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Learning
from books can be a limited way of teaching yourself how to play
rhythm and percussion in my opinion. Firstly if you have no experience in written
musical notation then there is a whole theory with symbols to learn
before you can start. Unfortunately there is no standard notation and so
you need to learn new ones or adapt what you have learned as you come
into contact with new sources of information. Visually you are limited
to static images - photos or diagrams, which attempt to explain
and demonstrate how to hit the drum. Obviously a live person or Video /
D.V.D. give you the chance to observe technique in real time and/or
three dimensionally. However everyone responds differently to different
forms of tuition and you may find the following books useful or
certainly as accompanying information. All the following have CD's
/ Tapes which accompany the books so you can hear how the rhythms sound. |
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The
Art Of Middle Eastern Rhythm by Kobi Hagoel.
Hardbound,
A4 size, 136 pages with 6 accompanying CD's - published by OR-TAV Music
Publications.
Kobi
is from Israel and is devoted to the study of M. East. percussion and
rhythms. This book reflects the information he has amassed over the last
11 years for his project to collect M. East. and Mediterranean rhythms.
The book covers the geographical and historical context of the drums and
rhythms, introduces technique for note production, exercises and a vast
collection of rhythms.
At
136 pages it appears to be an exhaustive document - however it is
produced for the international market and so all the text is translated
into German, French, Spanish and Hebrew. So realistically there is only
a fifth of the text which you will use.
It
starts with an introduction of how to use the book, gives sources of the
rhythms ; geographically, historically, culturally and theoretically and
the drums are pictured and named, both frame and goblet styles.
The
next section introduces the notation used in the book for the strokes
and rhythms, which is an amalgamation of traditional Arabic and Western
notation. Next he discusses how to hold the drums and names are given
for the strokes. This is illustrated with 62 group or single photos for
Darbuka, Riq ( both Folk and Classic styles ), Zarb ( Tonbak ) and Daf (
both holding and seated styles ).
Next
up are warming up and practice exercises. Now it is time to put on the
CD's. Each exercise and rhythm is numbered so it is easy to find on the
CD counter. Kobi speaks the notes/exercise/rhythm in Hebrew then
English, counts the tempo and speaks the notation ( i.e. Dun, Tak etc. )
and then plays then on the daf and darabuka for a few bars for play
along. The first group of exercises look at subdivisions of the pulse
i.e. 2's, 3's 4's etc. to 8's. The next are mixing notes of different
lengths i.e. double, triple, quarter notes per beat. On to mixing
patterns in different measures and to ornamentation rolls and various
combinations of these and finally some paradiddles.
Now
the rhythms start - They are organized into groups of even ( duple )
rhythms so 2/4, 4/4 8/4 through to 32/4, then compound ( triple rhythms
) so 3/4, 6/6, 12/8 etc. and finally asymmetrical rhythms from 5/4 to
124/4. Some of the rhythms are given in basic forms and some with
variations. He speaks the number of the rhythm then in it's notation and
plays it simultaneously on a frame and goblet drum. This happens for 4
bars at a slow tempo and then again for 4 bars at double time. There are
around 420 rhythms including the variations so there is a wealth of
information here to cover. Most of the commonly found-in-the-West
rhythms are here : Baladi, Maqsoum, Malfuf, Saiddi, Ayub etc. etc. and
obviously loads more.
In
conclusion I feel this is a book very much for the rhythm collector and
for reference. It is clear in it's layout once you get used to skipping
back and forth over the translations which are not your native language.
The notation is close to traditional Western and for those not used to
it this will demand time in understanding it - having recorded examples
on the CD is obviously a big bonus to understanding the feel of the
rhythms. As a book for the beginner to start with it will seem
overwhelming with so many rhythms to look at. The photos for the playing
techniques are as good as any I have seen but are as limited as the
comments I stated previously about learning from static images. What I
do think are very good are the various practice exercises which cover a
lot of basic theory and are very useful to keep returning to. The rhythm
information is exhaustive but as seems the case with all " Arabic
Percussion " tuitional material - there are discrepancies about
names and time signatures. Here Maksum is listed as a 2/4 which I have
never seen before - it usually is stated as a 4/4. Malfuf is translated
as cabbage ! My understanding it means rolled, but really none of this
matters - what is important is the recorded examples are clear and easy
to understand. A book which will appeal to the
serious student of rhythm collecting and those who want to tackle really
long metered rhythms.
