Artistic Research Report

for the AR2 examination

Student name: Federica Bernabei

Main subject: Latin drums

Main subject teacher: Udo Demandt, Liber Torriente, Nils Fisher and Niti Ranjan Biswas
Research domain: ​ ​World music/Crossover
Research coach: ​ ​Michalis Cholevas

Title of the research:

“Rhythmical Crossover between tabla phrases and Brazilian rhythms”
Adapting and developing of the “Tirakite TakeTake” tabla phrase on drumset, applied and connected to
the rhythms of the Maracatu de baque virado of Pernambuco

Artistic Research Question:

“How can I adapt, develop and combine the Indian rhythmic phrase ​”Tirakite TakeTake” ​on drumset by
analysing different variations of it, such as grooves, fills and comping, based on the Indian taal called
Deepchandi​?
Moreover, by using a tabla composition called ​“Tirakite Tukra” ​based thus on the analyzed phrase, how
can I obtain a rhythmic crossover with the Brazilian rhythm called ​“Maracatu de baque virado” and how
can I integrate the result into my own personal language and into my own approach to the Maracatu?”

Keywords:
Tirakite TakeTake, Indian rhythmic phrase, Tabla, World Music, Crossover, Drums, Adaptation,
Improvisation, Permutation, Brazilian Music, Samba, Maracatu de baque virado, Pernambuco, Maracatu
rural, Hindustani classical music, Polymetric, Polyrhythm, North of India, Mantra, Caixa, Alfaia, Mantra,
Ohm-Namah-Shivaya

Date of submission: ​ ​25-03-2019

Date of AR examination: May 2019
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 Table of contents

1 Abstract 3

2 Introduction 4

3 Research findings 5
3.1 Presentation of the artistic result 5
3.2 Documentation of the artistic result 6
3.3 Explanation of progress during the research process 6
3.5 Conclusion 14

4 Documentation of the intervention cycles 15

4.1 First intervention cycle 15
4.1.1 Overview of first intervention cycle 15
4.1.2 Reference recording 16
4.1.3 Reflect & assess 16
4.1.4 Data collection 18
4.1.5 Intervention 19
4.1.7 Reflect on your progress since the first/previous reference recording 38
4.1.8 Short description of the next intervention cycle 39
4.2 Second intervention cycle 40

5 Reference list 57

6 Network 61

Appendices 64
Appendix 1: List of all recordings included in report 64
Appendix 2: Critical media review 65
Appendix 3: Full feedback on reference recordings 69
Appendix 4: Transcription of interviews 75
Appendix 5: Transcriptions/annotated scores/analyses 79

