Drummer's Learning and Performance

[Donna Keiko Ozawa]

I am interesting in discussing the learning cycle as drummers/musicians.

I have noticed that I go through a cycle throughout my practice. It starts off with learning something new with starts and stops. As I proceed, I get better at hearing what I play and begin to play with ease - a fill or break or sticking. As I play more, I begin to notice my mistakes more clearly. I am critical of my own playing and my awareness of my limitations grows. I reach a point a frustration and find myself concerned about whether I will be able to play a difficult passage. After what seems like the highest point of frustration, I get "over the hump" and am able to play with even more ease. This part is very satisfying. Of course, then I am back at the top of that cycle again, more aware of my mistakes and limitations (albeit new ones) and continue on.

This is not to say that I am not enjoying myself. I truly love drumming. I find, however, that drumming is beyond physical coordination or the reading of notes, but involves internal centering and concentration as well as access to emotion that most people don't really talk about. I am seeing a pattern of this cycle and am wondering what others notice, how you practice and get through this internal process.

Thanks.

Donna

[Nancy Fraley]

Hi Donna,

First and foremost, I see that you're just across the Bay over in Berkeley! (LOL) Yes, I certainly do know what you mean about noticing mistakes, or at least areas that need attention, more clearly with practice. The thing I've been really cognizant of as of late is "micro-timing", which is intimately connected, I think, with the internal centering and concentration of which you speak. In other words, I can be working on a half-time shuffle or some other sort of groove, (or maybe working on playing in "between the crack", which is really a bear!), and I notice that my kit drum foot is off by just a millisecond-- but that millisecond is crucial to getting the right feel. I find this particularly frustrating at times, because I can hear the rhythm in my head, but articulating it can take some time.

To follow your discussion further, sometimes I can tell that the very thing I need to do in order to "get over the hump" with a particular passage or piece of music is to just push through and keep playing during that particular practice session. Sometimes though, I can tell that I'm not in the right space to push through, and really the best thing to do at that moment is to get up from the kit and come back to it later.

I also find that a good deal of my practice comes from visualization well before I ever sit down at the kit. I've found that for me, this is one of the best ways to learn or to work out a part. I just imagine myself at my kit, hear the way the music should sound in my head, and then proceed to work it out that way. Do you or does anyone else do this or find it effective? I'd love to hear more about others' experiences.

[wendy]

Just from reading your note it is clear to me that both of you are far beyond my ability at this point, but I do understand what you are talking about. I do exactly what you do--I either play through or get up and come back to it.

wl

[Donna Keiko Ozawa]

Just got back from an open jam in San Francisco. I wanted to share some thoughts about this since this touches upon the learning process and striving toward being a better player.

I try to go to these things every once in a while just to test my ability to improvise or feel a good groove. Its good to go occasionally, but be warned that these jams can also be intimidating for new players and even some experienced ones. Invariably, there are some musicians (whose gender will remain obvious) who go to these jams with a lot of expectations to show off their chops, compare themselves to others and don't hold a general rule of basic courtesy. I experienced one like this tonight - fairly typical of the kind of player that I can often spot by way they carry themselves at these places. While I was behind the kit, a tune was called that many of us didn't really know very well. This person ran up to the stage and screamed out the rhythm in frustration. I have never seen guys do this to male players. I actually picked out the rhythm just fine on my own but he got in my face about it banging it out with his hands. I made sure I turned away so as not to give him any attention. Yes, it was very rude, dismissive and disrespectful.

The important thing about these jams, I have learned, is that you must never go with the idea that the jam will make you feel good about yourself or your playing. You must go prepared to have a thick skin and with the idea that you are getting the air time but won't necessarily get strokes for it. If you get one nugget of a reward out of it, like you got some tricky licks in there, consider that a good night. It is like panning for gold, sometimes.

Fortunately, I know most of the guys who run the jam I just described above - they are supportive and friendly. But this is not always the case with every jam. I went to a blues jam in SF where the host grilled me about my music background and wouldn't call me up even when I signed up. Of course, I never went back there again.

Be prepared to be the only female musician there. Almost 95% of the time, I have found myself to be the only woman player at the jams in the San Francisco Bay area. There are women in the venue, but rarely on stage. I went to one jam where the owner congratulated me for being the first woman to play drums in his venue! Not necessarily an honor, but shocking.

I know this could totally discourage women and new players from playing at jams at all. Its good to go with friends - musicians and non-musicians. But often, when I have the urge the play and I'm not in rehearsal, no one is available. And I don't want to force my friends to listen to the squanky tunes that only a jammer could appreciate (or not). So I take my chances because I want to play and see if I can get my little gem from the evening.

So why would anyone go to a jam to scrape for a little fun in a potentially hostile environment? Because sometimes you get to play with someone who is more advanced and it will push you. Because, if you show up enough, the regulars will know you by name and begin to support you to play. Because sometimes you get to shine and get in the groove. Because, I am learning, part of the practice of being a musician is also practicing to respect everyone even if they don't respect you.

Its a tricky situation because there aren't many jams that are designed to respect women, specifically. You don't want to feel terrible about playing and you don't want to be trampled upon. So protect your musical self. This takes practice too.