So sing and play. Singing each line gets it in ya. So to sing is to practice. Once the song is in ya, it can come out of your hands! The base pattern gets stuck in you with all that repetition, and can become a good 4/4 pattern to call up in a song. And you already know how to improvise it into a solo.
You are spectacular, creative musicians…..

Play the base rhythm for a while; slowly and perfectly. Just like that. Don’t worry. Just get the groove. Then after a while when you feel at ease with the pattern, move through the rhythm, adding one new note at a time, then try backing up, subtracting one note at a time. Play each line 4 times before moving on. Maybe throw a little variation in on the last one…..

Handling this pattern:  I don’t give much attention to handing most of the time. Guinea teachers will tell you one way, Yoruba teachers will tell you anther. LISTEN TO WHAT YOUR TEACHER TELLS YOU!  This is goofing-off style drumming – not traditional! I have found playing hand-over-hand, Guinea style, works best for me with this pattern, but Guinea style is what I am used to. Play the way that is best for you. “If it sounds good, it IS good.” Duke Ellington 

The pattern would be played like this if you’re right handed:

Bass  Slap [   ] Tone Tone  [   ]  [  ]  [   ] 
Bass  Slap Bass Tone Tone Bass Bass Slap
Giving the spaces the same hand you’ll play by the last line. It makes it easy to be FAST!

This exercise is from the book, “Have Fun Playing Hand Drums” by Ben James

So as my pals and I are learning to communicate in the language of music, there are ideas we need to understand, and the words that refer to that idea.  The word is the finger; the idea, the moon.

This is where we are now:

There is a name we all need to agree on to describe that chunk of patterns that we repeat before we go to the next pattern. We decided the other night to call it a PART [we are an eloquent group, we are]. It is PART ‘A’ or PART ‘B’ in the AABA pattern.  Because I am nearing 52 and really new at learning this language, I referred to the “The Complete Idiot’s Guide to Music Theory” by Michael Miller for this description, and as it turns out, we are not only eloquent, we are brilliant. And correct.

“Most popular and jazz music is based on eight-measure phrases. Your verse might be one eight-measure phrase; your chorus another. We keep track of the different parts of a song by assigning them letters [...which have nothing to do with pitch or notes].

“The very first eight-measure phrase in your song – which is typically the first verse – is labeled ‘A’. If the verse is repeated anywhere in the song, it retains its ‘A’ labeling.

“The second eight-measure phrase – typically the chorus – is labeled ‘B’.”

and on like that….

Many of the rhythms we play are based around groups of four; each group of four beats is called a measure:

|1 2 3 4 | => |b . t t|  = one measure

So ‘Part A’ of a drum song we’re making could use this eight- measure phrase:

|b . t t |b . s . | b . t t |b . s . |b . t t |b . s . |b . . . |b . . . | = Part A

If we repeat Part A 4 times and tweek it a little at the end of the 4th line,we have a 32-bar SECTION, that we cleverly call SECTION 1.

|b . t t |b . s . | b . t t |b . s . |b . t t |b . s . |b . . . |b . . . | = Part A

|b . t t |b . s . | b . t t |b . s . |b . t t |b . s . |b . . . |b . . . | = Part A

|b . t t |b . s . | b . t t |b . s . |b . t t |b . s . |b . . . |b . . . | = Part A

|b . t t |b . s . | b . t t |b . s . |b . t t |b . s . |b . . . |. . . . | = Part Av [v=variation]

NOW that we have the nomenclature down, it will be easier to play the solo construction game.

SOLO CONSTRUCTION GAME 1

1. Everyone plays SECTION 1 together at room volume
2. Everyone continues to play SECTION 1 quietly, while one drummer plays freely, louder than everyone else.
3. Repeat step 1, loud and in unison
4. Repeat step 2 with a new player

Repetition of the Section embeds it into your verbal and muscle memory. It is now yours forever. Having played the circle of four, your body becomes accustomed to that length of time. It is not too much time, nor too little. New soloists don’t seem to be intimidated when the length of time they are playing is familiar. [And I don't say 'solo'. I ask people to please play louder than everyone else for a bit....]

