Discuss drumming technique here
User avatar
By michi
#8362
bops wrote:Interesting, Michi... you don't happen to have any video of this, by any chance?
No, I'm sorry. There was an explicit request not to take video of teaching sessions. (We could do all the sound recording we wanted, but not video.)

I'll see whether I can post a short video of myself doing this. You'll have to accept though that I won't be doing it anywhere near as well as Mamady... ;)

Cheers,

Michi.
User avatar
By michi
#8379
michi@triodia.com wrote:I'll see whether I can post a short video of myself doing this. You'll have to accept though that I won't be doing it anywhere near as well as Mamady... ;)
OK, here it is... Apologies up-front: this was recorded not with a video camera, but a Canon SX 100 IX still camera, so quality isn't great. Neither is the sound quality: the camera doesn't do a good job of recording a djembe, and the drum has a new skin on it that is still dropping and nowhere near proper playing pitch. And I haven't had a shave in several days... :)



Cheers,

Michi.
User avatar
By Carl
#8386
Cool technique!

Based on your video, I think I have more "press" on my fingers than what you are using, I find it "darkens" the sound a little bit, like a conga tone.

I don't use it very often, mostly because I don't think my technique is quite right. If I use it too much, I find I get tension in my fingers (probably from the above mentioned pressure)

I picked it up from seeing Mamady and Famoudou use it, it was never taught to me.

Speaking of cool new techniques, I had a bit of a breakthrough on my heel-toe technique last night! I felt like I was actually able to use it in a solo technique (sobinikun, solo technique #1).

It was slow and sloppy, but it worked!

C
User avatar
By michi
#8401
Carl wrote:Speaking of cool new techniques, I had a bit of a breakthrough on my heel-toe technique last night! I felt like I was actually able to use it in a solo technique (sobinikun, solo technique #1).
Now I have to ask... Where in the solo original for Soboninkun is there a heel-toe technique? Listening to the first phrase, it sounds like it's just double basses that separate the phrases, very similar to the solo for Wassolonka. I've never seen Mamady teach Soboninkun, but he did teach the solo for Wassolonka in San Diego and, for that, it was ordinary double basses (played left-right) in between phrases.

Cheers,

Michi.
User avatar
By Carl
#8404
Correct,

This is something Mahiri is giving to me "in addition" to what I need for the test. Speaking of which, I should probably check with him which way I should play it for Mamady!

To clarify it would look like this
B= fingers b= heel of hand
[the finger hits are mostly what you hear, with the heel hits being more muted]
1.+. 2.+. 3.+. 4.+. 1.+. 2.+. 3.+. 4 . .
BbbB BbbB BbbB BbbB BbbB BbbB BbbB SSS S
RLRL RLRL RLRL RLRL RLRL RLRL RLRL RLR L


BbbB = 1/16 notes with microtiming
SSS S = Roll 4 (in standard 6/8 triplet feel)
Had a bit of trouble getting the notation to look right, but it gives you an idea...

I don't really "have" the microtiming yet, so I'm mostly playing it as straight 16ths. It's pretty solid "in my head" for the soboninkun feel, but I don't have the control of the technique yet. :flex:

C
User avatar
By Carl
#8405
bubudi wrote:i believe that's heel-tip. unless you're using your feet to play the drum ;)
I've always heard and reffered to it as heel-toe, even when I learned it as a conga technique (VERY informal sessions) I just imagined my fingers as really long toes!

As far as my feet go, it is my preferred "at my desk at work" technique... and my feet are way better at it than my hands!
:mrgreen:

C
User avatar
By michi
#8406
Carl wrote:This is something Mahiri is giving to me "in addition" to what I need for the test.
Ah, OK, thanks for that! This really is very much like the manoteo technique for conga. Mamady mentioned in San Diego that these taps can be used as fillers and briefly demonstrated it. (But it wasn't part of any of the solos or accompaniments he was teaching.)
I don't really "have" the microtiming yet, so I'm mostly playing it as straight 16ths. It's pretty solid "in my head" for the soboninkun feel, but I don't have the control of the technique yet. :flex:
Both Soboninkun and Wassolonka are difficult to play with the correct feel. I'm working on that one too...

Cheers,

Michi.
By bubudi
#8407
i've only seen or heard of mamady teach that soboninkun phrase one way and there was no heel-tip involved. it's a nice technique though. it adds a nice subtle variation in sound to other ways of playing ghost notes. i haven't seen many djembefolaw use it.
User avatar
By Carl
#8421
bubudi wrote:i haven't seen many djembefolaw use it.
I've seen Mamady and Famoudou use it, but never seen either of them teach it.

I'll ask Mahiri about details when I get some time (it's on a rather long list of clarifications that I want to talk to him about...)

C