Concept Articles
Early in 1977, I was getting ready to do a clinic in New Jersey. A young man approached me while I was adjusting the drumset and introduced himself. He said, "Hi, I'm from a new magazine called Modern Drummer. Could I take some photos and perhaps get an interview afterwards?" I said, "Sure, why not?" After the clinic we did the interview and I was later surprised to see myself on the cover on MD's second issue. I've been involved with Modern Drummer to one degree or another ever since.
In 1980, I called Ron Spagnardi, MD's Editor/Publisher and told him I had ideas for some articles for the magazine. He was receptive and suggested Concepts as the title for the column.
Modern Drummer was and still is the best form for drummers. Virtually every point of view is expressed in its pages. This in itself is an unusually objective approach to the subject of drumming. My intent has always been to help young drummers. I believe that's also the intent of MD. And I am extremely proud to have been involved with the magazine virtually since its inception.
Between 1980 and 1992, famed drummer/author/educator Roy Burns wrote a regular column for Modern Drummer Magazine called Concepts. In his column, Roy offered a wealth of practical, informative, and entertaining ideas on dozens of subjects that concern serious drummers of all ages and at all levels.
During the years that Concepts appeared in MD, the column was continually rated among the top three in popularity among the many loyal readers of the magazine.
The best of Concepts is a compilation of nearly 70 of Roy's most enlightening articles extracted form the pages of Modern Drummer - articles that have inspired thousands of drummers around the world.
Ron Spagnardi
Editor/Publisher
Modern Drummer Magazine
Not too long ago I received a phone call that went something lie this: “Mr. Burns, I have a friend who’s a very successful rock drummer but he doesn’t read music. He’s never taken lessons but he’s decided to take the plunge. Can we set up an appointment?”
We set up the appointment. At the lesson, I was quite surprised to discover that the drummer in question was none other than Bill Ward, the original drummer with Black Sabbath. Bill explained to me that he has been doing a lot of studio work and some producing and has run into situations where reading would have been a big help. He did not like the feeling of guessing how certain parts were supposed to be played. He wanted to be sure he understood what was necessary, since the studio work he was doing was very different from touring with the group.
By the second lesson, Bill was actually sight-reading quarter and 8th notes. His eyes lit up and in a mildly British accent he said, “I feel as though the eagle has just landed.” He was so relieved that it was not as difficult as he imagined it would be. He even said, “I wish I had done this sooner.”
I have a lot of respect for Bill and for what he is doing. People rarely go back and learn things they probably should have learned when they were younger. They tend to just keep putting things off, rationalizing that they really don’t need to read right now. I read where a famous guitar player actually said that, with the advent of tape recorders, it was no longer necessary to read music. This is such a childish statement that I was sad to see it printed in a well-know magazine.
Many years ago, a young man by the name of Ron Carducci came to me and said, “I’m already nineteen years old. Is it too late to begin playing the drums?” I told him that it was not too late if he really applied himself. Within ten years, Ron was playing all the shows at Ceasar’s Place in Las Vegas in the house orchestra. He is a good example of what can happen when you apply yourself.
Learning to read music is a lot like going to the dentist: The fear of going is usually much worse than the experience. In Bill’s case, it had been on his mind for years. On one studio date, the conductor and the rhythm section began to discuss what could be played in a certain part of the music. Bill felt very uneasy because he couldn’t understand what they were talking about. Fortunately, after he was able to hear it, he realized it was not all that complicated. However, that feeling of not being sure is what made his decision for him. He said to himself, “I am finally going to learn to read.”
As I explained to Bill, reading drum music is much easier than reading the newspaper. The English alphabet has twenty sic letters that can be combined endlessly. Drummers only have to learn six note values and six rests-only twelve symbols in all. Even when you add the various forms of triplets, they are still based on the same fundamental note values. At any rate, reading music is just simple mathematics.
At the present time, I have a very talented young student who is planning on attending Berklee College of Music next term. When he first began to study with me, his reading skills were quite poor. One day, when he was getting a little discouraged, I told him, “Look! As far as talent, feel, hearing and ability go, you are a ten. As far as reading and technique go, you are only a three. However, that is no problem. I can’t teach talent but I can teach you how to read and how to play the instrument. It just takes a little time and some patience.
