EXPLORING APPLICATIONS OF MULTI-DEXTERITY

IN DRUM KIT PERFORMANCE

CHRISTOPHER PAUL CAMERON BMUS (HONS)

SIR ZELMAN COWAN SCHOOL OF MUSIC

MONASH UNIVERSITY MELBOURNE AUSTRALIA

EXEGESIS AND RECORDINGS SUBMITTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE:

MASTER OF ARTS (MA) IN MUSIC PERFORMANCE

APRIL 2016

ii

COPYRIGHT NOTICE

© 2016. Except as provided in the Copyright Act 1968, this thesis may not be reproduced in

any form without the written permission of the author.

iii

A B S T R A C T

The drum kit is one of only a few instruments that invites the use of all four of a performer’s

limbs. Control and fluidity in performance requires substantial development of limb

independence and interdependence as well as a certain level of dexterity with each limb.

Exploring multi-dexterity is a logical and almost inevitable juncture in the ongoing

development of drum kit performance.

The pursuit of an even performance ability between the hands existed well before the turn

of the twentieth century. Incorporation of a more balanced contribution from all four limbs

arose in the mid-twentieth century as the drum kit developed into an instrument that

demanded higher levels of dexterity with the feet to meet the requirements of a number

of advancing musical styles. Ever since, drummers have constantly explored new ways to

utilise all four limbs, essentially working towards the goal of achieving a more refined

multi-dexterity.

Through design, experimentation and observation of my performance, this artistic

research investigates possibilities of an ‘even’ playing capacity with each limb and how this

might further the ongoing development of the instrument. This has been tested by

interchanging the traditional roles of each limb, as found in the jazz tradition, across all

possible limb permutations. New or uncommon combinations of drum kit elements are

also explored through an innovative and unique drum kit design. The results of this study

demonstrate that multi-dexterous concepts can provide new possibilities for the

performing drummer and that there is unexplored potential for use of four limbs in this

context.

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S T A T E M E N T O F O R I G I N A L I T Y

I declare this exegesis contains no material that has previously been submitted for a

degree or diploma in any university and, to the best of my knowledge, I believe this thesis

contains no material that has previously been published or written by another person,

except when due reference is made in the text of the exegesis.

Christopher Paul Cameron

April 2016

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A C K N O W L E D G E M E N T S

A heartfelt thankyou to everyone who helped to make this research project possible. In

particular, I would like to thank:

Monash University

A/Prof. Robert Burke, Prof. Tony Gould, Dr. Joel Crotty

Drum Kit Architecture

David Sleishman, Craig Lauritsen, Aaron Malmborg

Mentors & Support

Danny Fischer, Dave Beck, Dave Goodman

Colleagues

Greg Sher, Tom Sly, Nick Marks, Hiroki Hoshino, Jordan Tarento, Oscar Neyland, Harry Cook,

Joel Trigg

Audio Visual Documentation

Jarrad Gilson, Prasheen Naran, Gary Robertson, David Lauritsen, Rohan Wilksch

Family & Friends

Chelsea Cameron, Jonty Cameron, Max Cameron, Paul Cameron, Amanda Cameron, Ben

Croxford.

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T A B L E O F C O N T E N T S

ABSTRACT Iii

STATEMENT OF ORIGINALITY Iv

ACKNOWLEDGEMENTS v

TABLE OF CONTENTS vi

TABLE OF FIGURES viii

1. INTRODUCTION 1

1.1 OVERVIEW OF RESEARCH 1

1.1.1 KEY TERMS 2

1.1.2 RESEARCH QUESTIONS 4

1.1.3 PERFORMANCE OUTCOMES 5

1.2 RESEARCH DESIGN 7

1.2.1 RESEARCH METHODS 7

1.2.2 STRUCTURE 8

1.2.3 NOTATION 11

1.3 CONTEXT 13

1.2.1 MY PERFORMANCE PRACTICE 13

1.2.2 REVIEW OF RELEVANT LITERATURE 14

2. EXPLORATION AND DEVELOPMENT 20

2.1 INITIAL CONCEPTS OF AN ‘EVEN’ LIMB ABILITY 21

2.2 FROM AMBIDEXTERITY TO MULTIDEXTERITY 23

2.2.1 ROLE PERMUTATIONS AND INTERCHANGEABLE FUNCTION 23

2.2.2 DEVELOPMENT OF FOOT TECHNIQUE 25

2.3 TOWARDS PERFORMANCE 28

2.4 CHAPTER SUMMARY 31

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3. INSRUMENT DESIGN AND PERFORMANCE PARAMETERS 32

3.1 INSTRUMENT DESIGN 32

3.2 PERFORMANCE PARAMETERS 37

3.2.1 SONIC QUADRANTS 37

3.2.2 NEW COMBINATIONS 40

4. PERFORMANCE APPLICATIONS AND ANALYSIS 42

4.1 THE FINAL PERFORMANCE 45

4.1.1 ARRANGEMENTS 46

4.2 ANALYSIS OF THE FINAL PERFORMANCE 49

4.2.1 OBSERVATIONS 49

4.2.2 TRANSCRIPTIONS AND GRAPHS 51

5. CONCLUSION 65

5.1 SUMMARY OF FINDINGS 65

5.2 FUTURE RESEARCH 67

5.3 FINAL OBSERVATIONS 68

BIBLIOGRAPHY 70

APPENDIX A – FINAL PERFORMANCE NOTES 73

APPENDIX B – DVD INSTRUCTIONS 80

APPENDIX C – GRAPHS OF THE MOVEMENT OF LIMBS 81

APPENDIX D – CHARTS AND TRANSCRIPTIONS 87

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T A B L E O F F I G U R E S

FIGURE 1 Example of a four-limbed jazz pattern. 4FIGURE 2 Table of the performed works and their basic features. 6

FIGURE 3 A visual representation of my research design. 9

FIGURE 4 An example of common drum kit notation method. 11

FIGURE 5 Notation key for this research. 11

FIGURE 6 An example of the notation method used in this research. 12

FIGURE 7 An example of the same notation style as Figure 6, but articulating a different permutation of role assignments.

12

FIGURE 8 Timeline of notable instructional publications relating to independence and interdependence.

15

FIGURE 9 Timeline of the practical phases of my exploration. 20

FIGURE 10 My practice template of the twenty-four permutations of the roles of the limbs.

24

FIGURE 11 The cyclical technique developed by my feet to mirror the technique of the hands.

27

FIGURE 12 An interpretation of the first segment of ‘Comp. Example 3’. 29

FIGURE 13 ‘Comp Example 3’. Tempos achieved by each of the twenty-four permutations.

29

FIGURE 14 An interpretation of the first segment of ‘Chapin Page 42’. 30

FIGURE 15 ‘Chapin Page 42’. Tempos achieved by each of the twenty-four permutations.

30

FIGURE 16 Home studio, October 2013. 33

FIGURE 17 Home studio, July 2014. 33

FIGURE 18 Monash University, April 2015. 33

FIGURE 19 Home studio, August 2015. 33

FIGURE 20 JMC Academy, October 2015. 33

FIGURE 21 Oaklands Studios, February 2016. 34

FIGURE 22 List of drum kit elements used in the final performance. 34

FIGURE 23 Table of the assignment of sonic qualities. 37

FIGURE 24 Left hand quadrant. 38

FIGURE 25 Right hand quadrant. 38

FIGURE 26 Left foot quadrant. 38

FIGURE 27 Right foot quadrant. 38

FIGURE 28 Table of the twenty-four sonic permutations. 39

FIGURE 29 List of the combinations of the four traditional elements. 40

FIGURE 30 Performing my second Masters recital on a completely left-handed drum kit, Monash University, October 2014.

43

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FIGURE 31 Demonstrating the twenty-four permutations of the limbs for my confirmation of candidature, Monash University, April 2015.

43

FIGURE 32 Preliminary studio recording, JMC Academy, October 2015. 44

FIGURE 33 ‘Room camera one’, Oaklands Studios, February 2016. 45

FIGURE 34 ‘Room camera two’, Oaklands Studios, February 2016. 45

FIGURE 35 A split-screen multi-camera view taken from the DVD of the final performance.

46

FIGURE 36 Table of the assignment of the twenty-four sonic permutations to a series of six of the performed works.

47

FIGURE 37 Excerpt of the drum arrangement chart for Joy Spring. 48

FIGURE 38 Two bar excerpts from my performance of Some Other Blues demonstrating use of all twenty-four permutations

52-3

FIGURE 39 Bars 154-177 of If I Should Lose You. 54

FIGURE 40 Bars 177-192 of My Heart Belongs To Daddy. 55

FIGURE 41 Bars 106-121 of Eighty One. 56

FIGURE 42 Bars 138-153 of Let’s Cool One. 56

FIGURE 43 Graph of limb movements and sonic variations in my performance of Let’s Cool One.

57

FIGURE 44 Graph of limb movements and sonic variations in my performance of Eighty One.