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1 Abstract
During my past two years of research, I began to investigate how to apply and adapt on the drum set the
Indian rhythmic phrase ​“Tirakite TakeTake”, played on tabla, thus, I have researched how to develop new
combinations and coordination of exercises through a personalized learning method. Specifically, during
my first year I have applied the rhythmic phrase Tirakite Taketake to drum set by dividing it among the
four limbs and in 3 different ways: 1) I respected the fingering of the tabla phrase and I played it without
following standard restrictions; 2) I contextualized it on my own composition based on the ​Deepchandi
taal (14 beats); and 3) I splitted the phrase as groove, ​Tihais and soloing on ​obbligato​. Hence, I gained
more freedom of choice and expression.
Thus, I have created different coordination exercises that have allowed me to achieve the necessary
means through experiments and a case study. Then, by continuing to use the same methods, I have
linked the previous results to the rhythmical patterns of the ​“Maracatu de baque virado” p ​ layed by the
Alfaia, a large wooden rope-tuned drum which completes the whole Maracatu ensemble with Gongue,
Xequere, Tarol, ​Caixa-de-guerra​, and ​Mineiro instruments. Thus, in order to start my next process, I have
decided to adapt the Alfaia drum to the bass drum of the drumset.Therefore, the work carried out during
the third cycle of intervention had the aim of coordinating the exercises developed maintaining the Alfaia
Patterns played by both feet, and adding the tabla phrase splitted on charleston, rimshot and drumset.
The nature of the rhythmic phrase allowed me to play with the phrase itself, interchanging components so
as to create and develop different phrases of the same length. This gave me the opportunity to interfere
the Brazilian pattern with the Indian one. I revisited a song played by Antonio Nòbrega, a Brazilian singer,
violinist and composer, called ​“Maracatu Misterioso” on which I applied the ​Tirakite Take“Tukra”.​ This was
played with different Alfaia patterns, highlighting accents on differents sound sources in order to make the
repeated phrasing (Tihai) clearer.
I have chosen to create this musical and rhythmical connection using the Maracatu pattern because both,
the Brazilian and Indian musical worlds, have a classical and repetitive setting, endowed of fixed structure
that always follow the same pattern with very little variations. Hence, I have thought that this experiment
could have been appropriated.
Therefore, the decision to name my Master’s dissertation by using the term of Crossover is motivated by
the fact that I have tried to connect distinct and heterogeneous musical languages that have brought me
to thinking, creating and playing music, differently from my previous musical background.
Hence, in this artistic work I have achieved a crossover in term of phrasing and musical language.
This research has allowed me to enriched my rhythmical language both in sense of grooving and
improvisation and, above all, it has changed completely my way of thinking music.
Specifically, the reason for this experiment was to break the mould of the concept of rudiments used by
drummers to create fills ​and ​groove.​ Hence, instead of playing the rudimental combinations, I decided to
investigate upon experimentation of language and phrasing, by passing through the phrasing of Tabla.
This new approach has enabled my mind to be free from rhythmical preconceptions and to think music
more freely.
The goal of my research is to add and connect the Indian phrase to a specific Brazilian rhythm by
crossing them, but at the same time, by preserving the rhythmical heritage of both. This allow the two
cultures to merge and creates an opportunity to begin a musical combination between the two genres,
aimed not only at a mere rhythmic juxtaposition but at a real fusion and interaction.
The choice of translating the tabla to drum is precisely meant to expand my possibilities on drums, since
their different musical timbre is difficult to imitate but can be adapted by using different colors from
drums.

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Therefore, the main goal of this research is to see myself using the tabla phrasing in my musicality and
avoid to think through drummer approach. I also expect to find a way to develop different kind of tabla
phrases in order to be able to improve my own phrasing and my improvisation and interiorize it in the
groove.
During my research I received valuable feedback from experts like Niti Ranjan Biswas, Ramon
Montagner, Diego Zangado, Felipe Veiga, Bernhard Schimpelsberger and Udo Demandt.

2 Introduction

Motivation and Goals

I​ have been ​playing drums since I was 16 years old. I got a musical education and I graduated ​in​ ​Jazz​
​Drums​ ​and​ ​Percussions at ​Conservatorio​ ​“Licinio​ ​Refice” in Frosinone​. Soon during my studies I have
realised that my Jazz and Fusion were becoming my passions, e.g. the experiments carried out by
drummers and musicians caught my attention, as I believe in evolution through experimentation. Although
I have had several ​experiences​ ​in​ ​different​ ​styles​ - ​and​ ​different​ contexts - ​I​ ​have realized​ ​that I wanted to
focus on experimenting on the drum set, whilst searching for new ideas and sounds. I firmly believe that
rhythm​ ​is​ ​not​ ​just​ ​a​ ​rhythm​ ​but​ ​is sound,​ ​color​ ​and​ ​of​ ​course​ ​melody, and this is why I would like to further
explore this area. As a drummer I find particularly rewarding being able ​to​ ​play​ using a ​good​ ​technique​
​and​ producing ​good​ ​sound​, but also the ​way​ the ​drummer​ ​is​ ​able​ ​to​ ​choose​ ​and​ ​adapt​ these ​in​ ​the​ ​music.

