Why Have a Team Building Drum Circle? (And a Few Tips & Ideas)

A team building drum circle for your business, company function, or group of employees is a fantastic idea. Not only is it fun, but drum circles are an excellent activity for any group, and for all ages. But especially as a tool for team building, or as an event ice breaker. Letting people express themselves through drumming and then seeing how that can build to a musical performance is at the heart of team effort.

Learning to let go of self involvement in order to synchronize with others is the essence. Not everyone can or will play the drums the same way, just as they don’t do their jobs exactly the same way. And those slight differences, if done from each person’s strengths, are what make the musical result magical. People learn that playing/working together is something that is its own reward because the results are beyond what any individual can do.

Drum circles can be extremely effective for companies that want to enhance the generation of new ideas and better team work. When people discover that they can collectively produce a good sound without any musical training or background, they start to realize that they can be more effective at work by putting their heads together and working as a team.

Also, drumming uses the brain in a different pattern than the linear thought process that is usually needed in the work environment. For example, when suggesting a drum circle rhythm, I like to vocalize the first few measures before we play it. The logical analytical side of the brain can process it quicker, which then frees up the creative intuitive side. People can then play what they feel, rather than over thinking it. ie: The Heartbeat drum rhythm: Boom Boom chicka-chicka Boom Boom (pause, and repeat) A drum circle brings the group to a more open mental and psychological process, which can be carried over to the production of new and better ways of working.

A drum circle is an excellent tool as an ice breaker, or to kick off any kind of brainstorming session and optimize the quantity and quality of new ideas. In other words, your team improvises and is more creative.

Drum circles are an excellent activity for any group, and for all ages. But especially as a tool for team building. Letting people express themselves through drumming and then seeing how that can build to a musical performance is at the heart of team effort.

Drum circles can be extremely effective for small business teams or companies that want to enhance the generation of new ideas and better team work. When people discover that they can collectively produce a good sound without any musical training or background, they start to realize that they can be more effective at work by putting their heads together and working as a team.

Some drum circle facilitators who offer team building drum circles use a variety of team building rhythm games, and then finish up the remaining time with a drum circle. It’s a tried and true method. But over time, I’ve developed my own approach. I suggest that you do the same thing. Study what the others do, and develop your own sense of style and unique way of doing things. These are just my opinions, and I hope that some of it will be helpful to you. There are certainly other ways to go about this. Based on my style, and experience, this is how I do it. It is not the only way, or even the best way, but it’s what works for me. The clients have been happy with the results, and that’s what matters.

Lots of companies and small businesses are having to cut back on expenses these days. While I would be happy to come over and facilitate a team building drum circle for you, (for a nominal fee) I understand that times have changed. Perhaps it might make more sense to just buy some drums, and have your own team building drum circles from time to time. It is a great way for employees to connect on an even plane, thereby increasing productivity, and harmony. I’m happy to answer any questions you might have about doing it, or hire me to help you do it. Explore the possibilities by trying it once.

For many years, companies have strived to implement the concepts of empowering employees to find and implement better ways of accomplishing work processes. Deming, one of the world’s foremost authorities on quality assurance and employee productivity, was also one of the first to recognize the fact that it is the employee working at the lowest level who knows the most about how to improve the flow of work. The stumbling block has always been how to convince workers to speak up and propose changes and then find ways to make those changes happen to achieve optimal results.

Drum circles provide a unique and highly effective solution to this quandary. Drumming has been around for thousands of years. Virtually every culture on earth has a history of community drumming being used to unify the group. Different cultures produced different instruments and rhythms. Your company is a microcosm culture that can use the same approach to unify the group and improve their interactions, resulting in improved productivity.

I’ve worked for, and talked with a lot of businesses and corporations about using drum circles to improve the performance and productivity of their employees. This is not as crazy as it might sound. It is currently being used extensively in large corporations and I believe that it can be just as effective in smaller companies. A small investment of time and money can reap benefits that will improve a company’s effectiveness for a very long time.

This is where many of the name drum circle facilitators make the big bucks. The proof that drum circles are effective is right there. And as a drum circle facilitator, I work to define objectives and construct an approach that fits their particular environment. I typically work with 5 to 80 people at a time. I provide all of the instruments, and I can also help to coordinate the event itself. Everyone is free to participate, or just sit back and anticipate the results.

Team building through the interactive process of a drum circle is a relatively new approach to employee productivity that is becoming increasingly popular throughout the United States. Successful corporations know that good team building improves the success rate, not only of the team, but of the corporation. But, knowing how to create truly effective teams is a distinct set of skills that is rarely taught to the employees who would be in a position to implement them.

There are two obstacles to team building in the corporate environment. Unlike sports, where it is known that the team has to work together, corporations are often highly competitive environments. And, people who view their co-workers primarily as competitors, are unlikely to interact in a constructive team setting. In addition, employees are accustomed to passively accept the work assigned to them by their bosses and work primarily towards doing only those specific tasks that they believe will please their boss.

Building a successful team requires a significant shift in these two patterns of interaction. A good team’s members will help one another overcome obstacles and improvise new and better ways of accomplishing all of the goals that the team faces, rather than individual tasks. This makes the entire team more productive.

Plus, as humans are social by nature, this interaction makes the work place more enjoyable. And people who enjoy their work place are more productive. Drum circles are a highly effective way of introducing the revised shift in attitudes necessary for building teams. While an individual can beat on a drum and produce a rhythm, it only becomes true music when a group of people play together. A drum circle facilitator teaches the basics of drumming, then guides the group into creating a musical experience. The type of facilitation used can be a major factor. A too highly structured drum circle can emphasize the mindset of only just following instructions.

I think the ideal type of facilitation to kick start or improve team building is one in which the participants are encouraged to improvise within the rhythm structure provided by the facilitator. It is a direct parallel to the team improvising solutions to the group of tasks that the team needs to accomplish. Drumming immediately reduces stress and breaks down barriers between the participants. The process then brings the group back together in a nonverbal form of team interaction. The group learns how to listen to what is going on and respond to it in a way that adds to the total product. Once people do this in a setting that is fun, they can then carry it back to their regular work tasks, resulting in better communications and increased effectiveness.

Please email me (at the bottom of the page) with any questions about rates or availability. We can tailor a custom program to meet your vision. My rates are reasonable, and competitive. If you expect to have more than 80 people drumming at any one time, I need to hire another facilitator. I respect your privacy, and never share email addresses with anyone.

When Inquiring about a team building drum circle, please provide me some of the particulars, and what you have in mind for it I charge depending on several variables, such as the amount of time, type of organization, location, approx. amount of people, and any specific requirements.

I am based in the Saint Louis area now. I provide facilitated drum circles for various groups, events and parties. My rates are very competitive. They include the equipment, loading, set-up, facilitating the drum circle, and one hour travel both ways. It may seem like it costs a lot, but a one hour drum circle can take up to 4 hours. There is the loading, travel, set-up, facilitating the circle, load back up, travel back, and unload to storage. Plus, the cost/wear and tear of the drums – percussion, and all the years of musical training to host drum circles.

I provide facilitated drum circles for various groups, events, and functions. Whether it is hosting, or facilitating a drum circle, I do the very best I can to help really make a difference. I offer something that’s unique, and interactive. Anyone can sit right down and play drum rhythms. The team building happens by default.

A Few Hints, Tips, and Ideas For Team Building Drum Circles

When I book a team building drum circle, no matter how large a group it is, I try to find out a few key pieces of information. In fact, one of the most important things I do is some homework about the company, business, or group. I try to find out names, who does what, and get as many details as possible. Often I get hardly anything other than a brief from their site. But I try to get as much information as possible in advance, (within reason of course) from the hiring person. For example, what’s the theme they have in mind? Company values? Better synergy? Leadership? Stronger communication? Risk taking? What’s the purpose or objective of them wanting this drum circle team building event? Finding some of this out helps me to custom tailor activities, (or lack of them) specifically for them.

You can’t fool most of these business management types, they have seen it all, and can spot BS right away. The important thing is to deliver on a clear theme, and meet their objectives, not mine. For me every event is different, but there are a few mechanical things I do at the start, and at a few points during the drumming process. There are a few “welcome activities” I’ve learned from others, such as the handshake circle, the egg shaker pass, and so on. (Do a search on them if you need the specifics.) These are both good ice breakers. More often I just get them drumming to a basic foundational drumming beat as quickly as possible. The reason is, corporate types tend to over think things if you give them too much time.

As I mentioned, a simple vocalization of a rhythm for a few bars in 4/4 time, gets them quickly out of their heads, improvising, and creating. For example, nice and slow tempo, 4/4 time, each word is a 1/4 note, 4 notes per measure: (This is 2 measures, or 8 beats.) bass, rest, bass, rest; tone, tone, tone, rest; and repeat the phrase. Let it go for 5 minutes and slowly bring up the tempo. Let it evolve… From then on it’s just a series of different rhythms from around the world. The vocalizing emphasizes listening and dialogue between the employees.

The rhythm Heartbeat, or Hi-Life are good after the warm up. It leaves openings for call and response. Once you demonstrate it, and let them know it is okay not to have to strictly follow the rules like in their normal working environment, this is when the team building begins. Various drumming games and activities do work, but not as well as creating a setting to just letting them figure it out for themselves.

This is probably not the best analogy here, but if you are stuck at a level in a video game, is it more satisfying to figure it out, or have someone show you? It stays with you if you accomplish it on your own. I don’t go much for the body beat percussion thing, the layering in of percussion, as many others use it. I think of it how I would like it to be if I was an employee. I have sat in that chair waiting for some silly team building activity before. So I don’t leave people sitting there waiting for their turn to play.

