Back with Starting of Basics

Hey guys i hope u all r very much clear with the notations and timing series.!!

The reason for posting this Blog post so late was,That u make Yourself Comfortable with the timing and the notations part.!
I guess this much time is sufficient for u to Go through the Pre-Basic Part.!
If u are not,then kindly go through all the Post again and again untill u feel confident enough about it.! :)

Step 1: Beats - Part One - Preparation

Beats

Preparation

For beats, you want to start off by playing the high hat for a long period of time. Get used to timing. Don't rush. Timing is important because the drummer is the most important part of a band. The drummer sets the tempo. Now, when getting used to timing, use one hand, and once you can play the high hat for a long period of time without speeding up or slowing down, play a roll with both hands. Try to do this without speeding up or slowing down 

Step 2: Beats - Part 2 - Basic beats

Playing beats

Now, to playing actual beats. Do what you learned to do for preparation. Count aloud "1-2-3-4 1-2-3-4 1-2-3-4 1-2-3-4". Keep playing and on beats "1" and "3", play the bass drum. On the other 2 beats, AKA 3 and 4, play the snare. You should have this:

Hi hat and snare
hi hat and bass
hi hat and snare
etc.

Now, notice how there is one hi hat hit in between Each snare hit. Now try doing two. It will help to count "1-2-3 1-2-3 1-2-3". Play the bass drum on 2 and 3. Play the snare on 1. Keep repeating. This is what you will get:

Hi hat and snare
hi hat and bass
hi hat and bass
hi hat and snare
etc.

The most used beat would be with 3 hi hat hits in between snare hits. For this you can count 1-2-3-4 like the first beat. You can play the snare on 1,2,3, or 4. Then, after the snare hit, play one hi hat play the bass drum. You will get this

Hi hat and snare
hi hat
hi hat and bass
hi hat
hi hat and snare
repeat.....

Notations and time Signature

Measures & Bar Lines

Music is written on a music staff, which features five parallel horizontal lines. The first thing you’ll see written on the staff is the clef; the drum/percussion clef looks like a vertical rectangle and is used with non-pitched percussion instruments. With non-pitched percussion instruments like a drum set, notes written on different spaces and lines indicate that drum, bass drum, or cymbal. The staff is separated into individual measures (or bars) of music with thin vertical lines called bar lines. The number of beats in each measure is determined by the time signature.

Triplets

As we go from larger notes down the list to the smaller notes, the notes and rests are halved in length. If you want to divide a note into thirds, you’ll need to use a triplet. A quarter-note naturally divides into two eighths, but if you want to divide it into thirds, you need to use an eighth-note triplet. An eighth-note triplet is played 50 percent faster than normal eighth notes and would be equivalent to a twelfth-note (although there is no such note). An eighth-note triplet is written as three eighth-notes beamed together with a number three above them. Any of the three notes can be replaced with an eighth rest or two sixteenths, or any other division of an eighth-note allowing for more notational flexibility. Triplets are usually counted “1 & ah 2 & ah 3 & ah 4 & ah.” You can also divide a note into fifths (quintuplet), sixths (sextuplet), sevenths (septuplet), and so on.

Time Signatures

Time signatures are written like fractions. The top number tells you how many beats are in each measure. The bottom number indicates the size of the note that represents the duration of one beat. For example, in the time signature of 5/4, there are five beats in each measure and the quarter-note lasts for one beat. The time signature is written at the beginning of the piece of music and wherever there is a meter change. Since most music is in 4/4, the time signature is often abbreviated with a large letter “C,” indicating “common” time.

Dotted Notes & Rests

Sometimes you’ll see a note or a rest with a small dot written next to it. This indicates that the note will last 50 percent longer, or 1 1/2 times its normal length.

Note & Rest Values

Notes and rests come in different lengths, which are written as fractions. For every size note, there is an equivalent size rest. The note and rest values include whole (1/1), half (1/2), quarter (1/4), eighth (1/8), sixteenth (1/16), and thirty-second (1/32). These fractions represent the sizes of the notes and rests. For example, two eighths fit in the space (or time) of one quarter, so eighth-notes are twice as fast as quarter-notes. These relationships define the lengths (and speeds) of the notes. Rhythms are written by using combinations of notes and rests, so it is important to memorize them to quickly identify and play rhythms. There are several different parts of a note: the notehead stem and flags or beams. Recognizing them will help you learn to identify notes.

