Richard Filz Body Percussion SO re muh adie A Comprehensive Training System dy, fo ae ” fe ee —¢€ S | HS) -BodyPercussion | | | Solo & Ensemble \ | Arrangements i a! s a X >iy ET wrans Richard Filz, MA PhD ‘Musician, author, educator, composer, instructor, and tutor, Born in Vienna, Austria ‘Master's degree for drumset and Latin percussion at the Konservatorium Wien University with Prof WalterGrassmann, ‘and at the Drummers Collective in New York, NY. Graduate degree at the Universitat fur Musik und darstellende Kunst Vienna. Dissertation about "Rhythm Coaching — ‘Aspects, Methods, Comparison” Concerts and touring for: Threeo, Rick Margitza, Bob Berg, Joseph Bowie, Bob Mintzer, Kei Akagi, Erich Kleinschuster, ‘Arabian Waltz, Austrian Jazz Orchestra, Sigi Finkel, Richard Graf, Macheiner/Barnert/Filz, Mischa Krause, Patricia ‘Simpson, Juci Janoska, Christina Zurbriig, Albert Kreuzer & Rubberfinger, Mamadou Diabate, Mammut Hors, Lite Big Homs,andmany more. Contributions to 80 CD recordings. Alfred Music LEARN + TEACH * PLAY © Original German edition 2011 by Alfred Music Publishing GmbH © English edition 2014 by Alfred Music Publi [email protected] alfredverlag.de | alfredmusic.de ig GmbH All Rights Reserved Printed in Germany Cover art: Thomas Petzold, Richard Filz Engravings: Thomas Petzold Production management: Thomas Petzold Production assistant (English edition): Helge Kuhnert Item #: 20158US (Book & DVD) ISBN-10: 3-933136-11-3 ISBN-13: 978-3-933136-11-4 Performances at jazz festival in Jakarta, Montreal, Warsaw, Leverkusen, Getxo, Wiesen, and many more. Publications: Rhythm, Sound & Colour for Percussion- Ensemble (Peermusic Germany, 1998), World Music Cuba (Universat Edition, 2000), Vocal Percussion 1-3 (Universal dition, 2002), Groove Karaoke (Universal Edition, 2003), Rhythm Coach Level 1 & 2 (Universal Editon, 2004/2007), hyths MIX 1 & 2 (Helbling, 2008/2008), Vocal Percussion Basics (instructional DVD, Universal Edition, 2008), Rhythm Voices (Universal Edition, 2008), BodyGroove Kids 1 (Helbling, 2012), BodyGroove Kids 2(Helbling, 2013). Articles in drum magazines (Drum Heads) and in German ‘music educational journals (mip-journal, PaMina, Klasse Musik [Classroom Music, dben und musizieren [Practicing ‘and Playing Musi). Director and founder of the ensembles Die Dorftrommier, Rhythm Xing, and Richard File Acoustic Instinct. Teaching activity at the Landeskonservatorium Eisenstadt {Federal Conservatory Eisenstack) (Austria) for drums percussion ensemble jazzrhythmics,didactcs, and teaching roxs. International clinician. ‘Awards and distinctions: Winner of the Austrian Music Schoo! Facility Award (1998), Awardee ofthe Jeunesse ideas Contest "Find it” (2000), Culture Award of the federal state Niederdstereich (2003), Culture Award of the City of Vienna (Wiener Neustadt, 2006) VDS - Media Award (2008/2010), More information available at wwwilzat Translation: Lindsay Chalmers-Gerbracht Copy-Editing: Raj Mallikarjuna DVD production: Effective Studios, Vienna Camera: Herbert Schlosser, Brigitte Schlosser, Harry Pinter Directors: Harry Pinter, Richard Filz Cut: Herbert Schlosser Istassistant director: Christian Grosskopf Musicians: Vocals: Juci Janoska Guitar: Gerald Gradwohl, Michael Fink Body percussion: Richard Filz Special thanks to: Joseph Haydn Konservatorium Eisenstadt, Walter Burian Photos: Fritz Holoubek (except p. 45 and p.81)This book is for anybody who: + is interested in discovering his own body as 2 universal rhythm instrument; + iskeen on the subject of body percussion; is already interested in this subject; + is looking for a clearly structured concept; + would like new suggestions and ideas; + and requires a collection of set rhythms and pieces ideally suited for body percussion. This book demonstrates the various sound possibilities provided by the human body, the wide variety of rhythms that can be realized by body sounds, and their musical application in accompanying songs or even playing solo. Body Percussion: Sounds and Rhythms is for beginners, drumming enthusiasts who have some playing experience, and professionals. The contents (Basics, Warm-Ups, Grooves and Styles, and Body Percussion Solos and Ensemble Pieces) follow a clear structure and merge in well-organized chapters. You will find exercises, rhythms, and pieces in various grades and levels that will help you set your own individual focus and select material for your individual capabilities and abilities. The accompanying DVD provides compre- hensive support to facilitate learning right from the beginning, and with free downloads at www.ilz.at, you have a complete package. If you have further questions, the website has an advice section, too, and information about workshops and clinics, plus additional offers for skill development. No other instrument allows you to experience rhythm more immediately and feel it—in the truest sense of the word—on your whole body. Because you always carry your “instrument” with you, you are able to start at any time. (BS Atreayusie dict Whether you slap, clap, snap, rub, or stamp, you will have fun with the moves, and your body will stay in good shape. In addition, the interaction between your two brain hemispheres will be stimulated, and rhythmic and. coordinative facilities will improve. Body Percussion: Sounds and Rhythms is an integrative, whole-body training system that will prepare you for any kind of rhythm-based or drumming activity The body is surprisingly well-adapted to become a musical instrument. The comparatively low volume of its sounds merges wonderfully with acoustic instruments and voices. You can find appropriate examples and performances of my trio on the accompanying Dvo. Body sounds and rhythms are frequently combined with choral music. With Body Percussion: Sounds and Rhythms, choral directors will be able to find new and exciting rhythms for every style to create accompaniments of their own. Body percussion is also one of the most suitable "instruments" for group and classroom, music. Teachers from music schools, as well as clinicians and conductors of drum circles and rhythm groups, will find appropriate materials in chapter 5. As the saying goes, if you have a body, you have a drumkit. | wish you a joyful and fun experience, and | hope this comprehensive material will help you embark on a fantastic voyage of discovery in the exciting and vibrant world of body percussion. Richard Filzwy Chapter 1: Basics 2, v Chapter 2: Warm-Ups Playing Position Hand Position .. Body Sounds Slapping on the Chest Slapping on the Hip Slapping on the Thigh Slapping on the Cheek Body Sounds Exercises Hand-to-Hand: Quarter Notes, Eighth Notes, and Rests Hand-to-Hand: Quarter, Eighth, and Sixteenth Notes, and Rests Hand-to-Hand: Quarter, Eighth, and Sixteenth Notes, Dotted Notes, and Rests . Hand-to-Hand: Quarter Notes, Eighth-Note Triplets, and Rests Hand-to-Hand: Rhythm Pyramid Various Hand Stickings FIOM samara Rolls Clapping Sounds . Flat Hand Clapping . Finger Clapping Hollow Hand Clapping ... Clapping with the Back of the Hand Pendular Clapping Clapping Sound Exercises Pendular Clapping Exercises ‘Snapping Sounds Middle Finger Snapping Ring Finger Snapping Snapping Sound Exercises Rubbing Sounds Horizontal Hand Rubbing .. Vertical Hand Rubbing Pendular Rubbing .. Chest Rubbing and Thigh Rubbing Rubbing Sound Exercise: Stamping Sounds .. Stamping Stamping Sound Exercises .. Special Sounds .... Tongue Clicking Tongue Clicking Exercises .. Stretching Exercises .. 1. Hand-to-Hand: Upper Body and Thighs. Crossing Hands Beat Sequence Exercise 1 2.DyN Mies wennnn3. Mixed Sounds .. = Body and Snapping Sounds Body and Clapping Sounds (Pendular Clapping) Body and Rubbing Sounds sum Snapping and Rubbing Sounds Body and Stamping Sounds 4, Basic Independence OStINARH enn Eighth-Note Workout Chapter 3: Grooves and Styles The Drumset wn nae Song Accompaniment: "Get Ready" 2. Rock with Sixteenth Notes ‘Song Accompaniment: "Monday Morning 3. Blues Rock ... mn ‘Song Accompaniment: "Home Where You Belon: 4. Shuffle. Song Accompaniment: "Catch Me If You Can” 5. R&B/Hip-Hop .. : Song Accompaniment: "20 Days” . 