just how do you decide whether you are going to do a job when there's no money to be had. In short, WIIFMAMB (What's is in it for me and my band)

A few weeks later, as I practiced, I was intrigued with not only how smooth my stroke had become, but also how much speed I'd achieved in a relatively short time. And the key component to this admirable accomplishment? I didn't pay attention.

4-Way Independence Rules
Our limbs typically cannot act independently, and so we must train them to co-ordinate their actions as a team. We call it independence, but what we're really talking about is “co-ordinated interdependence”... the limbs are co-operating and not acting independently. 

My Top Dozen (or so) Drum Set Exercises

Recognition vs. Recall
The goal is not to memorize the entire tune and arrangement. We just need to be able to identify and recognize the various sections as they come along. As long as we can follow the tune, the rest is just a case of getting organized. I like to develop a good understanding of the 'landscape' and leave the details until later. If I were to focus on the drum breaks, for example, I’d miss a lot of important information.

One thing that I always admired about Buddy Rich was the way he set up figures. He had a way of announcing and drawing attention to horn lines that was absolutely beautiful.

We’ve all at one time or another been advised to "just listen” and we would be told the answer to whatever it is that’s is confusing us..

Micro Practice
We do ‘micro practice’ all the time. We work on a single thing: single strokes, double strokes, lines from Stick Control and the like. Why? Because it works. Reducing our focus to a single item reaps big rewards. When learning a new figure, I will often take a 2-beat or even a 1-beat section and work on it exclusively. Then, when I tackle the whole thing, I’ve got a good handle on each part.

It's always a good time to work on bass drum doubles. I find the first page helps with the timing and execution.

I thought I’d take some basic rock beats and render them in 5/4. I’m having fun with the result.

Editor’s Note: Richard Best sent me this thing he’s been working on for his students. He’s calling it variations on the classic 3+3+3+3+2+2 rhythm. There are two rudiments within these patterns.

So, I have an invention. I wanted to get a prototype made from my sketches and got a quote of $250 to have a one 3D printed. I thought that was pretty good and I was all set to commission the work. Then I got talking to a friend who is a designer and mentioned the prototype and the cost. He said he’d just bought a 3D printer for $300. Well that was enough to send me off in a totally different direction.

I have a habit of ranting against the rudiments. Of course I'm referring to the classic rudiments of military origin. The point I usually try to press home is that many of the ‘standard’ rudiments are rather hard to apply to the drum set and others rarely fit modern music.

I'm a stickler for clean technique and a clean sound. I like to hear every stroke, every tap, every nuance, so I spend a lot of time on articulation to enhance my control and to refine my sound. And then someone like Stanton Moore comes along and raves about something he calls “the slop”. You can hear it in his playing, especially in his second line shuffle, where the strokes seem to just slosh around joyously. And boy does it cook!

…double-headed drums have regained their spot at the top of the food chain. But with more membranes comes more responsibly. Tuning a two-headed drum means tuning two heads and getting them to play nicely together.

When I was at music school, we had a coven of enthusiastic drummers, and almost every week one of our members would see some note-worthy drummer at a club and dutifully report the next day that the player had '4-way independence. But there's a problem with that assessment.

* I heard a better one at a big band practice. The leader called out one of the trumpet players and said, “You're time's sort of all shot to hell”.

Wouldn't it be great if we could take a ‘speed listening’ course, one that would teach us to hear 'faster'? That way we’d be able to catch just about any turn in the road and respond immediately.

Cymbals have an interesting history that dates back more than 3000 years. And it all begins with a chunk of yellow metal. Cymbals are made from alloy -- a blend of two (or more) metals. The alloy we’re all familiar with is what is traditionally called bell bronze, but there are other alloys to consider. So here is a quick guide to cymbal raw materials.

I posted an article some time ago on how to play quietly but there is another side to the equation. So let’s have a look at HOW TO PLAY LOUD.

I'm listening to a friend's playing on an instructional CD. This guy is a great player, and his tracks here are very impressive. I absolutely love what he's doing. So I'm envious -- no surprise there. And I'm also feeling a bit guilty. Guilty? Now why would that be?

The Milestone shells -- each one lovingly hand formed by Clapham and Co. -- were made from a range of 'formulas', each one selected for tone and resonance. Type 2 and 4 made for great bass drums. Toms were available in formula 3 and formula 6. Snares came in formulas 5 and 8. To my ears, there are subtle but discernible differences between the formulas.

Watch any drummer in any situation -- especially during a drum solo -- and you'll probably see a rather ordinary figure. And you'll see it a lot. That's because the sticking is simple, versatile, easily executed, and very effective … and it‘s a lot of fun to play. It's this one: RLL (or LRR if you prefer).

If you'd like to get an interesting discussion going with a group of drummers, ask them how often they clean their cymbals. You're bound to get a plethora of opinions, and possibly a few dirty looks

In case you get bored after opening all your gifts. These were inspired by Pancho Branas.

“After the rock heyday of the ‘60s, internal tone controls began to fade away and are now rather hard to find. (A lot of the vintage drums I’ve seen have had them removed -- and too often lost. Contending with ring is always an issue for many drummers, so let's examine the field of available 'damping'* options.”

There are some interesting aspects to entrainment. For example, if you set a few metronomes at different tempos and then put them on a surface that can move a bit, the metronomes will entrain to one tempo regardless of the tempo setting (don't know if anyone's tried this with parrots).