NWR Hawaii

Doumbek & Frame Drum Classes

2019-09-15T16:54:00.000-07:00

Please note: the class is currently open to continuing students, only.
Please contact Michael or Tara to inquire about private lessons or future beginner classes.
Doumbek & Frame Drum Classes

Sundays, 4:15-5:45 pm
Yoga Hawaii, 1152 Koko Head Ave, Honolulu
Directions: www.yoga-hawaii.com/locationdirections

This ongoing class covers doumbek and frame drum techniques, rhythms, musicality, and the improvisational ensemble methods of New World Rhythmatism (NWR). Open to all skill levels.

Learn to:

Make your instrument sound great
Play popular bellydance rhythms
Share your musical ideas on the fly
Enjoy how easy and fun music making can be

What Is NWR?

A simple set of verbal calls, gestures, and frameworks
A method for easily creating group rhythm and dance improvisations
A system that empowers each person to act as both leader and follower

Tuition: Your first drop-in class is free: $10 thereafter – with a $5 discount when you bring a friend. After your first class, you can enroll in the next scheduled six-session NWR Intensive; $50 in advance.

Equipment: Loaner drums may be available by advanced request. NWR Intensive students will need their own instrument and access to a metronome, drum machine, or drum sequencing software.

Instructors:
* Tara Severns (Doumbek) www.doumbektech.com
* Michael Wall (Frame Drum) music-magick.blogspot.com

Please call 737-3786 or 864-1701 for more information.

Photo CC BY-NC 2.0 by Tara Severns.

Upcoming & Related Events - Details

2010-02-28T18:30:00.000-08:00

International Women's Day Hafla
Saturday, March 13, 7:30pm
Ward's Rafters, Honolulu
Doors open at 6pm

Mark your Calendars! In honor of International Women's Day, the Middle Eastern Dance Artists of Hawaii (MEDAH) will hold a charity Hafla on March 13th at Ward's Rafters, showcasing a variety dance styles - from the traditional to the modern - from around the world.

The event itself is free, but your generous donation will go to CARE, a humanitarian organization that empowers women to help their families and communities escape poverty. CARE also delivers emergency aid to survivors of wars and natural disasters, and helps people rebuild their lives. In Haiti, CARE is providing emergency shelter, improving sanitation, preventing gender-based violence, and assisting pregnant women and mothers.

Photo credit: 2010 Evelyn Hockstein/CARE

6-Week Zill/Middle Eastern Finger Cymbal Workshop with Malia

Wednesdays, 5:45-6:45pm, Mar 24-Apr 28, $75
Manoa Dance Studio, 2851 E. Manoa Rd, Honolulu

To pre-register, contact Malia at 808-234-1006 or MaliaInHawaii@mac.com or mail check or money order to:

Malia In Hawaii
P.O.Box 61787
Honolulu HI 96839

www.MaliaInHawaii.com

Partners in Time

with Souren Baronian

Thurs., Mar. 18, 7:30
Coffee Talk, Kaimuki

Sat., Mar. 20, 12:45pm

Kapiolani Community College

Fri., Mar. 26, 2009, 9pm Olive Tree Cafe, Kahala

Wed., Mar. 31, 7:30pm

Morning Brew, Kailua

Partners in Time plays Balkan and Near Eastern folk music (primarily Bulgarian, Macedonian, Greek, Armenian and Turkish), mixed with some original and jazz-fusion tunes. The members are Kip McAtee (guitar and sometimes Bulgarian tambura), Anita Trubitt (accordion), Ernie Provencher (bass), and Marcia Kemble (dumbek, or hand drum; tupan, or bass drum; and frame drum).

The band will be joined by Armenian-American musician and composer Souren Baronian of New York, a master player of G-clarinet, soprano saxophone, kaval (flute), dudook (double-reed instrument), dumbek, and tambourine. Souren's playing and his writing are a true synthesis of jazz and authentic Near Eastern music, born of his extensive experience in both areas. On the ethnic side, he trained with the renowned Turkish master Safet Gundeger, and on the jazz side with the legendary Lennie Tristano. He recorded with such jazz lights as Phil Woods, Don Jerry, Joe Beck, Arnie Lawrence, Carla Bley, Paul Motian, Joe Farrel, Steve Gadd, Armen Donelian and others, while continuing to lead ethnic ensembles in performance and on recordings. He performs regularly throughout the U.S. and Europe with his bands Transition and Taksim, and has been coming to Hawaii annually for many years.

Photos of Souren Baronian with Partners in Time by Joel Bradshaw used by permission (CC BY-NC-SA 2.0).

