Donna

This contest has a fun vibe. http://hitlikeagirl2012.com/ https://www.facebook...203918593038579

Feb 21, 2012 Thorny Swale performed 5 of my original songs at Northwestern Community Television (http://www.nwct.org/) a public-access cable station west of Minneapolis. This great opportunity came through a partnering between NWCT and the Minnesota Association of Songwriters (http://www.mnsongwriters.org/), of which I am a member. "Minnesingers" the original music program consisting of MAS performers is the brainchild of MAS member and NWCT Executive Producer Rita Fox. This was an ambitious undertaking because just weeks before the taping guitarist Scott Iverson and I began playing our respective instruments (Scott had played drums on the originals while I fronted and played rhythm guitar) and I also began using an in-ear monitor system with my own mixer. In addition, there were three new songs - one of these (Be My Love) was so nuanced that it necessitated drawing up huge charts on gigantic-child paper (4 in all -- the Out took up one page in itself). I cleared my mantle, took down the painting over the fireplace and fastened the charts to the wall, where they remained for 2 weeks. Guitarist Mark Rocheleau and I additionally spent an afternoon one-on-one with this song, for which I was very grateful. Because of circumstance, we lost 2 rehearsals (I had wanted 6) and I think ended up doing four. I must thank "Sneakers" (http://www.reverbnat...om/sneakersband), the other stellar band I'm in for an intense period of regular rehearsing, the results of which were so edifying, I could come to T-Swale with complete confidence that we could and should do the same kind of focused hard work. I try to remain mindful of the sacrifices the wives and families make in letting their men go - bandmates who have full time dayjobs, busy families, and some of whom drive from out of state to rehearse. Thanks to a new mini digital recorder, we were able to record and and I supplemented w/ other MP3 files (rhythm & lead guitar motifs, etc;) so the guys learned the new material increasingly with each rehearsal. I hoped to encourage them (within some strict visions I had of the songs) to make their parts their own. They did, to the point of re-arranging the 4-chart song Be My Love to a manageable complexity, and it was the right decision. I watched as the short weeks rushed by, my busy bandmates keeping up with MP3 files & accompanying musical ideas/notes/proddings, plus the logistics of my new monitor set-up, and increasing technical/practical details of the NWCT taping itself. Myself, I was in athletic training mode 2 1/2 weeks prior to the taping. Number one, I practiced drums at a much slower bpm than normally played, to a click, recording everything and forcing myself to listen to all playbacks in a very focused way. I knew from the past (http://forums.songst...studio-lessons/) this was crucial for getting inside the groove; and since I hadn't played these songs on drums live (save one), I was writing parts and shaping the songs. Many tools were needed to above all try to communicate the vision I had to my bandmates, and I learned that intimately knowing that vision could be an obstacle in said communication. I had to try to listen to what they were saying, try to understand what information they needed. They were very patient and dear with me. Our bandmates are our best and only allies in very real ways. They deserve respect, gratitude, and sweetness wherever possible. Vocally I had my work cut out. The 5 songs seemed quite different in power, style, etc; Be My Love uses the highest end of my range purposely breathy almost throughout, while There's Gonna Be A Storm is to the wall heavy. I practiced all vocals sitting down, because that is the way they'd be performed, sometimes a single phrase repeatedly...then 2 phrases in a loop and so on. That kind of care was needed in analyzing strengths/weaknesses vocally, not only because I was playing a different instrument now, but a loud instrument. I'm no stranger to this nit-picky work, it is how I learned to sing my own songs. A satisfying day when I was ready to concentrate solely on singing & playing as a