58

FIGURE 45 Bars 42-57 of Eighty One. 58

FIGURE 46 Visual representation of the transition between permutations in bars 42-57 of Eighty One.

59

FIGURE 47 Bars 154-169 of Footprints. 60

FIGURE 48 Bars 202-217 of Footprints. 60

FIGURE 49 Visual representation of the transition between permutations in bars 154-217 of Footprints.

61

FIGURE 50 Bars 186-201 of If I Should Lose You. 61

FIGURE 51 Visual representation of the transition between permutations in bars 186-201 of If I Should Lose You.

62

FIGURE 52 Bars 25-32 of Maiden Voyage. 62

FIGURE 53 Bars 153-160 of Maiden Voyage. 63

FIGURE 54 Bars 57-64 of Joy Spring. 63

FIGURE 55 Bars 89-96 of Joy Spring. 64

1

1 . I N T R O D U C T I O N

1.1 OVERVIEW OF RESEARCH

This artistic research explores applications of a multi-dextrous approach to drum kit

performance. Outcomes inform both my artistic practice as well as the wider discipline,

and posit compelling new possibilities for the drum kit performer. These include greater

flexibility of use of limbs and a larger palette of sonic options for the individual performer,

both of which can enhance creative performance within the discipline. Despite a growing

body of innovative work being established by a series of seminal performers1, there

remains potential for further exploration of numerous expressions of the use of four limbs

in drum kit performance. This study consists of a relevant review of the discipline and an

exposition of my artistic practice, including analysis of my performance, through which

specific facets of this potential are explicated.

Traditionally, the drum kit has predominantly been played using set roles for each limb.

As these roles are not often interchanged, each limb has a developed role-specific skills,

each with different characteristics of dexterity. The fundamental concept explored is the

potential for all four limbs to become equally dexterous and therefore able to fulfil each

other’s roles. It is the realisation of this potential that leads to greater flexibility for the

performer, with roles becoming completely interchangeable. This flexibility provides a

point of departure for my creative exploration, leading to a new suite of performance

possibilities.

This research will be analysed through reflexive and reflective analysis, focusing on two

specific parameters: (1) the interchangeability of the traditional roles of each limb across

all limb combinations; and (2) the application of sonic variation across these

combinations to provide a larger palette of options through which to shape creative

performance.

1 Including but not limited to: Mike Mangini, Thomas Lang, Terry Bozzio, Grant Collins et al.

2

1.1.1 KEY TERMS

1. Multi-dexterity

Dexterity can be defined as: ‘skill in performing tasks, especially with the hands’.2 A

common extension is ambidexterity: ‘able to use the right and left hands equally well’3,

however the prefix ‘ambi’ is not hand specific and could refer to the use of feet or any

other set of two components. In this study, unless otherwise specified, use of the term

ambidexterity refers to the ability to use the right and left sides of the body (both hands

and feet) equally well. Multi-dexterity expands the concept of ambidexterity to include

equality across multiple elements, with the prefix ‘multi’ meaning ‘more than one; many’4.

Multi-dexterity refers to the ability of using all four limbs equally well, or each limb having

the same performance ability. Although there are a number of caveats to consider, this

can be measured by assessing to what degree each limb is able to perform the roles of

each of the other limbs.

2. Interchangeable Function

The word ‘function’ specifically relates to the traditional rhythmic and sonic roles each

limb has been assigned to perform on the drum kit. In the jazz tradition for example, a

drummer's right hand employs particular rhythms and has defined sonic characteristics

(predominantly playing a ride cymbal). If each of the four limbs has equal dexterity and a

sufficiently innovative drum kit design is arranged, then both the rhythmic and sonic

roles of the right hand could be assigned to any limb, such as the right foot. In this way all

traditional roles can become interchangeable. If determining that no role is to be

duplicated, there are in total twenty-four permutations of these roles5.

3. Traditional roles of the limbs

The collection of percussion instruments known as the drum kit6 developed as a four-

limbed instrument in the early twentieth century alongside the early American jazz

2 “Dexterity” Oxford Dictionaries (2015). 3 “Ambidexterity” Oxford Dictionaries (2015). 4 “Multi” Oxford Dictionaries (2015). 5 See my practice chart in Chapter 2.2.1. 6 Alternatively known as the ‘drum set’.

3

tradition7. What could now be defined as the traditional roles of each limb were

established in the 1930s and have since been widely accepted and practised8. For a right

handed-drummer, they are as follows: the right hand plays a ride cymbal with a purpose-

made drumstick, the left hand plays a snare drum with a second drumstick, the right foot

operates a foot pedal which strikes a bass drum with a mallet-style beater and the left

foot operates a 'hi-hat' foot pedal which presses two cymbals together. In traditional

drum kit performance, the higher pitched voices of the ride cymbal and hi-hat are

considered ‘time keepers’ whilst the lower voices of the snare drum and bass drum add

accents or complementary rhythms according to the style being performed9.

Currently, there are numerous expressions of the roles of limbs across a variety of

different musical styles10. The jazz tradition11 was considered to be most suitable for this

study due to two main factors: first, this research is aligned with my own artistic

exploration of the jazz style, and second (and most importantly), in this tradition there are

four clearly defined roles assigned to each limb (See Figure 1). The right hand plays a

‘swinging’ ostinato pattern on the ride cymbal and the left foot keeps a ‘backbeat’ on the

hi-hat, together acting as timekeepers. The left hand and right foot provide contrasting

voices on the snare drum and bass drum that compliment and interact with each other,

as well as other ensemble performers.

7 See Brown (1976) and Nicholls (1997) who states: "The drum kit wasn't invented for jazz, but the

extraordinary way jazz focused on rhythm determined its development" (8). 8 As outlined by Glass (The Century Project, 2013) and (The Evolution Of Drum Kit Independence, 2015). 9 See Glass (2015). 10Since established, the rhythmic and sonic functions of each role and the assignment of limbs to specific

roles have largely remained unchanged, although there are times when hands come together to play on the same drum or cymbal or move between other drum kit elements (such as tom-toms or other percussion instruments). I have observed a few other notable exceptions, such as the default position of the right hand increasingly being on the hi-hats to facilitate a number of ‘contemporary’ drumming styles. Further, use of the left foot to open and close the hi-hats is often used only for embellishments or complimentary patterns rather that strict time keeping.

11 Specifically the be-bop era of the late 1950s and early 1960s.

4

Figure 1: Example of a four-limbed jazz pattern.

3. Sonic Quadrants

To realise the aforementioned twenty-four permutations (made possible by multi-

dexterity and interchangeable function), each limb is provided the same options. These

include the four foundational elements of the drum kit as found in the jazz tradition: bass

drum, snare drum, ride cymbal and hi-hat. To create sonic variation within the replication

of these roles, it was determined to assign contrasting qualities of pitch12 and in some

cases also resonance13 to each series of elements. The result was four different sonic

options for each of the traditional rhythmic roles, one played by each limb. In combining

this variation with interchangeable function, the twenty-four permutations each provide

different sets of sonic combinations where elements can be selected depending on the

desired sonic outcome, creating a relatively large palette of options to utilise in creative

performance. For example, transitioning roles between high and low pitches or long and

short resonances can create contrast between different sections of a performed work. For

this research, the term ‘sonic quadrants’ refers to the four different sound sets made

available to each limb.

1.1.2 RESEARCH QUESTIONS

The broad argument of this study is that there exists greater potential for use of four

limbs in drum kit performance. More specifically, as use of hands is traditionally more

dominant, a large portion of this potential can be found in the expanded use of feet. The

aim is to demonstrate that moving towards a multi-dexterous (or democratic) hierarchy

of limbs14 results in a new understanding of performance possibilities.

12 “The quality of a sound governed by the rate of vibrations producing it; the degree of highness or lowness

of a tone.” “Pitch” Oxford Dictionaries (2015). 13 “The prolongation of sound by reflection; reverberation.” “Resonance” Dictionary.com. 14 That is, each limb has an equal standing as opposed to having dominant and non-dominant limbs.

5

The main research question asks:

How can multi-dexterity, together with interchangeable function and the

assignment of sonic quadrants, contribute to creative drum kit performance?

Although looking beyond the development of multi-dexterity to its applications, it is

necessary to examine first how it might be achieved. Subsequently, the main research

question is supported by the following sub-questions:

i. What are the challenges and limitations of developing multi-dexterity and

interchangeable function in relation to existing performance techniques and drum kit

architecture?

ii. To what extent is the concept of multi-dexterity developed and documented in this

research?

iii. What are the wider implications and further possibilities that become apparent from

this investigation?

1.1.3 PERFORMANCE OUTCOMES

The main performance outcomes were presented in a live recording studio space. This

performance was captured sonically and visually15 with subsequent transcriptions and

graphs forming the basis for reflective analysis. A series of compositions was specifically

collated to provide a framework for interaction within a jazz quintet ensemble

configuration of drum kit, double bass, piano, saxophone and trumpet. Each composition

incorporated different stylistic features to highlight the aforementioned performance

parameters across a range of rhythms existing within the jazz tradition.

