Jazz Drumming 101 2010 Florida Music Educators Association All State Conference/Clinic Steve Salo steve.salo@browardschools.comSelecting Cymbals Selecting cymbals for any musical ensemble is important and should be done seriously. In music many things such as style, tone, and interpretation are subjective and choosing the right cymbal sound is not different. It is possible that $0. off-brand yard sale cymbals may be great for an effect or certain sound. But purchasing high quality cymbals will result in more satisfaction in the long run. When playing a drum set the cymbals account for more than 80% of the sound of the kit. You can make cheap drums sound good but your cymbals cannot be adjusted. What is, is Selecting a brand can be somewhat confusing. The top cymbal makers are Sabian, Zildjian and Paiste. There are others, but the aforementioned are the front-runners. What are the differences? As far as professional quality....none. Zildjian (or originally named Avedis Zildjian) is a company whose family has produced quality cymbals for centuries, first in Turkey and now in the US. Sabian is a company started by Robert Zildjian and based in Canada. Many people are not aware of this. ‘The other cymbal producer, Paiste, is based in Switzerland. What is the difference? And what is this secret formula that is advertised? Let’s start with the materials. Cymbals are made of a bronze alloy consisting of copper, silver and tin. High quality cymbals are generally produced with a B20 alloy. This refers to the percentage of its components. This is no secret. So metal-wise most all are the same. The difference is in how the metal is tempered. ‘The secret formula is in the tempering and that is the element that separates the companies. Sabian and Zildjian use a tempering process that éives the cymbals a more individual sound and strength. Paiste cymbals do not use the same process. They have more consistency in their sound between their products. In other words, ten Paiste medium rides will sound very similar to each other. Sabian é Zildjian take pride in the fact that, even though they are similar in characteristics, each cymbal is still ‘unique. ‘The band director has an easier choice picking wind instruments than. cymbals. A brass instrument may have options of three bore sizes, small, medium and large (with some variations of each). Selecting cymbals can result in hundreds of choices such as diameter, weight, shape, etc. So how does one choose? With thought and research. Determine your musical needs or performance requirements and go from there. A good place to start is with cymbals that are versatile and middle-of-the-road. These will work in a variety of situations and then you can branch out from there.Before we discuss choosing a cymbal, there are four finishes available: * Machine hammered... Cymbals that have been hammered, lathed and with a normal buf. * Hand hammered... As implied, hand hammered is treated on an anvil with special hammers. These cymbals tend to be ‘warmer/darker than machine hammered. * Brilliant.... These are buffed to a brilliant finish that softens the tonal grooves and produces fewer overtones, + “Raw”... This is not an official name, but they are cymbals that look unfinished. They have not been lathed or buffed. They have a very definite pitch (or ‘ping’) and lack a sustained quality. The basic setup. Ride cymbals - the ride cymbal along with the high hat is one of the most, important cymbals in the kit. The best middle of the road ride cymbal is the 20” medium ride. This will suffice in combo and big band situations. Ride cymbals are generally 20”-22” even though some drummers have ‘used smaller or larger. Ifyou are looking for a more definite “ping” or stick definition consider a heavier cymbal and/or cymbal with a larger bow. Or one of the “raw type” finishes. If you are looking for a cymbal that does not build up in volume, choose a smaller bell, smaller bow or possibly a flat ride (cymbal with no bell). Listen to the overtones or partials when selecting a ride cymbal. ‘They should blend. I studied with a teacher that actually looked for a “hum tone” or overtones in flat keys. He believed that they would blend with the band, which played in flat keys. To reduce ringing or overtones apply strips of tape on the underside. High hats (also known as sock cymbals) usually range from 13"-15" with 14” being the most common. The high hat has a two-fold purpose. The first is to supply the “chick” sound on 2 & 4. This is sometimes critical to the band who is usually taught to listen for that 2 & 4 to keep time. The sound should be crisp and be able to cut through the ensemble. The other consideration is to have a pleasing sound when playing ride patterns whether rock or jazz. The heavier cymbal should always be on the bottom and the clutch on the top should have a slight looseness to it. Also underneath the bottom cymbals as part of the stand there is an adjustable plate. Turn the thumbscrew to allow the bottom cymbal to have a slight angle. This will allow air to escape to produce a crisp sound and also prevent an air lock, which will negate or diminish the chick. Some recommend an interval of a second between top and bottom. Cymbals are sold in pairs matched at the factory. Try to avoid purchasing them from stores who have separated the factory combos,Crash cymbals.... Crash cymbals are important and should not be overlooked in the selection process. The purpose of a crash cymbal is to punctuate a rhythmic figure, accentuate and add color to sustained chords and to add explosive excitement. They range in sizes from 6” - 20”. Crash cymbals can have short punctuated responses to long sustaining responses. The smaller short response cymbals are referred to as ‘splash’ cymbals. The pitch, volume and sustain are determined by size thickness and taper or bow. Knowing this will help you determine what best suits your needs. A good recommendation is to start off with two erash cymbals. Crash cymbals between 16-18" is a good place to start. Try to get at least, one cymbals with a faster response and one with more sustain. The shorter