spiritdrum wrote:Hi,
I'd like to generate discussion around what people think about the use of ghost notes
Ghosting is not taught in West African style and dance teachers do not like drummers who ghost cause on a djembe it is hard to quiet the ghost notes.
So why bring it up. Well, I find that my flow is not always smooth when I vary by revoicing or adding a note in a rhythm, and question if its cause I never learned how to play hand over hand.
windhorse wrote:I found that problem specifically when I was working on quinto rides based on the tresillo hocket. It's already a really tricky move to be able to play the hocket conisistently at speed, but when you start varying the voicing,, well, that's a whole new ballgame!
Just a word about your statements, like "Ghosting is NOT taught in West African style". I'd probably change that to, "I've found in my experience, "
Because I've found the truth to be the opposite.
spiritdrum wrote:Ghosting is not taught in West African style and dance teachers do not like drummers who ghost cause on a djembe it is hard to quiet the ghost notes.
spiritdrum wrote:Hope your are doing well!!. Do you play the tresillo and tresillo hocket with alternative hands? I found that when I play the quinto lock I don't play it alternating my hands but use my strong hand more or mano secreta.
I found some of your past posts on tresillo which are really very interesting. You know if you shift the son clave a 1/16 note, you get a pattern that includes the quinto lock. Pretty cool.
And clarification for all: I has been my personal experience that West African drumming does not include alternating hand technique and ghost notes.
peace,
Lisa
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