DRUMMING MUSIC PRACTICE

What it is?

  • DMP is an Integration  Study - Research Program. It is the result of many years of performing experience, teaching, designing methodologies, building study materials and developing paths of performance-as-practice. 
  • DMP is an integrated environment of instrumental musical practice  for the advancement of the present state of drumming.
  • DMP is  designed as a progressive program for the research of drumming and its evolution through the times, as a  tool-language for communication of the Human Drumming History.
  • DMP is a deep insight  on WHO YOU REALLY ARE and WHAT IS DRUMMING IN YOU, and utilizes the drumming practice as a musical avenue to Self Inquiry, Mindfulness, and  Future Visualization of yourself.
  • DMP is based on the principle foundation of BUILDING THE OWN WAY OF PERCUSSIVE THINKING, through compositional process, Self Percussive Knowledge and development of IDENTITY. 
  • DMP is designed as an OnLine  program for people around the globe looking and searching for a  future percussive vision within themselves. 
  • DMP is a full rounded  practice giving deep perspective on Decolonizing, Deconstructing, Deterritorialization of  the linearity of thinking and drumming music practice.

How it works?

The PROGRAM is integrated by 4 path-practice systems

① THEMATIC STRUCTURE- Soloing Practice.   

COMPOSING: The "Other" Drumming Music Practice. 

RANDOMNESS Melo-Rhythm Work Practice. 

④ DECONSTRUCTION: Deconstructing Drumming History. 

 

 

Each of this practice path ways involves specific elements and materials to be studied and developed through practice.

THEMATIC STRUCTURE - Soloing Practice 

This works on THEMATIC STRUCTURE development; consisting on how percussive thinking is built, tech applications, and propels strong own-being feeling of drumming languages understanding by studying and learning how to soloing out of the appropriation of the already stablished and overused vocabularies.



Through all history of drumming until the 1900, drumming practices were considered for the spiritual-shamanic-ceremonial natural power the drummer evokes and possess. In our times, the drummers who we like the most, are those who possess that same high level of natural power and expresses it in an autonomous genuine way.

DRUMMING MUSIC PRACTICE PROGRAM 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 percussive embodiment. We explore and utilize the strong web of mental projections raised upon World Culture Percussive Music Expression, to refining and redefining ways of doing and expressing creatively ourselves as drummers.


Drumming Music Practice uses well the tools that opens meaningful conversations between you and the drums.

COMPOSING: the "Other" Drumming Music Practice

A pure poetic percussive practice. Is all about how to expand and extend your more poetical and compositional percussive thinking, bringing in elements of the XX Century Percussion Chamber Music perspective; how we go beyond the Western Music tradition languages, the theoretical practices and aesthetics, while applying the conceptions  to the drummers thinking and practice. It focus on the subtleties intrinsic in the powerful apparatus of  the intuitive thinking, sound, silence and time-space organization in music composition practice.


 

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 Practice

This is all about working from any 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 is theoretically conceived on African music methodologies; expanding the practice into the concept of Simultaneous Multidimensionality  and beyond.

 

You will be exposed to diverse artistic conceptions, instrumental 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.

The conception of Styles in music, concerns to entering a culture idiosyncrasy, could be religious manners and spiritual communion communication, or sociopolitical and economical system beliefs; or simply participate of the 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 institutional needs; the music business has built a "style" of drumming that fits the music styles they sell; but DRUMMING IS AS MANY WAYS OF PLAYING AND TECHNIQUES AS THERE ARE DRUMMERS ON THE PLANET. American Drumming is  just 120 years of history. Drumming practice has been for 4000+ years around the globe.

in DRUMMING MUSIC PRACTICE PROGRAM®© I am bringing in an exploration - research of that History of about 4000+ year evolution integrating it to our 1900 ways of thinking and practices. It is History. And it is about knowing our history within History.



DECONSTRUCTION: Deconstructing Drumming History Practice

Here you learn how to study, diagnose and disseminate history elements in order to composing your own IDENTITY.

The practice 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 call 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, what it does and what it may become to be.  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 of drumming practice in the future.


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.

MANIFESTO

We all were born drummers,  what changes for everyone is simple: how we learnt to walk into the world and how we where taught to learn behavioral patterns through our lives.

❖DRUMMING starts with our heartbeats and manifest through our body movements and actions.

❖MUSIC is our soul and spirit voice and manifest as the instrument of our emotions and feelings and intuitions.

❖PRACTICE is what we were born in this life for and manifest within the building of the pattern languages we all know and use.

 

  • We are not INVENTING anything. We are INTEGRATING everything.
  • You don´t study History to repeat History, you STUDY History to understand your place in History and CREATE your own History.
  • Eradicate convention while knowing History Facts
  • Eradicate all dogmatic prescriptions from your own PRACTICE so you free yourself from the constrains of the Cultural Referent
  • Deterritorialize yourself by re-learning and reinventing yourself
  • Everything you know or you may know does not belong to you: it belongs to the Planetary Era Citizens. What you must to do, is by living true to yourself, EVOLVE from where you are and project new visions and possibilities for the FUTURE generations.
  • Drumming was not invented nor created, drumming is the fundamental heartbeat of Nature. It was revealed to us primarily  in our bodies.
  • We know better ourselves by knowing our own RHYTHMS.