response cymbals will be good for accenting bass figures. Try not to get too short of a response because it might not have volume or sound too “hokey”. Beyond basic setups - the basic cymbal setup as discussed has been a pair of hi-hats, medium ride and two crash cymbals. At this point additional cymbals might be added to the kit that provides additional timbres and functions. Consideration would be given to splash cymbals, different crash and ride cymbals and specialty cymbals like Chinese or sizzle cymbals. It is strongly suggested that one listen to recordings, talk with drummers and study literature made available by cymbal manufacturers. Care and Maintenance: + The following are some tips in the care and maintenance of cymbals + Use only products recommended for cleaning and polishing cymbals. DO NOT use cleansers or abrasives. Using products not specifically designed for the cleaning of cymbals could wear down or damage the tonal grooves. Make sure your cymbal stands are in good shape and make sure your cymbal sits on a felt washer that sits on a metal cup. Use nylon sleeves to protect the hole from excess wear. This is an item often neglected. The result is premature wear and obstruction of the cymbal vibrations. + DO NOT over-tighten the wing nut. The cymbal needs to have some freedom of movement after striking to prevent excessive stress on the cymbal. It is the transfer of energy principle. * It is best to strike the cymbal with a striking blow. It is also suggested that you have the cymbals at slight angle and avoid striking the cymbals directly on the edge. This will avoid possible cracking. + Use cymbal stands capable of balancing and supporting the cymbal. There is nothing more annoying than a cymbal crashing to the floor! + Transport cymbals carefully. Avoid stacking items on them or metal objects rubbing against them. Remember the tonal grooves!Cymbal Selection Sound is subjective, so if it is something you like, use it! Pitch is effected by..... - weight + size - profile Sustain more sustain -shorter Large Bells.....produce more overtones (shimmer) Heavy Cymbals.....higher pitch Thinner cymbals......lower pitch More metal = more volume Hi hats....... heavy cymbal on the bottom Crash, ‘AreaSelecting a Drum Set A lot of people are sometimes under the assumption that a drum is a drum isadrum. All drums are not created equal. In some cases, it may be true but in reality that is really far from the truth. Size, diameter, thickness, materials.... these all affect the sound. If that is not enough, when you consider the drumheads, one has even more to think about, All this is similar to selecting a wind instrument where woods, metals, reeds and mouthpieces all contribute to the choice of an instrument and anticipating its performance capabilities. Drum Sizes Selecting the size of your drum may be a good place to start. One rule of thumb to remember is diameter effects pitch depth and depth effects volume. There is some overlapping of this rule but a large diameter drum cannot match the pitch of a small diameter drum. The depth provides the resonance and volume. Think about this: when have you ever seen a 3” x 13” snare drum used in marching band? The shallow depth and diameter makes it nearly impossible to cut through the sound of the wind instruments. When you are identifying shell sizes, the first number refers to depth and the second to diameter. (3” x 13" - 3 inches deep and 13 inches across or the head size) Hardware Good hardware is essential in making sure everything has a solid foundation. This will help eliminate tipping over or slipping down. One can 0 crazy with heavy-duty hardware. Stands can be double braced (adding to the weight) or single braced (lighter). Usually good single brace stands will suffice. If the drummer is an excessively heavy player or if you are concerned with holding the weight of your drums or cymbals, then consider the double brace. If you are moving equipment a lot, want to save money or have normal playing conditions, the single brace will work fine. Make certain the single braced stands are not flimsy or made with thin metal. Bass Drum Pedal A bass drum pedal becomes a personal item to many drummers. They get used to the adjustments in tension and how comfortable they are to play. There are many good pedals that can be purchased without breaking the bank. You can get confused with chain driven, one spring, two springs, etc. Stick with a name brand and you will be fine. Avoid pedals made out of pot metal or base plates which are simply stamped. If You move your drums a lot or have students not conscientious about care, consider a pedal with an internal spring such as a Ludwig Speed King. And always select a good pedal; it takes a lot of pounding and abuse.Snare Drums Snare drums are another drum that sometimes becomes a dilemma in selecting the right one. Depth, diameter, metal or wood, it does get confusing. A good middle-of-the-road snare drum is 5” x 14”. Piccolo drums (3” x 13”) have recently become popular. A lot of students see favorite drummers playing these instruments. But they are miked and have sound technicians EQing their sound! If you need a big sound, consider the standard. Depth relates to volume - diameter to pitch. As far as 8 lug versus 10 lug, either one will be fine. From a maintenance standpoint, consider a snare drum with a simple, uncomplicated snare throw-off. A good snare drum produces crisp, high sounds. The decay should be quick, not “tubby”. Bearing edges & Re-enforeing rings Bearing edges should not be a big concern. The angle of the edge does affect the overtones the drum produces. The only concerns are evenness and consistency. There is much discussion about re-enforcing rings and how these affect sound. Itis a personal preference. Don't let sales people tell you anything else. Drums can be found with or without them from many reputable drum makers. The main goal of the ring was to keep the shell true in roundness. Tom-Tom Sizes Common jazz sizes were once 8” x 12” or 9” x 13”, Recently “square type” sizes such as 10” x 10”, 12” x 12” and “almost square” sizes 