I have remarked in other entries about how thorough I am when it comes to preparation for any given worship session. I thoroughly, when given the information, think through the "list" and ready myself to play it. I would imagine a similar process happens for a "show" drummer, where every detail is sketched out and performed routinely, accurately and without any deviation. Worship is a very different "musical animal."
This is not to say that you should not prepare. But it IS to say that you should also prepare yourself for unplanned, unexpected changes in any given set list.
There are things as worship drummers that are just not in our field of thought on any given Sunday, Wednesday, etc. When I stepped out from behind the drums and began to connect myself to a guitar, I was forced to see the affects of my lists. In the practice prior to the session, the songs would often work out great, but it was the little things that I noticed when people got into the room that often made me reconsider the way we presented our songs.
For example, I remember many times when I started tunes too slowly and needed to change the tempo mid-tune. Other times, I recognized that some songs seemed too heavy handed for where the worship was going, so I asked my drummers to play a tune or two with brushes, to soften the list. Many times, especially in the more intimate night services, I asked the drummer to not play for a few tunes, just because I could see the faces of the worshippers, and how engaged they were in what was happening and I did not want that to be broken for them.
Now, I never heard either Richard or Isy ever complain about not getting to play certain things, but I remember back when I was younger, often feeling frustrated when I did'nt get to play the whole list! Now, I see that I could have been more sensitive to what the Spirit was doing on those nights. I could have trusted my leaders and let them lead what they were seeing more clearly than I could.
"A man's heart plans his way, but the Lord directs his steps." Proverbs 16:9
"We can make our plans, but the Lord determines our steps." NLT
Be sensitive to the situation. Tune yourself into the mood of the room. Sacred moments are happening right in front of you. Ask the Lord to teach you to play appropriately for Him.
Hope this helps.
Blessings,
Frank
9.14.2006
9.13.2006
"Anchoring"
One concept that I feel has tremendously helped my groove has been what I call "anchoring." An anchor keeps the ship in a stationary position, and until that anchor is brought up, that ship is not moving. Relating to time and groove, I have found one note to be most potent in this regard.
It is the offbeat 8th note, the "an" of any note. Somehow, when I get this happening, the time and groove seem to be so interelated and effortless that the music becomes a joy. Now, how I manifest it is simply either one of two ways. I can either accent that note on the hi-hats with my right hand or I can play that note with my foot on the hi-hat. Somehow, in my mind, just hearing that note accented, MAKES me play to that. All of a sudden other notes start coming from my left hand, ghost strokes that fill out the rest of the rhythmic spectrum, and it happens quite naturally.
How do you develop this? It takes work and mental energy. Start slow, but play an 8th note groove on the ride cymbal. Get that going for 4 bars. Then at the 5th bar, get quarter notes happening on the hi-hat with your left foot. You should have a duplication of 8th notes. Now, simply begin to remove the quarter notes. This will take some time to get used to, but when you hear it, I think something will begin to click.
Another way to approach this is to play a brush groove on your snare drum, 1 & 3 on the kick. Instead of accenting the 2 & 4 on your hi-hat, accent the offbeat 8ths. See what happens.
Now, as with anything, learning to intuitively make this musical is an art. IT IS NOT APPROPRIATE FOR EVERY SONG. That said, you might be able to employ it in many songs, at certain points in the song, perhaps a chorus or a bridge. What it will do is help your groove develop in new ways and your time will feel more steady.
For a master study on this concept, check out Bernard Purdie's work on the Steely Dan album "The Royal Scam." Rick Marotta is also credited on the album at http://www.steelydan.com/citizentracks.html, but if I was a betting man (I'm not!) I would say that the tracks that best represent what I am talking about were played by "Pretty" Purdie. For this concept, check out "Kid Charlemagne," "The Fez," and "Green Earrings."
Hope this helps.
Blessings,
Frank
It is the offbeat 8th note, the "an" of any note. Somehow, when I get this happening, the time and groove seem to be so interelated and effortless that the music becomes a joy. Now, how I manifest it is simply either one of two ways. I can either accent that note on the hi-hats with my right hand or I can play that note with my foot on the hi-hat. Somehow, in my mind, just hearing that note accented, MAKES me play to that. All of a sudden other notes start coming from my left hand, ghost strokes that fill out the rest of the rhythmic spectrum, and it happens quite naturally.
How do you develop this? It takes work and mental energy. Start slow, but play an 8th note groove on the ride cymbal. Get that going for 4 bars. Then at the 5th bar, get quarter notes happening on the hi-hat with your left foot. You should have a duplication of 8th notes. Now, simply begin to remove the quarter notes. This will take some time to get used to, but when you hear it, I think something will begin to click.
Another way to approach this is to play a brush groove on your snare drum, 1 & 3 on the kick. Instead of accenting the 2 & 4 on your hi-hat, accent the offbeat 8ths. See what happens.
Now, as with anything, learning to intuitively make this musical is an art. IT IS NOT APPROPRIATE FOR EVERY SONG. That said, you might be able to employ it in many songs, at certain points in the song, perhaps a chorus or a bridge. What it will do is help your groove develop in new ways and your time will feel more steady.
For a master study on this concept, check out Bernard Purdie's work on the Steely Dan album "The Royal Scam." Rick Marotta is also credited on the album at http://www.steelydan.com/citizentracks.html, but if I was a betting man (I'm not!) I would say that the tracks that best represent what I am talking about were played by "Pretty" Purdie. For this concept, check out "Kid Charlemagne," "The Fez," and "Green Earrings."
Hope this helps.
Blessings,
Frank
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