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BERKLEE COLLEGE OF MUSIC VALENICA CAMPUS
“THE NATURE OF A CONTEMPORARY
PERCUSSIONIST”
ADVISOR: VICTOR MENDOZA
SUPERVISOR: CASEY DRIESSEN
BY: PATRICK GRANEY
Table of Contents
Abstract ................................................................................................................................. 1
1.
Introduction ................................................................................................................... 2
2.
Proposed Culminating Experience ................................................................................. 2
3.
Objective and Sub Objectives .......................................................................................... 3
3.1
4.
Stylistic vs. Impressionistic ...............................................................................................4
Methodology .................................................................................................................. 6
4.1
South Indian Carnatic Music: A Brief Overview ..............................................................6
4.2
My Carnatic Approach: “Timeless” Composed by Apoorva Krishna ............................. 10
4.3 Samba: A Brief Overview...................................................................................................... 13
4.3
My Samba approach: “Alla” Composed by Marta Bautista Serrano .............................. 15
4.4
Middle Eastern Percussion- A Brief Overview ................................................................ 17
4.5
My Approach: “A Dancer With Closed Eyes” Composed by Hami Keivan .................... 19
4.6
Flamenco- A Brief Overview........................................................................................... 20
4.7
My Flamenco Approach: “Las Palabras Ocultas” Composed by Eve Matin ................... 21
4.8
Resources & Materials Needed ....................................................................................... 23
5.
Justification ................................................................................................................. 23
6.
Professional Plan ......................................................................................................... 24
7.
Conclusion................................................................................................................... 24
Bibliography ....................................................................................................................... 26
ii
Abstract
My goal for this year at Berklee Valencia as a percussionist, was to collaborate with
musicians from around the world. I wanted to perform, record and research many different styles
thus increasing my awareness of music and culture, as well as be able to cultivate a tangible body
of work for my portfolio. I plan to achieve this through a series of collaborations with my fellow
students. It is my goal to utilize a series of different percussion rigs for each recording session in
order to capture the essence of what I feel that music calls for. Through researching various
different musical styles such as Flamenco, Samba, South Indian Carnatic and Iranian music. I
will attempt to capture the fundamental essence that make up these particular styles of music,
whilst integrating my own creative and modern approach. Through this project I intend to further
develop my skills as an accompanist, build a portfolio, and develop strong relationships with my
colleagues.
Keywords: Percussion, Collaboration, Flamenco, Samba, Carnatic, Iranian, percussionist,
accompanist
1
1. Introduction
As a hand percussionist and drum-set player I’ve always been drawn to many
different kinds of music from around the world. When learning a new music, I tend to ask
myself, what are the key rhythmic and instrumental elements that are the backbone of that
music? Each style and culture have their own rhythms, and traditional instrumentation. In
folk music around the
world, the particular instrumentation of each ensemble has a unique texture that is specific to
that kind of music. I have a deep respect for traditional music and have spent much time
learning different musical traditions. But, sometimes not being from one of these cultures can
leave me feeling a bit puzzled on how my musical voice can best be heard. This gives me the
desire to be creative and craft my own sound. Over the past few years I have developed an
arsenal of percussion instruments from around the world and have been trying to find ways to
incorporate these instruments in modern musical situations that transcend a typical stylistic
approach. I have developed an acoustic percussion rig that is a textural playground. Texture
being one of the guiding forces, I try to create unique sonic landscapes that complement and
enhance the music I am playing. Wood, Skin, Metal and Clay are some the colors I like to
incorporate, and
combining these sounds together can lead to a sonically delicious experience.
2. Proposed Culminating Experience
My initial CE idea was to create a percussion rig incorporating electronics and have the
ability to perform a solo act. This was a fun and informative process in the beginning, but I
2
wasn’t truly in love with this idea as a began to explore it more and it began to feel as though I
was swimming upstream and began to ponder how I could morph my CE into something that felt
more authentic to me.
The title “Culminating Experience” in of itself gave me the inspiration to craft the new
path of my project. I asked myself, “What has been the bulk of my experience here at
Berklee?” The answer was, all the collaborating and recording I’ve done with all the wonderful
musicians from around the globe. I found myself playing and recording an incredible amount
with all my peers. Not only was I just recording, but I was contributing a lot of creative input
into their compositions and I truly enjoyed this process. I was beginning to build a body of
work that I was very proud of, featuring a vast array of different musical styles. I attempted to
enhance their music with my approach whilst retaining the fundamental elements that make
their music what it is!
My goal was to collaborate as much as possible and create a portfolio of recorded work
that features my percussive approach. Throughout the course of the school year I completed
over 50 recording and overdub sessions. This project inherently became a recording/research
and ethnomusicological project. When playing so many different styles, it requires a lot of
research and study. For the sake of this thesis, I chose to showcase 4 different recordings of
different musical styles and analyze my approach for each of them. I had to dig deep in my
musical library and utilize all that I’ve learned up until this point in order to accompany my
colleague’s music properly and do it stylistic justice, whilst bringing a fresh and unique
approach with my own voice.
3. Objective and Sub Objectives
3
The main objective of this project was to collaborate and record with my colleagues and in
turn create a harmonious musical relationship as well as a body of recorded work.
1. Find common ground between musicians
2. Complete recording sessions
3. Research different musical styles in order to accompany their music properly.
4. Create a sonic pallet with multiple percussion instruments via overdubs
5. Incorporate my musical voice into other people’s compositions but also retain
elements of that musical tradition to create a fresh approach.
6. Culminate a body of recorded work that I can incorporate into my portfolio that
showcases my versatility as a drummer and percussionist.
3.1 Stylistic vs. Impressionistic
When dealing with traditional music, there is a fine line between playing something
stylistically correct, and doing it justice or playing your impression of that music. I think it’s
very important to know when to do either. I tend to walk that line and I’m constantly asking
myself when are either approaches appropriate and necessary. It is my belief that one needs to
study a particular music in depth in order to understand the fundamental elements of what make
it “swing” in order to then deconstruct it and play your impression of that music.
Being from the United States, I have been exposed to our incredibly rich musical history,
and I truly love the music of my home country. Jazz, Funk, R&B and all that is in between are
by no means excluded from my musical influence. But the United States hasn’t retained a
4
strong history of hand percussion culture like many places around the world. Such as Africa,
South America, The Caribbean, The Middle East and India. I am extremely drawn to the
communal aspect of these musical cultures and the diasporic evolution of music from around
the world. But being an “outsider” can sometimes feel daunting. My justification for playing
other cultures music is that it is ok if I do my research and respect the music and approach it
with a positive spirit. In my experience musicians from other cultures are very happy when
other people love to play their music and approach it with open arms and a respectful attitude.
When in a new musical situation, many times it depends on what the composer is looking
for. If one is recording Brazilian music, and the composer wants a traditional Samba it
wouldn't necessarily be appropriate to stray too far from that style. But often times people ask
me to play because they aren’t looking for a stylistic approach rather something different.
In this day and age, the world is evolving due to globalization and music is no
exception. Musical styles are rapidly becoming fused with one another and it is my belief
that the best contemporary musicians can adapt and incorporate many approaches into
their playing thus creating something that is a true reflection of comradery and harmony.
Throughout history cultures have clashed and butt heads due to politics, race and other
socio-political issues. In times of social turmoil, I turn to musicians, and artists. Because
in that world, it is our job to harmonize with one another and create something greater
than us.
The 4 works I am presenting will be a variety of traditional and non-traditional approaches.
