Any tips for insecure feelings

[Michel]

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

[Djembe-nerd]

It happens with me too on 2 occassions .

- new rhythym learning process, when the hands have not yet adjusted to the pattern.
- Dance class, when the pace is too fast and it goes on and on, I don't realise but I start getting slower from the pace. In the beginning I use to get stares or head turning towards me, but I now realize myself in the rhythyms I know. I might still get a stare in a new rhythym

[michi]

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?

This is common, I think. I've experienced it myself, and I've heard other people tell similar stories.

I think the ability to "stay locked in" has a lot to do with state of mind. It's this funny tightrope walk between being relaxed and alert. If I'm relaxed, things just flow, and I let my body and my subconscious take care of things while I'm going along and enjoying the ride. Yet, I can't afford to drift off into my own little world because, if I do, I lose communication with the other musicians. But, if I'm too alert, my head takes over and I'm playing with my intellect instead of my subconscious, and things start to sound forced and mechanical.

I think that "being in the zone" on a drum is probably not unlike being in a meditative state. I'm no yoga expert, but my wife is a yoga teacher of many years and tells me things about meditations that aim at being both relaxed and alert simultaneously. And, when that works, people end up in this mental state that is timeless, immediate, relaxed, alert, and wonderful. Sounds just like what I sometimes experience on the drum when I'm in the zone...

Not staying locked in on an accompaniment can have quite a number of underlying causes:

• Unfamiliarity with the rhythm. Obviously, if you don't know the rhythm well enough to let the subconscious take over, you have to work consciously on maintaining it. That often sounds forced and adds minute uncertainty to the micro-timing that can be perceived as being ever so slightly off.
• Lack of fitness. If a rhythm goes on for a long time, your muscles will tire, which means that they slow down and that it gets harder to stay locked on. I experience this most often on dunduns when my bell hand simply packs it in, no matter how deeply I breathe and tell myself to relax.
• Performance anxiety. I find that if I play to prove something, I play much worse than when I don't care and just pitter-patter away for the fun of it. Fear of getting it wrong makes me tense up, and tense muscles don't play anywhere near as well as relaxed ones.
• Mental inacuity. There are many forms of this. Sometimes, I'm just "in a bad head space" and the music won't flow. Stress, being tired, being depressed--any of these things can be the cause. Trying harder only makes it worse in that situation.
• Lack of focus. That one is related to the previous one, but different. There are times when I find it difficult to "find the zone". I'm relaxed, I play well (but not as well as I know I can), and I cannot get my conscious mind to find that quiet state where it won't over-power the subconscious mind. Symptoms are that I find myself consciously thinking rather than listening and feeling and letting the music flow. Sometimes, I find myself thinking about the other musicians and what they are doing, or it can get extreme and I find myself thinking that I have to go to the bank tomorrow or some other such mundane thing. Needless to say, that's not good for the music.

One piece of advice to help with all this is to "stay relaxed." This is true--being relaxed is key. Unfortunately, it's also singularly useless advice because relaxation doesn't come from an act of will. Instead, it comes from being comfortable where I am, being confident, and being proficient. But none of these feelings are there when I can't find the zone. In other words, to play well, I have to relax, but to relax, I have to play well. It's not easy to relax when I'm not playing well...

If you find that you are drifting around the pulse, try and listen to what it sounds like. Don't listen too hard though, because you don't want your attention to go into that single-minded pinpoint mode. Listen to yourself and make gentle corrections as you play. As soon as it sounds better, stop thinking about it and go back to the happy space where the music is. This trick works for me when I "get the look" from a teacher. It's easier said than done, because of this balancing act between conscious and subconsious mind. But it does work for me more often than not.

The other trick is not to care about your teacher. Your teacher's happiness or unhappiness with the music is none of your business--it's your teacher's. If your teacher is unhappy, that's his problem, and it's not your job to keep your teacher happy. (You got your hands full keeping yourself happy already.)

Be easy on yourself: you are there to learn, and part of learning is making mistakes. Your teacher's look is feedback that helps you improve: he's letting you know that, right now, you are not doing it as well as it could be done. That's how you learn the difference between right and wrong. Be thankful for the feedback, try to respond to it but, otherwise, forget all about your teacher. If you can't do better right now, that's just how it is and, next time, you probably will do better.

The more you play, the easier it gets to find the zone and stay locked in. Much of drumming is experience, and you can get that only with time. Meanwhile, enjoy the journey!

Cheers,

Michi.

PS: Oh, one more very important bit of advice, before I forget: relax!

[bubudi]

excellent topic, michel!

ngri is not an easy rhythm and it takes a lot of practice until you get more comfortable with the beat. you are aware when you are starting to drift, which is the main thing. allow it to happen - it's how you come back that is important. if you keep coming back well, you will reinforce the beat. that's part of the natural process of learning. if you become anxious about drifting, of course you will drift even further! what michi says about relaxing is definitely very important!

you talk about 'insecure feelings'. experience is the only thing that can truly address this. what you don't want is false confidence.

also, i find some people, usually beginners, have trouble hearing themselves in relation to the other parts. to these people i suggest to stop for a little, listen to each part separately for a bit, then together. then come back softly and focus on the ensemble, but focus just a little more on your playing. play softer so you can really hear everyone else. if you really start to drift, repeat this process. it will really help you to lock in with everyone else.

[Djembe-nerd]

Excellent advices from both Michi and Bubudi.

