March 16, 2026

THE SOUND OF Gold with my talented guest of rhythm, Dave Smith.

THE SOUND OF Gold with my talented guest of rhythm, Dave Smith.

Meet Dave Smith, the creator of Rhythm Skool. Tune in today to learn what rhythm is. How to keep the rhythm going and how to create your own rhythm when playing music. The Sound of Gold is broadcast live Mondays at 4PM ET / 1PM PT on K4HD Radio -...

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Season 2

Meet Dave Smith, the creator of Rhythm Skool.
Tune in today to learn what rhythm is.  How to keep the rhythm going and how to create your own rhythm when playing music.

The Sound of Gold is broadcast live Mondays at 4PM ET / 1PM PT on K4HD Radio - Hollywood Talk Radio (www.k4hd.com) part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). The Sound of Gold TV Show is viewed on Talk 4 TV (www.talk4tv.com).

The Sound of Gold Podcast is also available on Talk 4 Media (www.talk4media.com), Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.

Become a supporter of this podcast: https://www.spreaker.com/podcast/the-sound-of-gold--6696013/support.

WEBVTT

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This program is designed to provide general information with regards

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to the subject matters covered. This information is given with

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the understanding that neither the hosts, guests, sponsors, or station

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are engaged in rendering any specific and personal medical, financial,

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legal counseling, professional service, or any advice. You should seek

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the services of competent professionals before applying or trying any

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suggested ideas.

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Hi, welcome to the Sound of Gold. Welcome back, and

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if this is your first time here, welcome, and of

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course for all of my listeners out there yet as well,

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thank you for joining me today. I am so excited.

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You know. I love doing this, not only because I

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have fun just showing up for you, but my whole

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goal is to keep music alive. Music is always around us.

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It's all around us. So many of us play instruments,

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so many of us just love to listen to music,

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go out and see live venues.

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And for those.

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Of you that already know me and those of you

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that don't, I'm a music teacher in Palm Beach Gardens, Florida,

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and actually as of today i'm it's spring break in Florida,

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so I am out traveling, visiting elderly family, and so

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I get a different setup today and so no matter

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the show goes on right. So, with that being said,

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being a music teacher music is at the core of

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my being and it is such an honor to be

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a teacher and to fire others to learn music and.

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How to play music.

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Today, specifically, I have a very special guest tuning in

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from the UK, and I'm so excited because there's so

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much to learn from my guest, mister Dave Smith, who

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I know is backstage.

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Dave, would you like to join us?

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Is coming on? And Hi, bunco, Hey, how's it going?

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Good?

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Good? And Dave?

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I know Dave and I have been communicating via email

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and I connected with Dave through Rhythm School and me

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being a teacher, I'm also a student and so I

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love learning from other teachers because that inspires me to

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be a better musician, and it inspires me to be

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a better teacher because the more I learn, the more

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I can share what I'm learning with my students. And Dave,

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your Rhythm School, you have so much that you're offering

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right now, and there's gosh.

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I think the best.

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Place to start is tell us a little bit about

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your journey what inspired you and from what age did

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you begin getting involved with being a musician.

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Sure, I'll try and be kind of brief so I

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don't take up, but yeah, I mean, I guess I

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came from My dad was a little bit musical, played piano,

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but he was always tapping along the steering wheel, and

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you know, I'd.

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Kind of copy him.

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And then I formally started playing drums when I was

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like just before the age of nine, okay, And yeah,

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I just fell in love with playing drums and percussion.

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And I'm from place that's kind of northeast of London,

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a couple of hours called Orange and the county Music

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Service was really strong back then and there was just

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loads going on, so you could have like lessons, free

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lessons through the county and so I was having percussion

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lessons and drum kit and then some private lessons as well,

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and like in school, but also playing in bands in

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school in high school, but also lots of kind of

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county groups as well, and there was a real community

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of people all really passionate about music and hanging out

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and young people like people older than me, but also

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same age and a bit younger, and it was just

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really inspiring and when I was sixteen, I was very

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lucky to get a music scholarship to a music school

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for two years, and that was a classical music school,

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but there was also kind of chazz happening there. And

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then I applied to music colleges, so I kind of

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went through that kind of route.

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And at music college, I mean that was really cool.

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I'd never really spent any time in London, and then

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all of a sudden, I'm in London and I saw

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Elvin Jones in the first week, Who's the Drummer with

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John Coltrane playing at Ronnie Scott's. You know, there's all

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these jazz clubs, and there was just lots of gigs

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going on and it was really really inspiring. And yeah,

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some of the people I was at college with I'm

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still playing in bands with today.

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So that was a really important thing to be in

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this big community.

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And share music with different folk. But yeah, I was

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in my last of music college and I managed to

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kind of join this trip, this three week trip to

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West Africa.

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Okay, so up to that point, I just I've kind of.

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Gone really heavily through kind of bop and then got

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brillly into kind of sixties model jazz and then had

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just started to get into some more avant garde stuff

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and I found myself in the Gambia in West Africa

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for three weeks. This is like twenty twenty, just over

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twenty years ago now, and in this village where there

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was just this amazing this wool Off village where there

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was Sabah drumming, s A B A r M and

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all the towns from Tabla so and so there was

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this kind of big vocalization of rhythm and I got

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to see like the all night wrestling matches with these

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rhythms going and the kids playing and lots of dancing,

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and it was just really inspiring.

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So lots of movement and vocalizing and drumming, and I

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just kind of came back. I was kind of confused

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about the music.

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It was pretty crazy, and I didn't have I wasn't

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I It was kind of like just join in and

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play play along. And actually there was a point where

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I thought I was in the groove and then I

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looked at the dancers feet and I was like, oh,

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I've got this upside down. So yeah, I mean, I

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mean I was in the groove, but it was it

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was like I didn't understand the frameworks and exactly how

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that music worked. So when I went back to London,

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I kind of started this journey of really discovering what

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it was all about. One of my mentors, Barrick Small,

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kind of directed me to some some reference points. I

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was doing lots of samba training in London, so I

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kind of it was this ye jazz drummer, but kind

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of branching out into world rhythms and yeah, so I've

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always and from that point, yeah, I mean that's really

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at the heart of the teaching in Rhythm School and

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the Rhythm Academy. It's embodying rhythm and feeling rhythm from

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the inside out rather than this kind of the theory

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of what it is and maybe marrying those two worlds

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so we can.