6.Funk i Rubbing with the Back of the Hand, Slapping the Forearm Song Accompaniment 7.Samba Percussion Instruments Samba Warm-Ups Rubbing the Hands with Accents Song Accompaniment: "Samba '11” 8. Baio Baigo Warm-Ups Slapping on the Mouth Song Accompaniment Chapter 4: Body Percussion Solos ... "Rock Steady” "Bodydrum’ "Click Track’ . "Bodytalk’ . “Hot Stuff”. "Bodydance" Clapping on the Back of the Hand ‘The Up-Down Technique Chapter 5: Body Percussion Ensemble Pieces Tips for Working with GrOUPS smn Body Percussion Ensemble PieceS num Mouth Clapping ... Star-Shaped Clapping “Baiao para tiBody Perc (oo Me De Cy ‘tapping on the Chest =| ne | >>p.20 | ‘Slapping on the Hip (2 ) Ee >>p.10 | ping on the Left Thigh [ee + >>p.10 | Secisetlislapelpaioa the WohtT Manse EE| oan 2 T= | oan - | 5 y Slapping the Forearm l= EH | >on | PY | >>p.110 | | *. ‘Slapping on the Chee} Pendulaf Ee >>p.t eo | = | »pa \. | Slapping on the Mouth I Star-Shaped Clapping r pes = | oom | | |(@@ 4. Rubbing Sounds Eee es Horizontal Hand Rubbing ~ Midale Finger Snapping 7 at | 4 | >> p.26 >> p.2d | | L Er Vertical Hand Rubbing i 2 | = | prs | ‘ ES | >on ies | —— | : | Stamping withthe Right Foot S= | »px sailed a Rubbing with the Back ofthe Hand b fae ‘Stamping with the Left Foot — >>p.72 | | | : e = 30 Chest Rubbing EE | oe | = | aS ee >> p27 | om Meet ae | Tongue licking (Low) 1 ( @ ) i ‘Rubbing (Right Thigh) 7 | ———— >>p.32 = | pa | | Tengu icing High lf sw ™* Thigh Rubbing (Left Thigh) | ing ie _ Sa =| on Mouth Clapping “aa ace a> | ___ae | , | \¥ >op.i2i } | = F= | small note heads = quiet sounds U ) Alfred useHere we go! Let's start learning the most common body percussion sounds and playing techniques. Step by step, we will build a vocabulary that can be applied musically in the following chapters. Each sound is described in detail. Photos and extensive video material on the accompanying DYD will enhance the learning process. It is important that you play in a relaxed, effortless manner. The quality and volume of the sounds will improve through continuous practice, which requires both patience and stamina! At the beginning, however, you should not practice too long. First, make sure your hands, arms, shoulders, and legs are used to these movements. Short, regular practice is more efficient than long, irregular practice. For each exercise, use a starting tempo, a point of reference that can be adapted to your individual requirements and abilities. Initially, speed will not play a role; precise performance of the movements, a balance between the left and right hands, and the most efficient transition between different sounds are far more important. Playing Position Body percussion can be played in almost any conceivable position. The most common playing positions are sitting and standing, Sitting is advised for longer practice sessions, and the most effective sitting position is on the front edge of your seat. Keep your back erect and straight. Your neck and shoulders must be relaxed, and your arms should hang loosely at your sides. Standing is not quite as simple. If your feet are involved, yourweight must be transferred constantly from one leg to the other. More information on this topic can be found under Stamping Sounds on p. 30. ie ‘Alfred MusicYou can create body sounds by slapping or drumming on different parts of your body. Theoretically, it is possible to produce an infinite number of body sounds. We will limit ourselves to sounds that can be physically and tonally distinguished from one another on the chest, hips, thighs, and cheeks, and also on the forearms (p. 73) and with the mouth (p. 96) Ce Cee armas Hand Position A relaxed hand position is vital for all slapping sounds, The entire flat of the hand lands on the relevant tonal zone and momentarily remains in this position or, when playing a faster sequence, is immediately lifted off. The swing comes from your arm and wrist. fee a aac Beat with the entire flat of the hand on your pectoral muscles. This will produce a deep and muffled sound. For individual sounds, it is best to play with the right hand on the left pectoral muscle and vice versa. For faster beat sequences, each hand stays onits "own" side. Individual sounds are played ina “crossed-over" position. Are si For faster beat sequences, each hand stays ‘nits “own" side,el aC Poet akc foe RE RRL} To slap on your hips, let the flat of your hand The thigh slap should sound as bright as fall loosely onto the hipbone. This produces a possible to distinguish it clearly from chest muffled sound. slapping. Play loosely with the flat of your hand. in the middle of your thigh. — Right Thigh Left Thigh 2 The flat of your hand falls loosely onto the hip bone. Right Hand on Right Thigh = | #2 | Left Hand on Left Thigh fc 1S Ateed useeee: eke You can produce a nice effect by drumming on your cheek. You should beat (not too hard!) on your cheek with the front of your stretched hand. ‘The main contact points of your hand on your cheek are the left index, middle, and ring fingers. You can alter the pitch by opening and closing your mouth: a lower pitch sounds with your ‘mouth only slightly open and a higher pitch with the mouth open wider. Play with your left hand ‘on the left cheek and with the right hand on the right cheek. ——— High Sound Low Sound ‘Mouth Open Wider ‘Mouth Slightly Open These initial exercises will introduce basic drumming techniques and provide an easy start to playing body percussion, even if you are not familiar with playing drums. They teach hand-to-hand drumming, as well as note values, rests, and hand stickings. The hand stickings are suitable for right- anders. Left-handers can either play everything with opposite hand stickings or, to strengthen the weaker hand, begin by using the right hand. Right- handers should also try the exercises by beginning with the left hand ‘Aired Musi = Practice individual bars separately, before practicing them in a sequence. ' Set the initial tempo to 70 BPM and progressively increase it as you become more comfortable. Note: When learning new rhythms and techniques, a clear, precise performances ‘more important than a fast speed! Practice with a metronome or musical accompaniment. m Repeat the exercises using different body sounds, uBe Ct ety Pes Hand-to-Hand: Quarter Notes, oe ss 4} fee QL — ~~ 8 > 2 BecyPs = :RUERLRERLRLRLRLRE Gees TN) > nt RLRL ML om RL mit oS SS RRULR RLER RLER RE Rt RL RLRLERE x * — SS SS Se == = — RLA OL RR RR ne RL Lt RERE a warp =| SSeS SSS (Hi Aedes BRULRLERL LRURLR Bh renpp BE PpRob Bt Rt oR oy py | = 15Body Sounds =| whole note half notes ' Practice individual bars separately, before practicing them ina sequence. After four-, two-, ‘or one-bar repeats, move on to the next bar. ™ Combine the bars as desired. 16 quarter notes eighth notes eighth triplets sixteenth notes sixteenth triplets thirty-second notes 1 Set the initial tempo to 50 BPM, and progressively increase it as you become more comfortable. "= Practice with a metronome! ™ Repeat the exercises using various body sounds. Aled Musiceke) 7 (Gl Mase Body Percussion «Sounds and Rhythms 17 wEo A flam isa rudiment containing a short grace note played before a primary note. A proper starting Position helps with its execution: "Practice individual bars separately, before ‘The (soft) grace-note hand begins about 2 inches DT eae above the playing surface, while the primary-note _ ™ Set the/nitialtempoto-45 BPM and hand starts about 10 inches above the playing pploates Nel lacredee teas you Dec a InOre surface, Both hands move at the same speed | — Comfortable, Repeat the exercises using various body Sr face. -T hi towards the surface. The grace-note hand beats | ™ SDRdatin Slee: este herr note on different body parts). shortly before the primary-note hand, and the primary note hits exactly on the beat! | RU RL RL. RL Starting Position (Front View) Starting Position (Side View) (} Afed Muse 18‘Toplay rolls, beat alternately from leftto right as fast as possible. In drumming language, this type of roll is called a single-stroke roll. The movement comes primarily from the wrist. It will take some practice to be able to play at the proper speed. Once again, practice with patience and perseverance. RIL Playing from the Wrist ; Begin with sequences that progressively ———— speed up in a free tempo. You can also train a SS ] ‘ona harder surface than your body, such as deine atable. ——— 1 Play each bar separately. As the hands ‘are not (usually) moving within a specific shythmic framework, you can mark the quarter-note pulse with your foot. 1m Set the initial tempo to 60 BPM, and progressively increase it as you become more comfortable. 