What are we to do with the giant mass floating out in the PacificGiant garbage patch floating in Pacific?  Last I heard it’s several times the size of Texas.  With all things “Green” gaining somewhat in momentum maybe there is a way to harvest the plastic in the mass and recycle it.  If we are a bit more conscious of what is really going on we’d buy whatever  items are produced.  We need someone to come up with a real solution. And impelment it soon.  We need multi-country support.  Maybe that will only happen when the origin of this stuff is revealed.

While hiking today, I worked on vocalizing and playing the frame drum. First working on scales, arpeggios and some other warmups with a cool accompanying groove. Then worked on singing the songs while playing a cool groove in the right tempo.  If it works this bare,  then that’s a cool place to build from.

Really helped to get out of the studio tonight and hike,  some much needed lyrics nicely flowed in…………….gots to get out the studio…………….that was a cool lesson. I’ve been trying to get these lyrics with slow progress and then walking and clearing my head out in the open night air did it. My Zoom H4 H4n Handy Recorder was with me to capture the raw ideas. David BiglinDavid Biglin on MySpace Music – Free Streaming MP3s, Pictures & Music Downloads,  collaborated the next day and he moved the melody around some and had some cool lyric ideas.  Time to really clear up nebulousness and instill some clarity.  Although the whole impressionistic approach to music is really inspiring,  where one may draw there own conclusion to things.   We are working on a balance in the lyrics……..can’t wait to release this music!!

a very exciting time to be working. David Biglin and I have found a rare collaborative space.

I went for a hike today to clear my head,  I took a frame drum and started working on different subdivisions. I was walking at an even pace and each step was a quarter note. I worked on everything from eigths to triplets, sixteenths to sixteenth not triplets, 5 over 1,  5 over 2, etc, and I improvised all sorts or permutaions while I walked. There is a small stream with a little waterfall in the back and I made a seat out of some rocks.  I wanted to breathe in the negative ions from the water.  I sat there and worked on different rhythms for about a ½ hour.  Really enjoying keeping the groove deep while morphing different combinations.  It felt great to practice this way for a change, away from the drumset and yet the stuff is very much a part of drumset playing.  I felt a deep connection with the rhythm,  I was playing lightly and really feeling the pulse in my body, with the stream in the background,  it was very cool.  The moral for me, the work I have had in the past month has kept me really busy in my studio to the point where I neglect to take a  break and get outside.  Today solidified it, the need to balance and ground myself.  I’d recommend trying it to anyone looking for an alternate mode to exploring rhythm.  You can pick up an inexpensive frame drum and it gives you the ability to take your rhythmic  exploration to go. Plus there’s something very primal and the connection to your body really deep to play a drum directly with your hands, without sticks. It seems to internalize the rhythm in a very direct way, and you bring this to your drumset playing when you pick up the sticks again.

It’s easy to get caught in thinking that there’s a lot of really accomplished musicians out there and how can I really compete with them.  Thoughts and feeling of lack never get to the source of the issue.  Which I think is this. Wherever we are in our development on our instrument, we can tap into the source,  a real creative fountain.  This is the same well the greats tap into or anyone who plays an instrument. And when we connect, we pulse to a different clock.  I know it may sound heady and all but it’s a beautiful feeling when it’s happening even if you have less technique than others.   It feels like speaking, having a dialog through your instrument in your own unique way. Whenever I connect it feels like I’ve moved aside and gotten out of the way,  the mental chatter has calmed down……… I don’t think I’m giving justice to something that is non-verbal and  probably better off so………………  I’m done.  Find that portal for yourself into another dimension or whatever you may call it where you can find a space for creating in your own way.  

I was remembering recently the concept of the warrior and how some of the images connected with it can be helpful to remember while we navigate through our day.   Not the warrior image connected with war or violence.  This image of the warrior is connected to the inner dialogue we have with ourselves and how we respond to all that naturally flows in and out of our day.   Being able to give the appropriate response to any given circumstance, expending just the right energy to match the situation,  never more or less.  A few of the images the warrior brings are clarity, strength, resolve, respecting our own and others boundaries  and trusting oneself.   

 We want to get to the good stuff all the time but are often dealing with all sorts of difficulties that arise.  How can we navigate and not lose our balance?  Here’s a situation for a musician where warrior image can be brought in. You may be a great musician but a common hurdle is this: in the eyes of others, it’s who you’ve played and recorded with that gives you credibility.  So it’s an uphill battle at times.  Someone really into Buddy Rich may judge all drummers “compared” to Buddy.  Buddy was a phenomenon, no doubt.  This is one of many hurdles we must learn to maneuver through because sometimes people have a fixed concept in their mind and you just aren’t “it”.  You’re not Steve Gadd. Or if you’re a new cat in town, it’s common to hear ‘ who is he?”.     Sometimes people’s thoughts and concepts block their view of seeing what is right in front of them.  And this is a good time to bring the warrior to play as this is one of many situations we must learn to deal with.  You need inner strength and calm not to get emotionally charged during what can be perceived as an attrack or threat. 

