Short---But Worthy Of Much Thought

Did you know that there is not a single word for worship in Greek or Hebrew that has anything to do with music?


Interesting.



Zach Neese, How To Worship A King (Southlake, TX: Gateway Create, 2012, p. 52

"How Beautiful Shines Your Glory" Demo

Jonathan Malone (my songwriting partner) and I wrote this song recently.  I finished mixing this demo recording.  
No percussion...YET         ...any ideas?

Check it out.  You can download it for free. 
Go to soundcloud.com/marksheltonmusic 
Remix it...toss in your ideas

...interested in the lyrics and/or chord chart?
Contact me at markshelton@verizon.net 

Tambourine Timbres

 

In addition to the percussion teaching posts on

Percussion For Worship, there's video tutorials on my You Tube channel.   You'll find info on tambourine, shaker, triangle, snare drum, and more.

 

Here's a sample from www.youtube.com/marksheltonmusic

 

 

 

 

 

 

Be sure to sign up for email alerts when there is a new posting at

Percussion For Worship.

It's at the top right corner.

Finger Shot

"Play a light shaker on the verse and then go to djembe when the chorus hits.   Oh, is there any way that you can keep the shaker going?"

You could grow any extra arm out of your stomach OR use a couple of Finger Shots from Latin Percussion.  

Like the bigger brother One Shot, the Finger Shot only produces sound on one surface. When you place the device on your finger with the elastic band (as in the photo), the shaker sound is activated with the downward motion into the drum head or any surface.  A striking surface is not even necessary...just wave your hand in rhythm! 

Play congas or bongos with a Finger Shot on each hand and there's another layer of sound right in unison with the drums.

I'm keeping a pair in my mallet case.

September Setup Of The Month

 

 

 

Here's a shot of a recent setup of mine.  I was laying down some 808 kick and handclap with the Handsonic 15 (while playing shaker) on that particular weekend.   The Gajate bracket with bass drum pedal is a big help when I need some backbeat tambourine while playing djembe or congas.  The trap table lives on my right side so I can access the items with my dominant hand.   I have a couple of suspended cymbals on my left so that I can play one-hand rolls while playing something more rhythmically intricate with my right.  The tambourines are at the ready on the launch pad (see posting from 4/19/10 on making a launch pad).

 

 

 Percussion For Worship wants to see your setup for possible inclusion on the blog.

Send those pix to markshelton@verizon.net

How To Worship A King

 

"Worship is the soil out of which all meaningful Christian endeavors grow."
Heavy
You get a lot of “heavy” in Zach Neese’s book, How To Worship A King. 

The same guy who penned “The More I Seek You” brings out his serious “author chops” to instruct, inspire, and challenge on the topic of worship.

Zach defines and clarifies the meaning of worship for the believer. 

You become more aware of your role as a priest. 
There is interesting historical perspective on various “Reformations” within Christianity 
…and you get some good anecdotes from the author.  (The rock climbing in sneakers story is quite astounding.)

One of my favorite chapters provides information on Biblical expressions of praise.  While singing, instrumental music, clapping, uplifted hands, dancing, and bowing are all addressed in the section, I was especially drawn to the section on Biblical words for praise. 

Here's #4 on Zach’s list:

Zamar: to sing and give praise while playing an instrument

 

…and I will sing praises (zamar)  unto thy name. 
                                                 2 Samuel 22:50 KJV
…I will sing, yea, I will sing praises (zamar) unto the Lord.                                         Psalm 27:6 KJV

Percussionists…Buy this book and get to zamar-ing!
For ordering info, go to Zach Neese’s website at www.zachneese.com

Maracas / Shaker Style

 

 

 

 

When I play maracas in a "pop" setting, I often use a shaker style method.

 

More tutorial videos at www.youtube.com/marksheltonmusic

Interview With Javier Santiago

If you get the opportunity to hear the Annie Moses Band (www.anniemosesband.com), you'll be impressed with the intricacy and musicianship.   Javier Santiago supplies the percussion power in the ensemble with tasteful trap set playing AND hand drumming skills.  

