< PreviousModern Drummer May 2021 78 Endurance Exercises Balance Your Left and Right Hands! From Master Studies II by Joe Morello T he purpose of this exercise is to strengthen each hand individually in order to achieve a balance between the two. For the right-handed drummer, the left hand is the weaker hand, and vice versa. Play each example starting with your left hand, as shown, and then try the examples with your right. This exercise is great for developing the single-stroke roll.Legends moderndrummer.com/legends Subscribe to Modern Drummer at moderndrummer.com/subscribe Legends INCLUDES CHAD’S FIVE MODERN DRUMMER COVER STORIES RED HOT CHILI PEPPERS’ CHAD SMITH Collection ON SALE NOW! • Third installment in the Modern Drummer Legends series • Includes Chad’s iconic 1993, 1994,1995, 1997, 1999, 2005, 2006, 2010, 2011, and 2020 Modern Drummer cover stories and feature pieces • Transcriptions of classic Red Hot Chili Peppers tracks, beats, and fills • A deep-dive style and analysis of Chad’s greatest drum tracks • An exclusive, brand-new 2021 interview Available in print and digital Modern Drummer May 2021 80 Endurance Exercises continued The purpose of this exercise is to strengthen each hand individually in order to achieve a balance between the two. For the right-hand- ed drummer, the left hand is the weaker hand, and vice versa. Play each example starting with your left hand, as shown, and then try the examples with your right. This exercise is great for developing the single-stroke roll. (Want more Morello wisdom? Buy Master Studies II here: moderndrummer.com/masterstudiesII)THE ANALG SOUNDIN A DIGITAL WRLD NASHVILLE SESSION DRUMMER NIR Z PLAYS SONOR VINTAGE SERIES DRUMS SCAN FOR MORE sonor.comModern Drummer May 2021 82 DIGITAL DOWNLOAD CODE INSIDE Realistic Reggae Rock, Part II Awesome Drum Fill Ideas for Irie Playing By Carmine Appice I n the April issue, we kicked off your journey through Carmine Appice’s Realistic Reggae Rock [Mod- ern Drummer Publications] with a session on hi-hat patterns. This month, Carmine unveils some cool and authentic reggae fills. 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HH SD BD 4 Œ ‰‰ j z 3 j 5 5 j 5 5 j 5 5 ‰ j 5 5 j 5 5 j 5 5 œ j 5 5 j 5 5 œ 5 333 3 Cr.Modern Drummer May 2021 84 . . . zz . zz . zz . zz œœœœ 5 Œ HH SD BD 1. . zz . zz . zzz ≈ 55 3 RR œœœœ 5 Œ . . ∑ œœœœ 5 > 55555 > 5555 > 55 3 333 LRL Œ ‰ j z œœœœ 55 > 55555 > 55 j 5 55 > 3 33 Cr. . . . . . zz . zz . zz . zz œœœœ 5 Œ HH SD BD 2. 4 œœœœ 555 ‰ œ 5 œ 5 j 5 5 œœœ 3 33 L TT œœœœ ‰ 555 5 555 ‰ 55 333 . . . . zzzzzzzz œœœœ 5 Œ HH SD BD 2a. 4 œœœœ 555 ‰ 55 j 5 5 œœœ 33 3 œœœœ ‰ 555 55 555 ‰ 55 333 . . . . zzzzzzzz œœœœ 5 Œ HH SD BD 3. 4 TT œœœ ŒŒ œœœ œœœœ Œ‰ 5555 Œ‰ . r z œœœœ ‰ 555555 ‰ . r 5 Cr. Realistic Reggae Rock, Part II continued In the April issue, we kicked off your journey through Carmine Appice’s Realistic Reggae Rock [Modern Drummer Publications] with a session on hi-hat patterns. This month, Carmine unveils some cool and authentic reggae fills. Dig in! (Like this lesson? Buy the book here: moderndrummer.com/ca-reggae)Modern Drummer May 2021 86 Developing Speed Naturally By Roy Burns, February 1984 A lmost all young drummers attempt to see how fast they can play at some point. This is a natural stage of development. It is sort of like flexing your muscles just to see how strong you are. Technique is needed to play any instrument well, but technique means more than just speed. It also means control, touch, accuracy, and consistency. In addition, it includes producing a musical sound from the instrument. Such factors as coordination, endurance, and power should also be considered a part of technique. To me, technique means skill. To play the drumset well in contemporary music does require good technique. The problem is not really with learning technique or attempting to learn to play faster. The problem is with the side effects of ineffective practice methods. Here are some tips on developing speed naturally. Practice with the Sticks You Normally Play With Avoid metal sticks or sticks that are much larger