BA(Hons) Creative Music Performance DRUMS

TECHNICAL DEVELOPMENT 1

TECHNICAL DEVELOPMENT 1

Recommended Ability Level: Equivalent to Grade 7 playing ability & Grade 5 music theory knowledge

You now have the opportunity to experience some of the core material featured in our BA(Hons) degree courses. This will give you the chance to experience what it’s like to study online through our virtual learning environment, Canvas.

Individual Modules are exactly the same content as our BA(Hons) degree courses and are each worth 20 credits. If you wish to progress onto the full degree then these could transfer.

You will be able to experience studying with DIME ONLINE in cost effective bite-size chunks. Expert instruction focusing on specialist areas.

• Each module worth 20 Credits at Level 4

• Credits that are transferable onto the full BA(Hons) degree programme

• Being part of DIME ONLINE’s learning community through Canvas, our Virtual Learning Environment

• Identical content to the BA(Hons) degree

• Detailed material for professional development

• Expert one-to-one instructor feedback

The aim of this module is to enable you to:

• Develop core technical competence on your instrument

• Understand how core technical vocabulary can inform creative performance

• Apply the conventions and vocabulary of the instrument into a wider musical context

20 CREDITS

Duration: 15 weeks Cost: £700

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Module Description

This module is about consolidating your technical skills on the drums and providing you with the essential tools needed for you to realise your full creative potential. You will examine the ergonomics of drumming, which will include fundamental areas such as your grip, posture, stick motions and foot technique.Throughout the course you will study a variety of technical exercises, including four-way independence, snare drum rudiments, polyrhythms and fills. This vocabulary will fuel your creative expression on the instrument, with the ultimate goal being to forget all about the exercises and just play the music you hear in your head. There is always a place for speed and flashy technique, but as working players we also value taste and creativity very highly.

Skills Development

Knowledge and Understanding • You will gain an understanding of the vocabulary and conventions used to underpin the study of technical development.

• You will explore foundational core concepts that are critical to the study of technical development.

Intellectual Skills

• You will have an opportunity to develop and apply relevant cognitive and analytical skills when engaging with the theory and philosophy of technical development. Practical Skills • You will develop the ability to apply foundational technical development concepts and theory to your instrument.

• You will develop their skills with regards to identifying language and theory that carry technical implications when engaging with lead sheets, transcriptions, scores and recordings.

Transferable Skills • You will have the opportunity to develop a creative and integrative approach to study, in which intellectual study and practical application are weighted equally.

On completion of this Module you should be able to:

Assessment Criteria. To achieve the learning outcome you must demonstrate the ability to:

Demonstrate an understanding of core technical skills and devices specific to the discipline in the context of performance. (Creative Music Performance 1)

Present and perform a range of specialised isolated technical exercises.

Display elements of creativity and expression during technically-driven performance. (Creative Music Performance 3)

Utilise technically-appropriate language during genre-specific improvisation.

Demonstrate an awareness of the broader musical context in which technical concepts may be applied. (Creative Music Performance 4)

Demonstrate the ability to select or omit appropriate technical devices in the context of genre-specific improvisation-based performance.

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Assessment Strategy

Summative assessment (Submission of filmed performance) You will be asked to submit an 8-10 minute filmed performance demonstrating:

• A range of isolated technical exercises that highlight the core concepts underpinning the module.

• Application of technical concepts in the context of a pre-agreed genre-specific performance.

The ‘pre-agreed’ performance will allow students to integrate technical vocabulary in a contextually-relevant manner. The repertoire will be agreed with your tutor during the trimester.

Summative assessment will occur at the end of Trimester 1, with formative assessment taking place at the mid-way point of the module (week 8). Feedback from weekly technical tasks will enable you to adjust and improve aspects of your playing on a frequent and regular basis.

