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African Drumming in Drum Circles by Robert J
African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle. -
Steve Smith Steve Smith
• SPEED • POWER • CONTROL • ENDURANCE • SPECIAL TECHNIQUE ISSUE STEVESTEVE SMITHSMITH VVITALITAL TTECHECH TTALKALK BBUILDUILD SSUPERUPER CCHOPSHOPS!! BBOZZIOOZZIO,, PPHILLIPSHILLIPS,, BBISSONETTEISSONETTE,, BBELLSONELLSON,, WWECKLECKL,, AANDND MMOREORE TTHEHE TTECHNICALECHNICAL EEDGEDGE HHUNDREDSUNDREDS OOFF GGREATREAT EEXERCISESXERCISES FFOROR YYOUROUR HHANDSANDS AANDND FFEETEET WIN JJOHNOHN DDOLMAYANOLMAYAN Exciting Sights OOFFFF TTHEHE RRECORDECORD And Sounds From Sabian & Hudson Music TTHEHE MMANYANY KKITSITS OOFF BBILLILL BBRUFORDRUFORD $4.99US $6.99CAN 05 WIN A Drum Lesson With Tico Torres 0 74808 01203 9 Contents ContentsVolume 27, Number 5 Cover photo by Alex Solca STEVE SMITH You can’t expect to be a future drum star if you haven’t studied the past. As a self-proclaimed “US ethnic drummer,” Steve Smith has made it his life’s work to explore the uniquely American drumset— and the way it has shaped our music. by Bill Milkowski 38 Alex Solca BUILDING SUPER CHOPS 54 UPDATE 24 There’s more than one way to look at technique. Just ask Terry Bozzio, Thomas Lang, Kenny Aronoff, Bill Bruford, Dave Weckl, Paul Doucette Gregg Bissonette, Tommy Aldridge, Mike Mangini, Louie Bellson, of Matchbox Twenty Horacio Hernandez, Simon Phillips, David Garibaldi, Virgil Donati, and Carl Palmer. Gavin Harrison by Mike Haid of Porcupine Tree George Rebelo of Hot Water Music THE TECHNICAL EDGE 73 Duduka Da Fonseca An unprecedented gathering of serious chops-increasing exercises, samba sensation MD’s exclusive Technical Edge feature aims to do no less than make you a significantly better drummer. Work out your hands, feet, and around-the-drums chops like you’ve never worked ’em before. A DIFFERENT VIEW 126 TOM SCOTT You’d need a strongman just to lift his com- plete résumé—that’s how invaluable top musicians have found saxophonist Tom Scott’s playing over the past three decades. -
From the Archives
From the Archives As PAS celebrates its 50th anniversary, here’s a look back at some of the ads that appeared in Percussive Notes during the 1960s and ’70s. The Drums Unlimited Percussion Publications catalog was the definitive reference source for percussion solos, ensembles and method books in the 1970s and ’80s. See-through drumsets were big in the early to mid-1970s, but see-through marching drums never quite caught on. One of the first ads to ever appear in Percus- sive Notes in 1968 was a four-page spread introducing Rogers Accu-sonic timpani. The Winter 1976 issue of Frank’s Drum Shop and Carroll Sound were cussive Notes Per- two of the primary sources for percussion saw the introduc tion of wind chimes under the - instruments in the 1970s, and two of the trade name of the Hollywood earliest supporters of PAS through. their Percussive Notes Mark Tree. advertising in Combining a RotoTom with a marching snare must have seemed like a good idea at the time (1978). FEBRUARY 2011 10 PERCUSSION NEWS www.pas.org Fall 1973 saw the introduction of Remo’s Black Dot heads. Ludwig quickly followed with Silver Dots. Vic with his “friends” in 1980: his Rolls and his RotoToms. McCormick’s Bell-Tote, which allowed a bell lyre to be carried horizontally and played with two hands, was one of the first steps toward putting melodic percussion on the field in the early 1970s, long before anyone was using a pit. Percussive The same 1971 issue of Notes saw the introduction of the Shortly after Deagan ElectraVibe, which was an McCormick introduced early attempt to amplify a vibraphone, the Bell-Tote, Ludwig and Musser’s Kelon, the first synthetic introduced marching xylophone bars. -
S Sounds Disks
