Category Archives: Different Drummer Book

Rhythmic Entrainment Intervention (REI) Improves Sensory Processing: An excerpt from Different Drummer book

DD-Front-cover-25The following is an excerpt from my book, Different Drummer, exploring how the REI Custom Program can improve sensory processing.

Learn more about the REI Custom Program 

Sensory processing issues are common among the people I work with. In fact, sensory challenges are part of nearly everyone who falls into the developmental disability spectrum, including people with ADHD and autism. Sensory processing issues come in three basic forms: sensory-defensive, sensory-seeking, and poor sensory discrimination.

Sensory defensiveness is characterized by being easily overstimulated by sensory input. This is the child who recoils to touch, won’t wear shoes, covers his ears in response to loud noises, gets dizzy easily, or throws up in the car.

Easily overstimulated people constitute most of my clients with sensory issues. I work to reduce their sensitivity to stimulation by giving their brains more stimulation.

“What do you mean by stimulation?” Laurel asked. “Emily is always overstimulated. Why would you add more, and how could it calm her down?” This was one of the first questions she asked me after I began to work with her daughter, Emily.

From her very first track, Emily responded immediately and decisively to the drumming. After just one listening, her emotional outbursts increased and her sleep, already poor before the Program, deteriorated further. Upon her first night on the REI Custom Program, she needed to be held by her mother to calm down.

Laurel and I quickly discovered that Emily needed less stimulation, far less than a Program usually begins with. In fact, I had to step down the level of stimulation on her tracks to a point lower than what was on our ‘stimulation low enough for anyone’ Calming Rhythms CD. Once we determined a stimulation level she could tolerate, we were then able to slowly begin adding more stimulation and progressively build her tolerance to address her sensory issues.

“Stimulation is related to the complexity of the rhythms on the track,” I described to Laurel. “I have built a series of rhythmic structures, varying in their length and complexity, for each symptom.

“By complexity, I mean the difficulty needed to decipher the rhythm’s pattern. Think of the brain as a computer whose central job, when dealing with a sensory stimulus, is to decipher and categorize the stimulation.

“Emily takes in sensory stimulus at a very high level. It’s as if her volume control is turned way up. Everything comes at her with an intensity that is higher than for you or me. And she can’t turn down the volume. A light touch may feel like a hard squeeze, or a normal voice level may sound like a shout. Our goal with the REI tracks is to teach her sensory system to turn the volume down and to learn to distinguish important from unimportant sensory input.

“With each track, we want to increase the level of stimulation we can give her so that she becomes used to it. Over time, she’ll develop the skills to be able to moderate the stimulation she receives.”

Before I made her first Program track, Emily, who was four at the time, wouldn’t wear clothes, preferring to only wear undies. Some- times she would wear shorts or a skirt but she was never okay with a shirt. And don’t even think about a coat. She also slept poorly, often waking at night or early in the morning, unable to get back to sleep. Emily was also anxious, and Laurel needed to be with her at all times lest she has a meltdown.
Laurel was one of my favorite parents. She was engaged and inquisitive. And the two years I spent working with her extremely sensitive daughter was one of the most satisfying—and sometimes perplexing—experiences of my career.

Emily mirrored many challenges exhibited by a six-year-old boy I worked with a few years before. Gerald had both tactile and auditory sensitivities. He wouldn’t wear shoes or socks and would cover his ears, or sometimes cry or scream, when someone turned on music, even if the volume was low.

He also tended to isolate himself from his family, preferring to be in his room alone, playing with toys by himself. If a sibling or cousin came in his room, he’d have a meltdown.

For Gerald, the Program was pretty straightforward. He responded within the first two weeks in all areas.

“Gerald is doing great with the Program,” said Jenna, his REI provider. Jenna, an occupational therapist in south Texas, was our first active provider and this was one of her first clients. We were both excited by Gerald’s progress, especially by his quick response to REI.

