Mike Alba's Muscle Memory Workout Program (Module 2)

MADP Module 2, Batch 3: From left-right: Weng Saavedra, Lawrence Alba, Master Michael Alba, Ed Catalan, and Anthony Dio

Michael Alba's Muscle Memory Workout Program Module 1, which I took up and finished late 2010, has been significant to my drumming and musicianship, as Filipino drumming master Mike Alba have shown me and my peers the right path to a much better drumming performance (as documented on my Module 1 testimony, posted a year and a half ago).  Like I said, this was among the best investments I've ever made for my drumming.  Everything I learned here, I will be carrying with me all throughout my drumming life and my professional career as a working musician.

A couple of months ago, I just finished the Module 2 Program, which took every drumming and musical aspect notches higher and further challenged our drumming, in terms of technique, performance & creativity.  The way I see it, Module 2 is a super-sized version of Module 1, which pushed me and my peers to our limits.  In no particular order...

Module 2 pushed me to become a more well-rounded and versatile drummer.  Various musical styles were covered, from hard rock to smooth-swinging jazz, from pop to contemporary fusion, from funk to improvisational, odd-metered, and world music-inspired pieces...  There's always something to be learned from every genre, and all these greatly helped us in understanding and appreciating different styles.  Versatility is an important factor in becoming an effective musician especially in a session/mainstream setting.  So learning various styles do pay off.  Plus Sir Mike's selection of tasteful yet challenging play-along pieces are worth reviewing.

Module 2 simulates real-life career situations, and it pushed me to manage my time and practice habits.  Every Module 2 homework consists of at least 3 challenging play-along tracks and a couple of creativity exercises which challenged us to create our own original parts.  So it was also an exercise on time management, as we juggled our woodshedding hours with our nightly gigs, day jobs, school, quality time with loved ones, and whatever routine or schedule we're going through our everyday lives.  And with how Sir Mike gave out our assignments, he's like a musical director handing out the pieces we needed to play, and we only had a few days to nail down everything!  So it was like a real-life session scene, where we're expected to be on top of our game, learn new materials fast and effectively, and be able to come out with drum parts which will work for the music.

Module 2 pushed me to work harder on my sight reading.  For me, the Module 2 Applied Sight Reading (ASR) Exercises are like Module 1 ASR Exercises, but on steroids!  With its various mixes of notes, rests, and figures (in particular, plenty of triplets, sixteenths and thirty-second notes, and don't forget the infamous fermata), these are guaranteed to be incredibly challenging, even for drummers who are already used to sight reading.  But once mastered, or at least be able to go through it, it will greatly help with our sight reading skills, plus our speed, endurance, articulation, and dynamics.  Well, I'm still not the fastest sight reader, but thanks to the Module 2 ASR exercises (plus the more challenging play-along charts), my reading skills improved.

Module 2 pushed me to review my drumming techniques.  From the way I hit a snare drum backbeat to the style of footwork I use for my bass drum technique, Sir Mike showed us the right way to proper technique in order for us to play better and execute our parts more convincingly.  Like I said about Module 1, Sir Mike's still the Quality Control guy in Module 2.  Besides showing us and reminding us about the proper hand and foot techniques, he still made sure that our execution is a musical statement.  The dynamics, the proper volume, the effective way to hit every drum and cymbal...  Sir Mike wants us not only to play better, but also to sound better.

Module 2 pushed me to further respect and appreciate the drumming gods.  It's not that I do not revere the likes of Jeff Porcaro, Steve Gadd, Dave Weckl, John Robinson, David Garibaldi, Will Kennedy, Vinnie Colaiuta, and all these amazing drummers (I love and worship them all!).  In Module 2, we learned how to play their classic drum parts correctly and with conviction.  So our respect, admiration, and fascination for these legends grew deeper.

Module 2 pushed me to become more creative.  With the thousands of amazing drum licks and chops already invented and played over the years, are we still capable of creating a new, original drum part?  The answer is YES, and Sir Mike's system made our creative juices flow, as we orchestrated our original fill-ins during the Module 2 sessions.  Plus, whether we love soloing or not (I don't consider myself a good drum soloist, and I often dread playing drum solos), there were several activities in Module 2 which challenged us to perform effective drum solos, which should still be a musical statement instead of just scattered pieces of notes, chops, and licks.

I can go on and talk more about Module 2.  But of course, I don't want to give away too much information (for the sake of future Module 2 students).  The bottom line is, Module 2 is big boy stuff. It will push you hard.  It will challenge you.  It will inspire you.  And it can even frustrate you (in a constructive way).  But at the end of the day, as long as you persevere, remain patient, and work hard on practicing and honing your craft, going through Module 2 is a very rewarding experience.

Thank you very much Michael Alba for being a wonderful and inspiring mentor.  You did it again, Sir Mike!  You are a blessing to me and my peers.  Thank you for your passion, generosity and positive spirit.  To my Module 2 Batch 3 classmates - Lawrence Nolan, Weng Saavedra, and Ed Catalan: It was an amazing Module 2 adventure with you guys.  Thanks for the friendship and support!  To Doc Jigs Asinas, Module 2 Batch 3 misses you!  To Kent Pedraja of KNR Studio in Cubao, Quezon City, thank you very much for the excellent venue for our graduation day and drumshed session!  To fellow Mike Alba Drum Program graduates Ruben Tecson, Christian Enriquez, Nigel Norris, and Otep Conception, thank you very much for all the help, brotherhood, enthusiasm and laughter during our Module 2 Graduation Day!

Best wishes to all our drumming and musical endeavors!  God bless Mike Alba Drum Program!

Photos courtesy of Ruben Tecson (copyright; posted with permission).

Mike Alba's Muscle Memory Workout Program (Module 1)

From L-R: Anthony Dio, Lawrence Nolan, Dr. Jigs Asinas, Paulo Garganta, Dom Banguis, & Sir Michael Alba.

