An introduction to cajón playing that will cover the history of the instrument from its origins in Peru to the contemporary setup with other drums and foot pedals. The course will cover traditional musical styles from Peru such as the Landó, festejo, and the Marinera, as well as Spanish flamenco. This course is highly recommended to all hand percussionists and drum set majors who wish to improve their overall understanding of Latin music through the adaptation of cajón playing. This instrument has transcended borders and is becoming a standard part of the set up for percussionists in global music, jazz and pop, or any musical setting.
Rhythms, song styles, and percussion instruments of Cuba and other Afro-Caribbean regions. Development of performance skills in various rhythm styles through study of basic techniques of characteristic percussion instruments.
An intensive study of Ghanaian music from the Ewe, Ga, Ashanti, and Dagomba speaking people of West Africa. Areas of focus include interlocking support rhythms, call and response dialogues, and beat transposition along with unconventional stick and hand technique. Students will learn from a combination of two teaching styles, oral tradition, and Western notation.
This course provides the study of various techniques and tribal styles of Native American drumming using traditional and contemporary repertoire. The teaching style is hands-on as students will perform on traditional Native American drums and percussion instruments.
In this course, students study the spiritually based drumming of the Lucumí (Yoruba) people in Cuba. Development of performance skills through group performance, singing, and chanting.
In this course, students learn rhythmic techniques and song styles from Cuba, Puerto Rico, and the Dominican Republic. Students develop their performance skills through study of recordings, transcriptions, and supervised ensemble playing.
A lab focusing on rhythmic techniques and song styles of Brazilian music and their related percussion instruments. Development of performance skills through study of audio and video recordings as well as supervised ensemble playing. Note: ILPH-357 may be taken instead of this course.
An introduction to timbale playing that will cover the history of the instrument from its Creole origins when it was still a timpani, to the contemporary timbale set-up: three cowbells, bass drum, cymbals, jam-block, and snare. This course will cover danzón, cha-cha, mambo, pilon, Mozambique, traditional salsa, and songo styles. With each style, the student will learn to play a tune in that genre and study stylistically appropriate patterns, fills, and solo material. This course is highly recommended for drum set principals who wish to improve their overall understanding of Latin music though adaptation of timbale playing concepts to the drum set.
Continuation of ILPH-357 and ILPH-359. Development of more advanced techniques and concepts through deeper examination of evolution and derivations of the rhythmic styles. Intended course outcomes include performance-level group playing and improvisation as well as soloing.
In this course, students learn the setup of all the steelpan instruments and the basic techniques of steelpan performance. This includes scale learning and sticking techniques. Students also learn to apply these techniques through simple arrangements that highlight the characteristic rhythms and comping (accompanying) patterns.
With emphasis on R&B, rock/funk, swing, motown, and pop styles, this course explores the study of small hand percussion: tambourine, shakers, cowbells, and cabasa, as well as congas, bongos, and timbales, individually as well as in combination with each other to form multiple percussion setups. Transitions, groove building, and coordination techniques will be analyzed in class. Chart reading and interpretation, as well as some transcription techniques, will be covered throughout the semester. Knowledge of basic conga techniques is strongly recommended.
An intensive study of Guinean music from the Susu, Mandinka, Fulani, Bambara, Soninke, and Baga speaking people of French West Africa. Areas of focus include; interlocking support rhythms, call and response dialogues, and beat transposition along with unconventional hand and stick technique. Students will learn primarily from an oral tradition approach.