Table of Contents
2. Background & Purpose
2.1. Background
2.2. Purpose
3. Questions
4. Method
4.1. Rhythmic combinations
4.2. Limb independence
4.3. Improvisation
4.4. Musical context
5. Result
5.1. Question 1
5.2. Question 2
5.3. Question 3
6. Reflection
6.1. Main project
6.2. Secondary results
7. Future Work
8. References
Glossary
- EDM
Electronic Dance Music, a term that refers to the electronic music produced for dance clubs, raves and electro festivals, serving as an umbrella term for all genres and subgenres within that realm, such as house, techno, Drum N’ Bass, trance etc.
- DAW
Digital Audio Workstation, an application software used for recording and producing music. Examples of commonly used DAW software are Logic Pro, Cubase and Ableton.
- Grid
A term that describes the rhythmic divisions inside a beat, for example 16th notes. Playing in the grid refers to playing in the exact measures of a divided beat constructed with mathematically correct distance to one another. Playing outside the grid refers to playing in the spaces between the exact subdivisions.
- Half time / Double time
Feeling the tempo or pulse of the music in half or in double time.
- Groove
A term with several meanings concerning rhythm. For this work the term is used as both the meaning of a certain kind of beat with a specific rhythmical structure, as well as speaking about the beat or rhythm as having “groove”, meaning that it gives you a feeling of wanting to move or generally enjoy the rhythm in a deeper sense.
- Broken Swing
A concept used when talking about the rhythm section in classic jazz/swing time. As the regular swing time consists of a fixed ride cymbal and hi-hat pattern together with a walking bass on quarter notes, the term "broken swing" means that the regular way of comping is chopped up into pieces, using pauses and other improvisational material between the original rhythmic structure. In that way, the swing patterns are still foundational, but the framework is opened up to allow for more interplay and variation in the rhythm section. This term is also known as "Broken Time".
1. Introduction
This work explores the possibilities of developing a new rhythmical expression on the drum kit by merging traditional Brazilian rhythms with classic EDM (Electronic Dance Music) rhythms derived from the drum machine, creating a new unique sound and way of playing the drums. Despite the two of them being very different styles that emerged in different circumstances and parts of the world, this project tries to bring them together into one new genre and expression. This is made by pointing out the two styles’ obvious differences and finding a balance between them, while also focusing on and strengthening their more subtle commonalities. With theoretical knowledge about the characteristics and history of each genre, this work concentrates on the practical part of actually performing and using the merged rhythms on the drum kit in a musical and artistic way. This new sound and rhythmical language is sought through a new approach to independence practice and musicality on the drum kit.
Because of my musical preferences it was natural for me to choose to investigate the possibilities of mixing the rhythms of these two genres. They both respectively captivate me musically in a very specific manner that other styles don’t. I believe it has to do with their emphasis on groove and syncopation, where rhythm serves as a strong foundation but at the same time has a leading role in the music. Although being two completely different styles I still draw a strong connection between them in the way they make me feel and relate to the music. Of course this is a fully subjective experience which might differ for other people, but my strong and personal experiences with both genres were enough for me to awaken an urge to delve into the potential of blending them together, hoping to find a new sound that characterizes my musical history and personality.
The methods described will take us through the steps of my musical journey and research. Firstly finding suitable and feasible rhythmical combinations from the Brazilian and EDM traditions on the drum kit. Secondly developing a strong foundation of independence for the rhythms involved, rethinking the conventional ways of using my limbs. Thirdly using the knowledge in an improvised way, creating room for individual and spontaneous musicality while still maintaining a rhythmical structure provided by the essences of the two chosen genres. Fourthly and finally, putting the new rhythmical expression and playing style within a musical setting through my own compositions. The end goal of this process is the ability to play freely within a so-called hybrid expression of Brazilian and EDM rhythms.
2.1. Background
As many musicians do, I have ventured through different periods of music in my life, touching upon different styles and shifting focus throughout the years. My background in the genres relevant for this study is my two years as a DJ and EDM producer in 2013-2015, along with my studies of Brazilian percussion in 2019, when I lived a full year in Rio de Janeiro and studied with renowned percussionist and professor Rodolfo Cardoso at the university UNIRIO. After my studies in Brazil in 2019, I have returned to the country on three more occasions, visiting different regions and states in the south-east to north-east parts of the country to study several drum traditions with different teachers. I have since then also continued my work with Brazilian music and rhythms together with Brazilian percussionists and other instrumentalists, in Sweden and Europe.
