Grover Studio Pro Tambourine

 

The Studio Pro Tambourine from Grover Pro Percussion has the same quality and attention to detail that goes into other great Grover products.   Here's a short video overview of the instrument.

 

 

 

More info at www.groverpro.com

Melodic Drumming

Your drumming brain will be stretched (along with your technique) after working on Raul Valdes book Melodic Drumming.  The recent release from Transition Music Center is full of exercises to stimulate  musicality and creativity as well as technical facility. Dozens and dozens of exercises incorporating melodically designed accented and unaccented notes are available to help with your fluidity around the set and serve as a catalyst to stimulate your creative juices.


More info at www.RaulValdes.com

Worship Training eBook and Articles

Praise Charts/Worship Training just made several articles and an eBook by Percussion For Worship editor-in-chief, Mark Shelton available as part of its course work.

Click on this link to get more info:
http://members.worshiptraining.com/courses/beyond-the-beat-percussion-for-worship/

Shekere Like A Shaker

 

 

 

There are a number of ways to play the shekere.   Here's a short tutorial on playing the shekere with some shaker technique.

 

 

 

The Sound of Sprinkles

One of Percussion For Worship's loyal followers sent me a link to a posting on his blog a while back.
John Homan allowed me to re-post it but you can click the link below and check out more of his writing.  

I am diggin' the sprinkles analogy!


Casa de Juanito-John Homan's Personal Blog: The Sound of Sprinkles:

Sitting in on congas with the jazz group Vibenation at the 2013 Elkhart Jazz Festival

There are things in this life that you keep forgetting easily, important things that you need to keep in mind. Its like how time and time again the Apostle Paul comes back to justification by faith to the church because they forget it so easily and legalism is such an easy trap to fall into.

I have a similar experience regarding being a percussionist. I have to make a real effort to not forget the value of playing sparingly, not always trying to fill the whole musical space available with sound. It's as if I went to some audio garage sale and came back with awesome bargains. There is just not that much room for all I have but I still try to stuff it in all the closets until all the available musical space is bursting with too much sound. This is especially true of playing with a band, but it also happens when I go out and play as part of a duet or trio. I have to remind myself that people like to hear things that don't always overwhelm them. All day long you can listen to music that is the equivalent of a pizza with everything, but then you don't even taste all of the subtle flavors in the cheese or the tomatoes and basil in the sauce.

The same with music, sometimes to hear just an acoustic guitar and conga drums or just a shaker is kind of a rare experience because so much of the music that we listen to is a wall of sound. Think of the difference between Coldplay's "Hurts Like Heaven" and Jason Mraz's "I'm Yours" and you will get the idea.

Sometimes I have gotten down on myself in the past that I am not able to play more instruments at once, not able to produce the big sound that the kit drummer can, but then I remember that regardless of where I am at as a musician, there is nothing wrong with the addition of simple rhythms, they are accessible to more people, and they don't distract from the other instruments in the band. Even before I started playing myself I always loved those small accents, like triangles, shakers and bongos when I heard them in music around me.

When I first started playing percussion, my music leader told me that I was the sprinkles on the cake. I wasn't the frosting or the cake itself, I was something that added a nice touch to what was already good on it's own. This saying comes back to me over and over. I'm there to support others and not to promote myself. It's a hard lesson, but it's worth learning over and over.

Playing My iPhone In Worship Service

The sample pad would not come to life.  I had been asked to play a "electronic toms/909" part on a song.  Using an old-school sample on the electronic pad was going to be the answer but the machine had a problem.  As the rehearsal moved along, I suddenly thought about an app on my phone that might do the trick.  I plugged my earphones into my iPhone 5C and brought up the iKaossilator app from Korg.   It took several minutes of experimenting before I settled on the SynToms2 patch.  The electric 80's tom sounds really fit the bill for the song and I tapped my way through two services that Saturday using my iPhone.  Back at home later that night, I decided that using my iPad would give me a bigger striking target than the phone so the iPad became a part of my set up on Sunday.

The iKaossilator app has lots of sounds and is relatively inexpensive (compared to the self-contained Kaossilator).   If you use this app on the phone or iPad, make sure to turn on both "Airplane Mode" and the "Do Not Disturb" features so that you will not send any text tones or calendar reminder tones over the P.A. system.

