Class # 12 - Jan 24

Variations

Learn a new variation or two, and combine them with previous variations.

Low Line 

Sing a rhythm, like this:

1   .   2   .   3   .   4   .

D   D   .   T   D   .   T   .
low low .   hi  low .   hi  .

Cycle through the following sequence:

1. play the rhythm
   
2. sing the rhythm (low hi)
   
3. sing the rhythm and play the lows
4. play the lows 

Repeat as above, but practice along with a metronome, at first a slow, then moderate, and finally a quick tempo.  

Calls

While playing a rhythm at a slow tempo, vocalize a one-syllable call on one (don't follow the call, just vocalize it). When that begins to feel automatic, practice with a new one-syllable call, then another. 

Switch to a moderate tempo and repeat the above sequence, and then repeat it at a fast tempo. 

Next, repeat all of the above sequences using two-syllable calls. Experiment with putting the first syllable on one, and the second syllable on two (or the and). In other words - make the call in time.

Next, repeat, vocalizing three-syllable calls, etc. 

Class # 11 - Jan 17

Malfuf 2/4
1...2...
D..T..T. (home version) [listen here]
D..C..C. (home variation, frame drum)
D.kT.kT. (a common variation) [listen here]
DkkTkkTk (another common variation) [listen here]


You can listen to this "in situ" (and play along). One nice tune is Stellamara's "Kereshme"[listen now: hifi | lofi] (the rhythm starts at around 2:20).

Homework

1. Play malfuf while "stepping" the 2-pulse with your feet (you can do this sitting in a chair). A drum machine or drum sequencer program can really help. 
   
   
2. Select another variation and learn it. Combine it with your first variation, and learn that. Prepare yourself to show others your variation in the flow of play through the call "match me." 
   
   
3. Work on technique. Try some visual approaches to practice to help you.
   

Optional Reading

3+3+2: The World’s Most Famous Rhythm Structure by Jerry Leake

This article demonstrates the prevalence of this rhythmic scheme throughout the world and history.

Class #10 - Jan 10

3-3-2 Variations

Michael introduced a specific variation on the 3-3-2 rhythmic structure

(on doumbek, replace C with T for now):

1 . . . 2 . . . 3 . . . 4 . . .

D.K.K.T.K.K.C.K.T.K.K.D.K.K.T.K.

You might also think of it this way:

1 . . . 2 . . .

D.K.K.T.K.K.C.K.-->
T.K.K.D.K.K.T.K. 

Change it up! Try different combinations (as per Class #8).

More Practice Suggestions

Keep working on your Ka technique, strength and endurance. These may help:

Joshua Levin on Basic Frame Drum - Seated
Alex Spurkel on Doumbek - Ka (Caa)
Vanquish Wimpy Kas in the Car

Homework

Work on your individual and combined Maqsum variations (see Class #9 Review), and come to class prepared to teach it to us.

Class #9 - Dec 6

Some Variations on Maqsum
 
    1...2...3...4...
a.  DkT...T.D...T...
b.  DkTk..T.D...T...
c.  D.Tk..T.D...T...
d.  D.Tkt.T.D...T...
e.  D.TktkT.D...T...
f.  D.Tk.kT.D...T...
g.  D.T.k.T.D...T...

h.  D.T.tkT.D...T...
i.  D.T..kT.D...T...
j.  D.T..kTkD...T...
k.  D.T...TkD...T...
l.  D.T...TkDk..T...
m.  D.T...T.Dk. T...
n.  D.T...T.Dkt T...
o.  D.T...T.DktkT...
p.  D.T...T.D.k.T...

q.  D.T...T.Dk.kT...
r.  D.T...T.D.tkT...
s.  D.T...T.D..kT...
t.  D.T...T.D..kTk..
u.  D.T...T.D...Tk..
v.  D.T...T.D...Tkt.
w.  D.T...T.D...Tktk

x.  D.T...T.D...T.k.
y.  D.T...T.D...Tk.k
z.  D.T...T.D...T.tk
aa. D.T...T.D...T..k

Homework

Learn your selected maqsum variations.
Combine your variations together, for example:

this  D.T...T.DktkT...
plus  D.Tk..T.D...T...
gets  D.Tk..T.DktkT...

Practice your combinations until they feel fairly natural. Prepare to teach one of the combinations in the next class.

Suggested Reading

Before you attend any of the workshops next weekend, read Getting the Most Mileage from a Master Class. 

Happy Practicing!

Making the Call

Making calls involves several skills, including speaking while playing, speaking with volume and annunciation, and timing. One way to practice is to focus on each of these in turn.

1. Speaking While Playing: Play a "home" version of rhythm you’re very comfortable with, at a moderate tempo. Read each of the calls out loud while you continue playing (don’t DO any of the calls at this point – just call out the words). Take a belly breath between each call. If your playing stumbles, just begin again, and make the same call until you can do so while keeping the rhythm going smoothly, taking a belly breath each time. When you make a call smoothly while playing, move on to the next call.
   
   
2. Speaking with volume and annunciation: Repeat the preceding exercise, and this time, focus on making the call distinctly, at a loud enough volume that a small group of other players could hear you above their drums. Again, don’t worry about following the direction of the call – just get the words out loud and clear.
   