The following aspects of performance will be taken into consideration: • Timing

• Tuning

• Accuracy of execution

• Sound and tonal production

• Fluency of phrasing

• Consistency of delivery

• Appropriateness of decision-making in the context of performance

• Creative intention and use of concepts and vocabulary

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Scheme of Work

Technical Development 1

Week Description

1 COURSE INTRODUCTION / THE GRIP

Matched GripGerman and French approaches

Traditional Grip• Hand position• Fulcrum• Arm rotation• Finger positions• Using the thumb• Using the top Fingers (index, middle)

ReboundThe ‘bouncing ball’ effect

Choosing the Right ToolsStick weights, diameters, lengths and shapes and how this affects your control

TaskWork through the basic exercises provided at a slow tempo, paying close attention to your grip and the positioning of the stick in your hands. Be observant of the fulcrum point and how this is enabling or limiting rebound in your strokes. Film yourself doing the exercises and upload to the My Studio area of Canvas for feedback.

Additional StudyMayer, Jo Jo (2007) – Secret Weapons For The Modern Drummer (Hudson Music DVD)Famularo, Dom (2001) – It’s Your Move. Alfred Publishing

2 BASIC RUDIMENTS I

Single Stroke Roll: Both in the French and German positionFirst played by the wrists and then we’ll start to incorporate the finger strokes.

• Wrist speed and endurance exercises (4x100 strokes each hand to gradually increased tempo by using the metronome)• Exercises for isolating the fingers• Practice singles with separated fingers, then add them together

Double Stroke Roll• Slowly played by the wrist • Faster tempos played with the help of the fingers

Inverted Double Stroke Roll• Exercises for inverted doubles• Playing with right hand lead• Playing with left hand lead• Exercises for combinations of regular and inverted doubles (the Steve Smith exercise)

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2 Rebound: Make sure that you always use the necessary amount of rebound.

Task: Pay close attention to the accuracy of your singles and doubles as these are the most important and most often used rudiments. Practice technique in front of a mirror.The singles and doubles are the basic elements/components of almost all of the future rudiments, therefore it’s extremely important to master them and play them with ease, comfort, confidence and speed.

Additional Study: Cobham, Billy (1973) Spectrum

3 BASIC RUDIMENTS II

Flams• Study the different stick heights and stick positions• Analyse the Tap and the Full Stroke• Learn the right handed and the left handed Flams• Alternate between R & L handed flams• Practice different flam exercises

Single Paradiddles • Learn the single paradiddle• Practice it with one and then two accents• Make sure that you bounce the doubles off the impulse/rebound of the single strokes

Learn the 4 different variations of the single Paradiddle• Make sure you play the 4 different stickings well• Make big differences/dynamics between accented and unaccented notes• Try to hear the melodies/rhythms of the 4 different variations

TaskPay close attention to keep the correct sticking heights and positions while you practicing your flams. Keeping the big differences between the taps and the full strokes are going to help you to execute the exercises and going to make them sound better. When you’re practicing the paradiddle variations, make sure you make big differences between the accented and the unaccented notes and the stick heights as well. Practice/control in front of the mirror.

Additional StudyLang, Thomas (2001) - Creative Coordination (Hudson Music)

4 THE MOELLER SYSTEM I

Introduction of the 4 basic strokes used by the Moeller Technique• Full Strokes (F)• Up Strokes (U)• Tap Strokes (T)• Down Strokes (D)

Moeller basics, 1 handed exercises• Practice 1 stroke 1 bounce• Practice 1 stroke 2 bounces• Practice 1 stroke 3 bounces

Repeat the exercises with your left hand (if you’re left handed, then with your right hand)

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4 Practice different accented sequences on each hand separately• See exercises with combinations of different accent groups

TaskFluency and efficiently are extremely important elements of the Moeller Stroke. Please pay close attention to detail when you’re practicing this technique. Don’t try to play every note!! It is the main principal of the Moeller Method that you bounce off your taps and up strokes from the rebound and impulse of your full strokes.

