2 Hand Drumming ensembles

introductionintroduction

This volume contains 12 complete performancescores of compositions for hand drumming ensemble.These compositions, Rhythm Chants, correlate to thepublication Hand Drumming Essentials: TheInstruments, Techniques and Compositions forEnsemble Performance. The Hand DrummingEssentials method book contains the necessary infor-mation for starting and developing a hand drummingensemble and includes an appendix of seven piecesfor study and performance. This supplemental volumeincludes pieces at a variety of levels that can belearned by young musicians and students with no previous musical training. All of the Rhythm Chants

can be studied and performed by more proficientmusicians. Some of the compositions in this volumeborrow rhythms and/or compositional elements fromthe musical traditions of West Africa, Cuba, India andBrazil. Most use principles of timing, part relationship,form and/or instrumentation to create pieces thatreference one of the aforementioned types ofmusic. The Rhythm Chants exhibit distinctive interre-lationships operating within similar formal structures.The infrastructure sometimes centers on a single,authentic, non-western rhythmic pattern from whichall other patterns are derived and upon which allother patterns are layered.

table of contentstable of contents

Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2GENERAL PERFORMANCE INFORMATION . . . . . . . . . . . . . . 2

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . 2Instrumentation . . . . . . . . . . . . . . . . . . . . . . . 3Musical Considerations . . . . . . . . . . . . . . . . . . 3Table of Instruments. . . . . . . . . . . . . . . . . . . . 4Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Substitutions . . . . . . . . . . . . . . . . . . . . . . . . . 5About Notation . . . . . . . . . . . . . . . . . . . . . . . 6Rhythm Chant 17: Performance Notes . . . . . . 8Rhythm Chant Col-Ba: Performance Notes . . . 10Rhythm Chant for Old Men: Performance Notes . . . . . . . . . . . . . . . . . . . 12Rhythm Chant Camp 2: Performance Notes . . 14Rhythm Chant 2+10: Performance Notes. . . . 16Rhythm Chant 11WP: Performance Notes . . . 18Rhythm Chant DM: Performance Notes . . . . . 20Rhythm Chant 12.1: Performance Notes . . . . 22Rhythm Chant B: Performance Notes . . . . . . 24Rhythm Chant 14: Performance Notes . . . . . 26Rhythm Chant GN: Performance Notes . . . . . 28Rhythm Chant MM: Performance Notes . . . . . 30

forewordforeword

This set of materials developed by Cheryl Grosso is anexcellent addition to the hand drumming repertoire.Her compositions (Rhythm Chants ) for hand drum-ming ensemble draw upon elements from western artmusic and several non-western musical traditions.Their structure and instrumentation offer much versatility with freedom for more advanced players to experiment and improvise. The resulting music isunique, appealing, and rewarding to performers withdiverse interests and experience. The Hand DrummingEssentials method book thoughtfully approaches thedevelopment of technique on many instruments andensemble rehearsal activities. Cheryl’s materials are avaluable resource for percussionists and the non-percussionist music educator.

John BergamoRenowned World Percussion Performer/Pedagogue

General PGeneral Performerformance Informance Informationation

General Performance Information 3

instrumentationinstrumentation

Vast differences exist among hand drumming tradi-tions throughout the world. It is important to notethat, though drums are found in many differentshapes and sizes, all drums are capable of produc-ing many similar tones. The drum sounds andstrokes utilized in the Rhythm Chants can be appliedto any hand drum. Although each type of drum hasits own unique timbre, all drums are able to producethe variety of tones found in this music. The musicwill simply be characteristic of the drums employed.

As previously mentioned, a hand drumming ensem-ble can be formed with almost any combination orfamily of hand drums and accessory instruments. Thecompositions in this volume suggest barrel-shapeddrums as the core of the ensemble. The three sizesof barrel-shaped drums utilized are the quinto, congaand tumba (collectively referred to as congas). Thistrio of congas generates the essential melodic materi-al of the ensemble. The collective spirit of their pat-terns shapes the groove of each piece. The RhythmChants most often use the smallest barrel-shapeddrum (quinto) as the solo instrument and it has themost active patterns. Generally, the largest barrel-shaped drum (tumba) has the least amount of rhyth-mic and improvisational activity. Many of the piecesutilize the surdo as the lead drum for cueing changes.Other instruments include timbales, bongos, logdrums, marimba, axatse, gankogui, agogo, toke,claves, triangle, tamborim and shakers.

