Following is a very half-baked item that has been in my drafts for a long time. It’s a broad-ranging subject, and not the kind of thing you can just bang out, and have it be fully thought through. Somebody could write a thesis on this. But my banged-out thoughts are worthwhile, so here we go:
This is a list of some aspects of drumming, that is certainly incomplete. They’re not hard and fast, and not necessarily mutually exclusive. They may happen at different times in a piece in a piece of music, or at the same time, or not at all.
Timekeeping
Simple time
A straight beat or pulse, maybe emphasizing the down beat or strong beats. Few or no variations or fills, starts and stops only.
Examples: Motown, traditional Country, Native American
Genre time feel
A time feel with a flavor specific to the style of music— a repeating “stock” beat.
Examples: Connie Kay, Getz/Gilberto, most music generally
Composed time patterns
Playing made-up non-generic drum grooves.
Examples: 50 Ways to Leave Your Lover, Cissy Strut
Extemporaneous time feel
Any of the above, with significant variation and improvisation.
Examples: “ECM” feel, modern jazz generally
Laying out / tacet
Not playing anything.
Time
Playing an accent with the ensemble, plus supporting figures— things to help the band play the accent accurately.
Fills
Featured solo
Extended solo intended as a self-contained musical statement, or show element. In a jazz context, this could be one or more choruses of a tune, or a solo out of time in the middle of a tune or before a tune.
Examples: Buddy Rich/West Side Story, John Bonham/Moby Dick
Broad approaches
Composed piece or “part”
Playing an note-for-note written or worked-out part, or transcription of a recorded performance.
Examples: The Black Page, Neil Peart, tribute acts
Playing without written music— or from just a lead sheet or chord chart— and without a predetermined arrangement.
Example: most jazz gigs, or jazz-format gigs
Reading / ensemble drumming
Playing in support of an arrangement as a primary orientation. Starts and stops, playing in unison with the band, and helping the band play their parts. Playing figures, setting up figures, filling in between figures.
Examples: studio drumming, big band drumming, pit orchestra
A category of ensemble drumming specifically as it relates to crafting a pop track. Often with input or direction from the producer, arranger, composer, or songwriter. Grooves and fills composed to complement the track in a certain way, sometimes to act as hooks in their own right.
Examples: Nevermind, Ringo Starr, Hal Blaine
Show drumming
High keyed ensemble playing with a Vaudevillian element.
Examples: Blue Man Group, Secret Agent drum line, anyone doing “stick tricks”
Technical demonstration or display
Playing specifically to display the performer’s abilities, spectacle. Or a quasi-musical demonstration of a technical concept for instructional/promotional purposes.
Percussive colors
Drumming in the classical percussion mode, not functioning as a time keeper. For adding impact, background textures, and color.
Things played for no definable reason except the player wanted to play it.