These drum set exercises in this book are designed to be applied into the context of solo improvisation on the drum set and are geared toward folks with at least some experience with the concept. However, even if you are entirely new to the art form, I hope these concepts encourage new perspectives on whatever sound-making format you are currently involved with. Perhaps these ideas can also be a catalyst that sparks interest in forging a relationship with improvisation.
It is important to add that, although the solo format is the vehicle in which the ideas in this work were built, I do not intend any of them to be exclusive to this configuration. If you can find ways to apply any of the information herein in a collaborative context of any size, or if any of these ideas inspire a through-composed work on the drum set (or even another instrument), I would be delighted.
This book is organized into three main parts:
The 20-bpm Metronome Exercise
I have developed the 20-bpm metronome exercise and a few variations on it as a warm-up to engage in slow practice while using all four limbs on the kit. I have found it to be quite helpful for various reasons, one of them being that it is a great way to get your mind and body in sync and to help remove some of the "background noise" currently surrounding our media-saturated lives. Another benefit I have found is that, by practicing slowly, one gains insight into techniques that might need improvement, and aspects of one's performance that might otherwise go unnoticed become apparent. My intention is for this metronome exercise to encourage the artist to get into a concentrated head space before moving on to the ideas in the next chapter.
Creative Ideas for Solo Music on the Drum Set
In this chapter, I have presented twenty studies, concepts, ideas, thoughts, and instructions for you to memorize, reflect upon, and utilize in the context of solo improvisation. Some of these concepts are clear and straightforward, while others are purposefully vague, as I encourage multiple interpretations and perspectives. Only one of the ideas in this chapter includes traditional music notation, and it is used only as a suggestive example. You do not need to be able to read music to gain benefit from any of the ideas presented here or elsewhere throughout this book.
Resources and Inspiration
In Resources and Inspiration, I offer a listening guide to some of my favorite recordings of solo drum set music. This is an impartial list, as I am sure I have left out many excellent recordings that deserve inclusion. The ones included here are ones that I connect with on a deep listening level and find myself returning to for inspiration regularly. You'll also find a section titled 'Living Heroes' which lists some of my favorite drummers whom I have had the great pleasure not only to listen to but to engage with, share stories, and at times perform with at one point or another during my twenty-plus years working in the field of improvised music. These are the folks whose contributions to the art of drumming inspire me to keep moving forward with my work. A huge debt of gratitude is owed to every one of them
