Gua Gua is a mounted or sometimes hand held piece of bamboo it has a hollow sound.
Here is a rhythm for Djembe & is a Sacred rhythm if all the parts are not played then it is not the same rhythm. Feel free to express yourselves with music but remember where it comes from & show some respect for music especially if it has religious conotations, & remember when we play whatever we play it is for JAH / Allah / God whatever language you use.
Key: When say r-l hand can also be l-r hand if left is your dominant hand dudes / dudettes gun / dun r-l bass notes (played in middle of drum ) go / do r-l closed tone played with flat of fingers at the edge of the drum ga / da open tone played with fingers bouncing of skin this is hard to explain but it is not a slap slaps are rarely used on Djembe gro / dro rl - lr flam closed tones x is either bell played in left hand by bass drum player who uses sticks or is extra bell part h / l is high & low bass drums # is shacker part CAPITALS MEANS EVERYONE PLAYS THESE NOTES ()means starts here this rhythm is called LANDOUMA
call to start this is played by lead player on their own except for GRO , bass drummer and bell would also play then but a single note falling on the second note in the flam
go do go do go - go - do - go - do - - - GRO - - - - - - - ga da ga da ga -
djembe pt one
djembe pt two
djembe pt three
extra djembe part
Hope you like it I do read normal notation but find this clearer and havent got software to use notation but like oral traditions any way , should all try to develope memory , just check out difference between classical orchestra reading its part & classical indian orchestra playing from the heart . & Jazz & Blues are African styles of music not American first played in Africa on European & African instruments all mixed up , JAZZ actually means to party & the blues owes much of its melodies to Griot Kora & Bala music the Bala is an African Xylophone please do not tell tomas it is actually called Balafon as Fon actually means plays so he balafon is he plays bala so balafola means bala player or he batafon is he plays drum or batafola is drum player also so called American Pan Cakes are actually called Scotch (Scottish) Drop Scones & are old old Scottish / English CHEERS JAH LOVE N PEACE YALL
MR A RIGG (Andy) DRUE THE BATAFOLA
If You're bored and you hear a great solo (on any instrument) why not try to copy it? Its great fun, challenging and allows you to be inventive! You have to think about what you play and timing. A good solo is the one at the end of One by Metallica. Happy drumming and enjoy it! if you get frustrated stop!
P.S it work with riiffs and chords to!
Technical drumming is a mathematical job. This is important reality for develope yourself and having advanced patterns. FIRSTLY, PRACTICE ON PAGES !!
Well I'm really sort of a beginner but when I'm practising Iusually practice things like the paradiddles (my favourite is the triple paradiddle). Basically I choose one particular thing I want to improve and I either seek advice or look at it and have a go. Doesn't matter if you make mistakes, learn from them.
#1: practise "autopilot" with your feet...don´t trust books with "independant exercises"..all drumming is "interdependant"..except the real independance: while I type this, I tap my right foot to a samba pattern, left foot to the 3/2 clave along to whats on the radio. Start with tapping your feet in time, while having a hamburger and a beer or such. Practise to foottqp any ol basic pattern, in time with a metronome, and over that, try to gradually open-close-open rudiments with your hands. By the way: Dennis Chambers on a Zyildian Days video does this as part of his soloshow: to make this art visible for the audience, he grabs his towel, and takes a drink and such, while very impressive continously playing triplets with both doublepedal and hihat. This is the most easiest to do as a drummer, but it is the part he gets standing ovations..money for nothing, chicks for free, grin.
#2: buy this, it comes as a bundle: a "Roland Rhythm Coach" including a "Roland Practisepad"... Wow!!!!! Set the voice metronome to counting loud to 5 or 7 or what ever quarters, but dont listen to what it says..just play along any ol 4/4 stuff you can already play..in time! grin..then record it! Think first, rock later!
One thing that I have found to be most helpful is watching other drummers play. I always love to watch how they play and then I try to incorperate their styles into my own. I recently saw Matt Good play and the whole show, I just watched how the drummer hit his snare, moved his arms, basically how he manipulated his kit.