Ensembles of different sizes can perform the com-positions in this volume. The performance notesassociated with each score include recommenda-tions regarding instrument doubling. The conga trio(quinto, conga and tumba) is used as the core ofthe ensemble. The double-bell and surdo are usedin all but a few of the compositions. The use ofaccessory percussion instruments and other drumsvaries from one Rhythm Chant to the next.Regardless of the instrument doubling used inrehearsals, only one double-bell (agogo or gankogui)and one surdo should be used in performance. Theideal ensemble would include the following instrumen-tation: one double-bell, one or two of each additionalaccessory percussion instrument, one surdo/floor tom,and three to four each of quinto, conga and tumba.

musical considerationsmusical considerations

The double-bell (gankogui or agogo) player must havea strong sense of time. This instrument is critical tothe proper alignment of all parts. All members of theensemble must know the bell part. Regardless ofinstrumentation, all parts must align with the timingset by the gankogui or agogo bell.

The melody, balance and timbre of the conga triodeserve considerable attention because the conga trioforms the core musical material of the ensemble.Consequently, uniformity in tuning and tone productionis crucial to the overall ensemble sound. The impor-tance of this element increases as parts are doubled.The quinto, conga and tumba parts are sometimeswritten as a single melodic line distributed among thethree voices. Other times, the three parts comple-ment each other within the polyphonic structure.

The conga trio parts, by design, exploit the best char-acteristics of each drum’s sound; thus, it is importantthat certain tones project particularly well. The basstone on the tumba must be heard at all times. It is adefining sound in the tumba parts. Bass tones are noteasily projected but play an important role in the com-posite ensemble sound. Slaps in the quinto parts arevery important and must project well. The quinto play-ers must make clear distinctions between open tonesand slaps. In regard to the conga parts, slap tones,bass tones and open tones have varying significancein each Rhythm Chant. The bass tone on the quinto isoften used as a filler tone, whereas on the conga it isoften a character tone.

Improvised solos must be audible above the ensemblesound. This is not easily accomplished on all instru-ments. Most commonly, the quinto players solo, but inseveral Rhythm Chants it is specifically suggested thatother instruments be featured. Solos played on anyinstrument are permitted. If your ensemble is large, Irecommend that the ensemble lower its overalldynamic level during most solos, although the double-bell part must remain prominent. Resume the normaldynamic level during periods of play between solos.

Generally, an improvised solo will last for as long asthe soloist has something to say, after which timenormal play resumes. A brief time later, anothersoloist will begin improvising. Not all solos, however,need to transpire in that manner. Players may chooseto trade four- or eight-measure solos; or each mem-ber of the ensemble—including accessory instru-ments—may in turn play a four-measure solo. Manyother formats are also possible.

table of instrumentstable of instrumentsThe core instrumentation utilized in each Rhythm Chantremains consistent, but beyond this, the instrumentationvaries. The table below describes frequently used instruments,including pronunciations for the less-familiar names.

Instrument &Pronunciation Description Notes of Interest

Hand DrumsQuinto(KEEN -toe)

Wooden, barrel-shaped drum with a singlecalfskin head; 11-inch head diameter.

Synthetic shells and heads are available;head diameters vary.

( KONG -ga)Wooden, barrel-shaped drum with a singlecalfskin head; 11 3/4-inch head diameter.

Synthetic shells and heads are available;head diameters vary.

Tumba( TOOM -ba)

Wooden, barrel-shaped drum with a singlecalfskin head; 12 1/2-inch head diameter.

Synthetic shells and heads are available;head diameters vary.