Four years ago I moved to Rotterdam where I joined the Jazz Department of the Codarts University as an
exchange student. Here, after attending the ​Tala​ ​minor​ ​lesson​ I​ ​realized​ that I was attracted by ​the
​different​ ​musical​ ​and​ ​rhythmic approach​, ​and​ I started developing an interest towards the union of what I
studied during those lessons and both the Brazilian and Cuban worlds. For these reasons, ​I​ ​wanted ​to​
​improve​ ​my​ ​drumming​ ​and​ ​to broaden my​ ​knowledge​ ​of​ ​rhythms, and to develop the capability of
​combining ​different​ ​kinds​ ​of​ ​music​. Additionally, I​ ​would​ ​like​ ​to​ ​put​ ​attention​ ​to​ ​the​ ​musicality​ ​in​ ​order​ ​to​
​release​ ​those​ ​patterns​ ​search​ ​sounds​ ​and​ ​rhythms that​ ​I​ ​can​ ​develop​ ​and​ ​so​ ​combine​ ​together.

By the end of my Master’s project I would expect that I will have acquired the required skills to ​combine​ ​in​
a ​natural​ ​way​ and,​ ​with the​ adequate ​drums​ ​technique,​ to ​approach​ to such ​different​ ​musical worlds,​ ​Latin​
​and​ ​Indian. Furthermore, I believe that I could develop ​a​ ​new​ ​concept​ ​of​ ​approach​ ​on​ ​the​ ​drums by
focusing on the ​development of ​a​ ​new​ ​improvisation technique,​ ​using​ ​both elements.

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3 Research findings

3.1 Presentation of the artistic result

I started my last Intervention cycle, by focusing to the feedback gathered in the previous artistic report. My
goal aimed to contextualize the studies carried out in this two years, applying them to a Maracatu song
composed by Antonio Nòbrega, a Brazilian singer, composer and violist, called ​“Maracatu Misterioso”.

The best way for me to do that, it has been to follow the approach of the Brazilian drummer Càssio
Cunha, who has written a book called “Polyrhythmic Coordinated Independence” in which He shows
some adaptations and variations regarding the rhythm of ​Maracatu​, and He showed how He has
implemented it into his musical style.

Hence, for this reason, I thought it has been appropriate to further investigate these materials, because
them have allowed me to adapt and assimilate better the Indian rhythmic phrase. I followed, thus, the
strategies called Experiment and Desk Research.

So, the natural process of my research is to play on a Maracatu song, including all the elements of
Maracatu itself and the Indian rhythm phrase, in order to create a new product.
In order to achieve this aim, I thought that I should stick to the ​Maracatu de baque virado (or ​Maracatu
Naçao​), and in its Alfaia drum.
The Alfaia pattern makes a great difference and it is really important where it puts the accent. The
performer, usually, plays a lot of accents, both as a stronger or softer notes, giving thus the real flavour of
Maracatu.
The Alfaia is played by the hands using the drumsticks and the left hand plays using the Traditional grip.
The accents played are displaced because the Maracatu comes from religion tradition, and because of
that, the performers couldn’t hang the drum, and it was crossed in the chest and being the Alfaia really
heavy. Therefore, they having no more power in the hands, the left hand got the soft accent, as a kind of
ghost note. This element is important to consider, because it contributes to create tension.

So the process I have made, it has been joke with the accents of both rhythm, Tukra and Alfaia, in order
to create a smoothy connection.
The second sixteen note is one of fundamental base of the Brazilian swing in general, and that’s
important to say because, usually, people think that it’s on the fourth and the first.
These are also important but the swing is focused more on the second sixteen note, as mostly it is for the
all Brazilian rhythms.
I decide, thus, to highlight this musical connection by including ​“Tirakite Tukra” c​ omposition and its
elements based on the namesake rhythmic tabla phrase.

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3.2 Documentation of the artistic result

Third Recording

Tirakite Tukra applied on Maracatu de baque virado (19.03.2019)

(​https://www.youtube.com/watch?v=OFASBKkmzKQ​)

3.3 Explanation of progress during the research process

Process
After the feedback received from the previous report, the Second Intervention cycle, I decided to better
combine this rhythmical crossover starting to dig in deeper in the aspects of Maracatu de baque virado by
careful attention to the Alfaia drums, the real essence of this beautiful rhythm.