1 Practice with ametronome. © Repeat the exercises using different body sounds. » (i2. Clapping Sounds Sel 5 Finger Clapping sounds a body percussionist can create. There are a wide variety of clapping sounds and numerous clapping techniques to try. Genie ks ean Right Hand on Topoma reeked oR Puree sus Hollow hand clapping is an additional alternative to flat hand clapping. To produce a deep clapping sound, cup both hands separately, and then strike both cupped hands together. J Cup both hands separately and then strike them together. Clapping with the Back of In this technique, the back of the hand is struck on the palm of the other hand. This produces @ high, sharp clapping sound. e Use the back of the hand to strike the palm of the other hand. {GH Alfred ui Pendular clapping is a special technique that ‘enables faster clapping rhythms. Unlike the other clapping sounds, which are normally produced by beating with the stronger hand, pendular clapping alternates use of the right and left hands. Place both hands vertically in front of the upper body, and play with the fingers of the right hand on the palm of the left hand. Then play with the fingers of the left hand on the palm of the right hand. This continuous alternation between hands creates a pendular motion. R z 2] E ia eecom Body Percussion + Sounds and Rhythms EeReed etter ecco Be Ges ste Reeeeee ‘a SSS RURL RL RL ARLRLRIRE Oe Pendular Clapping RLR RLR RLRARLR RLER RERL LRLR LE RRLER RE LRER RE ‘Mired Muse 23. Snapping Sounds ‘Snapping sounds play an important role in the rhythm exercises in chapter 3. Primarily, the middle and ring fingers are used to produce snapping sounds. If both these fingers are used in the same. exercise, they are distinguished by numbers,Chapter 1 >> B: Sn Wiesaeht eee Rte aee ss LLRs LLRLLR LL R L 3 3 Q RRL RRL RRL RRL 2 43 aa ae os 4 3S & “Puffs ae double grace nates playedimmedately before the primary ote that ands on he boot. The primary nate must be Played exactly tempa (seeFlamson p18). na aac ‘§ First practice each bar separately, and then ec eal oie practice sequences. ‘accompaniment, '@ Set the initial tempo at 70 BPM, and gradual | Make sure that snapping sounds made by both incuasehespeclesjousmoneconforabe. handssoundthesame, 25Ue Rubbing sounds enable body percussionists to produce sustained sounds. They are produced by rubbing either the taut palms of the hands together or one hand on the upper body or thigh. These sounds are quieter and finer than previously discussed sounds, but they must also be played with a good amount of energy. Away from the Body Towards the Body R L = Right hand leads. Left hand leads. ‘Alfred use=o Peed Dem eae g To use pendular rubbing, place the hands To rub on the chest or thighs, place the palm vertically in front of the body and rub them flat against them. against each other from left to right, and then Roni eieichecdemiaiion Chandi bectara from right to left. Both hands are active: if sopilta tba toreeork rom EDSROrt "top: the right hand rubs against the left palm of Alternatively, the motion can be made from the hand, both hands move to the left until jefetatightand back! Between thelshoulders; they reach the starting point for the opposite and right under the collar bone. direction. The right hand always rubs towards rs the left (@s seen by the player), and the left i a hand to the right. } R L NY i+ Right hand leads. Left hand leads. Chest Rubbing | Onthe thighs, the motion shouldbe towards the knee, and then away from the knee. > > < —= Right Thigh Left Thigh Left Hand (Starting Position) [Meds 7In these first few rubbing sound exercises, the direction of rubbing is indicated with arrows. These arrows are intended as orientation and can be altered according to individual preferences. Larger and smaller rubbing movements produce different sounds—have fun experimenting! WW 4 WW Ht Ww HtPoe oa tet CT in al aka a é [2 FS = = St ee a a ee Rimi siete 6s Po a SS 18 =e =>. > = ry ¥ "! +! ry + 4} Y Rt a o Se eo Sa — : es Tce Pr nce RoR oC kt ee SS ————— Wl a ee Wie [Sos yy LeuRL LRURL oe Cs === S| re (8 teanise 95. Stamping Sound: Stamping sounds are technically not genuine body percussion sounds, as the floor is the primary source of the sound. However, shoes and different types of flooring can have a substantial influence on the quality of the sound produced using the body. Wooden floors are certainly one of the best playing surfaces available, Stamping produces a low and full tone. There are three basic ways of producing stamping sounds: { 1.With the Whole Foot: Lift the entire leg so that the ball of the foot briefly leaves the ground. Then let the leg descend swiftly, so that the whole foot touches the ground. ( -) 2. With the Ball of the Foot: Lift the toes about 2 inches off the ground, ‘and then allow the ball of the foot to hit the ground. This sound is | relatively thin and soft, | but enables playing fast rhythms. 3.With the Heel: Liftthewholeleg about 2inches off the ground, butleave the bell ofthe foot in contact with the | floor. Then let the heel hit the ground. 30 Select the most appropriate technique according to your playing position. If you are playing sitting down, it is relatively easy to play with the whole foot. ‘Maintain balance—keep the upper body in an upright sitting position, and avoid leaning back in your chair, If you ate playing in a standing position, remember that when playing with the whole foot. your weight must be transferred to the other leg. Right Foot ‘Stamping with the Right Foot —_ Left Foot Stamping with the Left Foot= 5 RRLER LRLRLR RLR RLR RR LR R oR t Rit ee v0 SSS OSSSSSqqq eee ein RLR LRERRLR Body Percw smemmen «flTongue Clicking (Low) Tongue Clicking (High) Ww 32 Body Percussion + Sounds and RhythmsWarming up is a process that makes movement comfortable. It allows both your body and soul to feel attuned to a practice session or performance, and it lets you“become warm’ to your surroundings, your learning tasks, and your body. The warm-ups in this chapter combine the sounds presented in chapter 1 and provide focused preparation for the rhythms, fils, and solo pieces in the following chapters. Objectives include improving sound quality, executing rhythmically precise changes between sounds, and gaining stamina and speed. In all body percussion sessions, it is vital to feel relaxed and to begin practice using a comfortable tempo, ideally with a familiar musical accompaniment. Once the muscles have warmed up [after about 10-20 minutes), stretching exercises will help the muscles to become supple and adept. Each of the positions illustrated below should be held for about 10 seconds. Standing up briefly between the exercises, performing loosening movements, and shaking your arms and legs will also get your circulation moving and allow you to achievea sense of well-being, Once you have become accustomed to this warm- up routine, choose from these warm-up exercises to compile your own personal warm-up program. Stretching the outer, lower arm muscles. inicio > Stretching the triceps. [GB Atteddlinie Stretching the inner, lower arm muscles. a p) Stretching the chest muscles, 33Pe cn ee SS [ope 0 34 _ Body Percussion »Crossing hands is a special “hand-to-hand” warm- up exercise in which two hands alternate playing three sounds, requiring the hands to cross. The sound sequence tained throughout this technique is upper body, left thigh, and then right thigh. Position 1 Position 5 In exercise 2, the sequence retained thoughout is upper body, right thigh, and then left thigh. The hands move in the contrary direction. Musical applications for these exercises can be found on p.67 andp. 171 @ Play each bar individually. After four repeats, tty togo from one bar tothe next without a break. = Once the movement sequences clear, set the initial tempo at 60 BPM, and gradually increase the speed as you become comfortable. Position 3 Position 6 35Loud and soft sounds ensure the correct “flow” of _beat froma distance of about 2 inches. Forloud sounds rhythms and fils. For soft sounds (small note heads), _ (accents), beat from a distance of about 10 inches. BIL RL RL ALR CWB AL RERURLRERLRURLRE RLRLRLERLRLRLRLRE = = YE ee EEE RLERLRLRERLRLRLRL RURLRLRLRLRLRLRL Sia a aa me =, 0S 0 eee RLRLRLRLRLRLRERE RURLRUERLRLALALAL et GPa 8 RUERLRUERLRLRLRLAL SSS SS RURLALRLRORLRLRL RURLRLERLRERLRLERL u ae terre fimprreerererrreresy OLS Sao RLRLRLRLRLRLERLRL SS Sa RERLRLRLRLRLRLRE Saas peer wre @ fee ee SS 8 RERLRUERLRLRLRLRE RURULRLRLRERLERLRE ' Practice each bar separately, and then practice _m Practice with a metronome or musical sequences. accompaniment. 