Insights on Practicing World Percussion

Insights On Practicing World Percussion

BY B. MICHAEL WILLIAMS

ow does world percussion fit into lar classes now, much like what you the practice puzzle? For most per- would find in Europe or America. That Hcussionists, it is added to a foun- isn’t necessarily a bad thing. Everything dation of orchestral or keyboard percus- changes, but the apprenticeship based sion, drumset, rudimental drumming, or on respect for the teacher is being lost. some combination of these. Rarely does a Western-trained percussionist start Michael Spiro is recognized as one of out with the intention of becoming a the foremost authorities on Afro-Cuban world percussion specialist. More typi- drumming. He regularly performs with cally, it gets added to the mix like so the group Talking Drums with David many spinning plates in a juggler’s act. Garibaldi and Jesus Diaz, and presents Fitting it all in does indeed take prac- performances and workshops worldwide. tice, but it also requires a great amount Michael lives in San Francisco. Web: of respect for the diversity of our world’s http://kayoakes.home.mindspring.com/ cultures and their musical expressions. mspiro Practicing world percussion requires Traditionally in Cuba, there weren’t many of the same skills employed in really that many instruments on which mastering any musical instrument to practice. Especially with bata drums, (scales, timing patterns, exercises for for example, you learned by watching, technical development, etc.), but there sometimes for many years. You would do are also broader issues to consider, espe- “service” to the maestro (tune drums, cially when one is learning an instru- carry drums, run errands, etc.), and in ment from another culture. Ear exchange you would go to the ceremo- training, transcription skills, familiarity Mohamed Da Costa nies and get to watch and memorize. You with language (at least in terms of pro- community dances. You would play the didn’t sit down to play until you already nunciation for singing), and an under- same part for months or even a year, de- thought you knew what to play. You standing of cultural background and pending on how fast you learn. You’d practiced on your legs after watching the history are essential aspects of a play “pa, ti pa, pi ti pa, ti pa,” over and parts and then slowly “worked” your percussionist’s development in world over. The teacher observed your playing way into the battery. You wouldn’t even music. In addition, and perhaps most and if your sounds and timing weren’t be allowed to “hang out” if you didn’t do importantly, one should make every ef- right, you wouldn’t be allowed to move the apprenticeship part first. fort to contact a qualified teacher, pref- on to a more advanced part. erably an authentic culture-bearer. The teacher knows if you are practic- Because of the amazing breadth of ing or not, because he is always around. world percussion performance practices When the wind blows, it can carry the found today, I asked several prominent sound of a drum for miles, and your world music practitioners to share their teacher can tell if your practicing isn’t insights on practice, either from a cul- right. My teacher once came to our re- tural or technical point of view. Each hearsal in a village three miles away. As contributor’s response follows a brief in- he approached the village, he could hear troduction. us playing, and when he arrived, he im- mediately began correcting our mis- Mohamed Da Costa is a master takes! djembe drummer, dancer, and choreogra- The apprenticeship with a teacher is a pher from Guinea, West Africa. He has very important relationship. It is very been teaching and performing in the special to receive your teacher’s bless- United States since 1990, and currently ing. You must be willing to run errands resides in Greensboro, North Carolina. for your teacher at any time, even in the In traditional African society, you middle of the night! It isn’t about money. would establish an apprenticeship with It is about respect. Today, things are a teacher who allowed you to play at changing in Africa. There are more regu- Michael Spiro

