In jamming now and again with a group of drum and percussion afficionados, I've become aware of a few ideas that, when taken into consideration, have the potential to greatly improve the groove. Here they are, in no particular order.
1. Have a variety of instruments on hand, featuring a wide range of materials, sonorities, pitch range, timbres, and whatever else might distinguish one "percussion toy" or drum from another.
2. Leave out any instrument that might produce, when played at a "normal" volume, a sound much louder than the rest of the instruments in the mix. A djembe is often the culprit in such a situation. There are many who feel most comfortable while playing their djembe; but it can be instructive and even fun to give these noisy drums a rest from time to time and explore other things.
3. Not everybody needs to be playing all the time. A group of eight people, for example, can have dialogues going on between any two instruments across the circle, or next to each other, while the other six are listening, appreciating, and running through in their minds what they might add to the mix once they jump back in. Everyone concerned, including any non-participant listeners, will find it refreshing and interesting not to be confronted with an ongoing tsunami of wall-to-wall sound.
4. In between numbers, give silence a chance to work its magic. Refrain from dabbling around on your instrument for a while. Wait for inspiration to hit. If one member decides to forge ahead out of the silence with a rhythm pattern (s)he is eager to try, let it sink in mentally for a short while before you jump in. Maybe someone else will jump in ahead of you. So be it. Now your job is to see how your contribution complements the two of them in their established duo. If the second person "stole" your idea, play a variation on it, or wait for another inspiration.
5. Whoever starts a rhythm--and whoever joins in--it is important that you have worked out in your mind/body just how that rhythm is going to be played, and come in confident and strong! Nothing sets an incipient groove to wobbling more surely than a feeble, shaky entrance. How to avoid that? Rehearse it in your mind a few times before you jump in, so you have a good idea just how you're going to play it, on what pulse you're going to enter, and so on. And if that takes several measures, so what? Is anyone expecting you to be there all the time from beginning to end? Let's hope not. (See number 3 above.)
6. When you're tired of your particular pattern, you have three options: (a.) keep on going and risk inattention or fatigue, either of which threatens the energy and integrity of the groove (so be wary of this option); (b.) drop out for a while and be thinking about another pattern you might interject, maybe on a different instrument, too, so as to add variety and new spice to the mix, (also related to number 3 above); and (c.) keep on playing, but add subtle, or not-so-very-subtle variations to your pattern, to keep yourself entertained and the group aware that you're still truly in the game.
7. If you are holding down a bass line or otherwise being counted upon to lend a steady beat to the groove, go easy on option (c.) in number 6 above! And make yourself not get tired or bored (a.) whatever it takes--people are counting on you! Maybe you don't have (b.) as an option when you're in this role. Think that one through before you bring everyone to a grinding halt out of sheer uncertainty and confusion about where the groove is going, or not going.
8. Eye-contact. A facial expression signalling engagement. A lively body language. You know the drill. Especially if people are watching! Who wants to listen to or watch a gathering of zombies?
9. Listen to each other as much as you can. The trained musician will hear everyone's contribution and adjust accordingly, or not, whenever appropriate. But the important thing is that everyone will be aware of the growing sense of togetherness that links all of you in the creation of a unique, in-the-moment, group composition.
There have to be more, but these are the tips that occur to me right now, and they are surely among the most important. Enjoy your next jam with these things in the back of your mind.
Thursday, November 20, 2008
Thursday, June 26, 2008
Drummer Types
When I'm playing with a group of hand-drummers, I notice that people fall into different groups depending on their body language and facial expression. Here are the types I've noticed--do you recognize them?
1--Drum-gazer. This person is probably a beginner, but old-timers can fall into this pattern on occasion. They look intently at the drum head, and at their hands. What can be so interesting?
I find it's usually the feel of the hands on the drum that tells you if you're doing it right, more so than their geographical placement on the drum head. After a quick check of the latter, the former should be all that's required, and that will free up the eyes to view more interesting things.
2--Floor-Driller. This person looks as if (s)he's patiently drilling a hole in the floor about 5 to 10 feet out in front of the drum. Try as you might, it's almost impossible to break into this frozen focus with a gaze of your own, either directed at the person or the drill-site! It's a real shame when this happens during a solo, as the person will be oblivious to the growing unease of the surrounding crowd if the introspective drum-meditation, as often happens, becomes disproportionately long (or rambunctiously loud).
3--Eyelid Scanner. Yes, this person will play for extended periods with eyes closed, with or without an angelic smile playing about the lips. This person is really "into it," there is no doubt, and keeping out visual distractions can help maintain one's auditory focus. Many do this from time to time. My first teacher cautioned us against it. "We're a group here; we need to stay in contact. How can you communicate if you're closed off in your own world?" Good point. For drumming alone, do as you wish; but when in a group, let's see them peepers now and again!
