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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 2) (PART 2)

by James Campbell
A by Jim Bailey iscussing the differences between articulations and styles can
metronome is an invaluable tool for musicians seeking to D

develop solid time and feel. However, musicians often struggle to be confusing to young percussionists. The following guidelines will
achieve a healthy balance between a stimulating routine and a mind- provide you with strategies to achieve proper stylistic blend with others.
numbing experience. This tool serves us well in its traditional use LEGATO: A directive to perform a certain passage of a
(following the click), but it may be time to explore a more creative composition in a smooth, graceful, connected style.
and artistic approach. In this article, I will present easy and effective · Maintain a light touch on the mallets at the grip point (fulcrum).
alternatives to developing good time using a metronome. · Use a very fluid, full stroke with a natural rebound to create a
Many people think that using a metronome means turning it on at legato start.
the beginning of your practice session and off at the end. In this case, · Allow the percussion instruments to sustain naturally.
you are using the metronome as a crutch more than a tool. It is often · As the percussionist gains experience, softer implements and
easy to spot students who fall prey to this, because they can play a changes in playing area (center, edge, tonal area on drums; center,
musical excerpt with a metronome very well until it is shut off and they nodal, off-center on keyboards) will enhance the legato articulation.
are asked to play it again while maintaining tempo on their own. Their STACCATO: A style of playing notes in a light, detached, and
ability to feel steady pulse is hindered because they are more used to distinct manner.
· Maintain a firm touch on the mallets at the grip point (fulcrum).
playing time with the metronome than keeping time themselves. Here · Use a very quick down stroke with a quick, up stroke to create a
are a few suggestions to help enrich your time with a metronome: staccato start.
1. Hit more than just the standard times.* · Quicker strokes are brighter, more emphasized. As the percussionist
2. Rhythms, like harmonies, need to be resolved. Let’s face it, gains experience, dampening, harder implements, and changes in playing
syncopations scare a lot of musicians.* area will enhance the staccato articulation. The use of “dead-strokes” or
3. Swingin’ with the met - set the metronome to a comfortable tempo quasi dead-strokes can be effective on some instruments.
and play your favorite exercise or etude with the click representing the TENUTO: A directive to perform a certain note or chord of a
upbeat.* composition in a sustained manner for its full duration.
4. Interacting vs. Mimicking – Instead of replicating the rhythms or · Maintain a full, supportive grip on the mallets, in the entire hand.
beats given to you by a metronome (like 8th notes and 16th notes), try · Use a slow down stroke with a small up stroke with added weight
interacting with it. In other words, create simply rhythmic polyrhythms from the arm to create a tenuto start.
(like 2 over 3) by setting the metronome to one division and playing · Think about the striking angle for tenuto strokes. The use of a
in the other division. Play a passage of 8th notes while triplets are set glancing motion can be an effective enhancement to the tone produced.
on the metronome (or the reverse). Now you are not just playing to the · As the percussionist gains experience, softer implements and
metronome, you are playing with it! changes in the playing angle will enhance the tenuto articulation.
5. Rehearsing odd meters with a metronome is one of the best ways MARCATO: A style of playing that means marked, accented or
to solidify time and feel. Try practicing 7/8 or 5/8 to a metronome stressed with a slight separation between notes.
set on quarter notes. You will find that the quarter note falls on the · Maintain a full, supportive grip on the mallets, in the entire hand.
downbeat at the beginning of each odd measures and on the upbeat · Use a quick down stroke with a quick up stroke with added weight
(“&” counts) at the beginning of the even numbered measures. This from the arm to create a marcato start.
will provide a longer phrase for you when dealing with odd meters, · As the percussionist gains experience, harder implements, partial
which tends to be more musical. dampening and/or changes in playing area will enhance the marcato style.
There are many more ways you can create a more effective and Additional Resource: The Drum and Percussion Cookbook, Meredith Music Publications.
engaging experience with the metronome. Be creative and most of all… This article is a continued from Bandmasters Review, Dec. 2017.
have fun!!! The complete article can be found at www.texasbandmasters.org/
*This article is a continued from Bandmasters Review, Dec. 2017. resources/bandmasters_review.php.
Descriptions of #1-3 are written in Part 1. The complete article JAMES CAMPBELL has received worldwide recognition as a performer,
can be found online at www.texasbandmasters.org/resources/ pedagogue and author, and is a respected figure in the development of the
bandmasters_review.php. contemporary percussion ensemble. Currently Provost’s Distinguished Service
Currently JIM BAILEY maintains his position as Educational Relations Manager Professor of Music and Director of Percussion Studies at the University of Kentucky
for D’Addario where he manages education outreach initiatives. Jim has served as an in Lexington, he also holds the positions of Principal Percussionist with the
Associate Caption Head and percussion instructor for the Cavaliers Drum and Bugle Lexington Philharmonic, drummer with the Kentucky Jazz Repertory Orchestra,
Corps from 2002 to 2005. He has presented clinics seen across the United States, and Past-President of the Percussive Arts Society. He is a member of the Drum
Japan, and Europe. 28 Corps International Hall of Fame and the Bands of America Hall of Fame.
Texas Bandmasters Association
Bandmasters Review • April 2018
Texas Bandmasters Association Bandmasters Review • April 2018 • page 28