by Chis Munson
Background
 In the last article I discussed some of the basic approaches to jazz comping using the eight syncopation solos in Ted Reed’s book, ‘Syncopation.’  As we move forward, the variations on these solos will become increasingly more difficult.  It has been my experience as both an educator and student that there is not a universal learning curve for these exercises. 
You will likely find that just as you have become comfortable with the exercises, you suddenly hit a brick wall with a new variation.  When this happens, break the …

By Bill Stuhlly
 
In this article we’ll explore the accented triple stroke roll.
The key to achieving a triple stroke is the Down/Bounce/Up motion in the arm/wrist.  First play the Down Stroke, then let the stick bounce for the second note, and finally use the up stroke to reset. 
 
The following pictures illustrate each basic step in the process:
1)      DOWN STROKE

2)      Let the stick BOUNCE

3)      Then play the UP STROKE

Here are the 3 variations with the accent moving down the figure:

3A.

3B.

3C.

As you can see the accent dictates where the Down Stroke falls.
Try these …

by Michael Green
A new book and a new video for the August 2010 edition!
Printable Version

By Bill Stuhlly
In this article we’ll explore the accented double stroke roll. The key to these is the Down/Up motion in the arm/wrist. The Down stroke is played, let the stick rebound while the arm is down, then pull the arm Up letting the stick hit the snare to get another note. It should feel like a dribbling motion. Here’s how the motions look:

Practice these 2 exercises then move on the combo study:

                                           
 
Try these combo exercises
2A with 2B:
 
                
Here’s a solo study using some of the combos …

by Chis Munson
Background
Chances are that if you have formally studied drum set then you have encountered Ted Reed’s “Progressive Steps to Syncopation.”  In the middle of this book (beginning on page 38) are eight, 40 bar solos.  At first glance these solos appear to be somewhat simplistic and concise.  However, hidden within them is the possibility for, as far as I can tell, a seemingly infinite series of 4-way independence exercises.
As a student, performer, and educator it has occurred to me that there is typically a bridge missing from learning …

by Michael Green
Back for more! Another video for the June
2010 edition!
Printable Version

by Michael Green
PDF
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Yeah! Another video for the April 2010 edition!

by Chis Munson
Overview
So far we have discussed volume / amplitude processors (compression) and spectral / frequency processors (equalization).  In this article I am going to cover time based signal processing.  The most common time based processor to be used on drum set is reverb though echo, delay, flanging, phasing, and a few other effects fall into this category.
Chances are that you have applied reverb to your drum tracks either through the use of an outboard signal processor or software plug-in.  It is also likely that you scrolled through a host …

by David Courtney
The Indian tabla is a difficult pair of hand drums, but by no means should it be considered inaccessible. For those who have gone through the introductory Learning the Tabla, this book/ CD set is an ideal next step. It contains much new material which is appropriate for an intermediate level student.
This series introduces us to new material, concepts, and techniques. Such material includes a discussion of the complementary nature of tabla bols/technique. It also introduces us to new compositional forms such as mukhada, rela, laggi, paran, gat, …

by Michael Green
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