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Kind of I love that reference.

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Yeah, and yeah, I mean I could go on, but

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I yeah, the thread it really as there's a thread

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through everything, of course, but I feel like that had

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that had a really big impact. I was also doing

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a lot of kind of free improv and working with

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electronic processing, and I got really into sound and trying

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to almost reproduce some of those electronics sounds that were

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being my drums being processed, but in live situations without

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the processing, So really trying to explore the tombre of

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the symbols and the drums and actually kind of marrying

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that world of the classical percussion a little bit where

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it's really about producing sound and the intention in your playing.

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And so I'm kind of bringing a lot of that

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stuff in, like the actual the musical application of what

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we do.

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Amazing it.

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Yeah, finding the magic in the in the sound and

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the rhythm and connecting connected like a big thread through

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all of this is like how great music just kind

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of is about connecting and connecting. Yes, absolutely, and that's

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some that's.

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So I am.

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A couple of weeks ago, I had Christopher Maloney on

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my show and he he had lived in Florida. I'm

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tuning in from Florida and him and his wife they

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had moved to uh, Portugal, Okay, So when I had

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chatted with him even before the show, and I've said

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this before on my show just in general, music is

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a universal language. And I've never been to Africa, but

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I can just imagine the authenticity and the as a musician,

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there's that inner soul that just draws you in to

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that rhythm because even though I play a piano and

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i've played since I was five, there is this heartbeat.

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I do not play drums, so I can say my

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timing might be as great as yours, but but I

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know that the drums is the heartbeat of rhythm.

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Yeah, I kind of feel like we're all we're all

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drummers and we're all singers in a way. It's just

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we've put these constructs in front of us that stop

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us from actually doing those things, you know, And it's

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so kind of innate for us as humans to be

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making sound and communicating and using our voice in different ways.

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And so yeah, what I introduced with the Rhythms School

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is exactly this. So I'm working. It's not for drummers,

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it's for all musicians. And it's a simple combination of

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combining your voice using kind of rhythms with your voice subdivisions,

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using your your voice to say different rhythms or sing

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different parts, and then your your clap as like your

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in book percussion.

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And then we do it do the stepping on the pulse,

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which is.

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Just grounding us. And you know everyone everyone can walk

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in time. It's just when you start adding stuff you know,

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that's when that's when things start falling apart.

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So it's I think the most important.

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Thing for any musician, whatever level you're at, is to

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know exactly where you are and what if you're working

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on something that it's the right thing to work on.

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So you're kind of growing from the same kind of trunk, do.

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You know what I mean? Your roots.

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We've all got our roots in some way, what we

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listen to, what we're passionate about or attracted to, what

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we like to move to, what we like to play,

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and then you know that's us and then so to

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always reference that in some way is the most helpful.

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Well, it's a best way to stay.

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On track and actually have fun because I think you know,

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in this world where we're served like all these different

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ads for you know, it's so true, crazy stuff and

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you're like.

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Wow, what's that? I need to do that? And then

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you're like, oh, hang on, what's this over here?

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And you can get so overwhelmed, but actually all you

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need to do is is maybe just do the next

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step from from where you're at. And that applies to

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pro musicians as much as it does to begin us.

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You know, it's true, it's very true. Victor Wooten says,

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he's a good friend of mine. I hope to get

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in Mama Show one day. He says, when we're young,

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when more babies.

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You know, and mom and dad chat with us.

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They talk with us, and we learned to, you know,

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speak back, and we learned to like they don't.

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They don't correct us.

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They kind of like babble along with us until we've

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figured it out. And he kind of says, music is

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the same way. You know, you should be able just

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to sit and play without being restricted. And as a

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teacher myself, I sometimes feel I feel like I betray

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my own self because I focus on a lot of

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foundational theory because I think that as a teacher that's

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a good place to start. However, I'm almost like a

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critic of myself because if you get to know the

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instrument and you play freely, nobody taught you or myself

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when we were kids how to play. Mom and dad

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were just like, okay, they spoke to us, we spoke back.

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They gave us toys and they'd be like, okay, play

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for an hour. Well you know, we're going to do

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our thing. But they can tell us how to play.

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You know, so now ours musicians were like, all right,

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here's the instrument. We're going to tell you how to play.

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It's like, yeah, it doesn't make sense.

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Yeah, No, it's a funny one, isn't it.

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Because I've heard a story before like, well, what if

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you if you just allowed kid to play piano, just

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gave that to them to do for like a year,

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no instruction, You probably have some crazy kind of technique

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of some you know, but it would be amazing what

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they come up with. And it's this idea that there's

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a right way and there's the wrong way, but there's

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systems right and you know, if you're teaching theory, there's

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a there's a system. And but I think what what's

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interesting about kind of the learning process is it's almost

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the full circle is kind of not unlearning, but yeah,

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just kind of releasing yourself from these or these these

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kind of what you think are really important. Well, actually

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it all goes out the window when you play, because

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you're just got you really want to get to a

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point where you're in flow if you're trying to get

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the flow. But you know, working on technique allows you

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to go off.

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And yes, and I have this saying for students that

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have been with me for quite a while, I'll say, Okay, now,

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once you know the rules, then you know how to

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break them.

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Yeah right right? I like that.

257
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Yeah so, and feel free to take that with you.

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But it's true because once you're in it. For my

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musician listeners out there, we know, once we're in that

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state of flow, we do break the rules because we

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can because no two musicians are going to sound exactly

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the same, because we have our own little zest or

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our own little spice that we add.

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To our playing.

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Absolutely, if listeners out there who may not be watching,

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because we have a scroll on the screen on how

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to contact you through Facebook for our listeners, how can

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listeners tappen and connect with you? Because your emails that

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I get are phenomenal.

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Oh thank you?

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Yeah, Well, my email address is info at Dave Smith

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drums dot com. That's one way of getting hold of me. Yes,

273
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like Rhythm School, like the school platform skool, that's where

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I've been since September. I've been running the kind of

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rhythm academy and mentorship for five years, but since September

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twenty five, I've been in Rhythm School or on the

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school platform and I have a free community called Rhythm School,

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and I've got some resources in there, and there's it's

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really cool. There's like there's over a thousand musicians and

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there's a map and you can see where everyone is

281
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and they're they're just all over the world, which is great.

