musical examples, rhythmic breakdowns and other useful advice to improve your playing and understanding of pipe band drumming. It is an intimidating amount of material that can overwhelm even the most determined student. But, there is no need to panic. A large part of my thought process over the years when writing these books has been geared towards solving this issue and creating a logical path drummers can use to navigate this material. Let's start with first steps:</p>
<p> </p>
<p><strong><span class="font_large">Step I: The Bare Bones</span></strong></p>
<p>In order to unlock the material in Roll Call and Zero to 60 it is necessary to learn to read. Follow the progression below to start making your way through the Bare Bones:</p>
<ol> <li>Open the book!</li> <li>Read the section titled "Welcome to The Bare Bones" that introduces the five styles of pipe band drumming</li> <li>Read the section titled "Basic Theory to Get You Started" that introduces elements of the musical staff</li> <li>Have a look at the rhythm tree which introduces note values</li> <li>Read the section "What is a Beam?" that explains why horizontal beams are used to group notes together</li> <li>Read the section "The Mystery of Note Groupings" to understand why beams are used to facilitate music reading</li> <li>Read the section "Group A: Additional Theory" for an introduction to the concept of "Dots and Cuts" and a list of the rhythm and rest syllables that are necessary for navigating through the rest of the book</li> <li>Print off a copy of the rhythm and rest syllable pages and keep them next to you as you play through the exercises</li> <li>Go to <a contents="The Bare Bones" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/the-bare-bones" target="_blank">The Bare Bones</a> section of PipeBandDrummer.com to find audio examples for the first two lines of every page of The Bare Bones. Use these audio examples to help you understand how each rhythm syllable should be said.</li> <li>Begin progressing through <a contents="Group A" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/group-a" target="_blank">Group A</a>, saying and playing the rhythm and rest syllables simultaneously</li> <li>When you have completed Group A, begin <a contents="Group B" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/group-b" target="_blank">Group B</a>
</li> <li>When you have completed Group B, move to <a contents="Group C" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/group-c" target="_blank">Group C</a>
</li> <li>When you have completed Group C, try <a contents="Group D" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/group-d" target="_blank">Group D</a>
</li> <li>When you're done Group D, tackle <a contents="Group E" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/group-e" target="_blank">Group E</a>
</li> <li>When you are finished Group E you can relax for a bit. Congratulations! You can now read any underlying rhythm in a pipe band drum score!</li>
</ol>
<p> </p>
<p>There are two ways to progress through The Bare Bones: "<strong>horizontally</strong>" and "<strong>vertically</strong>". Choosing the "horizontal" option means playing only the first two lines of each exercise page. Taking this approach means you'll get through the book at high speed (when I teach a Bare Bones clinic I usually get through the entirety of Group A in two hours). The "horizontal" option also allows you to take advantage of the <a contents="audio recordings" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/march-1-6" target="_blank">audio recordings</a> of the rhythm syllables on the website.</p>
<p>Choosing the "vertical" option means going from the top to the bottom of every page playing all ten lines of exercises. This option is more time consuming and also much more challenging, due to the fact that the sticking patterns become more complex as you progress down each page. If you are truly serious about becoming a better drummer, "vertical" navigation through The Bare Bones provides a solid challenge. Like all challenges, the benefits you receive are directly proportional to the effort it takes when tackling the challenge. Going "vertical" will increase your reading and technical abilities significantly over "horizontal" navigation.</p>
<p> </p>
<p>So, now that you can read the rhythms of pipe band drumming, it's time to move on to the next step: rolls.</p>
<p> </p>
<p><span class="font_large"><strong>Step II: Roll Call</strong></span></p>
<p>Rolls are problematic for pipe band drummers. These problems stem from the fact that rolls are traditionally introduced in the march style only. This causes confusion when rolls are shown in any of the other four pipe band styles. For example, a quarter note roll in a 2/4 march is played as a thirteen stroke roll, a quarter note roll played in a reel is played as a seven and a quarter note roll played in a strathspey is a nine!! The reasons that these rolls appear the same yet are executed differently involve changes in tempo and time signature that most drummers could care less about. Drummers need to be able to quickly identify their rolls in a given style and immediately know how to execute them properly.</p>
<p>Unlike The Bare Bones, Roll Call is not an exercise book and it is not designed to be played straight through. It is actually a reference book that contains a complete catalogue of every variation of roll that appears in each pipe band style. Each style is broken down into two distinct sections: <strong>identification</strong> and <strong>execution</strong>. The identification section of the book demonstrate all the different ways a certain roll could appear within a given style. The execution section of the book breaks down each roll into the rhythm of its individual buzz strokes. If you have already gone through The Bare Bones you will understand how to read these rhythmic breakdowns correctly.</p>
<p> </p>
<p>To use Roll Call as intended you will need to know the answer to "<strong>The Three Questions</strong>" found on page 7.</p>
<ol> <li>In which style is the drum score written? (march, reel, jig, 6/8 march or strathspey)</li> <li>What is the value of the first note of the roll? (quarter note, eighth note, dotted sixteenth note etc.)</li> <li>On which hand (right or left) does the roll begin and end? (and is there an accent on the first note of the roll?)</li>
</ol>
<p> </p>
<p>Let's say you're looking at a roll in the reel style that starts on a quarter note, begins on the left hand and ends on the right. What type of roll is it? Follow these steps to find the answer:</p>
<ol> <li>If you know the roll is in a reel turn to the chapter called "Identifying Rolls in the Round Reel Style"</li> <li>Find the roll that starts with a quarter note. Check to see if it has an accent or not (>)</li> <li>Find the roll that starts on the left and ends on the right.</li> <li>You've discovered the roll you are looking for is a seven stroke roll!</li> <li>Now, turn to the chapter called "Executing Rolls in the Round Reel Style"</li> <li>Find the seven stroke roll and, using your knowledge of rhythm syllables from The Bare Bones, play the rhythms of the individual buzzes </li>
</ol>
<p> </p>
<p>Now that you can navigate Roll Call correctly, you are ready to move on to the next step...</p>
<p> </p>
<p><strong><span class="font_large">Step III: Zero to 60</span></strong></p>
<p>Zero to 60 contains all 60 pipe band rudiments in all five pipe band drumming styles. Now that you have learned how to read pipe band drumming rhythms using The Bare Bones, and how to identify and properly execute your rolls using Roll Call, you are ready to tackle the biggest challenge: mastering the rudiments!</p>
<p>Zero to 60 has been designed so you can progress through the book sequentially from beginning to end. The book starts with a description of the <a contents="Seven Foundation Strokes of Pipe Band Drumming" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/the-six-foundation-strokes" target="_blank">Seven Foundation Strokes of Pipe Band Drumming</a> (rebound, ghost, control, pull up, buzz, double bounce and dead stroke) followed by the rudiments themselves. Every rudiment has a prerequisite--either mastery of a previous rudiment or a foundation stroke. The rudiments are also divided into three sections: Level I for parade band drummers, Level II for grade 5 or 4 competition drummers and Level III for grade 3, 2, 1 and open level competition drummers. To navigate Zero to 60, follow these steps:</p>
<p> </p>
<ol> <li>Read the introduction and the instructions on how to navigate the PDF document (this will make it much easier to find your way around the book)</li> <li>Learn the Seven Foundation Strokes first as you will need them to play the 60 rudiments. <a contents="Check out the video on YouTube" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=17FsmhWO9zA" target="_blank">Check out the video on YouTube</a> if you think it might help</li> <li>Read the "Using a Metronome" section if you are interested in tracking your progress or figuring out which level you wish to attain</li> <li>Begin working on the first rudiment: single strokes</li> <li>Try single strokes in every style before moving on to the next rudiment</li> <li>If you would like to hear a brief example of single strokes being played, visit the "<a contents="Our Rudiments" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/beginner-rudiments" target="_blank">Our Rudiments</a>" section of PipeBandDrummer.com</li> <li>Once you are comfortable with single strokes, move on to the second rudiment: double strokes</li> <li>Make sure to read the accompanying "Pro Tip", "Practice Challenge", "Theory Break", "Food For Thought" and "Focus on Technique" sections as you progress through the book to further complement your rudiment studies</li> <li>Repeat this process until you have mastered all 60 rudiments! (don't panic as this may take a significant amount of time)</li>
</ol>
<p> </p>
<p>In reality the time commitment required to go through all the material in "The Three RRRs" is... well... a lot! It is important to keep in mind that all great players are continually working on their fundamentals, reading, composing, and many other skills. It is also important to know that some world-class drummers cannot read or write music and some have difficulty when discussing music theory. We are all humans with strengths and weaknesses. The material presented in "The Three RRRs" is intended to turn your weaknesses into strengths and benefit not only you, but all the drummers around you. As you become more familiar with <strong>reading</strong>, <strong>rolls</strong> and <strong>rudiments</strong> you will become more comfortable spreading your knowledge to others and this has huge benefits to the pipe band drumming community as a whole.</p>
<p>If you are interested in purchasing either The Three RRRs as a whole or separately, please visit the <a contents="PipeBandDrummer.com Store" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/store" target="_blank">PipeBandDrummer.com Store</a>.</p>
<p> </p>
<p>As always, comments, criticism and suggestions are encouraged and appreciated. Drop me a note on the Facebook page, send an email or comment on the post below.</p>
<p>Until next time,</p>
<p>Happy Drumming!</p>
<p> </p>
<p> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/62052192020-02-11T11:52:07-04:002020-02-11T12:47:09-04:00Demystifying "Pointed" vs "Round"<p>There are two mysterious words used over and over by experienced pipers and drummers: <strong>pointed</strong> and <strong>round</strong>. Each of the five styles we play are either pointed or round--some are really pointed, others are more round depending on the wants and desires of the individual player or pipe band leadership.</p>
<p> </p>
<p><strong>Marches and <em>some</em> reels</strong>: Played fairly pointed (except in certain spots where they should be played with "<em>extreme</em> pointy-ness"</p>
<p><strong>Round Reels/Hornpipes</strong>: Played round--no exceptions</p>
<p><strong>Jigs</strong>: Played round--no exceptions</p>
<p><strong>6/8 and 9/8 Marches</strong>: Played pointed and, in some cases, with "<em>extreme</em> pointy-ness"</p>
<p><strong>Strathspeys</strong>: Played very pointed and, in some cases, extremely so</p>
<p> </p>
<p>So, what do these two words mean? To understand "round" and "pointed" <strong>one must first understand the concept of beat</strong>. The beat is not a single moment in time. It is not a foot tap or a click of the metronome. Instead, it is helpful to think of the beat as a "box of time". Notes are placed into this box of time and the location/placement of those notes determines the rhythms that must be played. Here's a visual to help with the whole "box of time" idea.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/4a8a709f3716fb99df527f9869378250114bb958/original/screen-shot-2020-02-07-at-2-42-46-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>This is a graphic representation of one bar of 4/4 time. There are four beats in 4/4 and therefore four "boxes" of time with a beat number at the beginning of each box.</p>
<p> </p>
<p><span class="font_large">Think of a Trumpet...</span></p>
<p>Most people reading this blog post are drummers but let's start our explanation of round vs pointed with an example of how wind instruments deal with beats. A wind instrument produces a <em>sustained</em> sound. Think of a trumpet; a trumpet can play a short note or a long note. Let's examine what these beat boxes would look like if a trumpet filled them with two notes of equal length. The large stretched out ovals represent the sounds of the trumpet notes and the blue arrows indicate the two halves of the beat and point to the counting underneath.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/61a517280fbd0504d95e4d624de3f54f99a5b392/original/screen-shot-2020-02-07-at-2-11-48-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>The trumpet notes are of equal length and this is what is known in the pipe band world as <strong>round</strong>. Notes become pointed when the first note is held longer, thereby forcing the second note to become shorter. Now the time intervals between notes are uneven (long short long short) as in the example below:</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/cdba6a72e04840e7b1b0f5ef1ea64dac69b3f513/original/screen-shot-2020-02-07-at-2-11-28-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Because there is limited space in the "beat box", as the first note expands in length, the second note must shrink. If the second note is not cut short the correct amount, it can spill over into the next beat and the tempo of the bar will be affected (this should not happen!!).</p>
<p> </p>
<p><span class="font_large">Never Mind the Trumpet, What About Drums?</span></p>
<p>As drummers, the only sustained sound we can produce is a roll. The majority of our music, however, contains short "taps" that only last a fraction of a second. For this reason, our sense of time and note length must be excellent to prevent the overall tempo of the music from being negatively affected. Here's an example of what the notes of a drum look like inside the "beat box":</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/b4c935ac68848392b3cb36728d229ce73a65c3f4/original/screen-shot-2020-02-07-at-2-12-40-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>The example above shows "round" notes. Notice that the notes occur at regular intervals and the space between each note is the same. If we want to "point" these notes we need to <em>increase</em> the amount of <em>space</em> between the first and second notes of each beat. Similarly, we will have to <em>decrease</em> the amount of space between the second and third notes. This "reorganizing of the space" between notes should continue throughout the entire drum score. As the second note in each "beat box" gets pushed over, the appearance of the notes in the "beat box" changes. In these examples, the blue arrows show the location of the notes relative to the counting below:</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/9313a877033ba08ffc662efe154600b00e487368/original/screen-shot-2020-02-07-at-2-12-22-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>These notes are now considered to be pointed.</p>
<p>But wait! Sometimes a request comes in from the pipe major to make the notes even MORE pointed!! All this means is that the second note in each "beat box" gets pushed even <em>more</em> toward the next box. The space between the first and second notes increases and an "extreme pointy-ness" is achieved. This extreme pointing of notes can happen occasionally in the march style but much more often in the 6/8 march and Strathspey styles. Put in the context of the beat box, it would look something like this:</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/efd3a0a26a3cdd1dcf52b6ed9f6358ec866fafe5/original/screen-shot-2020-02-07-at-2-10-58-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>The degree to which the second notes are shoved from round to pointed depends solely on the musical taste and discretion of the musical leaders of the pipe band. The best grade one bands can achieve extreme pointing without affecting the tempo--a skill that takes many years of practice. The most important thing is for a lead drummer to collaborate and rehearse with the pipe major so that the degree of pointing is agreed upon.</p>
<p> </p>
<p><span class="font_large">A Note About "Swing"</span></p>
<p>Some people use the term "swing" to describe round styles: "We've got to get that jig to swing!" In musical circles outside the pipe band world, "swing" refers to degrees of what we know of as "pointing". Extremely pointed music is said to "swing hard" in the jazz idiom and round playing is said to be "straight". The only styles that should "swing" in the pipe band idiom are marches, reels, hornpipes, strathspeys and 6/8 marches. When I have heard the word "swing" used in reference to a round style, I take it to mean "groove" or "pocket playing" that results from offbeat syncopation.</p>
<p> </p>
<p><span class="font_large">Round vs Pointed in the Strathspey Style</span></p>
<p>The following is a video of one part of strathspey. In the first example, notes are played pointed but the pointing only goes as far as a triplet feel--this would be considered <em>too round</em> of a musical performance for most judges. The strathspey style is one where extreme pointing is encouraged and in the second example, you can hear how the sound of the drum score changes when it is played with a more pointed dotted eighth-note/sixteenth note feel. All of a sudden there is more life in the score, more bounce and more energy.</p>
<p> </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="fiVAiSZCpJg" data-video-thumb-url="https://img.youtube.com/vi/fiVAiSZCpJg/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/fiVAiSZCpJg?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Don't get discouraged if you can't hear the difference between pointed and round playing at first. Developing the facility to play several degrees of pointing takes many years and a relentless attention to detail. The best thing I ever did to improve my knowledge on the subject was to bring in clinicians to our band that are masters of this concept. I asked many questions and practiced playing different degrees of pointedness on my own. Ask questions, work hard and you'll get there!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/61060502020-01-15T16:24:56-04:002020-01-18T17:00:20-04:00We're all in This Together: Promoting a Culture of Positivity and Respect in the Pipe Band World<p>For any of you that follow this blog on a regular basis, you will know that I am an avid NBA basketball fan--specifically the Toronto Raptors. I have been watching the Raptors since the inception of the franchise and have endured many ups and downs (mostly downs) during the past 25 years. This past year the Raptors won the NBA title and that, for a long suffering fan, brought vindication and relief. There were many incredible moments during their title run but one sticks out to me above all others: Raptors centre Marc Gasol consoling Philadelphia 76ers centre Joel Embiid after Kawhi Leonard hit "the shot" (a devastating "buzzer beater") sending the 76ers home in the 7th game of the conference final.</p>
<p>Joel Embiid is a huge man and he was weeping openly. He was beyond upset. His team had come so close only to lose on a last second lucky bounce. Gasol approached Embiid and hugged him, giving him some undisclosed words of encouragement. It was a heartwarming display of sportsmanship that should stand as an example to us all of how to win the <em>right </em>way.</p>
<p>In fact, you see similar displays after most sporting events. Competitors understand the sacrifices it takes to get to a high level in their sport and, at the end of each game, there is an undeniable level of respect on display. High fives, hand shakes and hugs are commonplace.</p>
<p>I've seen similar support between musicians at major music festivals. I've spent lots of time at festivals hanging out with other musicians backstage watching bands play.There are always tons of positive comments flying around or hoots and hollers for moments of virtuosity or the emotional impact of a beautiful song. During all my time as a musician it was very rare to hear comments like "these guys suck" or "how did they ever make it to this festival?". Instead, the positive and encouraging comments flowed. Again, more high fives, hand shakes and hugs.</p>
<p>This past year, our pipe band won the North American Championships in grade 4. While winning was a highlight for sure, my favourite moment happened just before we marched off. Every band from the East Coast of Canada came to the front to cheer us on. These are bands against whom we've competed fiercely over the years but on that day, there was only love and support. Then, in the beer tent, we were surrounded by members of these same bands cheering and screaming their support for us. The feeling of that day is hard to describe but I'll never forget it.</p>
<p>The East Coast of Canada is a large area encompassing four provinces. There are lots of competitive bands but we are separated by long distances. Our band is located in Dartmouth (twin city to Halifax) in central Nova Scotia and we compete against bands based several hours away. Even though we don't get to see each other much during the year we try to take advantage of the opportunity to get together when we can. Whether it's inviting each other to clinics, attending each others' performances or organizing social gatherings there is an effort to stay in touch, network and support each other. There are no bands that "hate" or belittle each other. Everyone on the East Coast understands the most important thing: helping and supporting each other benefits everyone!</p>
<p>Over the years I've noticed a few things about the East Coast scene that have helped to build a culture of fierce competition, respect and support between bands. If you believe that a culture of positivity and respect will benefit <em>your</em> pipe band scene, here are a few things to try that make competitions more rewarding for everyone involved:</p>
<p>1) Seek out an inexperienced band or one that's in a grade below you and offer to help. I have tuned tenor drums, discussed snare drum tuning and even fielded theory questions in the beer tent. Share your knowledge!</p>
<p>2) If you win a contest, take it upon yourself to seek out the other competitors in your grade and congratulate them. Without your fellow competitors pushing you, you would have no motivation to win! </p>
<p>3) Support other bands and cheer them on. It's always fun to play with people watching and I know firsthand how much energy you can get performing in front of an enthusiastic crowd.</p>
<p>4) Stow your cynical attitude. As musicians we need to lift everyone up, not insult and put each other down. Stay positive and support your fellow musicians on the field.</p>
<p>5) Give specific compliments--especially if you see someone discouraged after their performance. Share your experiences. We've all had a time when we've had our heart broken because of an undesirable result or unforeseen circumstance in our performance.</p>
<p>6) Find a player you respect and ask questions (usually done in the beer tent after competitions have ended). Asking people questions is the easiest way to network and meet new folks. And, if you get answers to your questions, you can improve the future fortunes of your <em>own</em> band.</p>
<p>7) Say "hi" to people! This is an often underrated aspect of positive culture building but certainly one of the most important. Creating a friendly social environment leads to friendly competition.</p>
<p>The pipe band world is not so different from the hockey, soccer (football) or basketball world. We compete against each other, sure, but without respect and admiration for our opponents we lose the joy of it all. Competition, support, camaraderie and positivity are the elements that contribute most positively to our pipe band community. If we each take it upon ourselves to commit to these elements the benefits to all will be many! After all, we're all in this together.</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/60359602019-12-21T00:02:02-04:002021-07-03T13:17:23-03:0010 Extended Roll Sequences to Spice Up Your Drum Scores<p>Extended roll sequences can add a bunch of musical possibilities to any drum score. When composing a new score, it is always important to include some extended rolls to add dynamics, texture and some interesting syncopation to your pipe band's overall ensemble. As roll sequences themselves are not protected by copyright, please feel free to steal as many of these as you like for use in your own scores!</p>
<p>Each example is followed by its rhythmic breakdown. To make the breakdowns easier to read, play the accents as "taps" and the notes with two tremolo markings as "buzzes". Notice that even though the drum scores are written in 2/4 time and contain many "dot/cut" rhythms, the rolls are played as triplets.</p>
<p>When learning each sequence, follow the breakdowns and practice slowly, gradually increasing the tempo until your can hear the intended rhythms of the roll sequence clearly.</p>
<p> </p>
<p><strong>#1</strong>: This example is stolen from a Reid Maxwell score and is probably one of the simplest and most iconic roll sequences in the history of pipe band drumming. If you want to hear this sequence, listen to the reprise of Clumsy Lover from "Live in Ireland" by the 78th Fraser Highlanders (1987). The rolls in this sequence are: 12, 12, 6, 6, 12.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/b4f4239b8d8f8ffb6f25b29fd43d44d24efbf717/original/screen-shot-2019-12-20-at-2-51-53-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><strong>#2</strong>: This sequence shows just how much music and syncopation you can get when you use only two types of rolls: cut fours (four-stroke rolls) and six-stroke rolls. The passage is broken down as follows: 4, 4, 6, 4, 4, 4, 6, 6.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/6e413e36efa9b32e4115b04940940cdb09085ea8/original/screen-shot-2019-12-20-at-12-55-46-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><strong>#3</strong>: Using several different types of rolls yields a much different result. Here, the pattern is: 10, 6, 4, 6, 10, 8.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/366fbfda0e5f4d6ae87b143ece3e172ffb6876f6/original/screen-shot-2019-12-20-at-12-56-04-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><strong>#4</strong>: This sequence demonstrates the syncopated rhythms that can be generated when you begin a roll on the last note of a sixteenth note triplet. The rolls in this sequence are: 7, 6, 4, 6, 6, 6.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/c92b1a7602047f4e2ee74f0df6a88b1a76e53044/original/screen-shot-2019-12-20-at-12-56-20-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><strong>#5</strong>: If a pipe tune is playing a constant "dot/cut" rhythm, drummers can sometimes get away with a roll sequence like the one below. The first two notes create a strong sense of beat while the next four are played on the offbeat. The final two eighth notes are played on the beat, grounding the score. The offbeats create a nice sense of "lift" but always be careful to return to the beat! Too much focus on the offbeat creates a directionless drum score--too much of a good thing isn't always a good thing! The rolls in this sequence are: 6, 10, 6, 6, 6, 6, 6.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/110db3b627db570c880b7494d3e4d7b24333b13f/original/screen-shot-2019-12-20-at-12-56-38-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><strong>#6</strong>: Here's another example of the syncopation that can be achieved using only four and six-stroke rolls. The rolls in this sequence are 4, 4, 6, 4, 4, 6, 4, 6.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/a70b60a2980455046b33f6c7c78b85e7395a7bcc/original/screen-shot-2019-12-20-at-12-57-27-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><strong>#7</strong>: If you're looking to challenge your fellow corps drummers, or yourself, try this sequence. The four-stroke rolls and six-stroke rolls begin on the same hand. This definitely creates some technical challenges but the smooth, connected sound of these roll sequences stick out from other, more standard ones. The rolls in this sequence are 4, 6, 4, 10, 6, 6, 6.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/bb6a316ef91a90a397507d57681d90856af5c4a8/original/screen-shot-2019-12-20-at-12-57-43-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><strong>#8</strong>: Here's another smooth sounding roll sequence using four and six-stroke rolls played on the same hand. The rolls for this sequence are: 6, 4, 6, 4, 6, 4, 6, 6.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/2d103178b80095367d920ee7968584bd9d944b70/original/screen-shot-2019-12-20-at-12-58-15-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><strong>#9</strong>: This sequence is the opposite of #5 in that it starts with offbeats right away, returning to beat emphasis in the middle and then finishing off with more offbeats. The rolls in this sequence are: 10, 6, 6, 6, 10, 6. </p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/baedc495c9fee3f05d9d8896a40f23bedad52231/original/screen-shot-2019-12-20-at-12-58-27-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><strong>#10</strong>: Sometimes a cool sequence can be created using only one type of roll. In the breakdown, be aware of the sixteenth note rests required to make the sequence flow properly. The rolls in this sequence are: 6, 6, 6, 6, 6.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/590be5df6f9eabc0e8e8be1fa83733e1a1ce3e6c/original/screen-shot-2019-12-20-at-12-58-44-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><strong>#11</strong>: Okay, I originally thought I'd only be using ten examples but I couldn't resist adding this one. I first heard a roll sequence like this on the Shotts and Dykehead recording "Another Quiet Sunday" (1990). This roll sequence uses the trizzlet rudiment to great effect. Please be very patient with yourself when learning this sequence as it requires some deft stick control. Also, note the thirty-second notes in the rhythmic breakdown. The rolls in this sequence are: 10, 6, 4, 3 (trizzlet), 4, 6, 3.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/6674b4110c54808258d08049611096b0ed95a85a/original/screen-shot-2019-12-20-at-12-59-07-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Enjoy learning these roll sequences. They're all fun to play and some of them present a solid technical challenge. Thanks to Facebook group member Matt for the idea for this post. If you have an idea for a future post, please don't hesitate to let me know either in the comments, on the Facebook page or by email. Until next time,</p>
<p>Happy Drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/59916532019-12-04T14:47:48-04:002019-12-04T14:47:48-04:00Practicing Subdivision: The March Style<p>When you go to see a rock band play, a common conversation after the show involves how "tight" the band played. If you see a "tight" band it's a good bet that all their count ins, stops, shots, endings and grooves were played exactly together. If a band is "tight" it means that they are all on the same page, rhythmically speaking. In other words, they are all subdividing the beat of their songs the same way at the same tempo. The tightest bands are the best subdividers. There are many differences between a rock band and a pipe band but the ability to subdivide the beat is just as important to both!</p>
<p>So... what is subdivision?</p>
<p>Subdivision is the underlying pulse of the music, to which the majority of notes are directly connected. In jazz swing, most notes are connected to the basic swing pulse on the ride cymbal. In blues shuffles, notes are connected to the hihat pattern playing the first and last note of a triplet. In rock music, the eighth note pulse on the hihat drives the music. Every style of music has it's own underlying pulse. Pipe band music is no different.</p>
<p>In a pipe band march, the underlying pulse is the "dot/cut" (dotted sixteenth note/thirty-second note) rhythm which is played as the first and last note of a sixteenth note triplet. The majority of notes in a march are directly connected to this subdivision as in the example below:</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/b6209a6f7f92bc91807ed4c27a28acdb7417cead/original/screen-shot-2019-12-04-at-1-58-25-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Understanding subdivision is the key to improving unison playing in your drum corps. It's that simple. When every member of a corps is subdividing the beat the same way, unison playing improves exponentially. The following exercises address and improve basic subdivision in your drum corps:</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/f41f82ed5124c356ee1b5cdd442316cb005f0a49/original/screen-shot-2019-12-04-at-2-38-46-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/fda086648a55aa5002545cef0668e4d1287944ed/original/screen-shot-2019-12-04-at-2-39-08-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/f4d7481790d0595a0a0f5474a525a689785ba2a2/original/screen-shot-2019-12-04-at-2-39-29-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/74c1e9b1826867f7afc6dbdfff7f6dc608c21d51/original/screen-shot-2019-12-04-at-2-40-08-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/da0d15ac7dd5623f9f8c635eeb45e8beb36d0999/original/screen-shot-2019-12-04-at-2-40-34-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/b3bd82acedb8669db98a7d27e41cb1cdad1e180f/original/screen-shot-2019-12-04-at-2-40-54-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/719de11a078678ceeaf4c8d6e3f5058076ca0a95/original/screen-shot-2019-12-04-at-2-41-20-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/033b337e2a25087295bf96de28e53637717274ab/original/screen-shot-2019-12-04-at-2-41-44-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p> </p>
<p> </p>
<h3>How should you use this sheet?</h3>
<h3> </h3>
<p><strong>Step 1</strong>: Before playing, get everyone saying the basic subdivision: "Bay-Bee Bay-Bee".</p>
<p> </p>
<p><strong>Step 2</strong>: Make sure the subdivision is being said by <em>everyone</em> in the corps in perfect unison.</p>
<p> </p>
<p><strong>Step 3</strong>: Play through the first line saying the subdivision but only playing on the first "Bay" syllable</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/897aef5279baf90c9d7d3492b669f80058eb25e5/original/screen-shot-2019-12-04-at-2-15-02-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><strong>Step 4</strong>: Move through all eight exercises</p>
<p> </p>
<p><strong>IMPORTANT:</strong> Don't advance to the next exercise until every drummer is playing perfect unison. Speed is not an issue. Accuracy is the most important thing to shoot for. Therefore, go as slow as you need to achieve that accuracy</p>
<p> </p>
<p>The full exercise sheet is available to mailing list subscribers in the "Subscribers" section of the site. Have fun using this exercise with your drum corps. Your groove, timing and unison should all be positively affected by good subdivision. Enjoy the results!</p>
<p> </p>
<p>Until next time,</p>
<p>Happy Drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/59591492019-11-13T13:56:33-04:002019-11-13T13:56:33-04:00What is "Lift"? Part VI: Creating Lift in Round Reels & Jigs<p>When composing a drum score, the composer has many important choices to make during the process that will determine the musicality of the drum score. The examples below show two sets of musical choices and the differences between those choices. First off, we assume that both sets of musical choices would compliment the pipe tune rhythmically. Each "Example #1" would be a viable drum score; however, each "Example #2" adds "lift" and makes the score even more musical. Let's start with some examples in the round reel style:</p>
<p>Example #1 is a typical round reel score for a grade 5 band. There are no overly-complicated rudiments and accents have been added to compliment the pipe tune. Let's look at how lift is created in Example #2 to improve the overall musicality of the score.</p>
<p>In the first bar of example #2, the second accent is shifted from the beat to the offbeat. In the second bar, the second accent is shifted from the backbeat to the offbeat. Both of these shifts provide some added syncopation improving the forward motion of the score. The third bar remains unchanged with the exception of the third accent. The first accent in bar three should remain as it provides a return to a strong beat. Moving the third accent over one note creates some forward momentum and leads nicely into the final bar which no longer begins with a cut four but is changed to a softer sounding five stroke roll. The final touch is the addition of an accent on the fourth note of the last bar providing a nice "pop" leading into the drag five.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/d4888cbd210bb9d67d0b4808a22f49a7c06e8c6f/original/screen-shot-2019-11-13-at-12-30-52-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>The next example of lift in a round reel involves the use of dynamics to improve the musicality of the phrase. Example #1, if played exactly as written, would sound flat and unexciting. With the addition of extra accents in example #2, the phrase starts to "pop" and becomes much more fun to play. In example #2, all the accents in the first two bars are on the offbeat. If I was writing "chips" for this part they would be: the first two five stroke rolls, the drag taps and the final flam five. This would allow the offbeat accents to have even <em>more</em> of an impact as their presence would be felt both times through the phrase, but with textural differences each time. Making the choice to crescendo the first two bars would add even more excitement, especially on the repeat.</p>
<p>For the series of cut fours in the third bar, a crescendo has been added to prevent them from being too "flat-sounding". I would also place some added weight on the second note of each cut four to accentuate the offbeat. In the final bar, the accent has been moved from the flam to the following note to add some more "pop" to the bar.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/624ca0b78f886fb6685642407775940117b3cf99/original/screen-shot-2019-11-13-at-12-31-16-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Moving from simple time to compound time, let's examine the use of lift in some jig phrases.</p>
<p> </p>
<p>In example #1 below, there is an accent on the first beat of every bar. While this is not technically incorrect, the score will sound dull and will lack the requisite forward motion. In the first bar of example #2, the six stroke roll has been changed to a seven stroke roll, complete with crescendo and a final accent on the backbeat. In the second bar, the six stroke roll has been eliminated and replaced by a simple (and also unaccented) quarter note, followed by an eighth note flam with an accent. The quarter note creates an open space that draws attention to the accented flam, creating a more impactful musical moment.</p>
<p>The third bar of example #2 starts the same way as it does in example #1, returning to a strong beat emphasis. The roll in the final bar, however, has been changed to start slightly earlier. This anticipation of the beat is another musical device you can use to create lift.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/e0cccec138883b38d4e3b5cd6796e265d23ac857/original/screen-shot-2019-11-13-at-12-30-27-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>The final example from the jig style is a bit more extreme. It would be prudent to use caution if inserting a phrase like example #2. I wouldn't recommend using something like this all the time but every once in a while it can be extremely musical to play a ton of notes off the beat, providing that you return to a strong beat emphasis immediately. To use a chocolate analogy: it is a treat to eat one chocolate bar a day but if you are forced to eat twenty in a row you can tire of them pretty quickly!</p>
<p>Example #1 is another common musical phrase you could easily find in a grade 5 or even a grade 4 level jig score. To get the most music out of a jig, it is necessary to provide some offbeat accents to help move the tune along. Example #2 shows an interesting way to achieve some forward motion. Even though example #2 looks completely different from example #1 there have only been two changes made. First, two notes have been added to the first bar of the phrase. The addition of these two notes <em>pushes the other notes over</em> thereby switching the heavy beat emphasis of example #1 to an emphasis on the backbeat in example #2. The second change occurs in the last bar where the accent on the <em>end </em>of the single five in example #1 has been moved to the <em>beginning</em> of the five in example #2.</p>
<p>If you play through both examples you will be shocked at how much these simple changes transform the score from pedestrian to exciting. Sometimes it is the smallest tweaks to a score that yield the biggest results.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/be548f8166b634378c9639de2fee577951dbe8bb/original/screen-shot-2019-11-13-at-12-30-10-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Writing drum scores with lift, or changing scores you already have to create <em>more</em> lift, will have a huge impact on your drum corps. Exciting scores are more fun to play. The more fun a score is to play, the more fun it is to practice. The more practice is happening, the better your drum corps will sound. Take a look at your scores and see if there are any changes you can make to boost their level of musicality.</p>
<p>There are two styles I haven't covered specifically but the same principals apply. Strathspeys use a combination of rhythms from round reels and jigs but most of the lift in a strathspey comes from accenting the backbeat (third note) of triplet passages. 6/8 marches, because of the rhythms used in the style, are naturally bouncy and it is not quite as important to add offbeat/backbeat accents to provide extra motion.</p>
<p>If any of you have any additional questions about "lift" and how best to achieve it, please leave a comment on our facebook page so everyone can benefit from the answer. Until next time, happy drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/59324482019-10-28T11:02:08-03:002019-10-28T11:02:08-03:00What is "Lift"? Part V: Creating Lift in a March<p>Now you know where to find the beats, backbeats and offbeats in simple time and compound time, let's begin the process of putting this knowledge to use when writing a drum score. This week we'll be looking at the march style (these examples would also work for pointed reels in 2/2 time). In the examples below, the first bar demonstrate a lack of lift and the second bar shows how making a few subtle changes can create the lift we're looking for.</p>