I do like to take a 5 minute break at the half way point for a brief discussion. After that, I ask everyone to pass their drum or percussion instrument to the person on their right. They have to figure out a new drum, and how to play it. They experience the change in themselves, the sound, and the circle. It is similar to them having to figure out their own strategies for dealing with something different on the job. I usually do this one more time about 15 minutes later, but this time we break and I ask a few of them to comment on the differences of the new drum they are playing. It opens up some interesting discussion, and job related metaphors.

I’ve found this to be very effective, the suits can see what is happening, and they can see the value of why we are doing it. I like to get the participants to openly talk about what they are experiencing after specific drum rhythms at a few different points during the program. My experience is that most executives are very sharp, and they have short attention spans. Not because of ADD, but they tend to learn very quickly, so they can also get bored quickly with basic team building drumming games and activities. They figure them out fast, and want to move on to something else. I can’t say I blame them really. Just drumming works better than gimmicky things that waste time. (But I always have a few at the ready just in case.)

I keep two lists in my back pockets. One is a list of rhythms, and the other is a list of drumming activities. I hardly ever look at them, but if they are there, I feel more confident. If I do get a brain freeze I can just glance at it for reference. It happens. My overall pacing of the various drum rhythms is slow and steady, with a few ebbs and flows to keep things unpredictable. The main objective is to create a group dynamic as fast as possible, and a group rhythm that represents the goals of the company. The group downbeat rhythm represents the basic working process, and goals of the organization. They just don’t know it until after we are done. It is their unique company “groove”.

The rhythms are their vehicle. I like to spend a few hours planning out the program the night before, and also after I have seen the room, and set up my drums. I take a half hour to figure out and visualize my program that is about to start. One thing I got from my years in show business and appearing on live TV, is the there is an ever so fine line between fear, and excitement. All I have to do is convince my mind that I AM EXCITED. How cool is it that I get to do this? I’m not nervous, or scared…I’m excited. Incorporate, and use your life experiences.

So to sum up, as the facilitator my job is to provide the instruments and guide the participants through the process. I do not tell them what to do, but give them the tools to figure out what their group pulse is. This is a surprisingly powerful tool. I start by letting them just beat on the drums to get a feel for the physical motion involved and to release any tensions. Then, I start showing them a series of basic rhythms and, once they get those, show them how to feel the rhythm and add their individual flavor to it. The sound moves around as different people will dominate a pattern and affect it. Then, I introduce a new beat and someone else ends up taking the lead, and away we go team building, while having a good time.

Trying to encourage employees to think outside the norm and find better ways of working is a highly worthwhile goal. Drum circles show them how to do this in a context that removes their routine ideas of constraints. It gives a simple joint goal to the group, then fosters a creative and spontaneous accomplishment of that goal. It enhances the ability of the members to function together at their best by providing a path that is relaxing, invigorating, and just plain fun. And, people who enjoy working together are consistently more productive. The stress reduction of the drum circle can also significantly reduce absenteeism. Many large corporations are now using drum circles on a regular basis.

I try to provide a safety net by being constantly tuned in to the group and the individuals as things progress, so they can have a good time, and not really think about the team building process. (Although that is what’s also happening.) I mention on my drumcircles.net page, helping people to find their own inner sense of rhythm takes very little guidance and can be done spontaneously in the middle of an ongoing rhythmic drum beat.

Natural rhythm flows within all of us. Our hearts beat to a rhythm, we walk to a rhythm, many aspects of our daily lives are done to a rhythm. Whenever we hear drumming, we begin to move to the universal rhythm inside us all. The drum connects your heart to your hands. We start out a beat, we just follow the beat, and all of a sudden we are improvising, experiencing and talking with our drums. You are the instrument, the drum becomes your voice. Drumming conversations begin to emerge as people become connected beyond the music being played. They are finding their inner natural rhythm. I drum what I say.

Some of the benefits of a drum circle:

It uplifts the spirits of all the participants, and Unity is achieved through diversity. It invigorates the body and mind. Enhances focus and clarity. It builds group cooperation skills and camaraderie. It’s proven to reduce stress, and it’s cheaper than therapy. It reduces employee routine and burnout in the workplace. It improves motor skills, and it’s a positive musical experience. It’s an opportunity for self expression, and increased listening skills. It stimulates creativity, experimentation, and self confidence. It breaks down communication barriers, and celebrates the joy of life. It’s empowering, healthy, and most of all it’s Fun!

I hope my page inspired you to have a team building drum circle, or helps if you facilitate them yourself.

For much more in depth information on drum circles, or facilitating them, I wrote a 300 page book, “A Practical Guide To Hand Drumming And Drum Circles”. (It comes with a free drum circle jam CD for $18. or $8 on Kindle.) To get the free drum circle CD, the book needs to be purchased from my website.

I offer a 2 hour DVD that will show you how to play over 101 different rhythms from around the world for $15. It comes with a free drum circle jam CD also. (If purchased from my website.) It’s also on Amazon Instant Video for $14. You can view a YouTube clip at my website. It helps out the most, if you buy it direct from me. If you do purchase my 101 Drum Circle Rhythms DVD, hand drumming and drum circles book, or possibly some of my drum circle jam CDs – mp3s – I would appreciate that. It helps out a little bit with the work I do in our community. Most of the groups I work with have very limited recreational budgets. Thanks in advance if you do purchase something from me.

Please visit my site drumcircles.net or Amazon - Ebay for my 101 Rhythms DVD, book, and drum circle music.

Shannon

drumcircles.net

Copyright © Shannon Ratigan All Rights Reserved.

Reading Drum Music - Ways to Notate & Teach Drumming Rhythms

This is a list of various rhythms I enjoy playing, and ways to read and notate drum music. It's my own 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 this out if you want to, it’s a Word doc at my site drumcircles.net - I like to help people enjoy drumming more. A big part of being a musician, is helping other musicians along.

Most drum circle rhythms are played in either 4/4 or 6/8 time. Try it in 4/4 time, before you go to 6/8. Also, try tapping your foot as you play. 1-2-3-4 There are 4 quarter notes are in a measure of 4/4 time. Then break it down to 8th notes, then 16th notes this way. 1e&a 2e&a 3e&a 4e&a Try saying them out loud as you play your drum. (With no spaces)

There's a variety of different ways I like to use to notate a drum rhythm. It's really a matter of personal preference, and what ever you find the easiest for you to use. Here's some various ways I've seen to notate a drum rhythm. Using one of these methods, you can quickly and clearly transcribe a drum rhythm to save it for another day. The accented strokes, (or slaps) are all in caps.

Here's an example with the basic "Fanga" drum rhythm in 4/4 time notated a few different ways with different notating styles:

Gun go-do-go Gun-Dun go-Do (Also, pa & ta are used in some rhythms.) (As far as I know, this is a style that was taught by Babatunde Olatunji. It’s probably the most common, and well known method.)

(Middle Eastern style) Doum tek-ka-tek Doum-Doum tek-Ka
(Or in shorthand = D t-k-t D-D t-K)

(Play it how it sounds.) Boom chickaChick Boom-Boom chicKa

(Basic notation) B o-o-o B-B o-O

Bass=B, Slap=S, Rim Shot=R, Open Tone=O, Closed Tone=C, Muffled Bass=M (I don't use this one very much, but it’s a good way to notate.)

If I'm in a hurry, which is usually the case: I sometimes use Morse Code to quickly jot down a rhythm. _ ... __..

I've seen some others use just this style just notating which hand to use as a method:
R l-r-l R-L r-L

Or, very basic: B= bass tone, T= tone note, S= slap note, lower case letter for softer tones.

Jazz scatting - Just write down what it sounds like. Boom sha-ka-la Boom-Boom sha-Ka, or Ba-Dum BaDay Ba-Dum BaDum, etc. Maybe even make up your own method.

If I work with a group on a regular basis, I eventually work in how to traditionally read music, and music theory. Whole notes, half notes, quarter notes, meter, various time signatures, musical terms, and so on. If I work it in a little at a time during the circle – even 8 year olds can pick it up pretty fast. 8 years olds can design video games these days, so learning a drum rhythm – no problem. I just don’t want to overwhelm them with too much right away, or make it feel like a school class. (Even if that’s what it is.)

When I'm suggesting a rhythm to play. I like to vocalize the first few bars of it before I begin playing it, and I start it out very slowly, then I can gradually bring it up to the desired tempo (speed) once they are comfortable with it. I always mention that this is just a starting point, and you don't have to play this support rhythm, play whatever you feel fits.

Interestingly, I've found that most people can wrap their heads around it quicker if I vocalize sounds with a "K" in them. ie: Doum tekka-doum Tek. (or) Boom chicka-boom Chick. (or) I just "scat" them out jazz style any way I can think of. My main objective is to get them playing a drum as quickly as possible, and get them creating, and not thinking

Another idea is drumming to common word phrases, rhymes or well known commercial jingles to get things rolling. ie: "Yum, Yum, tastes like chic-ken" (D, D, t k t-k) or try "pep-per-oni-Piz-Za" (t-k-t-k D D) 2 bass, 4 tones

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 or cabbage & broccoli…

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)

Common commercial jingles, or rhymes 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 (1 measure in 4/4 time) 1e&a2e&a3e&a4e&a

An odd rhythm: oom-pah---oom-pah---oom-pahpah__oom-pah---oom-pah---oom-pah-slap (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 with 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_ -

Another Native American Rhythm: kaBoom…kaBoom…kaBoom ka 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 doum 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.

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)

Similar to 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 a 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

At public drum circles, occasionally after a couple of hours of drumming, sometimes people run out of 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 at drumcircleworld.com or do a search, you can find one easily.

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-

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 cool 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.

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Another fun idea to entice movement in the center is to 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.

If you would consider picking up my 101 Drum Circle Rhythms DVD, hand drumming and drum circles book, or possibly some of my drum circle jam CDs – mp3s - I would appreciate that. It would help out a little bit with the work I do in our community. Many of the groups I work with have very limited recreational budgets. A hundred bucks for 2 – 45 minute drum circles is a stretch for most of them. Thanks in advance if you do purchase something from me. My 2 hour DVD will show you how to play over 120 diffferent rhythms for $15. It’s on Amazon Instant Video for $14. It helps out the most, if you buy direct from me. Please visit my site drumcircles.net for my 101 Rhythms DVD, book, drumming music, and more.

