Much of what I discuss is based on the books, Together in Rhythm and The Way of Music, both of which can be found on this site and through Amazon and other retail outlets.

Audio coming soon.

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• Geographical information
• Instruments commonly played in each genre
• Musical elements that tend to define each genre
• Musical examples of key musical elements (played live).
• Musical examples of different bands and styles (played via recordings).
• Discussion

Kalani Live Session #1

Kalani LIVE Playback via your phone.

• Number: (605) 562-3099
• Access Code: 188493#

Mega-drum circle (http://www.globaldrumcircles.com/photos.cfm)

According to a study by the World Health Organization (WHO),  Noise Induced Hearing Loss (NIHL) poses a real threat for the health and well-being of people the world over. Although the study focused on sustained levels of noise in the workplace, even temporary exposure to high levels of sound can cause permanent hearing loss. What?

The consequences of noise induced hearing loss include:

• social isolation.
• impaired communication with coworkers and family.
• decreased ability to monitor the work environment.
• increased injuries from impaired communication in isolation.
• anxiety, irritability and decreased self-esteem.
• lost productivity.
• expenses for workers’ compensation and hearing aids.
• tinnitus, or what is often referred to as a ‘ringing’ in the ears.

As the number of musicians in an ensemble increases, the potential for hearing loss also increases. Traditional ‘world music’ drumming ensembles consists of 4 or 5 drummers at the most, with a possible 2 or 3 additional small hand percussionists playing instruments like bells and blocks. The introduction of large format group drumming a.k.a. drum circles, introduces an entirely new challenge when it comes to keeping sound levels at a healthy volume. Drum circles are certainly not the only types of drumming ensembles that can produce high levels of sound. Marching bands and traditional drumming groups can as well.

At a recent conference, I personally experienced sound levels exceeding 95 dB. these were measured using a decibel meter on my iPhone at a distance of 10 feet outside of a drum circle with an estimated 100 participants. The world health organization studied two types of noise in the workplace, those between 85 and 90 dB and those above 90 dB.

Just how much short term exposure to sound levels over 90 dB might affect the one’s hearing is unclear: however, it is generally agreed that any sustained exposure to sound levels over 90 dB should be avoided. If you don’t carry around a sound meter with you, you can use this general rule of thumb. If it feels like it’s too loud, it probably is. Your physiology is likely adequate to warn you if sound levels become unhealthy. The important thing is that you listen to your body and take action, rather than waiting until it’s too late. What was that you said?

Some things you can do to avoid hearing loss include: using earplugs, moving away from loud instruments and avoiding placing yourself in extremely loud environments. If you are a drummer, musician, teacher or therapist who works in settings where group drumming takes place, you can help to educate your peers and participants as to the potential health risks posed by large group drumming ensembles and take steps to reduce risk.

Keep in mind that most drums and percussion instruments, at least the kind that are commonly used in drum circles, are traditionally played outdoors. Bringing these instruments indoors and increasing the numbers by ten-fold or more, poses unique challenges with regard to health. As my friend and drummer Chrystine Jullian is fond of saying, “Drumming can be a lot like hitting your head against the wall – it feels good when you stop.”

There’s some truth to this statement. Whether you realize it or not, when you expose yourself to sustained high levels of sound, your body experiences a low level of trauma, triggered by a mechanism in your upper spinal column and lower brain called the reticular formation. Because your body reacts to the sound levels as if it were under attack, possibly in an earthquake, thunderstorm, or stampede, certain hormones and endorphins will be released into your bloodstream. One of these may include dopamine, a “feel good” hormone that is often associated with “runner’s high” and other activities where the body feels the need to self medicate.

An interesting question that could be explored is: “Are the good feelings that drummers often self-report due to the activity of drumming itself, or the result of the body’s natural defense mechanisms protecting it from potential pain?”

What we do know, is that if we are all going to continue to enjoy community drumming in large numbers, and indoors, then we must all find a way to preserve and protect our hearing. After all –  what good is music making if you can’t enjoy it? Huh? I didn’t catch that last thing you said.