<p>The first example is a common one bar roll phrase--two back to back sixes followed by a single five. In the second bar, notice how lift is created using a crescendo leading into an accent on the backbeat. To add even more backbeat pulse, the end of the single five is also accented.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/2d98ebc5a06d8e8984c8a4e5d8595d7dae586c8e/original/screen-shot-2019-10-19-at-4-53-16-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>The next example uses a slight alteration of flam rudiments to achieve forward motion. In the first bar, flam taps are used. However, when these flams are moved to the offbeat (creating tap flams) and combined with an accent on the offbeat of the triplet, the phrase gets a nice bounce to it!</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/623a66afe84909fb113412258dcb59d06fbaf256/original/screen-shot-2019-10-19-at-4-57-56-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Sometimes, moving only <em>one</em> accent can make a big difference to the lift in a musical phrase. In the first example, accented are placed on the beat and the backbeat. Simply moving the second accent over one note creates the desired lift.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/f0a2a7e07527c16e501a62b874bdbc8495ab7f39/original/screen-shot-2019-10-19-at-4-59-30-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>These two musical phrases below are almost identical with the exception of the accent placement. In the first example, accents are placed on the beat. When there are too many beat accents in a score it becomes heavy sounding, lethargic and lacks forward motion. In the second example, accents have been moved to the offbeat and the heavy flam accent from the second beat of the first bar has been removed creating a nice bounce.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/ffb607a1b5cf32c4e91c03e9ea631c9b4311dbc8/original/screen-shot-2019-10-19-at-4-59-53-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Hope the preceding examples have given you enough ideas to get you started. Next week we'll be working with some practical examples of lift in round reels. Until next time, happy drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/59322692019-10-19T19:09:23-03:002021-05-17T07:41:57-03:00What is "Lift"? Part IV: Understanding the Offbeat in Compound Time<p>Compared to offbeats in simple time, offbeats in compound time are much simpler. Compound time uses beat groupings of three notes and the offbeat is located on the second note of these three note groupings. There are only three rhythmic variations in compound time that use offbeats: a grouping of three eighths commonly found in jigs or slip jigs a dot/cut group of three found in 6/8 or 9/8 marches, and a six-note grouping of sixteenths found in both the jig and 6/8 march styles. The following examples illustrate where these offbeats are found:</p>
<p> </p>
<p><span class="font_large">Offbeats in a Jig/Slip Jig</span></p>
<p> </p>
<p>Accented beats using groups of three eighth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/86201da6f70a7fd36ca688a9164c76ddcd82a915/original/screen-shot-2019-10-19-at-3-55-25-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Accented offbeats using groups of three eighth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/eff0d9b29607470dd17764271f0fde00985a647f/original/screen-shot-2019-10-19-at-3-55-38-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Accented beats using groups of six sixteenth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/07551bed2c1a4c2a5fb53c8422b0e39e40c88735/original/screen-shot-2019-10-19-at-3-56-02-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Accented offbeats using groups of six sixteenth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/a2f341dfe9f299c7eca186ff53f26ec8622cc384/original/screen-shot-2019-10-19-at-3-56-25-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large">Offbeats in a 6/8 or 9/8 March</span></p>
<p> </p>
<p>Accented beats using dot/cut notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/e46f64d23d8170496ef4e6da4e10ac4bfe953de2/original/screen-shot-2019-10-19-at-3-56-45-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Accented offbeats using dot/cut notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/2035a7dfcc6bb2c1a329c12d6be0b6342d33de3a/original/screen-shot-2019-10-19-at-3-57-07-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Accented beats using groups of six sixteenth notes </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/07551bed2c1a4c2a5fb53c8422b0e39e40c88735/original/screen-shot-2019-10-19-at-3-56-02-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Accented offbeats using groups of six sixteenth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/a2f341dfe9f299c7eca186ff53f26ec8622cc384/original/screen-shot-2019-10-19-at-3-56-25-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Now that we know where the beat, backbeat and offbeat are located we need to discuss how to use this knowledge to create lift when composing a drum score. We'll be discussing this next week. Until then, happy drumming!</p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/59168392019-10-14T15:33:31-03:002019-10-14T16:21:36-03:00What is "Lift"? Part III: Understanding the Offbeat in Simple Time<p>We've already discussed beats and backbeats in simple time. Today we'll be looking at the part of the beat that, if emphasized, provides the <em>most effective</em> way to get "lift" into your drum scores: the <strong>offbeat</strong>. The offbeat is located in different spots, depending on which of the five pipe band drumming styles is being played. Before adding accented offbeats to your drum scores you should know which notes in which styles are considered offbeats and which ones aren't. Let's start with the notes that are <em>not </em>considered offbeats and are rarely (if ever) accented:</p>
<p> </p>
<p>In the march or reel styles, the following notes are considered neither beat, backbeat or offbeat notes. If these notes are accented, your drum score will not feel like a pipe band drum score anymore; instead it will feel awkward, disjointed, overly busy and unmusical. Avoid emphasizing these notes at all costs!</p>
<p> </p>
<p>1) March: note #2 of a sixteenth note triplet</p>
<p>2) March: notes #2 and #6 of an 8-note thirty-second grouping</p>
<p>3) Pointed reel: note #2 of an eighth note triplet</p>
<p>4) Pointed reel: note #2 of a 4-note sixteenth grouping</p>
<p>5) Round reel: note #2 of a 4-note sixteenth grouping</p>
<p> </p>
<p>Now that you know what not to do, let's talk about what you should you. Emphasizing the following notes will provide lift, musicality and "pop" to your drum scores:</p>
<p> </p>
<p><span class="font_large"><strong>Offbeats in a March</strong></span></p>
<p> </p>
<p>Accented beats using dot/cut notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/0be3fac7f56b2506ca2ff4bd4bfe99077167a064/original/screen-shot-2019-10-04-at-2-46-53-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Accented offbeats using dot/cut notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/507a25fb12344dade32d77473263b6c21e54fce3/original/screen-shot-2019-10-04-at-2-47-06-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Accented beats using triplet sixteenth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/4814a5819d2620f3559574d4a01ab4b4522f8d0a/original/screen-shot-2019-10-04-at-2-47-21-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Accented offbeats using triplet sixteenth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/6ce36ea94f1a931c20b7ebd846ed5f127111a1bf/original/screen-shot-2019-10-04-at-2-47-37-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Accented beats using thirty-second notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/a20aafc12f25ee053d02f7ca1c96b3821e4bd603/original/screen-shot-2019-10-04-at-2-47-48-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p> </p>
<p>Accented offbeats using thirty second notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/8dab716dd190aa82294bc98c56e572b4279fcc77/original/screen-shot-2019-10-04-at-2-48-03-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">Offbeats in a Pointed Reel</span></strong></p>
<p> </p>
<p>Accented beats using dot/cut notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/640f430603be59cf8a93ca523276afe254dc078e/original/screen-shot-2019-10-04-at-2-48-19-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p> </p>
<p>Accented offbeats using dot/cut notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/faa2134fc407e9377bd474ec289b4fa5406cae79/original/screen-shot-2019-10-04-at-2-48-36-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Accented beats using triplet eighth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/443d9ce69f1a7dba24ea29bfcd88e5864a32cd23/original/screen-shot-2019-10-04-at-2-49-22-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Accented offbeats using triplet eighth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/dbb0e372539c27d0754c1f9566302af4a544fbcb/original/screen-shot-2019-10-04-at-2-49-38-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Accented beats using sixteenth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/152c31532c9b33418da192c12647e635c1e525cb/original/screen-shot-2019-10-04-at-2-49-53-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Accented offbeats using sixteenth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/fea65ab1cca36bf2898e34ef55e48054f337c8e1/original/screen-shot-2019-10-04-at-2-50-28-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">Offbeats in a Round Reel</span></strong></p>
<p> </p>
<p>Accented beats using eighth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/739032577e09ec371897f86d46f132d8635a72dd/original/screen-shot-2019-10-04-at-2-48-54-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Accented offbeats using eighth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/72f891e19bb43ecdda3b6937182ef8821a9f5bb9/original/screen-shot-2019-10-04-at-2-49-07-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Accented beats using sixteenth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/152c31532c9b33418da192c12647e635c1e525cb/original/screen-shot-2019-10-04-at-2-49-53-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Accented offbeats using sixteenth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/fea65ab1cca36bf2898e34ef55e48054f337c8e1/original/screen-shot-2019-10-04-at-2-50-28-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Now let's look at a couple of examples of real world "do's and don'ts" for lift applied to a drum score. The first example below shows you what you should <em>not</em> do. In this example, everything is accented on the offbeat. There is no ground or emphasis on the beat from which to lift off. A score with too much offbeat accenting sounds awkward and lacks groove. An emphasis on the offbeat creates musical tension but if that tension is never resolved it leaves you with the same feeling as when the power goes off just before the end of your movie. No resolution, no satisfaction.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/735b10203035d9e3b1fa00e345136f104a3fbcdc/original/screen-shot-2019-10-04-at-2-50-48-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>In the next example there is no lift at all. All accents are beat accents. This score would not be very fun to play and would lack the requisite "pop" and excitement necessary to both support and propel the pipe tune forward. In short: it's BORRRINNGGGG!!</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/4f9c02e30a2bdad46a6e406a639ce5b10291334a/original/screen-shot-2019-10-04-at-2-51-42-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>The final example shows a <em>balance</em> between emphasis on beat notes, back beats and offbeats. A drum score usually connects well with a pipe tune if there is a strong beat emphasis on the first note of bars one and three--this is the case in the example below. This strong emphasis at the beginning of the first and third bars provides the '"ground" from which to "lift" off. The accents in the following example are as follows: beat, offbeat, beat, offbeat, beat, offbeat, offbeat, backbeat, offbeat.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/d9a9124260b9626aafc31dc65710ce346ad6f20d/original/screen-shot-2019-10-04-at-2-51-54-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Next week we'll be discussing offbeats in the compound time styles (jigs and 6/8 marches). Until then, happy drumming!</p>
<p> </p>
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<p> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/59060702019-09-27T14:36:57-03:002019-09-28T10:00:35-03:00What is "Lift"? Part II: Understanding the Beat and Backbeat in Compound Time<p>Last time we discussed the differences between the beat and backbeat in <em>simple time</em>. This week we'll be discussing those differences in the context of <em>compound time</em> (sometimes referred to as "triple" time). Whereas simple time uses subdivisions of two, four or eight, compound time uses subdivisions of three or six. The two pipe band drumming styles written in compound time are jigs and 6/8 marches. To understand how to use the backbeat to create lift in compound time, let's review the three iterations of the beat.</p>
<p> </p>
<p><strong>Beat</strong>: In compound time the "beat" is the <em>first</em> note of the three note grouping.</p>
<p><strong>Backbeat</strong>: The "backbeat" is the <em>last</em> note of the three note grouping.</p>
<p><strong>Offbeat:</strong> The "offbeat" is the <em>middle</em> note of the three note grouping.</p>
<p> </p>
<p>Here are some examples of "beat" and "backbeat" in compound time:</p>
<p> </p>
<p>Example #1: Accented beats using note groupings of three eighth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/2a52d322d389e2d64f01b5a0700fb89884151e61/original/screen-shot-2019-09-27-at-1-32-02-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Example #2: Accented backbeats using note groupings of three eighth notes<br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/4f62ef4db30be4e32c3bee0e91a5ed92a07bfe8b/original/screen-shot-2019-09-27-at-1-32-21-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Example #3: Accented beats using quarter/eighth note pairs</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/3e0caf45da8bbf42069a7a66e8698222b074a1c0/original/screen-shot-2019-09-27-at-1-32-39-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Example #4: Accented backbeats using quarter/eighth note pairs</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/b3338cf0cc2069e3c73adfb75f16c529a9487ebe/original/screen-shot-2019-09-27-at-1-32-55-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Example #5: Accented beats using sixteenth note groupings</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/9d291af6004078e8a7ac8539b0aa4c99a8e63f00/original/screen-shot-2019-09-27-at-1-33-13-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Example #6: Accented backbeats using sixteenth note groupings</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/72478ef15e8107f87086f36a21e17c1f09945fe3/original/screen-shot-2019-09-27-at-1-33-30-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Example #7: Accented beats using dot/cut note groupings</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/27879845b9963a97c7d856e73e25c4dcb460a69d/original/screen-shot-2019-09-27-at-1-33-49-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Example #8: Accented backbeats using dot/cut note groupings</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/038c1bc222229c6b31c7d432c074f0966160d373/original/screen-shot-2019-09-27-at-1-34-11-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>In simple time, the most effective way to create lift is to play on the "offbeat". Playing on the backbeat in simple time is good, but leaning on the offbeat will give you the best results. We'll be discussing that topic next week.</p>
<p>In compound time, however, <strong>the most impactful way to create lift is to accent or emphasize the <em>backbeat</em></strong>--especially in the jig style. If you listen to any well-written jig score at the grade 1 level you will hear the third note of the triplet being emphasized repeatedly. This extra weight on the back end of the triplet gives the jig a "swing" feel and adds substantial forward motion to the music. The same is true, albeit to a slightly lesser degree, with 6/8 marches. To achieve lift in a 6/8 march, occasional emphasis on the "offbeat" (the second note of the dot/cut three note grouping) can also be used to great effect.</p>
<p>Strathspeys, thought written in 4/4 (a simple time signature), contain a large number of triplet based rhythms. Accenting the backbeat in those triplet based note groupings can help your strathspeys achieve the lift you're looking for. As we discussed last week, it is important to establish the beat notes before emphasizing the backbeat. This is of particular importance in the strathspey style where a heavy emphasis on beat "one" of the first and third bars are usually required.</p>
<p>Next week we'll be discussing the use of "offbeats" to achieve lift. Until then, happy drumming!</p>
<p> </p>
<p> </p>
<p> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/58884212019-09-11T16:47:15-03:002020-11-06T14:58:28-04:00What is "Lift?" Part I: Understanding the Beat and Backbeat in Simple Time<p>The word "lift" has been appearing on pipe band score sheets for decades. It is a mysterious and confusing word! What is lift? How can a drum corps achieve it? In the next several weeks I'll be discussing the issue of lift and answering these questions. To understand lift, one must first understand the three different parts of the beat.</p>
<p><strong>Beat:</strong> The "beat" is where you tap your foot and is the first note of every note grouping. If you are counting "one and two and" along with a march or reel, the beat occurs when you say the numbers "one" and "two". In a parade, to help keep everyone marching in step, military bass drummers will play predominantly on the beat.</p>
<p><strong>Backbeat</strong>: In simple time (marches and reels), the back beat is the <em>second half </em>of the beat. If you are counting "one and two and" along with a march or reel, the backbeat occurs when you say "and". In a basic rock beat played on the drum kit the bass drum will play on the beat and the snare drum will play on the backbeat.</p>
<p><strong>Offbeat</strong>: Offbeats are the subdivisions of the beat that lie between the beat and backbeat. If you are counting "one-e-and-ah 2-e-and-ah", the offbeats occur on "e" or "ah".</p>
<p>Marches and reels are both written in <strong>simple time</strong>. Simple time divides the beat evenly into groups of two, four or eight. For now, as we get used to these concepts, we will only be discussing beat and backbeat and how they are used in <strong>simple time</strong>. Here are some examples of beats and backbeats in the march style. Use the beat numbers underneath each example as a reference point.</p>
<p> </p>
<p>Example #1: Accented beats using eighth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/2711d2110e1dc423c4ff2efa348628b683671993/original/screen-shot-2019-09-11-at-4-10-32-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Example #2: Accented backbeats using eighth notes<br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/9a996fc094baaf8af65f49fa3d3eeee09f5617e1/original/screen-shot-2019-09-11-at-4-10-47-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Example #3: Accented beats using dot/cut notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/ae76c3fc7148e026f02776a3f3a6059512e72a52/original/screen-shot-2019-09-11-at-4-11-07-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Example #4: Accented backbeats using dot/cut notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/259b8995145e42bc5268509da9b1bdd8d291ef57/original/screen-shot-2019-09-11-at-4-11-26-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Example #5: Accented beats using sixteenth note triplets</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/828465ca805bd34fc6cc24641af4763921972310/original/screen-shot-2019-09-11-at-4-11-46-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Example #6: Accented backbeats using sixteenth note triplets</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/f03541a967f06a3444b31e43d7899d88a9663525/original/screen-shot-2019-09-11-at-4-12-08-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Example #7: Accented beats using thirty-second notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/37a93494b4abee1a4c31a5d5f5a48f01c70a4e44/original/screen-shot-2019-09-11-at-4-12-24-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Example #8: Accented backbeats using thirty-second notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/065d4153ce4c3a7997bc3fa530b7640be31977cd/original/screen-shot-2019-09-11-at-4-12-40-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Beats and backbeats in a reel (either pointed or round) work the same way as they do in a march. Here are some examples:</p>
<p> </p>
<p>Example #1: Accented beats using quarter notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/14235cd3fcdee31829fd052a737c2ce9c773bcfa/original/screen-shot-2019-09-11-at-4-12-56-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Example #2: Accented backbeats using quarter notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/6e0ac4241e99a8b340e73dfa655ea7588211caa0/original/screen-shot-2019-09-11-at-4-13-12-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Example #3: Accented beats using dot/cut notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/572e74173a994498ee8e158a131cfe3f5e36a311/original/screen-shot-2019-09-11-at-4-13-31-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Example #4: Accented backbeats using dot/cut notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/8a5b4596a8023020f6347d523495678a43cf6c1f/original/screen-shot-2019-09-11-at-4-13-46-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Example #5: Accented beats using eighth notes (round)</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/6dcebf3e7ac190fc3b79cd4a2c5549c942b3ce8d/original/screen-shot-2019-09-11-at-4-14-04-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Example #6: Accented backbeats using eighth notes (round)</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/3d2a64b14e616c913dd5c8674d5fdd97b301c8e0/original/screen-shot-2019-09-11-at-4-14-17-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Example #7: Accented beats using eighth note triplets</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/305d3034945e67de60bce901a8df753bcfad67f4/original/screen-shot-2019-09-11-at-4-14-35-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Example #8: Accented backbeats using eighth note triplets</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/064028c9832a5b10d7378f99b22c9ef0b416739e/original/screen-shot-2019-09-11-at-4-14-51-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Example #9: Accented beats using sixteenth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/f25e863274124b50fd5b190d34fe9d6f103c2150/original/screen-shot-2019-09-11-at-4-15-29-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p>Example #10: Accented backbeats using sixteenth notes</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/647842084448dc01c87e7d4992c5850e8c7cef0d/original/screen-shot-2019-09-11-at-4-15-46-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Now that you know the difference between beats and backbeats in both marches and reels, it is necessary to discuss what exactly we do with this information! The mission, of course, is to create lift in our drum scores and the way we create that lift is by inserting accents into places other than the beat. The backbeat is the first place you can start!</p>
<p>To understand where to place a backbeat accent, let's consider the example of a rocket. We have all heard the countdown "3... 2... 1... lift off!" We only say "lift off" when the rocket is leaving the ground. Once it is in the air we simply say that it is flying. When talking about beat and backbeat, think of the beat as "the ground" and think of the backbeat as "the rocket". Thanks to gravity, rockets always return to earth where they can be repaired and sent skyward again. Your "backbeat rocket" should always return to the "beat ground" before it is fired off again.</p>
<p><strong>Lift can only be created in a drum score when the beat has already been established</strong>. Constant accenting of the backbeat without a return to the beat sounds directionless and unmusical at best. When composing a drum score, establish a strong beat first, accent some backbeats and then return to the beat once more. Repeat this process throughout the score. The constant shifting of accents from beat to backbeat provides the score with some musical tension and interest. Try to find some scores written by reputable players: Jim Kilpatrick, Steven McWhirter, Reid Maxwell or Gordon Brown (among many others). See if you can find accents on the beat and backbeat. Is there a pattern? Do the accents move back and forth between the beat and backbeat? Do some research on your own to help answer these questions.</p>
<p>Next week we'll be discussing beats and backbeats in compound time.</p>
<p>Until then,</p>
<p>Happy Drumming!</p>
<p> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/58048612019-06-26T17:11:13-03:002019-06-27T11:16:27-03:00"REPS": Let's get real about repetition<p>The word "reps" is thrown around a lot in every pipe band. Every practice we hear...</p>
<p> </p>
<p>"Get some reps in"</p>
<p>"We need to rep that some more"</p>
<p>"Don't forget to rep the second part"</p>
<p> </p>
<p><strong>What Does this Word Mean?</strong></p>
<p>The word "rep" is short for <em>repetition</em>. When a pipe major or lead drummer says to "get some 'reps' in" what they want you to do is repeat a certain phrase, rudiment or part, over and over until you can play it perfectly every time. But, how many reps should you do? How long will it take? When should you stop? Most pipers and drummers are scared of reps because they don't know the answers to these questions. So let's deal with each question separately. First: How many reps should you do? The answer to this question depends on what you're trying to master.</p>
<p> </p>
<p><strong>Learning a Two Bar Phrase</strong></p>
<p>If you are trying to learn a small phrase (one or two bars worth of music) the general rule is to play the musical passage three to four hundred times, usually at a slow tempo. Wait... THREE to FOUR HUNDRED TIMES!!??? Now the panic sets in. The best way to deal with the anxiety of knowing you have to play something three to four hundred times is to keep it real, crunch the numbers, and make a plan.</p>
<p>For example, if you are trying to master a two bar phrase in a march it will take approximately eight seconds to play it at 50% speed. If you take two seconds to collect yourself between each attempt it will take ten seconds for each rep. Now let's crunch the numbers...</p>
<p> </p>
<p>One minute of practice = 6 reps</p>
<p>Ten minutes of practice = 60 reps</p>
<p>One hour of practice = 360 reps</p>
<p> </p>
<p>Once you've worked out the time it takes it's time to deal with the next question:</p>
<p>How long will it take?</p>
<p>If you want to get this two bar phrase quickly you could rep it for ten minutes, six days in a row. If you're not in a rush to get 360 you could rep it for five minutes, twelve days in a row or two minutes, thirty days in a row. The decision is up to you. Once you decided on a time frame you only have one more question to answer:</p>
<p>Can I stop now?</p>
<p>If you reach 360 reps and can play the two bar passage perfectly it's time to stop. Congratulations. You did it!</p>
<p>If you are still having trouble you need to ask yourself why. If you can execute the two bar phrase well at slow speed but are having trouble speeding up, it would be beneficial to simply repeat the process you've just completed. Your hands just need more time until they acquire the necessary "muscle memory". There is no shame in this at all, you just need more reps.</p>
<p>If you still can't execute the passage you may have to examine, with the help of a teacher, the reasons why things are not going well. It could be anything from incorrect stick heights, lack of preparation for what comes next, inaccurate rudiment execution or myriad other reasons. Go and get some good advice from someone who knows what they're doing and then take yourself through the reps once more.</p>
<p> </p>
<p><strong>Learning and Mastering a Specific Rudiment</strong></p>
<p>In my personal experience I've encountered two rudiments that I have had to rep literally thousands upon thousands of times. Nobody knows how much I've struggled with these rudiments as I don't post about my personal practice on the internet (until now) but I continue to battle both trizzlets and drag paradiddles to this day. I'm not happy with the speed of these rudiments and my execution of both of them remains inconsistent at faster tempos. At times it feels like a war I'm fighting and losing. I've experienced the whole range of feelings and emotions including frustration, satisfaction, exhilaration, jealousy (when I watch the World Solos), sadness, hopelessness and optimism. It's been a roller coaster. A conservative estimate for the number of times I've played a drag paradiddle as part of my personal practice (especially variation #4) at a slow tempo would be twenty hours over course of the last two years. Let's crunch the numbers...</p>
<p> </p>
<p>One minute of practice = 60 drag paradiddles (metronome at 60 BPM)</p>
<p>Ten minutes of practice = 360 drag paradiddles</p>
<p>One hour of practice = 2160 drag paradiddles</p>
<p>Twenty hours of practice = 43200 drag paradiddles</p>
<p> </p>
<p>Ugh.</p>
<p> </p>
<p>Looking at the math I almost feel sick to my stomach. I still can't do drag paradiddles as fast as I want to but I've done SO MANY REPS! It's easy to feel discouraged, and I often do. However, I understand that some rudiments are really difficult and, even though it makes me miserable thinking about my perceived "lack of progress", I know I'm improving--albeit incrementally. The most important thing that any potential musician needs to realize is that the work is worth it! It is also important to <em>respect</em> the amount of work it takes to be great and do as much of it as you can, as regularly as you can.</p>
<p> </p>
<p><strong>Using Reps to Memorize Music</strong></p>
<p>Some people have a great memory. I don't, and it's getting worse! Lately I've noticed that my brain gets less able to memorize drum scores as I get older. Therefore I need to depend more on "muscle memory" than on actual memory. Reps have helped me in this regard.</p>
<p>In order for me to memorize a four part march I have figured out that it takes about a hundred reps. To figure out how long it will take me to memorize a score, let's crunch the numbers...</p>
<p> </p>
<p>Length of time it takes to play a four part march = 2 minutes</p>
<p>Total amount of time to achieve one hundred reps = 3.5 hours</p>
<p> </p>
<p>Even if you rep a score twice every band practice (assuming your band has at least 50 practices a year) you should be able to reach a hundred reps easily. If you're doing solo scores, playing through your scores twice a day for two months will get you there. Of course, the more reps you do, the less you'll need to think your way through the music and the more music you'll be able to make!</p>
<p> </p>
<p>Have fun repping your music this competition season. Until next time...</p>
<p>Happy Drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/57962362019-06-18T21:10:59-03:002019-06-18T21:10:59-03:00Video Blog: How to Improve Your FOCUS<p style="text-align: center;">The word "focus" is thrown around a lot. I hear often hear it in rehearsal and even more often on competition days. What does it mean? Is it possible to practice focusing? If so, what does that look like?</p>
<p style="text-align: center;">Check out this week's video blog for all the answers:</p>
<p> </p>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="TuWSIwT1FB4" data-video-thumb-url="https://img.youtube.com/vi/TuWSIwT1FB4/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/TuWSIwT1FB4?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p style="text-align: center;"> </p>
<p style="text-align: center;">As always, if you have any comments on the video, please feel free to leave them at the end of this blog post, on YouTube or Facebook. I look forward to hearing from you! Also, if you have any ideas for future blog posts, please send an email to zach@pipebanddrummer.com. Happy Drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/56690142019-03-04T21:02:23-04:002019-03-06T22:57:56-04:00#pipebanddrumming<p>This week I'd like to discuss the subject of #hashtags. Hashtags are commonly used on Twitter to categorize posts so that others can follow those hashtags and comment, share and otherwise interact. They are incredibly useful! I use them all the time when browsing Twitter for news, drumming videos to watch and educational ideas.</p>
<p>When it comes to pipe band drumming, however, I have found I'm out of luck! <strong>There is no unified hashtag for pipe band drumming</strong>. Here are some of the pipe band drumming hashtags I've encountered on Twitter complete with opinionated commentary. #blunt #wecandobetter #hashitout</p>
<p><span class="font_large">#drumming</span>: This is simply too vague. Drumming is a big world. There are tons of kit players, hand drummers, jazz drummers, corps drummers and drum companies out there. Entering #drumming into Twitter yields virtually no pipe band drumming related content. It's a great hashtag to use if you're a kit player. If you're a pipe band drummer... not so much.</p>
<p><span class="font_large">#pipeband</span>: We're getting a little more specific here but if I'm searching for pipe band drumming related content I'm going to have to wade through a ton of other stuff including photos of trips, band awards and (gulp) TONS of bagpipe related content--reed makers, contest results, online courses and the list goes on and on and ON!!!</p>
<p><span class="font_large">#drumlife</span>: Again, too vague. Anybody who owns a drum and has a life (or not because they're always on Twitter) uses this hashtag.</p>
<p><span class="font_large">#tenor</span>: Lots of singers here. Lots and lots of singers. The Irish Tenors, The Canadian Tenors, The Three Tenors, The Ten Tenors. Lots and lots of singing. Absolutely nothing about tenor drumming.</p>
<p><span class="font_large">#midsection</span>: Just for the heck of it I entered #midsection into Twitter and quickly discovered I should lose some weight. No sign of anything at all about tenor drumming</p>
<p><span class="font_large">#basssection</span>: Orchestral double bass players have hijacked this hashtag!! If you want to know more about double bass this is the hashtag for you.</p>
<p><span class="font_large">#pipebandlife</span>: This is actually a very common hashtag. There are many aspects of pipe band life--and they are all weird. We play super loud instruments dressed in extremely warm ceremonial type clothing that's exceptionally difficult to iron. We stand around in fields waiting all day to play for five minutes. It costs a lot of money. We drive long distances to play in parades only to complain about aches and pains afterwards. We learn very complex music that only a handful of people know how to play properly. We put a lot a sweat equity into improving only to have a judge tell us we're borderline incompetent. There's many aspects of pipe band life. Pipe band drumming is only one of those aspects. This hashtag will yield a few results but you'll still have to do a lot of sifting.</p>
<p><span class="font_large">#scottishdrumming</span>: I think of pipe band drumming like I think of hockey. Hockey was invented in Canada (although, in true Canadian style we're still fighting over exactly which town had the first game). There have been many great Canadian hockey players over the years: Rocket Richard, Bobby Orr, Wayne Gretzky, Mario Lemieux and now Sydney Crosby. They were all pioneers in their own right and helped grow the game into what it is now: a truly global game. Now there are competitive teams from all over the world. Hockey is no longer just Canada's sport. Similarly, pipe band drumming started in Scotland. However, it is now a global phenomenon and top level bands from many countries not only compete but also push the boundaries of the art form. It's time to drop the "Scottish" from pipe band drumming.</p>
<p><span class="font_large">#pipedrumming</span>: Entering this hashtag provides only a small return of results. To me, pipe drumming sounds like someone who bought some PVC pipes and started drumming on them. #bluemangroup</p>
<p> </p>
<p>So now what do we do? Well, I think it's time that pipe band drummers decided on a hashtag that will unite us all... and here it is:</p>
<p> </p>
<p><span class="font_xl">#pipebanddrumming</span></p>
<p> </p>
<p>Simple, concise, self-explanatory. It even looks good. Not too short, not too long and it describes EXACTLY what we're searching for!!</p>
<p> </p>
<p>So, if you post a video of yourself playing through a drum score... #pipebanddrumming</p>
<p>If you're recruiting drummers for the new season... #pipebanddrumming</p>
<p>If you've got a drumming event to promote... #pipebanddrumming</p>
<p>If you post a video of your favourite corps at the Worlds... #pipebanddrumming</p>
<p>We'll all be able to see each others' content. This will make us happy. It will bring us together!!</p>
<p> </p>
<p>No more fruitless searching for pipe band drumming content. Let's all get on the #pipebanddrumming hashtag train and create a nice little community on Twitter for ourselves. If you find this post on Twitter I promise you'll find the hashtag. This could even work for Facebook and Instagram too. Let's make it happen!</p>
<p>#untilnexttime</p>
<p>#happydrumming</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/56417022019-02-13T16:47:20-04:002019-06-18T00:31:23-03:00Backyard FAQ: How Do I Get My Rolls Faster?<p>Today marks the start of a new video series on PipeBandDrummer.com: Backyard FAQ. My plan is to answer frequently asked questions I receive from subscribers to PipeBandDrummer in video form and then post them on the YouTube channel for everyone's benefit. A number of you have already asked me specific questions by email but i thought it would help everyone to address these questions in a more public forum.</p>
<p>Thanks to Jonny for the question: How do I get my rolls faster? Check out the video below and let me know if it helps! As always, comments, criticism and suggestions are encouraged.</p>
<p> </p>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="zWNtQuvNaTc" data-video-thumb-url="https://img.youtube.com/vi/zWNtQuvNaTc/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/zWNtQuvNaTc?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Until next time,</p>
<p>Happy Drumming!</p>
<p> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/56198452019-01-30T14:58:02-04:002020-02-10T12:28:36-04:00Five Long Minutes of Cut Fours (Slow)<p>Welcome to the fifth instalment of the "Five Long Minutes" blog post/video series: Five Long Minutes of Cut Fours!</p>
<p>When I was first taught to play a cut four (four stroke roll) there was a disconnect between the way I was taught and the way it was played. That always bugged me. I was taught to play a cut four as "tap-buzz-tap", played as a three note grouping where all the notes were of equal value--basically the same way I learned a five stroke roll except with a "tap" on the first note instead of a "buzz".</p>
<p>It took me a while to figure out why this was the incorrect approach. Even though a cut four is played as a "tap-buzz-tap", the three notes of the roll are <em>not</em> of equal length. The first "tap" and "buzz" should be played almost simultaneously, producing a sound similar to flicking that doorstop we could never leave alone when we were kids.</p>
<p> </p>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="l2Q7vrQXjXk" data-video-thumb-url="https://img.youtube.com/vi/l2Q7vrQXjXk/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/l2Q7vrQXjXk?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p style="text-align: center;"> </p>
<p>The final "tap" of the cut four happens in slightly different places depending on the style in which you're playing (dot/cut, triplet, straight eighth notes etc). The key ingredient to a successful cut four is the "buzz" stroke in the middle. The job of the "buzz stroke" is to completely fill the gap between the two "taps". If a cut four was an Oreo cookie, the "buzz" would be the cream filling.</p>
<p>Below is a picture of two waveforms. The first waveform is a recording of the "tap-buzz-tap" style of cut four. You can clearly see the two taps at either end and a separate "buzz" stroke in the middle. The second waveform is a recording of the "doorstop flick" version of the cut four. Here you see that the first "tap" and "buzz" have been combined into one sound with no gaps. This "tap/buzz" is then followed by a final "tap".</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/81accb75d418b278d5dddce1df9710500ae74aaa/original/screen-shot-2019-01-30-at-2-05-33-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>In the first waveform, there are clearly three sounds happening. In the second waveform there are only two. This "two sound" cut four produces the desired sound for the roll. As an easy way to remember to use the cut four with two sounds, just remind yourself that the words "cut four" have only two sounds and then say them under your breath as you are practicing.</p>
<p>The Youtube video below that accompanies this blog post will help you perfect this "two sound" cut four. The tempo of the video examples is slow allowing you to get used to combining the first "tap" and "buzz" of this common, yet misunderstood, rudiment.</p>
<p> </p>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="RONt5r_BDoQ" data-video-thumb-url="https://img.youtube.com/vi/RONt5r_BDoQ/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/RONt5r_BDoQ?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Have fun perfecting your cut fours! More "Five Long Minutes" videos are in the works! Please continue to email me with suggestions for these videos. I've already used several of your suggestions. Keep them coming!</p>
<p>Until next week,</p>
<p>Happy Drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/55913112019-01-23T14:55:19-04:002022-09-08T17:01:03-03:00Five Long Minutes of Drags<p>This week: Five Long Minutes of Drags! For most pipe band drummers drags are one of the most difficult rudiments to execute properly. Drags are composed of a principal note (big note) and a two smaller notes (two 32nd grace notes). The drag that pipe band drummers play is called a "closed" drag but is different from a closed drag played by symphony and drum kit players. In a symphonic band or orchestra, the two 32nd note are played in one of two ways: "closed" or "open". In an "open" drag, the two 32nd notes are played as a quick double on one hand and the principal note is played on the opposite hand resulting in a "B-D-Dup" sound. In a "closed" drag the two 32nd notes are played as a "buzz" just before the principal note resulting in a "Zzzz-up" sound.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/048f2869ed4269137ef888477cb38d0f30284a27/original/screen-shot-2019-01-23-at-2-24-09-pm.png/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_" /></p>
<p> </p>
<p>The closed drag in the pipe band drumming world is written the same as its symphonic cousin but the difference is found in its execution. The pipe band drumming drag is composed of a principal note and a "dead" stroke (if you are unfamiliar with the dead stroke check out the video <a contents='"The Seven Foundation Strokes"' data-link-label="" data-link-type="url" href="https://youtu.be/E2ib-b-pjqA" target="_blank">"The Seven Foundation Strokes"</a> on PipeBandDrummer's YouTube channel). If executed properly, a drag should sound like a flam but with slightly more "mass". If the sound of a flam is described as a "flip" sound, drags should make more of a "plup" sound.</p>
<p>The key to a successful drag is the execution of the dead stroke. A dead stroke should be <em>placed </em>on the drum, <em>not</em> played. It is extremely quiet and requires a great deal of control and technical finesse. Before playing a dead stroke, your stick should be no more than one inch off the drum. If the stick is any higher than one inch the dead stroke will start to buzz.</p>
<p>In a pipe band drum score, drags are meant to be played quietly 100% of the time, no exceptions. Therefore it is of utmost importance that the principal note of the drag is also played quietly. Whereas the preparation for a flam is "one stick high, one stick low", the preparation for a drag is "one stick slightly higher than the low one" (the "low one" being the dead stroke). When drags are first introduced to beginners, letting them know that their drags will always be played quietly should save a lot of relearning down the line.</p>
<p>The drags in the video below are recorded in the way I would first show beginners. The high stick is quite high in order to familiarize the player with the height difference between the principal note and the dead stroke more easily. It is also important to notice what happens after each drag and how that differs from the flam. After playing a flam, it is always important to switch the stick heights right away in order to facilitate the execution of the next one (so they can be played "hand to hand"). Because drags are usually played in isolation, there isn't as much need to switch the hands immediately after playing each one. Instead, you will notice a slight pause at the end of each drag before the "high" stick is raised for the next one.</p>
<p> </p>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="BqE_aWcpI5o" data-video-thumb-url="https://img.youtube.com/vi/BqE_aWcpI5o/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/BqE_aWcpI5o?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Common Mistakes:</p>