whole. The material came together at the eleventh hour. I wished for more time to reflect on how hard T-Swale had worked. These guys are accomplished soloists. As I learned (again) in drum prep, I needed restraint most of all in order to let the groovy licks shine. The whole band learned a lot about the discipline of doing this. I cannot express how pleased I am with our result. Simple to say "The Song Is Queen - Serve Her", but it is much harder to do. I know at least some of the guys wanted one more rehearsal (bless them!), but our time had run out. ___________________ We arrived at the NWCT studio intact. I'd been sick for a few days, striving to remain calm above all in the face of sore throat/sinus woes. We were one of 2 acts scheduled to tape and thus slated to have 90 minutes to set up a 6 piece band, sound check and then film, a challenging undertaking that we accepted, yet were nervous about being able to fulfill. Yet various supportive and buoying things had happened along the way. The people were sweet and really for us, in various email and other exchanges concerning gear & logistics -- notably Wayne Hamilton (President of MAS), Rtia Fox Executive Producer, and Ray Dahl, Sound Engineer at NWCT. It was an unexpected happiness therefore, to find out at the studio that we were granted additional time, as the second act couldn't appear that evening. The studio was large and felt expansive, housed in a modern, sound building. There were amenities like a large, clean break room (w/ treats) and a great ladies room (LOL). Ray Dahl, Rita Fox and Wayne Hamilton (himself nursing a winter illness) all helped us load our gear into the studio. I was especially touched and felt supported to see Wayne there under that circumstance. He immediately asked if we wanted to use risers and began discussing some set design. Risers seemed like a good idea, so people began getting various set pieces and hauling them in. I was so happy to be vocally warmed up and confident I could sing. (Sidenote: Tenor saxman and vocalist Jeff F and I are both hairdressers - I cut his hair last month, and he cut mine a week before the taping. So it was to him I showed the clothing I'd brought and we discussed possibilities. It's a comfort to know he's there on-the-gig for hair tousling or any aesthetic needs). Once our stage set up was completed, we got a chance to sound check & actually rehearse. That was my favorite part - maybe because the studio door was open, and there was a buzz in the air. Producer Bob Woods then sat down with me, introduced cameraman Mike (we later met cameraman Mark and lighting tech Nikki), and we mapped out the songs in some detail regarding soloists and other cue-like info the camera crew would find helpful. The last few minutes before taping I listened to a recording Jeff F had done with new sax parts, which I was to yay or nay (he ended up doing them). We were fortunate at being able to do some second takes of songs if we weren't pleased with the 1st result. I had one monitor in my ear and the other bare, to hear the whole stage sound. I love in-ear monitors, I can finally hear myself sing in a way I never could before. It felt so good to be playing those songs -- which happen to be my songs, but as writers tell it, often enough the song writes you. It's really been in the last 2 weeks that I have ever heard some of them, the way they've been in my head for so long. It is rare & thrilling in a deep-down way to behold. And frankly, it was wild to have an audience and be filmed right on the heels of still kind of in shock about the tunage being realized outside one's head. This is T-Swale -- exceptionally able, tasteful and never robotic. Yet it had been a long day. In the end, we were tired and our own worst critics. But I have the little rough draft tapes of tonight, already listened to....even without hearing them, this writer couldn't be more pleased. But I am totally stoked! I am not the only songwriter in Thorny Swale, for one. And we are up to at least 7 originals live, with more of mine waiting in the wings, if the guys want to do them. So grateful to God for this wonderful opportunity via the MAS, NWCT & Thorny Swale! -Shrove Tuesday, 2012

