BA(Hons) Creative Music Performance DRUMS

IMPROVISATION 1

IMPROVISATION 1

Recommended Ability Level: Equivalent to Grade 7 playing ability & Grade 5 music theory knowledge

You now have the opportunity to experience some of the core material featured in our BA(Hons) degree courses. This will give you the chance to experience what it’s like to study online through our virtual learning environment, Canvas.

Standalone Modules are exactly the same content as our BA(Hons) degree courses and are each worth 20 credits. If you wish to progress onto the full degree programme then these credits can transfer.

You will be able to experience studying with DIME ONLINE in cost effective bite-size chunks, with expert instruction focusing on specialist areas.

The Standalone Module offer includes:

• Each module worth 20 Credits at Level 4

• Credits that are transferable onto the full BA(Hons) degree programme

• Being part of DIME ONLINE’s learning community through Canvas, our Virtual Learning Environment

• Identical content to the BA(Hons) degree

• Detailed material for professional development

• Expert one-to-one instructor feedback

The aim of this module is to enable you to:

• Develop core improvisational skills on your instrument

• Understand core melodic, harmonic and rhythmic vocabulary and related improvisation conventions that inform individual decision-making during improvisation performance contexts

• Apply improvisation conventions and vocabulary creatively in the context of genre-specific repertoire

20 CREDITS

Duration: 15 weeks Cost: £700

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Module Description

You will be spending a considerable amount of time developing core skills on your instrument, and the application of these skills comes in the improvisation modules. It’s here that you will go beyond the practice of basic exercises and develop your ear to ensure that you can place patterns, rudiments, fills and ostinatos into a musical context.

We will provide you with a number of stylistic studies designed to challenge you to creat musically appropriate parts and improvised solos. Additionally, we will investigate how you can gain the authority of a professional through your sound, timing, and dynamic balance. You will be referencing the work of some of the world’s iconic drummers as you learn the art of making music from the tool kit of your technical skills.

Skills Development

Knowledge and Understanding • You will gain an understanding of the vocabulary and conventions used in improvisation through the module content.

• You will explore foundational core concepts that are critical to the study of improvisation.

Intellectual Skills • You will have an opportunity to develop and apply relevant cognitive and analytical skills when engaging with the theory and philosophy of improvisation.

Practical Skills • You will develop the ability to apply foundational improvisation concepts and theory to your instrument.

• You will develop your skills with regards to identifying and applying improvisation language and theory in context, through engagement with lead sheets, transcriptions, scores and recordings.

Transferable Skills • You will have the opportunity to develop a creative and integrative approach to study, in which intellectual study and practical application are weighted equally.

On completion of this Module you should be able to:

Assessment Criteria. To achieve the learning outcome you must demonstrate the ability to:

Demonstrate an understanding of core improvisation skills and devices specific to the discipline in the context of performance. (Creative Music Performance 1)

Present and perform a range of specialised isolated improvisation exercises.

Display elements of creativity and expression during improvisation. (Creative Music Performance 3)

Combine melodic, harmonic and rhythmically appropriate language during genre-specific improvisation.

Demonstrate an awareness of the broader musical context in which improvisation concepts may be applied. (Creative Music Performance 4)

Demonstrate the ability to select or omit appropriate improvisational devices in the context of genre-specific improvisation-based performance.

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Assessment Strategy

Summative assessment (Submission of filmed performance) You will be asked to submit an 8-10 minute filmed performance demonstrating:

• A range of isolated improvisation exercises that highlight the core concepts underpinning the module.

• Application of improvisational concepts in the context of a pre-agreed genre-specific performance.

The ‘pre-agreed’ performance will allow students to integrate improvisation vocabulary in a contextually-relevant manner. The repertoire will be agreed with your tutor during the trimester.

Summative assessment will occur at the end of Trimester 1, with formative assessment taking place at the mid-way point of the module (week 8). Feedback from weekly improvisation tasks will enable you to adjust and improve aspects of your playing on a frequent and regular basis.

The following aspects of performance will be taken into consideration: • Timing

• Tuning

• Accuracy of execution

• Sound and tonal production

• Fluency of phrasing

• Consistency of delivery

• Appropriateness of decision-making in the context of performance

• Creative intention and use of concepts and vocabulary

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Scheme of Work

Improvisation 1

Week Description

1 IMPROVISATION - COURSE INTRODUCTION

What is improvisation

Improvised rock fills

Rock fills with extended lengths

Learn to play two bars of grooves and two bars of fills

Listen to Cozy Powel’s Dance With The Devil solo

TaskYour most important task for this week is simply to let your imagination freely create some improvised drum fills. Do these in increasing lengths – from one up to four bars per the exercises – while challenging yourself to break out of your comfort zone and come up with fresh fills, not merely repeat what you already know. Other than this, listen to and analyse Dance With The Devil.