<p>Beginners are always buzzing their dead strokes. The "placing" of the dead stroke needs to be practiced on its own and it should be emphasized that "placing" the stick on the drum requires little to no force. Any tightness in the grip or excess force used for the dead stroke will <em>always</em> result in a buzzy dead stroke. Beginners are always amazed at exactly how quiet the dead stroke should be (they never believe me) but their confusion is put to rest the first time they hear the dead stroke on a drum--it's always quite audible!</p>
<p>The principal stroke of the drag must also be practiced quietly from the beginning. This is not always an option for beginners as they need to get used to the "one stick high, one stick low" preparation for their drags and some exaggeration in the height of the "high" stick can help to get them on the right path. However, very soon after learning the drag, the emphasis should be on controlling it's volume and keeping the principle note low enough so that the volume of the drag remains quiet.</p>
<p>Sometimes, especially when first learning drags, a drummer's high stick will hit before the dead stroke. This problem is easily solved by breaking down the drag, then separating it into its two component parts. Practicing the dead stroke followed by the principal note (with a gap in between each note) should solve this issue. Use the same "breakdown and separate" strategy to solve the "flat drag" issue (when the two notes of the drag hit simultaneously).</p>
<p>Have fun practicing your drags and try your best to find five minutes to practice them. Next week: Five Long Minutes of Cut Fours!</p>
<p>Until then,</p>
<p>Happy Drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/55912662019-01-16T14:59:26-04:002019-01-16T22:37:03-04:00Five Long Minutes of Flams<p>Continuing with the "Five Long Minutes" video series, this week: Five Long Minutes of Flams! Flams consist of only two notes. They look innocent enough but they are actually fairly difficult to explain and even more difficult to execute. Flams are a basic rudiment that all pipe band drummers must learn as they are found in even the most basic drum scores. A flam is composed of a principal note (normal sized note) and a grace note (a small eighth note with a slash through it). If it is played properly, a flam should produce a "flip" sound.<img src="//d10j3mvrs1suex.cloudfront.net/u/203319/50c4d02c03ef598bbe0609f4925ba9382c05ca7e/original/screen-shot-2019-01-16-at-3-05-40-pm.png/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_" /></p>
<p>The preparation or "stick prep" for a flam involves <em>one stick high</em> and <em>one stick low</em>. The exact height of the sticks depends on the volume at which the flam will be played. To execute a flam correctly, both sticks should be played in a single downward motion. Sometimes, to aid beginners, I suggest using a very slight upward motion with both sticks (similar to an upbeat used by symphonic conductors). This slight upward motion gets both sticks moving at the same time, first upward, then downwards. After a flam is played, the height of the sticks should reverse in preparation for a flam on the opposite hand. This is not always the case when flams are played within a musical context (in a drum score) but the hand-to-hand variation of the flam (switching between left and right) is by far the most common.</p>
<p>There are two versions of the flam: "right" and "left". A flam is identified as a "right flam" if the right hand is higher; "left flams" begin with the left hand in a higher position.</p>
<p>When playing along with the video try your best to match the stick heights and, after each flam, be sure to switch the height of your sticks in preparation for the next one.</p>
<p> </p>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="30fAuTQQWtQ" data-video-thumb-url="https://img.youtube.com/vi/30fAuTQQWtQ/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/30fAuTQQWtQ?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p><span class="font_large">Common Mistakes:</span></p>
<p>There are a couple of issues that come up when practicing flams, the most common of which is the "flat" flam. A flat flam is achieved when both sticks hit the drum at the same time, effectively negating the sound of the grace note and creating a short "ba" sound. This occurs primarily because the low stick is raised too high during the flam's preparation. </p>
<p>Another common issue that occurs is an "open" flam. An "open" flam is the result of the grace note and principal note being played with two much separation between them. This results in a "fulllll-am" sound. This happens when the sticks are raised and lowered separately using two alternating hand movements. To solve this problem, make sure to raise and lower both your high stick and low stick simultaneously.</p>
<p>And, even though it seems like a no-brainer, folks who are learning their flams for the first time have difficulty keeping one stick high and one stick low. When I teach flams to beginners we always practice the <em>preparation</em> for the flam <em>first</em> and, in order to reinforce the action, we hold it for a few seconds before playing. Because there are so many other rudiments containing flams, taking your time and learning the correct way to play them is absolutely worth it. </p>
<p>Have fun improving your flams! Take 5 Long Minutes out of your day and you'll be surprised at your rate of improvement. Thanks to all of you who have put requests in for new videos--they are all on my "to-do" list. Until next time...</p>
<p>Happy Drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/55880042019-01-09T14:21:11-04:002019-01-09T15:16:48-04:00Five Long Minutes of Accented Rolls<p>Continuing with the "Five Long Minutes" video series on the PIpeBandDrummer.com Youtube Channel, this week we'll be focusing on accented rolls. Accented rolls are found in each of the five pipe band styles and can range from simple "tap buzz buzz" hand to hand triplet rolls as (found in the North American massed band 4/4) to lengthy and complex multi-bar movements involving several different roll types. Accented rolls look different depending on the style in which they're being played. Here are some examples:</p>
<p> </p>
<p><span class="font_large"><strong>Strathspey:</strong></span></p>
<p>Accented rolls are used heavily in the strathspey style and are often found as part of longer, multi-bar phrases, even in drum scores written for the lower grades. The passage below is composed exclusively of six stroke rolls, both standalone and back-to-back (where the last note of one roll is the first of the next).</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/de1906fb4b89c1b5e51658c7d580010a3a550fd4/original/screen-shot-2019-01-09-at-12-52-11-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>March: </strong></span></p>
<p>As a general rule, accented rolls in marches are a little simpler than those found in the strathspey style. The back-to-back six stroke rolls between the two groups of 32nd notes in the second bar are the most common variation of the accented roll and this particular movement using back-to-back sixes is found in virtually every march score from the lower grades on up.</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/53ffecb4a064d1327631b91ece05bb7d59436f1f/original/screen-shot-2019-01-09-at-12-53-30-pm.png/!!/undefined/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_xl justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">Jig: </span></strong></p>
<p>Long passages of accented rolls are not as common in the jig style but they do still occur as they provide a nice rhythmic counterpoint to the incessant TRIP-A-LET, TRIP-A-LET rhythm inherent in the style. </p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/e7ebfc3d75c06c3c1aa4ad7ac1f988105507fbf1/original/screen-shot-2019-01-09-at-1-01-00-pm.png/!!/undefined/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_xl justify_center border_none" alt="" /></p>
<p> </p>
<p>The example below is a breakdown of the basic accented roll I learned as a young drummer composed of back-to-back six stroke rolls ("Tap Buzz Buzz" over a triplet pulse). When playing this basic accented roll it is important (ironically) to <em><strong>avoid</strong></em> playing the "tap" as an accent. The accent marking should <em>not</em> be taken literally! It is merely a notational device (in the case of written rolls) that indicates that a "tap" should be played instead of a buzz. The "tap" is achieved by releasing the finger/thumb pressure you use for the buzz to allow the stick to bounce freely. Relaxing your grip on the stick slightly on the "tap" will greatly help in its execution. In the following example, the roll is first broken down into the individual strokes you play and then is notated as it would appear in a drum score.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/df42d7f873953b8cdecb28a331ed2d4eff8a3989/original/pipieband.png/!!/undefined/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_xl justify_center border_" /></p>
<p> </p>
<p>The following videos show the basic accented roll played slowly then played up to speed. The first video is a useful tool for practicing the "pressure/release" in your stick grip as you switch between the taps and buzzes. The second video is useful for a different reason: if there is any excess tension in your snare drum grip you WILL NOT be able to play accented rolls for five minutes!! Try playing along and see how far you get. It's a pretty good workout!!</p>
<p> </p>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="djiLcssRKak" data-video-thumb-url="https://img.youtube.com/vi/djiLcssRKak/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/djiLcssRKak?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="gm3EzSGqONs" data-video-thumb-url="https://img.youtube.com/vi/gm3EzSGqONs/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/gm3EzSGqONs?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Have fun working on your accented rolls! Stay tuned for more "Five Long Minutes" blog posts in the near future. Until next time... Happy Drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/54873492018-10-26T12:47:39-03:002023-04-03T13:17:52-03:00So... You Want to Be a Lead Drummer?<p>After reading an article recently by Pipes|Drums called "<a class="no-pjax" href="https://www.pipesdrums.com/article/the-drummers-dilemma/" target="_blank" data-link-type="url" contents="The Drummer's Dilemma">The Drummer's Dilemma</a>" I got to thinking about the issue of lead drummers passing on their skills to younger players. This is a difficult and complex issue but it begins with defining the role of a lead drummer in a band. Obviously, lead drummers in higher grade bands are responsible for less as the players in their corps are capable of providing more help. In lower grade bands, however, the lead drummer can be responsible for virtually everything having to do with the drum corps including teaching, tuning, composing music, motivating, running rehearsals etc. It can be a daunting task--especially when zero pay and sometimes a lack of appreciation are involved. Thankless? Sometimes. Rewarding? Sometimes. Very hard work? Always!</p><p>When I was asked to take over the Dartmouth and District drumming program in 2013 I didn’t know much about being a lead drummer. For me, it has been a humbling journey and a slow process of accumulating skills as I endeavour to become a better leader, a more organized administrator and an improved snare drummer. When I first started I tried my best but soon realized it was necessary to both seek out advice from more experienced drummers and to work harder on my own to learn, understand and then implement these new skills for the benefit of my corps. The following skills/concepts/lessons I’ve worked to achieve over the last six years are listed below. My hope is that if your goal is to lead a drum corps someday you can use this list as a starting point on your journey. If you’re already playing lead, look at this list and see if you are missing any of these skills; if so, then work to add them. If I’ve missed anything important, please let me know in the comments below. I would love to hear your thoughts. </p><p><strong>Be a musician first</strong>: To be a lead drummer you need many skills above and beyond raw technical ability on the snare drum. These skills include: good time keeping, an above average feel for the music and an understanding of pipe music and how to correctly interpret it/support it using both snare line and bass section. You should also have a basic understanding of music theory and basic harmony necessary for writing tenor and bass scores. If you are a solid, well-rounded musician, your drummers will play good music. </p><p><strong>Egos are stupid</strong>: If you want your corps to learn from you, you must also be open to learning new things, taking criticism and making appropriate changes to "what you normally do" when appropriate. If you are humble and open to personal growth, your drum corps will automatically follow suit. </p><p><strong>Know how to read and write music</strong>: In my opinion, reading and writing music is a must for any lead drummer. As a lead drummer, you will know the strengths and weaknesses of your own corps very well so if you can read and write you can compose appropriate drum scores for your corps better than anyone else. Most importantly, having the ability to read and write allows a you to teach these skills to your corps members! </p><p><strong>Understand rehearsal technique</strong>: The ability to lead an effective rehearsal requires preparation, organization, and reflection. What are your goals for the rehearsal? How much time do you have? Are your rehearsal goals too lofty or too easily attainable? How much of the rehearsal should be spent on technique or rudiments? How many parts of a score will be learned? A lot of these questions can be answered will a little forethought. During the rehearsal, the emphasis should be on hard work, focus and limiting unnecessary conversation. If you need a break, take one! But, when rehearsal is in progress keep it all business. After the rehearsal, reflect on what worked and what didn’t and make appropriate changes if needed. </p><p><strong>Fill the gaps</strong>. Obviously, when you practice, you work on the aspects of drumming that you can’t do well. Take the same approach with your lead drummer skills. If your corps can’t play quietly, hire a clinician to come in and help. If you are having problems dealing with a corps member, seek out a leader you respect (not necessarily in the band) and ask them what their approach might be. If you have peronal weaknesses as a drummer that are hurting your corps, take some lessons and fix the issue. Taking criticism is hard but absolutely necessary to grow as both a player and a leader. </p><p><strong>Enjoy the challenge of dealing with people</strong>: If you want to be a lead drummer you should embrace the challenges of dealing with people. Pipe bands are notoriously filled with colourful and eccentric characters. Keeping everyone motivated, enthusiastic, working hard and having fun is a big part of the lead drummer gig. Keep in touch with corps members, answer their questions, and always ask them what you can do to help them succeed (and then do it). </p><p><strong>Learn to use music notation software</strong>: In this day and age, with so much new technology available, there should be no excuse for failing to use music notation software for score writing and distribution. The days of hand written scores with passages scratched out and arrows pointing every which way are over. If you are new to digital score writing, take some time to evaluate some of the many programs available and choose the one you like best. So much of a drum corps’ ability to read hinges on having legible drum scores. Get rid of your hand-written scores, or better yet enter them into your new notation program. Your drum corps will thank you! </p><p><strong>Be organized and communicate effectively</strong>: At the beginning of your season make sure your competition music is written by early October. Make sure everything is learned by Christmas. Make sure it's performance ready by April and you should be fine. If your corps needs help with a certain rudiment or musical passage, identify it and make up some exercise sheets to help. Plot out a long-term plan for learning your scores so nothing gets omitted or left until the last minute. Keep all members in the loop about changes to the music or upcoming band engagements. It is also important to keep all your written music in one place (Dropbox or Google Drive) that all corps members can access at any time. However, the most important aspect of organization is for you to lay out a set of standards/goals/expectations for your drummers at the <i>beginning</i> of the year (including consequences if those standards/goals/expectations are not met). I can’t understate the importance of having every corps member know where they stand. </p><p><strong>Know your personnel</strong>: If you have one grade 2 drummer in your corps and four grade 4 drummers, don't play grade 2 level scores! Choose/write scores that are appropriate for the majority of your players and everyone will have much more fun. If your higher-grade drummer needs more of a challenge, use her/him as a mentor/resource for your less experienced players—the added benefit being their development as a future teacher! </p><p><strong>Don’t be a bully</strong>: Yelling never helps. Neither does picking on one drum corps member consistently. Be calm, fun, energetic and encouraging. Nobody likes being yelled at or singled out constantly for aggressive criticism. Often, a corps member will make a mistake because of something <i>you</i> forgot to tell her/him or because of something that was never dealt with or missed in rehearsal (the lead drummer’s fault... and that’s you). Keep a cool head and a positive attitude and people will love playing for you. </p><p><strong>Collaborate with your pipe major:</strong> As often as you can, try to meet with your pipe major to play through tunes, ask questions about piping and try your best to be a good musical partner. Drummers possess the ability to play dynamics and pipers do not. Ask your pipe major for help in identifying spots in the music that you can highlight with accents and crescendos/decrescendos. Ask their opinion about your drum scores. If your pipe major cares about the welfare, sound and musicality of the band she/he will be more than happy to work with you--plus you'll learn something about piping in the process! </p><p><strong>Lead by example</strong>: As a lead drummer, your drum should always sound good. Your uniform should always look good. Your work ethic should be exemplary. You should always be the first to learn and memorize your music. Your drill should be sharp and your approach in rehearsal and on competition days should be professional. Drummer see drummer do. </p><p><strong>Embrace the challenge</strong>: Full disclosure: being a lead drummer is a ton of work. However, if you embrace the challenge, own the responsibilities and truly put your best effort out there you will reap the rewards--and it is very rewarding.</p><p>If I have missed anything or you would like to continue the conversation, please do so in the comments below.</p><p>Until next time,</p><p>Happy Drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/54265232018-09-12T23:19:23-03:002018-09-13T01:09:20-03:00New Video Series: Five Long Minutes<p>Have you ever been frustrated when life gets in the way of your practice time? Sometimes, with a busy schedule, it is impossible to find a whole hour to sit down and run through your entire practice routine. As a freelance musician I find it very difficult to carve out a couple of hours in my schedule so I'm forced to practice in small chunks throughout the day when the opportunities arise. These small pockets of time are created when a student cancels, if the laundry or dishes get done faster than planned or if I only have a few morning emails to answer. I try my best to take these little gifts of extra time and use them wisely.</p>
<p>My busy schedule this year is the inspiration for PipeBandDrummer's new video series: <strong>Five Long Minutes</strong>. Over the coming months I'll be posting different rudiments, common musical phrases and technique challenges--all in five minute chunks--designed to fit into your busy day.</p>
<p>The series begins with Five Long Minutes of Intro Rolls. I thought it appropriate to use intro rolls for the first video as they are always played first themselves. Intro rolls are often overlooked by competitive drummers and that is a huge mistake! The execution of intro rolls can sometimes be the difference between winning and losing a contest--I have learned this painful lesson the hard way. Please learn from my mistakes and practice your intro rolls. There are approximately 80 of them in the video below, all played to a metronome at 74 bpm. All you need to do is find five minutes in your day...</p>
<p> </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="uT4XXBAgCUI" data-video-thumb-url="https://img.youtube.com/vi/uT4XXBAgCUI/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/uT4XXBAgCUI?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Have fun practicing your intro rolls! Until next time...</p>
<p>Happy Drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/54077512018-08-30T14:46:09-03:002019-05-17T13:04:19-03:00How Slow Can You Go?: Breaking Down the Massed Band 6/8<p>Welcome to the third part of a three part series on slowing down the North American massed band scores. I've saved the 6/8 for last because it has some very tricky parts in it.</p>
<ol> <li>The very first note of the first part is almost always played incorrectly. The first introductory 8th note should be played exactly on the <strong><em>third </em></strong>note of the three-note 6/8 grouping. More often than not this note is played too soon (almost as if it's the second note of a duplet) and this destroys the swing of the score before it's even begun!</li> <li>The two seven stroke rolls in the first bar of the first part should also start on the third note of the three-note 6/8 grouping. If the roll is started too early the swing of the score is lost. To facilitate the execution of this roll make sure it is played quietly with very short buzzes. If the roll is played with longer buzzes at loud volumes it will <em>always</em> end late and the swing of the score will suffer.</li> <li>For the "Ams-ter-dam" rhythms in the second, third and fourth bars, make sure the "ter" syllable is not played too early. Putting a lot of "weight" (holding the first note slightly) on the "Ams" syllable will help in this regard.</li> <li>The first two rolls in the second part should be played as the first two notes of a 16th note sextuplet subdivision. The taps should be played on the 5th and 6th notes of the same sextuplet. Unfortunately, this creates a hole in the middle of the sextuplet that must be filled by lengthening the second buzz (demonstrated on the video).</li> <li>The first roll in the second bar of the second part is what I call a "VERY fast five". The subdivision for this roll is 32nd notes: if each 8th note of the three-note 6/8 grouping is divided into four equal parts you get twelve sixteenth notes. The two buzzes of this roll would be played on the seventh and eighth 32nd notes and the "tap" would be played on the ninth. Needless to say, these buzzes must be played very quickly. Remember to play the buzzes quietly to make things easier.</li> <li>Watch out for the seven stroke roll leading into the third part! Don't start it too early!</li> <li>The third part contains some tricky drag rudiments packed into the first two bars. First off we have a drag tap, followed by another drag tap, followed by a double drag tap into a drag and stroke. This bar is the reason we should all stop procrastinating our drag rudiment practice.</li>
</ol>
<p>So that's it for the 6/8. When you're going through it I encourage you to listen to the slow tempo recording and follow along with the music a few times before playing along. That way you can get some of the roll and "Ams-ter-dam" subdivisions into your head. The 6/8 can sound really great if it is played with the intended swing so it is well worth the effort (and slow practice) to make it happen! Have fun with the videos below:</p>
<p> </p>
<p><span class="font_large">Massed Band 6/8: Slow Tempo</span></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="PgbenA-UTIE" data-video-thumb-url="https://img.youtube.com/vi/PgbenA-UTIE/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/PgbenA-UTIE?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p><span class="font_large">Massed Band 6/8: Medium Tempo</span></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="GPSt5n0F4HU" data-video-thumb-url="https://img.youtube.com/vi/GPSt5n0F4HU/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/GPSt5n0F4HU?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p><span class="font_large">Massed Band 6/8: March Tempo</span></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="ou5YWedpmMs" data-video-thumb-url="https://img.youtube.com/vi/ou5YWedpmMs/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/ou5YWedpmMs?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Until next time,</p>
<p>Happy Drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/53975972018-08-22T18:30:36-03:002022-01-30T07:07:18-04:00How Slow Can You Go?: Breaking Down the Massed Band 3/4<p>This week we'll be discussing the North American massed band 3/4 drum score. The 3/4 is the easiest of the three massed band scores to play but there are still a couple of sections to keep an eye on.</p>
<ol> <li>Drags: In the second part there are a series of drags and tap drags played over a series of eighth and sixteenth notes. If we interpret the notation literally--as I have done in the videos below--this passage should be played <em><strong>without</strong></em> swing. As the pipe band drumming style has evolved, however, so has the interpretation of this section. These days the drag taps are almost always played <em><strong>with</strong></em> swing.</li> <li>"Fast" and "Slow" Fives: The fourth part of the 3/4 score is similar to the first part of the 4/4 in that it uses "fast" and "slow" five stroke rolls in close proximity. Remember that the underlying subdivision of the "slow" five is sixteenth note triplets and the underlying subdivision of the "fast" five is 32nd note sextuplets.</li>
</ol>
<p>The massed band 3/4 is also very useful for practicing "easy" rolls like the sevens and thirteens found in the first and third parts. Unfortunately for many inexperienced drum corps, the inability to start and end these "easy" rolls together can lead to many comments on the score sheet (not good ones). Practicing and corps-ing this score (even the easy parts) is very useful for improving general drum corps unison. We'll start with the slowest version:</p>
<p> </p>
<p><span class="font_large">Massed Band 3/4 (Slow Tempo)</span></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="91gycSc_k4w" data-video-thumb-url="https://img.youtube.com/vi/91gycSc_k4w/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/91gycSc_k4w?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p><span class="font_large">Massed Band 3/4 (Medium Tempo)</span></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="RTiKwqScos0" data-video-thumb-url="https://img.youtube.com/vi/RTiKwqScos0/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/RTiKwqScos0?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p><span class="font_large">Massed Band 3/4 (March Tempo)</span></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="1BkR8UfJDms" data-video-thumb-url="https://img.youtube.com/vi/1BkR8UfJDms/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/1BkR8UfJDms?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p>Next week we'll be breaking down the massed band 6/8 score. Until then, happy drumming!</p>
<p> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/53825122018-08-10T15:24:29-03:002021-04-21T14:03:00-03:00How Slow Can You Go?: Breaking Down the Massed Band 4/4<p>This week on the blog we'll be breaking down the North American massed band 4/4 drum score. The massed band scores have been around a while and they have quite a history. Dave Coleman, from the Fredericton Society of St. Andrew's Pipe Band, provided me with some history: </p>
<p>"The massed band drum scores used in North America were formalized by Hugh Cameron and (I think) Dave Constant circa 1977 or early 1978 based on 1- and 2-bar phrases employed by Alex Duthart, Army Manuals and others in much older scores. Hugh was a member of the PPBSO Music Board in those days and, as I recall, they were originally composed at the behest of the PPBSO to provide a higher standard for massed band scores at Highland Games and other occasions where a collection of pipe bands may come together to play as a single unit. Not all drummers were musically literate in those days (even in Grade 1 Bands), and these scores were sometimes the first ones written to a commonly-accepted standard learned by both new and experienced players alike. The scores caught on and became widely used in North America over the next few years. (For example, the scores were learned and used by the drummers of the massed pipes & drums of the Nova Scotia Tattoo in 1979.) Hugh Cameron would certainly be able to provide more history and insight as to how they were put together and originally communicated." -- David Coleman</p>
<p>Despite the age of the massed band scores, they still have value from an educational perspective. Unfortunately, innumerable lead drummers have changed the scores to make them easier or to "dumb them down" for inexperienced players. Full disclosure: I have done the same thing changing drags to flams, switching difficult stickings out for easier ones etc. But, in order to realize the educational potential of these scores, we need to get back to playing them correctly!</p>
<p> </p>
<p>And... what is the best way to (re)learn a score correctly? You guessed it: by playing it <strong><em>slowly</em></strong>!</p>
<p> </p>
<p>The massed band 4/4 drum score contains many rudiments but there are three that stand out to me as being particularly tricky, and therefore candidates for slow, repetitive practice (thank goodness a video exists that you can rewind again and again!).</p>
<ol> <li>Five Stroke Rolls: In the first line, you will be confronted with a series of "slow" and "fast" fives. "Slow" fives begin on the "dot" of a dot/cut and "fast" fives begin on the "cut" of the dot/cut. The buzz strokes of the "fast" five are played exactly twice as fast as those of the "slow" five. The contrasting speed of the buzzes in both iterations of the five stroke roll are really only distinguishable at slow speeds so have a listen to the slowest version of the score before playing along.</li> <li>Accented Rolls: In the second part, you are met with accented rolls (known also as "back to back" or "cut" sixes). These rolls are played as sixteenth note triplets. Note that the "accent" is not really played as a heavy stroke. Instead it is merely a tap instead of a buzz.</li> <li>Drags: In the third part you will be met head on by a difficult series of drags played on both hands. This is one of the hardest sections to execute properly in all of the three massed band scores. Playing at slow tempos will help <em>considerably</em> when practicing this section. Try to remember to "place" the dead stroke of the drag instead of "playing" it to avoid any unwanted "buzz".</li>
</ol>
<p> </p>
<p>The videos below contain the massed band 4/4 played at three speeds: slow, medium and fast (march tempo). I recorded the first two with a metronome set to a triplet pulse to aid in playing both the dot/cut rhythms and the roll pulses correctly. The "march tempo" version is recorded with a simple eighth note pulse. If you would like to follow along <a contents="download a copy of the music&nbsp;from the PPBSO website" data-link-label="" data-link-type="url" href="http://ppbso.org/wp-content/uploads/2013/11/Massed_Bands_Drum_Scores.pdf" target="_blank">download a copy of the music from the PPBSO website</a>. Let's get started!</p>
<p> </p>
<p><span class="font_large">Massed Band 4/4 (Slow Tempo)</span></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="TVvv6siCgnM" data-video-thumb-url="https://img.youtube.com/vi/TVvv6siCgnM/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/TVvv6siCgnM?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p><span class="font_large">Massed Band 4/4 (Medium Tempo)</span></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="5RkFfVbOWG8" data-video-thumb-url="https://img.youtube.com/vi/5RkFfVbOWG8/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/5RkFfVbOWG8?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p><span class="font_large">Massed Band 4/4 (March Tempo)</span></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="NgXnu2wp7gU" data-video-thumb-url="https://img.youtube.com/vi/NgXnu2wp7gU/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/NgXnu2wp7gU?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Next week we'll be slowing down the massed band 3/4. Until then, happy drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/53522822018-07-18T17:12:54-03:002018-07-19T07:04:01-03:00I Hate Competing Solo... So why do I do it??<p>I have a confession to make that I've never told anyone: I <em>hate</em> competing solo. There. I said it. When it's just me, a piper and a judge, I get nervous, my memory fails me, my hands turn to stone and my confidence goes bye-bye. I am dogged by feelings of insecurity and self-criticism as a little voice in my head pokes at me with reminders of why I should quit and what I did wrong. The judge's sheets don't help my internal negativity either. Here's a sample of the judge's comments (with my translations) from my most recent competition:</p>
<p> </p>
<p><em>Judge</em>: "play softer on soft bits". <em>My Translation</em>: "I suck at playing quietly"</p>
<p><em>Judge</em>: "tempo picking up". <em>My Translation</em>: "I can't keep time"</p>
<p><em>Judge</em>: "Rushing a bit and losing the phrasing". <em>My Translation</em>: "I'm so nervous that I'm not listening to my piper and relaxing with the music. I'm an Idiot"</p>
<p><em>Judge</em>: "You seem very 'fired up!'". <em>My Translation</em>: "I'm playing too loud because I can't play quietly"</p>
<p><em>Judge</em>: "Open work a bit shaky". <em>My Translation</em>: "I tried to play more quietly here but failed miserably"</p>
<p><em>Judge</em>: "Softer bits and more relaxed overall. It's as if you're trying too hard". <em>My Translation</em>: *shakes head. Mutters under breath...</p>
<p> </p>
<p>And so on... and so on...</p>
<p> </p>
<p>Sigh...</p>
<p> </p>
<p>So... why do I continue to compete solo when it causes me so much misery??</p>
<p> </p>
<p>The answer is simple...</p>
<p>...I just want to challenge myself and continue to get better.</p>
<p> </p>
<p>But...</p>
<p> </p>
<p>I'm 45 years old, I run an educational website for pipe band drummers and I'm in charge of the drumming program for both bands in my organization! I should be a better drummer! I should be able to play quieter! In fact, if I'm going to teach <em>anyone</em> I should be in the professional grade right?? Enter self doubt... again... ugh.</p>
<p> </p>
<p>Let's take a look at where my self doubt originates...</p>
<p>I have always had this nagging feeling that I've been "behind the 8-ball" musically my entire life. When I arrived at the Rob Roy organization in Ontario at 12 years old, the "good" drummers were my age. I always felt like I was playing "catch up". Then, when I began my music degree (percussion/education) at Acadia, I was behind on the mallet instruments and timpani and worked for five years (never quite making it) to catch up to my class mates. When I got my first job teaching drum kit I had students that were better than me. I would show up early to work most days to make sure I could play things just a little faster/better than them!</p>
<p>From 1991-2011 I took a twenty year break where I continued teaching drum kit, touring and recording as a sideman and singing, writing songs and playing guitar with my own folk band. Needless to say, when I returned to the pipe band drumming scene after this long break my feelings of being firmly "behind the 8-ball" returned with a vengeance.</p>
<p>Logically I know that if I had taken the time during my life that I spent on learning piano, saxophone, percussion, drum kit, guitar, sound recording, live sound reinforcement, song-writing and singing and had concentrated only on pipe band snare, I would be a much better pipe band drummer! However, I chose a different path and, to be honest, I think I would do the same thing again given the choice.</p>
<p>My time spent on other musical pursuits has given me skills that are very useful in my role as a teacher and lead drummer: the ability to compose, the ear for tuning and orchestrating the bass section, the ability to read music, an understanding of ensemble playing, a good sense of time and groove and the ability to build a strong team. So it's not all bad.</p>
<p>But those feelings of inadequacy are still there...</p>
<p> </p>
<p>So...</p>
<p> </p>
<p>I got to thinking about how I can flip my insecurity and negativity into positives and came up with a few ideas. I need to APPRECIATE the positives of competing solo. When I actually sat down to think about it I realized there were many positives, some I'd never even thought about!</p>
<p> </p>
<ul> <li>It is a HUGE Personal Challenge: Graduating university was a huge challenge for me. So was touring with a band in a mini-van throughout North America. PipeBandDrummer.com has been the biggest project I've ever attempted. I've <em>enjoyed</em> these challenges, <em>especially</em> when I've finished them! Playing solo should be no different. When I do have a nice, relaxed play (hopefully sometime soon) that will be a huge victory for me!</li>
</ul>
<p> </p>
<ul> <li>I Love The Camaraderie: The drummers against whom I'm competing are a bunch of really nice guys-- very humble, encouraging and completely self-depracating. They are also very good drummers and the competition is fierce. We have fun.</li>
</ul>
<p> </p>
<ul> <li>It <em>Forces</em> Me to Get Better: In the week following my last competition I've spent at least half an hour every day playing through my MSR and HP/J as quietly as I can. I've even noticed some positive results which is always a plus.</li>
</ul>
<p> </p>
<ul> <li>I Can Set a Positive Example: I truly believe that competing solo is the best way to improve your individual playing. If people know I'm freaking out when I compete but I do it anyway, hopefully that can inspire others that may be experiencing the same anxieties.</li>
</ul>
<p> </p>
<p>In closing I encourage everyone to get out there and compete solo. If you get nervous, experience memory lapses, feel sick to your stomach or find every muscle in your body is hyper tense, please know that you're not alone. If you're older, you need to know that it's <em>never too late</em> to start, or to pick up from where you left off as a kid. Let's all get out there and play in front of a judge, get our humbling score sheets and go back to the woodshed with a mission to improve. We're all in this together. We can do this!!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/53203522018-06-27T15:39:43-03:002018-06-27T15:50:27-03:00Video Blog: What is the Point of Practicing?<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="KRckrRoEaww" data-video-thumb-url="https://img.youtube.com/vi/KRckrRoEaww/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/KRckrRoEaww?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>
<p>Knowing the point of practicing is the <em>most</em> important piece of information you will ever learn if your goal is to improve your playing. It is incredible to me that ABSOLUTELY NO ONE KNOWS this crucial piece of information!! When I ask new students what the point of practicing is, every one of them gives the same answer: "to get better". "Getting better" is definitely NOT the point of practicing. Instead, it is merely a BY-PRODUCT or BENEFIT you'll receive if you understand the actual point of practice. It's time to let the cat out of the bag and spread the word:</p>
<p>The point of practicing is to PLAY CORRECTLY!!</p>
<p>Once I tell my students this crucial bit of information they inevitably look at me and say "well that's obvious!" to which I reply "if it's that obvious why couldn't you tell me?"</p>
<p>The act of playing a drum, or any musical instrument for that matter, is a series of specific body movements performed accurately in sequence. Logic dictates that if you are going to learn a series of movements on any instrument, it would be of great benefit to learn those movements correctly from the beginning.</p>
<p>So many students, however, make the mistake of playing too quickly, too loudly or inaccurately when they first learn certain drumming movements. And, because these movements are learned incorrectly, they must then UNLEARN and then RELEARN these movements. My question to students is "why not learn the movements correctly the first time?"</p>
<p>For today's video I've invited a special guest to join me--one of my "students" who certainly does NOT understand the point of practicing. If his "practice session" looks like yours it's time to take a new approach. Accurate practice (usually done slowly) leads to accurate muscle "memory". Once your hands are familiar with the movements they need to execute, increased speed and facility will occur organically over time. Many times, on both drum kit and pipe band snare, I have demonstrated to my students the power of slowing things down and getting the movements correct. They are always amazed. Some have even said it's like a "magic trick"! But trust me, it's no trick. It's simply self-discipline, common sense and work-ethic.</p>
<p>If you're having a problem with a particularly difficult rudiment or phrase in a drum score, try the following:</p>
<ol> <li>Slow it way down so you can play it perfectly. Use a metronome to help make sure your rhythm is accurate</li> <li>Once the passage is learned, play it very slowly 10 times in a row. If you get to 9 and make a mistake, go back to zero and start again</li> <li>When the passage can be played 10 times in a row, try playing it faster. I think you'll be very happy with the results!</li>
</ol>
<p>Next week I'll be discussing more helpful tips and tricks for practice. Until then... Happy Drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/53118722018-06-22T18:29:29-03:002020-04-21T09:20:20-03:00Video Blog: Taking it Slow!<p>Today on the Ups and Downs is the first of what I hope will be many video blogs! Playing slowly is a skill that takes lots of patience and practice but it can have an amazing affect on your personal time keeping, feel and drum corps unison playing. Today I'm going to be breaking down three sections from the massed band scores we know and love.</p>
<p>When playing slowly, it is of utmost importance to maintain the rhythmic integrity of the music despite the drastic change in speed. If you break things down correctly, rolls will sound "spread out" as the space between the individual buzzes grows. Check out the video below:</p>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="enZzsWqHZAI" data-video-thumb-url="https://img.youtube.com/vi/enZzsWqHZAI/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/enZzsWqHZAI?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p>As always, suggestions and comments are welcome! Feel free to either comment on the blog post itself or on Youtube. And, if you'd like to receive notifications of new videos, please feel to subscribe to PBD on Youtube. Thank you for your support and happy drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/52924032018-06-13T14:21:17-03:002018-06-13T14:21:17-03:00Roll Call: Identifying Rolls in Your Written Music (Part X: The Strathspey)<p>Welcome to the final blog post of "Roll Call"! This week we'll be looking at the execution and use of rhythm syllables for rolls in a strathspey. As I've discussed in previous blog posts the strathspey is the least understood, most frustrating and mysterious style we play. Amorphous terms like "bounce", "pulse", "lift" and "strong-weak-medium-weak" are thrown around liberally but never fully explained. Rolls in the strathspey style can also be confusing as several types of rolls can appear in multiple ways. To make matters even more interesting, rhythm syllables in the strathspey are borrowed from the <a contents="march" data-link-label="March Theory and Rhythm Syllables" data-link-type="page" href="/march-theory-and-rhythm-syllables" target="_blank">march</a>, <a contents="round reel" data-link-label="Reel Theory and Rhythm Syllables" data-link-type="page" href="/reel-theory-and-rhythm-syllables" target="_blank">round reel</a> and <a contents="jig" data-link-label="Jig Theory and Rhythm Syllables" data-link-type="page" href="/jig-theory-and-rhythm-syllables" target="_blank">jig</a> styles! The rolls that commonly appear in strathspeys are:</p>
<ul> <li>Four stroke rolls</li> <li>Five stroke rolls</li> <li>Six stroke rolls</li> <li>Seven stroke rolls</li> <li>Eight stroke rolls</li> <li>Nine stroke rolls</li> <li>Sixteen stroke rolls</li> <li>Seventeen stroke rolls</li>