PERCUSSIVE NOTES 44 APRIL 2003 Now things are different in some Lesson 3 in his new video series called ways. There are schools where you can Learn to Solo on Djembe or Conga. Alan learn (as part of an overall curriculum), lives in Minneapolis. Web: http:// and where you can be “tested” and www.dancinghands.com “yelled at” if you don’t do your home- I’m a hand drummer who loves Afri- work. The serious guys still do it like the can and Afro-Cuban rhythms: rhythms old days—attach yourself to a maestro constructed of many interlocking parts and go from there. In this traditional en- played on a variety of instruments. vironment, technical exercises would Since I don’t have a community or group never be required. to play with on a daily basis, my chal- The conga drum, however, is a differ- lenge has been to approximate this rich ent story. In contemporary Cuban soci- rhythmic environment when I practice ety, almost all the young musicians go to alone. music school (for which they have to au- One way I do this is by playing along dition), and they all read, write, and with traditional rhythms on CDs, but play all the percussion instruments, when I want to play continuously, I pro- from classical to folkloric. The competi- gram my drum machine with a tradi- tion is as fierce as you will ever find, Bruce Carver tional rhythm and practice along with even in the States, so the young players ting at an instrument, discovering its that. Then I can play as long as I want are all monsters, just to be able to stay voice and taking it through its vocabu- without having my concentration broken in school. Then, in turn, to be able to get lary. every five minutes while I wait for a CD paid by the government to be a musi- I do a lot of theater and studio work, track to repeat. This also allows me to cian, you must have extremely high which requires experience with a large control the tempo, so I can start out skills, for which you are evaluated every field of instruments. So practice also playing a part slowly and gradually in- three years or so. This “academy style” means attaining an understanding of crease the speed. has very exacting standards that are the instrument you are playing, its his- Whatever I play along with, I always met through an array of technical exer- tory, performance techniques, etc. try to tap the pulse in my feet while I cises. After understanding what it is you are play. The “pulse” is the term I use for I was taught by the old masters, so going to play, you want to find and pur- the steady underlying beat people feel in their approach with me was, “Learn this chase the best instrument possible and their bodies when music is played. If you by tomorrow, don’t waste my time, and spend time near it. At this writing, I am play sitting down and it’s hard to hold be lucky I don’t hurt you if you make a spending the majority of my time with your drum steady and tap the pulse with mistake. You should be grateful I let you tabla, tonbak, daf, bodhran, mbira, con- your feet at the same time, run a strap even be around this stuff.” I don’t teach gas, djembe, and marimba. In time, from your drum around your waist to like that, but most of my students think some of these nucleus instruments may free up your legs. I’m much too mean, and that I carry be replaced with others, but I always When I can’t practice on a drum, or that same mentality with me. I don’t make time to practice tabla, marimba, when I’m stir crazy and want to get out- think I do, but to some real degree, I and hand drums such as congas or side and move, I do what I call “rhythm teach from the perspective that “this is djembe. walking.” Rhythm walking is my adap- serious stuff, and I don’t have time to I spend one to four hours a day play- tation of the “Ta Ke Ti Na” method waste, so get with the program, or else!” ing. I have percussion instruments in taught by Reinhard Flatischler. I walk It is also true that I have students who every room of my house, and sometimes “apprentice” themselves to me, and so it takes a while to get from one end of don’t pay me any money, but they pay a the house to the other! I don’t practice high price in “service.” Money is actually all instruments in one session, but I love cheaper! to spread it out through the day. This keeps me fresh and focused. My biggest Bruce Carver recently moved to Los concern before I start playing any new Angeles from Chicago, where he was a instrument is that I know exactly how to first-call percussionist in studios and play it. I will have researched the in- theater productions. In addition to mas- strument, collected several recordings, tering the core orchestral percussion in- and found a qualified teacher. The rest struments, keyboards, and drumset, is simple. The rest is fun. Bruce is well versed in a wide variety of ethnic musical styles and regularly per- Alan Dworsky is the author, with forms on an impressive array of world Betsy Sansby, of Conga Drumming, How percussion instruments. to Play Djembe, Hip Grooves for Hand Practice may be a cruel word to some, Drums, Slap Happy, World-Beat & Funk but to me, it just means playing. I love Grooves, A Rhythmic Vocabulary, and to play. I’m just having fun when I’m sit- Secrets of the Hand. He has just finished Alan Dworsky

