Percussion For Worship

Rock The Glock

2012-02-20T20:59:00.000-08:00

Call it the orchestra bells, glockenspiel, campanelli, or just plain "bells"---- It's an IN sound. You hear the metal-barred cousin to the xylophone in pop and alt rock (or Pomplamoose) these days...and worship music.

You might consider investing in a set of bells.   They can come in handy in a variety of musical situations--- choir anthems, cantatas, hymns, and worship songs.

Glockenspiels come in two flavors: Steel and Aluminum
Steel: Best sound, Heavy, Pricey
Aluminum: Sounds okay until you hear steel, Lightweight, Easier on the budget

Some bands use the bells from beginner percussion kits. It works. Mike 'em up and throw on some reverb. You can get the desired effect.

My "gig glock" has aluminum bars mounted in a case which reflects the sound (like a resonator).

Check out the song, "When I'm With You" from the Great Great God CD from Gateway Worship.   About three minutes into the song, many instruments (guitars, bass, keys) play a melody in octaves. After a couple of statements of that melody, I bring in the glockenspiel to give the passage that sparkling punch that the bells can deliver.

The Shake Tambourine's Old Testament Cousin

2012-01-30T16:20:00.000-08:00

King David and his companions were obviously excited about

bringing the Ark of the Covenant back to Jerusalem. In the

procession, a number of instruments are being played

according to Scripture:

"And David and all the house of Israel played before the

LORD on all manner of instruments made of fir wood, even on

harps, and on psalteries, and on timbrels, and on cornets,

and on cymbals." 2 Samuel 6:5 KJV

My research indicates that the band for this event may have

included a distant relative to the shake tambourine.

Some versions of the Bible use the word, castanets instead

of cornets (as the above KJV).

"This word (castanet) is incorrectly translated “cornets” in

the King James Version. The castanet was probably about

the same instrument as the Egyptian sistrum…a loop-shaped

metal frame through which were passed loose rods at the

ends of which were rings. The instrument was held by a

long handle and was rattled during songs and dances."

Fortune, A.W. "Castanets," The International Standard Bible Encyclopedia.

edited by James Orr. Grand Rapids, Michigan: by William D. Eerdmans

Publishing, 1939

The sistrum seems to be a Biblical percussion instrument

with a sound and playing technique that resembles the shake

tambourine.

Which Backbeat To Play?

2012-01-17T16:44:00.000-08:00

...2 or 4?

Doubling the snare drum back beat with a single strike on the tambourine is quite common and can give some variety to the groove. I usually choose one backbeat or the other; seldom do I play both 2 and 4. Less tedium and greater variety occurs when the snare drum is heard alone on one of the beats and the doubled sound on the other. Sometimes my choice is arbitrary but often I make a studied decision based on the lyrics of the song.

Listen to the phrasing of the lyrics and you will often find less vocal activity around either beat 2 or beat 4. Playing on that back beat allows the tambourine’s tone color to do its job without competing with the vocals.

Both lyric and tambourine get their space.

Percussion How To Series

2012-01-16T12:27:00.000-08:00

My video series, Percussion How To is on the web. Check out these short video tutorials at either www.youtube.com/marksheltonmusic or www.percussionhowto.blogspot.com .

Here's a sample:

January Set Up of the Month

2012-01-09T14:36:00.000-08:00

Percussion For Worship featured an interview with Len Barnett (percussionist with Daystar Television) back in November 2011.
Check out the arrangement of gear for his work on Celebration.

I want to jump into the photo and start improvising!

Alt Rock Cajon

2012-01-05T09:07:00.000-08:00

This Alt Rock Groove for cajon was inspired by the drum set version found on Carl Albrecht's DVD Drum Grooves for Worship.
See Posting December 13, 2011

The notes in parentheses are ghosted (played very lightly).
Bottom space in cajon staff is the bass tone (center) and top space is the slap tone (corner).

Percussion For Worship Tribe

2012-01-04T09:33:00.000-08:00

It's exciting to see how many page views that Percussion For Worship has received since the launch in 2010. It is my desire that this blog brings you information and inspiration for your ministry (whether you are a percussionist, worship leader, producer, songwriter, or just interested in percussion).

How about your ideas? What do you want to see in upcoming posts? Do you want to be a guest writer? How about sending in a photo of your set up?

Please send your suggestions to me at markshelton@verizon.net or post in the comments section on the blog.

Be a part of the Percussion For Worship tribe !

December Set Up of the Month: Greg Draper

2011-12-21T09:11:00.000-08:00

Check out this set up photo (and comments below) from Greg Draper, a percussionist at Hallmark Baptist Church in Fort Worth, Texas.

I've attached a photo of my complete gig rig. I don't usually play all these instruments in a service, but have them available if needed. You can see in the photo the pair of mini-timbales and the pair of regular timbales. I play these with my hands to insert a fill, roll, or accent where needed. It's fun to be playing along on the congas and bongos with their warm tones and then insert a quick fill on the metallic-sounding timbales for contrast. Playing seated with the congas gives me easy access to my tambourine, block, and bass drum pedals. I also like to play a bit of bass drum to fill in the bottom end.

The Many Moods of Christmas

2011-12-19T10:06:00.000-08:00

Christmas is coming! My hands were full this past weekend as I played percussion on The Many Moods of Christmas (Suites 1 & 2) at Plymouth Park United Methodist Church in Irving, TX. Jason Chavarria conducted the choir and orchestra in these classic settings by Robert Shaw and Robert Russell Bennett. The percussion part is scored for a section of about four players. I employed a few tricks of the trade (including playing timpani on the Handsonic) and covered most of the parts. Challenging...but fun (and musically satisfying) !

Drum Grooves For Worship / Carl Albrecht

2011-12-13T11:56:00.000-08:00

Armed with a degree in composition and arranging (with an emphasis in percussion studies) from Webster University, Carl Albrecht has been playing drum set and percussion for over a quarter of a century. His playing has accompanied the music of Paul Baloche, Robin Mark, Lenny LeBlanc, Paul Wilbur, Alvin Slaughter, Darrell Evans, Phil Driscoll, Kim Hill, Paul Overstreet, LeAnn Rimes, and more.

Although much of his playing time is behind the drum kit, Carl sometimes gets an opportunity to step into the percussion spot. In a recent conversation, Carl commented on things from his perspective as both a drummer and percussionist.

Mark: When you compose a percussion part for a song, what is your process?

Carl: The big points are arrangement and playing what is musically proper. I’m thinking about how my choice of what to play will fit with what else is being played. Also, the bottom line is playing what the leader wants.

Mark: Yes. That really speaks to the idea of submitting to authority…playing what the boss desires to hear.

Mark: What is the most important thing that every percussionist should keep in mind when working with a drum set player?

Carl: The drummer is leading. The percussionist’s time and feel is built around the drummer. The percussionist should always try to line up the time and feel to what the drummer is playing. The percussion part should complement what the drummer is playing and make the music sound great!

Mark: What is the most important thing that every drum set player should keep in mind when working with a percussionist?

Carl: As the drummer leading the time and feel, it’s crucial that the percussionist and I can see and hear each other so that we can groove. Also, I try to stay aware of what the percussionist is playing so as not to step on the percussion parts.

Check out more of Carl’s thoughts on percussion by going to www.carlalbrecht.com/category/in-the-studio/ and reading the article, “The Art of Percussion.”

After analyzing the top 100 CCLI Worship songs (www.ccli.com ), Carl found that there were only SEVEN basic types of drum patterns used within the songs on the list. These seven beats are covered in great detail in the DVD Drum Grooves For Worship.

Carl breaks down these drum grooves into simple musical terminology as he explains the parts of each pattern.

Even though the teaching is designed for the beginning to intermediate player, advanced drummers can find helpful information for preparing songs.

Since acquiring the DVD, I have learned all seven grooves AND I keep a copy of the transcribed patterns in my mallet case…You never know when the drummer might get locked in the broom closet right as the service starts. Get Drum Grooves For Worship and be ready!

