Calontir Drumming's topics - tribe.net

Drumming and Singing

Syr_Anton — Sat, 10 Nov 2007 20:07:54 GMT

It would please Us to see a cooperative effort between the drummers and bards of Calontir during Our upcoming reign. There have been fireside circles where drummers played and dancers danced, and then the bards sang, successfully taking turns. There is no valid reason that drummers, dancers and bards cannot all enjoy the same party. Learn to take turns.

There are songs that the Calon bards sing that plead for percussive background. Last Pennsic provided an opportunity for me to play doumbek with Sir Eric on his bazooki, and Sir Valdemar on his guitar and the voices of Calontir all together. It was fantastic. There should be more of it. Mind you, this can't be in the context of a loud drum circle; merely background accompaniment, softly keeping the beat.

Unto the drumming community of Calontir, this is a request from the Heirs to seek opportunity to join forces with the bardic community and make merriment even better! It can be done, with skill and grace.

HRH Anton

posted in Calontir Drumming - 14 replies

Drumming ???

Thoron — Fri, 09 Nov 2007 22:47:58 GMT

So what is going on drum-wise ??

posted in Calontir Drumming - 2 replies

drum Circle wanted..,.. I have the place

LordXaviar — Wed, 04 Oct 2006 19:38:56 GMT

looking to start a regular drum circle... will be on a very large over 100 acres spread...will no neigbors and in a valley... come lets shake the mountains....

Im in Versailles Mo...on the north side of the Lake of the ozarks... camping available.... lets talk

Ema.... Medieval _man_inc@yahoo.com

X

posted in Calontir Drumming - 11 replies

Train 'em young

Martinus — Thu, 12 Jul 2007 15:57:06 GMT

Maybe we need to invite kids to drum with us.....or at least this one.

http://www.youtube.com/watch?v=Sq6L4qaILgg

Too bad he's not in Calontir....or maybe is a good thing, eh?

posted in Calontir Drumming - 2 replies

Lilies Classes

The Amazing, Ferocious Larry — Mon, 14 May 2007 17:01:47 GMT

I'm still waiting for confirmation on the class schedule. I've put in to teach a Frame Drum Extravaganza, An ME percussion ensemble class, and then a rhythm blowout.

The Frame Drum Extravaganza! is aimed at highlighting the virtues of frame drums--as wonderful texture in an ensemble, as replacements for darbukas (being smaller, lighter, easier to haul around, etc.), as offering less expensive options, and generally being good choices for dancers, casual drummers, and serious drummers, alike. Bonus materials in the class involve zil work techniques (as additional expansion of the ensemble). Beginners welcome.

The Ensemble Workshop is aimed at looking at a ME percussion tahkt--ensemble--as a whole. We'll look at what instruments are used, what roles they take, and how to fit in to a group setting--even when not using a ME drum. There'll be lots of playing involved and I'll have extra instruments (darbuka, dohola, def, riq, saghat) available for use. Beginners welcome.

The Rhythms Redux class is an exploration of how to provide variety while using common rhythms and an exploration of uncommon rhythms. If you're itching for a bit more variety in what you hear or dance to, this may prove interesting.

I expect to be teaching the first two on Saturday and Sunday, the 9th & 10th. On Monday, the 11th, I may or may not be able to teach a class (due to variability in work schedule), though I'm trying to schedule one. I'll also be teaching at the end of the week, offering up the rhythm class then.

Once I get confirmation, I'll post the official schedule as it pertains to these classes.

Nakano, have you gotten your schedule confirmed? I suggested times for my classes and that she place them after your classes.

ANybody else scheduling classes?

posted in Calontir Drumming - 2 replies

new tribe

The Amazing, Ferocious Larry — Tue, 15 May 2007 12:41:51 GMT

Hey, for those of you having a Middle Eastern persona or otherwise really interested in ME activities, there's a new tribe. It's called Calontiri ME Community and it's intended to provide a place for all the ME folk to get together--dancers, musicians, storytellers, clothiers, etc.--and discuss ME play here in the Kingdom.

posted in Calontir Drumming - 0 replies

Frame drums

The Amazing, Ferocious Larry — Mon, 16 Apr 2007 15:28:32 GMT

Hey, how many here have and play frame drums, particularly ME frame drums? I'd really love to see a strong contingent of frame drummers at Lilies.

