J, what I'm talking about is really damn basic; there's nothing radical, unreal, or arty-farty about it. I don't know why you guys are so resistant to calling it what it is, particularly when you have nothing to offer in the way of better terminology. Somebody give me a better word for talking about melodic contour in drumming, and I'll use it.Anduin, thank you for your yeoman-like effort toward keeping things real around here.
Look, I don't know, Todd. I've said all I have to say: physics, psycho acoustics and music theory are what they are.J, what I'm talking about is really damn basic; there's nothing radical, unreal, or arty-farty about it. I don't know why you guys are so resistant to calling it what it is, particularly when you have nothing to offer in the way of better terminology. Somebody give me a better word for talking about melodic contour in drumming, and I'll use it.
Sorry, man, but you can't just say “it's science, I win.” You need to actually state the argument.Look, I don't know, Todd. I've said all I have to say: physics, psycho acoustics and music theory are what they are.
Suppose I tried to use my less than desirable singing capabilities to sing a tune. While I know clearly how the melody goes, my vocal cords fail me and I manage to sing half of the notes too high and the other half too low. Am I not singing a melody?I suspect that if we asked a group of non-drummer musicians what “melody” means, a total of zero would mention anything other than clearly-defined pitches.
No, I think it's me that just takes things a bit too literally.Sorry, man, but you can't just say “it's science, I win.” You need to actually state the argument.
Honestly, right now I'm having one of those moments when I think there's something wrong with me, because I keep getting involved in these contentious discussions defending things that are, hey waitaminit, absolutely uncontroversial, and totally embraced by every good player I have ever known.
Thanks Uncle Larry! Indeed, if you have concerns always check with my agent firstAnon's back! Yay! I was worried because I didn't know you went on holiday. Henri clued me in though, I should have known to check with him before. I missed you! I'll tell you, this thread could very well be the biggest lesson I got here to date. It was a very eye opening experience for me. Plus I just may get a title out of the deal!
Yes, you've probably played melodic solo in the past without knowing it, but being aware of what you want to do is a big step in terms of orchestrating your solo, it will be of course based upon rhythm and using a leitmotif to create an effect of melody on the kit, the beauty of it is that you can navigate around that leitmotif, rhythmically and melodically and come back to the original leitmotif, the "melody" created by the leitmotif is the "heart" of your solo if you like, you can go far away from it, wherever your inspiration takes you, providing you'll return to the "heart" of the solo throughout the piece, it will bring homogeneity and a sense of melody within your solo, the leitmotif you create is the part the audience will take as the reference point, melodically and rhythmically, the rest is embellishment and can change from one night to another, the leitmotif(s) are the "key" in which you explore you solo, night after night.I spend a lot of time just attempting to get what I hear in my head out on the drumset, with minimal losses. So instead of thinking purely in rhythmic terms, I tried to adjust my perception to picking out my "melodies" that I never was aware of. I suppose that because I was consciously utilizing the different pitches of my things in the past, I realized that in fact I was playing very simple "melodies". The big difference to me between my personal drum "melodies" and a melody that comes from a "real" melodic instrument is...
Yes, the drums are not instruments which provide long sustain, however, with the high and low notes and an open tuning linked with the right strokes to get the desired sound/effect you want to create, the drums can be very melodic, it's the reason why I prefer open sound these days as opposed to punchy sounds, including the bass drum.Drum "melodies"...at least the ones I feel comfortable playing...are very rhythmic melodies by nature, with short and percussive notes. Like I don't build in notes into my solos that are long and drawn out like the kind you would hear from a sustaining guitar, (save for crashes and rolls) it would leave too many holes. So my "melodies" tend to be of very short attack and rhythmically denser than a melody I would play on a guitar, as opposed to long held out sustained notes. Which translates into more notes basically. When the notes die off right away, so as not to leave big gaps in my solos, the spaces must be filled with something, that's why I have relied on the percussive/rhythmic elements to compensate for lack of rich tone, lack of chords, and long sustain.
Man, coming from an admitted drum-solo hater; that one was really cool. He played brilliantly with themes and textures. My only "complaint" would be that it was too quick; as in I would have liked to hear more on each theme there.