I’ve never been the kind of guy who spends a lot of time transcribing the playing of drummers I admire. Transcription is a big part of instrumental study for many people, but that’s not the case for me, and there’s a very direct and specific reason: Dave King, my former teacher, didn’t like transcription. That’s all it is.
But it wasn’t Dave’s dislike for transcription that really affected me, it was the reason for his dislike. Dave accurately identified music as having a primarily emotional existence, and he always emphasized this over anything else in our lessons. That emphasis often took the lesson content down long, spiraling, and very “artsy-fartsy” paths, but I always learned a TON. As I have continued past my lessons with him to teach lessons of my own, I always try to continue the emphasis on the artistic side of things, although I think I probably use less abstract terminology.
Now back to transcription. Because of Dave’s heavy attention toward emotional/artistic merit, he felt that the mechanical/technical nature of transcribing was misleading. In other words, simply writing down someone’s playing note for note won’t necessarily give any insight on why their playing feels the way it feels and has the impact that it has. In fact, transcribing will probably create more problems than solutions if one supposes that transcribing alone is the only necessary component to learning to play like the greats. Tone, context, time-feel, precision… all of these factors affect the emotional and artistic impact of what you play as heavily as the note-for-note analysis, if not heavier.
My point is this: music has a few different levels of existence. You can’t fully grasp/understand/appreciate what someone plays merely by copying what they do note-for-note. The true essence of music is waaaaaay deeper than that.
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May 19, 2010 at 10:04 am
derek
i suppose dave is the “king” of artistic drumming…or as some people see it “playing really weird stuff.”
for me transcribing is the the one way i could make sure i was actually learning drum parts the way they were written. I’m jealous of people who never have to transcribe anything because the ability to just hear something and then just play it is something i haven’t been able to do.
One thing transcribing will do is help your ability to count and read music…but not everyone needs to write something out to be able to lock it in internally.
With that said, transcribing a piece is only a step in making sure that the piece is being practiced correctly with the artistic elements still needing to be practiced correctly as well.
May 19, 2010 at 2:15 pm
alexander
i agree with you Steve.
Ex.
i was learning all those older Danielle tunes and transcribed all of the grooves and even some of the fills that i felt helps communicating the song. i was playing all of the notes right and doing just fine but i didn’t really capture the REAL FEEL of your groove until to told me what you were listening to and what influenced you to play that particular groove the way you did (Travis).
However, there is the point that transcribing aids in learning a certain command of the instrument. Figuring out how to play what the masters were playing and learning those solos (solos just for the sake of example – and when speaking of transcribing, people are mostly talking about solos) is just another type of technique exercise which could inform and influence your own playing when it comes time to be artistic. On a less technical basis, hearing what the masters play – i mean REALLY hearing – enough to write it down strengthens your “mind’s ear.” ie. Hearing something in your head and being able to communicate it on the drums without having to go “shed” on it in the practice room for several hours.
May 19, 2010 at 2:29 pm
alexander
With that said, i never transcribe solos…
May 20, 2010 at 12:13 am
jeff
I think it is a matter of perspective. If all one can see transcribing good for is cold technical regurgitation, then I can side with the ‘free spirit only’ approach to playing.
To me it isn’t a ‘what side are you on’ aspect.
It is a tool and isn’t mutually exclusive.
To transcribe something requires discipline and patience. When I transcribe things, I am looking for more than the raw ‘data’. Sure.. the beat, fill whatever is first.. but almost always gives way to more thought and consideration.
Listening to Andy Newmark on Carly’s “Anticipation” or Sly’s “In Time”.. both crazy great performances.. completely different stylistically. I imagine what I would have played on either of those occasions.. and laugh at how lame it would have been! Andy was 21 or something crazy when he played on that Carly Simon record!
While jotting out every nuance.. (to quote Billy Ward.. “art lies in the details”) I hear more than I would have.. if I were to just ‘learn’ the song to cover it.
I am getting a real insight to Andy’s playing. His feel (the truly ‘un-transcribable aspect) his fill choices.. I take into account he might be reading on the session.. all of this has a huge effect on me while I am rewinding/playing/writing. I am learning about him.. Andy Newmark.. i start to ‘get’ him. In a way that casual listening will never afford. I seek out other music he has played on.. he starts to rub off on me. Again.. just listening will accomplish some of this.. but not to the degree of really digging in and writing out certain things. Over time I ‘steal’ from him.. more than just beats and fills!
The next step that isn’t discussed is playing along with the track once the transcription is complete.
Again.. if someone REALLY wants to understand Carlos Vega’s feel on Vince Gill’s “A little more love”.. you got to do the work. Then play along and see how you stack up.
Everyone talks about Jeff Porcaro’s feel.. transcribe “New York Minute” every little tick.. and then play along.
This is a phenomenal lesson..on multiple fronts. The biggest lesson.. is pure shock and admiration that these players.. and many mentioned on this blog capture ALL of these traits you offer as reasons why transcribing won’t allow insight for.. “Tone, context, time-feel, precision”
Transcribing isn’t the enemy of these.
These players are in the moment, without pretense. They are playing honestly. If tracking with a rhythm section we get to hear how the MUSIC influences what they are playing in real time!
WE get a front row seat to hearing (in a lot of cases) brilliant performances on the first occasion of hearing/reading a tune.
Steve Gadd read “Aja” and we hear the second take of that on the recording.
These are huge insights.
Sure we don’t know the ‘why’. Can anyone of us, track down the exact reason of what we play, when we play it? It’s a combination of a million things.. sometimes nothing more than eating great Chinese food!
I am all about the emotional context and I feel I sound my best.. when I stay out of my own way. This is real world “the sum is greater than it’s parts”.. when listening, practicing (or not), fight with my wife.. crappy drums.. whatever.. the end result is what it is based upon stuff that we may never know.
I can’t imagine Vinnie Colaiuta playing on Gino Vannelli’s “Seek and You Shall Find” track could give a breakdown as to ‘why’ he played what he did.
To me.. Gino hired Vinnie because he is a bad-a$$ and the music along ‘told’ him what to play. I could be completely wrong though..
The tangible aspect of transcribing.. .of having this piece of manuscript paper with my time dedicated, studying, listening to players that inspire me.. it honors these drummers and makes me a better drummer on multiple levels all at the same time.
The fact that I am a student of this instrument burdens me to learn from the greats. Music is more than notes on the page.. I see transcribing the same way.
my .02
May 22, 2010 at 9:59 am
Travis
I think this is a great concept for students and professionals. First the educational aspect of understanding what they’re hearing, playing, and seeing that on paper is great and being able to write it out(note for note or not).
Most of my educational experience has been working out of music books and honestly without private lessons thats one of the best way for myself to improve, but it doesn’t have its pros and cons but this is only one tool to help improve your overall versatility.
Also, when doing last minute charts of session work being able to write out simple grooves or feels may be essential for a session drummers that doesn’t have a memory like Thee “Steve Goold”. haha