4 Set the initial tempo to.50 BPM, andaradually Begin exercises with the left hand. increase the speed as you become comfortable. 36eure ue deaeoaa RRR RRRARR ee te RERLRLRLRLRERLRE ia == Ce tt ee RURLRLRERLRLRLRL — SS SS RURLRURLRERERERL RURLRLRERLRLRERL @ ljeeeseeeeeees See ee RURULRLRULRERERERL RLRLRERLRLRLRERE Oras 9 eee ees ee RLERULRLRLRERLERERE Ohare RURURLRLERERLERERE renee eeererres| a a SS SS ee Oe | eee ee '® Practice individual bars separately, then ina ® Practice with a metronome or musical sequence, and finally in a random order. accompaniment. & Begin at a slow tempo, and gradually increase @ Repeat the exercises with other body sounds (on speed as you become comfortable. the thighs, hips, or cheeks). Alfred Music 37EMEC ey Body and Clapping Sounds (Pendular Clapping) RURLRLRLRERERLAL RoR Gwe 8 SSS as RLERLERLRLERLRLERLRL R LRLR R LRLR LRERERLERLRLRLRE R LRURLER LRUERE R ep (ree = == SSS RURLRLRLERURLRLRL fei eect eee eeeiee. - eee RUERULRLRLRLRLRERE @ ere RLRLRUERERERLERERL @ See RURLRERERERLRLRL wep ee ire ee RERLRERULRLRLRLRL RLRLRLRLERLERE ey eee eee Oe 38Chapter 2 >> Warm-U Baa ee Ore = 393. Mixed Sounds are Gfad| sired sie 40 P bund Rhythm:cee Cee ee econ oo eG RRLLRLRURRLLRERL = — oo ee ee RURLRLRLRLRLERLRL ry a a a @ aeee oe] SSS | 53 = =F eo ee RLRLRLRURLRLRLRL SS SS are bee w Sa foc Roe Rob WL RUERRURRLLRLLRLRL = — ==! io Instead of body sounds, you can also play clapping or snapping sounds.aC i es The rhythmic possibilities for body percussionists are infinite, With the aid of your four limbs, you can achieve the most unbelievable polyrhythms. The following exercises for independence provide you with a simple introduction to these possibilities In this exercise, one hand plays a constant ostinato rhythm, while the other hand plays the Eighth-Note Workout on p.43. Alternatively, both hands can play the ostinato while the feet play the Eighth-Note Workout. Ceti SIS SSS Sa 42 a Play the Eighth-Note Workout with your left hand or feet (right then left or left then right). Play the Eighth-Note Workout with your right hand. or feet (right then left or left then right). Play the Eighth-Note Workout with your feet (right then left or left then right).: ———=—=]°] SSS] te 8 8 = =| OE aE | ® ® 8 a a a = ad QB 8 D = ie Gz —— —— | ® 2 oe ee o 6 te re 9 8 Se a 8 BB @ @ tw to 1 cE 1 Select an ostinato rhythm, and repeat it continuously. = Begin ata slow tempo, such as 60 BPM. = While continuing the ostinato rhythm, sing the exercise Eighth-Note Workout bar for bar ‘on the syllable “ta,” and repeat until you feel comfortable with the exercise. ™ Play the Eighth-Note Workout with the suggested limbs as body, snapping, or stamping sounds. "= After four, two, or one bar, change from one bar tothenext. Practice with a metronome or musical accompaniment. '§ Stay relaxed and warmed up! 43This chapter combines already fa techniques into rhythmic sequences from various styles of music: rock, rock with sixteenth notes, blues rock, shuffle, R&8/hip-hop, funk, samba, and baido. These sequences will provide the rhythmic backbone for the song accompaniments presented in the book. They are augmented by characteristic fils, which allow you to vary the sequences as desired, and they can be immediately applied to a live session (eg. with guitar and vocals). The body percussion parts are fully notated. You can either practice them with the DVD, which provides videos of Richard Filz performing them with his band, or with playbacks, which are downloadable, free of charge, at www-fiz.at. At the beginning of the chapter, body percussion sounds are used to imitate drumset sounds. Later ‘on, the body sounds represent different percussion instruments in the samba and baido styles. As there are always several imitation possibilities (e.g. imitating a bass drum using body or stamping sounds), there are different versions of each thythmic sequence. The simplest versions will guarantee you a rapid sense of achievement, make playing fun, and motivate you to progress to more complex challenges. In certain styles, you have up to four versions to choose from, arranged in ascending order of difficulty. You will soon discover your favorites and perhaps also invent your own. The objective here is to develop a repertoire of rhythms and fill that enable you to create original song accompaniments. 1 Practice each rhythm separately. = Begin ata slow tempo, and gradually increase speedas you become comfortable. '§ Practice with a metronome ora musical ‘accompaniment; use the list of songs given for each style and set of rhythms and fills. 44 [@ Ared ausChapter 3 >> Groov 4 ~ +) on = | ay — J age | | Fiat Hand Clapping eg”) | | Finger i \ . Clapping Right Thigh Hollow Hand Clapping Snare Drum Sounds (3) tetrmign Toms Sounds j ar Ga = Clapping withthe | Back of the Hand ‘= oe chest ¢ Right Thigh Hi-hat Sounds we Sak . greet 4 Slapping onthe Hip q wh ‘Chest ‘Snapping pes Left Thighfee Ctaes eed == fas Drum = Slapping on the Chest 1 = = bassdrum= stamping = == Snare Drum = {== snare Drum = Flat Hand Clapping ee Flat Hand Clapping 46 ‘Body Pe ion « Sounds and RhythmsChapter 3 >> Grooves and Si Le ey eas $= ass Drum= Slapping on the Chest = = bassDrum=stamping Snare Drum. Flat Hand Clapping {= Snare Drum = Flat Hand Clapping = tibet idle Finger Snapping i Rou Roe mt ee ee ae R. Play the stamping sounds with the right or left foot, or by alternating the feet.Cera ti © Instead of clapping with the flat of the hand, you ( ) canalternatively use hollow hand clapping or finger. capping 4 | ~< | Examples | | | Hollow Hand Clapping 1 Instead of clapping sounds, you can also slap with the right hand on the right thigh (Rock Versions 3and 4), Examples ‘Slapping on the Thigh 1 Instead of snapping sounds (quiet), slap on the hip (Rock Version 3). Examples co ee DSS SS | | RL RE REAL ora = SB See = Slapping on the Hips 48re eed 1 Instead of a body sound or snapping sound, you can also use a rubbing sound. Rubbing sounds can be inserted as desired. Rubbing on the Chest | Aten and Style: eek oe Examples Rock Version 1 Hb Hob we OR SS aa ockVenion Mie 49“Fills? or *il-ins’ are rhythmic interruptions to a basic rhythmic framework. They serve as transitional bars between different sections of a song form (eg. verse and refrain). Initially, it is important to develop a repertoire of fills and to play them exactly as practiced ‘when filing. Later, you will be able to improvise these fills. Groove Examples (Combine as desired with whole-bar fils) Rock Version 1, #2 oe Bok FL e Rock Version 2, #4 erates R R — = o Ss RLRLRLERLERLRE eo ee Rock Version 3, #1 8 a RL RLRLERL RL RLRLR RRL 27 ae eee TE? . Qo sf Ses Rock Version 3, #8 RLR RLRRLAR Beet eh 50 dy Percussion + Sounds and Rhythm CG) Area tuseChapter 3 >> Groove: Short Fi In contrast tothe whole-bar fils fills 9-16 are only one ‘or two beats long. These phrases can be combined with any rhythm, The original groove—notated by slashes—is played up to the beginning of the fil. en Example: Rock Version 1 with Short Fill12 Short Fills RL RUERERERE Rt Groove Examples i : (Combine with short fills as desired.) O — gaa | Rock Version 1, #5. RB & a or wy ———— Rock Version 2, #3 RU RL Rock Version 3,42 == Rock Version 3, #4 ee ee | ee gS SSS Mod ese Body Pereu: jon «Sounds and Rhythms 51You can create song accompaniments using combinations of different rhythms and fills. The fills are inserted into musically relevant and important passages, usually in the fourth or eighth bar, as a transition between the verse and the refrai Examples Rock Version 1 with Whole-Bar Fill 4 Rot R LR LR LR LR LR ERE Rock Version 7 with Whole-Bar Fill 16CE Cee SCE ascot een ee era eu Se Biers Watch Richard Fil’s performance of rock-style, body percussion rhythms and fills on his band’s performance video for“Get Ready” € Ecc URGE tye Og ® Download the playback from wwwsilzat, ‘accompanying DVD. available free of charge. 