I intend to deconstruct my process and explain why I made the choices I did. They are a
reflection of fellowship and collaboration that transcends borders.
5
4. Methodology
I have chosen 4 different recorded selections of varied styles to explain my methodology.
For each of these songs I used different instruments in order to capture the vision of the
composer as well as express my musical voice. In order to convey my approach properly I’d
like to begin by introducing the compositions. Firstly, giving a brief overview of the traditional
style, and traditional instrumentation and then my approach to said style.
Song
Composer
Style
#1 Timeless
Apoorva Krishna
South Indian Fusion
#2 Alla
Marta Bautista Serrano
Brazilian
#3 A Dancer With Closed Eyes
Hami Keivan
Iranian Jazz Fusion
#4 Las Palabras Ocultas
Eve Matin
Flamenco Inspired
4.1 South Indian Carnatic Music: A Brief Overview
South Indian classical music, or Carnatic music is a musical artform that is over 2,000
years old. A typical Carnatic Ensemble would consist of violin, a vocalist, kanjira (a small
frame drum with a lizard skin played with one hand. See Figure 2), and the mridangam (a
double-sided drum which is the predecessor to the tabla. See figure 1) Other elements can
include the ghatam (see Figure 3), the morsing, mandolin or guitar. The ensemble is
accompanied by a drone, or tonic to South Indian classical music, or Carnatic music is a
musical artform that is over 2,000 years old. A typical Carnatic Ensemble would consist of
violin, a vocalist, kanjira (a small frame drum with a lizard skin played with one hand. See
6
Figure 2), and the mridangam (a double-sided drum which is the predecessor to the tabla. See
figure 1) Other elements can include the ghatam (see Figure 3), the morsing, mandolin or
guitar. The ensemble is accompanied by a drone, or tonic to set the harmonic base of the song.
Every Carnatic composition is based on a Raga and a Tala. A raga in Carnatic music provides a
set of harmonic rules when forming a melody. Very similar to a mode, in Western music.
Basically, the raga is the melodic scale in which the ensemble will be improvising in. A tala, is
the rhythmic system in which the song is built upon. Every song has a tala, which refers the
how many beats per cycle the composition is. In western terms, you can think of this like a
time signature. In western music, harmony indicates the passing of time over a song form. But
in Carnatic music, the tala is really what marks where a musician is in the form and everything
is played relative to the tala, always cadencing to the top of the form. Tala cycle
is typically measured by a Carnatic singer using their hands through a series of claps and
waves. There are many different tala cycles. 3 beat, 7 beat, 24 beat – even 108 beat cycles!
The mathematical framework in which Carnatic music is built upon, is truly astonishing. This
rhythmic system uses far more advanced mathematical sequences then what the Western ear is
accustomed to. Groupings of 5, 7, and 9 and very common, and they are played in all
subdivisions as well.
To my knowledge there is no system that trains its musicians to deal with rhythm as
successfully as the system that exists in South India.
7
1
Figure 1:
Mridangam: A double sided drum, commonly found in Carnatic ensembles. This drum is
played with both hands whilst sitting on the floor. Similar to tabla, it is used to accompany
vocalists, leading the rhythmic cadence and phrasing of the composition. It requires years of
intense study with a formal guru, and involves an immense amount of virtuosity and technique
to play well.
2
Figure 2:
1
Design, Maraid. "South Asian Arts." Mridangam - Glossary - South Asian Arts UK. Accessed June 10, 2019.
http://www.saa-uk.org/resources_glossary/Mridangam.
2
"Kanjira, Indian Lizard Skin Tambourine." Kanjira, Indian Lizard Skin Tambourine. Accessed July 16, 2019.
https://chandrakantha.com/articles/indian_music/kanjira.html.
8
Kanjira: A small frame drum played with one hand. This small, but powerful drum can work
in tandem with a mridangam player. The unique characteristic of this drum is that, one can
apply pressure to the skin side of the drum thus creating a pitch bend otherwise known as a
“Gumiki”. This technique changes the tonal aspect of the instrument, and is very characteristic
of Carnatic music. Well trained Kanjira players can carry an ensemble and play extremely fast
subdivisions, with just one hand utilizing a technique known as split finger technique.
3
Figure 3:
Ghatam Clay Pot: A clay pot that is held in the lap of the performer, the Ghatam is one of the
more ancient instruments in a Carnatic ensemble. The instrumentalist uses their fingers, palms,
and heels of the hands to strike different surfaces of the drum thus generating different tones.
3
"Ghatam Musical Instrument." Indiamart.com. Accessed July 16, 2019.
https://www.indiamart.com/proddetail/ghatam-musical-instrument-19083100755.html.
9
4.2 My Carnatic Approach: “Timeless” Composed by Apoorva Krishna
Early on in the first semester, South Indian violinist Apoorva Krishna approached me with a
new composition of hers entitled Timeless. Because she had no experience with western
notation, her process was purely aural. Her composition consisted of a melodic theme, a
rhythmic “vamp”, 6 rhythmic variations and a final korvai. (A korvai is a typical phrase built
upon a mathematical sequence that generally concludes of piece of Carnatic music).
Conceptually the music was very South Indian, but due to the fact that her intention wasn’t to
make a piece of classical music and we were collaborating with different musicians, it became
something of its own. The tala, or time signature of the piece is in ¾ and is based on the raga
Vagadishwari.
Because of my brief experience with Carnatic music, I was able to have an
understanding of how she constructed her piece rhythmically. Knowing that we were going to
need to communicate this music to other players, I sat with her and transcribed her phrases and
put them into western rhythmic notation. The main melodic motif of this composition is a twobar phrase that repeats throughout the song. In typical Carnatic fashion, I decided to
accompany this phrase by playing in rhythmic unison. (See below figure 4).
10
Figure 4: Timeless Melodic Theme
This phrase was followed by a vamp section with three groups of 7, and one group of 3. It
is a two-bar phrase with 24 beats total that after two cycles of ¾ cadence to beat one. (see
below figure 5).
Figure 5: Timeless Vamp Section
Unlike a more western song form, Timeless does not have a standard melody or head.
But Apoorva wrote 6 rhythmic and melodic variations that can be thought of as the “melody” or
“head” of the piece. These variations are very syncopated and all played in relation to the tala.
(see below figure 6).
11
Figure 6: Timeless Variations
When conceptualizing an approach to accompany these variations, I drew influence
from a traditional Carnatic approach. I decided to play these figures in rhythmic unison, and fill
in the space when needed. Because we weren’t playing traditional music, my instrumentation
wasn’t purely traditional either. But I still wanted to retain Carnatic textural elements to evoke
that sound. For the basic recording session, I had a percussion rig that consisted of cajon, frame
drum, djembe, cymbals, bells and miscellaneous effects. For the crux of the song I played the
variations with big brooms on the surface of the djembe. My intention in doing this was to
create a solid but simple rhythmic and textural foundation that I later could overdub upon. In
post-production we had an overdub session where I incorporated two more percussion
instruments that would evoke a more Carnatic sound. The two instruments I overdubbed were:
12
Hadjira: A versatile multi frame drum that can be used to simulate a kanjira.
Hadjini: A double sided clay drum, that evokes the same tone as the traditional Ghatam.
