FRAME and HAND DRUM - SOLOS, DUETS and ENSEMBLES -  BOOKS and COLLECTIONS

Scored for 3 congas,
this solo involves realizing different "melodies" or fragments of melodies, which are juxtaposed over recurring ostinato patterns. It employs a variety of hand techniques to achieve the subtle nuances required, while keeping the prominent groove moving.

adv. high school/college

 
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Rhythmic solo for one player on Bodhran. A unique addition to any recital! adv. high school/college.

Collection of rhythmically challenging solos for Bendir, Tar, Bodhran, Kanjira or Riq.  The only collection of it's type available -applicable for pedagogical purposes as well as performance!  Titles: Quatrinity, Cyclic Invention On 8/9/92, Variations On A South Indian Theme, and Etude in Arabic Rhythms.
adv. high school/college. 

"....provide(s) the performer with well-written musical compositions...  The pieces are intended to explore the musical potential of frame drums in a soloistic context... Bravo and thank you B. Michael Williams" (Percussive Notes) [Quatrinity is recorded on Hand to Hand - HRCD010]

A unique solo scored for Bendir with an added foot maraca part - duration ca. 3-5'.  The piece makes use of multiple simultaneous layers of 3 beat cycles (3/2, 3/4 & 2/3), fast Indian style rhythmic subdivisions, and a section with a Brazilian samba feel.  In addition,
a section which can be improvised is also included.
adv. high school/college.

A unique and exciting solo scored for Tamburello (southern Italian tambourine) - any tunable, plastic-headed tambourine could substitute.  To perform this solo the player should be familiar with or be developing standard Riq techniques ("soft position," shaking and playing on jingles) and Kanjira techniques as well as hand drum techniques specific to the area of Puglia, Italy (extensive notes which are included address these particular performance techniques).  A challenging piece in 7 beats at a fast tempo, performer will engage audiences with a multitude of expressive tambourine techniques including pitch bending, triple strokes, fast Indian fingerings, playing on the jingles, spinning the jingles, and different types of shaking.  Duration: 2'20".
adv. high school/college.

Scored for three Congas and a pair of Bongos - one player, moderate difficulty.  This piece provides a touch of Latin flavor and introduces the technical aspects of modern notational systems. adv. high school/college.

A suite in three movements, for solo djembe, based on traditional African rhythms, utilizing a variety of techniques - could be played on conga or other hand drum as well.  adv. high school/college.

This is a challenging solo for three congas with CD accompaniment.  The work includes patterns and riffs in eight distinct Cuban and Brazilian musical styles; Cha-cha-cha, Mambo, African 6/8, Mozambique, Songo, Rumba, Guaguanco, Afoxe, and Samba.  The accompaniment CD was created using multi-track recording to capture the many traditional instruments and rhythms unique to each style.  The CD also includes numerous "loops" for practice so that the performer can really master the styles required in the solo!  high school/college.  [Recorded on Hand to Hand - HRCD010]

A unique offering for the recital hall, scored for solo Riq (Arabic tambourine) - duration ca. 3-4".  This solo makes use of different grips and playing positions: shaking, "soft" position, jingle strokes, and challenging cross-rhythms.  Great up-tempo piece to end a recital or concert!  adv. high school/college.

This title is a single movement work for solo djembe, based on traditional African rhythms.  This solo, which would make a unique contribution to any recital program, makes use of a variety of performance techniques, and includes a section that can be opened up for soloing. [duration ca. 6'46"].
adv. high school/college. 
[Recorded on Hand to Hand - HRCD010]

This suite in three movements was written to showcase the udu as a solo instrument in the recital hall setting (the work could also be readily adapted to a hand drum such as doumbek, conga or djembe).  The udu is a traditional fired clay instrument with origins in West Africa.  Each movement of this suite owes its inspiration to a different area of the world music community: Movement I/Latin America, Movement II/Middle East & Movement III/West Africa.  This is truly a unique addition to the current repertoire for hand percussion - in this case, clay pots!  adv. high school/college.  [Recorded on Hand to Hand - HRCD010]

Scored for tuba and one multi-percussionist, this is a challenging and unique work in three movements, inspired by elements of the music of the Middle East (modal references, frame drums, ostinatos, etc.). A "busy" percussion part makes use of a variety of performance techniques. Both tuba and percussion get a great work-out, great for either brass or percussion recitals. Percussion instrumentation: triangle, TAMBOURINES (2), toms (4), bass drum, tam tam, finger cymbals, Chinese cymbal, LARGE FRAME DRUM (no jingles) and marimba.

college/professional.

Interesting recital duo - scored for Pandeiro players (Brazilian tambourines)- duration ca. 3-4'. This piece utilizes both the "turning" playing styles of samba and the "lifting" playing style of capoeira and features interlocking rhythms in 2, 5, & 9 beat groupings. A unique addition to any recital!

adv. high school/college.

Price: $18.95

Cofinity is scored for two differently pitched, large, single-headed frame drums. This composition may also be performed on other hand drums and percussion of different pitches. It is preferred that Player 1 use the higher-pitched instrument, but not essential. There are elements of both North and South Indian rhythmic traditions embedded within Cofinity.

