Page 30 - 2017-BMR-December

’
An Instrumental Blog presented by D Addario

CREATIVE TIPS FOR EFFECTIVE CREATING STANDARD
METRONOME USE – A GUIDE ARTICULATION CONCEPTS FOR
FOR ANY INSTRUMENT THE DEVELOPING PERCUSSIONIST
(PART 1) (PART 1)

by James Campbell
metronome is an invaluable tool for musicians seeking to T
A by Jim Bailey he challenge of creating musicality when playing percussion

develop solid time and feel. However, musicians often struggle to is that the mallets move up and down, but the music moves side-
achieve a healthy balance between a stimulating routine and a mind- to-side. It can be difficult to connect musical expressions with other
numbing experience. This tool serves us well in its traditional use instrumentalists who use air and bow motions to create their musical
(following the click), but it may be time to explore a more creative phrases. Creating articulation on percussion instruments can be an
and artistic approach. In this article, I will present easy and effective elusive pursuit because these instruments don’t sustain like wind or
alternatives to developing good time using a metronome. string instruments.
Many people think that using a metronome means turning it on at Discussing the differences between articulations and styles can
the beginning of your practice session and off at the end. In this case, be confusing to young percussionists. In their early years, students
you are using the metronome as a crutch more than a tool. It is often should understand the following: staccato refers to light starts and
easy to spot students who fall prey to this, because they can play a short duration; legato refers to soft starts and full duration. As students
musical excerpt with a metronome very well until it is shut off and they gain experience, they should display awareness for more nuances that
are asked to play it again while maintaining tempo on their own. Their will create a deeper understanding and communication of articulation
ability to feel steady pulse is hindered because they are more used to concepts as they relate to blending with the other musicians in band
playing time with the metronome than keeping time themselves. Here and orchestra.
are a few suggestions to help enrich your time with a metronome: A percussionist’s mallet grip, volume, and touch on the instrument
1. Hit more than just the standard times (100, 112, 120, 132, will affect the tone quality of the start of the sound and the length and
etc.…). The idea behind this is to decrease the intervals between your color spectrum of the sustained tone. When I teach, I often find my
tempo adjustments and increase your sensitivity to steady time. You are articulation ideas are more obvious when I first demonstrate these
teaching yourself to feel the difference between 110 and 112, instead concepts on timpani, since it has clear pitch and a long sustain, and
of 100 and 120. A famous musician was quoted saying, “No one plays then transfer the techniques to other percussion instruments.
truly in tune, the greats just catch it before others do.” The same is true The following guidelines will provide you with strategies to achieve
for time. Increase your sensitivity to time, and improve your ability to proper stylistic blend with others.
maintain steady time. LEGATO: A directive to perform a certain passage of a
2. Rhythms, like harmonies, need to be resolved. Let’s face it, composition in a smooth, graceful, connected style.
syncopations scare a lot of musicians. More times than not, these · Maintain a light touch on the mallets at the grip point (fulcrum).
syncopations end on an up-beat or another unfriendly count. Use · Use a very fluid, full stroke with a natural rebound to create a
the metronome to find and solidify the quarter note pulse in a given legato start.
syncopation directly after the syncopation (thus giving it a resolution). · Allow the percussion instruments to sustain naturally.
The more you can identify and feel the quarter note through rhythms · As the percussionist gains experience, softer implements and
of this nature, the more you will be able to master (and internalize) changes in playing area (center, edge, tonal area on drums; center,
these difficult rhythms. nodal, off-center on keyboards) will enhance the legato articulation.
3. Swingin’ with the met - set the metronome to a comfortable tempo
and play your favorite exercise or etude with the click representing the (STACCATO, TENUTO AND MARCATO will be covered in
upbeat. This method is common among drum set players where the the conclusion of this article in the next Bandmasters Review.)
click represents the hi-hat. After experimenting with this, try the same
exercise with the click representing other notes of a subdivision (maybe Additional Resource:
“e” or “a” of a 16th note based exercise.) Now you are getting creative The Drum and Percussion Cookbook, published by Meredith Music
with your use of the metronome. There are plenty of possibilities here, Publications.
so explore as many as possible.
JAMES CAMPBELL has received worldwide recognition as a performer,
pedagogue and author, and is a respected figure in the development of the
(This article will conclude in the next Bandmasters Review.) contemporary percussion ensemble. Currently Provost’s Distinguished Service
Professor of Music and Director of Percussion Studies at the University of Kentucky
Currently JIM BAILEY maintains his position as Educational Relations Manager in Lexington, he also holds the positions of Principal Percussionist with the
for D’Addario where he manages education outreach initiatives. Jim has served as an Lexington Philharmonic, drummer with the Kentucky Jazz Repertory Orchestra,
Associate Caption Head and percussion instructor for the Cavaliers Drum and Bugle and Past-President of the Percussive Arts Society. He is a member of the Drum
Corps from 2002 to 2005. He has presented clinics seen across the United States, Corps International Hall of Fame and the Bands of America Hall of Fame.
Japan, and Europe. 28 Texas Bandmasters Association
Bandmasters Review • December 2017
Texas Bandmasters Association Bandmasters Review • April 2017 • page 28