Applying more ‘Rubato’ (vs. ‘Mr. Roboto’) to the drum set

By Tim Kane

Drummers are first and foremost timekeepers, plain and simple. That is our core mission. But we are also the gateway to a band’s inner time machine. Like the planet we live on, time fluctuates.

When playing live with other musicians, there is an unwritten ebb and flow of tempo to keep in mind. It’s called “feel.” Play with your ears, first, and then your eyes. That’s what my drum teacher always taught me. But how do you know when to play looser interpretations of time and when to be a metronome (which was first used by Beethoven, by the way)? Not an easy question to answer. Time tends to advance and retract from the initial beats per minute you lay down during certain segments of a song – unless that tune actually calls for tempo changes.

Understanding basic classical music terminology governing time signatures and tempo is helpful – even in rock genres. In any original or cover song composition, there are several main tempo ingredients we knowingly and unknowingly follow, including: Allegro (fast), Adagio (slow), Ritardando (slowing of tempo), and Accelerando (quickening of tempo). There are all sorts of variations within these broad terms, but you get the point.

The most important tempo term – and the one most appropriate for contemporary live music – is “Rubato,” or the free adjustment of tempo for expressive purposes.

Most of us live within this expressive shaping of music that is a part of phrasing, which is further defined by the spaces between each note we play – otherwise known as subdivisions. Where drummers tend to experience time fluctuations in a song can be both apparent and elusive. Solos and section transitions tend to inherently lend themselves to tempo rate changes. That does not mean the song’s time signature actually changes, though. While guitar and piano melodies can be flexible with tempo, accompaniment by drums and bass never radically departs from the original meter. The rhythm section must keep the regular pulse (yet not rigidly in mechanical fashion) and adjust to pace changes.

Regardless of incidental time changes as they relate to the nuances of playing live, the song must return to its original rate at some point. And the onus squarely falls upon drummers to reel everything back in.

There are a few tricks of the trade to re-set a tempo during a song, if the need arises. Cracking your snare hard on the first beat of a measure is one good way to send a message. Closing the hi-hat on downbeats is also a great tool in keeping solid time, so get solid with your footwork on it. If your other three limbs are playing more “feel” during a particular point in a song, the musicians around you tend to key in on the security of the hi-hat. Brief stops can provide that brief non-musical interlude that makes everyone think about coming back in together. And if all else fails, simplify your drum parts to the point of awkwardness and count aloud.

The best way for you to experiment with time and apply more Rubato to the drum set is by practicing along to a metronome or online click track, particularly at slower tempos that are more challenging to control. Work fills into your beats and have fun with the fluctuations.

 – Tim Kane is a professional writer and drummer of 30-plus years. http://www.kaneschoolofdrums.com

 

 

 

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