Shannon

drumcircles.net & for phones use: drumcircleworld.com

Copyright © Shannon Ratigan All Rights Reserved.

Share Your Favorite Drum Circle Story Contest: Free Rhythms DVD & CD

It's time for another free 101 drum circle rhythms DVD and drum circle jam CD contest on FaceBook. All you have to do to enter is post about your most memorable drum circle or drumming event on the FaceBook Group: Drum Circle World - https://www.facebook.com/groups/210537070053/ and the one that gets the most likes over the next 10 days (There's still 5 days left to enter) gets one of my 101 Drum Circle Rhythms DVDs, and a drum circle music CD shipped free to anywhere in the world. (Entries need to be on the FB group, not on this blog.)

Here's the one drum circle I was a part of that touched me the most:

http://www.drumcircles.net/EarthDayDrumCircle.html

Facilitated Drum Circle Set List “Round The World” Facilitation

Facilitated 1 Hour Drum Circle Set List “Round The World”

With most groups I facilitate drum circles for, I like to use a "set list" similar to what bands use. I'm hoping some of the approach I use helps you. Also, this is a free word doc at my website drumcircles.net - Please feel free to print out any parts of it if you think it might be useful.

The first page of rhythms below is what I write up the night before, (after I've done some research on the group, org, and their objectives having a drum circle). I use this for pretty much all drum circles I facilitate. Businesses, events, elders, kids, special needs, etc. - it tends to work for me all around. Since an hour goes by so quickly, (or even two) I've found that if we spend the time making music, it achieves their goals.

My goal is for them to have the best time possible just playing drums. No activities, games, or etc. Just shut up and play. The better the music sounds, the better it feels. I want them to get the healing power of drumming in their bodies. Some people do have physical limitations as to what they can play, so I bring a couple bins of assorted percussion. I don't want anyone to be excluded.

I adjust my rhythms set list to suit whatever the group is, but I use this as a general guideline for most smaller circles. Often, it all goes out the window after the first few rhythms, because I let the group vibe and dynamic help guide me. Learning to just trust that when I started facilitating back in the 80's, took me a few years not to freak out if things didn't seem to be going right, or even if a rhythm trainwrecked. It happens. I keep things light, and add humor when I can. So if it happens, I joke about it, "opps my fault", we laugh, and move on. Make the whole experience fun. If it's all serious, it can become more like a classroom experience.

Another aspect to keep in mind, (with whatever the group is) that people are usually transitioning in, and out of the circle as rhythms are happening, so the music is constantly changing, and transitioning. Don't try to control it, just roll with it. Staying tuned in, and evolving with them keeps it in the groove, and sets the right tone.

I encourage people to join in when they feel like they want to. I don't intervene if someone is not playing. Shining a light on them isn't the right move. Even if someone is just sitting there with a scowl on their face, it doesn't necessarily mean they aren't into it, and having a good time. I've had a few of those who sat there the entire circle, came up to me afterwards, and thanked me for just letting them alone to enjoy. So anyway, here's my set list:

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Warm Up Jam: Boom_Shala-Ka...Boom_shala-Ka...

Heartbeat: Boom Boom chicka chicka Boom Boom....Boom Boom chicka chicka Boom Boom tap.

Beledi: D D tkt D tkt_D D tkt D tkt_

Fanga: Dun, -, -, go, +, do, go, -, Dun, -, Gun, -, do, go, -, -

Jewish Rhythm: D t-k D t, D t-k D t,

Mother Rhythm in 6/8

Hip Hop Rhythm

Gawasi: D tkD D tkt tktk

Clave: Mockingbird

Agilablanca: I like to eat, choc-late-cake. (Or another one I like:) Yum Yum, Tastes Like Chicken

Greek: Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum Doum Tek _ (pause, & repeat)

Improvisation Jam, & that's it. End it with a big rumble.

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So that's an example set list I would write for most one hour drum circles I facilitate. There are certainly other ways to do this, it's just how I approach it. (More detailed notations are below.)

Once you get going, it’s surprising how fast an hour can go, so I try to keep the rhythms about 7 minutes long. One hour usually turns into 90 minutes. What can I say...I’m a softie.

I like to get a warm up jam going as quickly as possible, so if anyone has nerves, they just melt away. This is what the elders in most cultures did, they would drum first, and talk later.

Most of the rhythms are in 4/4 time (4 counts to a measure), but I like to get at least one 6/8 rhythm in the set somewhere when it feels right.

I always start with a slow basic, yet grooving default drum circle beat. It sounds like this:

Warm Up Jam: Boom_ShaLa-Ka...Boom_shala-Ka... I just start playing it & say, "Play whatever you want, just follow the beat."

After that warm up jam, I can assess the group dynamic, and skill levels, which helps me to make changes or choices from my set list.

If they are all beginners I use Queen's: "We Will Rock You" - Gun Dun go ! Gun Dun go ! Gun Dun go! baGun Dun go !

Or this beat: Bass - Bass _ tap tap tap _ Bass - Bass _ tap tap tap _ (bass on the 1 & 3, tones one the 1,2,3 after it.) The last 4 is a rest. It's a very basic rhythm, but once the group has it in solid, you can gradually bring up the tempo, and both can turn in to nifty little jams.

I facilitate from the side, and mostly through the music. I adjust my set list to fit the particular group, but for the most part, this is what I use. I like to guide them around the world in drum rhythms. Early on, I mention that the rhythm I'm playing is just a starting point. Play whatever you want, play whatever feels good to you, or whatever you feel fits. Improvise, experiment, and express yourself. After the warm up jam, I spend a couple minutes on hand technique so there are no sore hands, and volume so nobody is too uncomfortable.

When I'm suggesting a rhythm to play. I like to vocalize the first few measures before I start, or as I'm playing it, and I start it out very slowly. Then I can gradually bring it up to tempo once we have a pretty solid groove going.

The reason is the analytical side of the brain processes it faster, that frees up the creative intuitive side so they can improvise. Then people can play what they feel, rather than over-thinking it. It is after all, "a drum circle" not calculus.

Interestingly, I've found that most people can wrap their heads around it quicker if I vocalize sounds with a "K" in them.

The count is in 4/4 time on most of these: 1e&a2e&a3e&a4e&a

Middle Eastern style: Doum tekka-doum Tek. ( abbreviated it's D tk-d T )

Or use Babatunde Olatunji's - Gun Dun go do pa ta style,

Or, use just how it sounds: Boom chicka-boom Chick

Or, just "scat" them out jazz style any way you can. "Boom chicka boom boom" works pretty good, seriously.

Anyway, at this point, they're warmed up & totally got it. (We hope!) Then I usually choose what feels right from these rhythms in 4/4:

Heartbeat: Boom Boom Chicka Chicka Boom Boom....Boom Boom Chicka Chicka Boom Boom tap.

Variation: Boom ShaLa-Ka Boom Boom__Boom ShaLa-Ka Boom Boom__ (both are spiritual if you play slow, bring uptempo & it grooves.)

I keep the energy level up with either Beledi or Fanga about this point:

Beledi: D D tkt D tkt_D D tkt D tkt_ (I throw a bridge in there after it gets going.)

Sounds like this: Doum Doum TekKatek, Doum Tekkatek...Doum Doum TekKatek, Doum Tekkatek-(tekaka)Doum Doum Tekkatek, Doum Tekkatek...

Fanga: Dun, -, -, go, +, do, go, -, Dun, -, Gun, -, do, go, -, -

This Jewish rhythm rocks hard: D t-k D t, D t-k D t, (Basic pattern is similar to the rhythm Ayub.)

Mother Rhythm next: 6/8 time. Follow The Yellow brick Road, or cabbage and broccoli, cabbage and broccoli. You-huff-and-you-puff-and-you-blow-the-Gun-Dun-go-do-pa etc - Anything to give them the time change feel.

Hip Hop or Funk Rhythm comes next. If some of them haven't danced in the center yet, this one will make it happen.

This has kind of a hip hop feel to it. Doum Doum, kaTek-doum, kaDoum Tek_ Doum Doum, kaTek-doum, kaDoum Tek

Clave or Samba rhythm next. Remind them of the beat to the songs; "Mockingbird or Hand Jive" Or try "Jingo" by Santana.

I do an improv jam to wrap things up, and they almost all leave wanting to play more.
If there is more time, I work in one of these 2 Rhythms:

Yum Yum tastes like chic-ken. Yum_ Yum_ tastes like chic-ken. Bass_ Bass_ tone tone tone-tone

Or Agilablanca: I like to eat, piz-za-pie. I like to eat, piz-za-pie or choc-late-cake. (4 tones followed by 3 bass notes.) Anything with 3 cylinders in it works.

Then here's the deeper stage 2 list:

Gawasi: D tkD D tkt tktk

Jaark variation: D tkt-tkDDtkt-tk

Masmuudii variation: D---D---t-k-t-k-D--tktk tktk

Gunazi: Boom sha-ka Boom Boom, shakala, Slap! Boom sha-ka Boom Boom, shakala, Slap! (or some accent tone at the end)

Karsilama 3: It has a triplet at the end: D-kkT-kkD-kkT-T-T (2+2+2+3) Challenging but fun.

Kids like this one: Boom - che-boom_che-boom-a-choc_o_late__choc_o_late,

Saiidi: Doum tekka tekka doum doum tekka-Tek _ Doum tekka tekka doum doum tekka-Tek

Zaffah: (As far as I know, 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, & repeat)

Tabla rhythm, but try on djembe or doumbek: da-di ki na doum, da-di ki na doum doum doum.