The dance of structure and improvisation is care and protection. Playing music with others is a love affair.

Talk to me…

[Having said all that, I ask any MUSIC KNOWLEDGEABLE PEOPLE. PLEASE FEEL FREE AND ENCOURAGED TO FIX ANY OF THIS THAT IS WRONG! This is very much like an English speaking person reading a French Language book,  then trying to teach French. If I have not understood, it would be good the hear that Help is on the way!]

Rhythm is at the heart of if. But there is more~ Drummers create, manipulate and move time and space, and if we are generous with the space, we invite  melodic weavings and swoops and curls to dance in between the one and the two. I feel fortunate to have access to so much of this beauty magic.

Right now, it is the West African Harp called the Kora that is sending me swooning. This will be my sacred/holiday/ atmosphere music this year.  I have some new beautiful CD compilations to share. MADOU SIDIKI DIABATE , playing Traditional Kora Music From Mali, and a young man named KELONTAN CISSOHKO following his father’s lead. There are a couple of Mbira albums I can’t wait to hear. I’ll be posting some samples when the order arrives, so I can introduce you  to [or remind you of]  these treasures, and the musicians who poured them into the world.

As this seems to be turning into a plug for the business end of my job, I shall tell you that we also have books and DVD’s for the new [or used] drum explorer in your life. I have and use many of these if you want my experience and opinion about them. There are some that are great for classes, wonderful for teachers, excellent for personal study and stair steps to cultural traditions.  Come play.  There is a song, somewhere in the history of world, calling to you.

http://failladrums.com/products/

The Divas – November 2011 —> Divas 112811     [either link should work]

Here are the individual patterns that made up the song. Each student had 16 spaces to enter either a bass, tone, slap or rest. Some of us were transcribing the rhythms we could hear in our heads. Others were letting the patterns emerge on the whiteboard. The resulting rhythm was beautiful by blending both. There were patterns that were simple, beautiful and foundational. Those were the stepping stones in the brook. I used the first pattern as the ride. It runs throughout the song in the background with a shaker on the pulse and son clave, to meet the “more cowbell” requirement.

Other patterns were elaborate and elegant. They had starts and runs and pauses where I wouldn’t expect them. I like my expectations rattled! Those patterns dove and flowed around the solid stepping stones. They broke over the banks,  fell back into ride rhythm, then surrendered the song to shaker and bell….

That what Divas do, and this is how they did it:

| t t b .  | t t b . | t t b | b . b . |

| b t s . | s t b . | b s t . | tt s b |

| b t t t | b . b . | b t t t | b . . . |

| b t t . | b s s . | b . t t | b b b . |

| t b t b | s s . . | t b t b | s s . . |

| t t . s | . b s . | . b t . | t t t s |

| b t . t | b . b . | t . b b | s s . b |

| b . t t | t . b b | . s s . | s s . . |

| . . b . | t t . s | t t . . | . b t s |

| b t t b | b t t | s s . . | b t t b |

| . b . t | t s . b | b t t . | b s s . |

You are amazing people. Thank you for playing music with me!

For the Occupy Boise Bazaar, we did a facilitated circle with these guidelines:

1. Everyone is welcome. This is 100% inclusive! It is not about your drumming skills, it’s about your unity skills.

2. You Got The Beat – you were born with it. Begin with a pulse. Join in. The song is the most cherished presence in the room. This is about building a strong, cohesive beat. Make it sound like one drum.

3a. Speak UP! Without the constriction of you head, play your drum. Speak with your hands what’s filling you up. Be honest. Terribly honest. Don’t put words on it in your head, just play it like you mean it. Say what you have to say and be done. We will know you are done when you re-join the pulse.

3b. LISTEN. We honor each other by listening to what they have to say. Your responsibility here is to maintain a solid beat. if you cannot hear the lead drummer, you are playing too loud.

4. Drumming is a Metaphor

The group built a solid vibrating foundation, and everyone took a turn playing louder than everyone else. After the last person played, it sort of burst into a really great song. It was joyful and musical. We built a circle of trust where no one was greater or less than any other. We started out on common ground; that being the ultimate foundation. After we were unified, each person was given the opportunity to speak and be heard, with the entire body supporting them in saying it.