Click
here for more info. on this book.
Click
here to order from the distributor |
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Oriental Percussion
by Lars
Bo Kujahn
Softbound and ring bound, A4 size, 66 pages with accompanying tape -
published by Percussion Center Publications.
Lars is Danish and has studied M. East. percussion since the 1980's.
Studying under the late Mahmut Hamuda at the Conservatory of Music in
Giza, Cairo. This book and tape introduces the Turkish Darabuka and
Arabic Tabla, Davul/Tabl, Def, Req and Zil/Saggath. They are introduced
historically and geographically, exercises and note production technique
are given. Classic Arabian, Turkish , Western and ensemble combination
rhythms are covered.
This book is a bit of a homemade / designed affair, lacking the
production values of the previous books but it's the content which
counts. It starts with some photos of dancers and drummers and moves on
to introducing the Turkish Darabuka ( which more often is called Turkish
Darbuka or Dumbelek ) and Arabian Tabla ( which more often is called the
Egyptian Darabuka/Tabla ). Also the Req, Davul or Tabl ( Davul is
Turkish name - Tabl Baladi is the Egyptian name ) which is the double
end skinned bass drum hit with sticks and Zils/Saggarth ( Turkish/Arabic
names for Finger Cymbals ). A little history and geography is covered -
there are interesting claims such as Darabukas being common in India and
that they are not found in Spain - well I saw none in India and plenty
in Southern Spain ! As well as the Turkish darabuka being no older than
100 years old in Turkey and not being accepted as a traditional
instrument by the Turkish Academy of Music.
This book also uses classic Western notation to explain the rhythms and
there is some explanation given later but not now and its time to start
looking at the rhythms. Lars, like the previous authors, is expecting
you have prior musical training and can read score notation. So if you
can take a look - if not skip on to the next section which looks at
exercises and technique. First up are warming up exercises for the hands
and fingers shown in photo form. On to playing the Turkish " Darabuka "
- photos show the between legs and lap style and the sounds are
introduced as Dum, Tek and Slap. He assigns numbers to each finger i.e.
1 for little, 2 for ring etc. and photos show how to produce Dum, Slap
and dominant hand Tek. He shows weak hand Tek but doesn't give it the
usual name - Ka, neither does he call hands weak or dominant - he too is
assuming we are all right handed. Next he shows finger snaps only done
with weak hand. On to the Arabian Tabla : and the same photo sequence as
before for Dum, Teks and Slap - no snaps as he asserts you can't do it
on Tabla - not true, you can ! He also asserts weak hand Tek ( Ka ) is
only done with ring finger - I don't agree, learn to use middle and fore
too, it will assist your playing. There are also examples of trills or
finger rolls and dampening technique.
Now we get the explanation of symbols used for the notation of the
rhythms and back to the rhythms which were shown before. The book
doesn't say so, but put the tape on now. The book starts with a
selection of common Turkish/Arabian rhythms.
First up is " Basmudi " which is Masmoudi - I think a lot got lost in
the translation from Arabic to Danish to English. It is a 2 Dum Masmoudi
and is erroneously stated as 4/4 - it is 8/4. All rhythms are noted for
which hand to use - H for right ( Dominant ! ) and V for left - which
again must be the Danish translation. On to Wahid - all examples are
played with full percussive accompaniment and play for about a minute at
moderate tempos with fills. There are different variations of each
rhythm but they don't appear on the tape until later on, here we get the
first main version. Wahid I Nuss is next and it sounds like Wahda Kabira/Chiftitelli
to me ! Next the book and tape go separate ways : The book is on to
Mahsum ( Maqsum ) and the tape is on to Ciftetelli ! So I will proceed
with the tape order of things. So now Chiftitelli ? Er, no, sounds like
something else to me - Maqsoum ( N.B. it just seems to be the way in
learning Arabic rhythms that people call things by different names and
it gets VERY confusing - Kobi for example also calls Whaada Unnus :
Maksum ) And now prepare to give up as Lars introduces Mahsum ( Maqsoum
) but it's Baladi !!!!! At least he does mention it is also known as "Belladia"
elsewhere. OK so on to Zaidi which must be Saiddi - a different version
from the usual pattern given, basically the first Dum is gone and the
next Tak has turned into a Dum - but the tradition of Saiddi is many
different versions so here is a new one for us. On to Ayub which is the
common version but notated as 4/4 - it's 2/4. Melfuf is the Malfuf/Laff
rhythm. Musemen is a new rhythm to me - so I assume is as it is. Then to
Vals and Zafar ( Zaffa ).
