Drum Talk - March 2016

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You won’t find the word Rhythmaculture in your dictionary. It is an “Arthurian” word that describes a culture that has integrated, ritual, dance, song, and music, into almost every aspect of its existence, its expression of its self, and its celebration of life. In a Rhythmaculture, rhythm and music serves specific purposes. There are songs, dances, for courting, weddings, births, funerals, harvesting, planting, and spiritual expression. Song and dance, and ritual permeates nearly all Rhythmacultures in their community gatherings.

A Rhythmaculture has always had drums or percussion in its history of expression.

Rhythmaculture people have evolved their cultures out of an intimate relationship with the earth they live on, and the animals they live with.

A lot of their rhythms, songs and dances have been modelled from the movements of the animals, the songs of the birds, and the community’s dance for survival, such as the movements of harvesting, planting, and hunting.

spirits. That was true. The colonists also were afraid that drumming amongst the slaves might unite them into a rebellious spirit. That was also true. The first slave revolt in the Caribbean was in Haiti. The children of Africa, successfully kicked the colonists off the island and created the first third world country in the Caribbean. The rhythm and dance that fuelled that revolution was called Petro. Many colonists tried to ban drums, but the spirit of Rhythmaculture cannot be stopped.

Through the suppression of the drums by the colonists, many other rhythmical art forms were birthed, such as the Cuban Yambu rhythms and dances played on wooden boxes, the steel pan bands of Trinidad, and tap dancing in the Southern United States.

Asians, Pacific islanders, native Americans, and Africans are all people who come from Rhythmacultures.

The people from European decent, started losing parts of their Rhythmaculture around the historical period called the inquisition. Back then, social conditioning was effected in such a way, that any thing that was considered primal, pagan, or unchristian, was frowned upon. Certain white Anglo-Saxon religious orders instigated persecution of the Druids, Witches, Gypsy, and Jewish cultures that still continues today.

European, colonizers tried to suppress drumming amongst the African people they had stolen from Africa, and brought to the Caribbean as slaves.

They thought that through the drums, the slaves were talking to each other, and their ancestral

Haiti is an example of a new Rhythmaculture being formed. Three different Rhythmacultures from Africa were thrown together with the French and original native cultures on the island. Haiti was the mixing bowl, and these five cultures were the ingredients. The result, after two hundred years of cooking and evolving, is a Rhythmaculture that is distinctly Haitian, where dance, music and drumming, permeates many aspects of its social interaction. The Afro-Cuban Rhythmaculture is also a good example of this type of two hundred year mixing bowl evolution.

Arthur Hull is a Remo endorsed artist

The NEW L80 low volume cymbals are the perfect way to get a real cymbal sound and feel with a fraction of the volume. When these cymbals are paired with Remo Silent Stroke mesh drum heads on a standard drum kit; both the heads and cymbals reduce the volume yet still generate an enjoyable tone from the instruments. The L80 cymbals and Silent Stroke heads are perfect for practice rooms, teaching studios, and classrooms where low volume practice with a great feel is required . These heads and cymbals will go with any drum kit.

Now in stock and available at Optimum Percussion. Call us on 1300 850 242 to enquire, order now and for the latest sale pricing.

Optimum Percussion, in association with Rhythm2Recovery, is very proud to announce the tour of legendary rhythm facilitator Arthur Hull who will be in Sydney and Brisbane in July this year delivering his fabulous three day ‘Rhythm Facilitation Training’ program. Arthur is known as the father of the modern day drum-circle Rhtyhm2Recovery movement and has inspired thousands of people around the world with his energy, passion and unsurpassed knowledge of all things rhythmic. In particular, he is an expert at helping people establish drum-circles as part of their classroom, school or community development practice and has created a beautifully scaffolded training program to take people through the steps of creating a vibrant rhythm community.

In the 1960’s Arthur was a well known drummer in the San Francisco area and attended many drum-circles.

At one of these events he realised that with some facilitation these events could be transformed into sophisticated community music gatherings for those who previously had no experience with music. Arthur has since taken his message and techniques to countries around the world, and is largely responsible for the explosion of the community drum-circle movement internationally. Arthur is the author of several books on drum-circle facilitation and rhythm games and is also a hugely talented hand drummer, who has performed with many leading musicians.

This training is fun and practical. It will teach you a wide range of skills for bringing rhythm based music into your classroom or other setting. It includes practical exercises and games to engage participants in creative improvised music and all the attendant social and emotional development that goes with it.

Arthur brings a tremendous enthusiasm to his work and many of his graduates return again and again to learn from him. Don’t miss this wonderful opportunity to expand your skills with a master of the art.

Registration and further information can be found at www.rhythm2recovery.com Early Bird specials prior to April 1st, 2016.