The jam that followed was as spontaneous as a drum circle, but with intention, direction and trust. We were all in it together. If we listen to each other, we can build a song. If we listen, we can build a community, and if we can build a community, we can build a nation.

So we build a song….

djembe tuning - mali weave

Before you start the Mali weave, you need to make sure the vertical lacing is tight…

Working from the top lacing, count two verticals…

you go over two….

back up through the middle….

cinch it down, and back under the first two you went over traveling in the same direction….

Pull out the Slack….

Turn your drum so you don’t fight the lacing and pull your knot…

Repeat the process….

Not sure if you need to tune your drum? Take you index finger push the center of the head of the drum, if it flexes you need to put some diamonds into your drum. A tuned drum allows you to easily make the three separate sound from a drum, the bass, the tone, and the slap.

This is from a site called Drummer’s Lounge. I like their tagline: Rhythm without boundaries

Published Research Summary

Numerous research studies have been published in peer reviewed journals which demonstrate the health & wellness benefits of our research-based HealthRHYTHMS Recreational Music-Making (RMM) protocol. HealthRHYTHMS Group Empowerment Drumming is Remo’s internationally acclaimed research-based RMM program and is the basis for this research.

IMPACT ON IMMUNE SYSTEM – Strengthens the Immune System (2001)

A healthy immune system is the key component to preventing infectious diseases. We are all exposed to millions of germs every day, so our reliance on our own immune system to fight off most potential infections is indisputable.

What do we mean it can strengthen the immune system? The study of 111 HealthRHYTHMS Group Empowerment Drumming participants showed a statistically significant increase in natural killer cell activity after a one-hour group session. Natural Killer cells (NK) are the white blood cells that seek out and destroy cancer and virally infected cells. Additionally, the protocol appears to reverse specific neuroendocrine and neuroimmune patterns of change associated with the classic stress response. Read the Abstract ~ Read Remo Belli’s Interview with Researcher, Barry Bittman, MD

EMPLOYEE BURNOUT & TURNOVER REDUCTION – Improves Mood States and Reduces Burnout (2003)

Working in the long-term care environment can be very stressful. Lower employee stress and turnover rates translate into better care for residents and cost savings for employers. The U.S. Department of Health and Human Services (HHS) estimates there is an annual turnover rate of between 70 to 100 percent in nursing homes (Wilner 1999).

In this 6-session (HealthRHYTHMS) study of 112 long-term care workers 46% demonstrated significant mood improvement. When follow-up testing was done 6 weeks after the end of the study, the improvement in mood had continued to grow increasing to 62%. Based upon what is already known from previous studies of factors that influence an employee’s decision to quit, an independent team of economic-impact analysts projected these improvements would result in an 18.3% reduction in turnover. When follow-up was done with this facility the annual turnover experienced was actually reduced even more than these projections. Read the Abstract

REDUCING STUDENT DROP-OUT RATE – Retains Students: Mood Improvement & Burnout Reduction (2004)

In July 2007, a report released by the PricewaterhouseCoopers’ Health Research Institute found that though the average nurse turnover rate in hospitals was 8.4%, the average voluntary turnover for first-year nurses was 27.1%. (GIH, 2008) Drop-out rates for nursing schools are rising further compounding this problem.

In this study the mood states of 75 first year associate degree nursing students were evaluated including: tension/anxiety, depression/dejection, anger/hostility, vigor/activity, fatigue/inertia and confusion/bewilderment. In spite of the fact that being required to participate in the study added additional time requirements to their schedule a 28.1% improvement in total mood disturbance was reported. Analysts project that these reductions in burnout and improvements in mood would likely reduce drop-out rates. This has the potential to positively impact the number of nurses completing nursing school and entering the nursing profession. Read the Abstract

GENOMIC IMPACT – Reverses Stress on the Genomic Level (2005)

“Stress is really a component of every disease,” says James Rosenbaum, MD.