15 See Chapter 4.1.

6

Composition Composer/s Stylistic features Tempo Outcome

Let’s Cool One Thelonious Monk Swing 120

Exploring a selection of the

twenty-four permutations of

the roles of the limbs

My Heart Belongs To Daddy Cole Porter Latin/Swing 165

If I Should Lose You Ralph Rainger Swing 150

Eighty One Ronald Carter/

Miles Davis Straight Eighths 140

Footprints Wayne Shorter #4 Swing 140

Some Other Blues John Coltrane Swing 150 Study of all twenty-four

permutations

Maiden Voyage Herbie Hancock Straight Eighths 125 Exploring new and uncommon

sound combinations Joy Spring Clifford Brown Swing 150

Figure 2: Table of the performed works and their basic features. Tempos listed are in approximate beats per minute (bpm).

As the performance included simultaneous use of four limbs, a multi-camera set-up was

required to document its realisation with clarity. Further, a quadraphonic16 audio mix was

engineered to enable the listener to fully appreciate the performance parameters.

Documenting the performance in this manner also assisted the process of transcription

and subsequent analysis.

For the majority of the documented performance17 use of multi-dexterity was limited to

the interchangeability of the already established roles of the limbs, where each role was

not duplicated but potentially reassigned. The additional performed works allowed the

duplication of roles to explore new and uncommon combinations.

16 Quadraphonic audio (4.0) places the listener in the centre of four speakers, each positioned at a different

corner of a square listening space. 17 That is, six out of the eight documented works.

7

1.2 RESEARCH DESIGN

My exploration takes place in the field of artistic research where my own artistic practice

is a vehicle through which to address the research questions being explored.

(Artistic research is) an endeavour in which the artistic and the academic are united.

(Borgdorff 3)

Artistic research = artistic process (acts inside the practice) + arguing for a point of view

(contextual, interpretive, conceptual, narrative work) (Hannula, Tere and Vaden 15)

1.2.1 RESEARCH METHODS

This study contains elements of qualitative research18, which can be defined as follows:

Qualitative research… involves the studied use and collection of a variety of empirical

materials…that describe routine and problematic moments and meanings in individuals’

lives. (Denzin, Lincoln 3)

(When employing a qualitative process)…empirical materials bearing on the question are

collected and then analysed and written about. (Denzin, Lincoln 23)

The main method of collecting qualitative material in this research was ‘participant

observation’19. This was applied to the process of preparing for performance as well as the

performances themselves, with my own reflections resulting in a reflexive process of

analysis that contributed to the explication of research outcomes.

Qualitative research studies participants’ knowledge and practices… Researchers’

reflections on their actions and observations in the field, their impressions, irritations,

feelings and so on, become data in their own right, forming part of the interpretation…

(Flick 6)

18 This research also contains some quantitative aspects, with these outcomes found in practice tempo

charts in Chapter 2.3. 19 A method outlined by Phelps, Ferrara and Goolsby (1993).

8

An auto-ethnographic examination of my performance background also provided

context for my investigation.

Elements of practice-led research and research-led practice methodologies formed a

complementary and at times cyclic process in my research, a concept outlined by Roger

Dean and Hazel Smith in Practice-led Research, Research-led Practice in the Creative Arts20.

Whilst not applying their investigative model21, I cycled through phases of theory, praxis

and reflection that combined to give perpetual motion to the ongoing pursuit of

performance outcomes.

1.2.2 STRUCTURE

The structure of this exegesis is based on a 2009 study by Jillian Hamilton and Luke

Jaaniste22 which points to “a largely in-common adoption of a structure” (2) of practice-

based exegeses that comprises of three main sections book-ended by an introduction

and conclusion. These sections are described as: situating concepts, practical contexts

and researcher’s creations. Similarly, when observing the cross-disciplinary nature of

artistic research in The Conflict of the Faculties: Perspectives on Artistic Research and

Academia23, Borgdorff observes that despite differences between activities (eg. theatre,

music, visual art) there remained three key components to clearly documenting both the

results of an art practice as well as the practice itself: object (the work of art, the

performance, the design), process (creating, rehearsing, developing) and context (the art

world, the cultural and historical environment) (41). The overarching framework of this

exegesis is a reversal of Borgdorff’s three key components, with chapters aligning as

follows: Chapter 1 – context; Chapters 2, 3 and 4 – process; and Chapters 4 and 5 – object.

20 Dean, Smith (2009). 21 ‘The iterative cyclic web of practice-led research and research-led practice’ (Dean, Smith 20). 22 Hamilton, Jaaniste (2009). 23 Borgdorff (2012).

9

Figure 3: A visual representation of my research design, incorporating both the structure of this exegesis and the cyclic method of my process.

Context

After the inception of initial concepts, I reflected on elements of my own performance

background that informed this investigation and reviewed the wider discipline in light of

the specific research focus.

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Process

The practical component of my research was divided up into a series of stages, each

concluding with a performance24. In light of the desired final performance outcomes, and

after reflection and speculative practice, I developed a series of parameters for each

performance (outlined in Figure 2 in Chapter 1.1.3). I then explored specific skills in my

studio practice before applying them to an ensemble context. I observed and

documented my progress towards each performance by monitoring tempos of specific

technical exercises and studies. I then recorded each performance (audio and video25) for

reflective analysis, with the results informing the next phase of study. Whilst each stage

focused on particular performance challenges, the repeated process ultimately led

towards the final performance.

Object

The culmination of my investigation was a final ensemble performance26, which was

transcribed for analysis. A specific notation method was required for transcription, as well

as graphs of the movement of limbs to clearly present the use of performance

parameters. Transcriptions and graphs combined with my observations to underpin the

explication of outcomes.

24 These performances are outlined in Chapter 2 and discussed in more detail in Chapter 4. 25 All except the first performance which was only captured in audio. 26 The final performance, Chris Cameron – The Multi-dexterity Project, consisted of eight compositions,

totaling approximately sixty minutes.

11

1.2.3 NOTATION

Common drum kit notation27 is not limb specific, which proved problematic for the

dissemination of this research given the focus on the interchanging of roles.

Figure 4: An example of common drum kit notation method.

I devised a notation method (in part based on Lang’s method in Creative Coordination &

Advanced Foot Technique) to provide upmost clarity for analytical review. This included

the use of four one-line percussion staves, one for each limb. Specific positions, note-

heads and beam directions are assigned to the four options provided to each limb in this

study.

Figure 5: Notation key for this research. RH = Right Hand, LH = Left Foot, RF = Right Foot, LF = Left Foot.

27 A comprehensive series of guidelines for drum kit notation was produced by Norman Wienberg and

published in the Percussive Notes journal in June 1994. See Wienberg (1994).

12

Figure 6: An example of the notation method used in this research.

Figure 7: An example of the same pattern as Figure 6, but articulating a different permutation of role assignments. Note that the vertical order of the limbs remains homogenous to common drum kit notation despite the re-allocation of roles.

13

1.3 CONTEXT

1.3.1 MY PERFORMANCE PRACTICE

This research has its roots in my years of undergraduate study (Bachelor of Music, Monash

University 2003-5). During my initial foray into studying drum kit performance at a tertiary

level I was often drawn to extended or unusual performance techniques, particularly

those involving the feet. Because of my prior musical development and influence this

manifested in exploring the double bass drumming of Mike Portnoy28, metric modulation

of Gavin Harrison29, limb independence of Thomas Lang30 and virtuosity of Virgil Donati31.

In my final year I explored the possibility of performing a rudimentary snare drum solo

with my feet.

When returning to study an Honours degree in 2013, an exploration of a ‘more balanced’

four-limbed performance was at the forefront of my pursuits. I observed and was

influenced by the extended use of feet by drummers such as Antonio Sanchez32, Horacio

Hernandez33 and Lang, and the performance abilities of Marco Minnemann34 and Mike

Mangini35. I considered these performers to be at the forefront of the expansion of

contemporary drum kit performance possibilities. Subsequently, for my Honours thesis I

investigated the extended use of feet in contemporary drumming through case studies of 28 Mike Portnoy is an American drummer renowned for his use of double bass drumming within the

progressive rock scene. Examples of his drumming style can be found on his DVD release In Constant Motion (2007).

29 Gavin Harrison is an English drummer who has documented metric modulation concepts in his book Rhythmic Perspectives (2000).

30 Thomas Lang is an Austrian drummer renowned for his multiple pedal techniques as presented on his DVD Creative Coordination & Advanced Foot Technique (2006).

31 Virgil Donati is an Australian drummer renowned for his rhythmic concepts and use of double bass drumming as presented in Ultimate Play-Along Drum Trax: Virgil Donati (2005) and Virgil Donati: Double Bass Drum Freedom (2009).

32 Antonio Sanchez is a Mexican-born Latin/jazz drummer who documented his use of cowbells mounted for foot pedals on an instructional performance DVD: Antonio Sanchez: Hudson Music Master Series (2008).