The last six weeks have been very significant in my drumming and musical life.  I enrolled at Module 1 of Muscle Memory Workout Program of Michael Alba, one of the best drummers in the Philippines.  I just finished the program last Tuesday, and I have to say, this is among the best investments I've ever made for my drumming.  Everything I learned here, I will be carrying with me all throughout my drumming life and my professional career as a working musician.

Prior to enrolling in this program, my need for improving my drumming has grown greatly & I've been yearning for some musical inspiration.  I always see myself as an endless apprentice to the art of drumming, and I always wanted to grow and develop as an artist & take my craft to the next level.  And specifically, I also needed to improve my technique.  Just when I was searching for some education and inspiration, Mike Alba and his Muscle Memory Workout Program came in.  It was a blessing & a matter of right timing.

Batch 2.

What is the Muscle Memory Workout Program?  It is a 10-session drum curriculum designed by Mike Alba.  One session is two and a half hours long.  The workshop consists of five students per batch (five, because it's the most number of drummers Sir Mike can accommodate in his home studio in Quezon City).  The main topics covered in this drum workshop include endurance exercises, workout exercises on groove and rudiments, applied sight reading, music dictation, and developing drum charts and musical roadmaps.

I don't want to give away too much information regarding what was covered throughout Mike Alba's program (for the sake of Sir Mike's future students).  But here's what I can share.  Everything I learned in Mike Alba's program is totally practical and useful to me as a working pro.  Though I still need to continuously practice the exercises and sharpen my technique and note-reading, I instantly felt a huge difference in my playing.  In fact, just after Day 1 of the 10-day program, I can already feel and hear the difference.  And it's cool that my bandmates even noticed it.  On one gig, they were like, "Hey, there's something new here!", and "I can hear those sixteenth notes much better now!"  I'm still a work in progress, but I sure owe it to Sir Mike.

Mike Alba's modified Virgil Donati workout indeed does wonders to a drummer's hands.  Like Sir Mike, this has already become part of my pre-performance or pre-practice warm-up routine.  Sir Mike recommends that we do it at least once a day.  We can do it twice a day, and we'll get much better.   And we can do it three times a day, and we'll become invincible!  As long as this becomes part of our daily drumming routine, the results are guaranteed.  It's a great muscle memory workout for the fingers, hands, wrists, and arms, and it's a great help for our endurance, control, technique, dynamics, and articulation.

I'm already quite familiar with some of the most commonly used rudiments, such as singles, doubles, and paradiddles.  But when Sir Mike presented us his workout on rudiments, it was an added dimension for me.  First, since the rudiments were on paper, it was also a sight reading exercise, so it's a muscle memory workout for the eye.  And second, Sir Mike focused on some of the rudiments which are commonly applied on the drumkit, and he also shared some interesting ideas on how we can integrate it with our grooves and fills.  With practice and patience, these rudiments can serve as additional vocabulary in our drumming arsenal.

Admittedly, I'm a slow sight reader, and the last time I actually sight-read drum charts on a regular basis was way back during my college days with the DLSU Pops Orchestra.  Sir Mike's applied sight reading exercises are a huge help.  For me, it was like a review and a rediscovery.  This also serves as a coordination workout between the eyes and the limbs.  The sight reading pieces were written by Sir Mike, and in the program, it is played on the snare drum or practice pad.  One cool thing about this is he used some of the most commonly used figures on session work, such as eighth, sixteenth and triplet note combinations.  So this serves as another muscle memory workout for the eyes.  Sir Mike also encourages us to be melodic by trying to sing these figures & play it around the drumkit instead of just on the snare drum or pad.  Again, these can be used as additional tools in our drumming vocabulary.  Plus, Sir Mike helped me in becoming more confident with my reading skills.

My favorite part of the class is what I like to call the groove session.  This is where we listen to songs (for the program, Sir Mike has selected a repertoire of actual recordings coming from different styles and eras), then develop musical roadmaps, write drum charts, and play along to those recordings on the drumkit.  For me, this is the most musical part of the class.  Though it's my favorite part, it can be the most grueling.  Our assignments of charting the songs, learning it, and playing along with it is not as simple as it sounds.  Several songs may seem simple to play, but it's not as easy as it sounds.  Sir Mike wants to make sure that we nail it right, for these are valuable skills required for session work.  For me, these exercises also serve as training tools for our listening skills, our attention to detail, our musicality, and our discipline.  As a pro, I've been covering songs for years.  But now, Sir Mike's methods help me enhance these skills, which are essential for pro drummers who do session work or in pop/mainstream settings.  The groove sessions also taught us and reminded us of the value of respecting the music, plus we get to further appreciate the great drummers who played on the recordings.

Every class ends with a Drumometer session, where each of us plays on a pad with a gadget that records the number of single strokes we play in one minute.  At first, I wasn't really interested in developing my speed to extreme levels.  But what I appreciate about the Drumometer is it's a great practice tool that can monitor our progress.  And it's not only about speed.  It also puts a great deal on control, endurance, and technique, which are factors in developing greater speed.  And hence, the Drumometer can be tool that can help our hands become much better.

Other than the specific activities and lessons I mentioned, there are plenty more things that we have learned from Sir Mike.  Finally, I learned how to play the brushes effectively (which is one of the favorite things I've learned from Sir Mike, since brushes have been a long mystery and frustration of mine).  I also learned a few new tricks and licks around the drumkit.  It's also cool that Sir Mike is very observant of our playing, whether on the drumkit or on a practice pad.  Sir Mike is a patient and a very motivating mentor.  He also makes it a point to correct our bad habits, and he does it in a professional and constructive manner.  In my case, I've already adjusted some of my bad habits, and I'm still in the process of strengthening my left hand and my technique.  Even if the program's over, it's still a continuous learning process.  Mike Alba's program sure makes us spend more quality time on the woodshed.

I admit, it can be quite intimidating to play along to a track in the presence of one of the best drummers in the Philippines observing you nearby.  But he's a really cool teacher, and he's very easy to get along with.  There were moments too when Sir Mike gets to share his stories, such as his experiences as a pro, as a student at the Los Angeles Music Academy, and some of the famous drummers he met.  Even all these talks and his sharing of knowledge and wisdom are inspiring.