“He’s been wearing socks and shoes every day, since the end of the first week. Yesterday he joined his extended family outside and played with his brothers and cousins. He now lets his mom turn music on in the car and he has also been rocking out to his own pop music in the house.”

“That’s pretty quick progress. Is he using CD #2 yet?”

“He just started the other day. So far the transition is going well.” The transition from CD #1 to CD #2, at this time in the history of the REI Custom Program, was sometimes difficult because of the jump in stimulation.

The first CD (and first track with the current Program) generally focuses on reducing anxiety and sets the foundation for improving sleep issues, if there are any. The subsequent tracks progressively build stimulation and broaden their focus to include other areas of concern.

When sensory sensitivities reduce during the first track, it usually means that they are related to anxiety. This was my assumption with Gerald.

I had no such assumption with Emily when she started the Program. This is because, even though she had a similar symptom make- up, she also had sleep issues and a more heightened response to overstimulating environments.

“We’ll start with trying to help Emily’s sleep,” I said to Laurel when we started the Program. “If she can fall asleep more easily and not wake up, we may also see some improvement in her sensitivities. Sometimes being tired, especially chronically, can increase the presence of these symptoms. Her overreaction to things, in general, suggests that this may be the case.”

“So, do I play the track at bedtime, then? Can I play it all night long to help her stay asleep or turn it on again if she wakes up?” asked Laurel.

“Yes, turn it on at bedtime. Just play it once through. If she wakes up, it’s okay to turn it on again, but only once. With any luck, she’ll be able to stay asleep after a couple of weeks of this pattern.”

Many of our clients wake up at night. In fact, falling asleep is often not a problem. It’s the night waking. And this is probably one of the most difficult things for a parent to deal with. Having your night interrupted, night after night, becomes wearing and leads to a host of problems.

The kids who wake up at night often wake up ready to go for the day. Getting them back to sleep can be exhausting. So, the first and most important thing for us to focus on is to help the child sleep so the parents can sleep, too.

“Emily slept all night the fifth night,” Laurel told me at her two-week check-in. “She slept through the night for the next week and started waking up again the last couple of nights. Do you think we need to change tracks?”

“It sounds like it.” I made a new track and waited to hear from Laurel again in another two weeks.

“Emily slept through the night again when we started the new track, but she started waking up again the last couple of days.”

And so a pattern started to emerge for Emily. Sleep was a barometer to how a given track was working for her. Every time I made a new track, Emily would sleep well for a while and then she’d start waking up again.

“How are her anxiety and sensory issues?” I asked after the third track, hoping that we’d now start seeing some changes there.

“Oh, I forgot to mention this because I’ve been so focused on her sleep, but she’s now letting me put on a shirt,” Laurel added, sounding like it’s not a big deal.

“Wow, that’s great! When you started, she’d melt down if you tried that,” I added, trying to help her see what a big change this was. When we first talked, Laurel was much more concerned with Emily’s tactile sensitivities than she was by her sleep, but our focus on the sleep issue seemed to make her not as aware of Emily’s tactile improvements.

“Yeah, I guess it is a big change. And come to think of it, she hasn’t been melting down as much,” she said as we talked about where Emily was before the Program started.

This isn’t uncommon. Many times people are so focused on playing the track and dealing with whatever is up that it’s hard for them to see the big picture unless it’s pointed out to them.

This is one of the most helpful things about our REI providers. Since they can’t make the CDs or even mix-and-match pre-recorded CDs as is common in other auditory programs, many providers feel like they don’t have an important role in REI. The key to their role is their relationship with their clients: It is valuable not only to help me see what the real issues are but also to help the client gain perspective on how much progress they’ve made.

Laurel didn’t always need to be reminded of where Emily started. She became keenly aware. In fact, she was one of the most astute observers of her daughter’s progress with the REI Program.