Percussion For Worship: What was your musical training as you grew up in Puerto Rico?

Javier: I started taking percussion lessons at the age of eleven at a performing arts school in San Juan. I started drumming at church a year later and continued playing music and traveling across Central and South America all through my teen years.  I have a Bachelor's degree in Percussion Performance from the Conservatory of Music of Puerto Rico and a Master's degree in Jazz Pedagogy from the University of Miami. My musical training and experience are very diverse and full of varied influences.

PFW: What drew you to move to Nashville?

Javier: I moved to Nashville in January of 1999 upon receiving a phone call to tour with the band TRUTH.  Moving to Nashville was never in my long term plans but the call came at just the right time for a fresh start and  a change of scenery. After the tour ended, I felt God prompting me to remain in Nashville and follow His lead. This was a free new start indeed!

PFW: You’ve backed some well-known Christian artists.  How about dropping a  few names?

Javier: Back in the mid 90's, I had the opportunity to play with Ron Kenoly in a couple of festivals in Puerto Rico. In 1999, I played percussion in a tour that included 4Him, Russ Taff, and Wayne Watson. I also played for Travis Cotrell, Ronnie Freeman, Nestor Torres, and many others.

PFW: I heard you playing with the Annie Moses Band a few years ago.   There are a lot of styles being played in that show.  Tell us a little about playing drums and percussion with that ensemble.

Javier: Playing with the Annie Moses Band gives me the opportunity to put into practice everything I learned in school and every previous musical experience. Growing up, I played in many churches and with a wide variety of ensembles. AMB's arrangements are extremely musical and require great sensitivity and creativity. Drum parts are not specifically written for me so the end result is typically a combination of many ideas tried and worked out during rehearsal and recording.

PFW: I understand that you have an interest in some “expanded techniques” on the cajon.  Please share a little about your cajon ideas. 

Javier: I love to play the cajon! It's one of the most versatile hand drums out there. I was introduced to the instrument in Peru a few years ago and to the flamenco cajon shortly thereafter. First of all, it is very important to know the difference between the two instruments and the techniques and applications of each one. I've studied some of this techniques and use them in playing the cajon in all kinds of musical situations. I also add a hi-hat, tambourine with a pedal, and shakers to play more of a drum set/percussion  part in acoustic and semi-acoustic settings. Using a combination of hands and left foot  (playing the hi-hat in more of an open hand technique between it and the cajon) allows me to play any kind of pattern imaginable. You can make this instrument as personal as the sticks you play.  

Javier Santiago endorses and plays with joy:

Innovative Percussion

Longo Custom Solid Shell Snares

Machudo Cajon

Percussion Tutorials at PraiseCharts /WorshipTraining

Check out PraiseCharts / WorshipTraining

Follow the link at the bottom of this post for a sample of a video and info on Worship Training Courses including:

Percussion For Worship: Technique & Tips

Professional percussionist Mark Shelton shares information for percussionists, worship leaders, producers, and anyone desiring to learn about the use of this family of instruments in both contemporary and traditional Christian worship. Enjoy Mark’s entertaining (and sometimes humorous) teaching style while acquiring knowledge on tambourine, triangle, cymbals, timpani, claves, maracas, and more. 

http://members.worshiptraining.com/blog/media/headed-tambourine-basics/

August Set Up Of The Month

Jon E. Kirk ministers from this grand percussion station at Concord First Assembly of God Church.
You can also find Bill Elliot sharing the duties at this multi-timbral playground in North Carolina. 
In addition to his work at the church, Jon serves at a band director / percussion specialist in nearby China Grove, NC.

Keep sending in those photos to Percussion For Worship (markshelton@verizon.net)

DVD: Transitioning From Drummer To Musician

Whether an absolute beginner or seasoned pro, there is valuable educational material on the new DVD from Chris Knox.  The recent release from Musical Metamorphosis, Transitioning From Drummer To Musician contains instruction on a wide range of topics including grips, set up, fills, rudiments, and developing creativity. 

