My practice log

[Odd-Arne Oseberg]

Music would do just fine with better employers and no abuse. This is no ordinary situation. It's a police matter. In addition it's kept me long term from just getting back and finish school. Has nothing to do with the music business, except me living too remotely and it's about and old boss. If things were fair there'd be 100s of thousands in compensation.

FIY I do apply do other types of jobs, but they aren't any easier to come by.

My plan is to go back to school and get work there, in the city, where you are actually allowed to do your job even if your background isn't classical.

In this situation you actually don't know what you're talking about.

Get off my ass.

Dude. If you knew the amount of work I put in at my job and the drive and passion I do it with...

This is not about being lazy, it's about being a victim of true abuse sadly after a long health related period. Anyone who thinks I'm whining would probably have killed themselves if having experienced the same. That's some truth for you, right there. Do you think I'd turn into an activist over nothing?

If they didn't have such bad times I'd be at the local factory right now with the same top production numbers I used to have.

As for girlfriends, I stand out a lot around here. Man of the world you see. Doesn't mean that artists that I actually have something in common with abound. You know, someone you could actually fall in love with. That's also someone who wouldn't really care about my current employment situation. Seeing now many 20 year olds one could date in a year has little value to me.

All I know is that if these things hadn't happened I would have about 5 albums and 4 books out and enjoying a typical 50/50 gigging and teaching split, probably in the same city I'm hoping to get into school right now.

I haven't given up and I think that says plenty about my character.

[Odd-Arne Oseberg]

In any case.

I need to send applications in mid December, repertoire in January and auditions are the first week of March. 4 songs.

I called the school today and I've started looking into finding a band.


I'm definetly doing Frog Legs (Mark Egan).

I don't really want to do a traditional jazz ballad so Lizz Wright's "River Man" should cover that.

Next would be a fast swing or bop tune where I'll do a drum intro.

Last is sort of a tie between Lizz Wright's "Freedom" or a New Orleans thing.

I'll think about it and maybe make a decision after working through them all. This also keeps things the same if I decide to apply for another school as well, where the program looks a bit different and requires a red thread.

[Odd-Arne Oseberg]

So we're at a time where things are changing so then time for some updates.


Regardless if school happens next year or I'll have to pull through another year because of time lost there is stil a plan here.

Practice kit is mostly set up now, so I can practice a lot of things at home on the pads. Not only can I get in a full day technically, but I could bring this stuff with me anywhere without really disturbing anyone. Stands take little bit of space, but compared to the real deal, offcouse it doesn't.

I can also do a lot of the technical stuff a home inbetween chores and have a shorter more intense period of quality time on the real thing. I like that idea. I can sort of make a rule and separate two types of practice that way. Also if I want to pound a bit in the evening watching TV I can really practice any sort of motion or pattern realistically. Should have done this a long time ago.

This means I keep the main stylistic stuff on the kit. I also have the BB set up on a higher stand so I can play through the days etudes on that.

I guess also that this is how life will be if I get to move to a city both when sharing space in a school or other facility. A good quiet option is essential then. Many have the TOL Rolands which outside my price range anyway. I regret a little bit not getting the InHeads, but I guess that's how I'll personally get into the digital world when that's needed. I'm sure newer better things will be out by then, though.

I'm putting together the old style routine now, but many things are added, especially in the general technique and warm-up portion. I'm trying to organize it so it's sprad throughout the whole week with only certain challenging things being done every day.

Wilcoxon is entering a sort of maintenance and getting creative level.

I'm also cutting down on food a lot, so these 8 hour non-stop things, which I can handle aren't really feasble right now, and I think just getting back into a more varied routine allowing for a bit more of a life is the best approach. It worked when I was living out in the woods in nowhereland, but now is different and I have to try and come up with a method that will work long term in the future.

Shortening things down also allows me to get into other things like a bit more work on the tabla and kanjira. I've always had access to different percussion things at work, not having that I at least orderd my own cajon now. It's definetly a viable thing for gigs these days both stand alone or as some sort of kit. Drumset is for certain things and the big kit unless you're in a metal band is not where most money is made for the average drummer. Anyway, I miss that. I got Marco Fadda's materials a while back, so I'll start looking into that when it shows up. I miss having congas around too, but no way to really solve that right now. Might have to find a temporary solution soon. When I do have the money they will some custom made black walnut ones, but they're expensive. I'm gonna have the same guy build me a djembe first.

Most money will just go in my savings account now and then whatever the future holds will decide what's best. Some sort of support and compansation would just be fair, but I'm not holding my breath for that.

I decided on some extra shaker use on the upcoming gig, so I've put in some work on keeping that solid lately. It just works better and though I use it a lot when I teach I haven't done it much since I came home. Not hard, but I want to be professional and this is where I felt most lacking right now.

[Odd-Arne Oseberg]

So, auditions are done. They don't necessarily represent my best work. they hardly do, do they, especially when playing with a house band who also could have prepared better. Still goes to show that the best material for auditions is easy well known stuff that one tries to play really well. It would have been nice, but I know myself that it wasn't my best hour and the competition is fierce. Still, it proves that this is plan A and plan A is the only plan.

At least I'm inspired, ears are finally working properly and practicing is heading in the fully musical direction.

Wilcoxon is the main technical thing, but using it in creative ways, not just playing through the etudes. Leading with the left, building vocabulary.... I'm really loose now and really feel in touch with the sound.

Going the jazz route and focusing on small things.

Certainly gonna focus a lot on only the ride and building around that in a dynamic way.

Hi-hat foot is the least developed as it's never really gotten full attention as a separate voice, so that will get a lot of attention for a while. Pretty much getting the same material as the laeft had and BD fot has gotten previously. Really going into it, using splashes as accents etc...

It's been difficult to get band things happening, but I think I should be able to get a jazz quartet with clarinet going here and do some gigs.

You probably know the drill. Headphones off. Playing softer jazz stuff. As with other instruments, I believe that will have a positive influence on everything.

Main technical things: Getting as friendly with the ride cymbal as with the snare and building that hi-hat foot up to the same standard as everything else. Everything motivated by sound and good phrasing now, though. That is the key.