Any tips for insecure feelings

[Paul]

He did one exercise of tone/flam slap/flam over and over and then started doing the same on the up.. That really made you wonder where the beat was at all

[bops]

I'm arriving late to this discussion, but I'll toss my comments in anyway...

Tips for insecure feelings:
-Play from your heart, not from your head. In other words, love what you're playing. Don't analyze it. It will increase your confidence and you will sound better, too.
-Even if you are playing the simplest accompaniment part or kenkeni pattern, own it. Make it musical. Remember that every part contributes to the whole. You have to carry your weight.
-Try moving in time to the music. If you're prone to getting flipped around in the rhythm, then stepping or swaying in time to the music will help you to keep on the beat. It may require some practice at first, but then again, doesn't everything?
-Step out of your comfort zone sometimes. Try something that's too difficult for you. Miles Davis used to tell his band that if they were playing flawlessly in rehearsal, then they weren't playing hard enough. Don't be afraid to make mistakes; that's how you improve.

[e2c]

I really don't see the point in the military-style warmups that were mentioned on the last page.

A lot of people who are genuinely interested in the music don't start classes having that level of fitness or stamina. And some people have medical problems that prohibit their being able to keep up with that kind of pace when they're starting out.

It's also - imo - kinda unfair to women, because even those of us with great aerobic capacity usually can't match men when it comes to that kind of sustained tough upper-body workout.

I wonder if he's ever done kids' classes?! Or worked with anyone over age 30?!

Seriously, I think that this kind of "method" (punishment?) would be intensely discouraging to many people who would otherwise sincerely want to stick with the music.

(No disrespect to these guys when it comes to playing ability, but I don't think this kind of method works, except maybe in military basic training...)

[michi]

I've been brutally flogged in warm-ups by Sibo and Malin at times. I have no doubt that this kind of exercise is really good for you in terms of improving skill. But, unless someone is a djembe fanatic, they won't enjoy it much. It's boring, hard work and, towards the end, outright painful.

Not the best way to get westerners who are new to the drum into the spirit of the thing...

Most of the West African teachers over here have learned that they need to change the way they teach because the aim of the majority of students isn't to become a master djembefola, but to just have some fun every now and then with their drum. So, in most workshops, the warm-ups are rather tame compared to what these guys are used to from Guinea.

Cheers,

Michi.

[e2c]

Well, yes (tame).

I think it's important to work with the people you're trying to teach, rather than forcing a particular method of learning on them. Requires some adaptability and people skills - and time (it's a learning curve for teachers), though.

[Michel]

In our case I was very happy with the warming up. It was the most advanced class of four levels in this workshop, and I think that when you think you can manage the advanced class you have to be prepared for some advanced skills. At least I am expecting that from a teacher. And it was not that he was using a whip or something, Babara was smiling, making jokes while letting us know what you need to do when you want to be a good drummer.

[e2c]

again, i think the approach doesn't work for everyone.

I also think there are people over the age of 35 or so - who are fit - who might find it hard to keep up. (I know that I would!)

Pacing is important. I don't think advanced classes necessarily have to be endurance tests. I also think that it's best to give advance warning of that kind of approach, to help people decide whether or not a particular workshop is the right one for them.

Just because someone was trained for - and played in - one of the ballets doesn't mean that they should try and prep everyone to do the same. I think it comes down to putting the music first, though again, I don't want to sound like I'm dismissing or speaking against these guys and their playing.

[Michel]

I'm 41 and I found it hard to keep up. And there were younger ones who found it hard to keep up as well. And you are so right. In my last reaction I should have added some more last words after 'good drummer': in Babara's perspective. In the same weekend we had Ibrahima Sarr who taught us real music: solophrases on Dansa and 'ngrin. In one weekend you can't find a bigger difference between two djembéfolas.... Guinean popmusic vs Malian classical.... But now we are talking taste. and we are getting more and more off-topic. Thanks for your view.

Michel

[e2c]

Michel - thanks! I did understand what you were trying to say in your post about Babara's approach - that it's about *his* idea of what makes a good drummer. (Good musician?)

But, as you've also noted, there are many different ideas of what it is to be a good drummer/musician. I've had to work on building stamina in order to play, but... I don't believe that's the most important thing. For me, it's the music (especially the music together with dance).

I like to see the music building bonds between people, too.

Another comparison: one person might go to the gym for endurance workouts; another might choose to train in tai chi. (Or possibly both. ) They're both valid things, and I think they can complement each other. Both take strength, stamina and control - but in different ways. For myself, I'm more interested in tai chi and similar disciplines, but I think all these things are good when approached in a balanced way.

Does that make sense?

[mamadada]

Hello fellowforummembers

Not really macho, but I think everybody must sometimes have the feeling: is it still straight to the beat what I am playing? My problem is sometimes that I play for example the sangban of Wassolonka/ngrin, the main rhythm we are studying on now in class with my teacher Moussé Dramé. When you ask me how to play it: no problem. I just play it for you. I know every part that is taught to us. But sometimes I have the feeling I am floating around the beat (understand what I mean? I wouldn't know how to describe it another way in English). And when I start to think about it, I get insecure and off course it starts to happen: Moussé starts to look at me like he is in pain, at least I think he is, and the feeling gets stronger and after that I stay insecure, looking for the right groove while maybe I am playing the right thing! Is anybody familiar with this? any tips? Luckily it doesn't happen all the time, I really enjoy playing and want to play as much as possible, but sometimes I want the lesson to be over..... Strange!?

Michiel

Don't be too concerned about it - -the more you play and the more you experience this, the more you will get to grips with it, there is no substitute for practise!!!- - -have fun!