Issue #5___\__\__\__\__\__________/__/__/__/__/ MAY 97 THE TEMPO DISPATCH FREE Newsletter For Drummers and Drumming Enthusiasts ___/__/__/__/__/__________\__\__\__\__\___ ======================================== 'IT'S ALL ABOUT DRUMS' Tips * Tricks * Hints * Ads * Freebies * Lessons * Gigs? NOW 700 MEMBERS!!! _________________________________________________ "THE TEMPO DISPATCH" is a FREE publication *** Originating From *** BILL POWELSON'S SCHOOL OF DRUMS on the web Where the Drum Lessons are FREE! http://www.catalog.com/drummers/bphome01 E-MAIL: powelson@america.co ================================================ You are receiving this Newsletter because someone at your address has expressed a burning love for drums. The focuc and intent of this publication is to unite, enlighten, humor and entertain all the percussion enthusiasts of the Internet. If you wish to receive NO further issues, simply reply to the address at the top of this message and type "REMOVE" on the subject line or body of the message. Your address will be removed immediately. PUBLISHERS PLEDGE: This subscriber list will NEVER be made available to any other company, at any time, for any reason. I value and respect the privacy of each and every one of you. This is my promise and pledge to you all. (Bill Powelson) ___________________________________________________ TABLE OF CONTENTS What is in this issue? Contents: 1. Feature Article: SOLO TIPS II 2. Bass Player Joke of the month 3. Land of Lost URLS 4. Drummers wanted! 5. Advertisements ________________________________________________________ *** FEATURE ARTICLE *** For May 97 The March 97 issue of the Tempo Dispatch contained some of my best tricks and tips for developing professional sounding solos. If you haven't seen it, you may download it at: http://www.catalog.com/drummers/tdarc.html But, just reading about solos won't do you much good. Follow those tips to the letter. I promise results! Soloing is an art form and it must come from within. Input (listening) is the first secret to playing great solos! This month we will get a bit more specific with our drum solos . . . *** SOLO TIPS II *** Start a collection of solo recordings then begin a routine of listen then play. Do it on a daily basis! Don't be afraid to inject your own ideas . . . play what you feel and hear in your head. It is your solo, so you may do anything you choose! There are virtually no mistakes to worry about! Get it going and don't stop until you decide it is finished. If something you do sounds good by accident, do it again. If it is bad, avoid doing it a second time. ***A STARTING PLACE *** An analytical study of the average solo will show that two roll types tend to emerge about 80% of the time. What are those roll types? 16th Singles and 8th triplets. It might help to study these two rolls, in every form they may take. What follows are a few suggestions that should help to get your own solo engines primed and running . . . ======================================================= NOTICE: The fonts in your E-mail program may be different than mine. In the example below, the second 'B' should be directly under the fourth snare (or second 'L'). If it is not, the best solution is to Select & Copy this entire note then paste it into your favorite word processor. Set your word processor font to Courier New .9 font size. ======================================================= EIGHTH TRIPLETS: R L R L R L SNARE (Could be any drum) B B BASS Strive to play the above roll pattern blazing fast! Watch TV and work with the above triplets on a pillow for long periods (like . . . Several eventual hours). Watch the foot! The hard part is playing the bass along with that fourth note. Don't give up until you can do it at warp speed with no mistakes. The most common thing that students will do wrong here is slip into 16th singles as they try to increase speed with 8th triplets. Avoid doing that by accident! It is a good Maneuver, if you intend to do it but be alert that it isn't happening by accident. 