4--Lock-In-Looker. Ever have someone gaze at your hands for what seems like many minutes, as if to be following a model for correct playing? Maybe that's a nice "vote of confidence," but it's really disconcerting. What if you switch your handing just once, on purpose or absent-mindedly? Or switch to another pattern? Chances are you throw the person off and they stop playing. Not a good feeling to be so closely watched, unless maybe you're giving a lesson. Nope, after a brief look, these folks should rely on maybe closing their eyes for a short while, until they FEEL they've got it right, look again to check, perhaps, then FEEL again. OK? Then open up and play away! You're on your own, now, baby! After all, who of us likes people to get into the habit of using us over and over as their training wheels?
5--Smiles All Around. This player has managed to get past any or all of the above stages of dependency or insecurity, and can play with relative (or complete) comfort while interacting with the group at will, looking around and exchanging glances, smiles, and various secret or not-so-secret messages. That's a great place to be, and every drummer will arrive there at his or her own pace. It may take months; it may take years. Remember to chip away at overcoming the habits of the first four types, however, and make occasional forays into the ranks of this last group. You'll like how it feels, and want to spend more and more time there.
And if that's where you intend to be, you'll no doubt get there!
These five types can appear in all kinds of groups from informal drum gatherings to more-or-less static groups. Any but type-four may show up while the person is soloing. Type-five is usually the most relaxed (check out the posture, the breathing) and, to all outward appearance, seems to be having the most fun.
1--Drum-gazer. This person is probably a beginner, but old-timers can fall into this pattern on occasion. They look intently at the drum head, and at their hands. What can be so interesting?
I find it's usually the feel of the hands on the drum that tells you if you're doing it right, more so than their geographical placement on the drum head. After a quick check of the latter, the former should be all that's required, and that will free up the eyes to view more interesting things.
2--Floor-Driller. This person looks as if (s)he's patiently drilling a hole in the floor about 5 to 10 feet out in front of the drum. Try as you might, it's almost impossible to break into this frozen focus with a gaze of your own, either directed at the person or the drill-site! It's a real shame when this happens during a solo, as the person will be oblivious to the growing unease of the surrounding crowd if the introspective drum-meditation, as often happens, becomes disproportionately long (or rambunctiously loud).
3--Eyelid Scanner. Yes, this person will play for extended periods with eyes closed, with or without an angelic smile playing about the lips. This person is really "into it," there is no doubt, and keeping out visual distractions can help maintain one's auditory focus. Many do this from time to time. My first teacher cautioned us against it. "We're a group here; we need to stay in contact. How can you communicate if you're closed off in your own world?" Good point. For drumming alone, do as you wish; but when in a group, let's see them peepers now and again!
4--Lock-In-Looker. Ever have someone gaze at your hands for what seems like many minutes, as if to be following a model for correct playing? Maybe that's a nice "vote of confidence," but it's really disconcerting. What if you switch your handing just once, on purpose or absent-mindedly? Or switch to another pattern? Chances are you throw the person off and they stop playing. Not a good feeling to be so closely watched, unless maybe you're giving a lesson. Nope, after a brief look, these folks should rely on maybe closing their eyes for a short while, until they FEEL they've got it right, look again to check, perhaps, then FEEL again. OK? Then open up and play away! You're on your own, now, baby! After all, who of us likes people to get into the habit of using us over and over as their training wheels?
5--Smiles All Around. This player has managed to get past any or all of the above stages of dependency or insecurity, and can play with relative (or complete) comfort while interacting with the group at will, looking around and exchanging glances, smiles, and various secret or not-so-secret messages. That's a great place to be, and every drummer will arrive there at his or her own pace. It may take months; it may take years. Remember to chip away at overcoming the habits of the first four types, however, and make occasional forays into the ranks of this last group. You'll like how it feels, and want to spend more and more time there.
And if that's where you intend to be, you'll no doubt get there!
These five types can appear in all kinds of groups from informal drum gatherings to more-or-less static groups. Any but type-four may show up while the person is soloing. Type-five is usually the most relaxed (check out the posture, the breathing) and, to all outward appearance, seems to be having the most fun.
Wednesday, June 4, 2008
Soloing "secrets" (1)
Beginners on djembe sometimes have a hard time breaking into the
soloing mode. They are more comfortable playing the familiar patterns
that accompany many Malinke rhythms, and aren't sure where to go
from there. Fine. The world needs more accompanists than soloists,
when you look at the composition of West African ensembles. But who
among us confines our playing to West African ensembles? How about
the drum circle? The free-form jamming? Still content to stick with the
familiar "ponk--du-ponk" all night long? This series is going to let you
in on some methods that will help you cross the bridge into confident
soloing.
Definitely one way I began to work on soloing skills has been to play
"songs" against a steady beat. I remember once jamming with a group
of 5 or 6 drummers and we were taking turns soloing. When my turn
came up, I got into a state where I was having my hands "vocalize" how
I imagined a blues interpreter would be singing the St. Louis Blues.
Nobody knew what I was up to, but afterwards they commented on what
a neat solo it was, unlike any of the more "standard" or "predictable"
kinds of soloing that came up during that session. You never know what
may inspire you, but I do encourage students to sometimes just play a
tune they're familiar with against the class backdrop of a standard 4/4
or 6/8 accompaniment pattern, and they are usually pleased with the
results. Works with nursery rhymes, too, but I find that few students
under forty know many (or any--more's the pity!--) of these.