I hope this article has been helpful to you. Please leave your comments and suggestions below.

Drumming gloves protect the players hands by providing an added layer of cushion between the palm and the drum surface. Many drum related injuries are caused by repeated impact of the soft tissues and bones of the hand striking against the drum rim. Drumming gloves protect the drummer from unnecessary discomfort and potential harm without sacrificing feel or tone quality.

Drumming gloves come in a variety of sizes including: small, medium, large and extra large–to accommodate all sizes of hands.

People who might find drumming gloves most useful include: those who drum infrequently, music teachers, the elderly, anyone with a hand injury, and children.

With so many people using drums as a recreational tool, it just makes sense to provide a means of protection for those who may not have the skills and experience to play hand drums with their bare hands. Drumming gloves can act as training tools to allow potential drivers to develop the technique and stamina they need to enjoy drumming for years to come.

Teachers, therapists, and music facilitators can provide drumming gloves for their students, clients, and participants. Having 8 to 10 pairs of driving gloves that can be made available to those who might need them is a fantastic way to promote health, fun, and well-being through music. Many participants won’t realize the need for driving gloves until it’s too late. Reminding people that drumming gloves are an option gives them the chance to protect their hands right from the start–and it gives those who promote drumming the opportunity to help everyone in their groups.

Drumming gloves are available to all major music retailers, both online and in stores. You can find out more about drumming gloves by visiting the Vic Firth website: VicFirth.com. (Search for recreational music products).

Let us know how you’ve been using driving gloves with your groups. Leave your questions and comments below.

My deepest gratitude and thanks go out to Carolyn Watson from Optimum Percussion in Sydney, for organizing the three-day drum course. I also have to thank my gracious hosts from the national or Orff-Schulwerk Association of Australia for their kindness and well-organized conference. I’m sure I can speak for all the presenters when I say that the conference was not only well organized but that we all felt very much at home and appreciated.

I knew that I would be experiencing some jet lag when I arrived, so rather then take a 4 hour flight from Sydney to Perth upon my arrival, I decided to go a few days early and join my friend, Gary France, and his family during a camping trip on the eastern coast. I was able to take a bus from the Sydney international Airport in meat and dairy in Canberra the capital city of Australia. From there, we drove down to the coast and stayed at a campground near Bateman’s Bay. Given that December and January are summer months in Australia, the vast majority of vacationers head to the beaches during this time. We stayed at a campground where most of the people brought caravans, or what we in the US would call a tent trailer. There were also people staying in small mobile homes and tents. The ground was walking distance to several beaches and home to many thousands of wild parrots. Every morning they would sing me awake at about 5:30 or 6 AM! –Although I’m not sure it’s entirely accurate to call the sounds they were making “singing.” Despite my jet lag and parrot–alarm clock, I had a wonderful time at the coast, thanks to Gary and his lovely family.

From the coast, I flew to Perth, Australia’s gem in the West – and the only large city in the region. In fact, Perth is so far away from other cities in Australia, that most of the people there fly to Singapore just as easily as they fly to Melbourne or Sydney. Perth is quite beautiful, largely due to the Swan River which winds its way through the heart of the city and out to the sea. I was especially impressed with the clarity of the air. Being from Los Angeles, I’m used to being able to see what I’m breathing! The skyline of the city stands in sharp contrast to the deep blue sky. At night, while most city lights would be flickering through the pollution, Perth was as clear as ever. Although the conference schedule kept me fairly busy during most of the days, I was fortunate to be taken out to Freemantle a couple of times during my stay there. Freemantle is a progressive area of Perth on the Oceanside, and features some of the areas best restaurants, colonial architecture, and interesting people watching. My friend John Croft took me to a restaurant called Little Creatures, which is actually a microbrewery right on the Marina. The atmosphere and the food were both amazing! If you’re ever in Perth, I highly recommend a trip out to Freemantle and a meal at Little Creatures.