I'm gonna run a class or two on ME frame drums and will have extra drums available to use.

I can also use a good class on bodhran, so I can work out how best to fit a bodhran in with ME drums (as part of an effort to provide training to non-ME drummers as to how to best fit into an ME circle). I've a frame drum to use, a tipper at hand, a book that provides some instruction--I just need a live instructor to help pull it all together for me.

posted in Calontir Drumming - 0 replies

April 6th Hafla

Jivete — Fri, 30 Mar 2007 13:22:16 GMT

Okay it's that time again. Let's have a hafla! Hopefully the weather will cooperate and we can dance outside around a fire pit. Also, as long as we can dance outside, everyone is welcome to bring hoops and fire toys (I'm sure one of us can be a safety). And maybe, hopefully, drummers...?

Let's aim for 7:30 until whenever. Kids are welcome. I have a 10 year old.

My address:
4932 Buena Vista
Roeland Park, KS
66205

posted in Calontir Drumming - 8 replies

Aweful Quiet

Thoron — Mon, 12 Feb 2007 18:03:32 GMT

So what do we want to talk about - Lillies is not that far off.

Thoron

posted in Calontir Drumming - 4 replies

Something to try out: arranged leads and solos

The Amazing, Ferocious Larry — Sat, 03 Feb 2007 20:18:11 GMT

I find that I'm not the only instructor to rail against undeveloped ensemble practices. From a discussion elsewhere about ensemble playing:

"And for ensemble drumming for bellydance, what do you expect the dancer to do if there are several people trying to lead at the same time? She gonna dedicate a knee to one drum line, a shoulder to another, her stomach to a third?"

That leads nicely to something else for folks to try out: arranged leads and trading solos.

As touched on before, there are many roles involved in a ME ensemble. That's not to say that only one person can play each role at a time. Indeed, several players can take each role when playing. While all those playing the base rhythm can easily figure out what to play and sound unified, things are a bit different for playing lead.

Using an arranged lead works in the same fashion. As mentioned before, there are multiple fill variations possible when playing lead. Everybody playing lead can settle in on one and play it in unison and make for a better experience for playing, dancing, and listening.

So, using masmoudi ( D--- D--- ---- T---- / D--- ---- T--- ---- ) as an example:
The first time played, the lead can be : D-tk D-k- t-k- T-k- / D-tk t-k- T-k- t-k-
The next time played, it can be: D-tk D-k- T-tk t-k- / D-tk tkT- tkt- t-k- (saucy!)

But what about the folks who want to solo?

Well, that works into the whole scheme easily. Playing in phrases, it's easy to pair a phrase of arranged lead and a phrase of solo lead. During the solo lead phrases, the lead players not soloing simply place the base rhythm along with the dohola and def and so forth. Find out who wants to solo ahead of time, decide how many phrases of arranged lead between solo leads, and then switch back and forth. Everybody who wants to gets to play lead, everybody who wants to solo gets to solo, and the whole thing is much easier to dance to.

Note that solo leads aren't locked into playing the skeleton of the rhythm, either. A solo doesn't have to consist of just a different filled version of the rhythm. A soloist is free to accent (or not) freely during the solo--to develop a musical thought over the backdrop of the rhythm.

posted in Calontir Drumming - 0 replies

Something to try out: playing phrases

The Amazing, Ferocious Larry — Tue, 23 Jan 2007 03:44:51 GMT

So I'm looking forward to Lilies and what to do there. I'm not certain exactly how much time I'll be able to be there, though the weekends and evenings look pretty certain. With that in mind, the only class I'm certain to run is a playing workshop that focuses on ensemble skills. The workshop will be open to all skill levels and there's stuff people can practice on their own from now to then.

Next, I'll offer up playing in phrases. Most rhythm sections in any type of performance group do not simply play the same repeating pattern over and over. Even when playing a basic background rhythm, the rhythm gets played in phrases. A typical phrase length is four bars, and that holds for ME drumming as well.

So, how do you play a four bar phrase with an ME rhythm? Simple! Change the fourth bar so it's different from the first three and provides a disctinct break in the flow. A lot of filled leads involve playing pickup notes at the end of each measure, so ending a phrase can be as simple as not playing those.

