Prices are going up, and not everyone can afford even minor music purchases these days. So I wanted to put some drum circle mp3's and ringtones out there free of charge so people can have a little FREE fun. No registering, or signing up for anything is required. You can listen to them, or download them if you want. There are also some full length drum circle mp3's. Check them all out at my drumcircles.net website.
My wife kept asking me to make her a drum circle ringtone, so I finally got around to it. I made 8 different ones from my drum circle CD's. She liked 2 of them, the bellydance jam ringtone, and the hip hop drum circle ringtone, (me to). But, there are 8 uploaded there for you to choose from. Some are a little whacky, but there might be one you like.
I also made 7 single djembe drum rhythm ringtones. Those ain't bad either. Please feel free to give them a listen, pick one out, or snag all of them, then your phone can be Jammin' when you get a call. Or people will think you are a little nuts. But hey, you saved a buck.
Find a drum circle near you: drumcircles.net/circlelist.html
Promote yours: facebook.com/DrumCircleFinder
Drum circle mp3's and ringtones: drumcircles.net (They are located near the bottom of the home page.)
Tuesday, March 22, 2011
Tuesday, March 8, 2011
Choosing An Inexpensive But Good Sounding Drum For Your Child
When I was 10 years old, my dad got me an old marching snare drum. I was happy. Many others…were not. I was a hyperactive kid, and it calmed me down a bit. Little did I know that drumming would be the thread that held my brain together for 40 some years.
When I was old enough, I was able to be a high school band geek. (Fortunately it’s more fashionable with the popularity of TV shows like “Glee”). Anyway, music always gave me a place to have a good time and be entertained. A chance to play in fun places, and even earn a few bucks here and there. Sitting in with bands, jamming at drum circles, or just by myself. Sometimes I just want to be comfortably “away”. A drum is good for that, as well as building social skills.
Lots of parents bring kids to family friendly facilitated and public drum circles. For the most part, those kind of drum circles are a safe comfortable place for your child to be able to interact socially with others in a non threatening environment. Keeping in mind that with any public group you are likely to have a few oddballs in there, so it makes sense to supervise them. If it were my children, I would want to visit the drum circle alone just to see the general vibe of it first.
Kids are welcome at most drum circles if they are supervised. Here’s something cool where you can connect, and do something positive with your kids. When you’re at a drum circle just remind them to respect other people’s space while they are playing, and not to run wild, or touch anyone else’s drums without asking first.
You might consider getting a drum for yourself also, that way you can learn how to play together. For about $300 you can get a pretty decent drum for both of you. Learning how to play is easier than you may think. With all the great YouTube videos out there, it’s at your fingertips.
Check out my drum circle finder page and see what’s going on nearby, and perhaps consider visiting one for the first time, or practice and learn a little first. No big deal either way. Drum circles are pretty organic and, for the most part, welcome everybody, regardless of skill level. Most musicians are very supportive, and are happy to offer a few pointers once you have played in the group with them a few times.
So you want to buy your kid a drum. These days, there is an amazing selection of low cost hand drums available. Most music stores have a world percussion section where a kid can just go bang a bongo or two and see what “talks to them”. A first drum is an important choice even for kids. I think buying a full size drum rather than a so called “kids” drum is a better idea, because the price difference is like 20 bucks. Plus it gives your child something to grow into, rather than out of, or needing to upgrade at some point.
Most of the drums designed with kids in mind are not tunable – just a drum head glued on with some decorative ribbon around it or something. A grown up drum that is tunable, teaches them more, and they will get a lot more enjoyment from it. They can learn to customize the pitch to their liking. Kids like personalizing their phones, and designing levels for video games, so I think teaching a kid to tie Mali weave knots and how to tune a drum is great. Tuning a roped djembe is hard, and not easy to do.
You can get a great sounding drum for around $60 - $100 depending on what kind and brand. As far as the head size, I suggest a drum with a 10” or even 12” playable size drum head. They have a better range of bass to tones.
A couple of video games cost $80, and a drum will last practically forever if you take minimal care of it. I suggest getting a drum with a synthetic head on it, rather than a goatskin one because they are harder to break. A djembe drum is the most popular, or a goblet drum, (doumbek). I think bongos are a very good choice also, because it gives them two drums to play. Most of them have thick cowhide heads and are hard to break. Plus, they can be played with hands or drumsticks. Most bongos have 5” and 6” heads on them. There are also 4” and 5” head size sets, I suggest getting them the big ol’ drums.
With bongos, there are two kinds of rims, one is straight down vertical, and the other has a more comfortable curved edge rim. Some call it the comfort curve. It’s a good name, because the fingers can get beat up after a little while on a straight rim. These days, the curved rim can be found on some djembes and now on most conga drums as well. The bearing edge can be a bit rough on the hands without one. A nice comfortable curved bearing edge on a wood shell djembe is particularity important as well.
Recently I wrote an article about buying a drum for adults, but a lot of it does apply to kids, so you might give it a read. It is one of my older posts. I always suggest buying as much drum as possible so your child can grow into it, but still enjoy having fun playing and being a kid.
You can get a very decent synthetic djembe drum, where both the drum body, and head are synthetic for under $100 these days. Get them a grown up drum with an 8, 10”, or 12” head. (Playable size.) Again I stress getting a lug tuned drum because they can easily learn about tuning and pitch. With these kinds of drums, most have synthetic heads. Once they are tuned up, that’s pretty much it. All you need to do, boom. The rope tuned goatskin djembes are more fragile, and higher maintenance. There’s nothing wrong with learning about and respecting a good djembe though.
I mean, don’t get me wrong here. If you have the money to buy your child a really good drum, I suggest doing it. In my opinion, a rope tuned authentic Ivory Coast djembe is the sweetest sounding drum ever. I also like the LP Giovanni, and Meinl Floatune djembes. Both of those are lug tuned. Most of the high end drums cost in the $350 range. The Gio and Float have goatskin heads, yet are lug tunable. And at least with one of these from a major manufacturer, you can buy it new and be assured that it’s not a knock off drum.
Most of these drums are 12” heads, usually solid wood bodies, and they are a bit heavy after awhile. They can weigh about 15 to 18 pounds. So getting a djembe strap might be a good idea, they can stand and play if they want. Otherwise they are stuck playing seated. Most people prefer to stand and play, it feels better. A djembe strap that criss crosses over the back is best, because it distributes the weight better. Get the one that clips on in front to the drum. They cost around 20 bucks. A tie on style becomes a bit more tedious. A shoulder strap tends to hurt after awhile.
You might as well spring for a djembe hat to protect the head, and a padded drum bag to store and transport it in. Might want to consider springing for a djembe drum stand also. That frees up the weight issue, so you can play comfortable standing or seated. Check to see how well made and sturdy it is. Some of them look pretty solid, but when you try to play a drum on it they bounce around like bobble heads. A good one runs in the $80 range. Having fun yet?
The two main problems with getting an expensive djembe is finding one that really is authentic. There are a lot of knock offs out there. For example, the last time I checked, I don’t think the djembe is indigenous to Indonesia. So you need to find someone knowledgeable to get the real deal here. Some of these drums have magnificent carvings and/or artwork on them. The sound is unmatched by any other drum in my opinion. Wood body drums have a warmer, fuller tone to me. The synthetic are lighter, but have a synthetic sound, for obvious reasons. But they are fine for a good all around playable drum that will last.
The other thing is that a goatskin drum head can be damaged pretty easily. One good drop, bump on a door jam, or hit with a drum stick, bye bye drum head. A head replacement can run $60 - $80. Most of it is the labor tying all the Mail weave knots. We’re talking a few hour job here, minimum.
So, drums with synthetic heads that are lug tunable are better suited for kids in my opinion. They’re a little more costly but worth it. Try to get a good brand name drum. ie: Latin Percussion, Toca, Meinl, Remo, Pearl etc. There’s a bunch out there now. Most of the ones with synthetic heads hold up very well. The wooden shell drums tend to be a bit heavy for kids, and now they not only have synthetic drum shells, but lighter polymer, and PVC ones also. Perfect drums for kids.
A goblet shaped doumbek drum is a good choice also. They have a naturally curved rim and are comfortable on the hands. They are easy to hold and play. I like the ergonomic design of them, they are made to fit the natural curve of your hands. I recommend that you get a professional size tunable doumbek. Look for an 8” playable size drum head, and thick cast aluminum on the drum body. Some of them are very thin and the sound sucks. What I mean is, it doesn’t resonate as much, or have the range of pitch. And of course 6 - 8 allen wrench tuning lugs. Cheap drums give you cheap sounds.
The majority of kids seem to like the bongos. They look like more fun to play, and they are what most of the kids I work with gravitate to because there are two drums to play. Two for the price of one. I suggest getting a decent grown up set, as the kids ones are pretty toy like. A drum that is a genuine musical instrument will serve much better, and a pretty decent set of bongos is in the $60 range. The child can set them on their lap and play, or put them on a chair, stool, or table in front of them and jam away. If you are handy, you can build a bongo stand, or buy a collapsible one for about $40. A stand is going to encourage them to play more. Plus hey, it looks cool set up in the corner of the room.
Many drum manufacturers now offer wide selections of drums designed for kids, They are low priced, sound pretty good, but many are not tunable. They are after all, kids drums. They also make grown up drums with 6 and 8 inch heads that are tunable and better suited in my opinion. A little more costly but worth the extra amount in the long run.
The drum selling businesses is so crazy competitive right now, that once you determine what you want, you locate the lowest online price, bookmark it, and most music stores will meet or beat the price. Maybe even ship it free. Most of them do if you spend $100. When I’m looking for a new brand name drum, I research for the lowest price, print it out and go visit my local music store. Most of the time they will match it or come close. I like to support local if I can.
I guess you can also get an old marching snare drum like I did. The schools sell them off from time to time, and I see them on sites like Ebay pretty reasonably priced with the shoulder strap and everything. These days, you can get a rubber practice pad for the kids to drum away on, (it sits right over the drum head, or on a table) for $20. Had they been around at the time, I’m sure my neighbors would have gladly bought me one.
Two sites I have bought from that seem to have the lowest prices, and have matched prices are music123.com and musiciansfriend.com Both also have outlet store pages with some good deals, but they come and go fast. They both carry bongos, doumbeks, and smaller djembes. There are lots of online retailers out there, check for buyer reviews on them before you buy. A simple search on the brand or dealer name + the word “review” will give you plenty of opinions from owners. I like to shop at our local music store for two reasons. Supporting local businesses, and I like to try a drum out before I buy it.
A good drum will bring years of fun and entertainment. It will last a very long time if you take care of it. Playing music is very satisfying alone or with friends.
If you would like to get much more in depth with teaching your children to drum, please consider picking up my 300 page book on hand drumming and drum circles. It’s $10 on Kindle, or physical copies for $18. Purchase it from my website and I include a 75 minute facilitated drum circle CD you can just enjoy, or even play along with. If you do choose to buy it, thanks in advance for helping me out a little bit. With the price of gas going up 35 cents in the last two weeks, entertainment money is a lot tighter. I have 5 full length drum circle mp3’s you can listen to, or download free at my website: drumcircles.net - No registering or signing up for anything is required.
With so many changes going on in the world today, I think that the arts can contribute to our coming together on a global scale. And drumming and dancing are both things that everyone can be a part of with minimal training or skill. They transcend barriers of language, religion, and countries. What better reason to introduce your child to the joy of drumming. You might have a lot of fun together along the way.
Shannon Ratigan
drumcircles.net
Copyright © Shannon Ratigan All Rights Reserved.
When I was old enough, I was able to be a high school band geek. (Fortunately it’s more fashionable with the popularity of TV shows like “Glee”). Anyway, music always gave me a place to have a good time and be entertained. A chance to play in fun places, and even earn a few bucks here and there. Sitting in with bands, jamming at drum circles, or just by myself. Sometimes I just want to be comfortably “away”. A drum is good for that, as well as building social skills.
Lots of parents bring kids to family friendly facilitated and public drum circles. For the most part, those kind of drum circles are a safe comfortable place for your child to be able to interact socially with others in a non threatening environment. Keeping in mind that with any public group you are likely to have a few oddballs in there, so it makes sense to supervise them. If it were my children, I would want to visit the drum circle alone just to see the general vibe of it first.
Kids are welcome at most drum circles if they are supervised. Here’s something cool where you can connect, and do something positive with your kids. When you’re at a drum circle just remind them to respect other people’s space while they are playing, and not to run wild, or touch anyone else’s drums without asking first.
You might consider getting a drum for yourself also, that way you can learn how to play together. For about $300 you can get a pretty decent drum for both of you. Learning how to play is easier than you may think. With all the great YouTube videos out there, it’s at your fingertips.
Check out my drum circle finder page and see what’s going on nearby, and perhaps consider visiting one for the first time, or practice and learn a little first. No big deal either way. Drum circles are pretty organic and, for the most part, welcome everybody, regardless of skill level. Most musicians are very supportive, and are happy to offer a few pointers once you have played in the group with them a few times.
So you want to buy your kid a drum. These days, there is an amazing selection of low cost hand drums available. Most music stores have a world percussion section where a kid can just go bang a bongo or two and see what “talks to them”. A first drum is an important choice even for kids. I think buying a full size drum rather than a so called “kids” drum is a better idea, because the price difference is like 20 bucks. Plus it gives your child something to grow into, rather than out of, or needing to upgrade at some point.
Most of the drums designed with kids in mind are not tunable – just a drum head glued on with some decorative ribbon around it or something. A grown up drum that is tunable, teaches them more, and they will get a lot more enjoyment from it. They can learn to customize the pitch to their liking. Kids like personalizing their phones, and designing levels for video games, so I think teaching a kid to tie Mali weave knots and how to tune a drum is great. Tuning a roped djembe is hard, and not easy to do.
You can get a great sounding drum for around $60 - $100 depending on what kind and brand. As far as the head size, I suggest a drum with a 10” or even 12” playable size drum head. They have a better range of bass to tones.
A couple of video games cost $80, and a drum will last practically forever if you take minimal care of it. I suggest getting a drum with a synthetic head on it, rather than a goatskin one because they are harder to break. A djembe drum is the most popular, or a goblet drum, (doumbek). I think bongos are a very good choice also, because it gives them two drums to play. Most of them have thick cowhide heads and are hard to break. Plus, they can be played with hands or drumsticks. Most bongos have 5” and 6” heads on them. There are also 4” and 5” head size sets, I suggest getting them the big ol’ drums.
With bongos, there are two kinds of rims, one is straight down vertical, and the other has a more comfortable curved edge rim. Some call it the comfort curve. It’s a good name, because the fingers can get beat up after a little while on a straight rim. These days, the curved rim can be found on some djembes and now on most conga drums as well. The bearing edge can be a bit rough on the hands without one. A nice comfortable curved bearing edge on a wood shell djembe is particularity important as well.
Recently I wrote an article about buying a drum for adults, but a lot of it does apply to kids, so you might give it a read. It is one of my older posts. I always suggest buying as much drum as possible so your child can grow into it, but still enjoy having fun playing and being a kid.
You can get a very decent synthetic djembe drum, where both the drum body, and head are synthetic for under $100 these days. Get them a grown up drum with an 8, 10”, or 12” head. (Playable size.) Again I stress getting a lug tuned drum because they can easily learn about tuning and pitch. With these kinds of drums, most have synthetic heads. Once they are tuned up, that’s pretty much it. All you need to do, boom. The rope tuned goatskin djembes are more fragile, and higher maintenance. There’s nothing wrong with learning about and respecting a good djembe though.
I mean, don’t get me wrong here. If you have the money to buy your child a really good drum, I suggest doing it. In my opinion, a rope tuned authentic Ivory Coast djembe is the sweetest sounding drum ever. I also like the LP Giovanni, and Meinl Floatune djembes. Both of those are lug tuned. Most of the high end drums cost in the $350 range. The Gio and Float have goatskin heads, yet are lug tunable. And at least with one of these from a major manufacturer, you can buy it new and be assured that it’s not a knock off drum.
Most of these drums are 12” heads, usually solid wood bodies, and they are a bit heavy after awhile. They can weigh about 15 to 18 pounds. So getting a djembe strap might be a good idea, they can stand and play if they want. Otherwise they are stuck playing seated. Most people prefer to stand and play, it feels better. A djembe strap that criss crosses over the back is best, because it distributes the weight better. Get the one that clips on in front to the drum. They cost around 20 bucks. A tie on style becomes a bit more tedious. A shoulder strap tends to hurt after awhile.
You might as well spring for a djembe hat to protect the head, and a padded drum bag to store and transport it in. Might want to consider springing for a djembe drum stand also. That frees up the weight issue, so you can play comfortable standing or seated. Check to see how well made and sturdy it is. Some of them look pretty solid, but when you try to play a drum on it they bounce around like bobble heads. A good one runs in the $80 range. Having fun yet?
The two main problems with getting an expensive djembe is finding one that really is authentic. There are a lot of knock offs out there. For example, the last time I checked, I don’t think the djembe is indigenous to Indonesia. So you need to find someone knowledgeable to get the real deal here. Some of these drums have magnificent carvings and/or artwork on them. The sound is unmatched by any other drum in my opinion. Wood body drums have a warmer, fuller tone to me. The synthetic are lighter, but have a synthetic sound, for obvious reasons. But they are fine for a good all around playable drum that will last.
The other thing is that a goatskin drum head can be damaged pretty easily. One good drop, bump on a door jam, or hit with a drum stick, bye bye drum head. A head replacement can run $60 - $80. Most of it is the labor tying all the Mail weave knots. We’re talking a few hour job here, minimum.
So, drums with synthetic heads that are lug tunable are better suited for kids in my opinion. They’re a little more costly but worth it. Try to get a good brand name drum. ie: Latin Percussion, Toca, Meinl, Remo, Pearl etc. There’s a bunch out there now. Most of the ones with synthetic heads hold up very well. The wooden shell drums tend to be a bit heavy for kids, and now they not only have synthetic drum shells, but lighter polymer, and PVC ones also. Perfect drums for kids.
A goblet shaped doumbek drum is a good choice also. They have a naturally curved rim and are comfortable on the hands. They are easy to hold and play. I like the ergonomic design of them, they are made to fit the natural curve of your hands. I recommend that you get a professional size tunable doumbek. Look for an 8” playable size drum head, and thick cast aluminum on the drum body. Some of them are very thin and the sound sucks. What I mean is, it doesn’t resonate as much, or have the range of pitch. And of course 6 - 8 allen wrench tuning lugs. Cheap drums give you cheap sounds.