Now I shall return to the book as there is a big section not covered by
the tape. Lars moves on to the Davul/Tabl/Tapan. This is a drum I have
no experience of so I can only describe the instruction. The strokes
produced by the two sticks are given. Then there is notation for how to
play the previously covered rhythms on the Davul. This is the only
source of information on playing Davul/Baladi I have ever seen and it is
a shame that the notation given is not played on the tape - it would
have been great to have heard it alone from the other percussion. More
photos of players from Tunisia appear and it is time to look at the Def.
He shows how to hold it in "Arabian" style - which is held upright by
weak hand and the Dum, Slap and Tek strokes done by dominant hand and
weak hand Tek, all as you would expect. He also shows "Azeri" ( from
Azerbaijan ) style - which is placing the def on your leg like a
darbuka. Dums, Teks and finger snaps are shown. Again there is notation
just for the Def on those previous rhythms but not appearing on the
tape. On to the Req and it is a similar pattern - how to hold and the
Dum, Tek, Slap and hitting and trilling the zills and the rhythmic
notation. The Zills themselves are covered and new notation is included
to represent the strokes and the same notation for Arabian rhythms but
here also two Turkish zill rhythms.
The next section looks at combining what has been covered in a call and
response combination of the rhythms covered on all the instruments - as
an Arabian ensemble might. So all drums and zills play a few rhythms
together and then a section where the Tabla calls a solo and the others
reply - then all back together for a final rhythm. Two combinations are
given - both notated and both played on the tape - but not now ! They
happen after the next section.
Now we move on to Classical Arabian rhythms. There is notation in the
book for each - they are; Semai, Zerafat, Mahagar, Mugmal and Nawaht
Hindi. All rhythms are next up on the tape and again played with full
percussive orchestra. The same approach is covered for the Classical
Turkish rhythms - Turk Aksagi, Devri Hindi, Devri Turan, a 9/8 Aksak,
Evfer and Aksak Semai. For these rhythms he introduces a system where
you can say GA-MA-LA to represent 3/8 and TAKI 2/8 time - to help say
the rhythm correctly to the pulse, as these rhythms are odd metered. So
on the tape you just get GAMALATAKI's spoken instead of Dum and Tek - so
you must read the notation as well to play the rhythm.
Finally for the book, Lars notates some Western rhythms for the
darabuka. So Dum equates to a bass drum, Tek as the high-hat and Slap as
the snare drum. Then we have a Rock rhythm followed by Funky, Latin,
Afro, Shuffle and a Jazz rhythm. On the tape there are two versions of
each rhythm given.
For the tape - the last section goes back to all the Turkish/Arabian
rhythms played earlier and goes through them all again with several
variations on all rhythms which are also notated earlier in the book. So
you get the variations played just on Tabla so you can hear them clearly
and then the full percussive version plays again at the end of each
rhythm.
All in all - bar the muddled layout between tape and book, this is a
good all round book which covers a lot of information. Possibly too much
for the complete beginner it offers a lot of good information for self
teaching on a lot of levels. A good variety of rhythms and versions of,
exercises which are useful and each drum looked at in turn. Combination
playing for those who can do so is a plus as well as the unique chance
to learn something on Davul/Tabl and how to fit in with the other drums.
Lars has been taught by a famous and respected player and the distinct "
old school " style of Egyptian drummers is evident in Lars' style.
However there is one big problem and that is .....
...... ordering this book and tape may be very difficult. I had to
borrow this to review and my attempts to find it easily available online
have proved fruitless. You could try contacting Lars direct via his
website at
:
LARS KUJAHN WEBSITE.
Also to see Lars' CD review click here
UPDATE - LARS HAS UPDATED HIS BOOK AND IT COMES WITH A DVD - I HOPE TO
REVIEW IT SOON
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Darbuka
Method, Advanced Darbuka technique by Behnan GÖÇmez
Softbound,
A4 size, 55 pages with accompanying CD - published by Mel Bay
Publications.
