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For many budding djembefola, soloing in public can be the most confronting part of the musical journey… but when we tap into our creativity, learn a few helpful tips and feel relaxed, it can also be the most rewarding & exhilarating

Here’s a quick tip to help you on your way. SPACE. Think of your djembe phrasing as a language. When we talk we need to breathe and let our sentences resonate with our audience. Let your solo breathe – less is more. One of the easiest options is to say too much, too fast and too soon with your drum language… build your story from a humble but interesting place and layer your phrases gradually. Let the rest of the rhythm rumble underneath your phrasing and listen to the cycle of the dunun as it repeats itself over and over

As an exercise try playing just a few notes in a cycle and then wait for the cycle to repeat itself before playing again. This will allow the music to breath and will help you listen to & feel the cycle of the rhythm. From here you can add more and more and gradually build up the energy…. Repeating your ideas is a great way to reinforce your musical message too, but that is another whole topic (See Djembe Siolo Tip No 2)

Hope this helps Djembefola

Welcome to the tone, or tonic as they say in Francophone Afrique. Quite often the first sound we all try to make and perhaps ironically the last sound we still try to perfect. The tone is warm and round and whilst it has a different frequency to the slap it should be no less prominent. Here are some tips on how to get it…

Get your thumb away from your fingers (by 45″ or more) so that you don’t hit it on the rim. Straighten your fingers and keep your wrist straight – relaxed but firm. The primary motion comes from the elbow as well as the shoulder (especially when playing slowly). When you play slowly your forearm and wrist almost move as one. As you speed up, your wrists do more work and your forearm and upper arm action become more efficient. When you lift your forearm, lift it vertically so that you make a clean connection with your hand flat (as opposed to a chopping action)… then your sounds will be phat!

The connection point is similar to the slap (top of the hand under the fingers) but the angle of the wrist is different. The forearm, wrist and fingers are relatively flat (straight) when we play a tone ( compared to a dipped wrist for slaps). Getting definition in your tones is the key, and looking for contrast between your tones and slaps is the goal.  Take it slow, don’t rush and build up your drumming muscles as you practice. Base tone slap, base tone slap

Ever wondered why it is so hard to get? Here’s a couple of quick tips for you aspiring Djembefolas. Drop the wrist lower than the edge of the drum surface – you need that extra angle to get the whipping action which is key to a singing slap. Loosen the tips of the fingers and splay them slightly, but don’t curl them up (keep them straight but relaxed). Move your arms from the shoulders and elbows. The action starts up the body, not just at the wrists. With practice, you’ll find your “best” connection point where your hand meets the drum. For most it is just below the fingers at the top of the hand. Take your time, practice slowly, work on your non dominant side extra hard and you’ll be slapping in no time!