The majority of kids seem to like the bongos. They look like more fun to play, and they are what most of the kids I work with gravitate to because there are two drums to play. Two for the price of one. I suggest getting a decent grown up set, as the kids ones are pretty toy like. A drum that is a genuine musical instrument will serve much better, and a pretty decent set of bongos is in the $60 range. The child can set them on their lap and play, or put them on a chair, stool, or table in front of them and jam away. If you are handy, you can build a bongo stand, or buy a collapsible one for about $40. A stand is going to encourage them to play more. Plus hey, it looks cool set up in the corner of the room.
Many drum manufacturers now offer wide selections of drums designed for kids, They are low priced, sound pretty good, but many are not tunable. They are after all, kids drums. They also make grown up drums with 6 and 8 inch heads that are tunable and better suited in my opinion. A little more costly but worth the extra amount in the long run.
The drum selling businesses is so crazy competitive right now, that once you determine what you want, you locate the lowest online price, bookmark it, and most music stores will meet or beat the price. Maybe even ship it free. Most of them do if you spend $100. When I’m looking for a new brand name drum, I research for the lowest price, print it out and go visit my local music store. Most of the time they will match it or come close. I like to support local if I can.
I guess you can also get an old marching snare drum like I did. The schools sell them off from time to time, and I see them on sites like Ebay pretty reasonably priced with the shoulder strap and everything. These days, you can get a rubber practice pad for the kids to drum away on, (it sits right over the drum head, or on a table) for $20. Had they been around at the time, I’m sure my neighbors would have gladly bought me one.
Two sites I have bought from that seem to have the lowest prices, and have matched prices are music123.com and musiciansfriend.com Both also have outlet store pages with some good deals, but they come and go fast. They both carry bongos, doumbeks, and smaller djembes. There are lots of online retailers out there, check for buyer reviews on them before you buy. A simple search on the brand or dealer name + the word “review” will give you plenty of opinions from owners. I like to shop at our local music store for two reasons. Supporting local businesses, and I like to try a drum out before I buy it.
A good drum will bring years of fun and entertainment. It will last a very long time if you take care of it. Playing music is very satisfying alone or with friends.
If you would like to get much more in depth with teaching your children to drum, please consider picking up my 300 page book on hand drumming and drum circles. It’s $10 on Kindle, or physical copies for $18. Purchase it from my website and I include a 75 minute facilitated drum circle CD you can just enjoy, or even play along with. If you do choose to buy it, thanks in advance for helping me out a little bit. With the price of gas going up 35 cents in the last two weeks, entertainment money is a lot tighter. I have 5 full length drum circle mp3’s you can listen to, or download free at my website: drumcircles.net - No registering or signing up for anything is required.
With so many changes going on in the world today, I think that the arts can contribute to our coming together on a global scale. And drumming and dancing are both things that everyone can be a part of with minimal training or skill. They transcend barriers of language, religion, and countries. What better reason to introduce your child to the joy of drumming. You might have a lot of fun together along the way.
Shannon Ratigan
drumcircles.net
Copyright © Shannon Ratigan All Rights Reserved.
Wednesday, February 2, 2011
Tuning A Lug Tunable Djembe, Marking It, & Head Replacement
Lug tuned djembes, doumbeks, ashikos, and congas. My favorite drum is a lug tuned LP Giovanni djembe with a goatskin head. Here's a few thoughts on tuning up a lug tunable hand drum, a little about replacing a drum head, and some different ways to put an identifying mark on your drum.
For the most part, lug tuned djembes are less expensive, and more readily available at music stores, and online, so they are becoming more popular, especially with those that are newer to drumming. With a synthetic head, once it’s tuned, it’s basically tuned for life. You can pretty much forget about it, once you have it sounding the way you like.
Goatskin drum heads are a completely different matter, lug tuned or roped. Going from the heat, into air conditioning can pop a drum head if it’s tuned a little too high. Very cold air has less moisture, and the drum heads get dryer and tighten up. I make it a habit to detune a half crank or two each lug after a gig. I go from outdoors to inside a lot. 5 years ago I discovered a broken head when I took it out of the bag for a gig. lol, not good, so I make it a point to take the time, even though I am too tired to do it…before it goes back into the djembe bag, I detune each lug a little after each use. ¾ of a full crank seems to work fine in most cases. The advantage with this kind of djembe, is you can quickly tune, or detune it in minutes, unlike with a rope tuned drum.
Having said that, to me, there is nothing that really compares to an authentic handcrafted djembe. The sound is unmatched, but they are also very expensive. Another problem is that there is a lot of “knock offs” being sold out there as “an authentic indigenous drum”, and many of them are not. You almost need to know someone reliable, or travel.
When I do have to unfortunately replace a drum head, at least I can do so quickly. I do it like the crisscross change a tire lug pattern: 12 0’clock – then 6. then 3 & 9. Equally all around, from one side to the other. After I slide the head back and forth to get it seated nicely, I hand tighten all the lugs equally first. Then it’s a few tuning wrench cranks at a time, in the back and forth pattern. I hold my finger on the one I just tightened, so I can go across the head and remember the one I just did, and my pattern. Back and forth, crisscross, equal cranks all around as best as I can. An important thing to do afterward is look across the flat plane edge of the drum head, and see if it looks nice and even around the rim. Sometimes I didn’t seat the drum head properly, or over tightened on one side, and it may be a tiny bit higher than the other, so I correct for that. (Do it over again! lol)
Another tip I learned was that when I do replace a goatskin djembe head, or a cow skin conga head, I take a little bit of powdered flour, rub some on my hands and lightly rub a very thin coat along the bearing edge, (top) of the drum body before I place the drum head back on it. I slide it around a little, and this allows it to “seat” better on the drum.
The most important thing for correctly tuning my djembe, is after I have it as even and tight as I want, I tap my finger on the drum head about an inch from each lug, and do so for each lug as I go around the drum in a circular pattern. That’s how I can tell if the drum is equally tuned near each lug. Or just a light flick of your fingernail near each lug. If any one sounds higher or lower in pitch, I correct it so that they all sound the same. This not only lengthens drum head life, but it sounds better. It reduces unwanted ringing, and unwanted off pitch sounding notes. Different sounding tones on different lugs can lead to a dissonant combination. This is more important with djembe heads, because they have thinner goatskin heads than cow skin conga heads. So the djembe head is much more sensitive to tension and evenness, both with goatskin and with some synthetic heads.
For those of you that have drum sets, you probably know most of this stuff already, so please bear with me for those that are new to tuning drums. Many of my suggestions are from others who taught me, band gigs in sleazy bars, and the rest from trial and error. These may not be the “best” way, or the only way to do things, I am a musician sharing information. If you have a few helpful tips to add, that would be much appreciated.
An easy way to quick tune my quinta and conga, or bongos, is to recall the song, “Here comes The Bride”. I tune them to sound like the notes in it. It makes it very simple to do, even in a dimly lit situation. (If it’s just my djembe I’m tuning, it’s to the “Bride” pitched note. Maybe just a tad higher.
Some lug tuned goatskin and synthetic drum heads can have ringing, or a ping like sound. Many joke about it, and call it the “twang”. Trying to dampen that overtone a little with synthetic heads is a real consideration for many of us. Especially at studio recording sessions. To reduce it, I hang a blue painter’s tape tail in the center underside of the head. (The blue tape doesn't leave a sticky residue like regular masking tape, or duct tape can do over time.) I use a long single piece - so it has about a 6 inch tail that is hanging down in the center, and stretching about 6 " in both directions across the drum head. ( ----V----) The V is to help illustrate, I close the V section to it is stuck together and hanging down in the middle. The tape I use is 1" wide blue painter’s tape.
I set the drum on the floor upside down on carpet, and try to place it in there with one arm, because that’s all that will fit. It can be tricky getting it in there, sometimes I have to try 3 or 4 times to get it in there nice and even and flat, so the 6 inch tail can be hanging down in the center. I’ve seen other ways to do this, using just a flat straight piece of tape across the underside of the head, a flat “X” pattern, a square, or a circle, or even a sqiggley. Experiment, because that’s part of the fun of drumming, and see what works best for your drum. However you get to it, hopefully it’s bye-bye ping.
One other thing about placing in the blue tape, on the underside of some drum heads is that it will not stick at first. With some newer heads, the bottom surface of the head can have a light coat of powder on it. The solution is to take several dry paper towels and gently wipe the powder off until it is clean enough so the tape would stick on any part of it. I guess the blue painter’s tape is designed like that so it is easy to come off. Another similar simple quick fix, or test idea is to try putting a few Post-It notes hanging under there.
I make it a habit to replace the tape every 4 months or so just to avoid any possibility of sticky tape residue on the underside of my drum head.
If you have to replace or remove the drum rim for any reason, be sure to put it back exactly the same way it came apart. Otherwise it may not fit quite properly when you put it back on, or a lug might get stripped. This is especially true with aluminum doumbeks, I make sure the head is seated properly, and tighten the lugs up again in a crisscross pattern, a little bit at a time. What I do to mark the spot is put a small piece of painter’s tape on the rim and just below it on the drum shell near a lug, so I can mark the spot.
Then I can put it back exactly as it came from the factory. When I remove the lugs, I line them up in a row the way they came off, so I can put them back exactly where they were. Cleaning and twisting them on an old towel, and oiling them is a good idea when you do this. There’s a special lug oil you can get at most drum shops.
Identifying and/or Marking Your Drum(s)
If you have just one prized djembe, or a kit of 50, marking them, or identifying them is a good idea, just in case. Early on, I used a permanent magic marker and would write my name inside the drum body. Later, I painted a bright line across the bottom, or mid-shell. Then when I had a whole bunch of drums, I went to some paper stickers I made on my PC. They left a glue residue, and looked sloppy after a year or so. But it was better than nothing. About 8 years ago I started to use those 4 x 5” vinyl bumper stickers you tend to see many bands use for promoting, publicity, etc. At many of the drum circles I facilitated or hosted, the public was welcome and some would bring their own drums, so things could get a little confusing as people would come and go, and at the end of the gig.
I needed to be able to identify my drums and percussion quickly and easily, sometimes at night in very dim light. I also wanted to deter them from walking away a little bit, that having unfortunately happened one time, but months later, the drum was anonymously returned to me. So I was glad it had that sticker, and/or my name written inside it. The stickers were inexpensive, easy to see, good for promotion, and they looked pretty cool.
If you get the 4” x 5" size stickers with black and white text only. They are about 10 – 50 cents each depending on how many you order. As a bonus you can also hand them out to clients, participants, add to your press pack, etc. But if you start adding logos, colors, or pics, the price goes up on them pretty quickly.
Most all of my kit is synthetic body drums like Remo, Toca, assorted aluminum doumbeks, etc. so slapping a sticker on the side of them was not really a big deal. For groups I prefer synthetic drums because they are easily washable, and can be sanitized. Add to that, they can take more of a beating than goatskin, they do better in humidity, and they cost less to buy. If I needed to remove one of my bumper stickers for some reason, (after a few years there would be a glue residue on there). A product like De-Solv-It takes it off easily. It’s made for removing wallpaper glue.
Obviously you don’t want to put a band sticker on a nice carved wood djembe, but for most of my drums it was fine, and I could easily see from a distance which ones belonged to me. With wood djembes a few ideas are to paint some sort of bright marking on them, or hang those price tags, or luggage tags with a string on them on the ring with a name written on it. Some even carve, or wood burn a name at the bottom of the shell. At least consider writing your name with a permanent marker inside the drum shell. If you have some aluminum, stainless, or nickel doumbeks, carving, or wood burning obviously won’t do, so a sticker or colorful marking of some sort might be the way to go.
About 10 years ago my drum circle facilitating kit was all wood shell djembes. After you schlep 50 drums in and out for an event, (even with some help) they were too heavy to keep track of, let alone haul around. As I mentioned, I prefer the sound and feel of goatskin heads on a wood drum shell, but after a while, it just wasn’t practical. But at least with some kind of bright looking, or obvious mark on them, they’re easier to identify as being yours, especially if you work in public places. As I mentioned, some people bring their own drums. It can get confusing without it.
If you go with that white vinyl band sticker idea, as far as your design is concerned, most of the sticker companies make it pretty easy to do. Most of them will let you design your sticker in a Word doc, you can use most common fonts and sizes, and you email it to them. Make your sticker short and sweet. For my text, I chose my website DRUMSOME.com I made the .com very tiny, (and away at the lower right), so promotion wasn’t so blatantly obvious, and people are less likely to toss them. It’s kind of cool looking, and the .com was so tiny, people would still put them on car bumpers and so on. People would even ask for a sticker to take home all the time, so it was effective publicity for me in the community, and I could easily identify my drums on a budget.
I hope some of this helps you!
Shannon
drumcircles.net (Got a regular meeting drum circle, or looking for one? Please check out the website. Thanks)
For the most part, lug tuned djembes are less expensive, and more readily available at music stores, and online, so they are becoming more popular, especially with those that are newer to drumming. With a synthetic head, once it’s tuned, it’s basically tuned for life. You can pretty much forget about it, once you have it sounding the way you like.
Goatskin drum heads are a completely different matter, lug tuned or roped. Going from the heat, into air conditioning can pop a drum head if it’s tuned a little too high. Very cold air has less moisture, and the drum heads get dryer and tighten up. I make it a habit to detune a half crank or two each lug after a gig. I go from outdoors to inside a lot. 5 years ago I discovered a broken head when I took it out of the bag for a gig. lol, not good, so I make it a point to take the time, even though I am too tired to do it…before it goes back into the djembe bag, I detune each lug a little after each use. ¾ of a full crank seems to work fine in most cases. The advantage with this kind of djembe, is you can quickly tune, or detune it in minutes, unlike with a rope tuned drum.
Having said that, to me, there is nothing that really compares to an authentic handcrafted djembe. The sound is unmatched, but they are also very expensive. Another problem is that there is a lot of “knock offs” being sold out there as “an authentic indigenous drum”, and many of them are not. You almost need to know someone reliable, or travel.
When I do have to unfortunately replace a drum head, at least I can do so quickly. I do it like the crisscross change a tire lug pattern: 12 0’clock – then 6. then 3 & 9. Equally all around, from one side to the other. After I slide the head back and forth to get it seated nicely, I hand tighten all the lugs equally first. Then it’s a few tuning wrench cranks at a time, in the back and forth pattern. I hold my finger on the one I just tightened, so I can go across the head and remember the one I just did, and my pattern. Back and forth, crisscross, equal cranks all around as best as I can. An important thing to do afterward is look across the flat plane edge of the drum head, and see if it looks nice and even around the rim. Sometimes I didn’t seat the drum head properly, or over tightened on one side, and it may be a tiny bit higher than the other, so I correct for that. (Do it over again! lol)
Another tip I learned was that when I do replace a goatskin djembe head, or a cow skin conga head, I take a little bit of powdered flour, rub some on my hands and lightly rub a very thin coat along the bearing edge, (top) of the drum body before I place the drum head back on it. I slide it around a little, and this allows it to “seat” better on the drum.
The most important thing for correctly tuning my djembe, is after I have it as even and tight as I want, I tap my finger on the drum head about an inch from each lug, and do so for each lug as I go around the drum in a circular pattern. That’s how I can tell if the drum is equally tuned near each lug. Or just a light flick of your fingernail near each lug. If any one sounds higher or lower in pitch, I correct it so that they all sound the same. This not only lengthens drum head life, but it sounds better. It reduces unwanted ringing, and unwanted off pitch sounding notes. Different sounding tones on different lugs can lead to a dissonant combination. This is more important with djembe heads, because they have thinner goatskin heads than cow skin conga heads. So the djembe head is much more sensitive to tension and evenness, both with goatskin and with some synthetic heads.
For those of you that have drum sets, you probably know most of this stuff already, so please bear with me for those that are new to tuning drums. Many of my suggestions are from others who taught me, band gigs in sleazy bars, and the rest from trial and error. These may not be the “best” way, or the only way to do things, I am a musician sharing information. If you have a few helpful tips to add, that would be much appreciated.
An easy way to quick tune my quinta and conga, or bongos, is to recall the song, “Here comes The Bride”. I tune them to sound like the notes in it. It makes it very simple to do, even in a dimly lit situation. (If it’s just my djembe I’m tuning, it’s to the “Bride” pitched note. Maybe just a tad higher.
Some lug tuned goatskin and synthetic drum heads can have ringing, or a ping like sound. Many joke about it, and call it the “twang”. Trying to dampen that overtone a little with synthetic heads is a real consideration for many of us. Especially at studio recording sessions. To reduce it, I hang a blue painter’s tape tail in the center underside of the head. (The blue tape doesn't leave a sticky residue like regular masking tape, or duct tape can do over time.) I use a long single piece - so it has about a 6 inch tail that is hanging down in the center, and stretching about 6 " in both directions across the drum head. ( ----V----) The V is to help illustrate, I close the V section to it is stuck together and hanging down in the middle. The tape I use is 1" wide blue painter’s tape.
I set the drum on the floor upside down on carpet, and try to place it in there with one arm, because that’s all that will fit. It can be tricky getting it in there, sometimes I have to try 3 or 4 times to get it in there nice and even and flat, so the 6 inch tail can be hanging down in the center. I’ve seen other ways to do this, using just a flat straight piece of tape across the underside of the head, a flat “X” pattern, a square, or a circle, or even a sqiggley. Experiment, because that’s part of the fun of drumming, and see what works best for your drum. However you get to it, hopefully it’s bye-bye ping.
One other thing about placing in the blue tape, on the underside of some drum heads is that it will not stick at first. With some newer heads, the bottom surface of the head can have a light coat of powder on it. The solution is to take several dry paper towels and gently wipe the powder off until it is clean enough so the tape would stick on any part of it. I guess the blue painter’s tape is designed like that so it is easy to come off. Another similar simple quick fix, or test idea is to try putting a few Post-It notes hanging under there.
I make it a habit to replace the tape every 4 months or so just to avoid any possibility of sticky tape residue on the underside of my drum head.
