Thank you very much.
Thank you very much.
Thank you very much.
I discover the goon, go-do-pa-ta.
Method.
By looking at the language, the consonants in the Yoruba language.
So those are the sounds we're going to deal with.
So if you can sing it, you can play it.
That's what I say.
If you can sing it or say it, you can play it on the drum.
Goon, goon, pa-ta, goon, pa-ta, pa-ta.
Follow?
I'm going to sing and play.
Goon, goon, pa-ta, goon.
Goon, goon, pa-ta, goon.
Goon, goon, pa-ta.
Goon, goon.
Goon, goon, pa-ta.
What you generally end up doing is going through all the steps we've gone through
and hope that they get the angle of the stick right and the motion right.
And then generally what seems to happen is that the role begins to happen for them
and then it's a question of them controlling it.
But just as an aid to in that process, we're just going to try this little experiment.
Go on.
Go on.
Go on.
Go on.
Go on.
Go on.
Go on.
Go on.
So what we're going to be doing is exploring some of the possibilities of playing drums with your hands.
Throughout the world there are many kinds of hand drums and many kinds of ways of playing
and all of them have one thing in common and that is that in order to play efficiently
and to make a good sound, one must be relaxed.
And it's not a bad idea to think about throwing the hand as though you were going to throw a ball
so that you think about this kind of a wave where we throw the hand into the head.
It's all very loose and very relaxed, just like a good baseball pitcher.
Go on.
Now we're going to explore the possibilities of playing with three fingers,
individual fingers from each hand, mainly finger number three, number two, and number one.
The first pattern we can do is to play a pattern of four, playing one of the fingers from one hand
and then the three fingers in succession from the other hand, like this.
Go on.
Go on.
Go on.
The open tone is made by putting the curve of your hand,
where your fingers connect to your hand, on the curvature of the drum or the collar or the top of the drum.
This is called playing on top.
And by lifting and setting your hand down on the drum and the contact is from here forward,
you will get the full tone of the drum.
To play the cha-cha-cha in a two drum pattern, you would move one tone to the tumba,
one and two and three and four and, one and two and three and four and.
Instead of one and two and three and four and, it's one and two and three and four and.
So four and is the only difference in the pattern, four and.
Da do da do da do da da do da do da do da do.
Yeah.
That
But throughout the world, the frame drum in particular is a very personal instrument to
some people, and it can be that way also, although it functions well inside of a group
like we have demonstrated for you in this video, it can also be an intensely personal
instrument, one that you can take off into the woods with you and just sit under a tree
and have a good time and almost get into a state of meditation or just relaxing by playing
your drum and just listening to the sounds without worrying about technique, just having
a good time just by yourself and with your friends if you like.
Because it's metal, it doesn't mean that you have to hit it hard.
I'm not hitting it very hard at all, and strangely enough, these metal pots like this one and
the one I'm going to show you in a minute have some of the very same properties that
drums have.
Namely, there's a sound on the rim, and a sound inside or at the sweet spot.
So, I'm going to show you how to play the drum, and I'm going to show you how to play
the drum, and I'm going to show you how to play the drum, and I'm going to show you
how to play the drum, and I'm going to show you how to play the drum, and I'm going to
show you how to play the drum, and I'm going to show you how to play the drum, and I'm
going to show you how to play the drum, and I'm going to show you how to play the drum,
and I'm going to show you how to play the drum, and I'm going to show you how to play
the drum, and I'm going to show you how to play the drum, and I'm going to show you how
to play the drum, and I'm going to show you how to play the drum, and I'm going to
What's different about the ballophone is that it has an amplifying chamber for each and
every key.
What's similar, at least to the pentatonic scale of marimba, is that you have a five
tone scale, and it sounds like this.
Now the pentatonic scale of the ballophone starts right here.
Common to all these instruments is the sense that each key, like a drum, has a very specific
note, and one combines rhythmic ideas with melodic ideas to create compositions or songs.
Finally stretching some of the ideas of the keys themselves, you can play two notes at
one time by playing one with the stick and the other with the mallet head.
Guys?
Okay, the first stroke is doom and doom is done with the fourth finger of the right hand.
Just like on the boron we're trying to get a low open sound. The next stroke we have is called
toque and toque is done with the fourth finger again on the rim. Now you can see the pivot motion
happening on doom and on toque. That motion happens also on the slap which is done with
the hand slightly cupped. In the left hand the fourth finger does toque right on the rim,
high-pitched rim tone.
Now you can see the pivot motion happening on toque right on the rim, high-pitched rim
tone again on toque right on the rim, high-pitched rim tone.
Now you can see the pivot motion happening on toque right on the rim, high-pitched rim
tone again on toque right on the rim, high-pitched rim tone.
The pulse exercise is about support and experimentation. It's that simple. The
support is the pulse happening in the circle here. Everyone who is playing the pulse for
you is playing the pulse for you. And so the other aspect is for you to experiment with
that. Have fun, enjoy yourself, and please make mistakes so that you can learn from them.
Don't make a mistake by making it a mistake, otherwise you're not going to learn from
them. And especially, have fun.
Once
again, start out, learn the dance with the space, then move it around and experiment.
It's all about experimenting. You've got four grooves, this one, this one, this one, and
this one.
One, two, three, four, five, six, seven, eight, nine, nine, nine, nine, nine, nine, nine,
nine, nine, five, six, seven, eight, nine, nine, nine, nine, nine, five, four, three,
four, three, two, one, four.
Once again, four, one, two, three, four, five, six, seven, eight, nine, nine, nine,
Today I'd like to cover the three most important sounds in Arabic music and for this instrument.
The first being the doom stroke.
This is the sound that drives the rhythm.
The open, full sound, the lowest pitch possible in the drum.
There are four main strokes that are most commonly used to get this sound.
First one being across the pad of the hand, just inside the rim.
In other words, between the center and the rim.
Now, the stroke is always made in a circular motion.
In other words, this is the motion that you want to see in the stroke, not this motion.
This, you're going to hurt yourself.
This, that hurts.
This is like the circular thing, very relaxed.
Keep all this energy flowing along your arm.
Right across this pad, the doom.
The first rhythm I'd like to share is known as wadah sahirah, very simple rhythm but very beautiful.
I think of it as two counts.
Doom, doom, tak, doom.
Doom, tak, doom.
Doom, tak, doom.
Doom, tak, doom.
Doom, tak.
Doom, tak.
Doom, took.
Doom, doom, tak, doom.
In nature, there's a balance, but there's also variety.
I think our music should have the same qualities.
Balance from knowledge and technique, but also variety and spontaneity.
If we can make a space in our music for spontaneity, I think that our lives will become more musical.
Our days will groove, and we'll all learn together.
We'd now like to play the entire rhythm for you, and adding the bass drum part.
One very interesting thing about this bass drum part is that it is in a two-bar phrase.
The first bar outlining the four beats per bar feel.
The second bar outlining the two and three beats per bar feel.
So let's listen to that first, and then we're going to come in,
djembe three first for two bars, djembe two for two bars, and then I'll come in on djembe one.
One, two, three, four, five, six.
Djembe one, two, three, four, five, six, seven, eight, nine, ten.
Thank you.
Thank you.