4.3 Samba: A Brief Overview
For the purpose of this song, I will focus on the traditional instrumentation of the
Brazilian Batucada. Annually in Brazil there is a festival called “Carnival” where thousands of
people gather in Rio De Janeiro to observe this grand spectacle. Elaborate floats, costumes and
dancers adorned with feathers and beads march through the streets dancing, singing and
showcasing their team. Accompanying the festivities are drum ensembles featuring hundreds of
local drummers in each ensemble. These drum groups are known as a “Batucada”. They parade
through the streets playing an infectious groove called Samba. A syncopated dance rhythm
typically notated in 2/4, samba evokes fun, party, and celebration. Its roots are of African origin,
and it has a very particular feel or “swing”. The samba rhythm is based on a sixteenth note
subdivision. But these 16th notes aren’t played “straight” but rather they have a unique lilt to
them which gives Brazilian music one of its most important qualities. When hundreds of
percussionists get together during carnival this swing fills the city and one can’t help but have a
good time. Different syncopated rhythms are typically played on different instruments by players
at the same time, thus, creating a groove. In a typical Batucada you will find, Surdo, Tamborim,
Repinique, Caixa, Chocalo (large metal shaker), and Agogo Bells (metal bells with 2 different
pitches).
(See below: figures 7-9) These are some of the key instruments that make up these ensembles.
13
4
Figure 7:
Surdo: A large bass drum worn around the waist struck with a
large mallet. These drums have three different sizes and are
referred to as Surdo 1, 2 and 3. The role of the surdo is to play
strong down beats and provide a consistent and even quarter note
pulse. When thinking in a 2/4 time signature, Surdo 1 would play
an open tone on beat one, while surdo 2 would play a lower open
tone on beat 2. Thus creating a constant High-Low quarter note
pulse. Surdo 3 typically would play syncopated 16th notes in
between 1 and 2.
Figure 8:
5
Tamborim: The tamborim is a small frame drum, approx 5
inches in diameter. In the batucada it is struck with a threeprong plastic beater. The tamborim will typically play
syncopated rhythmic motifs throughout the batucada. The
tamborim is also used to generate the swing of the samba using
a unique technique specific to brazil where the players strike the
drum 4 times, but on the third stroke they quickly flip the drum upside down to achieve an
"Contemporanea 20"x 60cm Surdo Wood." Musikhaus Thomann. Accessed July 16, 2019.
https://www.thomann.de/es/contemporanea_20x_60cm_surdo_holz.htm.
5
"Torelli Tamborim Corpo Preto Pele Leitosa TT404 Baqueta." O Acústico. Accessed July 16, 2019.
https://loja.oacustico.com.br/Torelli-Tamborim-Corpo-Injetado-Preto-Pele-Leitosa-TT404PR.
4
14
“upstroke”. When done in rhythmic succession at a fast pace, the result is an extremely groovy
Samba swing.
6
Figure 9:
Repinique: The repinique, is similar to the timables
found in Cuban music but slightly different.
Typically worn around the waist for marching it is a
high-pitched drum with a synthetic plastic drum head
and a metal shell. Approx 12 inches deep, the repinique
in Samba, is played with a small wooden drum stick in
one hand, and a bare hand. The leader of the batucada
typically plays this drum as it’s sound can cut through the volume of the ensemble. Typically,
the leader of the batucada will play rhythmic calls that signal to band what to do next. This
elicits the “call and response effect” between the leader and the band. But the repinique is also
played by multiple musicians at the same time to provide a swinging feel for the groove.
4.3 My Samba approach: “Alla” Composed by Marta Bautista Serrano
Initially bassist Marta Bautista had a melody and form, but was unclear as to what style
she wanted it to be. She thought maybe it would could work as a samba. For the recording
session I first played drum set and tried to lay down a solid and simple foundation, knowing
that later I would do percussion overdubs. A few weeks after the initial recording session with
6
"Repinique 12" X 30 Cm - Aluminium, 8 Rods, Izzo - Samba, Brazil." Djoliba Music Store. Accessed July 16,
2019. https://djoliba.com/en/instruments/996-repinique-12-x-30-cm-8-rods-izzo.html.
15
the band I overdubbed percussion. For the verse and chorus, I overdubbed shaker and pandeiro
(a typical Brazilian tambourine). But for the final chorus of the song I recorded a full batucada.
I recorded 4 repiniques, 4 tamborims, 4 caixas, and two surdos. Because of my previous
experience playing this kind of music. (see figures 10-12 below)
Figure 10: A notated example of the repinique rhythm I played in loop.
Figure 11: A notated example of the tamborim pattern I played throughout the song.
Figure 12: A notated example of the main surdo pattern played during the batucada
section.
I knew exactly what sound I wanted to achieve and how we should go about recording
everything. We only had two hours to record this, so efficiency was key. I referred to a song
entitled “Fanfarra” by Brazilian composer, Sergio Mendes.7 It is a classic and traditional
7
Sergio Mendes, “Fanfarra,” track 1 on Brasileiro, Craft recordings, 1992.
16
reference for anyone trying to capture an authentic batucada sound. Unlike the first song
“Timeless”, I wanted to try to recreate the sound as traditional as possible. I didn’t feel it was
appropriate to stray too far from the style or try to play an impression of my approach.
4.4 Middle Eastern Percussion- A Brief Overview
Middle eastern music spans a vast region and has many different styles and comes from
many different countries. There is a rich hand percussion tradition in middle eastern music. To
go into an in-depth explanation of the vast instrumentation included in this musical culture, could
be its own research paper. For the sake of this I will focus on a few textures and explain my
inspiration for why I chose what I did.
Some common drums that can be found include the Darbuka, Riq, Daf, and other various
types of frame drums. But the most common percussion ensemble consists of the Tombak and
the Daf (see figure 13-14 below).
17
Figure 13:
8
Daf: A large frame drum used in classical and modern
ensembles. It is made of wood with many metal ringlets inside
that rub against the drum creating a sharp sound in tandem with
the sound of the hands striking the drum.
Figure 14:
9
Tombak: A Persian goblet drum that is considered one of the
most common instruments in Persian music. The body is
wooden and typically the head consists of sheepskin or
goatskin.
8
"Professional Persian DAF ERBANE Def Drum by Afshari Ad-304 for Sale Online." EBay. Accessed July 16,
2019. https://www.ebay.com/p/Professional-Persian-DAF-ERBANE-Def-Drum-by-Afshari-Ad-304/15023896946.
9
"Persian Quality Shirani Tonbak Tombak Zarb Drum with Soft Case." Amazon. Accessed July 16, 2019.
https://www.amazon.com/Persian-Quality-Shirani-Tonbak-Tombak/dp/B00UOZW13A.
18
4.5 My Approach: “A Dancer With Closed Eyes” Composed by Hami Keivan
Hami Keivan, who is an Iranian born composer and pianist drew inspiration from his
home country. Incorporating melodic aspects of his home country. His composition “A Dancer
with Closed Eyes” was not traditionally Persian it allowed me more room to play my stylistic
version of the music. Hami drew upon influences of jazz and modern contemporary music. So, I
decided to do the same. In my arsenal of percussion, I didn’t have any traditional instruments
from this region, but I did have a small frame drum called the “Ocean Drum” that resembled the
sound of a Daf. It is a small frame drum filled with silver buckshot, that when struck has a semi
harsh sound. If anything in my personal collection could resemble the sound of the Daf it would
be this instrument. I drew inspiration from a song entitled “Travel Notes” by Israeli pianist
Alon Yavnai,10 whom blends rhythm, harmony and texture from around the world. I also
recorded with brooms on the surface of a djembe. This evokes sounds of the region, but again is
non-traditional. In this instance, I felt as though I had creative license to stray away from the
tradition. I also believe Hami was looking for someone who could connect the dots in this
fashion. This piece drew from Iranian harmony, but it allowed for more of an impressionistic
jazz approach. The crux of the song was triplet based and the formal groove I played on the
djembe was as such. (see Figure 15 below).