If
memory serves me right I think this is an amalgamation of two titles : an intermediate
and advanced rolled into one volume. Behnan is from Turkey and
lives and teaches in Holland. The book covers the playing positions,
techniques and exercises with some demonstration playing on the end of the
CD. No rhythms are covered - it is purely about technique and exercises.
The
book starts with two pictures - one of an Egyptian Darbuka and a Turkish
Darbuka and labels different parts of the drum. Nowhere else in the book
is any reference made to the two different drums and playing styles - even
though it says " Egyptian and Turkish Style " on the CD ). The
seated and between legs styles are shown in photos and the text mentions
you can stand with it too. All text is translated from English to French
and German throughout the book. The first stroke is introduced - it is the
Dum - nowhere in the book does it describe it as such or that it's a bass
sound you are trying to produce ! photos and diagrams show the position
and it mentions you can produce it with weak hand too ( no mention of weak
or dominant hands are used it assumes everyone is right handed ) At this
point you are supposed to put the CD on but it doesn't tell you that. In
the book there is classic Western notation for the Dum exercises - no
introduction to the notation is given anywhere or for which note
represents Dum, Tak etc. - be prepared to figure all this out for
yourself. The CD starts with a
demonstration of Behnan soloing away and it is apparent he is a good
player, then it suddenly fades and a click track starts and the first
exercise related to the first exercise is played. No information in the
book or CD informs you that this is happening. The book moves on to Taks (
again no reference to this ) and introduces them as finger snaps via
diagrams and photos and another exercise is written and plays on the CD.
Then the more usual Tak style is shown confusingly in diagram form and
another exercise is given which actually has a number one next to it and
lo and behold the CD commentary now decides to also call it number one
even though it is now the third on the CD ! The book moves straight on to
the " UP " position which I still can't completely be sure as to
what it means and exercises are presented and we are now back at a new
number one !! The CD also calls this FIFTH exercise number one and
complete chaos has broken out - compounded by the fact each exercise only
plays once for about five seconds and then we are on to the next one and
you haven't had time to look back at the book to see which " number
one " we might be on to next. Absolutely ridiculous, this pattern
continues for the next few techniques: Shaving technique which is flicking
all fingers in dominant hand from out of the palm to the skin like a fan.
This is confusingly illustrated in diagram and photo. Two exercises in
notation form appear but then don't on the CD ! The fingertick technique
is next with exercise which DO appear on the CD and on to hammer, claps,
3-2-3, slaps, damping and sliding techniques with an ever increasingly
bewildering collection of new notation, diagrams, photos and text with exercises
that fly by on the CD.
Up
to this point I was ready to throw this book away - it is so poorly
designed leading to so much confusion. However things improve in the
second half. The book now just lists exercises right up to the end and the
CD plays them for you as before starting with a new number one ( of course
) but manages to go right through to 161 without missing any out. The
first are for finger control and are played quite slowly and increase in
complexity as you go on. The next section's exercises are for combining
right and left hands. After this is a composition called THE DARABUKA SONG
but frustratingly it's not played on the CD which seems pointless. Then
exercises for the Advanced techniques covered earlier are given, these are
more challenging and there is also a good number of them. At the end of
the book there is another composition called TALKING DARABUKA, at the end
of the CD two more demonstration pieces are played. Are these the two
compositions ? Well you can be sure the book and CD ain't going to tell
you and I just can't be bothered to work out if they are as I'm usually
all frustrated when I get to the end of this publication.
In
conclusion you may guess that I don't think much of this book. However I persevered
with it and I found that by recording each exercise onto Mini Disc and
meticulously splicing and looping each one for a decent length of time, I
could play them back on single track loop and have something to work with.
The exercises are actually very good and some even sound like really good
rhythms in themselves. Now that I have been shown all the techniques by
observing and taking tuition from live players - I can go back and
untangle the mess which is the explanation for these techniques in the
first part of the book. Be aware it says ADVANCED on the cover and a lot
of the content is at this level and the recorded exercises are fast
as you should be used to this at this stage. As a source of useful
exercise for complex techniques nothing touches this book - it is
exhaustive and I have benefited greatly from these exercises and can
understand why they are so good to improving your playing. However whoever
designed this publication needs to go back to design school - it is awful.
