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.
I am happy to help you with any of the materials on the site, and with anything else drumming related— contact me for private lessons, online world wide, or in person in Portland, Oregon. All levels of players, and all people, are welcome.
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