Figure 15:
10
Alon Yavnai, “Travel Notes,” Track 5 on Travel Notes, Obliq Sound, 2008
19
4.6 Flamenco- A Brief Overview
Flamenco is a traditional music from Spain. It has many influences, from Arabic, Indian,
Romanian and African culture. The ensembles typically consist of a singer, a few dancers whom
also may play palmas which are claps, a guitar player and a cajon player. The cajon, is a wooden
box which is sat on and played with the hands. Inside the cajon are guitar strings which create a
rattle sound, almost emulating a snare. But the cajon is a relatively new instrument in flamenco
music. It was introduced in the 1960’s after it was discovered in Peru. Originally the only
percussion in a flamenco was the sound of the dancers feet, and claps. (see Figure 16 below)
Figure 16:
11
Cajon: A wooden box used in modern flamenco
ensembles. Played with the palms, fingers and
knuckles. Rhythms normally played by the dancers
were adapted for the Cajon.
11
"LA ROSA NATURE CAJÓN FLAMENCO." Musicopolix. Accessed July 16, 2019.
https://musicopolix.com/cat/baterias-y-percusion/cajones/71029-la-rosa-nature-cajon-flamenco.html.
20
There are numerous Flamenco rhythms, but for the sake of this research I have decided to
focus on a rhythm called Solea. Solea is a 12-beat cyclical rhythm played at a slow tempo. (see
Figure 17 below).
Figure 17:
All the notes on the staff above are typically accented by the bass tone of the cajon, the
stomp of the dancer as well as accompanied by the sound the claps or palmas. This textural
element was extremely important for me to try to emulate. The lyrical content, slow tempo and
cyclical nature is very rich and emotive making it one of the deepest in the flamenco tradition.
4.7 My Flamenco Approach: “Las Palabras Ocultas” Composed by Eve Matin
When recording the percussion part for harpist Eve Matin’s Solea, I tried to emulate this
ensemble. The slow pace of this composition and richness of the harmony gave it certain
characteristics of solea, but again it was a non-traditional piece of music. Nonetheless I wanted
to retain as much integrity to the tradition as I could. During the recording session I overdubbed
4 layers of claps, and as ensemble we recorded along with clap loops. The Pattern I recorded was
based off of a traditional Solea rhythm (see Figure 18 below).
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Figure 18:
Once the claps were layered, I primarily played cajon with the basic solea pattern. All the
interlocking parts were as such (see Figure 19 below)
Figure 19:
Rhythmically the song had many cadence points to the 11th eighth note which is
characteristic of flamenco cadences, or remates. The final section of the song, featured a rhythm
called Alegrias which is the same rhythmic cell, but at a slightly brighter tempo.
22
4.8 Resources & Materials Needed
Material Resources
•
•
•
•
•
Ocean drum, Pandeiro, Djembe, Misc. Percussion, Batucada instruments, Cajon,
Hadjira, Hadjini.
School recording studio facilities equipment
Pro tools recording software
Scores and lead sheets
Reference tracks
Human Resources
•
•
•
•
•
•
•
•
Sergio Martinez
Eve Matin
Hami Keivan
Marta Bautista
Apoorva Krishna
Marcelo Wilson
Conor Schon
Jamey Haddad
5. Justification
My intention with this project was to learn more about music and culture as well as to
build my portfolio. There are many musicians in the industry but I feel that versatility is
extremely important. My goal was to expand my versatility whilst retaining my musical voice.
Many percussionists are proficient in a few styles but I feel in this day and age it is necessary to
be extremely well versed in many styles, and this project allowed me to explore that possibility.
My creative use of instrumentation and unique textural elements give aspiring percussionists an
insight on how to approach new recording sessions. I also intend to develop of teaching method
in order to help musicians begin to approach and decode new music.
23
6. Professional Plan
In many instances after being offered a gig, or teaching opportunity I have been asked
to submit examples of my work. Nothing in the past had displayed my versatility like the
portfolio I’ve accumulated here at Berklee. I know have something tangible I can email to
clients or prospective musicians that clearly demonstrates my abilities. Going through this
process has also caused to me being thinking about a professional teaching method that helps
me break down music in a palatable way for others to understand. I intend to further develop
this mindset and cultivate a solid method I can deliver to private students, and universities.
7. Conclusion
In my estimation I feel that the works I have presented were very much a success.
Although there is always room for improvement. “Timeless” was technically very challenging to
execute, but nonetheless, a joy. By no means does my skill level compare to that of a
professionally trained Carnatic musician, so attempting to emulate this style was a challenge.
“Alla”, was less of a challenge due to my experience with Samba. The real challenge was
overdubbing so many instruments accurately and musically in a short amount of time. But I feel
the final batucada section of the song is an accurate representation of Samba. “A Dancer with
Closed Eyes” could have gone in many directions and the open-ended nature of it allowed for
more of an impressionistic approach. The real challenge aside from executing the music correctly
was deciding was textures and what rhythms work for each section. But overall, I feel that the
24
mood of the piece is complimented well by the percussion. If I another opportunity to record this
piece, I would choose a rhythm the accompany the melody that didn’t have such a strong
downbeat on one. Thus, giving it a less heavy feel. Finally “Las Palabras Ocultas” was not much
of a challenge to record, but rather to get the feel exactly right. I still don’t feel that I quite nailed
it. There’s a fine balance between the relationship of the claps and the cajon. For this piece I also
would have liked to overdub a few more drums to give the rhythm section some more energy.
In these times, there is a lot of love and acceptance in the world, but there is also a lot of
fear and hate. Many times, when people don’t understand others cultures they can develop a fear
from this mystery. This fear can turn into hate and exaggerate the feeling of the “other”. This
kind of mentality is extremely dangerous for society. As a musician operating on a global level, I
keep an open mind to all cultures, not only musically but socially. When observing my work and
collaborations, hopefully in some small or large way it can help perpetuate the idea of love,
openness, and embracing people that are different from you. It has allowed me to realize how
similar we all are truly are.
25
Bibliography
Alon Yavnai, “Travel Notes,” Track 5 on Travel Notes, Obliq Sound, 2008
"Contemporanea 20"x 60cm Surdo Wood." Musikhaus Thomann. Accessed July 16, 2019.
https://www.thomann.de/es/contemporanea_20x_60cm_surdo_holz.htm.
Design, Maraid. "South Asian Arts." Mridangam - Glossary - South Asian Arts UK. Accessed
June 10, 2019. http://www.saa-uk.org/resources_glossary/Mridangam.
Ghatam Musical Instrument." Indiamart.com. Accessed July 16, 2019.
https://www.indiamart.com/proddetail/ghatam-musical-instrument-19083100755.html.
"Kanjira, Indian Lizard Skin Tambourine." Kanjira, Indian Lizard Skin Tambourine. Accessed
July 16, 2019. https://chandrakantha.com/articles/indian_music/kanjira.html.
"LA ROSA NATURE CAJÓN FLAMENCO." Musicopolix. Accessed July 16, 2019.
https://musicopolix.com/cat/baterias-y-percusion/cajones/71029-la-rosa-nature-cajonflamenco.html.