For more info on Carl Albrecht and
Drum Grooves For Worship: www.carlalbrecht.com

Flack Wackers

2011-12-09T21:50:00.000-08:00

Wooden dowels, plastic rods, dowels with plastic strips... There are many bundled rods percussion implements on the market. Recently, I received a new version called Flack Wackers.
Made from reeds, the Flack Wackers have a different look than the other "wands" commonly used. The mottled reeds give the Flack Wackers an organic vibe while the handles feature some cool artwork I really dig the feel of the plastic coating on the handles. You can tighten or loosen the reed cluster with the O rings. There is a pair of Flack Wackers living in my mallet case these days.
For more info: www.flackattackpercussion.com

November Set Up of the Month: Chad Whiteley

2011-11-22T16:57:00.000-08:00

Primarily a drum set player, Chad Whiteley is sometimes thrust into percussion-ville. His hybrid concoction is the November Percussion For Worship set up of the month. Here's some comments from Chad:

     These photos were taken during a series of Kairos services at Gateway Church (Dallas-Ft. Worth area). We have many services to play over two days. During the prayer ministry times, we chose to play more of an acoustic worship set to make those moments more intimate.
     I chose this set up because I could blend many more different sounds, feels, and emotions...more than available with just a drum kit or percussion set up.
     My goal is to mix aspects of both drum set and percussion into one sound. The kick, snare, and cymbals are used to create the drum set feel of the music.   Cool (and live) beat loops can be created with the various tones (especially the lower timbres). Working without toms forces me to concentrate mainly on the fundamentals of the beat. I play with brushes, bundled dowel rods, felt mallets, and my hands.
     There are a few other considerations and ideas with this set up. Sometimes, I play the shaker as my high hat rhythm. Accentuating different places on the djembe creates depth and gives interest to the groove. I also take most of the muffling out of the the kick, turn the felt side of the beater toward the head, and play very lightly. This produces a more open sound rather then a short thud. The old marching bass drum adds another texture...different from the kick or the djembe. Congas round out the setup for some more variety. I can blend basic conga beats in with my drum set patterns as well as using congas only for certain sections of songs.

Check out Chad's website: www.whiteleysolutions.com

Interview with Daystar's Len Barnett

2011-11-15T19:02:00.000-08:00

Tune into Celebration on the Daystar Network and check out the band. It’s great to see that the lineup of musicians includes a percussionist. One of the players sharing the percussion spot is Len Barnett. Recently, we met for lunch and talked about his musical life and working on the television show.

Mark: What inspired you to play percussion?

Len: I had relatives that were musicians including a cousin who played drums for Otis Redding.

Mark: How did you achieve your position with the Daystar band?

Len: Joe Ninowsky (Daystar music director) and I had worked together at Covenant Church…and recommendations from Tom Braxton and Dwayne Heggar.

Mark: Tell me about a typical day on the show.

Len: Sometimes I’m running across town from my job at Brookhaven College to get to the rehearsal. We start around 10:00 A.M. and rehearse until app. 10:45. At some point, we run some parts with the vocalists. The show goes live at 11:00 and we make it happen.

Mark: When a new song comes your way, what do you think about when constructing your part?

Len: Listening is very important. What’s the drummer playing? Which tambourine works best? What can I play to complement the music?

Mark: What are some of your other musical activities?

Len: I play percussion at Covenant Church in Carrollton, TX, accompany dance classes at Brookhaven College, and perform arts-in-education programs for children. In addition, I work with some jazz groups in the area including Freddie Jones and Tom Braxton.

2011-10-29T08:53:00.000-07:00

It's the release of the new Gateway Worship recording, Great Great God. I'm playing a bunch of percussion on this album!

See if you can find me in the video...and then go add this recording to your collection http://tinyurl.com/3bgcadu !

The Armed Man: A Mass For Peace

2011-10-28T14:12:00.000-07:00

Last weekend, I played percussion on The Armed Man: A Mass For Peace by the Welsh composer, Karl Jenkins. The performance took place at First United Methodist Church in Coppell, TX with Mark Andrew Pope conducting. This multi-movement work required four percussionists and an array of instruments. The tambourine part in the final movement required more that a bit of practice. Here's a photo of the "ruggedly handsome" percussion section:

Left to Right: Jamey Reed, David Elias, Mark Shelton, and Charles (Chaz) Robitaille

Advice For A Recording Session

2011-10-03T12:53:00.000-07:00

Preparation and attitude are certainly key ingredients in the musician world (including the recording world!).
Producer, engineer, and owner of Brilliant Recording (www.brilliantrecording.com ), Aaron Brown offers some suggestions for your first (or any) recording session:

An Engineer's Advice For Your First Studio Session

Having worked in studios for the past 15 years, I have picked up a few things that will help your very first studio session go smoothly.

1. Preparation

Ask the producer if they have a demo of the song(s) you are going to play. Doing some homework ahead of time shows initiative and a willingness to work hard, even if you are not extremely experienced in the studio. Try to get a feel for the style that you will be playing so that you can make the right choices on instruments to bring. In addition to your instruments, add these items to your list of things to bring:

-Pencil and paper

-In-ear monitors

-Tuner

-Metronome

2. Arrive early to set up

This demonstrates a professional attitude to the client from the very beginning of the session. There is nothing like the feeling of running late, having to set up in a hurry and then trying to keep it calm, cool, and collected once the recording begins. Avoid all of that and show up early.

3. Attitude (It's your sound, not mine)

You will start getting callbacks the quicker you realize that you are playing on the project of someone else...and not your own. Attitude is key. No one wants to work with a know-it-all, no matter how talented they are. Be there ready and willing to help them convey THEIR message in the music.

4. Simple is always better

If you have a hard time pulling a lick off while you are practicing on your own, more than likely you will not be able to make it happen when recording it. Stick to things you are comfortable with and if the producer wants the bombastic, he will ask.

5. Have fun

Music is fun. You should always try to keep the atmosphere laid-back and stress-free. If you are having fun, more than likely everyone else in the session will as well.

God And King /Zach Neese Album

2011-09-15T20:31:00.000-07:00

The new album from Zach Neese has been released. I'm honored to be playing percussion on this project.
Lots of percussion...AND there's also some drumline work. Tim Cruz, Caleb Jobe, and I got to flex our rudimental chops and lock in some rolls on the opening track, "We Trust in Jesus." God and King is available from iTunes.

Featured Set Up September 2011

2011-09-09T13:49:00.000-07:00

Percussion For Worship reader, Chuck George recently sent a picture of his set up at Calvary Assembly of God in Orrville, Ohio. Chuck's arsenal includes 16" thin crash cymbal, 16" Chinese cymbal, 18" crash/ride cymbal, bongos, congas, djembe, triangles, shaker, egg shakers, bar chimes, mounted tambourine, woodblock, cowbells, timbales, cajon, and rainstick. In addition to his percussion duties, Chuck is also active in an endurance athletics ministry.

Waiting For Beat Two

2011-09-02T14:47:00.000-07:00

"Waiting for beat two" is a widely accepted performance practice in drumset playing.
When the drummer ends a phrase and moves to a new section with a fill (and plays a cymbal crash on beat one), the full drumset groove often does not resume until beat two.   (There are exceptions.)
As a percussionist, you can take advantage of waiting for beat two.   When you encounter that musical moment when it is a challenge to make that logistical change (a good example: switching from shake tambourine to congas), you might be able to buy yourself another half second or so by waiting for beat two.
Listen carefully to make sure it works with both the drumset and the overall phrasing.

It's surprising how that extra moment can make the difference between an awkward thrash and a smooth transition between instruments.

Bring "Ears"

2011-08-18T09:55:00.000-07:00

With so many situations that eschew wedges in favor of in-ear monitors and recording sessions taking place in non-conventional settings, I always bring some “ears” to gigs. You cannot count on every venue to provide some “cans” or “buds.” Have your own set at the ready.
I was hired for a session by an artist that was recording on a laptop studio. Just before I left my home, I noticed my headphone extension cable coiled on a stand. I decided that it would not be needed.
To my dismay, the artist/engineer had brought only one set of headphones to the session. Good thing that I had my set… but that extension would have sure come in handy.
Always bring the ears…and maybe an extension.

Stuff That Lives In My Mallet Case

2011-08-08T13:10:00.000-07:00

Timpani sticks might stay on a shelf until I get a "kettle call" and the general bass drum mallet only goes into my case when Gran Cassa is on the menu.