You'll enjoy Chris Knox throwing down (with taste) on a few songs backed by a highly skilled band. The Texas musician gives you ample servings of knowledge on this info packed disc.   The DVD is just under two hours AND includes downloadable exercises in PDF format.

Solid teaching, practical info, and inspiring playing!

Check out www.chrisknox.net for more info.

Stick Control

Among the hundreds of percussion instructional books available, there are several "classics" of teaching texts.   Stick Control is a favorite of mine and the "tape repair job" on my personal copy bears witness to the many times it has been used in my drumming career.  For three quarters of a century, drummers have sharpened their skills with this famous educational opus by George Lawrence Stone. Stick Control contains material that can benefit ANY percussionist (drum set player, hand percussionist, mallet player, orchestral percussionist, or drum circle enthusiast).   The first nine pages of exercises alone can increase your playing level.  Mr. Stone's tome gives variation upon variation of sticking patterns for many basic rhythms.   The exercises can be played with sticks on a single surface, executed on multiple surfaces (giving you some ideas for fills), and played with brushes "sliding" the patterns (an idea from drum set great Ed Soph).

Stick Control is currently published by Alfred Music.

Song Of Truth Fast Tempo

Jonathan Malone (songwriter, worship leader, and pal 'o mine) wrote this with a little help from me.
No percussion on this demo version...If you were adding some percussion, what would be your choices? Comments?


Listen    Enjoy    Worship      Tell a friend

June Set Up Of The Month

Percussionist Marlon Lewis shared these photos of his set up.  The Maryland musician has the goods to groove AND create some color with Mark Tree, Rain Stick, Chajchas, Togo Seed Rattle, Thunder Tube tm , and Finger Cymbals.

Creativity

Steve Jobs said,  "Creativity is just connecting things."

That statement has the ring of truth.  Keep in mind that you have to collect those "things" so that you can have a stockpile in your brain at the ready when the creative moment is needed.  That is why it is important  to explore and grow as musicians.  LIsten to different styles of music...including pieces WITHOUT percussion. Check out methods of playing other than your favorites.  Read up on the newest innovations that you cannot afford...yet!  Attend concerts and clinics presented by great players that will inspire (and humble).

This "collecting for connecting" extends outside of music.  Studying other fields (history, visual art, dance, math, astronomy) can spark creativity in music.  

Devote some of your practice time to creativity. Improvise. 

As percussionists, our number of instruments keeps growing, the sources of educational media increases, and players continue to push the technical limits.

Be a lifelong learner.

Connect and Create !

Intelligent people are always ready to learn.  Their ears are open to knowledge.

Proverbs 18:18 New Living Translation
Scripture quotation from the Holy Bible, New Living Translation, copyright ©1996, 2004, 2007 by Tyndale House Foundation. Used by permission of Tyndale House Publishers, Inc., Carol Stream, Illinois 60188. All rights reserved.

What techniques do you use to spark creativity?

Maracas Rolls

Check out this short tutorial video on 

Maracas Rolls

Tambourine Energy Boost

You're playing that smokin' sixteenth tambourine pattern on the last part of the song and you know that final chorus  should go up a notch in intensity.  

What can you do?

Here's an idea:
Keep the sixteenths going and toss in some accented upbeats.  Experiment with accents on the upbeat of one and three (similar to hi-hat opens) or on the "and" of all four beats...or some other variations.  
It doesn't work on every song but when it does...POW! 
You can really feel the tambourine give an extra "lift" to the overall groove.

Eric Darken Interview

Eric Darken's percussion has been a part of hundreds of recordings over the last few decades.  The Nashville session great took a few moments recently to answer a few questions:

Mark:  What is your background / training as a percussionist?

Eric:  I started out playing drum set at the age of twelve.  I played timpani and mallets in high school.  I attended Brevard College in North Carolina and studied with Mario Gaetano who was a wonderful orchestral percussionist and educator.  He really got me started into the whole orchestral percussion world.  After a two year degree, I transferred to Oral Roberts University in Tulsa, OK.  There I studied with Roy Smith who was the principal percussionist for the Tulsa Philharmonic.  At ORU, I was asked to be a part of the Richard Roberts "live" TV show which aired five days a week.  This was a great experience because it taught me how to sightread and perform charts very quickly.  We would rehearse a few songs for the show and then tape "live" an hour later.  This was not only a wonderful experience, but quite an education.