282
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Oh, I love that.

283
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Actually, can we for my musicians that are established and

284
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that are growing and that want to connect and.

285
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I don't want to.

286
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I don't know all of our listeners, so I don't

287
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know if this may go over maybe too much, but

288
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but I think it all comes together. I think it's

289
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never too much if you just stay in the game

290
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and it eventually all connects. So what I want to

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get at is, I think even presently your email that

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you sent out today, specifically you talk about and you

293
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talk about.

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The compass, the map compass.

295
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Maybe that's what you just refers, but you yes, but

296
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you go into you said something so clever about and

297
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being that my husband and I have been traveling. Its

298
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spring break, so we're traveling visiting with family this week,

299
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and what you said in your email made me. I

300
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used an analogy and I'm like, well, if we're driving

301
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and you know the road is windy, we kind of

302
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have to go wind with it. If the road's going

303
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to go down the hill, we have to drive down.

304
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If we're going up, we're going out. And so with

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your rhythm. With the email that you sent today, I'm

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like I related it and made this analogy.

307
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I'm like, well, it's like music. The road is like music.

308
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It just you have to I think it was clever

309
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where you said when the music shifts, you want to

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notice it and kind of pay attention to it and

311
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shift with it or with it.

312
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Can you can you elaborate more on that?

313
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Well, I think there's a you know, it's really an

314
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important skill to be able to play with the metronome,

315
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the click, and it's very you know, it's really good

316
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for our timing, you know, but I think we we

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a lot of musicians will you know, they're relying on

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the click and they want they're striving to be metronomic,

319
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you know, have having great time as being metronomic. Well, actually,

320
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there's there's more things going on than that. So within

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within you know, when you're playing with other musicians, unless

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you're all on in ear is with the click, and

323
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then okay, then you're you're locking in with the click,

324
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but when you're not on the grid like that and

325
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you're actually making music with other people, or maybe you're

326
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playing a piano piece that's kind of got a lot

327
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of movement in it's not rigid in that way, so

328
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it's about feeling the pulse and and moving.

329
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You know.

330
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The beat isn't like just one place as well, Like

331
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the beat is this kind of rounded it has you know,

332
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you could there's the back of the beat in the

333
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front of the beat, and people position themselves in different ways,

334
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and there's a feeling that comes with that. Sometimes it's

335
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an urgent, sort of pushy feeling, and sometimes it's a

336
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kind of sloppy feeling, and so it's it's you know,

337
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and you're like, well, what is that? You know, and

338
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it's like it's a mystery really because it's not really

339
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in books, right, there's nothing going okay, And now we're

340
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going to do some beat practice, it's like or even

341
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the rhythm, and so we we have this idea that oh,

342
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I've got terrible time because I'm just you know, I'm

343
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always speeding up or whatever, or I don't have a

344
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good sense of rhythm, and actually, you it's just there's

345
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we've all got I believe a good sense of rhythm.

346
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It's just when there's things that get in the way, and.

347
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What would that be.

348
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Would it be a distraction of another musician? Would be

349
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our thoughts would exactly?

350
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It could be an internal thing, It could be an

351
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it could be something a rhythm that someone plays kind

352
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of makes you push forward, you move forward, but it's

353
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actually kind of a cross rhythm where it's something you

354
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don't understand. So this sense of subdivision and pulse gets

355
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a bit blurry, and then when you re establish it,

356
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it's like, oh where am I? You know, And it

357
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can be a small thing that happens, and or it

358
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could be a bigger thing. I yeah, you could then

359
00:20:46.720 --> 00:20:49.160
have a dialogue inside going up.

360
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Well I've just.

361
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Complete, and then you don't know where you are. I

362
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think sometimes when there's like a change in section, you

363
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get your nervous system kind of tightens and then you're

364
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like you you're you're almost like going towards it quicker

365
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than it's arriving, you know. And so this set for

366
00:21:07.480 --> 00:21:10.160
speeding up is just to kind of or you know,

367
00:21:10.279 --> 00:21:14.279
you might rush a fill, or it's it's a react,

368
00:21:14.319 --> 00:21:15.240
It could be reactive.

369
00:21:16.240 --> 00:21:18.640
It doesn't necessarily mean you you've you've got.

370
00:21:18.519 --> 00:21:22.440
To that you've messed up. Yeah, what it says when

371
00:21:22.480 --> 00:21:24.359
you mess you know, if you play a wrong no,

372
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just it's not.

373
00:21:25.440 --> 00:21:27.920
Wrong as long as you change the note that follows it,

374
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not to make it right.

375
00:21:29.599 --> 00:21:32.599
Yeah, I mean there's there's there's a level of like

376
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letting go as well. It's like I played a wrong

377
00:21:35.799 --> 00:21:39.000
note and let's let's not worry about that. And and

378
00:21:39.079 --> 00:21:41.359
so then if you've got if you've got that attitude,

379
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which is very hard to adopt, you know, yes, because

380
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then you then you don't have this like feeling like

381
00:21:48.160 --> 00:21:51.160
everything's gone wrong. We have a tendency as humans have

382
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kind of lean on the one percent negative and pull

383
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that to the front. And it's like rather than celebrating

384
00:21:58.200 --> 00:22:02.440
the ninety nine percent, you know. So I think all

385
00:22:02.440 --> 00:22:07.400
of all of that is plays plays in it. But yeah, rhythmically,

386
00:22:08.039 --> 00:22:12.079
having and what I teach is connecting to your pulse,

387
00:22:12.480 --> 00:22:17.279
the pulse the subdivision which are those beats inside between

388
00:22:17.319 --> 00:22:19.720
two pulse notes, between two quarter notes. You might have

389
00:22:19.759 --> 00:22:22.359
eighth notes, you might have sixteenth notes, you might have triplets,

390
00:22:22.759 --> 00:22:27.599
and really understanding how those subdivisions feel, and then phrasing rhythm,

391
00:22:28.200 --> 00:22:32.799
so getting to know how different rhythms feel against that

392
00:22:32.920 --> 00:22:36.079
and in relation to the pulse, So so you can have

393
00:22:36.079 --> 00:22:39.720
a clearer picture of what's what's going on, and how

394
00:22:39.720 --> 00:22:40.400
would you how.