   
3. Timing: Repeat the preceding exercise, and this time, make each call on the FIRST beat of the rhythm’s cycle.
   
   
4. Putting it together: Repeat steps 1-3, and this time, follow the instructions of the call. 

Happy practicing!

Increasing Stamina

Increasing your stamina can help you:

• play longer! (of course)
• sound good longer (as you fatigue, your technique will suffer)
• play stronger notes
• play faster

Warm up for a few minutes - I suggest a simple straight roll exercise (more details here).

1 . . . 2 . . . 3 . . . 4 . . . -->
T . . . K . . . T . . . K . . . -->
T . K . T . K . T . K . T . K . -->
T K T K T K T K T K T K T K T K -->
TKTKTKTKTKTKTKTKTKTKTKTKTKTKTKTK-->
T K T K T K T K T K T K T K T K -->
T . K . T . K . T . K . T . K . -->

Stretch your fingers, hands, wrists, arms, and shoulders gently.

Beginning at a moderate tempo, play a straight roll and gradually increase the tempo until you start to feel a little uncomfortable and your sound starts to suffer.

Jot down a note about the time, and turn on your metronome or drum machine to about that tempo you were just playing, then decrease the tempo by 5 bmp, and play the straight roll again.

TKTKTKTKTKTKTKTKTKTKTKTKTKTKTKTK-->
 

Although this exercise can help you improve your timing, the role of the metronome in this exercise is to help you maintain a playing speed that will work your endurance.

During this exercise, it's important to maintain good form and technique, because when you practice with good technique, you reinforce good technique, and you work the muscles that need working.

As you play, keep checking on the tension levels and breathing. Although your natural reaction to fatigue may be to tense up and hold your breath, this will only tire you faster and interfere with your technique. If you notice your breath gets shallow, relax and breathe deeper. If you notice your forearms tense, relax them.

Keep checking on your technique, too, so you're always practicing good form. Try to make the left and right strokes sound equally loud, if you can.

You will feel the muscles getting warm? Keep going. When you just can't maintain the tempo with decent technique, stop. 

Make a note about your tempo (maybe on a sticky note on your metronome or computer), and the time - how many minutes did you go?

Again, stretch gently.

Repeat this practice daily, or every other day at minimum. You should begin to see a gradual increase in both your tempo and the duration of time you can play nonstop.

Happy practicing!

Visual Approaches to Improving Technique

We all learn in different ways. You've probably heard some people tend to focus more on visual sensing and thinking when learning, while others tend to tune into auditory channels, or lean more heavily on movement based sensing and thinking. We actually use all of these modes when we learn, and we may rely more on one approach than another, depending on what we're learning.

Regardless of your preferred method, I recommend consciously exploring ways to practice that utilize these different modes to discover what each can offer you.

Today, let's talk about some visual approaches you can take to your technique practice.

Visual Observation of a Model

Watch a video of the technique(s) (see the list of links to Instructional Videos in the sidebar on the left). Concentrate on identifying every specific characteristic you can discern visually - you might even turn off the sound while watching. (Hint: if you download videos to your PC, you can use Windows Media Player to watch them at a slower speed, or on your iPhone, pause the video then tap and hold the fast forward button).

• At what angle is the drum held?
• Where does the non-dominant hand rest on top of the drum? If the face of the drum were a clock, at what hour does the hand rest? The fingers?
• At what angle does the arm, hand and fingers intersect the edge of the drum for the Dum? The Tek? The Ka? (The Cha?)
• What spacial relationships exist between the finger and the drum edge?
• Where exactly on the drum is each stroke placed? What does that look like?
• How do the fingers move after they strike the drum?
• Are the fingers straight? Cupped? Fingers together or apart?
  
• Where and how does the arm, elbow, wrist, hand, or fingers bend or move?
• Where do you see tension? Where do you see relaxation?
• What stays relatively still? What has the greatest motion?

Visualizing the Dum, Tek, and Ka (and Cha)

With your eyes closed, visualize a Dum as you saw it in the video, but in slow motion. Picture what your Dum would look like in slow motion from another person's perspective, then visualize it from your perspective.  

If something in your imagining isn't in clear focus, go back and watch the video again, noticing specifically the details you need to make your visualization crystal clear.

Repeat this for the Tek and Ka (and Cha)

Getting Visual Feedback

Set up a mirror so that you can see your drum and hands clearly from the outsider perspective. 

Play your Dum and really look at it from both your perspective and in the mirror.

• Does it look like the model in the video? In what ways does it look the different? In what ways does it look the same?
• What do the angles look like? The angle of your arm, hand or fingers?
• Where and how do you bend or rotate?
• Do you hold the relatively still parts relatively still?
• Do your fingers look like the fingers in the video?

Keep tweaking until your stroke looks like the stroke in the video.

When you're satisfied with the Dum, move on to the Tek and Ka (and Cha).

Many thanks to Philip Johnston and his chapter on visualization in his book Practiceopedia for some of the techniques and inspiration for this post.

Happy practicing!

