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TAPER for Four Frame Drums
Acknowledgments:
"Folk Rhythms" suggest a valued lineage of repertoire hewn by many hands through the mists of time. What a privilege then, to learn, arrange, teach, and perform this material for the last several decades of my professional career. I must credit many drummers, both masters and practitioners, for handing this material down to my eager hands: Glen Velez, Hossam Ramzy, Hamza El Din, Omar Khairat, and Layne Redmond to name a few. In turn, I have humbly passed these rhythms on to talented students, including Diane Kinkade, Richard Wanderman, Evelyn Williams, Pat Fraley, Eileen Hearn, Dave Reynolds, Linda Potter, and Julie Clark, all of whom have contributed to the evolving arrangement of this age-old material. Currently, these rhythms have been shaped into this piece, "Taper," by the Aspetuck Frame Drummers: Andrew Pyle, Karen Hotchkiss, Diane Kinkade, and myself. To all of these contributors I dedicate this piece.
Performance Notes:
The four frame drums used in this composition need not be tuned to any particular pitch; they do, however, need to be tuned to differing pitches. Performers are free to manipulate Tak, Ke, and Pa notes at their discretion. The ‘tek’ and ‘ke’ strokes are indicated as the same pitch; it is up to the player to alternate finger strokes, as they are not notated as such in the score. Pa combinations, such as two beamed eighth notes, can be played as a 2/3 split hand if preferred. The Dum patterns should not be altered as the bass notes are key elements in constructing the melodies of the parts.
Please be experimental in your approach to instrumentation. Dumbeks, djembes, and various hand drums are viable substitutes for the frame drums in this composition. Thanks to all who undertake the execution of Taper. Have fun with it and happy frame drumming! ~ John Marshall, August 2023
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