December Set Up of the Month: Greg Draper

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

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

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

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

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

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.

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

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

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

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

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

"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"

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

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?

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

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

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

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

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

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.