One factor that I appreciate regarding Sir Mike's program is the fact that he is very particular with quality.  We may have all the technique in the world.  But if it doesn't sound musical and if it doesn't feel great, it won't matter at all.  Sir Mike is like a quality control guy.  He wants to make sure that we're not just technically solid, but we'll also be sounding and feeling great too.  And quality means a lot on session work, which I realized and learned later on.  It seems that Sir Mike's program is highly geared towards drummers who are in the session scene or in a mainstream setting.  Hence, his program is highly recommended for drummers who aspire to have a fruitful career towards that direction.  Though it's not limited to that; anybody who simply wants to improve or enhance their skills will greatly benefit with Sir Mike's program.

Another thing I appreciate so much in Mike Alba's program is the fact that we are a class of five students.  Most drum lessons (or any other musical instrument) are traditionally one-on-one sessions.  What's great about having classmates is first, it's great to meet new friends and extend the drumming camaraderie.  Second, I get to appreciate my classmates' drumming.  We may have similarities and differences in regards to musical backgrounds, preferences & tastes, among many things.  We have our strengths and weaknesses as well.  But it's cool that we are all on the same boat.  Each of us still wants to push on and improve with our craft, which is why we're studying with Mike Alba.  It's also understood that being in a class is not about competition, which takes us to my next point.  Third, we get to gauge each other in terms of improvement.  It's like for example, when I notice my classmates already improving on their rudiments or sight reading or their Donati workout routine, I tell myself, "I better catch up!"  It's like a subconscious way of encouraging myself.  And on the other end, if some classmates are catching up or having some difficulty, the rest of us would express our encouragement.  It's not about outdoing each other.  To be in Mike Alba's classes is a brotherhood, where my respect and admiration for each of my classmates have grown as the sessions passed.

The apprentice & the master.

Our graduation day last Tuesday, December 7, was the icing on the cake.  At the final day of the program, we played our individual applied sight-reading pieces, grooved along to our special graduation day play-along track, and had a final music dictation test.  It's also cool that after all that, Sir Mike handed each of us a special Certificate of Completion.  We had a pot luck feast afterwards, and I even got to blow a candle on a chocolate cake, since it was my birthday a couple of days earlier.  And of course, during our merienda, it was more drum and music talk & sharing.  Ah, the drumming community!

Thank you very much, Sir Mike Alba.  You're a blessing to all of us.  Just when I needed improvement and inspiration, you came along like an answered prayer.  You're an awesome world-class musician and an inspiring mentor, and I'll always cherish the times spent & all the lessons I learned from you.  Continue to be an inspiration to me and to everyone.  And to my Batch 2 classmates --- Lawrence Nolan (my seatmate & our Drumometer king), Paulo Garganta (all the way from Batangas; thanks again for the coffee & all the talk on the road), Dom Banguis ("speak softly; carry a BIG stick" --- wow those are HUGE warm-up drumsticks!), and Dr. Jigs Asinas (the heavy metal guy & the most "well-compensated" among us; one of the most humble and down-to-earth dudes I've ever met) --- it's my pleasure to meet you and be classmates with you guys.  I admire and respect all of you, and studying & learning is a blast when it's spent with good people like you.  Great drumming!  Cheers to Sir Mike!  Cheers to all of us!

And so, that's all for Module 1.  Module 2, which will be set sometime next year, is in the works.  And the work in progress goes on...

*Photos courtesy of Sir Mike Alba & Dr. Jigs Asinas.

Jun Regalado Drum Lessons 2010

Legendary Filipino session drummer Jun Regalado will be accepting drum students starting this Saturday, May 15, 2010. Drummers of all levels - from beginners to professionals - are welcome. Plus, drum students will be able to choose which drumming style/s they want to learn.

This is a great opportunity for aspiring young drummers, as well as for advanced players who are still eager to learn more and improve their craft. Jun Regalado is one of the finest and most recorded drummers in the Philippines. He is also a very effective drum teacher. He has mentored a good number of professional drummers who are currently active in the Pinoy music scene.

For inquiries and schedule availability, please contact Mrs. Monina Regalado at (02)8231981 or 09156819826. Or you can send Sir Jun a message through Facebook.

The Neil Peart Influence, Part 2: The Drum Solo That Changed My Drumming Life

Embedded below is Rush drummer Neil Peart's drum solo, The Rhythm Method, which was recorded during the Hold Your Fire tour in 1988, and was featured in their A Show Of Hands video. I first saw this concert video when I was in high school. I was 14 or 15 back then. A Show Of Hands was the first Rush video I've ever seen, and I'll never forget it. I was becoming a huge Neil Peart fanatic back in the day, and this was my first chance of watching my biggest drum hero do his thing behind his signature wrap-around drumkit.

This drum solo changed my drumming life. I was totally floored after watching this drum solo for the first time. After watching this drum solo, and the whole concert, I really worked hard on my chops.

Neil Peart is well-known for his structured drum solos, which are major highlights in every Rush show throughout the years. Though Neil's solos are structured or based on a certain framework, he has the liberty to switch certain "composed" parts and improvise in every bit, which makes every drum solo unique show after show. I've read on one interview or article that Neil's drum solos are somehow autobiographical. There are certain elements in Neil's solos which reflect some of his likes, his personality, even some of his humor, and some of the hardships he's gone through during his woodshedding years. A specific example is the cross-sticking pattern between two drums, which he said he took a great amount of time and effort to work on.

The drum solo is preceded by Rush's classic instrumental masterpiece YYZ, which is in my experience, a technically challenging piece to play. Around the 3:20 mark, at the end of YYZ, Neil opens his drum solo with a swinging, Krupa-style tomtom/four-on-the-floor kick drum pattern, which will later be complemented with a melodic multi-cowbell part. It's an exciting opener for a drum solo, which is like Neil's way of saying to the audience, "Get ready now... Hold on to dear life... It's time for my drum solo!" Neil would improvise through this part, then end it with an incredible cross-sticking pattern between the snare drum and the floor tom at the 4:14 mark. I went nuts after seeing that for the first time. I went through numerous rewinds, then worked on it during practice for hours... Up to this day, I still find it as one of the most challenging things to play on the drumkit. Neil already took it notches higher in his current solos. Nowadays, he's doing the cross-sticking on three drums - his snare, the floor tom on his right, and another floor tom on the left side of his hi-hat.

