developing your own style and sound

i think that by default we all develop our own style as dummers. but im putting thought into intentionally developing my own style and sound on the drums that sets me apart from other drummers. i feel that most of the great drummers have this and its something that i would like to develop more in my own playing.
what are everybodys thoughts about developing our own style and sound in an intentional manner? what are some great steps to take to be able to develop our own style and sound?

Here's a Tony Williams quote from the intro page of the Art of Bop Drumming by John Riley. "People try to get into drums today, and after a year, they're working on their own style. You must first spend a long time doing everything that the great drummers do... Drumming is like an evolutionary pattern." I think the point of this quote is that beginning drummers don't really have the resources to make up their own style. Don't get me wrong, you don't want to sound like every other drummer in your respective scene. I just think it's more important to focus on developing your chops and having a deep understanding of the giants whose shoulders you are standing on before you start trying to have your own sound.

i feel what you are saying for sure. but what about the person that has been playing for a good while (i have been playing for 15 years). dont get me wrong, there is still a LOT that i can learn from the greats for sure and plan to do so for sure. but at the same time i want to put more conscious thought into developing my own sound and style at this point in my playing, while at the same time i keep working on things from the greats and other drummers to incorporate into my playing ( which im sure will never end ).

I somewhat agree with Pretzel, you need to emulate what you like, and I suggest you try to find as many influences as possible to synthesize into your own unique blend. Once you have discovered this there will be a whole universe of opportunities just waiting for you take ahold of them.
And honestly, right from the get go every drummer has there own unique style or sense of musical interpretation. Tell 20 drummers to play the same exact beat on a piece of paper, and you'll be hearing 20 different beats with their own time center, accents, flavor, and emphasis.
Also try experimenting with your drum setup and tuning. My style changes vastly just depending on how my drums are arranged, what I'm using, and how they're tuned.
I hope this makes sense and helps

I wonder if it's what see often in these forums: The "I've hit a wall" type of threads. The point when one has stopped being challenged and interested in copying your heros and mentors: You want to find your own voice, your own way.

elpol said:

I wonder if it's what see often in these forums: The "I've hit a wall" type of threads. The point when one has stopped being challenged and interested in copying your heros and mentors: You want to find your own voice, your own way.

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its not that at all. i am still challenged by the things that my mentors play. and i still work on the things that they can play that i cannot. and i also want to start to focus on my own sound and style more then i have in the past as well.

drummingman said:

what are everybodys thoughts about developing our own style and sound in an intentional manner?

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Transcribe songs and solos and practice the things that appeal to you the most.

I don't really work specifically on developing my own style, but I remember hearing Keith Richards saying something that really nailed it for me: "Everything you've ever heard comes out in what you play"

Pretzel Logic said:

Here's a Tony Williams quote from the intro page of the Art of Bop Drumming by John Riley. "People try to get into drums today, and after a year, they're working on their own style. You must first spend a long time doing everything that the great drummers do... Drumming is like an evolutionary pattern." I think the point of this quote is that beginning drummers don't really have the resources to make up their own style. Don't get me wrong, you don't want to sound like every other drummer in your respective scene. I just think it's more important to focus on developing your chops and having a deep understanding of the giants whose shoulders you are standing on before you start trying to have your own sound.

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I think this is exactly what he meant, which fuels my ongoing confusion about those who stay angry about drummers who exhibit the gall to develop a skillset before moving full steam into the higher issues. It would seem logical that the absence of fundamentals would also impose unnecessary limitations. This is always then followed by someone bringing up the unique exceptions, as if those guys represent a model for all.

elpol said:

I wonder if it's what see often in these forums: The "I've hit a wall" type of threads. The point when one has stopped being challenged and interested in copying your heros and mentors: You want to find your own voice, your own way.