For example, let's look at Saidi: D-T- --D- D--- T---
A filled version: DkT- tkD- D-tk T-tk (last "tk" two are the pickup notes)
To make a phrase: DkT- tkD- D-tk T-tk / DkT- tkD- D-tk T-tk / DkT- tkD- D-tk T-tk / DkT- tkD- D-tk T---

The base being played under this lead can also change at phrase end, like this:
D-T- --D- D--- T-k- / D-T- --D- D--- T-k- / D-T- --D- D--- T-k- / D-T- --D- D--- T---

Lather, rinse, repeat.

Playing in phrases makes it easier on the dancers to follow. It gives them a structure in the music to use to phrase their own movements. Phrasing also allows other good things to happen during play, such as calling for a last phrase to let everybody end at the same time, gives explicit breaks to allow for rhythm changes, allows for planning solo breaks, and all sorts of good stuff.

posted in Calontir Drumming - 0 replies

Something to try out: variations on rhythms

The Amazing, Ferocious Larry — Tue, 23 Jan 2007 03:33:01 GMT

So I'm looking forward to Lilies and what to do there. I'm not certain exactly how much time I'll be able to be there, though the weekends and evenings look pretty certain. With that in mind, the only class I'm certain to run is a playing workshop that focuses on ensemble skills. The workshop will be open to all skill levels and there's stuff people can practice on their own from now to then.

The second thing I'll offer is using different filled versions of rhythms. Most ME rhythms are fairly basic structures and get filled in to some degree when played. There's no rule that only specific versions have to be played, therefor there's no reason to play the same version every time the rhythm gets played.

Take baladi, for example. The common version of baladi is what I call the Devil's Baladi, simply because it's played waaaay too much. WHat are other options, you ask? Good question!

First, the basic baladi (masmoudi saghir, the small masmoudi): D-D- --T- D--- T---
--The Devil's Baladi: D-D- tkT- D-tk T-tk
--An alternative: DkD- t-Tk Dkt- T-tk
--Another: DkD- tkT- Dkt- T-tk
--Another: D-Dk t-T- D-tk T-k-

They're all filled leads for baladi. They also sound and feel different and help keep it fresh.

And the base rhythms played can also vary. Again, we'll use baladi.
One base: D-D- --T- D--- T--- (yes, the basic structure)
Another: D-D- --T- D-k- T-k-
Another: D-D- k-T- D-k- T-k- (a walking version)
Another: D-D- ---- D--- T---

Take some of your favorite rhythms, work up some variations on a base, then variations on a filled lead. Lather, rinse, repeat.

posted in Calontir Drumming - 0 replies

Something to try out: different roles/parts

The Amazing, Ferocious Larry — Tue, 23 Jan 2007 03:18:44 GMT

So I'm looking forward to Lilies and what to do there. I'm not certain exactly how much time I'll be able to be there, though the weekends and evenings look pretty certain. With that in mind, the only class I'm certain to run is a playing workshop that focuses on ensemble skills. The workshop will be open to all skill levels and there's stuff people can practice on their own from now to then.

The first thing to look at is some basic roles. Not all instruments in an ensemble play lead (whether a percussion ensemble or jazz combo). In ME percussion ensembles, there are those who play lead and those who play a base rhythm, and those who support the base and add texture. These roles, while all involved in playing the same _rhythm_, do NOT play the same part. The lead darbuka plays the lead part, a filled version of the rhythm or free solo; the bass darbuka, or dohola, plays the base rhythm, a less filled version of the rhythm; the def (frame drum) primarily plays a base rhythm; the muzhar also plays a supporting role; the riq can play base or lead or provide texture; saghat (zils) provide mainly texture.

What's that mean in concrete terms? Well, let's look at a maqsoum: (D-T- --T- D--- T---)

--The lead can play a filled version, like this: DkT- tkT- D-tk T-tk
--The base rhythm can then be something like: D-T- --T- D-k- T-k-
--The texture rhythm can be something like: t-tk tkt- t-tk tkt-

This leads to a layered sound of the sort that can be found on recordings of ME drumming.