Malfuf, Wahda and Chiftitelli

2010-02-23T23:50:00.000-08:00

For your review, here's the notation for the "home" version of the rhythm malfuf, which has a 3-3-2 structure:

Malfuf 2/4
1...2...
D..T..T. [listen]

According to Maqam World, this is typically played fast, and most commonly for popular and folkloric music. The Arabic word malfuf means "wrapped" or "spun around." The same structure played half time, over four beats rather than two, is known as wahda. The Arabic word wahda means "one" or "single", and is more common in classical music.

Wahda 4/4

1.2.3.4.
D..T..T. [listen]

Now, check this out:

Chiftitelli 8/4

1.2.3.4.5.6.7.8.
D..T..T.D.D.T... [listen]

Notice the first half of this rhythm has a 3-3-2 structure over four beats, like wahda.

The Greek and Turkish languages have the term ciftitelli, which may variously refer to a particular folk dance, or to belly dance in general, or "dance" in general, or to a improvised melodic solo (taqsim) over a slow pulse (see Wikipedia and Shira's Glossary of Belly Dance Terms).

Confused? If a dancer with a background in NWR (or the SCA) asks for chiftitelli, it's probably a safe bet to play the above rhythm. If any other dancer asks for it, you might best get clarification before taking the stage, just to avoid unwanted surprises.

Happy Practicing!

Class # 13 - Jan 31

2010-01-31T21:46:00.000-08:00

More variations!

Try these variations on beladi.

Speaking of...

Check out the similarity between beladi and masmoodi.

Which is Which?

If you're like me, you might struggle to remember which rhythm goes with which rhythm name. Someone calls out "malful" and you go blank, or you can play along with a track that randomly pops up in your iPod's shuffle just fine (you've spent months playing that rhythm), yet you're stumped to "name that tune".

Back to a favorite trick from elementary school: Make flash cards! Print these out and carry them around with you. Several times a day, give them a shuffle and either try to correctly recall the name after singing the rhythm to yourself, or recall the rhythm after reading the name. If you have some of them down cold, remove them from your deck so you can concentrate your efforts on the tricky ones. This method can also lets you practice reading TUBS notation.

Directions: Download and carefully print the file on a single sheet of paper (double-sided), then cut the sheet into business-card sized rectangles. Hint: For best results, print them on Avery Business Cards stock (28877 for ink jet, 5871 for laser jet).

Disclaimers: These depict only the core structure of each rhythm to help you associate rhythms with names.

You may have initially learned these rhythms differently, or happen to know they play them a different way or call them by other names in (insert place name here) . That's fine, and even interesting (long discussions ensue...). However, these cards reflect how our we tend to refer to and play the rhythms in our class; This is our local dialect.

Happy Practicing!

Some Variations on Beladi

2010-01-31T18:15:00.000-08:00

    1...2...3...4...

a.   DkD...T.D...T...

b.   DkDk..T.D...T...

c.   D.Dk..T.D...T...

d.   D.Dkt.T.D...T...

e.   D.DktkT.D...T...

f.   D.Dk.kT.D...T...

g.   D.D.k.T.D...T...

h.   D.D.tkT.D...T...

i.   D.D..kT.D...T...

j.   D.D..kTkD...T...

k.   D.D...TkD...T...

l.   D.D...TkDk..T...

m.   D.D...T.Dk. T...

n.   D.D...T.Dkt T...

o.   D.D...T.DktkT...

p.   D.D...T.D.k.T...

q.   D.D...T.Dk.kT...

r.   D.D...T.D.tkT...

s.   D.D...T.D..kT...

t.   D.D...T.D..kTk..

u.   D.D...T.D...Tk..

v.   D.D...T.D...Tkt.

w.   D.D...T.D...Tktk

x.   D.D...T.D...T.k.

y.   D.D...T.D...Tk.k

z.   D.D...T.D...T.tk

aa. D.D...T.D...T..k

Class # 12 - Jan 24

2010-01-24T21:10:00.000-08:00

Variations

Learn a new variation or two, and combine them with previous variations.

Low Line

Sing a rhythm, like this:

1   .   2   .   3   .   4   .

D   D   .   T   D   .   T   .

low low .   hi  low .   hi  .

Cycle through the following sequence:

play the rhythm
sing the rhythm (low hi)
sing the rhythm and play the lows
play the lows

Repeat as above, but practice along with a metronome, at first a slow, then moderate, and finally a quick tempo.

Calls

While playing a rhythm at a slow tempo, vocalize a one-syllable call on one (don't follow the call, just vocalize it). When that begins to feel automatic, practice with a new one-syllable call, then another.

