About The Material I Am Sharing
I’ve been fortunate enough to spend over four decades studying with master drummers around the globe. Early on I began teaching and performing, developing my own style of instruction. I’m going to be presenting you with a wide variety of information, techniques, and genres. You will benefit directly from a polished consolidation of my experiences and my focused teaching style, which simplifies and demystifies hand drumming. Simply put, I know what works and what does not work when it comes to sharing and teaching drumming. Anyone can drum! Especially with my tried and true methodology.
I would like to thank all of my teachers and the masters, those both living and those who have passed on, who have so graciously and selflessly shared their wisdom, creativity, ideas, and teachings to me for so many years. They encouraged me and believed in me. Some of these masters include Bolokada Conde, M’bemba Bangoura, Karamba Diakite, Aruna Sidibe, and Brulye Doumbia, all from West Africa; Simbo, who started life as Craig Goodman in the US; Pello El Afrokan, Amado Gomez, and Alfredo Calbo from Cuba.
Why Study With Me?
I’m still a dedicated djembe and hand drum student, learning, studying, and digesting information at every opportunity. I synthesize everything I have learned and present it to you in a practical and useful way so you can have fun with your drum right now.
Through trial and error I have developed a teaching style in which I show you step by step, in an easy to follow process, how to make the sounds, how to play rhythms, and eventually how to solo. Everything is broken down, sometimes in slow motion, complete with captions to explain, identify, and make clear distinctions.
I regularly play in bands, at drum circles, rumbas, dance classes, recording sessions, jams, drum facilitations, and traditional drumming situations, so I have you covered in terms of what works and what doesn’t work in most of the playing situations you will encounter. Whatever practical application you might need is included somewhere in these courses. And if it’s not, it will be soon.
Over the course of the 20 minute private one-on-one Skype or Facebook Messenger class we can delve into specific questions you might have concerning any of the material.
Each class leads gently into the next class, so if you stick with it, before you know it you will be studying at the advanced level and then you’ll be ready for the professional courses.
You Don’t Need Any Experience!
You don’t need a musical background to follow these courses. It’s fine if you are a beginning beginner. You’re free to study at your own speed in your own time, in your own home, and no one is here to judge your progress. Drumming is for everyone regardless of age, race and gender.
Did You Know?
According to the Bambara people in Mali, West Africa, the word “djembe” is derived from a saying that translates to “everyone gather together in peace”. The drum is for unity, for bringing people together.
The djembe is a rope-tuned, skin-covered, goblet-shaped drum. Several craftspeople apply their skills in making this musical instrument. One person or team cuts the tree. Someone else shapes the log. Yet another person carefully carves the drum. A dedicated artist will incise the decorative carving. Finally, the skin is prepared, mounted on the drum, and once dried, it’s tuned to bring out the tones of each individual drum.
Did you know that West African music comes from a long rich history and consists of intricately composed arrangements and is not simply a jam session? The drumming compositions are accompanied by specific dances and songs, and belong to families of rhythms which have distinct meanings and applications within the community.
In the West African tradition there are hundreds and hundreds of composed pieces that relate to every aspect of life, such as honoring the birth of a child, naming a child, weddings, coming of age ceremonies, praising returning warriors, celebrating harvest, songs for fishermen, and many pieces to ease the backbreaking toil of farming. These pieces have been handed down through oral tradition from family to family over hundreds of years. Each composition will have several distinct djembe parts and three dunun (double sided bass drums) parts. The dununs also have corresponding bell parts. So there is a lot going on in any one piece before you even think about the song and the dance!
Where Do I Fit In? Which Class Is Right For Me?
Regardless of the style of drumming you prefer, it’s always helpful to learn about the tradition of the instrument you are playing. In the Beginner and Intermediate courses you will learn to make several distinct sounds so you can “speak” on the drum. Learning how to play the drum correctly, with the proper form, using distinct sounds, will help you to have more fun and dexterity no matter which style you choose to play.
The Bonus material is free, and while the classes are much shorter and not as in-depth as the rest of the subscription courses offered, you will get a feel of the material I’m sharing and of my teaching style.
Playing djembe can be loosely classified into four different styles, all of which I cover in the lessons:
The first is Ballet or “city” style, which originated with performance groups in heavily populated urban areas, and has become very popular through YouTube and in dance classes. This style came into being when musicians from the village began playing in the city. In a sense it’s a hybrid form that emerged, which allowed for faster playing and more exciting and visually pleasing performances.
The second is village or “traditional” style drumming. Playing drums in the village is less about entertaining a seated crowd, and more about bringing the community together for a celebration or a purpose, such as assisting in farming and harvest.
The third is a westernized style in which the djembe is used for musical accompaniment in bands and various popular music.
The fourth is a hybrid style, a fusion of many percussive elements used mainly in drum circles, in which technique and traditional sounds may or may not be a focus, and free form is common. Usually some sort of pattern or group rhythm emerges. The drum circle has become very popular around the world and continues to evolve. Your experience will really improve when you bring some fun rhythms to your next playing opportunity!
In my courses I present several different ways to play the dejmbe and to interact with other players and musicians. You will learn how to start rhythm patterns on djembe and dunun, and to create solo ideas that work very well at drum circles and open jam sessions. I believe you will be performing and playing with others in no time. With the rhythms I will teach you, you’ll be able to create magic and build on the group’s basic groove.