How To Improve Your Drumming Practice

The dictionary provides this meaning for the word practice: the actual application or use of an idea, belief, or method, as opposed to theories relating to it.

With that in mind, drumming practice is the application or use of an exercise or method. Mostly in a repetitive way with the desired result or outcome being, to become a better drummer.

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In drumming, this is reversed. For instance, using a book such as my own, or another, lets say Stick Control for example. Exercise 4 (paradiddle sticking) is the theory. Not the resulting application of the exercise. So, the exercises within a book such as Stick Control, are just that. Exercises. And the author gives a specific way of applying those exercises, soft, loud, stick high, low, fast and slow etc. This is the application of the exercises within the book. The practice.

But before delving into that, let’s explore what you’ll gain from reading this post.

Hey! Developing Drummers,

To continue, personally, I am not keen on the application given by someone else as suggested above, because I like to interpret things for myself. Although I do value the advice when given. Which, I try to incorporate into my own playing and practice. Especially now as I take my first steps to returning back to drumming.

The point I am trying to make is this. Once an exercise has been learned, I prefer to apply that exercise in real world situations. And using exercise 4 from the Stick control book as an example, that would be the paradiddle way.

The suggested way in the Stick Control book is of course to play everything at the same volume so you get a smooth flowing well executed exercise. In the form of a string of eigth notes.

Which is a fantastic approach. But, unless you are in an orchestra or ensemble, then that has very little practical use (that’s not exactly true so bear with me). I say that because practice is indeed practice, exercises are just that, exercises. But with a prescribed exercise and method of practice. The intent is to produce a specific end. We’ll come to that later.

The Analogies

Much like a bodybuilder lifts weights. He doesn’t lift weights, in most cases, so he can be known as a great weightlifter. He does it to improve his look, his level of fitness and so on.

The lifting of weights (the practicing) is the cause. The great body (and in our case, the great drumming) is the effect. So all of the books are a means to an end. And that isn’t to say that the advice given in them should be ignored. Instead, it should be used. For the benefit of your drumming. Or the end result.

So in this, we see that books, practice and excercises are the cause. And the great drumming is the effect. Or the effect and use of what you have been practicing.

A Practical Example.

Using exercise 4 as our example, lets begin with the Stick control methodology.

• First we get to grips with the exercise sticking.
• Then we practice it slow (60bpm)
• Then at a medium tempo (100 bpm)
• And again at at a faster tempo (180bpm)

• Next we play all of those tempos quietly.
• Then again loudly.

Well, you get the picture.

But the point isn’t to play the exercise in a variety of ways. Instead, its to produce a desired effect. A result, or great drumming. Much like the Karate Kid waxed on, waxed off, picked up his jacket, put it on, took it off, hung it up, and threw it back to the ground again. And repeated this slowly without end. Until he lost it and the master knew he was ready for the use, of what he had been practicing.

When you look at Tai chi for another excellent example, the movements are practiced slowly, very slowly, with intention and precision. All to produce a slow fluid, flowing motion. The end result being the Tai Chi Master could literally put someone down with a swift movement, whether that’s in the form of a punch or kick. And he would do that at lightning speeds. Because speed is just an effect of mastering something at as slower speed, or tempo, as you can bear.

In other words, each of these slow movements programmed in the exercise.

They programmed the initial exercise, then dug the synapses even deeper by repeatedly programming what became the habitual behavior. The end result being they became masters. They didn’t become masters by practicing fast and furious. They became master by practicing slowly. And mastering what they practiced slowly.

My Personal Experience

Inbetween the larger theater gigs and tours I worked on in the past, I would often play with a keyboard player who was really… REALY fast. He used to count me in to a fast swing and I had to almost play a 2/4 type beat to keep up. Even though it was a 4/4 swing, but extremely fast.

This troubled me. So I set my kit up in a small shed, that’s all that was available at the time. I soundproofed it as best as I could, set my kit up and started practicing the Mel Bays Jazz Coordination book. I practiced everything at 60 bpm. Never any faster. I did this for 6 months.

6 months later, I emerged from the little shed, a little or a lot, claustrophobic, but I could swing at last. In fact, there came a time during those 6 months that I was so relaxed playing the fast swing tune that I would request it from him. And to be honest, it became a drag. It seemed slow. I had completely reverced the scenario, from not being able to keep up to thinking the tunes would be better a little faster. And that’s the power of practicing slowly.

It makes logical sense when you think, that if you can’t do something masterfully at 60bpm, how are you going to get to 70 bpm, 80, 100, 120 and beyond?

Its common for drummers to ignore the really slow temops and more into playing the faster tempos as soon as they can. This ignores a vital component. Complete Master.