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Yes, then I think this becomes the biggest irony of all, when the drummer who thought it was anti musical to develop fundamentals is forced to be a copycat because he's limited by what he can bring to the table. This isn't to say that imitation isn't part of the ongoing proccess, but you don't want this to be the end result. I've always found it surreal that so many chops haters on forums will then pay homage to an entirely replicated drum solo, as if it's on a level with something entirely original. It would seem that if you were willing to pay a few years of dues with skillset building, then you would hit less walls and move forward with the true goal, which in improvised music is the realization of your own voice.

Think about how many drummers are known because of their snare sound.

Interesting story: Bill Bruford with Yes, I remember trying to cop that sound he got on those albums convinced it was his tuning, he later admitted that during the recording sessions Chris Squire would play these very high notes on his bass so he (Bill) would have to hit rim hard all of the time, and that's how the sound developed into a signature sound for Bill Bruford; with Yes anyway. Maybe your sound is an accident waiting to happen.

mattsmith said:

I think this is exactly
Yes, then I think this becomes the biggest irony of all, when the drummer who thought it was anti musical to develop fundamentals is forced to be a copycat because he's limited by what he can bring to the table. This isn't to say that imitation isn't part of the ongoing proccess, but you don't want this to be the end result. I've always found it surreal that so many chops haters on forums will then pay homage to an entirely replicated drum solo, as if it's on a level with something entirely original. It would seem that if you were willing to pay a few years of dues with skillset building, then you would hit less walls and move forward with the true goal, which in improvised music is the realization of your own voice.

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I suppose there's ample argument for both sides' effectiveness, which to me, simply suggests that personality really is a huge determining factor.

Being locked up in a uber-dogmatic approach (pro or anti-chops) might work for some; I've personally yet to have seen it. My original comment was more 'muse' than idea. I've read it here and have heard it countless times, the idea that becoming bored with yourself is the best thing that can happen for your development. I believe it simply means you're psychologically ready to move to another level or depth.

Tony Williams' comment about Drumming following an Evolutionary pattern sums it up very well for me.

The path to originality for me is a very meandering one (not to mention never-ending): It's all those little diversions along the way, planned or not, that help to create the seeds of new possibilities. It's the choosing of whether or not you wish to look for and experience these 'diversions' which could dictate the rate of developing true originality.

The 'Micro' way I suppose would be within one or a few very-similar genres of music, which I would think make developing originality much more difficult and slow. The 'Macro' way would be simply opening up to everything you can possibly take in and letting it stew, explore it, and try to integrate with other things that appeal to you. Being evolutionary means that there are no real rules beyond respecting musicality. A good scenario would see one having the means to express these 'experiments' with other musicians in a collaborative and open way.

mattsmith said:

Yes, then I think this becomes the biggest irony of all, when the drummer who thought it was anti musical to develop fundamentals is forced to be a copycat because he's limited by what he can bring to the table. This isn't to say that imitation isn't part of the ongoing proccess, but you don't want this to be the end result. I've always found it surreal that so many chops haters on forums will then pay homage to an entirely replicated drum solo, as if it's on a level with something entirely original. It would seem that if you were willing to pay a few years of dues with skillset building, then you would hit less walls and move forward with the true goal, which in improvised music is the realization of your own voice.

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I agree with you to some extent Matt, granted it is a very large extent. However, no matter how much time youve spent on your chops and time and patterns, eventually you will run into that inevitable conceptual wall, where youre trying to understand why youre playing what and what underlying concept you want to permeate throughout your playing. Fundamentals arent all you need to really play well, especially just applied to the drumset. There are musical elements that you cant learn just from paradiddles and pataflafas.

elpol said:

I suppose there's ample argument for both sides' effectiveness, which to me, simply suggests that personality really is a huge determining factor.

Being locked up in a uber-dogmatic approach (pro or anti-chops) might work for some; I've personally yet to have seen it. My original comment was more 'muse' than idea. I've read it here and have heard it countless times, the idea that becoming bored with yourself is the best thing that can happen for your development. I believe it simply means you're psychologically ready to move to another level or depth.

Tony Williams' comment about Drumming following an Evolutionary pattern sums it up very well for me.