I add one more thing, practice a lot . I play 3 hours with ensemble, but I also play 3- 4 hours at home each week minimum.

Sometimes, I find myself thinking about the other musicians and what they are doing,

This happens with me quite often, specially when I try to concentrate on what the solo is playing

when you are starting to drift, which is the main thing. allow it to happen - it's how you come back that is important. if you keep coming back well, you will reinforce the beat

Coming back is very important, When you know where to come back, you won;t be struggling with the rhythym or drfiting away, thats when you know the rhythym in the subconsious and it makes you play. This is my experience.

[rachelnguyen]

Great answers, all of you!

Michel, the same thing happens to me sometimes, even on rhythms I know very well, especially if we are playing at a different speed than I am used to. My head plays tricks on me and suddenly I am wondering if I am on the right pulse and blam... I am off. It is really crazy when it happens.

For me, the only thing that works is practice, practice and more practice. Did I say practice? Oh, and some practice.

And relaxation, LOL.

Eventually, as you get more experienced with a rhythm, you will begin to hear how all the parts fit together and it will be easier to stay on. I don't usually play dun duns, but once, in class, I played the dun duns for Dansa. Because I knew the djembe parts so well, it was easy for me to stay on with the duns. I think if I had tried it when I first learned Dansa, it wouldn't have gone so well, LOL.

The biggest thing is to not get discouraged, no matter what your teacher looks like. The fact is, he knows how hard this stuff is, and he knows it takes years to get good at it... so relax (there's that word again) and enjoy.

[michi]

This thread has made me come up with a new pedagogical approach. I think I'll try this for my next class:

Relax, man, relax! How many bloody times have I gotta tell ya to relax? RELAX, DAMMIT, RELAX!!!

I think I'll take my cat o' nine tails along for emphasis...

Cheers,

Michi

[rachelnguyen]

Just whack them with the dun dun stick, Michi. Then you don't have to carry extra stuff.

[rachelnguyen]

Actually, I went to a bodhran workshop once, taught by a very uptight, wound up Irish guy who kept telling us we NEEDED TO RELAX. I thought maybe half a bottle of Jamesons would do the trick. Man that guy was intense. It was hilarious.

[michi]

Just whack them with the dun dun stick, Michi. Then you don't have to carry extra stuff.

Wow, thanks for that, that's great advice!

Cheers,

Michi.

[michi]

taught by a very uptight, wound up Irish guy who kept telling us we NEEDED TO RELAX. I thought maybe half a bottle of Jamesons would do the trick. Man that guy was intense.

Sounds like my kind of teacher

Hmmm... Maybe something else to add to the code of ethics for djembe teachers:

Physical punishment is encouraged, especially to help your students relax. Be judicious in your use of violence though: too much, and your students might relax more than is good for them and lose focus...

Michi

[Michel]

Wow!

Thank you all, it is encouraging to read that more people have the same. And are willing to admit it! And added some violence: always a solution....
You all describe exactly what happens. Being stared at, getting looks, even when the occasion changes. For me when I play djembé it hardly happens, only when I get the chance to play a solo: In my bed, in my car and elsewhere I play the most crazy solo's on my pillows, steering wheels, legs, but when it comes to it: Getting a red head and trying hard to remember what I practised, but don't succeed because 8 fellow djembéstudents play on bad tuned drums or some not straight. This is where most of you say, and you are so right: relax. Take the time, listen to the rhythm, and the more familiar you are with it, the more chance to get where you want. My trip to Mali for example gave me so much (inspiration for) new solophrases, that when I get the chance to play solo on a known rhythm I know what to play now. Nice to see I improved on that point: less red heads and more joy.

But my problem is when I play bass drums: I got the feeling my role is so important that i'm afraid to fail. As djembéfola you have always the duns to lean on. I want to have that role in a rhythm sometimes, and love to play duns, but sometimes still happens where I started this topic for. I take care of your advices. Practice and relax. Practice to relax!

Thank you all. Michiel

[Djembe-nerd]

I was playing mendiani on the dununs (ballet style) yesterday at the dance class. After 40 minutes, I just couldn;t keep up with the pace, teh muscles just gave up. I handed the sticks to another guy instead of struggling.

Its normal like this to happen.

[michi]

Just whack them with the dun dun stick, Michi. Then you don't have to carry extra stuff.

That reminds me of some of the stories that are circulating about Epizo (even a good ten years later...) Apparently, during his first camp, some people walked out of the camp in tears because he was pushing people so hard and had a truly abrasive teaching style. After the camp, the students wrote a letter telling him that they won't ever come back unless he softens up a bit.

He's softened up a lot since then, according to the people who've been to his camps all that time. He still isn't the easiest-going of teachers though, I'd have to say

Michi.

[rachelnguyen]

Wow!

... because 8 fellow djembé students play on bad tuned drums or some not straight...

I wonder, can we fellow students use the dun dun kala to whack them, too... or is the teacher the only one who gets to do that?

I play with beginners a lot and I can tolerate it fairly well most of the time, but every now and then one insists that she is on and she is SO not on and I am (after 3 years I bloody well better be or I will have a moderately cranky African to answer to) and we are just dying. I even asked my teacher once if he wanted me to follow the wanderers (when we are without dun duns) or stay straight because it is so damned painful to listen to. So I stay straight and pray that at some point they will notice that they are half a measure ahead of me and come back onto the rhythm.

Ok, I am putting the Kala down. I am going to bed. I need to relax, LOL.