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Krakatoa - Lessons in making Rhythm & Music using Drums & Percussion to illustrate the principles

“As a professional musician I’m always looking for ways to improve my musicianship.  This is not only a fun way to learn musical concepts, but using drums and percussion puts people into the same groove, connecting with one another through the music’s heartbeat.” - Amber Gaia (www.ambergaia.com)

Links:

Click here for DVD & ONLINE Video ORDER options & DISCOUNTS!

You can also continue reading down the page below and follow the links for detailed info about all the ONLINE Video and DVD packages and also view simpler, sample FREE ONLINE Videos there.

Click Here for BEST BUYS and GREAT DEALS on the COMPLETE SYSTEM of Skill-Set and Role-Guideline Packages described in detail below:

Click for more details on: Krakatoa's Skill-Set:

FREE  ONLINE Intro Video-3267: This is like the “floor” of a building, the foundation of whatever music Style you choose to create. Every musician can greatly benefit from this, but particularly those that focus on rhythm - especially drums and percussion. This can also (in addition to the Krakatoa Role-Guideline Packages below) be an invaluable supplemental tool for teachers to help their students easily understand the essentials for making music quickly and have a blast doing it!

Click for more details on: Krakatoa's Instrument Role-Guidelines:

FREE  ONLINE Intro Video-4307: Because all music has rhythm, all instruments can be separated into 1 of 6 categories with their own Role-Guidelines. The key to playing effectively in a band is to not only stand firmly on the “floor” of the Krakatoa Skill-Set Packages (see above), but also to understand the Role your instrument plays within the band - knowing which one of the interlocking “walls” you are that builds the “house” of music. If you do this, your piece will interconnect with others to create a beautiful musical “puzzle.” This requires watching and listening to key parts of the Groove (exemplified by Role 3 “Mother” Drums) to know how to Support, Embellish, and Dialogue with it. Playing by Role-Guidelines instead of from musical notation or memorization frees you to be more focused on other musicians, the audience, your own body and spirit, the nuances of the music, and other aspects of musicality, musicianship, and showmanship.

Krakatoa's Skill-Set Packages:

• How to Make a Drum Beat based on a Rhythmic Vocabulary and these Guidelines:

• FREE  SSP1-1. ONLINE Video-3197: Introduction to putting together Layers of rhythm, building a Groove from the bottom up - starting with simple Pulse-Feels and adding more Subdivisions and Rests that Support (Mimic, Lock-in, Imitate), Embellish (enhance with Ornamentation Setups/Pickups or Echoes), or Dialogue with others in the band (significant Fill-in of the “holes”).

•  SSP1-2. Skill-Set Video 1: Putting together Pulse-Feels (using primary & secondary strong Pulses), Beats & Subdivisions, and Rests to create different Time-Feels, which includes:

“Being new at this, we weren't exactly sure what to expect when we ventured out to our first session.  However, the instructor is so successful at integrating beginners like ourselves that we immediately felt a part of it all! Great fun!” - Sandy and John R.

Click here for DVD & ONLINE Video ORDER options of Skill-Set Package #2:

• FREE  ONLINE SSP2-1. Skill-Set Video 6: Counting and singing to learn faster - you’ll hear me say this in just about every video:  “If you can say it, you can play it.”  Using your mouth engages up to 1/3 more of your brain.  The fastest way to learn is to go slowly, counting to get the mathematical left-brain’s Timing accurate, then singing the tones to get the creative right-brain to musically program your body.  Then make your playing an extension of your voice, “playing it as you are saying it.” Also included is FREE  ONLINE SSP2-2. Video 3-727: Learning to play Offbeat Syncopation is difficult, but if you program your mind’s coordination first through counting and singing the Groove, your body will more easily become coordinated and you’ll learn how to do this so much faster.

•  SSP2-3. Video 3-7167: Mixing rhythms together can become very complex.

• Counter-Rhythms: The Binary "straight" Rhythm "1 _ + _ " is opposite of the "_ e _ a " Rhythm it is playing "off" of. If the Accents are also contradicting each other (i.e., if the "_ e _ a" were Accented), they also become Cross-Rhythms (see below). Another example is the Ternary "swung" Rhythm: | 1 e _ 2 _ a 3 e _ 4 _ a | which is only partially (because the Pulses align) Countering. See also Skill-Set Package #1 SSP1-4. Video 1-7167 and SSP1-8. Video 2-7167 for more Binary and also Ternary examples.

| 1 _ a 2 e _ _ e a _ e _ |.