Repeats & Counting Rhythms

The simplest way to figure out rhythms is to count them with the smallest note value you have to play. For most drum music, that means counting sixteenth-notes. In 4/4, sixteenth-notes are counted “1 e & ah 2 e & ah 3 e & ah 4 e & ah.” Since you are counting sixteenths, a sixteenth-note or rest will last for one count, an eighth-note/rest will last for two counts, a quarter-note/rest will last for four counts, a half-note/rest will last for eight, and a whole-note/rest will last for sixteen. Repeat signs are used to abbreviate a piece of music and minimize page turns. A few different types of repeat signs are shown in the example above.


The Sikh Drummer.

Drumsticks

Ok guys so i guess now time to learn some More Basic which are I guess  are the Sticks.
Yes,Sticks are the important part of the drums.Even though It is an External Source But wen u Beat the Skin/Drum Head of the Drums It Creates a Sound Which is Very Important For the Playing Of Drums and creating a new drumming style
The These Sticks are called as Drumsticks Or Beaters.
There Are Different Types and Sizes Of sticks.
There you Go. :-

Sticks

The most common kit drumming sticks are wooden sticks modelled on, or in some cases identical to, those originally designed for use with the snare drum. These come in a variety of weights, conventionally expressed as a number, and tip designs, expressed as a letter following the number, with the higher numbers indicating lighter sticks. Thus, a 7A is a common jazz stick with a wooden tip, while a 7N is the same weight of stick with a nylon tip, and a 7B is a wooden tip but with a different tip profile, shorter and rounder than a 7A. A 5A is a common wood tipped rock stick, heavier than a 7A but with a similar profile. The numbers are most commonly odd but even numbers are used occasionally, in the range 2 (heaviest) to 9 (lightest).

The exact meanings of both numbers and letters differ from manufacturer to manufacturer, and some sticks are not described using this system at all, just being known as Jazz(typically a 7N or 8N) or Heavy Rock (typically a 4B or 5B) for example. The most general purpose stick is a 5A (wood tip, for snare tone) or 5N (nylon tip, for cymbal tone).

Other sticks commonly used are rutes, consisting of a bundle of canes, and wire or nylon drum brushes. More rarely, other beaters such as cartwheel mallets (known to kit drummers as "soft sticks") may be used. It is not uncommon for rock drummers to use the "wrong" end of a stick, and in view of this some makers now produce tipless sticks with two "wrong" ends.

Electronic Drums

Electronic drums

• Triggers are sensors that can be attached to drum kit components. In this way, an electronic drum sound will be produced when the instrument is played, as well as the sound made by the instrument.
• Trigger pads can be mounted alongside other components. These pads make no significant sound themselves, but purely trigger the electronic sound, and are played with the same drum sticks as other drum kit components.

In either case, a control unit (brain) with suitable sampled sounds, and amplification equipment are both required. Sometimes, for the sake of appearance or of the desired "feel" of the instrument, a drum with a trigger will be used as a trigger pad by muffling it so heavily that no significant sound at all is produced, see Electronic drum#Acoustic triggered drum kit.

A trigger pad can contain up to four independent sensors, each of them capable of sending to the brain information describing the timing and intensity of a stroke. A circular drum pad will normally contain only one sensor, but a cymbal-shaped pad often contains two, one for the body and one for the rim of the cymbal, and a triangular pad may contain four, one for the body, played by the stick tips, and one for the rim of each side, played by the stick shafts. (Commonly called a rim shot and often used to trigger a similar effect, playing the rim of the trigger pad is a significantly different and far simpler technique, as it is not necessary or even desired to strike the body of the pad.)

Trigger sensors are most commonly used to replace the acoustic drum sounds. For example, in a live performance in a difficult acoustical space, a sensor may be placed on every drum and cymbal, and used in each case to trigger a similar sound. These sounds are then amplified through the PA and are all the audience hears, and can be amplified to any level without the feedback problems associated with microphones. The sound of the drums and cymbals themselves is heard by the drummer and possibly other musicians, but even there the foldback system will be fed from the electronic sounds rather than the live sounds. The drums can be heavily muffled, and their tuning and even quality is less critical. In this way much of the atmosphere of the live performance is retained but without some of the problems associated with amplified drums.

Trigger sensors can also be used in conjunction with conventional or built-in microphones. If some components of a kit prove more difficult to "mike" than others, sensors may be used on only the more difficult instruments.