IF this book was redesigned properly AND was accompanied by an interactive
DVD showing you everything it would be the near perfect tool in refining
your playing technique.
Click
here to order from the distributor
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PLAYING ALONG WITH
MIDDLE EASTERN RHYTHMS COMPANION BOOK by TALISEN
A5'ish
stapled booklet - 24 pages by Bardic
Productions. Companion
booklet to the 2 CD's produced by Talisen and reviewed under CDs.
Talisen is American and has produced these items and plays Doumbek on the
CD's, this booklet is designed to accompany the CD's but stands up quite
nicely on it's own. It starts with a Table Of Contents, listing which page
has which rhythm - such a simple thing and so useful and so rarely used !
Talisen I think comes from a New Age and Drum Circle angle and next up is
a poem which reflects that. Moving along next is a Rhythm Disclaimer,
which is a wise move explaining that there are countless spellings and
versions of the following rhythms, a few lines on Historical info. and a
few more on the fact you can play the Doumbek on the lap or between the
knees. Next he looks at the Language Of Drumming and introduces the sounds
as Doum, Tek, Ka and Pop and explains the terms dominant and
non-dominanant for referring to which hand to use. Then each sound is
notated i.e. K = Ka and a rhythmic example using the notation is given.
Additionally there is mention of OPEN and CLOSED when playing the rhythms
or Basic and Filled versions. Next is a short look at time signatures and
how this can be understood in table format - whole notes, half notes etc
to 16th notes and basic exercises. Then on to the rhythms. The first CD
would be switched on now for play along, each rhythm is spelt, given it's
time signature and area of origin. Next a little cultural explanation and
finally the rhythm in table format and if there are variations and bridges
then they appear in tablature too. The first CD covers all the usual
intro. rhythms and mostly they follow what is printed in the book but not
exactly and a complete beginner may get confused. The versions played are
the ones very commonly found across U.S. produced reference material
and the playing style is also very Westernized. These rhythms wouldn't
traditionally be mixed together but Drum Circles love to mix rhythms from
all over the world and next up are some examples of rhythms played
simultaneously e.g. Beledi and Maqsum, Maqsum and Ayub, Beledi and Saidi
etc. These are written in tablature so 2 players could play together, on
the CD Talisen is joined by another Doumbek player. Now the second CD is
ready to go on and the format is the same this time looking at the more
unusual and odd metered rhythms. At the end of this section the booklet
gives us another poem and some blank tables in 4/4 and 8/4 and odd metered
to fill in with your own made up rhythms.
Although
the booklet is a small home produced affair which covers material you can
find elsewhere - what is useful is all the important stuff for beginners
is all here in one place. It doesn't go over the top in presenting too
much detail and information but especially for looking at how to read the
rhythms, there is a good clear explanation, which once mastered should
serve the player well when coming across different versions or even
classic Western musical notation. Once a beginner has got to grips with
basic patterns and moving from hand to hand there is a tendency to want to
learn as many fills and variations of a rhythm as possible on the Doumbek.
This is nicely fulfilled here with notation to read whilst playing along
to the CD. There are many odd metered rhythms to tackle too and examples
of playing rhythms simultaneously all written out. Each rhythm is played
for a fair amount of time to play along too and not too fast though it is
not for the complete beginner who is finding playing hand to hand very
difficult. There is only the Doumbek playing - no Douf/Doholla and as the
filled variations appear the foundation of the rhythm is lost - which a
backing would have helped kept strong, but everything is steady and
doesn't go off into solos which really throws beginners whilst playing
along. So all in all for the package of 3 the beginner gets a lot of the
essential information needed for practice and developing and how to read
the rhythms. The style is very Westernized and flat which will help the
beginner to play along but for improving players who wish to capture the flavor
of Arabic, M. Eastern etc . style it would be time to look elsewhere.
Click
here to order from the distributor |
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Doumbec Delight
A 30 Lesson Course in
Middle Eastern Drumming, with Basic Music Theory.
By Mary Ellen Donald. (1976)
Includes:
- Basic music theory
- Simple and fancy drum
techniques
- Middle Eastern rhythms
- Guidelines for
creating rhythmical variations
- Tips for accompanying
belly dancers, and
- Practice suggestions
Companion Discs for Doumbec Delight
These CD's include Mary Ellen playing most of
the examples in the book several times, improvising solos, and playing the
accent patterns of each rhythm at length to provide a steady backup for
student practice.
