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The Vocalization of the Drum Kit The vocalization of the drum kit An evolutive approach to a dynamic drumming style driven by sound phrases and evolving gestures Christophe Fellay Doctor of Philosophy Centre for Contemporary Music Practice College of Business, Arts and Social Sciences Brunel University London 2020 Declaration I hereby declare that the thesis is based on my original work, except for quotations and citations which have been duly acknowledged. I also declare that it has not been previously or concurrently submitted for any other degree at Brunel University or other institutions. Name: Christophe Fellay Date: London 12/ 08 / 2020 Signature: 2 Abstract This thesis critically analyses a personal approach to the drum kit, from its sonic properties, the evolving language that emerged from studio and performance practice, and its application to a dynamic drumming driven by sound phrases and gestures. The research process is investigated from three perspectives: the study of the evolution of drumming and sound practices; the exploration and observation of the ‘écriture corporelle’ process through a precise analysis of the results in terms of musical and performance achievements; the careful examination of the integration of evolving gestures within a practice whose goal is the consolidation of a new improvised drumming vocabulary. The study of several studio sessions and live performances includes a detailed analysis of sound qualities and their context of emergence. It proposes a framework for an evolving approach to the drum kit, aiming at the emergence of a new drumming vocabulary. The thesis offers a creative approach to drumming through an engagement with sonic structures and developmental processes. It proposes a detailed examination of the move from a drumkit-playing mode originating from ‘rudiments’ and traditional rhythms towards sound- oriented drumming. The result is a new drumming style made up of sound phrases and using an expanding sonic palette. 3 Acknowledgements First of all, I would like to express my profound gratitude to my supervisors: Peter Wiegold and Colin Riley for their feedback, help, generosity and inspiration on many levels. I am grateful to a number of musicians and artists who have been central to this project and my development as a musician and artist. They shaped my practice in one way or another: Jill Richards, Sarah Kingdom, Michael Edwards, Johan Thom, Mpho Molikeng, Ejnar Kanding, Bo Lundby-Jæger, Ricardo Rivera, Terry Berlier, Marie N. Guex, Jill Sigman, Notes Inégales, Jacques Roman, René Farabet, Leonzio Cherubini, Antonella Talamonti, Kim Cascone, Keith Lowe, Martin Laliberté. I am also deeply grateful to Corey Waggoner, Barbara Althaus, Gilles Christen and Raphaël Brunner for their support and contribution. This work is dedicated to Marika, Baptiste, Apolline and Zacharie, and my parents, Jean- Bernard and Denise whose inspiration, patience and support made this journey possible. 4 Table of Contents 0. INTRODUCTION .................................................................................................................... 8 0.1 INVENT YOURSELF ................................................................................................................... 8 0.2 RESEARCH QUESTIONS ........................................................................................................... 11 0.3 THESIS OVERVIEW ................................................................................................................ 12 MUSIC PORTFOLIO ................................................................................................................ 14 STUDIO RESEARCH ................................................................................................................ 14 CHAPTER 1 ENCOUNTERING THE DRUM KIT’S SOUNDS .............................................. 16 1.1 THE ‘VOCALIZATION’ OF THE DRUM KIT ............................................................................... 16 1.2 THE SOLO, A ‘MILIEU’ OF INVESTIGATION ............................................................................. 21 1.2.1 THE MIDI CONTROLLED ELECTRO-ACOUSTIC DRUM KIT ............................................................ 22 1.2.2 THE ELECTRIFICATION OF THE DRUM KIT .................................................................................... 24 1.2.3 ACOUSTIC DRUM KIT SOUND PROCESSING AND SOUND TRANSFORMATION ................................ 25 1.2.4 THE DRUM KIT AS A SCULPTURE: HOW MY MILIEU DIFFERS ........................................................ 26 1.3 IMPROVISATION ..................................................................................................................... 29 1.4 BODY PRACTICE (ÉCRITURES CORPORELLES) ......................................................................... 31 1.5 PHILOSOPHY OF LISTENING ................................................................................................... 34 CHAPTER 2 RESEARCH FRAMEWORK .............................................................................. 36 2.1 METHODOLOGY ..................................................................................................................... 36 2.2 ECONOMY OF THE MEANS ...................................................................................................... 37 2.3 STUDIO AND PERFORMANCE RESEARCH ................................................................................ 38 2.4 THE RUMEURS SERIES ............................................................................................................ 39 CHAPTER 3 VOCALIZATION PROCESS .............................................................................. 41 3.1 VIBRATION MODES OF DRUMS AND CYMBALS ........................................................................ 41 3.2 THE MOBILE MICROPHONE .................................................................................................... 45 3.2.1 THE MICROPHONE AND GESTURES .............................................................................................. 46 3.3 NEW DRUMMING GESTURES ................................................................................................... 48 3.3.1 SMALL MUSICAL MOTIFS AND PHRASES ...................................................................................... 49 3.3.2 SPATIAL EXTENSION .................................................................................................................... 50 3.3.3 COMPLEXIFICATION .................................................................................................................... 51 3.3.4 EXTENSION TO CYMBALS ............................................................................................................ 52 3.3.5 MIX OF DRUMS AND CYMBALS IN A SHORT PERIMETER .............................................................. 54 3.4 PLAYING WITH DURATIONS .................................................................................................... 57 3.5 REVERBERATION ................................................................................................................... 60 CHAPTER 4 PERFORMANCE SPACES ................................................................................. 64 4.1 SPATIAL INTERACTIONS ......................................................................................................... 64 4.2 AUDIO SCORES ....................................................................................................................... 72 5 4.2.1 RIDE UP ....................................................................................................................................... 74 4.2.2 JOEY ............................................................................................................................................ 75 4.2.3 DRUM ORGAN ............................................................................................................................. 76 4.2.4 AUDIO SCORES IN PERFORMANCE CONTEXT ............................................................................... 77 CHAPTER 5 LIVE INTERACTIONS ....................................................................................... 79 5.1 AUDIO SCORES AND LIVE ELECTRONICS ................................................................................ 79 5.2 KEY FUNCTIONAL PRINCIPLES ............................................................................................... 80 5.2.1 THE IMITATION OF ELECTRONIC SOUNDS .................................................................................... 81 5.2.2 FROM COMPLEMENTARITY TO MERGENCE .................................................................................. 81 5.2.3 CONVERGENCE IN FAVOUR OF AN OVERALL SOUND ................................................................... 82 5.2.4 NON-SYNCHRONIZED SYNCHRONISM .......................................................................................... 83 5.2.5 SEPARATE LAYERS, CONTRASTS AND HYBRIDIZATION ............................................................... 84 5.2.6 FROM SYMBIOSIS TO CONTRAST .................................................................................................. 85 CHAPTER 6 THE DECISION-MAKING PROCESS ............................................................... 88 6.1 NAVIGATION THROUGH FORM ............................................................................................... 88 6.2 LIVE COMPOSING FROM SOUND MATERIAL THROUGH EVOLVING AND EXPANDING SONORITIES ...................................................................................................................................................
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