33 Horracio Hernandez is a Cuban drummer who released an instructional book documenting his left foot clave concepts: Conversations in Clave: The ultimate technical study of four-way independence in Afro-Cuban rhythms (2000).

34 Marco Minnemann is a German drummer who has documented his limb independence concepts on an instructional performance DVD: Extreme Drumming (2003).

35 Mike Mangini is an American drummer who explored concepts of developing multi-dexterity in a two-volume publication: Rhythm Knowledge Vols. 1 and 2 (1997, 1998).

14

performances by Sanchez and Lang. At the same time as exploring these initial multi-

dexterous concepts I also engaged in consolidating my technical fluency within jazz

drumming. These two fields have ultimately combined to inform and influence this

research.

As my musical focus is grounded in performance, this research project addresses not only

theoretical but ultimately practical elements of this topic. Whilst being disseminated for

the benefit of the wider research community, this exegesis could also be considered as a

“…documentation of the process of preparing and developing skills for (my own)

performance”36. Aside from personal gain, the hope is that my research will in some way

help to validate not only the extended use of the feet across all styles of drum kit

performance, but also innovative and non-traditional drum kit set-ups that utilise the feet

and hands in a more democratic way.

Motivations for my research are not grounded in solo drum kit performance or the

production of instructional material. Nor am I advocating that these concepts should or

could only be used in the jazz idiom. The main intention is a genuine pursuit of the full

artistic potential of a drummer’s four limbs and the resulting interaction and

enhancement of a creative ensemble performance. Ideally this study will act as a catalyst

for a wider exploration of these concepts amongst progressive drum kit performers.

1.3.2 REVIEW OF RELEVANT LITERATURE

The history of the initial development of the drum kit has been well documented by both

academics and performers including T. D. Brown (1974), Breithaupt (1989) and (1990), A.

L. Brown (1997), Nicholls (2008), Glass (2013) et al. Much of the relevant discussion to date

around the exploration and expansion of limb independence and the roles of the limbs

has been conducted by performing musicians and music educators. Such people seek to

share knowledge about the concepts and techniques they employ with their peers,

students or the wider drumming community.

36 Haseman (2006).

15

Few drummers have pursued a completely ambidextrous or multi-dexterous approach to

the instrument despite a history of development moving towards such skills. The

following review outlines notable performance and instructional publications that have

sought to disseminate and advance the pursuit of limb independence, interdependence

and arguably multi-dexterity. Evidence of the pursuit of an even ability across all four

limbs found within existing literature projects a pathway towards and rationale for this

current study, with no indication that the multi-dexterous concepts investigated in this

research have yet been considered.

The table below outlines a timeline of notable instructional publications that have sought

to advance the pursuit of limb independence, interdependence and arguably multi-

dexterity.

Year Text Author/s Content

1948 Advanced Techniques For The

Modern Drummer

Jim Chapin Jazz ostinato independence, ambidextrous

ability with the hands

1963 4-Way Coordination Marvin Dahlgren/

Elliot Fine

Non-genre specific independence exercises,

Jazz ostinato independence with an emphasis

on an equal contribution from each limb

1985 The New Breed: Systems For The

Development Of Your Own Creativity

Gary Chester Funk and rock ostinato independence

exercises with an emphasis on an equal ability

with each hand

1997/

1998

Rhythm Knowledge Vols. 1 & 2 Mike Mangini Conceptual approaches to drumming, practice

systems for rhythmic development,

presentation of a multi-dextrous system

2001/

2003

Extreme Interdependence:

Drumming Beyond Independence/

Extreme Drumming (DVD)

Marco

Minnemann

Multi-dexterous permutations of

simultaneously playing two different two-limb

ostinatos

2006/

2007

Creative Coordination & Advanced

Foot Technique DVD/Book

Thomas Lang Multi-pedal orchestrations, multi-dexterous

permutations of simultaneously playing two

different two-limb ostinatos

Figure 8: Timeline of notable instructional publications relating to independence and interdependence.

16

Chapin (1948) and Dahlgren and Fine (1963) were among the first to publish instructional

material encouraging exploration of limb independence and development of non-

dominant limbs.

The ultimate aim is to free both hands and both feet from dependence on one another, …

With this end in view, all these exercises should be practiced in reverse as well, with the

left hand on the cymbal… (Chapin 2)

A drummer uses both hands and both feet in playing, but until recently the feet have

played a subordinate part. The authors feel there is abundant evidence in the playing of

many modern drummers to indicate that the future drummer will have to be as proficient

with his feet as he is with his hands. (Dahlgren, Fine 2)

In 1985 prolific studio drummer Garry Chester published The New Breed: Systems For The

Development Of Your Own Creativity. Chester's approach to drumming included the

development of all limbs, leading with both right and left hand. His method assigned

“territorial rights” (4) to the drum kit set-up where both the left and right hands were

given similar, if not the same, sonic options37. This concept has been adapted and

expanded in this research in the creation of sonic quadrants38.

By the end of the twentieth century, completely ambidextrous drumming39 had been

achieved, most notably by Mangini. He published a two volume method and instructional

book (Rhythm Knowledge Volume 1 [1997] and Volume 2 [1998]) based on his experience of

developing both his physical and conceptual drumming techniques. Mangini developed

an 'open-stance' drum kit design that was based on symmetrical classical percussion

arrangements and an ambidextrous approach to the traditional roles of the limbs. With

this design he was able not only to completely swap the roles of his hands like Chester,

but also his feet, with bass drum and hi-hat pedals arranged for either foot. In an article

37 Whilst developing an ambidextrous approach to the hands, Chester kept his feet playing their traditional

roles. 38 See Chapter 3.2.1. 39 That is, having an even ability between both sides of the body, hands and feet.

17

published in Modern Drummer magazine in 199940, Mangini stated that he had also

developed equal dexterity across all four limbs:

In order to be prepared to express myself musically in any way I want, I felt I had to be able

to develop my dexterity so that any two of my limbs could equally play sixteen alternating

single strokes per second. My left foot can lead my right hand at that rate, or my right foot

can lead my left hand at that rate – any hand or foot combination. (Haid, “The Amazing

Mechanics of Mike Mangini” )

In Rhythm Knowledge Volume 2, he presents his “Clockwise/Counter Clockwise” system

(32) for developing this ability. This series of exercises “treats all four limbs equally”, by

cycling through the twelve possible combinations of alternating stokes between the four

limbs41.

Whilst developing equality of limb dexterity forms part of this research, there are

significant differences between Mangini’s documented achievements and my research

goals. Primarily, Mangini’s multi-dexterous abilities are only expressed with the feet on

traditional elements (bass drums and hi-hats), whilst the parameters of this research

require the feet to also play non-traditional elements (ride cymbal and snare drum).

Further, in Mangini’s approach there is no suggestion of the interchanging of traditional

roles.

Similar to Mangini, Minnemann published a series of two-limb ostinato exercises to create

a system to expand four-limb independence42. Although he did not utilise an

ambidextrous drum kit set up, on the subsequent and directly related DVD Extreme

Drumming (2003) he employed use of a gong bass drum played by the left hand, hi-hat

cymbals played with his right foot and a snare drum played by the left foot. Whilst not the

first proponent of these concepts43, this still provided clear examples of the limbs being

40 Haid (1999). 41 In addition to just using alternating stokes, Mangini takes this concept further, including all permutations

of rhythmic phrases created by two to seven note groupings (72). 42 Minnemann (2001). 43 For example, Billy Cobham was involved in the creation of gong bass drums in the 1970s. See Griffith

(2016).

18

given the opportunity to play sounds usually orchestrated for other limbs, an integral

component of this research. However, the roles of limbs were only exchanged fleetingly,

if at all, unlike this study which seeks to maintain and explore the roles played by all other

limb combinations.

The 2006 DVD by Lang: Creative Coordination & Advanced Foot Technique (and subsequent

book of the same name, 2007) showcased the development of multi-dexterity and

utilisation of multiple foot pedal arrangements.

This is where drumming is today. Most development is happening with the feet, not the

hands. The feet is where the cutting edge advancements are taking place. (Lang, Creative

Coordination & Advanced Foot Technique DVD)

Today’s high end drumming can have very different beats… Drummers are using all four

limbs equally, and interchangeably… High end twenty-first century drumming parts are

based on a new idea of what’s possible for one drummer to play. … This involves a totally

ambidextrous approach to playing. (Lang, Creative Coordination & Advanced Foot

Technique DVD)

While this was the first book of note to cover a wide variety of exercises and patterns

written for multiple pedals44 (there are up to nine foot pedals used) Lang also presents a

similar multi-dexterous system of limb independence and ostinato concepts to those

presented by Mangini and Minnemann. One notable difference is that the feet are given

the option of playing a variety of alternate percussion elements such as alternate hi-hats

and bass drums, snare drums, toms and electronic trigger pads, which expanded sonic

possibilities. Lang's foot concepts are quite progressive, however he does not apply

Mangini’s completely ambidextrous approach or interchange the traditional roles of the

limbs between hands and feet. Rather, like Minnemann, he predominantly uses his multi-

dexterous abilities on an extended ‘right handed’ drum kit set up.