If you have to replace or remove the drum rim for any reason, be sure to put it back exactly the same way it came apart. Otherwise it may not fit quite properly when you put it back on, or a lug might get stripped. This is especially true with aluminum doumbeks, I make sure the head is seated properly, and tighten the lugs up again in a crisscross pattern, a little bit at a time. What I do to mark the spot is put a small piece of painter’s tape on the rim and just below it on the drum shell near a lug, so I can mark the spot.
Then I can put it back exactly as it came from the factory. When I remove the lugs, I line them up in a row the way they came off, so I can put them back exactly where they were. Cleaning and twisting them on an old towel, and oiling them is a good idea when you do this. There’s a special lug oil you can get at most drum shops.
Identifying and/or Marking Your Drum(s)
If you have just one prized djembe, or a kit of 50, marking them, or identifying them is a good idea, just in case. Early on, I used a permanent magic marker and would write my name inside the drum body. Later, I painted a bright line across the bottom, or mid-shell. Then when I had a whole bunch of drums, I went to some paper stickers I made on my PC. They left a glue residue, and looked sloppy after a year or so. But it was better than nothing. About 8 years ago I started to use those 4 x 5” vinyl bumper stickers you tend to see many bands use for promoting, publicity, etc. At many of the drum circles I facilitated or hosted, the public was welcome and some would bring their own drums, so things could get a little confusing as people would come and go, and at the end of the gig.
I needed to be able to identify my drums and percussion quickly and easily, sometimes at night in very dim light. I also wanted to deter them from walking away a little bit, that having unfortunately happened one time, but months later, the drum was anonymously returned to me. So I was glad it had that sticker, and/or my name written inside it. The stickers were inexpensive, easy to see, good for promotion, and they looked pretty cool.
If you get the 4” x 5" size stickers with black and white text only. They are about 10 – 50 cents each depending on how many you order. As a bonus you can also hand them out to clients, participants, add to your press pack, etc. But if you start adding logos, colors, or pics, the price goes up on them pretty quickly.
Most all of my kit is synthetic body drums like Remo, Toca, assorted aluminum doumbeks, etc. so slapping a sticker on the side of them was not really a big deal. For groups I prefer synthetic drums because they are easily washable, and can be sanitized. Add to that, they can take more of a beating than goatskin, they do better in humidity, and they cost less to buy. If I needed to remove one of my bumper stickers for some reason, (after a few years there would be a glue residue on there). A product like De-Solv-It takes it off easily. It’s made for removing wallpaper glue.
Obviously you don’t want to put a band sticker on a nice carved wood djembe, but for most of my drums it was fine, and I could easily see from a distance which ones belonged to me. With wood djembes a few ideas are to paint some sort of bright marking on them, or hang those price tags, or luggage tags with a string on them on the ring with a name written on it. Some even carve, or wood burn a name at the bottom of the shell. At least consider writing your name with a permanent marker inside the drum shell. If you have some aluminum, stainless, or nickel doumbeks, carving, or wood burning obviously won’t do, so a sticker or colorful marking of some sort might be the way to go.
About 10 years ago my drum circle facilitating kit was all wood shell djembes. After you schlep 50 drums in and out for an event, (even with some help) they were too heavy to keep track of, let alone haul around. As I mentioned, I prefer the sound and feel of goatskin heads on a wood drum shell, but after a while, it just wasn’t practical. But at least with some kind of bright looking, or obvious mark on them, they’re easier to identify as being yours, especially if you work in public places. As I mentioned, some people bring their own drums. It can get confusing without it.
If you go with that white vinyl band sticker idea, as far as your design is concerned, most of the sticker companies make it pretty easy to do. Most of them will let you design your sticker in a Word doc, you can use most common fonts and sizes, and you email it to them. Make your sticker short and sweet. For my text, I chose my website DRUMSOME.com I made the .com very tiny, (and away at the lower right), so promotion wasn’t so blatantly obvious, and people are less likely to toss them. It’s kind of cool looking, and the .com was so tiny, people would still put them on car bumpers and so on. People would even ask for a sticker to take home all the time, so it was effective publicity for me in the community, and I could easily identify my drums on a budget.
I hope some of this helps you!
Shannon
drumcircles.net (Got a regular meeting drum circle, or looking for one? Please check out the website. Thanks)
Friday, January 14, 2011
Drum Circles, Drumming In Cold Weather & The Elements
If you are a hard core drum circle lover, sometimes we play in very cold weather, and even outdoors in the snow. I’ve done it, and lots of circles go on up north during the winter. It’s easy to pick up a bruise in the cold. The drum head is a lot harder. When I play my Djembe outdoors in extreme cold, it’s usually in a remote location, and often its dark outside as well. Most of the suggestions below are common knowledge, so please bear with me for those that are newer to drumming.
My drum of choice is a goatskin djembe. When I do choose to take it outdoors and play, to protect it a bit more, I take some precautions. The sub-freezing, cold air has less moisture. If you play a goatskin head drum, the drum head will be very dry. Moisten it with whatever oil or butter you would normally use on it, but do so at least a day ahead. Personally, I don’t like to use any oils or anything on my drum head, just the natural oil build up from my hands. It’s a personal preference. Some people put oil on the wood drum body also, I choose not to do that either.
More often than not, I leave my expensive goatskin djembe at home, and use my “beater” drum. When I’m outside I use a synthetic drum like a Remo djembe or something. They sound pretty good even in frigid weather, and even pretty good when you're wearing gloves or mittens while playing them. The cold even makes them sound a little better. I don't like the feeling of synthetic drum heads. They are not kind on the hands, and I don’t care for the sound that is created as much as goatskin. I don’t endorse Remo or any other manufacturer, I am just giving you my opinion on what I like to use, and why.
That Remo djembe of mine is the 12” head size model. Not too heavy to play for hours, yet still has decent range for bass, tones and slaps. I’ve had it for over 15 years and never had to replace a head or anything to it. Of course it has a few signs of wear, some dings, dents, and scrapes, but hey, so do I. I can’t say the same for my goatskin drum, I’ve replaced the head 4 times in 8 years, but that is my drum of choice for session recordings, facilitating drum circles, important gigs, etc. So my beater is my drum of choice to play in hot humidity, dampness, or very cold weather.
The Remo was like $125 to my door used from an online auction site. As far as I know, they still sell new for just under $200. Picking up a used one isn’t really a problem, because you pretty much know what it’s going to sound like. Considering how long it has lasted, it’s a pretty good value for the money. I’ve played the crap out of that drum in all kinds of conditions. On the beach in hot humidity, gotten sand all up in it, in the rain, snow, extreme cold, and it sounds pretty good all around. You could probably play that thing on another planet with no atmosphere and it would sound okay. It’s a decent all purpose drum, and I don’t really need to worry if I let others play it for awhile. But the ping sound of a synthetic drum bugs me a little. A piece of blue painters tape with a 4 inch tail hanging under the head tames it down a bit.
On the up side, that drum has taken a real beating over the years, and I’m told it is made of all recycled materials. (Not exactly sure what that is, it could be soylent green for all I know, but I think it is recycled wood.) They seem to hold their value, rarely need a repair, so in my opinion, they make a fine all weather condition beater drum, that I don’t need to worry about. It’s just my preference.
When I’m out in very cold weather, obviously, you want to avoid gloves entirely if you can, but you'll do a little better using the thinnest gloves you can find. Be sure to check your gloves for any metal clips or plastic clips on them, and take a look at the cuffs of your sleeves of the coat you'll be wearing. Remember to try and not get to hammering away outside in the cold. It’s easy to get caught up in the moment, and do some real damage to yourself. Remember to pace yourself, and try to play a little softer than you normally would. Don't expect to be getting all these extreme slaps from your drum, and hurt your hands. Take a break now and then, and let your hands warm up. I keep a few of those heat packs in my coat pockets to warm them up with. Plus it keeps my body warmer. For a coat, I like to stay warm and toasty, but have as much freedom of movement for my arms as well. A snowmobile suit doesn’t quite cut it. I have one of what is called a squall or stadium coat. It has a thin windproof nylon outer shell, and warm micro-fleece inside. It’s not real heavy, yet keeps me warm, and allows freedom of movement.
Outdoor drum circles sometimes can get a bit sloppy sounding because everyone is cold, so an ideal thing to have, or for someone to have, is a decent bottom drum. Even an old floor tom from a drum set works great for this with a soft mallet. Sticks are too piercing and loud. Plus with a bottom drum, that’s all it needs to do is help hold the bottom, or downbeat. It holds the support rhythm to be more solid, and everyone knows that the better the circle sounds, the more fun it is. One common problem is that everyone wants a turn on the bottom drum. That’s fine of course, but many people will overplay a bottom drum, get to whaling away, and leave no space for the other drums to be heard. Less is more, that’s why when I bring one, I bring only one mallet for it. Problem solved.
One guy had a 55 galloon barrel with a thick Taiko style cow head on top. As odd as it sounds, the thing sounded great, and was a blast to play. He had used a hole saw and put 3 two inch holes spread out around the base so the sound could get out, or resonate more. Pretty clever idea. I’ve also seen the big blue plastic water barrels that are like 22 gallons done up like that. A little easier to move, the big barrel guy had to use a hand truck to move that thing from his van to the circle. But it was fun, great sounding, and really held the grooves together.
If you are facilitating a drum circle, or even just a rhythm, musical non-verbal cues become much more important, because all the hats and scarves tend to cover our ears, and muffle things a little bit.
For my hands out in the cold, I've had a fair amount of luck using fingerless knit gloves. The tones lose a little bit but the slaps are intact, since the fingertips are exposed. On a synthetic drum head, the difference isn’t all that much. I want to jam, but don’t want my fingertips to fall off.
When you are jamming outside in the cold, do whatever you can to keep your whole body warm. There is less chance of you damaging your hands through poor circulation in the fingers. Wear thermal, or silk underwear, even that “wicking” material is a good idea, because we do get to sweatin’ sometimes. I wear thick socks, boots, and lots of layers of clothing. This new underarmor stuff seems pretty nice for this. Don’t forget the lid, like a wool hat, we lose a lot of heat through the top of our heads when they are uncovered. Huddle close together if you have to, in order to save some heat.
Bring a thermos full of something warm, like hot chocolate. It’s a good idea to avoid alcohol outdoors while drumming. It dilates the capillaries and makes you feel warm, but in reality, you just losing heat quicker. Instead, eat plenty of good food beforehand, to generate some heat internally. Have some of that soft cloth first aid tape ready just in case anyone gets a cut or a bruise on their finger.
You can get some of those new high tech warm gloves. (The furry ones look the best) I’ve seen some people cut out the palms and finger pads, or just the finger pads. Not only will you still be able to hit all notes, but your hands will stay a little warmer too. One of the bellydancers has some sort of black thin arm length silk material that ended in fingerless glove, it sort of hooked around her thumb. She would dance, and take breaks to drum out in them, I’m not quite sure what it’s called, I think it was “arm warmers”. A search under bellydancing gloves should bring it up. She said it kept her arms and hands pretty warm while dancing or drumming. Pretty clever idea.
After the drum circle is over, consider getting a few people together afterwards, and go to a restaurant, eat some warm food, drink, and hang out a little. Get to know a few new people that might just turn out to be new good friends. It’s a great way to wrap up a fun drum circle. A drum circle wrap party.
If you are playing in the opposite conditions, with high heat and humidity, you need to adjust to that as well. Try to make sure that you and everyone else are in the shade if possible. Ask people in advance to bring bottled water and keep hydrated. Or provide it yourself for everyone if you can. Sunscreen is a good idea, except for the palms of your hands. This is particularly important if you are playing near water, as the sun’s rays can bounce and give you a nasty burn, even if you are in the shade. Wearing a hat, or headband keeps the sweat out of your eyes.
Your drums will also need some extra attention. Goatskin heads, especially, stretch in heat and/or humidity. They quickly become out of tune. This is one situation again where a synthetic head might be a better choice. I don’t want the sand or dirt getting all up in my nice djembe. Even the wood in the body of the drum can be affected over time, and possibly split along the wood grain. Those synthetic djembes, or aluminum Doumbeks can be a much better choice than your expensive wooden djembe in this kind of hot humid weather condition.
My hands sometimes get a bit bruised when I get home, so what I like to do is use a hand lotion that has some lanolin in it. That helps heal them up quickly. Some friends of mine use shea butter, use whatever works for you. But anything with lanolin helps to heal them. Or at least soothes them a little. A nice soothing soak in a hot bath tub with Epsom salts takes it down a little also. Treat your body right. At least when you get home.
This is more for indoor or hot weather drumming, but before and after I play, I wash my hands in cold water. It cools them down a little bit, and the odds are you shook a lot of hands today, and could catch somebody’s cold. So there’s the hygiene thing there also. Bring some of that portable hand sanitizer, for you, and more importantly for them. But mostly, you have just finished what amounts to beating on something like drywall with your hands for hours. So a nice cool down of your palms will help you take care of them. Washing them just before you play, gives them lots more “grab” on the drum head, so you can get cleaner, and crisper sounding notes as well. I hope some of this helps you to say warm, and in the groove!
Shannon
drumcircles.net
My drum of choice is a goatskin djembe. When I do choose to take it outdoors and play, to protect it a bit more, I take some precautions. The sub-freezing, cold air has less moisture. If you play a goatskin head drum, the drum head will be very dry. Moisten it with whatever oil or butter you would normally use on it, but do so at least a day ahead. Personally, I don’t like to use any oils or anything on my drum head, just the natural oil build up from my hands. It’s a personal preference. Some people put oil on the wood drum body also, I choose not to do that either.
More often than not, I leave my expensive goatskin djembe at home, and use my “beater” drum. When I’m outside I use a synthetic drum like a Remo djembe or something. They sound pretty good even in frigid weather, and even pretty good when you're wearing gloves or mittens while playing them. The cold even makes them sound a little better. I don't like the feeling of synthetic drum heads. They are not kind on the hands, and I don’t care for the sound that is created as much as goatskin. I don’t endorse Remo or any other manufacturer, I am just giving you my opinion on what I like to use, and why.
That Remo djembe of mine is the 12” head size model. Not too heavy to play for hours, yet still has decent range for bass, tones and slaps. I’ve had it for over 15 years and never had to replace a head or anything to it. Of course it has a few signs of wear, some dings, dents, and scrapes, but hey, so do I. I can’t say the same for my goatskin drum, I’ve replaced the head 4 times in 8 years, but that is my drum of choice for session recordings, facilitating drum circles, important gigs, etc. So my beater is my drum of choice to play in hot humidity, dampness, or very cold weather.
The Remo was like $125 to my door used from an online auction site. As far as I know, they still sell new for just under $200. Picking up a used one isn’t really a problem, because you pretty much know what it’s going to sound like. Considering how long it has lasted, it’s a pretty good value for the money. I’ve played the crap out of that drum in all kinds of conditions. On the beach in hot humidity, gotten sand all up in it, in the rain, snow, extreme cold, and it sounds pretty good all around. You could probably play that thing on another planet with no atmosphere and it would sound okay. It’s a decent all purpose drum, and I don’t really need to worry if I let others play it for awhile. But the ping sound of a synthetic drum bugs me a little. A piece of blue painters tape with a 4 inch tail hanging under the head tames it down a bit.
On the up side, that drum has taken a real beating over the years, and I’m told it is made of all recycled materials. (Not exactly sure what that is, it could be soylent green for all I know, but I think it is recycled wood.) They seem to hold their value, rarely need a repair, so in my opinion, they make a fine all weather condition beater drum, that I don’t need to worry about. It’s just my preference.
When I’m out in very cold weather, obviously, you want to avoid gloves entirely if you can, but you'll do a little better using the thinnest gloves you can find. Be sure to check your gloves for any metal clips or plastic clips on them, and take a look at the cuffs of your sleeves of the coat you'll be wearing. Remember to try and not get to hammering away outside in the cold. It’s easy to get caught up in the moment, and do some real damage to yourself. Remember to pace yourself, and try to play a little softer than you normally would. Don't expect to be getting all these extreme slaps from your drum, and hurt your hands. Take a break now and then, and let your hands warm up. I keep a few of those heat packs in my coat pockets to warm them up with. Plus it keeps my body warmer. For a coat, I like to stay warm and toasty, but have as much freedom of movement for my arms as well. A snowmobile suit doesn’t quite cut it. I have one of what is called a squall or stadium coat. It has a thin windproof nylon outer shell, and warm micro-fleece inside. It’s not real heavy, yet keeps me warm, and allows freedom of movement.
Outdoor drum circles sometimes can get a bit sloppy sounding because everyone is cold, so an ideal thing to have, or for someone to have, is a decent bottom drum. Even an old floor tom from a drum set works great for this with a soft mallet. Sticks are too piercing and loud. Plus with a bottom drum, that’s all it needs to do is help hold the bottom, or downbeat. It holds the support rhythm to be more solid, and everyone knows that the better the circle sounds, the more fun it is. One common problem is that everyone wants a turn on the bottom drum. That’s fine of course, but many people will overplay a bottom drum, get to whaling away, and leave no space for the other drums to be heard. Less is more, that’s why when I bring one, I bring only one mallet for it. Problem solved.
One guy had a 55 galloon barrel with a thick Taiko style cow head on top. As odd as it sounds, the thing sounded great, and was a blast to play. He had used a hole saw and put 3 two inch holes spread out around the base so the sound could get out, or resonate more. Pretty clever idea. I’ve also seen the big blue plastic water barrels that are like 22 gallons done up like that. A little easier to move, the big barrel guy had to use a hand truck to move that thing from his van to the circle. But it was fun, great sounding, and really held the grooves together.
If you are facilitating a drum circle, or even just a rhythm, musical non-verbal cues become much more important, because all the hats and scarves tend to cover our ears, and muffle things a little bit.
For my hands out in the cold, I've had a fair amount of luck using fingerless knit gloves. The tones lose a little bit but the slaps are intact, since the fingertips are exposed. On a synthetic drum head, the difference isn’t all that much. I want to jam, but don’t want my fingertips to fall off.
When you are jamming outside in the cold, do whatever you can to keep your whole body warm. There is less chance of you damaging your hands through poor circulation in the fingers. Wear thermal, or silk underwear, even that “wicking” material is a good idea, because we do get to sweatin’ sometimes. I wear thick socks, boots, and lots of layers of clothing. This new underarmor stuff seems pretty nice for this. Don’t forget the lid, like a wool hat, we lose a lot of heat through the top of our heads when they are uncovered. Huddle close together if you have to, in order to save some heat.
