Tips on Overcoming the “Shame” of Enjoying Art and Music
originally written October 1, 2016
Today’s post will be a bit different than what I normally write. The topic is performance shame. I believe this is an important issue all performers must face: How much does shame impact the way you perform? Could understanding the difference between shame and pleasure take your performance to the next level?
Lessons from Junior High “Shy” Kids
Over the years, I’ve watched many instructors try to get their percussion section to perform—to really get into the music. The most recent event I witnessed was at a pep rally rehearsal with junior high students. They were playing Read more “Is Shame Hindering You from Giving Great Performances?”
James Christian here. With most posts on Rudimental University, I try to focus more on the percussive and musical side of things rather than talking about myself all the time. However, if you can bear with me on this post, I need to talk about a few personal things to let you know what has been going on with the site. I have had to Read more “Life/Work Balance for the Percussionist”
Struggling with speed, accuracy, or pulse? James describes three ways you can use different tempos to maximize your practice sessions. The following is a transcript of the video above (slightly reworded for readability):
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Hello, everyone. This is James Christian with RudimentalUniversity.com. Today I would like to talk about three different ways you can use tempo to help you when practicing a piece of music.
Do you know how to count 24th notes, 40th notes, or 48th notes? James walks you through some terminology that may just revolutionize your understanding of rhythm. The following is a modified transcript of the video above:
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Hello, everybody. This is James Christian with RudimentalUniversity.com.
Today I want to talk about rhythm terminology. Most musicians don’t frequently deal with this particular concept I’m going to discuss, but drummers and percussionists deal with it all the time.
We’re used to whole notes, half notes, quarter, notes, 8th notes, 16th notes, etc. And we also have tuplet patterns, such as half note triplets, quarter note triplets, 8th note triplets, 16th note triplets, and so forth. In this article, I’m going to talk about the way we discuss tuplet patterns and how we can make it a little bit easier.
This method is especially easier when you’re writing on the Internet and typing. It also makes your terminology more consistent, regardless of the type of note you’re discussing. When you’re writing, this method will save space, and it’s just a nice shorthand for your terminology.
Solo competitions can be an incredibly value experience for those who participate. Off the cuff, I decided to give a short talk about why I think everyone should consider competing in them. Here are my seven reasons (plus two bonus thoughts!). I think reason #7 is woefully neglected by performers and educators alike.
For the first few days of the New Year, you will undoubtedly see various individuals and organizations urging you to create new goals, set New Year’s resolutions, turn over a new leaf, and do whatever you can to make this year better than last year. Of course, I know readers would be terribly disappointed if I didn’t give similar encouragements with regard to percussion. 🙂
When I was a freshman in high school, I told my drum line instructor, “I didn’t practice this week. I just didn’t feel like practicing.” He replied, “What do you mean you didn’t feel like practicing!? The only way to get better is to practice when you don’t feel like it!”
What Does It Mean “to Feel”?
My instructor’s mini-beratement led to an important shift in my thinking. As I looked around the world, he was obviously correct. If you examine the top experts in any field—whether music, sports, science, business, literature, or anything else—those who reach the top must Read more “What to Do When You Don’t Feel Like Practicing”
“Fight between Satyr and a woman,” a sketch of Augustin Hirschvogel
This past week, I have seen several Internet comments that have made me realize just how brainwashed… um, “preconditioned” some of us are in our understanding of performances, especially as related to technique and sound quality.
I grew up in the American rudimental drumming scene, just like many of you who are reading this article. I always enjoyed hearing other drummers’ thoughts on technique, sound quality, practice strategies, etc. However, I did not simply listen to those from the drum & bugle corps/marching band world. I also enjoy learning about fife drumming, pipe band drumming, Basel drumming, etc. I have found the more you are aware of how other people do things, the less adamant you are that your way is the only right way. (Though sometimes, a certain way is the best way for what you want to accomplish—and that is the key.)
I teach at Paris High School in Paris, Texas. This past year, we added a lithophone to our keyboard percussion section. Sometimes called a stonophone, this unique instrument is handmade from slate, and it spans a 3-octave range. There are only a few individual manufacturers online who make such instruments; it is a pretty unique niche. Our lithophone was custom created by Jim Doble at Elemental Designs. He did great work, and his prices are very reasonable.
This video is just a short improvisation to showcase the instrument’s range and timbre. Since this video was recorded, we have had a frame and resonators added. While the instrument has a very rich tone, it is somewhat quieter (and more fragile!) than a marimba or vibraphone. You can’t strike it with the same velocity on the louder dynamic ranges. When using it for concert performances, it works best to have it amplified.
We are primarily going to use it to substitute for bass marimba parts in percussion ensembles. It’s about a tenth the cost of a 5.0-octave marimba, so it’s a very affordable option for schools and organizations on a tight budget.
The lower octave is not quite as resonant as the upper octaves. We discovered that the instrument sounds really good when parts are played in octaves. (This creates some interesting arrangement considerations, but the result has been well worth it.) The higher octave helps to emphasize the fundamental pitch, and the lower octave brings out the rich, bassy tone underneath.
I decided to post this in order to showcase the great workmanship that can be found by custom instrument manufacturers. There are a number of talented people who specialize in custom-made marimbas, xylophones, lithophones, and other instruments. Also, I want to encourage percussion directors and band directors to think outside the box a bit when it comes to instrument purchases. The mainstream manufacturers create some wonderful products, and they are certainly going to be the primary “go to” sources. However, with a little creative thinking, you can also get some very colorful textures in your percussion section by exploring what’s out there.
For the extra adventurous, you might even want to have your students build their own instruments. This could create a deeper sense of ownership among the whole section when they have put their own time into creating the instrument upon which they play.
How about you? Have you had any experience with custom-made instruments? Have you used other instruments not mentioned above? Share your stories and thoughts in the comments section below.