395
00:22:40.359 --> 00:22:44.799
Would you even share with us more unsyncle patient because

396
00:22:44.799 --> 00:22:46.200
you do mention that as well.

397
00:22:46.640 --> 00:22:51.519
Yeah, yeah, offbeats and syncopated rhythms. I was talking to

398
00:22:51.559 --> 00:22:57.480
it to a student today about syncopation, and you know,

399
00:22:57.559 --> 00:23:00.799
even the way we call it off beats, like it's

400
00:23:00.839 --> 00:23:04.440
off that even the language around it has this kind

401
00:23:04.519 --> 00:23:07.880
of tension, you know, and they're used musically.

402
00:23:08.440 --> 00:23:10.319
The effect of off beats is to.

403
00:23:10.319 --> 00:23:16.480
Create tension, rhythmic tension, just like dissonance is like harmonic tension.

404
00:23:17.039 --> 00:23:23.880
So their devices to create yeah, movement in the music

405
00:23:24.480 --> 00:23:27.759
and emotion as well. But we can get caught up

406
00:23:27.799 --> 00:23:31.119
in that, you know, And I think that's not that

407
00:23:31.160 --> 00:23:34.920
we don't we want to be completely detached from the

408
00:23:34.920 --> 00:23:39.519
emotion of the music, but we want to stay grounded underneath,

409
00:23:39.920 --> 00:23:44.880
so not lost with the with the rhythm, even though

410
00:23:44.880 --> 00:23:46.839
we're playing syncopated off beats.

411
00:23:47.000 --> 00:23:48.079
We want to stay grounded.

412
00:23:48.119 --> 00:23:49.880
And then you the way you do that is to

413
00:23:50.000 --> 00:23:54.960
really understand how that feels actually feels in relation to

414
00:23:55.000 --> 00:23:57.519
the beat, the pomps however you want to call it,

415
00:23:58.279 --> 00:24:04.759
the timing, the under lying and yeah, and once you

416
00:24:04.799 --> 00:24:08.680
get confident with that, then it's or understand and have

417
00:24:08.720 --> 00:24:11.599
a relationship with it. Then then you have that trust

418
00:24:11.640 --> 00:24:14.920
element and it doesn't feel so like you know, and

419
00:24:15.000 --> 00:24:19.480
those everything can sit a bit more and relax.

420
00:24:20.440 --> 00:24:23.119
You said, you said a couple of words that really

421
00:24:24.559 --> 00:24:28.559
triggered me to think and to share there. I tell

422
00:24:28.559 --> 00:24:31.039
a lot of my students, especially the little ones, when

423
00:24:31.920 --> 00:24:33.960
they're playing the piano, I said, okay, well, you are

424
00:24:34.000 --> 00:24:37.000
not only a musician, you are the magician because you

425
00:24:37.039 --> 00:24:38.359
are creating with sound.

426
00:24:39.839 --> 00:24:42.720
And so you had mentioned magic, and it's true.

427
00:24:42.799 --> 00:24:45.799
Once we sit down and we flow, we allow ourselves,

428
00:24:45.799 --> 00:24:48.519
we trust ourselves in that space, in that place to

429
00:24:48.599 --> 00:24:53.079
kind of flow without restriction. It's quite beautiful when we're

430
00:24:53.119 --> 00:24:55.200
able to play there.

431
00:24:55.359 --> 00:24:56.119
There is.

432
00:24:57.599 --> 00:25:03.680
There There is musicians out there that play and they

433
00:25:03.680 --> 00:25:08.720
don't think twice about maybe the note or the words

434
00:25:08.759 --> 00:25:11.279
because it just comes naturally. There's this part of the

435
00:25:11.279 --> 00:25:13.880
brain and I wish I had the time to do

436
00:25:13.920 --> 00:25:16.920
more research on this because for me, this is not

437
00:25:17.000 --> 00:25:19.160
about me. But I'm making a point for me to

438
00:25:19.279 --> 00:25:21.640
sit and play. They call me the instant composer. I

439
00:25:21.759 --> 00:25:25.440
just can sit and play freely. But if you and

440
00:25:25.440 --> 00:25:27.799
and you can give me sheet music and I can play,

441
00:25:28.240 --> 00:25:31.839
but a different part of my brain takes over. And

442
00:25:32.319 --> 00:25:36.319
the same thing is with musicians who maybe are new

443
00:25:36.359 --> 00:25:38.480
to their band or are new to.

444
00:25:40.000 --> 00:25:40.440
Timing.

445
00:25:40.680 --> 00:25:44.039
It's a different part of the brain. And to marry

446
00:25:44.079 --> 00:25:46.759
the two again, I think there needs to be more

447
00:25:46.839 --> 00:25:50.279
research done because I think it's more simpler than we

448
00:25:50.359 --> 00:25:53.079
make it. I think as humans, you know, we're afraid

449
00:25:53.079 --> 00:25:56.400
of rejection. We're afraid of It's almost like going to

450
00:25:56.559 --> 00:25:59.200
being invited to somebody's house for the first time and

451
00:25:59.240 --> 00:26:01.200
you're so particular are about you know, you don't want

452
00:26:01.200 --> 00:26:02.880
to step in the wrong place or sit in the

453
00:26:02.920 --> 00:26:04.440
wrong place, or you know.

454
00:26:04.599 --> 00:26:07.279
Or rejection.

455
00:26:07.559 --> 00:26:11.160
Yes, we're so afree of the rejection that we get

456
00:26:11.200 --> 00:26:13.720
caught up in that and that we limit ourselves as

457
00:26:13.799 --> 00:26:17.240
musicians and as creators.

458
00:26:17.440 --> 00:26:19.240
So yeah, I mean, it's just.

459
00:26:23.559 --> 00:26:27.720
I totally agree, and but it's actually having a way

460
00:26:27.759 --> 00:26:31.519
in like what's the way in, yes, to to then

461
00:26:31.680 --> 00:26:36.759
be okay with situation, this new situation with these different people.