S Sounds Disks Compatibility list: S2 - S2 Turbo - S3 - S3 Turbo - S2R 950705 950720 950745 5 100 Performances Vol.1 20 Ethnic (Instruments Vol.1) 45 Orchestra (Gran Piano - Bos & 100 new performanc Bazoo Bazoo Str. Bazoo-K (patch) Orfer) Mandolin MandolPk Ukulele 950709 Bosendorfer Grand 9 Rock (Drum's own Vol.1) 950724 950749 Brass Shot Brush Roll Dr. "Q" 24 Rock (Electric Pianos Vol.1) 49 Sounds Disk (100 Performances Drum Kit 9 Electric Kick Electric Kit 1 MKS MKS HD MKS SF1 Vol.3) Electric Kit 2 Electric Kit 3 Electric Kit 4 Rhod "ES" Rhodes HD1 Rhodes SF1 Electric Kit 5 Electric Tom Flam 01 100 new performanc Custom E.piano 3 950725 Flam 02 Hip Hop Kit 1 House Kit 1 25 Orchestra (Strings Vol.2) Strong Switch Lead Synchoirs House Op HH House Rim Shot Kick 1 Wave "26" Cellos Section Violas Section Violins Section Kick 2 Kick 3 Kick 4 950750 Kick 5 Kick 6 Noisette 950729 50 Rock (Electric Guitars Vol.1) 29 Multimedia (Special FX Vol.1) Piranhas Polyfusion Rock Kit 1 5th Dist Gtr. DistStab1 DistStab2 Roll 02 Roll 04 Roll 05 Alarm Are you ready? BD "FX" GuitarEff1 (Patch) GuitarEff2 (Patch) Hard 5th Gtr. Roll 06 Roll 07 Roll 08 Computer ControlVox (patch) Cymbal Hard Octave Little Rock Oct. DistGt Snare Brush 2 Snare Brush 3 Snare Brush 4 FX Bell FX China FX Percussion 1 Overdrive P_Hard_5Th (patch) P_Little_R (Patch) Snare Drum "X" Snare Dry Snare Fx 1 FX Percussion 2 Hi Hat "FX" Cl. Hi Hat "FX" Op. -
Relationship with Percussion Instruments
Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument. -
Cajón 1 Cajón
Cajón 1 Cajón A cajón (Spanish pronunciation: [kaˈxon], "crate," "drawer," or "box") is a box-shaped percussion instrument originally from Peru, played by slapping the front face (generally thin plywood) with the hands. Origins and evolution The cajón is the most widely used Afro-Peruvian musical instrument since the late 18th century.[1] Slaves of west and central African origin in the Americas, specifically Peru, are considered to be the source of the cajón drum; though the instrument is common in musical performance throughout the Americas. The cajón was most likely developed in coastal Peru during the early 19th century or before,[1] where it is associated with several Afro-Peruvian genres. The instrument reached a peak in popularity by 1850, and by the end of the 19th century cajón players were experimenting with the design of the instrument by bending some of the planks in the cajón's body to alter the instrument's patterns of sound vibration.[1] Knowing that the cajón comes from slave musicians in the Spanish Modified cajón; traditional cajones have the hole at the colonial Americas, there are two complementary origin theories back, opposite the tapa for the instrument. It is possible that the drum is a direct descendant of a number of boxlike musical instruments from west and central Africa, especially Angola, and the Antilles. These instruments were adapted by Peruvian slaves from the Spanish shipping crates at their disposal.[2] In port cities like Matanzas, Cuba they used cod-fish shipping crates. Elsewhere, small dresser drawers became instruments. Another theory posits that slaves simply used boxes as musical instruments to combat contemporary Spanish colonial bans on music in predominantly African areas.[3] In this way, cajóns could easily be disguised as seats or stools, thus avoiding identification as musical instruments. -
Rototom 1 Rototom
Rototom 1 Rototom The drum kit 1 Ride cymbal | 2 Floor tom | 3 Toms 4 Bass drum | 5 Snare drum | 6 Hi-hat Other components Crash cymbal | China cymbal | Splash cymbal | Sizzle cymbal Swish cymbal | Cowbell | Wood block | Tambourine Rototom | Octoban | Hardware Rototoms are drums which have no shell. They consist of a single head in a die-cast zinc or aluminum frame. Unlike most other drums, they have a variable definite pitch. Composers are known to write for them as tuned instruments, demanding specific pitches. Rototoms are often used to extend the tom range of a standard drum kit. They were invented by the drumhead company Remo. They can be tuned quickly by rotating the head, which sits in a threaded metal ring. Rotation raises or lowers the tension hoop relative to the rim, which increases or decreases the pitch of the drum by increasing or decreasing the tension of the drum head. Master James Holland, former percussionist of the London Philharmonic Orchestra, highly recommends them in his book "Percussion",[1] which is part of the Yehudi Menuhin Music Guides series. Rototoms are often used as a training substitute for timpani students, as they have a very similar sound, are not as loud and expensive as timpani, and do not require as much room space. A few drumming greats who used rototoms were Bill Bruford and Terry Bozzio. Roger Taylor of Duran Duran used rototoms extensively on their self titled debut album Duran Duran of 1981. Roger Taylor of Queen has used rototoms since the early 1970s most recently in the cover of "Let There Be Drums" on the Return of the Champions DVD and album. -
Firchie Snare Drum