How about name dropping some artists with Eric Darken percussion on their recordings?

I have had the opportunity over the years to record for a variety of artists and bands.  Steven Curtis Chapman, Amy Grant, Michael W. Smith, Gaither Vocal Band, Taylor Swift, Bob Seger, Keith Urban, Carrie Underwood, Bon Jovi

You've been involved in a variety of aspects of the music business.  In addition to playing percussion, what else have you done in your career?

I started out years ago copying music for various music arrangers.  It was a lot of hard work and long hours but I learned a lot by doing it.  Over the years, I have composed music for TV and film and continue to do so as time permits.  You can hear some of my music on such television shows as Dateline, 20/20, NFL Films, National Geographic, and Fox Sports.

How has your work as a percussionist changed / evolved over the course of your career?

I'm always trying to learn and grow as a musician and by doing so that includes keeping up with the electronic world as well.  Years ago, I began recording projects of my own in my studio and that has moved into people sending me their tracks to play on .  I'm constantly trying to stay up to date with the latest recording and software gear.  I do the same with my acoustic percussion as well.  My set up incorporates both acoustic and electronic options.  I use samples and can create original loops in the studio as needed.  On any given day or song, I can incorporate all types of percussion, some electronics and even some drum set parts if needed.  By having my own studio, it forced me to not only keep up with things percussion-wise but also recording as well.  There is always something to learn!

I'm sure that there are many times in the studio (or preparing for a live event) when there is no written chart.  What is your method for creating a percussion part?

I don't have a formula per se when there is no written part.  I try to communicate with the artist or producer on what he or she might like or what they want to accomplish with percussion.  A lot of times, a producer will give specific instructions or often times, they will just tell me to "do my thing."  I try to listen to the "big picture" with a track.  If there is a lot of motion going on within the track then I might adjust what I do from a shaker or hand drum part.  I tend to try to blend into what the drums are doing and not stick out in any way...even if there are a bunch of different parts!  Ultimately, I would like to believe that what I bring to a track is inspired by God.

Eric uses Meinl Percussion, Paiste Cymbals, Mike Balter Mallets, Remo Heads, and the Trash Kat Drum from ThunderEcho Drums.

Caxixi

The caxixi is a percussion instrument traditionally made with a woven basket cone attached to a circular piece of gourd.   The gourd functions as the primary striking surface.  Some modern versions use plastic or metal instead of gourd.   The instrument contains some type of "fill" material (beads, seeds, shot, etc...).  Sound is produced by the fill contacting the gourd surface when the instrument is shaken.  There is some ancillary sound from the fill striking the basket.

I dig the earthy and slightly imprecise sound of the attack as the fill strikes the slightly convex surface.

Holding a basket in each hand allows the player to play fairly complicated rhythms.  Playing a simple downbeat pattern along with a drumset "toms groove" can lend a raw ethnic flavor.   Try holding three or four to get a big sound.

Are there some creative ideas that you'd like to share about the caxixi?  Comment below.

Spherical Shaker To The Rescue

Your choice of a shaker is usually guided by the tone that is appropriate to the music.   Sometimes logistics and convenience must have a say in the decision.  A spherical (round ball) shaker can be a handy friend in some tricky settings. 

With prism and cylinder shakers, you have to make sure that the instrument is parallel to the floor for a "straight feel."  With a sphere, it is not so much of an issue. 

Recently I had to play (LIVE) a shaker pattern with my right hand and a cajon bass / slap rhythm with my left.  The shaker in the picture worked great...a good timbre and I could give my attention to the cajon without having to think much about the shaker angle.  

One more thing...in a quick instrument switch, a spherical shaker can be easier to pick up and move into playing position.

I keep this one in my mallet case.  
Whatdayathink?  Comments?