Gboba(BOE -ba)

Wooden, barrel-shaped drum with a singlecalfskin head; 16-18-inch head diameter.

Gboba is taller than congas and has a muchlarger barrel and deeper tone.

Bongos

Conga

Pair of wood-shelled, cylindrical drums with 6-and 8-inch single calfskin heads.

Skin heads have a warmer tone than plastic,particularly when played with fingers.

Stick DrumsSurdo( SIR -doe)

Metal- or wood-shelled cylindrical drum with twogoatskin heads; 20 to 22-inch average headdiameter.

Traditionally hangs from a strap around theplayer’s neck and shoulders; I suggest usinga stand.

Timbales(tim- BAH -lees)

Pair of metal-shelled drums with a single plasticor skin head; head diameters range from 12 to16 inches.

Plastic heads are more durable and practicalin a school setting.

Log Drums Rectangular drums often made of plywood, withtongues or tone bars carved in the top side. Oneor two tones (tongues) per drum are preferred.

Also known as tongue drums and availablein many configurations. Larger log drumsproject best in a full ensemble.

Frame Drum Wooden shell of varying depth with one or twoskin heads; head diameters range from 6-24inches.

In this setting a 14- or 16-inch frame drumcan be held between the legs and playedwith sticks or mallets.

Accessory

Axatse(uh- HA -chee)

Bulbous gourd with an elongated neck; wrappedwith a net of beads.

The gourd size and type of beads usedgreatly affect the loudness. Axatse is smallerthan a shakere.

Double-bell:agogo (uh- GO -go) or gankogui(gon- KO -gwee)

Two conical metal bells formed or welded to ahandle.

Both the western agogo and importedgankogui are readily available.

Double-bell:wood agogo

Two cylindrical wood bells attached to a handle. Synthetic substitutes last far longer and cutbetter through an ensemble.

Basket Shakers Small woven vessels filled with stones or pellets;a piece of gourd covers the open end.

You can make your own basket shakers,allowing you to control the tone color.

Clave( KLAH -vay)

Two rosewood, cylindrical concussion sticks. Claves of various sizes and types of woodare available.

Cowbell A trapezoid-shaped metal bell. Large sizes produce the greatest distinctionbetween tones.

Guiro( GWEE -row)

An oblong-shaped gourd with many notchescarved into one side.

Cuban guiros project very well in anensemble; metal guiros are also available.

Nuts & Nails Various types are available; ju ju, cocoa, and goatnails are among the most common.

These are used in some non-westerndance traditions. Drummers and dancersfasten them around their wrists or ankles.

Rute( ROO -ta)

A bundle of split rattan sticks or very thindowels.

Striking rute against a resonant box orsurface will help amplify its sound.

Tamborim(tam-bor- RIM ))

Shallow, metal-shelled drum with a single 6-inchhead.

Plastic heads work well in a large ensembleor school setting.

Tambourine Metal jingles attached to a shallow wood shellwith a single skin or plastic head.

A head is necessary for playing with thethumb, fingers and palm.

Toke( TOE -kay)

Shaped like a taco shell but made of hammerediron.

This is an Ewe instrument, often used inpairs in a traditional setting.

Triangle Tempered steel bent in the shape of a triangle. A 9-inch triangle struck with a heavy beaterworks best.

Tube Shakers Metal, wood, gourd, and plastic vessels filledwith beads or pellets.

Many types are readily available.

KeyboardMarimba Play with rubber mallets; hardness varies

depending upon the register.Weave paper between the bars to simulatethe African buzzing effect.

4 Hand Drumming ensembles

setupsetup

The basic shape of the group of players is a semi-circle, and everyonein the semi-circle is seated. The time-line player, usually the double-bell part, should be stage left on the end and nearest the audience.The other accessory percussion instruments are seated to the rightof the bell. Quintos are next to the accessorypercussion, congas are next to themand tumbas are on the other endof the semi-circle. When afloor tom is used in placeof a surdo, it should beon the end of the tum-bas nearest the audi-ence. When a surdois used, it shouldbe in back ofthe semi-cir-cle behindthe quintos(the playerstands).