10” x 12” and 11” x 13” have become popular for small or mounted toms. For larger or floor toms, consider 14”x 14” or 16” x 16”. Bass Drums Size does matter. The bigger the drum, the more volume your drummer can produce. If you have heavy-footed drummers or are annoyed by over-drumming, consider a smaller diameter for your bass drum. At one time the standard was either 14” x 18", 14” x 20", or 14” x 22”. In recent years the depths have increased to 16” and 18”. A 24” bass drum can sound great in a big band but may be too much for a small combo. An important piece of hardware on the bass drum is the feet, spurs or legs. Make sure they are solid and support the bass drum, preventing it from rolling. The foldout design offers solid footing and prevents forward movement better than the retracting spurs. Drum Heads This can be another dilemma. The best thing to do is read literature and talk to other drummers. There are coated heads, double ply, thick, thin, ones that try to replicate calf heads, sound control (or heads with dots) and many, many more. Something to remember is that thinner heads vibrate more and produce more overtones and are more vibrant.‘Thicker heads produce fewer overtones and seem to define the pitch more. Some drummers put different heads on top and bottom. Some put a thicker head on top and thinner on the bottom. Remember the snare drum has a batter head (the one you strike) on top and a snare head on the bottom (thin and clear). If you use brushes, coated heads will yield the classic brush sound. Other Considerations There are countless options when outfitting your drums. Here are just afew. * Consider an isolation mount system for your mounted tom toms. ‘This is where the holder supports the drum instead of a mount drilled into the shell, a nice option that allows more resonance. Mounted tom tom holders that allow a variety of adjustments. This allows a setting that is ergonomically effective. * For a younger age group, consider a smaller bass drum. Once again, ergonomics are in play. A small or short student will have less difficulty if the bass drum is smaller and the tom toms placed at a lower level. * Consider a custom (non-mass-produced) set. Let's face it; companies are in it to make a profit. No one questions that they are producing good instruments. But it is a very competitive business and sometimes it’s difficult to get exactly what you want. There are many small drum makers who buy shells from a shell company and ‘will size your drum for you. Eames Drum Shells actually makes their own shells and offers different ply configurations. You can supply your own hardware or they can supply it for you. * A final thought is memory lock rings. These rings slip on the tubes and can be tightened to help avoid slippage. ‘Shell Materials In recent years a plethora of options have become popular. Maple, rosewood, bubinga, birch, stainless steel, copper, fiberglass, aluminum and many more are available. Exotic woods are expensive. Birch is a great wood and has a good resonance. Harder woods such as maple offer more overtones and projection. Metal materials provide more overtones. With thicker ply and harder woods, the weight of the drum increases. Conclusion Hopefully the above will give you enough information to get you started, The best thing you can do is listen, read and talk to drummers you know and admire, Even though one may get many opinions (and some may add to the confusion) it will give you the confidence to select the right set for you and your program.Interpreting the Jazz Chart as Applied to the Drum Set For the beginning or inexperienced drummer, reading a drum chart can be frustrating, not only for the player but also for the conductor. Although it may look easy, it is complicated. Why? Because many arrangements are either too vague or they try to transmit too much information. This is usually true in writing for younger bands. Another reason may be that many drummers are taught (rightfully so) to read and play just what is on the paper. Let's begin with a few facts. No two drummers play alike, tune the drums the same, have the same set up or interpret exactly the same way. Playing the drum set is subjective. Most set players are appreciated for their time and style. Arrangers know this and therefore write simply, Jeaving much up to the drummer. Good writers only notate what is important, such as ensemble figures, fill spots, rests, etc. The drum chart is basically a road map.... Start here ~ End there. So the younger player sometimes has difficulty in knowing what to do when little is written. Another problem is how to make a figure sound good or how to set it up. A lot of times they play a figure as if it is symphonic band music on the snare drum. The best solution is to encourage the drummer to be creative and expressive. The most, important thing they can do is to listen to other good drummers. Writers who get more specific usually do it for two reasons. First, they want the drummer to play what they wrote. The second reason is because they know they may be writing for the young or inexperienced player and they are providing more help by writing more specifically .similar to those who would write out a jazz solo. This is a good starting point but drummers should be encouraged to develop their own style and deviate from the written page. However, this detour should still include the most important information such as the rests, figures, fermatas, etc. One thing that is important for drummers to be successful is to know many styles or types of music. Drummers should be familiar with swing, two beat swing, bossa nova, samba, jazz waltz, rock, funk and much more. ‘There are many books that specialize in these styles and once again, listening is vital! ‘To put it in a nutshell: The drummer needs to know that the drum chart is nothing more than a guide. It is aroadmap. The song starts at the beginning and makes its way to the end. As in all journeys, there are many ways to get from point A to point B. What the drummer needs to know is what is important to play. Good time, logical fills, appropriate style, figures