Transitions 5: Dynamic transitions

Dynamics add tension

Today's post is going to focus on moving between dynamics to build tension.  In the video above (featuring Bill Heid on keys and Kris Funn on bass), check out how the transitions from loud to soft at 1:07 and again at 2:13 build tension by upsetting the expectation of a loud climax.  This upset expectation, and the tension that comes from it are one of the fundamental elements of almost any kind of music.  The longer you can delay resolving this tension, the more intense the emotional response from your audience will be.  In the video, the dynamic tension in the song doesn't really resolve until the very end. 

Will they get together or not?

It's just like a sitcom

Tension and release works in almost any art form.  One example of this that may help explain the importance of tension and release is the sitcom.  In order for a sitcom to work there has to be some kind of central tension that never gets fully resolved.  The reason people continue to watch and enjoy these shows is that they want to find out if and how this tension will finally be resolved.  As soon as the central tension is resolved, the story is over. In music the same principle applies, so waiting to resolve dynamic tension until the climax of a piece is crucial. 

As a drummer, your job is to set the dynamic range of the music.  If you play loud, everyone else kind of has to.  With that in mind, if you can exercise the restraint necessary to hold back the bashing impulse, you will find that when you do finally release that impulse, the effect will be dramatically heightened.  

Shuffle!

The Shuffle!

In today's post we are going to discuss how to play one of my favorite grooves of all time, the shuffle!  The best thing you can do to start learning how to shuffle is to get acquainted with it's sound.  Starting a blog post about the shuffle with anything other than "Moanin'" is borderline heretical, so start listening and playing along here.

This song is basically the definitive recorded shuffle, so listening to and trying to imitate Art Blakey should be your starting point.  The other person to listen to to get your bearings is Mel Lewis.  Here is his famous shuffle on "The Groove Merchant":

Notice that neither one of these guys is overplaying, one of the many temptations when playing a shuffle.  Even though their groove is incredibly driving and strong, they are playing to the ensemble and staying dynamically balanced at all times.  Notice how much Mel drops down at :47 for example!