Switch to a moderate tempo and repeat the above sequence, and then repeat it at a fast tempo.

Next, repeat all of the above sequences using two-syllable calls. Experiment with putting the first syllable on one, and the second syllable on two (or the and). In other words - make the call in time.

Next, repeat, vocalizing three-syllable calls, etc.

Beladi and Masmoodi

2010-01-24T15:09:00.000-08:00

For many dancers (and drummers), the rhythm commonly known as "beladi" feels comfortably familiar; I heard one dancer describe it as "home base" — it's often the first rhythm one learns to dance to (or play), and it might seem the one you go back to after excursions into other rhythms.

Many Arabic musicians refer to the rhythm as masmoodi saghir, or "small masmoodi". So is there a big version? You bet! What Arabic musicians call masmoodi kabir (big masmoodi) is what musicians and dancers in the U.S. typically refer to as "masmoodi" [1, 2].

Here's the interesting part: they're the same rhythm! Beladi is just double-time masmoodi (and masmoodi is just half-time beladi).

Here's beladi:

And here's masmoodi:

The first is made up with eighths notes and rests, the second with quarter notes and rests.

Here's another way to think of it: Say a dance choreography has eight beats of masmoodi followed by eight beats of beladi; In the first eight beats, masmoodi would play through ONCE, and in the second eight beats, you'll hear beladi TWICE.

Try listening/dancing to this combination: http://bit.ly/7OqfB4.

Keep in mind that musicians typically don't play such simple versions - they embellish each of them in very different ways, ideally to compliment and inspire the dancer's moves.

So what about this word "beladi"? It means "of the country" or "old-fashioned" [2], and you'll hear it more commonly in folk or pop music than in classical Arabic music [1].

References:
[1] MaqamWorld.com
[2] Jas's Middle Eastern Rhythm FAQ

Class # 11 - Jan 17

2010-01-17T17:45:00.000-08:00

Malfuf 2/4
1...2...
D..T..T. (home version) [listen here]
D..C..C. (home variation, frame drum)
D.kT.kT. (a common variation) [listen here]
DkkTkkTk (another common variation) [listen here]

You can listen to this "in situ" (and play along). One nice tune is Stellamara's "Kereshme"[listen now: hifi | lofi] (the rhythm starts at around 2:20).

Homework

Play malfuf while "stepping" the 2-pulse with your feet (you can do this sitting in a chair). A drum machine or drum sequencer program can really help.
Select another variation and learn it. Combine it with your first variation, and learn that. Prepare yourself to show others your variation in the flow of play through the call "match me."
Work on technique. Try some visual approaches to practice to help you.

Optional Reading

3+3+2: The World’s Most Famous Rhythm Structure by Jerry Leake

This article demonstrates the prevalence of this rhythmic scheme throughout the world and history.

Workshops with Ty Burhoe

2010-01-11T23:46:00.000-08:00

Saturday, January 16th, 2010
Ong King, 184 North King Street, Honolulu

Spirit and Sound Workshop: 11am-1pm

Tabla Workshop: 1pm-3pm
$20 for one workshop; $30 for both

Spirit and Sound Workshop

* No experience or instruments needed
* Explore the principles of Nada Yoga “Sound as a pathway to the Divine”
* Speak the exhilarating rhythms of the tabla (drums of North India)
* Vocalize the basic building blocks within rhythm and tone
* Play and explore poly-rhythms and their relationship to harmony
* Deepen your awareness of your self and others through sound meditations
* Delve into Nada Brahma (sound and rhythm as a way to access the divine) and explore how to bring music and meditation deeper into our lives

Indian Tabla Workshop

* Everyone is welcome! Bring tablas (your own or borrowed) if you can
* Material pertinent for beginners as well as intermediate level players

* Whether your interest lies in classical accompaniment/solo, kirtan/bhajan, or western fusions, clarity of technique and tone production are paramount

Ty Burhoe is an internationally acclaimed tabla player. A close disciple of Ustad Zakir Hussain, Ty tours and records around the world with many artists, including: Krishna Das, Curandero, Bela Fleck, Kai Eckhardt, Art Lande, Bill Douglas and many more. www.TyBurhoe.com

Class #10 - Jan 10

2010-01-11T11:45:00.000-08:00

3-3-2 Variations

Michael introduced a specific variation on the 3-3-2 rhythmic structure

(on doumbek, replace C with T for now):

1 . . . 2 . . . 3 . . . 4 . . .

D.K.K.T.K.K.C.K.T.K.K.D.K.K.T.K.