Greek line dance in 2/4: Doum-tekkatek-tek, Doum-tekkaDoum-tek.

Good 4/4 jam: Gun Dun godo padaTa_ Gun Dun godo padaTa_ (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 slap tones".)

Another: Gun pa go-do, Gun pa da-pa,

More: 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 Waltz or 6/8 rhythm Darj:

D-TkT-D-T
1-+-2-+-3-+-

An Irish rhythm: Boom-ba-da-ba, Boom-ba-da-ba Boom,

Chifitelli variation (played slow) Doum, tek-ka tek-ka doum doum Tek _ Doum, tek-ka tek-ka doum doum Doum _ (repeat)

Cuckoo: Say & play it: Cuckoo for Cocoa Puffs - Shaka-sha-lakaBoom, Shaka-sha-lakaBoom

I like to mix slow grooving rhythms along with some up-tempo ones so they have some variety. When I was a teen in HS, my first music teacher taught me it's not how many notes you can play in a measure, but it's the space between them, that really makes the music. That stayed with me. Let the bass notes breathe...it's not a race.

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During the set, I try to share some back story on a few of the rhythms. Where it's from, how used, etc. Not too much, just a little here and there. Also during the set I mix in a little about the various drums, congas, djembes, doumbeks, frame drums, and etc. It makes it more interesting for them, and gives me a chance to shift gears to next rhythm. I always mention it's to the best of my knowledge, and that we should respect the other cultures, and the rhythms. I keep the set list in my gig bag, so I can glance at it if I need to. And sometimes I do.

I usually have to leave out one or two rhythms, because a few of them get in the pocket. Got to let those go longer, right? As I mentioned, if a rhythm train wrecks, I just say, "Opps, my fault." Joke about it, laugh, and start another rhythm out. Or, stall a bit, and see if someone else starts one up. (We call that noodling.)These kinds of things set a tone that's it's fun, casual, and not all serious.

Many times the vibe takes me in another direction as far as rhythms to suggest, but the list gives me a good outline. There are many different ways to facilitate drum circles, this is just how I approach them. No games, no activities, just make music. The better it sounds, the better it feels.

I hope some of this is of help to you. If you REALLY liked it, please pick up my 101 rhythms DVD or book, “A Practical Guide To Hand Drumming And Drum Circles”. $8 on Amazon Kindle. It is in the book share program, so you can share it with friends like we do with drums at drum circles. Shannon - drumcircles.net

Special Needs Drum Circles & Drumming

I think it’s the most difficult, yet the most satisfying work I can do as a drum circle facilitator, host, or a drumming teacher, is special needs drum circles. Whether it’s with one child, a lot of children, or a group of adults with developmental disabilities.

Hand drumming reaches people on so many deep levels, and of course me as well. This kind of work touches me very deeply. Emotionally, it just tugs at my heart. And reaches me on such a deep personal level that I can’t even describe the feeling and how much I am affected by it. Especially afterwards when I sort of debrief myself, and reflect on things for an hour or two.

I think about what they enjoyed the most, what worked well, what fell flat, and what I just learned from the session, and from them. Each time I come away with something new. Especially when I reflect on it at night, and even into the next day. When I am home, I have some time to realize some of the ways it has affected me. It really surprised me when I first worked with a group such as this how deeply I was touched by working with them, and how much they all benefited from it. That first time, I just went there to help everyone drum some, and have fun together at a holiday party. I came home profoundly affected.

For the most part I found all I needed to do fundamentally, is just start out rhythms like I usually do, and let the music go where it goes. Maybe add in a few games or fun things people can do just be spontaneous and have fun with. It is more of a challenge to facilitate though the music. I knew that with some conditions, you needed to speak slowly and clearly. To be very patient and give people a chance to work into the present time. The repetition of the drum beat rhythm allows that, even if their condition forces them to live ten seconds in the past, they can catch up. I noticed the social changes in the group positively improve as well.

Some administrators love the drum circle environment. They have told me that it’s rare for the parents and patients to have a fun activity they can do together. This is something they rarely get to do. Just to have some fun and improvise without worry and have a good time…together…and without it feeling a little uncomfortable. Because when you drum, even with physical, or mental conditions, all you think about is drumming.

I think the current politically correct term now is “special needs”, it was learning disabilities last year, some may even remember the term mental retardation. I don’t see disabilities in people. I see abilities. I feel it is wrong to try and categorize people like this. One administrator explained to me that most of the people in his group had an IQ of below 70, or problems with adapting, and/or socializing. The average IQ for a person is 100, measured by tests. Most of us have taken one at some time or another. The Wechsler test is one of them.

You just need to very patient, caring, and compassionate, while having fun. More often than not, you will need to modify your approach when working with special needs a little bit. Both with the drumming, and, more importantly, the rapport you build with them. I like to focus more on the individual relationships with each person. Because if they like you, and enjoy hanging out and drumming with you, that’s the goal I have in mind. We are just regular people having a good time. Having fun as a group, is my goal to help empower them.

If you are having fun, they can see it, feel it, and they begin to have fun also. You need to be able to hold the support beat solid for them sometimes. Especially, at a first drum circle session. Later on, you can lay back here and there. Even let someone else start out a beat, and support it. It may work, it may fall to pieces. If you have a fun personality, and something goes flat, you can just joke about it. “Oops, my fault. Let’s start a new rhythm out.”

One important thing to keep in mind as explained to me by a neurologist was that almost all of the patients, regardless of their individual condition, one thing most all of them have in common, is that they are essentially normal, intelligent, highly functional people. They just live five, or ten seconds in the past. I didn’t know that.

This is why drumming can be so effective. The repetitive nature of a drum beat makes it easy, and comfortable for them to catch up, or find their place in the beat, and feel normal for a change. Verbal communication is the same. This is a little trickier obviously. You need to speak clearly, and slowly. I speak as little as possible with short sentences, and facilitate through the music more, because of this. I usually speak only at the beginning, or end of a musical piece. I always have my radar up for a non-verbal cue from someone. I do use hand and arm gestures to get everyone’s attention in the center of the circle if I need to for this. But I usually still facilitate from the edge of the circle, like I always do. We’re there to have fun and drum, not to talk. If I do need to explain something, I use photos, or speak very clearly, choose my words carefully, and talk just a tad slower than I normally would. Memory capacity can be more limited with some of these participants.

A few things I have learned, is just because someone may appear to be not having fun, or may have their head down, it does not necessarily mean they are not into it. Many people in these groups mask their feelings, so I need to be aware of that before I subtly try to address it with a cool percussion gadget from my gig bag. Bored, scared, joyful, digging it, a happy or sad expression, can be easily misinterpreted.

Sometimes a person will have a bored look on their face, but in reality they might be having a ball. I’ve seen this, and I can’t address it in front of the group because it might embarrass them. At the end of the circle the guy comes up to me and says, “I had a wonderful time, thanks for just letting me be me.” The next drum circle he did the same thing, but eventually the rhythms got him to play on his own. He played when he was ready to play.

I like to begin sometimes with a gong that I keep in my gig bag. It’s about 14 inches wide. I use a soft mallet, and walk around the interior of the circle and let each person bang the gong once, or twice if they don‘t get a good gong on it. (If they want to.) Usually it’s smiles from ear to ear every time. Very few have ever turned it down. It’s a fun way to begin, and develop a rapport with each person, and it gives you a chance to see their individual hand coordination a little bit. Try to think up fun ideas like that.

I find the simplest heartbeat rhythm seems to be a good way to begin the drumming, or the “We Will Rock You“ beat again. I start it out very slowly, hold it steady, and let them play whatever they want. Whatever feels natural to them. We will let the rhythm go wherever it feels it wants to go, just like at a regular drum circle. They may just want me to hold it slow and steady, or ramp it up and play fast and exciting. They may just want to enjoy a good sounding groove for awhile. You don’t know really, until you get there.

But you can prepare a little bit. You can sense what a group wants to do, after you have worked with these populations for a while. Especially, in a very short time, you can assess the group’s skill level. I just go with it. With the slower rhythms the time seems to just fly by, and I hardly ever get even half way through my set list. The amount of time becomes a non-issue to everyone, and they all keep happily busy. The most simple heartbeat rhythm will do this if played for more than 10 minutes at the same tempo and volume level. We play lots of other fun rhythms, and have many different endings for them. Anticipating the end of what a rhythm will be as you are playing it, is sometimes fun. So during almost every drum circle I’m at, I have 4 or 5 different endings I like to use during the drumming session.

I sometimes just say, “A great rhythm needs a great ending to it.” So then I will show whatever it is to them, (1 or 2 bars or so) then I ask to please do it with me a couple of times, like 6 times over so everyone has it. Then we just play a rhythm for 10 minutes or so and I count them down to do that big ending, that we planned in advance.

There is a traditional drum phrase break that signals an upcoming change or ending at a drum circle. That one works great, but is a bit more complex one. Bum Ba DumDum, Ba Dum Dum BaDa. (pause) Boom!

A Latin drum break works well also. Or make something up, as a nice ending to a good jam.

One cool ending I like to use with these groups also, is to have everyone play 9 equal up tempo tones, and then two big bass notes. Then repeat it like 10 times, and I count them down as we go. 4-3-2-1- ooooooooo B B, ooooooooo B B etc. Or try this one - five tones, then 3 bass notes. ooooo BBB, repeat.

When you feel the group has come to the ending, or attention span of a rhythm is ending, try slowing and quieting the rhythm down over a 30 second period…then play slower and slower, until the rhythm ends in super slow motion. Like the Six Million Dollar Man or something. Like one of those old vinyl records slowing down after you unplugged it. (Remember those?) A rumble after that is always good.

