I was rehearsing for my first gig, which was going to be in the mountains at a Four-Square church. Consequently, the band was going to be called "Cool Frankie & The Four Squares." We were in this little church and the bass player, also the Pastor of this church, turned around and said that I needed to "play with more dynamics." At the time, I was 17 or 18, and I said, "What are dynamics!?"
You might be asking the same thing and to be fair, sometimes that word is thrown out, but the meaning is different. For the most part, dynamics refer to playing with a curve between loud playing and soft playing. Energy never has to be sacrificed and sometimes volume isn't even the issue. This is where I get the concept for "self-editing."
Let's say for example that you break up any given tune into parts, which I have talked about before. The "A" section is a verse, the "B" section is a chorus and the "C" section is a bridge. Between these sections, there are musical interludes, usually 4 to 8 bars and most times, just a repeat of the introduction. Now, during the introduction, or musical interlude, open up the hi-hat, crash on the cymbals more frequently and throw a tom into the mix. When the "A" section starts, close the hi-hat, and minimize to snare and kick. During that "A" section, just keep it solid. Don't feel that you have to crash or add anything spectacular at all. Perhaps you will play at the same volume level, but what has happened is that you have created contrast, which is a way to express "dynamic."
When those instrumental sections and bridges come up, open things up a bit more. This is the easiest way to begin playing dynamically.
Another way to approach being a dynamic player is by choosing other sticks for different parts of the list. Almost every list I play, I tend to "spread the wealth" a little bit. For the first two tunes, generally fast tunes, I use my sticks. For the more contemplative tunes, I will tend to use Pro-Mark Hot Rods or Lightning Rods. I have found that using brushes in the conventional, jazz sweep way, has been ineffective for lack of volume. But they are great when played like a stick. When I incorporate all of these sounds in a given list, I give the impression that I am a much more dynamic player than I actuall am, and that makes all the difference.
Of course, I would be remiss if I did not say that you should learn to play quietly without losing the groove or energy of the tune. That is, of course, essential. Practicing that skill is key as well. I would put that before trying to be fast, as in church music, playing quietly is at a higher premium.
Hope This Helps.
Blessings,
Frank
You might be asking the same thing and to be fair, sometimes that word is thrown out, but the meaning is different. For the most part, dynamics refer to playing with a curve between loud playing and soft playing. Energy never has to be sacrificed and sometimes volume isn't even the issue. This is where I get the concept for "self-editing."
Let's say for example that you break up any given tune into parts, which I have talked about before. The "A" section is a verse, the "B" section is a chorus and the "C" section is a bridge. Between these sections, there are musical interludes, usually 4 to 8 bars and most times, just a repeat of the introduction. Now, during the introduction, or musical interlude, open up the hi-hat, crash on the cymbals more frequently and throw a tom into the mix. When the "A" section starts, close the hi-hat, and minimize to snare and kick. During that "A" section, just keep it solid. Don't feel that you have to crash or add anything spectacular at all. Perhaps you will play at the same volume level, but what has happened is that you have created contrast, which is a way to express "dynamic."
When those instrumental sections and bridges come up, open things up a bit more. This is the easiest way to begin playing dynamically.
Another way to approach being a dynamic player is by choosing other sticks for different parts of the list. Almost every list I play, I tend to "spread the wealth" a little bit. For the first two tunes, generally fast tunes, I use my sticks. For the more contemplative tunes, I will tend to use Pro-Mark Hot Rods or Lightning Rods. I have found that using brushes in the conventional, jazz sweep way, has been ineffective for lack of volume. But they are great when played like a stick. When I incorporate all of these sounds in a given list, I give the impression that I am a much more dynamic player than I actuall am, and that makes all the difference.
Of course, I would be remiss if I did not say that you should learn to play quietly without losing the groove or energy of the tune. That is, of course, essential. Practicing that skill is key as well. I would put that before trying to be fast, as in church music, playing quietly is at a higher premium.
Hope This Helps.
Blessings,
Frank
