Slammin with the

Big Band
with Bret Kuhn
Sponsored by Yamaha, Remo, Innovative
Percussion and Zildjian
DRUMSET FUNDAMENTALS
by
Bret Kuhn

Set Up
1)! Try to create a triangle between your leIt Ioot, right Ioot and stomach.
This creates a good sense oI balance on the drum set.

2)! Try to sit on the Iront halI oI the drum throne. Allowing the back oI
the upper leg to hang relaxed. Your leg should have a slight incline
down towards the knee. This also creates a better sense oI playing into
the kit.

3)! Adjust the snare height so you have a very relaxed and natural motion
into the drum. Allowing your shoulders to be relaxed and your arms to
hang naturally.

4)! Try to position your toms and cymbals in such a way that they are
comIortable to reach and you don`t have to support your body in an
unnatural position.

5)! I preIer to have my sticks strike all surIaces oI the kit as parallel as
possible. This usually produces Iuller sounds and you get the beneIit
oI the stick you choose. The way the bead contacts the instrument is
very important. Know the diIIerent sounds you can create.



Tuning
Start to decide how YOU want your drums to sound. This is very important.
This can change Irom gig to gig. I would not tune my drums the same Ior
playing rock and jazz. Know the music you are playing and act accordingly.
You always want to have YOUR sound. I preIer slightly deeper shells to get
a Iuller low end to the sound. Remember there are lots oI diIIerent options
when purchasing your drum set.

Cymbal Choice
Cymbal choice is another important aspect oI musicianship. The choices we
make have a great aIIect on the music. An example might be listening to the
Pat Metheny group. The Iirst cymbal sound you think oI with Metheny is the
Ilat top ride cymbal. The way it articulates yet resonates makes Ior a soIter
sound. Also where you play the cymbal makes a diIIerence. The larger bell
usually means more highs and overtones with a louder volume. The bell
produces highs the middle is more mid-range and the edge is Ior lower over
tones and less articulation. Knowing the sounds available is very important.
That`s why we have cymbal set-ups in magazines and on line. Take the time
to see what your Iavorite players are using and why.


Stick Choice
Considerations here would be the style or type oI tip on the stick, the length
or Ieel and the type oI wood. These combinations oI attributes go into
creating a sticks characteristics and sound. I preIer a lighter stick Ior small
group as compared to something a little heavier and longer Ior situations
where volume and style oI music are diIIerent.


Listening
Listening may possibly be the !"#$ important aspect to becoming a great
player. You have to learn the language and as we all know you learn to
speak as a child by repeating what your hear others say. Then eventually
having your own voice and words becomes natural and people know you
when they answer the phone. The quality oI your voice and the way you say
things makes you UNIQUE. This is true in music. So listen and learn how to
sound like others and then take it and make it yours in your own way and
style.


HAVE FUN.
Remember to enjoy the process. This includes enjoying the mistakes. You
have to make enough mistakes to become great at anything. It`s not allowing
that to get you down that makes you better. AIter all we do %&'( music.
The word play is usually associated with the word Iun.

Jazz
The Art of Bop Drumming by John Riley
Beyond Bop Drumming by John Riley
The Art of Modern Jazz Drumming by Jack DeJohnette and Charlie Perry
Sittin In with the Big Band Vol.I and Vol.II Belwin Jazz
Latin
Afro-Cuban Rhythms for Drum Set by Frank Malabe
Afro-Cuban Grooves for Bass and Drums by Lincoln Goines and Robby
Ameen
Funk
Advanced Funk Studies by Rick Latham
Future Sounds by David Garibaldi
Funky Chunk by Chet Doboe
Rock/Funk
The New Breed by Gary Chester
Play Along Books w/CD
Sittin In with the Big Band Vol.I and Vol.II Belwin Jazz
Gordon Goodwins Big Phat Band Play along
Studio and Big Band Drumming by Steve Houghton
The Drum Set Performer by Steve Houghton
Ultimate Play-Along For Drums Vol.1 by Dave Weckl
In Session with the Dave Weckl Band by Dave Weckl
Videos
The Master Drummer
How to Practice, Play andThink Like a Pro by John Riley (Alfred)
Groove Essentials 1.0 by Tommy Igoe (Hudson Music)
Groove Essentials 2.0 by Tommy Igoe (Hudson Music)
Breaking the Code by David Garibaldi (Hudson Music)
Great Hands for a Lifetime by Tommy Igoe (Hudson Music)

Thank you to Yamaha , Zildjian, Remo and
Innovative Percussion for their support.
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Drum Set
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Triplet Rhythms for Fills
Bret Kuhn
Triplet Stick Control


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Big Band Fills
Bret Kuhn
2011
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