Obviously rumbles are always good. I like to let members of the group get to do the ending rumble. Usually it’s whoever raises their hand when I ask, “Who wants to end the rhythm?” Then they get a turn ending a rhythm. I have a magic wand I made up for that. It has colorful ribbons on it. They can wave it around and direct the volume, direction, etc. A couple of minutes is good on that one. Let each of them that want to direct rumbles so they each get a chance to do it. For some this is the first time they ever get to be a leader. It helps to empower them, and build self esteem.

I let them try out unique percussion items periodically, by pulling them out, demonstrating how they work, and asking between jams, “Who would like to try this one out?” I just let them have fun. But I do go in with a prepared set list program. Which is usually changed all around depending on the group vibe I’m feeling. You can tell if a particular rhythm is working, or not feeling right. So can they. I laugh it off and we start another one.

You don’t even need to show people what a rumble is, when they have a drum in their lap. They can figure it out instinctively when you do it, and telegraph it a little at the end of a rhythm. That’s part of the fun. Figuring things out on your own. It gives you a better feeling of self accomplishment.

Everything for them is focused on their disability, and that has to get very frustrating for them, so they can use something for an outlet. A drum circle is a fun way that they can express their feelings, that will build their confidence. A drum circle? You should see their eyes light up.

But back to rumbles. Sometimes to teach a rumble easily to everyone, I say ok here are two rules. If I put my hands in the air you can play as fast and as loud as you like. When my hands come down you stop. Then I show them a lot of variations they can try, and mention it is ok if you think up your own ways to direct the rumble endings.

It’s nice if you can speak to administrators first and ask them questions about their vision, and how they would like things to go. It isn’t always possible. Do they want to seat everyone, or start exactly at a given time? What are some of the medical conditions? Are there any in wheelchairs? (Frame drums or tambourines, shakers and bells seem to work well for them.) What is it they hope to see, achieve? Are there potentially any people that might need extra attention, or need the assistance of the staff? Some of these facilities only have one recreation director, and there is no extra staff available.

I research the mission statement; get an idea of who they are from their website always first thing, just like with any other group I work with. Sometimes that is all the information I’ve had to go on. It happens.

I try to brief the staff before the start about them intervening. I ask them to let me do the crowd control. Do please join in as yourself and please don't try to show anyone how to do it, or what to do with it. I get this sometimes, with staff who mean well. But please don’t. The reason is, they sometimes get in there and want to demonstrate to a person how to do this or that. That’s not good. It embarrasses them, or worse.

At one special needs group gig, I didn’t know anybody there, and had no access to talk to the staff beforehand. All of a sudden people are arriving in droves. Parents, family, and patients all mixed in together. To be honest, a few people I could recognize had certain conditions, but I really had no idea who was a patient, and who were family members? What should I do with this one? So I had to toss my list right out, and improvise. Sometimes that is the most fun - improvising. Just play or do whatever feels right at the time. Rarely do I end up doing what I planned the night before. And I try not being afraid to do something I might feel is risky. I wear a samba whistle just in case, and demonstrate it in the beginning, to imprint the meaning of it in case things go chaotic at a later part. But I usually don’t need it. (Unless I forget to bring it of course.)

The drum circle went great and everyone loved it. The patients got to interact with their family members, and do something fun and positive together. This is pretty rare for some families with special needs family members. Later the staff told me they had three patients that have never even left the housing building before, for any activities. Period. The staff said they watched them looking out the window for awhile and saw everyone else drumming and having a good ol’ time, and came out and joined in. They told me how remarkable that was. That feels pretty good, that the drum circle coaxed them to come out and play.

It’s been my experience these types of groups become more involved and want to participate, when the drum rhythm changes their perceptions enough that they pay more attention to what is going on, and they even want more.

At another special needs gig, the patients and the staff got a kick out of it. They were stunned that I managed to get everyone to participate without even saying anything, other than, “ 1-2-3-Lets Play!” When I booked the job, the staff again said to me, only a few of our people will want to do this. I thought, ok this has happened before. Same deal, they all participated because it was fun. It was something a little bit different than group bowling. The director wrote me afterward, that since the drumming program, there has been a tremendous benefit from it. The drum circle gave them a new outlet that they never had before. It gets them thinking, experimenting, and making music, which is great! Now they have a regular weekly drumming program.

Most of the mission statements seem to be something like to integrate people back into society. A drum circle is the perfect vehicle for that. After we had worked together every couple of weeks for 6 months, one group of special needs adults all became comfortable drumming, and being around me. So I offered to the staff to bring them out to an indoor public venue, with a little more manageable open drum circle, that I was hosting.

It was better than I could have imagined. They just blended in beautifully, and few even knew they were special needs patients. All they want to do is have fun, and not be treated or feel treated “special”. They just want to be treated like one of the guys. Just one of the group. Not special. The staff told me that their only recreational outings were always things like bowling, and that they would always go with only other special needs patients in a “closed to the public” setting. So the drum circle was perfect. I’ve been bringing this group to open community functions to drum for a long time, and both the staff and I have seen remarkable improvements in all kinds of areas. Here they are, musically, socially, physically, interacting with the public.

The guiding of this particular special needs group in our community led to a two hour performance on a big stage in front of 100's of people, where they were wildly applauded, appreciated, and sounded great. It was a proud moment for them, and for me. I believe that real personal growth comes from the inner expression of each individual, and their self discovery. And the real beauty with hand drumming is that with almost all special needs conditions, is the repetition of the rhythms. We do them over and over, so if they get lost, or feel lost, that safety net of the foundational beat is there for them to rely on, or fall back on if they need it. Even if they live five, or ten seconds in the past, they do eventually pick it up, or find it, and sound great. The repetition is what does it. It is such a feeling of accomplishment to witness this in so many people.

Many of you already know this, but there is something called entrainment (not entertainment) that can happen to one individual or to an entire group. This occurs when the brain synchronizes to an external stimulus, such as the drum beat. This can be very therapeutic and, while it can happen to anyone or any group, it has a much more significant impact on those with special needs.

A few different medical doctors have explained to me that with most conditions, like Down Syndrome patients for example, they do indeed live a few seconds, to a few minutes in the past. So I just need to allow time for them to catch up. Imagine if you lived a few seconds in the past, and just couldn’t process information that quickly. You need to talk slowly and clearly in short sentences. Start rhythms out nice and slow and hold them there until everyone has it locked in.

Sometimes I run into a person that simply can’t hold still. They seem to need to bang, or fidget constantly. It’s a challenge keeping them focused. Until they experience some sort of entrainment. For purposes of this post, a definition of entrainment is basically when the person’s brainwaves get into a pattern of synchronization with an external beat. This helps the brain synchronize internally as well. It can be very therapeutic. A staff member explained this to me. Getting them to that point of entrainment is most of my goal. Once they are in there, I can almost just sit on the side and jam with them. It almost always takes 5 or 10 minutes to do it. And sometimes it feels like it was an hour. But it was only 5 minutes.

Hula hoops work great with some groups, or a ribbon or scarf so they can get in the center if they want to and wave it around in the breeze as they move or dance around to the beat. You can try giving away little 99 cent store goodies to entice people to hoop in the center for two minutes. It works every time. Just ask them to be mindful of the people around them. I like to keep the center of the drum circle as big as I can without hurting the musical connection from one side to the other.

Laying out the 2 towels in the center so they can feel the beat of the drum rhythms, way into their bodies works great. I don’t need to tell people about the healing power of the drum when they try that. They can feel it in their bones. It’s very powerful. Try it for yourself if you never have. Lie down on your back in the center of a drum circle and then close your eyes for one minute while everyone is playing a rhythm.

Both are great ideas for almost any drum circle group, and I use them both all the time.

There are so many different developmental disabilities; I can’t get too much into it. That’s why the input from the staff members is so useful. I have no medical degrees, and I’m not a healer, (although sometimes it happens by default.) I’m not there to treat them. I’m just there to help them have a little fun. Sometimes I have no idea who has what condition. That’s just the way it is. I always learn something new when working with these groups. And just like that, I become a healer by default. They teach me things I never dreamed of, it never ceases to amaze me.

I had to experiment some with ideas, ask the advice of staff, doctors, and others. Here’s some of what I’ve found out and learned. Again, I try to treat them like normal people. The worst thing to do is treat them or talk to them like they are handicapped. Would you like that? I wouldn’t. The staff usually tells me if there are any concerns to be aware of. I may need to enunciate a bit more, talk a little clearer and slower but that’s about it.

Many of them are very sensitive to pressure. I encourage them to join in when they feel comfortable. That way they can join in with no pressure, on their own. I do have to do a bit more leading and starting out the rhythms. The support beat thing. The comfort of the bottom beat is there for them.

Their attention span, and loud noise are an issue. I deal with this by keeping the volume lower, and by giving them lots of choices of percussion instruments to play. I lay them down right next to them, or on the floor in front of them. Just a pile of goodies to play, and experiment with. They usually end up liking one of them. Most of them don't want you pushing an instrument in their face, to get them to play this, or that particular one. I just smile and with an offering facial expression, lay it down near them. If they like it and want it, they will pick it up when the drum beat gets going. I just need to keep in mind of the volume.

I see shy people become less shy. I see people who play it safe, begin to take risks. I see people who have nothing else in common, becoming deeply connected with one another on a non-verbal level. I know there is something very good going on in these drum circles.

Here are a few ideas and thoughts, on a couple of particular conditions. Again, I’m a musician, not a medical expert. Most of this is from my experiences, and/or the staff advising me over the years.

Attention Deficit Disorder

With attention deficit disorder I usually just put a variety of percussion items by them so they can choose and try out all different kinds of things to keep them busy and occupied. I just give them lots of choices and let them pick. It almost always works, it just creates more of a mess to clean up. Who cares? Part of the job. Keep the volume down.