Volume I Covers Lessons 1-10
Volume II Covers Lessons 11-30
Product review
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Arabic Tambourine
(includes tar)
A Comprehensive Course in
Techniques and Performance for the Tambourine, Tar, and Mazhar
by Mary Ellen Donald (1985)
Includes:
- Basic music theory
- Techniques for playing
cabaret and classical tambourine, tar (wooden frame drum), and mazhar
(giant tambourine)
- Several variations for
each of the following Arabic rhythms:
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Ayyoub
Baladi
Maqsum
Malfouf
Saudi
"Walking" Maqsoum
Masmoudi
"Mellow" Masmoudi
Bolero (Rhumba)
Chifte-telli |
Karachi
Bayu
6/8 Rhythm
Syncopated Masmoudi
Zaffah
Fallahi
Wahidah
Fast Chifte-telli
Sama'i Thaqil |
Sama'i Darij
Murabba
Dawr Hindy
Mahajjar
Masmoudi Variation
Nawwari
Sa'idi
Libi
Tayir |
Companion Discs for Arabic
Tambourine
Mary Ellen plays all of the
examples in the book several times and includes improvised solos.
Volume 1 Covers the cabaret tambourine.
2 CD
Volume 2 Covers the classical tambourine,
tar, & mazhar.
2 CD set
Product description from author's site
Review from author's site:
Arabic Tambourine
A Comprehensive Course in Techniques and Performance
for the Tambourine, Tar and Mazhar
by Mary Ellen Donald
Why does the professional
performer or dance instructor need to study Mary Ellen Donald’s Arabic
Tambourine text? For these reasons and more: her book presents the
rhythms heard in Egyptian video tape performances. Professional performers
(musicians, dance troupes and dancers) and dance instructors need the
knowledge base of rhythms and the cultural background of the music to
enhance their professional skills and abilities. Can you recall watching a
show where the performer (musician or dancer) missed the “breaks” in the
music, or danced right through them? Or a dancer who has danced only to the
iqat (rhythmic mode) and who perhaps may not have known the
maqamat (melodic mode) may differ from the iqat?
 Understanding
and knowledge of the rhythmic patterns improves the quality of a dance
performance and can also be useful to the playing of the sagats
(finger cymbals) in a complimentary manner. An exciting new horizon is
expanded when you realize that all of the rhythms are directly transferable
to other percussive instruments (e.g., the doumbec and finger cymbals). In
the San Francisco nightclubs of the past, the dancers were expected to “sit
in” with the band between dance sets and play the tambourine. The dancers
enhanced their versatility and employability with their ability to provide
accompaniment on tambourine, drum and tar.
The tambourine itself is a
charming instrument. Such a tiny instrument produces a myriad of sounds:
the wood sound, skin sound like a drum, and the variable sound of the
cymbals. Mary Ellen’s tambourine solos always astound audiences with their
challenging vitality and versatility of rhythmic patterns and sound. In the
Middle East the tambourine is considered a virtuoso instrument.
Let me describe to you the
organization, teaching methodology and contents of Mary Ellen Donald’s
Arabic Tambourine book. According to Dr. Jihad Racy, ethnomusicologist,
“The value of the book lies partly in its encompassing nature. The student
is taught old traditional patterns derived from folk, urban and ethnic
sources; as well as Western-derived patterns that have become part of the
Arab rhythmic vocabulary.” A serious student can learn from the self-paced
lesson plans. Cassette tapes accompany the lesson plans and provide
examples of each rhythm pattern several times. Mary Ellen’s teaching
methodology takes into account the varying students’ needs (aural or visual
learning capability) and musical knowledge (experience reading music or
playing an instrument). This book contains a standard feature of her other
books on drum and cymbals technique and begins with basic music theory, and
contains musical notation for sight-reading of the rhythm patterns. There
is a very helpful section on the selection and purchase of your tambourine,
tar, and mazhar; with special tips for care during playing and storage of
your instruments. Next, she teaches the technique of holding and playing (doum,
slap, takk sounds, and muting, rolls and shake) the instrument.