Feb 21, 2012 Thorny Swale performed 5 of my original songs at Northwestern Community Television (http://www.nwct.org/) a public-access cable station west of Minneapolis. This great opportunity came through a partnering between NWCT and the Minnesota Association of Songwriters (http://www.mnsongwriters.org/), of which I am a member. "Minnesingers" the original music program consisting of MAS performers is the brainchild of MAS member and NWCT Executive Producer Rita Fox. This was an ambitious undertaking because just weeks before the taping guitarist Scott Iverson and I began playing our respective instruments (Scott had played drums on the originals while I fronted and played rhythm guitar) and I also began using an in-ear monitor system with my own mixer. In addition, there were three new songs - one of these (Be My Love) was so nuanced that it necessitated drawing up huge charts on gigantic-child paper (4 in all -- the Out took up one page in itself). I cleared my mantle, took down the painting over the fireplace and fastened the charts to the wall, where they remained for 2 weeks. Guitarist Mark Rocheleau and I additionally spent an afternoon one-on-one with this song, for which I was very grateful. Because of circumstance, we lost 2 rehearsals (I had wanted 6) and I think ended up doing four. I must thank "Sneakers" (http://www.reverbnation.com/sneakersband), the other stellar band I'm in for an intense period of regular rehearsing, the results of which were so edifying, I could come to T-Swale with complete confidence that we could and should do the same kind of focused hard work. I try to remain mindful of the sacrifices the wives and families make in letting their men go - bandmates who have full time dayjobs, busy families, and some of whom drive from out of state to rehearse. Thanks to a new mini digital recorder, we were able to record and and I supplemented w/ other MP3 files (rhythm & lead guitar motifs, etc;) so the guys learned the new material increasingly with each rehearsal. I hoped to encourage them (within some strict visions I had of the songs) to make their parts their own. They did, to the point of re-arranging the 4-chart song Be My Love to a manageable complexity, and it was the right decision. I watched as the short weeks rushed by, my busy bandmates keeping up with MP3 files & accompanying musical ideas/notes/proddings, plus the logistics of my new monitor set-up, and increasing technical/practical details of the NWCT taping itself. Myself, I was in athletic training mode 2 1/2 weeks prior to the taping. Number one, I practiced drums at a much slower bpm than normally played, to a click, recording everything and forcing myself to listen to all playbacks in a very focused way. I knew from the past (http://forums.songstuff.com/blog/76/entry-865-vital-studio-lessons/) this was crucial for getting inside the groove; and since I hadn't played these songs on drums live (save one), I was writing parts and shaping the songs. Many tools were needed to above all try to communicate the vision I had to my bandmates, and I learned that intimately knowing that vision could be an obstacle in said communication. I had to try to listen to what they were saying, try to understand what information they needed. They were very patient and dear with me. Our bandmates are our best and only allies in very real ways. They deserve respect, gratitude, and sweetness wherever possible. Vocally I had my work cut out. The 5 songs seemed quite different in power, style, etc; Be My Love uses the highest end of my range purposely breathy almost throughout, while There's Gonna Be A Storm is to the wall heavy. I practiced all vocals sitting down, because that is the way they'd be performed, sometimes a single phrase repeatedly...then 2 phrases in a loop and so on. That kind of care was needed in analyzing strengths/weaknesses vocally, not only because I was playing a different instrument now, but a loud instrument. I'm no stranger to this nit-picky work, it is how I learned to sing my own songs. A satisfying day when I was ready to concentrate solely on singing & playing as a whole. The material came together at the eleventh hour. I wished for more time to reflect on how hard T-Swale had worked. These guys are accomplished soloists. As I learned (again) in drum prep, I needed restraint most of all in order to let the groovy licks shine. The whole band learned a lot about the discipline of doing this. I cannot express how pleased I am with our result. Simple to say "The Song Is Queen - Serve Her", but it is much harder to do. I know at least some of the guys wanted one more rehearsal (bless them!), but our time had run out. ___________________ We arrived at the NWCT studio intact. I'd been sick for a few days, striving to remain calm above all in the face of sore throat/sinus woes. We were one of 2 acts scheduled to tape and thus slated to have 90 minutes to set up a 6 piece band, sound check and then film, a challenging undertaking that we accepted, yet were nervous about being able to fulfill. Yet various supportive and buoying things had happened along the way. The people were sweet and really for us, in various email and other exchanges concerning gear & logistics -- notably Wayne Hamilton (President of MAS), Rtia Fox Executive Producer, and Ray Dahl, Sound Engineer at NWCT. It was an unexpected happiness therefore, to find out at the studio that we were granted additional time, as the second act couldn't appear that evening. The studio was large and felt expansive, housed in a modern, sound building. There were amenities like a large, clean break room (w/ treats) and a great ladies room (LOL). Ray Dahl, Rita Fox and Wayne Hamilton (himself nursing a winter illness) all helped us load our gear into the studio. I was especially touched and felt supported to see Wayne there under that circumstance. He immediately asked if we wanted to use risers and began discussing some set design. Risers seemed like a good idea, so people began getting various set pieces and hauling them in. I was so happy to be vocally warmed up and confident I could sing. (Sidenote: Tenor saxman and vocalist Jeff F and I are both hairdressers - I cut his hair last month, and he cut mine a week before the taping. So it was to him I showed the clothing I'd brought and we discussed possibilities. It's a comfort to know he's there on-the-gig for hair tousling or any aesthetic needs). Once our stage set up was completed, we got a chance to sound check & actually rehearse. That was my favorite part - maybe because the studio door was open, and there was a buzz in the air. Producer Bob Woods then sat down with me, introduced cameraman Mike (we later met cameraman Mark), and we mapped out the songs in some detail regarding soloists and other cue-like info the camera crew would find helpful. The last few minutes before taping I listened to a recording Jeff F had done with new sax parts, which I was to yay or nay (he ended up doing them). We were fortunate at being able to do some second takes of songs if we weren't pleased with the 1st result. I had one monitor in my ear and the other bare, to hear the whole stage sound. I love in-ear monitors, I can finally hear myself sing in a way I never could before. It felt so good to be playing those songs -- which happen to be my songs, but as writers tell it, often enough the song writes you. It's really been in the last 2 weeks that I have ever heard some of them, the way they've been in my head for so long. It is rare & thrilling in a deep-down way to behold. And frankly, it was wild to have an audience and be filmed right on the heels of still kind of in shock about the tunage being realized outside one's head. This is T-Swale -- exceedingly tasteful and never robotic. Yet it had been a long day. In the end, we were tired and our own worst critics. But I have the little rough draft tapes of tonight, already listened to....even without hearing them, this writer couldn't be more pleased. But I am totally stoked! I am not the only songwriter in Thorny Swale, for one. And we are up to at least 7 originals live, with more of mine waiting in the wings, if the guys want to do them. So grateful to God for this wonderful opportunity via the MAS, NWCT & Thorny Swale! -Shrove Tuesday, 2012