“Emily has been weepy the last few days in this track,” Laurel told me a few more weeks into her Program. “She did fine for the first week then she started crying for no reason. It’s not like a meltdown. She’s not reacting to anything going on around her. She’ll just stop and cry. Could it be the track?”

“I don’t know. It could be, I suppose. How is she sleeping? How are her sensitivities?”

“She’s sleeping okay. She has been a little fussy about clothes. She’ll only wear one particular shirt and she doesn’t want to wear shoes anymore. Do you think we should try a new track?”

“That’s what I’m thinking. I’d guess that this track is probably too stimulating for her.”

I made a new track. Laurel called a week later.

“She’s not weepy anymore and she wearing shoes again. What did you do with the new track?”

“I went back to rhythms we used in Track #2 and rearranged them. I looked at your current track (#3) and noticed that it had changed databases and drums. The Udu drum is much more stimulating than the Gonga, and I’m guessing that had an impact on her.”

“I noticed it sounded like a different drum. Why would that matter?”

“The Gonga drum has a pretty soft, rounded tone. The Udu is really sharp. As well, on the Gonga I tend to use rhythms that are less complex and carry a longer structural flow than those played on the Udu. The Udu tracks tend to be much more stimulating than the Gonga tracks because the drum’s sound is more pointed and the rhythms more complex. Someone as sensitive as Emily may find the Udu uncomfortable to listen to.”

An REI Custom Program will draw from eight databases and switch back and forth between the Gonga and Udu. Even though the Udu drum rhythms tend to be more stimulating, the stimulation is presented on a scale. So a particular database of Gonga rhythms may be more stimulating than another database of Udu rhythms. In fact, each database used for the Custom Programs are progressively more stimulating;, so even though database two is an Udu, the rhythms are less stimulating than the rhythms played on the Gonga in database three.

We discovered that Emily was never able to handle the Udu tracks. I had to alter her Program so that we never drew from the Udu databases. She could handle fairly high-intensity Gonga rhythms, but not lesser stimulating Udu drums. Fortunately, I was able to accommodate her.

Over the course of almost two years, Emily made significant progress in her anxieties and sensory issues. Then Laurel offered me another opportunity.

“Are you ready to work with my other daughter?” she asked. “Lila is the polar opposite of Emily. She is a sensory sponge. She could spend all day in the swing.”

“Okay, let’s give it try.”

Like Emily, Lila was four-years-old when I started working with her. Unlike Emily, who withdrew from sensory stimulus, Lila was a classic sensory seeker. She was high energy, high activity.

Her response to her Program was also harder to track than Emily’s. For instance, Emily’s sleep would change when she was ready for a new track. She also made steady progress, as long as we changed tracks on her schedule.

Lila, on the other hand, could stick with the same track forever without showing any negative effects. With Lila, we needed to be more vigilant in changing her tracks on time in order to move her forward. She soaked up all the stimulation her Program would offer.

In some ways, a client like Lila is easy because I never have to contend with, or even worry about, overstimulation. Overstimulation generally causes sleeplessness, anxiety, and agitation. Once we see overstimulation in a client, we tread pretty carefully from that point forward to ensure that she doesn’t become overstimulated again.

Someone like Lila, though, doesn’t react as strongly. Because she can handle so much stimulation, it takes more intense rhythms and more frequent changes to the tracks to ensure that she makes progress. If I’m not seeing tangible progress by Track #3, then I step up the stimulation further. If progress doesn’t happen even after adding more stimulating REI tracks, I’ll sometimes also ask that the REI tracks be played more than once a day.

Lila didn’t need these contingencies. Her sensory-seeking became less pronounced during her second track, about three weeks into her Program. She was sleeping better and was less anxious overall. Other than that, Lila was hard to read. She didn’t react strongly to a track as Emily did. She showed a slow, steady pace. Laurel was used to reacting to Emily’s response to a track and felt a little lost when it came to knowing how Lila was responding.

“Lila is different than Emily in many ways, but the curious thing about the REI is that she just goes with the flow.”