So, take your favorite rhythms and look at playing both a lead part and a base part. If you've got a def or riq or muzhar, practice the rhythms with those, in addition to your darbuka.

posted in Calontir Drumming - 0 replies

Queens Prize

Thoron — Thu, 18 Jan 2007 16:56:03 GMT

Anybody planning on showing up ???

posted in Calontir Drumming - 4 replies

Drumming for Dancers - Drummers view point

Thoron — Mon, 18 Dec 2006 18:26:35 GMT

Since Jivette Broached the subject lets talk about this subject.

posted in Calontir Drumming - 8 replies

Suggestion

Thoron — Wed, 10 Jan 2007 14:23:47 GMT

Since it seems we have a lot of drummers who seem to know the same basic rhythms (usually Baledi, Chifti, Masmoudi, and Ayoub) I thought it might be nice to about once a month post a new rhythm so that all can learn it and we can increase the Kingdom Play list.

That way by Lillies we can have a larger selection of rhythms that we are all able to play well.

I would also suggest lets find rhythms the dancers in the group think they can dance to and the are not the same rhythms we hear around every drum circle.

I would like to thow one out I found on the net. It was called 337355 (this came from http://www.therotunda.net/drum/k08-32.html)

1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 +
t k D t k D t k t k t k D

1+ 2 + 3 + 4 + 5 + 6 + 7 + 8 +
t k D t k t k D t k t k D

It has a nice change to it without being a killer to learn. It also is not totally monotonous.

Thoron

posted in Calontir Drumming - 1 reply

Drumming for Dancers - Dancers Viewpoint

Thoron — Mon, 18 Dec 2006 18:27:17 GMT

Since Jivette Broached the subject - Lets Talk About it.

posted in Calontir Drumming - 2 replies

kris kinder cross post

LordXaviar — Sun, 10 Dec 2006 22:42:11 GMT

new post
Re: Kris Kinder
Today, 2:40 PM
have to say was a little let down.... brought a newbie... he enjoyed it...but was on the small side...and expensive as far as I was concerned..,. 7 used to get you at least unlimited drink all day...let alone lunch... the sold lunch ran out of choices before we got hungry... IM from the east originally I hope other evernts arent so pricey....

the Drumming turned out to be wonderfull... thanx.. I just got back from lunch too late for the dancers...they went away...but we had some great jams and had two halflings practicing dancing which made my day...wish I had my camera out to get some vid...they were really great...

I beleve someone was filming...hope to see it posted somewhere....

X

posted in Calontir Drumming - 5 replies

Ensemble Skills 101

The Amazing, Ferocious Larry — Tue, 07 Nov 2006 01:40:58 GMT

OK, so what are these ensemble skill thingies? And will I get a huge, frickin' NBA contract if I have them?

No contracts, sorry. Ensemble skills are those things musicians do to play in groups.

Let's look at what ensemble skills are not:

Ensemble skills are not technical skills. That means, you don't have to be able to play a clean, consistent sound. You don't have to be able to play with blinding speed. You don't have to be able to play fast for long periods of time. You don't have to have a metronome in your head and keep rock solid time. You don't have to be able to play distinctly six different volume levels on demand.

Ensemble skills are not musical expression skills. You don't have to be able to craft musical phrases with microdynamics, be able to play leading/trailing/on top of the beat on demand, or otherwise fine tune what you're playing.

You can be a raw beginner--never have picked up a drum in your life--and practice ensemble skills from the outset. You can play your drum only at midnight under a harvest moon and practice ensemble skills. You can have played by yourself in a locked closet for a dozen years and practice ensemble skills the very first time you drag your drum out of the closet and into public.

What ensemble skills are:

Ensemble skills are those basic skills that allow groups of people to play music together and sound good. What, in real terms, does that mean?

1) The foremost ensemble skill is that of listening to other players. It moves beyond listening to enjoy the groove to listening with the intent to build the sound.
a) You listen to match the volume you're playing to the volume of the other players. If others can't hear their own playing because you're too loud, you've failed. If the dancers or listeners hear only you, instead of a blend of the whole group, you've failed. If you have a drum that is much louder than other drums in the group, you have to play extra soft, and if you can't, change drums or sit out. Your sound should blend in with everybody else's sound and create a group sound that is balanced.
b) You listen to hold tempo with the group. If you can't hold tempo very well, you listen closely to those who can and match them.
c) You listen to match the feel of what you're playing to the feel of what the group is playing. If the group is playing a very sparse arrangement of a rhythm, then filling wildly doesn't fit.