PRODUCT CLOSE-U P Firchie Snare Drum by Rick Van Horn Yeah, it looks a little weird. But this unusual drum also offers some genuine innova- tions and unique performance qualities. The Firchie snare drum is the brainchild of drummer/designer Ivan Firchie. It combines a free-floating, seamless alu- minum shell (which I'll touch on later) and a rotational tensioning system simi- For the time being, Firchie drums only killer rimshots—no matter what the lar to that of a RotoTom. The concept is come with a 4 1/2"-deep shell. (A piccolo head tension. that once the heads are lug-tuned evenly model is being experimented with.) The There are a wide range of finishes to a medium tension, the entire drum thin, one-piece aluminum shell features available on Firchie drums, from brass can then be rotated on its stand to pro- specially rounded bearing edges for the and chrome to a variety of colors. The portionally increase or decrease the ten- drumheads, and a unique contour. While drums I examined looked wonderful. A sion of both the top and bottom the shell sits squarely within the hoop of thicker aluminum shell will soon be heads—thus raising or lowering the the bottom head, it tapers so as to be available as an option, and wooden shells pitch of the drum. The sound of the over 1" smaller in diameter than the top are under development. drum can literally be changed from that head. That means that the top head One potential problem with this drum of a piccolo to that of a 10"-deep drum extends beyond the edge of the shell over is its size: The works of the rotational (or anywhere in between) in seconds. -
Alfred 2008-2009
Alfred 2008-2009 Percussion Catalog • 2008-2009 PERCUSSION learn•teach•play music CATALOG Alfred Publishing Co., Inc. USA/Canada: P.O. Box 10003, Van Nuys, CA 91410-0003 Asia: 15 Queen St. #04-08, Tan Chong Tower, Singapore 188537 30% total recycled fi ber Australia: P.O. Box 2355, Taren Point NSW 2229 Printed in USA Germany: Hansestraße 99, 51149 Köln U.K.: Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX U(a38081*MRTMRp(u alfred.com 00-104085 / wo 82110 Alfred Publishing Co., Inc. P.O. Box 10003 Van Nuys, CA 91410-0003 alfred.com 08 percussion catalog cover 2_kp.indd 1 4/11/08 8:48:58 AM CONTENTS 1 DW DVDs ...............................................................................................................................2 Personality Titles A—Z .........................................................................................................4 Drumset Methods, Collections, Duets/Solos .................................................................19 Drum & Snare Drum Methods, Collections, Duets/Solos .................................................................................................32 Keyboard Percussion Methods, Collections, Solos, Duets/Trios, Ensembles ........................................................................................38 Percussion Ensemble Collections ...................................................................................43 Individual Percussion Ensembles ...................................................................................44 Multiple Percussion Solos -
A Comparison of Solenoid-Based Strategies for Robotic Drumming
A COMPARISON OF SOLENOID-BASED STRATEGIES FOR ROBOTIC DRUMMING Ajay Kapur 1,2,3 Trimpin Eric Singer2 Afzal Suleman1 George Tzanetakis1 Music Intelligence and Sound Technology Interdisciplinary Centre (MISTIC) 1 University of Victoria, Victoria, British Columbia, Canada League of Electronic Urban Music Robots (LEMUR) 2 Brooklyn, New York, USA KarmetiK Technology (A Division of KarmetiK LLC) 3 Reno, Nevada, USA ABSTRACT drums gives the students a more realistic paradigm for concentrated rehearsal. Solenoids are important components of robotic A number of different drumming robots have been drumming systems and several designs have been designed in the academic and artistic communities. proposed. In this paper, we compare different designs Researchers at Harvard University struggled to create an in terms of speed and dynamic range and discuss the accurate robotic drum roll [1], while next door tradeoffs involved. The evaluation is performed in the researchers at MIT developed Cog to control the context of MahaDeviBot, a custom built 12-armed MIDI number of times a stick can bounce [2]. Gil Weinberg controlled mechanical device that performs a variety of developed Haile to explore human to robot