</ul>
<p>The first line of each musical example contains the roll as it would appear in the music and then, on the line below, each roll is broken down into its individual tap and buzz strokes. In each breakdown I have placed an accent on the last note of odd numbered rolls and on the first <em>and</em> last note of even numbered rolls to help define the roll visually. In a drum score, the final note of a roll is NOT always accented.</p>
<p> </p>
<p><strong><span class="font_large">Four and Five Stroke Rolls</span></strong></p>
<p>Fours and fives can either appear as part of a triplet, as in examples #1, #2 and #3 or on the "cut" of a dot/cut or cut/dot rhythm. The rhythm syllables used for each example for both fours and fives are borrowed from the <a contents="jig" data-link-label="Jig Theory and Rhythm Syllables" data-link-type="page" href="/jig-theory-and-rhythm-syllables" target="_blank">jig</a>. If you prefer to use more traditional syllables I'll include those as well.</p>
<ul> <li>Example #1: Jig-a dee dee or One-a trip let</li> <li>Example #2: Dee jig-a dee or One trip-a let</li> <li>Example #3: Dee dee jig-a or One trip let-a</li> <li>Example #4: Jig-a dee [dee] or One-a trip [let] (the eighth note rest is in brackets as it should be said but not played)</li> <li>Example #5: Dee [dee] jig-a or One [trip] let-a</li>
</ul>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/1bb03ab15823143faa74b01fccbcb5dec0caef1b/original/screen-shot-2018-06-13-at-12-34-27-am.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Five stroke rolls use the same syllables as fours but are written without an accent and played with a buzz on the first note. The rhythm syllables above also apply to the following five stroke rolls.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/be4e8de55a4b27156712a607071eec51c4d62f0a/original/screen-shot-2018-06-13-at-12-34-45-am.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">Six and Seven Stroke Rolls</span></strong></p>
<p>Six stroke rolls are the hardest of the strathspey rolls to recognize as they can begin on three different types of notes: regular eighth notes, triplet eighth notes or dotted eighth notes! For the first three examples the rhythm syllables are borrowed from the <a contents="round reel" data-link-label="Reel Theory and Rhythm Syllables" data-link-type="page" href="/reel-theory-and-rhythm-syllables" target="_blank">round reel</a> and the <a contents="march" data-link-label="March Theory and Rhythm Syllables" data-link-type="page" href="/march-theory-and-rhythm-syllables" target="_blank">march</a>. For the final two examples, the application of rhythm syllables is difficult so I'll provide a written description to clarify. Examples #1 and #2 borrow their syllables from the round reel style and example #3 steals its syllables from the march.</p>
<ul> <li>Example #1: Ti-ka Ti-ka or 1-e-&-a (one-ee-an-da)</li> <li>Example #2: Ti-ka Ti-ka Tah or <strong>1</strong>-e-&-a <strong>2</strong> (<strong>one</strong>-ee-an-da <strong>two</strong>)</li> <li>Example #3: Can-I Ca-na-da Boom or <strong>1</strong>-e-an-a-da <strong>2</strong> (<strong>one</strong>-ee-an-a-da <strong>two</strong>)</li>
</ul>
<p>Example #4 and #5 are a little more complicated. In both of these examples the six stroke roll is written as part of a triplet. However, the roll must be played as a "triplet within a triplet" to achieve the proper execution. Obviously, triplets are made up of three notes. In both #4 and #5 the six stroke roll is played as a faster triplet over two notes of the original triplet. In example #4, the "triplet within a triplet" occurs over the <em>last two notes</em> of the original triplet. In example #5 the "triplet within a triplet" occurs over the last note of the first group of three and the first note of the second group of three. Notice the fact that the two triplets are beamed together as there is no way to properly write this rhythm if the triplets are separated. This bizarre type of subdivision is but one of the many reasons why the strathspey style is misunderstood and poorly executed by so many players. It has become clear to me that a video blog that further explains this "triplet within a triplet" phenomenon would be useful so look for that in the coming weeks.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/db4643014457ff57b0a34b100d2727ece0148ccf/original/screen-shot-2018-06-13-at-12-51-37-pm.png" class="size_orig justify_center border_" /></p>
<p>Seven stroke rolls commonly appear in two ways. The first, as in example #1 below, is the most common beginning on a dotted sixteenth note. The rhythm syllables are borrowed from the round reel style:</p>
<ul> <li>Example #1: Ti-ka Ti-ka or 1-e-&-a (One-ee-an-da)</li>
</ul>
<p>Examples #2 and #3 of the seven stroke roll are played the same way as examples #4 and #5 for the six stroke roll above.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/a4c1ab8022b2f6bf13e3d3d4660fb34605a5459b/original/screen-shot-2018-06-13-at-1-13-54-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>Eight and Nine Stroke Rolls</strong></span></p>
<p>Finally we come to some rolls that are quite straightforward! The rhythm syllables both examples are borrowed from the round reel style:</p>
<ul> <li>Example #1: Ti-ka Ti-ka Tah or <strong>1</strong>-e-&-a <strong>2</strong> (<strong>One</strong>-ee-an-da <strong>Two</strong>)</li> <li>Example #2: *Tim-ri Ti-ka Ti-ka or <strong>1</strong> [e-&] a <strong>2</strong> (<strong>One</strong> [ee-an] da <strong>Two</strong>)</li>
</ul>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/df70db125be22e05b329bf0dbf087485338b9d3a/original/screen-shot-2018-06-13-at-12-36-05-am.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>The nine stroke roll is played the same way as the eight but with a buzz on the first note instead of a tap. The rhythm syllables used are also identical.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/aeca27776eb360eebd122c13aa9d616d2c73ba5d/original/screen-shot-2018-06-13-at-12-36-35-am.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>*The rhythm syllable "Tim-ri" is not included in the "Round Reel: Theory and Rhythm Syllables" section of the site. The "Tim" syllable occurs on the first of a group of four notes and the "ri" syllable occurs on the last note of a group of four. Using the standard counting "1-e-&-a" the "Tim" would be said on "1" and the "ri" would be said on "a".</p>
<p> </p>
<p><span class="font_large"><strong>Sixteen and Seventeen Stroke Rolls</strong></span></p>
<p>The rhythm syllables for sixteens and seventeens are the same for both types of rolls and are also borrowed from the round reel style.</p>
<ul> <li>Examples #1 and #2: Ti-ka Ti-ka Ti-ka Ti-ka Tah or <strong>1</strong>-e-&-a <strong>2</strong>-e-&-a <strong>3</strong> (<strong>One</strong>-ee-an-da <strong>Two</strong>-ee-an-da <strong>Three</strong>)</li>
</ul>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/75b369a4b0936aba902109ebbc00db1882677d49/original/screen-shot-2018-06-13-at-12-36-59-am.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Again, the even numbered roll begins with a tap as in the example above and the odd number roll begins with a buzz as in the example below.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/d710231b0212805d369063a429c0210f40f175f2/original/screen-shot-2018-06-13-at-12-37-16-am.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>That's a wrap for Roll Call! If any of you have any questions or require further explanation, please contact me! I'm always looking for ideas for new blog posts and the ones that come from you always get priority. Now that you have this blog series to use as a reference start looking at your music and begin the process of identifying and properly executing your rolls in each style. Let me know where you're having success or if you encounter any roadblocks. We'll get through this together!</p>
<p>Thanks to all of you that have shared the blog posts so far, subscribed to the <a contents="Youtube channel " data-link-label="" data-link-type="url" href="https://www.youtube.com/channel/UCziuSsxI8EkKJn1scC5oadA" target="_blank">Youtube channel </a>and have checked out the <a contents="newly renovated rudiments section" data-link-label="Our Rudiments" data-link-type="page" href="/our-rudiments" target="_blank">newly renovated rudiments section</a> (now with video examples). The more people that know about the site the more people I can help to understand and learn our awesome style of drumming!</p>
<p>Until next time...</p>
<p>Happy Drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/52518402018-05-23T12:48:55-03:002018-05-23T13:00:22-03:00Roll Call: Identifying Rolls in Your Written Music (Part IX: The Strathspey)<p>In part IX of "Roll Call" we will be learning to identify rolls within the most musically complex style we play: the strathspey. A typical strathspey contains the following rolls types:</p>
<ul> <li>Four stroke rolls</li> <li>Five stroke rolls</li> <li>Six stroke rolls</li> <li>Seven stroke rolls</li> <li>Eight stroke rolls</li> <li>Nine stroke rolls</li> <li>Sixteen stroke rolls</li> <li>Seventeen stroke rolls</li>
</ul>
<p>As many of you already know, some strathspeys may contain difficult roll passages that include ten, eleven, twelve and even thirteen stroke rolls. However, these rolls are quite rare and usually only appear in higher level drum scores (grades 1 & 2). For this reason I have chosen not to include them in this post.</p>
<p>Unfortunately, like the style itself, strathspey rolls are complicated and a little confusing. Take the six stroke roll for example: In a 2/4 march a six <em>always</em> begins on a regular eighth note--no exceptions. In a strathspey, however, a six stroke roll can begin with either a dotted eighth note, a regular eighth note or a triplet eighth note! It's no wonder the strathspey style remains mysterious to so many of us. Let's start unravelling this mystery with fours and fives...</p>
<p> </p>
<p><span class="font_large"><strong>Four and Five Stroke Rolls</strong></span></p>
<p>Four stroke rolls are not that common in strathspeys but they do happen occasionally, especially as part of a long roll sequence inherent in the style. Fours most often occur as part of an eighth note triplet (examples #1, #2 and #3 below) but they also appear on the "cut" (sixteenth) note of a cut/dot or "buddy" rhythm (examples #4 and #5).</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/0cb83384522a97e98f21980b263ab9c7e4c758ca/original/screen-shot-2018-05-22-at-11-08-34-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Five stroke rolls are much more common than fours. In fact, all of the examples below could easily appear in a grade 4 or 5 drum score. Fives appear identical to fours but are written without an accent on the first note of the roll.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/e880ceb57535dd5d3741438139db845c16eafbab/original/screen-shot-2018-05-22-at-11-08-57-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>Six and Seven Stroke Rolls</strong></span></p>
<p>In examples #1 and #2 below we see the two most common occurrences of the six stroke roll. Both of these rolls begin with a dotted eighth note. In example #3, the roll begins with a regular eighth note and is played as part of the "Jigga-da" movement commonly found in grade 3 level scores and above. Finally, in examples #4 and #5, we see the six beginning on a triplet eighth note. These sixes written over triplets are very common within long roll movements.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/3324ea2db2c5464444df081dffeb745bdcf3ac21/original/screen-shot-2018-05-22-at-11-09-23-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>In every other style (2/4 march, round reel, jig, 6/8 march) there are an equal number of six stroke and seven stroke rolls. In the strathspey style, however, you'll see five types of six stroke rolls but only three types of sevens. The most common seven stroke roll begins with a dotted eighth note as in example #1 below. When looking at your long roll sequences you are sure to see seven stroke rolls written over triplets as in example #2 and #3.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/22aa8abb50727a04db4ee64729190cad94979e8f/original/screen-shot-2018-05-22-at-11-09-44-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>Eight and Nine Stroke Rolls</strong></span></p>
<p>Eights and nines are typically used in two places: the beginning and ending of a musical phrase. At least several "first" and "third" bars in a strathspey will contain an eight or nine stroke roll. They also commonly appear as the final roll at the end of a part. In their most common form, eights and nines begin with a quarter note and can therefore be identified quite easily as in example #1 below.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/5515efed5f0384f4f62f0a247daa6dc2fbec2531/original/screen-shot-2018-05-22-at-11-10-16-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Every so often, in higher level scores, you'll see an eight or nine begin on the "cut" note of the "dot/cut" rhythm as in example #2 above. This location of the roll provides a great deal of syncopation helping to propel the music forward. Nine stroke rolls look the same as eights but are not written with an accent on the first note as in the examples below.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/fcab8539a07907b838744977ee17e01985e85596/original/screen-shot-2018-05-22-at-11-10-33-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>Sixteen and Seventeen Stroke Rolls</strong></span></p>
<p>Sixteens and seventeens take up two full beats but are included in strathspeys within longer crescendo roll movements. These longer rolls are much easier for less experienced drum corps to crescendo than shorter rolls. They can begin either with a half note (example #1 below) or with a quarter note (example #2).</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/8e31e9f95c4a0099a100a1d89b987a8119303f4e/original/screen-shot-2018-05-22-at-11-10-55-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Seventeens appear identical to sixteens but are written without an accent as in the examples below.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/e017071da1ed273479925a46db3b18743d7c714a/original/screen-shot-2018-05-22-at-11-11-14-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Now grab yourself a strathspey score and see if you can pick out your rolls! Remember that it's only the starting note of the roll that defines it. Next week I'll be FINISHING this ten part series discussing the use of rhythm syllables and providing rhythmic breakdowns for these rolls. Until then, happy drumming!</p>
<p> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/52374592018-05-16T12:01:13-03:002018-05-16T12:28:58-03:00Roll Call: Identifying Rolls in Your Written Music (Part VIII: The 6/8 March Cont'd)<p>The rolls in a 6/8 march are the most complex you'll find in any style. Whereas the rolls of a 2/4 march contain mostly triplet sixteenth subdivisions, rolls in the 6/8 march contain three distinct subdivisions:</p>
<ul> <li>Triplet eighth notes (the triplet takes up the space of the first two notes of the standard 6/8 note grouping)</li> <li>Sixteenth notes</li> <li>Thirty-second notes</li>
</ul>
<p>Keep in mind that in a 2/4 march there are four sixteenth notes and eight thirty second notes per beat. In a 6/8 march, however, there are six sixteenth notes and twelve thirty-second notes per beat due to the fact we're working in compound time (groups of three).</p>
<p>Compared with the other styles we've covered so far 6/8 marches contain a very small number of rolls--only five. However, the degree of difficulty for these rolls is very high, highest in fact with the five stroke roll...</p>
<p> </p>
<p><strong><span class="font_large">Five Stroke Rolls</span></strong></p>
<p>In a 6/8 march five stroke rolls can be played with one of three subdivisions. The choice of subdivision depends on which part of the beat the roll begins. In example #1 below (the slow five) the triplet eighth subdivision is used. In my experience this subdivision needs a little tweaking to fit into the music: to execute the roll correctly there should be a slight pause between the second buzz and the final stroke. This pause in the timing can be compensated for by drawing out the second buzz slightly to fill this gap.</p>
<p>Up to this point we have only discussed "fast" and "slow" five stroke rolls. In the 6/8 march, however, there are THREE types of five: "slow", "fast" and "very fast"! The second example below is the "fast" five using a sixteenth note subdivision. Example #3 is the same "fast" five but starting on a solo eighth note.</p>
<p>Example #4 is a "very fast" five. This iteration of the five stroke roll uses thirty-second notes as its subdivision and requires good technique to play well. The fact that this roll is contained in North American massed band scores makes me scratch my head. It is very hard to play at standard march speed.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/17f760b9aae7f8db9f0927bdad8e913ff702dfba/original/screen-shot-2018-05-15-at-9-26-13-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>Six and Seven Stroke Rolls</strong></span></p>
<p>Sixes and sevens use the same triplet eighth note subdivision as the "slow" five but, unlike the "slow" five, no tweaking to the rhythm is necessary. Example #1 below shows the six stroke roll and example #2 is the seven (rhythmically identical to the six but beginning with a "buzz" instead of an accent).</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/8fedea7a7bd29912a3fc1fd23588cbfbe3901a11/original/screen-shot-2018-05-15-at-9-28-13-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>Thirteen Stroke Rolls</strong></span></p>
<p>Thirteen stroke rolls are always played with a sixteenth note subdivision. They can be played on beat one (as in example #1), beat two (as in example #2) or off the beat as in examples #3 and #4 (examples #3 and #4 differ only in appearance--it's simply two ways of writing the same thing). </p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/c1fcca0474cc5e31a7f0318f9e3ac5575c79cf6a/original/screen-shot-2018-05-15-at-9-37-37-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">Twenty Five Stroke Rolls</span></strong></p>
<p>I've really only ever seen a twenty five stroke roll in the massed band 6/8 score. It is played the same way as intro rolls using sextuplet subdivisions. Example #1 and #2 are played the same way but are written differently, depending on the personal preference of the composer. Both, in theory (pun intended), are correct.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/114c8a02c940967106597348837fbcbd47b8b2cf/original/screen-shot-2018-05-15-at-9-57-38-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Phew! 6/8 march rolls can be hard on the head! As always I appreciate the comments I've received on the posts by email, on the blog posts themselves and on the facebook page. I took those comments into consideration while working on this latest post and they were very helpful! Keep them coming! Next week we'll be discussing rolls in the final style we play: The strathspey. Until then, happy drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/52134342018-05-02T13:37:54-03:002018-05-04T14:50:06-03:00Roll Call: Identifying Rolls in Your Written Music (Part VII: The 6/8 March)<p>This week we'll be discussing the all important but often forgotten style: <a contents="The 6/8 March" data-link-label="6/8 March Theory and Rhythm Syllables" data-link-type="page" href="/6-8-march-theory-and-rhythm-syllables" target="_blank">The 6/8 March</a>. In competitive piping and drumming the 6/8 march is rarely used. It sometimes makes an appearance in march medleys in the lower grades but is extremely rare in the upper grades. However, on parade and in massed bands, 6/8 marches are very common. Unfortunately, in most bands, parade tunes are always the last to be practiced. The stylistic considerations and the all important "swing" inherent in the 6/8 march style are never emphasized to the necessary degree.</p>
<p>The rolls commonly found in 6/8 marches are as follows:</p>
<ul> <li>Five Stroke Rolls (fast and slow)</li> <li>Six Stroke Rolls</li> <li>Seven Stroke Rolls</li> <li>Thirteen Stroke Rolls</li> <li>Twenty Five Stroke Rolls</li>
</ul>
<p>Let's begin with fives...</p>
<p> </p>
<p><span class="font_large"><strong>Five Stroke Rolls</strong></span></p>
<p>In 6/8 marches, five stroke rolls appear in both "fast" and "slow" versions as in the examples below:</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/85b8f0284ad77da639d1902ac26fa30a3c6ff828/original/screen-shot-2018-05-01-at-12-35-37-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>The first three examples above show several versions of "slow" five stroke rolls. A "slow" five is easy to execute as its buzzes are played at a manageable speed. "Slow" fives begin either with an eighth note or a dotted eighth note. Example #4 illustrates a "fast" five". In a fast five, the two buzzes of the roll must be played very quickly. A "fast" five always begins on a sixteenth note.</p>
<p> </p>
<p><span class="font_large"><strong>Six and Seven Stroke Rolls</strong></span></p>
<p>In the 6/8 march six stroke rolls always begin with an accented quarter note as in examples #1 and #2 below. Seven stroke rolls also begin with a quarter note but start with a buzz instead of an accent as in examples #3 and #4.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/fa0302bdb99467d80006eeca8ae0c78fced5b923/original/screen-shot-2018-05-01-at-12-39-22-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>Thirteen Stroke Rolls</strong></span></p>
<p>Thirteens can be easily identified in a 6/8 march as they always begin with a dotted quarter note. Example #1 shows a thirteen beginning on the first beat of the bar and example #2 shows a thirteen beginning on beat two.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/6c9602f003e856b4f4afcaa16ea38b1a73ff7220/original/screen-shot-2018-05-02-at-12-49-05-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>Twenty Five Stroke Rolls</strong></span></p>
<p>The only place you'll find a twenty five stroke roll (other than intro rolls) is in the last part of the North American massed band 6/8 drum score. You'll find it written one of two ways: using a dotted half note as in example #1 or using two dotted quarter notes tied together as in example #2.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/4841a1278a61626930631de4757438b8018a777d/original/screen-shot-2018-05-01-at-12-40-14-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>The Mystery of the Massed Band 6/8</strong></span></p>
<p>Those of us living in North America have had many chances to play the "Massed Band 6/8" drum score. The first two bars of the score look like this...</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/fe7409cbdbea9f0f72e007565dc64628cd216ee1/original/screen-shot-2018-05-01-at-12-48-41-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>The first half of the line above (example #1 above) is copied from the score itself. According to the written music, drummers should be executing two seven stroke rolls in the first bar. For clarification I've provided a rhythmic breakdown of these seven stroke rolls in example #2 above. As you can see, these two seven stroke rolls must be played VERY quickly in order to fit the written rhythm. That is EXTREMELY difficult to do!! In order to fit this seven stroke roll into the music drummers have been starting the seven stroke roll earlier than they should. Here's the result:</p>
<p> </p>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="P_PYBo1bPUo" data-video-thumb-url="https://img.youtube.com/vi/P_PYBo1bPUo/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/P_PYBo1bPUo?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p style="text-align: center;"> </p>
<p>Notice that the first bar of the 6/8 has none of the triplet swing necessary for the correct interpretation of the 6/8 march style. Instead, the result (when written) would look something like the example below:</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/52af6363b2ba826075144b5965316afe71af1566/original/screen-shot-2018-05-01-at-12-48-57-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>When we play a 6/8 in massed bands we are essentially playing a bar of 2/4 march before going back to 6/8 in the bar that follows as in example #1 above. Example #2 is a rhythmic breakdown of this (incorrect) interpretation. The reason we interpret the first bar of the massed band 6/8 incorrectly is because it is too difficult--especially for beginners. This oversight from the composer(s) of the 6/8 score has caused confusion for both teachers and students for many years. All that is needed to rectify this situation is a simple fix: replace the two seven stroke rolls in the first bar with two fives as in the example below. This is so much easier to play and the triplet swing it creates will get your massed band 6/8 off on the right (or should I say left?) foot!</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/ae7e74226ba08f40e16e9de370be03b143225584/original/screen-shot-2018-05-01-at-12-49-20-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Next week we'll be discussing the breakdown and use of rhythm syllables to aid in interpreting your rolls in the 6/8 march. Thanks to everyone that has commented on the posts and sent me messages with critiques/ideas for future blog posts and encouraging words. Until next time, happy drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/52006582018-04-25T12:11:27-03:002018-06-21T19:15:14-03:00Roll Call: Identifying Rolls in Your Written Music (Part VI: The Jig Cont'd)<p>As discussed in <a contents="Part V" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/the-ups-and-downs/blog/roll-call-identifying-rolls-in-your-written-music-part-v-the-jig" target="_blank">Part V</a>, jigs are written in 6/8, a compound time signature based on groups of three. Today we will discuss the rhythmic breakdown of rolls found in the jig style and the use of rhythm syllables (where possible/appropriate) to assist in executing them correctly. Let's begin with fours and fives:</p>
<p> </p>
<p><strong><span class="font_large">Four (Cut Four) and Five Stroke Rolls</span></strong></p>
<p>The execution of four stroke rolls in the jig are fairly straightforward. In example #1 the first accent and the buzz of the cut four are played as triplet sixteenths and the triplet uses the syllables "jig-a jig ah". It would also be possible to borrow syllables from the round reel and use "ticka ti ti" (pronounced "ticka-tee-tee"). The syllables for example #2 would be either "Jig jig-ga jig" or "ti ticka ti". If a cut four is played as a bridge between two sets of triplets as in example #3 the syllables for the entire bar would be either "jig ah jig-ga Jig-gi-ty" or "ti ti ticka ti ti ti". And finally, if the cut four is played after a quarter note, the syllables used are either "Jig sig-ga Jig-gi-ty" or "Tah ticka ti ti ti". For a "jig syllable refresher" click <a contents="here" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/jig-theory-and-rhythm-syllables" target="_blank">here</a>.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/fab4c76f2b8bb98eefa47d4243d231948d1fd165/original/screen-shot-2018-04-05-at-2-35-11-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Five Stroke rolls are executed the same way excepting the fact a buzz is played in place of an accent on the first note.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/7d1f0d96f55278813f1ba9ff0c4d8ff8d2cf63d1/original/screen-shot-2018-04-05-at-2-35-26-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>Six and Seven Stroke Rolls</strong></span></p>
<p><strong>Full disclosure</strong>: In my original blog post I had the six and seven stroke rolls presented using a quadruplet. However, thanks to Tomm MacKenzie from Arnprior who pointed out an easier way to do things, I realized that I had been incorrect in my use of the quadruplet, instead I have edited the post to reflect Tomm's suggestion of using an eighth note triplet subdivision.</p>
<p>In example #1 below, the triplet takes up the space of the first two eighth notes of the jig's three note grouping. In essence, it's a triplet within a triplet! In example #2, the triplet takes up the space of the second two notes of the jig's grouping. In example #3 (the last two bars) the triplet goes "over the beat" in the first roll and "over the bar" in the second roll. It looks a little more complicated but the timing of the roll is the same--the only difference being that the triplet is played in the same space taken up by the last and first note of the three note jig grouping.</p>
<p>Because the timing of the "triplet within a triplet" is a little tricky to execute with rhythm syllables, find a good teacher or veteran drummer to demonstrate this timing. Once you hear it/see it everything will become much more clear.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/0e14b4f97b2ac09c7c24feae8187c8392461bd9a/original/screen-shot-2018-06-21-at-7-04-42-pm.png/!!/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_xl justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>Eight and Nine Stroke Rolls</strong></span></p>
<p>Eight and nine stroke rolls are executed using a quadruplet that takes up the space of one three note jig grouping.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/59faf8843edb3bd61559e4e38edaed2e7befc3bb/original/screen-shot-2018-04-05-at-2-36-34-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Example #1 begins on the first note of the triplet and uses a dotted quarter note. Example #2 begins on the second note of the triplet and uses a quarter note and a "hidden" eighth note. Example #3 begins on the third note of the triplet and uses an eighth note followed by a "hidden" quarter note. Eight stroke rolls begin with an accent as in the examples above and nine stroke rolls begin with a "buzz". </p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/6199cbe7538303f20f2912e15db1d34a936ebe6e/original/screen-shot-2018-04-05-at-2-36-56-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>The easiest rhythm syllables to use for eights and nines is borrowed from the march style: "Can-I-Get-A". Using this rhythm syllable in example #1 will help you get a sense of the quadruplet pulse. Using rhythm syllables in examples #2 and #3 is much more complex but it is achievable once you are comfortable with example #1.</p>
<p> </p>
<p><span class="font_large"><strong>Sixteen and Seventeen Stroke Rolls</strong></span></p>
<p>Both sixteens and seventeens contain two sets of quadruplet roll pulses making them pretty easy to play. Use the syllables "Can-I-Get-A Can-I-Get-A" to aid in executing these longer rolls. In example #1, the sixteen begins with a dotted half note. In example #2 the sixteen begins with a dotted quarter note and is followed by another "hidden" dotted quarter note.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/e088f9238207f92a1a17acd5f5bbe680aa404368/original/screen-shot-2018-04-25-at-12-18-06-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Sixteen stroke rolls begin with an accent as in the examples above and seventeens begin with a "buzz" stroke as in the examples below:</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/1a00e1f96faa1e1e37c11ad86198863c0efc57ba/original/screen-shot-2018-04-25-at-12-49-44-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Next week we'll be discussing rolls found in the 6/8 march style. Until then, have fun breaking down and wrapping your head around your rolls in the jig style!</p>
<p>Happy Drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/51640252018-04-04T14:35:46-03:002021-06-21T10:00:45-03:00Roll Call: Identifying Rolls in Your Written Music (Part V: The Jig)<p>Welcome to Part V of Roll Call! In this ten part series I'll be focusing on the identification and execution of rolls in the five styles of music we play. Today we'll be concentrating on the jig style. The jig style is written in 6/8 (a compound time signature). Compound time signatures are based on groups of three as opposed to the march and round reel styles that are based predominantly on groups of two and four. The rolls most commonly found in the jig style are as follows:</p>
<ul> <li>Four Stroke Rolls</li> <li>Five Stroke Rolls</li> <li>Six Stroke Rolls</li> <li>Seven Stroke Rolls</li> <li>Eight Stroke Rolls</li> <li>Nine Stroke Rolls</li> <li>Sixteen Stroke Rolls</li> <li>Seventeen Stroke Rolls</li>
</ul>
<p>Let's begin with fours and fives...</p>
<p> </p>
<p><span class="font_large"><strong>Four and Five Stroke Rolls</strong></span></p>
<p>Both four and five stroke rolls begin with an eighth note. The first three examples below demonstrate how a four stroke roll appears when it begins on the first, second and third note of the triplet. Example #4 shows how the appearance of the four changes slightly when it begins on a single eighth note not physically connected to a triplet. The second row of examples are all five stroke rolls that differ from the fours slightly in that they begin with a buzz stroke and not a tap. This is indicated by the lack of an accent on the first note of the roll.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/a9939effdfa8b34b7fc7ba1a002297d433a44780/original/screen-shot-2018-04-04-at-12-46-06-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>Six and Seven Stroke Rolls</strong></span></p>
<p>Sixes and sevens can be recognized easily as they almost always start with a quarter note. In lower grade scores this is almost always the case as in examples #1 and #2. In example #3, which happens occasionally in upper grade scores, the sixes and sevens can begin on the third note of a triplet (an eighth note) and contain a "hidden" roll note. It should be noted that the first eighth note, when combined with the "hidden" eighth note, equal a quarter note. As with fours and fives, sixes have an accent on the first note and sevens do not.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/33f7c0d623b934c3aed357fd8e899027f76b2ed8/original/screen-shot-2018-06-21-at-7-09-48-pm.png/!!/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_xl justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">Eight and Nine Stroke Rolls</span></strong></p>
<p>Eight and nine stroke rolls are exactly one beat long (they are worth three eighth notes or, more commonly, a dotted quarter note). In lower grades nine stroke rolls are most commonly played on the beat as in example #1. In higher grade scores eights and nines can be played on either the second note of the triplet as in example #2 or the third note of the triplet as in example #3. Note that in examples #2 and #3 the starting note plus the "hidden" note add up to a dotted quarter note.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/80d5cdb97107c1cf5478851389eb30e15d375a44/original/screen-shot-2018-04-04-at-2-56-13-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">Sixteen and Seventeen Stroke Rolls</span></strong></p>
<p>This is the first appearance of sixteen stroke rolls on this website. They are very rare and only appear occasionally in the jig and strathspey styles. The same holds true for seventeen stroke rolls. However, just because they are rare doesn't mean they don't pop up every once in a while. When you do see either a sixteen or seventeen it can be identified by the fact that it starts on either a dotted half note, as in example #1, or a dotted quarter note (used if the roll doesn't begin on the first beat of the bar).</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/79ff40127fd889471080daf7f534309bb785c4f8/original/screen-shot-2018-04-04-at-12-47-20-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>In example #2 above, the sixteen begins on the second beat of the bar on a dotted quarter note but uses a "hidden" roll note. In example #3 the sixteen is written differently. It is played the same way as in example #1 but uses two dotted quarter notes tied together to show the number of beat involved. Older pipe band drum scores, and classical snare drum music, use this way of notating rolls. "Hidden" roll notes are found only in pipe band drumming notation. Example #4 shows the older way of writing example #2. Either way of writing these longer rolls is acceptable.</p>
<p> </p>
<p>Next week we'll talk about the execution and use of rhythm syllables for all our rolls in the jig style. Until then, happy drumming!</p>
<p> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/51501472018-03-28T13:50:01-03:002018-03-28T14:03:46-03:00Roll Call: Identifying Rolls in Your Written Music (Part IV: The Round Reel Cont'd)<p>In "Roll Call" Part IV I'll be discussing the breakdown and use of rhythm syllables for rolls commonly found in the round reel. This has been a very challenging section to write and has been very "eye-opening" as the exact timing for certain rolls in the round reel cannot be notated exactly as played. Rolls are not exactly played as triplets as in the march, nor are they played using quadruplets. Instead, many of the rolls are played using slight modifications of the buzz strokes to make sure the final note of the roll lands where it should. Despite the fact that even numbered rolls are not necessarily heavily accented I have included accents in the breakdowns below to act as a visual aid. Let's begin with the four and five stroke rolls which are pretty straight forward.</p>
<p> </p>
<p><strong><span class="font_large">Four and Five Stroke Rolls</span></strong></p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/7ea879dcac6ec170663d1197c0ed5add14b6ae43/original/screen-shot-2018-03-28-at-12-21-18-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>To interpret the buzzes in the four stroke roll correctly, use the syllables "ticka-ti". The syllables for the five stroke roll are the same:</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/50a5ca040b0003ceaba6b45ead87e8541cd9ebcc/original/screen-shot-2018-03-28-at-12-33-09-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>Six and Seven Stroke Rolls</strong></span></p>
<p>Sixes and Sevens are broken down into triplets in a round reel as in the march style. The rhythm syllables "Trip-a-let Tah" are used when the roll ends on a quarter note and the syllables "Trip-a-let Ti" are used when the rolls ends on an eighth note.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/9cf5f5c841a4583de830def1247a6830e6b9e759/original/screen-shot-2018-03-28-at-12-22-01-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>The six begins with an accent and the seven begins with a buzz.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/f4ea55ad4e4871f50cf43ad972eeb68b8ed31ff7/original/screen-shot-2018-03-28-at-12-22-17-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>Eight and Nine Stroke Rolls</strong></span></p>
<p> </p>
<p>Now here's where things get a little more interesting... I made a conscious choice in the last blog post to leave out eights and nines because they didn't seem to appear that often in round reels. However, going through my music these past couple of weeks has shown me that eights and nines DO appear and that, depending on the tempo of the pipe tune, they can be used at faster speeds to great effect. Eights and Nines appear rhythmically identical to tens and elevens with the only difference being the speed of the buzzes (reflected in the breakdowns of each roll).</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/5de5efb05c018242782c50d925848e3c6b87e1b0/original/screen-shot-2018-03-28-at-12-59-42-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>This is where drumming notation fails us! As you can see in the example above, the end of an eight stroke roll happens on the "&" of "2". But, in the break down, the eight stroke roll looks like it ends on the second note of the second triplet. This is the point where we, as musicians, have to change the rhythm of our triplet buzzes and slow down the last couple of buzzes slightly so that the roll ends successfully on the "&" of "2". This is a skill best practiced with a metronome. Using the "trip-a-let" rhythm syllables will get you started but as you adjust the timing of your buzzes the syllables won't be much help. Move away from the syllables and use a metronome and your ears to end your roll on the correct part of the beat. The same is true for the nine stroke roll.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/fa93ec226681301740e7a2bc57a913180ff0ee77/original/screen-shot-2018-03-28-at-1-00-11-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">Ten and Eleven Stroke Rolls</span></strong></p>
<p> </p>
<p>Even though ten and eleven stroke rolls look identical rhythmically when compared with eights and nines, they are <em>quite different</em> when broken down. This difference lies in the changes to the speed of the buzzes within the roll.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/29a43349a19dcda97346d5057bfa1ab840bd5f2e/original/screen-shot-2018-03-28-at-12-23-22-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>To make the timing of the tens and elevens work, the last two buzzes of the roll must be played slightly faster than written to make sure the roll ends on the "&" of "2". As with the eights and nines, the rhythm syllables will help you initially but when you begin to adjust the timing of the rolls use your ears and a metronome to ensure they are ending precisely on the "&" of "2".</p>
<p>In the roll breakdown for both tens and elevens, I've included an alternative rhythm in examples #3 and #4. This approach uses a quadruplet rhythm with the syllables "ti ticka ticka ti". To make this approach work, move the second buzz (the first note of the ticka ticka) slightly closer to the first "ti". As you are making this adjustment to the timing, remember again to use your ears and a metronome to make sure the roll ends exactly on beat "2".</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/34e63642fdb7e187dd646990b965c6f8f3876bde/original/screen-shot-2018-03-28-at-12-23-39-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>Twelve and Thirteen Stroke Rolls</strong></span></p>
<p>Now we can breathe a sigh of relief as these rolls are once again straightforward. Use the syllables "Trip-a-let Trip-a-let Tah".</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/7edaa9d90a56d47b5a164e0c38a7f6422501516c/original/screen-shot-2018-03-28-at-12-23-51-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>The thirteen is executed identically to the twelve except it begins with a buzz not an accent.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/bbcc30cb5b609f51fb145d708009b140d1a4abf5/original/screen-shot-2018-03-28-at-12-24-04-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Phew! There are your rolls for the round reel! As always, questions and comments are appreciated. I've had several comments about adding video and audio to aid in the interpretation of these posts and I am currently in the process of making that happen. Video is more complicated than audio but I'm enjoying the learning curve and hope to have video become a major part of these blog posts in the near future. Thanks for your patience with this--just one of the many challenges of having a staff of one! Until next week, when we'll discuss the appearance and breakdowns of rolls in the jig style, happy drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/51036152018-02-28T13:27:00-04:002018-03-15T11:20:31-03:00Roll Call: Identifying Rolls in Your Written Music (Part III: The Round Reel)<p>This week, in part three of "Roll Call", we'll be discussing how rolls appear in the <a contents="round reel" data-link-label="Reel Theory and Rhythm Syllables" data-link-type="page" href="/reel-theory-and-rhythm-syllables" target="_blank">round reel</a>. In the pipe band drumming idiom there are two types of reels: those that are played with swing (using dot and cut rhythms) and those that are played round (sometimes referred to as "straight"). While reels played with swing are found in both competition MSRs and medleys, round reels are found only in medleys. They both use a time signature of 2/2 (or cut time) and are composed primarily of three types of notes (quarter, eighth and sixteenth). Round reels contain the following rolls:</p>
<ul> <li>Four stroke (cut four)</li> <li>Five stroke</li> <li>Six stroke</li> <li>Seven Stroke</li> <li>Ten Stroke</li> <li>Eleven Stroke</li> <li>Twelve Stroke</li> <li>Thirteen Stroke</li>
</ul>
<p>In the examples below I have combined rolls that appear identical with the exception of an accent on the first note. The even numbered rolls are on the first line of every musical example followed by the odd numbered rolls on the second line. Let's start with the four and five stroke rolls:</p>
<p> </p>
<p><strong><span class="font_large">Four & Five Stroke Rolls</span></strong></p>
<p>In a round reel, both four and five stroke rolls start with an eighth note. In the second example, the rolls are shown as they appear if written "over the beat" (if the first and last note of the roll are part of different note groupings). The final example shows two rolls starting on the beat and played back to back.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/5578df9cd643c4342201ef90ed821bb94c8d5665/original/screen-shot-2018-02-28-at-11-39-13-am.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>Six & Seven Stroke Rolls</strong></span></p>