My journey into the subject of mixing Brazilian and EDM rhythms started in 2020, when I was invited to play Brazilian percussion together with a synth band in a jam session. I found that the sound of the traditional acoustic drums blended with electronic sounds created a very interesting sonority, bringing a more natural touch to the otherwise digital soundscape. Furthermore, layering syncopated Brazilian rhythms with the use of a loop pedal on top of the drummer’s straightforward EDM beats produced a unique rhythmical structure and groove. This experience of playing and hearing such a groove combination made me think about the possibilities of creating a similar sound and rhythmical expression by myself on the drum kit. Obviously it would be impossible to fully mimic what was played by a percussionist together with a drummer because of the physical limitations, but maybe it would be achievable to derive some sort of rhythmic essentiality from the Brazilian and EDM styles and their respective tradition and distribute them on the drum kit, working around the physical limitations of my four limbs.
As this project and vision of a new sound and expression on the drum kit would require years of independence practice, I dedicated my Bachelor’s thesis in 2021 for pre-studies on the subject. The main purpose of the thesis was to explore more thoroughly the musical potential of merging the two genres together, to see if it was truly a desirable outcome for me. This was primarily made by recording instruments on separate tracks and experimenting with layering in a computer DAW. By tweaking details, trying several combos and analyzing the outcome of the sound and feel from the different results I would figure out what sort of combinations appealed to me the most.
Another goal of the thesis was to look for similar work in the field, getting more theoretical knowledge of the history of the traditions and understanding their similarities and differences. This was helpful to understand which parts of their expressions felt the most fundamental and crucial for creating and maintaining an authentic sound. Having collected this data, it was now easier for me to know which rhythmical layers and sounds to choose to work with on the drum kit, putting them into efficient practice right away.
In short, the musical outcome from the experimenting in my Bachelor thesis was very desirable for me and the theoretical knowledge I gathered serves as a foundation for this Master project, where this will be put into practice. In these pre-studies I got an idea of which grooves and styles blend well together and also a general comprehension of which rhythmical layers that constitute the essential sound of each style. I also got some insights into the possibilities of changing acoustic sounds to digital sounds without losing the desired expression.
Link to Bachelor thesis: https://tinyurl.com/electrobrazilian
Several artists and producers have worked across the same rhythmic terrain, blending traditional percussive languages with electronic dance frame works. Projects such as BaianaSystem or Luiza Lian serve as strong examples of how traditional Brazilian rhythms can co-exist with contemporary club aesthetics, providing a point of resonance with the kind of exploration this work sets out to achieve.
2.2. Purpose
The purpose of this work is not merely to create a hybrid genre of Brazilian and EDM rhythms, but its main focus lies in tying different musical threads of my life together into a unique and personal expression in the service of my artistic vision. Today when I find myself in the different musical settings of Brazilian and EDM music, it feels as if I need to enter different minds or roles to express the music accordingly. But on a personal level, when listening to both genres, their musical appeal to me feels very much the same. It appears to me that they are somehow strongly connected through my subjective experience of the music and rhythm, in the way that they both address the actual core of my own musical being. With that said, it is a natural obligation for me to explore their meeting points in order to find a new rhythmical expression true to my artistic identity.
3. Questions
- In what ways could I develop a drumming style that combines Brazilian rhythms and EDM while preserving their essential rhythmic characteristics?
- How can I attain the limb independence necessary to improvise and express myself freely within the framework of this new Brazilian/EDM rhythmic approach?
- In what ways could this new rhythmic approach to the drum set be effectively integrated into my musical compositions to reflect my personal artistic vision?
4. Method
As mentioned in the introduction, I have divided my method into four different stages. This will take us through the full process, from the first stages of searching and experimenting with merging different rhythms and independence practice to the goal of playing freely using a new rhythmical expression with the EDM & Brazilian rhythms within a musical context.