You might also think of it this way:

1 . . . 2 . . .

D.K.K.T.K.K.C.K.-->
T.K.K.D.K.K.T.K.

Change it up! Try different combinations (as per Class #8).

More Practice Suggestions

Keep working on your Ka technique, strength and endurance. These may help:

Joshua Levin on Basic Frame Drum - Seated
Alex Spurkel on Doumbek - Ka (Caa)
Vanquish Wimpy Kas in the Car

Homework

Work on your individual and combined Maqsum variations (see Class #9 Review), and come to class prepared to teach it to us.

Class #9 - Dec 6

2009-12-06T17:45:00.000-08:00

Some Variations on Maqsum

1...2...3...4...
a. DkT...T.D...T...
b. DkTk..T.D...T...
c. D.Tk..T.D...T...
d. D.Tkt.T.D...T...
e. D.TktkT.D...T...
f. D.Tk.kT.D...T...
g. D.T.k.T.D...T...

h.  D.T.tkT.D...T...

i.  D.T..kT.D...T...

j.  D.T..kTkD...T...

k.  D.T...TkD...T...

l.  D.T...TkDk..T...

m.  D.T...T.Dk. T...

n.  D.T...T.Dkt T...

o.  D.T...T.DktkT...

p.  D.T...T.D.k.T...

q.  D.T...T.Dk.kT...

r.  D.T...T.D.tkT...

s.  D.T...T.D..kT...

t.  D.T...T.D..kTk..

u.  D.T...T.D...Tk..

v.  D.T...T.D...Tkt.

w.  D.T...T.D...Tktk

x.  D.T...T.D...T.k.

y.  D.T...T.D...Tk.k

z.  D.T...T.D...T.tk 

aa. D.T...T.D...T..k

Homework

Learn your selected maqsum variations.

Combine your variations together, for example:

this D.T...T.DktkT...
plus D.Tk..T.D...T...
gets D.Tk..T.DktkT...

Practice your combinations until they feel fairly natural. Prepare to teach one of the combinations in the next class.

Suggested Reading

Before you attend any of the workshops next weekend, read Getting the Most Mileage from a Master Class. 

Happy Practicing!

Class #8 - Nov 28

2009-11-29T17:45:00.000-08:00

Coordination and Ka Exercise

* K K * K K * K

Doumbeks: Replace * with Dum, Tek (mix it up)

Framedrums: Replace* with Dum, Tek and Cha, and play Ka with ring finger only, or with ring then middle (or vice versa) (mix it up)

New Call

Reset - Stop playing while the caller counts in new tempo

Practice Suggestions

Do the Coordination and Ka Exercise above with and without a metronome. Follow the sequence layed out in the first basic coordination exercise.
To also practice your notation reading and writing skills, write a list of variations to play, and play them in that order, for example:

D k k D k k D k
D k k T r m D k
T k k D k k C k ... etc.

Tap your foot whenever you hear music. (Are you tapping ON the beat?)
Practice calling Reset and counting yourself in to a new tempo

Getting the Most Mileage from a Master Class

2009-11-28T12:34:00.000-08:00

A master class is typically a one-session workshop taught by an expert with extensive experience in performing and instructing.

Before You Attend a Master Class

Learn about the class itself. Of course, begin by reading the description, but feel free to contact the organizers with specific questions if you need more information.

Who is the class for? Is it intended for beginners, intermediate players or professionals? For high school students? For women? For experienced musicians wanting to pick up a new instrument?
What will the master teacher focus upon? A particular style of music, improving technique, music theory, learning a piece of music, or playing music in a particular context (playing solo, or for dancers, or with an ensemble, etc.)?
What should you bring with you? Do you need have a piece prepared? Should you bring copies of your sheet music? Are audio or video recording devices OK? Should you bring an instrument? Do you need a chair?

Identify your goals. Knowing what you do about the class, what specifically do you hope to get out of it? Be ready to make a brief statement in case the master asks (while you're at it, also get ready to make a brief statement about your experience/training - some teachers will begin a class by asking for your background and your goals for the class).

Become familiar with the instructor. Read up on their background. Check their website for their bio - which will usually highlight their training, performance and recording experiences. Try to watch at least one clip of a performance - often you can find these on their website or on YouTube.

Attending the Master Class

Warm Up. If you can, play a little right before the class. You'll feel more comfortable, and primed to learn something new.

Go with Flexible Expectations. Sometimes, the class won't turn out exactly as you expect. Perhaps the PR people had more to do with writing the description than the instructor. Perhaps most of the students who show up have a different level of experience than you - and the teacher gears the class to the predominant level. Perhaps you hoped to cover X but the teacher is focused on covering Y. Make an effort to find the best way to engage with what's offered. What can you learn?