<p>In the round reel style, six and seven stroke rolls start with a quarter note if the roll begins on a beat as in example #1. If the "six" or" seven" does <em>not</em> begin on a beat its appearance changes significantly as in examples #2, 3 and 4. The "six" contains an accent on the first note but is otherwise identical to the "seven".</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/6ac028eb79b6f4a3f6949a52a3ca42cf529d50fd/original/screen-shot-2018-02-28-at-11-39-05-am.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>Ten & Eleven Stroke Rolls</strong></span></p>
<p>Ten and eleven stroke rolls can sometimes be the toughest to identify because, depending on the musical context in which they're used, their appearance can vary significantly. Example #1 is certainly the most common for "tens" and "elevens" that begin on beats "1" or "3" but example #2 is used occasionally, depending on the composer of the score. When a "ten" or "eleven" begins on an off-beat, its appearance changes dramatically as in examples #3 and 4.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/c0f42c1d399743bb2130e4ea978610c34c5cb428/original/screen-shot-2018-02-28-at-11-39-25-am.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">Twelve & Thirteen Stroke Rolls</span></strong></p>
<p>The longest rolls you'll see in a round reel are the twelve and thirteen stroke rolls. Example #1 starts with a half note. A "twelve" and "thirteen" will <em>also</em> start with a half note if written on the third beat of the bar. When a "twelve" or "thirteen" is written on the second beat (example #2) or fourth beat (example #3) of the bar, the roll begins with a quarter note.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/5c10fae040e4977d92368e463ca275eb7ff4b642/original/screen-shot-2018-02-28-at-11-39-42-am.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>The round reel is the simplest style of the five that we play. In lower grade drum scores there are only eight possible rolls you will encounter in your written music. Even in upper grade drum scores it is extremely rare to see a roll other than the eight mentioned above. Have fun identifying your rolls in your round reel style and if you need to brush up on your music theory for this style click <a contents="here" data-link-label="Reel Theory and Rhythm Syllables" data-link-type="page" href="/reel-theory-and-rhythm-syllables" target="_blank">here</a>. Next week I'll break down each of these rolls and discuss their proper execution. Until then, happy drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/50914562018-02-21T14:16:37-04:002018-02-21T23:50:30-04:00Roll Call: Using Rhythm Syllables (March)<p>To add to last week's post, it is possible to use rhythm syllables (as found in <a contents="The Bare Bones" data-link-label="March Theory and Rhythm Syllables" data-link-type="page" href="/march-theory-and-rhythm-syllables" target="_blank">The Bare Bones</a> Reading System) to help you figure out the timing of your buzz strokes. In an effort to streamline the post I have elected to exclude the syllables for the reel as they are identical to those syllables used in the march. The rolls (as written in a score) are on the first line of each example and the rhythmic breakdown of each roll is on the second line. This week I'll go through each roll and its accompanying rhythm syllables, starting with the trizzlet:</p>
<p> </p>
<p><strong><span class="font_large">The Trizzlet</span></strong></p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/1401688c440fcce1008f65303dcf3dddbbbd20c4/original/screen-shot-2018-02-14-at-12-21-23-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>The rhythm syllables used for the first line in the above example are (in order from left to right):</p>
<ul> <li>"Canada Hay"</li> <li>"Canada Bay-Bee"</li> <li>"Canada Canada"</li> <li>"Canada Can-I-Get-A"</li>
</ul>
<p>The rhythm syllables used for the roll breakdowns (second line), however, need an extra syllable inserted to account for the addition of the buzz between the first and second notes of the triplet. Choices for the new syllable include "One-<strong>a</strong>-trip-let Hay" or "Cad-<strong>a</strong>-na-da Hay" (where the first two syllables are said twice as fast as the last two) or, if any of you remember, the "Hug-<strong>a</strong>-mug-a" syllables from the old Maxwell House coffee commercials a few years back. Any of these would work.</p>
<p> </p>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="LZZ1xZfpqrs" data-video-thumb-url="https://img.youtube.com/vi/LZZ1xZfpqrs/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/LZZ1xZfpqrs?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p style="text-align: center;"> </p>
<p><span class="font_large"><strong>The Four Stroke Roll (Cut Four)</strong></span></p>
<p>The rhythm syllables used for the roll breakdown in the example below are (in order from left to right): </p>
<ul> <li>Canada Hay </li> <li>Canada Bay-Bee </li> <li>Canada Canada </li> <li>Canada Can-I-Get-A</li>
</ul>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/7eb2741e00eca817b49b6fd5a3cef852a712de79/original/screen-shot-2018-02-14-at-12-22-16-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>The Five Stroke Roll</strong></span></p>
<p>For the "slow five" the rhythm syllables used for the first line in the example below are (in order from left to right): </p>
<ul> <li>Canada Hay </li> <li>Canada Bay-Bee </li> <li>Canada Canada </li> <li>Canada Can-I-Get-A</li>
</ul>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/3efcae2c0e3659b454681031451702824e7986d0/original/screen-shot-2018-02-14-at-12-23-46-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>For the "fast five", the rhythm syllables needed for the roll breakdown are identical to those used with the trizzlet. However, the last syllable is silent. Let's use the "One-<strong>a</strong>-Trip-Let" syllables as an example. First off, it is important, when saying these syllables, to say the first two syllables ("One-a") twice as fast as the last two ("Trip-let"). Once you're able to say the syllable correctly, <strong>play only on the first THREE syllables but still say ALL FOUR</strong>. This will ensure the rhythmic integrity of the roll and maintain the correct space between notes. In the examples below, syllables that should be <em>said </em>and <em>not played</em> will have brackets around them. These syllables apply to the first "fast five" on the left. As you move from right to left, the "fast five" syllables will remain constant but the syllables after the "fast five" will change from "Hay" to "Bay-Bee", "Canada" and "Can-I Get-A".</p>
<ul> <li>One-<strong>a</strong>-trip-(let) Hay</li> <li>Cad-<strong>a</strong>-na-(da) Hay</li> <li>Hug-<strong>a</strong>-Mug-(a) Hay</li>
</ul>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/d4db09418f1bbf5eb4db817d936b94460ad52fc6/original/screen-shot-2018-02-14-at-12-23-03-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>The Six Stroke Roll</strong></span></p>
<p>With the six stroke roll everything starts to get easier. The syllables used for the roll breakdown are as follows:</p>
<ul> <li>Canada Hay</li> <li>Canada Bay-Bee</li> <li>Canada Canada</li> <li>Canada Can-I-Get-A</li>
</ul>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/30be15922f5068f39f5ad002439c0ceb6a2860c1/original/screen-shot-2018-02-14-at-12-24-27-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>The Seven Stroke Roll</strong></span></p>
<p>The syllables for the roll breakdowns in the seven stroke roll are identical to those used in the six stroke roll:</p>
<ul> <li>Canada Hay</li> <li>Canada Bay-Bee</li> <li>Canada Canada</li> <li>Canada Can-I-Get-A</li>
</ul>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/365cd9527ee60edecf9a39f580ab165426fae9da/original/screen-shot-2018-02-14-at-12-25-01-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>The Ten Stroke Roll</strong></span></p>
<p>The rhythmic breakdown of the ten stroke is as follows:</p>
<ul> <li>Example #1: Canada Canada</li> <li>Example #2: Canada Canada</li> <li>Example #3: Canada Canada</li> <li>Example #4: Hay Canada Canada Hay</li>
</ul>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/f145b30118ac98f7703ff2916db2afd7425b0c62/original/screen-shot-2018-02-14-at-12-25-49-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">The Eleven Stroke Roll</span></strong></p>
<p>The rhythmic breakdown for the eleven stroke roll uses the same syllables as ten stroke rolls:</p>
<ul> <li>Example #1: Canada Canada</li> <li>Example #2: Canada Canada</li> <li>Example #3: Canada Canada</li> <li>Example #4: Hay Canada Canada Hay</li>
</ul>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/b762d2d7854097bab1155485ed9f884c2bcb0b3d/original/screen-shot-2018-02-14-at-12-26-21-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">The Twelve Stroke Roll</span></strong></p>
<p>The breakdown of the twelve stroke roll uses the following syllables:</p>
<ul> <li>Canada Canada Boom</li>
</ul>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/4d373d1a29e85c5eaecbd0fcaf34708589a8b4c4/original/screen-shot-2018-02-14-at-12-26-56-pm.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/d9d95e33656d054699d5f80aa6cdd99d8996994d/original/screen-shot-2018-02-14-at-12-27-20-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">The Thirteen Stroke Roll</span></strong></p>
<p>The thirteen stroke roll uses the same syllables in its rhythmic breakdown as the twelve stroke roll:</p>
<ul> <li>Canada Canada Boom</li>
</ul>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/a8146d5dc9cccece43e1999fb23be1008227c815/original/screen-shot-2018-02-14-at-12-28-14-pm.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/2bc689b4048f0bd79572c6b1866e9355b4653cce/original/screen-shot-2018-02-14-at-12-28-31-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>The use of rhythm syllables is a powerful tool that can help you improve the execution of your rolls. A big thanks to Steve for the blog comments that spawned this post. As always, if you have any questions, comments, constructive criticism or requests for future posts, please get in touch! Until next week, happy drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/50794432018-02-14T15:49:55-04:002018-02-22T12:37:20-04:00Roll Call: Identifying Rolls in Your Written Music (Part II: The March Cont'd)<p><a contents="Last week" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/the-ups-and-downs/blog/roll-call-identifying-rolls-in-your-written-music-part-i-the-march" target="_blank">Last week</a> we learned how to identify every type of roll used in a march or reel. Now that we know what the different rolls look like it's time to move on to how they are played. Before we begin, there are a couple of things you should know...</p>
<p> </p>
<ul> <li>With <strong>NO</strong> exceptions, rolls in a <a contents="march" data-link-label="March Theory and Rhythm Syllables" data-link-type="page" href="/march-theory-and-rhythm-syllables" target="_blank">march</a> or reel are always played within a triplet or sextuplet grouping (dividing the beat equally into three or six parts).</li> <li>To interpret the following examples correctly you must be aware of a couple of notation issues. <ul> <li>When you see a roll marking (two slashes) on a note and that note is <em>alone</em> (not tied to another note), it is to be played as a single buzz.</li> <li>Slashes on a note do NOT tell you what kind of roll you are supposed to be playing. The rule for slashes is simple: if the note is a quarter note or larger it gets three slashes. If a note is an eighth note or smaller it gets two slashes.</li> </ul> </li> <li>Because the smaller rolls (trizzlets, fours and fives) are rarely seen in isolation I have attached the most common rhythms that accompany them.</li> <li>If you find the rhythmic breakdown of each roll confusing, please feel free to check out <a contents="The Bare Bones" data-link-label="The Bare Bones" data-link-type="page" href="/the-bare-bones" target="_blank">The Bare Bones</a> where you'll find an extensive <a contents="theory section" data-link-label="March Theory and Rhythm Syllables" data-link-type="page" href="/march-theory-and-rhythm-syllables" target="_blank">theory section</a> complete with rhythm syllables to help you improve your rhythm comprehension.</li>
</ul>
<p> </p>
<p>To make things easier, I've taken the musical examples from Part I and placed the rhythmic breakdowns below for both march and reel. Let's start with the trizzlet:</p>
<p> </p>
<p><span class="font_large"><strong>The Trizzlet</strong></span></p>
<p>For a trizzlet in a march, the right hand plays three equal strokes and the left buzz fits between the first two right hands. In reality, I have found the trizzlet is actually easier to execute placing the left buzz closer to the first note. This achieves a sound similar to flicking one of those springy doorstops we could never leave alone as kids.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/1401688c440fcce1008f65303dcf3dddbbbd20c4/original/screen-shot-2018-02-14-at-12-21-23-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>In a reel, the trizzlet appears slightly different but is executed in the same fashion.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/4590c3bfea71ae71c65c59b9f67ac22305c646f9/original/screen-shot-2018-02-14-at-12-21-57-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>The Cut Four (Four Stroke Roll)</strong></span></p>
<p>In a march the cut four appears as a simple sixteenth note triplet but, like the trizzlet, it is easier to execute by moving the buzz closer to the first accent and getting the same "springy doorstop" effect.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/7eb2741e00eca817b49b6fd5a3cef852a712de79/original/screen-shot-2018-02-14-at-12-22-16-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>In a reel the cut four uses an eighth note triplet.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/aeff56f56b6359d7ad6df3e0903631d951d03e7f/original/screen-shot-2018-02-14-at-12-22-42-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>The Five Stroke Roll</strong></span></p>
<p>Last week we learned about the two types of five stroke rolls you'll encounter: the "slow" five and the "fast" five. The slow five is by far the easier of the two to play. It is played over a sixteenth note triplet in the march. </p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/3efcae2c0e3659b454681031451702824e7986d0/original/screen-shot-2018-02-14-at-12-23-46-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>It is played over an eighth note triplet in a reel.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/b735a04d0db9cb7f57ea959de71293356ff9a388/original/screen-shot-2018-02-14-at-12-24-05-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>The correct execution of the fast five is very difficult and, unfortunately for young drummers, it is included in Canadian massed band scores--supposedly written so that "everyone can play them easily" (that's a topic for another day). Where all other rolls in both marches and reels are played within a triplet grouping, fast fives require a <em>sextuplet</em> grouping. In a march the two buzzes and one stroke in the five should be played on the first three notes of a thirty-second note sextuplet. This requires solid control of the buzz strokes, a <em>finely tuned</em> ability to subdivide and better than average hand speed. No wonder young drummers find this version of the five so difficult to execute. This sextuplet subdivision is broken down in the example below:</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/d4db09418f1bbf5eb4db817d936b94460ad52fc6/original/screen-shot-2018-02-14-at-12-23-03-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>In a march, if a half beat is broken down into six parts to form a sextuplet, those notes <em>must</em> be thirty-second notes. In the example above, you can see that the first two buzzes are thirty-seconds with the stroke at the end of the roll landing on a sixteenth note. To finish off the grouping you'll see a sixteenth note rest. Let's do some simple math to see if the note values add up to a sextuplet: 32nd + 32nd + 16th (worth two 32nds) + 16th rest (also worth two 32nds) = six 32nd notes!</p>
<p>In a reel the sextuplet will be made up of sixteenth notes but the effect is the same.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/9cb353b0c8cd5792430ba5b7b6156ceecc2037b7/original/screen-shot-2018-02-14-at-12-23-27-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">The Six Stroke Roll</span></strong></p>
<p>In a march, the six stroke roll consists of a stroke, two buzzes and a stroke played over a sixteenth note triplet grouping.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/30be15922f5068f39f5ad002439c0ceb6a2860c1/original/screen-shot-2018-02-14-at-12-24-27-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>In a reel the six stroke roll is played over an eighth note triplet grouping.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/c2bbaba74b7619e1f26975c2ac5a1d803ba17bbf/original/screen-shot-2018-02-14-at-12-24-45-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">The Seven Stroke Roll</span></strong></p>
<p>The rhythm of the seven stroke roll is the same as the six stroke roll with a buzz substituted for the first accented stroke of the six.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/365cd9527ee60edecf9a39f580ab165426fae9da/original/screen-shot-2018-02-14-at-12-25-01-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>The same for the reel...</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/bf732d9af4958f95fdb44fe38148725259d0b48c/original/screen-shot-2018-02-14-at-12-25-22-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">The Ten Stroke Roll</span></strong></p>
<p>As discussed last week, a ten stroke roll can appear one of three ways in your written music, depending on the composer of the score. The first three examples below are the variations I have seen. The fourth example shows what the ten stroke roll looks like when it is played "over the beat". Even though the first three rolls look different, they are all played the same way.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/f145b30118ac98f7703ff2916db2afd7425b0c62/original/screen-shot-2018-02-14-at-12-25-49-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Notice the physical changes to the appearance of the ten stroke roll in a reel.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/773da8e0e13fed84a721387c80faf5dc4c60636d/original/screen-shot-2018-02-14-at-12-26-05-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">The Eleven Stroke Roll</span></strong></p>
<p>The eleven stroke roll is identical to the ten in appearance with the exception of the accent on the first note. In the breakdown of the roll please notice that the first note of the first triplet is now a buzz stroke.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/b762d2d7854097bab1155485ed9f884c2bcb0b3d/original/screen-shot-2018-02-14-at-12-26-21-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Note the similar changes in a reel...</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/ed62ea29f656d3307c18887bdb0f1e6f4be887f8/original/screen-shot-2018-02-14-at-12-26-39-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>The Twelve Stroke Roll</strong></span></p>
<p>One of the most common rolls is the twelve stroke. In the breakdown note the accent on the first note of the first sixteenth triplet.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/4d373d1a29e85c5eaecbd0fcaf34708589a8b4c4/original/screen-shot-2018-02-14-at-12-26-56-pm.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/d9d95e33656d054699d5f80aa6cdd99d8996994d/original/screen-shot-2018-02-14-at-12-27-20-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>And in the reel...</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/a8400dc038cc464e04aab71aafbf7cc83fb7c8a7/original/screen-shot-2018-02-14-at-12-27-37-pm.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/6ac9bb875a82eb7f975533d07044fccc3d0c6e06/original/screen-shot-2018-02-14-at-12-27-51-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><strong><span class="font_large">The Thirteen Stroke Roll</span></strong></p>
<p>And finally, the thirteen stroke roll: very common and easy to execute--six buzzes and a stroke at the end. The thirteen is identical rhythmically to the twelve but with a buzz on the first note instead of an accent.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/a8146d5dc9cccece43e1999fb23be1008227c815/original/screen-shot-2018-02-14-at-12-28-14-pm.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/2bc689b4048f0bd79572c6b1866e9355b4653cce/original/screen-shot-2018-02-14-at-12-28-31-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>And in the reel...</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/f6e98e120d60e7d18530bb95812ee98930d77bc1/original/screen-shot-2018-02-14-at-12-28-44-pm.png" class="size_l justify_center border_" /><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/220fb73d26eb5d1c15c66b5d2cd8ff9419038b9f/original/screen-shot-2018-02-14-at-12-29-25-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>So that's it! Now you can take a look at your march music and identify and properly execute your rolls. Next week we'll be taking a look at the <a contents="round reel" data-link-label="Reel Theory and Rhythm Syllables" data-link-type="page" href="/reel-theory-and-rhythm-syllables" target="_blank">round reel</a> and identifying rolls within that style. I have recently received several emails from subscribers asking for extra help or clarification on various blog posts. Thank you! The questions and comments really help and I use them to make future posts more clear and concise. Keep the questions coming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/50672992018-02-09T14:27:27-04:002018-02-09T14:32:35-04:00Roll Call: Identifying Rolls in Your Written Music (Part I: The March)<p>In an earlier blog post (<a contents="Know Your Roll" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/the-ups-and-downs/blog/know-your-roll-recognizing-five-stroke-rolls-in-your-written-music" target="_blank">Know Your Roll</a>), I attempted to help drummers identify a five stroke roll across the five styles of music we play. After some reflection, I realized a change in approach was needed. Instead of teaching drummers to identify <em>one</em> <em>particular roll</em> in all styles I figured it would be much more efficient to target <em>one particular musical style</em> and show how all rolls within that style appear. This week, we will be starting with the March style.</p>
<p>Rolls in a 2/4 march appear the same way as they do in 3/4, 4/4, 5/4 marches as well as 2/4 hornpipes. In MSR reels (those written with swing), they look slightly different because of the 2/2 (cut time) time signature. I will include examples of written rolls for both marches and reels.</p>
<p>Before we begin, it is important to know a couple of things:</p>
<ul> <li>The length of a roll (whether it's a five, seven etc.) is determined by the FIRST note of the roll only. The only exception being if the roll is long enough to be played "over the beat" and contains a "hidden note"--more on this later.</li> <li>Second, rolls can look different depending on where they are located within the bar.</li>
</ul>
<p> </p>
<p>Let's get started...</p>
<p><span class="font_large"><strong>The Trizzlet</strong></span></p>
<p>Trizzlets are <em>always</em> played as sixteenth note triplets in a march. Even when they are connected to other rhythms as in the first example below, <em>their appearance does not change</em>. In a reel, trizzlets are played as <em>eighth</em> note triplets. Trizzlets <em>always</em> appear this way, no exceptions.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/fafa1bdd9a530ea94da660abe3e33243b51515f2/original/screen-shot-2018-02-07-at-2-22-47-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p> </p>
<p><strong><span class="font_large">The Cut Four (Four Stroke Roll)</span></strong></p>
<p>As with the trizzlet, cut fours <em>always</em> look like they do in the example below. In the first example (march), the cut four is played with a dot/cut sixteenth/thirty-second rhythm. In the second example (a reel), the cut four is played over a dotted eighth/sixteenth rhythm. No matter which rhythm is attached to it ,the cut four will look the same every time.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/7b58cd42d82dbd0f43dca0c85453656d096ef2ea/original/screen-shot-2018-02-07-at-2-23-07-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>The Five Stroke Roll</strong></span></p>
<p>With the five stroke roll, things become a little more complicated due to the fact that it can appear over either dot/cut rhythms or cut/dot rhythms. The five stroke roll in the example below is written as a dotted sixteenth note/thirty-second rhythm in a march and as a dotted eighth/sixteenth rhythm in a reel. This version of the five stroke roll is known as the "slow five". It is called "slow" because the dotted note at the beginning of the roll gives you lots of time to fit your two buzzes in.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/0a4ea829147226b7d4b540feed17df4f996dd9c2/original/screen-shot-2018-02-07-at-2-23-25-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>However, when the five stroke roll is played over the cut/dot rhythm, it is known as the "fast five" due to the very short time you're given to fit in both buzzes. If notated correctly the fast five should appear thinner than the slow five as in the examples below.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/c4ee60cb979e139b30df46d099c8541a1c4fc900/original/screen-shot-2018-02-07-at-4-31-14-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>The Six Stroke Roll</strong></span></p>
<p>The six stroke roll can be easily identified in a march as it <em>always</em> begins with an accented eighth note. In a reel, it begins with an accented quarter note.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/06383b5723b0e45cc9c2b21a80e98ba612ecbe8b/original/screen-shot-2018-02-07-at-2-23-45-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>The Seven Stroke Roll</strong></span></p>
<p>The seven stroke roll is similar in appearance to the six stroke roll with the only difference being the lack of an accent on the first eighth note (march) or quarter note (reel).</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/876aa0af3c294a78fa0177360c35904727ebb8f2/original/screen-shot-2018-02-07-at-2-24-04-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>The Ten Stroke Roll</strong></span></p>
<p>The ten stroke roll is one of the most difficult to recognize in our music. The confusion over the appearance of the ten stroke is due in part to the different ways it is written. After studying many high level grade one scores (written by the best in the business) I realized that, depending on the composer, a 10 stroke roll was written one of three ways. Example #1 is the most common followed by examples #2 and #3. Example #3 is most interesting to me in that it is the only one of the three that clearly shows where the roll should end. If you are using rhythm syllables to count through your music, example #3 would be a "Hay Bay-Bee". The "hidden" roll note in the middle (on the "Bay" syllable") is not played. Instead, it acts as a rhythmic "place holder" so that the reader can more easily interpret the correct rhythm of the roll (where it should start and end).</p>
<p>Example #4 is simply example #3 bookended between two eighth notes beginning on the second half of beat one. Example #4 is considered to be "over the beat" because the first and last notes of the roll straddle beat two. Example #4 is used frequently in longer roll sequences to create a syncopated, or offbeat, feel.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/e94cbed16e84893b81c4a1da433d1351257f48a4/original/screen-shot-2018-02-09-at-1-20-04-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>The Eleven Stroke Roll</strong></span></p>
<p>As with the six and seven the eleven stroke roll appears identical to the ten stroke, with the exception of the lack of an accent on the first note.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/dcb034558492224f4d04c191ff1472aabce62b8e/original/screen-shot-2018-02-09-at-1-20-26-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>The Twelve Stroke Roll</strong></span></p>
<p>Twelve stroke rolls can be recognized easily as they are the only rolls that start with an accented quarter note as in the example below. In a march, the twelve can be written on the first beat of a bar (example #1), the second beat of a bar (example #2) or on the last beat of a line (example #3).</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/5193358adab7dbdb10f3b2d159b6e9b1cedc1f48/original/screen-shot-2018-02-07-at-2-25-25-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>In a reel, twelve stroke rolls begin with an accented half note:</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/b8cfbe70aaf0fd0dc4c3cec53beb173b1c28242e/original/screen-shot-2018-02-07-at-2-25-44-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p><span class="font_large"><strong>The Thirteen Stroke Roll</strong></span></p>
<p>Thirteen stroke rolls are very easy to identify and are used heavily in lower grade march scores--especially massed band scores. They appear identical to twelves but they do not begin with an accent.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/de77be8e0fab4059eaa2c63da160de53591bc415/original/screen-shot-2018-02-07-at-2-49-06-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>In a reel, thirteens begin with a half note.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/0831e92e2abc5241757502d07b2213bb470788e2/original/screen-shot-2018-02-07-at-2-49-27-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>Now that you know how to recognize your rolls in a march the next step is to understand how they are played... and, you guessed it, that is next week's blog post! As always, if you have any questions or comments please don't hesitate to get in touch. Until next week, happy drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/50168372018-01-10T15:02:48-04:002018-01-11T13:07:04-04:00Shedding the "Napster Mentality": The Benefits of Paying for Your Drum Scores<p>Two decades ago, a peer to peer file sharing program called Napster changed the music business. With the advent of Napster the music you used to have to pay for was, all of a sudden, free for the taking. All you needed was a computer and access to the internet. I admit, even as a musician, I used Napster. Even though I downloaded many songs for my own enjoyment, I also used Napster to download songs for my drum kit students--especially those I would never buy for myself. This was invaluable for me as a teacher. I still bought CDs of my favourite artists (especially at shows where I could buy them from the artists themselves) but my songs on Napster were a valuable part of my music collection. </p>
<p>When Napster collapsed, other services sprang up to take its place (Bearshare, Kazaa, Limewire and Morpheus are a couple that spring to mind) only to crumble at the feet of the all-powerful iTunes. Even though Napster died unceremoniously, it left behind a powerful legacy that I call the <strong>“Napster Mentality”</strong>: EVERYONE HAS A RIGHT TO FREE STUFF ON THE INTERNET—SO WHY PAY? </p>
<p>Twenty years after the demise of Napster, almost everyone I know watches TV, sports and movies for free off the net. Many of us now have an aversion to paying for movies unless we go to the theatre. The incredible reach of the Napster mentality into all corners of our lives has even affected our attitudes about paying for drum scores. For many of us that grew up in the 80s and 90s, the photocopier was, to the pipe band drummer, what Napster was to the music lover—an easy way to get stuff for free. With the advent of the internet, score copying became even easier as scores could be scanned, emailed and printed in an instant. </p>
<p>After two decades of Napster mentality, it's time to stop, re-evaluate and change our behaviour.</p>
<p>Let's start this behaviour change with this thought<strong>: It is absolutely worth the money to pay for your drum scores</strong>. To help us move away from the Napster mentality to one where we value and reward our most talented composers, let’s first examine the process that even the most veteran score writers must go through. Once we have an appreciation for the work that goes into writing a score it is my belief that we’ll be much more open to paying for it. </p>
<p>First, there is the composition of the score itself. The composing process is very time consuming and can take several hours depending on the length of the pipe tune. After the score is written, the composer must then spend several more hours posing a list of questions that help her/him to refine the score: </p>
<ul> <li>Does the score add to the music of the pipe tune? </li> <li>Does the score contain rudiments that fit the grade level? </li> <li>Is the score varied enough to keep the interest of the corps and the judges? </li> <li>Are the written dynamics adding to the musicality of the score? </li> <li>Does the score provide a challenge while still being appropriate for the grade level? </li> <li>Do the tenor and bass parts support the melody and fit within the “melodic chords” of the pipe tune? </li> <li>Do the tenor and bass parts accent the rhythm of both the snare score and the pipe melody correctly? </li>
</ul>
<p>These questions take a long time to answer and if a composer is writing for your band specifically, they deserve to be paid for the time they take to answer these questions. If the composer in question is, or has been, a world champion (playing their own scores) they deserve top dollar—they’ve earned it. When getting scores from a present or former World Champion you can be pretty much guaranteed that you’re going to get a very musical drum score and top value for money. </p>
<p>Some benefits of getting top quality scores from high-end composers: </p>
<ul> <li>Many composers offer recordings which is a great way to learn the dynamics, expression and the subtle ebb and flow of certain scores. </li> <li>Seeing a high-quality score written correctly will help you learn to write music yourself. </li> <li>It’s a huge confidence builder for a drum corps to know it's playing music that is world-class. </li>
</ul>
<p>Most top composers charge in the range of $100.00-$200.00 per 4-part tune for custom composing (writing music specifically for your band only). If you have the money, this is the way to go. Many composers will also include tenor and bass parts, recordings and a limited amount of “back and forth” to make any changes you see fit. It’s like getting a suit tailor-made—any alterations make it fit that much better! </p>
<p>Because we can’t all afford to go the custom-composed route, there is another option for acquiring top-quality scores at more affordable prices. Many top composers have already written scores either for their own band or for others that they are willing to sell for much less. It would be like comparing a rock band playing a live show to simply selling one of their CDs: the live show entails showing up in the afternoon for set up, doing a sound check, paying to eat out, going back to the venue, getting dressed, playing a three-hour show, packing up and driving home. On the other hand, the work for the CD has already been done. That’s why the band charges $2000.00 for a live gig and only $20.00 for a CD. </p>
<p>Buying a score from a composer’s existing library is the equivalent of buying a CD from a rock band—the work has already been done. Most “library scores” cost between $10.00-$20.00 which makes even the longest and most complex scores financially accessible for almost everyone. You could have a new competition MSR written by your favourite World Champion for the cost of a dinner out! </p>
<p>Composing services are offered by most of the top players in North America and Europe. In my experience, even the most decorated World Champions are approachable and humble so if you’re looking for drum scores, don’t be afraid to get in touch with them! Many also have their own websites. Just Google “Pipe Band Drum Scores” and you’ll be presented with a ton of options. </p>
<p><strong>If you decide to purchase some scores for your band, please don’t share them with others</strong>. It’s only okay to share a score with others if: a) you wrote it yourself or b) you got permission from the composer to share. In the interest of full disclosure I admit that I have been guilty of sharing scores that weren’t my own. However, I am making a serious effort to change and if we all do that, we can begin to give the talented composers out there the compensation they deserve. Paying for drum scores is one way that we, as a drumming community, can effect some positive change in our little corner of the music business. When creative people create valuable things, let’s reward them for it by paying them. We need to rid ourselves of the “Napster mentality” that tells us we have a “right” to copy and share what we want, whenever we want. Paying our composers creates a positive energy loop. Creators are compensated and thereby motivated to keep creating, helping to build a sustainable pool of drum scores from which we will all benefit moving forward.</p>
<p>As always, comments are always welcome. Until the next post, happy drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/50049502018-01-03T14:33:02-04:002018-01-03T15:16:44-04:00Drill the Skill: The Trizzlet<p>In the early nineties I was playing with the Rob Roy Pipe Band in Kingston, Ontario. Every year, The Rob Roy band would participate in a city wide cultural festival known as "Folklore". Rob Roy hosted the Scottish pavilion at a local high school where the band would perform throughout the day and into the evening playing at least 5 separate half hour shows with the Rob Roy dancers. Haggis dinners were prepared in the cafeteria and Younger's "Tartan Special" was on tap, imported for the occasion (a beer I was very excited to reacquaint myself with during recent trips to Scotland). It was a yearly highlight for the band and was a great opportunity to tighten things up in the early Spring before the start of competition season.</p>
<p>The Folklore festival holds many great memories for me but there was one in particular that stands out. Folklore 1991 was the first time I remember hearing a trizzlet. During some down time between shows a fellow corps member came up to me excitedly with a CD in his hands. That CD was Shotts and Dykehead's "Another Quiet Sunday". The drum corps played the first notes on the album into Mooney's Jig and I was hooked. We listened through the first few tracks including the classic Highland Wedding set and Ass in the Graveyard until we got to the fanfare. Hearing the fanfare was a revelation and, looking back, was a huge influence on my drumming. About a third of the way into the fanfare I began to hear these strange triplet rolls. I couldn't figure out how to play them and neither could anyone in my corps. No one knew what they were called. It was exciting, brand new and at the time quite mysterious. We just figured Jim Kilpatrick was some sort of magician.</p>
<p>After the competition season in 1991 I left pipe band drumming to pursue a degree in classical percussion and did not return to it for twenty years. Upon my return in 2011 I rediscovered the trizzlet, learned what it looked like in written form and began to practice it diligently, both on its own and within drum scores. I learned very quickly that there were no shortcuts to mastering this tricky rudiment. I spent a large chunk of time at slow tempos learning the exact location of the buzz and how to control the same-hand triplet effectively (especially with my left hand).</p>
<p>Since those early days the trizzlet has become popular with top grade bands around the world and is now a staple in competition marches and reels. The trizzlet is very difficult to play and requires slow and repetitive practice to master it. Practising trizzlets on their own is useful when you're first learning but practising them within the context of a musical phrase will greatly speed your progress along.</p>
<p>In this week's "Drill the Skill", the trizzlet is presented within the context of a musical phrase. In the first example, single trizzlets are combined with paradiddles and single strokes. Even though trizzlets are usually found within a larger roll movement, it is important to execute them correctly in isolation first.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/69e4d358b3ca5ada452e30aadcdd3b2fdeccaa91/original/screen-shot-2018-01-03-at-1-32-54-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>The next example shows the trizzlet in its most common form--as part of a larger roll movement. This particular movement is quite common and mastery of it is necessary to play in top level bands. If the execution of this longer roll movement comes easily, try crescendoing it for an extra challenge.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/8593532b56038f191ffaaa1dffc4b5c4abf12254/original/screen-shot-2018-01-03-at-1-34-09-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>The final example is very fun to play once you wrap your head around it. The trizzlet is combined with back to back four stroke rolls to produce a roll sequence similar to what I heard in the fanfare on "Another Quiet Sunday".</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/9677d7097960462daef10d1bf96188f64ccd423b/original/screen-shot-2018-01-03-at-1-34-47-pm.png" class="size_l justify_center border_" /></p>
<p> </p>
<p>As always, the full exercise sheet is available to website members in the <a contents="Subscribers" data-link-label="Subscribers" data-link-type="page" href="/subscribers" target="_blank">Subscribers</a> section of the site. Membership is free and so is the growing list of extra materials available! Until next time, Happy Drumming and Happy New Year!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/49448252017-11-23T22:44:42-04:002017-11-24T00:57:39-04:00Drill the Skill: The Ratamacue<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/c9f906d07b2f4a6030aef326971d34cbf36c94d4/medium/screen-shot-2017-11-23-at-1-18-43-pm.png" class="size_m justify_left border_" />Hmmm... it doesn't <em>look</em> very intimidating... but there is sits, the <em>DREADED RATAMACUE:</em> one of the most maligned and complaint inducing rudiments we play. It is a simple rudiment to understand yet one of the toughest to execute consistently. Starting a ratamacue on the left hand (commonly found in music at the grade 3 level) is one thing but playing it on the right hand is another thing altogether. Ratamacues are also tough because they are played differently in each style. Practising ratamacues hand to hand is merely a good first step. To achieve mastery of this tricky rudiment it is very important to play it within its stylistic context. Let's start with the 2/4 march.</p>
<p style="text-align: center;"> </p>
<p>Ratamacues start appearing regularly in 2/4 march scores beginning at the grade 3 level. In Europe, you'll see it in the more advanced Juvenile bands as well. When a ratamacue is written, at first glance it appears to lack any swing (the 32nd notes all appear in a row denoting equal space between each note). In performance this is <em>not</em> the case. Instead, there should be a slight delay before starting the first double. This delay will depend on the degree of swing with which the corps and the pipe section are playing. The first Drill the Skill sheet deals with ratamacues in the march context.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/efb3e69d52f0ccd595651d3e1afc569e0208b99e/large/screen-shot-2017-11-22-at-3-21-46-pm.png" class="size_xl justify_center border_" /></p>
<p> </p>
<p>When placed into a round reel, however, there is <em>no</em> room for interpretation. Each of the sixteenth notes should be played exactly the same way with the same amount of space between each one. Playing ratamacues in a round reel should feel completely different and should be easier to execute. Below is a sample of the exercises for ratamacues in round reels.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/77282918edf426446ac3b85530e7f3406e9fa20d/large/screen-shot-2017-11-22-at-3-19-56-pm.png" class="size_xl justify_center border_" /></p>
<p> </p>
<p>In a strathspey, ratamacues are generally (but not always) placed on the third note of a triplet. The swing feel (or lift) for a strathspey is often achieved by accenting that third triplet note. If started on the third note of a triplet, the accent at the end of the ratamacue will also fall on the same location in the triplet, accentuating the upbeat and creating lift. Notice the location of the ratamacue in the examples below.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/fadc46e2711105c6c02f3b7e1f1c731c704f12e7/large/screen-shot-2017-11-22-at-3-20-42-pm.png" class="size_xl justify_center border_" /></p>
<p> </p>