The Victoria Orff Schulwerk Association hosted the conference, which featured four international presenters, including myself. The other 3 presenters were from Rome, Italy; Salzburg, Austria, and Melbourne; Australia. In addition to us four, there were many national and local presenters who all did a fantastic job offering music and movement sessions for the conference attendees. I was fortunate enough to be able to make it to several of the other presenter’s sessions. Everyone at the conference really made me feel welcome and appreciated–and I appreciate that very much. There is a certainly a sense of family that one often feels when in the company of fellow musicians and music educators.

Following the conference in Perth. I returned to Sydney for the drum course. There were about 20 participants for this 3-day program. We studied world rhythms and drumming techniques from many cultures, including Native American, Brazilian, Caribbean, West African, and Arab. Some of the participants had prior drumming experience, however some had very little. There were music teachers and music therapists taking the course, which meant they did have musical backgrounds. Whenever I teach drumming courses these days, I always like to emphasize that the drum is in fact a musical instrument after all! I know there’s been a lot of hype recently about how drums are accessible and supposedly easy for anyone to play immediately, but I also know that, despite what many may say or think about drums, the do actually take years of practice and experience to master. My hope is that the participants at the Sydney drum course left with a new appreciation for the art of drumming and are excited to learn, improve, and be on the path to more successful drumming in the future. It’s only through focused, quality attention and diligence that we can realize the true potential of the drum as both a musical instrument and the means for effective and positive change.

The drum course wasn’t just about drumming–it was about music. As always, I played my ukulele and did some teaching of the ukulele so others might enjoy this simple and beautiful instrument from Hawaii. In my opinion, the ukulele is as easy to learn and accessible as the drum–if not more so. I love that everyone took to it and by the end of the course, there was as much strumming as there was drumming going on!

I’m looking forward to the drum course coming up in the Chicago area in July. To find out how you can be involved, check the playsinglaugh.com website and musicmattersschool.com. There is also the five-day DCM cores coming up in Los Angeles in July, where will drum, dance, sing, strum and create new friendships as we celebrate together. Along with the DCM course, will be holding the first ever kid’s uke and drum camp! This is a day camp for children ages 9 to 12, featuring drumming, singing, dancing, and ukulele lessons. Perhaps I’ll see some of you in LA at the DCM course or at a music conference coming up soon.

The drum shell is made of durable PVC plastic and can withstand drumming and transport of all types. The head, which is fixed to the rim, is plastic as well which means no tuning, no hardware, and nothing to break. These drums are not just low-maintenance, they’re practically no-maintenece!

These drums stack up like nothing else – literally. No other drums on the market have the capability to be stacked without limit. There are ‘nesting’ drums where larger drums are filled with progressively smaller versions (like those Russian dolls), but nothing out there stacks into the same size, which makes the FLEX drum unique.

Here’s a video that was taken at the NAMM show. Enjoy!

What do you think?

Leave your comments below.

Creating Advocacy Opportunities

As music therapists (and those who are supporters of music therapy) we often end up having to define it for those who are unfamiliar with it. We do this through our websites, books, publications and in-person conversations. I see each of these methods as equally important in reaching the overall goal of increasing the availability of music therapy services.

Speaking to Groups

I was recently presenting several sessions at a national music education conference in Australia. Knowing that music therapy is an emerging profession in Australia and having been asked several times about music therapy by conference attendees, I approached the conference director with the idea of giving a short talk about music therapy during one of the lunch breaks. She happily announced the talk during the morning meeting and I ended up with close to 40 people. I was able to provide an overview of Music Therapy services (including the educational and certification process) and answer questions. As a result of my small request and talk, there are at least 40 people who have a greater understanding of and support for music therapy.

