This article is closely related to the previous discussion on drumming as a language (see ‘the secret of reading drum music‘). Let’s build upon the idea of ‘communication’ through music, this time paying particular attention to dynamics.
SHOUT! whisper SHOUT! whisper
If you were to vocalise the words above in the manner the words describe (i.e. you shout the word ‘shout’ and whisper the word ‘ whisper’), you’d sound like you were doing an exercise from a drama workshop warm-up. It’s not very common to hear someone shouting and whispering in close succession in everyday speech. However, it would certainly get attention. Imagine asking for a loaf of bread in a shop by shouting and whispering alternating words. It’s over-dramatic, and probably even offensive, not to mention bizarre. “HELLO do YOU have A small HOVIS granary LOAF sliced PLEASE”.
This is what we can call ‘extreme dynamics’ – alternating between loud and quiet in quick succession. In terms of drumming, this might be useful to create a rhythmic effect.
A loud note played within other quieter notes is called an accent. In drum notation an accent is symbolised by the > sign.
An accent applies only to the note that the > sign appears above.
A gradual increase in volume over a period of time (e.g. one bar) is called a crescendo or ‘build-up’.
Internal Dynamics
You are not just a drummer. You are a mixing desk! Your arms and legs are the faders – they control the volume level for each part being played in your drum grooves. The inter-play between the limbs is called ‘internal dynamics’. Don’t confuse this with the overall dynamic level of the groove you’re playing. You can have internal dynamics whilst playing at an overall quiet volume or playing loudly. Internal dynamics are what give a groove momentum, feel and texture.
Practice: The next time you learn a new groove pay particular attention to playing it in a number of different dynamic interpretations. For example; you can alter the accent patterns (make notes louder and quieter to create new rhythmic patterns), or you could play with the internal dynamics of the constituent parts of the groove. Observe how dynamics and ‘mixing’ your own sound can really alter the overall feel of a groove.