It's been a long time since I've written here. Paradoxically, my drum life has been very busy and engaging. Often times the work behind the scenes is the only work. And now it seems I've come full circle, yet for the first time, in seriously planning to do a significant project as a singer songwriter playing drums. In 2008 I began playing drums "in earnest" following a scant 3 years prior to that, and a 12 year break prior to that. Probably the most courageous thing I ever did was to commit to drums after what was in effect pretty much a 15 year absence.The only original music I had going on those years was periodically developing and singing my own catalogue of songs w/ acoustic guitar accompaniment. Sometimes I played and wrote in bursts, but mainly life was very filled with raising children. At one point I missed the music so bad, but had no time for it, that I took up sewing as art. A practical art it was, as whole wardrobes began appearing for little ones. Also around 2008, I realized that I'd become a strumming-guitarist-singer-songwriter by default. All my music friends seemed to have vanished - or maybe I did. There was no one musically to help me for a long, lonely time. Because of the periodic nature of playing my catalog, I often felt I was completely starting over and nothing but belief in, and liking for my own tunes kept me doing it. There was one other musical thing going, which became regular, and it, too, was something I hadn't sought: singing in a Latin Mass choir consisting of polyphony, Gregorian chant and motets. At the time I felt like it was barely keeping one toe in the musical stream, but in hindsight the consistency added up. It was certainly different from popular music singing, and they let me sit in, so I did. After a couple years in choir as I became more comfortable, people I knew began commenting favorably on my voice. This was familiar, as I'd begun lead singing as a drummer professionally at age 17. What was bizarre about it, was that none of my newer friends knew me as a drummer or songwriter. Then it struck me that all but one of my own children had never heard me play drums. It's hard to describe how uneasy, and eventually terrified, this made me feel. From that void, I consciously made the first step on the road back, in my own mind. Since 2008, the bulk of my work has been networking with musicians and deepening friendships with those I already knew (like John Moxey & Steve Perrett from Songstuff). Other musicians are our best allies. We need each other, and some of our greatest needs have little to do with money or getting work. We need each other to keep the music, and ourselves, alive. In addition to reuniting with band members from when I was 17, and taking up anew as a singing drummer in a gigging variety band, Thorny Swale (the name of this band) began doing my originals (I think) in late 2010. Guitarist Scott Iverson can play drums, and I found out that my default-status as a rhythm guitarist was actually rather nuanced regarding my own songs, so for the originals, I've been playing guitar & fronting. I realized again that other musicians are our best allies, and that the first people to "sell" a song to are one's bandmates. The few experiences I'd had in bringing originals into a band setting long before my 15 yr break from drums, were quite different from the relaxed "show me" that Thorny Swale offered. It was so pleasing. And something happened to the band, something good. It got both more rooted and more alive. I really liked playing guitar and singing, as well. In 2011 I set out to find more gigs in addition to Thorny Swale, which meant "cold-calling" networking, promoting myself and auditioning. In July, up 5 flights of warehouse stairs in 103 degree weather was when I first heard Ray C. (a guitarist auditioning for the same gig). That gig never materialized, but I made sure to keep my eye on Ray, because I knew I wanted to work with him. We began working together late summer, and amidst some bumps, our 4-piece band "Sneakers" began sneaking around on a very consistent rehearsal schedule, making our debut last month. It's very exciting to be in both bands, and I'm psyched for the future in gigging with both. The full circle come around that I've never been to before, is what I'll close this entry with. As a member of the MAS (Minnesota Association of Songwriters), members have been given an opportunity to do a cable TV taping - up to 6 songs. (The MAS is a whole other story - very active and thriving organization with regular showcases, song circles, and stellar songwriting workshops, among other ever-increasing irons in the fire). I'm one of those MAS members who isn't versed in appearing solo (I gave it a good try, though), and I'm happy to be given a shot among MAS peers to appear in my element, which is with a band. Just before the New Year, it struck me that guitarist Scott and I should play our respective instruments for this taping, and also, it's a lot harder to lead a band as a guitarist than it is as a drummer. The only thing is, I'd not only not lead-sang-while-drumming the newer originals slated for the MAS taping, but I'd not ever seriously considered, or even casually entertained, the thought of being a drumming singer-songwriter. Yeah, there've been a few, we know who they are (though the cat I'm really interested in is Brian Blade). It doesn't matter how many or few, but that I'd not tried that on for myself. It has been confusing at times, being a writer, a singer and arranger. Frankly, it would be a whole lot simpler to be a drummer, period. But the years and experiences have shown that putting one or more musical aspects away, leaves me with that void. I'm a practical musician, so immediately upon securing the MAS taping date, I set into action to prepare - which means Thorny Swale's guitarists (they switch off parts) learning rhythm parts and chordings. More than a couple experienced guitarists in other settings have said I, not they, should play those rhythm parts (this could be a good sign or bad), so the final outcome of the taping will depend on how things gel, and I suppose, me letting go of some of the quirkiness of my r. guitar parts. But the main element and most recent discovery was sitting down to record myself playing drums while lead singing some of these tunes. I knew the playback would tell me if a drumming-singer-songwriter might fly. "I think she may".