After that arm-twister part, Neil highlights his snare drum technique and dynamics, beginning at the 4:20 mark. At the 5:25 mark, he begins to improvise around the drumkit, using his trademark sharp hi-hat hits and some double bass licks. At the 5:38 mark, he incorporates his "Pieces of Eight" composition, played on his MIDI trigger mallet pads, which sampled marimba sounds. After that, he improvised around his drumkit, then goes for the grand finale at the 6:28 mark with a big-band inspired theme. A staple in his drum solos, this is a reflection of Neil's respect and tribute to the great jazz and big band drummers, and his sense of drumming history and heritage.

The 1988 Rhythm Method may already be outdated by his current drum solos, which have become much longer and more elaborate, added with new features such as the waltz ostinato, the "Scars" pattern, and a few more compositions. But for me, The 1988 Rhythm Method has set the standard. In order to understand Neil's solo technique, I think it's good to go back in time and see how Neil did it in '88.

No doubt, Neil Peart is one of the greatest drum soloists ever. He has created a signature compositional drum solo which is his very own; a reflection of its composer. It may be imitated, but it can never be duplicated. And his drum solos have inspired millions of drummers all over the world. I may never play a drum solo like Neil, and it's still a challenge for me to play Neil's solo licks whenever I'm woodshedding. But I would always carry with me the things I learned from his solos. Neil Peart and his solos have made me a better drummer, and it continues to inspire me up to this day.

The Neil Peart Influence, Part 1: How I Got Into Neil, and Why I Revere Him So Much

Today is the birthday of Rush drummer Neil Peart. Happy Birthday!!

Many great drummers from past to present have inspired me to become a better drummer and musician. But no one else has inspired and influenced me more and in a life-changing way than Neil Peart. He is, and will always be, my biggest drumming hero; my number one drummer of all time. He not only influenced me as a drummer and musician. The man is a genius; an intellectual, a philosopher, a writer, a traveller... a brilliant and worldly human being with an insatiable thirst for knowledge and a never-ending pursuit for learning.

Many of my long-time friends are familiar with my reverence for Neil Peart. Some of you might wonder how a drummer like me, who is currently grooving with an R&B band on a regular basis and playing mainstream music for a living, was moved by one of the greatest rock drummers ever.
I first discovered Neil Peart and Rush back in high school. I was around 14. One day in school, I was hanging out during breaktime when I saw my friend and fellow drummer Rommell Garcia, and he's got this cassette tape in his shirt pocket. Out of curiosity, I asked what he had there, and it was Rush's 1989 live album, A Show Of Hands. That was the first time I saw a hardcopy Rush album. I was already reading Modern Drummer that time, and I've seen those old Ludwig and Zildjian ads with Neil on it, and he was praised so much by his contemporaries and mentioned frequently in the magazine (and they still do up to this day). I also recall a Neil Peart reply to one Ask A Pro inquiry, and I remember how long and detailed and convincing his response was. So, I was like, I have to check out this Neil Peart guy. I borrowed Rommell's tape, then listened to it at home after school.

From that moment on, life and drumming were never the same again.

Yes, I've become one of them; a Peart disciple; one of those thousands of drummers all over the world whose life was changed and enriched after hearing Neil and Rush for the first time. It must be some kind of Neil Peart obsession phase or syndrome, which I'm sure many drummers can relate with. I instantly became a fan, and got hooked to his crafty, muscular, and very creative drumming. After listening to A Show Of Hands for the first time, that was it! Going through the first few songs in the live album - The Big Money, Subdivisions, Marathon... plus numerous rewinds to recall those incredible drum parts... It was magic for me. I made a duplicate of that cassette tape, then studied it for hours and hours.

And the obsession continues. After that, I tried to look for all the Rush recordings I can find (their albums are pretty much hard to find on this side of the world). I went through my magazines and looked for any Peart-related article. I went through their recordings one by one... Moving Pictures, Permanent Waves, 2112... And the list goes on. I also got a video copy of A Show Of Hands, thanks to my buddy Michael Ong (guitarist of Fuseboxx). That was the first Rush/Peart video I've ever watched, and thanks to that, it became visually easier for me to figure out the things he played on his massive wrap-around double bass drumkit. The power, precision and craftsmanship of his drumming is phenomenal; not to mention, his integration of electronics and percussion instruments in his elaborate set-up. Seeing his Rhythm Method drum solo on video also took my Peart studies to another level, finally seeing how he did his famous solo. That time, the cross-sticking between the snare and floor tom was the killer for me. It took me all summer long figuring it out and trying to play it on my kit.

Up to this day, I still follow Rush and Neil Peart. Rush's newer albums may have mellowed by Rush standards, as compared to the more aggressive and exploratory nature of their classic 70's and 80's recordings. But the magic is still there, and they never fail to amaze me. I recently listened to their latest live recording, Snakes and Arrows Live, and they still sound so incredibly heavy, after over three decades of touring and thousands of concerts. Rush's music and Neil's drumming is timeless.

I recently got my October 2009 Modern Drummer, and it has this feature on Neil, titled "Reasons To Love Neil Peart". I am shocked that author Adam Budofsky confessed in the article that he "never loved Neil Peart", meaning, he never went through a Rush/Neil Peart obsession phase. I thought it was funny. But out of curiosity, and in order to confront his "Neil problem", he went through his research for this article, to cite the importance of Neil Peart in the art of drumming. He also invited 30 drummers who served as "panels of Neil experts", which is amazing because these drummers come from all different fields and styles of music, from jazz to R&B to metal. It goes to show that Neil's influence transcends musical boundaries; Neil's not just a rock drummer's drummer.