Rhythms are introduced in
the book with their proper names and information on their cultural
background, when they are played in performances, and the feeling (melodic
versus hypnotic, etcetera) given to the rhythms. For each rhythm the
pattern of instruction is as follows: 1) open rhythm pattern to clearly
illustrate the pattern. 2) Basic pattern as you would normally hear it. #)
Exercises. 4) Embellishments and fill-ins. 5) Special variations and
exciting “spices.” 6) Tips for creating your own variations. 7) A rhythmic
review of all of the preceding patterns and variations. The book consists
of twenty-eight rhythmic patterns, syncopated spices, breaks, and drum solo
patterns (hagala).
Most helpful to instructors
using the material in their classes are the appendices. Appendix A is a
listing of all rhythms; Appendix B, a glossary of terms with definitions
and examples; Appendix C, a list of records that illustrate high-quality
performances; and Appendix D, instructions for re-skinning the tambourine.
The book contains many helpful and clear illustrations of the instruments.
This is an extremely
valuable reference book for the professional performer, dance instructor,
and serious student. I recommend it very highly as a self-taught course in
tambourine, tar and mazhar, as well as Arabic rhythms. It is the next best
thing to taking a course from Mary Ellen in person.
Test your Arabic I.Q.: What
is the name of the special rhythm used for the Arabic wedding procession?
Are Samaii Thaul and Samai Darij the names of Turkish singers or rhythms?
Are Saidi and Saudi different rhythms or just different spellings for the
same rhythm? Are Muhajjar and Dawr Hindi ancient Indian gods of music or
are they rhythms? What rhythms are used in the popular song
“Lailet Hob”? Do you know the difference between durub and azan; and
how they are useful in teaching dance or developing choreography?
All of the answers and much
more useful information can be found in the Arabic Tambourine: A
Comprehensive Course in Techniques and Performance for the Tambourine, Tar
and Mazhar by Mary Ellen Donald.
“Mary Ellen Donald’s book
is the result of years of careful observation and contact with recognized
percussionists. It is also the fruit of a long teaching and performing
career. Written in a superbly amiable and easy-to-grasp style, the book is
indeed an important source for the study of the daff and a uniquely
valuable work for students and performers of Arab music.” A. Jihad Racy,
Ph.D., Music Department, UCLA.
Review from author's site.
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Instructional
Book and CD's for Finger Cymbals
Beginner Cymbal Discs for
Belly Dancers
by Mary Ellen Donald (1977; remastered 1999; disc released 2005)
After giving a brief lecture on rhythm and cymbal technique, Mary Ellen
presents instructions for combining simple cymbal patterns with simple dance
steps while providing a drum accompaniment throughout. An introduction to
popular belly dance rhythms is included. This CD is useful for individual
and group practice sessions.
Companion Discs for
Mastering Finger Cymbals
(1976; remastered 1999; disc released 2005)
Mary Ellen plays most of the examples in the
book several times. She also includes drumming sections so that students
may practice improvising to the accompaniment.
2 CD Set
Product review
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The
Teckronomicon
by Kevin Hartnell
CLICK TO VISIT WEBSITE
"The "Tekronomicon" is a book of over 100 exercises
and drills for the aspiring darbuka (doumbek) player and features a
primer on learning split finger/hand technique throughout.The "Tekronomicon"
is designed to help the drummer to build skills by establishing a
regimen of various exercises and rhythms to work on. The book features
basic through advanced material (plenty of photos too!), including
traditional rhythms and plenty of variations featuring split finger/hand
technique as popularized in Turkey. This technique divides each hand
into two striking areas which can increase speed and dexterity as well
as providing a fun challenge to players of all levels."
Product Description from author's
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"Method For Darbuka Vol. 1 " - Ruben Van Rompaey
CLICK
TO VISIT WEBSITE
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"Method For Darbuka Vol. 2 " - Ruben Van Rompaey
CLICK
TO VISIT WEBSITE
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A beginner's guide
Ramzi Besharat and the Galilee Percussion Ensemble
Product Description:
It gives us great pleasure to present the venerable
tradition of playing the darbuka drum using a method that makes it easy to
hear and simple to learn. The rhythms which will introduce you to this
enchanted world have been chosen with care and are played by Ramzi Besharat
and the Galilee Percussion Ensemble. Slow rhythms (played at a slow pace)
are customary in artistic music; Rhythms used in both artistic and popular
music; Fast-paced rhythms (played at a lively pace) and Rhythms used in
popular or folk music.