Today, as I sat down at my kit, I looked at it a whole new way and even came up with some kickin' beats!! I really recommend going out to shows at watching people play!!!
If you get a blister from playing the drums do not pop it. Just wait for the blister to go naturally then when you play the drums next the skin will go hard which will make no more blisters!!!
The reason for this tip is ´cause I consider time one of the main functions a drummer must always have in mind.
If you have a drum machine,program a sequence click for 2 measures and 2 measures without click.Make a loop and play along this.Then program another sequence of 4 measures with click and another 4 without click.And as you increase your confidence increase the number of measures 8,12,16 etc.making this exercise more challenging. If you include this exercise into practice routine,you will make your fellow musicians happy and they will love you to play always.
Thank you everybody.
Drumming is the best thing in the world!!
Hi everyone! My tip is get out and play with a band, I have been learning drums for a while now and I'm grade 2 and over the last week with my band we've really been practicing and that has improved my drumming alot! So get out and practice with bands! Also if anybody wants to talk to me about drumming please add me to your msn.
I've found a great way to improve my sense of time. Rather than including strokes over a metronome click, I've begun leaving strokes out, and still work to maintain perfect time and feel. It's tough! and I've found my sense of time improved a lot since I started doing this.
For example, start a funky 16th note hi-hat thing going with a click; then, just start leaving out one of the 16ths as you progress. It'd be: "1 e + uh" at first; then, go to "1 (blank) + uh", but keep the feel and the time exactly with the click. Then, just go thru the 16ths leaving out any combinations you want or can think of. All the while maintaining the beat right with the click and the feel.
Then, try coming in after leaving out a stroke - particularly in the 16ths - without accenting coming back in. I've found that to be a real control thing that needs lots of work.
And, it applies nicely to other time feels as well.
Oh, well......my 2 cents worth
Here's a couple tips I've learned along the way. Been drumming since I was 8 years old, currently 24.
Here is a quickie to help with ambidexterity for you beginners out there.
Switch hands if you are left handed for the following method......
Try tossing up a ball with your left hand and then catching it with your left hand. Start throwing it up too about 12" and slowly work your way down every 20 throws to about 1" or 2". Not only will this help you build muscle memory in your arm but will help with your rhythm as your are repeating each action with an identical action. Remember have fun when you practice! Peace to da nation!
I think a good tip to add would be to play what's in your heart, what you feel, and what you want to hear.Don't just play what you think should be right or what everyone else tells you to play or you will never have fun. With that said YOU NEED to practice rudiments and the basics like timing as they are VERY IMPORTANT!! Believe me, you will get good if you want to but playing what you want to hear and what's in your heart will keep you wanting to play. Easier said than done? Yes! But, success is certainly not free and if you want to be good you will have to pay the price. PRACTICE PRACTICE PRACTICE
Drum or Die ( Please don't take that literally ) Just my saying. Peace and Love!!
Just wanted to share something I have been trying out lately...While strugling to get through the measures of that difficult snare study, or playing that difficult chop, remember to listen to what it is sounding like! Sometimes I just focus on getting through it, specially while practicing snare rudiments, and not really listening as a third person. Next time you are studying remember to become that person in the audience, who doesn't have to worry about playing the piece, but only listen. It works. Or maybe try recording it and then just sit down and listen. And of course, correct as needed. Happy drumming.
Greetings fellow head-bashers and cymbal-ticklers.
This exercise was an excellent help for me, improving my left hand coordination/chops, as well as developing better speed and endurance.
(do each line twice, increase speed only with confidence)
(eight notes) (sixteenth notes) < < L L L L L L L L LRLRLRLRLRLRLRLR (eights) < < L L L L L L L LRLRLRLRLRLRLR (sevens) < < L L L L L L LRLRLRLRLRLR (sixes) < < L L L L L LRLRLRLRLR (fives) < < L L L L LRLRLRLR (fours) < < L L L LRLRLR (threes) < < L L LRLR (twos) < < LLR LLR (pair of ones repeated for a total of 4)
Do this on a pillow with a little force/attitude thrown in, and your face will clear up and girls will suddenly become attracted to you.