"Reasons To Love Neil Peart" noted 15 reasons/points on why Neil Peart is revered by many drummers. Here's my take on each of those 15 reasons...

1. Inspiration
Neil Peart's intense passion for drumming, music and life is infectious. Drumming-wise, his style has set a new standard, and has generated so much excitement to many drummers.

2. Precision and Consistency
Rush is known for replicating their recordings in their live shows, and it's amazing that after all these years, Neil is still very solid and consistent. Show after show, he is precise and consistent with his signature drum grooves and fills. And I agree, that's a hard thing to do.

3. Rising Above Technique
Neil is a technical drummer. But what I really admire the most is how creative he is in using his technique to make their music better and more meaningful. The rhythms and fills he created, it really fits the music of Rush.

4. Sound
Neil's drumkit sounds compliment his playing style. Personally, I don't prefer high tunings on toms. But according to the article, Neil tunes his toms very high (essentially in bebop range), which leads to an exciting, unique, and aggressive sound. I agree that it works very well on Rush's recordings and concerts. Neil's toms are very clear and articulate; one can hear the notes and identify which tom he's playing. Adding to his drum sounds are his signature Sabian Paragon cymbals, which has the presence, clarity, and cutting power that can match his drum sounds.

5. Ability To Garner Respect, Even From Non-Fans
Whether you're a Rush/Neil fan or not, Neil is very well-respected in many aspects. Everything he does, whatever he plays, writes, thinks, or stands for, he does it with dignity and conviction.

6. Expertise At Handling Odd Meters
My first odd meter lessons were Soundgarden, which brought me an understanding of how these are used in songs. Then, when I discovered Neil and Rush, they took my odd meter schooling to the next level. The best example is Limelight, where Neil smoothly shifts between 7, 6, 3, and 4 throughout the song. Other examples of notable Rush songs with multiple meter changes are Jacob's Ladder (from Permanent Waves), Subdivisions (from Signals), and Freeze (from Vapor Trails). I also dig how Neil mathematically breaks down or plays around time. Examples are the "7/4 War Furor" section (3:54) of By-Tor And The Snow Dog (from Fly By Night), and the 7/8 instrumental sections of Tom Sawyer (from Moving Pictures). Thanks to Neil and Rush, when I moved on to Dream Theater, Tool, Porcupine Tree, and other modern progressive groups who heavily use odd meters, I can already "get it".

7. Elaborate And Impeccably Designed Kit Setups
For me, Neil is the ultimate "poster" drummer. I enjoy looking at photos of Neil with his massive and beautifully designed drumkits. Neil's drumkits are also among the most recognizable, especially his wrap-around kit mounted on a rotating octagonal stage. Neil's use of multiple percussion instruments such as crotales, tubular bells, cowbells and blocks are also noteworthy. Many drummers dream of having a drum set-up as impressive as Neil's. Some fanatics even duplicated Neil's set-up.

8. Desire For Self-Improvement
Neil considers himself as an endless apprentice of his chosen art form. Even if he's already among the greatest drummers in the world, successful, multi-awarded and well-respected, he's not the kind of person who will be easily contented, resting in his laurels. He has the endless desire to further improve himself. During the 90's, he went to master teacher Freddie Gruber for further lessons, which has significantly improved his sense of feel.

9. Drum Solos
Neil Peart is a master of the art of soloing. His innovative structured drum solos, a frequent highlight on Rush shows, continues to awe and inspire many drummers.

10. Precisely Orchestrated Parts
Neil has created some of the most memorable drum parts in rock music. His grooves and fills on classics such as Tom Sawyer, Limelight, and YYZ (all from Moving Pictures) have become integral parts of the songs. These songs won't sound the same without those exact signature drum parts.I also dig Neil's timely use of percussion instruments and effects cymbals. Fine examples of songs with well-orchestrated drum and percussion parts are Mystic Rhythms (from Power Windows) and Tai Shan (from Hold Your Fire).

11. Incorporation Of Electronics
Neil is among those great drummers who are in the forefront of electronic percussion technology. His integration of electronics in his set-up is relevant especially during Rush's "synthesizer years" in the 80's.

12. Hi-Hat Work
Whether incorporating it on fills or driving sixteenth notes, Neil's use of the hi-hat is noteworthy. Some fine examples of Neil's amazing hi-hat work are La Villa Strangiato (from Hemispheres), New World Man (from Signals), The Big Money (from Power Windows), and Prime Mover (from Hold Your Fire).

13. Support Of Other Players
Somehow, I see Neil as an ambassador of drumming. He is known to acknowledge or give credit to fellow drummers. Even if he's more of a private person and is seldom seen on drumming events, he is very supportive to the drumming community.

14. Burning For Buddy
Neil is responsible for producing Burning for Buddy, an all-star drumming tribute to the late great Buddy Rich. It's wonderful that Neil thought of organizing such a project to honor one of the greatest drummers who ever lived.

15. Elevation Of The Perception Of Drummers
Neil's impact on all of us drummers from different walks of life and fields of music is very significant. Neil has helped put drummers on the spotlight. He is continuing how Gene Krupa elevated the status of drummers as being the guys who "just hit things and make noises on the side." For me, Neil is a "thinking man's drummer". His care, intelligence, and worldliness (according to the article), plus his boldness, creativity, passion, and inner drive and desire brought the art of drumming to higher levels. Add his brilliance as a lyricist and writer & his zest for life, reflected from being a reader, philosopher, adventurer, traveller, motorcyclist, and cyclist. Neil Peart is one brilliant human being; simply one of the most inspiring individuals on earth.

 

All photos from Drummerworld.com.

More Neil Peart blogs soon...

The Jeff Porcaro Influence

Today is the death anniversary of Jeff Porcaro, one of my favorite drummers. Seventeen years ago, he succumbed to a heart attack, shocking the entire drumming and music community. He was only 39 when he passed away.

I would occasionally imagine how drumming and music would be right now if Jeff is still alive up to this day. I'm sure there would be plenty more incredible drumming performances from the master. And how I wish he's still around, because today's kids can learn so much from him. His groove, his great feel, his sense of emotion, his impeccable taste, his genuine musicality... Jeff made the modern music world a much better place. Though he may be gone, his spirit is still very much alive.