There are some items that are used so frequently that they have made my mallet case their permanent residence.
Here is a baker's dozen of those occupants:

Concert snare sticks
Drumset sticks
Yarn marimba mallets (for suspended cymbal)
Brushes
Triangle beaters
Drum key
Pencil(s)
Glockenspiel mallets
Xylophone mallets
1/2 inch wrench (for tuning congas, bongos, & timbales)
Staff paper
Notebook
Djembe tuning wrench

How about it? What is always in your mallet case?

Did The Tambourine Modulate?

2011-07-29T21:27:00.000-07:00

Try this one... Switch tambourines as a song  modulates to a higher key.   Moving from a darker to a brighter sounding instrument gives the  impression that the tambourine is changing key along with the band!

Listening To A Variety Of Music

2011-07-22T08:29:00.001-07:00

Celtic to Latin to Rock to Gospel

Arriving early for a rehearsal (always a good idea), I sat in my van listening to the radio. Hearing the entire Carnival Overture by Dvorak, I was impressed by the great writing for triangle and tambourine.

Listening to a variety of music to learn styles and gather ideas is so important. In today’s worship music, a set might include some Robin Mark, Salvador, Hillsong, Lincoln Brewster, and a little Andre Crouch for good measure. Do you know which instruments to reach for to handle that variety of music…and what kind of part to play? Make listening to different styles a priority.

See What Ya Got

2011-07-19T19:17:00.000-07:00

Triangle beaters, knife, timpani tuning key, pencil sharpener, tape, conga wrench, felt tip pen...

Do you ever have to rummage through your mallet case or stick bag to find those little items?

Get the gallon size "zipper" freezer bags and you can keep that stuff in one place and easily see what you've got at a glance.

Triangle Tips

2011-07-08T07:54:00.000-07:00

Small in size Packed with power

Listen to a symphony orchestra playing at full volume. Add just one percussionist playing one note on the triangle and hear the sparkling tone shimmer pleasantly over 70+ musicians. Be careful with that power!

There’s not much that you can do to make a triangle sound better…you can’t change the head, put on better snares, etc... You must invest in a quality instrument. One of the favorites in my collection is the 6” Super-Overtone from Grover Pro Percussion (http://www.groverpro.com/). The instrument is rich in harmonics with a good amount of sustain and a tone that is appropriate in a variety of settings.

Invest in at least three different sizes of triangle beaters. Each size excites different harmonics thus affecting the tone.
Experiment with striking various areas on the triangle for different timbres.
My general striking area is the side without the opening. I play about a third of the way down from the top corner with the beater at app. 45 degrees.

This area gives a less definite pitch with lots of harmonics and blends well with the definite pitched instruments being played.
Always suspend the triangle with TWO separate loops (for safety) of thin string, plastic ties, or fishing line. NEVER use wire or heavy cord that will either buzz or significantly inhibit vibrations. Keep the loops short so that the triangle cannot spin after striking.

Zach Neese: In The Studio

2011-07-07T08:53:00.000-07:00

Worship Leader / Songwriter, Zach Neese recently brought me into the studio for several hours of percussion recording for his solo project. Check out this video produced by Corey Jackson:

Zach Neese: In The Studio Part 3 from Corey Jackson on Vimeo.

Featured Setup

2011-07-01T10:04:00.000-07:00

Here are a couple of pictures from one of the Percussion For Worship readers. The photos show some details from the setup of John Homan, percussionist at New Creation Fellowship in Granger, Indiana. John's generosity in sharing these with the readers gives me the idea to feature some photos from other worship percussionists. Just send your pix to markshelton@verizon.net and be sure to include the name of your church.

Setup for Great, Great God EP

2011-05-27T22:05:00.000-07:00

Wow! Recording six songs LIVE for the Gateway Worship EP meant bringing in more gear that usual. Percussion instruments in my setup included snare drum, Chinese bell tree, suspended cymbals, two floor toms, mark tree, shekere, cabasa, shakers, crash cymbals, triangles rack, and tambourines. Once everything was set up...it was a percussion playground!

Conga Ideas: Random and Useful

2011-05-27T20:47:00.000-07:00

Congas are almost always part of my set-up when I am playing Contemporary Worship music but I usually play them sparingly.

Use the basic conga tones to copy phrasing with the other instruments. If the rhythm section plays hits that are short / long / short / long / long /short…try playing slaps for short and open tones for long. A much tighter sound!
Avoid playing congas on top of a drumset fill. I look for a musically logical spot to stop the conga pattern before the drummer starts the fill.
Muffled slaps played loudly in unison with the snare drum can point up precision problems. Back off on the back beat!
When playing “time” on congas, pick a pattern and stick with it. Do not “improv” while the rest of the rhythm section grooves.
Pick your spots judiciously. Do the congas really enhance that section?
Tune tight for easy response and good projection. Even with amplification, you want to send a solid projecting sound into the microphone.
Simple can be effective! Listen to the congas in “Ain’t Too Proud To Beg” ...The Temptations version. You'll see what I mean.

It's okay to not play

2011-05-26T21:31:00.000-07:00

How can they miss you if you never go away?

As percussionists, we have the ability to change the timbral texture of the ensemble with our variety of sounds and instruments but always remember that we can also change the sound by not playing. You can increase your impact by dropping out for a while. Demonstrate your taste and restraint with the confidence that the decision not to play IS a musical decision. Try waiting until the second verse to enter or maybe that intro with piano doesn’t need those triangle notes on top (or fewer). Sometimes…less is more.

Searching for Sounding Metal in the Scriptures

2011-05-05T09:45:00.000-07:00

According to Strong’s Exhaustive Concordance of the Bible, cymbals are mentioned sixteen times in the King James Version. Fifteen of those are found in the Old Testament while the singular form (cymbal) occurs just once in the New Testament.

Check out this passage:

And he appointed certain of the Levites to minister before the ark of the Lord, and to record, and to thank and praise the Lord God of Israel:

Asaph the chief, and next to him Zechariah, Jeiel, and Shemiramoth, and Jehiel, and Mattithiah, and Eliab, and Benaiah, and Obededom: and Jeiel with psaltries and with harps; but Asaph made a sound with cymbals;

Benaiah also and Jahaziel the priests with trumpets continually before the ark of the covenant of God.

1 Chronicles 16: 4-6 KJV

I get a kick out of reading that Asaph was both the bandleader and percussionist of this large combo.

Tambourine Shuffle

2011-04-29T10:11:00.000-07:00

When playing a shuffle or swing feel, hold the tambourine shell parallel to the floor with your palm facing up. The motion of the tambourine will be up and down rather than side to side. Play the strong subdivisions with a DOWN motion and the weaker subdivisions with the UP motion. You will notice how easily the shuffle happens due to this position (and good ole gravity). The tambourine shell strikes the fingers of the free hand for a accent on the DOWN motion and the heel area for UP accents.

2011-04-05T16:33:00.000-07:00

Get The Metal Moving

Use a relatively thin cymbal for suspended cymbal parts. Some cymbals are marked "suspended" and specifically designed for easy response.

Although it is sometimes necessary in a quick transition, try to avoid using a timpani mallet on the cymbal. I prefer yarn wrapped marimba mallets for general suspended cymbal playing.

Both rolls and single strikes should be played with the mallets at 3:00 and 9:00 (see photo) for balanced vibrations and quick response.

Priming a cymbal (a gentle inaudible tap with a finger) gets the instrument vibrating for an easier response.

Having an array of implements (sticks, mallets, brushes, dowel rods, triangle beaters. coins) expands the timbral capabilities of the suspended cymbal.

Tambourine Timbres

2011-03-29T16:07:00.001-07:00

Plastic shell with nickel jingles or brass…or maybe wooden shell with German silver?

Sometimes I bring 4 or 5 tambourines to a rehearsal so that I can fit the tone of the instrument to the texture of the music that I am playing and /or to give some variety. Different shell materials influence the sound as well as the makeup of the jingles. Brass jingles tend toward a darker sound and seem to give off more of the “Rock” sound while nickel jingles are brighter and might be a good choice to give some sparkle and drive to a ballad. I have even set up a tambourine with a combination of jingles and washers to get a tight “dry” sound. During a rehearsal, play along for a few measures with one tambourine and then switch to a different one. You will probably hear the sound of one of the instruments fit better into the overall texture of the surrounding music.