Hence, I chose to use different Alfaia patterns ​(Fig.1)

Alfaia patterns (Fig. 1)

Then I adapted the Agogo bell ​(Fig. 2) b​ y following the suggestions already mentioned by the Brazilian
drummer Cassio Cunha, who has adapted the Maracatu rhythm on drumset, by creating different line of
polyrhythm.
Indeed as I showed both in the recording, and below in ​Fig.3, I​ played the Agogo pattern with the right
hand, and in the meantime, with the left hand, I continued to play press rolls by accentuating always the
second sixteen, as the Alfaia drum does.

Agogo pattern (Fig. 2)

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 Maracatu with the Agogo pattern (Fig.3)

Regarding the Indian part, I chose to play a composition based on the ​Tirakite Take phrase, called
Tirakite Tukra.​ In Hindustani music, ​Tukra i​ s a small composition containing a ​Tihai​. Below, I mentioned
the adaptation of this composition on the pentagram, in order to understand the rhythm of it. ​(Fig.4)
In tabla composition, ​Tukra means “part of a piece”. It plays usually in the final section of a tabla solo with
great speed and energy in term of character. Usually, ​Tukra ends with the ​Tihai​, built up using parts of the
main phrase itself.
As I mentioned below, I decided to cure the adaptation of the ​Tukra on drums ​(Fig.5) by choosing to
involve the cowbells instead of the other sound sources that drums offers. That’s because I thought that
this kind of choice could be more linked and appropriate into Maracatu rhythm. In order to understand
completely my work, I recorded, firstly, the composition on tabla and then I played the adaptation on
drums. Endly, thanks the length of the phrase, I chose to play ​Tirakite Take Tukra on Maracatu de baque
virado,​ in order to create a long phrase which it allowed me to link both genres.

Here below, the Indian composition:

Tirakite Tukra

Dha Tirakite Take Tirakite Dha

Dha Tirakite Take Tirakite Dha
Tirakite Dha Tirakite Dha
Dha Tirakite Take Tirakite Dha
Tirakite Dha
Ta-ra-n Kitetake Tirakite Dha
Ta-ra-n Kitetake Tirakite Dha
Ta-ra-n Kitetake Tirakite Dha

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 ​Tirakite Tukra adapted in Western notation (Fig.4)

​Tukra applied on Maracatu de baque virado (Fig.5)

The ​sticking used to highlight the tabla composition played on drums, which is basically carry on by the
right hand, as it follow in Fig. 6 and 7, correspond to the tabla fingering.
I chose to use the same tabla fingering, thus Rl (unisono with both hands) RR-LRRL- RRLR- Rl, in order
to set that up, by thinking that this kind of ​sticking ​had been suitable for this complex adaptation.

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 Rl RR LR R L RR L R Rl Rl RR LR R L RR L R Rl

First part of Tirakite Tukra (Fig.6)

. R L L R Rl R L L R Rl

Second part of Tirakite Tukra (Fig.7)

By continuing with this experiment, I decided to insert it into a context, therefore, I started to analyze a
composition written by Antonio Nòbrega called ​Maracatu Misterioso.​ ​(Fig.8)
I chose to investigate on this song because the ​Maracatu de baque virado ​is usually played by a parade
composed of a drumming ensemble, thus basically, in these genre, it is highlighted just the melody played
by the ensemble, while the harmony is completely absent.
Therefore, I chose this song because I was looking for a completeness in term of melody and harmony, in
order to better work out my intervention cycle.
Hence, I adapted the “Intro groove” ​(Fig.9) ​by following the melody played on piano and by highlighting,
thus, the same accents.

Maracatu Misterioso melody (Fig.8)

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 Intro groove (Fig.9)

​ hich
I organized the structure of this song by playing 4 different grooves of ​Maracatu de baque virado w
last 4 bars each. I played the song in 120 bpm because both rhythms, Indian and Brazilian one, are
usually played in fast tempo, and this timing is adequate for both.
Below, I add the whole drums sheet, arranged by myself. ​(Fig. 10)

So I have connected the ​Maracatu de baque virado and the ​Tirakite Tukra composition by using the same
prominent backbeats accents. These backbeats are very important so as to keep the groove going on.
Regarding the ​Tukra part, I have decided to adapt it in the same beat (120 bpm), even if I think that it
could be suitable played the mentioned composition in double time, in order to respect the Indian flavor.