I consider Jeff Porcaro as one of my major drumming and musical influences. I learned to love grooving and how to make the song more heartfelt. In fact, when we were recording Pangako, I was thinking of Jeff a lot. He was my drumming inspiration for that song. When I was figuring out my drum parts for that song, I was often thinking, "If I were Jeff, how would I approach this tune?" If I didn't have that spirit of Jeff in me, I wouldn't have played Pangako like how you hear it right now.

Jeff's influence on me is so strong that some of his principles have already been instilled in me. Nowadays, I prefer to simply groove, play for the song, and make it feel good. I aim to make the music beautiful and more meaningful. Unlike before, I was finding ways to highlight my technique and chops. I guess most of us musicians have gone through that phase, where in we are trying to prove something and impress our audience. I may have already matured as an artist (though I'm still growing). Now, I'm not looking for a solo spot or any kind of drumming highlight reel. I'm no longer playing to impress people in a technical sense. It's no longer about how much chops I can do. I'm now trying to make a connection; I want listeners to feel the music. That's the magic of Jeff. His heart and soul are infused within the songs he played on. That's the most significant thing I've picked up from Jeff.

Toto members have stories about how Jeff was burning behind the drumkit on certain rehearsals and studio sessions. They would tell him that he should have a solo spot during their shows, but Jeff was like, "No. That's not me! I just want to groove." Jeff actually had the chops and the technique to stretch out. But he was quite vocal in how he hates doing drum solos. Seeing and hearing Jeff perform a drum solo may be a thrilling thought. But to listen to his drumming on numerous recordings is such a musical bliss! He may have had the tools to solo, but for me, he doesn't need to. His drumming speaks for itself. Jeff had so much personality and class.

I discovered Jeff back in college, when I was with the DLSU Pops Orchestra. Thanks to my friend, the great drummer Junjun Regalado, I became more familiar with Jeff's works. Like most drummers, it was with Toto where I first heard Jeff. We all know the obvious - Africa, Hold The Line, 99, I'll Be Over You... But like most drummers too, it was Rosanna which made its very huge mark. That signature rolling shuffle, inspired by Bernard Purdie & John Bonham... Oh it feels so good, no matter how many times you listen to it over and over. And oh how I felt the agony when I was still learning how to play it! Thanks to Junjun, he taught me Jeff's Rosanna shuffle groove, and encouraged me a lot. From that moment on, shuffles weren't the same again for me. Shuffle grooves are now amongst my favorite things to play on the drumkit.

Another thing I dig so much about Jeff's playing is his way of interpreting love songs. Through careful listening, we can really feel the expression on Jeff's drumming, which complements the song with so much sincerity. As far as I'm concerned, Jeff Porcaro is the best drummer for love songs. I can recall love songs which not only made me cry because of its message or what it's expressing, but also because of how Jeff interpreted it. It proved to me how powerful drums can be in expressing emotions.

For me, as a drummer, playing and understanding love songs are essential. It is key to a more convincing sense of feel. It unleashes emotions. It makes one a more sensitive human being. No matter how cheesy some love songs can be, try playing along to it. It's no joke. Get into your Jeff Porcaro mode. That must be the secret; well, at least for me.

I was recently doing some Jeff Porcaro research on the web, and I found this site which lists and updates Jeff's discography (see links below). Check it out. You'll be surprised with some of the songs Jeff played drums on. It's unbelievable.

Here is a list of selected Jeff Porcaro recordings, and some of my thoughts about it.

With Toto:

Child's Anthem (from Toto I, 1978) - I remember playing this song with the DLSU Pops Orchestra. It's one of the first pieces I ever played with Pops. The rock shuffle is gorgeous.

I'll Supply The Love (from Toto I, 1978) - This is a fine example of a groovy rock song, which best represts Jeff's style and personality. Quarter notes on the snare, disco-esque grooves on the verses and instrumental section, tasteful fill-ins, perfectly-placed crash cymbal accents, and the exciting drumming on the outro for the win!

Hold The Line (from Toto I, 1978) - Tight, tight, TIGHT! We can't play this tune in any other way. A rock-solid 12/8 groove, and it feels so SO good!

Mama (from Hydra, 1979) - This is another fine example of Jeff's mastery of the shuffle groove and feel.

White Sister (from Hydra, 1979) - Check out what Jeff did at the fade-out ending of this song, beginning at the 5:20 mark... Bonham's influence on Jeff is strong.

Goodbye Elenore (from Turn Back, 1981) - Look for this track's music video on YouTube. Jeff is ripping here!

Rosanna (from Toto IV, 1982) - Jeff's signature song, featuring his signature shuffle groove. Only Jeff!

Lion (from Isolation, 1984) - The opening track of the album. This rocks hard and grooves so tight!

Till The End, Without Your Love, I'll Be Over You, and Somewhere Tonight (from Fahrenheit, 1986) - Fahrenheit is a fine album, and these 4 tracks feature incredible drumming performances from Jeff.

Anna (from The Seventh One, 1988) - One of my favorite Toto ballads. Jeff hit the spot.
Stop Loving You (from The Seventh One, 1988) - I used to play this song with my bandmates from the DLSU Pops Orchestra. One of my favorite Toto songs to play drums on.

Jake To The Bone (from Kingdom Of Desire, 1992) - Kingdom Of Desire is probably my favorite Toto album, and the heaviest during the Porcaro era. Jeff was able to finish recording this album before he died. The band's music in this album seems to be heading towards a heavier and more progressive musical direction. The instrumental track Jake To The Bone may be Jeff's best drumming performance in the album, with its amazing chops and odd-time signature grooves. Could this be the new musical direction where Jeff was headed? Could this be Jeff taking his already-established drumming prowess to greater heights? Only God knows what might have been...


With other artists:

Take This Love (Sergio Mendez) - Those fill-ins! I'm sold.

When A Man Loves A Woman (Michael Bolton) - Jeff's drumming on this love song is PERFECT. The big-fill in on the song's climax? What a beauty.

