Transformations of drum rudiments in jazz performances

<p>A significant part of the training of many performers on the drum set during the last 100 years has involved mastery of drum rudiments and military-style cadences. Consequently, many jazz drummers have built upon such training to develop an individual style that makes use of some of the techniques and rhythms found in these rudiments and drum cadences but which have often been changed or modified in ways that made these rudimental military - style drumming excerpts suitable for their own stylized musical expression. Research Question: Is there evidence in the improvised drum solos of jazz drummers Philly Joe Jones and Steve Gadd to suggest that the rhythmic vocabulary, stickings and techniques they used had their origins in rudimental snare drum cadences, method books and published snare drum solos? If so, how has this content been adapted by each drummer in their musical context(s) to the purpose of communicating their individual approach on the drum set? Method: To propose answers to this question, I have examined representative solos by each of the drummers in my sample and examined those solos for evidence of rudimental content derived from renowned method books, etudes and published solos. Having identified these rudiments (or rudiment-derived ideas) I have sought to identify the possible origins of the rudiments and their transformation to each drummer’s soloing vocabulary. Representative Solos: To select representative solos, I auditioned many recordings by Jones and Gadd. I finally settled on Asiatic Raes, Jazz Me Blues and Joe’s Debut as performed by Philly Jo Jones; Crazy Army and The 11th Commandment as performed by Steve Gadd. These solos, (as I explain in my analysis), are usefully representative of the approaches adopted by the respective drummers and offer a useful window onto the issues this exegesis examines.</p>

Transformations of drum rudiments in jazz performances

<p>A significant part of the training of many performers on the drum set during the last 100 years has involved mastery of drum rudiments and military-style cadences. Consequently, many jazz drummers have built upon such training to develop an individual style that makes use of some of the techniques and rhythms found in these rudiments and drum cadences but which have often been changed or modified in ways that made these rudimental military - style drumming excerpts suitable for their own stylized musical expression. Research Question: Is there evidence in the improvised drum solos of jazz drummers Philly Joe Jones and Steve Gadd to suggest that the rhythmic vocabulary, stickings and techniques they used had their origins in rudimental snare drum cadences, method books and published snare drum solos? If so, how has this content been adapted by each drummer in their musical context(s) to the purpose of communicating their individual approach on the drum set? Method: To propose answers to this question, I have examined representative solos by each of the drummers in my sample and examined those solos for evidence of rudimental content derived from renowned method books, etudes and published solos. Having identified these rudiments (or rudiment-derived ideas) I have sought to identify the possible origins of the rudiments and their transformation to each drummer’s soloing vocabulary. Representative Solos: To select representative solos, I auditioned many recordings by Jones and Gadd. I finally settled on Asiatic Raes, Jazz Me Blues and Joe’s Debut as performed by Philly Jo Jones; Crazy Army and The 11th Commandment as performed by Steve Gadd. These solos, (as I explain in my analysis), are usefully representative of the approaches adopted by the respective drummers and offer a useful window onto the issues this exegesis examines.</p>

Analisis Musik Iringan Lagu Aneuk Yatim Ciptaan Rafly Kande

Lagu Aneuk Yatim merupakan karya musik bergenre pop ciptaan Rafly pada tahun 1999 yang menceritakan tentang keadaan sosial kehidupan anak-anak di Aceh terkait peristiwa konflik dan tsunami di tahun 2004, dan mencapai puncak popularitasnya baik secara lokal maupun nasional. Lagu Aneuk Yatim memiliki penggunaan instrumen dan harmoni iringan yang khas dalam kalimat lagu dengan harmoni iringan dan tangganada konvensional (background harmony). Hal tersebut menjadi rangkaian pendukung melodi yang dimainkan untuk menciptakan kesan dan pesan pada lagu. Penelitian ini mencoba untuk menguraikan dan mengidentifikasi penggunaan instrumen musik dan harmoni iringan pada lagu Aneuk Yatim, yang nantinya bisa dijadikan rujukan bagi peneliti dalam menganalisis karya musik lagu. Penelitian ini menggunakan pendekatan kualitatif dengan metode analisis deskriptif. Selanjutnya, pendekatan yang dilakukan untuk mempermudah pencarian data dilakukan dengan etik dan emik agar tercapainya kelancaran dalam proses pencarian sampai dengan pengelolaan data untuk mengindentifikasi penggunaan instrumen musik dan harmoni iringan pada lagu Aneuk Yatim. Metodologi yang dilakukan dalam penelitian ini adalah pengumpulan data yang terkait subjek maupun objek dengan cara berinteraksi langsung melalui dokumentasi, observasi, dan wawancara dengan partisipan. Penggunaan instrumen dalam lagu Aneuk Yatim terdiri dari accoustic guitar, keyboard, electric bass, dan drum set. Instrumen acoustic guitar, keyboard, dan electric bass merupakan instrumen melodis dan instrumen harmonis yang digunakan sebagai instrumen dalam memainkan melodi pada interlude, serta instrumen harmonis yang memainkan akor sebagai iringan pada melodi pokok. Harmoni iringan dan tangganada pada lagu Aneuk Yatim ini, seperti tangganada minor asli maupun minor harmonis, serta harmoni yang dipakai seperti akor I-IV-V (G-C-D

