Entries in the '' Category

The Sound of Fife & Drum…by Dominick Cuccia

“The sound of the fife and drum marks the beginning of every New England summer, as it has since colonial times.”  (from The Ancient Mariners first album)

I don’t know if I’ve ever heard it put better than this.  I’ve been listening to the Ancient Mariners first album for a good 25 years.   It is funny how today these are more than words.  I feel like they help mark the change in seasons for me.  Most of us in the fife and drum world begin the new season each year with a parade for St. Patricks Day.  Then we may attend a muster or contest, or march a parade in April or May.  But it really isn’t until we hit the month of June and get to that first muster or firemans parade that you feel it…summer is here! 

I wasn’t able to attend the National Muster this month, so for me I think the Hudson Valley Fireman’s Convention Parade in Ellenville, NY will be where it hits me.  This is usually the biggest parade of the year and there is a great mix of drums corps, bands, pipes and fife & drum.  There will probably be 15 or so fife & drum corps there.  That will be the first time I get that sound ringing in my head. 

I’ll start looking forward to The Patriot Muster and Deep River.  I’ll anticipate that moment when the Rhine River Rebels from Switzerland take the field, or the sound of The Old Guard.  That chant of “Black River Rocks” & “Conferate,” and the power of “Thunder in the Valley”, I just can’t wait.  Those legendary corps like Lancraft & Stoney Creek, my alma mater The Young Colonials, the Mariner canon, Grand Republics “new sound”, and my favorite corps The Connecticut Blues…man-o-man, I can’t wait!  (And everybody I left out I can’t wait to see you too!)

And my corps, The Civil War Trooper.  Summer fun with a drum…there is nothing like it!  And the Regulators, the Billy the Kid, butt kickin’ cowboys!  They both keep me kicking!!!!!

Terry Hennesey is an old friend from Germantown who moved to Florida.  A couple of years ago he came back up for the Westbrook Muster.  He said he wanted to hear the sound again, see old friends and “smell it one more time.”  He totally put it in perspective for me.  Fife and drum is about the sound, it is about the friendship, and if you are a part of it, you understand the smell!

The smell?  Combine gunpowder, an assortment of foods, stale beer, leather, a hint of sweat (it is summer after all) and a barbaque or campfire…that is my recipe.  If you are at Westbrook, add whatever comes with an ocean breeze.  Again, you may not realize it, but there is a smell.  An incredibly wonderful smell accompanied by the passionate sounds of fife and drum.   I CAN’T WAIT!!!

The traditional music, the contemporary tunes, Bruce & Emmett, George Carroll, Roy Watrous, Bill Krug, John McDonagh, Gus Moeller, Earl Sturtze, J. Burns Moore, Les Parks, Duke Terreri, Bill Westhall, and all of the other legends, THE MASTERS.  I can’t wait for the hours and hours of that music.  That awesome music that lives in my soul. 

And we’ll all be thinking of our dear friend Sean Egan this summer.  It won’t be the same without him, but every time I play Drums & Guns he’ll come to my mind! 

“The sound of the fife and drum marks the beginning of every New England summer, as it has since colonial times.”

Summer, summer summer…ready or not, here I come!!!!!

DC


 Powered by Max Banner Ads 

Open-handed playing

Hello to all you "I cross my Right Hand over my Left Hand" players! Maybe, just maybe… you’ve been at this all wrong, huh?

Assuming most of our readers are right-handed (R.H.), playing with left hand (L.H.) on the Hi Hat isn’t all that new of an idea…as a matter of fact, this type playing or what is referred to as the "Open Handed" technique seems to be gaining more and more recognition in the drumming world…and rightly (no pun intended) so.

I remember seeing on MTV a video of the Romantics’ song "That’s what I like about you." The first thing I noticed right off the bat was their drummer/singer, Jimmy Marinos, was playing solid time with his L.H. on hat and R.H. whacking out 2 and 4 on snare.  That was in the late 80′s. I saw this and being a schooled and legit player (full snobbery in tact…I apologize to all I offended in the past…please forgive me…I have since seen the error of my ways!) felt I was seeing a raw and crude drummer with no regard to tradition or semblance of finesse. Of course being the closed-minded fool I was, I missed the boat on this type playing completely!  And that is… that this is a natural and effortless way to play.  Give it a chance…as a matter of fact, adopt that sucker…for good!