One of my tricks is to switch tambourines as a song modulates. Moving from a darker to a brighter sounding instrument gives the impression that the tambourine is changing key along with the band!

Gateway Training Videos for God Be Praised CD

2011-03-28T20:53:00.000-07:00

Worship Team Director is a complete training and presentation tool for worship teams that instructs team members how to play and sing songs at home, in rehearsal, and performance. For more info www.worshipteam.tv

Check out the percussion video for O The Blood...played by Headless Percussionist and Blogger, Mark Shelton.

Go to www.youtube.com/gatewayworship for a full screen.

More videos at www.youtube.com/gatewayworship

Balancing Act

2011-03-24T13:30:00.000-07:00

While subbing in the North Carolina Symphony, I noticed another percussionist's unorthodox method of suspending a cymbal. Instead of using a conventional stand to hold the instrument while playing, my colleague balanced the cymbal on his finger and performed both rolls and single strikes using his other hand (holding two mallets). I quickly put this technique into my bag of tricks and have used it many times.

The cymbal can resonate more freely (no felt pads or plastic sleeve to inhibit vibrations).
In acoustic settings, you can lift the cymbal higher for better projection (over the heads of those violinists seated in front of you).
In amplified situations, you can "work the mike" (bringing the cymbal farther or closer with ease).
This method allows the audience to "see" the sound better.
It might mean one less stand in your set-up.

JUST DON'T DROP IT !

God Be Praised DVD

2011-02-28T09:01:00.000-08:00

The God Be Praised DVD (Gateway Worship) has been released ! Fifteen songs from the live recording back in April 2010 along with songwriter commentaries, "behind the scenes" footage, and other features combine for over an hour and a half of music and info from Gateway Church.

Scott Buchanan and Chad Whiteley take turns playing drumset while percussion duties are shared by Mark Levy and noted percussion blogger---ME.
(Chad W. also handles a brief percussion stint on concert bass drum---Look for it.)

For more info: www.IntegrityMusic.com/GatewayWorship

Shorthand Mini Chart

2011-02-19T20:17:00.000-08:00

Sometimes you just need a small reminder instead of a detailed chart or you have to quickly jot down the roadmap of a tune and your orchestration ideas.

Below is an example of my shorthand mini chart system. The major sections of the form [verse (v), chorus (c), pre-chorus (pc) etc…] are shown with the number of measures in each part. The instrument played (or tacet) is indicated where necessary and any specific rhythms, stops, or hits are notated.

You can probably decode this one:

Defining A Worship Drummer

2011-02-04T14:48:00.000-08:00

Keith Banks has ministered and recorded with Marco Barrientos, Klaus Kluen, David Luckey, Eddie Coronado, and more…along with teaching drums at Christ For the Nations in Dallas and presenting workshops at worship conferences in Asia, Latin American, and the US. Keith’s DVD, Defining A Worship Drummer is packed with over two hours of teaching (and some fine drumming). Whether you are a percussionist or drumset player, there is plenty of valuable information on this disc. Keith speaks about matters of the heart and head rather that sticks and heads as he discusses the attitude of a worship musician. Head over to his website (http://www.keithbanksmusic.com/), check out a sample, and treat yourself to some fine teaching and music. I’m glad to have this DVD in my library.

Rhythm Triangle

2011-01-29T17:12:00.000-08:00

Listen to “Barlow Girl” by Superchic[k]. Do you hear that rhythm triangle?

How about “Shackles” by Mary Mary? Yep, it’s there.

The sound of rhythm triangle (actual instrument or samples) gives sparkle and drive to electronica, hip-hop, smooth jazz, loops-based compositions as well as being a staple of Brazilian Baion music.

Rhythm Triangle parts are composed of various permutations of open (ringing) and closed (non-ringing) sounds.

This traditional triangolo part is transcribed from the playing of my former student, Pablo Motta from Belo Horizonte, Brazil. Sometimes I play rhythm triangle holding two beaters in one hand allowing one beater to strike the triangle just before the other . The slight flamming produces a subtle effect different from using a single beater. A standard triangle clip works fine with the clip resting on top of the thumb and index finger. The palm and remaining fingers are used to “squeeze” the triangle for the closed sound.

The Trigger Triangle from Rhythm Tech   (www.rhythmtech.com/) holds the triangle securely and prevents the slight “after strike movement” that comes with the use of the standard clip. The open/close sounds are controlled easily with just the index finger.

The One Handed Triangle from Latin Percussion (www.lpmusic.com/) gives the player the ability to play open/close rhythms using a back and forth shaking motion…with one hand!

Percussion Tips Launch

2011-01-17T14:02:00.000-08:00

Percussion Tips (my new service to humanity) launches this week ! Quick (140 characters or less) advice on concert, hand percussion, drum set, rudimental, musicianship, etc...
Get it on your computer or phone at:
www.facebook.com/MarkSheltonPerc and www.Twitter.com/MarkSheltonPerc

Bongos Anomalous

2011-01-15T14:29:00.000-08:00

Here is an unorthodox tone production technique for the bongos. Spread your fingers slightly and tilt your hand so that the pinky strikes the bongo head first and is followed by the ring, the middle, and the index striking one after the other in rapid succession. It is a loose flop. The first three finger strikes are grace notes leading to the index finger main note. Allow the fingers to rest for a split second to mute the head. (Think of it as a brush sound.) Try playing alternating 16^th notes with this technique and throw in some accents.
You’ll find a place for this sound.

Caleb Jobe Interview

2011-01-04T14:18:00.000-08:00

A product of the award winning percussion program at Colleyville Heritage (TX) High School, Caleb Jobe brings solid playing and creative ideas to his current position as percussionist with Dove award winning artist, Kari Jobe.

I was intrigued with his choices of gear and decided that an interview would be of interest to Percussion For Worship readers.

Mark: How long have you been playing with the Kari Jobe Band?
Caleb: About four years…I’m full time except when I have school obligations (Dallas Baptist University).
Mark: I understand that you’ve played both drumset and percussion in the band.
Caleb: I’ve played a few times on drumset but mainly I play percussion.
Mark: You were telling me about your set-up. It’s rather unique. How about some details?
Caleb: It is pretty unique. There is a 22” X 18” bass drum mounted on a keyboard stand. I play it with timpani mallets. It’s miked in back with a kick drum microphone (SM 91 or similar). I use a 14” X 9” snare drum and there’s also a cajon, a few shakers, and occasionally a glockenspiel.
Mark: How did you arrive at this instrumentation?
Caleb: I used to play a more typical set-up with congas, djemebe, etc… but eventually I wanted to duplicate the loops from the recording. That led me to develop this set-up.
Mark: How’s it working?
Caleb: Most groups that are appearing at events with the KJB are not using a percussionist. So the audience is seeing and hearing a little something different and the reaction is positive.
Mark: What’s your favorite breakfast cereal?
Caleb: …definitely frosted flakes.

Session Prep Pays

2010-12-27T14:00:00.000-08:00

Hey Mark,

What would you charge me for recording at my studio for:
A one hour session
A two hour session
A three hour session?

The question came in an email from a producer for whom I had played a couple of live events. After my reply regarding rates, we set a time for recording percussion at his studio.

Later in the week, the producer emailed a “rough recording” of the song. After downloading the tune onto my iPod, I listened to the song several times. The “rough” contained no vocals but as I listened, the form and major melodies began to become apparent to me. It was then easy to make a “skeleton chart” of the song on manuscript paper so that I could mark the measures where the major sections of the song began and ended.

The tap tempo feature on my Boss Dr. Beat DB66 metronome (http://www.bossus.com/) informed me that the song was recorded at a consistent bpm of 95. I set my Beatnik Rhythmic Analyzer (http://www.tuners.com/ ) to 95, grabbed some sticks, and began to warm up. (I wanted to ingrain that tempo and subdivisions into my brain and hands.)

Listening to the recording several more times with the “skeleton chart” and pencil at the ready, some ideas about instrument choices and parts sprang to mind and were added to the paper.