16TH SINGLES: This is 16th Singles. Know the difference between 16th Singles and 8th triplets. Eventually, they will both dominate your bag of solo tricks . . . R L R L R L R L SNARE (Could be any drum) B B BASS Practice switching between 8th triplets and 16th Singles while maintaining a steady bass flow (or tempo). *** SOLO SUGGESTIONS *** Once you can keep a steady bass tempo and switch from one roll to the other, it will be time to climb behind the kit and begin to do your own thing. The sky is the limit! There are no mistakes! If you accidently get your arms and legs tied in a square knot . . . no problem! It isn't a mistake until you lose or stop the beat flow. Really!! It is easy to overcome this entangled dilemma! As your hands become confused . . . stop them but maintain the bass tempo . . . gather your thoughts for a few beats, then jump back in with a vengeance . . . continue on with another roll pattern. What follows are *ONLY* suggestions. You may do these ideas in any order! Also, I should say . . . these are routines that may be manipulated with *ANY* roll type, including 8th triplets, 16th Singles, 16th Doubles, 16th Paradiddles, 16th triplets, Rogers Ruffs and on and on: 1. INJECTING ACCENTS: Play a steady stream of the chosen roll. Play as softly as you can. Occasionally inject random accented notes into the stream, using your best hand. Just drop these accents anywhere it feels natural, they do not need to be close together. The more you do this the more control you will enjoy. After awhile, go to work on your lame hand . . . do the same type of routines but do them with your weakest hand. It's good practice! Keep it simple at first then grow slowly into more complex patterns. It takes time! 2. POWER RIMSHOTS: A 'Power Rimshot' is a rimshot that is done by connecting the rim and head simultaneously, producing a 'ping' sound (usually done on the snare). You are playing your roll in a stream of notes and popping accents as you go. Now add a few super accented 'Power Rimshots'. Experiment with the tonal changes that can occur between accents and 'Power Rimshots'. The rhythmic possibilities are immense. Try to avoid repeating the same routines. Always seek to create new sounds and rhythms. Drop 'Power Rimshots' with either hand. Let it flow and try to be creative! 3. CROSSOVER VARIATIONS: With the chosen roll flying on any drum, reach to any other drum with your best hand, smack it once then return. Try to maintain the flow of the roll but reach out, occasionally picking up random notes on any of the toms. Again, get your best hand working first then focus on the other. Eventually, both hands will be flying all around the kit. Play with the tones and experiment constantly. 4. BROKEN ROLLS: A broken roll is when some of the notes are omitted in the stream. In other words, we are talking about adding occasional random rests within the chosen roll. This will probably happen by accident in the beginning anyway. You will think they are mistakes. A million fascinating rhythms may be fashioned by simply stopping at irregular intervals, sometimes by accident and sometimes intentionally. Let them happen, listen for neat ideas as they occur and try to repeat them on demand. Try to get the drums talking to each other as in a real conversation. This will include long and short pauses within the roll stream. Add dynamics as in a real conversation. There will be times when it sounds good to scream and times when you want to speak in a whisper. This injects feeling into the solo and it is fun. 5. RANDOM CRASHES & CYMBAL TRICKS: Crash the cymbals when you feel like it! Use crashes as you might use punctuation in a sentence. Try to add these crashes within the flowing stream of the roll, sometimes. At other times You may decide to move to the cymbals entirely . . . maintaining your chosen roll but searching for tonal extremes on the individual cymbals. You will be amazed at the variety of tones that may be produced from a cymbal. Every cymbal will have its own personality and range of tonal values. Strive to find them all and use them advantageously in your solos. 6. JINGLES & RHYMES: This gets back to accents and 'Power Rimshots' but we will add a twist. As you gain control with accents, try to play a melodic jingle or singsong accent pattern over the top of your roll stream. Think the melody of 'Jingle Bells' (Christmas Carol) and bring it out as accents within a roll stream. Next, try, 'Three Blind Mice', 'Mary Had a Little Lamb' or anything else you can come up with. The listening audience may never realize the tune you are thinking. That isn't the point! Your solos will become more melodic as you do this. It adds continuity and substance to an otherwise boring ration of racket. *********************** If you are the studious type, you might look for books that focus on topics like triplet accents and crossovers. Also, look for books that focus on single, double and paradiddle roll development. I could write tons of practice routines in each category. You would see endless lines of a particular roll with added accents and complicated crossover examples. You would see them . . . but would you study them? Most of us bore with that stuff real quick. I know I do! I hold to the original formula . . . 