Now that I’m older (and hopefully wiser), I have spent many hours as of late practicing what Mr. Marinos knew all along…that this is a most natural, comfortable and easy way to play. All it requires is patience, time and a willingness to "practice till you get it" attitude…and when you "get it," one will possess a technique that lends itself to flow…ease of movement with R.H. on snare…no more R.H. on Hi hat cross stick accidents coming from L.H. getting in the way…easy access to toms on the right side…effortless crashing on the right side…in other words…once a few things are recognized about the open-handed technique, one can truly enjoy a free and happy R.H. on the snare and right side!

To get into the Open-handed technique I started right from the beginning…a simple kick playing 1/4 notes…1/8th notes on the H.Hat (L.H. of course) and a healthy 2 and 4 with R.H. on snare. From there I started adding ghost notes with the R.H. on snare around the 2 and 4…subdividing in my head a 16th note feel   e.g. Snare:  "one ee an da TWO ee an da three EE an da FOUR ee an da"  (The "EE" being the ghost note… as a matter of fact, experiment with ghost notes on any of the 16th notes…fun! )

Once I got comfortable with that, I realized that if I played the "old" way, R.H. on hat… L.H. on snare and watched carefully, all I had to do was copy that…and simply reverse the sticking…it really came quite easy after a while…and now I am almost to the point where I don’t think I will ever go back to crossing my R.H. onto Hi Hat  over my L.H. on snare…it just feels wrong! My R.H. now feel so free…and what a strong back beat  I get now…the doors have opened up and I am totally enjoying this journey!

Of course I still possess the ability to play R.H. on hat anytime I want…and I do sometimes…not much…but it’s there if I want it…and isn’t that a nice thing to not have to worry about!

You can teach an old dog new tricks…it just takes patience…have an open mind (something I wish I would have had WAY earlier! ) and a willingness to let go of preconceived ideas…maybe buck a few traditions…what the heck…you might find you don’t have a weak side anymore!

Good luck!

Best to all,

Michael Barton                                                                                                                                               www.ambadextro.com

 


 Powered by Max Banner Ads 

“Amba Dextro”

"Kicking the Can with Both Feet."

I have an unusual setup in that I have two drumsets merged into one. This is not an attempt to pile as many drums as I can into one spot as it is the idea of playing left and right side equally. (The best way to understand my setup is to visit my website; www.ambadextro.com).

All my students learn how to play left hand (Right handed drummers…conversely if they are left-handed) on HiHat…or in an "open-handed" style.

Playing drums with the idea that one should alternate strokes as much as possible isn’t the first thing we do naturally. If your a right handed drummer, you will do all kinds of drumming gymnastics to crash with the right hand after a fill gets out of sequence and ends up with the left hand leading for a bit…you can feel it! So you make the adjustment…sometimes at the cost of consistency, meter or tempo. But you do it anyway…why?

Put it this way…when we nonchalantly kick a can down the street, if we are right side dominant, you will continue to try and kick the can with your right foot…even if that means a quick adjustment because your next approach is too much on the right foot, (You need to be on your left side to kick with your right foot.)…in other words, you have no intention of kicking the can with your left foot…so you hop to your left side to make sure you’re set up to kick it with your right foot…but why?

We are most certainly capable of kicking that can with our left foot…we just don’t consider it in the heat of the moment. We tend to “go with what we know.” And yet, with a little practice, we are able to kick the can with our left foot, finding ourselves ambidextrous “can kickers!”

The same theory would apply to drumming. The next time your practicing your paradiddles, instead of starting them with your right hand, start with your left; LRLL RLRR LRLL RLRR and so on…keeping the down beat on your left side…you could even tap time with your feet…your left foot tapping on the down beat…This works well with double bass.

Try this exercise the next time you’re at your kit:

Start the down beat pulse by playing 8th notes on the hi hat with your left hand and 8th notes on the double bass by starting with your left foot (L R L R etc…) Let the right hand play two and four on the snare. This sequence sets you up totally on the left side.

GET USED TO IT! The more the better…eventually one would get to the point where it doesn’t matter which side is starting the down beat pulse! That is our ultimate goal.

Being uncomfortable playing on the left side is really just a state of mind…all one has to do is practice “kicking the can with both feet…”

Good luck!

Michael Barton

www.ambadextro.com

www.peastudios.com

 


 Powered by Max Banner Ads 
Banner

No Deposit Casino Bonus