Trigger pads on the other hand when used in a conventional kit are most commonly used to produce sounds not otherwise available. Any sound that can be sampled can be used. Recordings of barking dogs and stereo recordings of aircraft taking off and landing have for example been used to great effect, as well as the more obvious electronically generated sounds.

More About the Instrument

Snare drum                                                               

The snare drum is the centre of the kit. It provides the strongest regular accents, played by the left hand, and the backbone for many fills. It produces its distinctive sound due to the snare wires fitted to the underside of the drum which buzz and vibrate against the bottom drum skin.Main article: snare drum

Toms

Tom-tom drums or toms for short are drums without snares and played with sticks, and are the most numerous drums in almost all kits. They provide the bulk of most drum fills and solos.Main article: tom-tom drum

They include:

• Traditional double-headed rack toms, of varying depths.
• Floor toms.
• Single-headed concert toms.
• Rototoms.

The smallest and largest drums without snares, such as octobans and gong drums, are sometimes considered toms and sometimes not, and if not there are many borderline cases.

The naming of common configurations 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 rarely two bass drums, the balance being toms.

Bass drum

The bass drum (also known as kick drum) gives a regular but often varied foundation to the rhythm. Beginners tend to play simple bass drum patterns, moderate players complex ones with many strokes, and accomplished players more subtle ones with fewer strokes.The bass drum is the lowest sounding drum and usually gives the basic beat along with basic patterns. Some drummers may use two or more bass drums or play with a double pedal, giving the ability to play a double bass drum style with only one bass drum.

Other drum

Octobans were designed for use in a drum kit, extending the tom range upwards in pitch.

Timbales are tuned much higher than a tom of the same diameter, and normally played with very light sticks. They have relatively thin, fragile heads and a very different tone to a tom, but are used by some drummers to extend the tom range upwards. Alternatively, they can be fitted with tom heads and tuned as shallow concert toms. Attack Timbales and mini timbales are reduced diameter timbales designed specifically for drum kit usage, the smaller diameter allowing for thicker heads for the same pitch and head tension.

Similarly, most hand drums cannot be played with drum sticks without risking damage to the head and to the bearing edge, which is not protected by a drum rim. For use in a drum kit they may be fitted with a suitable drum head and played with care, or played by hand.

Cymbals

Cymbals are as important in most drum kits as the drums themselves. The oldest idiophones in music are cymbals, traditionally associated with Turkey where Zildjian has predominantly made them since 1623

Beginners cymbal packs normally contain four cymbals: one ride, one crash, and a pair of hi-hats. A few contain only three cymbals, using a crash/ride instead of the separate ride and crash. The sizes closely follow those given in Common configurations below.

Most drummers soon extend this by adding another crash, a splash or a china, or even all three.

Ride cymbal

The ride cymbal is most often used to keep a constant rhythm, every beat or more often. Development of this ride technique is generally credited to Baby Dodds.

Most drummers have a single main ride, near their right hand, most often 20" but 16"-24" are not uncommon. It is most often a heavy, standard cymbal, but some drummers use a swish cymbal, sizzle cymbal or other exotic as the main or only ride, particularly for jazz. In the 1960s Ringo Starr used a sizzle cymbal as a second ride particularly for use during guitar solos.

Hi-hats

The hi-hat has a similar function to the ride cymbal; The two are rarely played at once, but one or the other keeps the fine rhythm much of the time, played by the right stick of a right-handed drummer. Changing between ride and hi-hat, or between either and a leaner sound with neither, is often used to mark a change from one passage to another, for example to distinguish verse and chorus.

Crashes

The crash cymbals are the strongest accents, marking crescendos and climaxes, vocal entries, and major changes of mood. A cymbal crash is often accompanied by a strong kick on the bass drum pedal, both for musical effect and to support the stroke.

In the very smallest kits, in jazz, and at very high volumes, ride cymbals may be used as crashes. Some hi-hats will also give a useful crash, particularly thinner hats or those with an unusually severe taper. At low volumes, producing a good crash from a cymbal not particularly suited to it is a highly skilled art. Alternatively, specialised crash/ride and ride/crash cymbals are specifically designed to combine both functions.

Other cymbal

Effects cymbals

All cymbals other than rides, hi-hats and crashes are called effects cymbals when used in a drum kit.

Most extended kits include one or more splash cymbals and at least one china cymbal. Major cymbal makers produce cymbal extension packs consisting of one splash and one china, or more rarely a second crash, a splash and a china, to match some of their starter packs of ride, crash and hi-hats.