Attend to Your Attitude. You'll more likely get something valuable from the class if you're open and humble.

In his pointers for singers attending a master class, Richard Lalli of Yale University offers the following suggestions:

"Don't make excuses. No one is interested in the fact that you've had the flu, or that your coach told you to breathe at that spot. And don't disagree with the master about his or her suggestions. It won't hurt to try something different, and you can decide later if it's a change you want to keep. If you don't understand something, ask politely for clarification..." (p. 26).

The instructor may give you direct feedback on how you play. Hopefully, constructive criticism will be given graciously, but sometimes it might feel harsh or unkind. In this case, try not to become defensive, but focus on what the feedback suggests about what you might do differently in your playing and your practice.

Also, keep in mind that masters are also human. Some will seem very encouraging and nurturing. Others may act authoritative and demanding; This may be their normal state, but it's just as likely they're stressed from travel and jetlag or a whirlwind schedule.

Asking Questions

Unless asking for clarification, try to keep your questions fairly general and on topics likely to interest the other students. Some examples:

Ask about the teacher's beliefs and strategies about how to best practice.
Identify an area in your own practice where you feel particularly challenged (others may also share this challenge) and ask for suggestions about how to address it (but resist any urge to show off by asking for an answer to a very technical question that few others would find useful.)
Ask the teacher to name other musicians in the genre they consider to be masters, from whom they gain inspiration and insight (make note of the names, so you can find recordings and videos to study later).

Observe the Unspoken Details

The master teacher will purposefully tell you this and show you that. Go beyond what's overtly taught by making careful observations. How does the master teacher sit? Hold their instrument? Notice things like the angles of their hands or fingers, the angles at which the wrists, elbows, shoulders rotate, where they seem unexpectedly relaxed or tense. How do they breathe? What characterizes this master's personal playing style? Take notes about what you observe.

Pay attention, too, to the language patterns they use that reflect their beliefs about learning and or playing the instrument. How and where do their words focalize your attention, and towards what ends?

After the Master Class

Within an hour or two, take time to reflect on the class, review your notes, and write down additional notes about what you learned, your insights about the music or playing, what you feel inspired to do or try, and what goals you want to attain based on what you learned or observed.

To increase the likelihood that what you gleaned from the class will really sink in and stick with you, review these notes again within 24 hours, and again 72 hours later, and then one week later (this doesn't need to take long - just read through your notes).

If the master class changed your life (or even just inspired you), you may like to send the master teacher a note to thank them. They'll appreciate your appreciation!

Works Cited

Lalli, Richard. "Master Plan: how to get the most out of a master class." Opera News 69.1 (2004): 24-26. Academic Search Premier. EBSCO. Web. 23 Nov. 2009.

Making the Call

2009-11-27T12:21:00.000-08:00

Making calls involves several skills, including speaking while playing, speaking with volume and annunciation, and timing. One way to practice is to focus on each of these in turn.

Speaking While Playing: Play a "home" version of rhythm you’re very comfortable with, at a moderate tempo. Read each of the calls out loud while you continue playing (don’t DO any of the calls at this point – just call out the words). Take a belly breath between each call. If your playing stumbles, just begin again, and make the same call until you can do so while keeping the rhythm going smoothly, taking a belly breath each time. When you make a call smoothly while playing, move on to the next call.
Speaking with volume and annunciation: Repeat the preceding exercise, and this time, focus on making the call distinctly, at a loud enough volume that a small group of other players could hear you above their drums. Again, don’t worry about following the direction of the call – just get the words out loud and clear.
Timing: Repeat the preceding exercise, and this time, make each call on the FIRST beat of the rhythm’s cycle.
Putting it together: Repeat steps 1-3, and this time, follow the instructions of the call.

Happy practicing!

Public Sufi Zikhr in the Mevlevi tradition of Rumi

2009-11-24T01:02:00.000-08:00

Saturday, November 28, 2009, 6:30pm - 9:00pm

Academy of the Pacific, Damon Hall

913 Alewa Drive, Honolulu, HI

Zikhr' means 'Remembrance of God.'

Please join us in this Mevlevi Sufi dancing

and singing celebration of Divine Presence,

with Karim and Valerie Noor Karima, musicians

Kip, Nuri and Tara on guitar and drums, and

local Mevlevi dervishes.

"We are the night ocean filled
with glints of light. We are the space
between fish and the moon,
while we sit here together."