http://news.bbc.co.uk/2/hi/7518888.stm Here's an excerpt of the article: Playing the drums for a rock band requires the stamina of a Premiership footballer, research suggests. Tests on Clem Burke, the veteran Blondie drummer, revealed that 90 minutes of drumming could raise his heart rate to 190 beats a minute. Despite rock's reputation for unhealthy living, Dr Marcus Smith, from Chichester University, said drummers needed "extraordinary stamina". ___________________________ I know from experience that this is true. Playing full time in a certain high energy situation remains the most intensely demanding time of my life. I rarely partied and had to take good care of myself. Have always felt like an athlete (being a drummer) -- it's just a matter of "how good of shape am I in" at any particular time. I try to stay in shape by regular or consistent rehearsing, practicing, performing or recording. Being a singing drummer, I think, releases even more endorphins Anyone else here approach drumming as "training"? How do you get yourself back in shape after a break...prepare for recording sessions or other substantial projects...anyone gone from once-in-a-while performing to weekly (or more) performances?

This was a quick read, but don't be fooled -- it's packed. Thank you, Cheryl!

Great post, John!

I thought so, too And a good way to approach the question!

Hey Paul, This is from my good songwriting/lead guitarist buddy Tom Harkness: Penta would fit more dark ( You crashed my pick-up kinda song) Major would fit the happy ( You cooked me diiner and opened my beer kinda song) I hope that's some kind of help

+1

Lol, I feel the same way, Wordflower. What an humble request. I am very old school. Hang around here - these guys nursed me back from a 12 year exile. John Moxey, site owner, is the one to go to, to get up to speed on this industry - especially for us who’ve been away and for the oldschooled. Read him. Read anything he has authored.

It’s also called oldschool

Great article!

Makes sense, bro.

Mind meld, Tom. I thought about replying along the same lines...that cultivating a sanguine temperament helps, because the sanguine is kind of like a small child who tends to not get fixated too deeply on any one thing (because they also look for ooh pretty shiny! in everything). But I didn't want Prometheus to think I was pooh-poohing away the reality.

Good stuff, Alana!

Legitimate mix-up! Which wouldn't have been decades ago, but is now because pitch-fixin is now so commonly used or known.

This is key, imo, and how to address the 'I got the blues paying dues' state of mind which can accompany an artist's weariness.