Speaking to Individuals

I was admiring a booth of ukuleles at a national music industry conference when I met a fellow ukulele player. As we talked, I discovered that she creates musical experiences for underserved children and adults–both locally and internationally. When she found out that I am a music therapist, she started asking all kinds of questions. Given her current work, it’s no surprise. We both related to those ‘magical moments’ and transformative experiences that come about through music and quickly shared our stories with each other. She is a natural for music therapy; musical, friendly, excited about helping people, and passionate. As a result of our conversation, she now knows about some options for her as well as about the profession in general. I imagine that she will help others know more about music therapy, whether or not she pursues it as a career.

Speaking Up!

Something that I’m learning is that almost everyone wants to know more about music therapy. I’m also getting better at creating opportunities to do just that. We can wait for someone to give us the chance to talk about music therapy–or we can create opportunities by volunteering our time, asking people about their professions and relating them to MT, and simply telling people around us about what we do. Never underestimate the power of the individual to impact a movement. This means you! All you have to do is ask.

A Few Tips

As we talk about music therapy, to groups or individuals, we can all use some simple and effective ways to help people understand what it is (and what it isn’t). Here are some phrases that I often use to do just that. I hope you find them useful!

1. “Music Therapy is done with someone, not to someone.” (It’s more than just music or ‘sound.’ It’s a relationship. The client plays an active role in the experience and in reaching his/her goals.)
2. “Music Therapists share goals with physical therapists, speech therapists, occupational therapists, and psycho therapists, but we reach those goals through music-based experiences.” (This helps connect MT with professions that are likely to be familiar to most people and it explains why MT is unique.)
3. “Music Therapists design, improvise and deliver all kinds of music-based experiences to help their clients. What we do depends on our clients’ needs.” (Helps people understand that we are therapists who work dynamically with our clients, like other therapists. Music Therapy is not a type of experience, it’s a profession. People sometimes ask “What does a music therapist do during a session?” and I sometimes answer with the question “What does a doctor do during a session?” Answer: What is needed according to the needs of the client. A music therapist offers lots of options, like a medical doctor. )
4. “Music Therapy is to music entertainment (or recreational music making) what Physical Therapy is to having a massage. (Helps people understand the difference between various types of experience, i.e., therapy vs. recreation)

I always like to hear from you. Please leave your comments below and remember to speak up for music therapy!

There are many forms of group drumming. Some are defined by the types of instruments that are used, while others are defined by the goals and methods that are used by the participants. This post will help you identify different types of group drumming by name, even when they might look similar in many ways. The most important aspects in identifying any form of group drumming is 1) the qualifications, training, and  experience of the leaders, 2) the dynamics that exist between the participants and the leaders, and 3) the overall goals for the experience (education, recreation, ritual, therapy, team building, etc.)

Note that the following are general descriptions and that in reality, there is some overlap between drumming types. Each type is often used in conjunction with other types. For example, within a group drumming program, the leaders might have participants engage in different types of group drumming at different times (and for different reasons). Some types look very different and some look similar, but they all have different dynamics and qualities that make each type unique.

Drumming Ensemble

Groups of people who meet to develop their drumming skills as a group, often with the goal of performance. Most ensembles fall into two main categories; traditional music and contemporary music. Many ensembles practice and perform both traditional (re-creative) music as well as write their own pieces (compositional). Drumming Ensembles are usually run by a leader or team and often require participants to audition, come to rehearsals, and maintain specific standards of skills and knowledge.

Drum Class

A drum class is a group of students who gather under the guidance of a teacher for the purpose of learning the art of drumming. Most classes meet regularly and are progressive in nature. Some do allow drop-ins, but many are setup as a series of lessons. Students learn how to hold and play their instruments, how to play specific rhythms, how to combine instruments and rhythms to create ensembles, and how to function as a member of the musical community, often guided by traditions that provide status based on someone’s level of skill and experience. Classes are taught by experienced drummers and usually open to anyone who wants to participate.