44 Beyond the use of existing bass drum and hi-hat pedals. Also note American drummer Darren Pfeifer’s self

published book Advanced Pedal Applications: A comprehensive study of pedal bridging and multiple-pedal setups (2004). However this publication was not widely distributed and was not as in depth as Lang’s.

19

My investigation of multi-dexterity is informed by the work of these seminal performers

and educators and seeks to add another facet of possibilities to the overarching

development of the instrument not yet considered. It is the combination of Mangini’s

complete ambidexterity, the multi-dexterous systems employed by Mangini, Minnemann

and Lang, and Lang’s multi-pedal concepts that have formed a basis for my own

exploration.

There is a variety of other literature in both digital and written formats that also explores

the expanded use of feet and ambidextrous or symmetrical performance concepts.

However this study does not require any further expansion of the above review to situate

my particular focus on multi-dexterity, except to note that documented performances

and performance concepts employed by other seminal artists such as Billy Cobham45,

Simon Phillips46, Claus Hessler47, Terry Bozzio48, Grant Collins49 et al. have all made

substantial contributions to the discipline.

The drum kit remains a developing instrument that continues to be shaped and re-

shaped by performers and the demands of various progressive musical styles. To my

knowledge there is no evidence to suggest that the multi-dextrous concepts applied in

this research have been explored in any depth. In particular, the inter-changeability of

roles across all possible limb permutations is unique to this study. It is my intention that

this research will not only contribute to the discipline by way of academic literature, but

also encourage a wider exploration of the performance of these creative and innovative

concepts.

45 American drummer Billy Cobham was one of the first proponents of open-handed performance, utilising

a ride cymbal with his non-dominant left hand. See Griffith (2016). 46 British drummer Simon Phillips outlined his exploration of open-handed and ambidextrous drumming in

an article in Modern Drummer magazine in 1986, later republished in 2012. See Goodwin (2012). 47 German drummer Claus Hessler, together with American drummer and educator Dom Famularo released

an instructional book on open-handed performance techniques. See Hessler, Famularo (2008). 48 Amongst numerous performances on expanded drum kits (often as a soloist) Terry Bozzio’s performance

on a drum kit comprising entirely of cymbals highlights the possibility of re-allocating cymbals to be played by the feet. See Bozzio (2014).

49 Australian drummer Grant Collins has explored the drum kit as a solo performance instrument, incorporating large arrays of foot pedals. See Collins (2005) and (2014).

20

2. EXPLORATION AND DEVELOPMENT

Though our initial training is directed at overcoming technical hurdles, it must never be

forgotten that music is much more than this. It is the development of our imagination that

really enables is to broaden what is possible on the instrument. This how we develop true

expressive meaning in our playing. Music is so much more than just technical

development. It is an art form that expresses out highest aspirations, ideals, passions and

beliefs. (Donati, Ultimate Play-Along 9)

Prior to commencing this study, I began engaging with a number of multi-dextrous

concepts within my performance. Once formally commencing this research, I recognised

a number of major hurdles that needed to be confronted to be able to satisfactorily

explore multi-dexterity as I had envisaged. As there were a series of course requirements

that needed to be completed at regular intervals during my study, I decided to use these

to mark time periods of development to assist my ability to reach the final outcomes. I

subsequently allocated each period a specific area of development, which culminated in a

performance that I used to consolidate new techniques and concepts.

Time Period Development Focus Performance

Late 2013 – June 2014 Extended use of feet First performance recital July 2014 – November 2014 Ambidexterity and my non-dominant side Second performance recital

December 2014 – April 2015 Initial multi-dexterous setup and realisation of the twenty-four permutations

Confirmation of candidature demonstration

May 2015 – October 2015 Applying multi-dexterity to ensemble performance

Preliminary studio recording

November 2015 – February 2016 Use of sonic quadrants and ensemble arrangements

Final studio recording

Figure 9: Timeline of the practical phases of my exploration.

21

2.1 INITIAL CONCEPTS OF AN ‘EVEN’ LIMB ABILITY

An exploration of the most basic of drum rudiments – the single stroke roll50 – initiated

my pursuit and process of developing equal dexterity with all limbs51. To create a uniform

(even) sound between my two hands, a conscious effort was made to practice a series of

sticking patterns and rudiments leading with either the right or left hand. As I was also

continuing my exploration of the extended use of feet, I applied the same patterns and

rudiments to my feet, leading with either the right or left foot. This created four different

orchestrations of these rudimental patterns.

Around the same time, I secured a weekly residency with a small jazz ensemble. In the

continued development of my four-limbed jazz co-ordination I observed that a strong

connection was required between my left hand (playing the snare drum) and right foot

(playing the bass drum) to allow them to improvise freely in dialogue with each other and

the ensemble. To enhance fluidity and create a balanced communication between these

improvising limbs it was logical to apply the same rudiments and sticking patterns,

leading with each limb.

In further examination of the limb independence involved in jazz drumming, I noted that

the right hand (which often plays a repeated ostinato pattern) played more notes at

generally greater subdivisions than the left hand. This also seemed consistent with the

majority of other drumming styles that I had engaged with since I began studying the

50 A simple pattern of alternating strokes between the right and left hand. 'Rudiments' refer to the

International Percussive Arts Society's forty international drum rudiments which, based on the twenty-six standard American rudiments complied by the National Association of Rudimental Drummers, are various sticking patterns and combinations that are widely considered to be fundamental building blocks for a performing drummer. See “Percussive Arts Society International Drum Rudiments” (1984).

51 It was only later that I found similar approaches undertaken by Mangini et at.

22

instrument52. I concluded that this was a contributing factor as to why my right hand had

developed a higher level of dexterity compared with my left hand. With the continued

desire to achieve a uniform sound between my right and left hand, I decided it would

therefore be worthwhile to practice jazz independence (alongside other musical styles

such as funk and Latin) with the roles of the hands reversed. This provided the left hand

the opportunity to be utilised to the same degree as my right hand. The aim was to give

my non-dominant hand the opportunity to potentially 'catch up' in terms of dexterity.

This resulted in a change of the improvising limbs, so fluidity now needed to be

encouraged between the right hand and right foot. With the right foot also often playing

with more freedom than my left foot, the idea of reversing roles was then also applied to

my feet.

The exploration of the single stroke roll and a balanced ability of jazz independence

ultimately resulted in my arrival at twelve different ways to play any two limb pattern,

where all permutations of two limbs are utilised. It also resulted in the creation of a

symmetrical (ambidextrous) drum kit arrangement where I was able to express these

combinations on appropriate drum kit elements. This essentially created four different

four-limb combinations53 and ambidexterity between both my hands and feet.

Though this phase of development I observed that I developed a theory of handedness

and ambidexterity that suggested that each side was physically capable of achieving the

same performance results. Over numerous years of playing roles in a conventional ‘right-

handed’ order, differences in ability had been established. My theory was that I had

invested a certain amount of time into particular movements and skills with the dominant

52 There is an apparent order of limb ability due to the traditional roles. This has arisen due to the nature of

handed-ness, the order of the development of the instrument and the physical differences between the hands and feet. The role of the right hand (or dominant hand) on the ride cymbal (or hi-hats) is required by most musical styles to be more dexterous and play with a higher level of frequency, rapidity and sensitivity. It could be considered to be at the top of the hierarchy. The additional hand works together with the dominant hand and is physically more dexterous than the feet, so it could be considered second in order. The role of the right foot (or dominant foot) is generally more prominent than that of the other foot due to both ‘handed-ness’ and tradition. The existence and ‘pull’ of this established hierarchy within my own performance was something that was observed during various phases of development and exploration.

53 That is: right-hand lead and right-foot lead, right-hand lead and left-foot lead, left-hand lead and left-foot lead and finally left-hand lead and right-foot lead.

23

hand and foot. If I was able to invest the same or similar amount of time into the non-

dominant limbs, I should be able to achieve ambidexterity. This is consistent with the

common notion of developing ‘muscle memory’ (procedural long-term memory) and the

related field of neuroscience54.

2.2 FROM AMBIDEXTERITY TO MULTI-DEXTERITY

Once having established a more ‘even’ approach to both my right side and left side, I

realised that there was an even greater gap in dexterity between hands and feet. In

following my process of developing evenness between all possible two limb

combinations, this led to a realisation of twenty-four permutations of any pattern that

consisted of four different parts, such as a four-limbed drum kit groove.

It was only after developing my own understanding of these twenty-four permutations

that I discovered the exhortations from Chapin regarding ambidexterity and similar

systems already developed by Mangini, Minnemann and Lang through which patterns

are played across all limb combinations. These systems then confirmed and added to my

established concepts and practice routine. This led to a more thorough review of what

had already been achieved by seminal drummers in the area of multi-dexterity, in which I

found no evidence of any regularly occurring re-assignment of roles from the hands to

the feet and vice-versa. In light of this, I became more resolved to explore the possibilities

of multi-dexterity as I understood them.