Working through the four stages of my method I will after each step present a video recording from the drum kit, followed by a short text reflection and analysis of the result and process before moving on to the next step.
For the sake of efficacy and I will lay out the history or details about each style/rhythm. I also hesitate to explain in this work any sort of truth or absolute knowledge about what constitutes the authentic expression of each rhythm, its history and culute, since that is not my area of expertise. I am also aware that these styles, either coming from suburban Britain or rural parts of Brazil, have different traditions of rhytmical phrasing and structure throughout the various regions of the countries, so it would be unwise to classify any rhythm as the correct one. I did not grow up in any of these musical traditions and do not represent them in any way, but their strong expression and influence on the world has made its way to my personal musical being. It is with great respect that I approach these traditions to investigate their impact on my artisic self.
As this work is focusing on my musical and artistic vision of creating a new sound and expression by weaving together my personal background and preferences, it is only natural that each rhythm will be presented and developed through the process from my own point of view. However, I strongly encourage the interested reader to look up each rhythm and their respective tradition for a chance to get a greater understanding and deeper insight in their authentic expression and cultural meaning.
Below follows a few links from respective drumming tradition that I will be presenting in this work, that has been an inspiration for me.
Brazilian rhythms:
Maracatu - Maracatu Mar Aberto
Baião - Carlos Malta & Pife Muderno - Lá No Suzano
Samba - João Bosco, Incompatabilidade de Gênios (Kiko Freitas drum cam)
EDM rhythms:
Drum N' Bass - Jojo Mayer, Jungle
Deep House - Millok, I'm Trippin
Psytrance - Lunatica & Hypatia, Melt In Knowledge
4.1. Rhythmic combinations
Firstly finding suitable and feasible rhythmical combinations from the Brazilian and EDM traditions on the drum kit.
Before starting to mix different styles I want to take into consideration their tempo markings (BPM - beats per minute). That is to say in which tempo they are generally played and which tempos work well with the rhythmical structure and musical expression. Of course every style can be played in various tempos and no tempo would have to be considered more correct or authentic, since we can find music within each tradition that ranges through all kinds of tempos. However, as being a very experienced listener and performer who both consumed and played a lot of the EDM and Brazilian rhythms through both media and live at EDM clubs, raves and the streets of Brazil in various regions during carnival seasons, samba & forró events etc, I have a general sense of the BPM in which these rhythms are usually performed. I do not claim these tempo markings to be traditionally or scientifically correct, nor absolute in any way, but they will be useful as a template for this work.
In these tables and throughout this project I will present the rhythms I work with in two categories, marked with different colors. The first category is the Brazilian rhythms marked in green and the second category consists of EDM rhythms, marked in blue.
So my aim here is to find one rhythm from each category and put them together. Looking at the tables above I can see that only a few rhythms from the green and blue groups actually match. However, I could combine the rhythms in half / double time to create even more matching pairs and possibilities. For example, a Maracatu rhythm in 85bpm would fit inside a Drum N’ Bass rhythm in 170bpm.
But before continuing to the groove combinations, let me first present a video with the six rhythms mentioned above in the following video, to give you an idea of the styles and layers I will be working with.
Underneath you will also find sheet music for the foundational rhythmical layers I will work with from each style. Notice that my playing in the video includes some variation in phrasing and fill-ins to better capture the sound of each genre. These variations are not notated in the sheet music below, but the notated music serves as my main reference for each style throughout this work.
The combinations of half/double time feel adds an interesting touch to the grooves as the pulse can be felt clearly in two different ways. Already I encounter challenges in my limb independence to execute these rhythms. I am also finding difficulties in hearing and being musically aware of both rhythms at the same time, since the merged rhythmical layers are new to me. Listening to these recordings I really like what I hear and it feels like the work is going in the right direction. It feels like there are endless possibilities for new combinations and sounds and that there really is a unique sound and expression to be sought here.
4.2. Limb independence
Secondly developing a strong foundation of independence for the rhythms involved, rethinking the conventional ways of using my limbs.