Set Up for Dara Maclean Event

Playing percussion when there is no drum set has its challenges.  You "drive the boat" a bunch of the time.  Here's a glance at a recent set up for a concert with Dara Maclean (and friends).  The instrumentation was two acoustic guitars, one electric guitar, string bass, violin, and percussion (ME!).

The cajon was my "go-to" for most of the night but I also used snare drum w/brushes some of the time to hold the groove together.   You can see my trusty metronome was right on the  near corner of the trap table. 

Sleigh Bells Tutorial

Okay--it's December and you know what that means.  Percussionists should not leave home without the sleigh bells.   You just don't know when someone will ask.   Be ready with this the techniques from this short tutorial!

Jingle Shake

The Aluminum Jingle Shake from Meinl can you a tight shaker sound along with a nice hint of tambourine.

Rotate the octagonal tube so that the discs are sounding or take out the tambourine tone by moving the tube so that the jingles are resting (inaudibly) on top.http://meinlpercussion.com

PASIC 2013

The Percussive Arts Society International Convention (PASIC 2013) recently took place in Indianapolis, Indiana.   What an inspiring event--thousands of percussionists, an exhibit hall with amazing gear, concerts, clinics, and a great vibe!

I checked out the new Studio Pro tambourine at the Grover Pro Percussion booth at PASIC 2013. YES!!!  German silver jingles in a wooden shell give this instrument a mighty sound.  I am looking forward to adding the Studio Pro to my tambourine arsenal.

For more info: http://groverpro.com/new-studio-pro-headless-tambourine-now-available

At PASIC 2013, the Interactive Drumming Committee sponsored the Rhythm Lounge.  This late-night drum circle allowed participants to play "lower-volume" percussion in a group improv setting.  I had a fun time hosting the Thursday night Rhythm Lounge.

For information on joining the Percussive Arts Society:
www.pas.org

Creating A Percussion Part (Part 2)

Here's my second installment in response to John Homan's recent email (Sept. 9 post):

Transitions between major sections (chorus, verse, bridge, instrumental breaks), key changes, tempo changes, style changes…

• Will playing during the transition help make the transition more solid and secure or muddy the water?

There may be a variety of timbres available on one instrument that I am considering.

• Which timbre(s) best suit this music?

What about the rhythmic “hits?”

Should I 

• play the hits only    or 

• play time through the hits    or 

• play time and accent the hits    or

• steer clear and avoid cluttering?

Logistics affect decisions

• Can I change instruments and make the transition smoothly?
• Where is the musically logical point to make the instrument change?

Okay…I have to end with a very right brain yet very appropriate question?

• What sounds and feels good to play in this song?

      It just might work.

Marcus and Joni Show / Daystar

It has been great fun this week playing percussion for the program, Marcus & Joni on the Daystar Network.  There is a 10:00 a.m. rehearsal for about an hour and then BOOM--the show goes live!   Joni Lamb and the Daystar Singers and Band sound great.  Here is a shot of me before rehearsal and an overhead view of my percussion set up.

For showtimes go to www.daystar.com

Worship Musician Magazine Sept/Oct 2013

Read my article, "The Rise of the Sticks" on page 50

Creating A Percussion Part

Here's my first installment in response to John Homan's recent email (Sept. 9 post):  

Creating A Percussion Part      

If you find yourself composing a part from scratch, here are some questions that will aid the process.

When I discern the style of the music, I begin to think about the instruments that are common to that style  (while not limiting my thinking to only those instruments). 

• Should I try to use only instruments that are common to that style?
• Is this a situation where I am free to think outside the box? Will I be allowed to try some sounds not usually associated with this particular style?

If there is also a drum set player: 

• Are the patterns coming from the drum set fairly standard patterns for that style or is the drummer trying something original? 
• What instruments on the drum set are being played?  
• What instruments,rhythms, and frequencies will complement the drum set part?
• Where is the drummer playing a fill?  Where is the musically logical place for the percussion part to drop out before the fill? Where do I reenter after the fill?
• Does the drum set ever drop out?  Would this be a good spot to add percussion or enter a bit later to give another element of interest?