In being a newer member of MAS (Minnesota Association of Songwriters), I received word of an invite from David K Rockstarwannabe.tv to local singer/songwriters for a contest Dec 18 at the World Theatre in Minneapolis. Rockstarwannabe.tv is shown on Twin Cities cable; it is a reality show in which David K happens upon towns in Mid-America literally asking residents, "who should have 'made it'?" and featuring that unknown artist. Secondly a famous artist is featured. David K's own story of continuing his musical journey is woven in as well. I immediately signed up. Several email exchanges took place with David K, from whom I sensed a sincere goodwill toward the singer/songwriter. In viewing Rockstarwannabe.tv's Dec 2010 Show, there was much to like, including one of David K's originals Border Ride, and especially the interview with Jon Anderson of Yes. The Suburban World Theatre is a true theater, picturesque, cathedral ceiling, substantial stage. The first person to speak to me was another contestant, and I ended up sitting in the same alcove with Troy Castellano, his wife and their friends. There were about 15 writers in all, including a cat whose original was traditional Mexican (he was runner up, good writer/singer and a very sweet guy). The format was David K calling up writers from his list, and there were giveaway raffles interspersed between blocks of performers. Following the contest was a short set of originals by David K's band and lastly, a free-for-all jam. We were to check-in with the sound engineer Kevin Hovey, whose resume includes international acts from Prince to Celine Dion. Amiable and easy-going, with a real smile, I immediately appreciated him. On a related note, I must mention David K's nephew, Nate. That young man adopted me, ceaselessly offering assistance (and pleasant company) including an escort at night's end to my car. The introduction I was given, was when I learned there were no other women writers, which I thought a little odd. Although the contest parameters may have had something to do with that, and not only for women. Winners were chosen by applause and writers were heavily encouraged to "bring your posse". [Mine consisted of zero people btw. That is not why I signed up, esp. on short notice. A number of folks said they wished to, or would try to come, nice that. I saw a great opportunity to do something I find difficult (playing solo), on that World Theatre Stage. David K's good attitude in email correspondence also had a lot to do with the follow through]. My goal was simply to do the best justice possible, in that moment and setting, to this song that had come through me. The contest was taped, the winner to be featured in the January TV show. I had heard that other clips from the contest would also be aired (which prompted my Facebook question, "is white OK to wear on TV?" to which there were dozens of replies). Fellow MAS writer Rod Kinny performed during the second half of the show. I'd only learned about a week ago that he has CD's (as in multiple) available. It was really nice, having been to the MAS songwriting critique meeting Dec 14 and seeing Rod bring in his latest fare, and then seeing the cat onstage playing those beautiful chords and voice melodies, notably enjoying himself, and later saying hello with a big smile. I'd a preoccupation with my car being at a parking meter, plus it was chilly in the theater (which I dealt with in part by going here and there within, and sometimes without just to get a cold blast to make me grateful for the theater temp again). During one of these forays came the first highlight of my night (besides getting up there solo). A man looked me in the eye and said, "I liked your song." What more could a songwriter want? To my delight I found out a moment later that I was speaking to Jody Ray, of The Flaming Oh's. He told me of his current project, RebbyRay (later I was given their CD). I stumbled in trying to tell him how I'd heard of him long time, that he was of the tier 'so high' and etc; Troy Castellano became the headliner of the show - after he was done, the writers were placed onstage and one by one, given the definitive applause to be judged by. Four writers received the most, then these four (including Troy) played an excerpt to refresh the memory. Then the final judged applause. Joel Kachel, who played a great song called Crow, won. And soon my second highlight in that Joel sought me out. That was an amusing exchange, repeating mutually "I liked your song!" David K introduced Troy by revealing that Troy was chosen by Tommy Lee of Motley Crue via an online collaboration contest, to record with Tommy Lee. Sure enough, in our conversation bits in the alcove, which included the Castellano's children, Troy's studio set up, and confrere Mike explaining some friend/family history, Troy showed me pictures of his session with Tommy Lee (but first he showed me pics of his 3 children - smart man). We exchanged contact info; and those guys were really nice in watching my guitar whenever I ran out. David K's band performed - I was delighted that one main b/u vocalist was the drummer (Bob), and had to nudge Troy, whose view was blocked, to point out who was doing those spirited backing vocals. It was a good set, the band sounded right on. The jam followed, and it was with happiness that I made my way to a drumkit. We did some originals from various writers - and notably (or perhaps not as it may've sounded not-so-good "out there") (eeeyow!!). I hate to be a broken record, but really everyone was very nice, especially Bob, David K's drummer, his brother David (guitar/vox) and Mike the (fantastic!!) piano player. I was offered a couple gigs afterward: the one that would pay right away, however, was out of the running for me as it involved road work. It was a great night, and I look forward to furthering musical relations with two last contacts made, and hopefully solidified right there (the final highlights of my night). _________ It's hard for me to judge, but I think in the interim between the last couple entries and this one, there have been significant steps I've taken, some of which come through in what's written above. There is so much going on that's hidden - it can require 20 steps to get to a single Big One. It made me uncomfortable to write about every little (or big) new thing going on: it seems vain and narrow-minded, because my world (and certainly your own!) is much bigger than that. Also, it's as if I don't have the words to open things out these days. Maybe there's less to say when one is doing more. I do want to mention that I'd been keeping some musical company lately with a Twin Cities' artist well known locally. I'm currently learning a lot of his music, and hoping that early 2011 will see me gigging some (drums). I think he's brilliant musically, and a fine writer. Thorny Swale, (the band I'm in) continues on amidst recession and all the rest, like everyone else in these lands. We're up to 5 of my tunes, and strangers continue to like the songs to the degree that I'm starting to get used to it. Each new original gets a strong reaction. I've just finished (er I think!) another song, and in some ways it's my favorite EVER. I have a great memory of our last gig: the 6 of us standing in a circle in the parking lot discussing which songs to learn next. We decide on one cover, then bassist Ken says, "and originals!" _________ It was beautiful to come back home. Kayla is staying over, currently tucked upstairs somewhere, among 6 of the 7 Dwarves. It was warm here, nicely lit. I was greeted by Dylan, Kayla, and the new puppy who was beside himself with excitement in seeing me; then snuggled up close and quiet wherein I felt graced. Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis! ~ Merry Christmas ~