 Just watching the past Beijing Olympics when Michael Phelps was diggin’ in on the home stretch–what do you think his opponents were thinking?  “Go, Michael”……..  no way……… “slow down, Michael” may be closer to it!  Now if Michael let these thoughts get to him, it’d be over. He did the work; he trained hard and was well prepared.   You could see it in every fiber of his being,  his confidence, and his focus. Which is another important warrior trait. Confidence.  Not some ego based thing but when you really are prepared,  have done your homework, then you know you are going to do a good job and this is very grounding to feel.  Your playing is the proof.  It’s easy to “talk the talk” but can we really “walk the walk”…….

 What are some common responses to a perceived “situation”?   Anger, defensiveness, becoming withdrawn, etc., which many times leads us to play less than our potential.  So the situation can get the best of us if we let it, but having the mental tools to overcome any obstacle is worthy of some inner exploration.  Our attitude that we bring is one very important key.  So when conflict happens it usually is our attitude that determines the outcome. In one split second decision you can decide how you are going to handle a situation.   On a gig, with all the issues that may arise, If you can walk away saying you played well, then that’s great   Keep the rudder steady, focus and you can get through it all.  For me and so many pro musicians I know, it all becomes fuel to get back in the “Shed” and work on my playing.  All the negative thoughts seem to disappear when you get behind the drum set and start to work.  Hearing things you ‘d rather not hear about your playing is something we all have to deal with.  We must be our own critics, tape record our playing, and ask advice from musicians we respect. And study with the very best you can find. 

 The sum of the musicians in the room can elevate us all to play better. The old sum of the parts is better than any individual is great to experience.  When music really happens it’s beyond our thinking. When we are playing our absolute best we aren’t trying to make it “happen”.  When you hear, they are a “happening “ band, it’s because they really moved us, they got “ in” somehow, below our skin and they’ve taken us out of the mundane   We all are unique individuals, each one of us a unique imprint never again to be repeated.  We can imitate the masters, and it is an important step, to learn concepts and styles, but ultimately searching for, seeking your own identity on your instrument is paramount.   But maybe it’s not for everyone.  

 I’ve seen some of the most naturally talented people quit music.  For whatever reason and I really can’t judge them.  I hope they have found a great path for themselves. You can have a great career playing in show bands, cover bands or any other band and play extremely well in all styles…a great drummer for sure.  These situations don’t exactly require a unique voice, and yet they can be great stepping-stones if you keep a good attitude.  So much is in the attitude.  Others may get you down, literally spreading their toxic, psychic vampire stuff everywhere.  Be aware and be careful…Like Cat Stevens sang,………

 Facing each day anew with strength and vigor……. This is needed.  The daily grind can easily get under our skin and rob us of our peace and serenity.  Once these are lost, lower levels of being seem to take hold.  Fear and anger, restlessness, agitation of all sorts.   So be on the look out for all of these.  The timelessness behind the drumset can be such a beautiful re-centering thing when we bring ourselves to the instrument.   Our mental condition is important; it means something.

 So the benefits of the warrior image can be extremely helpful in overcoming daily obstacles.  Everyday renew your inner strength.  Proper diet and exercise will help this warrior mentality to grow, as your body and mind strengthen.  Don’t let anyone or any situation get you down.  The cool thing is that the more you deal with, the better you get at dealing with it

Sometimes ya just have to let things go, not holding, not grasping.  If it’s meant to be it will.   Put your energies into what you believe.  Rest and find some serenity.  So much is non-stop now.  Ease off the pedal and take in the view wherever you are.  

Silenced by the wind blowing.

Holding a rhythm lets heat build as the repetition reveals it’s magic. Morphing of this rhythm can still occur with a keen sense of “do not disturb” the groove. As we strive for an ever increasing depth of groove and are consciously able to hold it, direct it’s course, an actual lift is felt in performer and listener. It’s easy to loose the golden thread of a deep groove, as thoughts clamor for attention but with practice you can physically feel the results of holding and maintaining a deep groove. Staying relaxed, centered and focused as you hold the rhythm, you can feel the power building as the rhythm digs itself in, it literally starts building a momentum of its own that feels as if the rhythm is playing you. Like a dance without undo effort. Some simple but effective tools to help hold your attention on the groove 1. Quieting the mind from all sorts of distraction as you prepare to play music can give you a nice focus balanced place to begin. Deep natural breathing, doing Yoga postures, are very effective for getting you in the right “space” both mentally and physically (see my blog on three part breathing and drumming) 2. Counting the quarter note not with your head but getting the underlying pulse into your body where it manifests physically, sometimes you can watch drummers in a deep groove, their body gently moving and pulsing to the quarter note or half note pulse. The rhythm can put you in a trancelike state. (more on this later) 2. Like a Mantra (1) the basic quarter note pulse counted verbally as you play holds your attention and helps you monitor your playing in relation to the beat. Practicing with a metronome/drum machine can aid in locking in but ultimately you want to be able to generate a deep groove without one. Holding the groove throughout a piece of music, is really where it’s at. Some styles allow you to embellish more, but the deep groove must remain. Listen to  any of the great drummers and you’ll hear it Steve Gadd, Bernard Purdie, Jeff Porcaro, Tony Williams etc, the list is long. And as always have fun with this stuff.

