●Drumming is an individual experience through body movement and percussive sound, singing and listening to our own inner rhythm ● Drumming implies an awareness of the body movement in the production of physic organization of beat patterns in a time span flow ●Drumming is by nature a multidimensional metric matrix¹ which involve our cognitive, limbic and kinesthetic systems in the building of a planetary pattern language².
¹ Dave Locke "The Metric Matrix: Simultaneous Multidimensionality in African Music"
² Christopher Alexander "The Timeless Way of Building"
What I refer to DRUMMING MUSIC PRACTICE is a study program that works through improvisation and compositional process in a very holistic form of instrumental practice; where all the percussive rhythmic elements integrate in a singular source of "percussive intelligence". The practice is designed for actively consciously building an autonomous percussive identity and knowledge, free from the constrains within the paradigmatic drumming syntax that has been established as the corner stone of the music industry.
This PROGRAM is integrated by 4 path-work systems
① The Soloing Practice.
② The "Other" Drumming Music Practice.
③ The RANDOMNESS Melo-Rhythm Work.
④ The Deconstruction History.
This works on THEMATIC STRUCTURE development, consisting on how percussive thinking is built, tech applications, and propels strong own-being feeling of drumming power.
Through all history, the drummer has been considered for the spiritual-shamanic-ceremonial natural power he/she possess. The drummers who we like the most, are those who possess that same high level of natural power and expresses it in an autonomous way.
Drumming Music Practice is a qualified and mindful way of inventive percussive workout, where one enters into deeper territories of our own being to connect us within various layers of body states, in a strong web of mental projections raised upon World Culture Percussive Music Expression to refining and redefining ways of doing and expressing creatively ourselves.
Drumming Music Practice uses well the tools that opens meaningful conversations between you and the drums.
COMPOSING: the "Other" Drumming Music
A pure poetic percussive workout. Is all about how to expand and extend your more poetical percussive thinking, bringing in elements of the XX Century Percussion Chamber Music perspective and the Western Music tradition languages, theoretical practices and aesthetics, applied to the drummers thinking and practice. It focus on the subtleties intrinsic in the powerful apparatus of the intuitive thinking.
In COMPOSING: the "Other" Drumming Music we feature every one of the "odds" of Experimental Music, Creative Music and Open Improvisation.
RANDOMNESS Melo-Rhythm Work
This is all about working on any kind of the diasporic batería elements. Using root-origin percussive pattern languages to work on your own drumming identity.
The core element to work on is the Melo-Rhythm timeline development as theoretically conceived on African music; expanding the practice into the concept of Simultaneous Multidimensionality and beyond.
You will be exposed to theoretical conceptions, extended techniques, philosophical perspectives, and a deep insight of XX Century Contemporary Percussion History.
TEACHING DRUMMING STYLES
Studying history, practicing the instrument, researching the performative instrumental technical capabilities, knowing of the multicultural traditions, improvisation languages and forms, all together is what I practice and teach, beyond any border, classification or gender.
Styles of music concerns to entering a culture idiosyncrasy, could be religious manners and spiritual communion communication, or sociopolitical and economical system beliefs; or simply fashion and show business entertainment. What we understand as drumming styles belongs to a specific time-place era in our culture and has been built by music industry.
The rudimental technical practice and the stylistic practice represents a small corner of the whole drumming universe and is completely subject to the musical establishment governed by musical genders and their needs; the music business has built as many ways of playing and techniques in drumming as there are drummers on the planet. But all of that is just 120 years of if. The Drumming Music Practice I am talking about brings in an exploration - research of a History of about 4000+ year evolution under its wings!
It is History. And it is about knowing our history within History.
Here you learn how to study, diagnose and disseminate history elements and composing your own percussive identity.
Is a critical dismantling of tradition and traditional modes of percussive thought; it does not mean the abandonment nor avoidance of the elements of ‘the language’, but delving into the fundamental and derivative characteristics of the drumming art (as a natural 'action of present speech') to granularly explore the order and sense meaning of its performative construction in history.
As in other fields of knowledge, Drumming Deconstruction Practice called attention to rhetorical and performative aspects of language use, encouraging to consider not only what a drummer says but also the relationship—and potential conflict—between what the drummer says and what it does. It is really about the exploration of fundamental oppositions (like for example 'the White drumming versus the Black drumming') and critical terms (linear/rudimental drumming versus multidirectional drumming) and a reexamination of ultimate goals.
Drumming Is Imprinted In Our DNA
My teaching practice is based in all of this concepts and ideas, thus is fundamentally structured on the historic evolution of drum set, percussion music, and the transplantation of Root-Origin native music principles into the future we live in now.