than those you normally use. If warming up with a heavier pair feels good to you, do so, but avoid extremes. A few minutes with a slightly heavier pair than normal is fine. Then, practice with your regular sticks. It’s Difficult to Develop Good Technique if the Stick is Too Light A 7A is a very small stick for practicing. A good 5A stick seems to be the lightest weight for effective practicing. Again, just avoid extremes. If you are playing in a trio and using 7As every night, spend a few minutes each day with a pair of 5As just to keep loose. Avoid Tension When Practicing This is sometimes easier said than done. We all want to do well, and sometimes we try too hard. The result is tense, over-tightened muscles. When this happens, endurance, speed, sound, and control are sacrificed to some degree. Play the practice patterns at about 80 percent of your top speed—fast enough to work out, while avoiding straining or tensing up. Play more repetitions of each pattern or exercise. In this way, you begin to develop the ability to stay moderately relaxed while playing fast. If you continually tighten up in an effort to play faster, you are simply practicing tightening up. This amounts to learning a bad habit. By playing 20-percent slower, you develop the habit of playing in a relaxed manner with a musical sound and in tempo. Practice a Variety of Sticking and Accent Patterns Reverse patterns or change the accents whenever you feel limited or bored. Play as many different kinds of patterns as possible. Practice with One Hand at a Time Play around your drumset with just the left hand, and then with just the right hand. Practice reaching for each part of the set with each hand. This will provide a real workout for you— especially with the left arm. Practice at a Variety of Dynamic Levels The ability to play quickly and softly is important in developing a “touch” on the instrument. It helps to develop sensitivity and control. Practice with a Metronome Especially when practicing for speed, a metronome will keep you honest. It will make you aware of when you try too hard and rush the tempo. The metronome can also be a great aid for learning to play in time at slow tempos. Be Aware of the Sound You Are Creating When you tighten up, you change the sound. As you increase the speed of an exercise, make certain that the sound changes as little as possible. If the sound changes only slightly as the exercise is played faster, then you are not tightening up. If the sound changes drastically, check the muscles in your forearms, hands, and upper arms to see if you are becoming tense. If so, slow down a little and relax. Play a little easier until being relaxed physically becomes a habit. Use Your Feet Even when practicing on a practice pad, tap one or both feet to keep the tempo secure. This also helps to develop coordination. When practicing on the drumset, devote some time each day to developing your feet. Play patterns with just the feet so you can concentrate on the sound, as well as how your muscles feel. Make sure that your pedals are well oiled and in good working condition. Buy a practice pad set for your feet if you are limited by an apartment or sensitive neighbors. Try Standing Up If your shoulders and/or arms become tense while practicing, a practice pad on a stand that reaches the height of your belt buckle is perfect. Adjust the pad up or down until you are comfortable. Practice standing up at the pad. This allows the arms and shoulders to move more freely than when you are seated at the drumset. Again, avoid extremes. A few minutes each day when warming up should be sufficient. A Last Thought Everything we think, feel, and understand (or don’t understand) is projected to others in the way we sound when we play. If you are tense, stiff, or uptight because of ineffective practice methods, others will hear it. Always practice in a relaxed way, listen to each sound, be patient, and you will develop speed, control, and technique naturally. M O D E R N D R U M M E R M A G A Z I N E • • Of Excellence THE WORLD’S #1 DRUMMING RESOURCE Next >