<p>It is not often that you'll find ratamacues in a jig until the advanced grades but they can be an interesting addition to any jig score. In a jig, the double of the ratamacue is played at exactly the same speed as the remaining five notes. Depending on its location in the drum score, ratamacues can provide some unique textural and syncopated alternatives to a run of singles. In the example below, the ratamacue is located on the third note of the triplet.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/3918beb5895e790719dfceb3e2c4c748d853c595/large/screen-shot-2017-11-22-at-3-19-18-pm.png" class="size_xl justify_center border_" /></p>
<p> </p>
<p>As I struggled through my math classes in high school a question kept popping into my head (especially where trigonometry was involved): "When will I ever use this in life???" The same question has been posed to me hundreds of times by drummers in my organization regarding why it is necessary to learn rudiments like the ratamacue on both hands. The answer is simple: learning rudiments on both hands makes you a better drummer! Even though ratamacues on the left are far more common, practising them on the right hand will improve your overall control and execution. Embrace the nausea these exercises will induce and work on them until both hands sound equal. Remembering that the point of practicing is to PLAY CORRECTLY, find a tempo on your metronome that allows you to play the exercises flawlessly and then spend some quality time in the woodshed.</p>
<p>As always, the full exercises are available at no charge to subscribers of pipebanddrummer.com. Subscribe on our <a contents="home page" data-link-label="Home" data-link-type="page" href="/home" target="_blank">home page</a> for access to a growing list of resources for drummers of all levels.</p>
<p>A sincere thank you to those of you that have contacted me regarding errors on the site. Try as I might there are always some things that fall through the cracks and I'm always thankful that someone lets me know. </p>
<p>"Enjoy" working on your ratamacues and happy drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/49351802017-11-17T12:12:13-04:002022-05-24T11:01:12-03:00Drill the Skill: The Open Six Stroke Roll<p>For a snare section, the ability to play in perfect unison with each other is the toughest goal to achieve. Pipe band snare drums are notoriously unforgiving due to their extreme volume level making every tiny mistake or rough patch audible to even the most casual listener, let alone a judge. The words "rough bits" have appeared on thousands of score sheets over the years. Rough playing is the easiest thing for a judge to hear but it is by FAR the hardest thing for a drum corps to achieve. In fact, it can take several years of planning, effective score writing and endless hours of repetition to solve the problem. Today we'll focus on the third of these three elements--repetition.</p>
<p>Identifying problem areas in your drum scores is the first step--what does your snare corps ALWAYS fail to execute? Once you have identified a problem, design a work sheet that isolates that problem. Finally, use the worksheet to <strong>drill the skill</strong> until you achieve the unison you're looking for.</p>
<p>In our drum corps, one of our most inconsistent rudiments is the open six stroke roll. When listening to most grade one bands, you will hear this movement played many times. It is a rudiment that creates a ton of swing in a corps and is a nice replacement for a ten stroke roll when composing. It works just as well in a march, strathspey, reel, round reel or jig and is a musical addition to any drum score. However, it is tremendously difficult to execute! The most difficult thing to wrap your head around with the open six is that the two doubles in the middle of the rudiment should be played with equal value, regardless of the style in which they're performed. In a typical 2/4 march, it is tempting to want to delay the first double of the open six to achieve the correct swing feel but this will rush the rudiment and ruin the momentum it creates. Instead, the swing feel is achieved by playing the last note of the open six <em>slightly</em> sooner than is written (a tiny bit closer to the preceding double). The combination of uniform doubles and the final note played slightly sooner than written gives the open six a very musical swing and snap that propels the music forward.</p>
<p>In two MSRs and a medley, our drum corps only plays a total of three open six stroke rolls. Sometimes I think it would be easier just to eliminate them and replace them with something we can already play. However, it is my opinion that a drum corps in our grade should be able to execute the open six with facility and finesse. Now that the open six is staying, it's time to <strong>drill the skill</strong>!</p>
<p>For the first four lines of the exercise, the open six is moved around the bar to the four locations where it's commonly found--first on the beats and then on the offbeats. When creating a worksheet it is important to remember to include as much "hand to hand" practice as possible--even if your drum corps only plays the movement on one hand in their drum scores.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/191251d6cb1d05b3d414c4439fca031739290a58/original/screen-shot-2017-11-17-at-12-14-45-pm.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>The next four lines involve putting the open six in different musical contexts. It is amazing how much harder it is to execute the open six properly when it is immediately preceded by a five stroke roll.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/1897215da759e78c6c86cc470575a6c853113d5b/original/screen-shot-2017-11-17-at-11-24-36-am.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Finally, the open six is combined with swiss fives and single strokes for more contextual variation:</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/f5115f0ff053a7cb70e5c0a654f3cc045f4f7828/original/screen-shot-2017-11-17-at-11-25-29-am.png" class="size_orig justify_center border_" /></p>
<p> </p>
<p>The exercises detailed above (as well as additional exercises for open sixes in the Jig style) are available as a PDF file for members in the "Subscribers" section of the site. For anyone currently using <a contents="DrumWriter" data-link-label="" data-link-type="url" href="http://drumwriter.timesigstudios.com" target="_blank">DrumWriter</a>'s cloud based music notation software, I can arrange to share these files with you so that you may alter them to suit your own needs. Send me an email if you're interested. Next week in part two of "Drill the Skill": The dreaded ratamacue!! Until then, happy drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/49059022017-10-25T13:42:02-03:002017-10-25T14:35:50-03:00Looking Ahead: Making a Plan for Your Upcoming Season (Part II)<p>Even with all the ups and downs that come with this gig still I enjoy the many challenges of being a lead drummer. As a musician, the playing, rehearsing and music writing are the parts of the job I look forward to the most. The most challenging part, and the one that does NOT come naturally to me, is the administration and organization of the drumming program as a whole. On my bumpy journey to becoming a more effective administrator I have created materials over the years to help me get and <em>stay</em> organized--some have worked well and some haven't but one tool I've had success with this year is the <strong>"to do list"</strong> for score writing. There are three competition bands in our organization as well as an entry-level parade band. Scores need to be written for all bands and distributed as soon as possible so that each band can begin the process of learning and refining those scores for the upcoming season.</p>
<p>The "to do list" is set up in a simple chart form. The first step is to enter in all the tunes each band will be playing. I communicate with each pipe major and get them to send me a list of tunes. Once I have that list I simply enter the tunes on the chart. When a score has been completed I highlight it in blue (blue is a calming colour). It is amazing how good it feels to highlight a section of the chart! This year I've had some help from the lead drummers of our grade 4 and 5 bands who have each written several scores. I have enjoyed the "back and forth" with each of them as they submit drafts and request suggestions/corrections. It is also a huge benefit to them as, through learning the composing process, their reading and understanding of the notation has improved remarkably!</p>
<p>I have also found it helpful to include a separate chart for tenor and bass. Unfortunately, tenor and bass score composition tends to slip through the cracks sometimes--especially for our grade 4 and 5 band but this year every score should be finished by the end of October (a new record for our organization).</p>
<p>To sum up, here's the process:</p>
<ul> <li>Set a COMPLETION date!</li> <li>Get a list of tunes from the pipe major</li> <li>Get recordings for all tunes</li> <li>Write the snare scores</li> <li>Write the bass scores</li> <li>Write the tenor scores</li>
</ul>
<p>This checklist looks quite simple but it can take a while so I suggest beginning the process as early as possible to allow for possible tune changes and difficulty obtaining recordings. It is also a good idea to start early if you are training a new composer as there will be a lot of back and forth and changes throughout the learning process. It is important to remember that any time spent training new score writers saves time in the future so it is totally worth the effort.</p>
<p>Here is my current chart in all its uncompleted glory. Again, the goal is to have it completely highlighted in blue by the end of October (here's hoping). I'll post a Microsoft Word copy of an empty chart in the subscribers section of the site for anyone interested in using it. Best of luck with your preparation for the year ahead and happy drumming!</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/4bef96cbf1a89b9d9d2d599c426db39c1b4b52f7/original/screen-shot-2017-10-25-at-1-00-26-pm.png?1508949338" class="size_l justify_center border_" /></p>Pipe Band Drummertag:theworrybirds.com,2005:Post/48967692017-10-18T12:54:18-03:002017-10-18T23:25:05-03:00Looking Ahead: Making a Plan for Your Upcoming Season<p>Trying to balance my work, pipe band, gig schedule, website maintenance and personal life can be challenging at times. September is the busiest time of year as I start a new term teaching drum kit, begin the process of writing scores for the three bands in our organization, attempt to prioritize and organize my teaching materials for new pipe band drumming students and figure out which drummers will move up the ranks. For the latter I have created a tool that has helped me immeasurably: The Rudiments Standards for all Bands.</p>
<p>The rudiments standards page is the key to deciding who will advance to a higher level band within our organization. A couple of years ago I took several days to try to figure out how fast rudiments should be played at each grade level. I also decided which rudiments should be learned at each level of playing. Those rudiments deemed too advanced for lower levels were blacked out. I then needed to figure out where in each rudiment the metronome "click" should fall and decided that would be indicated by arrows underneath each rudiment. Finally, I made the decision that in order to "pass" a given rudiment, each drummer would need to play that rudiment correctly for 16 "clicks" of the metronome and if they were successful, that rudiment would be initialled by one of our three lead drummers. In order to advance up the ranks, a drummer would need to have every rudiment for his/her grade level initialled. When completed, that drummer would be invited to "come up" to the next level. In order to cement the rosters of our three bands, drummers have until Christmas to work on their rudiments. At Christmas, I'll sit down with everyone, have a look at each drummer's chart and they will be placed in the band corresponding to the number of rudiments completed.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/9e2892db976647412aad62d083f65ea0beaa7d93/original/screen-shot-2017-10-18-at-12-50-30-pm.png?1508341891" class="size_l justify_center border_" /></p>
<p> </p>
<p>Above is a sample of the rudiment standards chart that we use in the Dartmouth organization. I am making it available to website subscribers as both a PDF and a Microsoft Word file. If you download the Word file, please feel free to change the title, replace the Dartmouth logo with your own and change any of the tempos or specific grade levels you like. Finally, let me know if you have any success with these materials as I value the feedback, both positive and negative. Good luck to everyone for the coming season and hopefully this chart will help you as you prepare your aspiring drummers for the future.</p>
<p>Happy Drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/48392642017-09-06T15:30:16-03:002017-09-14T09:31:28-03:00The Results That Matter: Evaluating Your Contest Season<p>A competitive pipe band is a very strange thing. You work hard with your band all year improving the fundamentals, learning music, improving reading skills, battling attendance and other personnel issues until the summer comes and your season begins. Then you take all your vacation time to stand in a field and play your best, often under adverse conditions, and judges scribble furiously picking apart your performance. After your play you have a short conference that, depending on what transpired on the field can be either positive or downright awful, then you head to the beer tent to wait for the results. Then the results come in and these results generate a different reaction for everyone in the band. Some people are happy with a win because it's a win, plain and simple. Some people aren't happy with a win because they made three mistakes. Some people are happy finishing in the middle of the pack because the band played great. Some people are disappointed about finishing in the middle of the pack because the band played great and should have gotten a better result. The results, and band members' reactions to them will always be part of the competition process, but these are not the results that matter.</p>
<p>During my education degree I leaned a ton about teaching and classroom management but the one skill that has stuck with me is that of <strong>reflection</strong>. Reflection is the process of looking back at what you've done and evaluating it to see what worked and what didn't.</p>
<p> </p>
<p>When I reflect on a season as a lead drummer I consider the following factors:</p>
<ul> <li>Have my drum corps members improved individually?</li> <li>Has our unison improved?</li> <li>Are we able to correctly execute more difficult scores?</li> <li>Have our dynamics improved?</li> <li>Is morale still high?</li>
</ul>
<p>If the answer is "yes" to the majority of these questions, it is clear that our season was a success. If "no" was the answer to any of these questions then it becomes a priority for the next season. Let's discuss these questions individually:</p>
<p> </p>
<p><strong>Have my drum corps members improved individually?</strong></p>
<p>The easiest way to document individual progress is to evaluate the speed and facility of a drummer's rudiments by tracking their progress from year to year. The numbers don't lie. If a drummer can't play drag paradiddles and then the next season they can, you know they're improving. Another way to evaluate individual progress is by having your corps members compete solo. If they advance a grade level you know they're improving. If they finished near the bottom of the grade the year before but now they are winning consistently, it's obvious they're getting better. Also, as their competition scores get harder and they can still execute them, that's another sure sign of improvement.</p>
<p> </p>
<p><strong>Have we improved our unison playing?</strong></p>
<p>When I get a judging sheet back after a contest, I always appreciate the blunt comments. Sometimes those comments sting a little but in the end I always appreciate them the most. To help gauge if your unison playing is improving, record your drummers as often as you can. Recording a corps is equivalent to receiving a series of blunt judging comments. Recording can sting A LOT! However, the entire corps can hear the problems with the unison and it's easy to zero in on any passages in need of attention. To figure out if your corps is improving their unison from year to year, simply listen to recordings from past seasons and compare them to the most recent. Any improvement/slippage will be obvious.</p>
<p> </p>
<p><strong>Are we able to properly execute more difficult scores?</strong></p>
<p>Before answering this question it is important to know the meaning of the word "execute". The word "execute" simply means to "carry out a plan". Therefore, when judges write "problems with execution" on your score sheet it is clear that they recognize what you're trying to do with the corps while at the same time noticing that everything is not going according to plan! The problem with playing difficult music is that it's much harder to execute <em>properly-</em>-notice the emphasis here. Executing something "pretty well" is completely different from executing it perfectly! Examining your players' technique and fundamentals will help in this regard. However, the best way to evaluate if your drummers can play more difficult scores is to get them to slow them down to 60 or even 50 bpm. At this slow speed it is <em>obvious</em> if the corps has control issues and any small timing issues are greatly magnified. If your drum corps can properly execute a difficult score at slow tempo you know they're ready for more challenging music.</p>
<p> </p>
<p><strong>Have our dynamics improved?</strong></p>
<p>I find dynamics easiest to evaluate using video. If everyone's stick heights are the same for a particular passage it follows that their volume level will be similar. For large crush rolls, if everyone's sticks start up around their eyebrows you know you've achieved a pretty solid "CRUSH!!". "Visual dynamics" are just as important, sometimes more important, as "aural dynamics". If you look at a corps like Inveraray their visual dynamics and stick heights are EXACTLY the same and they achieve monstrously loud highs and whisper-like lows. Evaluating visual dynamics is the easiest part. What I find much more challenging is trying to figure out the amount of "force" my drummers are playing with. In an ideal world, every drummer in your drum corps should be playing with the same amount of downward force. Dynamics are then achieved mostly by stick heights (visually). Unfortunately, most drum corps contain a few drummers that play with more force and compensate for their lack of stick height by pushing harder into the drum. It is always a battle to get a "forceful" drummer to play lighter but if you can it will extend your dynamic range on the quiet end by quite a bit.</p>
<p> </p>
<p><strong>Is morale still high?</strong></p>
<p>This, to me, is one of the most important aspects of competitive pipe band drumming. Morale can remain at a high level if the corps enjoys each others' company, believes they're getting better, and if there's enthusiastic "buy in" to an established system to promote continued musical growth. Good morale can act as an "armour" against poor results on the field and can also be a powerful motivator within your corps to "stay the course" or "follow the system". The best sports teams on the planet always talk about playing for their teammates first. It's the same thing in a drum corps. If being a drummer in your corps is fun, and if everyone feels like a valued member of the team, that's what people will remember and appreciate the most. Evaluating your drummers' morale is easy: Are they still members of your corps? Do they look forward to getting back to work in September? Does everyone get along? Yes? Then keep doing what you're doing!</p>
<p> </p>
<p>This year I answered "yes" to 4 out of 5 of these questions when evaluating my own corps. I count that as a great result, and really it's the only result that matters to me. The question to which I answered "no" is firmly placed at the top of my "to do" list for the coming year. Now the research begins into how I can improve our corps in that area before the season next year. And so it begins...</p>
<p> </p>
<p>As always, questions/comments are appreciated. Please feel free to send an email or comment on the post below. Thanks folks and happy drumming!</p>
<p> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/47829552017-07-20T16:05:25-03:002017-07-20T16:08:17-03:00Know Your Roll: Recognizing Five Stroke Rolls in Your Written Music<p><span class="font_large">"What kind of roll is this??" </span><span class="font_regular">Every pipe band drummer has uttered these words at least once during their education. Anyone who has ever taught pipe band drumming hears this question multiple times every lesson. The reason it is so hard for drummers to identify rolls in their scores is because the rolls look different in each style we play. For anyone who has not visited the theory section of pipebanddrummer.com, our five styles are: <a contents="2/4 March" data-link-label="March Theory and Rhythm Syllables" data-link-type="page" href="/march-theory-and-rhythm-syllables" target="_blank">2/4 March</a> (this includes 3/4, 4/4 and 5/4 marches plus 2/4 hornpipes and reels--swung), <a contents="Round Reels" data-link-label="Reel Theory and Rhythm Syllables" data-link-type="page" href="/reel-theory-and-rhythm-syllables" target="_blank">Round Reels</a>, <a contents="Jigs" data-link-label="Jig Theory and Rhythm Syllables" data-link-type="page" href="/jig-theory-and-rhythm-syllables" target="_blank">Jigs</a> (including slip jigs), <a contents="6/8 March" data-link-label="6/8 March Theory and Rhythm Syllables" data-link-type="page" href="/6-8-march-theory-and-rhythm-syllables" target="_blank">6/8 March</a> and our hybrid style <a contents="Strathspey" data-link-label="Strathspey Theory and Rhythm Syllables" data-link-type="page" href="/strathspey-theory-and-rhythm-syllables" target="_blank">Strathspey</a>. Click on the name of each style if you feel you need a "theory refresher".</span></p>
<p><span class="font_regular">Before attempting to pick out a five stroke roll in a drum score, it is important to know some of its basic characteristics. These characteristics will give you a head start in the identification process:</span></p>
<ul> <li><span class="font_regular">Five stroke rolls start and finish on the same hand.</span></li> <li><span class="font_regular">Five stroke rolls always start on a note with a value of a dotted eighth or less. You will NEVER see a five stroke roll that starts on a quarter note, dotted quarter note or half note.</span></li> <li><span class="font_regular">A five stroke roll will always have two slashes on its corresponding note stem.</span></li>
</ul>
<p> </p>
<p>Let's being with the march style. The march is the most commonly used style in the pipe band idiom and the examples below apply to 2/4, 3/4, 4/4 and 5/4 marches. Hornpipes are written in 2/4 time and therefore use the same rhythms as a 2/4 march. I have chosen to include reels (swung) in this section as well because of their close similarity. Reels are written in 2/2 or "cut time" but because of the difference in time signature, one beam is removed from the bottom of each note grouping. For example, 32nd notes in a march become 16th notes in a reel.</p>
<p> </p>
<p><span class="font_large">The March, Hornpipe and Reel (Swung)</span></p>
<p> </p>
<p>In a march, a five stroke roll is always written on the first or second note of a dot/cut (example #1) or a cut/dot rhythm (example #2). These two rolls sound very different from one another due to the speed at which they are played. Example #1 is more relaxed while example #2 requires the buzzes to be played much closer together.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/9662549c213830bd74014c7f4d473ad3c722c5b7/original/five-stroke-march-1-2.jpg?1500477738" class="size_orig justify_center border_" /></p>
<p> </p>
<p>The same applies for the reel.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/1abc66f196f5c31443d6e16b73910b55dac0a0b2/original/five-stroke-reel-1-2.jpg?1500478588" class="size_orig justify_center border_" /></p>
<p> </p>
<p>In example #3 the cut/dot rhythm is combined with an eighth note to form the "Hay Baybee" rhythm. In example #4, the cut/dot rhythm combined with the eighth note forms the rhythm "Hay Buddy".</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/5566fc11c8c40cee631729a851d73acc08e7e044/original/five-stroke-march-3-4.jpg?1500477797" class="size_orig justify_center border_" /></p>
<p> </p>
<p>In the reel, the 2/2 time signature has turned the first eighth note into a quarter note. However, the rhythm syllable remains "Hay Baybee". The same applies in example #4 with the "Hay Buddy" rhythm.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/140c4ba652850552b67dcf99bff000e83369f308/original/five-stroke-reel-3-4.jpg?1500478777" class="size_orig justify_center border_" /></p>
<p> </p>
<p>In example #5, the roll is played on the beat creating the "Baybee Hay" rhythm. In example #6, the roll will (as in examples #2 and #4) need to be played slightly faster creating a slight pause before the eighth note. Example #6 is not nearly as common as #5 but can be very effective at creating some musical space in a score.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/48f71d25b7e7b79f92e57f397317c1e273f4aa00/original/five-stroke-march-5-6.jpg?1500477847" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Notice again that the eighth notes from example #5 and #6 have changed to quarter notes in the reel style.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/85ec46a2139ac769816f1e967a947fb5f1fde72c/original/five-stroke-reel-5-6.jpg?1500479031" class="size_orig justify_center border_" /></p>
<p> </p>
<p>In example #7, the five stroke roll is used to bridge the two halves of the beat together. This use of the "fast five stroke" provides a much different musical texture than simple single strokes.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/46dd1e422abb1efc734c0a2c6e5e6b7a59cf492c/original/five-stroke-march-7.jpg?1500477897" class="size_orig justify_center border_" /></p>
<p> </p>
<p>In the reel, the two halves of the beat are readily visible as there are no connecting beams joining them together. Again, the rhythm syllables stay the same for both examples.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/987913b075dbf2868c5c9b15a38e9c4be6e00054/original/five-stroke-reel-7.jpg?1500479151" class="size_orig justify_center border_" /></p>
<p> </p>
<p>And finally, in example #8, the five stroke roll is used to bridge the end of one beat to the beginning of the next.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/85b1803a123cae238237fb00aa9ab18e402e77e4/original/five-stroke-march-8.jpg?1500477986" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Same thing for the reel.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/a66098583fbaeaf86cf65989bc51ba9407837023/original/five-stroke-reel-8.jpg?1500479336" class="size_orig justify_center border_" /></p>
<p> </p>
<p> </p>
<p><span class="font_large">The Round Reel</span></p>
<p><span class="font_regular">Round reels contain virtually no dots and cuts. Five stroke rolls are played on the first or second notes of an eighth note grouping. Example #1 shows the roll beginning on the first note of the eighth note grouping and example #2 shows the roll beginning on the second note.</span></p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/1dd18c564fafe8fb57e81ad57cc56d677280d1fb/original/five-stroke-round-reel-1-2.jpg?1500480310" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Sometimes the five stroke roll is played on the middle two notes of an eighth note grouping as in example #3.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/cec1541b88caf0c1cba062782d2b593aa7002f56/original/five-stroke-round-reel-3.jpg?1500480372" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Sometimes the five stroke roll is placed at the end of an eighth note grouping as in example #4.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/9c16d3e23a4853cb1af0f3d3c03683ecc7039457/original/five-stroke-round-reel-4.jpg?1500481749" class="size_orig justify_center border_" /></p>
<p> </p>
<p> </p>
<p><span class="font_large">The Jig</span></p>
<p> </p>
<p>As in the round reel, five stroke rolls in a jig begin only on eighth notes--no exceptions. The most common placement of a five stroke roll in a jig occurs on the first beat of a three note grouping as in example #1. The second most common placement of the roll begins on the second note of the grouping as shown in example #2.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/abc9e504745fbc3b72105e9f1a8d11b76ef8438b/original/five-stroke-jig-1-2.jpg?1500481858" class="size_orig justify_center border_" /></p>
<p> </p>
<p>In example #3, the end of the three note grouping is connected by the five stroke roll to the beginning of the next beat.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/b62afc8caf117c4c33459101057cefaf9c354fea/original/five-stroke-jig-3.jpg?1500481916" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Although it's uncommon, five stroke rolls are sometimes connected by a single eighth note to a quarter note thereby creating musical space in the score.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/4a2550c69e84b92b14de31a86a8e30f4b8ab0472/original/five-stroke-jig-4.jpg?1500481987" class="size_orig justify_center border_" /></p>
<p> </p>
<p>Musical space can also be created, albeit with a better musical flow, using the five stroke roll beginning on a single eighth connected to the first note of the next beat.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/09e0f044edcd0cac423fd96f7f65c8ea147fb757/original/five-stroke-jig-5.jpg?1500482101" class="size_orig justify_center border_" /></p>
<p> </p>
<p> </p>
<p><span class="font_large">The 6/8 March</span></p>
<p> </p>
<p><span class="font_regular">The two most common uses of the five stroke roll in the 6/8 march can be seen in examples #1 and #2. The roll in example #1 is played more relaxed and the roll in example two is played more quickly to fit the "Amsterdam" rhythm.</span></p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/dd937ebfcc04de306c4d13236a7f94e5ce0c1714/original/five-stroke-68-march-1-2.jpg?1500482206" class="size_orig justify_center border_" /></p>
<p> </p>
<p>The five stroke roll in example #3 is less common but can be used to great effect in reinforcing the Amsterdam rhythm which is so often interpreted incorrectly by both pipers and drummers. It can be used with either the "Amsterdam" or "Get 'em To" rhythms but is shown in example #3 using the "Get 'em To" syllables.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/cef588851188b3b94f43d4fe28c0ac6b1570e600/original/five-stroke-68-march-3.jpg?1500482275" class="size_orig justify_center border_" /></p>
<p> </p>
<p> </p>
<p><span class="font_large">The Strathspey</span></p>
<p> </p>
<p><span class="font_regular">There are eight iterations of the five stroke roll that occur in the strathspey and they are all borrowed from other styles. The five stroke rolls you'll see in a strathspey are borrowed from the reel (swung): examples #2, #4, #6, #7 and #8. Strathspeys also borrow five stroke rolls from the jig: examples #1, #2 and #3. The five stroke rolls in a strathspey look and are played the same way as they are in their original styles. The rhythm syllables used are also identical.</span></p>
<p style="text-align: center;"><span class="font_regular">* * *</span></p>
<p><span class="font_regular">Hopefully this guide to identifying five stroke rolls in your music proves helpful. As always, if you have any questions, comments or criticism please send me a note. Check back in a week or so as I'll discuss the recognition of seven stoke rolls.</span></p>
<p><span class="font_regular">Happy Drumming!</span></p>
<p> </p>
<p> </p>
<p> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/47656242017-07-03T20:09:48-03:002017-07-25T11:54:38-03:00Cutting Drummers is a Bad Idea<p>Cutting drummers on competition days is one of the most controversial subjects in the pipe band drumming world--everyone has an opinion. In the world of competitive pipe bands, many lead drummers cut members of their drum corps on the day of competition, sometimes even at the line. In my opinion, for a developing program, this is a <em>very</em> bad idea. Putting a winning product on the field using only your best players is NOT the most important aspect of pipe band competition. For me, the most important aspect of competition in a developing program is the DEVELOPMENT of my drummers. This development cannot be achieved unless all my drummers are playing in every contest. When a drummer competes, they tend to get better at competing. If a drummer is cut, their growth is stunted. Of course, if you play in a grade one band you are not in a development program. Cuts in grade one are a necessary part of maintaining a ridiculously high standard where the stakes are high. Most players understand that their first year or two in a grade one drum corps involves getting cut--it's a rite of passage. However, for any other grade level cuts are unnecessary and can be avoided by implementing several key strategies. Let's talk first about the negative aspects of cutting.</p>
<p> </p>
<ul> <li>
<span class="font_large">Confidence</span><strong>:</strong> Obviously a drummer that has been asked to step out will lose their confidence to some degree. Being cut has sent them a message that they are not performing well. This damage to their confidence will affect them again in subsequent competitions and will become a distraction as they wonder if they will be cut at the next contest.<br> </li> <li>
<span class="font_large">The Impact on Other Corps Members</span><strong>: </strong>Seeing a member of the drum corps get cut affects the other players in the corps as well. Other drummers will start to wonder if they will end up in the same situation and will start to doubt themselves. If the "cut" drummer makes a scene or shows signs of being visibly upset it can affect the focus of the whole group.<br> </li> <li>
<span class="font_large">Mistakes Become Big</span><strong>: </strong>If making mistakes is a reason for cutting the stress level in the corps will rise dramatically. Every mistake will become bigger and will inevitably lead to other miscues as drummers worry more about messing up than the most important part--the music!<br> </li> <li>
<span class="font_large">Resentment</span><strong>: </strong>Corps members who get cut will resent it, especially if they have worked hard all year. This resentment can have big repercussions after the fact including losing drummers and damaging friendships. Jealousy, anger, frustration and regret (all stemming from the resentment of being cut) have no place on the competition field.<br> </li> <li>
<span class="font_large">Unnecessary Travel</span><strong>:</strong> Cutting a drummer who has travelled a long distance to a contest is completely unfair. No one should have to spend hundreds of dollars only to be denied the chance to compete. I have seen and heard about this happening numerous times--even when a band has travelled from North America to Scotland--and it is terrible thing to witness.<br> </li> <li>
<span class="font_large">Sense of Team</span><strong>:</strong> Every drum corps is a tight knit group. When one member is excluded from competition it adversely impacts the sense of camaraderie that is a part of every good team's success.</li>
</ul>
<p> </p>
<p><span class="font_large">So, how can cutting be avoided?</span> Using the following five strategies can help take cutting out of the equation for your drum corps. Implementing them however takes foresight, advanced planning and organization but the extra effort is worth it to preserve the emotional health of your drum corps.</p>
<p> </p>
<p><span class="font_large">Focus on the Rudiments</span></p>
<p>Focusing on improving the rudimental prowess of your corps can solve so many problems before they happen. In my own drum corps I have noticed a huge improvement in everyones ability to execute our scores correctly since we implemented a rudiment-centric program. From September to December the three drum corps in our organization work on rudiments for at least 50% of their practice time. The improvement in unison playing, especially in our lower grade bands, has been remarkable. It is no coincidence that every great drummer is a master of the rudiments!</p>
<p> </p>
<p><span class="font_large">Focus on Technique</span></p>
<p>So many unison issues can also be solved in advance by working on technique. I have found large technique classes to be very useful as a place to discuss rebound, stick heights, dynamics and other technical issues. Large class sizes make learning more fun and drummers don't feel isolated and alone in dealing with their technique issues. In a large class it's easy for drummers to see that they're not alone and that others are experiencing the same difficulties they are. Improving technique improves facility and facility improves a drummers ability to corps well with their lead drummer. Improved technique also leads to better stick control which improves a drummer's ability to play softly and very loud.</p>
<p> </p>
<p><span class="font_large">Focus on Reading</span></p>
<p>The ability to read is the most underrated aspect of a pipe band drummer's education but is definitely one of the most important. A drummer that can read is one who can begin working on scores right away--even in August (when most lead drummers are taking a well-earned vacation). The sooner a drummer can begin working on the music, the sooner the music can be memorized. The ability to read a score can give a drummer a head start and can sometimes provide an extra month to learn the music--a huge advantage!</p>
<p> </p>
<p><span class="font_large">Set Challenging but Achievable Standards</span></p>
<p>Setting standards for a drum corps can be a daunting task. First off, if you are a lead drummer, you need to figure out what those standards will be. Most likely, the standards you set will involve the following criteria/musical elements:</p>
<ul> <li>Avoiding note mistakes</li> <li>Executing dynamics</li> <li>Committing the scores to memory (including chips)</li> <li>Playing good unison</li> <li>Understanding and implementing a "swing" feel</li> <li>Understanding musical phrasing</li> <li>Playing with a steady tempo</li> <li>Using appropriate stick heights</li>
</ul>
<p> </p>
<p>To set standards successfully for your drum corps it is very important to be <em>specific</em>. As a lead drummer I know I have been guilty of spouting these not so helpful comments...</p>
<ul> <li>"Play the march faster"</li> <li>"Stop making so many mistakes"</li> <li>"Play more dynamics"</li>
</ul>
<p> </p>
<p>These comments are <em>not</em> standards, these comments are vague and are only mere suggestions instead of concrete goals. With a little thought and planning, and through the use of more specific language, these unhelpful comments can be transformed into achievable goals that your drummers can aspire to reach!</p>
<ul> <li>Play the march at 72 bpm</li> <li>Make less than two errors in the strathspey</li> <li>Identify all important dynamic sections in the reel on the sheet music</li>
</ul>
<p> </p>
<p><span class="font_large">Evaluate to Check if Standards are Being Met</span></p>
<p>Once you have come up with a set of standards/goals for your corps it is now possible to evaluate whether or not your drummers are reaching those standards. My favourite way to evaluate my own drum corps is by using a performance rubric. A rubric lays out in plain language what the standards are and also what each drummer needs to do to meet those standards. Here's an example of a performance rubric I use with my drummers. I use this rubric to evaluate each drummer's performance for every drum score in both our MSR and medley. </p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/e13b2bd4d5a333894dc5ea95cd59ed0f05fb28b4/original/screen-shot-2017-07-03-at-6-31-12-pm.png?1499117554" class="size_orig justify_center border_" /></p>
<p> </p>
<p>In order to make the cut, all drummers had to pass an individual formal evaluation at the end of March (our competition season starts in early July). To pass this evaluation, each drummer needed to achieve the "Good" standard for every competition score in our MSR and Medley. Only one player passed on their first attempt but everyone passed on their second. This evaluation showed me every drummer's strengths and weaknesses and provided a great deal of motivation for the entire corps as no one wanted to fail and thereby miss the opportunity to play with the band for the upcoming season. An unexpected benefit of these evaluations was the support corps members gave to each other during the process. If someone failed their evaluation they would inevitably get texts and messages of encouragement to keep working. It ended up being a great team-building exercise as it put everyone in the corps on an equal footing--they'd all done the work to reach the same standard and they all BELONGED!</p>
<p> </p>
<p>In closing, <strong>the biggest benefit I have seen, when the possibility of being cut is eliminated from a drummer's mind, is that the focus on competition day is solely on the music</strong>. After all, it's always about the music!</p>
<p> </p>
<p>As always, questions and comments are always welcome. I'll be putting a Microsoft Word version of the rubric (as well as a detailed list of expectations) on the site for subscribers. Thanks for supporting PipeBandDrummer.com and happy drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/47035672017-05-10T14:56:37-03:002017-05-23T23:24:56-03:00Respecting the Fundamentals (Part III): The Power of the Paradiddle<em>One of the first rudiments I ever learned was the paradiddle. The paradiddle is very simple: RLRR LRLL. It can be taught to young students in a matter of seconds but, with all its combinations and permutations, can take a lifetime to master. Every pipe band drummer knows what a paradiddle is and how to play it. It is truly one of the most important and useful rudiments. The paradiddle has many uses and most pipe band drumming students have seen the following six paradiddle based rudiments during their playing careers:</em><br><br><br><br><span class="font_xl">The Five Add-ons</span><br><br>Most drummers with any experience are familiar with what I call the Five Add-ons: Accents, Flams, Drags, Double Bounces and Dead Sticks. The Add-ons immediately create more of a challenge and can also be placed on the different notes of the paradiddle increasing the difficulty level for advanced students.The Add-ons are an excellent tool to improve stick control and facility. A drummer who masters basic paradiddles and every variation of the Add-ons will be able to play virtually any sticking combination in an advanced drum score.<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/b781979ebfbd12e5e02bbf3ee7b0871dd83973fb/original/six-basic-paradiddles.jpeg?1494433290" class="size_orig justify_center border_" /><br><br>Reading from left to right:<ul> <li>Basic Paradiddles</li> <li>Accented Paradiddles</li> <li>Flam Paradiddles (Flam-a-diddles)</li> <li>Drag Paradiddles (Drag-a diddles)</li> <li>Double Bounce Paradiddles (the slash below the first note indicates an open double bounce should be played instead of a single note)</li> <li>Dead Stick Paradiddles (Dead-a-diddles)</li>