After having tried out the different possibilities of rhythmical combinations I now have an idea of which options musically appeal to me the most and at the same time also feel doable/playable. I can also see how technically challenging the combinations are and I need to find solutions to play all the rhythmical layers using my four limbs, for example playing a syncopated pattern with my left foot. With my main goal of playing these patterns freely and improvising on top, I can tell already that this will require hours and hours of independence practice.
To make the work more realizable, engaging and motivating I will therefore limit myself to only one combination per style, utilizing the six styles mentioned above but not repeating them. In that way I can touch upon each groove and practice all the rhythmical patterns, but still not feel overwhelmed by the endless possibilities. Listening to the examples from 4a I now decide on the following three combinations for further practicing.
Having gotten the basic groove down I now need to practice further for the independence (and hearing) needed to switch between the rhythms effortlessly and also improvise while doing so. To improvise and play freely on top of strict but syncopated patterns I need a method to develop the skills necessary.
To start off I will use the same method as the most classic drum kit independence books do. That is, to play a fixed pattern with one, two or three limbs while going through rhythmical variations with the remaining limb(s). Firstly going through all the possible rhythms and displacements within a 16th note subdivision, secondly sight-reading random rhythms on top of the fixed one(s) and thirdly improvising new phrases.
This is something I am familiar with after practicing swing or rock independence, but have not yet done with such syncopated rhythms, especially in my left foot. In doing this I draw inspiration from Cuban drummers & percussionists such as Dafnis Prieto and Eliel Lazo, whose tradition is to play the rumba clave (or other patterns) with one limb while using the others to improvise around it.
The process shares similarities with drummers such as Pétur "Island" Östlund, Benny Greb, David Garibaldi and Dafnis Prieto in their systematic approach of displacing rhythms to go through the maximum amount of rhythmic motives possible to expand limb independence, musicality and technique.
Drum books I have worked with that inspired this method:
• Pétur "Island" Östlund - Rörelser (Movements) - not available online
• Dafnis Prieto - A World of Rhytmic Possibilities
• David Garibaldi - Future Sounds
• Benny Greb - The Language of Drumming
The three videos below show examples from a practice routine in each one of the three groove combination mentioned in the table above. In the practice routine I am going through the following three steps for playing with one free limb, maintaining a strict pattern in the others:
1. 16th note displacements
2. Sight-reading random rhythms
3. Improvising
The sheet music that follows shows the rhythms played in each limb and which limb that is dedicated for the above mentioned 3-step practice method. Note that these examples are for the sake of demonstration and do not cover all the possible combinations necessary to develop independence in all limbs. The practice routine should include switching around the practicing limb within all the grooves. For example, starting with the right hand as practicing limb while maintaining strict patterns in the remaining limbs, then moving on to the left hand as practicing limb, then right foot and then left foot. This is done throughout all the three groove combinations.
This method of coordination practice is very useful to unlock limb independence since it takes me through all the basic rhythms and builds my ear training to hear and feel the rhythms being played simultaneously. I feel that it increases my awareness of the musical nature of the pattern of choice, where I now get to know the rhythm and its spaces/pauses in a deeper way. It feels as if each pattern has a certain musical and rhythmical centre of gravity, which I need to get to know better to develop a natural and interesting way of phrasing around them.
Even though the goal is to improvise within the rhythmical layers and not stick with strict patterns, this method feels perfect to build a strong technical foundation to be ready for the musical steps further up ahead.
4.3. Improvisation
Thirdly using the knowledge in an improvised way, creating room for individual and spontaneous musicality while still maintaining a rhythmical structure provided by the essences of the two chosen genres.
After having practiced and ingraining the new rhythms in my limbs with a certain level of independence. As mentioned in the introduction, my goal is to perform the merged rhythms in a musical and artistic way, using the rhythmical language from the selected genres to create a new sound and expression on the drum kit. This will not be obtained from mere mechanical independence practice. Also, listening to the previous recordings I feel that although being desirable, groovy and interesting for me, they seem to lack depth and variation.
My aim is to achieve a sound that can express this rhythmical language inside a solid framework while at the same time dealing with other musical qualities such as dynamics, variation and nuance. What I have practiced up to this point is a clear framework where all the rhythms and notes are played at all times. This I believe can be tiring and uninteresting for a listener but also for me as a performer. I now intend to ”open up” this sound, remaining within the framework without playing out all the notes, creating room for spontaneity and musical choices on the spot.