2) Understand the roles in the group and when to play which one.
a) You play the base rhythm most of the time. The base rhythm pattern is what holds the whole thing together and is the most important part of the music. The base is normally held by the dohola (bass doumbek), def, and muzhar, though darbuka players can hold it, too.
b) You understand how the lead is going to work, if you want to play lead darbuka. If a scored lead fill is being used to provide the feel of the rhythm (a specific variation on the basic rhythm), then learn it before trying to play lead. When it comes to lead soloing, you wait until your turn and then you shine as brightly as you can; if you always try to fill against the variation or when somebody else is soloing, you've failed.
c) You know what roles the different instruments you can play usually take. As noted above, the dohola, def, and muzhar usually play base, and the darbuka usually plays lead. The saghat (zils) usually provide texture, along with the riq, and the riq can also play lead.
d) Heck, simply being able to stand in on a different instrument is a valuable addition to a group! A def player who does nothing except maintain the basic accent pattern is a godsend for a group.

3) Understand that it's all about the group sound. If you're playing just for the catharsis of playing, you've failed (unless it's a nice hippy circle or Pagan circle or otherwise expressly not about the music). You are involved in creating music as part of a group and it involves caring about the sound and working to get a good sound. If you don't have much experience or technical skill, you simply find somebody who does and concentrate on matching what they do. If you can't tell if you're playing too loud, you ask somebody else if you are. If you don't know a rhythm, you find someone who's playing the base line and match what they do. If you want to try a different drum, you ask somebody who has one if you can try it (and if you've never played one before, ask if they'll show you the basic techniques).

What you don't do is bang away without regard to what others are playing and how it sounds. If the fast tempos all slow down and the slow tempos all speed up to the same moderate tempo in the end, there's a problem. If you can't hear anyone else playing, there's a problem. If noone else can hear themselves playing alongside you, there's a problem. If you constantly wail away, wildly filling, there's a problem. If the dancers ever complain that something sucks, there's a problem. If the dancers beg off of dancing because of headaches, there's a problem. If every time you play a particular rhythm it sounds like every other time you've played it, there's a problem.

These are general thoughts on the subject and may be expanded on later to provide more detail. As I've said before, I've been in some very good circles with absolute beginners. Beginners are able to match volumes, follow tempos, hold base rhythms, and trade off solo leads fairly well with minimal practice, so beginners have a place in a group the same as experienced players.

Good drum circles can always be on the agenda.

posted in Calontir Drumming - 3 replies

My point of view

Medievalpercussionist — Tue, 14 Nov 2006 05:50:59 GMT

OK here goes. First, Those who know me will tell you that I will never try to hurt someone, try to get along with everyone I meet, and do my best to see the good in everyone and every thing. This being said, know that you should not read anything in this post as being a flame or pointed.
Now, I believe that all the peolple that I know that have posted care a great deal about making percussion in Calontir better. The differences are in each of our visions, understandings, backgrounds and our abillities to both explain our vision and see oneanothers. I believe we are all seeing a similar end result. The idea is that if you tell a group of people to imagine eating an apple, each individual will more than likely be thinking of a different apple with different tastes, some peeled, chopped, red, green... but they are all apples. The way you concive it is based on your history and the events that shaped YOUR life and your tastes. This is evident in Emeras post concerning African dance. Her experience changed the way she viewed the dance. She saw what it looked like when done well. I think many people dont understand what really good ensemble playing can be like. I know everyone has heard it, but you must remember that not everyone really knows how to trully listen and understand like those with training or those with a natural gift for listening. I have to admit that I dont trully understand ensemble playing (NO REALLY), and for alot of people what they dont understand can scare them to a certain degree. I have always tried to be one to take critisism and learn from it, but one thing I have learned is that many people will push against you if they feel critisised or even slightly challenged.
I understand the frustration with cowboys and large percussion or "seasoned Veterans" from pensic circles that let you bask in there glow. It is your desision to play or not and you should not be faulted for not playing. Sometimes I feel faulted by others because I wasnt able to make a certain circle. The worst way to try to get someone to your party is to greet them with "where the hell were you". Sometimes there just is not enough to go around, especially with a 2 year old!
Mid-Post reminder: This post is not intended to flame or poke anyone!!!
One thing that I have learned is that a great deal of strife in this world is caused by lack or breakdown or missunderstanding of communication. I dont communicate well through the written word and get missunderstood often in emails and this explains why I dont email much. I would really like for us to all be able to get together in the spring at an event or for a weekend at Xaviars place or wherever for some discussion and practice with tecnique, ensemble theory and application, comminication between drummer and drummer and dancers, practical application in the evening and.... It could be the begining of a kind of midwest ME music and dance camp.

