I tailor my presentations to suit the needs of different groups and situations. I work with a wide variety of people ranging from low pressure community/hobbyist groups to college students and professionals.

Below you will find a list of the types of classes I teach on an on-going basis as well as links to one-time event workshops which I offer.

TOPIC AREAS:

DJEMBE & DUNDUN:

This class is for intermediate players. I like to teach this class as my teachers taught me, by example, without words or concepts. I go slowly and methodically and I prefer not to get into excessive analysis or discussion. I demand memorization and do not use notation. Students learn and remember by speaking syllables. Our repertoier consists of material I have learned from Abdoulaye Diakite, Mamady Keita and Karamba Dambakate, including: KOTEBA / FOROKOROBA, YANKADI / MAKRU, SUNU, SORSONETT, KUKU, KOMODENU, KASSA, MANDIANI, KAKILAMBE (4 &6;), DJAN, DOMBA, GARENGEDON and other rhythms. I teach each rhythm with a specific call or break which identifies it. This allows me to call changes and new rhythms with my drum and keep verbal talking to a minimum and drum talk to a maximum. This keeps energy fresh, moving forward, and aligned with the tradition. Typically we play one ensemble rhythms for 6 to 10 weeks while briefly touching on others to maintain our repertoire. I encourage senior students to improvise, solo, and memorize lead technique patterns and arrangements. Private lessons and beginning classes are available. See course outline.

CONGA and PERCUSSION:

This class has 5 levels.

Level 1- FUN WITH DRUMS Introductory class: covers basic posture, strokes, concepts and simple patterns with both sticks and hands. I provide specific exercises each week for homework as well as creating games, dialogues and compositions for the class. In this class you learn how drumming works, what the variables are and most importantly how to keep steady musical time. We learn through repetition, with the body and the mind, intuitively and intellectually. We respect and learn from the drum, the rhythm and each other.

Level 2 continues and adds ensemble rhythms of varying complexity. Our repertoire includes: AFOXE, TUMBAO, MAKUTA, DJESSE MULOUMBO, MBAYE, and BOMBA, CALYPSO. We play one rhythm for 6 weeks and work on bell and clave extensively with sticks, hands and body rhythm.

Level 3 expands the ensemble to include full arrangements with talking drum, bells, and shekere as well as variations on the appropriate parts. I include rhythms of greater complexity: YAN VALU, NIGERIAN HIGHLIFE, BONGANGA, BEMBE, PALO, MACULELE.

Level 4 emphasizes musicality, versatility and musicianship. Students learn to make calls, respond, change tempo and dynamics, change feel, and to improvise variations. Advanced clave concepts and 4 vs. 6 illusions are presented through such challenging rhythms as RUMBA, ABA CUA, CONGA, MOZAMBIQUE, ELIMA, WARA, BAKONGO, SAMBA DE RODA, CABULA, SIKYI HIGHLIFE and KPANLOGO. Students are encouraged to expand and develop their vocabulary and understanding of common rhythms found in contemporary popular music and learn to create meaningful variations of them.

BRAZILIAN PERCUSSION:

This class is a preparation for the CARNAVAL SPIRIT Parade Group and focuses on the instruments of the Bateria: Surdo, Caixa, Agogo, Tamborim, Ganza, Repinique, Reco Reco, Pandiero and Quica. I conduct class with students standing in a circle and everyone learns a simple step to mark time. We proceed by speaking patterns and arrangements, then learning instrumental technique. Our repetoire includes : BAIAO, AFOXE, SAMBA REGGAE, SLOW SAMBA and MARACATU as well as several of my own compositions. The emphasis here is on musicality. The techniques are simple, the arrangements straightforward and accessible, and the music is exciting. We also expore Afro Brazilian hand drum rhythms such as Ijexa, Congo, Cabula, Barravento, Congu and Maculele. Advanced students may be invited to play for dance class.

See course outline.

CUBAN MUSIC:

These classes are structured for intermediate level players and those who have extensive background listening or dancing to Cuban Music. The focus is on RUMBA, CONGA, AGBE, PALO and MOZAMBIQUE. I do extensive breakdown and analysis to show relationships between parts. I give many exercises for learning to hear the interplay of patterns. It is expected that students do considerable listening and practicing on their own. In advanced classes we learn songs. See course outline.

DRUMSET:

I teach drumset in private lessons. I emphasize feel, dynamics and understanding without relying on notation, although I do encourage counting. I find out what the student can do and then provide related patterns for variation. I work with all ages and like to follow the student and provide challenges based on what they already know. This helps people remember what they have learned. I do use notation when appropriate, usually after playing to remember what we did, rather than before playing to try and tell what to do.

EMBODY RHYTHM™:

This class/workshop uses movement, clapping and voice to teach what different rhythmic effects feel like. We use simple footsteps or foot taps to establish a main beat, then we recite different syllables. Finally we add clapping or boomwhackers to create various patterns. We alternate between sitting and standing, full body movements or foot taps, analysis and practical application. I create exercises to meet the needs of individual students.

TIME COUNTS™ - rhythm theory:

This class teaches counting, notation and analysis with movement as a means of understanding rhythm. Various theories, definitions and concepts are presented and challenged, including Eastern and Western notation systems. The goal of this class is to help students learn and embody accurate musical time, learn basic notation, and to know how and what to count.

All materials copyright 1998 PulseWave Percussion and Kim Atkinson.