interaction Indian folk instruments, including frame-drums, bells, [3]. Mitsuo Kawato continues to develop hydraulic and shakers. To measure speed and dynamic range a systems for humanoid drumming [4]. Many artists have haptic robotic feedback system using piezo sensors was presented a number of different pieces including built. The evaluation methods presented are modular Baginsky’s “Thelxiapeia” for modified rototom [5], and can be administered to any hyperinstrument, new MacMurtie’s life size sculptures [6], Gordon Monohans interface or robotic system to inform composers about “Machine Matrix” [7], and Miles van Dorssen’s “Cell the strengths and limitation of different designs to guide Project” including an 8 octave Xylophone, Bamboo composition and performance. -
Drumtalk Email Hal Leonard to Make Sure Blasts, Our Monthly Storefront Retailers Present Herald Newsletter, These Products Most Effec- Dealer Trade Shows, Tively
5 MAIN REASONS WHY RETAILERS SOURCE TECHNOLOGY & GEAR FROM THE HAL LEONARD MI PRODUCTS DIVISION 1 Great Product Brands It starts with great products. We only distribute popular, proven-best sellers that create faster turns and higher customer satisfaction. Award-Winning Extensive Product Training 2 Customer Service 3 From our knowledgeable sales reps to our exacting Hal Leonard provides volumes of training mate- fulfillment team, our award-winning service gives rials including videos via our YouTube chan- retailers confidence that they are buying the right nel (named “HalLeonardTech”), in-store clinics, products and will get them in a timely, consistent demos at trade shows, and printed materials. manner. Our 24/7 online support and online This helps retail- chat service provides multiple ways ers and their staff for retailers to submit, track and understand what confirm every aspect of their they are buying and order easily. That is why help their custom- Hal Leonard has been ers get the right named MMR Magazine’s product. No other Dealers’ Choice Print gear distributor pro- Music Publisher of the vides this level of Year winner every year support. since 1997. Effective 4 clear communication 5 Merchandising Hal Leonard communicates in multiple ways to Kiosks, displays, posters, ensure retailers know about our products, special and branded point-of-sale services, seasonal specials, and new releases. materials are provided by Via DrumTALK email Hal Leonard to make sure blasts, our monthly storefront retailers present Herald newsletter, these products most effec- dealer trade shows, tively. We also offer a demo school state shows, unit program that allows fliers, phone calls, you to show products out and store visits – of the box. -
Owner's Manual
OWNER’S MANUAL OWNER’S MANUAL SimmonsDrums.net www.simmonsdrums.net OWNER’S MANUAL SAFETY INSTRUCTIONS THE LIGHTNING FLASH WITH ARROWHEAD SYMBOL WITHIN AN EQUILATERAL TRIANGLE IS INTENDED TO ALERT THE USER TO THE PRESENCE OF UNINSULATED DANGEROUS VOLTAGE WITHIN THE PRODUCT’S ENCLOSURE THAT MAY BE OF SUFFICIENT MAGNITUDE TO CONSTITUTE A RISK OF ELECTRIC SHOCK TO PERSONS. THE EXCLAMATION POINT WITHIN AN EQUILATERAL TRIANGLE IS INTENDED TO ALERT THE USER TO THE PRESENCE OF IMPORTANT OPERATING AND MAINTENANCE(SERVICING) INSTRUCTIONS IN THE LITERATURE ACCOMPANYING THE PRODUCT. APPARATUS SHALL NOT BE EXPOSED TO DRIPPING OR SPLASHING AND THAT NO OBJECTS FILLED WITH LIQUIDS, SUCH AS VASES, SHALL BE PLACED ON THE APPARATUS. 1. Read these instructions. 12. Use only with the cart, stand, tripod, 2. Keep these instructions. bracket, or table specified by the 3. Heed all warnings. manufacturer, or sold with the 4. Follow all instructions. apparatus. When a cart is used, 5. Do not use this apparatus near water. use caution when moving the cart/ 6. Clean only with dry cloth. apparatus combination to avoid injury Figure 1 7. Do not block any ventilation openings. Install in accor- from tip-over (Figure1). dance with the manufacturer’s instructions. 13. Unplug this apparatus during lightning storms or when 8. Do not install near the heat sources such as radiators, heat unused for a long periods of time. registers, stoves, or other apparatus (including amplifiers) 14. Refer all servicing to qualified service personnel. Servicing that produce heat. is required when the apparatus has been damaged in any 9. Do not defeat the safety purpose of the polarized or way, such as power-supply cord or plug is damaged, liquid grounding-type plug.