Additional StudyLed Zeppelin (1969) – Led Zeppelin II: Moby Dick (CD) Drummer: Bonham, JohnCream (1967) – Fresh Cream: Toad (CD) Drummer: Baker, Ginger

2 IMPROVISING WITH SINGLES, DOUBLES AND BASIC RUDIMENTS

Improvising with one handed singles around the drums

Improvise with Single Stroke Roll around the drums

• Start with eight notes • Move up to triplets

Double Stroke Roll Improvisation exercises

Ideas with split doubles

Learn the Flams Accents• Study the different stick heights and stick positions• Analyse the Tap and the Full Stroke• Learn the right handed and the left handed Flams

Move the left handed Flams Accents around the toms

Alternating Flam Taps in different groupings

Single Paradiddle variations on the toms and snare

Improvise with the four variations of Single Paradiddle

ReboundUsing the necessary amount of rebound

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2 TaskPay close attention to the accuracy of your singles and doubles as these are the most important and most often used rudiments. Practice technique in front of a mirror.The singles and doubles are the basic elements/components of almost all of the future ru-diments, therefore it’s extremely important to master them and play them with ease, com-fort, confidence and speed. As always, practice and perfect what you are learning. Record and critique your motions, then correct and carry on until you are comfortable enough to re-record your performance and post it to the Canvas.

Additional Study: Cobham, Billy (1973) SpectrumCobham, Billy (1975) Shabazzwww.vicfirth.com

3 IMPROVISING WITH BASIC RUDIMENTS II

Learn the Flams Accents• Study the different stick heights and stick positions• Analyse the Tap and the Full Stroke• Learn the right handed and the left handed Flams

Single Paradiddle variations on the toms and snare

Improvise with the four variations of Single Paradiddle

TaskPractice these as fills is to work out different sticking variations on a practice pad or snare drum, then apply them around your kit. Also, the phrasing of these rudiments is the key factor to ensuring they good sound.

Additional Studywww.vicfirth.com

4 SINGLE PARADIDDLE GROOVES AND MOELLER MOTIONS

Learn the basic Single Paradiddle Groove

Orchestrate your groove

Independence exercises

Further grooves with the Inverted Paradiddle

TaskThe single paradiddle variations are absolutely essential rudiments. They can be played as rudiments on a snare, as grooves on a kit and they are very useful for moving from one drum to the other, as a double stroke frees up your other hand to lead to another drum. But our focus right now is paradiddle grooves. It is important to play these with distinctly big dynamics, where the singles and double are of different volumes. And play with tight timing. The Moeller Motions will help you with your phrasing, but always mind your dy-namics. Record yourself and listen back, then upload your recordings to the Canvas.

Additional StudyChambers, Dennis – In the Pocket (DVD) Hudson Music Hakim, Omar – Express Yourself/ Let It Flow (DVD) Alfred Publ.Tower of Power (1973) – Tower of Power (CD) Drummer: Garibaldi, David

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5 MOELLER OSTINATOS IN GROOVES AND FILLS

The ‘one stroke-one bounce principle’ on hi-hat

The one stroke two bounces principle

The one stroke-three bounces 16th note groove

Accented Single Stroke Rolls with Moeller Technique

TaskAlways strive to play and sound musical when you apply any techniques, whether practic-ing or within a musical context.

This week’s material is a classic example of how to turn technique into music and use it for your own benefit. Once you have the right technique, you’ll need much less effort to execute these grooves with ease. This will also help your endurance and timekeeping.

Start with the one stroke-one bounce principle, then gradually build up your speed. Clarity and note quality are extremely important, so make sure you don’t slip into playing swung sixteenth notes.

Additional StudyMayer, Jojo (2007) - Secret Weapons Of The Modern Drummer (Hudson Music DVD)www.vicfirth.com Katche, Manu – Zildjian commercial video and other clips on YouTubeHakim, Omar – Express Yourself (DVD) Alfred

6 SERIOUS MOTIONS - MOVING AROUND THE KIT IMPROVISATION

Triplets around the toms in different directions

Playing the first notes of the triplets on the crashes

Incorporating the double bass drum pedal in faster tempos

Moving around the toms with triplets

Different wrist turns and backhand motions

TaskThis week, we’ve mainly experimented with triplets around the kit. They’re a great way to move from sound to sound, because the odd number of notes in each – three – means your leading hand will constantly change. Make sure you’re equally comfortable with the same motions, whether starting with your right or left hand. This will take time and pa-tience, so practice slowly and accurately.Record yourself while playing your triplets between the crashes and the snare. Make sure you’re doing the same motions with both hands. And try to avoid unnecessary motion from the shoulders and upper body.