The session was scheduled for 1:00 P.M. so I left my home in time to arrive at the studio by 12:30. The producer seemed grateful that I was early and impressed that I had concocted a chart.

My chart also contained approximate times (min/sec) where major sections started. With this information handy, it was easy to tell the producer/engineer to skip ahead to certain min/sec areas as we recorded, thereby saving time for everyone.

The producer wanted to record parts for several instruments and choose segments to use later as he mixed. The time spent in preparation paid off as we recorded parts for congas, tambourine, shaker, rhythm triangle, Chinese bell tree, suspended cymbal, and more in about 1 ¾ hours.

Certainly there are studio situations when there is no recording (or chart) to study before the session. However, when such materials are available, take advantage of the opportunity to prepare thoroughly.

I think this guy might call me again.

Mastering The Tables Of Time

2010-12-14T18:51:00.000-08:00

On the shuttle ride to the airport, a piece of luggage fell and struck me. (No harm done!) However, the incident started a conversation with another passenger, David Stanoch, author of Mastering The Tables Of Time. Upon departing the bus, David presented me with a copy of his amazing book. Whether beginner or pro, drumset player or percussionist, material abounds to challenge and improve your skills. You’ll find exercises with applications for playing time, coordination, polyrhythms, and soloing. http://www.rhythmelodic.com/

How can I play all this...by myself ?!

2010-12-01T21:53:00.000-08:00

With Christmas just around the corner and those cantatas and spectaculars looming, you might find yourself looking at a percussion part that was intended to be played by a section and instead…it’s just YOU ! Aside from growing an extra set of arms from your stomach, your next best choice is to figure out what to play and what to delete. You might try to ask the conductor (who is still pre-occupied with that near-mishap with the flying angel at the tech rehearsal). Asking the maestro will sometimes yield a quick, “Just try to play as much as you can.”

Make plans and mark the part before the rehearsal but stay open to any in-the-moment directions from the leader during the rehearsal.

Some parts may be doubled by other instruments.
EX. The timpani line covered by the string bass and /or tuba
EX. Glockenspiel or xylophone playing unison with woodwinds
Those percussion parts are good candidates for deletion.

Certain parts may be providing the driving rhythms.
Try to include these.

Cymbals and triangle give an ensemble sparkle and ring.Look for spots that need that effect.

Some instruments help to set the mood or establish a place.
A tambourine would take precedent over bass drum in an “Eastern European” sounding passage.
If you are playing an arrangement of “I Heard The Bells On Christmas Day” and there is a part for chimes... Play that before anything else.
Nothing gives a military feel better than the snare drum.

To cover multiple instruments, be ready to make some sacrifices.
Play drums with hard plastic mallets so that you can move quickly to that glock lick.
Substitute suspended cymbal for crash cymbals and you can combine that with the snare drum part.
It only requires one hand to play the MOUNTED tambourine; the other is free to play another instrument.

Take care to devise a set-up that will allow you to move quickly and GRACEFULLY from one instrument to another. Sketch the set-up so that you can recreate it at the performance.

God Be Praised / Gateway Worship

2010-11-19T14:47:00.000-08:00

God Be Praised (Deluxe) from Gateway Worship is currently #7 on the iTunes Christian & Gospel chart. Thomas Miller, Walker Beach, and the team from Gateway have produced a “live” album with a “really live” feel.

It is an honor to be a part of this recent release. There are ample amounts of percussion from my percussion colleague, Mark Levy and lil' ol' me. Click the widget below for more info (including some samples).

www.gatewaywidget.com

Listen for the rainstick in a couple of spots in “O The Blood.” …that’s me!

PASIC 2010

2010-11-15T21:45:00.000-08:00

The Percussive Arts Society International Convention took place last week in Indianapolis. It was four days full of new gear, old friends, networking, inspiring performances, and the fun that can come from a few thousand drummers getting together.

Here I am with Bart Elliot (Nashville drummer and purveyor of drummercafe.com).

Since the early 80’s, my headed tambourine of choice has been manufactured by Grover Pro Percussion. Click this link (http://bit.ly/aULTnZ ) to find me at the Grover booth with the Heat-Treated Silver Dry 8” Tambourine.

Neil Grover (percussionist with the Boston Pops & owner of Grover Pro Percussion) and lil’ ol’ me.

And...I got out of bed and made it over to the 7:00 A.M. Breakfast Meeting of Fellowship of Christian Percussionists.

PASIC 2011 will be held again in Indianapolis. For more info: www.pas.org

Mark Tree

2010-11-08T19:41:00.000-08:00

More than a one trick pony…

Aren’t you glad that studio musician, Mark Stevens invented the mark tree back in the late 60‘s? Also know as bar chimes, the mark tree can help set an ethereal mood, wash into a half-time section, or sweep the music into a modulation.

The instrument is capable of more than the oft-used stereotypical high to low glissando.
You can…

Glissando low to high
Glissando using a light touch with a triangle beater
Start in the middle with both hands and move outward in both directions slowly
Produce a burst of sound using both hands to quickly set all the cylinders in motion
Create a wind chimes effect ---gently moving the cylinders into one another

Resist the temptation to overuse the mark tree. Keeping this timbre rare maximizes the effect of its shimmering beauty.
When you invest in a mark tree, get a long one …and a supply of replacement ties!

Trap Table Recipe

2010-10-29T19:14:00.000-07:00

The trap table is an essential item for the gigging percussionist. I keep a trap table in my van so that it is always at the ready. My first tables were built from plans in Sound Designs: A Handbook of Musical Instrument Building by Scoville & Banek.

(Get the book…clever and useful!)

As I have built trap tables, I have experimented and modified my way into a version that is simple to build and easy to carry.

¼” plywood sheet 38” x 25”

Quilt Batting (Low Loft) 3-4 ply 41” x 28”

Black Cotton (Sportswear Twill) Cloth 42” x 29”

Door Pull (or Handle) app. 6”

Staple Gun

Staples

Scissors

Black Duct Tape

Screwdriver (to attach Door Pull)

Hammer

Nail (for pilot holes for door pull screws)

Keyboard X Stand

1. Spread the batting on the floor and place the plywood on top of the batting. There should be app. 1 ½” of batting extending past the edges of the plywood.

2. Lap the extended portion of the batting over the top of the board and staple on all sides. Keep the batting pulled tight as you staple.

3. Spread the black cotton cloth on the floor and place the plywood (batting side down) on top of the black cotton cloth. There should be app. 2” of cloth extending past the edges of the plywood.
4. Lap the extended portion of the black cotton cloth over the top of the board and staple on all sides. Keep the cloth pulled tight as you staple.

5. Use the black duct tape to secure the edges of the cloth to the plywood and cover the staples (to protect fingers when moving the table).

6. Attach the door pull (handle) to the bottom of the table centered on the long side app. 1” from the edge.

7. Place the finished table top on the opened keyboard X stand

Legato Shaker

2010-10-08T14:37:00.000-07:00

During a recording session, I was using the Soft Shake from Latin Percussion (www.lpmusic.com/). I had been playing it in a conventional manner. The producer suddenly asked me to turn the shaker so that an end was toward me (as shown in the photo). Though slightly skeptical, I complied and immediately heard the difference. There was less attack in the sound and more length to each note. The length of this particular shaker is rather short so that you can control the rhythmic flow of the fill (beads) in this position. The “more legato” sound fit well in the song we were recording and I continue to use this technique when appropriate. This is one that requires close proximity to the microphone.

Which backbeat to play?

2010-10-01T20:21:00.000-07:00

Chajchas

2010-09-24T19:15:00.000-07:00

What are those things?

Really?

A staple of Andean folk music, the chajchas consist of goat hooves sewn to cloth loops. The chajchas produce a warm, earthy, clattering rattle (to my ear). The loops are traditionally worn around the wrist (like bracelets) so that a player can also play a bombo (drum) and chajchas together. I tape a couple of loops together, grasp the whole clump, and play downbeats with a quick downward flick of the wrist.

Some chajchas ideas:

When the drumset is laying down an ethno-groove on the toms, try bringing out the chajchas on some simple downbeats.
Play the backbeat (sparingly).

Shake the hooves for an ethereal effect.