“Sensory seekers tend to be more consistent than sensory defensive people,” I described. “I think that someone who is seeking sensory input tends to run at a pace that keeps them stimulated. They may not react to sensory input as much because they are still seeking more.

“A sensory defensive person, on the other hand, has a threshold that may change depending on how they feel. Different types of stimulus have different effects on them. So, unless they experience the same type and level of stimulation, you’re going to see some variability in their response to stimulus and, in turn, in their behavior.”

“That makes sense. I really see that with Emily. There are days when she can handle going to the grocery store, but there are other days when she melts down. Same thing with school. That’s the most difficult thing about Emily’s sensory issues: I can’t predict how she is going to respond to something. Just when I think she’ll be okay with going somewhere, she’ll have a meltdown.

“Lila, on the other hand, is always busy. This consistency, although it’s hard, is easier to handle because I can plan for how she’ll react to something.”

Though I see quite a few people who are sensory-seeking like Lila, more clients are on the sensory defensive side, like Emily. Either way, because I can fine-tune the stimulation for each person, I can accommodate their sensory needs and hopefully help them learn to more efficiently process sensory input.

Learn more about the REI Custom Program 

Exploring the Connection Between Drumming and Attention

Aside from the stress-reducing effects of drumming (and playing music in general), drumming activates the brain and can increase focused attention.

The following is an excerpt from my book, Different Drummer, which explores my inspiration for using fast, complex drumming to help with sustaining focused attention. I describe how I stumbled upon the core technique that would be the basis for the stimulation in all our programs and CDs.

You can learn more and order the book here

You can learn more about the REI Custom Program here

DD-Front-cover-25

I’m a drummer and a tapper. I drum on everything. All the time. It drives many people crazy. I always thought that my need to drum was just because of my obsession with music and rhythm; but as I was doing some research for an upcoming study on ADHD, I discovered that I’m not alone in my need to tap. 

“Have you ever heard of ‘fidget-to-focus’?” David asked as we were talking about our study. David was a neuropsychologist. He worked at a progressive clinic in San Diego and he was also a drummer. Although ADHD wasn’t his specialty, he was excited about exploring whether my drumming can impact attention. We were planning a study using a Continuous Performance Test (CPT) to collect quantitative data. 

“No, what is it?” I replied.

“It’s based on a study done years ago on coping strategies people with ADHD develop to help them focus. This study was exploring why it was believed that ADHD was considered a childhood disorder that people grow out of as they reach adulthood. It turns out that people don’t necessarily grow out of ADHD. Instead, many people develop strategies to help them function better. The ADHD is still there.”

“So what does fidgeting have to do with it?”

“Well, it seems that fidgeting is one of the most common strategies people with ADHD use to keep their attention. Most are simple things like rocking, shaking a leg, playing with a pen or pencil, anything that uses a motor movement to keep them engaged.”

“Like drumming.”

“Perhaps. Do you suppose there is a higher prevalence of drummers with ADHD than other musicians?”

“I don’t know. That’s an interesting idea, though. Most of the drummers I know are kind of like me. In fact, I don’t know any drummers who are not at least a little distracted, impulsive or hyperactive.”

“That would be an interesting study to do someday. But for now, if we consider fidgeting to help with attention, musical or not, perhaps the rhythm impacts the brain in a positive way.”

“It seems like the case to me, but what does fidgeting mean for our study?”

“Probably nothing, but maybe we can use the concept of fidget-to-focus as a basis for our hypothesis. Didn’t you say that you started developing your therapy from your experiences playing the drums and feeling more focused?”

“Yes. I guess that would be like fidgeting-to-focus. Only I wasn’t doing it solely to help focus. The drumming exercises were homework. And I wasn’t just focusing better while I drummed, I felt more focused afterward. The residual focusing effect was the basis of exploring the drumming for focus. My goal was to see if listening to syncopated drumming rhythms provided the same focusing effect as playing my homework exercises.”