Timbales and bongos are situated in back of the accessory percussion (the players stand). When marimbasare used, they should be facing each other in the middle of the semi-circle. The marimba players’ sides willbe toward the audience.

The following letters represent the instruments in the diagram above:

A=Axatse G=Gankogui or Agogo T=TumbaB=Bongos O=Other Accessory Percussion C=Conga Q=quinto

substitutionssubstitutions

Substitutions can be made for several instruments you may not currently possess.

Instrument SubstituteAgogo Gankogui or small and medium cowbellsBasket Shakers MaracasBongos 2 small concert tomsCongas Djembes, tubanos, frame drums, ashikosGankogui Metal agogoLog Drum Temple blocks played with medium-soft rubber malletsMarimba Xylophone played with medium-hard rubber malletsSurdo Floor tomTimbales 2 medium concert tomsToke Steel pipe, one to two inches in diameterWood Agogo Woodblocks or synthetic blocks played with medium-hard rubber mallets

General Performance Information 5

Surdo

Marimba

Marimba

T

T

T

C

C C Q

Q

QB

O

A

G

Timbales

6 Hand Drumming ensembles

BONGOS: Notes written below the staff are played onthe large drum, and notes written above the staff areplayed on the small drum. Stroke types are indicatedin the first row of letters below the staff, and stickingindications are in the second row of letters. D=Damp tone S=Slap tone L=Left hand

F=Finger tone T=Thumb tone R=Right handO=Open tone

/ 8

6 � � � � � �RS O

LSR

OR

OL

OL

� � � � j�SR

OL

OR

OL

OL

TIMBALES: Notes written below the staff are played onthe large drum, and notes written above the staff areplayed on the small drum. Timbales should always playpaila during the solos of other ensemble members.With the exception of incorporated improvised rimshots, which are characteristic of timbale playing, allstrokes are open unless otherwise indicated.

+=Dead stroke o=Open strokeR=Right hand L=Left hand

/ 4

2 � � � � �‰ +

J

�‰ o

J

� ≈ � � �‰ +

J

�‰ o

J

�

about notationabout notation

The following Rhythm Chants use a single-line staff.All measures included within repeat signs may berepeated ad libitum unless specified otherwise. Theexact instrumentation listed in the score should be

used whenever possible. For example, the double-bellis called either agogo or gankogui, but the preferredinstrument is the one listed in the score. Performancenotes accompany each piece.

AGOGO/GANKOGUI, WOOD AGOGO: Notes writtenbelow the staff are played on the low-pitched bell,and notes written above the staff are played on thehigh-pitched bell.

/ 4

4

.� � ‰ j� ‰j� ‰ j�

AXATSE: Notes written below the staff are played onthe left leg, and notes written above the staff areplayed on the left palm.

/ 4

4

.� � � � .� � � �TOKE: Toke 1 should be tuned to a higher pitch thantoke 2. In some scores they are written on separatestaves and in others, toke 1 is written above the staffwith toke 2 written below. SUBSTITUTION: Thick-walled metal pipe with a 1- to 2-inch diameter struck

with a heavy steel rod or triangle beater. When pipesare used, they must each have a different pitch.

/ 4

4.� � � � � �

‰J

�‰

� �‰

J

� � � �QUINTO, CONGA and TUMBA: All notes are writtenabove the staff. All slaps are the muffled type (2-handed) unless otherwise indicated in the perform-ance notes that accompany the score. Stroke typesare indicated in the first row of letters below thestaff, and sticking indications are in the second row.

B=Bass tone H=Heel tone L=Left handD=Damp tone O=Open tone R=Right handF=Finger tone S=Slap tone

/ 4

4.� � � � � � � � .� �

OR

OL

OR L

BRS

RO

LB

RS O

ROL

SURDO: All notes are written above the staff. Stroketypes are indicated in the first row of letters belowthe staff, and sticking indications are written in thesecond row.