Rock Cowbell

2010-09-17T21:35:00.000-07:00

Tulp Tulp Tulp Tulp

Sometimes that four to a bar / downbeat cowbell is just what the song needs. You hear it in so many styles...Rock, Funk, Pop, R&B. In contrast to many Latin styles where the cowbell has a more open / ringing sound, the Rock cowbell sound is generally a dry tone. I once read the tone described as “tulp.”

Grip the cowbell with the subdominant hand with the open end of the bell up and away from your body. The instrument rests in your hand so that the fingers and thumb are gripping the sides and the flat bottom rests against your palm. This grip allows you to achieve a dry sound with the palm stopping vibrations. If you need an open sound, drop your palm away from the bell (with fingers and thumb still clutching the bell on the sides).

If a consistent dry sound is needed, I sometimes grip the bell with fingers on the bottom (flat area) and my thumb on top of the playing surface. This grip allows me to apply some pressure for that “tulp.”

Strike the cowbell with the side of the stick (rather than the end) across the edge of the mouth. This seems to bring out more fundamental and less highs.

Go for the tulp!

Stickball

2010-09-11T20:35:00.000-07:00

Why didn’t I think of that?

Don’t try to tape a shaker egg to a drumstick. Stop playing the cowbell with a maraca. The Stickball from Rhythm Tech (http://www.rhythmtech.com/) slides quickly and securely onto a range of shaft sizes and instantly allows you to add a shaker sound to a stick or mallet.
The video on the June 16, 2010 posting contains some Stickball playing.

Click on this link for Drummer Café (http://bit.ly/djC4qJ) for a video review of the Stickball.

Invest in a couple of Stickballs

...a creativity catalyst!

Clean up the shaker attack

2010-09-04T19:29:00.000-07:00

Do you ever notice some extraneous sound in that split second before you actually want the first shaker note to sound? You are probably giving the shaker a preparatory flick to bring the fill (beads) into the ready position area opposite the initial striking side. That “pre-attack” swish can mar the quality of a shaker track (or require some time with the digital editor).

You can eliminate most of the extrinsic clatter by simply bending your wrist so that the fill slides and settles into that ready position. If your first attack motion is away from your body, bend your wrist so that your thumb is closer to parallel to the floor and the fill in the shaker is resting right over your thumb. If your first attack is toward your body, bend your wrist so that your fingers are more parallel to the floor. When the rhythmic moment comes, use a normal shaker motion and the fill will move cleanly from its ready position and slap the striking area with a more precise sound.

Forte-piano Timpani Roll

2010-08-27T11:41:00.000-07:00

Get Sneaky.

You can find the forte-piano timpani roll in hymn arrangements, oratorios, Brooklyn Tabernacle orchestrations, and many more church music styles.

If your usual method has been to play a loud roll and quickly bring the roll volume down, try this approach for a better tone (and less work).

Play a single forte stroke. The volume level of the resulting tone will begin to drop.
While the head is still ringing, bring in a soft roll under the volume of the ringing tone produced by the initial stroke.
With some practice, you can sneak in so that the beginning of the piano roll is masked by the sound of the decaying forte stroke.

Clave Rhythms

2010-08-20T15:19:00.000-07:00

Clave patterns serve as rhythmic organizers in several Latin American and African styles of music. There are Bossa Nova, Afro-Cuban 6/8, Rhumba, Son claves and more! One of the more common is the Son clave. This five note pattern can be played in two versions, 3-2 and 2-3.

When playing in the rhythm section, it is crucial to know if a clave-based song is 3-2 or 2-3. This knowledge assists the players in selecting note groupings. Everyone should be playing “in clave.”

One way to determine the clave is to clap the 3-2 version while singing the melody of the song and repeat the melody with the 2-3 version. One of the clave rhythms will probably fit and feel better. (This suggestion comes from the book, Salsa Session by B. Sulsbruck, H. Beck, and W. Hansen.)

Claves

2010-08-14T07:44:00.000-07:00

Stay loose!

Claves may have originated with sailors using pegs from ship masts for musical accompaniment. Traditionally made of rosewood, the bright tone of the claves can cut through some dense musical textures.

Hold the striker clave in your dominant hand (in a loose matched grip). For the stationary clave, curl your fingers of your other hand in towards your palm with the thumb resting against the side of the index finger. You are forming a little echo chamber for the clave to resonate.

Lay the clave over your echo chamber and you are ready to play.
Gripping either clave tightly will inhibit vibrations. You will know when the grips are correct when the claves respond with a characteristically resonant tone. Stay loose (grip-wise)…and check back for a post about clave rhythms.

2010-08-06T21:49:00.000-07:00

Excerpt from my shake tambourine solo,
"Big Tamb Jam"
This short piece features several techniques including subdivision accents, shuffle, horizontal slide, and riq style.

Cabasa

2010-07-24T19:38:00.000-07:00

Strike it.
Scrape it.
Shake it.
Tap it for staccato.
Slide the beads for legato.

Lots of possibilities with the cabasa!

Experiment with these patterns:

Cajon

2010-07-17T11:54:00.000-07:00

"Do you have a box?"

When Robert (a Peruvian) asked that question, I knew that he was referring to the cajon. Simple, portable, and possessing a variety of timbres, the cajon is a great choice for the "no drumset" situation. With bass tones produced in the center of the main playing surface (front panel) and crisp highs at the upper corners, you can coax a pretty meaty groove out of the box.

Most cajons have screws near the corners of the front panel. Loosen the screws to raise the corners for better slap. I insert thin cardstock to soup up the slap.
Mike the sound hole for good bass tones. A desktop mike stand comes in handy.
A piece of foam rubber resting on the bottom (inside) may help absorb some unwanted ring.
Experiment with the cajon for a variety of sounds. Use the sides. Play with different areas of your hands, knuckles, fist, etc... Strike and scrape it with brushes.
I prefer a traditional cajon sound (without the snares). You can obtain the snare effect by placing a snare drum on its side just behind the cajon sound hole. Face the snare (bottom) head toward the cajon.

One Good Lick For Cajon:

This pattern outlines the 3:2 son clave. Start on beat 3 and proceed to beats 4, 1, & 2 and you can get the 2:3 feel.

Looping Pedal / Practice Tool

2010-07-10T09:04:00.000-07:00

Play it again…and again…and again…

Back in my grad school days in electronic comp class, we composed using loops. Those loops were actual magnetic tape loops that we recorded and spliced. We’ve come a long way!

Looping is a frequent feature in my solo percussion work and I have also used a looping device in drum circle facilitation.

A looping device is also a handy practicing tool. I use the Boss RC-20 Phrase Recorder Loop Station which is a foot-operated looping device.

A foot operated looper allows you to record, stop, play, and erase without using your hands. No fumbling for a button while holding a stick or mallet!
Easily record and play a part and practice playing over the recorded part. Example: Loop the son clave and practice playing the cascara bell part over the clave.
Record a loop of metronome click and record a part that you are practicing. You can listen over and over to check your timing accuracy.
The RC-20 has memory capability so you can store your practice loops.

Expression In Music

2010-07-01T11:02:00.000-07:00

How to play musically…only $5 !

“Definite and specific instructions on the playing of music with expression are always needed, and such information should be sought after continually by every serious-minded player as well as by every teacher and director.”

That is the powerful (and truthful) opening sentence from Expression in Music.

Given to me by a mentor years ago, my copy of Expression in Music carries a price marking of $2. The cost has more than doubled yet this inexpensive tome contains a wealth of information on musical phrasing. Famed cornetist, composer, and educator, H.A. Vandercook gives specific directions on emphasis, interpretation, ornamental notes, syncopation, and more. Though published in the 1920’s, the ideas in the book are timeless and can be applied whether playing the lead line or accompaniment.

From Chapter Two:

“With all the high-sounding titles that may be given to it, and no matter how poetically it may be described, expression in music consists of well-placed and intelligent accent or emphasis.”

I recommend investing half a sawbuck and studying the 59 pages of musical wisdom.

Conga Thoughts: Random and Useful

2010-06-25T14:58:00.000-07:00

Congas are usually part of my set-up when I am playing Contemporary Worship music but I usually play them sparingly.