Hey, it worked for me.
I also like to concentrate on the One who gave me the ability to play. It relaxes me and gives purpose to my drumming!
I find in all kinds of situations that you're only as good as you want to be because its your love for your trade is what makes you want to play. Therefore if you dont want to practice you must not love what your doing nor do you want to be good at it. why would you want to exel at something you hate anyway? If you dont love it dont play, because youll never be as talented as the guy that enjoys playing. dont force yourself or youll wake up with a skill that you dispise to use. and...Your only as fast as your nondominant hand.
To build up your muscles for a stronger heel down bass drum technique, sit on your throne or a chair of medium height with your legs flat on the floor and your shin perpendicular or slightly over a 90 degree angle in relation to your thigh. Keeping your heel on the ground, lift your toes as high as you can. As fast as you can make a full stroke to the ground and back up to your starting position. Make it burn! Try working through some exercises like this.
Buy a drum machine, MIDI, or some other programmable time-keeper. Set up a rather long sequence of straight clicks (32 or 64 bars) but gradually drop out beats (eigth notes for a measure, then quarter, then half, then whole). Do this until you have a solid string at the end of whole notes every other measure. Play along with this as your click, either doing rudiments or beats on the kit. The large spaces without the click will really make you think about your time, and you get a "check" whenever it loops back to eigth notes.
If you're practicing on a kit, try playing against this "open" click-track with 2 different beats - one fairly complex or syncopated, and one fairly straight - and alternate measures. This will really help you in keeping time through transitions and fills.
Drum machines are really great for odd meters. Try the exercise above with something in 7/8 or 5/4, or for all those Billy Cobham fans out there, even something like 19/8.
Most of all, play!!! Play drums, play in your mind, play with your mind-- Experiment, and try new things..Stretch yourself and your assumptions. PLAY!!!
This is probably going to sound really stupid, but since I've started doing it it has greatly improved my discipline. Before you start playing all your "funky-ass beats" Take 15-30 mins (or more) to do your rudiments, because before I would say I'll do them l8r, and then...I wouldn't.
Oh yeah, listen to Tool because Danney Carey is the best drummer alive. PS, if you have a double-bass drum pedal do your rudiments on those as well. It will help your balance.
Working on time is time well spent. The drummer's main thing is keeping solid time. without that ability, all the hot licks in the world are worthless. Try setting up a bass drum 4 with hi-hat on 2 and 4. Then quietly set up repeating 16ths only on the snare without any accents. Count, count count. Then, begin leaving out 16ths but keeping the pulse absolutely constant. Leave out un-obvious 16ths like the first in a group of 4. then, expland to leaving out multiple 16ths while maintaining the pulse steady. Slowly leave out enough snare 16ths so you're playing finally nothing but quarter notes with the bass drum. Your goal is to come to the quarter notes on the snare right on with the bass drum - no flamming either behind or ahead.
Do this every time you practice and use a click. You'll be amazed at how complex it is to leave stuff out rather than putting complicated stuff in! You'll also be amazed at how this simple idea can really help your concept of playing really solid time.
I have many tips I could share, however I believe I will share some that supercede any 'tip' pertaining to one's dexterity, control or speed.
First, I am going to talk about INFLUENCE. For myself, my playing is influenced by everything from the obvious (patterns, recorded music, rudimentary exercises, etc) to the obscure (what I had for breakfast today, what movie I watched last night, the newspaper article I read, etc). Many drummers take their craft too seriously. Dedication is essential throughout the course of any endeavour, especially drumming. However, I know players who have tatoo's of drumming symbols and phrases, and people who sleep with their 5B's under their pillow (!!!), and all sorts of other craziness. Then they wonder why they couldn't pull off that slick, low-volume, Kennedy-esque single-stroke around the kit or make love to the pocket with that fat-ass Chambers-esque groove they tried to pull off on the gig they had last night. I believe many drummers get stagnant after a while. I know it sounds like a horrible thing to say, but if you're tired of practicing son clave in 7/8, play some dirty funk shuffles in 4 or better yet, go for a walk! Go out, read a book, take a jog, take a nap, play tennis with your next-door neighbour, but just enjoy yourself! I guarantee that next time you sit down to work out that damn Cuban rhythm, not only will you feel fresh and motivated, but maybe you'll be inspired by something you experienced while out on a bike ride that will integrate itself into your playing and make things more enjoyable for you!
