The second line influence in the drumming of Keith Carlock: a practical and theoretical investigation

This study explores the second line component in the playing of American drummer Keith Carlock and its influence upon my performance. It seeks to understand the history and origins of the second line as well as its structural composition, and seeks to understand the role it plays within the drumming of both Carlock and myself. As a contemporary drummer, Carlock has many stylistic influences to draw from when performing, yet consistently one of the primary influences heard in his playing, particularly when improvising, is the traditional New Orleans drumming style of the 'second line'. It is a flavour that permeates much of his improvisatory playing, having been well noted by peers within the drumming community and detailed by Carlock himself in both magazine interviews and on his instructional DVD. The underlying research questions therefore that frame this study are what is the influence of the second line upon the drumming of Keith Carlock and in what way have I incorporated Carlock's use of the second line into my playing? These research questions along with the background of Carlock himself and considerations of the methodology are the focus of chapter 1. Chapter 2 contains a historical account of second line drumming and its machinations followed by a detailed analysis firstly of Carlock and then of my performance. It is intended that both of these analyses will help to frame the answers to the overall research questions.