Use the basic conga tones to copy phrasing with the other instruments. If the rhythm section plays hits that are short / long / short / long / long /short…try playing slaps for short and open tones for long. A much tighter sound!
Avoid playing congas on top of a drumset fill. I look for a musically logical spot to stop the conga pattern before the drummer starts the fill.
Muffled slaps played loudly in unison with the snare drum can point up precision problems. Back off on the back beat!
When playing “time” on congas, pick a pattern and stick with it. Do not “improv” while the rest of the rhythm section grooves.
Pick your spots judiciously. Do the congas really enhance that section?
Tune tight for easy response and good projection. Even with amplification, you want to send a solid projecting sound into the microphone.
Simple can be effective! Listen to the congas in “Ain’t Too Proud To Beg” ...The Temptations version. You'll see what I mean.

Collaborating With Other Art Forms

2010-06-16T19:51:00.000-07:00

Painting with Pigment and Percussion
1 Samuel 16:23

Collaborating with artists from art forms other that music has helped me to grow as a musician. Whether dance, poetry, visual art, or drama, I always learn from the experience. Earlier this year, Carlos Cazares and I worked on a project combining painting (Carlos) and percussion (me). The project, A Moment of Relief (1 Samuel 16:23), was different each time we rehearsed or performed. You can discover more of Carlo Cazares' work at www.carloscazares.com.

A moment of relief from Carlos Cazares on Vimeo.

Drummer Cafe

2010-06-11T13:31:00.000-07:00

Pay a visit…Leave smarter.

My friend (and predecessor as percussion teacher at Christ For the Nations Institute), Bart Elliot is the proprietor /purveyor of Drummer Café. http://www.drummercafe.com/

I am a Tennessean transplanted to Texas. Bart departed his native Lone Star State for Music City several years ago. Our times as percussionists in the Dallas area overlapped for a while. Since moving to Nashville, Bart has established a great source of drumming info on the web. I entreat you to read Bart’s articles, “The Fine Art of Practice” and “In the Pocket.”
Tips, Reviews, Videos…Head on over to Drummer Café.

Squeezing The Timpani Part

2010-06-09T21:00:00.000-07:00

It calls for four drums but you only have two?

Churches seldom own (or rent) more that two timpani. Composers and arrangers keep writing for 3-4 drums. In dozens of rehearsals, I have scribbled a few marks on a timp part and managed to perform a satisfactory version with just the 26” and 29” kettles.

Here are some pauken pointers for making do with just two:

Tune the 29” timpano to E rather that F. This gives you the low resonate E to use rather that just the high (less resonant) E on the 26” drum. Many charts go down to the low E.
Switch octaves. If the pitches are Eb - Bb, simply flip it and make it Bb - Eb.
Substitute another chord tone. If the chord is D major and the timpani part calls for a D but the pitch change is too clumsy with the two drum set-up, try playing the fifth (A) or the third (F#) if either is more accessible.
Use the nodal area. The center of the timp head is a dead zone (very little resonance or pitch). In a rapid passage, some notes can be played in the center to give the percussive sound without a strong definite pitch.
Alter the rhythm and /or pitches. A part consisting of four 16th notes (ex. F-G -A -Bb) could be reduced to eighth notes (F -A) or pitches doubled for the 16th effect (F-F-A-A).
Delete a passage. Some sections may not lend themselves to editing. Just leave it out. If it is covered elsewhere (bass, tuba, bassoon), just allow that voice to carry the moment.
Discretion is the better part of valor.

Finally, some advice to help with those quick pitch changes that you will encounter as you reduce the part down to two timps:

Sit on a stool so that you can have a foot on each pedal.
Tuning Gauges…Get ‘em. Set ‘em. Use ‘em.

As Iron Sharpens Iron... Proverbs 27:17

2010-06-03T08:41:00.000-07:00

Tambourine, Conga, Djembe, Cajon, Shaker, Timpani, Cymbals...Hundreds and hundreds of percussion instruments that are available to use in worshipping God! Whether you play congas in contemporary praise & worship music or you are the timpanist playing on hymn arrangements in a more traditional church setting, it is my hope that this blog will be a source of inspiration and information.
As a free-lance percussionist, I have had the opportunity to play percussion in many styles of worship and learn from other percussionists, worship leaders, and producers. As iron sharpens iron (Proverbs 27:17), it is my hope that I can share some of my knowledge and gain some ideas from readers / contributors in the percussion blogopshere. May it all be for the glory of God.

Check back soon.

One Hand Cymbal Rolls

2010-06-02T09:18:00.000-07:00

“I like what you’re doing. Can you keep that going and throw in a cymbal swell on the modulation?

Playing the shaker with your right hand, you hear the music building to that big climax. If you could just continue the shaker part while adding a crescendo roll on the suspended cymbal…

There are a couple of one handed methods available to make that cymbal roll a reality.

1. In one hand, hold two mallets using any of the conventional 4-mallet grips (Stevens, Musser, Burton, cross). Spread the mallets to 9:00 and 3:00 on the cymbal and alternate the mallets in the independent roll fashion used in marimba playing. You don’t have to roll very fast to get a good sound.

2. With palm down, hold the two mallet shafts one over the other in snare drum matched grip with about 2 inches between the mallet heads. With one mallet above the cymbal and one below, use an up and down motion to produce the roll.

I favor Method 1 because of the better tone quality. Either way will allow you to add that roll while continuing to play the instrument in your other hand.

Dynamic Control on Shakers and Tambourines

2010-05-31T16:01:00.000-07:00

" ...a little less shaker in this section and fade it at the end of the phrase."

The ability to control an instrument throughout its dynamic range is crucial to good musicianship. Do not overlook this on shakers and tambourines. Practice playing patterns at low volume levels but with the same intensity and consistency as at louder levels. Can you fade up a roll and fade it down smoothly? Try the short exercise demonstrated in this video with tambourines, ganza, maracas, etc… Remember that the tendency is to build crescendos evenly but decrescendos are frequently faded too quickly.

Percussion And Drumset Part 1

2010-05-26T20:18:00.000-07:00

Playing Percussion While Thinking Drumset

Much of the time when I am playing percussion in a church service, there is also a drumset player. My closest interaction within the rhythm section is with the drummer. The drumset skills developed in high school and college (I still practice drumset and play a few gigs on it these days!) serve me well when I am in the percussionist role. When I am playing percussion, I am often thinking about what the drummer is playing and trying to weave my part around his playing in a complimentary fashion. I can often predict where the drummer will lay down a fill, phrase some horn hits, or play a set up figure. This helps me avoid playing “on top” of a fill or cluttering the phrasing.

Check back soon for Percussion and Drumset Part 2

Worship Team Director DVD / Drums & Percussion

2010-05-21T19:00:00.000-07:00

Percussion Ideas For Over 70 Worship Songs

Worship Team Director is a training and presentation tool for your worship team. This project includes video demonstrating how to play the song along with audio options (split tracks, mix minus instrument, etc…).

Produced by Gateway Create Publishing and distributed by Integrity Media, Worship Team Director has a separate DVD for Drums & Percussion. The first three volumes include percussion parts for over 70 songs (demonstrated by Mark Shelton).

I just spent several hours in the studio recording parts for the next volume.

More info at http://www.integritymusic.com/

Listening to a variety of music

2010-05-18T22:30:00.000-07:00

Celtic to Latin to Rock to Gospel

Arriving early for a rehearsal (always a good idea), I sat in my van listening to the radio. Hearing the entire Carnival Overture by Dvorak, I was impressed by the great writing for triangle and tambourine.

Listening to a variety of music to learn styles and gather ideas is so important. In today’s worship music, a set might include some Robin Mark, Salvador, Hillsong, Lincoln Brewster, and a little Andre Crouch for good measure. Do you know which instruments to reach for to handle that variety of music…and what kind of part to play? Make listening to different styles a priority.

Demo Video Solo Percussion

2010-05-18T16:38:00.000-07:00

Here's about 5 minutes from my solo show

Rainstick Rhetoric

2010-05-18T10:15:00.000-07:00

The right amount of rain

On a recent recording, I played the beautiful and fascinating rainstick on the intro and outro of a song. There is more to this instrument than “turn over and let it pour until it stops.”