Bring a thermos full of something warm, like hot chocolate. It’s a good idea to avoid alcohol outdoors while drumming. It dilates the capillaries and makes you feel warm, but in reality, you just losing heat quicker. Instead, eat plenty of good food beforehand, to generate some heat internally. Have some of that soft cloth first aid tape ready just in case anyone gets a cut or a bruise on their finger.
You can get some of those new high tech warm gloves. (The furry ones look the best) I’ve seen some people cut out the palms and finger pads, or just the finger pads. Not only will you still be able to hit all notes, but your hands will stay a little warmer too. One of the bellydancers has some sort of black thin arm length silk material that ended in fingerless glove, it sort of hooked around her thumb. She would dance, and take breaks to drum out in them, I’m not quite sure what it’s called, I think it was “arm warmers”. A search under bellydancing gloves should bring it up. She said it kept her arms and hands pretty warm while dancing or drumming. Pretty clever idea.
After the drum circle is over, consider getting a few people together afterwards, and go to a restaurant, eat some warm food, drink, and hang out a little. Get to know a few new people that might just turn out to be new good friends. It’s a great way to wrap up a fun drum circle. A drum circle wrap party.
If you are playing in the opposite conditions, with high heat and humidity, you need to adjust to that as well. Try to make sure that you and everyone else are in the shade if possible. Ask people in advance to bring bottled water and keep hydrated. Or provide it yourself for everyone if you can. Sunscreen is a good idea, except for the palms of your hands. This is particularly important if you are playing near water, as the sun’s rays can bounce and give you a nasty burn, even if you are in the shade. Wearing a hat, or headband keeps the sweat out of your eyes.
Your drums will also need some extra attention. Goatskin heads, especially, stretch in heat and/or humidity. They quickly become out of tune. This is one situation again where a synthetic head might be a better choice. I don’t want the sand or dirt getting all up in my nice djembe. Even the wood in the body of the drum can be affected over time, and possibly split along the wood grain. Those synthetic djembes, or aluminum Doumbeks can be a much better choice than your expensive wooden djembe in this kind of hot humid weather condition.
My hands sometimes get a bit bruised when I get home, so what I like to do is use a hand lotion that has some lanolin in it. That helps heal them up quickly. Some friends of mine use shea butter, use whatever works for you. But anything with lanolin helps to heal them. Or at least soothes them a little. A nice soothing soak in a hot bath tub with Epsom salts takes it down a little also. Treat your body right. At least when you get home.
This is more for indoor or hot weather drumming, but before and after I play, I wash my hands in cold water. It cools them down a little bit, and the odds are you shook a lot of hands today, and could catch somebody’s cold. So there’s the hygiene thing there also. Bring some of that portable hand sanitizer, for you, and more importantly for them. But mostly, you have just finished what amounts to beating on something like drywall with your hands for hours. So a nice cool down of your palms will help you take care of them. Washing them just before you play, gives them lots more “grab” on the drum head, so you can get cleaner, and crisper sounding notes as well. I hope some of this helps you to say warm, and in the groove!
Shannon
drumcircles.net
Saturday, December 4, 2010
Various Drum Circle Rhythm Notations
This is a list of various drum circle rhythms I enjoy playing. It's my interpretation of them. There are a few different ways I like to notate, and/or and vocalize the start of a drum circle rhythm. Print it out if you want to. I like to help people enjoy drumming more. The list might make a good guideline, set list, or just some fun stuff for you and your friends to try out. Here they are:
KC & The Sunshine Band inspired drum circle rhythm:
"That's The way, Uh Huh, Uh Huh, I like It, Uh Huh Uh Huh"
♫♫ Doum ka-tek, ka-DoumDoum Tek, KaDoum ka-tek, ka-DoumDoum Tek ♫♫♫
(I guess that disco era helped me out after all!)
Good start up drum circle rhythm: ♫♫ "Yum Yum Tastes Like Ckic-Ken" ♫♫ (Just like it sounds) - doum doum tek-ka tekka, doum doum tek-ka tekka ♫♫
♫♫ An easy way to get a Clave drum rhythm jamming is to remind people of the beat to songs like "Mockingbird" or "Hand Jive" ♫♫♫
Sly & The Family Stone inspired beat. Boom sha-ka la ka, Boom sha-ka-la-ka
Word association is a great way to get a 6/8 drum circle rhythm going.
♫♫♫ Fol-low-the-yel-low-brick-road-go-do-pa-ta-pa ♫♫♫
The "conga line" rhythm usually turns into a good drum jam. On the Doumbek:
♫♫ doum-ka, doum-ka, tek--tek. ♫♫ Or on the Djembe: gun-pa, gun-pa, go--do ♫♫
or just feel the rhythm vamp to MJ's “Thriller".
Variation of an African drum rhythm Gunazi. ♫♫ Boom sha-ka Boom Boom, shakala, Slap!, Boom sha-ka Boom Boom, shakala, Slap! (or some accented tone at the end) ♫♫
♫♫ Cuckoo! ♫♫ Common commercial jingles make fun drum circle rhythms:
Cuckoo for cocoa Puffs - Shaka-sha-lakaBoom, Shaka-sha-lakaBoom
Drum circle rhythm with a Brazilian flair to it:
♫♫♫ Doum--ka-tekka--Doum--ka-tek-ka,- Doum--ka-tekka--Doum--ka-tek-ka ♫♫
♫ Boom-Boom chakachaka ping ping ping! ♫♫ (gun dun patapata slap slap Slap)
Masmuudii 316 - A fun drum circle rhythm that rolls like a freight train
♫♫ D---D---t-k-T-k-D-tktkt-TktkT-t (repeat 4/4 time) ♫♫
Idol inspired Balloon Boy Drum Circle Rhythm ♫ oom-pah---oom-pah---oom-pahpah__oom-pah---oom-pah---oom-pah-barf ♫ (start with dominant hand, RL,RL,RLR__LR,LR,LRL) Bass, tones, and etc. (Alternate to balance both sides of the body.)
"Bambii" A cool drum circle rhythm -
Doum-tekka-katek-tekka-kaDoum-Doum__Doum-tekka-katek-tekka-kaDoum-Doum Doum ♫♫♫ (It's in 4/4 time, the 3 Doums at the end is what makes this one really groove.)
(Or, try it filled: Dk kT kk Tk kT kk D D)
Nice support rhythm to start at the drum circle:
♫♫ Boom sha La-ka Boom Boom-Cha__Boom sha La-ka Boom Boom-Cha ♫♫
♫♫ Cool drum circle rhythm Karsilama 3, it has a triplet at the end:
D-kkT-kkD-kkT-T-T (2+2+2+3) (Shorthand notation on this one.) ♫♫♫
Addictive drum rhythm that's similar to the rhythm Ayyub ( D k-D t )
On the Doumbek: ♫♫ Doum tek-keh Doum tek (repeats and builds) Or on the Djembe: Gun go-do Gun go ♫
Tootie Fruitie Drum Circle Jam - ♫ Wop-baba-lou-bop__a-wop-Bam-Boom, Wop-baba-lou-bop__a-wop-Bam-Boom ♫♫ (I think Little Richard might dig us drumming to this.)
Sweet drum circle rhythm: ♫♫ Boom - che-boom_che-boom-a-choc_o_late__choc_o_late, (dramatic pause) Boom - che-boom_che-boom-a-choc_o_late__choc_o_late ♫♫♫
Drum to rhymes or phrases to start a 6/8 drum circle rhythm rolling:
♫ You-huff-and-you-puff-and-you-blow-the-Gun-Dun-go-do ♫
♫♫ Saiidi Drum Circle Rhythm - Doum tekka tekka doum doum tekka-Tek ♫♫
Beledi - Zaffah variation, Boom chick-a chick, Boom Boom _ chick-a-chick-a boom.
Gawazi - a great drum circle rhythm for dancers
♫♫ D tkD D tkt tktk, D tkD D tkt tktk ♫
Slower grooving drum rhythm. Usually a hit with beginners & pros -
♫ Boom, sha-La-Ka-Boom-Boom (pause) Boom, sha-La-Ka-Boom-Boom ♫
♫♫ A fun variation of the Chifitelli rhythm (played nice and slow)
Doum, tek-ka tek-ka doum doum Tek (pause) Doum, tek-ka tek-ka doum doum Doum. ♫
Zaffah drum rhythm (As far as I know it's an Egyptian wedding processional in 4/4 time.) D-tkt-t-D-t-t-tt (repeat)
One of my favorite drum rhythms:
Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum Doum Tek. (pause, and repeat)
This drum circle rhythm has kind of a hip hop feel to it. (4/4 time) ♫♪ Doum Doum, kaTek-doum, kaDoum Tek, ♫♪ Doum Doum, kaTek-doum, kaDoum Tek (fun!)
♫♫ Boom ShaLa-Ka BoomBoom (pause) Boom ShaLa-Ka BoomBoom (pause) ♫♫ This drum circle rhythm played nice and slow has a spiritual vibe, it’s good one to get the group in sync. Great for 3 djun djuns.
♪♫♪ A good warm up rhythm, or drum circle starter is the basic drum circle standard Doum Ka-Tek Ka, Doum Ka-Tek Ka, (or) Boom Sha-La Ka, Boom Sha-La Ka in 4/4 time. If played softly at a slow tempo, you can speak to the rhythm and welcome people, etc. It's also great for someone who does spoken word, or even a budding rapper. Makes for some great improvised fun. We had this guy who used to bust out some great rhythms and stories to this one.
An intriging drum circle rhythm in a count of "7" (1-2, 1-2, 1-2-3) Triplet at the end. Sounds like this: Doum(rest) Doum(rest) tek-ka-tek or Doum_Doum_tek-ka-tek, Doum_Doum_tek-ka-tek ♪♪♪ Interesting stuff happens, or you get a train wreck. But that's half the fun, taking a risk.
♫ One of many Native American heartbeat drum rhythms in 4/4 time, mellow bass notes: Boom__boom__boom,boom,boom, - (1 & 2 & 3 & 4 &) Boom__boom__boom,boom,boom - ♫♫
♫♫ Doum-Tek-Ka Doum-Tek-Ka Doum__Tek, Doum-Tek-Ka Doum-Tek-Ka Doum__Tek, ♫♫ Start with a real slow tempo and it's a trance rhythm. Speed it up and it rocks! ♫♫
A Tabla rhythm, but fun to try on a djembe or doumbek: ♫ da-di ki na doum, da-di ki na doum. ♫
This drum circle rhythm the bellydancers request a lot. It's a Greek line dance in 2/4
♫ Doum-tekkatek-tek, Doum-tekkaDoum-tek. ♫♫ It has a nice groove once it gets going.
Here's a basic Irish beat that sounds like this: Boom-ba-da-ba, Boom-ba-da-ba Boom, Notated in Bodhran speak, it looks like this: 0 \/ /\ \/, 0 \/ /\ \/ 0, - Have fun and add some more beats to it: - Boom-ba-da-ba-da-ba-da, Boom-ba-da-ba-da-ba-da Boom.
Just a little to the North of us is Tarpon Springs, which has a large Greek population. This drum circle rhythm is the same one the Greek national hymn goes to: ♫ Doum-tekkaTek-tek-Doum-tek-, Doum-tekkaTek-tek-Doum-tek ♫
♪♫ This 4/4 drum circle rhythm has a "hand clap" in it, which adds to the fun & creates a new dimension. Doum Tek-Ka, Doum Tek-Ka, Doum Tek Clap, (pause, repeat phrase) I suggest playing it at a slow tempo, and it gets people laughing if you make the hand clap a high five to the person on their right. ♪♫
Speaking of clapping, the clapping beat at the beginning of the song "Car Wash" makes a jovial drum circle rhythm. ♫ doum, doum, doum ka-tek ka tek! (pause) ♫ doum, doum, doum ka-tek ka tek!
♫♫♫♫ Bolero Drum Circle Rhythm in 4/4 time, the accents are in caps:
Doum tekkaTek ka tek ka tek ka, Doum tekkaTek ka tek ka tek ka ♫♫♫♫
♫ Word association is a great way to get a drum circle rhythm going especially with kids: "The people on the train go round and round" ("The" is a whole note, "people on the train" all quarter notes, "go round and round" half notes, and there is a pause at the end. ♫
♪♫♪ ♪♪♪ Another "sweet" drum circle rhythm Agilablanca in 4/4: I-like-to-eat__choc-late-cake, (pause, repeat) ♪♪♪ (the 1st half is all tones, the last half is all bass notes)
A variation of an Egyptian drum rhythm called ♫ Karaatshi ♫ in 2/4 time:
Doum-tekkatek-tekkaDoum-tekkatek-tekkaDoum
Less sometimes really is more. A simple beat can make a great drum circle rhythm starter, (and really please the “players”) : ♫ Doum-Doum (pause) Doum-Doum (pause, repeat) ♫ Or, Gun-Dun (pause) Dun-Gun (pause) ♫
Kind of like the rhythm Ayyub (D k-D t, D k-D t) it leaves plenty of space to add fills, solos, and to improvise.
A good party drum circle rhythm we played at the last Mardi Gras: ♫♫ The roof, the roof...the roof is on Fire! ♫♫ Say it then play it. doum Doum, doum Doum...ka tek-ka Ka Tek! ♫♫
♫♫♫ Interesting yet challenging drum circle rhythm in 6/8 sometimes known as Darj:
D-TkT-D-T
1-+-2-+-3-+-
An Egyptian drumming rhythm called ♫♫♫ Jaark ♫♫♫ in 4/4 time:
D-kkT-tkDDtkT-tk, D-kkT-tkDDtkT-tk
Occasionally after a couple of hours of drumming, people run out of good group drum circle rhythms to start out with. People will look around and say, “Anyone got a rhythm to start out with?” This djembe support rhythm always turns into a good drum jam. It’s in 4/4 time:
Go Do pata padaTa, Go Do pata padaTa (Go and Do are 1 & 2, the Ta is a slap tone)
(I use "da" as a closed tone note, or as a different softer lower pitched sound between "pa" and "ta".)
1, 2, 3, 4, Try tapping your foot on the 4 counts as you play it. Or here is 2 measures, count to 4 twice, D D tk ktT, D D tk ktT
Here’s another djembe support rhythm to try, the gun and dun are all bass and the rest tone notes, in 4.4 time:
Gun pa gun-dun, Gun pa da-pa, (half beat pause and repeat the phrase) Gun pa gun-dun, Gun pa da-pa. If there’s any good soloists, or even djembe cowboys in the house, they will love you for it. lol
Drum circle rhythm WaaHida in 4/4: 1+2+3+4+
♫♫ Doum-tekkatekkaTek-tekkatekkaTek-ka-, Doum-tekkatekkaTek-tekkatekkaTek-ka-,
Drumming out a waltz? It may sound like a bit of a yawner, but honestly, I think the drum circle waltz is a great way to balance the mind, body, and help get people firmly grounded. Once it gets rolling, it can always easily transition to a snappy 6/8 rhythm. It's an especially good rhythm for groups of beginners. Try to get them to alternate hands, R-L-R, L-R-L (Gun-do-go, Dun-go-do) Accent on the 1st bass note. The key to this one is to keep it at a slow tempo for awhile.
Try drumming out "Morse Code" rhythms. Ask someone to suggest 2 letters, or numbers, and put them together to make a new drum circle rhythm. ♫♫ _ _...._ _ ♫♫ A dot is a tone, and a dash, is a bass note. Sometimes they work, & sometimes they don't, that's part of the fun. There’s a Morse Code alphabet chart on my site drumcircles.net
An interesting drum rhythm known in some cultures as Sabamaa. Played in 4/4 time.
♫♫ D-TkTkT-D-TkT-Tk, D-TkTkT-D-TkT-Tk ♫
Again, try tapping your foot as you play. 1-2-3-4
D-TkTkT-D-TkT-Tk
1e+a2e+a3e+a4e+a
I dig this drum circle rhythm because of the long pauses. It gives the bass a chance to resonate a little bit. It’s in 4/4 time - ♪♫ Doum---tekkatek-tek-Doum---tek-, Doum---tekkatek-tek-Doum---tek-, ♫♪♫♪
♪♪♪♪♪ A basic yet fun drum circle rhythm sometimes called the Turkish 5. Plenty of room for fills. It's in 5/4 time, all the beats are on the numbers:
1+2+3+4+5+
D k t k t
Fun djembe support rhythm for the drum circle: ♫ Gun Dun godo pa-ta-pa, Gun Dun godo pa-ta-pa ♫♫ (or) Doum Doum tekka ka-tek-ka, Doum Doum tekka ka-tek-ka ♫
"A Drum Circle Rhythm You Can't Refuse" ♫♫ Ba-da Bing, Ba-da Boom, Ba-da Bing_Bang_Boom, ♫♫ (or) Go-do Pa, Pa-ta Go, Go-do Pa_Ta_Pa ♫♫
"Little Drummer Boy" Christmas drum rhythm, if you can hum it, you can drum it!
♫♫♫ Let's All Play Our Drum...Pa - Rum Pa PumPum...Rum Pa PumPum ♫♫♫
Sort of a trance drum circle rhythm. ♫♫ Doum-tek-ka-Doum-tek-ka-Doum-tek, Doum-tek-ka-Doum-tek-ka-Doum-tek ♫♫♫♫
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Sometimes to have a great drum circle rhythm jam, it needs a great ending. Rather than the usual fade out, or rumble ending, try this out. I usually mention the idea to the group, and we quickly practice it in advance before we start, so everyone is ready. Like about a 30 second rehearsal. Then get right to the rhythm you had planned to play. For me, 4/4 time works the best. The end is 9 tones then 2 bass notes. Repeat 6 times with a pause between each rep. As we are still playing, I will holler out, “Okay, here comes the ending! And count them down out loud. “ 1 2 3 4 5 6 7 8 9 boom boom, (pause) “5 more” 1 2 3 4 5 6 7 8 9 boom boom, (pause) “4 more times” etc. ♪♪♪♪♪♪♪♪♪_♪_♪_
Another fun ending is 5 tones followed by 3 bass notes. A 1 beat pause and repeat them whole thing 6 times. After the rhythm has run it's course, get everyone's attention & say, "ok here comes the ending", and go right into it. 12345_1_2_3 (Again, I count the reps down out loud), "5 more times" and we play, tek ka tek ka tek, doum_doum_doum. “4 more times” etc. ♪♪♪♪♪_♪_♪_♪_
The fun thing about these drum rhythm endings is that they all catch on after the 2nd or 3rd rep. and all end together. On the last one, everyone usually stops in unison, then a big whoosh of silence, followed by smiles claps and pride. It's very cool, and a good confidence builder. To help this work smoother, I usually I quickly practice the ending in advance with the group before we start, and then go right into it, so they are prepared when the time comes.