D=Dead stroke O=Open stroke L=Left handM=Muffled stroke S=Strike shell R=Right hand

/ 8

12 � � � � � �RO

L/RM

RS

RO

L/RM

RS

General Performance Information 7

COWBELL: E=Strike the mouth of the cowbell on theedge. C=Strike the center of the top side of the cowbellwhile dampening the underside with your index finger.

/ 8

12 � � � � j� � j� � j�E C C E C E C E C

MARIMBA: Low-end marimba parts should be playedwith medium rubber mallets. The middle register andupper register parts may be played with medium-hardand hard rubber mallets, respectively. On occasion,

you may weave adding machine paper above andbelow alternate marimba bars to create a buzzingeffect similar to some African xylophones andmarimbas.

TAMBOURINE: C=Center stroke with full handF=Finger stroke T=Thumb stroke

/ 4

2 � � � � ‰j�

F T F T C

GUIRO: Notes written below the staff are downstrokes, and notes written above the staff are upstrokes.

___ = Long stroke, scrape for full note value. = Short stroke

/ 4

4 �� �� �� �� �� �� ‰j�� �� �� ��

TRIANGLE and TAMBORIM:+=Muffled tone o=Open tone

/ 4

4

Tamborim� � � ≈ � � ≈ � � � �o + o o o + o o o

/ 4

2

Triangle� � � � � � � �+ o o + + o o +

LOG DRUMS: Two different pitches are required foreach log drum part. The low pitch is written belowthe staff, and the high pitch is written above thestaff. Most Rhythm Chants using log drums requiremore than one instrument.

/ 4

4 � � � � ≈ � � � � � � � � �R R L R R R L R R R L R L

RUTE: All notes are written above the staff. All stick-ings are alternating unless otherwise indicated.

L=Left hand R=Right hand

/ 4

3 � � � ≈ � � � � � �R R

FRAME DRUM: All notes are written below the staff.It should be played with wooden sticks or very hardtimpani mallets. All strokes are open.

/ 4

4 � � � � � � � �Œ

GBOBA: All notes are written above the staff. It isplayed with the left hand and a stick held in the righthand. Stroke types are indicated in the first row ofletters below the staff, and sticking indications are inthe second row. B=Bass tone O=Open tone S=Strike shell of drum

L=Left hand R=Right hand

/ 4

4 � � � ‰j� � � � ‰

j�OL

SR

BL

OR

OL

SR

BL

OR

8 Hand Drumming ensembles

rhythm chant 17: performrhythm chant 17: performance notesance notes

Minimum Number of Players RequiredFive players: axatse, quinto, conga, tumba, surdo

One performer on each part is the minimum.

Instrument DoublingFirst: quinto

Second: conga

Third: tumba

Other: Quinto, conga and tumba may have up to fiveplayers per part. Consider doubling the axatse if youhave at least nine players on the conga trio parts.

FormBeginning: Players enter every four measures in thefollowing order: surdo, tumba, conga, quinto,axatse.

Continued play: Quintos solo; section quinto playersmay rest during solos.

Ending: A head cue is given on the downbeat of thetwo-measure cycle. Immediately, the axatse playerwildly shakes their instrument for two measureswhile all others finish playing their two-measure pat-tern. On the next downbeat, everyone plays theending pattern and stops.

Other Considerations1. The ending is composed of a three-note cell

played four times. The cell is equivalent to fiveeighth notes; therefore, repetitions of the cell donot align with beats. Players should try to feelthe three-note cell cycling around the beat andnot shift/create accents in an attempt to make itfit comfortably with the beat.

2. In the surdo part, “X” means to dampen thehead with your fingers.

3. Regarding the ending: The surdo should play allopen strokes, and the axatse should rest.

4. You may use up to three players on the axatsepart.

5. Performers should be able to feel 12/8 as threegroups of four divisions as well as four groups ofthree divisions.

Compositions for Performance 9

rhythm chant 17rhythm chant 17

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XL

/ 8

12

Endingœ œ

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X = Dampen with hand.

q=108–112

C. A. Grosso