462
00:26:38.039 --> 00:26:42.599
And I do like the idea of like, well, the

463
00:26:42.640 --> 00:26:46.599
main thing, number one thing is too is just to

464
00:26:46.640 --> 00:26:52.440
try and like have a sense of togetherness connection, And

465
00:26:52.480 --> 00:26:55.000
it's not always the easiest thing to do, but like

466
00:26:55.960 --> 00:26:59.519
if that's part of the ingredient of not just like

467
00:26:59.640 --> 00:27:01.799
I'm just and I play my part really well, put

468
00:27:01.799 --> 00:27:04.200
my head down and do my best, you know.

469
00:27:04.240 --> 00:27:06.720
It's like, yes, that's that's important.

470
00:27:08.039 --> 00:27:10.839
Well, tell us a little bit about your your own bands.

471
00:27:10.880 --> 00:27:13.559
Other than being a teacher. You are a musician, so

472
00:27:13.839 --> 00:27:17.000
you get together with groups of bands and it is

473
00:27:17.160 --> 00:27:21.599
I mean, it's collaborating together as a band, as as

474
00:27:21.640 --> 00:27:25.960
a family. You're playing different instruments, you're bringing in your

475
00:27:26.000 --> 00:27:29.160
own energy. Share with my audience a little bit about

476
00:27:29.359 --> 00:27:32.200
what that's like for you as a musician outside of

477
00:27:32.240 --> 00:27:32.920
just you know, of.

478
00:27:32.839 --> 00:27:33.640
Being a teacher.

479
00:27:34.119 --> 00:27:41.400
Yeah, playing lots of different situations. I think that that

480
00:27:42.119 --> 00:27:44.920
maybe as a drummer, it's easier to go to this

481
00:27:45.079 --> 00:27:48.599
place of having an awareness of the group. You know,

482
00:27:48.640 --> 00:27:53.200
often drumas are kind of yes, they're providing some kind

483
00:27:53.200 --> 00:27:55.920
of time and rhythm, but there's also this kind of

484
00:27:55.920 --> 00:28:01.160
shaping the bigger picture of maybe the piece or the

485
00:28:01.480 --> 00:28:02.880
you know, from beginning to the end.

486
00:28:02.880 --> 00:28:03.359
Of the song.

487
00:28:05.000 --> 00:28:07.559
I like to think a bit like that when I'm playing,

488
00:28:07.759 --> 00:28:11.279
like a like a producer, like Okay, I've got my part,

489
00:28:11.799 --> 00:28:14.440
I'm just going to hone in on I really, I

490
00:28:14.559 --> 00:28:18.759
really there's some there's some things that help with with

491
00:28:18.799 --> 00:28:20.880
this that I've kind of picked up along the way.

492
00:28:22.240 --> 00:28:24.680
And actually last month in Rhythm School, I ran a

493
00:28:24.720 --> 00:28:28.319
listening workshop and so just when you're listening to music,

494
00:28:29.680 --> 00:28:32.440
and this can really help. Like how you sit in

495
00:28:32.519 --> 00:28:35.799
an ensemble is to listen. When you listen to music,

496
00:28:35.880 --> 00:28:38.759
listen from the perspective of different instruments. So try to

497
00:28:38.920 --> 00:28:42.119
just focus on on one instrument. You can start with

498
00:28:42.160 --> 00:28:47.079
your instrument, you know, but then move to other instruments.

499
00:28:47.279 --> 00:28:51.319
And yeah, one question I was inviting people on the

500
00:28:51.319 --> 00:28:56.200
first listen is is just notice what instruments are playing,

501
00:28:56.640 --> 00:28:58.759
so not putting too much pressure on yourself.

502
00:28:58.400 --> 00:29:01.799
As well to like know everything. This is really important.

503
00:29:02.680 --> 00:29:05.119
But this was a nice little exercises like Okay, what

504
00:29:05.519 --> 00:29:09.480
instruments are playing and some of the tracks there was

505
00:29:09.519 --> 00:29:12.359
like lots of different percussion and like that was quite

506
00:29:12.720 --> 00:29:15.759
you know. So we were picking up the instruments on

507
00:29:15.799 --> 00:29:18.559
the third listen, like, oh I noticed a tambourine that time,

508
00:29:19.960 --> 00:29:23.640
and then like where in the the kind of mix

509
00:29:23.960 --> 00:29:29.000
in the sound picture are those instruments sitting And so

510
00:29:29.079 --> 00:29:33.200
this is another tool to think about, like you know,

511
00:29:34.319 --> 00:29:37.000
it's not just about playing the notes, it's like where

512
00:29:37.039 --> 00:29:41.640
those notes sit in the mix of and and just

513
00:29:41.720 --> 00:29:46.200
tuning in to this stuff is informs you're playing immediately.

514
00:29:46.720 --> 00:29:50.680
It's like Victor Wooton was saying about the osmosis of

515
00:29:50.880 --> 00:29:54.160
just being around you know, so you're kind of absorbing

516
00:29:54.720 --> 00:29:58.119
the music. But it's not like theory in a way.

517
00:29:58.160 --> 00:30:01.920
It's like just noticing where things are sitting, what sounds

518
00:30:01.960 --> 00:30:06.319
you're hearing, and from there you could go full analysis

519
00:30:06.319 --> 00:30:10.720
and start transcribing stuff. We actually when this was to

520
00:30:10.759 --> 00:30:14.240
do with it's kind of pulse where the different layers

521
00:30:14.240 --> 00:30:17.039
of pulse might be heard, and counting like how you

522
00:30:17.119 --> 00:30:22.279
might count the tracks and approach trying to to get

523
00:30:22.279 --> 00:30:23.359
more inside the group.

524
00:30:24.559 --> 00:30:24.920
Undo.

525
00:30:25.319 --> 00:30:28.519
But yeah, the starting point was to actually listen, so

526
00:30:29.160 --> 00:30:34.079
I in all the different situations I play in there's

527
00:30:34.119 --> 00:30:37.000
a sense of that, Like how I think you get

528
00:30:37.279 --> 00:30:40.839
Once you can feel comfortable with your sound, it's much

529
00:30:40.960 --> 00:30:45.240
easier to connect because part of this is on the

530
00:30:45.240 --> 00:30:49.519
sonic level. There's of course there's like the notes and

531
00:30:49.680 --> 00:30:54.200
the rhythm, but there's also just the mix.