"Persian Quality Shirani Tonbak Tombak Zarb Drum with Soft Case." Amazon. Accessed July
16, 2019. https://www.amazon.com/Persian-Quality-Shirani-TonbakTombak/dp/B00UOZW13A.
"Professional Persian DAF ERBANE Def Drum by Afshari Ad-304 for Sale Online." EBay.
Accessed July 16, 2019. https://www.ebay.com/p/Professional-Persian-DAF-ERBANEDef-Drum-by-Afshari-Ad-304/15023896946.
"Repinique 12" X 30 Cm - Aluminium, 8 Rods, Izzo - Samba, Brazil." Djoliba Music Store.
Accessed July 16, 2019. https://djoliba.com/en/instruments/996-repinique-12-x-30-cm-8rods-izzo.html.
Sergio Mendes, “Fanfarra,” track 1 on Brasileiro, Craft recordings, 1992.
26
"Torelli Tamborim Corpo Preto Pele Leitosa TT404 Baqueta." O Acústico. Accessed July 16,
2019. https://loja.oacustico.com.br/Torelli-Tamborim-Corpo-Injetado-Preto-Pele-LeitosaTT404PR.
27
“THE NATURE OF A CONTEMPORARY
PERCUSSIONIST”
ADVISOR: VICTOR MENDOZA
SUPERVISOR: CASEY DRIESSEN
BY: PATRICK GRANEY
Table of Contents
Abstract ................................................................................................................................. 1
1.
Introduction ................................................................................................................... 2
2.
Proposed Culminating Experience ................................................................................. 2
3.
Objective and Sub Objectives .......................................................................................... 3
3.1
4.
Stylistic vs. Impressionistic ...............................................................................................4
Methodology .................................................................................................................. 6
4.1
South Indian Carnatic Music: A Brief Overview ..............................................................6
4.2
My Carnatic Approach: “Timeless” Composed by Apoorva Krishna ............................. 10
4.3 Samba: A Brief Overview...................................................................................................... 13
4.3
My Samba approach: “Alla” Composed by Marta Bautista Serrano .............................. 15
4.4
Middle Eastern Percussion- A Brief Overview ................................................................ 17
4.5
My Approach: “A Dancer With Closed Eyes” Composed by Hami Keivan .................... 19
4.6
Flamenco- A Brief Overview........................................................................................... 20
4.7
My Flamenco Approach: “Las Palabras Ocultas” Composed by Eve Matin ................... 21
4.8
Resources & Materials Needed ....................................................................................... 23
5.
Justification ................................................................................................................. 23
6.
Professional Plan ......................................................................................................... 24
7.
Conclusion................................................................................................................... 24
Bibliography ....................................................................................................................... 26
ii
Abstract
My goal for this year at Berklee Valencia as a percussionist, was to collaborate with
musicians from around the world. I wanted to perform, record and research many different styles
thus increasing my awareness of music and culture, as well as be able to cultivate a tangible body
of work for my portfolio. I plan to achieve this through a series of collaborations with my fellow
students. It is my goal to utilize a series of different percussion rigs for each recording session in
order to capture the essence of what I feel that music calls for. Through researching various
different musical styles such as Flamenco, Samba, South Indian Carnatic and Iranian music. I
will attempt to capture the fundamental essence that make up these particular styles of music,
whilst integrating my own creative and modern approach. Through this project I intend to further
develop my skills as an accompanist, build a portfolio, and develop strong relationships with my
colleagues.
Keywords: Percussion, Collaboration, Flamenco, Samba, Carnatic, Iranian, percussionist,
accompanist
1
1. Introduction
As a hand percussionist and drum-set player I’ve always been drawn to many
different kinds of music from around the world. When learning a new music, I tend to ask
myself, what are the key rhythmic and instrumental elements that are the backbone of that
music? Each style and culture have their own rhythms, and traditional instrumentation. In
folk music around the
world, the particular instrumentation of each ensemble has a unique texture that is specific to
that kind of music. I have a deep respect for traditional music and have spent much time
learning different musical traditions. But, sometimes not being from one of these cultures can
leave me feeling a bit puzzled on how my musical voice can best be heard. This gives me the
desire to be creative and craft my own sound. Over the past few years I have developed an
arsenal of percussion instruments from around the world and have been trying to find ways to
incorporate these instruments in modern musical situations that transcend a typical stylistic
approach. I have developed an acoustic percussion rig that is a textural playground. Texture
being one of the guiding forces, I try to create unique sonic landscapes that complement and
enhance the music I am playing. Wood, Skin, Metal and Clay are some the colors I like to
incorporate, and
combining these sounds together can lead to a sonically delicious experience.
2. Proposed Culminating Experience
My initial CE idea was to create a percussion rig incorporating electronics and have the
ability to perform a solo act. This was a fun and informative process in the beginning, but I
2
wasn’t truly in love with this idea as a began to explore it more and it began to feel as though I
was swimming upstream and began to ponder how I could morph my CE into something that felt
more authentic to me.
The title “Culminating Experience” in of itself gave me the inspiration to craft the new
path of my project. I asked myself, “What has been the bulk of my experience here at
Berklee?” The answer was, all the collaborating and recording I’ve done with all the wonderful
musicians from around the globe. I found myself playing and recording an incredible amount
with all my peers. Not only was I just recording, but I was contributing a lot of creative input
into their compositions and I truly enjoyed this process. I was beginning to build a body of
work that I was very proud of, featuring a vast array of different musical styles. I attempted to
enhance their music with my approach whilst retaining the fundamental elements that make
their music what it is!
My goal was to collaborate as much as possible and create a portfolio of recorded work
that features my percussive approach. Throughout the course of the school year I completed
over 50 recording and overdub sessions. This project inherently became a recording/research
and ethnomusicological project. When playing so many different styles, it requires a lot of
research and study. For the sake of this thesis, I chose to showcase 4 different recordings of
different musical styles and analyze my approach for each of them. I had to dig deep in my
musical library and utilize all that I’ve learned up until this point in order to accompany my
colleague’s music properly and do it stylistic justice, whilst bringing a fresh and unique
approach with my own voice.
3. Objective and Sub Objectives
3
The main objective of this project was to collaborate and record with my colleagues and in
turn create a harmonious musical relationship as well as a body of recorded work.
1. Find common ground between musicians
2. Complete recording sessions
3. Research different musical styles in order to accompany their music properly.
4. Create a sonic pallet with multiple percussion instruments via overdubs
5. Incorporate my musical voice into other people’s compositions but also retain
elements of that musical tradition to create a fresh approach.
6. Culminate a body of recorded work that I can incorporate into my portfolio that
showcases my versatility as a drummer and percussionist.
3.1 Stylistic vs. Impressionistic
When dealing with traditional music, there is a fine line between playing something
stylistically correct, and doing it justice or playing your impression of that music. I think it’s
very important to know when to do either. I tend to walk that line and I’m constantly asking
myself when are either approaches appropriate and necessary. It is my belief that one needs to
study a particular music in depth in order to understand the fundamental elements of what make
it “swing” in order to then deconstruct it and play your impression of that music.
