Showing posts with label class. Show all posts
Showing posts with label class. Show all posts

1/31/2010

Class # 13 - Jan 31

More variations! 


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!





1/17/2010

Class # 11 - Jan 17

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

  1. 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. 

  2. 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." 

  3. Work on technique. Try some visual approaches to practice to help you.


Optional Reading

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

12/06/2009

Class #9 - Dec 6

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!

11/29/2009

Class #8 - Nov 28

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

11/28/2009

Getting the Most Mileage from a Master Class

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.

11/22/2009

Class #7 - Nov 22

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

11/08/2009

Class #5 - Nov 8

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

11/01/2009

Class #4 - Nov 1

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).

10/18/2009

Class # 2 - Oct 18

Class Review for Oct. 18, 2009


New Rhythm


Ayoub 2/4 (listen)
1...2...

D..kD.T.


Omar Faruk Tekbilek's composition "Whirling Dervish" from the album Whirling has a slow ayoub rhythm that speeds up in the second half. Listen to it on YouTube, or buy the track for a dollar at the iTunes Store or iMeem


see Notes on Notation


New Calls

"Sing it" - speak the rhythm or cycle of rhythm once, unless another number is specified

"One" - designate the beginning of a cycle

"_______" (name of rhythm) -
Call the ensemble to begin playing the new rhythm at the beginning of the cycle

"Add _______"
- Attach one cycle of the named rhythm to the end of the established cycle
(see NWR, p. 49)

"Drop _______
" - Stop playing the named rhythm
(see NWR, p. 49)

"Converge in the River" - Play unison subdivisions of the pulse without any time signature or stylistic variation (see NWR, p. 49)

See Straight Roll Drill

8/21/2009

Class #1 Review

Class notes from October 11th

Please feel free to post questions or observations below as a comment.


Dum, Tek and Ka


See tips on Practicing Good Form and Coordination Practice

Frame drummers, also check out Joshua Levin's videos on playing the frame drum while seated and while standing

Doumbek players, take a look at Alex Spurkel's videos on playing the Dum, the Tek, and the the Ka (what he calls "Caa")

Beladi

1...2...3...4...
D.D...T.D...t... Home (listen)
D.D.T.k.D.k.T... Walking (listen)

See tips on Learning a New Rhythm or Variation


NWR Cues

Show Me One” - Ask for the location of the first beat of the cycle. Other ensemble mates will call out “1” at the appropriate spot in time
Count #” – Stop playing for designated number of pulses
Go Home” – Return to the core unembellished structure of the rhythm
Break” - Stop playing for the duration of the current cycle
Cut” - An abrupt ending at the end of the current cycle
Match Me” - Play what I am playing
Sail In” – Quietly begin and slowly increase volume
Sup” - Slowly increase tempo
Slowit” - Slowly decrease tempo
Level up” – Slowly increase volume
Level Down” – Slowly decrease volume
Steady” - Hold the current temp / volume indefinitely