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Rehearsel Evaluation

Here I will be evaluating my rehearsel schedule. This will consist of different techniques and genres of music. these will be in the songs that i performed from my solo repertoire. This rehearsal schedule later prepared me for my 20 minute recital. The recital consisted of 5 songs; Usher - Caught Up, Drake - HYFR, Usher - U Dont Have To Call, Bob Marley - Jammin and Paramore - Turn It Off.

When I practised U Dont Have To Call, I think that this was the best song I performed out of the 5. This is because I enjoyed playing it and was the most comfortable with it. Playing the back beat showed that I have a good foundation and sense of rhythm. This song allowed me to do many fills since the song is quite linear. When it came to the performance, the fills I did where on time but while drumming along to the tracks, I had a small bit of trouble locking back in. This problem occurred during all 5 songs. This is because they were being played out through the speakers, and while drumming it cancelled out a lot of the song coming from the speakers.

To improve on my timing and locking back in, I plan to use a monitor so I can hear the song through headphones and the audience can hear the song through the speakers. When it came to the drum fills, the song allows me to many types of fills that vary in length and patterns E.g. 8 bar fills, para diddle fills (R L R R L R L L), triplet fills. For Usher's songs specifically, I watched his OMG tour of london a several times. So the fills were   inspired by Usher's drummer Aaron Spears. Caught Up is a song heavily associated with Aaron Spears. This means that one of the first drum related subject that comes under this song is Aaron Spears playing/rehearsing this song. I studied his chops and fills constantly when practising to perform this song. This resulted in me executing Aaron Spears like fills when performing Caught Up.

Para diddle

For Jammin by Bob Marley, I practised hi-hat patters and exercises. A lot of these patterns and exercises I learnt were from Gill Sharone's dvd called wicked beats. This taught me about playing genre's like ska, two-tone, burru and different types of reggae patterns like one drop, rockers and steppers. Finally for HYFR, I watched a drum cover on youtube because I wasn't sure how perform a certain hi-hat flick though I had an original idea of how to do it. I watched the video to make sure if my idea was right and it resulted in my idea of the hi-hat flick sounding more accurate to the song rather than the cover's version. After my hi-hat flick was reassured, this allowed me to progress with practising the rest of the song.

 When approaching this song, I decided to stick closely to song with minimal amount of fills. This is because the drum pattern through out the song is quite unique because it a beat that carries the song and also revolves around the lyrics allowing the listener to focus on them while appreciating the drum beat. This beat is a simple but effective patter showing a balance between having a strong foundation and the ability to use flamboyance.  

Sir Duke/ Is She Not Passing Fair

Sir Duke

• The vocals are being sung in D natural, the score states that it is sung in a D sharp. this because this score was written after the song. so this means that the person that arranged this score has made an error. 
• On the score sheet it starts when the first verse. in the recording, there is an intro. this is a simplification 
• Another difference is the tempo. the score states moderately when compared to the recording it is faster than moderate. 86-97 is moderate and tempo of the recording is over 100 bpm.
• there is no grace note on bar 42 and 27. in the recording there is a grace note played.

Is She Not Passing Fair

• in bars 41 and 42, there are dynamics that get louder and quieter. in the recording the vocals remain levels and do not change in volume.

History of Electronic Music

My History of Electronic Music

Focus - electric drumkit

http://en.wikipedia.org/wiki/Electronic_drum

http://www.ehow.com/about_5072992_history-electronic-drum-kit.html

 "The Moody Blues are an English rock band. One of their well known ideas was that they created a fusion with classical music, which was in their album Days of Future Passed released in 1967.

The Moody Blues have sold more than 70 million albums worldwide and have been awarded 14 platinum and gold discs. As of 2013 they remain active with one member from the original band from 1964 and two more from the 1967 lineup."

"One of the original members of The Moody Blues, drummer Graeme Edge was a solid foundation for the original 'R & B' flavoured version of The Moodies fronted by Denny Laine, playing on all their Decca singles including the UK chart topping 'Go Now' (January 1965), plus several further if lesser UK chart hits; 'I Don't Want To Go On Without You', 'Everyday', & 'From The Bottom of my Heart (I Love You)' (all 1965)."
"The first commercial electronic drum was the Pollard Syndrum, released by the Pollard Industries in 1976. It consisted of an electric sound generator and one or more drum pads. It quickly called the attention of many famous drummers like Carmine Appice and Terry Bozzio. But the Syndrum was a financial failure and lead the company to ruin in a few years."

In my opinion I think though the drummer for the moody blues helped start the making of an electric drum kit, he doesn't seem to use it much. When it comes to their live performances, the drummer is usually using an acoustic kit. My suggestion for that lack of use with an electric drum kit is that maybe the sound produced by the electric drumkit was not appropriate for they're style of music or that maybe it had not been developed enough. As for who the moody blues influences, I personally am not sure who they could of influenced but obviously they have inspired other english rock band or musicians to play like they have. Considering there impact on the future, instrument wise the drummer has probably encouraged to use an acoustic kit with the reasons stated in the video. But considering their genre of music, electric drum kits weren't really encouraged because synthetic or sampled sounds were probably not needed. The only possibility I can think of with this genre of music and electric drum kits are maybe triggers that can play anything from a drum sound to an effect. This can mean that the electric drum kit could of been "pick up" somewhere else and was more popular in other genre's of music. Though ironically the drummer that helped start a new style of drumming with technology doesn't seem to use it much, the next drummer I have talked about uses electronic drum on a daily bases and involves them in his set all the type when drumming for a certain artist.

^{Chase and status' drummer, andy gangadeen uses half an acoustic and half an electric drum kit. he uses roland drum pads to trigger off sound that where produced by the dj's since acoustic drums couldnt make those sounds. from when the first electric kit made till the kits now, the technology has advance in a direction where they feel like real drums in terms of the skin and reaction of the drums. its changed in a way where specific technical aspects are being developed to replicate sensitivity do certain things that a acoustic kits can do like a cross stick hit, rimshot, and ghost notes. this all applies to the cymbals as well in the way where you can hit 3 main parts of it, the bell, ride and the tip/rim. also the technology has to be advanced to do things like a cymbal build which involves a lot of sensitivity and precision. an electric drum kit can be majorly beneficial because it can be very close to replicating a acoustic kit and have all the other sound and effects available with a push of a button.}