Drum kit music intrument
A drum set – also called a drum kit, trap set (an abbreviation of the word "contraption")[1] or simply drums – is a collection of drums, cymbals and other percussion instruments, which are set up on stands to be played by a single player,[2] with drumsticks held in both hands and the feet operating pedals that control the hi-hat cymbal and the beater for the bass drum. A drum kit consists of a mix of drums (categorized classically as membranophones, Hornbostel-Sachs high-level classification 2) and idiophones – most significantly cymbals, but can also include the woodblock and cowbell (classified as Hornbostel-Sachs high-level classification 1).[3] In the 2020s, some kits also include electronic instruments (Hornbostel-Sachs classification 53). Also, both hybrid (mixing acoustic instruments and electronic drums) and entirely electronic kits are used.
A standard modern kit (for a right-handed player), as used in popular music and taught in music schools,[4][5][6] contains:
- A snare drum, mounted on a stand, placed between the player's knees and played with drum sticks (which may include rutes or brushes)
- A bass drum, played by a pedal operated by the right foot, which moves a felt-covered beater
- Two or more toms, played with sticks or brushes.
- A hi-hat (two cymbals mounted on a stand), played with the sticks, opened and closed with left foot pedal (it can also produce sound with the foot alone)
- One or more cymbals, mounted on stands, played with the sticks
All of these are classified as non-pitched percussion, allowing the music to be scored using percussion notation, for which a loose semi-standardized form exists for both the drum kit and electronic drums. The drum kit is usually played while seated on a stool known as a throne. While many instruments like the guitar or piano are capable of performing melodies and chords, most drum kits are unable to achieve this as they produce sounds of indeterminate pitch.[7] The drum kit is a part of the standard rhythm section, used in many types of popular and traditional music styles, ranging from rock and pop to blues and jazz. Other standard instruments used in the rhythm section include the piano, electric guitar, electric bass, and keyboards.
Many drummers extend their kits from this basic configuration, adding more drums, more cymbals, and many other instruments including pitched percussion. In some styles of music, particular extensions are normal. For example, some rock and heavy metal drummers make use of double bass drums, which can be achieved with either a second bass drum or a remote double foot pedal.[8] Some progressive drummers may include orchestral percussion such as gongs and tubular bells in their rig. Some performers, such as some rockabilly and funk drummers, play small kits that omit elements from the basic setup.
History[edit]
There are records of them from as early as 5500 BC. The drums found were made with alligator skins and they have been found in China, where they were used mostly for religious purposes. Drums have been used for communication purposes throughout history.
Before the development of the drum set, drums and cymbals used in military and orchestral music settings were played separately by different percussionists; if the score called for bass drum, triangle and cymbals, three percussionists would be hired to play these three instruments. In the 1840s, percussionists began to experiment with foot pedals as a way to enable them to play more than one instrument, but these devices would not be mass-produced for another 75 years. By the 1860s, percussionists started combining multiple drums into a set. The bass drum, snare drum, cymbals, and other percussion instruments were all struck with hand-held drum sticks. Drummers in musical theater shows and stage shows, where the budget for pit orchestras was often limited, contributed to the creation of the drum set by developing techniques and devices that would enable them to cover the roles of multiple percussionists.
Double-drumming was developed to enable one person to play the bass and snare with sticks, while the cymbals could be played by tapping the foot on a "high-boy"... With this approach, the bass drum was usually played on beats one and three (in 4
4 time). While the music was first designed to accompany marching soldiers, this simple and straightforward drumming approach led to the birth of ragtime music when the simplistic marching beats became more syncopated. This resulted in a greater swing and dance feel. The drum set was initially referred to as a "trap set", and from the late 1800s to the 1930s, drummers were referred to as "trap drummers". By the 1870s, drummers were using an "overhang pedal". Most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05.[9] Liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist (thus the term "kick drum"). The bass drum became the central piece around which every other percussion instrument would later revolve.
William F. Ludwig, Sr., and his brother, Theobald Ludwig, founded the Ludwig & Ludwig Co. in 1909 and patented the first commercially successful bass drum pedal system, paving the way for the modern drum kit.[10] Wire brushes for use with drums and cymbals were introduced in 1912. The need for brushes arose due to the problem of the drum sound overshadowing the other instruments on stage. Drummers began using metal fly swatters to reduce the volume on stage next to the other acoustic instruments. Drummers could still play the rudimentary snare figures and grooves with brushes that they would normally play with drumsticks.