</ul><br><br><br><span class="font_xl">The Importance of Recognition</span><br><br>The sticking combinations produced by Five Add-ons alone presents a ton of work for any pipe band drummer. However, most of the paradiddle exercises I've seen use only groups of four straight sixteenth notes found only in the round reel. Therefore, students don't always recognize paradiddles when they are played in other styles such as the <a contents="march" data-link-label="Group A" data-link-type="page" href="/group-a" target="_blank">march</a> or <a contents="jig" data-link-label="Group C" data-link-type="page" href="/group-c" target="_blank">jig</a>. If a pipe band drummer can recognize a paradiddle they can play it much more easily. Even dot/cut paradiddles can be confusing to young drummers if they haven't seen them in their early exercises. Here's what dot/cut paradiddles look like in a basic march:<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/12f42a177a05cd59705e2f1a9530bd9bf8158bc3/original/dot-cut-paradiddles.jpeg?1494433632" class="size_orig justify_center border_" /><br><br>Now here's what paradiddles look like in a jig--totally different and much harder to spot. A four note rudiment set against a three note 6/8 grouping always throws off beginning students. If a student has the awareness to recognize the passage below is simply six paradiddles it suddenly becomes much easier.<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/b848041abad4a957145e2e96214c86606c97423c/original/68-paradiddles.jpeg?1494433518" class="size_orig justify_center border_" /><br><br>When faster paradiddles are required in a jig, they appear as two-thirds of a triplet as in the example below:<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/a84d21d65ce5b3ad90c4d5e0f902f1fb570f9522/original/68-with-16ths-paradiddles.jpeg?1494433577" class="size_orig justify_center border_" /><br><br><br><span class="font_xl">Hidden Paradiddles</span><br><br><br>Sometimes paradiddles are very hard to recognize, especially when they are spread out across different rhythms. The exercise below is excellent for intermediate to advanced drum corps as the rhythm of each paradiddle is unique.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/40cc2b9095e15ff32c290bb6d15bffd91c648155/original/dot-cut-with-32nds-paradiddles.jpeg?1494433720" class="size_orig justify_center border_" /><br><br>Here's another example of back to back paradiddles spread out across different rhythms--again, not for beginners. For an even bigger challenge, try the using Five Add-ons and enjoy the crazy combinations that result!<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/76ad5e20c85fdd0c21e93c83f02a0a713c74c2c9/original/dot-cut-with-triplets-paradiddles.jpeg?1494433753" class="size_orig justify_center border_" /><br><br><br><span class="font_xl">Offset Paradiddles</span><br><br>Sometimes paradiddles can be hard to identify if they are written "offset" or "over the beat". Below are several examples taken from the Round Reel style. Notice that the paradiddles don't start on the beat. Instead they start on the "and of 1" or the "off beat".<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/ba15787be12c51fe519de5e0ab0917251eb1d200/original/offset-reel-paradiddles.jpeg?1494433815" class="size_orig justify_center border_" /><br><br>Offset paradiddles can also be found in the jig style. They are sometimes tough to pick out because the four note paradiddle is written within a note grouping of three or six.<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/ed5fd16da23a569dbc8f5d276b66cfc8d6649267/original/offset-jig-paradiddles.jpeg?1494433861" class="size_orig justify_center border_" /><br><br><br><span class="font_xl">For Instructors</span><br><br>This post is really just the tip of the iceberg and serves only as an introduction to this versatile rudiment. When teaching paradiddles always keep the following guidelines in mind:<ul> <li>Don't use straight sixteenth notes exclusively in your paradiddle worksheets. Instead, try writing out paradiddles in all five of our drumming styles: <a contents="2/4 March" data-link-label="Group A" data-link-type="page" href="/group-a" target="_blank">2/4 March</a>, <a contents="Jig" data-link-label="Group B" data-link-type="page" href="/group-b" target="_blank">Jig</a>, <a contents="Round Reel" data-link-label="Group C" data-link-type="page" href="/group-c" target="_blank">Round Reel</a>, <a contents="6/8 March" data-link-label="Group D" data-link-type="page" href="/group-d" target="_blank">6/8 March</a> and <a contents="Strathspey" data-link-label="Group E" data-link-type="page" href="/group-e" target="_blank">Strathspey</a> so that students may identify them in their drum scores more easily.</li> <li>Incorporate the Five Add-ons</li> <li>Quiz students often to help recognize paradiddles in their exercises and drum scores</li>
</ul><br>Paradiddles are incredibly useful rudiments. I hope you enjoy working with them as much as I do!<br><br>Happy Drumming!<br><br>Z<br> Pipe Band Drummertag:theworrybirds.com,2005:Post/46951812017-05-03T14:50:15-03:002022-04-19T13:48:27-03:00Respecting the Fundamentals (Part II): Tracking Your Progress<p>As discussed last week, the rudiments are an integral part of a drummer's practice routine. However, practising in a disorganized fashion without the knowledge that you're improving can be frustrating--why practice when you're not sure if you're getting better? Tracking your progress with the rudiments using practice charts can help keep you focused and on task. Over the course of my career I've seen many practice charts designed for many different things. I have designed two practice charts specifically for pipe band drummers and they are available for free to subscribers of PipeBandDrummer.com. Sign up to the site and I'll send you both!<br><br>Each practice chart has a goal. The first one--The W.I.M.P. Chart (What I'm Practising)--let's you know the rudiments on which you've been concentrating the most. In short, the W.I.M.P. Chart shows you where you've been spending most of your time. The second chart--The D.I.P. Chart (Did I Progress?) lets you know if your efforts are paying off and gives you a place to log the specific tempos of the rudiments from month to month. Let's begin with the W.I.M.P.<br><br><span class="font_xl">The W.I.M.P. Chart (Ironically not for wimps)</span><br><br>The W.I.M.P. Chart provides drummers with a way to track the focus of their rudiment practice. Filling it out takes only a second but the data it provides will allow you to easily see where your practice energy has gone and also where it needs to go. Let's have a look at the chart...<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/ffb826210e0b2580aa324b5f8c445695e5c47f88/original/wimp-chart.jpg?1493830044" class="size_l justify_center border_" /><br><span class="font_large">Instructions:</span></p>
<ul> <li>If you practice your single strokes for five minutes, put a checkmark or "x" in the box under the number "1".</li> <li>If you practice your singles strokes again in a subsequent practice session, put a checkmark or "x" in the box under the number "2"</li> <li>If, after several practice sessions, you notice you haven't practiced your double strokes, make them a priority</li> <li>The eventual goal is to practice all 50 rudiments for five minutes each until the column under the number "1" is full of checkmarks</li> <li>It is okay if you want to concentrate every day on drag triplets. Just make sure you log each five minute practice session so you notice where your practice energy is being concentrated</li>
</ul>
<p><br><span class="font_large">The Benefits of the W.I.M.P.</span></p>
<ul> <li>The worst thing about having so many rudiments to practice is the danger of forgetting. The W.I.M.P. Chart provides a glaring reminder to work on rudiments that have been neglected either by accident or due to procrastination.</li> <li>If your band runs a music school for aspiring drummers, the W.I.M.P. Chart can be used as a tool to monitor students' effort. For young students requiring extra motivation/supervision at home, the checkmark or "x" can be replaced with a parent's initials.</li> <li>The W.I.M.P. Chart can be passed out at the beginning of the year to all members of the drum corps along with a set of goals/expectations for completion.</li>
</ul>
<p><br><span class="font_xl">The D.I.P. Chart (Ironically not for dips)</span><br><br>The D.I.P. Chart is a tool for tracking speed increases in your rudiments. As I have learned over the years, increasing your rudiment speed not only takes effort but it takes a LONG time. Tracking increases in speed from day to day can be inaccurate, confusing and frustrating. Think of tracking your speed increases in the same way you would track yourself losing weight: your weight fluctuates from day to day depending on numerous factors (if you've eaten an entire box of cookies for example--not that that's ever happened to me...) Losing weight takes time and a great deal of sustained effort. Weighing yourself every month is a much more accurate indicator that your diet plan is working than weighing yourself every day.<br><br>If you want to know if your rudiments are getting faster it is best to log your speeds every month. Let's have a look at the D.I.P. Chart and how it can help...<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/41c516a5b82e520a8cfe9f9b065ec1ae8a9fecc8/original/dip-chart.jpg?1493832437" class="size_l justify_center border_" /><br><span class="font_large">Instructions:</span></p>
<ul> <li><span class="font_regular">First, set a base line measurement for all your rudiments. For example, if you are measuring the speed of your paradiddles play them successfully ten times in a row (twenty paradiddles total) and then use the "tap" feature of your metronome to figure out how fast they are.</span></li> <li><span class="font_regular">It is very important to make sure you play at least ten rudiments in a row. Playing ten in a row will measure your true speed. If you only play a couple of rudiments before taking a measurement there is a chance that you might "get lucky" and be able to play them quickly. Playing ten rudiments in a row takes "luck" out of the equation.</span></li> <li><span class="font_regular">Once you have measured the speed of the rudiment, enter the BPM (beats per minute displayed on the metronome) in the month column.</span></li> <li><span class="font_regular">Repeat this process for all rudiments twelve times throughout the year.</span></li>
</ul>
<p><br><span class="font_large">The Benefits of the D.I.P.</span></p>
<ul> <li><span class="font_regular">Seeing an increase in the tempo of your rudiments over time is the biggest motivator to continue practising them!</span></li> <li>Logging the speed of your rudiments twelve times a year will keep you coming back to them regularly and will encourage their inclusion into your daily practice routine.</li> <li>Increasing the speed of your rudiments will improve your confidence and also your chances of advancing to a higher grade level.</li>
</ul>
<p><br>Tracking your progress is an often forgotten part of practice. It is beyond frustrating to practice when you see no visible results. Putting your results down on paper provides a tangible and easily accessible collection of data that shows you (and others) how much work you're putting in and how that work is of benefit to you as a drummer. As always, if you have any questions or comments please <a contents="send me an email" data-link-label="Contact" data-link-type="page" href="/contact" target="_blank">send me an email</a> or leave a post on <a contents="Facebook" data-link-label="" data-link-type="url" href="https://www.facebook.com/Pipe-Band-Drummer-1087855284634747/" target="_blank">Facebook</a> or <a contents="Twitter" data-link-label="" data-link-type="url" href="https://twitter.com/zachwls" target="_blank">Twitter</a>.<br><br>Happy Drumming!<br> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/46769622017-04-24T12:09:10-03:002017-04-24T12:30:42-03:00Respecting the Fundamentals (Part I): Rudiments Q & A<em>Since I began playing drums my teachers have impressed upon me the importance of practising rudiments. I learned the basic pipe band drumming rudiments early on: singles, doubles, paradiddles, rolls, flams and drags. Later, as a percussion major in university I was introduced to the <a contents="40 P.A.S. (Percussive Arts Society) Rudiments" data-link-label="" data-link-type="url" href="http://www.pas.org/docs/default-source/default-document-library/pasdrumrudiments2015.pdf" target="_blank">40 P.A.S. (Percussive Arts Society) Rudiments</a> and was tasked with learning them all. It was quite helpful to have a definitive list to which I could refer. This list made it easy to practice as I could check off the rudiments I was familiar with and work harder on those that needed extra effort. When I returned to pipe bands after a twenty year break I discovered there was still no definitive online list of rudiments for pipe band drummers. This was one of the driving forces that led me to create PipeBandDrummer.com and the list of the <a contents="50 Essential Pipe Band Drumming Rudiments" data-link-label="Our Rudiments" data-link-type="page" href="/our-rudiments" target="_blank">50 Essential Pipe Band Drumming Rudiments</a>. Even though most drummers understand the need for rudimental practice, many questions remain. So, let's start with a little "Rudiment Q & A":</em><br><br><br><br><strong>Should You Practice Rudiments Every Day?</strong><br>YES! If you want to be truly great, you should make a big effort to include rudiments in your daily practice routine.<br><br><br><strong>How Many Rudiments Should You Practice Each Day?</strong><br>This depends on how much time you have to practice. My rule is to split my practice time in half. If I have twenty minutes of practice time I spend ten minutes working on rudiments and ten minutes on drum scores.<br><br><br><strong>Is It More Important to Practice Rudiments or Scores?</strong><br>Both rudiments and drum scores are important to work on but I always start my practice with rudiments. It is important not to put the cart before the horse and remember that mastery of the rudiments will allow you to play any drum score. On the other hand, mastering one drum score will only allow practice of the rudiments contained within it.<br><br><br><strong>Why Are Rudiments Important?</strong><br>Rudiments are important because they build your <em>repertoire of movement</em>. A drummer's repertoire of movement is the collection of movements she/he can execute with facility and precision on a drum. Every drummer has strengths and weaknesses in their own repertoire of movement. My weaknesses include swiss triplets played on the left hand, right handed ratamacues and drag paradiddles. Ugh!! If, however, you manage to learn all the rudiments and can execute them at any speed with control and accuracy, you will find that nothing in a drum score will ever cause you difficulty.<br><br><br><strong>How Much Time Should I Spend on Rudiments?</strong><br>I always try to devote at least ten minutes to rudiment practice every day. Setting aside time every day (even a small amount) is more important than the total amount of time. Daily practice creates momentum and you start to see results within the first week, even with only five minutes a day. If you only have five minutes, spend that time on rudiments first before working on your drum scores.<br><br><br><strong>How Fast Do the Rudiments Have to Be?</strong><br>The faster the better. However, make sure your rudiments are executed correctly before speeding them up. If a rudiment can't be played well slowly it's not going to get better as the speed increases!<br><br><br><strong>Rudiments Are Boring! How Do I Make Them More Interesting to Practice?</strong><br>When learning a new rudiment I always practice to a metronome to check my accuracy. Set the metronome to a slow tempo at first then gradually increase the speed as your comfort level with the rudiment increases. The extra challenge of playing to a metronome helps make the process more interesting and has the added benefit of improving your timing. Practising along with your favourite song also helps decrease the "boring factor". Tempos of popular songs are just as steady as those of a metronome and are much more entertaining than a simple "click".<br><br><br><strong>How Do I Know I'm Getting Better at the Rudiments?</strong><br>When practising rudiments tracking your progress is of paramount importance! Use a practice chart to keep track of the speed of your rudiments and use the "tap" feature of your metronome to log your tempos at the beginning of each week. Seeing your speed increase over time will keep you motivated! It is always important to record your rudiment tempos at the speed where you can correctly execute ten in a row. Don't "lie to yourself" about the tempo by playing only two or three at high speed (much easier to do than ten in a row).<br> <p><strong>Once I Learn All 50 Rudiments Which Ones Should I Work On the Most?</strong><br>When I'm choosing rudiments to work on I always trust my gut. When I think about right handed ratamacues I feel a little bit queasy. This is a sure sign I should work on them! If you're practising a rudiment and it's feeling comfortable, it's probably time to move on to one that induces a bit more nausea.</p><br><strong>Will I Ever Get to the Point Where I Don't Have to Practice Rudiments Any More?</strong><br>The short answer here is NO!! When talking with my students about practising the basics, I always tell them about basketball icon <a contents="Ray Allen" data-link-label="" data-link-type="url" href="https://en.wikipedia.org/wiki/Ray_Allen" target="_blank">Ray Allen</a>--a shooting guard in the NBA. Ray Allen currently holds the record for the most three-point shots made in NBA history and that is due in large part to his now <a contents="legendary pre-game routine" data-link-label="" data-link-type="url" href="http://bleacherreport.com/articles/442797-ray-allen-profile-of-a-meticulously-hard-worker" target="_blank">legendary pre-game routine</a>. Before every game from 1996 to 2014 he would shoot 200 three-point shots. He would jump the same way, follow through the same way, and shoot from the same spots on the court. He would also practice different approaches to his shot including coming off screens, having his shot contested or receiving a pass for a "catch and shoot". Ray Allen respected the fundamentals of three point shooting and he demonstrated that respect by putting in the hard work. Ray Allen was not the best natural shooter in NBA history but he will go down as one of the most relentlessly hardworking players the league has ever seen. Similarly, every top pipe band drummer has a routine that includes rudiments (the fundamentals). Great players respect the fact that rudiments are an essential part of daily practice and devote many hours each week working to improving them. Even when great drummers reach the highest heights of playing they never stop working on the rudiments, just as Ray Allen never stopped improving his three-point shot.<br><br><br>Next week I'll be discussing effective ways to track your progress with the rudiments and I'll be sending out a couple of practice charts to members of our mailing list. Sign up to PipeBandDrummer.com to get yours! Have fun with the rudiments and Happy Drumming!Pipe Band Drummertag:theworrybirds.com,2005:Post/46683202017-04-13T10:57:57-03:002019-01-02T11:48:43-04:00Getting Your Drum Corps on the Same Page... Literally!In my early years writing drum scores I used loose leaf paper, a pencil and (most importantly) a good eraser. There were virtually no music notation programs available and those that did exist could not handle pipe band drumming notation. Scores were distributed by making photocopies (as long as you knew someone that had access to a copier) and changes to scores required whiteout and a pen. Thankfully things have changed over the last few decades and music notation software is readily available. The power of these programs allows composers access to features that make the composition and distribution of drum scores much easier.<br><br>The software I use to compose and transcribe drum scores is called "Sibelius". Sibelius, and it's main competitor "Finale" are the two most powerful score writing programs on the market today. As with many big feature-rich programs, the learning curve for Sibelius was very steep and it took me three years of using the program to learn its most important feature: I could finally get my entire drum corps on the same page--literally! Because Sibelius is a traditional notation program used for orchestral and wind ensemble scoring, it has the ability to display multiple staves (lines of music) on the same page. This feature allows me to compose snare, tenor and bass parts simultaneously (as in the example below) and then print out separate parts for each section of the corps later on. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/07c1d280991ece0f2ec9ac1d143038065c8d7b19/original/catherines-milestone-voiced.jpeg?1492016523" class="size_orig justify_center border_" /><p><br>In any musical score, instruments with the highest note ranges are assigned to the top of the score and those with the lowest ranges are assigned to the bottom. For a multi-stave pipe band drum score put your snare on top, tenor in the middle and bass on the bottom. Because snare and bass drums always play the same note it is only necessary to use a single line staff (that will also save room on your page). Tenors must be assigned a full staff, however, because they play several different pitches.</p>Another advantage of using multi-staff notation programs concerns tenor voicing. As part of my own process I begin the year composing for tenors <em>unvoiced</em> as in the example below. Each tenor drummer is responsible for learning the rhythm of the <em>entire</em> tenor part before notes are given out. Because the tenor drummers play both rhythm and melody, it is important to first figure out if their parts complement the snare scores and rhythm of the pipe tune. When snare, tenor and bass parts are on the same score it is very easy to see how they go together rhythmically.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/d1bf2dfac3a7cec4e6b5a3e9c4d3fb3739b20a67/original/trip-to-ballymena-unvoiced.jpeg?1492018401" class="size_orig justify_center border_" /><br>Once I'm convinced that the tenor scores mesh well with the snares and pipes I begin the task of assigning specific notes to support the pipe melody. At that point, because the notes are already entered into Sibelius, it is a simple case of moving them up and down on the staff to complete the voicing process. Once the voicing is determined it literally takes me less than a minute per line to change it. Here's the result:<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/2082add8d58811c6b299f20854c04605276f2d53/original/trip-to-ballymena-voiced.jpeg?1492018635" class="size_orig justify_center border_" /><br>There are many software platforms designed specifically for pipe band snare drummers--some are even available for free. I encourage you to investigate and do your own research as to which program works best for you and your drum corps. When looking for a program that suits you best, always follow these guidelines:<ol> <li>Download and work with the free trial first</li> <li>Read the help files and feature sets to discover the program's benefits and limitations</li> <li>If you like the software please purchase it to support the creators, or if the program is free, consider a donation</li>
</ol><br>Here's a short list of some of the more well-known software programs* designed specifically for pipe band drumming notation. Be aware that some of these programs may not support multi-stave scoring.<ul> <li><a contents="Drum Score Editor (Free)" data-link-label="" data-link-type="url" href="https://www.drumscore.scot" target="_blank">Drum Score Editor (Free)</a></li> <li><a contents="DrumNote Pro 2" data-link-label="" data-link-type="url" href="http://www.drumnotepro.com" target="_blank">DrumNote Pro 2</a></li> <li><a contents="DrumScriobh" data-link-label="" data-link-type="url" href="http://www.ceolmor-software.com/drumscriobh.html" target="_blank">DrumScriobh</a></li>
</ul><br>In addition, many traditional software notation programs* exist that can be adapted to notate pipe band drum scores. These programs also include multi-staff capability allowing you to include all three sections of your corps on one score. Here's a couple of free ones to try.<ul> <li><a contents="Musescore (Free)" data-link-label="" data-link-type="url" href="https://musescore.org/en/2.0" target="_blank">Musescore (Free)</a></li> <li><a contents="Lime (Free)" data-link-label="" data-link-type="url" href="http://www.cerlsoundgroup.org/main.html" target="_blank">Lime (Free)</a></li>
</ul><br>*<a contents="PipeBandDrummer.com" data-link-label="Home" data-link-type="page" href="/home" target="_blank">PipeBandDrummer.com</a> does not officially endorse any music notation software.<br><br>As always, if you have any questions or something to add please let me know by commenting below or sending me an email at <a contents="zach@pipebanddrummer.com" data-link-label="" data-link-type="email" href="mailto:zach@pipebanddrummer.com" target="_blank">zach@pipebanddrummer.com</a>. I'd be very interested to know which programs work for you or if there are any others out there that I may have missed. Happy drumming!<br><br><a contents="Zach" data-link-label="About the Author" data-link-type="page" href="/about-the-author" target="_blank">Zach</a><br><br><br><br><br> Pipe Band Drummertag:theworrybirds.com,2005:Post/46593282017-04-06T12:49:18-03:002017-04-06T12:57:09-03:00Tools of the Trade: Practice Apps and How to Use ThemIn my younger days, my practice tools included sticks, a drum pad, pencil, paper, a metronome and a cassette recorder. These days, I still have my sticks and pad but the only other practice tool I need is my phone. For under $30.00 I now own a metronome with infinite features, looping software that can change pitch and speed of recordings and several digital recorders with the ability to convert to any file format, save to Dropbox and send files by text message or email. My generation has lived through the Commodore 64, Windows 3.1, the invention of the iPod and the emergence of the smartphone. Because we've been witness to this incredible progression of technology we have a unique appreciation for the technology at our disposal--especially when it relates to music.<br><br>I have three apps on my phone I use every day: a <span class="font_large"><strong>metronome</strong></span>, a <span class="font_large"><strong>looper</strong></span> and a <strong><span class="font_large">digital</span></strong> <span class="font_large"><strong>recorder</strong></span>. Let's start with the most important tool in a drummer's toolbox: the metronome.<br><br><br><span class="font_xl">The Metronome:</span><br><br><strong>A metronome is the most valuable tool for every drummer</strong>. The<strong> "</strong>Polynome" metronome is one of the most advanced metronomes on the market and it comes with a robust set of features. Rather than going into detail about everything this metronome can do (and it can truly do anything) let's talk about how it can be used effectively to make you a better drummer.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/cc845ed6c2ec2900c7b005bc7bc2ba1128d30f15/medium/fullsizeoutput-20e.jpeg?1491411142" class="size_m justify_center border_thin" alt="" /><ul> <li>
<strong>Time Check</strong>: The most common use for a metronome is when it is used to check your timing. Are you speeding up? Are you slowing down? Are you able to play well along with the "click"? No matter what instrument you play you should be able to keep time with a metronome and if you can't you don't belong in a musical ensemble, let alone a drum corps!</li>
</ul>
<ul> <li>
<strong>Progress Tracker:</strong> The metronome can also be used to track your progress as you attempt to increase your tempo for rudiments, a tricky score passage or a technique exercise. If you're able to play hand to hand ratamacues at 60 bpm and the next week you notice you can do them at 70 bpm, you'll know you're improving!</li>
</ul>
<ul> <li>
<strong>Feel Check:</strong> Many metronomes come with a "swing" feature that allows you to swing regular eighth or sixteenth notes. This is very valuable when practising a march for instance as the march style is always played with a swing feel.</li>
</ul>
<ul> <li>
<strong>Subdivision Check:</strong> A metronome is the perfect tool for teaching subdivision of the beat (the splitting of the beat into equal parts). Learning how to subdivide is one the the most important skills pipe band drummers can learn as we switch between duplet, triplet, quadruplet and sextuplet subdivisions several times in every line of our drum scores.</li>
</ul>
<ul> <li>
<strong>Set Standards:</strong> In my own pipe band organization we have developed a set of standards for rudiments that must be met at each grade level. All students are given a list of rudiments appropriate for their grade and, before advancing to a band, must perform them for an instructor (to a metronome) at the assigned tempo.</li>
</ul><br><span class="font_xl">The Looper:</span><br><br>The looping software that I use is called <strong>The Amazing Slow Downer</strong>. It has been around for a while and works well. It is an amazingly flexible practice tool that can help your practice sessions in a number of ways.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/45107ac823ebe283949fa25b9f2d3437b176270f/medium/fullsizeoutput-20b.jpeg?1491411110" class="size_m justify_center border_thin" alt="" /><ul> <li>Any looping software will allow you to choose a specific chunk of music and loop it indefinitely. This feature is perfect for practising problem spots and saves constant scrubbing or rewinding of a particular section.</li>
</ul>
<ul> <li>Most looping programs allow you to either change the speed of a recording without changing the pitch or change the pitch of the recording without changing the speed. This feature is helpful by allowing pipe band drummers to: <ul> <li>Change the tempo of pipe tunes for solo competition practice</li> <li>Change the speed of recordings from your lead drummer</li> <li>Begin learning scores slowly before working them up to performance tempo</li> </ul> </li>
</ul>
<ul> <li>Looping apps also allow a lead drummer to send out ONE recording of scores played by every drummer in the organization (massed band scores). The drummers at each level can then learn that score at a speed that works best for them.</li>
</ul><br><br><span class="font_xl">The Recorder:</span><br><br><span class="font_regular">Using a recorder app is the best way to evaluate the accuracy of your own playing. Listening to a recorded performance of yourself is like putting your playing under the microscope--it allows you to focus on the tiny details. Once mistakes become obvious they are easy to fix! There are two types of recorders (audio and video) and both are available on most smart phones. Audio and Video recorders each have their advantages and disadvantages. Let's start with audio recorders:<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/5574f96f72c7b9d8874ee26d9bc7de1ecee716a2/medium/fullsizeoutput-211.jpeg?1491493421" class="size_m justify_center border_thin" alt="" /></span>
<ul> <li>Audio recorders usually come pre-installed on your phone. The audio recorder above: <strong>Voice Recorder Pro</strong> is a free app.</li> <li>Most voice recorders are intuitive (easy to use). There is usually a big red "record" button displayed prominently and all you have to do it click it and you're recording!</li> <li>Audio files are small and easy to distribute by email or text</li> <li>Most voice recorders allow you to text or email the audio files from within the program</li>
</ul><br>Most phones usually come with video recorders as well. Video is better than audio in some ways but in others it can be a little less convenient. Video is much better at conveying details such as stick heights and technique issues but the files can be so large that distribution can be problematic.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/bda0e30940313209052146687b635a31f7175060/medium/fullsizeoutput-210.jpeg?1491490063" class="size_m justify_center border_thin" alt="" /><ul> <li>Recording video of a practice session provides much more detail than an audio file. Elements of playing such as stick heights, posture, grip and stick bounce are on full display</li> <li>Taking a video of a drum corps is the easiest way to identify problem areas (for example if one drummer out of eight is playing a right flam instead of a left it immediately "pops out" at you when watching the video</li> <li>Video, unfortunately, is a complete space hog and will fill up the memory on your phone quickly. If you do use your phone for video, always remember to transfer it to an external hard drive or memory stick regularly to keep your phone memory free.</li>
</ul><br><br>If there are any other pieces of technology out there that any of you find useful as a practice tool, I would love to hear about them. Technology, if used correctly, can be a huge help in the practice room. Have fun with your practice apps and happy drumming!<br> Pipe Band Drummertag:theworrybirds.com,2005:Post/46527992017-04-03T12:44:23-03:002017-04-05T00:14:53-03:00Six Steps to Building a Sustainable Drum CorpsIn an age of instant gratification, myriad distractions and short attention spans it can be very tough to run a pipe band organization. With so many different hobbies, sports and other activities to choose from these days it can be difficult to recruit and retain potential drum corps members. In my own experience I have found that the following six concepts have helped me tremendously as I've worked to build a sustainable drumming program.<br><br><br><span class="font_large">Grow Your Own Players:</span><br><br>As any successful sports team knows "growing" players in the minor leagues within a team's own "farm system" is the best road to sustainable success. It also requires the most sweat equity on the part of management. Even though the development process takes time it comes with a big advantage: the developing player becomes familiar with the way things are done within the organization. For a sports team it is very important to establish a "culture of winning". A successful winning culture can include everything from dress code and expectations for punctuality to learning the organizations' playbook. If a developing players learns the specifics of an organizations' winning culture early on in their career they will be able to slide in seamlessly when invited to join the top team. Some sports teams swing for the fences making big trade after big trade only to deal away all of their minor league talent. While a big trade is always enticing and can sometimes yield positive results, the long term health of the team always suffers.<br><br>In a pipe band, growing your own players also requires a great deal of sweat equity. Pipe band drumming is complex and requires lots of practice to achieve even mediocre results. As with a sports franchise , it is important to establish a winning culture and sense of team early on with your developing players. Expectations for drummers should be defined clearly along with the consequences for failing to meet them. Expectations for drummers will vary slightly from band to band but should include standards for attendance, work ethic, respecting other players, punctuality and practice habits.<br><br>Besides establishing a set of standards for your drumming program, it is also important to establish a strong sense of team. This process begins at the beginner level as new drummers join the organization for the first time. The big secret: group classes of no less than four students. In my experience one on one "classes" lead to students feeling isolated and uninvolved. Everyone wants to belong and group classes immediately establish this sense of belonging. Kids work best if they're in their own beginner class. Adults work best if they work with other adults. Group classes create a sense of community and camaraderie that can keep players coming back if only for the social aspect. And, if players keep coming back, they can eventually be convinced to join the band! Classes should be fun, entertaining and informative and should always finish at the end of the year with a group performance--best bonding experience ever!<br><br><br><span class="font_large">Develop a Winning Program:</span><br><br>When I played basketball as a kid our team wasn't the best. I always looked at the teams fielded by the powerhouse schools and longed to play for them. In short, I wanted to win! If the bands or drum corps within your organization have success on the competition field word will spread and people will want to sign up. If the band continues to win new members will want to stay. Sustained competitive success for any organization (even the top bands in the world) can be extremely difficult to maintain but winning should always be the goal. As the saying goes: "Everybody likes a Winner".<br><br>That being said, I feel <strong>it is important to win the right way and NOT at any cost</strong>. Cutting players on a competition day creates resentment and animosity and leads to the cut player feeling worthless and undervalued. In this situation nobody wins. In the case of a grade 4 or grade 5 band, absolutely no one should ever be cut on the day of a competition. Learning how to perform under pressure is a key element in the development of lower grade drummers. Depriving your developing players of this opportunity will hurt your organization in the long run.<br> <p><span class="font_large">Set Standards: </span></p>
<p>It has become apparent to me over the last few years how important it is to set standards for each level in our organization. For entry into our parade band, all members must learn our parade music along with a short list of 15 rudiments played ten times in a row to a specific speed on the metronome. If a student is able to reach these standards they are welcomed into the parade band with open arms. To move up to grade 5, the number of required rudiments increases (as does their speed with the metronome) and students are expected to learn a march medley for competition. For grade 4, the standards increase again and then again for grade 2. Having standards in place lets students know where they stand and what they must accomplish to advance to a higher level.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/eedb07b14f67f3f50f8d55ba4bc17c2458deac53/original/dartmouth-drumming-house.jpeg?1491232265" class="size_l justify_center border_" /></p>
<p><br>Within my own organization, we have recently taken steps to better organize how drummers progress through our system. The simple graphic above illustrates how our drumming program is structured. It begins with beginner classes (separate classes for young students and adults if possible). At the end of the teaching year, students are assessed and either return to a beginner class or are promoted up to technique class. The technique class is larger than the beginner classes as it is composed of both young and adult students from beginner classes. In the technique class, progression up through the bands is discussed and the skills needed to join a band are taught and practiced. If a student works hard, it is possible for them to skip a step as they progress up through the ranks of the organization. All students realize this and it has proved to be a positive motivator for many of them.</p><br><span class="font_large">Value <em>All</em> the Bands in Your Organization:</span><br><br>If you have several bands in your organization try to make sure they are all supported equally. Every band in your organization deserves to have excellent leadership, top notch music, decent uniforms and high quality instruments--not just the top level band. If members from all bands feel valued, they will stay in your organization and gradually work their way up the ranks. If members feel undervalued they will leave--it's that simple. Playing in a grade 3 band should not simply feel like extended purgatory or a stepping stone as a player bides their time trying to make it up to grade 2. Instead, the grade 3 band should feel like a viable destination where the player feels challenged, appreciated and encouraged.<br><br><br><span class="font_large">Choose Good Leaders:</span><br><br>If your organization has multiple bands you will need to choose lead drummers with excellent leadership skills. Some traits I look for as I make my choices for lead drummers include patience, even temperament, sense of humour, humility, enthusiasm, interpersonal skills and honesty. If your instructors are good folks, their students will want to keep coming to lessons. It is also necessary to choose leaders for your lower grade bands that have bought into the overall drumming curriculum. It is important that all instructors are essentially teaching the same things the same way to maintain continuity throughout the program.<br><br><br><span class="font_large">Communication, Respect and Support:</span><br><br>Communication, or lack thereof, has been the downfall of many pipe bands. Keeping an open line of communication with your fellow teachers, musical leaders, students and their parents is of paramount importance. Communication should always be honest and respectful and should happen often. Expectations of teachers and lead drummers in your program should be laid out clearly and well in advance of the start of the year. All lead drummers and instructors should feel supported and respected in the work they do--it's not just students and beginning drummers that can be lost to a negative experience. If a teacher doesn't have the support or appreciation of an organization they will leave and a good teacher is always difficult replace.<br><br><br>Following these six steps has helped guide me toward my goal of creating a sustainable drum corps. Whether you are a beginning student, corps drummer or lead drummer, being part of a solid, sustainable pipe band is an amazing experience. It is a ton of work but luckily it's a labour of love! As always, questions and comments are always appreciated. Happy drumming!<br> Pipe Band Drummertag:theworrybirds.com,2005:Post/46336072017-03-17T03:37:09-03:002021-08-30T16:12:50-03:00The "2346": A Warm Up You Can Count OnThe importance of warming up before a rehearsal or performance cannot be overstated. If a drum corps is not warmed up properly it can mean the difference between success and failure on the field. So, which warm ups should you use? All lead drummers have a few good warm ups in their repertoire and the most effective exercises share some common characteristics.<br><br>A good warm up should always:<ul> <li>be easy to understand</li> <li>provide a challenge to "engage the brain"</li> <li>address a fundamental aspect of playing</li> <li>place an emphasis on unison playing</li> <li>promote concentration and focus</li> <li>give your hands a workout</li>