532
00:30:54.640 --> 00:30:58.160
Yes, and it's so true. I started taking lessons when

533
00:30:58.160 --> 00:31:02.920
I was five, and I wish that, I wish I

534
00:31:03.400 --> 00:31:06.400
had different training for the fact. I wish I learned

535
00:31:06.400 --> 00:31:10.319
this then or back then then to teach it now.

536
00:31:10.440 --> 00:31:11.599
I guess that's why I'm a teacher.

537
00:31:12.279 --> 00:31:13.279
Yeah, exactly.

538
00:31:14.720 --> 00:31:15.000
Yeah.

539
00:31:15.000 --> 00:31:18.319
When I was growing up and for many many years,

540
00:31:18.559 --> 00:31:21.680
even though I played piano, to listen to a band

541
00:31:21.720 --> 00:31:24.240
and I love music, but to listen to a band

542
00:31:24.839 --> 00:31:27.759
in my head and for my ears, it was miss

543
00:31:27.799 --> 00:31:30.559
if I stood inside a garage and listened to a

544
00:31:30.559 --> 00:31:32.640
whole bunch of like banging pops.

545
00:31:32.680 --> 00:31:35.960
And so for somebody to want that, one said.

546
00:31:35.720 --> 00:31:37.960
To me, And I don't remember the first person to

547
00:31:38.160 --> 00:31:41.920
listen to the different like what instruments do you hear?

548
00:31:42.279 --> 00:31:43.359
That kind of stopped me.

549
00:31:43.319 --> 00:31:45.519
In my tracks to be like, oh wait a minute,

550
00:31:45.680 --> 00:31:47.759
I'm not standing in a garage listening to a bunch

551
00:31:47.799 --> 00:31:50.160
of pots being banged on, you know, And and to

552
00:31:50.279 --> 00:31:53.920
separate them each and then and yes, the energy that

553
00:31:54.000 --> 00:31:57.000
each musician brings to the instrument is going to be

554
00:31:57.039 --> 00:32:00.839
a little different, but it's I mean that's a little

555
00:32:00.839 --> 00:32:03.960
bit more. But yes, just to focus on the instruments,

556
00:32:04.039 --> 00:32:08.279
keep it simple and take it from and grow with that,

557
00:32:08.599 --> 00:32:12.640
and grow with that, because we absolutely make it even

558
00:32:12.680 --> 00:32:15.319
for myself, I still make it too difficult for myself,

559
00:32:15.359 --> 00:32:18.720
and it's just easier to tear it all down and

560
00:32:18.839 --> 00:32:23.039
just small small pieces all chunks.

561
00:32:23.359 --> 00:32:24.079
Yeah, for sure.

562
00:32:24.559 --> 00:32:27.920
So Dave, we have just well we're going a little

563
00:32:27.960 --> 00:32:30.880
bit over on time, and that's okay, but tell us

564
00:32:31.160 --> 00:32:33.880
tell our audience again how we get in touch with you?

565
00:32:34.079 --> 00:32:36.400
And I know, I think I recently saw you have

566
00:32:36.440 --> 00:32:40.279
a special for seventeen dollars on a class that you're

567
00:32:40.319 --> 00:32:42.039
offering to check out.

568
00:32:42.440 --> 00:32:43.920
I don't know if you're still offering now.

569
00:32:45.759 --> 00:32:47.480
I'm not sure if that link's working.

570
00:32:47.519 --> 00:32:51.079
That was for a or is that past maybe it's pasted.

571
00:32:51.519 --> 00:32:55.400
No, but that that that rhythm workout that I was

572
00:32:55.480 --> 00:33:01.000
afer seven dollars seventeen dollars a while back is in

573
00:33:01.519 --> 00:33:02.200
rhythm school.

574
00:33:02.400 --> 00:33:04.160
It kind of unlocks at level five.

575
00:33:04.200 --> 00:33:08.440
It's slightly gamified, so if you engage in the group,

576
00:33:08.519 --> 00:33:11.319
you only need five points, which is like really easy

577
00:33:11.440 --> 00:33:14.240
to get, but then that unlocks and it's a really

578
00:33:14.319 --> 00:33:17.119
nice little kind of twenty minute workout, and it's a

579
00:33:17.160 --> 00:33:18.319
glimpse at what we do.

580
00:33:19.079 --> 00:33:20.880
In the premium.

581
00:33:21.319 --> 00:33:23.279
I've got a tier, Like I said, there's the free group,

582
00:33:23.319 --> 00:33:25.759
and there's some there's the Rhythm Journey in there, and

583
00:33:25.880 --> 00:33:28.759
there's we meet on a zoo like a zoom type

584
00:33:28.839 --> 00:33:32.319
call twice twice a month, a rhythm hangout, so you

585
00:33:32.319 --> 00:33:34.720
can bring questions and I usually do a little exercise

586
00:33:35.119 --> 00:33:36.880
and those replays go up in the groups. So there's

587
00:33:36.880 --> 00:33:39.319
loads there's loads of free stuff, and then this find

588
00:33:39.359 --> 00:33:43.720
your Groove workout unlocks at level.

589
00:33:43.680 --> 00:33:44.920
I love that I have to do.

590
00:33:46.960 --> 00:33:51.319
Yeah, and then we've got a there's a paid tier,

591
00:33:51.400 --> 00:33:53.200
which is forty seven dollars a month.

592
00:33:53.799 --> 00:33:57.200
That's very reasonable, yeah, and I mean it includes quite

593
00:33:57.200 --> 00:33:57.440
a lot.

594
00:33:57.480 --> 00:34:01.279
There's a there's a couple of workshops in there which

595
00:34:01.839 --> 00:34:04.599
are kind of broke like mini course workshops, one of

596
00:34:04.640 --> 00:34:08.480
which is kind of a little deep dive into those

597
00:34:08.559 --> 00:34:10.800
rhythms from the Gambia that I talked about the beginning

598
00:34:10.880 --> 00:34:18.000
of this conversation. And there's a lot of rhythm workouts

599
00:34:18.039 --> 00:34:20.760
like twenty minute they're like, you know, turn up to

600
00:34:20.840 --> 00:34:23.239
the yoga class kind of vibe, you know, and you

601
00:34:23.360 --> 00:34:24.840
just kind of you can do it longer. You can

602
00:34:24.880 --> 00:34:27.719
also go through and press pause and try it at

603
00:34:27.719 --> 00:34:31.760
your own tempo. And there's there's lots of resources in there.