The golden nugget is that I practiced for so long at 60bpm that I could skip the faster tempo practice sessions all together. That’s not entirely true so I am not telling you to do that. All I am saying is, don’t underestimate the power of playing and practicing something slow. And never feel a sense of unworthiness because you have to slow right back down to 60bpm when you turn to page two of  the Stick Control book, or any other book. These things need programming in. You need to become the Karate Kid of drumming.

The Dip

If you haven’t read Seth Godins book – The Dip, you should really give it a read. But for your convenience, I will just explain what I am talking about when I say the Dip. I will use my real world return to drumming as an example.

Many years ago when I was practicing upto 10 hours per day and practically living for playing drums. I used to practice and often found myself giving up after practicing a rudiment or idea and getting nowhere with it. And since my return to drumming and having read The Dip, I now understand what was going off way back when.

In short, when you first begin practicing something, anything that is going to take time, you will inevitably encounter, The Dip. For instance, I am really working on getting my left hand fingers technique up to scratch. But in the past, they mostly, wouldn’t cooperate. But now I understand concept of The Dip their cooperation isn’t an issue. Every day they are becoming more obedient to my demands on them.

let me explain.

I have been practicing the finger technique for over a month at this time. The thing is, my left fingers usually begin stiff, and then after 10 minutes become much looser and I can work with them for a while. But no matter whether I have 20 minutes or an hour or more, practicing the finger technique with my left hand. They won’t get any faster.

However, now, I recognize that I am in The Dip (as far as left hand finger technique is concerned). I know with certainty that eventually, my fingers will yield. The dip is when things don’t seem to be improving. I mean at about 105 bpm they start to feel less comfortable. Then anything above 115 and they completely cave. They can’t do what I want them to do at present.

But, taking a closer look, you realize that they are slightly stronger and a little more fluid than they were yesterday. And because I recognize this as The Dip, I know eventually they will begin to yield to my will. So instead of thinking, I cant do this, this will never get better, and so on. Now I think, ah it’s getting better, I will get this eventually. I just need to keep applying my self-discipline and keep repeating the practice sessions for them to get where I want them to be. Under my complete control. It’s just a matter of when.

Seth Godin explains this with much more eloquence than I can, so get yourself a copy of the book. If you already have it, then let me know your thoughts in the comments. And let us all know your experience of it.

In his book, Seth Godin goes on to say that most people quit when they encounter the Dip, when things don’t seem to be improving. Just as I did when I was younger. I falsely believed that it wasn’t meant for me. I lack something, and so will never be able to play this. When nothing could be further from the truth. Which is, that I did lack something, I lacked the knowledge of the Dip, and its nuances. Which a good old dose of self-discipline, determination and persistency would have easily solved. Over time.

Defining Effective Practice

As drummers, we often hear about the paramount importance of practice. It’s the bridge between musical potential and mastery of one level or another. However, practice isn’t merely about the hours clocked; it’s the quality and structure of these hours that transform good drummers into great ones. Effective practice is the deliberate, thoughtful application of techniques that foster not just improvement but mastery of the drum set. And as we suggested, at slower tempos. This is mostly so you can iron out the spaces. Make them even more easily. The notes you play then become a secondary issue. But I digress.

The Misconception of ‘More is Better’

Many drummers believe that more hours of practice automatically translate to better skills. While dedication is crucial, it’s the focused, purposeful practice sessions that yield the most significant results, not necessarily the lengthiest ones. The concept of ‘deliberate practice,’ emphasizes practicing with a purpose as opposed to practicing for the sake of it. In drumming, this means setting specific objectives for each session and ensuring that you are mentally present for each beat and stroke.

Setting the Right Goals

Goal setting is vital. As a drummer, whether you’re preparing for a gig, mastering a new style, or enhancing your technical skills, setting clear, achievable goals is a must. For beginners, a goal might be as simple as keeping a steady beat through a song. For more advanced players, it might involve mastering complex polyrhythms or improving solo performances.

Establishing these goals helps guide your practice sessions and keeps you motivated and mostly on track. I say mostly because its a good idea to take a break every 15 or 20 minutes. Play a few licks then stand up and stretch. Take a short walk or get away from the drums in some other way. Then return feeling relaxed and fresh. This is because the brain absorbs more in the beginning and end of each practice session.

To find out more about that check out some accelerated learning methods. Brian Tracy has the best accelerated learning program as far as I have seen.