• Cross-Rhythms: Normally temporary Syncopated Rhythms that are carried on long enough that the prevailing Accents are in contradiction to that normally felt in the Meter. These rhythms occur within the same Meter.

3/4 Meter: |1 +a2 +a3 + | as |R RLR RLR L | vs. |1   a2   a3   a| as:                                                                                  |R   LR   LR   LR   L|

See also Skill-Set Package #1 SSP1-4. Video 1-7167 where the Binary 1/16-note "e" & "a" Offbeats are played loudly with Flams to create a Cross-Rhythmic Feel.

• Polyrhythms: This 4-note: |1  +  2  + | against 6-note: |1 e a 2 e a | Polyrhythm is mixing Binary "straight" Rhythms with Ternary "swung" Rhythms. The Ternary "e" and "a" Subdivisions will NOT line up with the Binary "e" and "a" of "1e+a" and the Binary "+" doesn't even exist in the Ternary Subdivisions! These rhythms are NOT Cross-rhythms because their Accents (1 & 2) are still lining up. Polyrhythms are difficult. That's why Role 5: Advanced Time Keepers and Role 6: Solo Drummers are the Roles that use them. See also Skill-Set Package #1 SSP1-8. Video 2-7167 for another example of this.

• Hemiola: When you try to place 3 notes where 2 normally belong (e.g., 1 e a when 1 + belongs OR a 1/4-note Triplet in 2/4 Meter) or 2 notes where 3 normally belong (e.g., 1 + where 1 e a blongs OR a 1/4-note Duplet in 3/4 Meter), this is called a Hemiola. Playing both rhythms at the same time also creates a Polyrhythm - 4 against 6 in the 1st example or 2 against 3 in the 2nd example (if we play every other note in the Polyrhythm as a Pulse or Accent and the notes inbetween quietly or not at all). See also Skill-Set Package #1 SSP1-8. Video 2-7167 for another example of this.

• Polymeters: multiple Meters occuring simultaneously.

In the example: 3/4| 1     2     3 | occurring at the same time as 6/8| 1 2 3 4 5 6 | , where the measures end at the same time, so the Time-value of the 1/8-note is the same between each, each 1/4-note in 3/4 Meter will line up with every other 1/8-note in 6/8 Meter. Because the 1 & 4 don't align with the normal Accent pattern of 3/4, the 6/8 pattern could be considered a Cross-Rhythm. If you play only the Accents (bolded), then you also have a 3 over 2 Polyrhythm.

“I have had no other instrumental training since school days and never expected to be playing at this point of my life! Our instructor is a saint the training adapts to suit the needs of the students, explaining and demonstrating in a way we can all understand a wealth of information and ONLINE Videos so we can practice at home, which is a great advantage to many of us. Everyone enjoys playing their instruments so the atmosphere is electric, especially when everyone gets into a Groove!  There are so many smiling faces with a lot of foot-tapping going on!” - Pat K.

Click here for DVD & ONLINE Video ORDER options of Skill-Set Package #3:

• FREE  ONLINE SSP3-1. Skill-Set Video 7: Adding body movements (Dancing or Swaying) to better communicate the Pulses or certain Beats (e.g., Back-Beats) and the Groove's Feel & Tempo to other musicians and add showmanship to better connect to the audience.

•  SSP3-2. Skill-Set Video 3a - Overview of Phrasing within different Meters and Pulse-Feels: Cyclical Phrases of 2-, 4-, or 8- Measures/Bars of 2/4, 3/4, 4/4, 5/4, 5/8, 7/4, 7/8, and 6/8 Time-Signatures/Meters (the smallest cycle in musical Time) given different Pulse-Feels that divide the Bar into Note-Groups (i.e., groups of 2, 3, and 4-Pulses) at various Tempos. Duple/”Straight” vs. Triple/”Swung” vs. Odd Meters shouldn’t be confused with Binary/”Straight” vs. Ternary/”Swung” vs. Odd Subdivisions of the Beat/Count (see Skill-Set Package #1).