The path to originality for me is a very meandering one (not to mention never-ending): It's all those little diversions along the way, planned or not, that help to create the seeds of new possibilities. It's the choosing of whether or not you wish to look for and experience these 'diversions' which could dictate the rate of developing true originality.

The 'Micro' way I suppose would be within one or a few very-similar genres of music, which I would think make developing originality much more difficult and slow. The 'Macro' way would be simply opening up to everything you can possibly take in and letting it stew, explore it, and try to integrate with other things that appeal to you. Being evolutionary means that there are no real rules beyond respecting musicality. A good scenario would see one having the means to express these 'experiments' with other musicians in a collaborative and open way.

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Thanks for the great post. I think we probably agree here but are saying it differently. I also agree with you Britt.

I don't agree with the polarizing anti music-anti chops angles either. I believe that neither are mutually exclusive. You are also right about the meandering course towards innovation, and the no rules approach to musicality. But I do think that you have to develop a skillset before any of these considerations can take place. Again and again, you read on forums of posters who believe that practicing interferes with their inner Zen, alongside extreme examples of a handful of drummers who got from point A to point B with what seems on the surface to be an easier path. It even goes so far as having drummers hope that books like Effortless Mastery or the misinterpreted obscure quote from a great drummer/not this one, which is true/ will give them the excuse not to practice, so their higher journey will come sooner than later. All anyone need do is visit that double strokes thread to see that such ideas are very much alive and well.

In jazz you often hear the analogy of the great Dannie Richmond not having a fundamentals skillset but still making it to the highest level, while drummers tend to ignore that he had a firm foundation as a saxophonist. I'm just not certain that high musicianship ever occurs without initial hard work, that often resembles non musical exercise.

brittc89 said:

I agree with you to some extent Matt, granted it is a very large extent. However, no matter how much time youve spent on your chops and time and patterns, eventually you will run into that inevitable conceptual wall, where youre trying to understand why youre playing what and what underlying concept you want to permeate throughout your playing. Fundamentals arent all you need to really play well, especially just applied to the drumset. There are musical elements that you cant learn just from paradiddles and pataflafas.

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This is a lesson that so many greats, past and present, try to impart upon us over and over again. It is also just as common to tie in the need to have a deep understanding of the mechanics of an instrument (meaning technique, in this case), as a means by which one can feel unfettered in their quest for the psychological and emotional elements of playing that goes way beyond technique.

A big "Aha" moment for me happened when I had finally realized that primary differences between professional players was based in their mental make-up and approach. At a certain point, 'Players' all have a solid degree of technical ability - What differs is how they present it: Interpretation, feel, emotion, etc.

elpol said:

This is a lesson that so many greats, past and present, try to impart upon us over and over again. It is also just as common to tie in the need to have a deep understanding of the mechanics of an instrument (meaning technique, in this case), as a means by which one can feel unfettered in their quest for the psychological and emotional elements of playing that goes way beyond technique.

A big "Aha" moment for me happened when I had finally realized that primary differences between professional players was based in their mental make-up and approach. At a certain point, 'Players' all have a solid degree of technical ability - What differs is how they present it: Interpretation, feel, emotion, etc.

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And the real big one laid out to me in clear english by a old jazz veteran very early on in my own continous jazz journey which was developing and having a related jazz CONCEPT for drumming AND the music as one entity.

All the chops in the world can help for sure but if you don't have a understanding and "concept" of how to use them effectively and meaningfully in a jazz setting within the music with other musicians all is for not in my view.

Learned this VERY important lesson the hard way trust me very early as I say in the game and thank the individual to this day who kicked me in the ... for all the right important reasons to get me on a developed musical concept path combined with the chops I had under my belt at the time.

My responsibility I feel to pass these wise words onto others now some 33 years later......

drummingman said:

i think that by default we all develop our own style as dummers. but im putting thought into intentionally developing my own style and sound on the drums that sets me apart from other drummers. i feel that most of the great drummers have this and its something that i would like to develop more in my own playing.
what are everybodys thoughts about developing our own style and sound in an intentional manner? what are some great steps to take to be able to develop our own style and sound?