Drumming in Music Therapy

Music Therapists sometimes use drumming, either with an individual or with a group, within their clinical practice. Within the contact of therapy, group drumming can take the form of an ensemble, an improvisation (similar in appearance to a drum circle), or even a drum lesson (demonstrating, learning, practicing, etc.). The therapist determines which type of drumming experience will best serve the clients’ therapeutic goals. Drumming in music therapy is  guided by the therapeutic needs of the client and shaped accordingly by the therapist. While there might be some similarities in appearance to other types of group drumming, music therapy services are very different with regard to the types of interactions that happen on both a musical and personal level.

Ritual Drumming

Drumming is often used as a form of ritual, as a cultural tradition and within contemporary programs, as a way to structure aspects of a gathering. Ritual literally means ‘to fit together’ and group drumming, by its nature, provides structures and dynamics that assist in the creation of both temporal and textural aspects of a program. Workshop leaders, speakers, and presenters often use drumming or drop rhythm making as a way to bring people together, organize around a central theme, and create a ‘container’ for other elements of the ritual or program.

Drum Circle

A drum circle is a form of community music making where the primary focus is on inclusion and in-the-momement music making (improvisation). The main characteristic of a drum circles is that the music is co-created by the participants, who are often at various levels of technical musical development. There’s no leader in a drum circle and no agenda, except to make music together and have fun. Drum circles take many forms and might have a host, facilitator, or conductor, or they might be completely ad-hoc and open to the public. Drum circles are unplanned and spontaneous. Often, there are no requirements for participation, aside from some etiquette and general guidelines for keeping drums and people safe.

Interactive drumming

Interactive drumming is a structured music-based program that is led by a percussionist for individuals who often have no prior drumming experience and no expectations of continuing to play drums beyond the scope of the program. Interactive drumming provides instruments, musical guidance, and thematic material to safely bring a group of people through a program. ID Programs are often designed to promote certain beneficial qualities and values, such as communication, sharing, teamwork, and mutual support. ID Leaders are sometimes accompanied by dancers, singers, and other musicians. This type of group drumming is very popular in the world of corporate training and events.

Drumming Games

Drumming games, also called Rhythm Games, are uses of drums and percussion instruments within a game or play format. To qualify as a rhythm game, there must be ‘play rules’ that structure and guide participants. The rules often limit, shape, and guide the ways people interact and play the game, just like any other type of game. Games sometimes have a beginning, a middle and an end, but they can also be cyclic – ending when the leader stops the game. Games are often played with teams, but  sometimes participants self-select or switch roles depending on the play rules. Games are typically not focused on creating music as much as they are on creating certain types of relationships and dynamics between group members.

Drum Play

We engage in drum play when we use drums and other percussion instruments in non-musical ways. For example, we might create a sculpture out of instruments, or use instruments as props in a story. We might tell a story about an instrument or use drums to create a kind of ‘obstacle course’ within a space. If there drums are being used for something other than creating music, it’s likely that drum play is happening. Drum Play can be similar to Drumming Games in many ways and the two are often combined.

Before we get into the specifics of drum types, we first need to acknowlegde that there are many types of music that use drums as either the primary instrument, or in a foundational and essential role. Drumming cultures tend to be those that play music outside as opposed to inside, and that emphasize community dancing and singing as part of an overall musical celebration. This isn’t to suggest that other cultures that do not rely as heavily on drums do not emphasize dance. They certainly do–only that drumming cultures almost always do.

In most ‘drum-oriented’ musical genres, the role of ‘drummer’ falls to a few select individuals who specialize in the art form. Most everyone sings and dances and the drummers and other musicians provide the musical foundations. Drumming, as an art form, generally takes years of practice and study to master and is as technically challenging as any other instrumental category. Were it not, many people would be drumming at professional levels. Most drums and percussion instruments are accessible at the most basic of levels (making a sound), but quickly require study and practice to move beyond the most elemental of music making. This is one reason that there are usually only a few people in a community that do the drumming for the community.

Most drumming ensembles (and I’m going to generalize here) consist of four to six musicians. Some play drums, usually three to four people, and others play hand percussion (bells, shakers, etc.). This “rhythm section” often supports melodic instruments of various types (xylophones, wind instruments, horns, voices, etc.). Given that most drumming groups consist of from four to eight musicians, I recommend purchasing instruments to reflect this size ensemble.