Jess Ciampa began his musical life as a trumpet player but changed to percussion halfway through a Bachelor of Music Education degree at the NSW Conservatorium in 1984, studying with Michael Askill. He is a multi instrumentalist at home in a variety of styles of music, ranging from mainstream orchestral through to jazz, latin and commercial. He has performed with the Sydney Symphony Orchestra, the Australian Brandenburg Orchestra, the Australian Chamber Orchestra, Synergy Percussion, the Seymour Group and the Sydney Dance Company. He has played either percussion or electric bass in numerous Sydney salsa bands and is currently a member of the fifteen piece salsa group, Mucho Mambo. He is also a member of the triple Aria award winning group Monsieur Camembert, and Marsala, a world music group with whom he plays either Kit or Electric Bass. For several years Jess toured extensively in Europe with The Spaghetti Western Orchestra. A Melbourne based quintet who perform highly theatrical interpretations of the film music of Morricone. Highlights with the SWO include return seasons at the Queen Elizabeth Hall, Southbank, and a performance as part of the 2011 Proms in The Royal Albert Hall.

For the past 26 years Jess has performed with several groups as part of the Musica Viva in Schools program. He currently plays with the group Zeeko as part of this program.

v) What's the last video you watched on Youtube?

i) When and why did you start playing?

vi) What is your favourite percussion/drum book?

I got into percussion very late in life, having entered into the BMusEd course at the Sydney Con as a trumpet player (though I was a self taught kit player). It was going to a Synergy concert in 1984 that inspired me to take up percussion.

I find myself reaching for Master Studies by Joe Morello for snare work and, even though they're not technically a drum/percussion book, I frequently reach for the Bach Cello Suites when I do some Marimba practice.

ii) What music did you last listen to?

vii) Who was your main instrumental teacher and what was one of the best lessons they gave you?

Some bed tracks for an ABC recording I'm playing on which I believe is going to be called "The Celtic Cello" iii) What's in your stick bag?

I have a few stick bags on the go. My kit bag is a shambles.....I can never decide on definitive favourite sticks! Pairs of Vater Fusion, Vic Firth Peter Erskine and Buddy Rich models (though I'm no Jazz drummer...)...all of which I swap between for different tunes. I have a stick bag full of timbale sticks and then a session bag that I fill with whatever is required for the session or gig. iv) What is your favourite piece or work that you have performed?

Most enjoyable gig I've ever done was touring with a group from Melbourne called The Spaghetti Western Orchestra (filling in for David Hewitt and working with one of my percussion heroes, Graeme Leak). It was a theatrical show presenting the film scores of Ennio Morricone by five multi instrumentalists. A real challenge....especially playing Vibraphone and singing...while changing Timpani notes!

Berlin Philharmonic with Sir Simon Rattle performing Wynton Marsalis' Swing Symphony, in preparation for performing it with the SSO.

My main teacher was Michael Askill. Michael would play a lot in the lessons, which was great, and I remember working on Ross Edwards' Marimba Dances with him. He is so innately musical and has a great relaxed approach with economy of motion. It was inspiring to hear and watch him play that work. viii) A drum or percussion item that you cannot live without?

My conga tuning spanner. ix) Musical Idol?

Elvis Costello....I'm a fan of great songwriters, and the great drummers who play for them. Hard to go past his drummer, Pete Thomas. x) Oddest musical instrument request you've received?

The Spaghetti Western Orchestra show had a gunfight folley sequence that required me to play some strange instruments......a tree branch, coat hangers, a metal support for some shelving and a narrow piece of pipe with the bell of an old trumpet shoved on the end (concocted by Graeme Leak)....good to know my trumpet chops still worked....sort of!

1 x Dun Dun 1 x Talking drum 4 x 10” (50cm H) Djembe 2 x 12” (60cm H) Djembe 1 x large Shereke 2 x med Shekere 2 x guiros 2 x seed shakers 1 x Kokoriko 1 x two tone Woodblock/guiro Pearl orange clave block 1 x Pearl Primero cowbell 1 x 13” block sticks 1 x African dble cowbell 1 x Rosewood Clave 2 x Caxixi shakers S,L. Includes protective hats on every drum

7 x 10” (50cm H) Djembe 8 x 12” (60cm H) Djembe Includes protective hats for every drum

Drum Circle Facilitation is “THE” rhythm event facilitation book. This comprehensive handbook includes: – The Full Curriculum presented in the VMC six day Drum Circle Facilitators Training Intensive – Facilitation Exercises – Complete Map of Arthurian Triplications – Facilitators Shorthand – Starting, Producing and Marketing Drum Circles – Stories by Arthur and Contributors in the facilitators Community – The relationship between Drum Circles and the Science of Complexity – Interview with Babatunde Olatunji – Arthur Hull Village Music Circle

3 x 10” (50cm H) Djembe, 2 x 9” (40cm H) Djembe, 2 x Med Shekere, 2 x Guiros, 2 x seed Shakers, 1 x Kokoriko, 1 x two tone Woodblock/Guiro, 1 x African dble cowbell, 1 x Clave, 1 x clave boat, 2 x Caxixi shakers S,L. Includes protective hats for every drum