20th century[edit]
By World War I, drum kits were often marching band-style military bass drums with many percussion items suspended on and around them. Drum kits became a central part of jazz, especially Dixieland. The modern drum kit was developed in the vaudeville era during the 1920s in New Orleans.[11]
In 1917, a New Orleans band called "The Original Dixieland Jazz Band" recorded jazz tunes that became hits all over the country. These were the first official jazz recordings. Drummers such as Baby Dodds, Zutty Singleton and Ray Bauduc had taken the idea of marching rhythms, combining the bass drum and snare drum and "traps", a term used to refer to the percussion instruments associated with immigrant groups, which included miniature cymbals, tom toms, cowbells and woodblocks. They started incorporating these elements with ragtime, which had been popular for a couple of decades, creating an approach which evolved into a jazz drumming style.
Budget constraints and space considerations in musical theatre pit orchestras led bandleaders to pressure fewer percussionists to cover more percussion parts. Metal consoles were developed to hold Chinese tom-toms, with swing-out stands for snare drums and cymbals. On top of the console was a "contraption" tray (shortened to "trap"), used to hold items like whistles, klaxons, and cowbells, so these drums/kits were dubbed "trap kits". Hi-hat stands became available around 1926.[10]
In 1918 Baby Dodds, playing on riverboats with Louis Armstrong on the Mississippi, was modifying the military marching set-up and experimenting with playing the drum rims instead of woodblocks, hitting cymbals with sticks (1919), which was not yet common, and adding a side cymbal above the bass drum, what became known as the ride cymbal. Drum maker William Ludwig developed the "sock" or early low-mounted high-hat after observing Dodd's drumming. Ludwig noticed that Dodd tapped his left foot all the time. Dodds asked Ludwig to raise the newly produced low hats nine inches higher to make it easier to play, thus creating the modern hi-hat cymbal.[12] Dodds was one of the first drummers to play the broken-triplet beat that became the standard pulse and roll of modern ride cymbal playing. He also popularized the use of Chinese cymbals.[13] Recording technology was crude, which meant that loud sounds could distort the recording. In order to get around this, Dodds used woodblocks and the drums as quieter alternatives to cymbals and drum skins respectively.[14]
In the 1920s, freelance drummers were hired to play at shows, concerts, theaters, clubs and support dancers and musicians of various genres. Some drummers in the 1920s worked as foley artists. During silent films, an orchestra was hired to accompany the silent film and the drummer was responsible for providing all the sound effects. Drummers played instruments to imitate gun shots, planes flying overhead, a train coming into a train station, and galloping horses etc.
Sheet music from the 1920s provides evidence that the drummer's sets were starting to evolve in size and sound to support the various acts mentioned above. However, by 1930, "talkies" (films with audio) were more popular, and many were accompanied with pre-recorded soundtracks. This technological breakthrough put thousands of drummers who served as sound effect specialists out of work. A similar panic was felt by drummers in the 1980s, when electronic drum machines were first released.
Playing[edit]
Grooves[edit]
Kit drumming, whether playing accompaniment of voices and other instruments or doing a drum solo, consists of two elements:
- A groove which sets the basic time-feel and provides a rhythmic framework for the song (examples include a back beat or shuffle).[15]
- Drum fills and other ornaments and variations which provide variety and add interest to the drum sound. Fills could include a sting at the end of a musical section or act as a drum showpiece.
Fills[edit]
A fill is a departure from the repetitive rhythm pattern in a song. A drum fill is used to "fill in" the space between the end of one verse and the beginning of another verse or chorus.[16] Fills vary from a simple few strokes on a tom or snare, to a distinctive rhythm played on the hi-hat, to sequences several bars long that are short virtuosic drum solos. As well as adding interest and variation to the music, fills serve an important function in preparing and indicating significant changes of sections in songs and linking sections. A vocal cue is a short drum fill that introduces a vocal entry. A fill ending with a cymbal crash on beat one is often used to lead into a chorus or verse.
Drum solos[edit]
A drum solo is an instrumental section that highlights the virtuosity, skill, and musical creativity of the drummer.[17] While other instrument solos such as guitar solos are typically accompanied by the other rhythm section instruments (e.g., bass guitar and electric guitar), for most drum solos, all the band members stop playing so that all of the audience's focus will be on the drummer. In some drum solos, the other rhythm section instrumentalists may play "punches" at certain points – sudden, loud chords of a short duration.[18] Drum solos are common in jazz, but they are also used in several rock genres, such as heavy metal and progressive rock. During drum solos, drummers have a degree of creative freedom that allows them to employ complex polyrhythms that would otherwise be unsuitable with an ensemble. In live concerts, drummers may be given extended drum solos, even in genres where drum solos are rare on singles.[19]
Grip[edit]
Most drummers hold the drumsticks in one of two types of grip:
- The traditional grip, originally developed for playing the military side drum, most commonly with an overhand grip for the right hand and an underhand for the left. It arose from the need to clear the counter-hoop (rim) of an angled marching drum (due to the single-point attachment of the drum sling).[20] On top of this, it was used prolifically by the older jazz drummers like Buddy Rich, and was even used by Frank Beard of ZZ Top.