Is There Something (Christopher Cross) - That big fill at the end of the last chorus is a signature Porcaro fill, and I love how it complemented the "'coz part of me will always be with you" line. I cry to this song.

Arthur's Theme (Christopher Cross) - Yes, Jeff played on this...

Only Love (Stephen Bishop) - ...and this...

We're All Alone, Look What You've Done To Me (Boz Scaggs) - ...and these...

Love Is All That Matters (Eric Carmen) - ...and this! We all thought some love songs are cheesy... Until we found out who played in it.

I Keep Forgetting (Michael McDonald) - Grooooovy!! Warren G. used this groove on his rap hit Regulate.

Light and Shade (Fra Lippo Lippi) - I thought Jeff had some Steve Gadd vibe in this track. Elegant.

The Girl Is Mine, Beat It, Human Nature, The Lady In My Life, and Heal The World (Michael Jackson) - These are the MJ tracks Jeff played drums on. The Girl Is Mine and The Lady In My Life are tight!

Jeff Porcaro on the web:

An online reproduction of Modern Drummer's tribute to Jeff Porcaro, December 1992
Jeff Porcaro's Discography - Toto's Website
Jeff Porcaro Session Tracks list
Wikipidea
Drummerworld.com
MySpace tribute sites - jeffporcarotribute, jeffporcarototo

Plus, I highly recommend that you look for Jeff Porcaro's instructional video.

Note: I may update or add items to this list when necessary.




Jeff Porcaro photos from drummerworld.com.

Dom Famularo Drum Clinic in Manila

Dom Famularo Drum Clinic - Yupangco Showroom, Makati City. 11 July 2006, 5pm.
Sponsored by Sabian Cymbals, Vic Firth Drumsticks & Yupangco Music (local distributor of Sabian and Vic Firth products).

*****

Dom Famularo is famous in the drumming world, in particular within drum clinic circuits. In fact, he won again on Modern Drummer Magazine's 2006 Readers Polls. He was voted as the # 1 Clinician in the world. I read stories about Mr. Famularo being an excellent speaker and motivator. And of course, drummer friends who are more familiar with him have told me about his excellent drumset technique. Prior to the drum clinic, I did my research, checking out his website, reading his testimonials & about how great he really is as a world ambassador of drumming.

The clinic began at 5pm. I arrived just on time, together with my drummer buddy Ernest Ramos, who hitched a ride with me because his car wasn't available. The weather was gloomy, as it rained late afternoon. I brought with me my Tama Starclassic Maple snare drum for signing. Ernest and I entered the showroom. I noticed all the drummers in the house. It wasn't as crowded as past drum clinics, which is relieving because that means we can easily find a great spot.

The first guy whom I looked for to greet was JP Buduan, another drummer friend of mine who happens to work for Yupangco. He's the product manager of Sabian Cymbals and Vic Firth Drumsticks, so he was really busy preparing for this event. We found him near the area where the lounges (or should I say, former music rooms) are located. Beside him is the main man himself, Dom Famularo! JP was entertaining Mr. Famularo while waiting for the cue to start the clinic.

Dom Famularo is a familiar face in the drumming world. I always see photos of him in my Modern Drummer magazines, Sabian catalogs and other drumming-related publications and websites. He's described as an affable man. He always wears his trademark big smile. I instantly recognized his familiar grin the moment I first saw him. There's so much positive aura coming from Mr. Famularo. Every time people pass by and greet him, he gives back a warm smile and a handshake. He's such a friendly dude. What a down-to-earth guy! No superstar attitude whatsoever.

By the way, plenty of familiar drummers in the crowd - Benjie Mendez, Wendell Garcia, John Angeles (MYMP), Dindin Moreno (Parokya ni Edgar), Bennii Obana, Vinci Rodriguez, Paolo Manuel, Cyrus Laroco, Mikah Azurin, Steven Mora (Sitti)... lots of fellow drummers from the Pinoydrums community... The local drumming community is one solid bunch.

Clinic begins. Dom enthusiastically greets everybody. Yeah, I'm calling him by first name basis; that's how friendly the man is. He began by asking everybody to come closer to the stage. Audience instantly responded. The drumkit was set up sideways, which is always good so that people can have a good view of what he's doing behind the kit.

The next hour and a half was profound and meaningful. I can say that this is one of the best drum clinics that I've ever attended. The man is indeed an excellent motivator and storyteller. He's so funny and entertaining - making voices, being animated at times & cracking punch lines at the right moment. It wasn't so boring & too technical, and he did a great job on grabbing everyone's attention.

I've learned so much from this drum clinic. Here are some highlights:

Dom encouraged everybody to follow their dreams. Work hard on it. Go crazy! Don't give a damn if others think you're crazy. Let others' disbelief and discouragement fuel our passion. He shared a funny story of his son's school teacher calling him up, asking him about his profession of hitting drums with sticks, confirming if his child is telling the truth & inquiring how he (Dom) makes money out of it.

Dom emphasized the importance of commitment, dedication and perseverance. Be an eternal student of drumming. Never stop learning and improving. It's a life-long cycle.

Dom played along to "Song For Jeff", a song that he wrote which pays tribute to his friend, the late great Jeff Porcaro. The song was so fitting with its groovy nature and Lukather-ish guitars. Very appropriate!

Dom explained his set-up & his open-handed playing style by telling a story of his cross-stick woes, and the day he asked for a metal saw so that he can shorten the height of his hi-hat stand!

Dom sighted Albert Einstein as an inspiration in problem solving & method of thinking. We cannot solve new problems with old solutions.

Dom performed a spontaneous and entertaining drum solo. Dom demonstrated his creative flair & his skills with dynamics, double bass & the Moeller motion. He even showed elements of humor during his solo.

Dom explained how to maximize one's drumming through movement. He mentioned and demonstrated the Moeller technique. Along the way, he told funny stories of his drum teachers Joe Morello & Jim Chapin. He also told a funny story about his experience with the legendary Buddy Rich.