Also, get into other instruments. In an acoustic jazz band? Throw on some 'Trane and forget about Elvin (for now...); listen to the sax! Not only will you be able to have a greater understanding of what YOUR saxophonist is doing, but you will be able to better communicate with him during the writing process becuase you have an understanding (somewhat) of his instrument. Playing some thrashy metal with two guitarists, for instance? All i have to say is LOMBARDO! Listen to Kerry and Jeff's guitar parts, how they compliment each other. Bam! and there you are, with a better understanding of what your fellow musicians are playing, allowing you to be more cohesive not on just a songwriting level, but a performance level as well.
Thirdly, don't HATE any music. A posting on this 'drumming web' by Tim Belanger indicated his disdain for drummers who favour blink-182's music, and the licks of their drummer, Travis Barker. May i ask, tim, who was your first influence as a drummer? Many older drummers say Ringo Starr. This new generation of drummers needs role models too. I've read interviews with Travis where he advocates the importance of such things as practice, education, listening, other musical styles, and originality. Personally, I don't particularly enjoy the music of blink-182. However, last month I attended a rock concert with some people whereby Travis' other band, Boxcar Racer was featured on the bill. When they performed, they opened up with a surprisingly spice latin-influenced groove, between ride cymbal bell, bass drum and hihat (w/foot) and shaker. This rhythm was played metronomically while the stage was completely darkened. As the lights came on, the drum riser illuminated Mr. Barker pulling of a very saucy pattern, with impeccable timing. His setup also included pads with samples of ethnic percussion, a few effects cymbals, and soprano-esque snare drum on his left side with the snares off (producing an abosolutely wonderful timbale-like sound).
Needless to say, I was FLOORED by what I was hearing from him. It wasn't quite as exotic as something I'd see stephen perkins do, but Travis' approach to the drums (at least in the context of THIS band) was immutable. He is a superbly gifted musician and an excellent drummer.
That being said, imagine what kind of impact all these diverse styles incorporated into travis' sound would have on a youngster trying to emulate him? A whole load! After purchasing the Boxcar Racer album, I would see no reason why a youngster wouldn't search for information and music on players like Gadd, Weckl, El Negro and even Stephen Perkins (all of the aforementioned are subtley represented in travis' playing) to further their technique. Listening to Soundgarden got me into Tony Williams. From there it was guys like Phillips, Chambers, Colaiuta, ?uestlove and other drummers who played with not only incredible style, dexterity, presence, groove and chops, but also guys who were so readily identifiable.
Which brings me to my next point: Originality! Some might be inclined to say that all of the music on the radio, on mtv, or whatever sucks. Well you know what? Personally, I would agree with a statement such as that (most of the time). Yet THEY are the ones getting paid to play music professionally, and YOU are the geek at the club downtown every-other-thursday. You know what? I'm that geek too! And if I don't like something on tv or the radio, I don't piss and moan. If it is of absolutely no interest to me, I will turn it off, and perhaps enjoy some Mike Stern, or Sade or The Roots. But it's a determination within me, that STAYS within me that makes me want to work hard enough to be one of those pretentious, seemingly untalented jerks on the tv.
Which brings me to my final point: friendship! Get your head out of your butt and enjoy life! If you are the guy sitting in the corner of the bar saying to yourself "wow, he sure messed up that fill," then your drumset should be confiscated by the CIA. It shames me to see musicians be so selfish. I absolutely adore playing music, especially with a lot of other bands. I enjoy watching others perform, at any level of expertise and sharing advice, tips, drinks and good conversation with them! I can't imagine why someone would be so competitive with others when the only real competition on your development as a drummer lies within YOURSELF.