I described to David that one of my challenges while attending the Musician’s Institute was being able to keep up with the pace of my classes. The most difficult for me, and many percussionists, was music theory and composition. I spent a lot of time analyzing music, digging deep into the structures that were being used in rock and jazz music (to this day I can’t listen to the Beatles and enjoy their music for what it is. I always find myself remembering the many hours spent dissecting their songs). As someone with ADHD, focusing on the mundane analysis of music theory and composition was nearly impossible. Contrasted with this was my favorite class, sight-reading, where it was always interesting and, as a result, easy for me to focus on.

Because I wanted to avoid music theory and instead work on sight-reading, I decided that I would reward myself for my theory and composition work by doing my sight-reading exercises before going back to some of the mundane work I was assigned. As someone who was somewhat impulsive and hated delayed gratification, I quickly decided to reverse this plan. Instead of theory first, I would allow myself to spend a half hour or so doing my sight-reading exercises then dig into theory for 30 minutes, followed by another bit of sight-reading. 

The reason I preferred sight-reading was that I was able to play continually unique patterns. One basic exercise consisted of reading rhythm patterns from a book on syncopation, calledProgressive Steps to Syncopation For the Modern Drummer, by Ted Reed. The patterns were random combinations of 8th and 16th notes written across the page, page after page throughout the book.

My assignment was always to choose a page and read it in varying ways. Left to right, top to bottom, bottom to top, right to left, diagonally, whatever. The goal was to always be reading one or two measures ahead of where I was playing. This got me accustomed to reading ahead, therefore when confronted with a new piece of music, I could read, comprehend, and interpret it right away and convincingly perform it the way the composer intended. I loved these exercises. They gave me a rush.

Imagine my surprise when I also discovered that these exercises made doing my theory and composition work easier. After 30 minutes of sight-reading, I’d switch to theory and, to my amazement, could focus. The analysis was easier and the musical structures started making sense. I could even begin to appreciate the simple predictability of the Beatles’ music (especially since I never really liked listening to it – still don’t).

And analyzing more complex music of some of the progressive jazz-fusion bands like the Mahavishnu Orchestra or Weather Report became rote. My grades for the semesters after discovering this sight-reading-then-theory pattern confirmed what I felt. I was focusing better and grasping complex concepts better.

Improving Language and Communication with REI

This excerpt explores how listening to REI drumming can facilitate language and improve communication skills.

You can learn  more and order the book here

You can learn more about the REI Custom Program here


I was about ten minutes into my session with Noah when he started humming, softly at first. I thought I was hearing things, so I looked over to his mom, wondering if she was hearing it too. She was smiling and mouthed to me, “did you hear that?”

I nodded as I focused on what I was hearing – unmistakable utterances of a humming passage that seemed to roll through the vowels.

I took note of the rhythm I had been playing for the last couple of minutes. It was a stimulating double tempo thing based on a Swiss drumming rudiment (core techniques based in military drumming) that I learned from a fellow student when I was studying at the Musician’s Institute. This rudiment, nicknamed a flirta, was a quick three beat passage using 32nd notes. I had incorporated this into a shuffling rhythm in the time signature of 41/16. The flirta happened every nine beats and was punctuated by a bass tone.

Using the flirta and bass punches as a motif, I built some other patterns and created an eight bar variation, totaling 328 beats. Then I repeated it and added a sixteen beat flirta crescendo. This passage took 84 seconds to complete at my eight-beat-per-second pace. By the end of it, Noah was making quite a racket. His humming had become a more song-like pattern of vowels at varying pitches and durations. It wasn’t terribly musical, but it had a rhythm and a discernible form to it.

I tried to mimic his pattern by creating a somewhat melodic rhythm using combinations of bass tones, slaps and flirtas. He looked my way and continued vocalizing, adding in some consonant type sounds. None of his vocalizations formed, or even approximated, words, but it was the first sustained series of sounds that Noah had ever uttered. He was six, a non-verbal child who had been diagnosed with autism a couple of years earlier.