Additional StudyChapin, Jim (1992) - Speed, Power, Control, EnduranceHessler, Claus (2013) - Drumming Cairos (Alfred Publishing)

5 THE MOELLER SYSTEM II

Add the two hands together• Start playing single stroke roll 16th notes with accent on the 1 (1 bounce)• Do the same exercise starting with the left hand• Play single stroke sextuplets accenting the 1 on RH (2 bounces)• Play single stroke sextuplets accenting the 1 on LH• Play single stroke sextuplets accenting the 1st & 2nd notes(2 bounces)• Play single stroke sextuplets accenting the 1st and 4th notes (2 bounces)• Play 32nd note rolls accenting the 1st and 2nd notes (3 bounces)

Improvise with different groupings of Moeller accents of your choice with singles.

Use the Moeller Method in other rudiments/stickings• Experience the benefits of the Moeller Technique with all paradiddles• Try to use the Moeller principals while playing 6 stroke rolls• Check out the “aid” of Moeller when playing alternated Flams

Experiment with the advantages of Moeller when playing grooves• Try accented 8th notes on the hi-hat• Try accented 16th notes on the hi-hat• Check out the accented 16th notes on the ride cymbal• Also check out the Moeller motions when playing single paradiddle grooves TaskPractice the above exercises with a mirror and a metronome – be patient as you work through them. Speed is not the priority for now.

Additional StudyMayer, Jojo (2007) - Secret Weapons Of The Modern Drummer (Hudson Music DVD)www.vicfirth.com (Website)

6 MOVING AROUND THE KIT

Discuss sitting positions and height • Make sure that you always chose the most comfortable playing position

Set up your Drumkit accordingly to your sitting height• Make sure that you playing on your snare and toms in the flattest possible angle to get the most amount of rebound and the fullest sound

Practice the different wrist positions that are following the directions of your strokes• Don’t try to keep the same wrist position while playing on the snare or the floor tom• Let the instrument lead your way with its ergonomics around the kit• Play the ride cymbal with the French grip (thumb on top of stick)

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6 Start moving around the kit• Practice constant eight notes around the toms and snare• Practice triplets around the kit with the constant change of the leading hand (RLR, LRL, etc)• Play your crashes from different directions with different motions

TaskThis week’s lesson is super important for your fluency around the kit. Make sure that you start these exercises slowly and accurately. Play constant 8th notes around your kit at your comfortable speed for at least 5 minutes without stopping. You can vary your sticking between singles, doubles and paradiddles. Then keep the same tempo on the metronome and take the next gear to triplets. Right after that you can speed up to 16th notes. Be cre-ative and have fun! Always record yourself and watch/listen back!

Additional StudyDornyei, Gabor (2014) - Moving Around The Kit (DrumChannel Youtube)

7 FOOT TECHNIQUE I

Practice heel up single strokes with the drop of the weight of your leg • Play it on the bass drum with the right foot (and extra pedal hi-hat if you have one)• Practice the same on the left foot both on the hi-hat and the double bass drum pedal• Release the bass drum beater after the stroke by putting your heel down• Relax your feet when you’re not playing with them

Play continuous single strokes with the right foot• Start slowly by using the whole leg• In faster tempos practice the separated ankle strokes

Play continue singles with the left foot on both the hi-hat and bass drum pedal by using the above techniques

Practice single stroke coordination and endurance exercises between the hands and the feet• Play single stroke roll between the right hand and right foot• Play single stroke roll between the right hand and left foot• Play single stroke roll between the left hand and right foot• Play single stroke roll between the left hand and left foot

Play the “cross exercise” between your four limbs• Play a single note on right hand, then left foot, then left hand and right foot• Try to speed up this exercise• Try to go around the toms with this sticking

Practice different dynamics on both feet

TaskAdvanced foot technique is extremely important in modern drum set playing. Not only because of the fills and variations, but in order to play the downbeats in your general grooves perfectly in time. Make sure you don’t rush these exercises. These ex-amples are not necessarily for speed, but much rather for perfect control over your limbs. Always practice to metronome, record yourself and upload it to Canvas.