604
00:34:31.840 --> 00:34:35.920
And then there's also a live call once a week,

605
00:34:36.920 --> 00:34:41.360
and then I run these workshops monthly and so with

606
00:34:41.480 --> 00:34:45.519
the premium membership you get all of all of that stuff.

607
00:34:46.440 --> 00:34:46.639
Yeah.

608
00:34:46.719 --> 00:34:50.599
So the next workshop is a week today and it

609
00:34:50.719 --> 00:34:54.239
is based on the Deep Groove Compass, which is a

610
00:34:54.360 --> 00:34:56.199
kind of way of looking at rhythm.

611
00:34:56.840 --> 00:34:59.599
We touched on it earlier. You had mentioned the email. Yes,

612
00:35:00.760 --> 00:35:01.159
from the.

613
00:35:01.119 --> 00:35:08.440
Perspective of pulse, of time, of rhythm and connection, so

614
00:35:09.239 --> 00:35:12.360
I not pulse pulse some time the same thing on

615
00:35:12.440 --> 00:35:15.719
the side, time or pulse feel is the other one.

616
00:35:15.760 --> 00:35:19.199
So there's feel, there's time, there's rhythm just kind of

617
00:35:19.199 --> 00:35:23.159
off like we were talking offbeats and phrasing and connecting.

618
00:35:23.599 --> 00:35:27.920
So and yeah, kind of it helps. It's maybe more

619
00:35:27.960 --> 00:35:29.599
of a like a holistic.

620
00:35:29.480 --> 00:35:30.920
View of rhythm.

621
00:35:31.119 --> 00:35:34.719
So it's not just one thing, yes, actually kind of

622
00:35:34.800 --> 00:35:37.679
the combination of lots of different things.

623
00:35:37.519 --> 00:35:39.440
A lot of different branches.

624
00:35:39.320 --> 00:35:42.679
Yeah, a lot of different branches, just like harmony and melody. Right,

625
00:35:42.719 --> 00:35:46.159
it's not just as you can start out with with

626
00:35:46.360 --> 00:35:49.599
you start out with one melody, but then you can

627
00:35:50.159 --> 00:35:52.840
you can view that same melody from different perspectives. And

628
00:35:52.880 --> 00:35:56.039
I think that's the thing, right, Yeah, can you can

629
00:35:57.559 --> 00:36:02.320
rather than adding more and more stuff, actually look at

630
00:36:02.320 --> 00:36:05.559
the same stuff. Maybe you had a bit more stuff

631
00:36:06.480 --> 00:36:10.880
looking at the same stuff through a different lens. I

632
00:36:11.000 --> 00:36:14.840
like that from a different perspective. And that's kind of

633
00:36:14.840 --> 00:36:17.639
what the foundations are like, which is why pro musicians

634
00:36:17.719 --> 00:36:22.960
work on foundational stuff all the time, because it will

635
00:36:23.480 --> 00:36:26.400
mean something different and bring something else up for them,

636
00:36:26.440 --> 00:36:29.920
because like you said, we're all individual and we're all on.

637
00:36:30.159 --> 00:36:32.679
We're always Yeah.

638
00:36:33.519 --> 00:36:36.639
So in closing, I'm sorry, I don't mean to cut

639
00:36:36.639 --> 00:36:39.559
you off with a kind of I mean, my second

640
00:36:39.559 --> 00:36:40.840
season and I have a lot.

641
00:36:40.679 --> 00:36:46.199
Of I've lost you.

642
00:36:46.960 --> 00:36:49.920
We've had some storms here. Are you able to hear

643
00:36:50.000 --> 00:36:50.400
me now?

644
00:36:50.960 --> 00:36:52.159
I can hear you now? Yeah?

645
00:36:52.199 --> 00:36:53.079
Wonderful, wonderful.

646
00:36:53.119 --> 00:36:55.400
I know you're tuning in from the UK and it's

647
00:36:55.440 --> 00:36:58.400
been such a pleasure to have you here. In closing,

648
00:36:58.519 --> 00:37:01.800
I wanted to ask you if it's possible. I know

649
00:37:01.840 --> 00:37:05.400
there's a long answer, but maybe making it more brief,

650
00:37:06.280 --> 00:37:09.159
you share with our audience as brief as you can

651
00:37:09.679 --> 00:37:12.519
what is rhythm?

652
00:37:13.039 --> 00:37:16.119
What is rhythm?

653
00:37:16.320 --> 00:37:21.199
In a nutshell this, this is a great question. I'd

654
00:37:21.360 --> 00:37:24.599
want to answer something about time and space. You know,

655
00:37:24.679 --> 00:37:28.599
the space between two notes. And as soon as we

656
00:37:29.320 --> 00:37:33.440
play more than maybe even counts to one note, but

657
00:37:34.000 --> 00:37:36.880
you know, it becomes apparent that there's this space between

658
00:37:36.960 --> 00:37:40.559
two notes, and and that is measured in some way

659
00:37:40.760 --> 00:37:42.639
with our ear first, how we hear it?

660
00:37:44.079 --> 00:37:48.760
Yeah, I have to think about that one more.

661
00:37:48.639 --> 00:37:54.119
It's answer rhythm, tempo, melody, the harmony.

662
00:37:55.119 --> 00:37:56.760
They all come together.

663
00:37:57.599 --> 00:38:02.039
And they're all join to create the most beautiful music,

664
00:38:02.440 --> 00:38:06.079
but separately they all have their own purpose and and

665
00:38:06.119 --> 00:38:08.639
it's yes, I think even as a musician myself, it's

666
00:38:08.719 --> 00:38:11.760
it's hard to define, just specifically.

667
00:38:13.159 --> 00:38:15.719
In a small in a small sentence, what is rhythm?

668
00:38:15.960 --> 00:38:18.280
Yeah, I mean I think of melody.

669
00:38:18.480 --> 00:38:22.480
Although I'm playing drum kit, I'm thinking of melody a lot, yes,

670
00:38:22.679 --> 00:38:28.079
and reacting to harmony. But yeah, I think, you know,

671
00:38:28.119 --> 00:38:31.199
if you were to break it down, it's, you know,

672
00:38:31.320 --> 00:38:35.000
for for melody, you talk about the pitch between two notes,

673
00:38:35.039 --> 00:38:38.880
and I think for rhythm it's the space between those

674
00:38:38.920 --> 00:38:39.880
two notes.