Structuring Your Practice Sessions

A well-structured practice session can significantly enhance your progress. Here’s how I recommend structuring yours:

• Warm-Up: Begin with a gentle warm-up to loosen your limbs and focus your mind. Simple rudiments, like single and double strokes, performed slowly, can be effective. because I am working on my finger techniques I use those to warm up.
• Main Session: This is where you focus on your specific goals. If you’re working on a new piece, break it down and tackle the most challenging parts first. When I returned to drumming after a break, I focused on regaining my hand coordination through slow, deliberate practice of basic patterns. And that’s an ongoing process.
• Cool Down: End with a period of lighter playing. Reflect on what you’ve learned and what felt challenging. This is also a great time to experiment casually with new rhythms or techniques. And of course, to note down what needs improving so you can set those goals in the future.

Quality Over Quantity

Practicing smarter, not necessarily longer, can lead to more significant improvements. This approach has been crucial in my own practice, where shorter, highly focused sessions often led to better mastery of techniques than longer, less focused ones. It’s about being fully present during practice and ensuring each moment counts. At present I plan to dedicate a 3 month period to getting my basic rudiments, and finger technique together along with the first page of the Stick control book.

Next, I have a collection of books listed on a whiteboard that I will be spending one month practicing each, before moving onto the next. I can then mark with a pencil where I got up to with the book so I can repeat that book and finish what I didn’t do, the next time around. Its a good idea to place a sheet of A4 paper at the point you reached, and make any notes on that paper ready for next time.

I have once exception for this, and that’s the New Bread book. I plan to spend a month on each of the first 3 systems. All at slow tempos to give me time to think and process what’s happening. And get the spaces even and the beat still flowing.

Incorporating Technology and Tools

As you can imagine, leveraging technology can dramatically improve the efficiency of your practice sessions. Metronomes, for instance, are essential for developing timing. Various drumming apps can provide interactive exercises and feedback, which is invaluable for self-directed learners. Although I must admin, I am not so keen on ready made solutions like minus one recordings and charts. Although of course they can be helpful. I think that comes from my early upbringing in the 70s and early 80s.

I couldn’t afford to buy and didn’t really know which ones to buy at that time. So maybe I am a bit bias regarding them. Recording your practice sessions and listening back can also highlight areas for improvement that you might not notice in the moment.

Regular Review and Adjustment

It’s essential to regularly review your progress. This doesn’t mean being overly critical but rather assessing your advancement towards your goals. Are you faster? More precise? Can you play through that challenging piece now? Are you making progress towards your goal? Adjust your goals and methods based on this feedback to ensure continuous improvement toward their accomplishment.

Engaging with the Community

Learning in isolation can be tough. Engaging with the drumming community, whether online or in person, can enhance your learning. Sharing experiences, challenges, and successes with fellow drummers can provide new insights and motivations. For example, I learned a unique cymbal technique from a drummer I met online, which I would never have discovered on my own. But beware not to waste time chatting online when your time would be best spent practicing.

This is one of my pet quarms with many online learning resources. To mea at least, they seem to spend too much time explaining something when they could just show me, then give a couple of minutes talking about the how, of the techniques and thought processes. heck when I first published my own books I searched for a way to hold the sticks to see how other people described the process. I found two video and after approximately 10-20 minutes watching those videos, they still hadn’t taught me how to hold the sticks. Of course, I already knew how to hold the sticks and so I was just trying to check out other peoples perspectives.

Layered Practice

To complete this video, I want to just mention the concept of layering your practice. And again I will use what I am currently practicing as an example. Here’s what I am practicing at the moment.

• My main focus is the finger technique and getting my left hand working better.
  • This is for the purpose of improving my single stroke rolls.
• I am also beginning my journey through the Stick control book.
  • I have never been through it so it will be a nice challenge.
• I have also begin the Mel Bay Jazz Coordination book again.
• Those are the three layers I have taken on for my first 3 months.
  • At this point I am half way through the 3 months.

Of course I am also creating these posts and videos which is getting my brain working and keeping me focused than anything else.

Conclusion: Your Practice, Your Progress

Effective practice should be personal and an evolving evolving process. What works for one drummer might not work for another, and that’s okay. The key is to understand the principles of effective practice and adapt them to fit your unique circumstances and goals. As you continue on your drumming journey, keep these guidelines in mind to not just practice, but practice well, perfectly.

Call to Action

Are you ready to elevate your drumming practice? I’d love to hear about your own experiences and any unique methods you’ve found effective. Drop a comment below, and let’s inspire each other to greater musical heights. Don’t forget to subscribe for more insights into drumming and music mastery. If you’re looking to dive deeper, check out my book series, which offers foundational strategies to help the beginner and intermediate drummers enhance their drumming skills.

This post aims to not only guide your practice sessions but also inspire you to approach them with a renewed perspective, ensuring that every minute spent behind the kit pushes you closer to your musical goals.

What Next

Watch out for the next post on creating a personalized practice plan.