PERCUSSIVE NOTES 45 APRIL 2003 the pulse, clap or tap a clave or timeline ing. This way, even learning a complex oped foundation will serve a musician rhythm in my hands, and vocalize a oral tradition with no notation whatso- well in the future no matter what direc- drum pattern, all at the same time. ever, nothing is forgotten. This is not al- tion he or she decides to go in later in Rhythm walking is a form of rhythmic ways possible, so I have found that a their respective careers. cross-training you can do anywhere: at a recording of each mbira lesson is a valu- One of the issues I think is essential park, on a beach, down a city street. It able reference for use during practice. for successful music practice is to in- loosens up those muscles and joints that volve the mind in everything you do. get stiff and sore when you over-practice N. Scott Robinson teaches classes in Percussionists often spend a great deal on your drum. And it’s a great way to world music and culture at Kent State of time doing “physical practice,” such as work on your rhythmic vocabulary while University in Ohio as part of The Center running scales on mallet instruments, you get some exercise and fresh air. for the Study of World Musics. His per- snare drum rudiments, or drumset time- forming and recording credits include keeping, without really thinking deeply Erica Azim is a Californian who fell work with Benny Carter, Glen Velez, about everything they are playing. I no- in love with traditional Shona mbira Malcolm Dalglish, Annea Lockwood, ticed improvement in my focus and con- music when she first heard it at the age John Cage, Paul Winter Consort, centration after having practiced things of 16. In 1974, she became one of the first Umayalpuram K. Sivaraman, Marilyn that required a great deal of thought to people from outside Zimbabwe to study Horne, and Jeanne Bryson. Scott’s most execute. I try to spend a short amount of with traditional mbira masters. Her recent recording, Things That Happen time on “physical practice” and a longer workshops and performances have intro- Fast, features performances of his origi- period on “mental practice.” By “mental duced international audiences to the tra- nal compositions for frame drums, practice,” I don’t mean just thinking ditional music of Zimbabwe. Her berimbau, udu, cajon, karimba, congas, about something. I mean to involve the nonprofit organization, MBIRA, is dedi- and many other instruments from mind in whatever it is that you’re doing. cated to helping Zimbabwean musicians. around the world. Web: http:// I noticed that after spending a great Web: http://www.mbira.org. For more www.nscottrobinson.com deal of time learning South Indian information on Erica’s teaching methods, rhythms and hand drum technique, not please refer to her article available at only did my playing improve, but my un- http://www.mbira.org/onteaching.html. derstanding, concentration, and confi- I find that one of the most important dence grew. I think this had to do with aspects of practice for the mbira student the fact that I was involving my mind by is to spend at least half of each available vocalizing rhythmic phrases and yet still practice period playing old, well-known having to think about the rhythmic cycle material, rather than mastering new and physical choreography of the hands material. The average North American on the drum. My studies with Glen Velez mbira students, in my experience, have on frame drums often led me to involv- an easier time learning new material ing my entire body by walking while than “getting out of the way” for the playing, playing intricate rhythms with songs and improvisation they know to the fingers, vocalizing, and thinking really flow in the traditional Shona way. about all of these things simultaneously. I also find from my own learning expe- I enjoy working on something I call rience that the most important times to the “Rule of Opposites.” If a particular practice new material, even for ten min- rhythm I want to learn is in a compound utes, are right before sleep at night, and meter, then I’ll practice it in a duple N. Scott Robinson first thing upon waking up in the morn- meter as sixteenth notes. For example, Percussionists have so many choices southern Italian tamburello technique is as far as what they can play. Even often in a very fast compound meter in- though Western percussion instruments volving a triple stroke-turning technique are diverse, they tend to be more related of the hand. I spent a lot of time working in terms of rhythmic concepts and physi- on this as sixteenth notes in three-four cal technique than non-Western percus- meter, which made me really think hard sion instruments. A Western about every single position of the hand percussionist needs to build a founda- and where it was in the rhythm. tion before trying to absorb so many dif- Another thing I do with Indian rhyth- ferent things, like Indian drumming, mic phrases is to say the opposite of African drumming, gamelan, mbira, etc. what I’m playing. If I am playing a Developing a strong rhythmic concept, phrase in sixteenth notes, simulta- coordination between the limbs, ear neously I’ll recite it twice as fast as training, reading, and improvising abili- thirty-second notes and then switch so ties are things that all Western percus- my voice recites the slower version in sionists should spend the proper amount sixteenth notes while my fingers play Erica Azim of time practicing. A thoroughly devel- the faster, denser version in thirty-sec-