Being from the United States, I have been exposed to our incredibly rich musical history,
and I truly love the music of my home country. Jazz, Funk, R&B and all that is in between are
by no means excluded from my musical influence. But the United States hasn’t retained a
4
strong history of hand percussion culture like many places around the world. Such as Africa,
South America, The Caribbean, The Middle East and India. I am extremely drawn to the
communal aspect of these musical cultures and the diasporic evolution of music from around
the world. But being an “outsider” can sometimes feel daunting. My justification for playing
other cultures music is that it is ok if I do my research and respect the music and approach it
with a positive spirit. In my experience musicians from other cultures are very happy when
other people love to play their music and approach it with open arms and a respectful attitude.
When in a new musical situation, many times it depends on what the composer is looking
for. If one is recording Brazilian music, and the composer wants a traditional Samba it
wouldn't necessarily be appropriate to stray too far from that style. But often times people ask
me to play because they aren’t looking for a stylistic approach rather something different.
In this day and age, the world is evolving due to globalization and music is no
exception. Musical styles are rapidly becoming fused with one another and it is my belief
that the best contemporary musicians can adapt and incorporate many approaches into
their playing thus creating something that is a true reflection of comradery and harmony.
Throughout history cultures have clashed and butt heads due to politics, race and other
socio-political issues. In times of social turmoil, I turn to musicians, and artists. Because
in that world, it is our job to harmonize with one another and create something greater
than us.
The 4 works I am presenting will be a variety of traditional and non-traditional approaches.
I intend to deconstruct my process and explain why I made the choices I did. They are a
reflection of fellowship and collaboration that transcends borders.
5
4. Methodology
I have chosen 4 different recorded selections of varied styles to explain my methodology.
For each of these songs I used different instruments in order to capture the vision of the
composer as well as express my musical voice. In order to convey my approach properly I’d
like to begin by introducing the compositions. Firstly, giving a brief overview of the traditional
style, and traditional instrumentation and then my approach to said style.
Song
Composer
Style
#1 Timeless
Apoorva Krishna
South Indian Fusion
#2 Alla
Marta Bautista Serrano
Brazilian
#3 A Dancer With Closed Eyes
Hami Keivan
Iranian Jazz Fusion
#4 Las Palabras Ocultas
Eve Matin
Flamenco Inspired
4.1 South Indian Carnatic Music: A Brief Overview
South Indian classical music, or Carnatic music is a musical artform that is over 2,000
years old. A typical Carnatic Ensemble would consist of violin, a vocalist, kanjira (a small
frame drum with a lizard skin played with one hand. See Figure 2), and the mridangam (a
double-sided drum which is the predecessor to the tabla. See figure 1) Other elements can
include the ghatam (see Figure 3), the morsing, mandolin or guitar. The ensemble is
accompanied by a drone, or tonic to South Indian classical music, or Carnatic music is a
musical artform that is over 2,000 years old. A typical Carnatic Ensemble would consist of
violin, a vocalist, kanjira (a small frame drum with a lizard skin played with one hand. See
6
Figure 2), and the mridangam (a double-sided drum which is the predecessor to the tabla. See
figure 1) Other elements can include the ghatam (see Figure 3), the morsing, mandolin or
guitar. The ensemble is accompanied by a drone, or tonic to set the harmonic base of the song.
Every Carnatic composition is based on a Raga and a Tala. A raga in Carnatic music provides a
set of harmonic rules when forming a melody. Very similar to a mode, in Western music.
Basically, the raga is the melodic scale in which the ensemble will be improvising in. A tala, is
the rhythmic system in which the song is built upon. Every song has a tala, which refers the
how many beats per cycle the composition is. In western terms, you can think of this like a
time signature. In western music, harmony indicates the passing of time over a song form. But
in Carnatic music, the tala is really what marks where a musician is in the form and everything
is played relative to the tala, always cadencing to the top of the form. Tala cycle
is typically measured by a Carnatic singer using their hands through a series of claps and
waves. There are many different tala cycles. 3 beat, 7 beat, 24 beat – even 108 beat cycles!
The mathematical framework in which Carnatic music is built upon, is truly astonishing. This
rhythmic system uses far more advanced mathematical sequences then what the Western ear is
accustomed to. Groupings of 5, 7, and 9 and very common, and they are played in all
subdivisions as well.
To my knowledge there is no system that trains its musicians to deal with rhythm as
successfully as the system that exists in South India.
7
1
Figure 1:
Mridangam: A double sided drum, commonly found in Carnatic ensembles. This drum is
played with both hands whilst sitting on the floor. Similar to tabla, it is used to accompany
vocalists, leading the rhythmic cadence and phrasing of the composition. It requires years of
intense study with a formal guru, and involves an immense amount of virtuosity and technique
to play well.
2
Figure 2:
1
Design, Maraid. "South Asian Arts." Mridangam - Glossary - South Asian Arts UK. Accessed June 10, 2019.
http://www.saa-uk.org/resources_glossary/Mridangam.
2
"Kanjira, Indian Lizard Skin Tambourine." Kanjira, Indian Lizard Skin Tambourine. Accessed July 16, 2019.
https://chandrakantha.com/articles/indian_music/kanjira.html.
8
Kanjira: A small frame drum played with one hand. This small, but powerful drum can work
in tandem with a mridangam player. The unique characteristic of this drum is that, one can
apply pressure to the skin side of the drum thus creating a pitch bend otherwise known as a
“Gumiki”. This technique changes the tonal aspect of the instrument, and is very characteristic
of Carnatic music. Well trained Kanjira players can carry an ensemble and play extremely fast
subdivisions, with just one hand utilizing a technique known as split finger technique.
3
Figure 3:
Ghatam Clay Pot: A clay pot that is held in the lap of the performer, the Ghatam is one of the
more ancient instruments in a Carnatic ensemble. The instrumentalist uses their fingers, palms,
and heels of the hands to strike different surfaces of the drum thus generating different tones.
3
"Ghatam Musical Instrument." Indiamart.com. Accessed July 16, 2019.
https://www.indiamart.com/proddetail/ghatam-musical-instrument-19083100755.html.
9
4.2 My Carnatic Approach: “Timeless” Composed by Apoorva Krishna
Early on in the first semester, South Indian violinist Apoorva Krishna approached me with a
new composition of hers entitled Timeless. Because she had no experience with western
notation, her process was purely aural. Her composition consisted of a melodic theme, a
rhythmic “vamp”, 6 rhythmic variations and a final korvai. (A korvai is a typical phrase built
upon a mathematical sequence that generally concludes of piece of Carnatic music).
Conceptually the music was very South Indian, but due to the fact that her intention wasn’t to
make a piece of classical music and we were collaborating with different musicians, it became
something of its own. The tala, or time signature of the piece is in ¾ and is based on the raga
Vagadishwari.
Because of my brief experience with Carnatic music, I was able to have an
understanding of how she constructed her piece rhythmically. Knowing that we were going to
need to communicate this music to other players, I sat with her and transcribed her phrases and
put them into western rhythmic notation. The main melodic motif of this composition is a twobar phrase that repeats throughout the song. In typical Carnatic fashion, I decided to
accompany this phrase by playing in rhythmic unison. (See below figure 4).
10
Figure 4: Timeless Melodic Theme
This phrase was followed by a vamp section with three groups of 7, and one group of 3. It
is a two-bar phrase with 24 beats total that after two cycles of ¾ cadence to beat one. (see
below figure 5).
Figure 5: Timeless Vamp Section
Unlike a more western song form, Timeless does not have a standard melody or head.
But Apoorva wrote 6 rhythmic and melodic variations that can be thought of as the “melody” or
“head” of the piece. These variations are very syncopated and all played in relation to the tala.
(see below figure 6).