'listen then play'. In that order! You will achieve your goals much faster this way. Good luck! Burn 'em! Bill Powelson ________________________________________________________ |________________________________________________________| BASS PLAYER JOKE OF THE MONTH Q- What's the difference between a bass guitarist and God? A- God doesn't think he's a bass guitarist. Q- How do you get a bass player to stop playing? A- Put a sheet of music in front of him. Q- What do a vacuum cleaner and an bass guitar have in common? A- Both suck when you plug them in. Q- How many bass players does it take to change a light bulb? A- None--they just steal somebody else's light. ____________________________________________________ |____________________________________________________| THE LAND OF LOST URLS 'Webpages that are buried on the bottom of the search engine dog pile.' ============================================== Percussion Education Online * Learn the traditional grip * Special buzz roll techniques http://otto.cmr.fsu.edu/~bula_jo/percussion/drums.html ============================================== *** GIGS4US *** (Musicians Newsletter) Free Musician's Newsletter and Buddy List for AOL members only: members.com/TopKat99/Index.html ============================================== ===DO YOU HAVE A WEBPAGE DEVOTED TO DRUMS?=== *** FREE URL ADS *** With each new edition of the dispatch, we will randomly select and publicize a couple of URLs, FREE OF CHARGE. The objective is simply to give a few of the underdogs a little boost. After all, it takes a lot of work and expense to create a great website. These people deserve recognition for their efforts! So, send me your URLS! I won't make any promises but eventually everyone may get an honorable mention from this little service. $$$$$$$$$$$$$$$$$$$$$$$$$$ $$$ BRIBES ACCEPTED!!! $$$ Of course BRIBERY WILL WORK! (hehehe) If you would like to have a guaranteed URL ad insertion into the next edition, send a check or money order for $5.00 in US funds, to: Bill Powelson 107 Douglas Dr. Holly Hill, Fl. 32117 Be sure to include your E-mail address. ($15.00 will get your URL ad in the next four editions of Tempo Dispatch) =============================================== ________________________________________________________ |________________________________________________________| *** DRUMMERS WANTED *** (FREE SERVICE) WANTED: Drummer with MIDI equipment, for long-distance programming/recording. I'm a singer/songwriter doing Indie releases, and know my limitations. In my studio I have a DM5. What I propose is that I'd send a standard MIDI file (or a Performer file, if you use it) with a rough mix. You'd then add your drum track(s) and whatever setup info is necessary for the DM5. I'll mix the tracks here. The style is mellow, and I'm looking for melodic drummers for this project. Tracks chosen for the release will receive album credit, and a couple of copies of the recordings. I look forward to your replies. Write by email to: falconer@bigfoot.com Thanks, Tempo, for the space! ********************** If you have knowledge of job openings anywhere in the World, let us know. Job placement announcements will always be free! ________________________________________________________ |_________________*** ADVERTISEMENTS ***_________________| Place your own inexpensive ad in the Tempo Dispatch! Reach a target market of 700 avid drumming enthusiasts! (3) 80 word lines/$5.00 (US) per insertion 4th insertion FREE! ================================================ AD #1: SPECIAL!!! SPECIAL!!! SPECIAL!!! HOMESTUDY PACKAGE DEAL!!! (For Tempo Dispatch subscribers only) $20.00 US CASH, CHECK or M.O Includes *ALL* of the following . . . * 7 individualized private E-mail drum lessons tailored to your specific needs. * The Entire Website drum course on disk (Contains 22 interactive lessons