January 2000

Dynamics

            The topic of this month’s concept of the month is one that is more times than not overlooked in our practice regimen. It is the ability to play at different sound levels within a groove, fill, solo, and throughout various sections of a tune as driven by our emotions. We refer to this as the ability to play with dynamics.            

            When I realized some time ago that my playing was lacking in this area, I knew I had to do something about it if my playing would ever progress beyond what it was at the time. I would listen back to the recordings I had made of my practice sessions and realize that my playing sounded stale, lifeless and somewhat boring. Then I would listen to some professionals play and would ask myself what was so different? I could play the same notes and put them in the same place and play them in time, yet it just wasn’t sounding the same. What was the problem??!! Then after listening to a Dave Weckl solo, it hit me. Wow!! He was almost talking with the drums. Virtually expressing emotion behind the kit. Was it magic or could I attain this ability? Since I viewed the whole experience as Mr. Weckl “speaking” with the drums, the comparison I made was to a public speaker. What makes me fall asleep during some speeches and what keeps my attention in others? Well, after some thought, I had found my answer. It’s the emotion the speaker conveys and the conviction with which he speaks that makes me want to listen to him. His belief and confidence in what he is saying are what keeps me awake and following each word. He speaks firmly during the serious parts, softly during the sad, loudly during the parts that make him angry, and almost to a whisper with a tongue in cheek comment. All the while these dynamics in his speaking are done without thought. Totally driven by the emotion he was feeling from the thoughts he was expressing. And these thoughts are so easily expressed because of his command over and confidence in his vocabulary. So how does this translate back to drumming? Let’s check it out!! 

            A command over and confidence in your vocabulary.  Do you have this when it comes to your drumming vocabulary? Now I am not making reference to the extensiveness of your vocabulary. I am making reference to the confidence you have in playing the vocabulary you have learned up to this point. If the answer is yes, then it is time to start adding some emotion to it. Notice how I didn’t say to start adding dynamics to it. I said emotion. It is because with the addition of emotion, the dynamics will follow. At this point is where the command of your vocabulary becomes extremely important. You should be able to play your vocabulary any way that a particular piece of music might call for. It’s not only important to know the vocabulary but also to be able to say the vocabulary. If a speaker is giving a speech and he really has a hold of the audience but then uses a word in the wrong context or pronounces a word wrong, it’s the only part of the speech the audience will remember. Something we all want to avoid when we assimilate this back to a musicians standpoint. To do this we must be able to play firmly, softly, loudly, almost to a whisper, etc. So am I saying that dynamics can be practiced?

If you are careful in the way you do it, they can. Part of playing with dynamics is the ability to play at different sound levels. This of course can be practiced by taking your vocabulary and playing it in that manner. Once this ability is attained, it is the second part that enables the first part to breathe life into your playing. The second part is to use your emotions to call on your ability to play at different sound levels and not just do it for the simple reason that you can. It would be like a speaker laughing when he was telling you about a tragedy or crying when telling a joke. It just wouldn’t make sense.  

Can you practice playing with emotion? Yes you can. But it isn’t easy. It involves how you are thinking when you play. If you are thinking about odd time, playing a paraddidle for a fill, the proper way to play a Mozambique, etc. then you are the furthest away from playing with emotion. If you are thinking about the way the music is making you feel and how you are going to express that feeling, you are right on target.  So, what this means is that you have to have such a command over your vocabulary that you don’t have to think about saying it. It is at the mercy of your emotions that determines what you will play / say. This is when you are making music. This is when you have your listener's undivided attention. Don’t play it because you can, play it because you feel it. Don’t think! Just feel! Like anything else, the more you do it the better you will get at it!!                                                                                    

Enjoy! 

Fran Merante