You have to get a long rainstick. Don’t waste your money on a rainstick that will not rain for at least 30 seconds. My rainstick is app. five feet in length.
I prefer the natural rainstick made from cactus and pebbles.
Find the end that provides the longest “pour” and mark it. Make sure that you load the pebbles into that end before the performance.
Practice the rainstick. You can develop some skill with the intensity, dynamics, and controlling the length of time the pebbles are producing sound.
Work the mike. Stay close to the microphone but be aware that you can use proximity as a tool.
The rainstick is one of those instruments that should be used sparingly. Do not FLOOD the song.

Triangle Tips

2010-05-17T14:47:00.000-07:00

Invest in at least three different sizes of triangle beaters. Each size excites different harmonics thus affecting the tone.
Experiment with striking various areas on the triangle for different timbres.
My general striking area is the side without the opening. I play about a third of the way down from the top corner with the beater at app. 45 degrees.

This area gives a less definite pitch with lots of harmonics and blends well with the definite pitched instruments being played.
Always suspend the triangle with TWO separate loops (for safety) of thin string, plastic ties, or fishing line. NEVER use wire or heavy cord that will either buzz or significantly inhibit vibrations. Keep the loops short so that the triangle cannot spin after striking.

Roland HandSonic HPD-15

2010-05-12T14:51:00.000-07:00

A world of percussion at your fingertips

I am a big fan of the Roland HandSonic HPD-15. This compact electronic instrument was designed with hand percussionists in mind. The unit includes a pressure-sensitive pad divided into 15 zones along with two ribbon controllers and a D Beam. There are over 500 sounds on the HandSonic including acoustic percussion samples from around the world along with vintage drum machine sounds and orchestral instruments. Those sounds are modifiable…imagine a great sounding woodblock that would be better if it could be a half step lower in pitch. With the Handsonic, it takes about 15 seconds for that adjustment!

There are several pre-set drum set patches on the Handsonic (or you can build and save your custom “user” patches). The Trigger Input Jack and HH Control Jack allows for pedals so that a percussionist can use hands AND feet to play drumset parts.

I have used the HandSonic to play chimes and timpani with a church choir and orchestra …an easier load-in!

Lots of dance/electronic sounds (including turntable scratch samples) are loaded on the HPD-15 along with multi-effects AND a sequencer!

More info on this great unit at the Roland website:

www.rolandus.com

Suspended Cymbal Basics

2010-05-10T13:25:00.000-07:00

Get The Metal Moving

Use a relatively thin cymbal for suspended cymbal parts. Some cymbals are marked "suspended" and specifically designed for easy response.
Although it is sometimes necessary in a quick transition, try to avoid using a timpani mallet on the cymbal. I prefer yarn wrapped marimba mallets for general suspended cymbal playing.
Both rolls and single strikes should be played with the mallets at 3:00 and 9:00 (see photo) for balanced vibrations and quick response.
Priming a cymbal (a gentle inaudible tap with a finger) gets the instrument vibrating for an easier response.
Having an array of implements (sticks, mallets, brushes, dowel rods, triangle beaters. coins) expands the timbral capabilities of the suspended cymbal.

Manipulate Shaker Sound

2010-05-07T21:54:00.000-07:00

Change Your Grip / Change Your Tone

Simply grasp the shaker with more of your hand area (or use both hands). The "highs" will be decreased and the tone will be darker. Loosen your grip and use less hand area to achieve a brighter sound. You might use a darker tone on the bridge of a song and move to a brighter sound as you proceed to the chorus. Stay close to the microphone so that the subtle tone shift can be heard.

GatewayWorship Live Recording 2010

2010-05-03T21:28:00.000-07:00

Two nights of worship captured on audio and video

GatewayWorship just concluded two nights of recording for the upcoming CD / DVD project scheduled for Fall release. Mark Levy (photo by Scott Pickering) and I shared percussion duties. Two ensembles of instrumentalists backed the singers. The RED TEAM was my assignment. Lots of new songs with (hopefully) good doses of percussion. Getting to play some rudimental snare drum on one song was a real treat for me. I enjoyed getting to observe Mark Levy play with The BLUE TEAM and get a few ideas from him. Overdubbing sessions are scheduled in the weeks ahead.

No Timpani Part !

2010-05-03T20:45:00.000-07:00

"It's #271 in the hymnal."

If you are asked to play along on timpani and the conductor hands you a hymnbook, some of the best places to add the kettles are at the cadence points. Look at the bass line and observe the pitches at the end of the phrase. They will frequently be either a full cadence with the fifth scale degree moving to the first degree or a half cadence with the tonic ( I ) moving to the dominant ( V ). Below are a few examples in the key of C.

Tambourine Launch Pad

2010-04-19T21:38:00.000-07:00

It takes seconds to make, weighs about an ounce, and makes picking up the tambourine easy and quiet.

Playing multi-percussion can present some logistical challenges. Moving from instrument to instrument with only a beat or two in between can be tough. How about picking up the tambourine (or shaker) from a trap table? Using one hand to grab the instrument and bring it into playing position in a timely fashion without producing extraneous sounds can be a problem. My solution is the launch pad.

Just some foam rubber folded over and taped and you can get you fingers under the tambourine and grip it correctly with no muss, fuss, or unwanted jingling. A problem solver that’s not a problem to carry!

It's okay to not play.

2010-04-13T20:23:00.000-07:00

How can they miss you if you never go away?

As a percussionist, we have the ability to change the timbral texture of the ensemble with our variety of sounds and instruments but always remember that we can also change the sound by not playing. You can increase your impact by dropping out for a while. Demonstrate your taste and restraint with the confidence that the decision not to play IS a musical decision. Try waiting until the second verse to enter or maybe that intro with piano doesn’t need those triangle notes on top (or fewer). Sometimes…less is more.

Playing With The Click

2010-04-09T21:23:00.000-07:00

"I'm gonna need more click in my cans."

Whether you’re synching with a video, loops, enhancement tracks or just maintaining steady tempo, playing with a click is becoming more common in church settings. Drummers and percussionists know that we are held to a higher standard when it comes to precision with the click. Also, it’s not just “burying the click” with accuracy…then comes the request to play “just behind” the click. You can improve this skill with practice. Here are a couple of suggestions:

I have practiced with a looping pedal and microphone, recording a metronome click and then recording a block or cowbell over it, trying to match my attack with the recorded metronome and then listening back to check my accuracy.

Several months ago, I started working with the Beatnik Rhythmic Analyzer from OnBoard Research. The unit consists of a practice pad with a display screen and a few knobs. Set a tempo and subdivisions (16ths, 8th triplets, etc…), play along to the click, and watch the screen for a real time display of your percentage of accuracy. Cease playing and within seconds you get a graphic display of your accuracy on EACH subdivision. You can immediately see your tendency to rush the second sixteenth note in a grouping or that you are late on the upbeat. The Beatnik is a truth machine! I have described one of the many features on this great device.

The Beatnik can improve your ability to work with the click AND improve your overall sense of time. It is improper subdivision that creates rushing and dragging. The Beatnik gives immediate feedback so you can get to the heart of the problem and optimize your practicing.

Check out the Beatnik at the OnBoard Research website: www.tuners.com .

Video from Walk The Light Festival Dallas Carlos Cazares and Mark Shelton Through the bright mineral pigments and the soothing sounds of percussions, the hands of two artists come together to recognize the one God, the Creator.

2010-04-06T22:02:00.000-07:00

Performance "A Moment of Relief" from Carlos Cazares on Vimeo.

Percussion For Worship (TM) Opening Post

2010-04-05T16:08:00.000-07:00

Tambourine, Conga, Djembe, Cajon, Shaker, Timpani, Cymbals...Hundreds and hundreds of percussion instruments that are available to use in worshiping God! Whether you play congas in contemporary praise and worship music or you are the timpanist playing on hymn arrangements in a more traditional church setting, it is my hope that this blog will be a source of inspiration and information.
As a free-lance percussionist, I have had the opportunity to play percussion in many styles of worship and learn from other percussionists, worship leaders, and producers. As iron sharpens iron (Proverbs 27:17), it is my hope that I can share some of my knowledge and gain some ideas from readers / contributors in the percussion blogosphere.

May it all be for the glory of God.

Check back soon.