Today, his reading is excellent and his control has improved greatly. Because reading is no longer a problem, he has more confidence. That’s one of the side benefits of learning to read: Proving to yourself that you can do it makes you feel good about yourself. It helps you face the next challenge with a more positive attitude. Each thing that you learn in life helps prepare you for the next learning experience. After a while, you develop confidence in your ability to learn. This, in itself, makes learning easier. And once you make it easier, you can make it fun!
Bill ward and I have had a lot of fun at his lessons. Working with someone of Bills age and experience is different from the usual teacher/student relationship. It’s more a sharing of experience. We’ve had a lot of laughs as he has discovered that it really is easier than he thought.
Bill has also expressed a desire to learn the rudiments. He wants to cover the areas he missed by not studying sooner. He is smart enough to know that studying is not going to “mess up his style” or “make him less creative.” He will simply know more about music and understand more about drumming. He already has a proven style. He wants to expand it.
I don’t want to embarrass Bill but I really do admire his spirit. I look forward to his lessons because we have become friends. I want all of you to know about Bill in the hope that his experiences will encourage many of you to study and learn to read.
Those of you who might be putting off learning to read should make a decision. Decide to go back and learn. You will be glad you did. Remember, when you lack information, you have less to work with in your career. And it doesn’t matter what your age happens to be. Bill is no youngster. By the same token, Ron Carducci thought it might be too late at the age of nineteen. Believe me, if you really want to learn. It is never too late!
I've been asked many times, while presenting clinics, "Who is the world's greatest drummer?" I usually respond by asking, "What style? Big band, rock, studio, funk, dixieland, Latin, symphonic, rudimental, fusion, all-around percussion?" There are many ways to play, many kinds of music, and many great players. No one player has it all covered.
If you ask ten top professionals, "Who is the world's greatest drummer?", you just might get less than ten answers because some pros I know would not answer what they consider to be a stupid question. Or, each pro might name ten drummers that he really respects musically. This last answer would more than likely be the most honest, and it is the one I personally prefer.
I've talked with quite a few young drummers who say their goal is to become "the world's greatest drummer." Some people encourage this idea to become number one as though drumming were some sort of athletic event. Well-meaning parents and an occasional drum teacher will tell the student "You can be the greatest if you work hard enough." Maybe ... maybe not!
This "world's greatest" thing can be a real hang-up for many young drummers. It encourages self-brutalizing and unrealistic practice schedules. I met one young guy who was attempting to train himself to sleep four hours a night so that he could have more time to practice. This is what I call overdoing it.
Some young drummers think if they practice twice as hard and long as anyone else they will automatically be the best. Again, maybe ... maybe not!
Hours and hours of repetitious patterns played over and over in an effort to play louder and faster than anyone else alive doesn't always produce great results. In fact, this sort of over practicing often results in a tense, over-rehearsed, and insensitive young drummer. In an attempt to be super impressive, this type of young drummer usually rushes drum breaks, loses the tempo, and wonders why other musicians don't want to play with him.
I've met young drummers with blisters and sores on their hands that were the result of practicing with extremely heavy sticks. In some instances they were using heavy metal sticks. I've never been a believer in metal drumsticks, and from what I've seen, they do more harm than good, especially when used in a relentless, hard practice routine. Practicing with very heavy drumsticks will not help you play faster.
Another scary thing about metal drumsticks is the possibility of developing a bone-bruise. This is very painful and can take months to heal. Treat your hands with respect. A slightly heavier stick for practicing is fine, but don't overdo it. Punishing your body will not make you a better musician. Developing control in cooperation with your body will help to produce a more musical sound and feel, no matter what style you play.
A balanced approach to practicing is always rewarding. Consistent practice over a long period of time yields the best results. Practicing hard can be valuable, but only if it is combined with good information. Effective, productive practicing in a relaxed manner is usually the most natural way to learn. Forcing yourself to continue to practice after you're exhausted won't help much. Practicing with intelligence as well as energy will bring about real improvement.