The idea could be likened to the development of swing drumming in the history of jazz music, going from very strict rhythmical patterns in the early days and evolving through the decades up to today’s modern swing drumming where the frame is much looser. Still the playing certainly shares the same expression and framework as early on.
The sheet music to the right shows a model that I use during the practicing process. In the first bar you can see the full groove combination played, then continuing by removing one limb at a time, always leaving one out. An exercise is to execute the rhythm as written here to gain more control and awareness of each limb. Then continue by switching the pause measure into doing a improvised phrase in the selected limb instead. The improvised limb then moves around the body, while still maintaining the groove in the three remaining limbs.
After having practiced the above mentioned exercise I was ready to do fully improvised takes, inspired by the previous concept. The following videos show an attempt to open up the patterns a bit by removing notes or even whole measures from the rhythmical layers used earlier and also adding variations in each limb. I am still working with the three core groove combinations that were chosen in step 4.2. Note that the videos are fully improvised takes and do not correspond to the sheet music above, which was presented for exercise purpose.
Listening to these recordings, it is clear to me what rhythmical layers they are built on and what I am always hinting at. However, I wonder how they would sound to a listener that is not familiar with the rhythmical structure. I like the idea of the groove sounding spontaneous with different impulses that develops over time, to at last land inside a more solid framework that the listener can lean on, as a kind of rhythmical tension and release. Going back to the analogy of jazz drumming, this could be likened to playing broken swing time and developing intensity in the music, to then land in a solid swing groove with walking bass. To make this new approach and genre hybrid interesting, I feel like the ability to create this kind of tension and release in the groove is very much necessary.
4.4. Musical context
Fourthly and finally, putting the new rhythmical expression and playing style within a musical setting through my own compositions. The end goal of this process is the ability to play freely within a so-called hybrid expression of Brazilian and EDM rhythms.
Now that I have developed a strong independence using the rhythms involved and also worked on a more open and free musical expression, it is time to connect this way of playing to a musical context. Since this is something I never saw or heard before, it is only natural that I compose my own musical material with the different grooves and drumming in mind. In using my own compositions together with this new style of playing I hope to strengthen the artistic expression and personal voice in my music.
During this phase I will also allow myself to be less rigid with the patterns and styles I’ve worked with and instead let creativity flow. By letting the technique and independence developed during the process be used freely, while drawing inspiration from other sources, I am open for new music to come my way.
See three videos below with musical material inspired by the rhythms of my two first core combinations (Maracatu + Drum N' Bass and Baião + Deep House), as well as a composition experimenting with a 7/8 clave in my left foot.
Adding harmonic and melodic elements for my compositions using the SPD-SX sample pad really put a different perspective on the grooves. Having only my own music and personal vision in mind I feel no obligation to perform the Brazilian or EDM rhythms strictly, but I can tell that the hours of practicing them serves me well as a foundation for groove ideas, independence and technique. This created such a feeling of freedom of expressing new music without rules or boundaries.
By adding harmonic elements on the sample pad I got the idea to use external triggers for my feet as well to be able to play different sounds and textures instead of the regular kick and hi-hat or wood block. The independence practice that I did in the early stages now pays off. I feel that my feet (left foot in particular) is able to express new musical ideas with a higher degree of freedom.
Being a drummer and also responsible for the harmonic input by using my hands to trigger sounds on the sample pad, I can feel an increase of awareness of the rhythmical impulses from the harmonic section and also integrate the digital sounds into my drum kit playing. For example, the sound of a high-mid synth pad with long sustain is working in the same frequency field and texture as my cymbals. Being in control of both these sounds allows me to make different musical choices. As I am able to work directly with them as complementary sounds and avoid possible clashes, creating more richness, nuance and artistic intention in that frequency register.
The idea to play a 7/8 clave in my left foot while improvising and playing other musical material on top is something that would not occur to time if I had not put down the hours of independence practice using the rhythms through the early stages of my method. Even though this work has focused on certain rhythmic layers, it has most definitely also increased my ability to play freely around other rhythms as well. It has strengthed my independece overall and specifically in my left foot, a limb that earlier did not receive much attention and served as a lesser limb for musical ideas and expression. Including the left foot in this way feels like a game changer for my attitude towards the drum kit in general.
