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Whether you realize it or not, chances are good that you have heard drummer and percussionist Alan Dowling play this week. Almost 46,000 Islanders hear Alan's drumset on any given weeknight in the new theme music for CBC's Compass. From being an eager Island kid who used to follow parade drummers down the street, Alan has developed into one of the Island's finest musicians. Over the years, he has drummed for popular events, from the Charlottetown Clash Band's annual appearance in the Gold Cup and Saucer Parade to the Easter Seals Telethon. He plays most regularly with the creative jazz trio O.S.T. with Shawn Ferris and Chas Guay and with the 20-piece Charlottetown Jazz Ensemble. In both his performances as a drummer and his career as a computer programmer, Alan has shown trademark adaptability.
Alan sees computer programming and music as an obvious match. "Music theory is based on math," he says, "and both math and music are based on an ability to see patterns and analyze structure." Alan has a natural affinity for both. After finishing a B.A. in music at UPEI (with a year studying jazz at the Berklee College of Music, playing drums eight hours a day), Alan taught music in Newfoundland. Despite the rewards of teaching, he "felt like a frustrated performer" and quickly decided to change his career and to reserve his musical energies for performing. He returned to UPEI and completed a B.Sc. in mathematics, taking as many computer-based courses as possible. He has since worked as a computer programmer and currently teaches information technology at Holland College.
Alan's first love as a drummer continues to be playing jazz, a challenge which goes far beyond keeping a beat to what he calls "implying a rhythm": using all four limbs to create a mix of pitches, beats, and sounds that support what the group is doing. Alan says that despite complex structure and rules for how to put together beats and harmonies, jazz works only when the performer is inventive recombining the rules. He sees direct parallels between his day job and his night job. In both jazz and computer programming, he has to "figure out how to use the rules in creative ways to solve a problem."
It's not a big problem for Alan that drummers are sometimes underappreciated, but he acknowledges that not many people know the high level of technique required for good drumming. I asked Alan for a "crash" course: Percussion Appreciation 101. Alan says the ideal audience should listen and, if possible, look for the following things. "See if the drummer blends with the group and helps support the song overall. Then try to understand how the drummer supports the song-and especially how the drummer supports those taking solos. Often, there's a call and response, almost, between the drummer and the soloist." If you can see the drummer, follow his or her movements. "Pay attention to the drummer's coordination and limb independence." Watch how they "mix it up with all four limbs." Keeping an eye on Alan next time you see him in a band will give you your first object lesson in fine drumming. And add another item to your list of things you can learn on Compass.