by Showyea

The piece opens with a sixteenth note fill played on the snare drum and a mixed fill based on triplets played on the snare drum, high tom and floor tom. This leads into slow rock rhythms played with a series of triplets. Next the drummer plays a Latin cha-cha rhythm, followed by a lively soul rhythm. Finally the drummer ends with a disco dance rhythm. The rhythms played by the drummer in this video are very retro; they were commonly used twenty to thirty years ago, and therefore necessary for a drummer to know.

Performance opportunities at that time included studio recording, live bands backing famous singers and events such as weddings or funerals. Venues included hotels, bars, clubs, dance halls, cabarets, red-envelope clubs, Nakasi clubs (a small jazz drum on a cart was used in these clubs so that the drummer could wheel the drum to various private rooms and perform for the patrons—I have a clear memories of this). At the time, orchestras that played at wedding banquets were called “peace and happiness” bands, and the drummer often provided his own jazz drum set. If the drummer did not have a car, he would just bring the drum on his motorcycle by taking the bottom drum head off of each drum (except the snare drum), nesting the smaller drums inside the larger ones and then strapping the entire set onto the backseat of his motorcycle. The stands and cymbals were placed in a canvas bag and carried on the front seat.

Around 1990, along with sweeping changes in Taiwan, live band performances at pubs and discos became more common, drawing in a lot of customers. The styles of music performed also changed along with this trend: wedding bands were gradually replaced by karaoke, and in recording studios, MIDI arrangers replaced most orchestras. Performance venues as well as performances became fewer along with changes in overall performance circumstances and musical forms. Some musicians were unable to adjust to these changes, and this coupled with economic pressure forced them to abandon music for other jobs.

I sincerely hope that drummer #10 can reawaken the enthusiasm that he once had for music and his love of drumming. I look forward to watching him perform again.

About the Author

Showyeh studied at the Percussion Institute of Technology at the Musicians Institute College of Contemporary Music in Los Angeles in 1997. He currently is the Taiwan district spokesperson for Sabian, the internationally famous cymbal maker; an adviser for the popular music society at Southern Taiwan University, and teaches jazz drum at Showyou Music Store and Life Force Music Store. Showyeh is also the author of the jazz drum text book, Independence for Rhythm, Volume 1.

一開始的十六分音符的小鼓過門和三連音的小鼓、高架鼓、落地鼓的混合過門帶入三連音系列的slow rock的節奏型態。接下來打的是有拉丁風味的cha cha節奏型態,緊接著打的是輕快的soul節奏型態。最後以disco舞曲的節奏型態作為ending。這段影片的這位鼓手所打的節奏,很有復古風。而影片中所打的節奏就是當時必備的常用節奏型態。

在當時可以表演的生態環境,除了錄音室、歌星的live band,不外乎婚喪喜慶,場所包括飯店、酒店、club、舞廳、歌廳、紅包場、那卡西 (固定在推車上的迷你爵士鼓、可以推到每個包廂為來賓來演奏,讓我印象深刻),還有當時婚宴的演奏樂隊稱為康樂隊,而鼓手通常要自備爵士鼓,如果沒有開車就是用機車載鼓,先把所有鼓的下鼓皮拆掉(小鼓除外)、再從大鼓、落地鼓、高架鼓,由大而小依序裝進,放置機車後座再以繩子捆綁固定,其餘的配件支架裝入帆布袋連同銅鈸一起放在前座。

而隨著時代潮流的變遷,在民國八十年左右,開始有pubdisco publive band表演場所,吸引了很多消費者前往,而表演的音樂型態也有所改變,而另一方面婚宴演奏的康樂隊也漸漸被卡拉ok伴唱所取代,再者錄音室方面,MIDI編曲取代了多數的傳統樂器錄音。由於表演的生態環境、音樂型態改變,表演的空間變少,表演的場次和case減少,因此當時有些樂隊老師受到這樣的衝擊而無法適應,再加上經濟上的壓力,所以放棄了音樂表演而去從事另外的工作。




1997年曾至美國Los AngelesMI音樂學校之敲擊部門PIT進修。
『小葉流鼓藝列傳 - Independence For Rhythm volume 1』爵士鼓教材之著作。


by Showyea


Drum Notation and Comments-

by Showyea