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music and nostalgia, part two: old-school drumming
As I've been practicing and slowly watching some of my snare drum chops return, I have been checking out various videos on You Tube, and I've noticed that I am forming some strong biases about what I'm seeing and hearing.
1. While I appreciate the technical chops (and physical strength!) required to play on high-tension kevlar heads, I find that I personally prefer the lower tension (and gentler rebound) of non-kevlar heads. Yes, the older drums are tuned lower, but that does not detract from their sound. I think that a properly tuned drum with properly-adjusted snares can sound great. Also, the newer high-tension drums are, by all reports so far, murder on the hands and wrists.
2. I find that the modern drum arrangements don't seem to offer as much time for drummers to play rudimentally (in the traditional sense of the word) -- they serve as more of an accompaniment to what's happening in the winds, and there seems to be more of an emphasis on color and tone rather than on rudimental precision. Even in the best drumlines I can hear lots of dirty passages in the snare sections, particularly where there are flam and drag rudiments. (For the uninitiated, flams and drags are sort of like grace-notes for the snare drummer.) And I have to say I don't hear many drags at all nowadays.
On the downside, this certainly changes the relationship of the drummer to his/her rudiments (and perhaps changes the way drummers learn them in the first place). On the upside, today's drum parts seem much more integrated with the musical big picture, and that certainly doesn't hurt the art form as it has evolved.
3. I notice that today's marching drummers are asked to cover a LOT more ground in terms of the drill design. So they have to be super-fit. The change in drill-writing for the battery may be one practical reason that some of the musical writing now emphasizes the rudiments a little less; executing some of the traditional rudiments would be crazy-hard when you're marching a crab-walk at quarter-note-equals-160!
4. Today's newest marching drum carriers are more intelligently designed, both from an ergonomic standpoint AND from a unisex standpoint. I remember the first generation of fiberglass drum harnesses, which put all but the most flat-chested girl at a painful disadvantage. And I also note that much more attention is paid to physical conditioning of corps members now -- they run, do calisthenics and even use yoga, stuff that drummers almost never did when I marched.
I still imagine that I might find a group to play with, though I'm not sure what that might look like. It might be fun to place an ad for "old school marching drummers seeking ensemble opportunities" or something like that. I dunno. Anyway, it's certainly been an educational trip so far. And I love that my diddles are coming back!
1. While I appreciate the technical chops (and physical strength!) required to play on high-tension kevlar heads, I find that I personally prefer the lower tension (and gentler rebound) of non-kevlar heads. Yes, the older drums are tuned lower, but that does not detract from their sound. I think that a properly tuned drum with properly-adjusted snares can sound great. Also, the newer high-tension drums are, by all reports so far, murder on the hands and wrists.
2. I find that the modern drum arrangements don't seem to offer as much time for drummers to play rudimentally (in the traditional sense of the word) -- they serve as more of an accompaniment to what's happening in the winds, and there seems to be more of an emphasis on color and tone rather than on rudimental precision. Even in the best drumlines I can hear lots of dirty passages in the snare sections, particularly where there are flam and drag rudiments. (For the uninitiated, flams and drags are sort of like grace-notes for the snare drummer.) And I have to say I don't hear many drags at all nowadays.
On the downside, this certainly changes the relationship of the drummer to his/her rudiments (and perhaps changes the way drummers learn them in the first place). On the upside, today's drum parts seem much more integrated with the musical big picture, and that certainly doesn't hurt the art form as it has evolved.
3. I notice that today's marching drummers are asked to cover a LOT more ground in terms of the drill design. So they have to be super-fit. The change in drill-writing for the battery may be one practical reason that some of the musical writing now emphasizes the rudiments a little less; executing some of the traditional rudiments would be crazy-hard when you're marching a crab-walk at quarter-note-equals-160!
4. Today's newest marching drum carriers are more intelligently designed, both from an ergonomic standpoint AND from a unisex standpoint. I remember the first generation of fiberglass drum harnesses, which put all but the most flat-chested girl at a painful disadvantage. And I also note that much more attention is paid to physical conditioning of corps members now -- they run, do calisthenics and even use yoga, stuff that drummers almost never did when I marched.
I still imagine that I might find a group to play with, though I'm not sure what that might look like. It might be fun to place an ad for "old school marching drummers seeking ensemble opportunities" or something like that. I dunno. Anyway, it's certainly been an educational trip so far. And I love that my diddles are coming back!
(Anonymous)
Kevlar heads and ...
Look at a few DCA alumni corps that still use the older drums (non kevlar heads) and you will see more rudimental playing with drags and all and less hybrid rudiments. Baltimore Yankee-Rebels is one such Corps.
As for newer carriers and all. The improvements are great but I would like to see some of the drumline instructors think more on the ergonomics of the equipment in relation to the players. Traditional grip was and is designed for the sling style of drum due to the angle. With drums being level with the ground the traditional grip is causing more drummers to develop Carpel Tunnel Syndrome or Tendinitis. They should all be using Matched grip for such playing style.
When you see the left arm tucked tight to the body and the right arm extended away to play in traditional fashion the visual says you are out of balance.
Drumming on the field has lost it's thundering presence it once had of years ago. I, personally, don't feel excited from hearing a field show like I used to. Drums are weak, no low booming bottom to the music like it used to be.
These are my views and may not be those of others. Thank you for writing about this.
Kenneth 'Ray' Sword
www.badassdrumming.com
Percussionist of Spires Brass Band
Re: Kevlar heads and ...
In case you were late to the story, I returned to snare drumming after a 12-year break (caused by an accident). Re-learning my rudiments (to the extent that my permanently-altered hand can deal) has been interesting and fun. I appreciate your comments and perspective. Thanks for writing.
(Anonymous)
well done