STUDIO and CONCERT DRUMMING in 2000.

The title of the book refers to the real requirement of our age: to produce concentrated rhythm in studios and on concert stages.

The drummers’ individual art will not be injured by the complementary, almost unlimited use of rhythm instruments - in order to have better perfomance - however contradictory this may be. It is of course the most important what instrumental education, technical ability and gift the drummer has. Therefore, the first three parts of the book gives information to the drummer and the fourth part gives information on the programming of rhythm instruments.

L. Bányay

The first part gives an opportnity to improve the movements of the limbs from the simplest to the most sophisticated rhythms. The simplicity of counting the limb signs above the notes make the exercising of the most complicated rhythms easier.

It is important to maintain the basic position!

The right hand on the swinging cymbals, the left hand on the snare drum ( in the signed case on the tom-tom ), the right foot on the pedal of the bass drum and the left leg move on the pedal of the foot-cymbals.

Limb signs:

=beat with the right hand =beat with the left hand =the two hands exactly together

=the pedal of the bass drum with the right foot =the pedal of the foot cymbal is beaten by

the left foot =the right hand exactlytogether with the right foot =the left hand with the right

foot =the right foot together with the two hands =the left foot together with the two hands

=the left foot together with the two hands =the left foot together with the right hand

=the two feet together =the two feet together with the left hand =the two feet together

with the right hand =the two feet together with the two hands

The beat of the left foot is only occasionally signed, // bacause the drummer can choose from the

solutions which foot cymbal’s playing he needs.

The second part (“ column “ ) is the contents of the first one i.e. the task of the drummer itself ( with the musical notation ).

The basic position must also be taken here!

The right hand on the swinging cymbals, the left hand on the snare drum, the fight foot on the pedal of the bass drum and the left foot on the pedal of the foot cymbals.

The notes written into the stave can be sounded by synthesizers with the assistance of the signs written under them if they were properly entered. In this case the basic rhythm is played by the synthesizer and this can be enriched by the drummer’s own optional perfomance.

This column will give assistance to any musician who wants to write an accompaniment to his performance, to the programming of the real sounding of the different rhythms. It is always the performance of the living drummer that is the standard. This requirement is important not only for the basic rhythms but also for improvisations!

The third column gives examples for the technical improvisations that can be exchanged not only for the rhythms written before them but they can also be exchanged optionally. In the case of improvisations it is not decided which drum to beat. The more types of drums are beaten, the more colourful our fill-in or solo will be. The fill-ins are usually sounded at the same time as the periodical endings and the solos will be sounded apart. The circle means the pedal of the bass drum and the cross means that the two hands will beat on two different drums.

The stressed baets must be kept. The values of the notes of the notes of the rhythm patterns can be optionally changed and mixed up.

The fourth “column” ( part ) is the programming of the drum machine itself, it requires the prepared conscious work. To perform this, the time net/quantize grid must be known.

1.Time net/quantize grid /

The horizontal lines of the net show the place of the individual instruments, and the vertical ones show the values and multiplied values of the “CHIME “.The different applicable instruments must of course be know in order that the time net can be created. The opportunities of quantizing of the drum machine must also be taken into consideration: what value can a “TAK” have in a “TAK” series and what quantities they can be sounded. The vertical lines of the “time net” must be equivalent to the “TAK” signs of the synthesizer. / ex: 1/4, 1/8, 1/12, 1/16, stb...../

2.The preparation of the programme.

The synthesizer gives clock signs, the so-called “TAK”. The synthesizer must be adjusted to low tempo. The rhythm of the needed instruments should be individually entered by the equivalent keys. The pre-defined numbered positions on the time net must be taken care of. If an instrument was entered by mistake, it can be deleted by the “CLEAR” button. The key of the actual instrument must also be pushed together with the “CLEAR” button so that only the sound pushed by mistake be deleted. If the “CLEAR” button is released, the good sound can be entered again that will be immediately played back by the synthesizer. It is imperative to adjust the synthesizer properly for quantizing!

Quantize means what sound value the time between two “TAK” beats will be resolved to. For a more variable pattern a higher level of quantizing is needed and for exact programming a lower level one. With a good sense of instrumentation a good time net can be created and by entering it only the exact tempo of the unity of the orchestra should be taken care of. This way the sounding of the synthesizer will create an organic, rich unit together with the acoustic drum playing.

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