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The exercis- es become increasingly difficult as you work your way through. A slower tempo at the onset is recommended. Speed will come gradually with regular practice. Do the exercises using both the heel up and heel down bass-drum pedal technique. The accents are optional. Building Bass Drum Technique was written for single bass-drum players who wish to attain a greater level of bass-drum foot strength, speed, endurance, and control, as development of the foot on a single bass drum can present quite a differ- ent challenge from double bass drums or double pedals. September 2021 Modern Drummer 81Modern Drummer September 2021 82 16th-Note-Triplet Hand and Foot Patterns continued from the previous pageSeptember 2021 Modern Drummer 83Modern Drummer September 2021 84 TIMELESS TUTORIAL The Drummer as Entertainer By Bruce Matheson, June 1996 I t doesn’t seem fair. The band is having a hot night. The singer is wailing, guitars are screaming, keyboards are thumping, and you and the bass player are locked in tight. Everything is falling into the pocket. But you look around the club and notice that everyone’s attention is focused on the guys out front, and nobody is giving you a second glance. It’s not that you’re doing anything wrong. In fact, you’re having a great night. You’re just not catching anyone’s attention. This scenario, while a bit extreme, doesn’t have to be the case. With some practice, polish, and showbiz flair, you can transform yourself from “just the drummer” into a center-stage entertainer in your own right. I’d like to share a few ideas that have worked for me on my club gigs that might help you, too. Getting Noticed This is show business, right? And, let’s face it, as a drummer, you’re one of the most visually exciting people on stage. Or are you? There’s nothing wrong with sitting back and doing your thing, but nothing is more boring than watching a guy just sit there with no expression. Are you enjoying yourself? Are you into it? Then, show it! Smile. Look like there’s no place on earth you’d rather be than on that stage—even if sometimes that’s not entirely true. Happiness is contagious. If the audience thinks you’re having a good time, chances are they will, too. Unlike most instruments, drums involve the whole body. Dramatizing certain movements, while not making much of a difference in what you’re playing, can make all the difference in the world to the people watching you. Try exaggerating your arm movements on cymbal crashes, tom hits, or anything you want the audience to notice. The old Vaudevillians taught us to play to the last seat in the house, so don’t hesitate to ham it up if the opportunity arises. Here’s an example... There’s a section in one of my band’s songs in which the drums drop out. I used to just sit there playing quarter notes on the hi-hat, but, one night, I decided to try something different. I ran out from behind the kit, danced to the rest of the band, then ran back when the drum part had to kick in again. People loved it so much, we made it a regular feature of the song. In fact, the challenge has become staying out on the dance floor as long as I can, and then making it back to my kit without missing a beat. This much “show” might not be for every drummer or every situation. But if you use your imagination, and keep in mind that you are in show business, you’ll come up with ways to grab the audience’s attention. For inspiration, watch some of the master showmen. Drummers like Tommy Lee, Lars Ulrich, and Myron Grombacher are not only excellent players, they also know how to put on a show. Even Japanese Taiko drummers, drum corps players, and Afro-Cuban rhythm sections can spark some great ideas that may be right for you. Also consider aspects of your personality or your drum set that make you unique. Something as simple as having a trademark piece of clothing, a stuffed toy on your kit, or a unique setup or kit design can get you noticed. Do you do any special tricks? Stick twirling has always been a favorite, and with a little practice it can be incorporated into your performance while playing time, or during breaks and fills. A drummer I know developed a technique where he plays double bass licks with two feet on a single bass pedal. In other words, if there’s anything you can do that will distinguish you from the next guy, make use of it. Singing While there are some very gifted singing drummers around today, they’re in the minority. Many drummers take the view, “I’m a player, not a Carl Palmer’s “two gongs are better than one” presentation. Mike Portnoy once played a game of “Drum Name that Tune” on a Hello Kitty kit. September 2021 Modern Drummer 85 M O D E R N D R U M M E R M A G A Z I N E • • YEARS Of Excellence 4545 THE WORLD’S #1 DRUMMING RESOURCETHE WORLD’S #1 DRUMMING RESOURCE singer.” But there are some solid reasons to at least try vocalizing. As a drummer, you’re already used to doing some fairly intricate things with all four limbs. Try taking coordination to the next level by incorporating your voice. Gary Chester’s book, The New Breed, which teaches you to vocalize rhythms while playing patterns with all four limbs, is not only great for improving your drumming, it will also help you think of singing as an extension of your playing. Compared to some of Chester’s drills, you’ll find that singing and playing is a snap. Actually, singing in front of people is where many beginners start to squirm. “Nobody will like my voice,” they say. Or, “I don’t know how to sing.” But think positive. First of all, you don’t have to start off singing up front and solo. Unless your band plays all instrumentals, chances are their vocals could use harmony. Next time you rehearse let the other players know you’re interested in helping out. You’ll be sur- prised how supportive they will be. An extra voice, especially in a small band situation, can make the difference for full- sounding vocals. Remember that singing, like playing, is a skill that can be developed. Don’t get discouraged if things don’t sound exactly right the first time. Remember the first time you tried a paradiddle? It probably wasn’t as easy as it is now. But you got better at it because you applied yourself and practiced. Singing is much the same. And like any new skill, once you’ve got it under your belt, you become that much more valuable as a musician. Sometimes the key to getting your dream gig is to do something the other guy can’t do. Any skill you learn can be a key somewhere later in your career, and the ability to sing can be a major one. Remember, singing drummers like Phil Collins, Levon Helm, and Don Henley all started at the beginning, too. Pushing The Parameters The advent of electronic percussion has been a boon to the creative drummer. Providing access to any sound imaginable, electronics not only allow you to augment your band’s tonal spectrum, they’re a great way to pique the audience’s curiosity and dazzle them with sounds they’d never expect from “just a drummer.” I play in a three-piece classic- rock cover band consisting of guitar, bass, and drums. I use a drumKAT primarily for percussion and sound effects, but also for keyboard parts and occasional solo lines. In effect, I cover the part of another musician right from my kit. Delivering the unexpected, I’ve found, earns you a VIP pass to center stage. This theory was proven again when I volunteered to play harmonica in a song my band wanted to cover. While I’m no Sonny Boy Williamson, I’d messed around with the harmonica before, and I already knew how to play a few basic licks. The trick was to coordinate it with my drumming. But since the song is slow and fairly straightforward, I was able to cover the snare and hi-hat parts with my right hand, and use my left hand to hold and play the harmonica. With a little bit of practice, I got it to work, and I even manage to sing lead on the tune. Now, people ask to hear this song every time we play—simply to “see the drummer who sings and plays harmonica at the same time.” Do you have any skills or other talents that could be incorporated into your drumming? It may not even be “musical” per se, but it could be something that will distance you from the pack. Always remember, however, that drumming is your first and foremost responsibility. You may be able to juggle, do ventriloquism, and recite Shakespeare while playing, but if the time falters, you won’t be on the gig for too long. But if you’re able to play solidly and with feeling—and do a little entertaining, as well—you’ll never lack your audience’s full attention again. How far is too far?— Tommy Lee on his incredible, crazy, and architecturally insane drum roller coaster. Myron Grombacher’s circular cage of drum madness with ‘80s-era Pat Benatar.Next >