PERCUSSIVE NOTES 46 APRIL 2003 PERCUSSIVE NOTES 47 APRIL 2003 ond notes. This makes me think really more awareness in both the body and hard, and both my mind and hands are mind while I play. This helps me feel getting a great musical workout. confident and relaxed when I improvise Another issue with percussionists and in performances because I’ve spent the practice is having a clear notion of what time thinking about what I might play you’re going to do with what you’re in a lot of different ways. Having pur- studying. Everything I practice leads to sued Western percussion and jazz for a a single goal: improvisation. I play a lot long time, I rely on that foundation of really different instruments, but I while pursuing non-Western percussion. practice them all in the same way. Odd The physical techniques are different be- meters, improvisational techniques, and tween the instruments I play but my involving the mind and other parts of goal is always the same, so it makes for the body in what I’m doing gives me a more related concept as to how I ap- FALL 2003 INTERNSHIP APPLICATIONS

The Percussive Arts Society is seeking applicants for our six-month internship program beginning in July 2003. Many successful candidates for this position have either used internships at PAS as capstone semesters to complete music business degrees or have been recent graduates of such programs. However, all percussion students who wish to gain industry experience as a way of promoting career goals are encouraged to apply. PAS interns acquire broad industry experience by assisting with a variety of staff projects. The fall B. Michael Williams 2003 intern will be part of the team that is planning and producing November’s international convention in Louisville. The opportunity to work closely with our Director of Event Production and proach the instruments and music I Marketing, Jeff Hartsough, on artist and manufacturer relations and marketing projects will make want to play. Without a foundation, it the fall 2003 internship especially valuable to any young adult who is considering a career in the would be too overwhelming trying to field of music business. study so many instruments and musics Interns live in a furnished apartment provided by PAS (water, electricity, and cable bills are also that aren’t really related in any practi- paid). In addition, interns receive a $500 stipend each month. cal way. Having the proper context in which to We invite prospective candidates to send the following information: • a résumé of academic and work experiences; utilize what you practice is another im- • a copy of a paper submitted in an upper division course that includes an evaluation written by portant consideration. Non-Western per- the student’s professor; cussionists usually grow up and develop • a list of persons who have agreed to provide academic and work- related recommendations, within a culture strong in tradition. along with contact information; and That context allows their skills to be uti- • a cover letter that both describes the applicant’s career goals and also discusses (based on a lized in a practical manner. Western per- review of the public-access pages of our Web site) how an internship with PAS could help to cussionists don’t always have the proper realistically promote those goals. context in which to use non-Western Completed applications can be forwarded as e-mail attachments to [email protected] or may be skills. I think that’s why it’s common for sent to our postal address: Intern Coordinator, Percussive Arts Society, 701 NW Ferris Avenue, Western percussionists to use non-West- Lawton, OK 73507. ern percussion instruments in a creative Priority will be given to candidates whose applications are received before June 1, 2003. manner outside of the respective tradi- Please encourage students in your program to consider the advantages of six months of industry- tions. Jazz and modern dance classes related experience with the Percussive Arts Society. are contexts in which non-Western skills can readily be utilized. They provide an accessible and logical context in which to develop your own voice as a musician. That’s something that many important improvising percussionists, such as Collin Walcott, Glen Velez, Trilok Gurtu, and Naná Vasconcelos, among others, have spent time doing and benefited from in terms of developing an original voice.

B. Michael Williams is Associate Editor for world percussion for Percussive Notes. He teaches percussion at Winthrop Uni- versity in Rock Hill, South Carolina. PN

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