- Mevlana Jelaluddin Rumi, from: The Essential Rumi

Love donations gratefully accepted.

Information: 383-2616

Directions to Zikhr at Academy of the Pacific, 913 Alewa Drive, Honolulu

Take the Pali Highway to the Wyllie Street/Nuuanu exit

Follow Wyllie to the end and turn left onto Alewa Drive

Go .3 miles, turning into the second driveway after the flashing yellow light.

Park in lot, walk across the green in the Diamond Head direction to Damon Hall.

Google Map

----------

Image "Whirling Dervish" by Matthew Chastain Wright used under a Creative Commons license.

Increasing Stamina

2009-11-23T10:31:00.000-08:00

Increasing your stamina can help you:

play longer! (of course)
sound good longer (as you fatigue, your technique will suffer)
play stronger notes
play faster

Warm up for a few minutes - I suggest a simple straight roll exercise (more details here).

1 . . . 2 . . . 3 . . . 4 . . . -->
T . . . K . . . T . . . K . . . -->
T . K . T . K . T . K . T . K . -->
T K T K T K T K T K T K T K T K -->
TKTKTKTKTKTKTKTKTKTKTKTKTKTKTKTK-->
T K T K T K T K T K T K T K T K -->
T . K . T . K . T . K . T . K . -->

Stretch your fingers, hands, wrists, arms, and shoulders gently.

Beginning at a moderate tempo, play a straight roll and gradually increase the tempo until you start to feel a little uncomfortable and your sound starts to suffer.

Jot down a note about the time, and turn on your metronome or drum machine to about that tempo you were just playing, then decrease the tempo by 5 bmp, and play the straight roll again.

TKTKTKTKTKTKTKTKTKTKTKTKTKTKTKTK-->

Although this exercise can help you improve your timing, the role of the metronome in this exercise is to help you maintain a playing speed that will work your endurance.

During this exercise, it's important to maintain good form and technique, because when you practice with good technique, you reinforce good technique, and you work the muscles that need working.

As you play, keep checking on the tension levels and breathing. Although your natural reaction to fatigue may be to tense up and hold your breath, this will only tire you faster and interfere with your technique. If you notice your breath gets shallow, relax and breathe deeper. If you notice your forearms tense, relax them.

Keep checking on your technique, too, so you're always practicing good form. Try to make the left and right strokes sound equally loud, if you can.

You will feel the muscles getting warm? Keep going. When you just can't maintain the tempo with decent technique, stop.

Make a note about your tempo (maybe on a sticky note on your metronome or computer), and the time - how many minutes did you go?

Again, stretch gently.

Repeat this practice daily, or every other day at minimum. You should begin to see a gradual increase in both your tempo and the duration of time you can play nonstop.

Happy practicing!

Class #7 - Nov 22

2009-11-22T17:45:00.000-08:00

New Calls

N Downs - p. 43*

N Double Downs - p. 43*
Gimme N (opt. rising/falling) - p. 48*

Suggested Reading

The River: See pages 49-50*

* Page numbers refer to our textbook, New World Rhythmatism by Joshua Levin and Deborah Nervig.

Practice Tips

Get out your metronome or drum machine, and work on your stamina.

Recommended Instructional Materials

2009-11-22T10:04:00.000-08:00

For Beginners

Foundations of Arabic Rhythm - Souhail Kaspar

This DVD provides an excellent introduction to classical Arabic doumbek and riq (tamborine) techniques and basic rhythms.

Awzan: Arab Rhythmic Modes - Souhail Kaspar with guest musician Dr. A.J. Racy.

This CD was created as a practice tool for musicians and belly dancers, and presents many common bellydance rhythms. All tracks have percussion, and many include melodic improvisations on traditional instruments such as the nay, kawalah and buzuq.

Riqq: Arab Tambourine - Harim Nagi

This DVD focuses on riq technique, including open (caberet) and closed styles.

Practiceopedia: The Big Book of Practice Help - Philip Johnston

Though obviously written for children, it nonetheless offers many gems that people of any age can use to practice efficiently and effectively.

For Intermediate and Advanced

Egyptian Tablah (Doumbek) for Intermediate and Advanced Drummers - Souhail Kaspar

This DVD introduces many rhythms and techniques appropriate for doumbek players ready to go beyond the fundamental basics.

Advanced Frame Drum Techniques - Yousif Sheronick

For those ready to add new skills and new sounds, this DVD offers several techniques, such as various rolls and snaps, including some for the riq.

-- Tara Severns

Class #6 - Nov 15

2009-11-15T17:45:00.000-08:00

Today, class was about reviewing techniques, rhythms, and calls, and practicing them.

