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This book is licensed to DUNSTAN HIGH SCHOOL Copying other than by the licensee is an infringement of copyright

DRUM WORKBOOK

Name ________________________________

Form ________________

Written and prepared by

MARGARET WILLIAMS 2009 ©

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As you watch the Power Point 1 fill in the answers to the questions below: 1 The word OSTINATO means

2 In music an ostinato is

3 On the line below, make up a 1-bar rhythm that could be repeated to become an ostinato.

Use crotchets and quavers

Make sure your ostinato is different from the one in the power point 4 What does the phrase CALL AND RESPONSE mean in music? 5 On the line below, write a 1-bar rhythm that could be used as a call.

Use crotchets and quavers

This rhythm should be different from the ostinato rhythm that you wrote above. Put any quavers you use on a different beat.

Practise playing both of your rhythms and teach each of them to a partner.

It is a good idea to have one person counting four evenly, and the other playing the rhythm.

Do this until each of you can play the four rhythms FOUR times without stopping.

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Write out your ostinato and call and response rhythms as a score. Your score will be 4 bars long and have 3 lines. USE A PENCIL.

a On the bottom line, write out your ostinato rhythm 4 times. Space out your crotchets and quavers evenly in each bar. b Notice that some of the bars for the call and response parts have rests.

WHY?

(a bar’s rest looks like this): c Write out your call rhythm in bars 1 and 3 d Write out your response rhythm in bars 2 and 4. (This will be the same rhythm as the call rhythm, but it will be played by different people)

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Final copy

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Draft

These dots are repeat marks. Play the score through twice

In pairs, practise each of the rhythms above and play them together

WRITING A SCORE (Two or more lines of music that are played at the same time)

All BEATS and HALF BEATS must be LINED UP VERTICALLY

Drum 1

1

2

3

4

1

2

3

4

1

2

3

4

1

2

3

4

Drum 2

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Performing your scores:

Practise one of the scores written by the members of your group. If time, practise a second score.

When you perform your scores, you will need to be able to: a Keep an even beat all the way through without getting any faster (or slower) b Play the ostinato through twice without pausing between bars or at the end c Play the call rhythm accurately in bars 1 and 3 (and then repeat it) d Play the response rhythm accurately in bars 2 and 4 (and then repeat it) e It would be a good idea if the conductor counted ONE bar (1,2,3,4) at the speed that the group is going to play to lead the others in

The main aim is to PLAY AT THE SAME SPEED and not to hesitate

Assessment Schedule

Achieved Achieved with Merit Achieved with Excellence • The group generally managed

to play together at the same speed

• The ostinato was played generally accurately the whole way through

• The call and response parts generally played the same rhythm in the correct place

• The group managed to play together accurately at the same speed

• The ostinato was played accurately the whole way through

• The call and response parts played the same rhythm at correct place

• The group managed to play together accurately and confidently at the same speed

• The ostinato was played accurately and fluently the whole way through

• The call and response parts played the same rhythm at correct place

Name of conductor of group being assessed My assessment of the group Main reason for grade given

Each group will assess the group that performs BEFORE them. The first group to perform will assess the last one to perform.

Get into groups of FIVE ONE person plays the CALL

TWO people play the RESPONSE

ONE person plays the OSTINATO

ONE person is the CONDUCTOR and counts evenly all the way through the music.

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Self-assessment of composition

The best aspect of our performance was: Things we need to work on are:

How successful were we at improving our performance? As you watch the Power Point 2 fill in the answers to the questions below: 1 In music, an accent is 2 Write the sign for an accent in the box 3 Write accents above the notes that are played with more force a

b

c

d

After a short rehearsal to refine, perform compositions again

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4 Perform each of the rhythms above. Play the accented notes with more force

5 A syncopated rhythm is one where

An example of a syncopated rhythm is 6 Polyrhythms happen when

7 Copy out the polyrhythm score

Make sure you align the notes accurately. 8 In small groups, perform the polyrhythm score you have written out. Count carefully in order to play each part correctly Use body percussion Choose your sounds carefully, so as each sound is different, but can be heard clearly

9 Fill in the blanks so as to have several statements about what helps to make an effective rhythm composition Each bar of the ostinato has the same _________________

The call and response parts have a ____________________ rhythm

The four instruments can be heard easily because each has a distinctive

_________ ______________ or _______________

The ____________ (silences) also make it easy to hear each part

One part has a _______________ rhythm and is different from the others

One part ______________ another (plays the same rhythm, but at a different time) Write down any other points you can think of, that make the composition effective

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Djembe Drumming The djembe drum comes from __________________________ Fill in the spaces after you watch each movie clip

Reasons for playing the djembe drum

Words used: birthdays, dancers, festivals, messages, visitors, weddings

Ways of playing the djembe drum

Words used: bass, fingers, flam, hand, kuku, lifting, palm, slap, rhythm, tone,

The djembe drum is used in celebrations such as _______________ and

__________________.

It sends ________________ to people in other villages.