1) Part One: The Percussion Instruments (2) Part
Two: The Sounds (3) Part Three: Exercises (4) Part Four: The Rhythms
(5) Part Five: Minus One (6) Part Six: Rhythm Sequences Rhythm
Notation
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"RHYTHM
COLLECTION ORIENTAL" with CD & DVD by Rüdiger Mau
CLICK
TO VISIT WEBSITE
N.B. This is in German !!!
"This rhythm
collection with 112 rhythms from 21 countries offers a
comprehensive insight into the world of the oriental percussion.
*The differentiating notation makes possible for the knowledgeable
as well as the self-taught, a clear understanding of the rhythms,
which are illustrated in the accompanying CD. In this way, this book
is equally appropriate for beginners and experienced musicians.
*The structure progresses through 9 chapters, from easy until very
complex irregular beats, in which common dance rhythms , as well
as the rhythms of the Sufis too are included.
*An additional ´´ special ´´ is offered on the DVD, on which the
application
and playing techniques of the most important oriental -, but also
other popular percussion instruments are illustratively explained:
Darabukka, various frame drums like the Mizhar, Tar, Bendir, Duff and
Riq, Davul, Bongos,congos, Djembe and Cajon
*The ensemble compositions, as stimulation for playing together, are
seen on the DVD as well." - Product Description from author's
website
Eastern
rhythm collection - Rudiger Maul - Book + CD + DVD
Language: English, German
Work conceived around the Eastern percussions and rates/rhythms of the
East and Middle-East, the method of the German musician Rudiger Maul is
a complete teaching support.
Composed of a book of a hundred pages, CD and a DVD, the method combines
several elements to apprehend rates/rhythms and to transpose them on
various instruments.
The author drew his sources in many meetings and a thick bibliography
and discography, which enables him to propose 112 rates of 21 areas.
Initially played on the drums of the East (darbouka, to bendir, riqq,
daff, davul,…), the rates/rhythms presented are also intended to enrich
the set of drums of other musical surfaces. To adapt a Bulgarian or
Turkish rate/rhythm on a conga, or a Moroccan rate/rhythm on a cajon,
such is the stake of Rudiger Maul.
Cut out in 9 chapters, the work is built to work carefully. Each page
consists of a title page white (not to divert the eye) and it book is
connected with a spiral in order to be to handle easily or place on a
desk.
The author uses a clear nomenclature with the use of the conventional
musical theory and onomatopoeias. The quality of the book and the
recording of CD and the DVD, give a beneficiation on the work of this
young German artist. Strike instruments are not studied as a whole and
their alternative, and this method will be thus an ones complement a
bibliography on the percussions of the world.
Member of the group “Faun” and sideman artists jazzmen like the beater
Joachim Kühn, the work of Rudiger Maul is a mixture between the East and
occident with a rather simplistic vision. A method intended for the
musicians of mean level for advanced.
Details
Another product review
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La Derbouka
by Philippe Vigreux
N.B. This is in French !!!
Language: French
"Between method and delivers rates/rhythms, the derbouka is the best-seller
of the French-speaking works on the subject. Although it does not provide an
audio or video support, this book is the work of one impassioned of the
drum-goblet and the history of the Arab people.
Thanks to the many texts, rich person and as good French, one discovers the
paths of a very widespread instrument in the East and with the Middle East.
Philippe Vigreux, musicologist specialist in the Arab world and
percussionnist, are a also translator of Arab authors, and present a
restitution of a traditional art whose transmission is usually oral.
Information of this serious and practical book is articulated around 8
chapters. The author observed, listened to and collected a mass of
information refined during many voyages in the Arab world.
Cut in a broad format, the work treats design and role of the rate/rhythm in
the Arab music, while passing by the fundamental technique of the derbouka
(illustrated by many photographs), and peels more than one hundred of
rates/rhythms and exercises.
To advise with the beginners, initiates, advanced and confirmed, this method
is a kind of bible for the “drâbkî” (player of derbouka) and a reference
near the specialists.
Enthralling and impossible to circumvent!"
Product review |
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Percussion Oriental (paperback)
by Mahdi Milla
N.B. This is in German !!!
From the Arab peninsula to North Africa:
Arab, Moroccan and Turkish rhythms
Book with CD
Product review |
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