Another problem that arises partly because of the "world's greatest" mentality is one of "attitude." If a person really believes he is or is about to become the greatest, he quickly becomes unteachable. He feels he knows it all. He is critical of other drummers and acts in a superior and conceited manner.
This type of personality may also have an idol, someone he feels is great. He may imitate his idol's style of playing, his manner of dress and speech. This type of acting is usually not much fun to be around. It gets old very quickly.
This same person may become overly competitive. He feels he has to outplay every other drummer in order to prove how great he is. The problem here is one of attention. Instead of concentrating on accompanying the other players, he may be thinking about the drum solo he is going to play later on in the set. Usually the tempo and feel suffer because mentally the drummer is somewhere else.
Young drummers also spend hours criticizing name drummers while defending their particular favorite. This is a waste of time. Each person leaves the argument with the same favorite drummer he started with.
It would be more productive to analyze what famous drummers do that makes them successful. In this way he can really learn from them, and respect them for what they do best.
A balanced approach to your career goals is always more productive than "I'm the greatest." The best goal is to be the very best you can be. Study, listen, talk with other drummers, play as much as possible, and practice consistently. Let all of your energy go into learning music as well as drumming. Keep an open mind, avoid weird theories, and learn from everyone. An open mind is a balanced mind.
If you really do your best, you've done all you can do. And if you become a great player, others will hear it. If you don't become so great, at least you'll know you gave it all you had. If you do that, you will be the world's greatest you!
All young musicians have heroes or people they admire. Musicians learn from and often emulate their heroes. This is an important part of the learning process, especially in the early stages.
Heroes serve as role models. They become the standard by which we evaluate our own development. They are a source of ideas and inspiration. We often want to be like them. We tend to absorb many of their attitudes. We learn from their styles and sometimes even imitate their actions. This can be a negative or positive process.
If our heroes are immature, musically or personally, they set a bad example. To emulate such personalities can lead us into problems, especially in the long run.
Immature players often get away with bad behavior because they are successful. Showing up late, hung over, or unprepared to rehearse are typical examples. Forgetting music, wearing the wrong outfit, getting drunk on the job, and being uncoopertive are signs of a lack of consideration and immaturity. Players of this type seem to think they play so well they can do anything they want, even if it hurts others.
Word gets around quick in the music business, and even though such personalities survive, they usually are not too happy. Their careers suffer because they tend to create problems. More mature players will try to avoid working with them whenever possible.
On the other hand, if our heroes are mature, musically and personally, they set an example that is positive. To follow this example will often help us avoid conflicts with others. This is very important because most bands that have problems usually break up due to personality conflicts rather than musical ones.
Musicians who are on time and ready to rehearse become the guys you can count on. People can hire them without worrying They have developed a professional reputation. They are fun to work with and considerate of the people they work with.
It is difficult to play well if you do not like the people involved. If you like the other musicians, personally as well as musically, it is much easier to play your best. If you are mature and dependable, you make it easier for people to relate to you both personally and musically.
Our heroes can sometimes unintentionally trap us into a lifelong struggle to be like them. It's not their fault if we put them on a pedestal and think of them as godlike or perfect. To think of them as supermen can prevent us from finding our own way of playing and living.
For this reason, all heroes must eventually be given up. Although they help us in the beginning, we cannot let them stand in the way of our development. At some point, you must become your own person, creating your own way of doing things.
Continue to respect your heroes and those you've learned from. Then use what you've learned and take it further. Add your own feeling to it and develop it. Make it into something new, unique, and your own.
We all know people who are a real drag to be around because they are always acting like their hero. They effect the same manner of speech, dress, and attitude as the person they admire. They even expect to be treated as though they are really great, and yet they are only acting great. The key word is acting. No act can ever be better than the real you.
Acting in a pleasant or positive way is better than acting in an unpleasant way, but it is still acting. Pretending to be friendly or successful when you are not is often based on a desire for acceptance. Even if the act is good, people see through it sooner or later. Better to just relax, be yourself, and do the best you can.
We have all played with people who act as though they are really hot players. Usually, people who behave in this manner are not hot. As soon as they begin to play everyone knows for sure one way or the other. People who are insecure often try to cover up their feelings by coming on strong and acting arrogant. They can be a real drag to the other players.
