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Matsuri Daiko! So-re!
Jul. 29th, 2008 10:25 pmWe were missing a few people tonight again. No tires were harmed.
Blew through Renshu.
Got through three-line-drill with lots of reps and it seemed to be sinking in nicely, so Sean-sensei pulled out the slant stands during a break.
The drills have their uses, but Matsuri's made to dance to. Mary and Blossom saw us tipping drums onto stands and got this deer-in-headlights look and I said, "Don't worry, this is gonna be so cool!" Shannon-sensei, on the sidelines, caught me and said, "You think you remember it?" "I think so," I replied. It's only a freaking earworm.
We worked the first three lines tonight. If anything, I just have to remind myself to turn my hand when I strike left handed in this position. I remember how hard I found the third line when I first tried it, but it was there, it was comfortable. I found myself grinning as I saw Mary on the drum ahead of me GET line three as we played the three lines in a continuous loop, and keep it for three repetitions in a row.
Sean-sensei called a water break. (Have I mentioned I almost never take a water break?) John started playing Matsuri. I joined him. We did the whole thing. I didn't screw up the left handed windmill thing in the last line - the timing is still there. Whether it looks pretty yet, I don't know, but I got an "OK, you do remember it," grin from Shannon-sensei.
I was helping put drums away and Sean-sensei said something to the effect that it always sort of surprised him that people who would struggle with the drills would really start to click on Matsuri. I think it's easier because of its musicality. There are a couple of tricky bits in the version we do, but it feels more like a "tune" than Renshu and three-line-drill do.
Mary and I talked after class about getting together and going to Obon in Oakland on Saturday afternoon and traded email addresses.
Blew through Renshu.
Got through three-line-drill with lots of reps and it seemed to be sinking in nicely, so Sean-sensei pulled out the slant stands during a break.
The drills have their uses, but Matsuri's made to dance to. Mary and Blossom saw us tipping drums onto stands and got this deer-in-headlights look and I said, "Don't worry, this is gonna be so cool!" Shannon-sensei, on the sidelines, caught me and said, "You think you remember it?" "I think so," I replied. It's only a freaking earworm.
We worked the first three lines tonight. If anything, I just have to remind myself to turn my hand when I strike left handed in this position. I remember how hard I found the third line when I first tried it, but it was there, it was comfortable. I found myself grinning as I saw Mary on the drum ahead of me GET line three as we played the three lines in a continuous loop, and keep it for three repetitions in a row.
Sean-sensei called a water break. (Have I mentioned I almost never take a water break?) John started playing Matsuri. I joined him. We did the whole thing. I didn't screw up the left handed windmill thing in the last line - the timing is still there. Whether it looks pretty yet, I don't know, but I got an "OK, you do remember it," grin from Shannon-sensei.
I was helping put drums away and Sean-sensei said something to the effect that it always sort of surprised him that people who would struggle with the drills would really start to click on Matsuri. I think it's easier because of its musicality. There are a couple of tricky bits in the version we do, but it feels more like a "tune" than Renshu and three-line-drill do.
Mary and I talked after class about getting together and going to Obon in Oakland on Saturday afternoon and traded email addresses.
