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ISSUE #44 \__\__\___THE____/__/__/ Aug 5, 2000
_____________TEMPO DISPATCH _____________
Newsletter For Drummers and Drumming Enthusiasts
Copyright Bill Powelson 2000 all rights reserved.
____________'IT'S ALL ABOUT DRUMS'__________
Tips * Tricks * Hints * Ads * Freebies * Lessons *
_________NOW 3,500+ SUBSCRIBERS!___________

TABLE OF CONTENTS: What is in this issue?

1. Feature Article: 
    DISCUSSION:  "The Birth of Rhythmic Ideas"

2. Humor? "What Gender is a Computer"?


______________________________________
|__________FEATURE ARTICLE___________|


     *** THE BIRTH OF RHYTHMIC IDEAS ***

     Where do our rhythmic ideas ORIGINATE?
     What is the easiest way to improve and
expand our arsenal of new ideas?

IS IT SUBLIMINAL????
     Does a 'subliminal' sort of learning process
parallel all our academic efforts? 
    It seems that many of the rhythm patterns we
hear the great drummers play will fit snuggly into
the big picture as we STUDY the PERMUTATION, TIME
SIGNATURE, RUDIMENTAL and other various academic
theories.  THIS IS TRUE! 
     But, theories alone are not a panacea.

     As we LISTEN and absorb; . . . 'The best of the best'
rhythmic ideas tend to collect in the deepest recesses of
our memories . . . and it's DIFFERENT than memorization.
The ideas just 'stick'!  They become a part of our mental
rhythmic process.  We slowly gain an ability to 'think'
a mixture of those (and our own) ideas spontaneously,
though we may not adequately possess the ability to
physically execute and express those ideas at the kit
right away, due to coordination limitations.

     However, as we continue to play for fun,
develop coordination and study the academics too,
those 'best-of-the-best ideas' we've absorbed by listening,
will tend to slowly surface into our own playing styles,
(over a period of months and years.)  We slowly become
bits-and-pieces of ALL the drummers we've absorbed or
listened to, over time . . . without actually dissecting 
their specific individual techniques and licks in a
meticulous way.
     We may never acquire the ability to mirror the great
drummers like Rich, Bonham, Cameron, Copeland or Ulrich,
EXACTLY . . .

     BUT WHY WOULD WE WANT TO?

     The objective is to play the ideas of others, OUR
OWN way . . . and to become uniquely different from the
others, in OUR own way.
     We must learn to ALLOW this to happen by dropping
our inhibitions. We must place the focus on ideas that
are already in our deepest memories.  It means . . . letting
go of conscious thought and ALLOWING the (subliminal?)
subconscious rhythmic ideas and thoughts to surface and
emerge into our own playing routines.

     IT'S EASY TO DO THIS! 
     That's the good news!
     This is what we are doing when we bang on our desktops
or the dashboard of the car!  These are the rhythms we feel
instinctively.  The next trick is to simply allow those same
rhythm patterns to transfer over to the drum set.
 
     The GREAT stuff will usually come from within . . . or
from the creative side of the brain.  All we have to do is

listen, absorb . . . THINK . . . and finally, ALLOW our
suppressed and borrowed idea-fragments to emerge in their
own way . . ..


HERE'S MY BEST 'STUDY' TRICK:
     Many of the old subscribers have heard this
'rant' before, but it bears repeating.

     Try this, and do it routinely.

     Before beginning a practice session . . .
Start with a 15 minute LISTENING session.  Put
on a favorite solo (or song), using headphones.
. . . Just kick back, close your eyes and savor! 
Absorb every sound!  Get deeply into it . . . and
let it play.  Focus on the drummer. 
     Do this for 10 to 15 minutes . . .
     THEN . . .

DO NOT PASS GO! 
DO NOT COLLECT $200!
DON'T GO TO THE BATHROOM,
AND (MOST IMPORTANTLY . . .)
DON'T BREAK THE SPELL!

     IMMEDIATELY after LISTENING . . . Take your place
at the kit (or practice rig) and play what you felt,
heard and thought as you were just listening.

     Don't try to COPY (note for note), just play what
you are thinking, in your own way, and *LET* it flow.
     If you've never done this before . . . it could turn
out to be the BEST practice session you've ever experienced.

     You may discover this to be the BEST routine to
follow with EVERY practice session.

...................................................
    
ANYWAY . . .
     I suppose . . . what I'm trying to say is this. 
The 'theories and academics' will HELP us reach the
goals we are seeking . . . THEY ARE EXTREMELY IMPORTANT,
but our LISTENING HABITS may also play an equal part
in our ultimate progress.  We need both disciplines.

      Pursue drumming to the fullest, both academically and
via INTENSE listening habits.

      I hope to see you as a permanent member soon if you
haven't signed up already.  This complete course is loaded with
tips like this one . . . along with ALL the academics
you'll ever need.

                          Bill Powelson
                The Homestudy Institute of Drums
P.S.
     People wonder how I can keep up with the e-mail.

     It's easy!  I TRULY DO LOVE all this.  I wouldn't
be out here on the web at all . . . if NOT for the e-mail!
     Actually . . . about half of the lessons in the course
are a direct result of YOUR e-mail exchanges.
     For example, this practice tip wouldn't have come
about . . . without direct input from one of the students.
     (Thanks for the great question, Ross.  :>)

     Write me anytime!  :>) 

_________________________________
|___________HUMOR? _____________|

What Gender Is A Computer?
        An English teacher was explaining to
his students the concept of gender association
in the English language. He stated how hurricanes
at one time were given feminine names and how
ships and planes were usually referred to as "she."

        One of the students raised their hand and
asked "What 'gender" is a computer"?
               
        The teacher wasn't certain which it was,
so he divided the class into two groups, males

in one, females in the other, and asked them
to decide if a computer should be masculine or
feminine.
        Both groups were asked to give four
reasons for their recommendation.

        The group of women concluded that computers
should be referred to in the masculine gender
because:

        1. In order to get their attention, you
have to turn them on.
        2. They have a lot of data but are still clueless.
        3. They are supposed to help you solve your
problems, but half the time they ARE the problem.
        4. As soon as you commit to one, you
realize that, if you had waited a little longer, you
could have had a better model.

     The men, on the other hand, decided that
computers should definitely be referred to in the
feminine gender because:

        1.  No one but their creator understands
their internal logic.
        2.  The native language they use to
communicate with other computers is incomprehensible
to everyone else.
        3.  Even your smallest mistakes are stored
in long-term memory for later retrieval.
        4.  As soon as you make a commitment to one,
you find yourself spending half your paycheck on
accessories for it.


 

Your measure of yourself is all that matters!  How do
you measure up?   This may offer a clue! 


END OF TEMPO DISPATCH #44 Aug 5, 2000





Copyright Bill Powelson 1994 all rights reserved.