During Q & A, a drummer asked what his favorite recording is. Dom said, his favorite recording is a video of his three children when they were 5, 3 & 1, tapping a rhythm on a table. Later on, he mentioned his top 3 favorite musical recordings - Buddy Rich on West Side Story, Joe Morello on The Dave Brubeck Quartet's "At The Carnegie", and Steve Gadd on Steely Dan's Aja.

*****

Dom concluded his clinic by playing along to another high-energy track, which made all of us rise to a standing ovation afterwards.

I felt so inspired after the clinic, and I'm sure everyone in the room felt the same way. After the clinic, instead of taking a breather, Dom enthusiastically welcomed drummers who want to post for photos, have his autograph and shake hands & talk with him. And yes, he's still wearing that big smile of his! I approached him, shook his hands, then said to him "Inspiring! Now I know why you're the number one clinician in the world." He replied with a huge smile and a brotherly tap. He must be the friendliest, most approachable & most humble famous drummer that I've ever met! I can't imagine this guy wearing a negative facial expression. All positive vibes!

I feel so motivated, I arrived home very happy. I inspected the new autograph on my snare drum, logged in on his website, took note of his favorite recordings, uploaded the photos, and now, finishing this blog. Oh another wonderful day of drumming! I'm crazy! Thank you, Dom.

Words From The Wise

Some of my favorite drummers’ quotes...

Source: Modern Drummer, 20th Anniversary issue, January 1996

“Adulation is nothing without self-respect.”

Neil Peart

“You just have to keep projecting that you will be there. Whatever you dwell on long enough, use your powers of concentration on, dedicate yourself to, and persist at, you will bring to fruition. I suppose it’s a holdover from the early days when I practiced. There was nobody twisting my arm to practice eight hours a day. I just did it because that’s what I wanted.”

Terry Bozzio

“Basically, work is its own reward. If you are into it, the work justifies itself. Your work and your playing will show you something about yourself. Work and learn. That’s what I’ve been doing, and what I’ll continue to do.”

Bill Bruford

“You can’t be everything; nobody is everything. You just do what you do, and you try to do that as well as you can. And if somebody doesn’t like it, too bad.”

Vinnie Colaiuta

“When you say you’ve been influenced by someone, it should mean that you took certain things from that person’s style to help you find your own direction. It’s a chain that goes on, and you can’t avoid it. Nobody can come through here and say that they didn’t come from somebody else.”

Jack DeJohnette

“Follow your bliss. That’s the key to life. Whatever excites you, follow that. Most people don’t have the guts to do it, or they don’t recognize it when it happens.”

Terry Bozzio

“I do believe that the artists who have really taken the time to develop their craft and pursue the part of themselves that stands out in any situation, and that pursued their musical personality, I think they seem to hit longer. They may not get rich overnight, but they last longer. Sometimes they do get rich overnight!”

Max Roach

“I think the second you tell yourself you can’t do something, you’re not going to be able to. I’m not that way. I’ll try something. I might fall flat, but if I don’t try, it won’t ever work.”

Billy Cobham

“I’ve always had people who were mentors, people who really gave me a lot of inspiration – and also, people who really believed in my talent. I find that to be a really important aspect in the development of a player, especially regarding confidence. I notice that people who don’t grow up with a mentor-type person sometimes struggle with a level of confidence.”

Steve Smith

“I’ve never been terrified about being able to live up to any reputation. Because my whole thing is, number one, I don’t think that much about the reputation, and number two, I just want to get better.”

Dave Weckl

“I’m forever trying to do something else with whatever I’ve already been involved in. But at least you keep on trying, because if you get caught up in formulas that you know will work, it can stunt your creativity.”

Max Roach

“You’d be surprised at how good it makes you feel when you send an audience home happy. I feel good when I hear people go out saying, ‘Man, I really enjoyed myself tonight.’ You might help somebody get through the next day, or even the next few days. It is profound fulfillment to know that you are contributing to someone’s happiness, even your own.”

Philly Joe Jones

“Everyone has prejudices and fears. But anyone with experience knows that if you do take a couple of years to study something, several years later you will be very glad that you spent that amount of time improving yourself. Sometimes you don’t realize how much good something has done until years later.”

Tony Williams

Eight Essentials of the Artist Drummer

Eight Essentials of the Artist Drummer

Solid Time

First and foremost is the ability to keep solid time. You can develop this by using a metronome every time you practice on the pad. Without a solid time foundation, you'll never be able to build solid chops.

Musicality

Learning how to play musically is something that comes naturally to some and takes lots of practice for others. The key is to listen to as much music as you can; and when playing with other musicians, listen to each of them and enhance the overall sound of the band. Never overpower it.

Authenticity

Learn to play many styles of music and play them all with an authentic feel. This goes for the drum solos and breaks as well. Listening to the best bands in each musical genre will help you develop this ability.

Never Overplay

Notes may be good, but rests are even better. Develop the ability to fill in the right places, but learn when to lay back and let the other band members have some too.

Good Dynamics

Drummers have a tendency to cook at loud levels but die when volumes get low. Work hard to "cook" at all dynamic levels, from ultra-soft to mega-loud.

Strong Chops

Develop the fastest chops and the best coordination you possibly can. Why? Because you need to be able to play anything that comes to mind. If you get a great idea in the middle of a song but fail to execute it properly, you'll completely blow the groove. The best players have the ability to play anything that comes to mind, effortlessly. That's want you want to strive for.

Early Bird

Although not related to your performance on stage, this is directly related to the number of opportunities you'll get to appear on the stage! No leader likes holding up the gig so the drummer can finish setting up. Try to get to the gig early enough so you can set your gear up and have at least 20 minutes to relax before show time.

Positive Attitude

This is the eighth and final essential element of an artist drummer. Positive people radiate an energy that is infectious and makes everybody around them feel great and play better. Louie Bellson has this ability.

Negative people, on the other hand, drain you and leave you totally exhausted. Life's too short for that. Don't hang around the negative types and if you have tendencies yourself, change. It may not be easy but you can do anything, if you want it bad enough.