11
Figure 6: Timeless Variations
When conceptualizing an approach to accompany these variations, I drew influence
from a traditional Carnatic approach. I decided to play these figures in rhythmic unison, and fill
in the space when needed. Because we weren’t playing traditional music, my instrumentation
wasn’t purely traditional either. But I still wanted to retain Carnatic textural elements to evoke
that sound. For the basic recording session, I had a percussion rig that consisted of cajon, frame
drum, djembe, cymbals, bells and miscellaneous effects. For the crux of the song I played the
variations with big brooms on the surface of the djembe. My intention in doing this was to
create a solid but simple rhythmic and textural foundation that I later could overdub upon. In
post-production we had an overdub session where I incorporated two more percussion
instruments that would evoke a more Carnatic sound. The two instruments I overdubbed were:
12
Hadjira: A versatile multi frame drum that can be used to simulate a kanjira.
Hadjini: A double sided clay drum, that evokes the same tone as the traditional Ghatam.
4.3 Samba: A Brief Overview
For the purpose of this song, I will focus on the traditional instrumentation of the
Brazilian Batucada. Annually in Brazil there is a festival called “Carnival” where thousands of
people gather in Rio De Janeiro to observe this grand spectacle. Elaborate floats, costumes and
dancers adorned with feathers and beads march through the streets dancing, singing and
showcasing their team. Accompanying the festivities are drum ensembles featuring hundreds of
local drummers in each ensemble. These drum groups are known as a “Batucada”. They parade
through the streets playing an infectious groove called Samba. A syncopated dance rhythm
typically notated in 2/4, samba evokes fun, party, and celebration. Its roots are of African origin,
and it has a very particular feel or “swing”. The samba rhythm is based on a sixteenth note
subdivision. But these 16th notes aren’t played “straight” but rather they have a unique lilt to
them which gives Brazilian music one of its most important qualities. When hundreds of
percussionists get together during carnival this swing fills the city and one can’t help but have a
good time. Different syncopated rhythms are typically played on different instruments by players
at the same time, thus, creating a groove. In a typical Batucada you will find, Surdo, Tamborim,
Repinique, Caixa, Chocalo (large metal shaker), and Agogo Bells (metal bells with 2 different
pitches).
(See below: figures 7-9) These are some of the key instruments that make up these ensembles.
13
4
Figure 7:
Surdo: A large bass drum worn around the waist struck with a
large mallet. These drums have three different sizes and are
referred to as Surdo 1, 2 and 3. The role of the surdo is to play
strong down beats and provide a consistent and even quarter note
pulse. When thinking in a 2/4 time signature, Surdo 1 would play
an open tone on beat one, while surdo 2 would play a lower open
tone on beat 2. Thus creating a constant High-Low quarter note
pulse. Surdo 3 typically would play syncopated 16th notes in
between 1 and 2.
Figure 8:
5
Tamborim: The tamborim is a small frame drum, approx 5
inches in diameter. In the batucada it is struck with a threeprong plastic beater. The tamborim will typically play
syncopated rhythmic motifs throughout the batucada. The
tamborim is also used to generate the swing of the samba using
a unique technique specific to brazil where the players strike the
drum 4 times, but on the third stroke they quickly flip the drum upside down to achieve an
"Contemporanea 20"x 60cm Surdo Wood." Musikhaus Thomann. Accessed July 16, 2019.
https://www.thomann.de/es/contemporanea_20x_60cm_surdo_holz.htm.
5
"Torelli Tamborim Corpo Preto Pele Leitosa TT404 Baqueta." O Acústico. Accessed July 16, 2019.
https://loja.oacustico.com.br/Torelli-Tamborim-Corpo-Injetado-Preto-Pele-Leitosa-TT404PR.
4
14
“upstroke”. When done in rhythmic succession at a fast pace, the result is an extremely groovy
Samba swing.
6
Figure 9:
Repinique: The repinique, is similar to the timables
found in Cuban music but slightly different.
Typically worn around the waist for marching it is a
high-pitched drum with a synthetic plastic drum head
and a metal shell. Approx 12 inches deep, the repinique
in Samba, is played with a small wooden drum stick in
one hand, and a bare hand. The leader of the batucada
typically plays this drum as it’s sound can cut through the volume of the ensemble. Typically,
the leader of the batucada will play rhythmic calls that signal to band what to do next. This
elicits the “call and response effect” between the leader and the band. But the repinique is also
played by multiple musicians at the same time to provide a swinging feel for the groove.
4.3 My Samba approach: “Alla” Composed by Marta Bautista Serrano
Initially bassist Marta Bautista had a melody and form, but was unclear as to what style
she wanted it to be. She thought maybe it would could work as a samba. For the recording
session I first played drum set and tried to lay down a solid and simple foundation, knowing
that later I would do percussion overdubs. A few weeks after the initial recording session with
6
"Repinique 12" X 30 Cm - Aluminium, 8 Rods, Izzo - Samba, Brazil." Djoliba Music Store. Accessed July 16,
2019. https://djoliba.com/en/instruments/996-repinique-12-x-30-cm-8-rods-izzo.html.
15
the band I overdubbed percussion. For the verse and chorus, I overdubbed shaker and pandeiro
(a typical Brazilian tambourine). But for the final chorus of the song I recorded a full batucada.
I recorded 4 repiniques, 4 tamborims, 4 caixas, and two surdos. Because of my previous
experience playing this kind of music. (see figures 10-12 below)
Figure 10: A notated example of the repinique rhythm I played in loop.
Figure 11: A notated example of the tamborim pattern I played throughout the song.
Figure 12: A notated example of the main surdo pattern played during the batucada
section.
I knew exactly what sound I wanted to achieve and how we should go about recording
everything. We only had two hours to record this, so efficiency was key. I referred to a song
entitled “Fanfarra” by Brazilian composer, Sergio Mendes.7 It is a classic and traditional
7
Sergio Mendes, “Fanfarra,” track 1 on Brasileiro, Craft recordings, 1992.
16
reference for anyone trying to capture an authentic batucada sound. Unlike the first song
“Timeless”, I wanted to try to recreate the sound as traditional as possible. I didn’t feel it was
appropriate to stray too far from the style or try to play an impression of my approach.
4.4 Middle Eastern Percussion- A Brief Overview
Middle eastern music spans a vast region and has many different styles and comes from
many different countries. There is a rich hand percussion tradition in middle eastern music. To
go into an in-depth explanation of the vast instrumentation included in this musical culture, could
be its own research paper. For the sake of this I will focus on a few textures and explain my
inspiration for why I chose what I did.
Some common drums that can be found include the Darbuka, Riq, Daf, and other various
types of frame drums. But the most common percussion ensemble consists of the Tombak and
the Daf (see figure 13-14 below).
17
Figure 13:
8
Daf: A large frame drum used in classical and modern
ensembles. It is made of wood with many metal ringlets inside
that rub against the drum creating a sharp sound in tandem with
the sound of the hands striking the drum.
Figure 14:
9
Tombak: A Persian goblet drum that is considered one of the
most common instruments in Persian music. The body is
wooden and typically the head consists of sheepskin or
goatskin.
8
"Professional Persian DAF ERBANE Def Drum by Afshari Ad-304 for Sale Online." EBay. Accessed July 16,
2019. https://www.ebay.com/p/Professional-Persian-DAF-ERBANE-Def-Drum-by-Afshari-Ad-304/15023896946.