</ul><br>One of my favourite warm ups is the "2346". I designed the "2346" to improve a drum corps' sense of time and subdividing skills. The ability to subdivide improves the timing and "feel" of the corps and the sticking changes in variation #2 and #3 promote increased focus and concentration leading to a more productive rehearsal. In pipe band drumming the skill of subdivision is of utmost importance as our scores require us to switch subdivisions multiple times in each line of music.<br><br><br><span class="font_large">The "2346" Variation 1: Single Strokes</span><br><br>Most pipe band drummers learn this basic subdividing exercise in their first year of playing so it should already be familiar to most of you. Always remember to practice each line separately before attempting to move from one line to the next. Once all individual lines are solid try playing the exercise straight through. Practice with the metronome until all subdivisions are played correctly and the warm up can be played convincingly from start to finish. The arrows above each note grouping indicate where the metronome should "click". Begin with the metronome at 60 bpm and increase by 10s until you reach 120 bpm. Follow these same tempo guidelines for all three variations. If you or your drum corps gets stuck at a certain tempo, reduce tempo by 20 bpm and make sure performance of the exercise is accurate before moving on. It is of paramount importance that these exercises be performed CORRECTLY at each tempo before increasing speed.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/e44d2c08e24402b04ef8b06debaa166e1b36fbce/original/warmup-1.jpeg?1489723304" class="size_orig justify_center border_thin" alt="" /><br><br><span class="font_large">The "2346" Variation #2: Double Strokes</span><br><br>Now here's where things start to get interesting. Variation #2 is rhythmically identical to variation #1 but, because you're now using doubles, it will feel much different. It is interesting how difficult the second and fourth lines become as doubles are played over triplets and sextuplets. As in variation #1, practice each line individually before putting them all together.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/ae28438fb37ef2ddb36eacbeaf558b0a3109351d/original/warmup-2.jpeg?1489723345" class="size_orig justify_center border_thin" alt="" /><br><br><br><span class="font_large">The "2346" Variation #3: Paradiddles</span><br><br>The final variation of "2346" should provide most drum corps with a solid challenge. Playing a four note paradiddle over triplets and sextuplets will give many drummers a headache. Personally I enjoy this variation the most because I find it so challenging. A good amount of practice will be required to maintain the correct subdivision while keeping your hand to hand paradiddles intact. To facilitate unison and help the exercise groove better, place a slight accent at the beginning of each paradiddle.<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/c0ce240a948dc814235929b2107624af393634d7/original/warmup-3.jpeg?1489724946" class="size_orig justify_center border_thin" alt="" /><br><br><br>If you have a favourite warm up that you'd like to share with the PipeBandDrummer.com community, please email it along with any notes/explanations and I'll include it in a future blog post. Sharing our knowledge helps us all! Enjoy the "2346" and happy drumming!Pipe Band Drummertag:theworrybirds.com,2005:Post/46199082017-03-08T00:36:55-04:002021-08-25T18:52:41-03:00Underrated and Underappreciated Part IV: The Mids and The Pipes ContinuedWelcome to Part IV in our series discussing note choices for the mid-section. Last week we covered the "keys" of A Major and A Minor and this week we'll learn about the other two common bagpipe "keys": D Major and B Minor.<br><br>The "key" of D Major is quite common and easily identifiable due to the fact that tunes "in D" usually start and finish on "D". The well known march "Teribus" is written in D Major. Note the fact that it begins and ends on "D" (the first "A" is a pickup note and not the official beginning) and it contains a large number of D and A notes.<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/a391dfc7c1e8e8b1d28dbd4783560c9a1b2f6914/original/teribus.jpg?1488899752" class="size_orig justify_center border_" /><br><br>Another characteristic of D Major is the strong presence of the A Major chord (made up of "A", "C" and "E"). "A" is the <strong>dominant</strong> in the key of D Major. Many D Major tunes switch back and forth between the D Major and A Major tonalities. As shown in the chart below, <strong>in the key of D there will usually be a large number of "D", "F" and "A" notes </strong>(those that outline the D Major chord). You will also find a high number of notes that outline the A Major (dominant) chord:"A", "C" and "E". Therefore, the best tenor note choices for the "key of D" are "D", "F", "A" "C" and "E".<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/790133120ab0cae1c36522a29aa29044992712e4/original/teribus-note-chart-001.jpeg?1488900823" class="size_orig justify_center border_" /><br>The final common bagpipe "key" is that of B Minor. A tune written in B Minor will almost always start or finish on the "B note" and the tune will contain a large number of Bs. The <strong>dominant</strong> note of B Minor is "F" so <strong>if you notice a large number of Bs and Fs in a tune you can be sure it's in B Minor</strong>. In the classic jig, "Paddy's Leather Breeches", it is clear from the start that the key is B Minor as it begins with three straight B notes (a dead giveaway). Many B Minor tunes contain passages with a strong A Major tonality. The switch back and forth between the tonalities of B and A is also a sure sign the "key" of the tune is B Minor.<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/e158c7d02ec0f7297767e2b834b0d8d9580e0924/original/paddys-leather-breeches.jpg?1488902195" class="size_orig justify_center border_" /><br><br>Judging by the number of B notes in the chart below, it is clear that "Paddy's Leather Breeches" is "in B Minor". The dominant note in the "key" of B Minor is "F" and the presence of many F notes provides even more evidence of B Minor. Also notice the large number of "A" and "E" notes that often occur in B Minor tunes as the tonality switches back and forth between B Minor and A Major. Because of this tonality switch, the best notes to choose for the "key" of B Minor are "B", "D", "F", "A" and "E".<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/a17c4d8725bf076cd30a19a92927e738e3ebf5bd/original/paddy-leather-breeches-note-chart-001.jpeg?1488903177" class="size_orig justify_center border_" /><br><br>Now that you know a little bit about bagpipe "keys" and how to figure out the tonality of tunes on your own you have to think about which notes to choose for your tenor section. To do this effectively you need to know the "key" of everything your band plays. In my own band, our current medley is constructed with the following tonalities:<br><br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/a32687b4d9a6cdd8eb44ba66b73b2bde892d0002/original/tenor-note-choices-for-medley.jpg?1488905347" class="size_orig justify_center border_" /><br><br>For the upcoming season our band has five tenor drummers and therefore five pitches with which to accompany the pipe tunes. Before writing the tenor scores I had to decide which pitches from the pipe scale to use based on the tonality of the tunes in the medley. You probably notice in the above chart that not all the drums play in every tune. Some notes just don't fit with certain pipe keys. For example, in our hornpipe I chose to only use three pitches even though I have access to five. When scoring for the hornpipe only the pitches A, E and G truly complimented the melody.<br><br>This year, as we added a new tenor drummer to the corps, I was able to add the pitch "F" which is quite useful in the key of D (it's the third in a D Major chord) but doesn't work particularly well in other keys. In truth, the most practical notes to choose to accompany most pipe music are A, E and G. Due to the modal nature of most pipe music, these notes will support the melody most often. If you have four tenor drummers it is helpful to have a "D" as well but with five or more drums it is up to whomever is writing the scores which notes to add. A really lucky band owns nine tenor drums that can cover every note in the scale if needed. This is extremely rare, however, and is only seen in very large bands.<br><br>Hopefully this series on note choices for tenor drums has given you some insight into the process. As always, don't hesitate to get in touch with any questions/comments. Enjoy choosing notes for your tenor drums!<br><br> Pipe Band Drummertag:theworrybirds.com,2005:Post/46113112017-03-02T23:12:15-04:002023-12-10T13:53:12-04:00Introducing: "The Bare Bones": A Reading Method for the Pipe Band Drummer<p>Pipe band drumming music is almost impossible to read. In fact, it is not only hard to read but, to anyone unfamiliar with the style, it is completely inaccessible. I have been trying to figure it out for the last 30 years and it has been a long and frustrating process. When I first joined a pipe band at the age of fifteen I was handed a piece of music that looked something like the example below. It was a bunch of notes all joined together by a single beam. There was a time signature but no bar lines. Thankfully I was also handed a cassette tape with a recording. I used the written music to figure out my rights and lefts but I learned the rhythms from the recording. I wanted to use the written music but I couldn't make any sense of it. It was then that I began my quest to learn how to read and write pipe band music and it took me many years to figure it out!</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/c4405c8afbefb4b70b95d52b375fdac081f6e617/original/weird-note-groupings.jpeg?1488344831" class="size_orig justify_center border_" /><br><br><strong>In the pipe band drumming idiom, what you see is NOT what you get</strong>. A large majority of our music is merely a representation or suggestion of the rhythms we play and cannot be explained using conventional music theory. In the chart below are three rhythms from three separate styles of pipe band drumming. These rhythms are all played the same way but are written differently depending on the style being played. To be clear: this doesn't happen in ANY other style of Western music including jazz, classical or the many forms of popular music. In EVERY other style of music, the rhythm that's written is the rhythm that is played.<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/60b679ad4f7d1a95b3c52a4c6f3970a9980c30da/original/baby-baby-chart.tiff?1488510465" class="size_orig justify_center border_" /><br><br><br>When I began my tenure as lead drummer of Dartmouth and District I was determined to teach the students in our organization to read. However, before I could accomplish this goal I needed to understand the music myself and, admittedly I was struggling to do so. The drum scores could not be broken down using classical music theory. I needed to find another solution. To start the process I drew on inspiration from another aspect of my education as a classical percussionist at Acadia University. In my first week at Acadia my professor handed me Louis Bellson's book "Modern Reading Text in 4/4". I spent many nights in a practice room counting the rhythms of the book out loud using "1 e & a 2 e & a", "1-trip-let 2-trip-let" and "1-a-trip-a-let-a 2-a-trip-a-let-a". Using the rhythm syllables improved my reading abilities immensely. Even though the syllables I used with Bellson's book didn't translate exactly to the pipe band drumming idiom, they did inspire me to create my own set of rhythm syllables specifically for pipe band drummers. This web based reading system is finally available (complete with detailed theory and audio examples) for free at <a contents="PipeBandDrummer.com" data-link-label="Home" data-link-type="page" href="/home" target="_blank">PipeBandDrummer.com</a>. Click on the link below to start your reading journey:<br><br> </p>
<div style="text-align: center;">
<a contents='"The Bare Bones: A Reading Method for Pipe Band Drummers"' data-link-label="The Bare Bones" data-link-type="page" href="/the-bare-bones" target="_blank"><span class="font_xl">"The Bare Bones": A Reading Method for the Pipe Band Drummer</span></a><br> </div>
<p><br><strong>"The Bare Bones"</strong> is a collection of exercises designed to teach drummers how to read and interpret the rhythms of pipe band drumming. These reading exercises are divided into five groups: <a contents="The 2/4 March" data-link-label="Group A" data-link-type="page" href="/group-a" target="_blank">The 2/4 March</a>, <a contents="The Round Reel" data-link-label="Group B" data-link-type="page" href="/group-b" target="_blank">The Round Reel</a>, <a contents="The Jig" data-link-label="Group C" data-link-type="page" href="/group-c" target="_blank">The Jig</a>, <a contents="The 6/8 March" data-link-label="Group D" data-link-type="page" href="/group-d" target="_blank">The 6/8 March</a> and <a contents="The Strathspey" data-link-label="Group E" data-link-type="page" href="/group-e" target="_blank">The Strathspey</a>. Each group contains its own unique set of rhythm syllables complete with audio examples and related theory. <strong>The syllables used in each style are designed to be played <em>exactly</em> as they are said</strong>.</p>
<p>Some might ask why I chose the name "The Bare Bones" for this reading course. In my opinion, the two most important elements of the pipe band drumming style are the <strong>unique rhythms</strong> we use and our <strong>complex sticking patterns</strong>. These two elements form the foundation, or "skeleton", upon which everything we play is built. Therefore, in order to read a pipe band drum score, a drummer must have a good understanding of how to read both rhythms and sticking patterns simultaneously. That is why, in "The Bare Bones", I have isolated these two elements enabling drummers to hone their reading skills with minimal distractions. Flams, drags, rolls and dynamics have all been removed leaving only the "bare bones" of our music.</p>
<div>Creating this reading system and the website <a contents="PipeBandDrummer.com" data-link-label="Home" data-link-type="page" href="/home" target="_blank">PipeBandDrummer.com</a> has been a labour of love for me over the last several years. It is my hope that you will find it to be a useful resource. Please feel free to comment on this post below with any questions or comments you may have or send me an email: <a contents="zach@pipebanddrummer.com" data-link-label="" data-link-type="email" href="mailto:zach@pipebanddrummer.com" target="_blank">zach@pipebanddrummer.com</a>. Happy drumming!</div>Pipe Band Drummertag:theworrybirds.com,2005:Post/45886082017-02-22T14:44:22-04:002021-08-25T18:53:06-03:00Underrated and Underappreciated Part III: The Mids and The Pipes<p>In order to compose scores for the mid-section you should know a thing or two about the pipes--it is a <em>pipe</em> band after all. Everything starts with the notes of the pipe scale. Bagpipes play a simple scale of nine notes. These notes form what music theorists call "mixolydian mode". Anyone with a music theory background knows that "mixolydian mode" is a major scale with a flat 7th. Even though there is no key signature in bagpipe music, both the "C" and "F" notes are sharp (a semi-tone higher in pitch than they appear in the written music). The bagpipe scale looks like this:<br> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/65e4a2e672310d2c2cbf6014d2129dacfbb9c8fb/original/pipe-scale.jpg?1487781650" class="size_orig justify_center border_" /></p>
<p> </p>
<p><strong>Pipe tunes use select notes from this scale to form "keys" which define the overall tonality of each tune</strong>. There are four main "keys" used in piping music: "A Major", "A Minor", "D Major" and "B Minor". Let's begin with the most common of all pipe "keys": A Major. The first part of the well known march "Wings" is written in "A Major". If a tune is "written in A" it uses certain notes of the pipe scale more often than others to give it that tonality.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/b8c4a6c78ec4bf69e3eabca98a0c9a6841d110ff/original/wings-pipe-tune-no-chords.jpg?1487784924" class="size_orig justify_center border_" /><br><br><strong>Tunes "in A" use the notes "low A", "C", "E", and "high A" more often than the other notes of the scale</strong>. These notes form the "A Major" chord that defines the key. Notice the total note count on the chart below for the first part of "Wings". The "A", "C" and "E" notes appear 29 times contrasted with the other four ("B", "D", "F" and "G") that appear only 20 times.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/87dcfb08b32c73863e7dfe14fff1cdf6491fe811/large/wings-note-chart-001.jpeg?1487787966" class="size_l justify_center border_" /><br>In any musical key, the two most important notes are the first and fifth note of the scale, known to musical theorists as the <strong>"tonic"</strong> and <strong>"dominant"</strong>. The tonic note in the key of A is "A" and the dominant note is "E". Therefore, a tenor drummer's most logical note choices for this key are "A" and "E".<br><br>The next example involves the key of "A Minor". The tell tale sign that a tune is written in "A Minor" is the absence of the note "C". Another characteristic of "A Minor" tunes is the prevalence of "G" and "D" notes. In the first part of "The Haughs of Cromdale" there is not one "C" note and there are lots of "G" and "D" notes. Also notice the large number of "A's" and "E's" which define the "A Minor" tonality.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/590b88258f45098ab3591b9e59000457d5844adc/original/haughs-no-chords.jpg?1487787494" class="size_orig justify_center border_" /><br>In the chart below, the note count reinforces the fact that "The Haughs of Cromdale" is written in "A Minor". The tonic note "A" and the dominant note "E" make up over half of the total notes of the tune with "G's" and "D's" accounting for most of the rest. Tenor drummers should choose the notes "A" and "E" for this key as well but, if you have the drums available, you may also want to add some "G's" and "D's" for more voicing options.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/1e80c258b11ac54d4fdafcce7eac48aac2dc6ef3/large/haughs-note-chart-001.jpeg?1487788949" class="size_l justify_center border_" /><br>Join us again next week for an introduction to the keys of "D Major" and "B Minor". Until then, happy drumming!</p>Pipe Band Drummertag:theworrybirds.com,2005:Post/45865952017-02-13T20:01:04-04:002021-04-21T14:07:34-03:00Underrated and Underappreciated Part II: Choosing Notes for the Mid-SectionAs discussed in last week's post <a contents='"The Importance of the Mid-Section"' data-link-label="The Ups and Downs" data-link-type="page" href="/the-ups-and-downs" target="_blank">"The Importance of the Mid-Section"</a>, tenor and bass drums are the vital bridge between the melody of the pipe section and the rhythm of the snare section. It is of utmost importance that note choices for tenors make musical sense in order to provide the most effective harmonic support to the pipes. So, where do you start? What notes do you choose? How <em>many</em> notes should you choose? Will the chosen notes work with the drums you have?? There are SO many questions! To make things easier, let's just start with the first question: "What notes should you choose for your tenor drums?" Before answering this question it is important to know two things:
<ul> <li>How many tenor drums do you have?</li> <li>What are the sizes of each drum? (measurements should be taken across the diameter of the drum from one inside edge of the rim to the other)</li>
</ul>Once you know the number of drums at your disposal and the <em>size</em> of each one you are ready to start figuring out your notes. The most common sizes for tenor drums are 14", 16", 18" and 20". Of these, the 16" tenor is the most popular due to its versatility and projection (its ability to be heard within the band). Most bands that own tenor drums are guaranteed to have at least one 16" drum in their inventory.<br><br>In the chart below, note the diameter of each drum and the pitches that lie within its <strong>effective tuning range</strong>. Effective tuning range is a complicated way of saying "notes that sound good on the drum". Most drums are purported to have an effective tuning range between the musical intervals of a third and a fourth but in reality every drum is slightly different. Aside from the diameter of the drum, there are several other factors that influence the range of a tenor including shell depth, shell material (the type of wood used) and the thickness of the drum heads. In my experience, however, this chart works very well as a starting point.<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/a02979e34f25c791560f782434710895e8d68096/original/tenor-note-choices.jpg?1487024817" class="size_l justify_center border_" /><br><br>Now that you know what pitches are available to be played on your drums you must decide which of those notes to choose. In the chart below you will find note choice suggestions for up to five tenors. These note choices are <strong>common sense</strong> choices and will provide you with the greatest number of opportunities to provide the correct harmonic support to the pipes.<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/0a5fcaeb4bab5add5a96392c79488eb632764d81/original/note-choice-table.jpg?1487029016" class="size_l justify_center border_" /><br><br>Next week in part three we'll learn about the different tonalities of pipe tunes and how the tenor notes you've chosen can be used most effectively within a band setting. Until then, happy tenor drumming!Pipe Band Drummertag:theworrybirds.com,2005:Post/45732442017-02-02T02:42:23-04:002022-05-25T15:13:32-03:00Underrated and Underappreciated: The Importance of the Mid-Section<p>In a pipe band, the mid-section consists of the bass drummer and tenor drummers. The bass and tenor drums are tuned to specific pitches that support the melody of the pipes but their rhythm is always complementary to the snare scores. The mid-section acts as a bridge between the pipes and the snares and, when used effectively, can enhance the rhythm and melodic elements of each section. The mid-section has always been an underrated and under appreciated part of the pipe band. In competition, the mid-section never gets their own score sheet and therefore usually falls to third in the priority list for most bands--first priority being pipes and second being snares. However, the mid-section is incredibly important when it comes to ensemble. In fact, a bad mid-section performance can lose a contest for a band (I've seen it happen).<br><br>The mid-section is integral to the overall sound and look of a pipe band. Over the last several years as a lead drummer I've learned to love the mid-section and appreciate its role in the band. Here's a couple of things I've learned...<br><br><strong><span class="font_large">Tune the bass drum EXACTLY to the drones:</span> </strong> The bass drum provides the foundation for the pipe band. Just like with a house, if the foundation isn't solid the house will crumble. If the bass drum isn't tuned correctly or has too many overtones (pitches coming off the drum other than the "A" being played by the drones) it will cost you dearly in ensemble. To rid your bass drum of overtones it is essential to ensure that each head is tensioned evenly and also that both heads of the drum are tensioned identically. Use a tension watch or other tool to be sure the heads are at even tension. This will produce a solid and booming "A" note free from unwanted overtones.<br><br><span class="font_large"><strong>Write a musical score, NOT a "cool bass drum score"</strong>:</span> As far as a bass drum score is concerned, try to make it reflect the rhythm and melody in both the pipe tunes and the snare scores. Try your best to mix in syncopation and straight time where required or where effective. In general if your bass drummer is doing their job they won't be noticed. You never want to hear someone say "wow your bass drummer's awesome". Instead, you'd rather hear "wow your band sounds great!"<br><br><span class="font_large"><strong>Tune your tenor drums to notes in the pipe scale:</strong></span> I think of the mid-section as a bass guitar. Bass and tenors provide harmonic support to the pipe tune just as a bass guitar provides harmonic foundation in a rock band. In a rock band, if the guitarist is playing a C chord, the bassist usually plays either C, E, or G (the notes of a C chord). If the guitarist plays a G chord, the bassist usually plays G, B or D (the notes of a G chord). The notes of the guitar player are always supported by the bassist It still amazes me that I hear tenor drums tuned to notes other than those in the pipe scale. It doesn't make musical sense. It's impossible to provide melodic support to the pipe tune if your tenors aren't playing the pipers' notes!<br><br><span class="font_large"><strong>A musician should write your mid-section scores:</strong></span> Every pipe band contains at least one person who has received some form of musical training outside of the pipe band. Choose someone to write your mid-section scores who understands the relationship between melody and harmony. It could be either a piper or a drummer, as long as they have some knowledge of basic music theory. I know of one successful grade one band in Scotland that has tasked their pipe sergeant to write not only the harmony for the pipers but also the mid-section scores.<br><br><span class="font_large"><strong>Write flourishing that complements the music:</strong></span> Tenor flourishing is the equivalent to lighting at a rock show. The best rock shows always have the best lights. A great light show sets the mood, controls the reaction of the crowd and is completely in sync with the music. Just like effective lighting, tenor flourishing is the element of pipe band performance that catches your eye. If you see young children at a highland games they are always watching the tenor drummers. The best tenor sections take advantage of the fact that the eye is drawn to their flourishes by <em>using</em> those flourishes to add a visual element to the music. Even a simple thing like all tenor drummers bringing their arms down simultaneously on a big snare accent can really add to the music. Flourishes can be played with finesse, aggression, subtlety, flow and exaggerated movement that can affect a performance in many positive ways.<br><br><strong><span class="font_large">It's a tough gig! Respect your tenor drummers: </span></strong> As a percussion student at university I became accustomed to counting many bars of rest only to play one note on the triangle. Counting and keeping my focus was nearly impossible while counting 80 bars of rest but it definitely gave me respect for pipe band tenor drummers. If possible try to put your best and most focused musicians on tenor drum. Tenor drummers need to be able to subdivide perfectly, have an innate understanding of the groove, produce a full round note from the drum at the same volume as the other tenors, flourish rhythmically in sync with one another and play occasional notes (many of them off the beat) in precise spots in the music. This is the hardest musical job in the band. If you disagree, just try it out and see what you think!<br><br><span class="font_large"><strong>Next week I'll be discussing note choices for tenor drummers. As always if you have any questions or comments send me an email or leave a comment below. Happy Drumming!</strong></span><br> </p>Pipe Band Drummertag:theworrybirds.com,2005:Post/45686042017-01-30T01:25:41-04:002017-02-22T15:13:00-04:00Introducing: The Drummer's CompanionIn my early years, getting a piper to record my competition tunes was a complicated process involving cassette tapes, tape recorders and myriad technical difficulties. On several occasions tapes stretched changing the tempo (only in certain parts of course) and were sometimes completely destroyed by hungry cassette recorders. To describe my early attempts at procuring a practice recording as "inconvenient" would be a bit of an understatement.<br><br>You would think, with all the advances in technology in recent years, that the process of getting recordings from pipers would have become a bit easier by now. Recordings can be made on phones or other digital recorders and free software exists allowing you to edit wave files and change tempos. Mp3s are easy to email and texting sound files makes things even easier! However, technology is not the issue here. The issue is time. Pipers are just as busy now as they used to be and getting high quality recordings out to multiple members of the drum corps just so they can practice their solo material (not band related) tends to fall to the bottom of the priority list and rightly so. Pipe majors are busy folks, so are pipe sergeants and most good band pipers are already busy learning solo repertoire of their own. What is a competing drummer to do?<br><br><a contents="Introducing: The Drummer's Companion" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/the-drummer-s-companion">Introducing: </a><a contents="Introducing: The Drummer's Companion" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/the-drummer-s-companion"><strong>The Drummer's Companion</strong></a>. The Drummer's Companion is a library of competition pipe tunes performed by world champion piper <a contents="Bruce Gandy" data-link-label="" data-link-type="url" href="http://www.brucegandymusic.com" target="_blank">Bruce Gandy</a>. Bruce's success, both as a soloist and as a band player, gives him unique insight into what drummers need in a practice recording. Bruce's playing is extremely musical and gives drummers the opportunity to play with the best of the best. All tracks in The Drummer's Companion are recorded in pristine audio quality at <a contents="FMP Studio Matrix " data-link-label="" data-link-type="url" href="http://fmpmatrix.com" target="_blank">FMP Matrix Studio </a>by award winning engineer and drummer <a contents="Scott Ferguson" data-link-label="" data-link-type="url" href="http://fmpmatrix.com/index.php/scalia_team_person/scott-ferguson/#more-8068" target="_blank">Scott Ferguson</a>. Among many successes over a long career in music, Scott performed with the Rankin Family as their touring drummer for the better half of a decade and engineered the Youtube sensation "United Breaks Guitars" by Dave Carroll (16,000,000 views).<br><br>To date The Drummer's Companion contains thirteen tracks: Five marches, four strathspeys and four reels. The next batch of recordings will be available soon. Due to Bruce's busy schedule, we have accepted the fact that The Drummer's Companion is a long term project and will be completed over several years. MSRs will be first priority followed by Hornpipes and Jigs in the future. It is important to Bruce and I to do things right. Only recordings of the highest quality (those with Bruce's stamp of approval) will be made available for purchase.<br><br>Here's the track list so far:<p>Marches: <br>Donald Cameron <br>The Argyllshire Gathering <br>Brigadier General Cheape of Tiroran <br>Pipe Major Willie Gray's Farewell to the Glasgow Police <br>The Royal Scottish Pipers Society </p>
<p>Strathspeys: <br>Blair Drummond <br>John Roy Steward <br>Maggie Cameron <br>Dornie Ferry </p>
<p>Reels: <br>Brown Haired Maid <br>Dolina MacKay <br>John Morrison of Assynt House <br>MacAllister's Dirk<br><br>Tracks from The Drummer's Companion can be downloaded individually <a contents="HERE" data-link-label="" data-link-type="url" href="https://pipebanddrummer.com/store" target="_blank">HERE</a>. If you purchase three MSR tracks and lack the means to string them together, please send me an email and let me know and I'll combine them for you into one track at no added charge. Check out The Drummer's Companion today and start practicing with Bruce Gandy!</p> <br> Pipe Band Drummertag:theworrybirds.com,2005:Post/45547052017-01-20T10:14:54-04:002017-02-22T15:14:53-04:00Notating "Light and Shade"For hundreds of years most of the Western world has been using a system of Italian symbols in their written music to indicate dynamic levels (loud and soft). For some reason, pipe bands have yet to catch on to this system of dynamic notation. Up to this point, lead drummers have simply given verbal instructions to indicate loud and soft: "a little louder here" or "come right down after the flam". If dynamic levels are included in the written score, drummers can learn the dynamics in advance without any help from the lead drummer saving a ton of time at rehearsals.<br><br><strong>"Light and Shade"</strong> is a term often used by judges to indicate the need for extra levels of dynamics between loud and soft. These dynamic "grey areas" can be achieved using the seven volume symbols below. Including these in your written score can clarify exactly where these subtle dynamic changes take place.<br><br>To get you started, here are the dynamic symbols:<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/760109143d2b5dd4bb11b3288fad9d453287c8b1/original/dynamics-image.jpg?1485875098" class="size_l justify_center border_" /><br><br>To use these symbols in a score, simply place them underneath a particular passage in the music and the corps will know to play that passage at the assigned dynamic level. The lead drummer is responsible for defining (in advance) just how loud or how soft each particular level is. <strong>Many lead drummers assign specific stick heights</strong> to each volume level to help standardize dynamics throughout the corps. The example below demonstrates the correct placement of dynamic symbols.<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/2eea8e8836e8746f5c938f4bf9a650cb9b0dd117/original/slip-jig-dynamic-levels.jpg?1485875651" class="size_orig justify_center border_" /><br><br><br>Most drummers are already familiar with the symbols for <strong><em>crescendo</em></strong> and <strong><em>decrescendo</em></strong>. A crescendo is a gradual increase in volume and a decrescendo is a gradual decrease. Crescendos and decrescendos can serve as a bridge to connect two different dynamic levels and provide the means to notate a gradual change between these levels as in the example below. Note the passage starts out very loud, then in bar three abruptly changes to soft. The crescendo then builds the volume back up again over the next bar and a half to very loud.<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/203319/e66260a77490aed285525b67944c3eb0dae077b1/original/connecting-dynamics-with-cresc.jpg?1485875728" class="size_orig justify_center border_" /><br><br><br>Due to the nature of their instrument, pipers are unable to change their volume level. It is up to drummers (both snares and mid-section) to express the dynamics in our music. Using the Italian symbols in our written music is an easy way to introduce dynamics at the early stages of learning a score. If dynamics are learned from the beginning they will be ingrained into the fabric of the score when competition season arrives!Pipe Band Drummertag:theworrybirds.com,2005:Post/45460682017-01-11T14:39:53-04:002017-02-22T15:43:26-04:00What is the Point of Practicing?? (The Question No One Can Answer)I am one of the luckiest people I know. I teach drums for a living. I appreciate that every day and never take it for granted. I have seen people with natural talent, I have seen those who are gifted with a solid work ethic and occasionally I see a student with both. More often than not, those students who work hard make the most progress. This progress is due not only to their work ethic, but also to the fact that they know the answer to the all important question...<div style="text-align: center;">
<br><strong><span class="font_large">What is the Point of Practicing???</span></strong><br> </div>
<div>For two decades I have been waiting for a student to answer this question correctly. I am still waiting. Answers usually include "to get better", "to improve" and "to make me understand" to which I reply "<em>how</em> does it make you better?", "<em>how</em> does it make you improve?" and "<em>how</em> does it make you understand?" I am then confronted with blank looks and, inevitably, the dreaded "I don't know!"<br><br>Well, I think it's time to let the cat out of the bag... (drum roll please): The point of practicing is to PLAY CORRECTLY!! Makes perfect sense right!? However, before a student understands this simple concept they will, with the most noble intentions, slog away at difficult passages again and again and AGAIN with no success, sometimes for hours. I don't mean to sound harsh, but this is a COMPLETE WASTE OF TIME!<br><br>So, now that the secret is out, what does one do with this information? Again, it's a simple concept: SLOW DOWN!!<br><br>Lead drummers have been telling their corps to play things at a slower tempo forever. Why? Because playing slowly simply gives you more time to think about what you're playing. With more time to think, mistakes will be minimized and you'll have more chance to execute trouble spots successfully. Once you can execute perfectly, your practice session truly begins with many reps until the passage you're working on feels, looks and sounds correct.<br><br><strong>A Leaf is Just a Leaf</strong><br>Many students have told me that slow practice is boring. I couldn't disagree more! Slow practice is like putting your playing under a microscope. Take the example of a leaf. If you look at a leaf, it looks boring. It's just a leaf. However, if you put a leaf under a microscope you see cells moving around and all sorts of other interesting things. When you slow your playing down there is now time to analize your timing, pay attention to your hand movements, notice if you are tense or relaxed and exaggerate your dynamics. Now that you have all of these things to concentrate on, the speed of your practice becomes irrelevant and you are able to home in on all the fine details that pass by too quickly when you're playing at a higher tempo.<br><br><strong>Practice Like a Hybrid</strong><br>Hybrid cars travel long distances while not using much gas--they're fuel EFFICIENT. Practicing like a hybrid means you make more progress using less time. Minimizing mistakes is the best way to make your practice session more efficient. My "go to" practice strategy for a difficult passage (usually involving left drags) is the creatively titled TEN IN A ROW. At a slow speed, I play the passage ten times perfectly and my goal is to make that happen using only ten tries. If I can play the passage perfectly ten times with ten attempts I have maximized my efficiency. If I make a mistake, I start again at zero and repeat the process until I reach ten in a row.<br><br>Because drumming is motion-based, if you learn the motions correctly, even at a slow tempo, you'll find that if you reach ten in a row you'll be able to play your "problem spot" up to speed. It works like magic. Try it out and see for yourself!<br><br>Practice doesn't make perfect, only <strong>perfect practice</strong> makes perfect. Practicing slowly and correctly has had a huge impact on my playing and that of my students. It can do the same for you!</div>Pipe Band Drummertag:theworrybirds.com,2005:Post/45369942017-01-05T12:44:54-04:002017-02-22T15:37:18-04:00Your Drum Corps Should Read Music. Here's Why:<span class="font_regular"><strong>I didn't always know how to read music.</strong> Like many drummers in my generation I learned to play by ear, listening and watching my teachers go through the rudiments. Drum scores were learned by repetition and use of recordings. Written music was handed out but served as only a guide. I was raised to play by ear, learn by imitation and with a strong rudimental foundation. For this I am grateful. However, when I did learn to read it opened up a new world of possibilities for me. First and foremost, reading has allowed me to be an independent learner. Through reading I have learned to transcribe (listen to something and then notate it) and to write music correctly. My knowledge of written music has, in turn, enabled me to use notation programs such as Finale, Noteflight and Sibelius to create a written curriculum for both my private drum kit students and for the three drum corps in my pipe band organization. It is possible to become an exceptional drummer without learning to read music. However, music literacy can augment your skills as a drummer in many important ways. Why should you learn to read?</span><br><br><span class="font_large">Save Time!</span><br>Learning to read is probably the biggest time saver a drummer can have. As soon as you get a copy of a drum score you can start learning it. No more waiting for band practice or lessons so your lead drummer can "show you how it goes". No more waiting for recordings that may or may not ever arrive. Lead drummers can send out new music in August with a note to "learn this for the second week in September" and, lo and behold, everyone in the corps shows up the second week in September with the music learned--no need for extra practices or recordings.<br><br><span class="font_large">Promote Independent Learning</span><br>The internet is an amazing place. There are literally hundreds of drum scores for sale, thousands available for free and you can find links to all the key books (for both technique and repertoire) written by the most important pipe band drummers of our time. Every bit of this material is accessible to a drummer who reads.<br><br><span class="font_large">Raid "The Vault"</span><br>Learning to read will give you the ability to raid your lead drummer's "vault". A lead drummer's "vault" is that binder (you know the one) containing worksheets, technique exercises, workshop handouts, hundreds of drum scores, old drum fanfares, drum scores from past bands and even some old material from your own band you've never seen before. It's amazing that in this time of notation software and electronic "cloud storage", lead drummers still keep a "vault" but they all do. Ask your lead drummer if you can look at the material he/she has stored away. It's guaranteed you'll find some great stuff!<br><br><span class="font_large">Reading Leads to Writing</span><br>Once a drummer has learned to read, they can learn to write. Having several drummers in an organization that are able to write music can help distribute the workload, especially if an organization is fielding multiple competition bands. I know of several elite drummers who write music for all the bands in their organization. That is an admirable thing to do but is a HUGE amount of work. If the lead drummers of each band in your organization can write effectively the work load can be shared making everyone's life a little easier.<br><br><span class="font_large">Communication Breakdown</span><br>How many times during rehearsal have you heard the words "where are we?" Once all drummers in a corps can read, communication within the corps can be streamlined. An instruction such as "start at the second left flam after the drag five in the second line" can be simplified to "line two, 'and of 2', second bar".<br><br><span class="font_large">A Valuable "Tool in the Toolbox"</span><br>As everyone knows, the more tools one has, the more things one can build. It's very hard to build a house with just a hammer! Reading is a very important tool for any drummer's toolbox. In fact, to take the house-building analogy one step further, reading music is the equivalent to interpreting blueprints allowing you to build your own house and even design others!<br><br><span class="font_large">Improve Self-Confidence</span><br>Any drummer who learns to read gets a confidence boost. All of a sudden, their musical world has opened up. They can find scores online and learn them. They can go through technique books and exercises on their own. They are in control of their own progress and feel empowered. If they play in a grade 4 band, they can begin to learn a higher grade band's music and begin climbing the ladder within their organization.<br><br><span class="font_large">Need a Change of Scenery?</span><br>First, let me be clear and say that I'm in no way promoting "band hopping" (loyalty to one band is always appreciated). However, there may come a time (due to moving, desire to play in a higher grade etc.) when you need a change of scenery. A simple email to your new lead drummer will get you copies of the music. Then, if you're able to read that music, it's just persistence and hard work that stand between you and the chance to play with your new group.<br><br><span class="font_large">Want to Learn to Read?</span><br>Introducing <a contents="The Bare Bones Reading Method" data-link-label="The Bare Bones" data-link-type="page" href="/the-bare-bones" target="_blank">The Bare Bones Reading Method</a> available exclusively on <a contents="PipeBandDrummer.com" data-link-label="Home" data-link-type="page" href="/home" target="_blank">PipeBandDrummer.com</a>. The Bare Bones takes a fresh approach to reading pipe band drumming notation by using a mix of rhythm syllables, standard notation, music theory and audio examples and<strong> IT'S FREE!</strong> <a contents="Try the Bare Bones now " data-link-label="The Bare Bones" data-link-type="page" href="/the-bare-bones" target="_blank">Try the Bare Bones now </a>and start reading today!<br><br><a contents="About the Author" data-link-label="About the Author" data-link-type="page" href="/about-the-author">About the Author</a>Pipe Band Drummertag:theworrybirds.com,2005:Post/42228782016-12-30T18:19:52-04:002016-12-30T18:19:52-04:00Humble BeginningsWelcome to <strong>The Ups and Downs</strong>, a blog for pipe band drummers! Working on <a contents="PipeBandDrummer.com" data-link-label="Home" data-link-type="page" href="/home">PipeBandDrummer.com</a> has been a passion project for me for the last several years and I have very much enjoyed the organizational challenges, creation of materials, brainstorming and chatting with other educators. PipeBandDrummer.com exists because I feel that while mainstream drum kit players have literally hundreds of websites, magazines and teaching materials available to them, pipe band drummers do not. This website strives to provide several things that I think are lacking in the pipe band drumming world.<br><br>First, PipeBandDrummer.com has created <a contents="The Bare Bones" data-link-label="The Bare Bones" data-link-type="page" href="/the-bare-bones"><strong>The Bare Bones</strong></a>: a system to learn to read and correctly interpret our notation system. Every possible rhythm in our drumming vocabulary is covered in a series of graduated, easy to digest, rhythmic studies complete with audio recordings and performance notes/explanations of the idiosyncrasies inherent in our unique drumming style. Second, thanks to Bruce Gandy, PipeBandDrummer.com will be home to the first library of pipe tunes <em>recorded specifically for drummers</em> called <a contents="The Drummer's Companion" data-link-label="The Drummer's Companion" data-link-type="page" href="/the-drummer-s-companion"><strong>The Drummer's Companion</strong></a>. This is most definitely a long-term project but Bruce has already been in the studio for one session and the results are tremendous! You can download individual tracks in our <a contents="store" data-link-label="Store" data-link-type="page" href="/store">store</a>. And, lastly, this blog: <a contents="The Ups and Downs" data-link-label="The Ups and Downs" data-link-type="page" href="/the-ups-and-downs"><strong>The Ups and Downs</strong></a> will strive to provide drummers with solutions to the common problems faced by the pipe band drummer. Topics will range from practice techniques and warmup exercises to the complexities of personnel management and motivational techniques.<br><br>On a personal note, I have been very lucky in my life to have had some incredible educators that have greatly influenced my own teaching. Besides the many talented drum teachers that have provided the inspiration for this site, heartfelt thanks must go to my partner Adelle Meagher who is one of the most creative and thoughtful educators I know. Her constant encouragement and educational expertise have proved invaluable to me throughout this project.<br><br>Thanks for checking out PipeBandDrummer.com! If anything is unclear or if you have any ideas for the site or for me to address in this blog, please email me at <a contents="zach@pipebanddrummer.com" data-link-label="" data-link-type="email" href="mailto:zach@pipebanddrummer.com" target="_blank">zach@pipebanddrummer.com</a> or leave a comment below. Thanks for supporting PipeBandDrummer.com!<br><br>--ZachPipe Band Drummer