5.1. Question 1
- In what ways could I develop a drumming style that combines Brazilian rhythms and EDM while preserving their essential rhythmic characteristics?
Looking at the results of my work, I would say that it is definitely possible to find a way of playing a mix of these rhythms whilst maintaining the characteristics of each style. Some combinations I feel worked better than others in terms of accessibility for the limbs and drum orchestration. My method of trying different combinations and working with half / double time mixes made me find creative but feasible ways to execute the essential rhythmic characteristics of the mixed styles on the drum set, while also being musically appealing to me.
Even though I can condense the essence of each genre to make a groove that captures the general sound of the respective styles, it is inevitable that I in that process also lose a lot of nuances and authentic expression of them. Because of the obvious limitations of having only four limbs while trying to emulate grooves that are generally played by several percussionists or a drum machine, this problem was something I expected from the beginning.
For example, the snare drum in a maracatu has to be played with two hands to attain the traditional sound, but when mixing it with Drum N’ Bass I need to use one hand for another rhythmic layer, whilst compromising the snare pattern, picking out the important notes to emphasise with one hand only, as shown in the sheet music to the right.
Although I encountered this problem I feel happy with the result and the work arounds I made. As I have been showing some of my work to peer musicians who are also familiar with Brazilian rhythms, they have always been able to distinguish the Brazilian elements from each groove. This is proof that I have been able to maintain the essential rhythmical structure of the styles.
5.2. Question 2
- How can I attain the limb independence necessary to improvise and express myself freely within the framework of this new Brazilian/EDM rhythmic approach?
By following the steps in my method, I feel that I developed the limb independence required to start developing my musicality within this unique rhythmic language of Brazilian/EDM rhythms.
- The first step (4.1) felt crucial to get a general understanding of the rhythmical combinations and the difficulty lying ahead, making it clear for me that I would have to prioritize just a few combinations to make the work doable.
- The second part (4.2) was itself divided into three small steps. Using strict patterns in three limbs and allowing the fourth limb to play:
1. All displacements of 16th notes
2. Sight-reading
3. Improvising
Putting in the practice time needed with these strictly mechanical independence exercises served as a great starting point. Not only because I work through so many of the possible rhythmic combinations that might be used in future playing, but also because it gave me a clear plan to work from. Without that, if I was to jump straight into an improvisational context, I imagine being too overwhelmed and frustrated for not being able to execute my ideas and being too loose in my practice routine.
- The third step (4.3) of improvising and opening up the patterns by removing notes or measures, or adding variations in the limbs felt like the breaking point where I would go from interesting but mechanical groove combinations into an actual personal musical expression. After having followed a strict rhythmic schematic plan from the previous step, this felt like a both fun and feasible process. The technical foundation was already there, which gave me the opportunity to focus on musical choices and develop my artistic ear. Working like this with a more relaxed technique and an open mind I felt that I started to understand the rhytmical layers and the possible interplay between them even more. It also forced me to even higher levels of independence, as I tried to be musically aware of all my four limbs at all times, trying not to play any notes solely out of habit. This I felt definitely increased my attention to all the rhytmic output I create on the drum set, leading to a stronger feeling of intention and awareness, in both my playing and listening.
- Step four (4.4) was a natural last step to reach a musical result within the project. Concerning limb independence it was also a great step for me to see how the earlier practice routines have developed my coordination on the drum kit which made new ideas come out in a more flowing way. The practice process has certainly broken down a lot of barriers in my playing, encouraging me to always add new layers on top of others and pushing my own independence in any musical situation. I believe this is not only because of a more refined technique and limb independence, but also because of a heightened rhythmical awareness. Having reached step four in my method I felt that my ability of hearing rhythms on top of each other came more naturally to me and in that way it also feels easier to execute the rhythms I hear in my head on the drum kit, while maintaining other rhythms in other limbs. My playing now feels more intuitive and it comes more from within my musical mind rather than from my limbs in a mechanical and theoretical fashion.