It is assumed that the performers will be somewhat familiar with the lap-style split-hand technique. In the score, 2-3 splits, which are 2 (thumb + index) - 3 (middle + ring + pinky), are designated below the appropriate notes. Other, note specific fingerings will appear alone, above the notes. I have decided to write fingerings above these motifs only once, as they repeat throughout the composition. I hope you enjoy playing Cofinity as much as I enjoyed writing it. . . . John Marshall.

adv. high school/college

Scored for a duo of flute & djembe. Players move between strict notation and improvisatory sections which can be lengthened/shortened according to the performer's preference. Djembe part requires numerous subtleties in performance style - playing on the edge of the head, in the center and utilizing open palm, fist and slaps. A unique addition to any flute or percussion recital! adv. high school/college.
SEE ALSO:
Drum Amalgam for Percussion Trio.

Honorable Mention - Quey Percussion Duo Composiition Contest - 2005. At times subtle, at times highly rhythmic, this is a unique and challenging duo in two movements: Prelude, for Frame Drum (Bodhran, played lap-style) and Gong; and Episode, for Frame Drum and Darabuka. This piece calls for a variety of performance techniques, and some prior familiarity with basic hand drum performance practice would be an asset, when approaching this piece - although all strokes/techniques are explained in the accompanying descriptive notes. A unique addition to any advanced level recital! college.
[Recorded on Hand to Hand - HRCD010]

Lively feature for two  players - on Pandeiro and Riq. Written with intricate ensemble passages as well as solo space for both players - the piece combines a variety of rhythmic patterns from both Brazil and
the Middle East.
adv. high school/college.

Feature for two conga players - intricate ensemble passages as well as solo space for both players - crowd pleaser! 

adv. high school/college. [Recorded on Hand to Hand - HRCD010]

Up-tempo, groove piece for four players with lots of possibilities to open it up in the solo sections. Based on a number of West African rhythmic patterns, this piece requires intricate coordination between the parts. Although no one part is particularly difficult, concentration is required so as to realize the interlocking rhythmic patterns in a fashion that seems relaxed, yet grooves.  No mallet instruments required, scored for bass drums (2), snare drums (2), tom toms (4) and a number of cymbals, vibra-slap, bells (double or cowbells) and other HAND DRUMS at the soloists’ discretion - djembe, ashiko, congas, etc. Would work well as an opening or closing number - performers should have fun with this one! adv.

high school/college. [Recorded on Hand to Hand - HRCD010]

Concerto for Darabukka and Percussion Quartet, explores three traditional Middle Eastern Iqa’at (rhythmic cycles): Masmudi Kabir (8/4 time signature), Jourjunah (10/8), and Karachi (2/4), as well as one original cycle set in 12/8. Structured in a modified rondo form and requiring extensive improvisation by the soloist, the work combines traditional Middle Eastern percussion instruments with instruments from Eastern Asia, South America, and the Caribbean.

In addition to Middle Eastern musical inspiration, the work draws on monadic chant and Japanese festival drumming, as well as the lovely and exciting music of Japanese composers, Akira Nishimura and Kaoru Wada. The Concerto’s opening measures are directly related to the closing section of Wada’s composition, Rakuichi-Nanaza for Shinobue; Japanese percussion; and Western Percussion.  college/professional.  Duration ca. 13'40"  [Recorded on Hand to Hand - HRCD010] 

This is a great opener for your next percussion concert - highlighting the street style of South American Carnival music! Using authentic South American drums or easy variations, this tune will surprise your audience as your ensemble marches and grooves in from the back of the performance hall, setting up quickly as a close pack of drummers grooving hard for all to see. A quick call and answer and a few solo breaks along with some eye-catching movement will have your audience wrapped around your finger! Easily accessible for high school/college ensembles.

FANTASIA - Generally, a piece where “free flight of fancy” prevails over contemporary conventions of form, style, etc. - the piece usually has an improvisatory character. The term can also imply a dream-like mood or fanciful whim.

"WRITTEN as a result of many of my life experiences Fantasia - African Dreams for Percussion, began as a percussion ensemble with a percussion soloist (intended to be myself). The soloist was to explore the tambourine and marimba. Shortly after beginning the composition, I began to study African percussion. The piece was already making use of improvisation, so I decided to add the accompanying HAND DRUM ENSEMBLE, and give the soloist a true opportunity to be a creator of music. I wrote the music to be something that I would enjoy playing. I hope you find it both challenging and fun." . . . . BRUCE SALYERS

INSTRUMENTATION:1. Soloist - Tambourine, Marimba, Djembe, 2. Vibraphone, 3. Marimba, 4. Marimba, Crotales, 5. 4 Toms, Anvil, Triangle, Suspended Cymbal, Djembe, 6. Bass Drum, Djun Djun, 7. Snare Drum, Suspended Cymbal, Temple Blocks, Congas, Djun Djun, 8. Turkish Crescent, Suspended Cymbal, Crash Cymbal, Bell (Cowbell or Double-bell), 9. Timpani, Chimes, Suspended Cymbal. adv.

high school/college. 