Noah and I “sang” together for a few more minutes and then he suddenly went silent again. I took the cue and unwound my rhythms into some basic calming patterns, while slowing my tempo and dropping my volume.

I ended with a slow bass pulsation that faded into nothingness. Noah sat spinning a toy soldier in front of his face, a familiar pastime for him.

“Wow, so did you hear that?” His mother said, crying. “He’s never made so many sounds. Do you think he’ll start talking?”

“I don’t know, but it sure was fun playing with him. I’ll come back next week and see if we can do this again.”

Vocalizing to REI rhythms is not uncommon. Because I rarely play live anymore I don’t get to interact with my clients in the way that I did with Noah, but I often hear from parents whose children] talk more with their recording. 

One client, Jason, goes through spurts of language activity whenever he gets a new REI drumming recording. As part of his extended REI Program, he receives a new track every four weeks; but I usually get a call from his mom after 2 1/2 or 3 weeks asking for a new set of rhythms because his language development has stalled. For two or three weeks at a time, Jason develops more skills, increased vocabulary, longer sentence structure, and more meaningful content. 

When Jason began the REI Custom Program, he was 5-years-old and had limited language abilities. He could say his name and ask for things using one or two word phrases. Over the course of the first two months, his language blossomed to two or three sentence phrases and he was beginning to describe events in sequence.

Sequencing, by the way, is something that shows a higher level of communication skills and awareness. This was something I saw in my first client with autism, Stacey.

Stacey had a prodigious vocabulary and talked constantly. But if you were to ask her what she did at school, she wouldn’t be able to describe it to you in a cohesive manner. She may cover some of the events, but they didn’t fit into a timeline or logical progression.

As I described in Chapter 1, when I was working with Stacey, after she had become much calmer, I received a call from her mother describing two milestones.

“Stacey slept over at a friends house last night,” Sheri said to me. “She was able to stay the entire night, which was a first for her.”

“That’s great,” I said. “That’s a major change from last month when you couldn’t leave her side.”

“Yes, she has been much calmer since beginning the drumming. But the exciting part is that this morning I asked Stacey how her night was and she was able to tell me what she did, from start to finish. She related it in a clear and logical fashion. It was amazing.”

“Is the first time she has been able to describe things this way?”

“Yes, and Anna’s mother told me that Stacey displayed a similar level of clarity last night when Stacey was over there.”

With my experience with Stacey in my mind, I went to see Noah again a week after he sang as I played.

This session was not as dramatic, however. I played for Noah, but he was agitated when I got there. He had had a melt down before I arrived, so I spent my session calming him down.

He rocked and pushed away from his mother when I started playing. I had started with some rhythms that I like to think of as “round” rhythms (a nebulous descriptor kind of like Eddie Van Halen’s famous “brown” guitar tone). These round rhythms are soft patterns (still played at eight beats per second) that have a four beat pulse with five and seven beat transitions to keep them from getting repetitive.

Noah settled down after about five minutes and let his mother hold him as he twisted his toy soldier in his hands. I played for another fifteen minutes and by the end he was playing quietly on the floor with a set of Legos. He made no sound. 

This was a big difference from my previous session with him. Yet, not all live drumming sessions produced obvious, dramatic effects like Noah’s first utterances. Still, his mother and I were glad to see him calm.

Trying to capitalize on my first session with Noah, I gave his mother a tape of the session from the previous week when he sang. You could actually hear him in parts of it. She played this recording for the next four weeks since I was unable to come visit him during that time.

At the end of the four weeks, I came back and played for Noah again. 

“Noah has been humming and singing to the tape you made for him,” his mother told me. “He’s also been carrying the tape around with him and he hands it to me to put in the tape player. When I turn it on, he gets excited. I think he likes it a lot.”