For young drummers, sooner or later you will hit a situation that is over your head musically. The music may be different or more difficult than you are used to. The other players may be more experienced. If this happens, just admit to yourself that you weren't quite ready for it. Don't make a string of excuses or put down the music. Just pay attention and do your best.
If your attitude is sincere, real pros will recognize what you are going through. They'll often help you or give you some tips that will be of benefit in future situations. If you act as though you already know everything, they may make things tougher for you just to teach you a lesson. Even this is a learning experience, but it's a painful way to learn.
Occasionally you may meet a few people who play extremely well but who feel very inadequate. No matter how much attention and praise they receive, they still feel inferior. This is sometimes the result of trying to be perfect. It also can be the result of thinking of heroes as perfect. Heroes make mistakes too, just like the rest of us. No one is perfect. No matter how great your heroes seem to be, they are all human. There is no need to feel inferior if you make a mistake; no need to feel superior if someone else makes a mistake. A balanced attitude is best.
Respect your heroes but don't make supermen out of them. Respect others who are sincere even if they aren't superstars. Continue to learn from everyone, heroes or not, and keep improving. Maintain a balanced attitude, and others will respect you. And most important of all, you will respect yourself.
Friendship amongst drummers takes on many curious attitudes. For example, we have the fair-weather friend. He’s the guy who is super friendly to you if you are with a name group. When you are between groups he loses interest in you and becomes real friendly with someone who is in the limelight. This guy’s slogan is “Everyone loves a winner.” If you are out of work or having a few problems, he suddenly can’t find time for you.
Then there is the name-dropper. He is sort of cousin (mentally, that is) to our first guy. Whenever someone mentions a famous drummer he says, “Oh yeah! We are really good friends. We hang out together.” In real life this guy may not have even met the famous drummer in question.
Another type of guy comes up to you and is very complimentary about your playing, especially if you are in some way well known. The trouble with this type of guy is that he talks differently about you when you are not there. I’ve seen it happen this way: “Hey man, you really sound great.” When the drummer in question leaves, the same guy says, “He can’t play at all. What a drag he is. I don’t like his drumming.”
It also happen is reverse. A number of years ago a very famous drummer had opened the night before at a well-known jazz club. This drummer was introducing his new group. I happened to be in attendance on opening night. The famous drummer in question and his group were really sensational. The following day I was standing in a music store waiting for a student to arrive. Several drummers were standing around openly criticizing the drummer I had heard the night before. They were saying all sorts of uncomplimentary things and I was shocked. I couldn’t believe what I was hearing so I said nothing. Suddenly, the drummer in question walked in and said hello to everyone. To my surprise, these same guys started to compliment this guy like crazy. Now I was really confused.
After I thought about it, I realized that talk is cheap. Also, the same people who criticize you behind your back are too weak to say the same things to your face. Unfortunately, a lot of this still goes on.
When I was at the PAS (Percussive Arts Society) convention in Dallas I ran into an old friend, Ed Shaughnessy. Ed said, “Roy, how are you? I haven’t seen you for at least six years.” While we were talking and laughing a young guy approached Ed to ask him a question. “Are you two guys friends?” Ed said, “Sure, for many years. We are not competing with each other: we just happen to be in the same business. It gives us something in common.”
We both chatted with this young man and several of his friends. One volunteered, “You guys are so easy to talk to.” Ed’s response was, “Professional players are usually easy to talk to. It’s the semi-pro who has the ego problem because he isn’t sure of himself. Good players understand what younger guys are going through and enjoy sharing their experiences with them.” Although there are a few exceptions, I heartily agree with Ed’s comments. Most good payers are easy to talk with.
Ed and I used to split a TV show called Saturday Prom years ago. I would do two weeks and Ed would do two weeks, depending on his schedule. It was my first TV show but one of many at that time for Ed. When he was teaching in New York we had many conversations. He was always extremely positive. He would show me things in his studio and we would discuss techniques and ideas.
In all those conversations (and to this day), I never heard Ed say a bad thing about another drummer. He appreciates all players. He understands the dedication and hard work required to play well. Ed is not only an accomplished musician, he is also a gentleman, someone to be respected.