Additional StudyDornyei,Gabor (2014) - Moving Around The Kit (DrumChannel You-Tube)Chambers, Dennis (1992) – Serious Moves (DVD) Warner Bros Publ.

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7 BALANCE CO-ORDINATION AND ENDURANCE ON FEET

Finding your balance on the drum throne

Single strokes co-ordination exercises between the hands and the feet

The ‘Vinnie Colaiuta cross exercise’

Straight sixteenth note singles on the double bass pedal

Further co-ordination exercises

TaskAdvanced foot technique is extremely important in modern drum set playing. Not only because of the fills and variations, but in order to play the downbeats in your general grooves perfectly in time. Make sure you don’t rush these exercises. These exam-ples are not necessarily for speed, but much rather for perfect control over your limbs. Try to play four hundred repeats from each stroke before you move on to the next exercise. Always practice to metronome, record yourself and upload it to Canvas.

Additional StudyLang, Thomas (2004) - Creative Control (Hudson Music DVD)

8 Formative Assessment

TaskYour tutor will provide you with a task that demonstrates your learning in the module to date. You will need to upload the task to Submit My Assignment for feedback.

9 IMPROVISATION WITH DOUBLES ON THE FOOT

Displacing the bass drum doubles in a 4/4 groove

Double strokes bass drum patterns over 16th note hi-hat patterns

Combinations of single and double strokes on the foot

‘Three over four’ polirhythmic pattern on the bass drum

Fills and grooves combined with doubles on foot

TaskThis week you’ve experienced plenty of variations for the displacement of double strokes on the bass drum. It is very important to play these with ease and confidence, so con-centrate first on your technique and fluency. Once you’re comfortable with those, you should find it much easier to displace the notes. Again, it is very important to play with a relaxed and confident feel, and that your sound be tonally rich and balanced. When it comes to performing on stage or recording these in a studio, you definitely don’t want them to sound like exercises. Your bass drum notes must be perfectly in time to create real grooves.

Additional StudyWeckl, Dave (1991) - Back to the Basics (Hudson Music DVD)

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10 PARADIDDLE IMPROVISATION

The orchestration of single and double Paradiddles

The combination of ‘Inverted Paradiddle’ and Double Paradiddle with four accents

The Paradiddle Pyramid

The Paradiddle-Diddle

TaskAfter this week’s extensive paradiddle workout in the Technical Development and Impro-visation classes, you’ve studied all you need to play all the different paradiddle variations and accents. Practise each of these exercises at a slow tempo for a minimum of 15-20 minutes daily. Once completely comfortable playing one, move to the next or increase the speed of the one you’ve learnt. Before you try these behind a drum kit, ensure you’re us-ing the correct wrist and arm motions by practising on your pad in front of a mirror. When you’re playing them on the kit as melodic orchestrations, make sure your arm motions are fluent and movement is relaxed and stress-free as you move around your drums.

Avoid ‘playing into’ the drums by using the maximum available rebound.

Additional StudyMorello, Joe (1983) Master Studies (Book) Modern Drummer PublicationMorello, Joe (2006) The Natural Approach To Technique (DVD) Hot LicksCobham, Billy (1972) – Spectrum (CD, Vinyl)

11 PARADIDDLE GROOVE IMPROVISATION

Learn the basic 6/8 Bembe Groove based on double-paradiddle sticking• The phrasing and timing is extremely important here

Variations-solos with the 6/8 Bembe groove• The orchestration of the groove

The ‘Heel-Toe’ Hi-hat technique in 6/8 Bembe feel

The Triple Paradiddle Half Time groove

Variations and fills with the Triple Paradiddle Half Time groove

TaskThis week’s Improvisation material is very useful because we’ve learnt three brand new things. The 6/8 Bembe feel is a whole new Afro-Cuban pulse, the heel-toe technique is a new motion and technique for you, while the triple paradiddle half-time groove is some-thing we’ve not tried before. It is very important to understand that mastering these new techniques and grooves is not easy; each requires a lot of work. Make sure you’re practis-ing these exercises individually to a slow tempo on your metronome. And always record yourself and listen back, because precision and phrasing are key factors here.

Additional StudyMalabe, Frank & Weiner, Bob (1990) - Afro Cuban Rhythms For Drum Set – (Book) Alfred Publ.Harrison, Gavin (2010) – Rhythmic Design – (DVD) Hudson Music

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Terms & Conditions applyIf you wish to apply for the full degree course and use your credits after completing any of the individual modules, then you will still need to meet the full application criteria. Further details here www.dime-online.org/do-i-qualify

12 REVISION WEEK

13 SUMMATIVE ASSESSMENT

14 Reflection/Evaluation/Careers/Employability

15 Reflection/Evaluation/Careers/Employability

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