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Hello my fellow congueros,

A few days ago there was a blackout in my neighboorhood which is very regular occurence in Rio.
My recording studio being totally dark, I decided to have a practise in the dark.
It was a really interesting to do, I had to rely solely on the feeling in my hands and the sound of the tumbdoras. It brought all sorts of little insights, and improved my sound quite dramatically over a half hour. Loosing the comfort of checking my technique visually I had to rely on my other, and in this case, more important senses.
I highly recommend trying it and even doing it on a regular basis. Just closing your eyes for a while is just not the same as really being in the dark for an hour or more.

In general working outside of your comfort zone expands your abilities and flexibilities and can provide new angles.
For example a classic technique is to use the "wrong" tumbadora. Practise your slaps on the lowest drums, bass tones on the quinto, etccc

Do you guys have any suggestions in this vein?

Lets see what crazy stuff you have been up to!


Abraço

Tone

i don't know, but i like the idea...i'll have to try it out this week...I do however like to practice on different size congas...

This is the sort of "thinking outside the box" that I often do. But I haven't yet done this one. I'll have to try this when the roommates are out for an evening.


FWIW, story has it that James P. Johnson (stride piano master) used to practice his ultra-tricky stride piano technique in the dark... AND with a sheet over the keys!

Sometimes I practice on a detuned tumba, kind of adds a different
focus on the practice.

Well I would say that to practice your slaps on the tumbadora is NOT a 'wrong" thing to do...it is recommended....it may be a bit harder to get a slap from it but it will help when it comes time to use your conga or quinto...closing one's eyes and practicing, is also recommended as to really "hear" the music and "your" sound development....I know a few "blind" conga playing brothers, and they play very well...3 ways to learn visually, orally, and by listening...take your pick ....I often practice with my eyes closed, it will help with listening.....'ear' training is just as important as anything else....my 3 congas.....Johnny Conga...

Hi you all.

Playing in the dark souns great.

I realized a few months ago that I never look at my hands when I play.. Once the distance between the drums is correct, I do not look at my drume. This might come from tha fact that I often read at the same time I play. I read eith song structures or lyrics...

The dark might halp to focus on the sound. Your eyes not beeing disturbing your brain anymore.


B

Ok - this will sound pretty weird, but when I was first playing I acidently saw my hands on the drums in a nearby mirror and somehow watching my hands on the drum some how kind of removed myself from myself and I felt I played better. I suppose its somewhat akin to dancers (or my case ...fencers) using a mirror to check out form ie: watch what your body is actually doing as opposed to what you think you are doing.

Haven't thought about that in years and it ceased to make a difference long ago ... but anyhooo

I HAVE practiced in front of the mirror, and it's a GREAT way to practice. First off, you start looking ahead instead of down at your drums the whole time (if this is your normal habit), and secondly, you can see how you would appear to the audience.... fluid motion or not, facial expressions, etc.


One thing that I am trying to do these days is to become a little more ambidextrous (be able to play with both hands equally). The obvious thing is to reverse all your hand patterns and play your rhythms that way. I have a long, long way to go on this, as I am currently about as far from ambidextrous as I could possibly be. But one little thing I'm starting to do on a day-in-day-out basis is to start using my left hand for everyday tasks (eating with a fork, brushing teeth, etc.), where I would normally use my right hand. It helps!

Speaking of ambidextrous...
Some of the other left-handed players might also pick up on this as well. I think being a lefty makes it easier to become ambidextrous because most of the people that I practise with or the teachers that I've encountered are all right handed so I usually pick up the rhythm playing right handed at first. On a couple of occasions someone has said "I thought you were supposed to be left-handed!" And then I start playing left again. It can get really confusing sometimes, though.

I'm right-handed, but play left-handed and have been trying to become more of a right-handed player. Is that screwed up or what?

For me right now, the faster I must play to play with the music, the more I am out of my comfort zone. But, I push myself to the wall speed-wise for a few minutes every time I practice, although it is mentally very difficult because it reminds me every day of how little skill I have and how long the journey forward could still be to get to the point where I'll be somewhat competent.

Alabubba u will hit the wall for sure...to develop speed is something that takes time.....single stoke rolls is the way to start...then try 5 strokes and 7 strokes....tones to a slap...to begin....alternating hands..L to R R to L...for EACH exercise....u must be totally relaxed to accompliish any kind of speed...and to learn to "let your hands go"...without tension in your arms and body...try it and let me know how it goes...ok? BTW Do u have a Mentor of the drum?....Johnny Conga....

JOHNNY CONGA IS A GOOD MAN, AND I CAN ALSO TELL THAT HE IS A SUPER INSTRUCTOR AND BROTHER AS WELL. IF I HAD THE CASH AND THE TIME, I WOULD INVEST IN MYSELF TO SPEND SOME TIME STUDYING WITH JOHNNY IN A HEART BEAT. HE IS UNSELFISHLY OFFERING HIS TIME, AND HOME FOR THE ADVANCEMENT OF THE ART, AND FOR REASONABLE PRICES. HE IS A SPECIAL PERSON.

CHARLIE "EL COQUI" VERDEJO

JohnnyConga wrote:Alabubba u will hit the wall for sure...to develop speed is something that takes time.....single stoke rolls is the way to start...then try 5 strokes and 7 strokes....tones to a slap...to begin....alternating hands..L to R R to L...for EACH exercise....u must be totally relaxed to accompliish any kind of speed...and to learn to "let your hands go"...without tension in your arms and body...try it and let me know how it goes...ok? BTW Do u have a Mentor of the drum?....Johnny Conga....

No unfortunately I currently do not have a mentor. I am in a small town outside of Huntsville Alabama, and haven't found a teacher yet, and actually don't know if there is anyone around here to try to hook up with. This would be a perfect time to have some lessons with someone that knows how and what to teach a beginner on conga. Right now I am doing my best just to develop tone separation basically from watching and mimicking Changuito from his video and some of you guys on Youtube. I also am using "The Stoned Hand-drum" and Stick Control for the Snare Drummer by Stone as I work on tone development - but it is definitely slow going. I will add in and work with what you say every day some and hopefully will one day before long find the right combination of "relaxed" and "tension free." Right now I am being realistic and expecting it to take awhile, because it is only right that because this is a new instrument to me and these are new movements for me, and because tone separation is SO important, that there is a lot of muscle memory to be developed, and I want it to be developed correctly.

I thank you so much for your suggestions and encouragement, and will indeed let you know how it goes!

You have realised that time is in essence when it comes to learning the Timbadora.
If you practice daily at least 1 hour keeping it slow and building slow you will break through those wall barriers .
It realy is baby steps no easy way . stick at it you sound focused . I been playing for 18 months now and have improved dramatically .Id say the first 12 months was the hardest then as you learn and raise to the next plateu you will be rewarded .

good luck

marco