A few years ago, I played a concert at my former high school with a few bands at various levels of experience. I built up a rapport with some of the other drummers, asking who needed what kind of sticks, pedals, cymblas, stands, heads, tuning, etc on the 'bitch-kit' that was to be onstage all night and took it upon myself to help some of the younger guys with some technical things they might not have encountered at their level of experience yet. Needless to say, a lot of the guys took a liking to me and we were all very excited to play. While many of the bands happened to not play very well (many played cover songs) there was still a spark in the musicians, especially the drummers, of ferocity and determination: these guys were hitting hard and having a good time up there! Me and my boys opened up our performance with an atmospheric guitar effect that was very floyd/tool-esque, very hypnotic stuff which was dug deeper by my surprisingly low-volume tribal groove. This groove crescendoed with the inclusion of bass riffage to a full-out chops-fest on my behalf with my bassist and guitarist holding down a spooky rhythmic vibe. My part came down to a whisper of a timbale-like tribal rudiment on my snare drum (w/snares off) as we segued out of the intro of the set and into our first real song. As I looked to the side of the stage, the other younger guys had looked away from me and started packing up their gear and making rude gestures to their parents to 'pull the minivan up' so they could load up their gear and go home. Did I piss them off? I didn't mean to show them up or anything, and I certianly didn't intend to belittle anyones playing with my own. Nevertheless, I felt somewhat guilty, so at the end of the night, I made sure to thank the other musicians who played, ESPECIALLY the drummers for having so much fun and playing so well and having a great show. I also made a specific point to indicate to specific players, specific things I was impressed with about THEIR playing (unlike many veterans who would approach me after a show, like "oh you play? how'd you like that 16-bar solo break I tore up during the outro to our third song?"). They seemed quite surprised that I said the things I did about their playing. However, NONE of them complimented me on mine.
It was in this very moment that I realized that making others feel good about their playing was better than having them ask how I pulled off those wacky hand-foot patterns. Subconsciously, I encouraged them to pursue their talent and focus on the postives in their playing, while working out some fundamental weaknesses they might have posessed.
So please: learn to love life, love music, love your instrument, and do these things with others! Love and friendship are the key to everything in life. And remember, knowledge can be taught, but wisdom must be EXPERIENCED. So get out and experience!
Even if you don't like hard rock, listen to TOOL at least once. Their new album Lateralus has some amazing drumming. Their drummer, Danny Carey, doesn't rely on a steady hi hat beat like metallica, creed, or most radio stuff. He creates unusual beats that really "move around" his kit. Also listen to Dave Matthews Band (DMB). Thier drummer, Carter Beauford, uses syncopation to create a funky sound. Both of these drummers are extremely challenging to play to. My tip is to not let yourself fall in a rut of playing the same songs every time you practice. I jammed with a guitar player for a while that only wanted to play Metallica, and now I can play some of their songs pretty good, I don't feel I learned a lot from it. Now when I practice, i play a variety of styles, including TOOL and DMB. I feel my skills have increased substantially because I'm not playing "in a rut"
I have been playing for about 17 years and haven't come close to learning everything but here is a little exercise the tends to keep my hands in playing shape. I feel it will also help with hand speed and speed control. All you need is a pad and sticks. I like to do a triplet exercise. You can do this using all wrists and then wrists and finger control. Just start out play 3 stroke with each hand. Count to ten. (The count doesn't change untill both hands have play the strokes) Then go to 6 strokes, then 9 strokes, then 12 strokes, again counting to ten. I know it sounds simple but it does help, You can find this exercise on the Dave Weckl video "Back to Basics"
It frustrates me to hear so many of you feel the need to have a "role model" for drumming. That is the reason that all of the music on the radio sounds the same. Now don't go jumping on me just yet. I'm not saying people are trying to play just like their "hero" but the root of drumming comes from something more earthy and natural than the radio or MTV. A heart beat is the first pattern we know during our existence. Every one has a differnt heart. Play what your heat likes. Too many people have posted that their hero is the drummer from Blink 182. It's funny that that band is also one of the top selling bands. His beats are quite simple, boring and recycled. Sorry to all the fans out there that have bleached tips and think they are punk but know nothing of the sort. Drum like hell. If you are feeling groovy, play a sneaky walking beat.. pissed? smash the poo out of your kit. That's what it's meant for. I have never taken lessons for any instruments. I believe that it is not in the true spirit of music. Music comes from the heart and mind and if you let others tweak your style and taste, I suppose you like when other people to speak for you and dress you.