Bring along a hula hoop to ramp up the fun at your drum circle. It gives people a rhythmic motion to groove to. I was surpised when I saw people of all different ages wanting to get in there and try it. The drum rhythm Beledi is a good one to use. D D tkT D tkT(pause)D D tkT D tkT ♫♫. 4/4 time, it sounds like: Doum Doum tek-ka-Tek, Doum tek-ka-Tek. {One of my dancer friends said the Beledi rhythm is the "Catnip Rhythm" for belly dancers. lol. I like that.)
I hope this list helps you and your friends to enjoy drumming more. I also have this rhythm list in Word.doc format at my website. You can download and print it free. If you are new to drumming, and would like some more in depth info on reading, understanding, and playing transcribed drum circle rhythm notations, please read a few of my older my blog posts for 2010. I put my older blog post list of rhythms together, and added a few more so they are all in one place, and this is it.
If you would consider picking up my drum circle rhythms DVD, I would appreciate that, and it would help out a little bit. Thanks in advance if you do. The 2 hour DVD will show you how to play over 100 diffferent rhythms for $15. Please visit drumcircles.net for the DVD and more.
Shannon Ratigan
drumcircles.net
Copyright © Shannon Ratigan All Rights Reserved.
KC & The Sunshine Band inspired drum circle rhythm:
"That's The way, Uh Huh, Uh Huh, I like It, Uh Huh Uh Huh"
♫♫ Doum ka-tek, ka-DoumDoum Tek, KaDoum ka-tek, ka-DoumDoum Tek ♫♫♫
(I guess that disco era helped me out after all!)
Good start up drum circle rhythm: ♫♫ "Yum Yum Tastes Like Ckic-Ken" ♫♫ (Just like it sounds) - doum doum tek-ka tekka, doum doum tek-ka tekka ♫♫
♫♫ An easy way to get a Clave drum rhythm jamming is to remind people of the beat to songs like "Mockingbird" or "Hand Jive" ♫♫♫
Sly & The Family Stone inspired beat. Boom sha-ka la ka, Boom sha-ka-la-ka
Word association is a great way to get a 6/8 drum circle rhythm going.
♫♫♫ Fol-low-the-yel-low-brick-road-go-do-pa-ta-pa ♫♫♫
The "conga line" rhythm usually turns into a good drum jam. On the Doumbek:
♫♫ doum-ka, doum-ka, tek--tek. ♫♫ Or on the Djembe: gun-pa, gun-pa, go--do ♫♫
or just feel the rhythm vamp to MJ's “Thriller".
Variation of an African drum rhythm Gunazi. ♫♫ Boom sha-ka Boom Boom, shakala, Slap!, Boom sha-ka Boom Boom, shakala, Slap! (or some accented tone at the end) ♫♫
♫♫ Cuckoo! ♫♫ Common commercial jingles make fun drum circle rhythms:
Cuckoo for cocoa Puffs - Shaka-sha-lakaBoom, Shaka-sha-lakaBoom
Drum circle rhythm with a Brazilian flair to it:
♫♫♫ Doum--ka-tekka--Doum--ka-tek-ka,- Doum--ka-tekka--Doum--ka-tek-ka ♫♫
♫ Boom-Boom chakachaka ping ping ping! ♫♫ (gun dun patapata slap slap Slap)
Masmuudii 316 - A fun drum circle rhythm that rolls like a freight train
♫♫ D---D---t-k-T-k-D-tktkt-TktkT-t (repeat 4/4 time) ♫♫
Idol inspired Balloon Boy Drum Circle Rhythm ♫ oom-pah---oom-pah---oom-pahpah__oom-pah---oom-pah---oom-pah-barf ♫ (start with dominant hand, RL,RL,RLR__LR,LR,LRL) Bass, tones, and etc. (Alternate to balance both sides of the body.)
"Bambii" A cool drum circle rhythm -
Doum-tekka-katek-tekka-kaDoum-Doum__Doum-tekka-katek-tekka-kaDoum-Doum Doum ♫♫♫ (It's in 4/4 time, the 3 Doums at the end is what makes this one really groove.)
(Or, try it filled: Dk kT kk Tk kT kk D D)
Nice support rhythm to start at the drum circle:
♫♫ Boom sha La-ka Boom Boom-Cha__Boom sha La-ka Boom Boom-Cha ♫♫
♫♫ Cool drum circle rhythm Karsilama 3, it has a triplet at the end:
D-kkT-kkD-kkT-T-T (2+2+2+3) (Shorthand notation on this one.) ♫♫♫
Addictive drum rhythm that's similar to the rhythm Ayyub ( D k-D t )
On the Doumbek: ♫♫ Doum tek-keh Doum tek (repeats and builds) Or on the Djembe: Gun go-do Gun go ♫
Tootie Fruitie Drum Circle Jam - ♫ Wop-baba-lou-bop__a-wop-Bam-Boom, Wop-baba-lou-bop__a-wop-Bam-Boom ♫♫ (I think Little Richard might dig us drumming to this.)
Sweet drum circle rhythm: ♫♫ Boom - che-boom_che-boom-a-choc_o_late__choc_o_late, (dramatic pause) Boom - che-boom_che-boom-a-choc_o_late__choc_o_late ♫♫♫
Drum to rhymes or phrases to start a 6/8 drum circle rhythm rolling:
♫ You-huff-and-you-puff-and-you-blow-the-Gun-Dun-go-do ♫
♫♫ Saiidi Drum Circle Rhythm - Doum tekka tekka doum doum tekka-Tek ♫♫
Beledi - Zaffah variation, Boom chick-a chick, Boom Boom _ chick-a-chick-a boom.
Gawazi - a great drum circle rhythm for dancers
♫♫ D tkD D tkt tktk, D tkD D tkt tktk ♫
Slower grooving drum rhythm. Usually a hit with beginners & pros -
♫ Boom, sha-La-Ka-Boom-Boom (pause) Boom, sha-La-Ka-Boom-Boom ♫
♫♫ A fun variation of the Chifitelli rhythm (played nice and slow)
Doum, tek-ka tek-ka doum doum Tek (pause) Doum, tek-ka tek-ka doum doum Doum. ♫
Zaffah drum rhythm (As far as I know it's an Egyptian wedding processional in 4/4 time.) D-tkt-t-D-t-t-tt (repeat)
One of my favorite drum rhythms:
Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum Doum Tek. (pause, and repeat)
This drum circle rhythm has kind of a hip hop feel to it. (4/4 time) ♫♪ Doum Doum, kaTek-doum, kaDoum Tek, ♫♪ Doum Doum, kaTek-doum, kaDoum Tek (fun!)
♫♫ Boom ShaLa-Ka BoomBoom (pause) Boom ShaLa-Ka BoomBoom (pause) ♫♫ This drum circle rhythm played nice and slow has a spiritual vibe, it’s good one to get the group in sync. Great for 3 djun djuns.
♪♫♪ A good warm up rhythm, or drum circle starter is the basic drum circle standard Doum Ka-Tek Ka, Doum Ka-Tek Ka, (or) Boom Sha-La Ka, Boom Sha-La Ka in 4/4 time. If played softly at a slow tempo, you can speak to the rhythm and welcome people, etc. It's also great for someone who does spoken word, or even a budding rapper. Makes for some great improvised fun. We had this guy who used to bust out some great rhythms and stories to this one.
An intriging drum circle rhythm in a count of "7" (1-2, 1-2, 1-2-3) Triplet at the end. Sounds like this: Doum(rest) Doum(rest) tek-ka-tek or Doum_Doum_tek-ka-tek, Doum_Doum_tek-ka-tek ♪♪♪ Interesting stuff happens, or you get a train wreck. But that's half the fun, taking a risk.
♫ One of many Native American heartbeat drum rhythms in 4/4 time, mellow bass notes: Boom__boom__boom,boom,boom, - (1 & 2 & 3 & 4 &) Boom__boom__boom,boom,boom - ♫♫
♫♫ Doum-Tek-Ka Doum-Tek-Ka Doum__Tek, Doum-Tek-Ka Doum-Tek-Ka Doum__Tek, ♫♫ Start with a real slow tempo and it's a trance rhythm. Speed it up and it rocks! ♫♫
A Tabla rhythm, but fun to try on a djembe or doumbek: ♫ da-di ki na doum, da-di ki na doum. ♫
This drum circle rhythm the bellydancers request a lot. It's a Greek line dance in 2/4
♫ Doum-tekkatek-tek, Doum-tekkaDoum-tek. ♫♫ It has a nice groove once it gets going.
Here's a basic Irish beat that sounds like this: Boom-ba-da-ba, Boom-ba-da-ba Boom, Notated in Bodhran speak, it looks like this: 0 \/ /\ \/, 0 \/ /\ \/ 0, - Have fun and add some more beats to it: - Boom-ba-da-ba-da-ba-da, Boom-ba-da-ba-da-ba-da Boom.
Just a little to the North of us is Tarpon Springs, which has a large Greek population. This drum circle rhythm is the same one the Greek national hymn goes to: ♫ Doum-tekkaTek-tek-Doum-tek-, Doum-tekkaTek-tek-Doum-tek ♫
♪♫ This 4/4 drum circle rhythm has a "hand clap" in it, which adds to the fun & creates a new dimension. Doum Tek-Ka, Doum Tek-Ka, Doum Tek Clap, (pause, repeat phrase) I suggest playing it at a slow tempo, and it gets people laughing if you make the hand clap a high five to the person on their right. ♪♫
Speaking of clapping, the clapping beat at the beginning of the song "Car Wash" makes a jovial drum circle rhythm. ♫ doum, doum, doum ka-tek ka tek! (pause) ♫ doum, doum, doum ka-tek ka tek!
♫♫♫♫ Bolero Drum Circle Rhythm in 4/4 time, the accents are in caps:
Doum tekkaTek ka tek ka tek ka, Doum tekkaTek ka tek ka tek ka ♫♫♫♫
♫ Word association is a great way to get a drum circle rhythm going especially with kids: "The people on the train go round and round" ("The" is a whole note, "people on the train" all quarter notes, "go round and round" half notes, and there is a pause at the end. ♫
♪♫♪ ♪♪♪ Another "sweet" drum circle rhythm Agilablanca in 4/4: I-like-to-eat__choc-late-cake, (pause, repeat) ♪♪♪ (the 1st half is all tones, the last half is all bass notes)
A variation of an Egyptian drum rhythm called ♫ Karaatshi ♫ in 2/4 time:
Doum-tekkatek-tekkaDoum-tekkatek-tekkaDoum
Less sometimes really is more. A simple beat can make a great drum circle rhythm starter, (and really please the “players”) : ♫ Doum-Doum (pause) Doum-Doum (pause, repeat) ♫ Or, Gun-Dun (pause) Dun-Gun (pause) ♫
Kind of like the rhythm Ayyub (D k-D t, D k-D t) it leaves plenty of space to add fills, solos, and to improvise.
A good party drum circle rhythm we played at the last Mardi Gras: ♫♫ The roof, the roof...the roof is on Fire! ♫♫ Say it then play it. doum Doum, doum Doum...ka tek-ka Ka Tek! ♫♫
♫♫♫ Interesting yet challenging drum circle rhythm in 6/8 sometimes known as Darj:
D-TkT-D-T
1-+-2-+-3-+-
An Egyptian drumming rhythm called ♫♫♫ Jaark ♫♫♫ in 4/4 time:
D-kkT-tkDDtkT-tk, D-kkT-tkDDtkT-tk
Occasionally after a couple of hours of drumming, people run out of good group drum circle rhythms to start out with. People will look around and say, “Anyone got a rhythm to start out with?” This djembe support rhythm always turns into a good drum jam. It’s in 4/4 time:
Go Do pata padaTa, Go Do pata padaTa (Go and Do are 1 & 2, the Ta is a slap tone)
(I use "da" as a closed tone note, or as a different softer lower pitched sound between "pa" and "ta".)
1, 2, 3, 4, Try tapping your foot on the 4 counts as you play it. Or here is 2 measures, count to 4 twice, D D tk ktT, D D tk ktT
Here’s another djembe support rhythm to try, the gun and dun are all bass and the rest tone notes, in 4.4 time:
Gun pa gun-dun, Gun pa da-pa, (half beat pause and repeat the phrase) Gun pa gun-dun, Gun pa da-pa. If there’s any good soloists, or even djembe cowboys in the house, they will love you for it. lol
Drum circle rhythm WaaHida in 4/4: 1+2+3+4+
♫♫ Doum-tekkatekkaTek-tekkatekkaTek-ka-, Doum-tekkatekkaTek-tekkatekkaTek-ka-,
Drumming out a waltz? It may sound like a bit of a yawner, but honestly, I think the drum circle waltz is a great way to balance the mind, body, and help get people firmly grounded. Once it gets rolling, it can always easily transition to a snappy 6/8 rhythm. It's an especially good rhythm for groups of beginners. Try to get them to alternate hands, R-L-R, L-R-L (Gun-do-go, Dun-go-do) Accent on the 1st bass note. The key to this one is to keep it at a slow tempo for awhile.
Try drumming out "Morse Code" rhythms. Ask someone to suggest 2 letters, or numbers, and put them together to make a new drum circle rhythm. ♫♫ _ _...._ _ ♫♫ A dot is a tone, and a dash, is a bass note. Sometimes they work, & sometimes they don't, that's part of the fun. There’s a Morse Code alphabet chart on my site drumcircles.net
An interesting drum rhythm known in some cultures as Sabamaa. Played in 4/4 time.
♫♫ D-TkTkT-D-TkT-Tk, D-TkTkT-D-TkT-Tk ♫
Again, try tapping your foot as you play. 1-2-3-4
D-TkTkT-D-TkT-Tk
1e+a2e+a3e+a4e+a
I dig this drum circle rhythm because of the long pauses. It gives the bass a chance to resonate a little bit. It’s in 4/4 time - ♪♫ Doum---tekkatek-tek-Doum---tek-, Doum---tekkatek-tek-Doum---tek-, ♫♪♫♪
♪♪♪♪♪ A basic yet fun drum circle rhythm sometimes called the Turkish 5. Plenty of room for fills. It's in 5/4 time, all the beats are on the numbers:
1+2+3+4+5+
D k t k t
Fun djembe support rhythm for the drum circle: ♫ Gun Dun godo pa-ta-pa, Gun Dun godo pa-ta-pa ♫♫ (or) Doum Doum tekka ka-tek-ka, Doum Doum tekka ka-tek-ka ♫
"A Drum Circle Rhythm You Can't Refuse" ♫♫ Ba-da Bing, Ba-da Boom, Ba-da Bing_Bang_Boom, ♫♫ (or) Go-do Pa, Pa-ta Go, Go-do Pa_Ta_Pa ♫♫
"Little Drummer Boy" Christmas drum rhythm, if you can hum it, you can drum it!
♫♫♫ Let's All Play Our Drum...Pa - Rum Pa PumPum...Rum Pa PumPum ♫♫♫
Sort of a trance drum circle rhythm. ♫♫ Doum-tek-ka-Doum-tek-ka-Doum-tek, Doum-tek-ka-Doum-tek-ka-Doum-tek ♫♫♫♫
===========================================================
Sometimes to have a great drum circle rhythm jam, it needs a great ending. Rather than the usual fade out, or rumble ending, try this out. I usually mention the idea to the group, and we quickly practice it in advance before we start, so everyone is ready. Like about a 30 second rehearsal. Then get right to the rhythm you had planned to play. For me, 4/4 time works the best. The end is 9 tones then 2 bass notes. Repeat 6 times with a pause between each rep. As we are still playing, I will holler out, “Okay, here comes the ending! And count them down out loud. “ 1 2 3 4 5 6 7 8 9 boom boom, (pause) “5 more” 1 2 3 4 5 6 7 8 9 boom boom, (pause) “4 more times” etc. ♪♪♪♪♪♪♪♪♪_♪_♪_
Another fun ending is 5 tones followed by 3 bass notes. A 1 beat pause and repeat them whole thing 6 times. After the rhythm has run it's course, get everyone's attention & say, "ok here comes the ending", and go right into it. 12345_1_2_3 (Again, I count the reps down out loud), "5 more times" and we play, tek ka tek ka tek, doum_doum_doum. “4 more times” etc. ♪♪♪♪♪_♪_♪_♪_
The fun thing about these drum rhythm endings is that they all catch on after the 2nd or 3rd rep. and all end together. On the last one, everyone usually stops in unison, then a big whoosh of silence, followed by smiles claps and pride. It's very cool, and a good confidence builder. To help this work smoother, I usually I quickly practice the ending in advance with the group before we start, and then go right into it, so they are prepared when the time comes.
Bring along a hula hoop to ramp up the fun at your drum circle. It gives people a rhythmic motion to groove to. I was surpised when I saw people of all different ages wanting to get in there and try it. The drum rhythm Beledi is a good one to use. D D tkT D tkT(pause)D D tkT D tkT ♫♫. 4/4 time, it sounds like: Doum Doum tek-ka-Tek, Doum tek-ka-Tek. {One of my dancer friends said the Beledi rhythm is the "Catnip Rhythm" for belly dancers. lol. I like that.)
I hope this list helps you and your friends to enjoy drumming more. I also have this rhythm list in Word.doc format at my website. You can download and print it free. If you are new to drumming, and would like some more in depth info on reading, understanding, and playing transcribed drum circle rhythm notations, please read a few of my older my blog posts for 2010. I put my older blog post list of rhythms together, and added a few more so they are all in one place, and this is it.
If you would consider picking up my drum circle rhythms DVD, I would appreciate that, and it would help out a little bit. Thanks in advance if you do. The 2 hour DVD will show you how to play over 100 diffferent rhythms for $15. Please visit drumcircles.net for the DVD and more.
Shannon Ratigan
drumcircles.net
Copyright © Shannon Ratigan All Rights Reserved.
