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If and when you are able, please help to encourage creativity and honesty by purchase a legitimate copy at http://www.mythfits.com 1 New World Rhythmatism everyone leads no one follows everyone follows no one leads between structure and spontaneity freedom thrives life is renewed 2 Table of Contents Preface ............................................................................................................................... 7 Introduction ......................................................................................................................... 8 New World Rhythmatism: Method ..................................................................................... 17 Ensemble Formation ..................................................................................................... 19 Talking About Time: ...................................................................................................... 21 Drum and Dance Calls .................................................................................................. 22 Drum Calls ................................................................................................................. 24 Drum Calls: Expanded Descriptions .......................................................................... 30 Vignettes (call combinations) ..................................................................................... 37 In Times of Trouble…Fix it with a call ............................................................................ 45 Concepts, Methods, Examples, and Practice:................................................................... 46 Learning to Play and Learning to Play Together ............................................................... 46 New World Bridges: Two Great Rivers of Rhythm ......................................................... 47 Playing Together in the New World Ensemble .............................................................. 52 Ensemble Rhythm Rudiments ....................................................................................... 53 The Hand of Tal (Time): Your “Digital” Calculator ......................................................... 66 Beginning Drummers: Skill Development and Accessing the Rhythms ..................... 69 Key: Work and Play With a Metronome ..................................................................... 70 Exercise – Stepping in Time ...................................................................................... 71 Exercise – Clock it. .................................................................................................... 72 Key: Practice in front of a mirror ................................................................................ 73 Exercise – Vocalizing Spots in Time .......................................................................... 75 Exercise – Basic Bells, Crafting a Healthy Pulse ....................................................... 76 Exercise – Hand Variations in Three or Six ............................................................... 78 Exercise – Dexterity, Memory, and Stamina Warm Ups. ........................................... 79 Exercise – Basic Bell Archetypes One, Two, and Three ............................................ 80 Exercise – Making Calls While Playing ...................................................................... 81 Exercise – Weaving With Beladi / Gawazee .............................................................. 82 Exercise – Basic Bell Archetypes, Half-Time ............................................................. 83 Exercise – Ayub / Chiftitelli ........................................................................................ 84 3 Exercise – Malfuf Through the Roof .......................................................................... 85 Exercise – Ornamental Trips (rolls). .......................................................................... 86 Exercise - Trigen ........................................................................................................ 88 Advanced Concepts .......................................................................................................... 89 Weaving the Rhythm: Creating Variations on a Rhythmic Theme ................................. 90 1) Emphasize or accent particular beats .................................................................... 91 2) Vary the tones within a bol or rhythm ..................................................................... 91 3) Add, subtract, or multiply the bols within a rhythm ................................................. 92 4) Increase or decrease the length of the cycle ......................................................... 98 5) Reorganize and elaborate on the key bols within a rhythm ................................. 100 Adding Polyrhythm and Multi-Surface Instrumentation ................................................ 104 Single and Multi-Surface Instruments: Polyrhythm for One ..................................... 107 Creating Complementary Polyrhythms On One Multi-Surface Instrument: .............. 108 Further Polyrhythmic Development Around the Pulse: ............................................ 109 Combining Pulse and Part in a Single Line: ............................................................. 112 Beginning Your Own Ensemble: .............................................................................. 118 Contemplations for Rhythmatists: Insights from the Mirror of Rhythm ............................ 122 Contemplation: It's About the Process, Not the Product (Rhythmatism is Deep Play) . 123 Contemplation: You Make Life Happen ....................................................................... 126 Contemplation: Practice is the Beginning and the End of Transformation ................... 129 Contemplation: The Center is Everywhere .................................................................. 131 Contemplation: Practice Is Not Preparation ................................................................. 133 Contemplation: Opening the Gates of Inspiration ........................................................ 135 Contemplation: On the Difference between Being and Being Inhibited ....................... 138 Contemplation: The Meaning is the Massage ............................................................. 140 Contemplation: Mastery, Mystery and the Two Faces of Practice ............................... 142 Contemplation: The Groove is the Gift ........................................................................ 145 Contemplation: Mean What You Say and Say What You Mean .................................. 148 Contemplation: The Silence Defines the Sound .......................................................... 150 Contemplation: The Fire on the Inside ........................................................................ 152 Honor and Respect in the Study and Sharing of Cross- Cultural Arts ............................ 155 4 Authors, Background, and Gratitude ............................................................................... 159 Bibliography .................................................................................................................... 162 Closing Invocation ........................................................................................................... 170 5 Opening Invocation: drum, dance, and chanting meditations are the rhythmic explorations of our many diverse relations evolving towards the one discovering themes on our variations we honor the voices of many nations creating artistic revelations of our unity 6 Preface to the 5th Edition In the years since we first published this guidebook to NWR, the method has continued to grow and deepen. As with any creative practice, time reveals what is most useful and enduring, as well as those elements that do not serve our goals of beauty and connection. More than anything, our years of NWR have shown us just how much can be done with simplicity. It is in that spirit, that we decided to reorganize the guidebook into a focused manual for drummers, and to make special efforts to reach out to the specific needs of the beginning student. The dance portion of NWR has also grown tremendously, but it has become more evident than ever that dance instruction is best shared through other media. For those who are familiar with versions of our original guide book, you will note that the sections specifically addressed to the dancers have been omitted. We retained the discussion of the three core elements, (drum, dance, and chant) but have focused this book on the drum side of the ensemble. In addition, the calls have been further developed and refined, a more useful and expanded collection of vignettes are included, and there are a few changes to the core rhythm selections. Some of the very advanced polymeter material has been removed, along with a portion of the multi-surface playing methodology. The section of exercises for beginning students and ensembles has been greatly expanded. The organization of the book has also shifted to better reflect these changes and our goal of providing a resource that will be of real use students interested in bringing these powerful tools to their