What do you think,
Nakano

posted in Calontir Drumming - 2 replies

Mixed drum circles

The Amazing, Ferocious Larry — Sat, 07 Oct 2006 21:44:09 GMT

I posted an observation that mixing djembes with ME drums was a no-no. Xaviar responded with this:

"I have to say that I don't agree, but thats not problem... the hafla would be even better. I have had the most fun at loose assemblages of drummers from all types... african, carib, middle eastern and even asian..."

My objection to mixing drums at circles is simple: the drums of one cultural area did not develop to be used with the drums of other cultural areas. That leads to potential problems (and one can read "potential" as "will likely occur").

Problem 1) Disparate natural loudness. Djembes and other african drums don't mix well with most ME drums on the face of it because of this. ME music and instruments developed within the context of small groups and spaces. African drumming developed with lots of drums, lots of bodies dancing, and wide open spaces.

Problem 2) The roles developed for each different set of drums are different. Within the Egyptian tahkt, for example, the roles of the various drums are clear. The same goes for the African ensemble. Such doesn't exist in a mixed ensemble.

Problem 3) The rhythms developed within each cultural area are vastly different and don't work well on different drums. Using ME technique on a djembe isn't going to get great results and vice versa and the rhythms the two play are different. So what do the tabla players do when an African rhythm gets played? Tossing an ME lead over an African rhythm is called (kindly) "wrecking the train." As is tossing any African lead over an ME rhythm.

Now, I realize that really good players can adjust what they're doing and work out some really good stuff. The problem is that one can't expect any random accumulation of people with drums to consist of uniformaly good drummers. The typical circles I've encountered in the SCA can't be said to match that description and I have no reason to expect anything different in the near future. The playing of the typical open circle is...well, remember that train wrecking? That's it.

So, if Nakano wanted to show up with a wild drum and work it into playing, I wouldn't blink an eye. There are many other drummers, however, with whom my reaction would be vastly different if they appeared with giant drum in hand. I choose not to participate in train wrecks, for it's not enjoyable for me. (Indeed, at _Good vs Evil_, I sat out rather than participate in such a wreck.)

Obviously, folks can host whatever sort of circle they wish. I'll point out that it's a good idea to clearly announce exactly what type of circle it is--open to all or restricted, polycultural or unicultural, and so forth. It lets those who might participate decide whether or not they want to show up and play. I've an ashiko for African things and many instruments for ME things, and I don't expect to break out the ashiko for a hafla. I'm not interested in train wrecks, all open circles are suspect, especially polycultural affairs.

To provide a bit of background on this for those who don't know me well: Years ago I almost completed a degree in music education. I came up through a high school with a top notch music program, with the marching band appearing annually in the Marching Bands of America Summer Nationals Finals. I was a top high school drummer (nationally) and went to college to become a teacher. I almost completed that degree (a handful of hours left) when I decided not to teach. When in college, I assisted with both the high school and junior high school bands in my home town.

I'm a skilled percussionist, then, by training and background. I came to ME drumming a year or so ago via a former wife and fell in with Nakano then in the SCA. I'm still mastering the fine points of ME instruments, though I draw on years of formal training and decades of playing experience as a percussionist. I still enjoy teaching and working with groups, so I have students of ME drumming and a group of folks with whom I play regularly (Gibbous Moon Ensemble); I'm interested in helping yet more people become good drummers (within and without the SCA).

