I have a gigging kit and a kit that stays set up permanently in my living room. For my show on Friday night I took the snare drum from my permanent setup with me. Today I got on my drums to mess around with some African Claves from Billy Martin's book but my snare drum was still in its case in the van.
I decided to use this as an opportunity to move toward sound and away from musical dependencies and habits. Expanding intimacy with drumming itself rather than with a drum set, with sound itself rather than with music, with the act of drumming rather than with what I am drumming.
I walk around the town playing on mailboxes, road signs, thrift store objects, telephone poles, benches, buckets, cups. Anything that looks like it might have a song I check to make sure. So why doesn't that extend to the drum set as much? Habit? Comparison? Expectations? Musical taste? Fear? I think the main thing is there is no preconception about a mailbox or a five gallon water jug. There is not an extensive library, in the exalted annals of music history, of mailbox and water jug recordings and techniques.
These found-percussion trysts are innocent encounters with sound. There is no, "am I doing this correctly?" because there is no "correct" way to play a mailbox or a water jug. The obsession with technique and perfectionism, as it correlates to the learning of an instrument, is only useful if it does not tamper with the ability to innocently experiment with your instrument stripped of all historical and musical context.
That is why I didn't go and get my snare drum. I did a practice session and some soloing minus the snare. It completely changed my relationship with the toms. It changed the way I thought about melody and drumming. The grooves were wilder and simpler. Africa came to visit or vice versa. When you change vantage points your vision and your knowledge expand.
Set up your drum set backwards. Use only floor toms. Remove all your cymbals. Do a solo blindfolded. Drum in the forest. Video tape yourself and play it backwards. Duct tape your right hand to your heart and drum with your left. Do anything to break your dependency on your instrument in order to increase the chance of entrance into extra terrestrial innocence where intuition and sound converge in the melted heart.
I decided to use this as an opportunity to move toward sound and away from musical dependencies and habits. Expanding intimacy with drumming itself rather than with a drum set, with sound itself rather than with music, with the act of drumming rather than with what I am drumming.
I walk around the town playing on mailboxes, road signs, thrift store objects, telephone poles, benches, buckets, cups. Anything that looks like it might have a song I check to make sure. So why doesn't that extend to the drum set as much? Habit? Comparison? Expectations? Musical taste? Fear? I think the main thing is there is no preconception about a mailbox or a five gallon water jug. There is not an extensive library, in the exalted annals of music history, of mailbox and water jug recordings and techniques.
These found-percussion trysts are innocent encounters with sound. There is no, "am I doing this correctly?" because there is no "correct" way to play a mailbox or a water jug. The obsession with technique and perfectionism, as it correlates to the learning of an instrument, is only useful if it does not tamper with the ability to innocently experiment with your instrument stripped of all historical and musical context.
That is why I didn't go and get my snare drum. I did a practice session and some soloing minus the snare. It completely changed my relationship with the toms. It changed the way I thought about melody and drumming. The grooves were wilder and simpler. Africa came to visit or vice versa. When you change vantage points your vision and your knowledge expand.
Set up your drum set backwards. Use only floor toms. Remove all your cymbals. Do a solo blindfolded. Drum in the forest. Video tape yourself and play it backwards. Duct tape your right hand to your heart and drum with your left. Do anything to break your dependency on your instrument in order to increase the chance of entrance into extra terrestrial innocence where intuition and sound converge in the melted heart.
