WICOMICO CIVIC CENTER- Salisbury, MD 3.14-15 with River Valley for the Potomac District Youth Convention

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@aarondrum
WICOMICO CIVIC CENTER- Salisbury, MD 3.14-15 with River Valley for the Potomac District Youth Convention
EVERYONE CONFERENCE 2015 with River Valley Music. 2.26.15
Icehouse with Dan Rodriguez. 2.20.15
My first time playing this club and it was fantastic. Crowd was super in to the show and the room sounded great!
At the Cowles Center in Minneapolis with River Valley for 20+ | Winter. 2.16.15
Dan Rodriguez Record in Nashville
I spent last week in Nashville, TN tracking the new Dan Rodriguez record. We got some seriously fantastic drum tones this week! Great music with great friends!
Speaking and Teaching at River Valley's first Team Night! Looking forward to what these gatherings will bring to our church.
NASHVILLE NUMBER SYSTEM
The Nashville Number System is by far my most prefered method of charting. It is both simplistic and flexible. These charts are clean and most often fit onto one sheet of paper, yet, they allow for personal creativity and expression. The Nashville Number system is not a new concept as it is borrowed from the roman numeral and figured bass style of music anaylsis found in classical music. The name stems from its wide use among studio musicians in Nashville, TN.
The system is a method of transcrbing music by denoting the scale degree on which the chord is built. For example: In the key of C the progression C G Am F would be transcibed as 1 5 6m 4 as those are the scale degress of that progression in the key of C. That same number sequence in the key of A would be A E F#m D. That same method would be applied to all 12 keys. Although it may seem confusing, this is actually very simple once the 12 Major scales are memorized.
I see two main benefits of this style of charting. First, it makes transposing very simple. By using numbers instead of letters, the key which the song is played in is open and flexible. Each number refers to the scale degree of the key of the song. If the band leader is wanting to raise or lower the key a new chart is not needed. A Nashville Number Chart will work for all twelve keys. Secondly, I prefer a number chart to a traditional letter chart as it gives the function of the harmony. The letters C to G don't mean much by themselves. However, the number sequence 1 to 5 is very noticeable and distinct to a trained ear. A chart full of numbers really allows the musician to "see" the fuction of the harmony in the song.
Below is an example of a Nashville Number Chart for 'Wave after Wave" from the album Sounds Like Victory.
DAN RODRIGUEZ SHOW- ASTER CAFE 1.17.15
Drum Shields- The Real Story
Somewhere down the line people gave up on drummers; gave up on their ability to be musicians. They decided the drumset was too loud an instrument and must be controlled. Not just controlled but isolated from the rest of the band and in extreme circumstances the rest of the room alltogether! What happened? I remember when I first started playing the drums there was no such thing as drum shields in churches. Drums were just drums and did not need any isolation to function musically. Today, it is hard to find a church that does not have these ugly plexi glass cages around the drums. Is the music we play that much louder today? Has the drumming community declined as musicians. Maybe…but that’s not an excuse. Do drummers no longer have any personal responsibility for how their instrument fits into a venue?
I am not a fan of drum shields. The last several years I had given in and decided to take on the status quo. I’m ready to take on that battle now. Drum shields are commonly believed to be necessary to any church situation. They ‘solve’ the problem of the drums being too loud for the room and bleeding into other mics. I reject this belief. I believe that not only do drum shields not solve the problem of loud drums they actually create other problems. This has caused worship ministries to spend enormous amounts of money solving these other problems.
Here is a list of the problems I see being created by drum shields.
- Drum shields don’t actually make the drums any quieter. Often drummers actually play louder than they should when they see that a shield is in front of them. This is compounded by the fact that drummers need in-ear monitors in order to hear the rest of the band.
- Sound is reflected backwards which then bounces off the walls and ceiling and actually muddies the sound. This causes the sound engineers to then purchase absorption panels to place inside the shield and all around the shield.
- Mic bleed through the drums’ mics is increased.
- Looks terrible on stage.
- Drum shields are expensive.
- Tells the drummer that they are unable to play with any nuance or sensitivity to the situation at hand.
- Relieves the drummer of the responsibility to manage their sound. Prohibits creativity.
- Doesn’t let the drummer think outside the box on how to play the song appropriately.
I think one thing that will help drummers and other musicians play appropriately is the realization that a particular song does not HAVE to be played the way it was recorded. So many of us see videos or hear records of worship teams playing in huge arenas or large churches and feel that the song needs to be played that same way no matter what the venue. This is just simply not true. The venue that the song is being performed in has to be a factor in the drummers approach. Some of my most surprisingly fulfilling performances came about because I had to rethink what I needed to play to support the song in a way that was appropriate to the venue.
THE IRRESISTIBLES - Dakota Jazz Club 1.2.15
One of my favorite venues to play in Minneapolis.
IMPLIED TIME-"All About You" Hi-hat time stretching
Implied time is a rhythmic technique that superimposes a new time feeling over the original pulse of a song. This is done to create interest or add intensity to the music. Although the mechanics of this can be somewhat difficult these ideas are heavily used in jazz music. Drummers and other musicians often play phrases that imply a different pulse for a section of music. Other times, they completely abandon the original pulse and “switch gears” to a new one. These ideas are not as common in pop music but one version of it is very recognizable.