•  SSP3-3. Skill-Set Video 3b - Duple or ”Straight” Meters vs. Ternary or ”Swung” Meters v.s Odd Meters:
  • Duple or “Straight” Meter/Time = Multiples of 2 Beats/Counts in a Bar, e.g., 2/4 “March” Meter and 4/4 “Common” Meter.
  • Triple or “Swung” Meter/Time = Multiples of 3 Beats/Counts in a Bar, e.g., 3/4 “Waltz” Meter, and 3/8 or 6/8 Compound Meters (it is “Compound” because the Pulse typically is equal to a 1/4-Note + 1/8-Note = 3 1/8-Notes in duration).  The Duple/”Straight” 4/4 Meter Blues and Rhythm & Blues Styles use Ternary “Swung” Subdivisions of the Count/Beat (1/8-Note Triplets: “1 e a” or “1 te ka” as I prefer to count), which is a borrowed Time-Feel from Triple/”Swung” African 6/8 Compound Meters, so these Triplets are considered Artificial Notation.
  • Odd Meter/Time = Odd number of Beats/Counts in a Bar, e.g., 5/4, 5/8, 7/4, and 7/8 Meters (but often with Note-Groups of 2 and 3 Counts).  “Take 5” by Dave Brubeck is a good example of 5/4 Meter.

•  SSP3-4. Video 5-727: More Meters/Time Signatures for each Measure/Bar of Time and their Pulse-Feels, e.g., 2/4 (March or Brazilian), 3/4 (Waltz), 4/4 (Common), 5/4 or 7/4 (Odd), and 6/8 (Compound) Meters.

•  SSP3-5. Video 4-727 for the "Take 5" song by Dave Brubeck for an example of Odd Meter, but you could also apply this idea to Odd Subdivisions of a Beat/Count.

•  SSP3-6. Video 3-797 - Phrases vs. “sub-Phrases” and the Shifting of these and their relation to Musical Form: The “sub-Phrases” (I prefer  the term “Note-Groups”) can occur within a Measure/Bar as groups of Notes without a significant Rest interrupting them (as compared to other Rests in the Bar). These Note-Groups may be contained within a Count/Beat (and thus would be considered 1-Count Note-Groups) or they can span Counts/Beats (e.g., 2-Count Note-Groups, 3-Count Note-Groups, etc.). These Note-Groups sometimes start in one Bar, span across the Bar Line, and end in another Bar, which is referred to as “Over-the-Bar-Line Phrasing.” Role 5 Advanced Time-Keepers and Role 6 Solo Drums love to Shift Note-Groups around within a Bar or within larger Phrases (e.g., 2-Bar or 4-Bar Phrases). Phrases: Many times the rhythmic cycle of Notes & Rests is larger than a Measure/Bar (e.g., 2-, 4-, or 8-Bar Phrases). If the example above was repeated it would then be considered a 2-Bar Phrase. Musical Form: Bars and Phrases together can form a larger idea that we call “Periods” (like a “sentence” of musical thought), which put together form larger ideas called “Sections” (e.g., Intro, Verse, Bridge, Chorus, Solos, Outro), which put together form a Song or make up Movements within a larger work (e.g., a Symphony).

•  SSP3-7. Skill-Set Video 4: The importance of placing these rhythmic Note-Groups within the larger Time-Cycle (even the Shifting of them to learn a Rhythm quicker or to add Rhythmic interest). Also included:  SSP3-6. Video 3-797 (see above) for Role 5 Advanced Time-Keepers and Role 6 Solo Drummers that love to Shift (Displace or Permutate) these small Note-Groups (here, Binary Rhythms) around within a Measure or within larger Phrases (e.g., 2-Bar, 4-Bar, etc. Phrases - see below). Also included:  SSP3-8. Video 1-7237 - Shifting Ternary rhythmic “sub-Phrases”

•  SSP3-9. Skill-Set Video 5: Use of 1-, 2-, 4-, and 8-Bar Phrases in developing Style Structure or Musical Form and using Buildups & other devices to signal a Cadence ending of the Phrase. Many times the Cycle of Notes & Rests that are repeated (thus becoming rhythmic) is longer than a Measure or Bar - that's when we speak of 2-Bar and 4-Bar Phrases. Measures and Phrases put together can form a larger more complete idea that we call Periods (think of a sentence), and these can be put together into even larger ideas called Sections, and these are put together to complete a Song or simply exists as Movements within a larger work like a Symphony. This is what we call Musical Form (See also Skill-Set Package #4 SSP4-3. Skill-Set Video 8). Also included:  SSP3-6. Video 3-797 for Note-Groups vs. Phrases.

You learn a lot about music, not just drums and percussion instruments. The whole idea is to make you comfortable in any musical setting so you can ‘jam’ with the best. Mike's a great teacher and I highly recommend him for your drumming needs.” -  Louise C.