This groundbreaking study published in the February 2005 issue of the international research journal Medical Science Monitor shows for the first time that playing a musical instrument can reverse multiple components of the human stress response on the genomic level. We know from previous studies that HealthRHYTHMS Group Empowerment Drumming Protocol (RMM) reduces stress, burnout, improves mood states and boosts the immune system. This study looked at the effects of Recreational Music Making (RMM) at the genomic level and demonstrated not simply a reduction in stress but a reversal in 19 genetic switches that turn on the stress response believed responsible in the development of common diseases. This study also “extends our understanding of individualized human biological stress responses on an unprecedented level”.(Bittman, B., 2005) Read the Abstract

CORPORATE EMPLOYEE WELLNESS BENEFITS – Strengthens the Immune System of Corporate Employees (2007)

Growing evidence linking job stress to illness emphasizes the importance of finding an effective means of stress management. This study of Corporate Employees in Japan was conducted to assess whether or not this wellness strategy demonstrated a positive effect on stress biology in the corporate environment.

HealthRHYTHMS has significant potential for utilization in the corporate wellness environment. (Masatada, W., Koyama, M., Utsuyama, M., Bittman, B., Kitagawa, M., Hirokawa, K., 2007) Read the Abstract

CREATIVITY & BONDING IN SENIORS – Recreational Music-Making Inspires Creativity & Bonding in Long-Term Care Residents

Bittman, B., Bruhn, K., Lim, P., Neve, A., Stevens,C. Knudsen, C. , 2003

This study demonstrates the efficacy of recreational music-making as a means of inspiring creativity and helping long term care residents bond. Residents reported that RMM activities produced far more favorable effects, when compared with antidepressants or mood-stabilizing drugs.

To test this hypothesis, two real-world laboratories were established at Wesbury United Methodist Retirement Community, Meadville, Pa., a facility with independent living, skilled nursing, assisted living, and memory support (skilled and assisted); and Fredericka Manor, Chula Vista, CA., a retirement campus with independent living, assisted living, and skilled nursing, including 60 beds for persons with dementia.

While ongoing RMM programs are currently offered at both facilities, the data collection period extended from 2002 through 2003. A total of 550 seniors participated in the study. All subjects (or family members when appropriate) signed informed consents, and the protocol was approved by the Institutional Review Board for Human Studies of Meadville Medical Center. The program was conducted by an interdisciplinary facilitation team that included a physician, two music therapists, a music teacher, musicians, and members of the facilities’ activities staffs. The program included a Yamaha Clavinova Keyboard assisted drum circle which followed the HealthRHYTHMS Protocol.

Resident Observations: After completion of the program, many residents noted the immediate benefits of creating connections with staff and other residents. Participation in just one RMM session often promoted identifiable and meaningful connections. The predominant conclusion was that there are no “strangers” at the end of an RMM session. Several residents remarked that their ability to more effectively deal with the loss of a loved one or friend was enhanced through RMM sessions. The acknowledgement of a person who had recently passed on served as an effective means for honoring an important relationship through empathetic group

support. A number of participants commented that RMM positively influenced their overall perspectives and expectations for living in a long term care environment. In addition, residents reported that RMM activities produced far more favorable effects, when compared with antidepressants or mood-stabilizing drugs. Read the Abstract

QUALITY OF LIFE IMPROVEMENTS IN AT-RISK ADOLESCENTS – HealthRHYTHMS Adolescent Protocol is a catalyst for quality of life improvement

Despite the devotion of significant resources to rehabilitate juvenile delinquents (youth who have committed offenses that would be considered criminal in adults)a limited number of effective, replicable, evidence-based treatment strategies exist, which are supported by peer-reviewed research. This new research published in Advances Journal demonstrates significant improvements in these youths through the use of the HealthRHYTHMS adolescent protocol. In fact this is the first strategy we are aware of which may actually hold hope for reducing what some refer to as “the columbine effect” which has driven so many adolescents to commit horrible violent acts. (Instrumental Anger)

“This is an accessible, affordable and sustainable strategy that can positively impact juvenile rehabilitation.” Barry Bittman, MD

seems like most folks understand how primal a drum is. it is so much so, that most i’ve met – and i mean most -  have some sense of their own rhythm and can naturally express something in rhythm with others, even if it is something as simple as the pulse.