For practice this week, I suggest going through the previous class review pages and working on the two or three things you find the trickiest!

Also, try some Visual Approaches to Improving Technique.

Happy Practicing!

Visual Approaches to Improving Technique

2009-11-15T08:49:00.000-08:00

We all learn in different ways. You've probably heard some people tend to focus more on visual sensing and thinking when learning, while others tend to tune into auditory channels, or lean more heavily on movement based sensing and thinking. We actually use all of these modes when we learn, and we may rely more on one approach than another, depending on what we're learning.

Regardless of your preferred method, I recommend consciously exploring ways to practice that utilize these different modes to discover what each can offer you.

Today, let's talk about some visual approaches you can take to your technique practice.

Visual Observation of a Model

Watch a video of the technique(s) (see the list of links to Instructional Videos in the sidebar on the left). Concentrate on identifying every specific characteristic you can discern visually - you might even turn off the sound while watching. (Hint: if you download videos to your PC, you can use Windows Media Player to watch them at a slower speed, or on your iPhone, pause the video then tap and hold the fast forward button).

At what angle is the drum held?
Where does the non-dominant hand rest on top of the drum? If the face of the drum were a clock, at what hour does the hand rest? The fingers?
At what angle does the arm, hand and fingers intersect the edge of the drum for the Dum? The Tek? The Ka? (The Cha?)
What spacial relationships exist between the finger and the drum edge?
Where exactly on the drum is each stroke placed? What does that look like?
How do the fingers move after they strike the drum?
Are the fingers straight? Cupped? Fingers together or apart?
Where and how does the arm, elbow, wrist, hand, or fingers bend or move?
Where do you see tension? Where do you see relaxation?
What stays relatively still? What has the greatest motion?

Visualizing the Dum, Tek, and Ka (and Cha)

With your eyes closed, visualize a Dum as you saw it in the video, but in slow motion. Picture what your Dum would look like in slow motion from another person's perspective, then visualize it from your perspective.

If something in your imagining isn't in clear focus, go back and watch the video again, noticing specifically the details you need to make your visualization crystal clear.

Repeat this for the Tek and Ka (and Cha)

Getting Visual Feedback

Set up a mirror so that you can see your drum and hands clearly from the outsider perspective.

Play your Dum and really look at it from both your perspective and in the mirror.

Does it look like the model in the video? In what ways does it look the different? In what ways does it look the same?
What do the angles look like? The angle of your arm, hand or fingers?
Where and how do you bend or rotate?
Do you hold the relatively still parts relatively still?
Do your fingers look like the fingers in the video?

Keep tweaking until your stroke looks like the stroke in the video.

When you're satisfied with the Dum, move on to the Tek and Ka (and Cha).

Many thanks to Philip Johnston and his chapter on visualization in his book Practiceopedia for some of the techniques and inspiration for this post.

Happy practicing!

-- Tara Severns

Class #5 - Nov 8

2009-11-08T17:45:00.000-08:00

Rhythm Review

Maqsum 4/4
           1...2...3...4...
 Home      D.T...T.D...T... 
Walking    D.T.K.T.D.K.T...

Frame Drum Variations:

           1...2...3...4...
Home       D.C...C.D...T...
Walking    D.C.K.C.D.K.T...

Karachi 2/4
           1 . . . 2 . . .
           T . . k T . D .
           C . . k C . T .   frame drum variation

Practice Tips

Cycles
Read page 22 of the NWR book for a full explanation of cycles. While you play a rhythm, practice calling out cycles of various lengths by calling "one" on the first beat of your cycle.

Play Along!
The ensemble Helm has a few Karachi tracks on the album Itneen. You can hear samples on their website. You can also listen to samples, purchase tracks or buy the whole album from iTunes ($.99/$9.99) or PayPlay.fm ($.88/ $8.88).

More Steering Wheel Practice
Waiting to turn left? Practice your timing with Left Turn Rolls.

Left-Turn Rolls

2009-11-08T13:36:00.000-08:00

Waiting for the green arrow again? “Click-click Click-click” goes your turn signal. Practice time!

Put on your parking break, and use the first click of each “Click-click” to guide you. 

1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 

T K T K T K T K T K T K T K T K  -->

TKTKTKTKTKTKTKTKTKTKTKTKTKTKTKTK -->  

Alternate between eight beats of T K and eight beats in of TKTK

Concentrate on getting good, even timing. 

Happy practicing! 