This is a crowd-pleasing feature for a marimba soloist - scored for marimba trio and BODHRAN (tom tom, or other drum could substitute). Great if you have at least one 5-octave instrument, but can be easily adapted to 4 1/3 octave instruments.

adv. high school/college.

This title is a hand drumming ensemble piece written for six or more players. It is written with an African flavor using CONGAS, DJEMBES, shakers, bells and more. This piece is a great way to introduce some younger or novice hand drummers to hand drumming, while keeping a high standard of integrity in sound quality and style. An audience favorite since it makes such a nice contrast to other percussion ensemble music, Hand Jam is very playable for high school and college level ensembles. A driving 4/4 groove is broken up with a 6/8 mid-section before returning to a high energy ending in 4/4. Hand Jam would work very well either as a piece for dance accompaniment or as an ensemble piece performed by itself. [Recorded on Hand to Hand - HRCD010]

Scored for pandeiro trio,
this is a piece of medium difficulty which emphasizes a strong groove and requires an attentive ensemble awareness. It's metric structure of 10/8 requires players to continually divide the 10 eighth notes in each measure into different groupings while simultaneously continuing the flowing groove and utilizing a variety of hand drum techniques and drum positions.

adv. high school/college

Intended as an introduction to 5/4,
many younger ensembles will find this piece an interesting challenge. Scored for claves, TAMBOURINE, guiro, BONGOS and FRAME DRUM - the parts for claves, tambourine and guiro are suitable for inexperienced players, while the parts for bongos and frame drum are a bit more difficult. The frame drum part calls for the player to squeeze the drum head to produce pitch bends. All the rhythms however are very straightforward, yet the piece moves at a brisk tempo.

jr. high/college.

$29.95

Intended for drummers, percussionists and anyone else interested in rhythm. Full of exercises and teaching materials, ”LatinCOMPACT“ gives teachers, students and self-taught musicians a simple and effective way of learning everything you really need to know about playing Latin rhythms and developing your own drum and percussion patterns. This compact book shows you the whole range of possibilities Latin music has to offer and provides
the creative tools needed for effective learning
and teaching. 
English text, 52 pp.

Text in Portuguese, DVD in English, French, Spanish, Japanese and Portuguese.

This book is full of basic exercises and rhythmic combinations to help quickly build musical technique on the Pandeiro. Both experienced musicians as well as students with limited formal music background will find the material easily accessible. Many rhythmic patterns for Afoxé, Baião, Capoeira, Samba/Choro and Frevo among others, are included. Playing positions are displayed in pictures and the notation is clearly indicated as well. 

Text in Portuguese, DVD in English, French, Spanish, Japanese and Portuguese.

Continuation of Vol. 1 - increasingly challenging exercises to develop fluency with complex rhythmic patterns - also includes three performance duets.

This is an eclectic collection of six challenging performance/recital pieces.

Titles:
Estudo No. 1 (Pandiero solo), Cachaçada (Pandiero Solo), Chorinho pro Jorginho (Pandiero duet), Semi-afro (Pandiero trio), Pancadaria (Pandiero duet) and Afoxé (Pandiero quartet).

Text in English and Portuguese.

Extensive collection of independence exercises (accent studies, polyrhythms, etc.) applicable to Brazilian drumming. Includes pictures to clarify playing positions and strokes. Great for the development of contemporary performance skills! Studies utilize Afoxé, Baião, Samba and
Bossa Nova rhythms among others. 

Text in English and Portuguese.

Extensive and accessible collection of exercises, studies and compositions focusing on the development of performance skills on the Berimbau. Includes pictures to clarify playing positions and strokes. Studies utilize Angola, and Samba de Roda rhythms among others.

Great for the development of contemporary performance skills on this unique instrument! 

Text in English and Portuguese.

Collection of exercises and etudes for development of performance technique and musicality on Brazilian shakers.

GANZÁ ". . . is a genuine methodology that invites students to learn the tradition, and to explore it further.  In the present publication, the first section is devoted to rhythmic control and accentuation through exercises that remind you of traditional rhythms from Brazil's northeast and southeast regions.  The second section focuses on dynamic control, timbre manipulation, coordination and short studies that require dexterity and more familiarity with the instrument.

Congratulations for one more addition to the series!"

. . . Dr. Ricardo Coelho
de Souza,
Univ. of Oklahoma

This text is full of explanations and exercises that will enhance the teaching of rhythmic ideas and concepts in an accessible and enjoyable manner. Body percussion is a practical way to learn and maintain rhythmic security. It allows the exploration of different rhythms without the need for instruments or written music. The body is the instrument. So, body percussion uses drumming on the body, stamping, rhythmic speech, singing and snapping fingers. Thus rhythm becomes an all-encompassing experience, for body, senses, soul and intellect.

This is why body percussion is perfect for:
• basic and advanced rhythmic training,
 • experiencing and understanding poly-rhythms, as an individual or in groups, thus expanding one’s “rhythmic horizons”, and,
• as a tool for learning and perfecting rhythmic ensemble playing for groups.