Click here for DVD & ONLINE Video ORDER options of Skill-Set Package #4:

• FREE  ONLINE SSP4-1. Video 1-727 - Dead-sticking: This technique is used for a Muted, Secco (dry) or Staccato (detached) Articulation, especially useful when playing on a resonant drum (e.g., low Tom-Tom or Tympani) or percussion instrument (e.g., Cymbals, Cowbell, Vibraphone, or even a frying pan!). This technique can be used in conjunction with hand & body Muting (see SSP4-2. 06-11-02 Video 2 and SSP4-3. Skill-Set Video 8 below).

• See FREE  ONLINE SSP4-2. Video 2-6117  - Hand and Body Muting of resonant tones: When playing resonant instruments (e.g., large Drums, Cymbals, Bells, Pans,  or Gongs), you’ll often need to use hand and body Muting techniques to differentiate Short-Articulated Notes (e.g., 1/8- or 1/16-Notes marked Staccato - sing: “dit”) and Notes that are immediately followed by a Rest (so they need to be “Choked” off - sing: “Dah-it”) from Long-Articulated Notes (e.g., 1/4-, 1/2-, or Whole Notes marked Tenuto or Legato - sing: “Daaaah”). That way your rhythms oscillate in volume and timbre (i.e., Tonal quality) for variety’s sake and to provide “dips” or “holes” in which other players can Fill-in (e.g., using Counter- or Cross-rhythms within a Groove or to create a Call and Response Dialogue).

•  SSP4-3. Skill-Set Video 8 - Sticks/Mallets, Motions, Muting, Accents, Dynamics, Articulation, Buildups, Setups (or Pickups), Ostinatos, and Figures: Learn how to play the drums (Congas, Bongos, Djembes, Doumbeks, Tom-toms, Snare drums, Frame drums, Talking drums, and others) and  percussion instruments (Shakers, Rattles, Maracas, Tambourines, Cowbells, Triangles, Claves, Woodblocks, Guiros, Rasps, Cymbals, sound effects, and others).

  Hand- vs. body-Muting: Some instruments naturally resonate (various metal bells, frying pan, big drums, etc.). You’ll want to Mute them (with your hand, fingers, leg, or chest) so that they’re not too loud and to add variety within the rhythms. The Muting can “Choke” off the resonance of a previous Note or you can play the instrument while Muted (dry or Secco). On Metal instruments, the Muting is sometimes played on a higher-pitched part of the instrument, whereas the resonant, Open tones are often played on lower pitches.

  Dead-sticking: This type of Muting is done by pressing or holding down the stick/mallet with the same or opposite hand (common in Mallet/Keyboard percussion or on big drums). Pressing on a big drum while playing it can even change its pitch (called “pitch-bending”).

  Different types of sticks, beaters, and mallets (bamboo, “Rods,” brushes, paddles, thin Palito sticks, yarn-covered, felt-covered, rubber, etc.) can be used to create different Dynamics and quality of Articulation (particularly the “attack” of the Note). Be careful to choose a type that doesn’t damage the drum head.

  Accenting (used to temporarily to bring out a Pulse or Offbeat Syncopation, played 2 levels above the “base” volume) and Dynamics (general volume changes) are used to create a contrasting Layer of rhythm that produces music’s ebb and flow and variety, which is its “spice” (see also SSP4-8). When using sticks/beaters/mallets, height is the key. If using your hands, technique is crucial so that you don’t hurt your hands. Use Open and Slap tones so you can get enough high-pitched contrast (see also Role-Guidelines Package #3).

  Articulation: This pertains to how pointed or detached (Staccato) the tone is from other Notes vs. how resonant and connected (Legato). Some instruments are naturally resonant, but those that aren’t have to be Rolled on (as with most drums) to elongate the sound (i.e., playing multiple Notes as a Tremolo, Trill, or Glissando), or rattled/shaked (Rattles, Shakers), or jingled (Tambourine, Jingle Bells, Sleigh Bells), or scraped across (Bell Tree, Wind Chimes, Mark Tree/Bar Chimes, Triangle Trees, Guiro/Rasp).

  Buildups: These occur at the end of a Phrase by adding more Notes (thus being longer than a Setup or Pickup), more volume, or Offbeat Syncopation to create more tension. This signals the end of the Phrase by adding more energy of momentum or tension, leading us to the beginning of a new Phrase or returning to the beginning of the current rhythmic Phrase. See also Skill-Set Package #3 SSP3-9. Skill-Set Video 5.