1 Practice the accompanying part bar by bar, | Write your own accompaniment to the song. ‘and then play along with the DVD. : © Copyright 2011 by Alfred Music Germany 53Ce ecu on Con CE URC er Rated Continuous hand-to-hand sixteenth notes will create an animated rock feeling, Bass Drum = Slapping on the Chest = snare Drum = Flat Hand Clapping = Hichat = Slapping on the Thigh RURLRLRURLRERLRL RLRURLRLERLRLRLRL pep esersreresere RURLRLRLRLRERLRL = RURLRLRLERLRLRLERL Giles RLRULRLRLRLRLERLRL == Se ee | RURURLRLRLRLRLRE SS = = pg | 54 Both Hands on the Left Thigh Turn the left hand. ee These rhythms go well with the following songs: = Mama’ (Genesis) 1 “Heavy Cross’ (Gossip) “stayin’ Alive” (Bee Gees) "Nobody Wants to Be Lonely” (Ricky Martin) = “Will Survive" (Gloria Gaynor) = “Smoke on the Water” (Deep Purple) ™ "Don't Speak" (No Doubt) "ironic" (Alanis Morissette) "Rapper's Delight” (The Sugarhill Gang) "Heart of Glass” (Blondie) Alfred Muse ta=== bass Drum= Slapping on the Chest == snare Drum = Flat Hand Clapping he Hi-hat = Middle Finger Snapping apt 3 >> Grooves and St Rete te tm ft Qe B= = = — — —_ = | SSS SS RRUERL ca a B SSS QS Pee LR LRLERUERE 08S =] besa RLRE RL BER GoL =| BE waa pe LR Le RLR AL RUR RRLRERRL we i fy i= | ol == BIS SSS If desired, the note heads in brackets can be omitted. Bod: 5556 Bass Drum = Stamping Snare Drum= Flat Hand Clapping Hi-hat = Middle Finger Snapping Play the stamping sounds with the right or left foot, or by alternating bath feet.xe Peas Groove Examples (Combine with fills as desired.) Rock with Sixteenth Notes Version 2, #2 RLRRUER ERE Rock with Sixteenth Notes Version 2, #12 RRLR LR RUERL Rock with Sixteenth Notes Version 3, #1 Hla weet RE Rock with Sixteenth Notes Version 3, #7 RULER LRLRUERLR LRuRtRE PreeceEr esd Role RR tL Rolo ok ROR CR ee RL Reco ca ccam aot cam aaa aaumiea aetna) cad econ acl an Se SSS = = (© Copyright 2011 by Alfred Music Germany wy 58 CG Atteed MusiChapter 3 >> Grooves and StRLRRRUERLRRRL {== Bass Drum =Slapping on the Chest $= Snare Drum = = Hihat = Middle Finger Snapping lat Hand Clapping See 3 s 3 s RLURRRLERLRRRL See 3 o si 3Groove Examples (Combine with fills as desired.) Blues Rock #1 RLRRRLRLRARRL Blues Rock #3 eee RLRRRLRURRAL oes eee = a | 7 7 3 Blues Rock #6 Per iaeuc RLRLRUERERERE o 3 s RLERRLERRLERLRLR Body Percu: Jon's ounda sed Rhythms 61 ul3. Blues Rock by Richard Filz PU eta eee Coca se RUERRRUERLRRRL RURRRUERLRRRL RLERRRLRLRRRL RLRRRLRLRRRL RLRRRERERRRL RLRRRLERLERRRE RLRRRLRLRRRL RLRRLRRLRLRLR R coy Coda Rou FRRERERLEREEL & 62 (Gh Med uieGee iy FF bass Drum = Slapping on the Chest = snare Drum = Flat Hand Clapping === bass Drum = Slapping on the Chest T= Snare Drum = dihat= lat Hand Clapping le Finger Snapping no E R KR Lk LR ke oo: =F GOL 2+ =| 3 ee 7 Roof & ea eee fi 1 —# nr Z=aeeaee a $ a =a 3 bs 3 3 3 3 ROR LR L Rt ee woke = =| ai = | BodPa Flat Hand Clapping Hichat Middle Finger Snapping === 7 F—A]) Play the stamping sounds with the right or left foot, or by wg alternating both feet.Groove Examples (Combine with fils as desired.) Ri Es Shuffle Version 1, #4 a a —— =| R i = Ol 7 ‘Shuffle Version 2, #1 S he tm Ge +t c canes Sas Shuffle Version 2, #7 "Crossing Hands’ RLRLRLERERERE 3 2 3 3 PB song examples The shuffle rhythms and fills presented in this chapter go well with the following songs: . See aan ae) . la” (Eric Claptor . Be tact neh olor os m “See You Later Alligator” (Bill Haley & His Comets) “Far Far Away” (Slade) © "Got to Get You into My Life” (Earth, Wind & Fire (The Beatles’ cover)) | "Baby Jane" (Rod Stewert) '™ “Let the Good Times Roll" (Ray Charles) ‘© “Yellow Submarine” (The Beatles) "LaGrange" (Z2 Top)a z 3 3 3 3 y ‘© Copyright 2011 by Alfted Music Germany 66 Gd Mireseee Cty oT Ryn R LR L R LR i LRLR repeat 3x Ce5. R&B/Hip-Hop $= bass Drum = Slapping on the Chest $= ‘Snare Drum= = Hihat = Middle Finger Snapping lat Hand Clapping =a 2 gE == RLRLR LR LRLERE 0 PSS RLRLRLR LRRLERE 5 SSS Sas ‘eed MoseInsert rubbing sounds as desired. The effect imitates “scratches” a common element of hip-hop and R&B. (See examples ta and 2a.) Examples RURRLRLERLE OSS GS Alfred Music Rubbing with the left hand. ooCa way ist Fae ald al Sometimes a rest is the most effective fill Groove Examples (Combine with fills as desired.) R&B/Hip-Hop Version #1 RURRLERLERE R&B/Hip-Hop Version #7 AR OL R&B/Hip-Hop Variation #9a RLRLR LRRRE wee ew yaw x val SSS SS R&B/Hip-Hop Variation #128 RRLRLRLERE Preece wy 70 Body Percussion » Sounds and Rhythms Alfred MuseChapter 3 >> Grooves and Style: © Copyright 2011 by Alfred Music Germany 7Let’s get funky! But first, let's learn two new body percussion sounds! PO Th ieee eal eee)Eau kta Serhan ecco Slap the right forearm quietly with the left RLERLRLERLRLRLERLERE forehand. The hands should be crossed in ov, = frontofeachother The soft interspersedfunk EW S=4—Eee EPR EP EE EE rhythms, played in the style of James Brown, ‘are termed ghost notes. These phrases really liven up the groove, RURLRLERLRLRLRLRE The right hand is placed on the upper body while the left hand beats the right forearm. BEF bass Drum =Slapping on the Chest FS Hihat= Middle Finger Snapping $5 snare Drum = Flat Hand Clapping 4S open tiihat =| Rubbing withthe Back ofthe fan Ro eee ALR LR GR eG a Ae 4—| fey Fee | ——— w = =< Roe RR LR RiR RRL RAL oe z= | (ho Co Oss Sa <= —S RE RE RUR & b ROR RT & wt L z A | = a

Share Drum=Flat Hand Clapping 4E*= Ghost Notes = Slapping the Forearm => Hi-hat=Middle Finger Snapping R LR LRER RE RLR RLRLRRL i kG Roe en Ge ys SS oo =| BES S554 Obes = te Ree te RULER RRRLER RL (eee a se oe - 1: eee = = hythms 75ee eS = Se rs oo = DvD. FR gil 5 aS ee OU ar a4 76 = E= apasspnum = stamping ee (right foot / let foot) ‘Snare Drum = Flat Hand Clapping Hi-hat = Middle Finger Snapping Ghost Notes lapping the Forearm Ghost Notes ‘= Slapping on the Chest Ghost Notes = Slapping on the Right Thigh / Left ThighChapter 3 >> Grooves and St Funk Fill The funk rhythms and fills presented in this chapter are suitable to accompany the following songs: § “Funky Drummer" James Brown) © “Going in Circles“ (Maceo Parker) 1 “Papars Got a Brand New Bag" (JamesBrown) _'® “Southofthe Boulevard” (Tower of Power) ‘m “Sex Machine” (James Brown) “High Times” Jamiroquai) '§ “IGot the Feelin” (James Brown) "Together" (Spice) ® “Diggin’on James Brown” (Tower of Power) = "Too Funky” (The Meters) 7fa) Funk Song Accompaniment: ee RRULULRRERLER RARE RRULLRRLRLR RRL RRLLRRLERLER RRL RRELGERLEBLA RRULLRRUERLER RL eee = oS So a +H eee ze 7 2 + = RRLULRRLERLR RRL RRLCLRRLERLER RRL RLRLUR (Ghons| RRLLRRERRLL RRLLRRLRRLLRR =Saaee| RRLLRRLRRLL RRL RRLLERRUERRLRLRR RRLLRRLERRLL RRULLRRLERRLL RRL RRLERRLA REL => L RRULLERRLURR ae 7 zs 78 =— See = ‘© Copyright 2011 by Alfred Music Germany ‘Atred MusiceC eee COR UE Tait RRLLRRLRRLL RRL RRLLRRLERRLL RRL RRLLERRLRRLL RRL RRLLRRLERRLRLRR RRLLRRLERRLL RRL RRLLRRLRRLL RRL = _— oe oe ie + = 4 Ml R Rg RRLLCRRERALLE RRL RRECRRE REERCL | 1 | Ate. 7aThis next section will take you through two styles that originated from the colorful musical world of South America: samba and baiéo, The samba is undoubtedly one of the most popular Brazilian rhythms. The north Brazilian baiao, however, is less familiar and based on the standard beat pattern 3-3-2. This rhythm, found in modern styles such as ‘dance hall’ as well as numerous Affo-Caribbean styles, divides the eight eighth notes in one measure of 4/4 time into two three-note groups and one two-note group. The body percussion rhythms previously discussed in this book are based off standard drumset patterns. However, a large percussion section, or “patteria” traditionally plays samba- and baido- style grooves using a wide variety of instruments (eg. surdo, tamborim, ganzé, caixa, repinique, and agogo bells). The different instrumental groups play individual rhythms that are coordinated with one another, and the underlying, basic rhythmic groove is created when they combine In the next two sections, you will learn to imitate these percussion instruments using body percussion effects, including several simultaneously played sounds that necessitate @ high degree of limb independence. The samba and baigo warm-ups will well prepare you to approach the exercises that follow. Once