Some cymbals may be considered effects in some kits but basic components of others. A swish cymbal may for example serve as the main ride in some styles of music, but in a larger kit which includes a conventional ride cymbal as well would be considered an effects cymbal.

Accent cymbals

Cymbals of whatever type used to provide an accent rather than a regular pattern or groove are known as accent cymbals. While any cymbal can be used to provide an accent, the term is applied only to cymbals whose main or most often sole purpose is to provide an accent.

Accent cymbals include crash and splash cymbals and many china types, particularly the smaller and/or thinner ones

Drumming Ply wood and shells

Breakables, shells, extensions, hardware

Foreground: Snare drums. Background: Hi-hat cymbal

The drum kit may be loosely divided into four parts:

• The breakables: Sticks, various cymbals, snare drum, and sometimes the bass drum pedal, stool
• The shells: Bass drum and toms
• Extensions: Cowbell, tambourine, 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, and shared between the drummers. Often the main drawcard 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. However sticks, snare drum and cymbals are commonly swapped, each drummer bringing their own, and sometimes other components. 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), 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.
• 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 on snare and cymbals than on the other drums.
• Thin and/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.

Drum sizes

See Common configurations below for typical drum sizes.

Traditionally, drum sizes were expressed as depth x diameter, both in inches. More recently, many drum kit manufacturers have begun instead to express the size as diameter x depth, again in inches.

Manufacturers still using the traditional format in their catalogues include:

• ddrum
• Drum Workshop
• Gretsch Drums
• Ludwig-Musser
• Slingerland Drum Company
• Tama Drums
• DrumShop Usa

while those using diameter x depth include:

• Brady Drum Company
• Mapex Drums
• Meinl Percussion
• Pearl Drums
• Premier Percussion
• Rogers Drums
• Sonor
• Yamaha Drums

For example, a hanging tom 12" in diameter and 8" deep would be described by Tama as 8x12, but by Pearl as 12x8, and a standard diameter Ludwig snare drum 5" deep is a 5x14, while a Premier of the same dimensions is a 14x5.

The Drumming World 2

Beginnings

The first recognizable ancestors of the modern drum kit were born in the Vaudeville era. Pecuniary and theater space considerations demanded that fewer percussionists covered more percussion parts. In military and orchestral music settings, drums and cymbals were traditionally played separately by one or many percussionists. The bass drum, snare drum, cymbals, and other percussion instruments were all played using hand-held drum sticks. Circa 1890, experimentation with foot pedals began. Many patented their systems such as Dee Dee Chandler of New Orleans 1904-05.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") and became the central piece around which every other percussion instruments would later revolve. Ludwig-Musser, William F. Ludwig, Sr., and his brother, Theodor Ludwig, founded the Ludwig & Ludwig Co. in 1909 and patented the first workable bass drum pedal system, paving the way for what was to become the modern drum kit.

Development

Drummer in a Memphis "juke joint" orchestra playing a kit with four non-tunable toms. Marion Post Wolcott, October 1939

Gene Krupa, 400 Restaurant, New York City. William P. Gottlieb, June 1946

Louis Bellson with the Duke Ellington Orchestra at the Palomar Supper Club. Vancouver, B.C., 19 April 1952

By World War I, drum kits were characterized by very large bold marching bass drums and many percussion items suspended on and around them, and they became a central part of jazz music, specifically (but not limited to) dixieland. 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 drum kits were dubbed "trap kits". Hi-hat stands appeared around 1926.

By the 1930s, Ben Duncan and others popularized streamlined trap kits leading to a basic four piece drum set standard: bass, snare, tom-tom, and floor tom. In time legs were fitted to larger floor toms, and "consolettes" were devised to hold smaller tom-toms on the bass drum. In the 1940s, Louie Bellson pioneered use of two bass drums, or the double bass drum kit. Gene Krupa was the first drummer to head his own orchestra and thrust the drums into the spotlight with his drum solos. Others would soon follow his lead. Krupa is also known to have been the first to record a drum solo on a commercial record.

In this era, jazz drummers were highly influential in developing both the concept of the modern drum kit and extending the playing techniques. Important drummers of the jazz tradition included Gene Krupa, "Papa" Jo Jones, Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones, Roy Haynes, Buddy Rich, Louis Bellson, Tony Williams, Jack DeJohnette, Joe Morello, and many more.