“I’m glad he likes it.” I said, as I got ready to play for him again. Noah stood at my side and pawed at the drum as I set it on my lap.

“Would you like to play the drum with me, Noah?” I asked.

He nodded as he tapped away at the head. I joined him and we played together. He started getting excited, though, and began pulling on the drum, so I had to stop, lest he wrestle it from my hands and it fell to the floor. His mom rushed over and tried to guide Noah away from the drum. He pulled away and began running around the room, with his mom chasing after him.

I started playing a calming rhythm but it didn’t seem to have any effect. After a few minutes, I decided to turn on the tape he’d been listening to for the past month. I hoped that the familiarity of the drumming and his singing would help calm him.

I stopped playing, put the tape in the player and turned it on. Noah almost immediately stopped in his tracks. He turned his head and walked toward the tape player.

I was here with my drum, but he was drawn to the tape. I’d never seen this before. My live drumming had no impact for calm, but a few seconds of a recording and Noah was mesmerized. I looked at his mom in surprise while she was shifting her gaze between Noah and I.

Noah stood in place in front of the tape player for almost ten solid minutes, listening to his tape, smiling when he could hear himself singing.

Listen to REI Creator Jeff Strong’s Behind The Mind Radio Show interview

In December, REI creator and Strong Institute Director Jeff Strong was the guest on the Behind The Mind Radio Show

Behind The Mind Radio Show

The Behind The Mind Radio Show is a 1-hour bi-weekly talk show airing LIVE ON Friday 11am (EST) and Tuesday 7pm (EST), showcasing design thinkers, visionaries, game changers and innovators; while shedding light on designers of well-known and upcoming products and services both domestically and internationally. 

Jeff talked about REI and his book Different Drummer. He offered a brief overview of the history of therapeutic rhythm-making, discussed the role of drumming in influencing brain activity, described where REI is best utilized, and explored the artistic process in his work.

Listen to an archive of the show here

REI Creator Jeff Strong To be a Guest on Behind The Mind Radio Show 11am on 12/11/15

We are excited to announce that REI creator and Strong Institute Director Jeff Strong will be the guest on the Behind The Mind Radio Show Friday December 11th at 11am Eastern time.

Behind The Mind Radio Show

The Behind The Mind Radio Show is a 1-hour bi-weekly talk show airing LIVE ON Friday 11am (EST) and Tuesday 7pm (EST), showcasing design thinkers, visionaries, game changers and innovators; while shedding light on designers of well-known and upcoming products and services both domestically and internationally. 

Jeff will be talking about REI and his book Different Drummer. He’ll offer a brief overview of the history of therapeutic rhythm-making, discuss the role of drumming in influencing brain activity, describe where REI is best utilized, and explore the artistic process in his work.

You can join Jeff and hosts Karen Baker and Anthony Leonard live at 11am Eastern time on Friday December 11th at http://www.behindthemindradioshow.com/

Read Different Drummer Book On Amazon Prime, Kindle Unlimited, and PDF for Free

DD-Front-cover-25The Different Drummer book about the development and implementation of REI has been getting great reviews. It is now available to read for free on Kindle with a Prime Membership or Kindle Unlimited subscription, or as a PDF download.

There are currently 13 5-star Reviews on amazon.com.

Special Needs Book Review recently did a feature on Jeff Strong’s memoir and REI.

Special Needs Book review begins by stating that Different Drummer  “is an engaging and informative memoir.” They continue with:

“Have you ever heard of ‘fidget-to-focus’? Well it seems drumming can impact attention also. Jeff Strong noticed that he wasn’t just focusing better while he drummed, he felt more focused afterward. The residual focusing effect was the basis of exploring the drumming for focus. Different Drummer chronicles his path as he navigates ancient drumming practices, conducts clinical research, and develops the music that establishes him as a pioneer in the world of auditory brain stimulation over three decades.”

