Other Writings

DANCING THE INSTRUMENT--it's all about motion.

When you are playing a percussion instrument all of your motions are expressed by the instrument. The instrument actually interprets better than anything else I have ever seen. That is why 2 people can both play the same thing and get totally different tones out of them. If you want sharp sound and clean attack then choose the heads and drums with those characteristics, but they can only do so much. Your motions are more important by far than any other factor in druming. I said dancing the instrument, but mabe that's not quite right. When you dance you are moving in respoce to the music. When you play percussion you are moving in creation of the music. The similarity come in the way you move. If you are a good dancer then people could watch you and tell if the music is lively or solem, smooth or staccatto, groovin or stately. The same is true of the percussionist. By watching him/her alone you should be able to tell all these things as well. tempo fits into this in a couple ways you may not have thought of. The beat is very narrow in driving, or stately music, while when you are groovin you use a beat with a little looser feel and let it stray slightly. Now we are talking about 100th of a sec, so you can't actually think of it that way. The way you accomplish this stuff is by your mind set and your motions. you have to move as if you are dancing to the music you are playing. Dance to the music in your head, but keep in mind that every little minute change you make in the way you move will sound different when it is amplified by the drum. Where you strike the drum will affect the sound produced, as will the technique you use. If you want the good tone and the responce you desire from an instrument, you have to learn how to play it. Certainly before any other changes can be made you must have a rudimentary knowledge of the techniques used to play the instrument. You can play an instrument without learning (in any of the traditional ways) the techniques for getting the tones you want from it, but you will learn, in one way or another, how to get close to the right sounds before the little inflections of tone and timbre and all the little nuances can make a very big difference. The key is to be familiar with your instrument, which can only come with time, and to be aware that all your expression is through your motions no matter how big or small.

Final breakdown: Practice and be passionate.





HOW-TO FOR MUSIC THINGS.

Rhythm
Rhythm is the spacing of sound and silence through time.



The largest unit of rhythm is a song. Below that, things get a little more complicated. Each song has at least one, but usually several large sections. Each of those sections can be divided into groups or patterns, and those patterns info groups of beats. Each beat can also be divided into parts. Let's start by assigning some terms to these units of rhythm.
We'll start kind of in the middle, but bear with me, there is a method to my madness. The smallest grouping of beats is a MEASURE. There can be any number of beats in a measure, although usually this will not exceed 15. The most common number of beats in a measure are 2, 3, and 4, with 4 being by far the most common in western music. Measures are seperated by a vertical line in sheet music, and as a result measures have also come to be known as "BARS." One measure would also be called one bar. The TIME SIGNATURE tells how many beats in a measure, and what kind. The most common time signature for western music looks like this:

4
-
4
This is refered to as "four four time" or it can be written "4/4" as well. Since this is the most common time signature, it is also refered to as "COMMON TIME." As you may have guessed, there are four beats in a 4/4 measure. Now that we know what the top number means, let's look at the bottom number.
Earlier I said the time signature also tells "what kind" in regards to the beats. There are different lengths of notes, which are generally named as a fraction of a measure, or bar, of common time. A whole note represents a whole measure, but is commonly thought to represent four beats (due to common time having four beats per measure). In common time (4/4) a half note gets two(2) beats, and a quarter note gets one(1) beat, an eighth note gets one half(1/2) of a beat, a sixteenth note gets one fourth(1/4) of a beat, and a thirty-second note gets one eighth(1/8) of a beat. Fractions implied by the note value names are in relation to a 4/4 measure. 4/4 actually means there are four beats in each measure, and the quarter note gets the beat.
There are other ways to group beats, and I cannot possibly explain all of them without writing an entire textbook, but I will go into a few examples from several types of measures. 2/4 would have 2 beats per measure, each represented by a quarter note. A 3/4 measure would have 3 quarter notes, and a 5/4 measure would have five, etc. For each of these which can be divided equally by two(2) it is known as DUPLE METER, and for each which can be divided equally by three(3) it is known as TRIPLE METER. Anything else is know as ODD METER. These are examples of what is called SIMPLE TIME. That means that each beat can be divided equally by two(2). If the beat can be divided by three(3) equally, then it is know as COMPOUND TIME. This includes 6/8 and 12/8, which would be six eighth notes and 12 eighth notes per measure, respectively. The interesting thing about these types of measures is that where the bottom number in simple time indicates the type of note which gets the beat, in compound time three(3) of the bottom value will pass for each beat.
It is possible to divide each beat into more than just two or three parts as well. This is known as SUBDIVISION. This deals with notes smaller than those which get the beat. In a measure of 4/4, for example, you can divide each quarter note into two eighth notes or four sixteenth notesthree notes and , etc. You can also notate three eighth notes in the space where two would normally fit. You notate this by placing a bracket above the three eighth notes and a "3" above that (this is called a TRIPLET). If this were done for every beat, then it would sound exactly the same as a 12/8 measure. In the same way if you place two notes in the space where three would belong you can write the brackets and place a "2" above it (this is called a DUPLET). This can also be done with five notes in the place of two (or however many you need to put there to make it sound right) by using the same bracket with the number above it.

(watch for more soon...)





Ramblings about time as it passes.


It is those extrordinary moments, those moments which make memories, which slow life and give us a point of reference. Now by extrordinary, I don't mean all happy, but just as the word implies, out of the ordinary. Childhoods are full of these memories. Summers are vast mileposts that stop the progression of life and brood with activities rich in memories. When we at last leave our schooling, there are several changes we encounter. There are no more forced milestones. Birthdays and other holidays fade into the repetition of work, and without creating new and lasting memories, we get lost in the everyday.

more to come...



Tallow



God is an all-consuming fire.
People are like the tallow of life, they either run from god, or are consumed in and by his fire.
To burn with the fire of God, you must be willing to be burned up in the process.
Tallow of life, run my way, that our lights may burn brighter.



Four Questions
(Myspace Bulletin)

1) If you could have one thing right now, whether it be an object or a person, what would you choose?

1) Object or person, I will limit it to that, or else things could be really really difficult. Person, I should say. I would have the person I will marry come into my life. I won't say I would already have married them, that takes out a lot of the fun! But I would love to have that person here to be with, to support each other, and to start that wonderful journey.

2) If you could marry one person today, and spend the rest of your life with them, who would it be?

2) If only I knew that I'd be married already! I know it's not anyone I've dated, because I wouldn't have broken it off if I didn't know we weren't gonna get married. That's the whole idea of seeing someone. They are a candidate for marriage, so you start that way and when it becomes obvious one way or another, you either break it off or marry 'em!

3) If you could be anywhere in the world right now, where would you be?

3) I'd be on a vacation to Scotland/Ireland and a few other places, and in the company of my future bride and some friends. We'd be playin music, havin deep conversations, and generally enjoyin ourselves!

4) The word love is definately not enough. No words will ever be enough to express it. The good news is that if you are blessed enough to have someone love you back, you never have to explain it, because they already know! :o) The only thing that can show someone you truly love them is to dedicate yourself to them. Love them in your actions, your decisions, your words, in the way you look at them with respect and admiration and adoration, in the way you gently touch them, and in the way you admit when you're wrong and humbly ask forgiveness. My picture of marriage. ;O) Oh, and love is not a feeling. Love is a decision, that dedication, that response to who they are, and it's not so easy sometimes, but that's love. The feelings are a begining, and a wonderful side-effect or a curse, sometimes with thier presense, sometimes by absence, but never the basis.


















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