9
"Persian Quality Shirani Tonbak Tombak Zarb Drum with Soft Case." Amazon. Accessed July 16, 2019.
https://www.amazon.com/Persian-Quality-Shirani-Tonbak-Tombak/dp/B00UOZW13A.
18
4.5 My Approach: “A Dancer With Closed Eyes” Composed by Hami Keivan
Hami Keivan, who is an Iranian born composer and pianist drew inspiration from his
home country. Incorporating melodic aspects of his home country. His composition “A Dancer
with Closed Eyes” was not traditionally Persian it allowed me more room to play my stylistic
version of the music. Hami drew upon influences of jazz and modern contemporary music. So, I
decided to do the same. In my arsenal of percussion, I didn’t have any traditional instruments
from this region, but I did have a small frame drum called the “Ocean Drum” that resembled the
sound of a Daf. It is a small frame drum filled with silver buckshot, that when struck has a semi
harsh sound. If anything in my personal collection could resemble the sound of the Daf it would
be this instrument. I drew inspiration from a song entitled “Travel Notes” by Israeli pianist
Alon Yavnai,10 whom blends rhythm, harmony and texture from around the world. I also
recorded with brooms on the surface of a djembe. This evokes sounds of the region, but again is
non-traditional. In this instance, I felt as though I had creative license to stray away from the
tradition. I also believe Hami was looking for someone who could connect the dots in this
fashion. This piece drew from Iranian harmony, but it allowed for more of an impressionistic
jazz approach. The crux of the song was triplet based and the formal groove I played on the
djembe was as such. (see Figure 15 below).
Figure 15:
10
Alon Yavnai, “Travel Notes,” Track 5 on Travel Notes, Obliq Sound, 2008
19
4.6 Flamenco- A Brief Overview
Flamenco is a traditional music from Spain. It has many influences, from Arabic, Indian,
Romanian and African culture. The ensembles typically consist of a singer, a few dancers whom
also may play palmas which are claps, a guitar player and a cajon player. The cajon, is a wooden
box which is sat on and played with the hands. Inside the cajon are guitar strings which create a
rattle sound, almost emulating a snare. But the cajon is a relatively new instrument in flamenco
music. It was introduced in the 1960’s after it was discovered in Peru. Originally the only
percussion in a flamenco was the sound of the dancers feet, and claps. (see Figure 16 below)
Figure 16:
11
Cajon: A wooden box used in modern flamenco
ensembles. Played with the palms, fingers and
knuckles. Rhythms normally played by the dancers
were adapted for the Cajon.
11
"LA ROSA NATURE CAJÓN FLAMENCO." Musicopolix. Accessed July 16, 2019.
https://musicopolix.com/cat/baterias-y-percusion/cajones/71029-la-rosa-nature-cajon-flamenco.html.
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There are numerous Flamenco rhythms, but for the sake of this research I have decided to
focus on a rhythm called Solea. Solea is a 12-beat cyclical rhythm played at a slow tempo. (see
Figure 17 below).
Figure 17:
All the notes on the staff above are typically accented by the bass tone of the cajon, the
stomp of the dancer as well as accompanied by the sound the claps or palmas. This textural
element was extremely important for me to try to emulate. The lyrical content, slow tempo and
cyclical nature is very rich and emotive making it one of the deepest in the flamenco tradition.
4.7 My Flamenco Approach: “Las Palabras Ocultas” Composed by Eve Matin
When recording the percussion part for harpist Eve Matin’s Solea, I tried to emulate this
ensemble. The slow pace of this composition and richness of the harmony gave it certain
characteristics of solea, but again it was a non-traditional piece of music. Nonetheless I wanted
to retain as much integrity to the tradition as I could. During the recording session I overdubbed
4 layers of claps, and as ensemble we recorded along with clap loops. The Pattern I recorded was
based off of a traditional Solea rhythm (see Figure 18 below).
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Figure 18:
Once the claps were layered, I primarily played cajon with the basic solea pattern. All the
interlocking parts were as such (see Figure 19 below)
Figure 19:
Rhythmically the song had many cadence points to the 11th eighth note which is
characteristic of flamenco cadences, or remates. The final section of the song, featured a rhythm
called Alegrias which is the same rhythmic cell, but at a slightly brighter tempo.
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4.8 Resources & Materials Needed
Material Resources
•
•
•
•
•
Ocean drum, Pandeiro, Djembe, Misc. Percussion, Batucada instruments, Cajon,
Hadjira, Hadjini.
School recording studio facilities equipment
Pro tools recording software
Scores and lead sheets
Reference tracks
Human Resources
•
•
•
•
•
•
•
•
Sergio Martinez
Eve Matin
Hami Keivan
Marta Bautista
Apoorva Krishna
Marcelo Wilson
Conor Schon
Jamey Haddad
5. Justification
My intention with this project was to learn more about music and culture as well as to
build my portfolio. There are many musicians in the industry but I feel that versatility is
extremely important. My goal was to expand my versatility whilst retaining my musical voice.
Many percussionists are proficient in a few styles but I feel in this day and age it is necessary to
be extremely well versed in many styles, and this project allowed me to explore that possibility.
My creative use of instrumentation and unique textural elements give aspiring percussionists an
insight on how to approach new recording sessions. I also intend to develop of teaching method
in order to help musicians begin to approach and decode new music.
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6. Professional Plan
In many instances after being offered a gig, or teaching opportunity I have been asked
to submit examples of my work. Nothing in the past had displayed my versatility like the
portfolio I’ve accumulated here at Berklee. I know have something tangible I can email to
clients or prospective musicians that clearly demonstrates my abilities. Going through this
process has also caused to me being thinking about a professional teaching method that helps
me break down music in a palatable way for others to understand. I intend to further develop
this mindset and cultivate a solid method I can deliver to private students, and universities.
7. Conclusion
In my estimation I feel that the works I have presented were very much a success.
Although there is always room for improvement. “Timeless” was technically very challenging to
execute, but nonetheless, a joy. By no means does my skill level compare to that of a
professionally trained Carnatic musician, so attempting to emulate this style was a challenge.
“Alla”, was less of a challenge due to my experience with Samba. The real challenge was
overdubbing so many instruments accurately and musically in a short amount of time. But I feel
the final batucada section of the song is an accurate representation of Samba. “A Dancer with
Closed Eyes” could have gone in many directions and the open-ended nature of it allowed for
more of an impressionistic approach. The real challenge aside from executing the music correctly
was deciding was textures and what rhythms work for each section. But overall, I feel that the
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mood of the piece is complimented well by the percussion. If I another opportunity to record this
piece, I would choose a rhythm the accompany the melody that didn’t have such a strong
downbeat on one. Thus, giving it a less heavy feel. Finally “Las Palabras Ocultas” was not much
of a challenge to record, but rather to get the feel exactly right. I still don’t feel that I quite nailed
it. There’s a fine balance between the relationship of the claps and the cajon. For this piece I also
would have liked to overdub a few more drums to give the rhythm section some more energy.
In these times, there is a lot of love and acceptance in the world, but there is also a lot of
fear and hate. Many times, when people don’t understand others cultures they can develop a fear
from this mystery. This fear can turn into hate and exaggerate the feeling of the “other”. This
kind of mentality is extremely dangerous for society. As a musician operating on a global level, I
keep an open mind to all cultures, not only musically but socially. When observing my work and
collaborations, hopefully in some small or large way it can help perpetuate the idea of love,
openness, and embracing people that are different from you. It has allowed me to realize how
similar we all are truly are.
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Media of