"Rock out like you mean it."
Don't just jump into your drumming. Always warm up, and in doing so i suggest meditation. Meditation is a wonderful technique when warming up because it exercises both parts of your brain and clears your mind of anything other than drumming. I also suggest learning some "reiki" drumming techniques ( www.reiki.org ). Its labeled as meditative drumming and uses rhythms found within our bodies to put people into meditative states of mind. There is nothing better than hypnotising people with your playing. If intrested in such power behind a kit i suggest for you to check out a drummer named Danny Carey, he plays for a band named tool and he hits every aspect of good drumming. He also has his own website, www.dannycarey.org
I hope you this brings you newfound wisdom.
I first off like to start my practice using only the snare and concentrating on my arm and hand muscle technique for about 5 minutes. Though i'm good, i dont know much about technical drumming stuff thus i never found the need to practice rudiments, instead i just take parts of good drumming parts i like and i study and mimic their style. Another thing that really seems to work is looking at yourself in a mirror while you play so u can see if there is something lacking in the style you play.
Did you ever feel that you've hit a wall with your bass drum foot - that you just can't go beyond a certain dexterity? Well, if you play heel up like most people, then consider this brief anecdote.
I had a teacher once who made me play exercises with my foot on the floor (with heel down, naturally); especially single stroke triplets from right to left foot until I was able to really dig into the floor. At first, it seemed I had little muscular strength to do these patterns at all, but little by little, I started to realize the enormous impact that this had on my heel-up dexeterity while doing gigs. It made sense afterward that what was holding up progress was the need to build up the muscles that weren't being worked when I would do heel-up exercises ad infinitum on the kit, with very slow advancement. I suggest working with your foot on the floor for a few minutes everyday, with heel firmly planted in one spot. You'll be surprised at the effect on both feet and you'll find yourself playing the kit that way during softer styles.
Hey you drummers out there looking for tips. I have a real good tip. Now listen closely. What you have to do is you practice for ten minutes then take about 10-30 minutes off then do ten again and keep going. I have been doing this for the past 8 years and I am being taken to Interlochen (its a high school in Michigan for the best high school band students) for tryouts!
practice on a pillow using the heaviest sticks possible, stretch, use lighter sticks on drum going from a pppress roll to an high open roll. Acceleration of open roll will not nessessairly "work your chops" because of difference in hands. a very fast open roll can become stifled and sound uncontrolled without proper work on the muscles. Use arms and wrists playing doubles as high as you can but not so fast(at first). I've found while banging on just about everything I can that taking the pointer finger away and utilizing wrist and finger strokes is a good way to develop eveness of hands also. try driving and playing triplets trad. drip accenting the downbeats. hope this helps
pick up a cheap guitar. i have drums in my room so my parents freak out when i play too much. so when they kick me off the set i just pick up the guitar. it really helps your drumming; it worked for me. good luck. dave grohl rules 3 famous band ..... you gotta admire that guy.
Hi . Do you enjoy practicing alone? Practice should be a time for you to clear your mind about whatever else is going on . I have found out that making a learning experience out of every practice will keep you on your toes. I'll make it short and simple. When you enter your practice room, sit on your throne, take some deep breaths and find your central balance on the drumset. Have a goal in mind for the day.Close your eyes and envision yourself accomplishing this goal you have set for yourself for at least 5 minutes. Then envision how good it would feel after you have accomplished it. This will definitely set your focus and you will now begin topractice with grace and goals in mind.
Remember that music is used best with left and right brain abilities. Logic and creativity!