with sounds & images). * E-mail Book & Biz-Op: 'Old Drums Into New Money'. * 'Information Freeway' (Biz-Op) You can make money and support the school too! $20.00 US FUNDS WILL BUY IT ALL!!! Mail check, cash or money order in US FUNDS to: Bill Powelson 107 Douglas Dr. Holly Hill, Fl. 32117 NOTE: Please include your E-mail address. ================================================ AD #2: ***BEATBUG*** What is a BeatBug? The BeatBug is to drums, what your speedometer is to your automobile! Finally!!!! Visit the following URL then leave a short E-mail note asking about the BEATBUG. The BEATBUG is the miracle gadget of the 90's for all drummers! It is a high tech answer to the age old problems of tempo uncertainty. In this webpage discussion I will show you how to keep ROCK SOLID TEMPO and put an end to the tempo-wars with your band members. . .for good! Http://www.catalog.com/drummers/z.html or E-mail: beatbug@mykabot.net =============================================== AD #3 "OLD DRUMS INTO NEW MONEY" $16.00 (US) + $2.00 S&H BOOK & BUSINESS OPPORTUNITY: This new book is a motherload of buying and selling tips! The music dealers hate me for writing this! Turn old drumsets into fast cash and big profits! Discover how to squeeze BIG discounts from your neighborhood music store. This book contains too many secrets to mention here. Visit this quick-loading page: http://www.catalog.com/drummers/oldrums.html =============================================== AD #4: *** UNIQUE BUSINESS OPPORTUNITY *** The Information Freeway $14.00 (US) $14.00 could put you into a very lucrative internet business! Take it from me, this one works! It is not a MLM! I will provide you with your own information product! You will be in business for yourself almost instantly. Learn how to do it at: http://www.catalog.com/drummers/ifreeway.html ================================================ AD #5: CHUCK SILVERMAN'S LATEST EFFORT! THE FUNKMASTERS- Guitarists, bassists, drummers of the James Brown bands-1960-1973. 144 pages of lessons, history, pictures, anecdotes, and 2 CDs packed with playalongs and lessons. Clyde Stubblefield, Jabo Starks and Melvin Parker are 3 of the drummers featured in the book. ORDER NOW. Email to drumnart@sprynet.com for ordering info. Two tracks at http://www.chopshop.com/silverman/ ================================================ AD #6: LAYON DRUM TRIGGERS Layon Drum Triggers are the best choice for triggering from your acoustic drum set: Highest Quality, Greatest Durability, Most Comfortable, Great Response, and a Useful Sensitivity Range. A HREF="http://www.theonlynet.com/~lsc/ ================================================ ________________________________________________________ |________________________________________________________| *** ANNOUNCEMENTS *** (FREE SERVICE) This is your platform! If you have a drumming related announcement to make, you can make it here, FREE! Just send an E-mail note to powelson@america.com. No Spams please! Think in terms of public service announcements. Like this . . . ======================================================= ANNOUNCEMENT #1 THANKS!!!! Thanks to everyone who has volunteered their editing expertise to the 'Tempo Dispatch'. The response to last months call for help was overwhelming. Thanks to all of you! Bill P. ================================================ ANNOUNCEMENT #2 A thought provoking idea from one of our readers . . . I tried electronic drums, however I was shocked when I saw the prices they were demanding for even the most basic set-ups. I remembered reading a Robotics, How to . . . kind of book years ago and seeing that they talked about making touch sensitive pads, creating circuts for a computer interfaces. So I thought maybe I could build my own electronic set....except I don't know how to. If you could maybe feature this Question in the 'Dispatch' Newsletter then I and drummers all over the world (well the ones with computers) could benefit from this. The question is: How can one on limited resources build an electronic drum kit, perhaps using only a stereo, computer or even a drum machine. The idea is to produce plans for a primitive 'do it yourself' electronic kit for beginning drummers. Something that might be a little better than cardboard boxes or pots and pans. If you would like to become involved with this idea/problem plese send E-mail to: Martin Moller Jensen