Thursday, November 4, 2010
Including Everyone At The Drum Circle
It’s often the case that a drum circle will draw people who have never drummed before. But, there may also be some very advanced drummers, as well as everything in between. Keeping the circle interesting for the advanced without intimidating the beginners requires a bit of a different approach than one often finds. Many drum circle facilitators tailor their programs purely for the beginners. Most people have music in their backgrounds, so it makes sense to not only include and welcome them, but to create an environment where they are free to share their gift with everyone.
I try to keep the drum circle accessible to all skill levels, because many times people will be transitioning in and out of the circle as it’s going on. So my approach to it needs to be a bit different. Most of the time when I’m introducing a new rhythm, I will make up words to go with the beat. For example, “I like chocolate cake.” for doum-doum-teka-tek. People seem to find the combination of words and hearing the beat makes it easier to follow, and the brain can process it faster. I also start the beat very slowly, vocalizing the words as I do. This also makes it easier for me to hear whether everyone is able to follow along.
Once the group is in sync, I can start to slowly speed it up to tempo if people are feeling it. Then we can then add in more complex variations. And I always encourage people to improvise from the beginning. It is, after all, just the support rhythm – it’s just a starting place. Volume is something I address early on. If it’s too loud it’s unpleasant for most people. So during the first few rhythms after it is locked in, I will decrescendo gradually but keep the tempo up. People will have to play softer to hear what’s going on, and this sends the message without having to actually say it. Now they are listening to you play, and everyone else as well.
Somebody has to hold that bottom beat, or support rhythm or you can end up with banging noise chaos, or the rhythm speeding up out of control. People trying to out drum the others. End result – not much fun. It’s true that holding the support rhythm does create a dependency, but until the rhythm is locked in, you kind of need to be there for that. Or somebody does. Train wrecks do happen. Laugh it off, and move on to a slower tempo rhythm to reenergize the fun.
I prefer to facilitate from the side of the drum circle rather than in the center. To me the center is a place for people to explore, and for self expression. Dancing, hooping, etc. By facilitating from the side, I am just a part of the circle, part of the group, rather than an obvious leader in the center conducting something. Plus, I want to enjoy the experience as well, so by going back to my place in the side of the circle I can be a participant, as well as a facilitator. (If that is my role.)
If I have some good drummers whom I know show up, I can count on at least one of them to just hold the bottom beat. This helps newbies to return to the beat if they get a tad lost. Once I sense that the rhythm is solid, once or twice during the evening’s circle I will slowly walk around the interior of the drum circle playing the rhythm near each of the drummers. Not too close, or for too long to make them uncomfortable or get in their space, but just enough so they can hear my saying “hello, welcome, glad you are here”, with my drum. As I do, I listen to skill levels, and watch to see who might be experiencing drum confusion. I’m also enjoying the solid drummers, and/or soloists.
My experience has taught me there is always somebody out there who is a better drummer than me. Often more than one at any given drum circle I might me hosting or facilitating. Rather than being competitive, I would rather have them as an ally, so they can share their gift with the group. I want them on my side. At some point, I welcome them to come stand next to me and let them know I welcome their ability and their talent. I vibe them that it’s cool if they are a better player – hey lets just have some fun making music together. A simple smile as we are playing can send that message clearly.
I’m cool that they can solo, or play better than me. That sets things at ease right away, and that possible alpha male – djembe cowboy thing is never an issue. I will usually just hold a solid support rhythm so they can feel free to solo, or get down on a beat. More often than not, the entire group enjoys it, and the excitement level is ramped up a notch. Offer to let them start out the next rhythm if they wish. Some will want to, some won’t. Let them know it’s cool either way. Offer to let anyone start out a rhythm. It’s taking a risk, but that’s part of the fun, taking chances. It is after all, a drum circle, not brain surgery. After that, the serious players drift back into being an ensemble player, and a solid part of the group.
Another key thing I try to do after a rhythms ends, is acknowledge anyone who stepped up and took a risk. Did some outstanding drumming, some hula hoping, bellydancing, or whatever. It takes some stones to get out there and do that. So at the rhythm’s end after the applause, I make it a point to say, “How about a nice hand for that amazing soloing, or fantastic dancing! By…” etc. I mention their name if I can remember it, or simply ask them what their first name is so I can do it proper. They deserve it, and again the message to the group is hey it’s not all about me, it’s about the group.
When I am making my interior stroll around the interior of the circle, there is a few things for me to consider, and honestly, it comes with experience. The more you do it, the easier it is. It takes time to assess if a person is confused, or if they are just kicking back enjoying things for a bit. It’s important to remember that all those who may be wandering, are not always lost. If I do find someone obviously trying to figure things out, I don’t say anything, but just stand next to them for a few measures, so that they can feel and hear the beat and also see my hands if they want to. I will usually smile or offer a wink hello, but contact is made more with the sound of my drum. I don’t want people to feel uncomfortable, I’m just playing next to you for a few moments to say hello, and help them get a handle on the beat. But I’m also accessing skill levels and offering that basic rhythm if someone needs it.
I rarely make much eye contact, because that tends to make it more obvious that I might be helping someone along. If the person is really struggling, I will do this with just the basic beat, sometimes even just the bottom beat. Once they get comfortable with that, I move on to the next one in the group. I try to stop and play a bit even next to the really good drummers also, so that those who are struggling do not feel singled out, and it seems I am just welcoming everyone the same way. The entire process of my circle wander may take 5 minutes at the most. But this is one of the mechanical things I do at every drum circle I facilitate. Once or twice during the evening at most. The most I will ever say, (Quietly with a smile of course) is “Hey, how’s it going, nice to see you. That sort of thing. But I continue playing, all the time. I want to be a part of the group, and not put anyone on the spot. But if someone wants the spotlight, I offer it to them.
I also want to encourage those people who are in the back perimeter standing around and listening to the music. I like to put a few wicker baskets of percussion “toys” around the space. Some pieces are actual, real percussion instruments. But, a lot are throw away, homemade items. For example, large painted vitamin bottles with macaroni inside (uncooked, LOL) and taped shut makes a decent shaker. I also include inexpensive tambourines, guiros, and maracas. None of these are very loud, so that people can just pick one up and play along without being afraid of messing up the rhythm or drawing attention to themselves. It really increases the fun factor for people when they participate, on whatever level they are comfortable with. It encourages the onlookers, and possibly timid to join in when they feel ready.
I make it a point during the circle to let them know the toys are out there, and to join in whenever you wish. If you are trying to start an ongoing drum circle, you want them to leave wanting to come back for more. They will tell their friends how much fun they had at that drum circle last night, it creates a buzz of talk about it in your area. That’s a key to creating a solid community happening. Word of mouth. Of course Face Book helps to. LOL.
My opinion is that getting people to relax and have fun is what brings the true magic into a drum circle. Most people get something special from it and I feel that this is the true value on the community. Music making that is the essence of drum circles. To me, it is more about the people, rather than the quality of the music. But generally the more fun people are having, the better the musicality is. Check out my book on hand drumming and drum circles. It’s 300 pages jammed with ideas, tips, and suggestions. Pick it up on Kindle for $10. Or a physical copy at my website for $18. I include a free drum circle jam CD if you pick it up from me direct. Thanks in advance for helping an independent musician.
Shannon
drumcircles.net
I try to keep the drum circle accessible to all skill levels, because many times people will be transitioning in and out of the circle as it’s going on. So my approach to it needs to be a bit different. Most of the time when I’m introducing a new rhythm, I will make up words to go with the beat. For example, “I like chocolate cake.” for doum-doum-teka-tek. People seem to find the combination of words and hearing the beat makes it easier to follow, and the brain can process it faster. I also start the beat very slowly, vocalizing the words as I do. This also makes it easier for me to hear whether everyone is able to follow along.
Once the group is in sync, I can start to slowly speed it up to tempo if people are feeling it. Then we can then add in more complex variations. And I always encourage people to improvise from the beginning. It is, after all, just the support rhythm – it’s just a starting place. Volume is something I address early on. If it’s too loud it’s unpleasant for most people. So during the first few rhythms after it is locked in, I will decrescendo gradually but keep the tempo up. People will have to play softer to hear what’s going on, and this sends the message without having to actually say it. Now they are listening to you play, and everyone else as well.
Somebody has to hold that bottom beat, or support rhythm or you can end up with banging noise chaos, or the rhythm speeding up out of control. People trying to out drum the others. End result – not much fun. It’s true that holding the support rhythm does create a dependency, but until the rhythm is locked in, you kind of need to be there for that. Or somebody does. Train wrecks do happen. Laugh it off, and move on to a slower tempo rhythm to reenergize the fun.
I prefer to facilitate from the side of the drum circle rather than in the center. To me the center is a place for people to explore, and for self expression. Dancing, hooping, etc. By facilitating from the side, I am just a part of the circle, part of the group, rather than an obvious leader in the center conducting something. Plus, I want to enjoy the experience as well, so by going back to my place in the side of the circle I can be a participant, as well as a facilitator. (If that is my role.)
If I have some good drummers whom I know show up, I can count on at least one of them to just hold the bottom beat. This helps newbies to return to the beat if they get a tad lost. Once I sense that the rhythm is solid, once or twice during the evening’s circle I will slowly walk around the interior of the drum circle playing the rhythm near each of the drummers. Not too close, or for too long to make them uncomfortable or get in their space, but just enough so they can hear my saying “hello, welcome, glad you are here”, with my drum. As I do, I listen to skill levels, and watch to see who might be experiencing drum confusion. I’m also enjoying the solid drummers, and/or soloists.
My experience has taught me there is always somebody out there who is a better drummer than me. Often more than one at any given drum circle I might me hosting or facilitating. Rather than being competitive, I would rather have them as an ally, so they can share their gift with the group. I want them on my side. At some point, I welcome them to come stand next to me and let them know I welcome their ability and their talent. I vibe them that it’s cool if they are a better player – hey lets just have some fun making music together. A simple smile as we are playing can send that message clearly.
I’m cool that they can solo, or play better than me. That sets things at ease right away, and that possible alpha male – djembe cowboy thing is never an issue. I will usually just hold a solid support rhythm so they can feel free to solo, or get down on a beat. More often than not, the entire group enjoys it, and the excitement level is ramped up a notch. Offer to let them start out the next rhythm if they wish. Some will want to, some won’t. Let them know it’s cool either way. Offer to let anyone start out a rhythm. It’s taking a risk, but that’s part of the fun, taking chances. It is after all, a drum circle, not brain surgery. After that, the serious players drift back into being an ensemble player, and a solid part of the group.
Another key thing I try to do after a rhythms ends, is acknowledge anyone who stepped up and took a risk. Did some outstanding drumming, some hula hoping, bellydancing, or whatever. It takes some stones to get out there and do that. So at the rhythm’s end after the applause, I make it a point to say, “How about a nice hand for that amazing soloing, or fantastic dancing! By…” etc. I mention their name if I can remember it, or simply ask them what their first name is so I can do it proper. They deserve it, and again the message to the group is hey it’s not all about me, it’s about the group.
When I am making my interior stroll around the interior of the circle, there is a few things for me to consider, and honestly, it comes with experience. The more you do it, the easier it is. It takes time to assess if a person is confused, or if they are just kicking back enjoying things for a bit. It’s important to remember that all those who may be wandering, are not always lost. If I do find someone obviously trying to figure things out, I don’t say anything, but just stand next to them for a few measures, so that they can feel and hear the beat and also see my hands if they want to. I will usually smile or offer a wink hello, but contact is made more with the sound of my drum. I don’t want people to feel uncomfortable, I’m just playing next to you for a few moments to say hello, and help them get a handle on the beat. But I’m also accessing skill levels and offering that basic rhythm if someone needs it.
I rarely make much eye contact, because that tends to make it more obvious that I might be helping someone along. If the person is really struggling, I will do this with just the basic beat, sometimes even just the bottom beat. Once they get comfortable with that, I move on to the next one in the group. I try to stop and play a bit even next to the really good drummers also, so that those who are struggling do not feel singled out, and it seems I am just welcoming everyone the same way. The entire process of my circle wander may take 5 minutes at the most. But this is one of the mechanical things I do at every drum circle I facilitate. Once or twice during the evening at most. The most I will ever say, (Quietly with a smile of course) is “Hey, how’s it going, nice to see you. That sort of thing. But I continue playing, all the time. I want to be a part of the group, and not put anyone on the spot. But if someone wants the spotlight, I offer it to them.
I also want to encourage those people who are in the back perimeter standing around and listening to the music. I like to put a few wicker baskets of percussion “toys” around the space. Some pieces are actual, real percussion instruments. But, a lot are throw away, homemade items. For example, large painted vitamin bottles with macaroni inside (uncooked, LOL) and taped shut makes a decent shaker. I also include inexpensive tambourines, guiros, and maracas. None of these are very loud, so that people can just pick one up and play along without being afraid of messing up the rhythm or drawing attention to themselves. It really increases the fun factor for people when they participate, on whatever level they are comfortable with. It encourages the onlookers, and possibly timid to join in when they feel ready.
I make it a point during the circle to let them know the toys are out there, and to join in whenever you wish. If you are trying to start an ongoing drum circle, you want them to leave wanting to come back for more. They will tell their friends how much fun they had at that drum circle last night, it creates a buzz of talk about it in your area. That’s a key to creating a solid community happening. Word of mouth. Of course Face Book helps to. LOL.
My opinion is that getting people to relax and have fun is what brings the true magic into a drum circle. Most people get something special from it and I feel that this is the true value on the community. Music making that is the essence of drum circles. To me, it is more about the people, rather than the quality of the music. But generally the more fun people are having, the better the musicality is. Check out my book on hand drumming and drum circles. It’s 300 pages jammed with ideas, tips, and suggestions. Pick it up on Kindle for $10. Or a physical copy at my website for $18. I include a free drum circle jam CD if you pick it up from me direct. Thanks in advance for helping an independent musician.
Shannon
drumcircles.net
Thursday, September 30, 2010
Drum Circle Benefits – Social, Physical, & Mental?
There have been some recent studies indicating that drumming may be equivalent to some medications. When we are inactive, the hippocampus, the part of the brain that regulates mood, gets smaller. Dancing and drumming actually spurs new nerve growing in this area and relieves and prevents depression. I’ve seen it happen with my own eyes in people that had supposedly incurable nerve damage. So what makes dance different from other exercise? Playing or dancing to drum rhythms increases neural transmissions. Drumming also helps to rebuild neuro-receptors. The repetitive physical activity of drumming and dance is soothing to the soul and human body, and the simple repetitiveness of the drum beat pattern has a lot to do with it.
A newer friend of mine spoke with me after a few months of attending a weekly drum circle I facilitated. She had a number of physical and health limitations that were obvious, like nerve damage, and It looked like she was just slowly getting better. I noticed her improving dramatically in both her health and state of mind. Please keep in mind I’m not a doctor, or am I recommending a treatment. This is just what I observed, and what was shared with me.
It seems she became paralyzed from the neck down six years ago following a botched surgery. A blood clot formed in her spinal cord and as it traveled toward the brain, it did extensive nerve damage. She had spent six months in a wheelchair, and another year in a walker. She was also a migraine sufferer, having them as frequently as three times a week. When she was 13, her doctor suggested relaxation therapy, in an effort to try and avert the migraines. So it was then that she first employed music for its healthful benefits, and not just something pretty to listen to. She learned to listen to it differently. To breathe the music.
Then she found our little drum circle. She was seated in the back, and I just held out and offered a drum I brought over to her. She was so surprised, and flustered, that she accepted it and said “I don’t know what to do!” I said, just play whatever you want, whatever you feel like playing, and don‘t worry about it. Just have some fun, and play when you feel like playing. Nobody cares how good you are here, and you are not going to mess anyone else up. Everyone is here just to have fun.
It was one of those light aluminum doumbeks by the way. Those are ideal for beginners I think, because they are light, very comfortable to hold and play, plus most of them are just intriguing looking drums to people. It’s like an immediate, “yeah that looks like fun, I wanna try that”. She kept coming back to the drum circle for weeks after that.
She said it opened up a whole new channel into her inner core. And that the drum casts a spell on anyone who hears it, and more so, on those who play one. Although other music can be equally entrancing, it only has that power if you listen to it, but the drum finds its way into your soul without you even knowing it. Before long, you find the rhythm so familiar, and so comforting, much like the rhythm of the human heart. This, to me, is just the spiritual power of drumming.
Now the more scientific stuff. She been coming to the drum circle for about six months, and when she first started coming, most of her fingers had little to no feeling in them. She felt that when she struck the drum with her hands, the vibrations carried up into her arms. The thinking was that nerves need to be stimulated in order to heal. Over the course of the last two months, she’s actually noticed more increased sensation in her fingers. I can't say for certain if drumming is responsible for the new found sensation, but it's the only thing in her lifestyle she said she had changed over the past several months that could possibly have made a difference. I might add that, according to what her doctor had told her, is that her nerves were "permanently" damaged. They started to improve.
Finally, she added that over the course of many years she had been treated for severe depression. Although she became healthy enough to stop taking medication two years ago, she had continued to suffer periodic short bouts of the depression. Before finding the drum, she would simply "wait it out" and let the spell pass. Sadly, it was usually at the expense of family and friends dragging around for days until something changed and lifted her spirits up. She eventually bought her own djembe drum.
Now, when she feels low, she picks up her drum and begins to play with the mother rhythm or some other rhythms she now knows, just letting the drum and her heart become one. She said once she achieves that, she simply lets her heart take over, and allows her hands to play whatever her heart tells her to play. At the end of the drumming session, she found herself not only deeply relaxed, but, by the same token, reenergized and happy to be alive. It takes her back to a place where she has the deepest appreciation for the smallest of things. It's much more than "just" a drum. It's magical, and that makes you look at everything else with a different perspective.
Aside from that, drumming studies have been done and the results indicate it can help out people that have/had breast cancer. Apparently, that the exercise involved with drumming or dancing, can lower the risk of estrogen related tumors. Just thirty minutes of it a day can dramatically decrease the odds of another tumor occurring. I can believe it after seeing the nerve damage healing in her, and in others.
For those who undergo chemotherapy, aromatase inhibitors decrease estrogen. Estrogen loss speeds up bone loss. Dancing and movement helps slow that loss. Newer studies also indicated that exercise can reduce the symptoms of lymph-edema if it is approached gradually. Belly dancing is particularly beneficial style. All those arm extensions and playing the Zills (little finger cymbals) is a natural way to aid in lymph drainage. And it may even help reduce the effects of carpal tunnel syndrome. And it entices us guys to play better.