The most common implied time in pop music is “half time”. Half time is acheived by essentially doubling the metric division. Normally the “back beat” falls on counts 2 and 4. By placing the backbeat on count 3, a half time feel is achieved.
A less common (in pop music) implied time technique is achieved by using rhythms based on dotted quarter notes. Dotted quarter note rhythms last 1 1/2 counts so it has the effect of ‘time stretching’. You can make the time feel slower than it actually is.
I used this technique on the track “All About You” from River Valley’s record Sounds Like Victory.
The bpm of the song is 134 and while we were in the studio I didn’t like how boxed in the groove felt. The general feel was ‘4 on the floor’ so the groove seemed somewhat trapped inside the 4/4 measure. Things repeated too often for my ears. I ended up keeping the four on the floor groove between the kick and snare but opened up the groove by using dotted quarter note phrasing in the hi-hat. This basically put the hi-hat part in 3/4 while the kick and snare remained in 4/4. Now, instead of the groove repeating every single measure it takes 3 full measures for the hi-hat to get back to where it started. It creates a much more open sounding groove. I used this during the verses of the song and went back to a traditional ‘4 on the floor’ groove on the choruses to release the tension caused by the implied time.
You can check out Sounds Like Victory here
Below is a transcription of the verses.
The audio of the intro and first verse of the song is in my previous post.
SOUNDS LIKE VICTORY.
Here is the promo video for the "Sounds Like Victory" album. This coming Monday night (Dec. 1st) we will be having an all church worship night at River Valley where we will share many of these songs. We rarely do these worship nights so its going to be super fun to get together and celebrate what God is doing at the church. You. Are. Invited! 7pm Apple Valley Campus
Rhythmic Roadways-expanding your phrasing
Imagine yourself taking a road trip across the country from the west to the east coast. Think of all the possible roadways, and combinations of roadways, to get there. Some are more simple or more basic then others, while others are more adventurous and scenic. No single way is necessarily right or wrong in and of itself; they are simply ways of getting from point A to point B.
Now, let's say that our 'trip across the country' is a trip through a musical timeline... It could be one, two, four, eight, etc. bars of music, the length of the phrase doesn't matter as much as knowing and understanding when you've reached your destination (aka the end of the phrase). In the same way that there are multiple routes to navigate cross-country travel, there are many possibilities of getting through a musical phrase. Understanding and having the confidence and familiarity with these musical roadways will greatly expand your phrasing and playing. It will open your ears to phrasing that is more creative and strengthen your internal clock.
One way that I have worked on, and become familiar with, these routes is by utilizing a number system for things I play. Using numbers helps me add up the 'miles' in unique ways until I've reached my destination. For example, take a 2 measure space of time. In 2 measures there are several possibilities of getting through the phrase. For this purpose I will think of a constant string of 16th notes through the 2 bars. This will give me 32 16th notes before the phrase is over. I then find stickings or patterns that are 2, 3, 4, 5, 6, and 7 notes long.
That might look something like this.(R= Right hand L=Left Hand)
2- R (L)
3- R (L)(L)
4- R (L)(R)(L)
5- R (L)(R)(L)(L)
6- R (L)(R)(R)(L)(L)
7- R (L)(R)(L)(R)(L)(L)
So, the number matches the length of notes in each pattern. By playing the first note of every number as an accent you can really develop creative phrases. Once the numbers are memorized, it's just a matter of putting combinations together that will equal the leghth of the phrase. In this case, 32. The musical roadways are developed by figuring out all the number patterns (highways) that will get you to your final destination.
For example: 6 + 6 + 3 + 3 + 6 + 4 + 4 = 32.
This concept will work with any grouping of stickings and with a little creativity can provide endless hours of practice.
As a discalaimer, I believe this is a fantastic way to develop the "roadways" in your personal practice. I am never counting like this in an actual musical setting. The goal is that with enough practice and travel through these highways, you can get there without needing a map. I never have to think about how to get to downtown Minneapolis from my house. I've made the trip so many times I don't even think about it. THIS is the goal; that you've traveled and explored the roadways so many times that you, instinctively, know how to get to your destination.
River Valley Church-Pantages Theater Minneapolis 11.17.14
River Valley led worship for 20+ the other night at the historic Pantages Theater. 20+ is a young adult movement in the twin cities that is really gaining a ton of momentum. The venue was beautiful and the night was incredible! Carl Lentz from Hillsong NYC was there to speak and gave one of the most inspiring messages I have heard. Grateful!!
Photo cred: Clark Strassburg
River Valley's new album artwork is looking good! I'm so pumped to share this album. You guys are going to love it! Look for it 12.2.14
RUBIX JAZZ TRIO Nov. 14th 2014.
My jazz trio got to perform for an event at River Valley the other night. Fun to be able to play a different style of music inside this building. These walls have never heard chord changes like this before.