TMEA April 11, 2014 Memphis Convention Center, L4 3:00pm

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Magdalene Preston
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1 Creativity, Improvisation, and World Music with instruments commonly found in your band room Directors Clinic Presented by: Dr. Julie Hill PAS President-Elect Associate Professor of Music Percussion Coordinator University of TN at Martin TMEA April 11, 2014 Memphis Convention Center, L4 3:00pm

2 Part I. Why the Drum Circle concept? The Big Picture In forming a drum circle, music becomes fun and your ensemble members are completely equal from the All State clarinet player to that rhythmically challenged wind chime only candidate to the teacher of the ensemble everyone is important! Furthermore, there are no wrong notes allowing for freedom of expression and assuaging fear of making a bad sound. An additional benefit can be that in playing percussion instruments only, it is easy to explore the rhythms of other countries in a non-threatening way, allowing students/adults to experience immediate success in playing music with a different sound. This only expands our world-view and increases our cultural awareness and musical vocabulary. The best lesson of the drum circle is communication; you must learn when to speak or lead and you must learn when to listen or follow. This encourages participants to develop their role within the ensemble while respecting the space of others. Cooperation is key in sustaining any drum circle, but more importantly, these activities sustain and build all types of communities. Learn to let go and have fun playing, but allow for space; rhythms have to breath and have space just as we do. Drumming allows us to stop the constant chatter of our minds and frees us from doubt, fear, and habit. In doing this, we may find a new type of passion and joy through music! Drum Circles are not about drums, drumming or music. They are opportunities for self-expression, personal empowerment, community creation, health and wellness. By connecting people to rhythm in play, we connect them to something essential - being in sync with one another! We are playing drums, percussion, in the service of selfexpression, personal empowerment, and all the rest. Research There is a growing body of research on the effects and benefits of rhythm-based activities, drum circles and music generally. From studies about our native born rhythmic aptitude to the effects of music making on Alzheimer s patients the scientific community is recognizing that there are profound questions to be asked and answered regarding our unique human ability to make and appreciate music and what that implies for how we move through the world. Discovery Seek types of music you don't normally listen to, and pay careful attention to the rhythms. Pick out the various parts, and see if you can repeat them to yourself. World View Learning the rhythms of other countries expands our world view and increases our cultural awareness. Drumming is a language spoken worldwide. Team Building and Communication Drum Circle not a drum square- we are all equals in the greater whole. When to lead and when to follow - find your role and respect the space of others Cooperation is key in sustaining any drum circle Equality Drumming breaks down barriers of age, sex, race, social and financial status, and musical aptitude.

3 Listening Hearing versus Seeing. While playing the same rhythm, close your eyes and see how your listening perspective changes. By not relying on our eyes, we become better listeners. Words are not even necessary for an entire group of people to communicate if everyone listens Relationships Intention versus effect. How does the rhythm you play affect those around you? Self Disclipine Practice and refine your abilities. Space Have fun playing, but allow for space. Rhythms have to breath and have space just like we do. Healing Drumming is calming, exciting, meditative, and rejuvenating. Drumming is a source of stress relief and develops right brain creativity. Physical Benefits Drumming increases circulation and improves awareness of your own body. Added Benefits: Rhythmic Empowerment Health and Wellness Building Community Music Discipline Respect Unity Drum Circle Balanced Instrumentation Strike, Shake, Scrape I. Drums Traditional: Conga, Djembe, Ashiko, Surdo, Frame Drum, Bongo, Talking Drum Substitutions: Instrument Case, Trash Can, Large Water Bottle, Bucket II. Shakers/Scrapers Traditional: Maracas, Shekere, Cabasa, Ganza, Eggs shakers, caxixi, guiro Substitutions: Pill bottle, rice or gravel in an empty water bottle, comb on music stand III. Metals Traditional: Agogo Bell, Cowbell, Triangle Substitutions: Chunk of metal, brake drum, glass bottle, piece of pipe, pan or skillet IV. Woods Traditional: Claves, Woodblock, Temple Block, Log Drum Substitutions: Table top, broken marimba bar, piece of wood from outside Basic Tones Low, Middle, High Bass Tone Low tone produced near center of drum Play in center of head with whole hand Lift hand after hitting

4 Say Dun Open Tone- Slap Tone- Higher tone produced by playing near edge of drum Play on edge of drum from fingers to halfway down palm Lift hand after hitting Say Tah Highest tone produced by playing a little closer to center than open tone Allow whole hand to hit, but allow fingers to flop and make slap sound For closed slap, leave hand down after hitting For open slap, lift hand after hitting Say Tek Explore Different Sounds on your instrument and try to play it in different ways have fun! Concept of Ostinato The success of a drum circle relies on the ability of the participants to repeat a rhythm multiple times without change. This musical concept is called ostinato. In time, the rhythms evolve and develop naturally and each individual finds their own space and role within the circle. Practice the concept of ostinato verbally at first. Play the rhythm game where a subject is chosen and each person thinks of a word relating to the subject that they want to speak. For example: Vegetables. One person is Car-rot, the next Red Swiss Chard, and so on. Many words lead to natural rhythms. It is best to practice ostinato first in this manner, without the added challenge of sound production and technique on drums, which may be a new instrument for some people. Drum Circle Activities 1. Pulse Breakdown -Facilitator begins with 16 th notes. Everyone joins in. Facilitator moves to 8ths, quarters, halfs, wholes, and mixes them up. Develops sense of space and inner pulse Beat Trade off -Facilitator divides the circle in half. One half is with his/her left hand and the other is with the right hand. Participants must watch to know when to play as the facilitator goes through combinations and variations. They must be aware and react quickly. 3. Add a Beat -Facilitator plays 4 beats, participants play the 5 th. Facilitator changes the tempo and volume. Develops tempo and dynamic perception and ability to appropriately react. 4. Echo Rhythms -Facilitator plays rhythms and participants echo back 5. Rhythm Accelerando

5 -Circle is split into two halves. Each half plays two beats. Starts slowly and tempo gradually accelerates without the aid of the facilitator. Groups much listen to each other to hold steady. - Do this around the circle with each individual pass the eighth notes (each person will be able to hear the individual sound of their instrument and start to accept individual responsibility for the circle. - Do the same exercise with eyes closed Explain Entrainment 6. Limitation Exercise -Play only one beat per measure -Play two beats per measure -Play three beats per measure -Play four beats per measure 7. Groove Rhythms -3x2 Groove or other variation where facilitator gives small groups specific rhythms to play. Sculpt after participants can sustain an ostinato. 8. Total Improvisation -Choose someone to start a rhythm. Participants should listen and feel the space and come in with their own rhythm when they feel inspired. Remind them about listening, ostinato and that space is important. 9. Sculpting -Sculpting is a word used to describe the conducting done by a vacilitator. Some ideas include: 1. Change the tempo 2. Change the dynamics 3. Change the texture 10. Passing Solos -Once the participants develop more confidence, individuals or small groups may be chosen for solos. Usually the facilitator will have one or two strong players continue during this time and then he/she will cue the entire group to come back in. 11. Rumble -A rumble occurs when the rhythms stop and a cacophonous roll begins. Participants can play whatever they want without regard to pulse. Rumbles are good for stopping and starting pieces.

Rhythm Sticks CD Teacher Notes

Rhythm Sticks - Teacher Notes 2000 Adele Voice 1 Rhythm Sticks CD Teacher Notes Rhythm Sticks CD The Rhythm Sticks resource is based around the Rhythm Sticks CD. It is designed to be used in a group with