Click to expand...

If you listen to what other people listen to, you will sound like them.
If you play what other people play, you will sound like them.
If your drums are like what other people play, your drums will sound like theirs.
If your drums are arranged the same way that other peoples' are, your arrangements will sound like theirs.

None of this is neither good nor bad; there are certain things that all musicians need to do. But if you want to develop a distinct style, I think you can see where this is headed.

Here's the thing Drummingman, you already have your own style. You can't help it. Now, your style may sound like someone else's or it may not. My best advice is to record and listen to yourself as much as possible and ask yourself if you like what you hear. If so great. If not ask, yourself what is it that you don't like, and address it. Now, when you are happy with what you are hearing, ask yourself, is my style acceptable to me? If not, you have a solid reference point on where to start altering things. What you play and what you hear sometimes sound very different from one another. I just think that having your own style is unavoidable. The real question is, do you like your present style?

larryace said:

Here's the thing Drummingman, you already have your own style. You can't help it. Now, your style may sound like someone else's or it may not. My best advice is to record and listen to yourself as much as possible and ask yourself if you like what you hear. If so great. If not ask, yourself what is it that you don't like, and address it. Now, when you are happy with what you are hearing, ask yourself, is my style acceptable to me? If not, you have a solid reference point on where to start altering things. What you play and what you hear sometimes sound very different from one another. I just think that having your own style is unavoidable. The real question is, do you like your present style?

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i really like this post. i have not really recorded my placticing and playing in a good long time. there are things for sure that i want to add to my style that i feel are lacking. i also want to be able to convey my original ideas as well. i want that to be a big part of my style.
it is a very important thing for me as a drummer to devlop my own style for sure, while at the same time taking things that i hear from my favorite players and incorporating those those things into my playing.

I found that the fastest way to progress is to record yourself and listen. Then you can turn that critical ear that we all have back on ourselves. For instance when I first started doing this, listening to little nuances like, a fill for example. I liked the fill I played, but I played it too loud, drew too much attention to it, and it stuck out too much. So mental note to self..."when playing fills, don't goose the volume, just keep it where it was before. And lo and behold, on the next listen after correcting, it pleased my ear much more to hear the fill at a volume which worked much better. A recorder is a vital tool for fast improvement.
I make recordings of all my gigs, and make copies and give it to the other members. I recently asked one of the guitarists, "have you listened to the last gig we did?" He told me it makes him uneasy to listen to himself because even though he likes his rhythms, the leads are not his strong suit. But he won't listen to the recordings I made him! It's frustrating when someone doesn't have to stones to confront his weak points. But I'm thinking, do you want to continue to play weak leads or do you want to improve? Listen to yourself, don't be a wuss about it like my friend, and make whatever adjustments you need to.

Deathmetalconga said:

If you listen to what other people listen to, you will sound like them.
If you play what other people play, you will sound like them.
If your drums are like what other people play, your drums will sound like theirs.
If your drums are arranged the same way that other peoples' are, your arrangements will sound like theirs.

None of this is neither good nor bad; there are certain things that all musicians need to do. But if you want to develop a distinct style, I think you can see where this is headed.

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I disagree with this. If you do any of what you said for ONE drummer, then yes, you will sound like them. But if you take a dash of one drummer, a pinch of another, throw a little of what you learned about bop drumming into your rock, etc, you will end up with a style that is truly your own.

We often compare drumming to a language. I think this is true in this case as well. We have to have a good understanding of the "words" and the way they can be put together to form "sentences, paragrahps, etc" before we can find a way to truly express ourselves in our own way...and even when we find out how to do that, we still are using the same words as everyone else.

To the OP, I don't think you can consciously develop your own style. All you can do is expand your knowledge of drumming, and they be comfortable enough with what you know to use it as you see fit. That is your own style then. If drumming is truly a form of artistic expression, then just learn how to do as much as possible with sticks, and how to free your mind to use it as you see fit, and you will end up with your own style, if for no other reason than because you will be saying your own thing.