-- Tara Severns 

Class #4 - Nov 1

2009-11-01T21:02:00.000-08:00

Class Notes for Nov 1, 2009

Maqsum 4/4
1 . 2 . 3 . 4 .
D T . T D . T . home (listen)
D T K T D K T . walking (listen)

Another variation for frame drums:

1 . 2 . 3 . 4 .
D C . T C . T .

Where C="Cha"

Maqsum is sometimes also called "maSmuudii saghiir" (meaning "small masmoodi" - We'll learn the bigger masmoodi later). Jas says that beladi is a folksier version of maqsum.

New Calls

Reset - Break, and the person who calls it sets a new tempo.

N to A - The named individual (A) gets the specified number (N) of beats to fill while the rest of the ensemble is silent.

Practice Suggestions

See Vanquishing Wimpy Kas in Your Car

One fun way to practice your rhythm and timing is to play along with a recording. To practice both maqsum and beladi, you might like to use a track entitled (strangely enough) "Maqsum, Beladi" by The Black Drum from the album Rakshasa. You can hear a sample or buy the whole track for about a quarter. (By the way, this album rocks, and you can (currently) buy the whole thing for $3.26).

Vanquishing Wimpy Kas in the Car

2009-11-01T10:04:00.000-08:00

There's a reason why your Kas sound wimpy. Unless you've played a string instrument, you may have never asked your ring finger on your non-dominant hand to do anything more cumbersome than carry your rings around. And now you're asking it to play Kas on your doumbek or framedrum.

In addition to your regular practice on your drum, you can build up your strength and endurance by playing Kas in your car.

When you find yourself waiting for a stoplight to change, put your non-dominant hand on top of the steering wheel at about 12 o'clock.

Start playing Kas at as fast a tempo as you can while maintaining good form (if your turn signal's on, work on your timing, too - can you play one Ka per click? Two?). Check for unnecessary tension (are you trying to hitchhike inside the car?) and relax.

In the beginning, you may not even hear your Kas - but this isn't about practicing good sound, but building strength.

You will soon start to "feel the burn" as your muscles become fatigued. You may feel your finger and forearm become tired. Keep breathing, and keep going a little longer (or until the light changes), then rest until the next stop light.

Start with one or two sets per drive for a few days. Then do two or three sets. How much longer you can go in one set? Can you increase your tempo? Are you beginning to hear your Kas? Maybe you hear them more at the beginning of the set more than the end? Do you notice any difference when you play your drum?

Happy Practicing!

-- tara severns

Links

2009-10-26T11:08:00.000-07:00

New World Rhythmatism

New World Rhythmatism - Official site of NWR creators Joshua Levin andDeborah Nervig. Includes practice sound recordings, video recordings and pictorial study resources, and an Active Listening Guide linking to (mostly) free music recordings that "illustrate interesting technical and cultural concepts" or are "associated with assigned readings and other NWR exercises."

New World Rhythmatism (book) - This is our textbook - order it at cost plus shipping. Hint: specify air mail if you want it any time soon.

Rhythm Collections

Arabic Rhythms (Maqam World) - with sound clips, notation, meaning, origin, use & related rhythms

Jas's Middle Eastern Rhythms FAQ - Notation, sound samples, and information about many Middle Eastern and Mediterranean rhythms. Use the MIDI Rhythm Generator to create sound clips of any rhythm you type in, and at whatever tempo you choose.

History and Culture

Frame Drums and Tambourines - This article by percussionist N. Scott Robinson describes and shows many types of frame drums from various regions of the world. Extensive bibliography. An edited version of the article was published in Continuum Encyclopedia of Popular Music of the World, Volume 2: Performance and Production.

Discussion Lists

Gobet Drumming - A Yahoo eGroup "for all those percussionists interested in the goblet shaped drums of Asia, North Africa, and Eastern Europe. "

Framedrummer - A Yahoo eGroup for "players to engage with each other in discussing this ancient and global family of percussion instruments."

TaKeTiNa

TaKeTiNa - The official site
Rhythm Full Circle - site for local TaKeTiNa facilitator Deborah Masterson

Organizations

NAFDA - North American Frame Drum Association with a mission " to cultivate awareness and education among the general public and students of the artistry of frame drumming in all of its forms found in both traditional and modern cultures through its annual and regional events."

MEDAH - Middle Eastern Dance Artists of Hawaii - "Promoting the diversity of Middle Eastern and related forms of dance, music, and culture through education, instruction, and community."

International Folk Dancers of Hawaii - Meets weekly to enjoy" regional dances of Bulgaria, Greece, Macedonia, Armenia, Turkey, Israel, Yugoslavia, and many other countries."