It is also used to welcome important ______________.

There are many __________________ where drummers compete against each other.

The drummers accompany _______________.

The rhythms and tones are based on African speech rhythms

The three main ways of playing the djembe drum are _________ __________ and

____________.

You can muffle or mute the sound by resting one __________ on the drum skin while

the other plays a bass or slap.

Two quick sounds, one after the other are called a ___________.

The bass sound is played by tapping the drum with the ____________ of the hand and

___________ it off quickly.

The slap is played by using the ______________.

The call (or signal) from the leader is called a __________ and has a special

______________.

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Composition Task

In groups, you are to compose a rhythm composition of AT LEAST four parts that is between 8 and 12 bars long. The composition is to be played twice when you perform it.

• Each part should be written for a different untuned percussion instrument with a distinctive timbre (tone colour)

• It will be important to work on the dynamics and balance between parts, so that all instruments can be heard

• Each part should be performed by only ONE member of the group • You should use AT LEAST THREE different compositional techniques • In the performance, you should try to use some of the African djembe drumming

techniques to make different tones on the drums

Some of the compositional techniques that you might consider using are: • Ostinato • Call and response • Syncopation • Polyrhythms • Use of silence (rests)

When the composition is finished you are to write a short paragraph explaining the different compositional techniques you have used. You must write a score for the composition to achieve, but if it is not accurate, it will not stop you gaining Merit or Excellence. You will gain Merit or Excellence if your composition is effective and uses the compositional devices imaginatively and perform it fluently. Even if the score is not entirely accurate, it will help you remember the devices you have used when you perform your composition. Your score might be in conventional notation, or might use a notation developed for djembe drumming

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Compositional Devices Used (to be completed when the composition is finished)

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ASSIGNMENTS – THE DRUM FAMILY (use the resource booklet to help you answer the questions) You should divide your work up into the following sections. Always answer in sentences.

Assignment 1 – The Early Drums (Page 1)

1 What is the meaning of the word “percuss”?

2 Describe how the early drums came into being and for what they were used.

3 Draw and label some of the early drums.

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Assignment 2 – World Drums (Page 2)

1 What is the meaning of the word membraphone?

2 Give two examples of drums that are membraphones and one that is not. What is different about this drum?

Membraphones Not a membraphone

Difference between the drums

3 Explain how a drum produces sound

4 Put an arrow from the pictures of the each drums below to the correct information about it in the middle column. (The first one is done for you).

The slit drum is played throughout Polynesia

The tabla drums come from India

The Da-Daiko is a Japanese drum

Bolivia is the home of the Chiriguano drum

The long drum from Bali is used in gamelin orchestras

The Ethiopian Koboro is used in religious ceremonies

The legs on the Hawaiian drum help to amplify the sound

The Tumyr can be found in Russia

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Assignment 3 – Drum shapes and African drums (Pages 2 - 3)

1 Drums come in many different shapes. Some of these are:

Use the table below and classify 10 of the drums on pages 2 and 3 by naming at least one of them under each shape.

Cylindrical Conical Barrel Waisted

2 Put a different coloured border around each of the drums below, then use the same colour to shade the African country it comes from.

Cylindrical Conical Barrel shaped

Waisted Waisted

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Assignment 4 – The timpani drums (Pages 4 - 6) 1 Describe, draw and label the timpani drum 2 Explain how the drummer can change the pitch or notes on the timpani. 3 Show the pitch range of each drum Small Medium Large

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4 Say where the timpani drums originally came from and for what they

were used – use illustration where possible. 5 Explain the different types of sound you can make on a timpani drum. 6 What other name is sometimes used for the timpani drum?

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Assignment 5 – The snare drum 1 Where does the snare drum get its name and what else is it

sometimes called.

2 Explain how sound is made on snare drum – illustrate.

3 Give the names of various musical groups that contain a snare drum.

4 Where do drumsticks come from?

5 Where do snare drums originally come from – use illustration.

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Assignment 6 – The tom-tom and bass drum 1 Name a country that you associate with the tom-toms.

2 Tom-toms are not often used in orchestras. What are they mainly used for?

3 Describe the bass drum and explain the difference between the bass drum in the orchestra and the bass drum in the rock group - use illustrations.

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Assignment 7 – The drum kit

Label the different parts of the drum kit.

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