Rock and Roll

John Bonham of Led Zeppelin, New York City, 1975

With the ascendance of rock and roll, a watershed moment occurred between 1962 and 1964 when the Surfaris released "Wipe Out", as well as when Ringo Starr of The Beatles played his Ludwig kit on American television; these were events that motivated legions to take up the drums.

A trend towards bigger drum kits in Rock music began in the 1960s and gained momentum in the 1970s. By the 1980s, widely popular drummers like Billy Cobham, Carl Palmer, Nicko McBrain, Phil Collins, Stewart Copeland, Simon Phillips, and perhaps most notably Neil Peart were using large numbers of drums and cymbals and had also begun using electronic drums. In the 1990s and 2000s, many drummers in popular music and indie music reverted to the basic four piece drum set standard.

In the 21st century, it has not been uncommon for drummers to use a variety of auxiliary percussion instruments, found objects, and electronics as part of their "drum" kits. Popular electronics include: electronic sound modules; laptop computers used to activate loops, sequences and samples; metronomes and tempo meters; recording devices; and personal sound reinforcement equipment (e.g., a small PA system to amplify electronic drums and provide a monitor for singing).

Recording

On early recording media (until 1925 such as wax cylinders and discs carved with an engraving needle, sound balancing meant that musicians had to be literally moved in the room. Drums were often put far from the horn (part of the mechanical transducer) to reduce sound distortion. Since this affected the rendition of cymbals at playback, sound engineers of the time remedied the situation by asking drummers to play the content of the cymbals onto woodblocks, temple blocks, and cowbells for their loudness and short decay.

This recording-specific particularity had the effect of altering the evolution of the drum set and of stigmatizing the sound of the music recorded at the time.

The drum kit featured in almost all rock and roll songs and the Rock and Roll period played a big role in modernizing the drum kit.

Beginning With the Drumming World

A drum kit, drum set  or trap set is a collection of drums and other percussion instruments set up to be played by a single player

The traditional drum kit consists of a mix of drums (classified as membranophones, Hornbostel-Sachs high-level classification 2) and idiophones (Hornbostel-Sachs high-level classification 1, most significantly cymbals but also including the woodblock andcowbell for example).electronic instruments (Hornbostel-Sachs classification 53), with both hybrid and entirely electronic kits now in common use.

 More recently kits have also included 

A standard modern kit (for a right-handed player), as used in popular music and taught in many music schools, contains:

• A snare drum, mounted on a specialised 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.
• A hi-hat stand and cymbals, operated by the left foot and played with the sticks, particularly but not only the right hand stick.
• One or more tom-tom drums, played with the sticks.
• One or more cymbals, played with the sticks, particularly but not only the right hand stick.

All of these are unpitched percussion, allowing the music to be scored using percussion notation, for which a loose standard exists for the drum kit. If some or all of them are replaced by electronic drums, the scoring and most often positioning remains the same, allowing a standard teaching approach. The drum kit is usually played seated on a drum stool or throne.

Many drummers extend their kits from this basic pattern, adding more drums, more cymbals, and many other instruments includingpitched percussion. In some styles of music particular extensions are normal, for example double bass drums in heavy metal music. On the other extreme but more rarely, some performers omit elements from even the basic setup, also dependent on the style of music and individual preferences.

Understand the names of each Kit Part have.Because its the Main Attribute of ur focus Towards the Drumming World.

Before Proceeding towards Drumming....

Hey, Intrested in Learning Drums.?
But don't have time to go to classes or Busy with Your Daily routine life..??
Here's the Easy Way out of that..!
SikhDrummerOnline will teach you some Basic's of it with Nominal time Consumption.!
I don't say that i am a Great or even near to Good,Drum Teacher or A drummer..!
But i am sure that i will Make it Very easy to learn the Drumming go Easy.!
For which i will surely post up some links or even personal Notes.!
The Only thing require is ur Passion for Drumming and Ur understanding With The Music.!
I dont Expect Much from You But,Focus and Dedication Towards the Practise is Must.!!
Without that i dont think so that You'll be able to Cope Up.!
So cheers,and Please Write me About any Suggestions And Feedback.
Please also get in Touch with Me at 
https://www.facebook.com/inderpalsingh007

inderpalobhan007@gmail.com


I'll surely revertwith the Suggestion and Feedbacks about my drumming.

And will Also try to improve it with the grace of the Almighty.!

Sat Sri Akaal. :)