TDJ-Issue-Three

However, the objective/technical argument is also entirely relevant on a number of
levels. Gospel patterns and techniques would appeal to many drummers from different
musical traditions and backgrounds since many of its characteristics expand upon
long-established forms of modern drumming. Metal, punk, and blast beat aficionados
could easily appreciate the skill of church drummers performing fast shout music songs.
There are also many direct connections between funk, progressive rock, fusion and
gospel techniques, including linear patterns (i.e. RLRKK, RLLKK, etc.) and advanced
polyrhythms at fast speeds and loud volumes. However, the most important skill that
one could learn from any church drumming context is how to properly accompany a
choir. This is very often the most overlooked aspect of gospel drumming; a skill that
not only contextualizes the practice, but one that can easily lend itself to performing
professionally in multiple genres and musical situations.
These issues briefly illustrate how gospel drumming is difficult to pin down: it cannot
be reduced to mere transcriptions or fills, nor is it exclusive to members of a particular
religious community. The reality is that drummers around the world are appropriating,
teaching, and performing ‘gospel’ in ways that are novel and quite progressive, but they
also veer far away from its associations with African American religiosity. History teaches
us, of course, that this has been a very familiar process throughout the development of
20th century popular music. But for many self-identifying gospel and church drummers
- as well as drummers who have recently been labeled ‘gospel’ simply because they are
black - the term articulates much more than ‘just drumming.’ It can negatively pigeonhole
drummers without critically understanding what such a term may signify. It is also a
significant practice that can strengthen religious communities across denominations and
faiths, providing meaningful ways to communicate and express oneself. Throughout its
ascent as a popular drumming phenomenon, gospel has become a sign of pride in the
unique musicianship that is fostered in African American church communities.
But we must also remember that gospel has long been a heavily commoditized term to
market and sell various products (‘black gospel music’), as well as delineate certain kinds
of techniques and practices. Ultimately, the ways in which we use gospel drumming will
reveal its significance as a valued form of practice, which will eventually develop into
something new and entirely different.
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THE DRUMMER’S JOURNAL
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“Gospel drumming is difficult to
pin down: it cannot be reduced to
mere transcriptions or fills, nor is it
exclusive to members of a particular
religious community.”
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