2.2.1 ROLE PERMUTATIONS AND INTERCHANGEABLE FUNCTION

Upon realisation of the aforementioned twenty-four permutations, I investigated the

interchanging of roles found in various drumming styles (e.g. jazz, funk and Latin). I

devised a template for monitoring the development of each permutation across a series

of exercises, studies and pieces.

54 A concept outlined by Mangini (1998) and also Longo (2010). Whilst not a particular focus of this study, I

did find that the development of my non-dominant limbs was not particularly challenging, just very time consuming. It required multiple repetitions of any given movement over long periods of time (weeks and months) to establish it as a naturally reoccurring movement. This develops signals of communication from my brain to the limbs, solidifying my procedural long-term memory.

24

1 RH RH

2 RH RH

3 RH RH

4 RH RH

5 RH RH

6 RH RH

LH LH LH LH LH RF LH RF LH LF LH LF

RF RF RF LF RF LH RF LF RF LH RF RF

LF LF LF RF LF LF LF LH LF RF LF LH

7 RH LH

8 RH LH

9 RH LH

10 RH LH

11 RH LH

12 RH LH

LH RH LH RH LH LF LH LF LH RF LH RF

RF LF RF RF RF RH RF RF RF RH RF LF

LF RF LF LF LF RF LF RH LF LF LF RH

13 RH RF

14 RH RF

15 RH RF

16 RH RF

17 RH RF

18 RH RF

LH LF LH LF LH RH LH RH LH LH LH LH

RF RH RF LH RF LF RF LH RF LF RF RH

LF LH LF RH LF LH LF LF LF RH LF LF

19 RH LF

20 RH LF

21 RH LF

22 RH LF

23 RH LF

24 RH LF

LH RF LH RF LH LH LH LH LH RH LH RH

RF LH RF RH RF RF RF RH RF RF RF LH

LF RH LF LH LF RH LF RF LF LH LF RF

Figure 10: My practice template of the twenty-four permutations of the roles of the limbs. The first

column of each permutation lists the original roles, whilst the second column directs which limb to

play each role. The third column (left blank here) was where I wrote in the tempos that I could

achieve of various exercises and studies. RH = Right Hand, LH = Left Foot, RF = Right Foot, LF = Left

Foot.

Through the use of this template, I observed different independence and dexterity

challenges faced in each permutation. For example, the variations easiest to achieve and

develop were those where a number of the original roles were maintained, either by their

original limb or by the non-dominant equivalent55. I also found some drumming styles to

be more conducive to the concept of interchangeable function. As previously discussed

this resulted in my selection of the jazz style to be the basis for my ongoing investigation.

55 As I had developed reasonable ambidexterity, and also due to the differences between hands and feet,

when the original role of the right hand was played by my left hand it was noticeably easier than assigning the role to one of my feet.

25

My hands were initially more dexterous than my feet and were capable of playing the

rhythms of the roles of the feet. They were also adept in moving between multiple drum

kit elements. In contrast, the feet were initially not as dexterous as the hands and

primarily used to remaining in one playing position (sometimes two for the left foot). It

promptly became clear the greatest challenge in pursuing interchangeable function was

the feet playing the roles of the hands. This led me to re-explore my foot technique and

foot pedal design.

2.2.2 DEVELOPMENT OF FOOT TECHNIQUE

Whilst the differences between hands and feet may appear substantial (indeed from a

purely physical standpoint they are), I found that there are a number of common

concepts of technique that could be applied to both sets of limbs in drum kit

performance. As I had resolved to explore multi-dexterity across all limbs with the aim of

replicating all roles with each limb, I considered if there was potential for a consistency of

technique between limbs, particularly with the feet aiming to play the more dexterous

roles of the hands.

I noted that my main hand technique (for both hands) was based on what is commonly

referred to as ‘American matched grip’56. This grip mainly uses the wrist and fingers to

facilitate stick movement, with the occasional use of the elbow and shoulder. Rebound

from the playing surface is key, allowing the drums and cymbals to resonate. Regarding

foot technique, I found that I had established two main techniques that I utilised

depending on the situation: ‘heel down’ or ‘heel up’57. Heel up technique uses

movements of the hip, knee and ankle, whilst heel down technique mainly uses just the

ankle. In general, the heel down technique allowed the foot pedal and beater to return to

a ‘neutral’ starting position, creating an ‘open’ tone where the bass drum or hi-hats are

free to resonate. The heel up technique can often leave the pedal pressed down and

beater pressing into the playing surface, creating a more muted or choked tone58.

56 This is a hybrid of the two more traditionally accepted German and French matched grips See Wittet

(2006). 57 See Mayer (2014). 58 See Chester (1985). In an audio interview Chester describes the beginning of the heel up technique

having its roots in the development of ‘limiters’ in recording studios in the 1970s.

26

Traditionally the bass drum was played with heel down technique, with open tones being

more prominent in the early jazz aesthetic. I determined that I would require both foot

techniques for my exploration. The bass drum, snare drum and ride cymbal would all

require heel down in order that the beater would immediately come away from the

playing surface. Playing a choked hi-hat sound however would require continued

pressure to be applied to the foot pedal, more easily achieved with heel up technique.

I discovered that my heel down technique was not adequately developed to achieve the

rapidity and sensitivity involved with attempting to play the roles of the hands. One issue

I encountered was the potential for stress or overuse of the shin muscle (tibialis anterior).

This was exacerbated in two ways59. First, there was increased use of the feet as they

played the roles of the hands, and a relatively short time frame to develop the muscle.

Second, the majority of foot pedal designs have the foot in a position of stress

(dorsiflexion) when in a ‘neutral’ heel down position. After observing my hand technique

and also consulting a number of instructional resources60 I realised that I could alter the

height of the heel plate of my foot pedals to allow my feet to start in a more neutral and

stress-free position similar to the hands. I subsequently customised all of the foot pedals

to have a raised heel plate61. This created a subtle, but noticeable, difference in the use of

my ankle, and it took some time to become fluent. Eventually the more ergonomic

playing action helped to provide greater dexterity for my feet.

The table below (Figure 11) shows how I developed my feet to ‘mirror’ the technique of

my hands in a cycle of neutral – raised – lowered – neutral. As the rapidity of this cycle

increases, the spring built into the drum pedal provides a similar ‘pull-back’ mechanism to

that of the fingers in hand technique, providing additional support.

59 A third factor was the proximity of the pedals in relation to my seated position. This alters the angle of the

ankle. For this study, the angle of my knee to ankle was roughly perpendicular to the floor. 60 The most helpful of which was Colin Bailey’s Bass Drum Control (1956) and subsequent DVD Bass Drum

Technique (2010). Whilst not advocating a change in heel height, Bailey’s technique raises the ankle when playing faster strokes whilst maintaining the principals of heel down technique.

61 This concept has been considered by drum manufacture DW (Drum Workshop Inc.), who released a foot pedal customization kit consisting of a series of blocks that can be used to raise the height of the heel plate. See Drum Workshop (2005). My own bespoke customization required greater flexibility of height variation.

27

Wrist in ‘neutral’ position.

Ankle in ‘neutral’ position.

‘Down’ Position, slight flexion of the wrist.

‘Down’ position, slight plantar flexion of the ankle.

‘Up’ position, slight extension of the wrist.

‘Up’ position, slight dorsiflexion of the ankle.

Figure 11: The cyclical technique developed by my feet to mirror the technique of the hands.

Further to developing foot pedal technique, the multi-pedal orchestrations required by

interchangeable function meant each foot had to transition between four pedals. This

required changing between techniques, as well as adjusting playing sensitivity between

instruments. Although it took some time to naturally ‘know’ and ‘feel’ where each foot

pedal was and adjust accordingly, this aspect of foot technique was achieved with

relative ease due to the earlier exploration of multi-pedal arrangements in my Honours

degree.

28

2.3 TOWARDS PERFORMANCE

Once consolidating the majority of techniques involved with the performance

parameters, I established a regular practice routine to address specific aspects of

performance. This included: continuing general multi-dexterity exercises, jazz and other

relevant stylistic independence exercises and simulation of performance by playing along

to recordings. My aim was to achieve fluency within the twenty-four permutations so that

technique would not be a barrier to creative expression during my final performance. I

used a metronome when practicing exercises to monitor tempos; each time assessing

competency at the tempo attempted. If I was satisfied with control and fluency I

increased the tempo by 5bpm, however if I was not satisfied, I decreased the tempo by

5bpm. I maintained steady progress with a focus on control, not rapidity. The final phase

of my development was dedicated to working on the most challenging aspects of the

final performance, which included: rapidity of the feet; the permutations that were

lagging behind in tempo; and the arrangements of the works to be performed.