Additional StudyLang, Thomas (2003) - Creative Control (Hudson Music DVD)

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8 FORMATIVE ASSESSMENT

TaskYour tutor will provide you with a task that demonstrates your learning in the module to date. You will need to upload the task to Submit My Assignment for feedback.

9 FOOT TECHNIQUE II

Double Strokes

Learn the right technique with slide towards the bass drum head• Discuss technique for sliding motion• Discuss pedal settings/spring tension for easy and smooth doubles

Practice double strokes on the right foot• At a slow tempo you can play your doubles by using the whole leg• At faster tempos you’ll need to be able to use the sliding motion on the pedal

Practice double strokes on the left footboth on hi-hat and bass drum pedal by using the above techniques

Practice multiple double strokes on both feet separately and then combine them

Go through the 4 different variations of displacing the doubles in the groups of 4 sixteenth notes. (see exercises)

TaskThe combined singles and doubles exercises in this week’s material will allow you to gain very good control over your foot pedal techniques. As in the previous foot technique lesson these exercises are not only for increasing speed, but also for gaining super control over your multiple strokes with the pedals. As ever, don’t rush these exercises.Check and mark your speed limits with a metronome, record yourself and listen back before you upload your material to the canvas.

Additional StudyLang, Thomas (2006) - Creative Coordination (Hudson Music DVD)

10 THE PARADIDDLE SYSTEM

The basic structure of the Paradiddles• How do we build paradiddles

The single, double and triple paradiddles• Learn all different paradiddles with 1 accent first• Learn and practice the different paradiddles with multiple accents• Start accenting different parts/notes of the paradiddles• Improvise with different paradiddle variations freely• Firstly use the whole paradiddle pattern in full (whatever the case may be)• Secondly use half of the paradiddle and combine it with a half of another paradiddle creating interesting odd time feels and figures• Create your own variations

TaskThis week’s lesson will give you a very strong understanding of the structure and the mechanics of the entire Paradiddle System. It is very important how you play your paradiddles. You shouldn’t be playing out every note, the whole point of the system is to

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10 bounce the double strokes out of the rebound of the singles/accents! Use the Moeller Stroke in order to execute nice, clear and smooth paradiddles. Practice each variations for at least 10 minutes to a metronome before you move on to the next one.

Additional StudyMorello, Joe (1983) Master Studies (Book) Modern Drummer PublicationMorello, Joe (2006) The Natural Approach To Technique (DVD) Hot Licks

11 GROOVES WITH THE PARADIDDLE SYSTEM

Learn the basic 6/8 double-paradiddle groove • The PHRASING is extremely important here• Play with big back beat and very quiet “ghost notes”

Add extra bass drum hits to your 6/8 groove

Add extra tom hits and hi-hat openings• Orchestrate your groove

The combination of Double Time and 6/8 Half Time type groove• Mind your timing, don’t change the actual tempo• Play with different accents and bass drum variations

Combine the 8th note half time, 6/8 and Double time feel

TaskThis lesson will show you how to create a 6/8 groove by using the double paradiddle. It is absolutely vital though that you play them with the right phrasing. If your notes are equal and not differentiated properly, you might as well play with equal single stroke rolls. Work on your phrasing! Listen to monster groove players like Dennis Chambers or Steve Smith. Timing and phrasing are the most important elements here. Record yourself and listen back critically, then upload your video into the Canvas.

Additional StudyChambers, Dennis (1993) - In The Pocket (DVD) DCI Video / Hudson MusicNovak, Gary (1993) - Paint The World (CD with Chick Corea)

12 REVISION WEEK

13 SUMMATIVE ASSESSMENT

14 Reflection/Evaluation/Careers/Employability

15 Reflection/Evaluation/Careers/Employability

Terms & Conditions applyIf you wish to apply for the full degree course and use your credits after completing any of the individual modules, then you will still need to meet the full application criteria. Further details here www.dime-online.org/do-i-qualify

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