  Geometric Motions of Drumming: Rowing (in-to-out, out-to-in), Sideways (right-to-left, left-to-right), Swinging (either Rowing or Sideways Motions but going in one direction and returning back in the other). The key is to use smooth unbroken circles to take advantage of centripetal and centrifugal forces and momentum that will add to your speed, endurance, and grace.

  Setups: These are a form of Ornamentation or Embellishment that leads up to and calls attention to important Notes. For example, the Grace Notes immediately before the Principle Note of a Flam or Drag/Ruff (see also Role-Guidelines Package #2 GLP2-3 and Package #7 GLP7-6) adds a thicker Texture and often volume to it.  Pickup Note(s) are a special type of Setup that leads to the Downbeat “1,” used to start a song, or end a Measure or Phrase.

  Ostinatos: These are any regular rhythmic patterns that create a Groove that others can rely on (which is what we all should do most of the time).  Then add just a little Embellishment in key places (e.g., when repeating a Section or transitioning to a new one). Leave most of the Dialoguing to the Role 5 Advanced Time-Keepers and Role 6 Solo Drums.

  Figures: These are special rhythms inserted into the Groove, being played by a Section of the band (thus called “Section Figures”) or entire band (thus called “Ensemble Figures”), and used to create an obvious rhythmic variation or to signal a change in the music.

•  SSP4-4. Skill-Set Video 9 - Listening & watching: Focus on the Role 3 “Mother” Drum Groove to spontaneously: Support all or portions of this Groove (Mimicking something you feel needs more energy), Embellish something you hear (enhance or add Ornamentation), or to Fill-in some of the “holes” (remember when Countering or Dialoguing to leave some room for other people to do so). In fact, more advanced players can Dialogue in such a way with any instrument to build their Groove or when Soloing (see Role 4, Role 5 and Role 6 Guidelines). See also SSP4-5. Video-3197 (below) for application of these principles within a Drum Circle, even for Dynamic changes (see below), and a countdown to the end.

• See FREE  ONLINE SSP4-5. Video-3197 (6.5 min.) - Layering rhythms and Dynamics to build a drum Groove  (6.5 min.):  Start with a repetitive Groove that emphasizes the Pulse-Feel (2, 3, or 4 in a Bar) or the Beats/Counts (which reinforces the Tempo) that has a very Open Texture (i.e., has “holes” that others can Fill-in). Then follow SSP4-4 to add other Layers of repetitive rhythms to the Groove. Use Dynamic Crescendos to Buildup intensity or Decrescendos (fades) to wind down. Listen for countdowns to the Stops.

•  SSP4-6. Skill-Set Video 10 - General guidelines for What & When to play:                      
• Always start out with a simpler part (Pulses and Counts) and listen carefully to Support what needs reinforcement, especially when you’re playing with new people or to a song you’re not familiar with. It’s like giving someone a handshake when you meet them - it’s the polite thing to do! Specific types of rhythms (Binary, Ternary, or Mixed) often depends on the Style of music.

• Support the Counts/Beats to steady the Tempo (as Role 2 Steady Time-Keepers do). If you’re playing a low-pitched instrument (e.g., Role 1 “Father” Drum), Support the Pulses (with “1 & 3” slot rhythms) or just the important ones (Downbeat “1”), and then add simple Setups (or Pickups) and Buildups. If playing something high pitched (e.g., Role 2 Steady Time-Keepers and the stick-on-rim or Stick-on-Stick playing of Role 1 “Father” Drums), then do this between the Pulse rhythms (e.g., Backbeat “2 & 4” slots during “swaying” music (see also SSP4-5. Video-3197 above).

• Add momentum (e.g., during Buildups and Setups/Pickups to an important Downbeat “1”) by adding 1/8- and 1/16-Note Subdivisions. This will create a thicker Texture to the music, but be careful not to compete with others doing the same - it can get very “cluttered” or “muddy,” especially if you haven’t mastered playing exactly together yet. It would be better to add less at first until you get a feel for what people tend to add during these times. Some instruments are better for cleanly Articulated, “busier” rhythms (see also SSP4-7. Video-3267 below).

• You can add Offbeat Syncopation to create a jerky Feel (especially using  1/16-Note “Jerk e” rhythms) or a lazy Feel (especially using 1/16-Note “Laz a” rhythms), or a simple Upbeat Feel (using Offbeat “+” or “+a” rhythms). Careful that you don’t do this too loudly or for so long that others lose track of the Beat/Count and Pulse. It’s best to only use this method temporarily to create tension during Buildups. Leave prolonged Syncopation to the more advanced playing of Role 5 Advanced Time-Keepers (who often play Clave or Bell patterns that are both on and off the Beat/Count so as to create a unique pattern that can be used as a Landmark for other players to determine where they are in a 2-Bar Phrase and Anchors to play “off” of) and Role 6 Solo Drums.