Make new friends but keep the old; those are silver, these are gold - Joseph Parry d.1903 I am the daughter of two left handed parents. It was normal, being around those opposite-handed to me. It so happens that the two gentlemen equated in my mind as the drumming buddies are left handed. Martin Applebaum was walking down an alley one day and heard drumming from a garage. About 14 at the time, he investigated who was behind the kit. It was 12 yr old me. Martin had curly hair and a double bass see-through blue 8 piece kit. He was learning Rush's 2112 album and soon after we met, nailed it. He played right handed, matched grip. His drums were set up right handed which came in handy as we were co-drummers in a teenaged band. Martin was very technically proficient, a real student. I was in awe, but he was so kind and natural I'd no excuse to be intimidated. I on the other hand had pretty much stopped practicing rudimental things or anything - I just played. Martin solo'd while I was happy playing a ballad that built to crescendo. He went on to teach, to study jazz w/ Marv Dahlgren, to ditch the double bass and (I think) flirt with traditional grip; to record and become a very sensitive musician. Recently he asked if I would be a tech to a special annual gig he does with Second Generation. (Which my dear friend Loo is also member of). I was delighted he asked me! We're still trying to mesh our schedules for a drum jam. Recently Martin gave me an unused China cymbal and a smaller ride. Connor Mcrae I met walking into Ellis drum shop about 18 months ago. He called me "Wendy" and I forgot the name and genre of his band. Months later, I was 'found' by one Tom Harkness via Facebook (Tom'd played trumpet, and I percussion in elementary orchestra). Tom was currently heading a band called The Swamp Kings - they did Cajun swamp blues. "What is THAT?" I wondered and yet it vaguely rang a bell. Tom urged me to come sit in with them on what happened to be my birthday, last year. This date will always be to me my official out-of-retirement. I learned that Connor was the drummer; that The Swamp Kings were a great band, and that Connor is also left handed. At that gig, Connor moved the snare, floor tom and high hat around for me. I had the most amazing experience one year ago because Connor was my new idol, for lack of a better word, and I hadn't really had one since age 12 in meeting Martin! When I looked out from his kit, I saw him enjoying his own band and I felt not one ounce of intimidation. Only great joy in musical friendship, the extended hand Tom had initially offered, echoed by Connor, bassist Matty Page and Hammond B3 madman Toby Lee Marshall. In subsequent gig I also had wild fun playing when accordionist Harry Pulver Jr. was present. The Swamp Kings (If you can only listen to one song, I suggest Joie De Vivre) There are significant similarities in my friend and drummerships with Martin and Connor. Also with the kind of drummers they are - Martin went on to become heavily involved with marching corps as an adult and Connor I think must've begun once weaned off the breast! Both are outstanding technicians. This summer I've seen Connor regularly at the drum shop because a standing appt for one of my children is nearby. He always asks about the children (several have been to the shop). Love for music/drums and a brimming-over kind of zeal is the basis of our friendship, even as Martin and I chat "like nuns in the kitchen" about our families and our cymbals. Both lefty's have fixed my gear - repeatedly, LOL! Sept 3, 2010 I should've noted this previously, but unless credited, any exercises or sticking variations of standard rudiments or like concept written about are things I've discovered myself - which (likely) doesn't mean that I created them "first", although it could be so. Tonight I worked on the 7 stroke roll as mentioned last entry LLLRRRL -- RRRLLLR but played with a 4 feel -- 1e&ah, 2e& , expanding on it by alternating with the standard LLRRLLR -- RRLLRRL, but playing with a triplet feel, working it up to one endless, slow line concentrating on the swing, time and feel. My mind is taken almost exclusively with swinging every 4 fraction (quarters, 8th's, 16th's) into triplet and 4-ing every triplet. The basis of the swing/triplet from a four-feel it seems to me comes from that standard inverted paradiddle -- LRRL--RLLR. Related, when you turn a roll backwards, it produces that same kind of feel -- [7 stroke roll - RLLRRLL--RLLRRLL. march is a good example of beginning a roll with the accented "last stroke" (tho it's 5 and 11 stroke rolls have a definite march feel). Melodic note patterns on the toms w/ these figures took shape and this time I notated the motifs. I cannot keep up with them - every time I do drills of this sort, it turns into composing. So no wonder that hours went by like a heart beat. Then I played guitar/sang. Lastly, I got to the gig where The Swamp Kings were playing. It was the trio (which I love for multiple reasons). They are always tight, always musical, precise and swinging feel. Very happy to listen. But Connor caught my eye from onstage and asked via gesture if I wanted to sit in. Why is it, when we're not wanting or needing, that even better things are offered? So I got to try out some of the newer drum motifs 1st time live and unrehearsed. I think it went OK. Connor sang lead (he won't believe me, nor Tom either, when I say the three of us MUST sing together at some point; I cannot pass from this world w/out hearing our 3 voices). Connor kept saying "one more" after each tune...the place was emptied by then...little green sparkle 3-piece kit... man I had a great time!! Offstage Tom and I laughed about the cares and characters of the world, Connor asked about the children and Matty's flat top was regal. Conclusion On my knees thanking God