-- Tara Severns

Learning a New Rhythm or Variation

Speak the Notation: Joshua recommends tapping a slow, even pulse while you point to each period in time in represented by the notation. Speak each drum syllable as you point to it, leaving a rest (silence) as you point to each dot or empty cell (p 111).

Speak and Step: Set your metronome to 60 bpm, step from side to side on the pulse, and speak the rhythm. When you can speak it flawlessly, on time, five times in a row, you’re finished with this part, and can move on.

Find the Spots on your Drum: Turn off the metronome, pick up your drum, and play the rhythm (you may find it helpful to continue to speak the rhythm as you play). At first, go as slow as you need to, and don’t worry about perfect timing. This exercise is about your hands learning to move between left and right strokes, and between tek and dum strokes. Once you feel your hands know how to get to the correct place on the drum in the correct order (regardless of how bumpy the timing is or how yucky the sound is), then you’re finished and can move on.

Find the Spots in Time: Set your metronome at 60 bpm and play the rhythm. Concentrate on getting your hands into the correct place for the correct stroke and on time (don’t worry for now about how it sounds). Once you can play it through three times in a row right on the beat, you’re finished, and can move on.

Improve the Sound: Turn off the metronome. Play the rhythm slowly, concentrating on good form and good sound. You might do this in front of a mirror so you can visually check your posture, hand positioning, stroke motion and tension levels. When you are satisfied that you have gotten consistently deep dums, and crisp teks and kas while playing the rhythm three times through, you’re finished, and can move on.

Stretch: Turn on the metronome at 60 bpm. Play the rhythm with good timing and good sound. When you can do so three times in a row, increase the speed on the metronome by 1 bpm. Repeat. When you get to a speed where good timing or good sound becomes difficult, even after several minutes of playing (notice if you feel muscle tension or fatigue), stop for now. Make a note of the tempo where you ended. The next day, start a few bpm slower than the previous day's ending tempo, then increase little by little as before. With daily stretching, you will gradually play faster while maintaining good timing and sound. 

Happy practicing!

Coordination Practice

First task: Set your metronome to 60 bpm, step from side to side on the pulse, and SPEAK the rhythm below, one note per beat. When you can speak it flawlessly, on time, five times in a row, you’re pau with this part, and can move on.

1 . 2 . 3 . 4 .
D . K . T . K .

Second task: Turn off the metronome and pick up your drum. At first, go as slow as you need to, and don’t worry about timing. This task is about helping your hands learn to move between left and right strokes, and between tek and dum strokes. Once your hands know how to get to the right place on the drum in the right order (regardless of how bumpy the timing is or how yucky the sound is), then you’re pau and can move on.

1 . 2 . 3 . 4 .
D . K . T . K .

Third task: Set your metronome at 60 bpm – and play the rhythm one note per pulse. Concentrate on getting your hands into the right place for the right stroke on time (don’t worry for now about how it sounds). Once you can play it through five times in a row right on the beat, you’re pau, and can move on.

1 . 2 . 3 . 4 .
D . K . T . K .

Fourth Task: Play as before, but concentrate now on your sound. Notice how each stroke sounds, and strive for the next stroke to sound better. You may find checking your form (posture, hand positioning, drum position, relaxed, belly breathing) to help your sound improve. Practice for at least 5 minutes or until your muscles get fatigued. Notice how your sound, timing, or form may decline as you get tired. This is OK. The next day, do the four tasks again, but try to have the last step go one minute longer. Repeat daily.

Growing Your Coordination

Once comfortable with this very basic pattern, move on to other patterns. For example:

1 . 2 . 3 . 4 .
T . K . D . K .
D . K . K . T .
T . K . K . D .

... and so on.

Practicing Good Form

Try this to improve your hand position and posture. Periodically come back to this checklist at intervals throughout your practice session.

Sit in front of a mirror.

Visually check your posture in the mirror. Back straight, yet relaxed. Shoulders relaxed.

Visually check your drum. Angled in your lap with the playing surface about 45°. Elbow resting on outside of drum (doumbek). Wrist in line with arm.

Check your “Ka” position. Outside edge of hand rests on the edge of drum. Pad of ring finger on the very edge of the playing surface. Tip of thumb lightly touching first joint on first finger (doumbek).

Check your “Dum” position. Elbow at natural angle. Wrist and arm in straight line, palm extending across face of the drum. Soft part of palm at the rim of the drum.

Check your “TeK” position. Elbow at natural angle. Wrist and arm in straight line. First three fingers slightly splayed on very edge of the playing surface (doumbek).

Play Dums slowly. Check that movement comes mostly from your wrist (doumbek) or rotating forearm (frame drum). Where do you feel or see tension? Thumb, fingers, hand, wrist, forearm, elbow, upper arm, shoulder, neck, jaws, diaphragm. Anywhere else? Relax. Belly breathing?

Play Kas slowly. Check that movement is almost entirely isolated to fingers and hand. Pad of ring finger meets the very edge of the playing surface. Where do you feel or see tension? Relax. Belly breathing?

Play Teks slowly. Check that movement is almost entirely isolated to your wrist. Where do you feel or see tension? Relax. Belly breathing?