• Role 4 “Child” Drums also tend to play Syncopated parts, but in a more repetitive manner using short 2-3 Note patterns that Counter the Role 3 “Mother” Drum Groove (often acting as Setups/Pickups and Echoes) and help bring out the higher pitches of the Groove. Role 5 Advanced Time-Keepers and Role 6 Solo Drums also like to use Counter-rhythms but more sporadically as they Dialogue with various instruments (see also Skill-Set Package #1 SSP1-5).

• FREE  ONLINE SSP4-7. Video-3267 - Building a Groove from the bottom up (10.2 min.):             
  • This introduction touches on the many aspects of building a solid foundation of essential skills needed to effectively make music with others. Here, we’re applying them to build a Drum Circle Groove, but you can take these principles and apply them to ANY music situation - ALL musicians can greatly benefit from these ideas.

• Using a Binary rhythmic vocabulary, start at the bottom with a simple Pulsation (2 1/2-Notes or 4 1/4-Note Pulses) played with low Bass tones that stabilize the Tempo. If it gets jumbled, simplify for the sake of the band. Then, some people can Subdivide the 1/4-Note Counts (by playing 1/8-Notes) on higher pitches to contrast with the Pulse (e.g., using Slap or Open tones).

• Starting out with a simple Groove leaves plenty of room for others to “peek” through - if initially too complex, there’s no room for others to shine! It also allows you some room to grow the Groove, from a simpler, more Open Texture to a more complex, Closed Texture.

• The 2-Pulse Feel (Bass tones in the “1 & 3” slots) creates a “swaying” Feel to the music (forward/rightward on the Pulse, backward/leftward on the Backbeats in the “2 & 4” slots). The 4-Pulse Feel (Bass tones on “1 2 3 4”) stabilizes the Tempo, but use this sparingly because it tends to Buildup tension, driving the group forward to a higher level of energy. Don’t take them nowhere - that’s teasing!

• Think of the Groove in terms of repetitive cycles - 1-Bar/Measure, 2-Bar, 4-Bar, or 8-Bar long Phrases. Signal to others that you are ending a Phrase by doing a Buildup towards the end. Start by Coasting along with a repetitive Groove (e.g., 1 _ 2 + 3 _ 4 _ ), then start a Buildup in the last Bar (e.g., 1 + 2 + 3 + 4e+a) that leads to a climactic Resolution (Downbeat “1,” often with a Crash Cymbal), and then immediately Release back down to Coast again (repeating the Groove or starting another). This is the roller coaster of music!

•  SSP4-8. Skill-Set Video 11 - Dynamic balance:                                                                   
  • Always make sure that you’re Dynamically balanced with others, especially with the Role 3 “Mother” Drums and Role 2 Steady Time-Keepers.

• Walk around if you can to better hear others.

• Watch & listen for Buildup Crescendos (i.e., gradually getting louder) and Release Decrescendos (i.e., gradually getting softer - see also end of SSP4-5 above).

• Use the height of the hands/sticks to help gauge the volume. Make sure your Accents are distinctly louder than the “base” Layer of Notes.

•  SSP4-9. Skill-Set Video 12: Orchestration - Adding Layers of Instrumentation to balance the Tone & Timbre of the Ensemble - see also Instrument Role Guidelines for more details for this general approach:

  Role 1 Father Drum: Use lower-pitched tones and  Open Articulation for Pulses and Accents and Muted Articulation for connecting Notes.

  Role 2 Steady Time-Keepers: Use higher-pitched tones and Open Articulation for Pulses and Accents and sometimes Muted Articulation for the less important Notes.

  Role 3 Mother Drums: Use a variety of tones and Articulation to create a “Groove” that “blends” together the most important tones and Articulation of all the drums.

  Role 4 Child Drum: Use higher-pitched tones and mostly a “cutting”  Open Articulation (especially for Pulses, Accents, and Syncopation).

  Role 5 Advanced Time-Keepers: Use of Open tones (for Pulses, other Long Notes, and Accents) and Muted tones (for less important Notes), though all are meant to be “cutting.”

  Role 6 Solo Drums: Use a variety of tones and Articulations that are generally higher-pitched, Open, and “cutting.”