that is where i started. the pulse. that was my level of understanding when i went to my first big drum gathering. it was an open circle where apparently everyone interested was welcome. i was at first amazed at what i witnessed. i guess there were 100 people or more, many with drums, some with sticks and bells, some clapping or vocalizing and some dancing. i found myself looking for a leader, something to explain how all these people sounded so good together. i walked the entire perimeter, listening while the rhythm seemed to morph as new drums came into my hearing range and other left it. i thought, “wow! this is really something i’ve never seen before, like some kinda democracy better than any we could contrive.” these folks all sounded great together and everyone was speaking at the same time.  so, i kneeled down over the small drum i had borrowed and started pulsing. it was literally what i knew, but as i did that i could feel the connection. as i listened i could hear how my pulse fit within the context of the larger sound. i was participating at my level with something much larger than me – and it was good! i felt connected in a way that i had never before felt. as i sunk into that feeling of connectedness, i realized all these people must be experiencing something very similar; that they too must feel connected in a special way. everyone appeared happy, joyful and open. wow.

throughout that weekend, i experienced lots more drumming and decided that this was something i wanted more in my life. i came home and came up with a drum and started inviting friends to play. one thing led to another and soon enough the full moon drum circle at farmer brown’s was born. in the early days of those gatherings i think most everyone coming understood about connecting. see, in the early days there was the full moon, there was food; vegetarian was encouraged, as many of the folks open to such connecting also enjoyed the idea of sharing healthy food – and there was rhythm. i don’t think most of us knew much about rhythm (except that natural part we all share), we all had to listen and keep trying until we came together, but we always seemed to come together. to connect. drumming together connects us in a deeper way.

then i met a teacher who knew amazing things about a drum and i learned one or two. i found it fun to actually understand more than just pulse and improvise. to be able to fill in between the spaces and know where i was related to that pulse increased my confidence. i found it easier when i went to a gathering to play more expressively, to join in with more of my voice. well, that turned out to be the beginning of  a process of learning many more things, one small step at a time gaining a rhythmic vocabulary. during that same period of time, hundreds of people around boise were having their first experience at the full moon gatherings. the drum swept in like a wave and seemed to have a life all its own. it was right about then i first noticed a small rip in the fabric, because it was right about then that others like me, who had been learning things started to clash a little with those who were new to this drumming thing.

see, when you learn a thing a natural progression is that you want to show others you have learned a thing. in hindsight, this is where it got real tricky. showing and sharing works really well in the right situations, as it can inspire and encourage others to learn more. but, i soon learned that showing the things you know in the wrong situations can cause others to respond in a negative fashion. knowing things changes things.  i think it affects most the way you listen. knowing things and being with group of others who know the same kind of things shows you how to better listen for ‘depth’… to increase your skills, your precision, your performance. knowing things and being with group of others who don’t know the same things requires listening for ‘breadth’. i believe for most of us who think we know things, learning to listen this way is at first difficult, as our focus is most often on depth. conversely, it is easy to listen for breadth as a beginner. if you want to join in it may all you have to work with! as a beginner you are still relatively unaware of the depth…. and someone who knows a thing can appear showy, selfish and uncooperative to a group of people who just want to play together. it is communicated, often times at subtle levels that few notice, but it is communicated. when you know a thing and don’t understand this or, worse yet don’t care to refine your listening skills to include breadth, you are just asking for a negative response to your showing of that thing. in those cases one would do better becoming a teacher or performer, where the situation is more clearly defined – and where depth is more the focus and intention.

after (quite some time now of) seeing that drum wave recede in the same mysterious manner that it grew i understand better what happened and why. i see that as much as i grew rhythmically and musically and as much as i really appreciate depth in a thing… i also desire breadth in things. i want to further refine my listening skills and find ways to include, not exclude. the drum has universal primality. it has the ability to connect like nothing i’ve ever experienced. it can also divide. the difference is in the listening.

see, for me it’s about connecting, not about drumming.

[this is an article written by  Rick Thom son]