Describing the various circles, Community, Spiritual, Shamanic, and those training directed for performance.

In The Community Drum circles that have been directed by those that have studied from the Aurther Hullian thoery there is a directedness to the cirlce. Some one is always there suggesting that some one get louder or softer, stop or start, or a section repeat a frase. There is a sence that you must be alert to these changes. There is a sence that there are no mistakes and everyone is prompted to participate. A lot of thought is there to make the circle one thing or another.

The Spiritual Drum Circle tends to be closer to a meditation where one can get out of his own mind and body. The hands tend to flow on the drums without thought. If particpants are pritty good there are sqeeky things that start to make sounds that I consider synergistic sounds. These all combine to climax in sound that I consider necture from the gods. A tipical undirected drum circle goes through a period of chaos to start, begins to unify, unifies for a short period when the necture occures to supple the mind (can quite fleeting) and then there is a gravety away from the unity and eventually energy is lost in that rhythm and some drop out and not long after there is a unified halt.Depending on the croud there are invigorating yells and woops and or silence, seeming to reflect on the beauty that has just been bestowed.

The Shamanic drumming to my knowledge is fully meditative. As the price tage for participating is quite often steep I am only partly knowing what goes on. I am seeing the native american hoop as the drum the drum of choise. These drums have great resonance but little note capability. As they are played with others they could effectively make an ensambal where each drummer fits in with there own sound. Feeling a part of a whole that is conscience without being directed and conscience is what I feel drumming is trying to bring to the masses. It is exilerating to here a glorious group sound and feel that you were a part of that sound, like a gift to God, and "It" is smiling on you.

African teachers are wanting you to learn the part to the beats that they know, these beats are very beautiful when combined in there parts but do not seem to release the soul that want to sore and or experiment. They seem in my book to be oriented toward performance. There always is some one that flies off and I am not alway sure they are on the right page. This instruction has left some only knowing the 4*4 or 6*8. After introducing my 7, it ends up getting converted to 8 in the long run.

Open Fire Circle Drumming is ego charged at first and calms down about 10 or 11. It seems always we have to tolerant those who can not listen as they seem to be the ones that set the beat and the pace. Worst thing is to have more than one ego drummer that can not listen and they each go off on thier own beat unable to listen to the whole and how they are affecting it. Most importantly we must listen to the whole and learn and listen how we can add to the sweetness. Warmed uip and hopefully acting a one the circle starts becomming one. Late at night the mellow drummers leave gaps in the beat where others can fill in, this makes for a sound that is ensambal like, quite often very beautiful.

It is a rule of mine not to instruct at a open circle where we are just playing. This then leaves me playing what others know and listening to some who will not "play with us". This idea that some one is not playing with us is based on the idea I have that we should be able to return to the Base beats at almost any time.Fly or giving up the base beat is fine aslong as the fundamental direction of the beat is held. When some one is playing out of sink it makes it difficult to play your own drum. There is a wave set up by a drum and our energy should be to facilitate that wave. Thus beats non-sinkapated counteract unification, a goal of mine!

There is a sound difference between a left and a right strike. There is a tone in each drum that will resonate more with the existing wave than a slightly different tone. Adding your self in may change this fundamental note, a few odd strikes will give some evidence of you and the note you are bring to the group. If things feel fuzzy I reconmend fallowing the strong drummer into the base with the same hand (dominant or reccesive). This will lead to resonance sooner.

Ettiquette rules from "Drum Circle" Beverly

Since some of us faciltate or sponsor circles, and since I assume the drum circle experience is important to all of us, I am wondering whether the drum circle ettiquette rules that I use are common to all. I know that the Rev (Hi Rev) fairly recently gave us a link for some. At the time I thought that suggestions for beginners and actual rules for ettiquette had, although labeled seperately, been mixed willy nilly. I am going to list my own rules below without the short explanation for each that I use. If you want the whole kid 'n kaboodle, I will include it in another post. For now they are in short form. If you have any that I don't include, will you please contribute them? If I have some you consider unnecessary, please let me know. Your input is as valuable if you are a participant as if you facilitate.

-Never wear rings or loose wrist jewelry when playing a hand drum or gourd instrument.

-Never smoke in the vicinity of the circle.

-Ask permission of the circle before using incense or smudge. Many people are allergic.

-Most circles do not permit alchoholic beverages. Observe and ask before using any mind altering substance.

-Always ask permission before playing another person's instruments unless they are in an area set aside for loan.

-Large drums and bells played with sticks or mallets hold the beat and define the rhythm. Listen for them and fit your beats to theirs.

-Listening and is the most important attribute of drum circle participation. Do not try to play all the notes. Leave spaces for others. If the only drum you can hear is your own, you are much too loud. If you cannot hear your own drum, you may want to move closer to those of similar type.

-Do not move a drum from in front of an empty seat and joccupy it without inquiring whether the seat has been occupied. The drummer may be only temporarily away.

-If you are an experienced player in a circle new to you, wait to get a feel for what is acceptable within the particular circle before plunging in with loud solos.

-Large drums played with sticks or mallets and loud bells hold the beat and define the rhythm. When in doubt follow them. If you are unsure, please do not play them until you are more comfortable.

-Djembes are LOUD. Please be sensitive to instruments with less volume and play with restraint so that all the voices in the circle can be heard.

I do have some additional info but I think this is enough for now. Comments?

Beverly

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