The method in its entirety has shown great progress to help me express myself within the musical contexts of the cross-genre Brazilian/EDM rhythms.
5.3. Question 3
- In what ways could this new rhythmic approach to the drum set be effectively integrated into my musical compositions to reflect my personal artistic vision?
Working from the Brazilian/EDM rhythms as a takeoff makes my composing perspective all the more groove oriented. Since I want the compositions to fit well inside the genre hybrids that I have created, it is natural that I work with the underlying emphasized rhythms of the grooves. Both harmonic and melodic material will then follow the same rhythmical schematics or layers as the groove itself. This is very much in line with my personal artistic vision, as I want my music to have a high focus on groove, swing and be rhythmically consistent in its expression, throughout all its dimensions, not only in the drums and percussion parts.
In practice this is seen when I compose from the drum kit’s perspective, adding harmony or melody as if they were different drum orchestrations that still appear in the same rhythmical framework. For example, putting the harmonic change on an offbeat together with the emphasis of a kick drum, or composing a melody line with its rhythm revolving around one of the layers played by one of my limbs. Working like this has made my compositions integrate very well with this new approach to drum kit playing.
6. Reflection
Looking at the work I have done and reflecting on what it has given me in terms of musical insights and my artistic vision, I can see that this project not only gave me a desired result and answers to my formulated questions, but also some additional knowledge and ideas that I can bring to other projects separate from this one. I will therefore present some reflections on the main project along with new discoveries that have come as a by-product from the primary work. It is interesting to see the ripples that my project has given me that I can extend to other parts of my musical career.
In reflecting on the results, comparisons can be made to works like Tomorrow Comes the Harvest by Tony Allen and Jeff Mills, where the meeting of minimal techno and African rhythmic tradition similarly yields new musical identities rooted in both innovation and deep heritage.
6.1. Main Project
With the goal of this work ultimately being to find a personal rhythmical expression that feels true to my artistic vision and identity, I feel very satisfied with the result. What started in the method (4.1) as raw practice material of combining different chunks of rhythmic layers made way for a journey into a more personal musical expression. Looking at the results from the final part of my method (4.4), along with analyzing my playing and musical awareness in different situations, I can tell that these ideas are something that I never would have expected to come up with. However, looking at the whole process in retrospect, they seem to have emerged in a very natural way as a result of my personal taste, artistic vision and dedicated practice.
The new sound is reflecting my own musical background and personal preferences. My venture into both EDM and Brazilian music has been in different periods of my life, as two threads that did not seem connected, but this work has made that connection obvious.
This work ended up in a electronic jazz quartet with musicians that I met during my master studies in Gothenburg, Copenhagen and Oslo, in the Nordic Composing Musician program. Following is a short presentation of the band and some excerpts from our rehearsal together with short reflections, showing the connection between this project and the musical situations of the quartet.
I LOST MY LASER!
The quartet "I LOST MY LASER!" plays music composed by me, drawing huge inspiration from the Electro-Brazilian rhythms that I have worked with during this project. With short and compact melody lines and limited harmonic material, the compositions are inviting a free form approach to the performance. By opening up for improvisation and soundscape building within the otherwise groove based material creates even new genre hybrids, combining the electronic and Brazilian influences with the nordic jazz tradition as well as jazz fusion improvisation and rock. The three melodic pitch instruments together with their effect pedals serve as a complement, creating movement on top of the drum and synthesizers more solid framework.
The band consists of:
Björg Blöndal (IS) - vocals
Tuva Halse (NO) - electric violin
Oscar Andreas Haug (NO) - trumpet
Fred Warnby (SE) - drums, sample pad, synth & vocoder
"Superlike" is a song in the deep house genre, with heavy influences of samba rhythms. Although spending hours in my method practicing the deep house + baião combination, now adding samba rhythms instead came naturally. The independence is there and I also have a more clear idea of the Electro-Brazilian expression, allowing me to expand on various patterns within the genres. The syncopated rhythms also give a clear framework for the other improvisers to work on.
"Sing For Me" is a composition derived from the rhythmic framework of drum n' bass + maracatu that was used in my method for this work. Putting the groove in a context with other musicians forces me to develop further independence and musical awareness, since I have to interact with other improvisers, responding to new ideas while holding the foundational beat going underneath.