again, the exercises present a variety of rhythmic patterns, arranged in an ascending order of difficulty. The objective is to acquire a repertoire of colorful, groovy rhythms and fills, so that you can create original song accompaniments. ia Alfred Musi24 ‘ Z MiddleFinger_ubbing the snappin ens Agogo Bell Sounds Tamborim Sounds ———?. & Tongue Clicking Tongue Clicking High) Slapping on ee Uiey the Cheek. ‘Tongue Clicking (Low) Tongue Clicking (High) Surdo Sounds \ slapping on the Chest Right Foot Stamping | a Left Foot StampingPlay the Eighth-Note Workout (p. 43) by slapping or snapping your left hand. Sing the entire Eighth-Note Workout on the syllable “ta! or use itas an exercise for tongue clicking. eco aditl) Hand rubbing sounds produce a_ successful imitation of traditional shaker sounds. Shaker parts traditionally involve a variety of accented patterns. Rhythm 1 primarily utilizes the right hand. On beats, 1 and 3, it lays flat on the left palm. it then raises and moves towards the body on beats 14 and 3+, hitting the left hand on beats 2 and 4. Bee Rhythm 2 incorporates the left hand more extensively. On the first three eighth notes, the right hand performs a standard rubbing movement against the left hand. By beat 2+, the hands have turned over, and the left hand is now on top while the right hand is on the bottom. Your left hand is, briefly raised, and, after a short moment in the ait, it rubs the right hand. On beats 3 or 1, both hands resume the starting position. Xx 2 Beats inthe Bar: 1 (3) Shaker Rhythm 2 2+ (4+) 83er id) = surdo = Slapping on the Chest $= Shaker=Slapping on the Thigh TE Shaker = Middle Finger SnappingUCR isi ct Samba Version 2 EE surdo= stamping == = tamborim=Tongue Clicking = ‘Surdo = Slapping on the Chest £EE ‘Agogo Bells = Tongue Clicking ES Shaker = Middle Finger Snapping &BETA tld === surdo= slapping on the chest $= Tamborim T= shaker =Middle Finger Snapping ELS tamborim cL i i i ce Ro mt a R were RoR oo hoe R g B= =2 —————————— L i L Ree me ae Rote Alfred MusicChapter 3 >> Grooves and Siyles PER ey = [= surdo~ stamping Shaker = Rubbing Hands ‘Tamborim =Tongue: Asan alternative, you can play stamping sounds at half the speed on beats 1 and 3. Aco Musi 8Ta These fills are best suited for Samba Versions 1 and 2. Always play the fll n the second bar, after the main rhythmic pattern! Bh The samba rhythms and fills can be played with the following songs: “Brasil” (Anténio Carlos Jobim) “Girl from Ipanema’ (Ant6nio Carlos Jobim) '® “OneNote Samba" (AntOnio Carlos Jobim) 8 © “Waye" (Antonio Carlos Jobim) “Agua de Beber” (Antonio Carlos Jobim) a 18 “Mas que Nada’ (Séralo Mendes) — Ft FE | timeless" (sérgio Mendes) a ee “aica” (Toto) 1 ts Probably Me” (Sting) R L = “Quando, Quande, Quando” (Michael Bublé) ew ; = 88he L i wR Lee fe = Se — = + ? 90 (© Copyright 2011 by Alfred Music Germany fa Alfred Musicby Richard Filz Ce em CO UC Ei Ly Alfred Musir " 1EERE e rd Ostinati Sing the entire Eighth-Note Workout on the syllable “ta” or practice as a tongue clicking exercise Log LR aL» AI ko ' Select an ostinato rhythm, and repeat it @ Play the Eighth-Note Workout with the continuously. ‘suggested limbs as body or snapping sounds, or Begin ata slow tempo, such as 60 BPM. use tas an exercise for tongue clicking. = While maintaining the ostinato rhythm, sing _‘® Afterrepeating the same rhythm for four bars, the Eighth-Note Workout (p. 43) bar by ‘two bars, or one bar, move on to the next baron the syllable “ta,” and repeat until you feel rhythm. comfortable. 1 Practice with a metronome ora musical ‘accompaniment. ' Stayrelaxed and warmed up! Dy fied MaseEee Cee gS Surdo = Slapping on the Chest $S= FS= shaker=Slapping on the Thigh = Shaker = Middle Finger Snapping] = oe ES ’ = “Crossing ‘Alfged Music ° 88, Baiao PEC ACT ry $= Surdo = slapping on the Chest = tambori Tongue Clicking Pe (ad od ia @ 2 & 2 a 5 Z w 94, KG) Merde$= _Surdo = stapping on the Chest f= Tamborim=Tongue Clicking $= shaker = Middle Finger Snapping Play stamping sounds with the right or left foot, or by alternating both feet. ‘Aled Musie s h 95.PEC ay Just as with the other styles discussed in chapter 3 fills can augment your baido groove repertoire. Incorporating slapping on the mouth, another body percussion technique, can enhance these fils. Ina similar manner to slapping the cheek, slap the open mouth with the outstretched flat of the ov» —— hand, The lips should be taut and puckered ina EN) Se kissing shape. Tap on the mouth with a relaxed and elastic drumming movement (not too hard!) and then immediately take the hand away from the mouth. Different mouth shapes will vary the pitch. 2 | = = | 96 Aled os= “Un poquito canto” (Traditional) '§ "Baldo da Penha" (Gilberto Gil) ™ "Deonde vem o baido" (Ito Moreno) © *Baidode Dols” (MarcoLobo) '® "Baldo Agrario” (Luiz Gonzaga) = “Your Love" (Wyclef Jean) 7repeat 3x 98 4 Aled iseChapter 3 >> Grooves and Styles repeat 3x100 PET ClayThis chapter presents six solo pieces that focus fon creative and musical use of the material presented in chapter 3. Ranging in difficulty from easy to sophisticated, you will see how rhythms, variations, and fills can be combined to produce stage-ready pieces. This will stimulate your own sense of creativity and encourage you to continue experimenting with sounds and techniques. You can also incorporate original ideas within the sequence of the pieces, for example, by inserting multiple repetitions and extended solo sections. Passages that seem too difficult can be simply ‘omitted or replaced by different sections. If you are going to perform these pieces, the most important ingredients are dynamics and fun, and enjoyment. Good luck with your performance! Watch performances ofthe solos on the ‘accompanying DVD. '§ Practice each bar separately ata slow tempo, and then gradually increase speed. '® Repeat individual sections as often as desired, ‘and create original performances out of the solos. (Don't forget to use dynamics!) 101Body Percussion Solos 290-110 bpm Alfred Musi 102 Pe a nd:Chapter 4 >> Body Percussion Solos MOC CT Puebla 2 = 100-110 bpm [MO] RU RLR LRERLERL RERLRLRLRERE Pp RLRLRLRLRLRLRLRL RLRLRLRLRLERLRLERLE # RLERLRLERLRLRLRLRL RLRLRLRLRLRLRLERL B) RERLRLRLRLRLRLRL RLRLRLRLRLRLR ELARLGC RB # 8 Rt Ro eRe Ro Mie Re REL ROR LR pe eR ee AZ] RUERLRLRLRLRLRLRL RLRLRLRLRLRLRLRL RLRLRLRLRLRLRLRL RLERLRLERLRLERLRLRL Ouo}RLERLERULRLERLERLE repentax ® L © Copyright 2011 by Alfred Music Germany 103Mie ate 4 100 - 110 bpm intro Aci eee Rec R B&B LRLA tL BLA LRERE R © Copyright 2011 by Alfred Music Germany 104 (MaasChapter 4 >> Body Pere: oR Re eR Rk Ree R RG RRERLA Rt RE RRL ALR BL RoR RLR At A RRRRRRRRRRR R Solo ad lib repeat ad lib. DS. al Coda Med Nase c hychms 105Ba Solos (oro MMLC ie a eS a ale 2 =90- 105 bpm One, two, here we go! RLR RUERLR LRRL|RERLER LERRRE mater of fact, @s you can | want to C8 L withhands and. feet! LR LR B- B-Bod-y- talk! R RLR B -B-Bod-y- talk! RRLR (© Copyright 2011 by Aled Music GermanyB-B-Bod-y-takl AS a RR matter of fact, as you can see. Im not a mas-tor M RR RR RR tak to you withhands and feet! Hands | and feet! Hands and. feet! ee ee eae tL RULUR Meeker ik f= ——— — SS = Zz SS [EE oo) ee ee) Didyou tke my |} beat? Did you ike my RLRLR RURLR LRRRL|RLRLRett ae Dc d 100 - 115 bpm intro) R LOR Al RL Rint 8 mL Ret Rete eee RL RLRELRLRERLRLRERL R L RL R RLERLRLR LE RL R RLRLRLRL RL R 6 6 Copyright 2011 by Alfred Music Germany 108Chapter 4 >> Body Percussion Solos RUERL RUERL RULRL RLERL ge RULERLRERUERUERERLERL R i RLRLR RLURLRLERLRLERERLERL R L RL R — ee DSS. al Coda repeat 3x 109Body Percussion Solos TEDL This samba/baido solo piece is a genuine challenge that requires independence, velocity, and technique. It also includes a new body percussion sound: clapping on the back of the hand. cote rtd Prem eenu try Geen} The special positioning of both hands above lap with the flat of one hand on the back of —_—_the left thigh (or above the left and right the other hand. This produces a short, light thighs, as in exercises 2 and 3) allows you to sound. play fast rhythmic sequences. ‘Clapping on the Back ofthe Hand cunt eked RUERLRURLRUERLRLRL RUERLRERLRERLRURL (1 he erererererererr a) s heer erercrer aa RURLRERLRURLRLRE RURLRERLRLRLRERLRERL 8 SErSrSrrS Sl a + | oonge eee ol 0 Alfred sieChapter 4 >> Body