If there is no drum set player (just lil’ ol’ me playing percussion):

• Should my patterns be more standard or does the situation call for originality?
• Do I need to play time throughout or are there sections where I can play “color” ...or drop out?
• Are there highs, lows, or mid frequencies that are not being covered by the other instruments of the rhythm section?  Should I try to cover that area?

I am also listening to how the other instruments of the ensemble and the overall arrangement and orchestration.   

• Where are the climaxes?  Are there breakdowns?
• What percussion instruments, rhythms, and frequencies will complement the texture of the ensemble as a whole?
• Are some fills at the ends of phrases being played by an instrument other that the drum set (bass, keyboard)?  Where are my exit and reentry points or do I play through the fill?

• Do I really need to play in every section of the song?
• Am I playing too much?
• Could this song possibly work without percussion?
• Does the music call for “groove percussion” or “coloristic percussion” or both?
• Is my part interesting and enhancing without being distracting?

Stay tuned for Part 2

Song Of Truth (Worship Song)

Here's a lyrics video for a song written by Jonathan Malone and me.  ...just guitar and voice (demo version)

There's no percussion (unless you want to remix).  Enjoy and worship!  God is the ultimate truth.

Drummer Cafe

Bart Elliott has been the driving force of  Drummer Cafe since the late nineties.   Bart and I were both freelance musicians in the Dallas area--until his decision to split the Metroplex and head to Nashville.

Since moving to the land of MY birth (Tennessee), Bart has been pumping out news, reviews, lessons, and other bits of percussive info on his multi-layered home on the internet.   Website does not seem adequate to describe Mr. Elliott's drum-iverse.   

There is also a new TV feature on Drummer Cafe hosted by Bart.  

Head on over and check it out at www.drummercafe.com

 

Carolina Christian Hand Drummers & Percussionists

As a former resident of North Carolina (graduate work at East Carolina University and three years in the NC Visiting Artist program), I am happy to find out about the Carolina Christian Hand Drummers and Percussionists Facebook page!

Check it out at 

https://www.facebook.com/pages/Carolina-Christian-hand-drummers-and-percussionists/143165379095309

What should I play?

John Homan (a faithful Percussion For Worship reader) sent me an email recently that described a rehearsal in which he pondered that big percussionist question--

What should I play?

Check out these excerpts from Mr. Homan's missive:

Hi Mark,

     Tuesday night at music practice we worked on a new song.  We were taking a Don Moen-type praise and worship song and making it really rock. It was starting from scratch. Once the drummer had determined how he was going to handle the skeleton of the beat, I tried to find where I would fit in. It was a very fast song, the drummer was doing a 2-4 rock beat--mainly playing 4 on the floor kick drum, snare on 2 and 4, and a straight high hat beat.

     I tried different things to add to this, but found it kind of problematic. I could add a cutting shaker to support the driving beat, I could add a rock cowbell on the chorus, I could add djembe beats to add more of a tom-tom/tribal sound since the drummer wasn't getting time to add much more to the that side of the mix, or I could just hang back and add a cymbal swell here and there, and find other little sprinkles to add here and there on the hand drums and other similar things.

     I asked the leader if he was looking for something particular from the percussion side and explained to him what options I saw and he agreed that it wasn't simple and I would just have to feel my way around it to see what sounded good. It's nice to have that freedom and that trust and a leader who lets me figure some things out. I'm fine with this and will figure it out.  I know I'm not the only church percussionist out there with these issues.

      What are some good guidelines when you have a song like this? What are some ways to determine when you are doing too much  or when you can almost trade beat for beat with the drummer? I'd like to hear your wisdom on this situation too.

 

John's email brought to my mind some writing that I have done on this topic.   I plan to post some of that writing in the weeks ahead, but let me give others a chance to contribute some opinions on this topic.

 

Comments?

Cajon/Djembe Article #3

Read the last article in my series on Cajon/Djembe in Worship Musician.  Click the link below and go to page 50 to read the article.

http://www.christianmusician.com/magazines/

Gateway Summer Musical

The Gateway summer musical, The Show starts a weekend run this Friday, August 16, 2013.  Performance schedule is available at www.gatewaypeople.com .  Get there early for the preshow, Star Struck--I am playing percussion for this eight minute bit of slapstick / physical comedy.  Check out this backstage photo of my rather intense percussion set up!