For example, in the Caribbean, a typical drumming ensemble might consist of two or three conga players, a bongo player, a timbale player, someone playing claves, another person on shekere, and some singers (and dancers). In a West African ensemble, we might find three to four djembe players, someone playing a set of three dundun (or three players, each with one drum), someone playing a rattle, someone on balafone (xylophone), and singers (and dancers). In Brazil, we might see an ensemble with someone on surdo, someone on shaker, someone on panderio, someone playing triangle, and people singing (and dancing).

Where it gets confusing

Many of the large drum companies don’t really want to sell just a few drums and some small percussion instruments. They would much rather that you buy 20 drums and four or five small instruments. Just look in the catalogs you get in the mail or at conferences and you will see ‘instrument sets’ that consist of 12, 15, and even 20 drums! Not only that, but most of those drums are the same basic type of drum, which means that the sound is basically the same. This means that when you play music from different cultures (and genres) it’s all going to sound pretty much the same–at least with regards to the drumming. Where did the idea that we should purchase 20 of the same drum come from? It came  from the drum companies. The thing that teachers have to figure out is “What do I do with all these drums?”

Along comes the drum circle

The idea that you can play virtually unlimited quantities of drums has been promoted in recent years (also by the drum companies) as a way to use all those drums that you purchased! The only problems are: 1) they get so loud you can’t really use any other instruments – because you can’t here them over the drumming!; and 2) There’s no cultural connections to be made through drum circles (because they are essentially jam sessions and have no codified or historical musical foundations on which to build). So if  your goal is to teach culturally-specific music, a drum circle is not an appropriate tool to use (although if your goal is to have fun and make some improvised music–a drum circle is fine). Drum circles are entry-level musical experiences that can be a way to experiment with sounds, practice improvisation, learn how to listen, try new things, and generally have fun, but they won’t teach you or you students how to play traditional music or develop specific pieces of music to be performed. To do that, we turn to traditional drumming ensembles and the music teacher. (If you’re thinking to yourself “But I don’t know how to play drums and create all that different music!” Don’t worry. That’s why I’m here – to help you!)

Here’s the Answer

Rather than buying 20 of the same drum, purchase 3-4 drums from each of the cultures you wish to represent. These can include; congas, bongos, clave, shekere, and cowbells from the Caribbean; djembes, dundun, and bells from West Africa; surdo, shakers, agogo, and triangle from Brazil; darbuka (doumbek), zils (finger cymbals), frame drums, and tambourines from the Arab Nations. This way, when you want to represent the music from a particular region, you can. And when you want to have a drum circle (jam session with everyone playing a drum or percussion instrument) you can do that too–and you will have greater diversity that with all the same type of drum.

When you put together your ensembles, keep in mind that there is usually one drummer per part and only a few drums in the ensemble. You can double up parts, which reenforces learning for some students and provides more opportunities for students to get hands-on experience. You can also rotate students through the drumming ensemble and have those who are not playing drums dance and sing. Remember that only a few people typically play drums and most people dance and sing. Most people learn to play drums by listening first, then dancing, then singing, then playing small percussion, and gradually moving up the ladder – getting to drum (once they know the music). Finally, one may arrive at the master drummer seat (if they really work hard!). To accomplish this, they have to know what everyone is doing and be able to play all the other parts in their sleep!

Keep in mind that most drumming music is played outside and that using large quantities of drum inside can produce unhealthful volume levels. Protect everyone’s ears and drum responsibly! If you can, take your drumming ensemble outside. Sit under a tree or in some shade and drum away! Maybe you can get some pedestrians to dance!

As a drummer, I know how exciting it is to get to play, but I also know that it takes many hours of focused practice to master the instruments that make up the category we call drums and percussion. Using Achievment-Based Community Drumming (ABCD) models helps to develop music skills while honoring traditions. It helps connect students to world music and raises the standards for all music makers–no matter where they are along their journey.