Percussion Solos eee os eee 05-115 bpm (Al IRRLE RL RUERLRLRERLRLRL RLERLRLRLERLRERRLR Fr RLRLRLRLRLRLRL RLRLRLRLRLRLRLRLRR RLRLRLERLERLERLRL RUERLRLRERUERLRIR RLURLRERLRERER EL RLERLERERL RERER LE RRRLRRRLRRRLRL RRR RRRLRRRERRRLER EL iv > WV hv = iv = hv = iv = iv > iv - iv = vr RRRLRRRLRRRL © Copyright 2011 by Alfred Music Germany Alico ie c mL H LAR Lt SR RAL AR LR RL RRC RR © Copytight 2011 by Alfred Music Germany Ww»Chapter 4 >> Body Percussion Sol RLERERLERLERLRERLRE RERLRLRERLERLERLRL f RLERERLERERLRLERLRL RLRLRLRERLRLARLRLE SSS SS SS = + SSS = = “crossing Baiao” RLALALCRLRTRCALAL RURLRERLRERCRLRL BL ee ogee] RLRLRLRLERLRLRERL RLRLRLRLERLR “Crossing Hands” RURUERLRLERERERLRL RLRLRLRLRLRLR Solo ad ib. repeat ad lib. RLRLRERLERLERLER LE : DS. al Coda cou = y 113Body Percu Body percussion is probably one of the most suitable ‘instruments’ for making music in groups and classes. The instruments are never out of tune or too loud, you don’t have to carry heavy instruments to class, and you can start learning immediately. Right from the beginning, you can feel and experience rhythm and groove, the movements are fun, and playing together generates a good atmosphere. Tips for Working with Groups When working with groups, rhythmic activity must always be adapted to the abilities, requirements, and ages of the participants. Playful practice and learning will motivate not only children but also adults to develop new abilities. At the end of this During this process, you are also automatically learning basic rhythmic and musical concepts. All the exercises, rhythms, variations, fills, and even the solo pieces are suitable for music making in groups and classes. On the following pages, you will find ‘numerous tips for preparing the material specifically for group activity. section, you will find games that will help enhance skills. The rules of each game are flexible to the age group of the players. All the exercises and games should be played while sitting or standing ina circle. Coe ae aca iter) '™ Introduce Sounds by Demonstrating and Imitating The teacher plays different rhythms (examples 1-4) using @ particular body percussion sound (eg. slapping on the chest). The group imitates the rhythms bar by bar. Once all body sounds have been. demonstrated and explained, the different sounds can be mixed (e.g. slapping on the chest, hips, and thighs). Once the “call and response" sequence is clear, each individual can play a specific bar that is then imitated by the whole group. Examples: : a Variations: The rhythms move around the circle: the teacher plays a rhythm in a particular sound sequence that is taken up successively by each player in turn around the circle. It is vital that each player begins the rhythm on the first beat of the next bar. If this ‘works well, a second or even a third rhythm can be sent simultaneously around the circle. = Sound Guessing Game The group sits with their backs to the teacher or with their eyes closed. The teacher plays a particular sound (eg. slapping on the hips of finger clapping), and the group has to guess which sound was produced. Then each person takes a turn playing a sound for the group to guess. ™ Conducting Game The citcle divides into three or four groups. Each group chooses a particular body sound (eg. slapping on the chest, clapping on the palm, or middle finger snapping). The conductor stands in the middle of the circle and makes appropriate hand signs, e.g. briefly raising or lowering the hands in the direction of one group, to indicate that the previously chosen sound should be produced. To begin with, the entrances can be indicated in free time. Subsequently, the entrances should begin exactly in tempo. This encourages creating original body percussion rhythms.Variation: The groups plan short rhythmic sequences that are immediately begun when the conductor indicates them. An additional group accompanies with a single, constant body percussion rhythm. ™ Sound Reaction Game The teacher calls out a sound, such as “tight thigh?” and the group immediately reacts by performing the sound. Variation: When the teacher calls out a specific sound, a previously arranged rhythmic sequence is played using the appropriate sound. For example, the following rhythm is played by slapping the right thigh after the teacher calls right thigh’: RURL In another variation, you can create a "secret body percussion language” For example, say, "Ch” to refer to the chest and“Hp'"to indicate the hip. f the teacher calls out one of the secret words,'the group plays that specific sound ora pre-arranged rhythmic sequence using that sound. = Drum Circle The class divides into four groups. Each group plays: one bar of an exercise (for example, m.5,m.7,m. 10, and m. 16 from the chapter 1 exercise Hand-to-Hand: Quarter, Eighth, and Sixteenth Notes, and Rests (p. 13)) and repeats this rhythm continously. These four bars provide the basis for different drum circle activities (see Together in Rhythm by Kalani, Alfred Music, item-#: 00-2202}, such as stopping and starting groups, inserting breaks (previously arranged or in response to an indication on the first, second, third, and fourth beats) and rolls, and calland-response elements with one of the groups. Variation: The groups in the circle play measures from four different exercises. For example: Hand-to-Hand: Quarter, Eighth, and Sixteenth Notes, and Rests (p. 14):m. 13 Clapping Sounds Exercises (p.22):m. 11 Pendular Hand Rubbing (p. 29}:m. 3 ‘Stamping Sound Exercises (p. 31): . 14 Hand-to-Hand (p. 13): m. 5, 7, 10, and 16 HG Lo Rn Le. RRLUR RLER RULER RL RAL tRine © besa ——S—= ——— Re Rte 0 Lee ass mite —" Soe RURLRLLRLRLR rr rrr | —S Se Clapping Sound Exercises (p. 22): m. 11 See eed R L RLUR SSS] ns wyPlaying with Rhythms, Words, and Divisions First, think ofa suitable word or phrase to correspond with a bar of an exercise (for example, m. 3, m. 5, m. 7, and m. 12 of Hand-to-Hand: Upper Body and Thighs (p. 34)). Names of fruits and vegetables, proper names, or short phrases relevant to the group or exercise are easiest to learn. The group then recites the word or phrase while playing the body percussion rhythm. The group can also alternate between reciting the words and performing the rhythm. Examples (Hand-to-Hand: Upper Body and Thighs (p. 34): BG o& & & Rt Ap ~ ple, (rap) = ——— SS | | ora Ro — Ap ple, oF- ange, KI ~ wi, man- 90. eee man - 90 Reece eee ‘Sun ~ ny weather makes us hap - py. a D2) tt Variation: Divide into three groups (examples 5 and 7) or four groups (examples 3 and 12). The phrases, list of names, or list of fruit are assigned. Ifa list is chosen, each group only calls out one name or kind of fruit and slaps on the appropriate body part. The group then alternates between speaking and slapping. ‘The words are exchanged around the circle. ™ Canon Allwarm-up exercise bars can also be played in canon. ‘Twoorfour groupsareformedandenteratastaggered distance of one or two quarter notes. An accurate entrance is easiest to achieve using a cortesponding word or phrase. First speak the rhythms in canon, and then play ther! Eventually, omit the words and just play the rhythms, Snapping and Rubbing Sounds (p. 40) Rl ® ER b OR & are ‘up? Yeahl Ave you rea - dj? Hey, what'sCC ea mci aa td eeu eek een acc ™ Polyphonic Allocation of Rhythms The rhythms can be allocated to three groups. pattern normally involves continuous eighth notes Each group chooses to play either the bass drum, on the hi-hat, Rock Version 3, #2 (p. 47) could be snare drum, or hi-hat part. For example, since a rock divided among the groups as follows: EET RUERURLRUERURERLRE eee eee ee SS = | @ Rock Version 3 Allocation Rock with Sixteenth Notes Version 1 Allocation (Group Phat) (Group TEER RURLRLRLRLRLRLRE [Group 2: Snare Drum] aE ESO (Group: Save DH) ® k ® Ee = = (Group 5: Bass Drum] = 8 fo L = — Samba and baiéo rhythms can also be allocated plays a hand rubbing rhythm. Samba Version 2, #3 to several groups. One group can play the surdo/ _(p. 85) can be divided as follows: shaker and agogo bell parts, while another group Rot Rt R LCR L R LR LR ERE (Group 1:Surdo7 Shaker) ig Saag eee tees Alfred Music |Ett aoe = Creating Accompaniments Rhythms and fills originate during group activity. The first, fundamental step involves learning how to alternate