1. Mantras- Primarily used as spiritual conduits, words or vibrations that instill one-pointed concentration.

I am always amazed at how things appear static and yet they all move eventually. Whether it’s your view of yourself or someone else. Internal or external. I’ve been observing and learning how the outside world is what it is but, the inner world…that is where it all begins. Invisible to visible. This old fact that everything we see and touch began as an internalized thought…I don’t know, to me this is real dough to work with. Enough headiness. 3 Part Breathing Exercise.

As drummers we develop independence with our four limbs. In this article I want to focus on our breathing, sometimes referred to as the fifth limb, introduce a simple three part breathing technique and discuss the benefits of while we drum. This technique is very helpful to center us, focus our concentration and deepen our rhythmic awareness in the moment.

The breath, an intimate rhythmic cycle, happens mostly unnoticed. Generally it is common to breathe in only a small portion or about 1/3 our capacity By applying a basic three part deep breathing technique as we drum we can achieve a deeper sense of relaxation and focused attention as we play. The mind likes to wander and the moment it does so goes our attention, which can have detrimental effects on our playing. For example, loss of the deep pocket, an inability to see ahead and a somewhat off balance out of sync feeling. We may begin to hold our breath, our breathing becomes short and shallow and tension and anxiety creep in, this is one vicious cycle we don’t want to be in. Deeper breathing is a powerful tool to help us stay free and clear of this and other negative cycles, making it easier to enter a healthy mind space with ease of concentration releasing any tension we are holding in our body. This in turn helps develop equilibrium in us, a balance that lets us play whatever tempo and dynamic level is needed with no strain or undo effort. We begin to become more aware of our limbs and use the exact amount of energy required to fulfill any playing requirement. By utilizing this three-part technique we will also notice an increase in energy that is available for any task. For fast tempos we learn to release tension instead of hold it in our body. A major footnote here is that of course you must possess the required technical proficiency on your instrument for the task your want to accomplish. This breathing should happen “in the background” helping us stay in the now of our playing.

The Three Part Breathing technique:

Begin by bringing your awareness to your breath. Sit with your back in a comfortable seated position with both feet on the pedals. Finding a comfortable position on your drum throne at the right height is as important as the distance you are seated from the kit, both worth fine tuning for an optimum setting.

First, exhale completely. Then breathe into your lower abdomen, then your rib cage and finally your upper chest. Then reverse the process exhaling the upper chest then the rib cage and then abdomen. A mental image would be water going down a drain and descending into your abdomen, rib cage and upper chest. Placing your hand on your stomach area you can feel the in breath as your diaphragm expands. The goal is to breathe deep in your own natural smooth rhythm. An increase in energy is a common benefit from this deeper breathing. At no time while practicing this technique should you make any effort to control the breath. Let it flow naturally.

It’s important to note we want to focus on the natural in and out breath without forcing or holding, just a natural in breath and out breath when we need it. We want to focus and observe the breathing process without getting in the way of it. The more you practice this technique the more it starts happening on its own.

By becoming aware of your breath, you can monitor how you are breathing, allow you to see if you are indeed breathing deeply or just shallow breathing. If you notice you are shallow breathing you can very easily return to this deeper breathing.

The depth of the rhythmic” pocket” we are able to obtain, how relaxed we are when we’re in it and how long we can sustain that level of playing are all connected to how we are breathing. Common problem areas are intros when the tempo needs to be established, during the bars leading up to a fill, the fill itself and then nailing the pocket immediately after. Holding our breath, erratic breathing tensing up during any of the above causes imbalances to that golden thread of deep pocket playing that we all strive for. There is a pocket to our breathing that we can find, taking nice long comfortable breaths in and out in a natural rhythm while we play our instrument. The word “practice” or “technique” can have an academic quality that is not meant to be any part of this three part breathing. Also, this breathing practice can be done anytime of the day to helping us regain center and balance and bringing our awareness back to the present moment.

This is a powerful practice and personally feeling the results is the best proof of its effectiveness not the words written about them. Hopefully these serve as a signpost to a road worth exploring. An excellent addition to this practice would to try some Yoga postures before we drum. The gentle stretching that Yoga offers can be very helpful to release tension in our body, before we begin to play. Taken a class is a great way to experience yoga.  A wealth of information on yoga is availonline. http://www.iyiny.org/,      (selection of Yoga Books, video’s coming soon) . I hope you put this breathing practice to the test and discover a deeper sense of awareness, balance and focus to keep you groovin deep.

Michael D’Agostino is a Drummer/Composer and avid Yoga practitioner. He is currently recording/performing with bass virtuoso Mark Egan in the quartet Wildlife.