Rates and Patterns of Playing-Related Musculoskeletal Disorders in Drummers

AIMS: Playing-related musculoskeletal disorders (PRMDs) are a significant health concern for percussionists. Although many of the known risk factors for PRMDs likely apply to all percussion subgroups (e.g., weekly practice hours, warm-ups/cool-downs, etc.), the rates and injury patterns in drummers (herein defined as ‘percussionists who play the drum set’) may differ due to differences in physical demands from those of other percussion subgroups. The goal of this study was to determine the drummer-specific rates and patterns of PRMDs. METHODS: An electronic survey including questions on respondent demographics, history and patterns of PRMDs, and potential drummer-specific risk factors for reporting PRMDs was distributed via social media using a snowball sampling technique. The target population included individuals aged 18 years or older who exclusively played the drum set (minimum 5 hrs/wk). The rates of PRMDs were analyzed by body region (e.g., upper/lower limb, etc.) and by location within body regions (e.g., shoulder, knee joint, etc.). RESULTS: The lifetime history of PRMDs in the study sample (n=831) was 68%, and 23% reported currently experiencing a PRMD. Most respondents reported multiple PRMDs (59%). The upper limb was the most commonly-affected body region (59%). The wrist joint (25%) and low back (24%) were the most commonly affected locations within body regions. CONCLUSIONS: Drummers’ reporting of multiple PRMDs is consistent with previous findings in percussionists, but differences in the lifetime histories and patterns of injury supports the notion that risk factors may differ between percussion subgroups. Analysis of survey responses pertaining to drummer-specific risk factors is currently underway.

Modern Band and Special Learners

For the greater part of the past 50 years, music educators have advocated for contemporary approaches to music education that reflect the interests of students. This has recently manifested in an approach to music education that scholars call Modern Band. Though the term lacks any one definition, Modern Band classes typically involve popular music making with guitars, drum set, electric bass, and keyboard. Among the features of this approach is a student-centered orientation that is focused on the individual learner. Additionally, Modern Band is rooted in informal music-learning theory, which easily lends itself to the inclusive principles of universal design for learning and differentiated instruction. Because of this, Modern Band may be a perfect fit for inclusive music classrooms.

Drum Set Training in Music Therapy: A Resource for Students, Clinicians, and Educators

The field of music therapy commonly uses percussion instruments. To some degree, the drum set has been included in the literature. Percussion training, and in this case drum set training, specific to music therapy practice have likely lagged behind the instruments’ uses in the field, potentially resulting in limitations to effective practice. Andragogically speaking, the field benefits from resources that take into account the needs of students and clinicians, while also addressing training program challenges (such as time and accessibility of drum sets). The purpose of this article is to provide an approach to learning the drum set that promotes relevant use and relevant play, without necessarily always needing to be at a drum set to practice. The author first situates the history of the drum set and discusses its common set up and use. Through the use of body percussion, vocalizing/singing, and other processes, the author proposes a way to promote a stronger understanding of how to use the drum set for accompaniment, recreating, composing, and improvising. The author breaks down and scaffolds technical drum set tasks, but then promotes their integration. Visuals and video resources are included. The author concludes with implications for practice, training, and research.

Interlude

I don’t think of music as meaning anything, but it is something that I do and that I enjoy. What I do know about music is that I like to play drums because it simply sounds cool. I started playing the drums in third grade. I told my mom that I wanted to, and she signed me up for lessons and bought me a drum set. I haven’t stopped since (but I now have a much nicer drum set)....