Thank you for raising this important topic, Clayton.
I feel like this is something I’ve been struggling with quite a lot lately—on one hand the ethical side of it, and on the other hand how much it actually helps me move forward in my journey.
At the end of the day, drum covers of Broadway songs are a way to showcase your abilities, to demonstrate that you’re aiming for this field, and to show that you’re genuinely interested and invested in it. Getting official charts is almost impossible, and we all understand the reasons why. Of course, there are occasional “leaks” online and independent individuals sharing material, but like you said in your post, I don’t think it’s appropriate or respectful to distribute those.
That being said, I do think it’s legitimate for someone who wants to eventually play on Broadway to practice the kind of material they’re likely to encounter, so that when the opportunity comes, they already have the tools to handle it properly.
For example, I’ve written out my own charts for well-known Broadway numbers just for the sake of doing drum covers. One ten-minute piece took me about two months of work, including going through around ten different chart versions, learning the notation software, practicing it at the kit, and refining every single stroke. Honestly, it turned out to be one of the most educational processes I’ve ever done—it multiplied my listening skills many times over.
I even brought one of those charts to a lesson with a well-known local theatre drummer who plays in one of the leading theatre companies in my country. He gave me invaluable feedback about what a Broadway drummer would need to see on the page, and it turned out I was already on the right track. He helped me refine the level of detail and readability to match professional theatre standards (he had played in productions brought directly from Broadway). When I showed him my playing, I got even more guidance on dynamics, sound-shaping techniques, how to listen and react in the moment, and the crucial awareness that everything can change instantly at the conductor’s cue.
After that, it became much easier for me to wrap a cover to the level I was aiming for. The next one I worked on took me less than half the time with much greater accuracy, and by the third one, I was able to complete the whole process in about two weeks. You get the idea.
In short, drum covers can be an incredibly valuable developmental tool. It’s clear when someone has poured in the effort and attention to detail versus when they haven’t. Beyond being a way to showcase yourself, it’s a powerful means of personal growth. Since it’s not always easy to find other musicians to rehearse and perform Broadway material with, covers become another practice tool—an additional way to simulate the experience and prepare yourself for the real thing. And for me, it’s also part of my personal journey. I’m proud to put these covers out on the internet today, and I know I’ll still be proud of them ten years from now.
Thanks for reading and for sharing that, Nimrod. The way you frame drum covers as both a developmental tool and a way to simulate the Broadway experience makes a lot of sense.
Thank you for raising this important topic, Clayton.
I feel like this is something I’ve been struggling with quite a lot lately—on one hand the ethical side of it, and on the other hand how much it actually helps me move forward in my journey.
At the end of the day, drum covers of Broadway songs are a way to showcase your abilities, to demonstrate that you’re aiming for this field, and to show that you’re genuinely interested and invested in it. Getting official charts is almost impossible, and we all understand the reasons why. Of course, there are occasional “leaks” online and independent individuals sharing material, but like you said in your post, I don’t think it’s appropriate or respectful to distribute those.
That being said, I do think it’s legitimate for someone who wants to eventually play on Broadway to practice the kind of material they’re likely to encounter, so that when the opportunity comes, they already have the tools to handle it properly.
For example, I’ve written out my own charts for well-known Broadway numbers just for the sake of doing drum covers. One ten-minute piece took me about two months of work, including going through around ten different chart versions, learning the notation software, practicing it at the kit, and refining every single stroke. Honestly, it turned out to be one of the most educational processes I’ve ever done—it multiplied my listening skills many times over.
I even brought one of those charts to a lesson with a well-known local theatre drummer who plays in one of the leading theatre companies in my country. He gave me invaluable feedback about what a Broadway drummer would need to see on the page, and it turned out I was already on the right track. He helped me refine the level of detail and readability to match professional theatre standards (he had played in productions brought directly from Broadway). When I showed him my playing, I got even more guidance on dynamics, sound-shaping techniques, how to listen and react in the moment, and the crucial awareness that everything can change instantly at the conductor’s cue.
After that, it became much easier for me to wrap a cover to the level I was aiming for. The next one I worked on took me less than half the time with much greater accuracy, and by the third one, I was able to complete the whole process in about two weeks. You get the idea.
In short, drum covers can be an incredibly valuable developmental tool. It’s clear when someone has poured in the effort and attention to detail versus when they haven’t. Beyond being a way to showcase yourself, it’s a powerful means of personal growth. Since it’s not always easy to find other musicians to rehearse and perform Broadway material with, covers become another practice tool—an additional way to simulate the experience and prepare yourself for the real thing. And for me, it’s also part of my personal journey. I’m proud to put these covers out on the internet today, and I know I’ll still be proud of them ten years from now.
Thanks for reading and for sharing that, Nimrod. The way you frame drum covers as both a developmental tool and a way to simulate the Broadway experience makes a lot of sense.