675
00:38:41.079 --> 00:38:44.199
And then the quiet space between the two notes. I

676
00:38:44.199 --> 00:38:45.440
think also has a.

677
00:38:46.719 --> 00:38:49.960
It's like being in our vocabulary when we speak and

678
00:38:50.000 --> 00:38:53.920
we pause between our words, there is an energy there

679
00:38:55.039 --> 00:38:57.960
and could that could that rhythm be part of that,

680
00:38:57.960 --> 00:38:59.599
that space that you're.

681
00:38:59.559 --> 00:39:05.679
That you're just as important as the as the statement.

682
00:39:05.960 --> 00:39:06.199
Yeah.

683
00:39:06.639 --> 00:39:06.880
Yeah.

684
00:39:07.000 --> 00:39:11.960
You can feel like suspense or it can feel very

685
00:39:12.039 --> 00:39:13.960
resolved and relaxed.

686
00:39:14.519 --> 00:39:18.679
Yes, yeah, and I love the uh.

687
00:39:19.320 --> 00:39:22.559
In closing today, again, I want to say thank you

688
00:39:22.599 --> 00:39:25.639
for tuning in from the UK and joining me about

689
00:39:25.840 --> 00:39:30.840
your welding school. And it's just there's one last thing

690
00:39:31.159 --> 00:39:37.679
you mentioned. Feeling an emotion because of our of who

691
00:39:37.679 --> 00:39:40.480
we are as human beings, and because we can express

692
00:39:40.519 --> 00:39:44.840
ourselves through an instrument. If I can't feel what you're

693
00:39:44.880 --> 00:39:47.360
playing or singing, I can't hear you, is what I

694
00:39:47.400 --> 00:39:48.360
tell my students.

695
00:39:50.039 --> 00:39:54.119
Because music is feeling. Yeah, so and that is and.

696
00:39:54.199 --> 00:39:56.199
That could be the rhythm of it. I mean, I

697
00:39:56.199 --> 00:39:58.880
don't know, there's there's so many different answers.

698
00:39:58.920 --> 00:40:03.360
I think, Yeah, when we're when we're transmitting, when we're playing, Yeah,

699
00:40:03.440 --> 00:40:07.599
when it's being played not just practiced or worked out,

700
00:40:08.039 --> 00:40:11.079
when there's actually that production of sound.

701
00:40:11.199 --> 00:40:15.559
And well, Dave, thank you.

702
00:40:15.599 --> 00:40:18.320
We'll have to we'll have to get back to back

703
00:40:18.480 --> 00:40:21.480
to that question and and if you come up with something,

704
00:40:21.519 --> 00:40:24.239
I'd love to hear what you what you have to say.

705
00:40:24.840 --> 00:40:28.480
Thank you so much for tuning into Yeah, thank you

706
00:40:28.559 --> 00:40:28.920
having me.

707
00:40:29.480 --> 00:40:32.639
Yes, Yes, it's been my pleasure and I look forward

708
00:40:32.639 --> 00:40:37.079
to continuing receiving your emails and checking out more what

709
00:40:37.480 --> 00:40:40.039
you have on the Rhythm School A s K O

710
00:40:40.039 --> 00:40:40.400
O L.

711
00:40:40.920 --> 00:40:45.760
Yes, awesome. Yes, Google Google it and you'll find Rhythm School.

712
00:40:46.360 --> 00:40:48.119
Yes, it's not hard, it's not hard.

713
00:40:50.000 --> 00:40:50.519
Dave Smith.

714
00:40:50.559 --> 00:40:54.199
Drums dot live is where I've got some info about

715
00:40:55.360 --> 00:40:58.719
who I've been working with over the years, including Robert

716
00:40:59.000 --> 00:41:04.360
n and my project in West Africa. And it's not

717
00:41:04.400 --> 00:41:06.840
the most up to date website, but there's some info

718
00:41:06.960 --> 00:41:08.840
and that will send you to Rhythm School as well.

719
00:41:09.159 --> 00:41:12.719
Okay, wonderful, lovely, thanks so much.

720
00:41:13.000 --> 00:41:15.840
Yes, and I will I will be in touch and

721
00:41:16.880 --> 00:41:18.679
best of what best of luck to you and all

722
00:41:18.719 --> 00:41:21.559
that you do, and I'm sure we'll connect again soon.

723
00:41:22.079 --> 00:41:24.519
Cool. Thanks taking Yes.

724
00:41:24.400 --> 00:41:25.199
Yes, thank you.

725
00:41:26.400 --> 00:41:31.840
My listeners join me next week to help me keep

726
00:41:31.880 --> 00:41:36.039
the music alive. I'm not telling you who my guest

727
00:41:36.159 --> 00:41:36.559
is yet.

728
00:41:37.239 --> 00:41:40.719
Next week I have another great.

729
00:41:41.960 --> 00:41:52.320
Guest that's going to focus on music and learning. This

730
00:41:52.400 --> 00:41:56.719
is Monday, and it is March sixteenth. Wherever you are

731
00:41:56.760 --> 00:41:59.000
in the world, whatever you're doing, I hope you've had

732
00:41:59.000 --> 00:42:04.880
a very blessed, peaceful day. Mondays can be the start

733
00:42:04.880 --> 00:42:09.519
of a busy week, so please take time out to

734
00:42:09.519 --> 00:42:14.840
take care of you and to take a time out

735
00:42:14.880 --> 00:42:31.679
every now and again. Thank you again for tuning in today.

736
00:42:32.119 --> 00:42:36.679
Forward to seeing you. Actually you'll see me next week

737
00:42:37.159 --> 00:42:40.199
at four pm Eastern Time. The Sound of Gold one

738
00:42:40.239 --> 00:42:44.400
pm Specific time, and wherever you are in the world

739
00:42:44.440 --> 00:42:48.519
you can't tune in and then listen, you can find

740
00:42:48.559 --> 00:42:51.159
me online The Sound of Gold.

741
00:42:52.360 --> 00:42:53.760
Okay for HD.

742
00:42:56.960 --> 00:43:55.039
And thank you, Thank you for your support. No O