The song "Laserism" has an outro alluding to the the psytrance genre. Although I am not playing any samba rhythms (as done with psytrance in my method) you can hear a lot of syncopation going on together with the open and spacious attitude practiced in method 4.3. The coordination needed to excecute the faster samba patterns helps me play other rhythms in a more relaxed way, focusing on the musicality instead of the mechanics of playing.
In another part of "Sing For Me" I experiment with extending the rhytmic layers to the other instruments of the ensemble. In this example the traditional gonguê patterns are played in the violin and vocals, while a snare pattern is imitated on the trumpet. Distributing the fundamental rhythms makes me more free on the drum kit to emphasize the drum n' bass rhythms on top and also improvise without losing the structure of the groove. Placing the patterns in other instruments makes the music even more rooted to the Electro-Brazilian groove expression.
6.2. Secondary Results
Although having practiced strict patterns from the Brazilian and EDM rhythm categories, this project has really opened up new ways to approach the drum set for me. The hours put behind the drums in playing unusual patterns on my limbs has challenged and improved my coordination a lot. The solutions necessary to actually perform these rhythms together, especially using the left foot, has made me think entirely differently on how to build a groove. During the months of doing this work I can see how the result is not solely a new Brazilian/EDM genre hybrid expression, but the drumming style, groove building and my new limb independence also affects my drum kit playing across all genres.
The method’s last part (4.4) of adding compositional material through my sample pad has definitely heightened my awareness of rhythmical impulses and implications from harmonic and melodic instruments. This new knowledge is something that I feel has instantly carried over to my drum kit playing in various ensemble settings. After this work I feel more attentive to the rhythmical inputs that come with other harmonic or melodic instruments, as compared to before when I thought more of the drums as being the main source of rhythmic material with the other instruments being on top. Now I take the rhythmic input of other instruments more into consideration to adapt my playing after them, working more complementary in the groove section.
7. Future Work
Analyzing my method and seeing the positive results from it, I can tell that this is something that I can bring into the future of my musical and artistic development. Continuing on the path of a hybrid Brazilian/EDM expression, a next step would be to alter my limb orchestration to achieve even higher levels of independence and communication between my four limbs on the drum kit. For example, using the rhythms played by the left foot in my right hand instead, starting from step 4.2 in my method and working ahead from there. This would open up my playing even more and not make me bound to playing certain rhythms in certain limbs, but instead integrate the rhythmical system into my whole body, ear and musical awareness.
Seeing that the full method worked for creating a hybrid expression between my two chosen genres, it is fair to believe that this could be made again with two other styles. For example as seen in 6.2, this project has already given me new ideas for jazz and swing drumming. To extend on this, I can work through my method in the same way, but instead of combining Brazilian & EDM rhythms, I could then merge swing drumming with Brazilian rhythms, or swing and EDM rhythms. Even other styles could be taken into consideration, depending on where my future artistic path leads me. What I know now is that I have a plausible method and model to work after, that most certainly will help me reach new grounds and even bring me even more musical discoveries.
Thanks for taking interest in reading this work.
8. References
Artists and musical works
Young Lions Music Club. (2013). Maracatu Mar Aberto. Humble Empire
Carlos Malta & Pife Muderno. (2015). Lá No Suzano, Ao Vivo Na China. Delira Música
João Bosco & Aldir Blanc. (2018). Incompatabilidade de Gênios, drum cam by Kiko Freitas. Cordoba - Spain, 07/2018
Jojo Mayer. (2010). Sabian Omni Performance, Jojo Mayer - Jungle. SABIAN Cymbals
Millok. (2013). I'm Trippin. Blacksoul Music
Lunatica & Hypatia. (2020). Melt In Knowledge. Digital Om
Mills, J., & Allen, T. (2018). Tomorrow Comes The Harvest [Album]. Blue Note Records.
Literature and methodology
Prieto, D. (2016). A World of Rhythmic Possibilities. Dafnison Music
Garibaldi, D. (1990). Future Sounds: A book of contemporary drumset concepts. Alfred Music
Greb, B. (2016). The Language of Drumming. Hudson Music