The following ideas are ones that Ed and I have discussed at one time or another over the years:
Never say anything about another drummer that you wouldn’t say to his face.
If you believe a drummer does something well, don’t keep silent. Let the person know that you respect what he does.
Keep learning. It was great to see Ed taking notes at the Steve Gadd clinic so he could share some information with his students.
Don’t brag about yourself. If you are really good, others will tell you.
Learn and study different styles of drumming. Also, study other forms on music. Ed is quite knowledgeable about Indian drumming and music as well as drumset styles.
Be true to your friends. You need friends in the music business and that includes other drummers.
One last thought: If Ed Shaughnessy is giving a clinic, do your best to be there. You will learn something and you will witness a pro and a gentleman in action. In my case I get a plus, I get to see an old friend.
I’ve received a number of letters from young drummers stating, “I can’t find any musicians to play with who are serious.” One young drummer I know was asked to join a band. He said, “I went to rehearsal and we worked on three songs. Then they broke open the beer and that was pretty much the end of the rehearsal.” His other comment was, “These guys just aren’t serious.”
Another situation had me thinking about the idea of seriousness recently: One of my students has a friend who is twenty years of age and is a fairly talented drummer. However, I’ve heard this young drummer say, “I would take lessons but I’m so good already that I just can’t imagine what anyone could show me.” This young man isn’t serious about his drumming. What he is serious about is his ego. The unfortunate part of this scenario is that his attitude will prevent him from reaching his full potential. I should add that this young man has never played in a professional situation of any kind. It would seem that the time for him to get serious about his drumming is now!
Another example of not being truly serious is the young drummer who says something like, “I want to be a top professional drummer-but I just hat e to practice.” Well, it’s going to be difficult to develop your drumming ability without practicing. Wishing doesn’t get is done. You must make a serious effort to grow and improve, or else your results will be a disappointment.
Part of being serious bout your drumming career is keeping your word-which is another way of saying that you must keep your agreements. For example, if rehearsal is a 2:00, it means having your equipment set up and ready to play at 1:55. It doesn’t mean showing up late and making the rest of the group wait while you se up your kit.
Ask yourself this question: “Am I really serious about drumming, or do I just like the idea of being a drummer?” If you just like the idea of playing, then play and have fun. However, if you want a career in drumming, the sooner you get serious the better.
If you have decided to be serious, make a list of the things you will need to do to be successful. Note those things you have already done or are in the process of doing. Then make a list of weaknesses that need improvement. If you can’t think of any weaknesses, you’re either the greatest drummer who’s ever lived or you just aren’t being serious. Even if you were the greatest, I’m sure you could think of something to improve, if your self-evaluation was sincere.
Part of being serious is being concerned with important matters. List all the things you do regarding your drummer that may not be important. For example, do you spend a lot of time criticizing famous drummers, at least those who play a style of music other than your particular favorite? Do you spend a lot of time criticizing other drummer in your town? If you do these things, realize that they are unimportant. Remember, being critical of others does nothing to improve your playing.
Do you spend time making excuses to yourself or to others? For example, do you always have a reason for being late? Do you make excuses to yourself for not practicing regularly? Do you keep putting things off?
Make out a weekly schedule. Write down what you do each day and how much time you spend one each activity. Next, ask yourself which activities are important. Then, add up the time you spend on unimportant activities and you’ll realize how much time you may be wasting.
If you’re going to achieve anything in life, you must get serious. Do you want to play baseball or practice the drums? Do you want to go to the beach or to rehearsal? Do you want to be honest about where you really are as a drummer or would you rather just go along and dream about making it?
Dreams are important. However, it takes a serious effort to make them a reality. If you are serious about your drumming, make a concentrated effort to find other serious musicians to play with. It’s not always easy but it is definitely worth the wait.
Last but not least, let me pint out that getting serious doesn’t have to mean not having fun. Although all great players are serious about their work, they have fun, too. But they know when to get serious. When I was young, I was at a rehearsal with a very good band. I was happy and I was making a few jokes, The band leader leaned over to me and said, “Roy, in this band we try to make our conversation fit the situation.” He was right. It was time to stop fooling around and get serious. Maybe it’s time for you to get serious, too.