Cerebral Palsy

Many I see are in wheel chairs, but, other than that, they can function just fine. I have a couple of good friends with this condition so I know a little bit about it from experience drumming with them. They told me the drums they preferred. It was Bongos, because the weak hand doesn’t have to work so hard, they can just tap with it, until they strengthen it up a little more. They can set them on their lap, or a chair or table in front of them. It’s important to remember that most of these people with many of these various conditions, are highly intelligent, still very functional, and can be very musical human beings. The ones I have become closer friends with tell me they just want to be treated as regular people. When that happens, it’s easier for them to open up socially, even in a in a public setting, such as a public drum circle. Sometimes it takes a few weeks, don’t expect to see vast improvement in one drum circle. Overcoming the stigma from the general public is usually the problem, not them.

The lighter weight polymer shell Djembes and Bongos with synthetic heads work the best. Anything like those big 15 pound Bongos get a bit heavy just sitting on your legs for long periods of time. Even for one friend I have who has no feeling in his legs. He has somewhat limited movement in one hand. But he loves playing the Bongos, and plays them quite well now. I’m so impressed how he has improved in motor function, finger movements, and musically. He went from just sort of flopping his hands down to keeping good time, and playing entire rhythms perfectly in about six months. Frame drums and tambourines work real well for some people also. Especially if they have only the ability to just tap their fingers a little. They can lay it on their lap, and tap away, and be an important part of the group. Just part of the gang.

Down Syndrome

I’m no expert, and I have no medical degree as a music therapist, but I have worked with a lot of people with it before. Apparently the distinction is, drumming therapy - you need a degree to do that. Therapeutic drumming - no degree needed. I've seen a few music therapists who didn’t seem to establish a good rapport with people and they weren’t very empathetic or intuitive with their patients. On the other hand, I have also seen some beginner drum circle facilitators who are born with the gift of intuition and people skills, who leave a session with each individual feeling a sense of real accomplishment.

Usually with Down Syndrome they are open and enthusiastic. That's all you really need. It doesn't hurt to have a few of the percussion toys around them, so they have some choices. While some of them will be able to follow a simple rhythm, several will not be able to. They want to do their "own thing", and that's okay too. But with children, volume is a serious consideration, before the short attention span. Loud noise can be a real problem, so you have to constantly monitor the volume.

Many drum circles begin with Total Chaos. Man, it happens almost every time at the beginning. It kind of freaked me out, early on, when I started working with special needs groups. I just let it go for 5 minutes if I feel the need to. Then it always comes together. It takes a while to have the confidence that it will happen, because it feels like it never will unless I intervene. But I rarely ever need to. The group feels like they corrected it. And guess what? They did. I don't try to correct or modify what they are doing even if it is a train wreck. I had to learn to trust myself it would come together. I feel it was a success if all of them are actively participating in some kind of drumming. No matter how chaotic, offbeat, or bad it may seem to me. And because they corrected it themselves, it has a much strong empowerment effect.

Sometimes it may seem they may not appear to be enjoying it. You might think you perceive it in someone’s face. Most always all of them are, especially if they're doing it of their own choice. Some like to just sit and take it all in for a little while. Just play on.

I often tell them how great they sound and how well they are doing with lots of smiles. I just don’t over do it so it becomes obvious or soupy. These groups thrive on approval, appreciation, accomplishment, and acceptance. I try to give them lots of positive acknowledgement.

If I get a particular person that is so disruptive to the rest of the group, and I have no staff to assist me. I always bring along a small paint set, and offer to let them paint the music for us.

A craft project of some sort is another good idea. I bring a few of those big vitamin bottles and ask them make shakers for me. “I need a couple of shakers made, can you help me make one and decorate it up?” It worked great. Now, the staff saves the empty bottles for me when I come to drum with them. I bring some shaker materials, like popcorn, beads, and macaroni. Colorful things work the best. One time a guy spent the entire hour and a half sorting just the right colors to put in the shaker. It left the group to make some music, yet he was still involved. I had colored tape for him to decorate it up with. When it was done he was so proud of it, he played along with us near the end. Be sure to ask the staff if they can keep it.

Here’s another idea, speaking of painting art. Have them do a painting, or create a mural, painting the music. Almost a music appreciation thing, or a "how does music make me feel" painting. I get a big pad of paper, like you might put on an artist’s easel. I always bring a few big sheets of paper, sometimes a big artist’s pad. We try using different mediums, markers, water colors, crayons, or pastels.

They can either paint their own, or do a group painting. Sometimes I will ask who wants to drum, and who wants to paint the music. Mostly I will get half the group painting a mural, and the other half playing the drums. Then switch it up later, so they all get a turn at both the drumming, and the mural. I ask them to express their feelings in art as they listen to the music. Some get displayed in the facilities to this day.

Sometimes when working with special needs kids, many are scared of noise, I learned from a staff member to get them in there early, and let them explore the drums a little on their own. (And the percussion items.) In many cases, when they're in charge of the noise, they're happy to make it loud. I sometimes have a dancing rhythm going when they enter the room, and do the egg shaker on each chair thing.

We play a rhythm together and they can move around or whatever. It gives them a sense of making music before the drumming starts. For the first time with a group, I don't expect much of a groove, but be ready for it, because it happens if you anchor it for them with a nice support rhythm. It is important to have stuff that can be played with one hand. I have this basket of fruit shaped shakers I use a lot with them. Expect to spend a little time finding the right instrument for each person, and let them choose something different later on. Make it fun, ands interesting for them.

Some have physical limitations, so I bring buffalo drums, frame drums, drums they can lay on their laps and play. I try to avoid things played with sticks or mallets, because some will just start bashing them wildly, disrupting the rhythm of everyone else, and possibly put one through a drum head or someone else’s head. I keep them stashed away and use them sparingly. I bring a few Djembe stands or taller drums to accommodate those who might need one. Even those who you may think can only bash away, will get the repetition of a drum rhythm, and catch on eventually. It’s a good idea to have some soft beaters for those who can't use their hands very well.

Make sure that your kit is safe. No sharp edge drums like on some Darbukas etc. Think of your players as vulnerable children with the size and power of adults. Avoid taking anything fragile. The first drum circle with a special needs group can be very challenging. Expect some total chaos to happen. It gets a lot easier the second time. In my experience some of these people have problems judging how hard to strike a body drum, and could hurt their hands by playing it too hard. Show them a few pointers on good hand technique after the warm up jam.

As I said, loud noise is my biggest concern. The healthy noise limit is about 85 decibels (Db.) I think that is the legal safety limit as well. That’s what the cop said when he broke up a public drum circle in a park. (This wasn’t a special needs group.) He had his little decibel meter, and showed me the reading on it. We were up in the 120 Db. range. The neighbors called them on us. Actually, he was pretty cool about it. As a radio operator I’m familiar with decibels of gain, etc. but I researched this a little, and here’s what I found. A normal conversation is about 60 Db, up to the threshold of discomfort, that is the 120 Db range.

A bunch of people drumming together indoors can easily reach into the 115 to 120 Db range. About 150 Db, is the pain threshold. You can get a decibel meter relatively inexpensively. I think Maplin makes one. Keeping the volume level down takes some skill, and experience to pull it off. But it is possible. And this is even more important when dealing with special needs people.

Create a volume down signal, or just start to play your drum quieter, more often than not, they will be there right with you. It works just great. And as an added bonus, the participants get to hear each other. But if you use it too much it can have a negative effect. It’s something to keep in mind, some of the beginners get way into it, and are often getting their issues out.

Here’s some advice from a friend of mine. When he does big gigs with 100 people, the Db level can be huge. So he brings enough cheap earplugs to go around. As far as I know, if you warn them, and offer protection, you've done your job. I keep a few dozen of them in my gig bag.

A few final thoughts. This new atmosphere of spontaneous drumming can be overwhelming to some people. The one thing I don’t want to do is have people feel threatened, scared, overwhelmed, or lost. Trying to do complicated rhythms can do that. Lots of positive comments from you during the drum circle helps a lot. “Hey, we sounded great on that one didn’t we?” Smile a lot, thumbs up! If they are there, they are participating. Starting some spontaneous applause after a jam goes a long way.

A few things I bring besides my earplugs in my gig bag, are some padded tape, first aid, hand creams, anti-bacterial wipes, etc. for anyone who just might ask. It’s also a good idea to familiarize yourself with epilepsy, in case someone has a seizure. It’s the staff’s responsibility, but you should know what’s going on. It’s nice if you can speak with the staff beforehand about any possible issues, but as I mentioned, that’s not always possible. So I need to be ready for anything.

Remember to try and speak with the staff afterwards for some feedback. And at the next time you are there. (Hopefully) Or, leave them a feedback form to fill out, with a self addressed envelope and a stamp on it. I gathered a lot of useful information with a simple feedback form. The medical staff knows a lot more than I do about medical conditions.

Remember there are heavy restrictions on photography in most cases, so be sure to ask if you want to take photos.

If the group takes a break for lemonade or something, make sure they don’t come back to the drumming area before they are all finished. Goatskin drum heads still make terrible coasters.

Ultimately, I just let people play. We drum up some fun. Let your personality out, and with your calm and reassuring manner, watch the volume, and they will quickly enjoy playing together, and connecting with you.

I hope some of this is helpful to you, and it gives you a few ideas working with special needs individuals and groups – young or adult. Please keep in mind that these are just my opinions, and based on my experiences. If you would like to read some more about my approach to drum circles, please consider picking up my book, “A Practical Guide To Hand Drumming And Drum Circles” It’s 300 pages, and only $8 on Amazon Kindle or the Barnes & Noble Nook. Physical copies are $18 available at my website, or at Amazon. If you choose to purchase it, thanks in advance for helping an independent musician. The funds help me with drum repairs, and doing work in our community. It helps out the most, if you purchase direct from me.

Shannon

Drumcircles.net

Copyright © Shannon Ratigan All Rights Reserved.

Cleaning & Sanitizing Drums For Facilitated Drum Circles – It’s Flu Season

I work a lot with individuals, and groups that are especially vulnerable to common colds, as well as other types of viruses, so I started phasing out most of my wood body drums with goatskin heads a few years ago. The primary reason was being able to sanitize them easier. Secondary was the repairs, and the heavier weight of them.