During the initial stages of my research, I began each series of exercises at the same

tempo with all twenty-four permutations. Soon after, differences in dexterity across the

permutations became clear and were consistent across multiple exercises. The following

practice charts are of two pages that I worked on for a large portion of the research62. The

tempos listed are those achieved immediately prior to the final performance, highlighting

a number of discrepancies that remained. The permutations that achieved the slower

tempos generally included those in which the feet played the roles of the hands,

particularly the role of the right hand. This can be seen in Figure 13 where permutations

13 to 24 achieved noticeably different tempos to permutations 1-12. Tempos achieved in

Figure 15 highlight what I found to be the four most challenging permutations – those in

which both feet played the roles of the hands (permutations 13, 14, 19 and 20).

62 Practice of these wasn’t necessarily daily as it would take a long time to cycle though all twenty-four

permutations of some exercises and studies - sometimes half and hour to an hour. I would have worked on these pages at least once a week.

29

‘Comp Example 3’ 63

Figure 12: An interpretation of the first segment of ‘Comp. Example 3’.

1 RH RH

190

2 RH RH

190

3 RH RH

180

4 RH RH

180

5 RH RH

180

6 RH RH

180 LH LH LH LH LH RF LH RF LH LF LH LF

RF RF RF LF RF LH RF LF RF LH RF RF

LF LF LF RF LF LF LF LH LF RF LF LH

7 RH LH

180

8 RH LH

190

9 RH LH

170

10 RH LH

170

11 RH LH

170

12 RH LH

170 LH RH LH RH LH LF LH LF LH RF LH RF

RF LF RF RF RF RH RF RF RF RH RF LF

LF RF LF LF LF RF LF RH LF LF LF RH

13 RH RF

130

14 RH RF

130

15 RH RF

130

16 RH RF

140

17 RH RF

130

18 RH RF

140 LH LF LH LF LH RH LH RH LH LH LH LH

RF RH RF LH RF LF RF LH RF LF RF RH

LF LH LF RH LF LH LF LF LF RH LF LF

19 RH LF

130

20 RH LF

130

21 RH LF

130

22 RH LF

140

23 RH LF

130

24 RH LF

140 LH RF LH RF LH LH LH LH LH RH LH RH

RF LH RF RH RF RF RF RH RF RF RF LH

LF RH LF LH LF RH LF RF LF LH LF RF

Figure 13: ‘Comp Example 3’. Tempos achieved by each of the twenty-four permutations.

63 An interpretation of an exercise appearing in Jim Riley’s The Art Of Bop Drumming. See Riley (1994 26-27).

30

‘Chapin Page 42’ 64

Figure 14: An interpretation of the first segment of ‘Chapin Page 42’.

1 RH RH

125

2 RH RH

125

3 RH RH

115

4 RH RH

115

5 RH RH

105

6 RH RH

105 LH LH LH LH LH RF LH RF LH LF LH LF

RF RF RF LF RF LH RF LF RF LH RF RF

LF LF LF RF LF LF LF LH LF RF LF LH

7 RH LH

130

8 RH LH

130

9 RH LH

100

10 RH LH

100

11 RH LH

100

12 RH LH

100 LH RH LH RH LH LF LH LF LH RF LH RF

RF LF RF RF RF RH RF RF RF RH RF LF

LF RF LF LF LF RF LF RH LF LF LF RH

13 RH RF

80

14 RH RF

80

15 RH RF

110

16 RH RF

120

17 RH RF

110

18 RH RF

120 LH LF LH LF LH RH LH RH LH LH LH LH

RF RH RF LH RF LF RF LH RF LF RF RH

LF LH LF RH LF LH LF LF LF RH LF LF

19 RH LF

80

20 RH LF

80

21 RH LF

100

22 RH LF

110

23 RH LF

110

24 RH LF

110 LH RF LH RF LH LH LH LH LH RH LH RH

RF LH RF RH RF RF RF RH RF RF RF LH

LF RH LF LH LF RH LF RF LF LH LF RF

Figure 15: ‘Chapin Page 42’. Tempos achieved by each of the twenty-four permutations.

64 An interpretation of an exercise appearing in Jim Chapin’s Advanced Techniques For The Modern Drummer.

See Chapin (2002 42).

31

2.4 CHAPTER SUMMARY

I found that the exploration from initial concepts to the realisation of the twenty-four role

permutations to be a natural and logical process. Having performed the drum kit as a

four-limbed instrument for numerous years prior to this study, each of my limbs had

developed a certain level of dexterity and independence. The challenge of evening out

these abilities was (and continues to be) a long-term goal that was not categorically

achieved in this study despite making substantial progress. The main challenge faced

during the development phase of this research was the ability to interchange the roles, in

particular the ability of the feet to play with enough rapidity and sensitivity (dexterity) to

adequately fulfil the roles of the hands. The relatively short timeframe of the study and

necessity of some skills requiring numerous repetitions over long periods of time meant

that whilst I was able to develop the skills necessary to facilitate this exploration, there

was still much more that could be developed. Whilst there will always remain differences

and physical limitations in comparing hands to feet, I was able to achieve an adequate

level of multi-dexterity that enabled me to successfully address the research questions

posed.

32

3. INSTRUMENT DESIGN AND PERFORMANCE

PARAMETERS

Drumming is an open architectural platform with many routes both internal and external.

(Billy Cobham, from Hessler, Famularo65 6)

Concurrently with my development of ambidextrous and multi-dextrous technical skills, I

was also defining the final performance parameters and devising a drum kit design that

would best facilitate my exploration. Initially, my goal was to replicate all the traditional

roles with each limb disregarding sonic variation. This resulted in an economical design

with some limbs sharing elements. This design was excluded once I established the

notion of sonic quadrants and found that adding this additional parameter led to greater

possibilities in my performance.

3.1 INSTRUMENT DESIGN

Since it’s inception, drum kit architecture has always been innovative and in a constant

state of re-design and improvement. The performing drummer has been required to

refine techniques and skills alongside these changing designs; although it is has

predominately been the performer that has driven the instrument’s development (as was

the case in this practice-based research). The architecture of the drum kit used in this

study transitioned through a series of designs before arriving at the final arrangement.

65 See Hessler, Famularo (2008).

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Figure 16: Home studio, October 2013. A similar arrangement was used for my first Masters recital held at The Paris Cat in June 2014 to explore the use of multiple pedals.

Figure17: Home studio, July 2014. Only the traditionally core drum kit elements provided. A centrally mounted floor tom was tuned low and used as the bass drum for the hands.

Figure 18: Monash University, April 2015. Two floor- mounted bass drums replace the centrally mounted

floor tom.

Figure 19: Home studio, August 2015. An additional snare drum and bass drum and two additional hi-hats mean that no element is shared by any two limbs. Each repeated element is given sonic variety.

Figure 20: JMC Academy, October 2015. Repeated elements have a specific range of tones from high to low.

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Figure 21: Oaklands Studios, February 2016. The drum kit arrangement used in the final performance.

1. 19” Ride Cymbal

2. 20” Ride Cymbal

3. 21” Ride Cymbal

4. 22” Ride Cymbal

5. 10”x5.5” Snare Drum

6. 12”x5” Snare Drum

7. 13”x6” Snare Drum

8. 14”x6” Snare Drum

9. 14”x12”Bass Drum

10. 16”x14” Bass Drum

11. 18”x14” Bass Drums

12. 20”x16” Bass Drum

13. 12” Hi-Hats

14. 13” Hi-Hats

15. 14” Hi-Hats

16. 15” Hi-Hats

Figure 22: List of drum kit elements used in the final performance.

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After experimentation, refining of performance parameters, hardware modification and

acquisition of a series of unique drums and cymbals66, a sufficiently innovative drum kit

design was conceived and assembled for the final performance (See Figure 22 and Figure

23). During the process of developing the final design through a series of prototypes used

throughout the research (See Figures 17-20), a number of limitations and parameters

were established.

First was an emphasis on an ergonomic design where the physicality of my limbs dictated

the position of the drums and cymbals. Due to the focus on multi-dexterity it was

determined to be essential to have minimal, if any, physical obstructions or stresses that

would inhibit any of the limbs abilities to perform to their fullest potential67. Subsequently

maintaining a natural position with each limb and having all elements in close proximity

was paramount in the instrument’s final arrangement. This began with addressing my

seated position68, and the placement of the foot pedals69.

Another issue I had encountered in my performance practice was the widely practised

position of crossing of the arms. This frequently occurred when either hand played a

drum kit element that was positioned on the opposite side of the instrument.70 As

66 I commissioned a cymbalsmith (Craig Lauritsen) to create a ‘family’ of ride cymbals with contrasting

pitches, and also worked with drum kit manufacturer David Sleishman to customise a series of bass drums and low toms that could be mounted to suit my design.

67 As skills needed to be honed over hundreds of hours of practice, even small stresses could become problematic, as they would become exacerbated during extended periods of use.

68 Before attempting to position any of the drums and cymbals, I addressed the height of my drum stool. Closely related to the posture of the back and movement of the legs, a drummer's seated position can also affect the reach of the arms to the instrument. Maintaining a straight back with the thighs slightly sloping forwards and the feet flat on the floor with ankles at ninety degrees is a commonly established position. I had already adopted this concept, and it served as a guide when I considered the position of each drum kit element in this research.