That should help explain why I don't participate in train wrecks. I've played in many venues over the years--solo contests, marching bands, concert bands, orchestras, jazz combos, big bands, dixieland bands, percussion ensembles, rock bands, and so on and so forth. I've played for both love and money. If somebody's paying me money, I'll take what the situation offers and deal with it. If I'm playing for love, I expect to be able to enjoy the situation. If the playing is bad, I don't enjoy it and I have other things I can do with that time.

So I pick and choose when to play. Ask me to show up for an event and I'll likely be interested. I'll bring my drums and want to play. If I find a bad situation--drummers I know aren't good and don't listen to other players or an open mixed circle or whatever--I'll listen for a bit and then probably leave. I won't try to rain on anybody's parade and stop them from playing, I'll just sit out.

In this instance (Xaviar's invite), a lengthy drive means I need to have a good idea of what sort of circle it will be ahead of time. A mixed circle is right out, at this point, for me. An ME circle as part of a hafla is fine, particularly if I can use part of the time to workshop with the folks who normally play with me (as many as are there), bounce some pieces off the dancers for feedback, and introduce new stuff to folks who haven't been playing with us--and it sounds like there's enough room for multiple circles, so those not wanting to associate with the Gibbous Moon folks can have their own thing at the same time.

posted in Calontir Drumming - 21 replies

Bodhran & Bones

The Amazing, Ferocious Larry — Mon, 26 Jun 2006 19:00:03 GMT

I'm trying to get a feel for how many players we have of the various styles/cultures. Who all plays bodhran or bones (or Irish flute)?

I've been told that Mathurin plays a mean bodhran. Do you teach bodhran, Mathurin?

We got a quick lesson in bones at the Tor party. I know Nakano has some bones and will be ordering more for me (and Mathurin, too, I think). Anybody else play bones?

I've a book on bodhran playing, though no drum and no actual experience. I'd like to pick it up and find some places to play it.

posted in Calontir Drumming - 5 replies

What teaching do you want?

The Amazing, Ferocious Larry — Mon, 19 Jun 2006 18:50:03 GMT

I figure this is a good place to ask what sort of instruction folks want to see 'round the kingdom when it comes to drumming (and ensembles involving drumming). What, exactly, do you want instruction on? What instruments? More techniques? More musical training?

Nakano's here, Brayden should be along soon (I invited her), I'm here--and any other instructor I can find in the kingdom will be invited, too. This provides a good place to let us know what you're looking for with your drumming.

For reference, Brayden teaches beginners the basics and gives insight about drumming from a dancer's view. Nakano, of course, teaches all of us mid-eastern hand drumming at any level. I teach orchestral and rudimental stick drumming, and beginning/intermediate mid-eastern hand drumming (though I'm very nontraditional in style).

So, come one, come all! Speak out about what sort of instruction you seek!

posted in Calontir Drumming - 4 replies

Boy are my arms tired

Martinus — Sun, 02 Jul 2006 13:41:12 GMT

Ok....so I'm reminded this morning by my sore arms, shoulders and hands that I have not drummed in 7+ years.
But, thanks to (as Phoibe told me cause I really didn' t notice) many, many hours of drumming last night at the Hafla I think I'll be sore for a day or so.

I also discovered that my drum needs a new head. The small tears around the side turned into large tears after such a workout. I won't chance trying another session with it in its current state.

So...I'm thinking of a new drum. Yeah, I'll get a new head for the old one - it was a sorta gift afterall. But....how about some recommendations on some sizes, tones, and volumes to help me choose my next one, eh?

Current drum is a wide-neck ceramic doumbek with about a 9" goatskin head.
I like the current one's dum, but the tek is a bit difficult to get volume from.
I don't like the "tinny" sound of the "flashy but chintzy" looking nickel-brass drums.
I want to stick to Egyptian or Turkish in sound.
Don't want something as resounding as a djembe nor as "poppy" as the little finger doumbeks.

So....recommendations?
Differences in head material? Goatskin vs. synthetic vs. fiberskyn vs. fishskin
Drum material? Aluminum vs. copper vs. rosewood vs. brass vs. MoP vs. other woods
Head size or drum height?
Fixed head vs. tunable?

Ok...so let me have it.

Martinus

posted in Calontir Drumming - 10 replies