Believe me, I would rather not have to use synthetic drums that have ping and twang sound to me when they are played. I much prefer the warmer, richer tones of natural skin drum heads. The sound is more authentic, and my hands are less sore after long sessions of playing. But when I’m facilitating drum circles for kids, seniors, or special needs groups, I need to think about their health, so I clean and sanitize them after each use.

Please keep in mind, that everything I say here is just my opinion, based on years of my own experience and talking with other drummers. I’m not a medical expert, but I have asked various medical professionals about this, and, generally speaking, they say unless the surface is sanitized, a virus can survive on almost any surface (like a drum head or on the sides) for up to 48 hours. And that bacteria can live on a surface for up to 12 hours if it has food to live on. If the drums are stored unclean in a warm area, about 12 hours longer. Also, if the people playing just ate something and some residue is still on their hands, (something sticky, like candy or juice) that provides food for it to live. Suddenly, I’m not in the mood for lunch.

Since I work with many vulnerable groups, I switched from goatskin and wood body djembes to drums that are easier for me to sanitize.

All my drum circle facilitating “kit” drums are synthetic drums like Remo djembes, and aluminum doumbeks. An aluminum doumbek with a synthetic head is a lot easier to clean, and they weigh less to carry. When you are schlepping 40 drums by yourself, going from 18 pounds per drum to 8, it makes a big difference. The energy I save from carrying them can go towards ensuring the group has a good time. For me, most of the work is getting my drums and gear to the space.

When I had a mixture of wood and synthetic drums, people seem to gravitate to the synthetic drums anyway because they are comfortable to play, colorful, and fun looking. Not to mention more durable. The heads are $10 to replace, and it's less weight for them to play. I use a lot of synthetic frame drums, and tambourines also, as well as other smaller percussion that can be easily cleaned after each drum circle or interactive drumming session.

Sometimes I have multiple groups of kids coming in on the hour. I ask for 10 minutes between sessions so I have just enough time to use sanitizing wipes and clean up all the equipment.

Some precautions I take during the drum circle are: I usually have 4 or 5 of those alcohol based hand sanitizer pump bottles around the perimeter of the circle and also by the exits, with signs posted nearby reminding everyone to use them. Another good idea is to just ask everyone to go wash their hands at break time, (it cools down the hands, and gives you more grab on the drum head anyway) and also to wash them after the session is over, I usually wash up along with them. It’s a conga line to the can.

My style of facilitating a drum circle is that I just focus on music making. I don’t go for the drumming games or activities. People both young and old seem to prefer it more. So, for that, and the sanitary reasons, during circles I don't encourage “the pass the drum thing”, or swapping of instruments. Especially nowadays with everyone more aware of germs, and catching the flu. I do bring lots of extra percussion items for people to play so they can choose something else if they want. Common sense is to wash your hands, and not pass drums around with people worried about catching something.

The next day I usually clean my entire kit up to prepare for the next circle, unless it is 48 hours later. The way work has slowed, it’s usually 48 hours.

Back when I had all wood body drums with natural skin drum heads, I still did a few things to clean them, but it wasn’t nearly as effective. Cleaning a rough texture wood surface is almost impossible. Many years ago a conga player taught me to clean my cowhide drum heads with a little alcohol on a piece of cloth. Just damp them slightly enough to remove the hand grime. I noticed that the drums sound a little better after doing it. I always thought the build up of hand grease made the drums sound better…I was wrong. To me, it improved it.

Now I use the Evans synthetic conga head on my LP’s and they clean up very easily. I love those drum heads by the way. And I’m pretty old school when it comes to my congas.

I played with a djembe master many years ago, and he said what he does on his goat skin heads is use a soft cloth with a little alcohol on it. Lightly scrub it on, and scrub it off. He also periodically uses a #200 sandpaper, and sands it very lightly. Apparently this opens the pores and allows the drum to ring better, and then does a cleaning after that. Obviously, you have to be very careful when sanding a drum head. Do it light, and go easy on the bearing edges. I wouldn’t do it more than once or twice during the life of a drum head.

The point is to reduce the chances of bacteria, and by removing any surface material, you remove what bacteria need to live on. It’s about all you can do with goatskin heads. I’ve heard other say that they use acetone to do this. I don’t know about that one, using nail polish remover kind of freaks me out, but apparently it works. Y0u just need to allow more time for it to evaporate.

I’ve heard other musicians say they just use soapy water to clean djembe heads. I’ve never tried that one, so I can’t say. And, you have to rub the soap and water into the surface for at least 15 seconds or it does not get rid of any “bugs” on the surface. I would think that a soapy wash cloth would be the way to go, followed by a gentle rinsing. With s different cloth.

So basically what I’m saying is, I prefer synthetic drums for working with groups. They are less prone to damage, cost less to repair, they are easier for me to move, and easier to clean. I go through a lot of sanitizing wipes, especially with back to back gigs. I want to reduce the chances of anyone getting even a cold at one of my drum circles as much as possible.

Once again, It is my understanding that a virus can survive on almost any surface for up to 48 hours, unless it is sanitized, so I use that as a general rule of thumb.

If you have any other tips, or ideas on this please share them.

Stay safe, and help others to stay safe,

Shannon

drumcircles.net

Please check out my 300 page book, A Practical Guide To Hand Drumming And Drum Circles". On Amazon Kindle or Barnes & Noble Nook for $8.

Drum Circles in Churches and at Spiritual Gatherings

I facilitate drum circles in churches, and spiritual gatherings pretty often. Sometimes they are outdoors, sometimes in the church, or in the Rec hall, or parish hall after a Sunday service, or for a special event they are having. Some drum circles in churches focus on spirituality; some others focus more on drumming as a social activity. Many groups like to bring in a variety of activities on a monthly basis. A drum circle can be one of many. I work with everything from New Age, to Baptist, Catholic, and Episcopal churches, as well as groups of pastors. I’m open to most any group that wants to drum. These are just my opinions, and I hope to help anyone that is considering doing this kind of a drum circle.

I feel that if I am bringing drumming to someone or some group, it is a good thing, and it’s good for them. No matter who they are. Or what path they are from, or what they may represent. The same goes for business, and corporate drum circles.

I hardly ever get asked what my faith or belief is, but I do get asked that sometimes. I say the truth, this: “I am respectful and understating of all faiths. This is what I do for a living, and I have to be respectful of all paths, and faiths.” Most of the time they understand, and it doesn’t go beyond that. The caterer at church functions hardly ever gets grilled, so neither should I. I’m just there to bring drumming, and help guide them on a spiritual drumming experience, if that is what they wish to have.

I think we all have certain boundaries on who we want to work for. I have mine. And if working with a particular group feels uncomfortable to you, well, you make your own decisions on who you want to drum with. Whether you volunteer your time, or are hired to do this, it can be very satisfying work. It doesn’t pay very well monetarily, but it does inside your heart. You are helping to facilitate a spiritual drum circle experience, and helping to bring some joy into the world. Even if it only reaches one person. More and more groups are realizing the significance of spiritual drum circles. It’s not just for visionaries anymore. One pastor I worked for was criticized for doing this, until he invited the other pastors to attend one. They changed their mind once they experienced the power of a drum circle and how meaningful it was to the congregation.

When I’m approached to host a drum circle at a spiritual gathering, or church, I usually don’t have a problem with it. Drum circles bring people from all paths together, and the world would be a better place if they sat down and drummed about it. Communicating musically transcends talking, and there would be a lot less fighting.

When I am contacted for the first time about a spiritual drum circle, I always try to have a face to face short meeting with them, but it is not always possible. I want to better understand their vision of the drum circle, and exactly what they would like from it, and from me. I have done this communication via email only before, but I will try to have a meeting if I can. I recall one time it was for a conference that was a convention of pastors that were assembling from around the country, it wasn’t possible to have a meeting, as even the organizer lived 3000 miles away.

The pastor at one particular church that I’ve done multiple drum circles for once said, “A drum circle is truly a spiritual experience.” and “it will truly bless your life and the lives of your people.” Well said.

It seems rather odd to me that I started on this drumming path for reasons that had to do with my needs. I started drumming because I was a hyperactive child, and then I joined the school band. Later on, facilitating drum circles turned into a hobby, and then into a calling. People began telling me that I was helping them reach new levels of spirituality. I about fell over when one of the regulars at a weekly night club drum circle began calling me the group’s Shaman, a holy man on a quest to use the drums to help the world. That was hard for me to accept intellectually, but at times, I can feel the group, and myself, tuning into something much bigger and more important than I can even get my head around. So, while I can’t explain it, I can merely let go and try and accept it.

Often with spiritual drum circles, some of the people will already have a drum of their own, and will come parading into the circle with it. That always makes me smile when I see that.

Many times I’ve needed to research a particular church just because I wasn’t familiar with their uniqueness. I should at least have some understanding of them and what their beliefs are before I go in there and bring a drum circle to them. What behavior from me might they expect, what are some of their practices, customs? Real no - no’s? I usually do a little homework here. It’s the polite and professional thing to do. Would they like to begin with a prayer? Most of them do, but I always ask. Some also want to make announcements prior to any drumming. Knowing in advance if there will be children in attendance is obviously very important. If it’s out in a public place, are they okay with people happening by and joining in? Most of them are.

Be sure to make arrangements for them to have chairs set up, and mention that everyone will need to remove rings and jewelry prior to playing a drum. They will likely have a bulletin, flyer, or email they send out announcing the event. Ask them to mention that. Sometimes they will be serving refreshments or even a meal. Of course we would prefer them served after the drumming, and I do try to suggest that, but sometimes it’s unavoidable and I have to roll with it. There may be a guest speaker before, then the meal, then the drumming. If it’s what they want, okay then.