1 x 11” Kente Flex Drum, 2 x 12” Meinl Fibreglass Journey Series Natural Head Djembe, 2x 10” Meinl Fibreglass Journey Series Natural Head Djembe, 1 x Remo 8” Festival Djembe, 2 x Remo Bongos, 1 x Pearl Hernandez Signature Series Cowbell, 1 x Nino 5” Frog Guiro, 1 x 3 Tone Nino Woodblock, 1 x Optimum Tritone Agogo Bell, 4 x Nino Fruit Shakers, 2 x Nino Mini Guiros, 1 x Rohema Ding Dong Clave

Drum Circle Spirit teaches about facilitating community through rhythm-based events. Arthur Hull, recognized as the father of the drum circle movement, uses rhythm circles for spirit - and team - building among personal growth and religious groups, major corporations and to help build community in grass roots organizations around the world. This book includes discussion and education about 'rhythmaculture'; a play-along universal grooves CD with orchestration outlines; drum circle games; facilitation exercises; orchestration exercises; and the author's philosophies, terminologies, and stories. All of these tools are designed to act as a foundation from which facilitators can grow and develop their own styles.

Lots of djembes are being used by classroom teachers in schools for drum circle and drumming activities. Many of these are roped tuned drums. Variations in temperature and humidity can cause a natural head to change in pitch. If your Djembe are sounding a little dull and lifeless, they just need a quick tune up. It really makes a huge difference in volume and sound quality and it is simple enough for students to do with you.

wrap the rope around a clave or drum stick for the pulling down part. This just saves your hands.

3.

Keep working around the drum until you have raised the Djembe to a pitch you are happy with. You will hear the edge open tone and slap tone get brighter and louder as you raise the pitch. Depending on your drum, this may be only a few twists or it may need a whole “round” of twists. Keep in mind that if you are tuning on a wet or humid day or a cold dewy winters morning , the drums will get quite a bit higher when the weather dries out . You have to be careful not to tune too high in the wet or else the dry weather will cause the head to get so high it may split. So be aware of humidity as well as temperature and listen to your drums. They will let you know when they are too high.

4.

To lower the pitch, simply pull up on the rope towards the head and then flick the ropes over to untwist.

5.

To tie off the ropes loop it under one of the loops on the bottom ring, add a basic half hitch style tie off and wrap the excess around the waist of the drum or take it back up the top to re-tie your handle.

You change the pitch of a Djembe by twisting or un twisting the tension rope that run up and down each djembe.

1.

Find the end of the spare rope. Each djembe has spare rope provided for the purpose of tuning.

Sometimes it is wound around the waist of the drum and sometimes it is knotted into a handle. The handles are just a useful way to store the spare rope.

If you look closely , you will find the rope end buried in the handle. Once you “dig out” the end, just pull it and the handle will magically unravel and you will find that it comes from the bottom of the roped area. If you really liked the handle, it is not hard to re-knot it after you have finished tuning the djembe or if you prefer just an extra piece of rope to tune (see diagram B). You can order some djembe rope through Optimum. A few metres will be plenty per drum.

Tuning at School When tuning your own djembe for personal performance you may be much more inclined to fine tune your drum as often as necessary. Fine tuning a classroom set of djembes in this way is probably not reasonably achievable for most busy class teachers. The tuning process of adding just a few extra knots to several class drums may more simply be achieved by asking a small group of students - even senior primary students - who can work together step by step to assist getting several djembes tuned.

2.

See the diagrams below for tuning. Simply pass the rope underneath two ropes and back over one and under the other. Then pull down to twist the rope. If you are doing this for a while, you will find it useful to

Djembes, bongos, congas and other hand drums are primarily and traditionally played with the hands. Open, Bass, Slap and Mute tones are all used by varying the use of the hand and fingers on the drum head. As a general rule, using your hands will provide the warmest and most authentic sounds....but some hand drum skills are required to achieve volume and projection and a range of contrasting sounds. Mallets can be used to allow students to create stronger sounds and also a wide variety of different sounds.

There are many other drums found in a drum circle that always use mallets. These include Dun Duns, Bahia, Surdu, Toms and Gathering drums and they all use a variety of specially designed mallets to create their unique timbre.

Using mallets can create contrasting sounds and open up many musical outcomes and enhance creativity. Experimenting with a variety of these

mallets across all the drums in the classroom including the hand drums can create exciting sound scapes and add to the sound texture.

As a simple example, one group of Djembes played with hands and another played with mallets will create an immediate contrast in the sounds for each group and enable more interesting question / answer or similar drumming games.

Not all mallets are good for all drums. A pair of standard drum sticks will break a Djembe head and something too large or soft will not make a useful sound but there are many great mallets for use on hand drums.

Below are a list of some interesting mallets that we recommend that will work for a variety of hand drums.

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