69 These were to be as close together as possible, to limit the reach required by my feet. I found that ‘over-reach’ of the legs affected balance during performance and also foot technique.

70 For a right-handed player, crossing of the arms mainly occurs when the left hand is playing the snare drum and the right hand crosses over it to strike the hi-hat cymbals or suspended cymbal positioned on the left side of the drum kit. This is a result of the progression of the development of the instrument and is a very common position found in contemporary drum kit performance. As the hi-hat or suspended cymbal are both higher than the snare drum, the crossing on the arms requires a ‘reaching’ physical position which does not adhere to the ergonomic principals of this research. The use of ‘X’ hi-hats not connected to foot pedals ensured that I could position the hi-hats to be played by the hands in such a position that the hands never had to cross.

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crossing the arms can restrict some movements this position is not utilised in this

research and the final design allows each hand to have unrestricted access to their set of

drum kit elements.

Early in the study I realised that my concept of multi-dexterity required symmetry. The

drums, cymbals and foot pedals are all therefore symmetrically positioned, which

provided the best opportunity for each side to develop the same techniques. However,

when considering symmetry between the upper and lower limbs, some compromises

were made. Ideally, the order of placement of the drum kit elements for both hands and

feet would have been the same (from the centre outwards). However, this proved difficult

to arrange spatially, particularly when not allowing shared elements. It also potentially

altered some of the traditional design positions for either the hands or the feet.

Consequently, I decided that it was more important to maintain as many traditional

design positions as possible to limit the amount of new positions my limbs had to

‘remember’.

The final arrangement allowed the four limbs the possibility of playing each of the four

traditional roles on their respective traditional instruments: bass drum, snare drum, hi-hat

and a ride cymbal. Despite aiming for the exact replication of roles with all limbs, two

further compromises were made. First, whilst the feet strike the bass drums with

traditional felt beaters, the hands strike the bass drums with drum sticks, creating a subtle

difference in the ‘attack’ of the sound71. Second, whilst the feet open and close the hi-hats

creating a traditional ‘choked’ sound, the hands simply hit permanently closed hi-hat

cymbals72. In my experimentation with foot pedals I was able to limit further comprises by

devising a series of stick beaters that were used to strike the foot cymbals and snare

drums using the same type of sticks used with the hands.

71 Experiments with sticks that incorporated beaters on the opposing end were conducted but it was

decided that normal sticks would be used as to not hinder stick technique with the hands nor have to deal with reversing the sticks during performance.

72 Experiments with using the hands to open and close hi-hats were cumbersome, so this compromise was made with ease of performance in mind.

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3.2 PERFORMANCE PARAMETERS

Two main performance parameters were devised with the aim of being able to address

the research questions: 1) to always maintain all four of the traditional roles without any

role duplication, and 2) each limb was to have its own series of the four traditional

elements and they were not to play outside this series. These parameters were

paramount for all but two of the performed works, which explored alternative

possibilities by making one modification: not only allowing but encouraging the

duplication of roles (mainly sonic, but also rhythmic) to explore new or uncommon sound

combinations.

3.2.1 SONIC QUADRANTS

The central concept behind the creative application of interchangeable function is the

assignment of sonic quadrants. Each series of repeated drum kit elements was given a

range of sonic qualities, ranging from high to low pitch. This was achieved by using

different sized drums and cymbals, and specific drum tuning. The four ride cymbals also

had contrasting qualities of resonance ranging from ‘washy’ to ‘dry’.

RH LH RF LF

RC Medium-High High Low Medium-Low

SD High Medium-High Medium-Low Low

BD Low Medium-Low Medium-High High

HH Medium-Low Low High Medium-High

Figure 23: Table of the assignment of sonic qualities. RC – Ride Cymbal, SD – Snare Drum, BD – Bass Drum, HH – Hi-Hats.

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Figure 24: Left hand quadrant. 1. Ride Cymbal – High 6. Snare Drum – Medium-High 11. Bass Drum – Medium Low 16. Hi-Hats – Low

Figure 25: Right hand quadrant. 2. Ride Cymbal – Medium-High 5. Snare Drum – High 12. Bass Drum – Low 15. Hi-Hats – Medium-Low

Figure 26: Left foot quadrant. 3. Ride Cymbal – Medium-Low 8. Snare Drum – Low 9. Bass Drum – High 14. Hi-Hats – Medium-High

Figure 27: Right foot quadrant. 4. Ride Cymbal – Low 7. Snare Drum – Medium-Low 10. Bass Drum – Medium-High 13. Hi-Hats – High

39

The application of sonic quadrants resulted in each of the twenty-four permutations of

the roles of the limbs having different sound combinations. To consider which

combinations I might use for different sections of the performed works, I devised a table

that allowed me to visualise the combinations of high and low pitches (Figure 29). The

table included the permutations from my already established practice table, however

these were re-ordered in relation to pitch. The order was determined first by the pitches

of the four ride cymbals, then the pitches of the snare drums, bass drums and hi-hats

respectively.

RC Limb Permutation RC SD BD HH

High LH 7 8 12 9 11 10

Soni

c V

aria

tion

RH 2 1 3 5 4 6

LF 24 22 23 21 19 20

RF 16 17 15 18 14

Low 13

High Medium-High Medium-

Low Low

Figure 28: Table of the twenty-four sonic permutations. A series of colours has been used to show the use of high, medium-high, medium low and low tones. For example, Permutation ‘13’ utilises all of the four lowest iterations of the traditional roles and permutation ‘5’ uses one element of each of the four pitch categories.

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3.2.2 NEW COMBINATIONS

Once I had begun experimenting using the twenty-four different sonic permutations, I

decided to also conduct an exploration of another creative series of options provided by

the drum kit design: new or uncommon combinations of the foundational elements. The

table below (Figure 29) lists all of the possible combinations of the traditional sonic roles

of the limbs. Combinations marked with an ‘ * ’ can already be achieved with common

drum kit arrangements that include the use of a double bass drum pedal or secondary

ride cymbal. Further, as bass drums can at times sound like floor toms, combinations

marked with an ‘ ^ ’ can already be achieved on a conventional drum kit.73 The number in

parenthesis after each combination indicates the number of different sonic variations

able to be achieved.

Four hands Four feet Three hands, one foot One hand, three feet Two hands, two feet

1 RC, RC, RC, RC (1) 6 BD, BD, BD, BD ^ (1) 11 RC, RC, RC, BD (4) 19 RC, BD, BD, BD ^ (4) 27 RC, RC, BD, BD * (6)

2 RC, RC, RC, SD (4) 7 BD, BD, BD, HH ^ (4) 12 RC, RC, RC, HH (4) 20 RC, BD, BD, HH ^ (12) 28 RC, RC, BD, HH * (12)

3 RC, RC, SD, SD (6) 8 BD, BD, HH, HH ^ (6) 13 RC, RC, SD, BD (12) 21 RC, BD, HH, HH (12) 29 RC, RC, HH, HH (6)

4 RC, SD, SD, SD (4) 9 BD, HH, HH, HH (4) 14 RC, RC, SD, HH (12) 22 RC, HH, HH, HH (4) 30 RC, SD, BD, BD * (12)

5 SD, SD, SD, SD (1) 10 HH, HH, HH, HH (1) 15 RC, SD, SD, BD (12) 23 SN, BD, BD, BD ^ (4) 31 RC, SD, BD, HH * (24)

16 RC, SD, SD, HH (12) 24 SD, HH, HH, HH (4) 32 RC, SD, HH, HH (12)

17 SD, SD, SD, BD (4) 25 SD, BD, BD, HH ^ (12) 33 SD, SD, BD, BD * (6)

18 SD, SD, SD, HH (4) 26 SD, BD, HH, HH (12) 34 SD, SD, BD, HH * (12)

35 SD, SD, HH, HH (6)

Figure 29: List of the combinations of the four traditional elements.

This new series of permutations shifted the research into a different creative exploration -

the duplication of traditional roles. For aesthetic reasons, I determined that for the most

part I would only duplicate the sonic elements, not their rhythmic function. The majority

of these thirty-five combinations could be expressed multiple ways when considering the

assignment of sonic quadrants, resulting in two hundred and fifty-six different sonic

combinations. I discarded a large number of these combinations based on what was

already possible with existing drum kit architecture, or common additions. Additionally, 73 Despite this, I still decided to use combination 6 (use of four bass drums) for one of the performed works.

Also, whilst the use of multiple hi-hat sounds (played by either hands or feet) is not a new combination, it is uncommon to have these roles split between four sets of hi-hats individually assigned to each limb.

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the sound of playing low floor toms can be similar to the sound of a bass drum

(particularly if the bass drum is struck with a stick), so a secondary series of combinations

was also discarded. This left a remaining twenty-two combinations with the possibility of

one hundred and fifty-two different sonic combinations. The two works that explore

these secondary performance possibilities (outlined further in Chapter 4) limit use to one

or two sonic variations of each of the remaining twenty-two combinations, with a more

‘hand-driven’ ambidextro