The Study of The Practicing Technique of Rudiment and Swing Rhythm for A Drum Set: Case Studies of Mangkorn Peekaew, Chanut Techthananan and Suthipong Pankong

Abstract

The purpose of this research is to study the practicing technique of rudiment and swing rhythm for a drum set. This research uses the analyzed data gathered through interviews with three teachers: Mangkorn PeeKaew, Chanut Techthananan and Suthipong Pankong. The information is then divided into two parts as follows: 1) The practice of the rudiment by these three teachers begins with the technique of holding drumsticks in the beaten position that makes drumsticks rebound. And the start of practicing rudiment from the standard pattern is mixed with the newly created pattern to practice rudiment in a personalized version. This includes the practice of sound emphasis, sound change on the drum set to be used in instrumental comping, drum fill-in and solo. 2) Basic swing rhythm practice by these three teachers begins with the ride cymbal with quarter notes in subdivision by eighth note triplet. It continues with the ride cymbal on the third in triplet notes in beat two and four, along with stepping on the pedal hi-hat in beat two and four to match metronome. Then, rudiment is applied to the study of the background and work of artists. Music, concert and drum set transcription for practice create articulation and language in the swing rhythm. Moreover, Practice controlling concentration while playing drums can solve problems in practice. Also, the use of notes instead of metronome reduces pressure. Another finding is memorizing the main melodies of songs by singing, reciting, and memorizing.