What can happen here, if you really get into the vocal interpretation
mode, is that you fall "off" the beat in interesting ways. Of course we
expect a certain rigidity of timing in the percussion world, but it's those
quirky "off-time" surprises that can lend a solo (vocalists do it all the
time) its freshness and personality. Also the suspense, because when
you wander off the beat, the listener is always happy when you manage
to get back on it again at a particularly satisfying point in the song
(usually the end of a phrase).
I suspect that is also at least part of the secret of what gives us
drummers the thing that has been called "microtiming" in earlier
'djembe-l' discussions (check the archive),--a trait of the great West
African drummers. Sometimes they get so far "out there," you wonder
if they even know any more where the beat is, or you begin to question
your ability to hear correctly. There were attempts at analyzing these
techniques using sophisticated recording and timing devices.
They weren't all that convincing, and certainly not especially useful
to me. Just listen to a few Ella Fitzgerald or Louis Armstrong recordings
and lose yourself in their vocal "timing" while tapping along to the beat
to see what I mean.
soloing mode. They are more comfortable playing the familiar patterns
that accompany many Malinke rhythms, and aren't sure where to go
from there. Fine. The world needs more accompanists than soloists,
when you look at the composition of West African ensembles. But who
among us confines our playing to West African ensembles? How about
the drum circle? The free-form jamming? Still content to stick with the
familiar "ponk--du-ponk" all night long? This series is going to let you
in on some methods that will help you cross the bridge into confident
soloing.
Definitely one way I began to work on soloing skills has been to play
"songs" against a steady beat. I remember once jamming with a group
of 5 or 6 drummers and we were taking turns soloing. When my turn
came up, I got into a state where I was having my hands "vocalize" how
I imagined a blues interpreter would be singing the St. Louis Blues.
Nobody knew what I was up to, but afterwards they commented on what
a neat solo it was, unlike any of the more "standard" or "predictable"
kinds of soloing that came up during that session. You never know what
may inspire you, but I do encourage students to sometimes just play a
tune they're familiar with against the class backdrop of a standard 4/4
or 6/8 accompaniment pattern, and they are usually pleased with the
results. Works with nursery rhymes, too, but I find that few students
under forty know many (or any--more's the pity!--) of these.
What can happen here, if you really get into the vocal interpretation
mode, is that you fall "off" the beat in interesting ways. Of course we
expect a certain rigidity of timing in the percussion world, but it's those
quirky "off-time" surprises that can lend a solo (vocalists do it all the
time) its freshness and personality. Also the suspense, because when
you wander off the beat, the listener is always happy when you manage
to get back on it again at a particularly satisfying point in the song
(usually the end of a phrase).
I suspect that is also at least part of the secret of what gives us
drummers the thing that has been called "microtiming" in earlier
'djembe-l' discussions (check the archive),--a trait of the great West
African drummers. Sometimes they get so far "out there," you wonder
if they even know any more where the beat is, or you begin to question
your ability to hear correctly. There were attempts at analyzing these
techniques using sophisticated recording and timing devices.
They weren't all that convincing, and certainly not especially useful
to me. Just listen to a few Ella Fitzgerald or Louis Armstrong recordings
and lose yourself in their vocal "timing" while tapping along to the beat
to see what I mean.
Tuesday, April 29, 2008
Drumming with Seniors
Tomorrow will be the last of a five-week drumming experience with seniors, most from the Memory Unit in a local retirement community, and representing various stages of memory loss. We've had a good time meeting for an hour Wednesday mornings in a large commons room. There has been some singing, and a little dancing. Some songs were picked to fit the season, e.g. "Take Me Out To The Ballgame" for opening day. It's always nice to work in a 6/8 or 3/4 tune. "Daisy, Daisy" worked well, too. But we did a march, as well, with the local university "Fight Song." Drums and hand percussion were traded around so people could try out different things. I never take in all the same instruments each time; roughly 20% are new ones to provide ongoing variety.
Members of the gerontology research institute at the local university have dropped by to see what we're up to. The nursing and care-giving staff, an occasional family member, and some volunteers have also joined us. I've been invited to extend this activity into future weeks over in the Memory Unit itself, just for the dozen or so residents, so we'll try this out starting some time in May. The benefits of these rhythm sessions seem to be many and varied, depending on the person. They are mostly reported to me by staff after the event. I'm just happy to be making a difference in the lives of some wonderful people.
Members of the gerontology research institute at the local university have dropped by to see what we're up to. The nursing and care-giving staff, an occasional family member, and some volunteers have also joined us. I've been invited to extend this activity into future weeks over in the Memory Unit itself, just for the dozen or so residents, so we'll try this out starting some time in May. The benefits of these rhythm sessions seem to be many and varied, depending on the person. They are mostly reported to me by staff after the event. I'm just happy to be making a difference in the lives of some wonderful people.
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