Drumming even helps to make you smarter. Doh! Improved IQ scores can now officially be added to the growing list of benefits from playing at the drum circle. A recent study showed that playing the drums improved the IQ scores of some children. I mean, if you think about it, drum rhythms are mathematic in their natural form. (4/4 time, 6/8, etc.) They are drumming, and learning some basic math in the process of having fun.
While many various studies have indicated that musical training can improve a person's literacy and math skills, this is particularly interesting, because it is the first time that a study has shown that just drumming alone, can improve your intelligence level. Playing the drums is unique in that it makes the brain think in such a way that very few other activities can do. Being able to learn and understand drum beats, and figure out how the various drum rhythms go together is actually a very complicated thought process. This kind of thinking exercises your brain, and actually helps make you smarter.
For every hour you are dancing or drumming you can possibly add an extra hour to your life. What a nice added bonus. It was explained to me by a belly dancer one time that the different parts of the body represent different natural elements of the earth in their expression. That the movements in the base and pelvic areas represent earth and grounding. Movements in the belly represent the flow of water. Movements in the upper parts of the body represent the fire. The hand movement represents the air.
Over the course of the years I have seen some fascinating things happen with people. In a regular weekly drum circle, people with all sorts of personal problems and issues. Social difficulties, self consciousness, physical limitations, and numerous other things would slowly start to heal themselves. Relationships slowly developed, people fell in love and found life partners. The introverted slowly started to come out of their shells.
The drum circle is a non threatening environment, so people begin to relax about their social feelings and limitations. We are just there to play music together, the most honest way of getting to know someone there is. People have a real life, and a musical life. I got to know so many of these people so very intimately musically, yet I knew nothing about their real lives. What they did, where they are from, what hobbies they have, and on and on. Many of them were professional people from all walks of life, and all different ethnic backgrounds. I knew nothing about them, but I had been playing music with them for so very long, I had this feeling I had known them my entire life. I felt like I knew them better than any of my best friends. It sounds strange even to write it, but it is true. Of course there were many that I became close personal friends with, but for the most part, I didn’t know a lot of them, except musically. After all, I was busy playing all night, and never got to actually talk to them, except with our drumming. The most honest form of communication is music.
People that had just experienced some recent sadness, or even a tragedy in there life would go there, because they could be around a supportive group of friends who cared about them as a friend, and they would not to have to grieve alone at home. They had a community of friends they could go to. We would all help them deal with it through the drumming. And they knew that people genuinely cared about them. Even the ones who only knew them musically. This kind of thing happens at a regularly meeting drum circle. Happy things got celebrated as well. Birthdays, anniversaries, and holidays.
After about a year, this drum circle had become so popular that the media eventually started to wander in and asked me to do interviews about this particular drum circle, and drum circles in general. It was quite a nice article, and lots of credit goes to a wonderful writer. There is a link to it on the main page of my website:
drumcircles.net
Shannon Ratigan
Copyright © Shannon Ratigan All Rights Reserved.
A newer friend of mine spoke with me after a few months of attending a weekly drum circle I facilitated. She had a number of physical and health limitations that were obvious, like nerve damage, and It looked like she was just slowly getting better. I noticed her improving dramatically in both her health and state of mind. Please keep in mind I’m not a doctor, or am I recommending a treatment. This is just what I observed, and what was shared with me.
It seems she became paralyzed from the neck down six years ago following a botched surgery. A blood clot formed in her spinal cord and as it traveled toward the brain, it did extensive nerve damage. She had spent six months in a wheelchair, and another year in a walker. She was also a migraine sufferer, having them as frequently as three times a week. When she was 13, her doctor suggested relaxation therapy, in an effort to try and avert the migraines. So it was then that she first employed music for its healthful benefits, and not just something pretty to listen to. She learned to listen to it differently. To breathe the music.
Then she found our little drum circle. She was seated in the back, and I just held out and offered a drum I brought over to her. She was so surprised, and flustered, that she accepted it and said “I don’t know what to do!” I said, just play whatever you want, whatever you feel like playing, and don‘t worry about it. Just have some fun, and play when you feel like playing. Nobody cares how good you are here, and you are not going to mess anyone else up. Everyone is here just to have fun.
It was one of those light aluminum doumbeks by the way. Those are ideal for beginners I think, because they are light, very comfortable to hold and play, plus most of them are just intriguing looking drums to people. It’s like an immediate, “yeah that looks like fun, I wanna try that”. She kept coming back to the drum circle for weeks after that.
She said it opened up a whole new channel into her inner core. And that the drum casts a spell on anyone who hears it, and more so, on those who play one. Although other music can be equally entrancing, it only has that power if you listen to it, but the drum finds its way into your soul without you even knowing it. Before long, you find the rhythm so familiar, and so comforting, much like the rhythm of the human heart. This, to me, is just the spiritual power of drumming.
Now the more scientific stuff. She been coming to the drum circle for about six months, and when she first started coming, most of her fingers had little to no feeling in them. She felt that when she struck the drum with her hands, the vibrations carried up into her arms. The thinking was that nerves need to be stimulated in order to heal. Over the course of the last two months, she’s actually noticed more increased sensation in her fingers. I can't say for certain if drumming is responsible for the new found sensation, but it's the only thing in her lifestyle she said she had changed over the past several months that could possibly have made a difference. I might add that, according to what her doctor had told her, is that her nerves were "permanently" damaged. They started to improve.
Finally, she added that over the course of many years she had been treated for severe depression. Although she became healthy enough to stop taking medication two years ago, she had continued to suffer periodic short bouts of the depression. Before finding the drum, she would simply "wait it out" and let the spell pass. Sadly, it was usually at the expense of family and friends dragging around for days until something changed and lifted her spirits up. She eventually bought her own djembe drum.
Now, when she feels low, she picks up her drum and begins to play with the mother rhythm or some other rhythms she now knows, just letting the drum and her heart become one. She said once she achieves that, she simply lets her heart take over, and allows her hands to play whatever her heart tells her to play. At the end of the drumming session, she found herself not only deeply relaxed, but, by the same token, reenergized and happy to be alive. It takes her back to a place where she has the deepest appreciation for the smallest of things. It's much more than "just" a drum. It's magical, and that makes you look at everything else with a different perspective.
Aside from that, drumming studies have been done and the results indicate it can help out people that have/had breast cancer. Apparently, that the exercise involved with drumming or dancing, can lower the risk of estrogen related tumors. Just thirty minutes of it a day can dramatically decrease the odds of another tumor occurring. I can believe it after seeing the nerve damage healing in her, and in others.
For those who undergo chemotherapy, aromatase inhibitors decrease estrogen. Estrogen loss speeds up bone loss. Dancing and movement helps slow that loss. Newer studies also indicated that exercise can reduce the symptoms of lymph-edema if it is approached gradually. Belly dancing is particularly beneficial style. All those arm extensions and playing the Zills (little finger cymbals) is a natural way to aid in lymph drainage. And it may even help reduce the effects of carpal tunnel syndrome. And it entices us guys to play better.
Drumming even helps to make you smarter. Doh! Improved IQ scores can now officially be added to the growing list of benefits from playing at the drum circle. A recent study showed that playing the drums improved the IQ scores of some children. I mean, if you think about it, drum rhythms are mathematic in their natural form. (4/4 time, 6/8, etc.) They are drumming, and learning some basic math in the process of having fun.
While many various studies have indicated that musical training can improve a person's literacy and math skills, this is particularly interesting, because it is the first time that a study has shown that just drumming alone, can improve your intelligence level. Playing the drums is unique in that it makes the brain think in such a way that very few other activities can do. Being able to learn and understand drum beats, and figure out how the various drum rhythms go together is actually a very complicated thought process. This kind of thinking exercises your brain, and actually helps make you smarter.
For every hour you are dancing or drumming you can possibly add an extra hour to your life. What a nice added bonus. It was explained to me by a belly dancer one time that the different parts of the body represent different natural elements of the earth in their expression. That the movements in the base and pelvic areas represent earth and grounding. Movements in the belly represent the flow of water. Movements in the upper parts of the body represent the fire. The hand movement represents the air.
Over the course of the years I have seen some fascinating things happen with people. In a regular weekly drum circle, people with all sorts of personal problems and issues. Social difficulties, self consciousness, physical limitations, and numerous other things would slowly start to heal themselves. Relationships slowly developed, people fell in love and found life partners. The introverted slowly started to come out of their shells.
The drum circle is a non threatening environment, so people begin to relax about their social feelings and limitations. We are just there to play music together, the most honest way of getting to know someone there is. People have a real life, and a musical life. I got to know so many of these people so very intimately musically, yet I knew nothing about their real lives. What they did, where they are from, what hobbies they have, and on and on. Many of them were professional people from all walks of life, and all different ethnic backgrounds. I knew nothing about them, but I had been playing music with them for so very long, I had this feeling I had known them my entire life. I felt like I knew them better than any of my best friends. It sounds strange even to write it, but it is true. Of course there were many that I became close personal friends with, but for the most part, I didn’t know a lot of them, except musically. After all, I was busy playing all night, and never got to actually talk to them, except with our drumming. The most honest form of communication is music.
People that had just experienced some recent sadness, or even a tragedy in there life would go there, because they could be around a supportive group of friends who cared about them as a friend, and they would not to have to grieve alone at home. They had a community of friends they could go to. We would all help them deal with it through the drumming. And they knew that people genuinely cared about them. Even the ones who only knew them musically. This kind of thing happens at a regularly meeting drum circle. Happy things got celebrated as well. Birthdays, anniversaries, and holidays.
After about a year, this drum circle had become so popular that the media eventually started to wander in and asked me to do interviews about this particular drum circle, and drum circles in general. It was quite a nice article, and lots of credit goes to a wonderful writer. There is a link to it on the main page of my website:
drumcircles.net
Shannon Ratigan
Copyright © Shannon Ratigan All Rights Reserved.
Monday, August 30, 2010
Drumming Up The Golden Ratio & The Center Of The Drum Circle
It’s not about gold plating your djembe to increase the value of your portfolio. The Golden Ratio can apply to drumming. It dates back at least to the ancient Greeks, who noticed that certain proportions in architecture resulted in a more visually appealing construction. Since then, it has become a standard of design for art as well. The mathematics are complex, but not necessarily required. The interesting thing is that it applies to music, also. There it refers to relationships of chord progressions and harmonics. Many of the great classical composers, as well as current ones, utilize this.
For percussion, in drum circles, and even in bands, the application is more subtle. Combinations of rhythms produce a more powerful impact than others. Since a drum circle is, by its very nature, highly improvisational, this is not something that can be planned. But, it can be perceived, as the combination of individual drummers' beats will suddenly produce a solid, powerful unity of music. This is just the random occurrence of everything coming together and locking in…to an extent that everyone can feel it happening. Sometime for only a few moments, sometimes for much longer. It’s hard to describe the feeling and sensation in mere words. I think that in some ways, analyzing it is just an attempt to make scientific sense out of what is truly and inherently pure magic.
I’ve experienced the golden ratio playing songs in bands, and in drum circles. Here we are, doing the same old routine song, and all of a sudden we start to improvise, and suddenly it morphs and changes into this amazing moment. You can feel this sort of glow.
But more often I have seen, and experienced it during open freestyle drum circles. It just magically comes along and happens. Some facilitators are critical of what they might term as a thunder drum circle, but I think they are missing out on the free and open willingness to be creative and let this kind of thing to happen naturally. As hard as you might try, it’s almost impossible to create the musical Golden Ratio. But you can create an environment where it might occur.
One way I try to encourage this is by leaving the center of the drum circle open. To me, this is a place for the participants to express themselves and be creative. I saw this at my first drum circle in the mid 70’s. To me, the center is a place for expression, not a place to play teacher. If you are a drum circle facilitator, I’ve seen a few that spend most of the time in the center giving out instructions. With beginner groups I may get in the center to introduce a rhythm, or bring one to an end so we can move on to something else, but I do 95% of my facilitating from the side of the circle as a participant, and mostly use the music to do it. That way, it doesn’t seem like such obvious facilitation, and the group is more empowered to be creative. It all just comes together. Even what may be perceived as a train wreck, can be laughed off, and a kickin’ new rhythm can then emerge.
Spontaneous things are less likely to happen unless there is an open space for people to get up in there and dance. I never ask people to dance, they will do it if they are feeling it. The onlookers who might not be ready to drum yet, can wander in there and dance, wave scarves, wander around to the beat, or whatever they are feeling. People that are drumming might want to take a break from drumming and dance.
Depending on the group, if nobody is in there, perhaps suggest that they are welcome to lay down in the center and feel the rhythm soak into their bodies for a few minutes. I suggest that they try it two at a time and close their eyes. I bring along two beach towels for this purpose. It is a remarkable, and very moving experience.
Another idea is to get a couple of inexpensive hula hoops, and suggest that people can give that a try in the center. It ramps up the fun, and jump starts the dancing. I keep them off to the side and mention they are there if anyone “wants to have a go at it”.
I personally love open drum circles, things don’t always go smoothly, but that’s half of the fun. I don’t know what’s going to happen. Neither does anyone else. I love it when people are "finding" their inner rhythms. I see them taking risks in a place where they feel safe. It’s the safety net, the bottom beat, that they can rely on and fall back to if they need to. I try to guide them on how to listen to what the entire group is doing, using their peripheral hearing. And that it’s ok, to look with your ears. You can see a lot more than can with your eyes. So even if my role there is as a facilitator, I try to create the open drum circle vibe. Let the music flow and evolve, magical things can happen like The Golden Ratio.
Shannon
drumcircles.net
For percussion, in drum circles, and even in bands, the application is more subtle. Combinations of rhythms produce a more powerful impact than others. Since a drum circle is, by its very nature, highly improvisational, this is not something that can be planned. But, it can be perceived, as the combination of individual drummers' beats will suddenly produce a solid, powerful unity of music. This is just the random occurrence of everything coming together and locking in…to an extent that everyone can feel it happening. Sometime for only a few moments, sometimes for much longer. It’s hard to describe the feeling and sensation in mere words. I think that in some ways, analyzing it is just an attempt to make scientific sense out of what is truly and inherently pure magic.
I’ve experienced the golden ratio playing songs in bands, and in drum circles. Here we are, doing the same old routine song, and all of a sudden we start to improvise, and suddenly it morphs and changes into this amazing moment. You can feel this sort of glow.
But more often I have seen, and experienced it during open freestyle drum circles. It just magically comes along and happens. Some facilitators are critical of what they might term as a thunder drum circle, but I think they are missing out on the free and open willingness to be creative and let this kind of thing to happen naturally. As hard as you might try, it’s almost impossible to create the musical Golden Ratio. But you can create an environment where it might occur.
One way I try to encourage this is by leaving the center of the drum circle open. To me, this is a place for the participants to express themselves and be creative. I saw this at my first drum circle in the mid 70’s. To me, the center is a place for expression, not a place to play teacher. If you are a drum circle facilitator, I’ve seen a few that spend most of the time in the center giving out instructions. With beginner groups I may get in the center to introduce a rhythm, or bring one to an end so we can move on to something else, but I do 95% of my facilitating from the side of the circle as a participant, and mostly use the music to do it. That way, it doesn’t seem like such obvious facilitation, and the group is more empowered to be creative. It all just comes together. Even what may be perceived as a train wreck, can be laughed off, and a kickin’ new rhythm can then emerge.
Spontaneous things are less likely to happen unless there is an open space for people to get up in there and dance. I never ask people to dance, they will do it if they are feeling it. The onlookers who might not be ready to drum yet, can wander in there and dance, wave scarves, wander around to the beat, or whatever they are feeling. People that are drumming might want to take a break from drumming and dance.
Depending on the group, if nobody is in there, perhaps suggest that they are welcome to lay down in the center and feel the rhythm soak into their bodies for a few minutes. I suggest that they try it two at a time and close their eyes. I bring along two beach towels for this purpose. It is a remarkable, and very moving experience.
Another idea is to get a couple of inexpensive hula hoops, and suggest that people can give that a try in the center. It ramps up the fun, and jump starts the dancing. I keep them off to the side and mention they are there if anyone “wants to have a go at it”.
I personally love open drum circles, things don’t always go smoothly, but that’s half of the fun. I don’t know what’s going to happen. Neither does anyone else. I love it when people are "finding" their inner rhythms. I see them taking risks in a place where they feel safe. It’s the safety net, the bottom beat, that they can rely on and fall back to if they need to. I try to guide them on how to listen to what the entire group is doing, using their peripheral hearing. And that it’s ok, to look with your ears. You can see a lot more than can with your eyes. So even if my role there is as a facilitator, I try to create the open drum circle vibe. Let the music flow and evolve, magical things can happen like The Golden Ratio.
Shannon
drumcircles.net
Saturday, July 31, 2010
Drumming Via Webcam And With Special Needs Kids
I’ve been asked a few times about long distance drumming over the web with video camera programs like Skype. My experience, despite some of the technical issues, that it’s a very effective way to teach drumming across the country from the comfort of your home.
A family contacted me some time ago that had an 8 year old child with Cerebral Palsy. They had spoken with numerous doctors and specialists about finding ways to help strengthen his weak arm and hand. Because if he could begin using it more at this young age it might help him to work through it a little, or even help it to heal a little bit.
Please keep in mind that this should be okayed by the person’s doctor. This case was actually a referral from the child’s neurologist. While I have seen multiple people improve through drumming, it is certainly not a cure and every one is unique, so the outcomes do vary. I am just sharing an experience here.
I started by speaking via webcam with the parents about it, and they explained that they wanted to try drumming as a possible solution. I explained that I only teach drumming. I’m not a therapist, and I have no medical degrees. I’m a musician, and I will help to teach him music. Obviously each child, and medical condition has to be approached differently, and that we have to find the right style of drum to suit each individual’s needs.
I suggested that we try a couple of drumming lessons and see how things go. If it works out for him, that we could do a webcam drumming lesson once a week, or twice a month. They could continue as long as they felt he was benefiting from it. I’ve worked a lot drumming with special needs children and adults, both individually and in groups, so finding the right approach and style of drum unique to each person is very important. Most of the time I would just let them choose a drum or percussion item and, later on, suggest they try a different one out.