- The matched grip, in which the sticks are held in similar (but mirror image) fashion.[21] This Grip is used in practically all bands in the 21st century.
Within these two types, there is still considerable variation, and even disagreements as to exactly how the stick is held in a particular method. For example, Jim Chapin, an early and influential exponent of the Moeller method, asserts that the technique does not rely on rebound,[22] while Dave Weckl asserts that it does rely on rebound.[23]
Components[edit]
Terminology[edit]
Breakables, shells, extensions, hardware[edit]
The drum kit may be loosely divided into four parts:
- Breakables: Sticks, various cymbals, snare drum, throne (stool) and sometimes the bass drum pedal.
- Shells: Bass drum and toms.
- Extensions: Cowbell, tambourine, chimes, any other instrument not part of the standard kit.
- Hardware: Cymbal stands, drum stands, pedals.
There are several reasons for this division. When more than one band plays in a single performance, the drum kit is often considered part of the backline (the key rhythm section equipment that stays on stage all night, which often also includes bass amps and a stage piano), and is shared between/among the drummers. Oftentimes, the main "headlining" act will provide the drums, as they are being paid more, possibly have the better gear, and in any case have the prerogative of using their own. Sticks, snare drum and cymbals, and sometimes other components, are commonly swapped though, each drummer bringing their own. The term breakables in this context refers to whatever basic components the "guest" drummer is expected to bring. Similar considerations apply if using a "house kit" (a drum kit owned by the venue, which is rare), even if there is only one band at the performance.
The snare drum and cymbals are the core of the breakables, as they are particularly critical and individual components of the standard kit, in several related ways.
- Their tone varies a great deal from drummer to drummer, reflecting their individual styles and the styles of music they play. As such, even drummers from the same genre of music may prefer a different brand or size of snare.
- The snare drum often does not match the kit, for example being a metal or plain wood shell in a kit where the other drums are in a matching finish.
- Drummers tend to spend more time playing the snare and cymbals than the other drums.
- Thin or bell-metal cymbals are easily broken by poor technique.
- Many drummers use thinner heads on their snare than the other drums.
- Often, a drummer will retain their snare drum and cymbals when upgrading the rest of the kit, or upgrade cymbals or snare while keeping the other drums.
Much the same considerations apply to bass drum pedals and the stool, but these are not always considered breakables, particularly if changeover time between bands is very limited. Swapping the snare drum in a standard kit can be done very quickly. Replacing cymbals on stands takes longer, particularly if there are many of them, and cymbals are easily damaged by incorrect mounting, so many drummers prefer to bring their own cymbal stands.
Drums[edit]
Bass drum[edit]
The bass drum (also known as the "kick drum") provides a regular but often-varied foundation to the rhythm. The bass drum is the lowest pitched drum and usually provides the basic beat or timing element with basic pulse patterns. Some drummers may use two or more bass drums or use a double bass drum pedal with a single bass drum. Double bass drumming is an important technique in many heavy metal genres. Using a double bass drum pedal enables a drummer to play a double bass drum style with only one bass drum, saving space in recording/performance areas and reducing time and effort during set-up, taking down, and transportation.
Snare drum[edit]
The snare drum is the heart of the drum kit, particularly in rock, due its utility of providing the backbeat. When applied in this fashion, it supplies strong regular accents, played by the left hand (if right handed), and the backbone for many fills. Its distinctive sound can be attributed to the bed of stiff snare wires held under tension to the underside of the lower drum head. When the stiff wires which are called as the Snare Chains are "engaged" (held under tension), they vibrate with the top (snare-side) drum skin which is called as the Snare Velom (head), creating a snappy, staccato buzzing sound, along with the sound of the stick striking the batter head.
Toms[edit]
Tom-tom drums, or toms for short, are drums without snares and played with sticks (or whatever tools the music style requires), and are the most numerous drums in most kits. They provide the bulk of most drum fills and solos.
They include:
- Traditional double-headed rack toms, of varying depths
- Floor toms (generally the widest and largest toms, which also makes them the lowest-pitched toms)
- Single-headed concert toms
- Rototoms
The smallest and largest drums without snares, octobans and gong drums respectively, are sometimes considered toms. The naming of common configurations (four-piece, five-piece, etc.) is largely a reflection of the number of toms, as only the drums are conventionally counted, and these configurations all contain one snare and one or more bass drums, (though not regularly any standardized use of two bass/kick drums) the balance usually being in toms.
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