between single rhythms and fils. The basic rhythms and fills can then be combined into shorter sequences—for example, three bars of Rock Version 1 with Whole-Bar Fill 4 (p. 52). The next step involves moving to a different rock thythm after the fill (eg. Rock Version 7 with Whole-Bar Fill 16). Moving between sequences enables the creation of new rhythmic accompaniments. These can be written in abbreviated form on a classroom board 3x Rock 1, Fill 4, 3 x Rock 7, Fill 16 Variation: Improvising fills: The group plays for three bars and stops on the first beat of m. 4, in which a soloist improvises a fil. Example: Ree Improvise fill R 1 Whole-Body Rhythm Training One body percussion thythm is repeated continuously (e.g. R&8/Hip-Hop Version 1 (p. 68). This is then accompanied by a variety of different thythm-reading exercises, such as. Eighth-Note Workout (p. 43) (ef. Richard Filz [2004], Rhythm Coach, Ub). ™ Accompanying Songs and Raps If you want to create an accompaniment arrangement for a song, use the notated body percussion song accompaniments (chapter 3) as examples—they are mainly made up of rhythms, variations, fil, and stops. First, establish the fundamental rhythm of the song, You can either stick to the song’ original rhythm and translate it into a body percussion rhythm, or select another rhythm and create your own cover version. In the latter case, recognizing the song form is important. Most songs follow the pattern: Intro, verse, chorus, bridge, verse, and 2x chorus. Then insert appropriate fills. If desited, try an alternative rhythm for the bridge. One group or soloist can sing or rap, while the other group plays, the accompaniment. A slightly more difficult variation involves singing and playing a body percussion rhythm at the same time. This is definitely an interesting alternative for choirs, but it requires a certain degree of independence! ™ Partner Exercises ‘The rhythms can also be played as partner exercises. The pairs stand opposite each other. Instead of performing individual clapping sounds, the pairs lap their right hands together (e.g. on the second, and fourth beats of the rock rhythms in Rock Version 3(p.47), Ve ‘The game moves around a circle: All pairs form a double circle, facing each other. First, both partners play a specified body percussion rhythm. Then, when "One, two, move ont is called, everyone steps to the right to the next partner, 50 that the outer circle moves counterclockwise and the inner circle moves clockwise. Then the partners either continue to move on every bar or, alternatively, only when called to do so. Changes of direction ate also possible. It is, even more fun if this game is played with musical accompaniment! Alfred MusePE Cte ee ee eee maeet (pp. 100-113) ™ Playing in Unison The solo pieces can be played together by several musicians. This can be extremely effective, as it demands a well-coordinated team. = Accompanying Soloists The body percussion soloist can be accompanied with a multi-part body percussion accompaniment. Example (uitable for Rock Steady, p. 102): 119These effective body percussion ensemble pieces, based on therhythms and fillsdiscussed in this book, ‘can become the highlight of performance sessions and concerts, For a convincing performance, play these pieces from memory, so that the "body instruments’ are clearly visible and not concealed behind music stands. Performing from memory also allows more focus on accuracy, ensemble playing, dynamics, and confidence. The pieces are composed for four players or groups. Ifthe groups are large, each should contain an equal, number of players. The pieces include a number of rhythm chains, which run from one part to the next. The best effect is achieved if the groups rotate their positions on the stage; for example, the first group. stands to the left of the audience's view, then the second group stands to the left, etc. ‘The sequences can be adapted to individual playing situations. Sections that appear too short can be repeated, and solo passages can be extended as desired. The solo parts are always notated in the first part, but they can also be played by one or more players from the other groups. When performing, it is important to concentrate ‘on dynamics and enjoyment. Short choreographies (e.g.small steps to the side or forward, or performing stamping sounds in a circle) will increase the fun ‘and make your performance more entertaining to the audience Good luck, and have fun playing! 120 ere Rock 4 includes rock rhythms based on Rock Version 3 (pp. 47-52). The powerful rhythms are repeatedly interrupted by “rhythm chains” ‘and unison passages that must be played accurately and practiced separately beforehand (and optionally, with a metronome). Markings in m. 7 suggest performing a humorous, short choreography. The solo section can be played by ‘one or more soloists. (eo "Get Funky!" begins very softly. Listen carefully, so that the fine rhythmic elements in the tune fit together well. The groove really gets going in the B section. In the soft C section, listen carefully to achieve a good sound balance. The vocal parts should be performed loudly, clearly, and confidently. The solo section can also be used to interact with the audience (for example, call and response}. The soloist plays (claps) certain bars and encourages the audience to join in and imitate the rhythms. These rhythms can become progressively crazier. ere ‘A traditional samba/teggae arrangement provides the model for “The Brazilian Job.” The standard timba rhythm in the third voice is played using the up-down technique. You will find preparatory exercises on p. 110. The brief melody in the Csection can be sung on made-up syllables ‘or whistled. This melody can also be whistled ‘during a choreographed entrance or exit. In addition, several soloists can share the solo part,decker Two new body percussion sounds are used in “The Brazilian Job": ‘Openyour mouth, Press both hands together in front of the mouth to create a small opening between the thumbs. Clapping your hands will then produce an air stream, which in turn creates a sound in ‘the open mouth. Vary the tone by altering the shape of your mouth. af ‘Mouth Clapping (Side View) Mouth Clapping (Front View) Small Opening eke) Star-shaped clapping is performed much ee differently than mouth clapping. The fingers | should be spread as wide as possible, and the whole hand should be tense. The palms will ‘come together when you clap. Ifyou hit the right spot, a bright clapping sound will be produced. z Spread the fingers as wide as possible. Ch edu 11Body Percussion Ensemble Pieces ¢ = 100-110 bpm gok tothe eft simp look to thelet ime look othe eft Simp t - © Copyright 2011 by Alfied Music Germanyel Va Le SCD SS 1,2,3 xtacet repeat ad lib, Rot Rt Rt Rt Rt Re REL it *, 1, 2x geet R R mf R R a oe repeatadli. p 1 og LR £ R FJump forward sump forward Jump forward f sump forward¢ = 100-115 bpm » Lx tacet mw 1, 2x tacet pp 1, 2,3 x tacet © Copyright 2011 by Alfred Music Germany repeat 4xAged sefe tet repeat ad lib.Get Funky!" (cont.) repeat ad lib, RERLRLRLRE|RLR RO RL RRL RL RRL_ RL R repear3x sion » Sound ‘Alfred Muse‘Oh yooh Thats oril Macce ber Ts) ae 10 bpm repeat 3 repeat ad lib. LRUERERLERUERLRL RLERERLRERLRERE IP RtReReReRERe RERUR ©Copyright 2011 by Alfred Music Germanymf RERt RL RL RLRL RRL mf repeat ad lib. RURERLRLRLRLRLRL RLRLRLRLRLRE RLERE (@ AMtedMase h 133 vel aac BOS er Ue aac) (C] Metody ™ 1 x foot only RRRUERRRRRRRLRRRR|RRRLRRRRRRRLK 5 RRA LRRRARRALRARARAR|RARLSRARARR R 2&8 £8 Ww 134 Body Percussion « Soun . ‘Aled ysPCa eee mel by Richard Filz Solo ad fo. repeat ad lib. repeat ad lib. LRLRL pe reiri{Rerer RRRLRRRLRRRLRRRL RLRE RLRURLRLRLRL RURU RURLRLRLRLRERLRE Alfred MusicPe HRM eKeNE Car a aor) Le) ET) Create compelling rhythm-based events for groups of all kinds! Learn the art of drum- facilitation from master percussionist, educator and award-winning drum circle faci Kalani. The interactive DVD includes activities, games, an instrument guide and inspirational interviews, Participants will also gain essential life skills, including creative thinking, active listening, teamwork, self-direction and communication. This title has been awarded by iParenting Media as one of the "Outstanding Products of 2005." Book & DVD ISBN 13: 978-0-739035-10-8