With this particular child the wish of the parents was to teach him drumming to strengthen the weaker arm. At the time he couldn’t really do anything with it, and didn’t really want to.
I suggested one of those smaller very lightweight aluminum doumbeks. The reason was he would need to grasp the body of the drum with his weak arm to play it, and he could play with his stronger arm. I figured when it got stronger that maybe a set of bongos on a stand might be the ideal drum. I’ve seen people at some of the drum circles I hosted with Cerebral Palsy strengthen their weak hand over the course of just a couple of months by playing the bongos. One person in particular was in a wheelchair and he would just set it on his lap and play. I was rather surprised how quickly the weak arm improved and he could begin to tap out rhythms on the bongos with both hands. It happened so quickly that he could play a rhythm as good as anyone else in the group. One of the keys to it was suggesting a basic foundation drum rhythm, and encouraging them to improvise whenever they felt comfortable. This gets them out of their head, and frees them up to not think, and just have fun playing and improvising.
So that was my thinking looking forward going into this. My approach needed to be different than drumming in the room with someone, because they are in New Jersey looking at me on a computer screen, and I’m down here in Florida. With any 8 year old child there is an attention span issue, so my approach was just to encourage him to have fun drumming. I used very basic drum rhythms with word association. I just wanted to make it fun for him so he would enjoy playing and not think about his condition. I gave him a few hand technique suggestions so he wouldn’t hurt his hand. I chatted with him a little and found out what his hobbies and interests were so I had something to work with. He liked rock music, and the NY Jets. So examples I used were: “We Will Rock You’, “J-E-T-S Jets, Jets, Jets” And we played to those. Just bass and tones. He loved this one: “I like choc-late cake”, - (bass-bass, tone tone tone)
With the long distance thing, and attention span, I felt that a 5 minute drum rhythm jam was plenty, unless he wanted to play it a bit longer, but I tried to keep them short so he wouldn’t get bored. After each rhythm we would talk for a few minutes, so he could rest, and then try another one out. An hour is a long time to drum with one child, but this ended up working very well. After a half hour he was suggesting jingles, sayings, songs, names, phrases, and raps to play, so that’s what we did. We ended up taking turns suggesting them. Again I encouraged him to improvise and play whatever he felt like playing as I held the support rhythm. That first lesson went very well. At the end I asked to speak with the mother for a quick review, and we continued with a 1 hour drum lesson for 4 weeks.
One thing that came up was at times he would get frustrated, and that’s when hobby talk, or things he was interested in would be worked in. Then we could get right back to drumming. It takes a little more extra patience than normal, because kids get aggravated, especially when they have physical limitations. Life is harder, school is harder, and keeping that in mind is important.
At the end of the forth drumming session the mom got on the cam and was delighted to tell me that he was now doing tasks around the house with his weak arm. Simple things like opening the refrigerator door, etc. but is was a progress they hadn’t seen from all the therapies they had tried previously. Keep in mind, he never actually played the drum with his weak arm, he just held onto it while he played with the other one. But this helped to strengthen his arm without him having to do a deliberate task to do it. And that seemed to be the block holding him back.
From there I suggested we upgrade to a set of bongos with a stand. That worked out great. He was excited to play full rhythms with both hands. At first it was barely a curled hand tap, but after a couple of more lessons he was playing some decent beats and now actually playing with the weak hand. I have to say, I was thrilled to see such quick progress with his condition in less than 2 months.
I hoped that he would take such a liking to playing music that eventually he might join the school band like I did. I was a hyperactive child and my parents got me a drum instead of Ritalin. I loved drumming and went on to join the school band as soon as I was old enough.
We continued on for a year or so, with 1 to 3 lessons a month, as the parent’s time allowed. They had 3 other children so being flexible and trying to accommodate their busy schedule was a factor. Slowly during the lessons I would work in a bit of music theory, how to read music, meter, some different time signatures, musical terms and what they meant, tempo, crescendo, decrescendo, etc. It continued on as long as it did because he loved drumming.
After that first year, they were planning a Florida vacation to our area, and wanted to meet me to say hello in person. I suggested that we all go to an open drum circle at the beach. They loved the idea, and it worked out great. I piled up the van with drums and my percussion gig bag, we all went down there and had a blast. It was a very pleasing experience for me. Plus, they bought me dinner at a snazzy restaurant I can’t afford to even go to. We all said goodbye, and the online drumming lessons continued once or twice a month. He was playing on his own now in-between, but still wanted to hang out and jam now and then.
My goal evolved to the point where he wouldn’t need me anymore, as much as it saddened me to think of it. I explained to the mom that’s where I wanted him to get to. Coincidentally, soon after that he joined the school band. I was absolutely thrilled. We had reached that point, where they really didn’t need me for lessons anymore. He was the percussionist in the band, and was musically way ahead of the other kids.
So it was goodbye. I was happy but also sad. A month later they contacted me because he was going to do a school performance in the school band. They gave them a pretty heavy duty scored piece of instrumental music they had to perform live. The mom faxed it to me and I was surprised how advanced it was for a 10 year old group of kids to play. I didn’t see anything like that until I was in high school. I was pleased they were teaching advanced music at such a young age.
But he was stressing over performing it because it was really complicated looking at it from a kids point of view. So we sat down on the computer and went back to the basics. I used word association for musical phrases, we broke it all down measure by measure and slowly put it all back together. It took about 3 lessons to where it all made sense for him, but he got it.
Then I added a little of my experiences with live performances. Things do go wrong, about playing with confidence, and working past mistakes if he made one. To just act like he meant to play that measure that way. His block was that he would want to stop altogether if he got lost, or thought he might have played something wrong. There was a lot of pressure on these kids. But I think it was good for the musical director to challenge them like this. And he was reasonably confident to go perform that in front of a crowd.
I have to admit, I was stressing a little at this point, waiting to hear how it went for him. I so wanted him to do well. Look how far he had come in less than 18 months. From not even being able to move his arm, to playing written music with both hands…Live in front of people. Two longs days went by, and the mom emailed me a short video of the school band performance. That was one of the happiest moments of my life.
A family contacted me some time ago that had an 8 year old child with Cerebral Palsy. They had spoken with numerous doctors and specialists about finding ways to help strengthen his weak arm and hand. Because if he could begin using it more at this young age it might help him to work through it a little, or even help it to heal a little bit.
Please keep in mind that this should be okayed by the person’s doctor. This case was actually a referral from the child’s neurologist. While I have seen multiple people improve through drumming, it is certainly not a cure and every one is unique, so the outcomes do vary. I am just sharing an experience here.
I started by speaking via webcam with the parents about it, and they explained that they wanted to try drumming as a possible solution. I explained that I only teach drumming. I’m not a therapist, and I have no medical degrees. I’m a musician, and I will help to teach him music. Obviously each child, and medical condition has to be approached differently, and that we have to find the right style of drum to suit each individual’s needs.
I suggested that we try a couple of drumming lessons and see how things go. If it works out for him, that we could do a webcam drumming lesson once a week, or twice a month. They could continue as long as they felt he was benefiting from it. I’ve worked a lot drumming with special needs children and adults, both individually and in groups, so finding the right approach and style of drum unique to each person is very important. Most of the time I would just let them choose a drum or percussion item and, later on, suggest they try a different one out.
With this particular child the wish of the parents was to teach him drumming to strengthen the weaker arm. At the time he couldn’t really do anything with it, and didn’t really want to.
I suggested one of those smaller very lightweight aluminum doumbeks. The reason was he would need to grasp the body of the drum with his weak arm to play it, and he could play with his stronger arm. I figured when it got stronger that maybe a set of bongos on a stand might be the ideal drum. I’ve seen people at some of the drum circles I hosted with Cerebral Palsy strengthen their weak hand over the course of just a couple of months by playing the bongos. One person in particular was in a wheelchair and he would just set it on his lap and play. I was rather surprised how quickly the weak arm improved and he could begin to tap out rhythms on the bongos with both hands. It happened so quickly that he could play a rhythm as good as anyone else in the group. One of the keys to it was suggesting a basic foundation drum rhythm, and encouraging them to improvise whenever they felt comfortable. This gets them out of their head, and frees them up to not think, and just have fun playing and improvising.
So that was my thinking looking forward going into this. My approach needed to be different than drumming in the room with someone, because they are in New Jersey looking at me on a computer screen, and I’m down here in Florida. With any 8 year old child there is an attention span issue, so my approach was just to encourage him to have fun drumming. I used very basic drum rhythms with word association. I just wanted to make it fun for him so he would enjoy playing and not think about his condition. I gave him a few hand technique suggestions so he wouldn’t hurt his hand. I chatted with him a little and found out what his hobbies and interests were so I had something to work with. He liked rock music, and the NY Jets. So examples I used were: “We Will Rock You’, “J-E-T-S Jets, Jets, Jets” And we played to those. Just bass and tones. He loved this one: “I like choc-late cake”, - (bass-bass, tone tone tone)
With the long distance thing, and attention span, I felt that a 5 minute drum rhythm jam was plenty, unless he wanted to play it a bit longer, but I tried to keep them short so he wouldn’t get bored. After each rhythm we would talk for a few minutes, so he could rest, and then try another one out. An hour is a long time to drum with one child, but this ended up working very well. After a half hour he was suggesting jingles, sayings, songs, names, phrases, and raps to play, so that’s what we did. We ended up taking turns suggesting them. Again I encouraged him to improvise and play whatever he felt like playing as I held the support rhythm. That first lesson went very well. At the end I asked to speak with the mother for a quick review, and we continued with a 1 hour drum lesson for 4 weeks.
One thing that came up was at times he would get frustrated, and that’s when hobby talk, or things he was interested in would be worked in. Then we could get right back to drumming. It takes a little more extra patience than normal, because kids get aggravated, especially when they have physical limitations. Life is harder, school is harder, and keeping that in mind is important.
At the end of the forth drumming session the mom got on the cam and was delighted to tell me that he was now doing tasks around the house with his weak arm. Simple things like opening the refrigerator door, etc. but is was a progress they hadn’t seen from all the therapies they had tried previously. Keep in mind, he never actually played the drum with his weak arm, he just held onto it while he played with the other one. But this helped to strengthen his arm without him having to do a deliberate task to do it. And that seemed to be the block holding him back.
From there I suggested we upgrade to a set of bongos with a stand. That worked out great. He was excited to play full rhythms with both hands. At first it was barely a curled hand tap, but after a couple of more lessons he was playing some decent beats and now actually playing with the weak hand. I have to say, I was thrilled to see such quick progress with his condition in less than 2 months.
I hoped that he would take such a liking to playing music that eventually he might join the school band like I did. I was a hyperactive child and my parents got me a drum instead of Ritalin. I loved drumming and went on to join the school band as soon as I was old enough.
We continued on for a year or so, with 1 to 3 lessons a month, as the parent’s time allowed. They had 3 other children so being flexible and trying to accommodate their busy schedule was a factor. Slowly during the lessons I would work in a bit of music theory, how to read music, meter, some different time signatures, musical terms and what they meant, tempo, crescendo, decrescendo, etc. It continued on as long as it did because he loved drumming.
After that first year, they were planning a Florida vacation to our area, and wanted to meet me to say hello in person. I suggested that we all go to an open drum circle at the beach. They loved the idea, and it worked out great. I piled up the van with drums and my percussion gig bag, we all went down there and had a blast. It was a very pleasing experience for me. Plus, they bought me dinner at a snazzy restaurant I can’t afford to even go to. We all said goodbye, and the online drumming lessons continued once or twice a month. He was playing on his own now in-between, but still wanted to hang out and jam now and then.
My goal evolved to the point where he wouldn’t need me anymore, as much as it saddened me to think of it. I explained to the mom that’s where I wanted him to get to. Coincidentally, soon after that he joined the school band. I was absolutely thrilled. We had reached that point, where they really didn’t need me for lessons anymore. He was the percussionist in the band, and was musically way ahead of the other kids.
So it was goodbye. I was happy but also sad. A month later they contacted me because he was going to do a school performance in the school band. They gave them a pretty heavy duty scored piece of instrumental music they had to perform live. The mom faxed it to me and I was surprised how advanced it was for a 10 year old group of kids to play. I didn’t see anything like that until I was in high school. I was pleased they were teaching advanced music at such a young age.
But he was stressing over performing it because it was really complicated looking at it from a kids point of view. So we sat down on the computer and went back to the basics. I used word association for musical phrases, we broke it all down measure by measure and slowly put it all back together. It took about 3 lessons to where it all made sense for him, but he got it.
Then I added a little of my experiences with live performances. Things do go wrong, about playing with confidence, and working past mistakes if he made one. To just act like he meant to play that measure that way. His block was that he would want to stop altogether if he got lost, or thought he might have played something wrong. There was a lot of pressure on these kids. But I think it was good for the musical director to challenge them like this. And he was reasonably confident to go perform that in front of a crowd.
I have to admit, I was stressing a little at this point, waiting to hear how it went for him. I so wanted him to do well. Look how far he had come in less than 18 months. From not even being able to move his arm, to playing written music with both hands…Live in front of people. Two longs days went by, and the mom emailed me a short video of the school band performance. That was one of the happiest moments of my life.
Friday, June 18, 2010
How I Like To Read & Play A Notated Drum Circle Rhythm
Most of the rhythms at the drum circle are in 4/4 time, or in 6/8 time. Using the rhythm below in 4/4 time, that means there is 4 counts in each measure. A quarter note gets one beat.
One way to get the rhythm is to tap your foot 4 times, starting on the "1". Tap on the 1, 2, 3, 4, and play it. Start out with a very slow tempo, you can always speed it up later.
Another way is tapping your foot steadily 8 times during the measure, (twice for each count) So it's like this: 1 & 2 & 3 & 4 &, tap once for each one, 8 times as you play the rhythm. I can't get it to format quite correctly on here, but at least it gives you an idea.
1 & 2 & 3 & 4 &
D-TkTkT-D-TkT-Tk
1 + 2 + 3 + 4 +
D-TkTkT-D-TkT-Tk, D-TkTkT-D-TkT-Tk, D-TkTkT-D-TkT-Tk, And away it flows.
Or try it this way, there is 16 counts in one 4/4 measure. I like to tap on just the number, and the & (+). Some people like to count them all out loud, some tap to all of them etc. It looks like this for 2 measures:
1e+a2e+a3e+a4e+a][1e+a2e+a3e+a4e+a,
D-TkTkT-D-TkT-Tk][D-TkTkT-D-TkT-Tk,
Written out it looks, and sounds like this:
Doum-TekkaTekkaTek-Doum-TekkaTek-Tekka,
Try saying this out loud, and then play along.
1 E & A, 2 E & A, 3 E & A, 4 E & A
The "D" in the rhythm notation is a bass note or Doum. The "T" and "K" are tone notes, right and left hand. The letters in Caps are accented, or louder. I like to play the "T" or "Tek" with my dominant hand. The t and k are softer notes. I hope some of this helps you to play some of the notated drum rhythms in my older blog posts below.
----------------------------
Here's another rhythm example written slightly differently with the rhythm Beledi: Timing is in 4/4, 1e&a2e&a3e&a4e&a
Try it out, the rhythm phrase below is 2 measures.
I like to count on just the 1-2-3-4, 1-2-3-4
Rhythm Notation: D D tkT, D tkT - 1 2 3 4, 1 2 3 4
(The last 4 is a pause, or rest, then the phrase begins again) Sounds like: Doum Doum tekka-tek, Doum tekka-Tek(pause)Doum Doum tekka-tek, Doum tekka-Tek
----------------------------
An example of a 6/8 rhythm is if you play to the saying: "Fol-low-the-yel-low-brick-road-go-do-pa-ta-pa" or say, "cab-bage-and-broc-o-li, cab-bage-and-broc-o-li". It flows like the rhythm of a shuffle in 6.
Copyright © Shannon Ratigan All Rights Reserved.
One way to get the rhythm is to tap your foot 4 times, starting on the "1". Tap on the 1, 2, 3, 4, and play it. Start out with a very slow tempo, you can always speed it up later.
Another way is tapping your foot steadily 8 times during the measure, (twice for each count) So it's like this: 1 & 2 & 3 & 4 &, tap once for each one, 8 times as you play the rhythm. I can't get it to format quite correctly on here, but at least it gives you an idea.
1 & 2 & 3 & 4 &
D-TkTkT-D-TkT-Tk
1 + 2 + 3 + 4 +
D-TkTkT-D-TkT-Tk, D-TkTkT-D-TkT-Tk, D-TkTkT-D-TkT-Tk, And away it flows.
Or try it this way, there is 16 counts in one 4/4 measure. I like to tap on just the number, and the & (+). Some people like to count them all out loud, some tap to all of them etc. It looks like this for 2 measures:
1e+a2e+a3e+a4e+a][1e+a2e+a3e+a4e+a,
D-TkTkT-D-TkT-Tk][D-TkTkT-D-TkT-Tk,
Written out it looks, and sounds like this:
Doum-TekkaTekkaTek-Doum-TekkaTek-Tekka,
Try saying this out loud, and then play along.
1 E & A, 2 E & A, 3 E & A, 4 E & A
The "D" in the rhythm notation is a bass note or Doum. The "T" and "K" are tone notes, right and left hand. The letters in Caps are accented, or louder. I like to play the "T" or "Tek" with my dominant hand. The t and k are softer notes. I hope some of this helps you to play some of the notated drum rhythms in my older blog posts below.
----------------------------
Here's another rhythm example written slightly differently with the rhythm Beledi: Timing is in 4/4, 1e&a2e&a3e&a4e&a
Try it out, the rhythm phrase below is 2 measures.
I like to count on just the 1-2-3-4, 1-2-3-4
Rhythm Notation: D D tkT, D tkT - 1 2 3 4, 1 2 3 4
(The last 4 is a pause, or rest, then the phrase begins again) Sounds like: Doum Doum tekka-tek, Doum tekka-Tek(pause)Doum Doum tekka-tek, Doum tekka-Tek
----------------------------
An example of a 6/8 rhythm is if you play to the saying: "Fol-low-the-yel-low-brick-road-go-do-pa-ta-pa" or say, "cab-bage-and-broc-o-li, cab-bage-and-broc-o-li". It flows like the rhythm of a shuffle in 6.
Copyright © Shannon Ratigan All Rights Reserved.
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