Usually it’s the pastor, or organizer is the one I ask questions like this. Sometimes the leader makes the decision before we start. Often, I can only ask them when I meet them just before the drum circle starts, and I’m still schlepping in my drums. They usually have somebody in the group whom this normally falls to. Whatever group it is, I just try to be respectful of it. Most of the time, it’s everyone standing and a prayer is said, and away we go. 1 - 2 - Bang the drum. I go with the vibe I feel there, as to how I start. Sometimes there are mixed age kids with the group. It can be more fun, or more difficult. For the most part, I tend to keep the program a bit more mellow with earth, healing, and slower R&B style rhythms with a good downbeat that they can feel, but I always include a few key things if I can.

As far as the rhythms we play after the beginning, I almost always going with the feeling I get from the group. The collective energy can guide me, if I let it. My instincts on it are usually pretty close to right. The good ol’ default drum circle rhythm you hear at most freestyle drum circles makes a good ice breaker - warm up. “pa_Go-Do_ta… pa_Go-Do_ta”, etc. Or, the Heartbeat is a good one to get right into. “Doum Doum tek-ka-tek-ka Doum Doum”. Or keep it real simple with Go_Do_pa-ta-pa _ (2 measures in 4/4 time. Bass bass, tone tone tone rest, and repeat). Use any rhythm that is basic, and easy to get the group groove going.

Many people have never touched a drum before, and the sooner I can get them to just playing and making music, the sooner their uneasiness or nerves will melt away. Less talking and more music making is my approach. I vocalize the first few bars and start playing the rhythm at about one third the normal tempo so people can latch onto it. This way they don’t feel a sense of catching up or worse, panic. Then I can ease up the tempo if it feels right for them. The one thing I do say before we start playing is, “Play however you want…whatever feels natural…just follow your heart, and THE BEAT.” It usually gets a laugh, and that sets the right tone that this is going to be fun and not overly controlled.

I just want to get them playing and creating as quickly as possible. I let people know right away that the support rhythm I’m playing is just a starting point for them, they don’t have to try and play that exact thing. Just add your unique voice to the group song and lets all take it wherever we want, together. After we play a few rhythms I touch on hand technique, and playing too loud. I don’t want anyone to get injured, or be uncomfortable. If you can’t hear the person playing across from you, it’s too loud.

I have a slightly different set list of rhythms for a spiritual circle than I would use for other groups. I will usually change it as we go along, but having it handy gives me more confidence. Most of the time, it is all slow 4/4 rhythms with one or two up tempo ones to keep some variety in there mid way into the set. If it’s all slow tempo rhythms it doesn’t have any ebb and flow. I mix in a 6/8 mother rhythm somewhere in there as well. I try to keep it spontaneous and fun, and I guide things from the side – not the center. Most of the time, I’m just there to provide the drums, start a variety rhythms, bring them to an end so they don’t go on for too long, and the rest just seems to fall into place. Imagine that.

After a rhythm ends, a nice rumble will get them all excited and clapping. I think it’s important to take a few moments after a rhythm ends to let things “breathe” a little. Then start out a new one. I like to come up with different endings for rhythms so it doesn’t get too routine. A fade out, count down, and so forth.

As with some of the other groups I work with, about half way through the drum circle, I like to use the “two beach towels in the center of the drum circle thing”, and ask if two people would like to lay on them for a minute while we are playing. On their back, with their arms to the side, and their eyes closed. I give everyone a chance to feel the drum beat with their eyes closed if they want to. It’s spiritually powerful, done to a good slow tempo rhythm with a heavy downbeat.

If there is an allotted time, I like to leave them wanting more. So when I say this is our last rhythm, and we play it – after it is over I ask the group, “Should we play just one more?” The answer is almost always a resounding YES! And we do one more jam out for fun. It ends things on a high note. Or, you can go the other way, and make it more soft and meaningful. It really depends on the group dynamic that was created. You can feel the vibe of which way it should go by this time.

At the end of a spiritual group drum circle, I almost always do the “Let them feel the healing energy of the drum, in their bodies thing also”. This is the one where they all set the drums on the ground, stand in the circle, and hold their palms open and outstretched, opposite to each other, and palms facing each other, directly above each other’s palms, about 6 inches apart. I then ask them to slowly compress their hands to the other person without actually touching them. The oh’s and ah’s as they feel the healing energy compress, or their chi, the mojo in their bodies. Then I ask them to slowly compress it back and forth. Then to turn their hands into themselves, to let it reach inward, into their bodies. Many of them are feeling this drum energy for the very first time. It is very powerful.

That’s why I try to get everyone to drum, and not just play a shaker, or tambourine for at least a half hour. I want to get that drumming energy flowing in their bodies. All you have to do then is show it to them at the end of the circle. It can bring up very deep feelings in people.

For the most part, everyone just wants to drum and have a healing spiritual experience. I think it’s doing some good in the world.

There are quite a few references in the Bible to using song and dance as a means of worship. French African (Congolese) worship services use drumming and singing in praise music. Lots of people use drumming as an active way of meditation, so it's not really a huge leap to make that religious drumming connection.

Do drum circles in church really need to be much different from other drum circles that offer creative outlets, bonding, support, interpersonal interaction, etc? Not that much really, just a little more mellow, and less volume.

For the most part, I avoid drum circle games and activities, and just focus on in the moment music making. I do bring along a few hula hoops and put them off to the side where everyone can see them. Once things get going someone usually grabs one and starts hooping. If they are outside the circle I invite them in the center. We all know that drumming to some sort of movement elevates the fun level and gives something to connect the rhythm to. I like to have a wide open circle of at least 15 feet so there’s room for people to get in there and express themselves. That’s part of what this is about. One idea when working with just kids is drumming to Sunday school songs: "If you're happy and you know it, bang your drum" boom boom.” And so on.

My favorite spiritual drum circle was at a Gospel church; I was later invited to attend their services, was welcomed like family, and got to play in the church band. It was cool. These were some heavy musicians, one of them toured with Herbie Hancock. What an honor to be welcomed there and play in the band. The singers in the choir were amazing talents also. The band would rumble here and there as the minister spoke. Now that’s a fun way to rumble. Rumbling to the intensity of places in his sermon.

Almost always, a drum circle is after the service, but I have done it as a part of a church service before. Here’s an example outline that was about an hour and a half:

1. GATHER IN THE LORD’S NAME
 Drumming: a welcoming/gathering rhythm; Shannon introduces newcomers to the circle and explains the rhythm(s).
 Brief spoken prayer at the end (Pastor)

2. SCRIPTURE: LUKE 19:29-40
 Entry into Jerusalem (Palm Sunday) (Lector)
 Verse 36 (“As he rode along. . . ‘”) begin softly drumming, getting very gradually louder and faster. (Shannon)
 At end of verse 40 (“He answered, "I tell you, if these were silent, the stones would shout out. . .") we drum as if we were the stones shouting out glory to God. More than one rhythm is fine. (Shannon)

3. Prayers of the People
 Earth rhythm. (Shannon)
 Series of “bidding” prayers: Request for prayer on various topics (prayers for the church, the sick, the dead, troubled spots, thanksgivings). Response is a few moments of drumming, then softer for the next bidding prayer. (Lector)

4. Exchange the Peace
 Invite everyone to play a simple rhythm on the drum of the person to the right of them, then to the left. (Shannon)

5. Take Eucharist
 Pastor goes to table in center of drum circle and does an extemporaneous Eucharistic prayer.
 Shannon alone accompanies the words with drum
 This will be a time of words/pauses (with drum)/words/(pauses (with drum) – no sense of hurry. (Shannon and Pastor work together)

6. Lord’s Prayer
 No drumming while this is recited. (Pastor + everyone)

7. Break and Share Bread and Wine
 Simple, soft rhythm of peace that people can leave off while receiving bread and wine, then easily pick back up when finished. Depending on the number of people, this will take 5+ minutes. There should be a few moments of drumming while Pastor tidies up the leftover elements. (Shannon)

8. Thanksgiving!
 Another time of big, enthusiastic drumming! This and the “stones” drumming (end of #2) should be the lengthiest and most spirited times of drumming. More than one rhythm is fine. (Shannon)

9. Blessing
 Pastor blesses and dismisses everyone

This was held outside in a park, (on church property), and it was a very powerful experience. Obviously we had a prior meeting, as this outline had to be planned in advance. It was what they wanted, and while I was a little nervous about it, everything went beautifully.

So to sum up, I don’t refer to myself as Catholic, Jewish, Hindu, Pagan or any other label. I don’t completely subscribe to any one particular religious group or ideal. Words can be a credible barrier to the understanding of human spirituality. I prefer to take from each religion and culture what I feel kindred to. And I do consider myself to be a spiritual person. Drumming is my outlet, my sanctity, where I feel the most at home. As I mentioned, some drum circles in churches focus on spirituality; some others focus more on drumming as a social activity.

The main thing is, I try to get each person on a body drum, so they can feel the healing power of the drum in their bodies, and have a more spiritual drumming experience. I do bring a few big plastic bins of mixed percussion items to keep things interesting for the group, and to entice the shy ones to get involved. Once they see everyone is having a good time, and not really focusing on them, they usually move to a body drum. (Which is the main reason I bring small percussion items.) I don’t bring anything that can be played with a stick. It usually finds its way to a drum head. Not good. Sound shapes with plastic sticks are okay, but anything played with a wooden stick…nope. I do have a few guiro’s, woodblocks, and such, but the stick is attached to it with a one foot nylon string.

Much of the world's most powerful music is associated with religion and spirituality. Music down through the ages has been designed to take the listener to another place. Facilitating a church, or spiritual drum circle usually affects me very deeply also, even though my beliefs may differ from their particular ones. Drum circles bring us all together. The healing energy of the drum transcends all. And, somehow, it also brings us closer to our higher power, regardless of how we perceive that.

Shannon

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