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Not all forms of community drumming operate under the same philosophical principles however. Some deemphasize musical skills and focus more on creating feelings of unity through rhythmic entrainment, often through playing simple rhythms and following the in-the-moment directions of a leader. Other approaches focus on reaching specific emotional states through things like guided imagery and humor. Below is a list of what I consider to be some of the main features of what I call an Achievement-Based approach to Community Drumming.

The term ‘achievement’ is used because in these models, the focus is on the acquisition and development of personal skills as the primary vehicle for individual and community development.

Qualities of an Achievement-Based Approach

Educational in Nature

Participants learn from a trained and experienced teacher who has achieved a level of mastery in the art form that is sufficient to guide them from a very basic to an advanced level. Participants are taught about the craft of drumming within a curriculum that is designed to gently push them forward as they strive to reach new levels of skill. Studies show that personal achievement is what drives most people to engage in activities they find personally rewarding.

Focuses on Developing Skills

By developing skills, the participants gain confidence as they practice and play together. When someone reaches a new level of skill, they generally feel a great sense of accomplishment, which is reenforcing to the process of learning. Participants need to develop skills in order to stay motivated to participate and to reach deep into the music, which will further provide positive reinforcement to individuals and the group as a whole.

Honors Musical Traditions

Working within musical traditions, wether they be from one’s own culture or another, provides a broad and deep resource from which to draw. Music traditions connect participants with each other and those outside of their culture, creating a global network of musicians. Because most musical traditions feature a multitude of skill- and knowledge-based techniques and practices, they provide virtually unlimited opportunities for musical growth and development.

Emphasizes Discipline

Any craft or art form requires a certain amount of discipline to develop. Discipline is a necessary life skill and is a shared trait among high-functioning people. The time one spends practicing and developing the craft of drumming (or playing any instrument) is time that he/she is conditioning him/herself to be someone with the focus and discipline to achieve his/her goals – no matter what they are.

Allows for Diversity of Skills

Because everyone is different, with different strengths, needs, and experience, a community-oriented program must accommodate multiple degrees of skill and various areas of interest. Most drumming traditions offer a variety of options for participation, including playing simple rhythms on basic instruments to directing the group and soling on drums and melodic instruments. As players gain skills, they are able to move from basic to advanced activities, thereby allowing them to remain on a developmental curve that meets their personal needs for meeting level-appropriate challenges.

Is Progressive

The drumming program includes multiple goal levels that can include various aspects of music, such as playing specific sounds and patterns, learning various sequences of patterns, creating various textures and musical arrangements, performing at various functions (private or public), and adding other skills such as singing, dance, and performing.

Celebrates Personal Achievement

Students are acknowledged for attaining various degrees of skill and knowledge as they work through the program. Honoring achievement promotes a healthy environment where participants value work, strive to reach new levels, and celebrate themselves and each other. Honors are often granted through public ceremony, where teachers, peers, and families have an opportunity to show their appreciation. Celebrations add to someone’s personal sense of accomplishment and self-esteem.

Connects Members Through a Shared Community Experience

Participants study, practice, help each other, and perform in a group; thereby strengthening interpersonal relationships, providing opportunities for sharing thoughts, ideas, and feelings, and generally creating a sense of camaraderie between group members. By achieving progressive levels of performance as a group, every member may take pride in his/her achievement.

Summary:

Achievement-Based Community Drumming Programs offer participants with myriad opportunities for personal and community growth through a shared musical experience. Sessions are curriculum-based and educational in nature, honor musical traditions, take place over several sessions, are progressive and developmental, accommodate various levels of skill, celebrate achievement, develop discipline, and connect members.

ABCD programs may take place in schools, recreational facilities, places of business, retreat centers, and used within educational, recreational, developmental, and therapeutic programs. They are presented by someone with adequate drumming experience, as evidenced by training, degrees, certifications, public performances, recordings, publications, teaching experience, and references.

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