Tonight I wanted to check my technique (hands). I felt like standing up so I put the old-fashioned practice pad (triangular type wood-block base with roughly 4" square rubber pad) on top of a waist high dresser. Propped in back against the crash cymbal I placed a 3'x2' mirror. Great view from neck to waist so shoulders, neck muscles, arms, hands, sticks, pad in perfect view. I practiced w/ the metronome on one setting, fiddling around w/ as many different even fractions of speed possible, and watched. Firstly, it was a check-in to see my hands, especially fingers. I've been making myself lead w/ non-dominant hand about 65% of the time for a few weeks now. Slow going, but steady going. I wanted the check further because as I've regular dates with the Stick Control book of late, I wish to be obedient in going through these exercises: play with no tension whatsoever. One can try! After awhile the soloing began, using the pad as I would my kit (rimshot hag here) and getting pleasing sounds from the wood proper. Things got a bit out of hand and eventually involved book case shelf, music stand, mirror frame, anything within reach. Most of the soloing was doing those things in drumset practice lately -- slowish yet swung tom/snare "rolls" with the kick drum inserted, with double speed Bonham HHK triplets (Hand Hand Kick) in the phrase. I was most pleased at the result, standing up too, metronome still going and the drummer in time, with feel, dynamics, recovery. That kind of eval was not why I set things up in the first place. I'd forgotten: periodically it's essential to get off that drumset and check those very things - time, feel, dynamics, recovery. All the above I loosely group as precision - here I think is a truthful check. Excellent to eval via hands on knees and feet on ground. With sticks and rebound surfaces also fine. It's too easy to lose oneself behind the kit - the distraction of its many sounds, volume, overtones of drums, cymbals and those bewitching rim shots. + + + In the ongoing exploration of triplets I found something else - a seven stroke roll like this: L L L R R R L (then alternate) R R R L L L R --- the counting: 1 & 2 & 3 & 4 -- 1 & 2 & 3 & 4 -- If or when speed comes count --- 1 e & ah, 2 e & -, 3 e & ah, 4 e & - Accent the 7th stroke. Try to bounce the triple stroke. Endeavor to work up 2 bars x 20 repeats (I will, too) Speed is of no concern! Play it, learn it, sink deep into the bones. There's the shortcut to speed. Swinging!! Conclusion Be grateful & ride the practicing Wave

Exactly! I rather forgot my pedal (sticks & shoes I was good). But lemonade happened I think because of it, more hand rolls, that is - and they are a lovely part of drumming.