One Case Study of great interest to our team at Special Needs Book Review is the following: REI for 11 year-old with tics, anxiety, and sleep issues because on our team we have an adult and a grandchild who have Tourette syndrome. A paragraph from this study is very encouraging: “Tics: Before REI, Michael’s tics were near-constant and impacted his life significantly. The vocal tics – grunting and throat-clearing – were especially bothersome because they impacted him negatively in social situations. With these gone and the motor tics much reduced, he is now more comfortable interacting with his peers and is receiving less negative peer attention.”

Read the entire article here

Download a PDF or read on Kindle for free

We recently added Different Drummer to the Amazon Kindle Select program. This means that if you have Amazon Prime or a Kindle Unlimited subscription you can read the book for free.

You can find the Kindle version on Amazon here

We don’t want to leave non-amazon people out, so for a limited time we are offering a PDF download of the book for free on our website.

You can download the PDF here

REI Helps Sensory Processing: An Excerpt From Different Drummer Book

DD-Front-cover-25This article is an excerpt from REI creator Jeff Strong’s book, Different Drummer. You can learn more about the book here.

Sensory processing issues are common among the people I work with. In fact, sensory challenges are part of nearly everyone who falls into the developmental disability spectrum, including people with ADHD and autism. Sensory processing issues come in three basic forms: sensory-defensive, sensory-seeking, and poor sensory discrimination.

Sensory defensiveness is characterized by being easily overstimulated by sensory input. This is the child who recoils to touch, won’t wear shoes, covers his ears in response to loud noises, gets dizzy easily, or throws up in the car.

Easily overstimulated people constitute most of my clients with sensory issues. I work to reduce their sensitivity to stimulation by giving their brains more stimulation.

“What do you mean by stimulation?” Laurel asked. “Emily is always overstimulated. Why would you add more, and how could it calm her down?” This was one of the first questions she asked me after I began to work with her daughter, Emily.

You can read the entire excerpt here

You can order the book and read reviews from amazon.com here

Dallas Morning News Reviews Jeff Strong’s Different Drummer book

Dallas Morning News Different Drummer reviewDallas Morning News wrote a review of REI creator Jeff Strong’s book, Different Drummer: One Man’s Music and Its Impact on ADD, Anxiety, and Autism.

Here is an excerpt from the review:

Throughout Different Drummer- “One Man’s Music and Its Impact on ADD, Anxiety, and Autism”, Strong gives numerous accounts of how well the fast pace of drumming appeals to the functions of the brain.  Intriguing stories of children with autism being changed by the fast pacing of the drum will teach readers how to assist in changing behaviors damaging to the person with a disability as well as those around him.

People with disabilities are often misunderstood as having a temper, a strong will, when in actuality it is a disorder often times uncontrollable until someone brave and caring, like Strong who finds the way to calm the beast inside.

Since William Congreve, an English playwright and poet wrote, “Music hath charms to soothe the savage beast”, no one has written and understood behaviors as well as Jeff Strong demonstrates in his newest book, A Different Drummer.

You can read the entire article here

You can also read more reviews and order the book on amazon.com

 

 

REI Creator Jeff Strong’s book Different Drummer Featured in onlinedrummer.com article

Jeff Strong at onlinedrummer.comOnlinedrummer.com has an excellent review of REI creator Jeff Strong’s book, Different Drummer: One Man’s Music and Its Impact on ADD, Anxiety, and Autism.

Here is an excerpt from the article:

Music performers and educators will of course find the book to be useful and gratifying, but parents of those with developmental disorders, mental health professionals, general practitioners, and educators across the board should also take note. In fact, they would all be wise to run out and pick up a copy of this book and consider Strongʼs other materials. If you yourself happen to have one of the conditions mentioned here, itʼs an absolute no-brainer to give this a try. If you have a friend who suffers one of these issues, your recommendation could help change their lives.

You can read the entire article here

You can also read more reviews and order the book on amazon.com