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​Maracatu Misterioso complete arrangement chart (Fig. 10)

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Regarding the sticking used on the ​Tihai in the first bar, I​ played a linear phrase, which it has involved
snare drum, bass drum and floor tom, by playing the ​Sum (*) o ​ n the crash cymbal. Thus I used the single
stroke roll sticking, instead, in the second bar, I used a sticking combination between two different
Inverted Paradiddle​ (**) such as RLLR - LLRL. ​(Fig. 11)

RL -- RLRL R L LR L L R L

Tihai (Fig.11)

(*) ​Sum, in Hindustani music, it coincides with the first beat of a cycle
(**) Paradiddle ​is a rudiment play by drummers and percussionists which consists of two alternations of
notes followed by two notes of the same hand. For instance RLRR LRLL

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3.4 Assess and expert feedback

Assess and Reflects

I believe that among all the intervention cycles made so far, this has been the most difficult, because, by
treating with completely different topics, I had to link them together, by trying to create a new and original
product. I paid attention not only to the feedback received, but also to different musical sources that
involve the two worlds. Hence, I tried to respect their structure and stylistic tradition at most, by finding a
compromise between them. I found the work carried out by Cassio Cunha, shown in his educational video
on Maracatu, to be very useful in order to achieve my goal. ​I ​therefore need to ​mention the importance of
the Bernhard Schimpelsberger book, which it has helped me to easily understand the complex Indian
metric musical system, by allowing me to explore new horizonts.
So, the Third Intervention cycle has been really interesting and fun to me.
Subsequently, I tried to revise the information gathered and add them on my own method. During this
course of study, I had the opportunity to do other more ethnographic and historical researches, which I
could not insert into the thesis due logistic reasons. Basically they have partially certified to me that the
research topic that I chose, it works and that it could be easily developed it in the future, thanks to the
nature of the topic treated in itself.
In addition, due the vastness of the topic, I strongly think that it deserves a thorough and detailed study.
This will be my next aim, even after this studies path, because I realized that I’m really attracted to study
and experiment new things.​ ​Above all, when it almost comes to an unexplored subject.
In conclusion, my final goal aims to enrich my knowledge of the Maracatu using the sound logic of the
Indian tradition.

Feedback and Networking

I gathered the following feedback by asking to colleagues and experts. Given that some answers are so
similar, I chose to list the more meaningful and so I will not going to list all the name. Most of my
networking is composed by same expert which already know my research path; hence, basically I asked
them what they think about my result and if they have tips to share to me.
Networking is composed by Udo Demandt, Niti Ranjan Biswas, Liber Torriente, Laurienne Ghils, Marijn
Van der Linden, Giuseppe Bordasco, Marco Castaldo, Max Ravanello, Edoardo Liberati, Saulo Bortoloso,
Netho Nascimento, Felipe Veiga, Ruven Ruppik, Bernhard Schimpelsberger, Nunzio Moskito Toscano,
Nello Vitiello, Tarang Poddar, Alessandro Inolti, Ramon Montagner, Diego Zangado, Elizabeth Fadel and
Dario Virgillito.

Summarizing of feedback:

● Experiment well fixed. Interesting concept.

● Continue to play ​Tukra​ using the press roll
● Match the ​Shekere​ line together with ​Agogo
● The bass should play each ​Dha d ​ uring the Tihai
● Piano has to play more tight
● Explore more the melody by applying ​Tirakite​ phrase
● Continue to play press rolls during the Tukra in order to maintain the Maracatu flavor
● Linear phrase rushed

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3.5 Conclusion
The aim of my Artistic Research is to improve my own phrasing and my improvisation by using the Tabla
language and its concept. As a drummer I think it is very important to escape away from pre concepts
drummer studies, by starting, instead, to speak a different musical language. This it allows to express
yourself in differents musical ways.

Looking back, I find deeply improvement both in my drumming and in my way to create and understand
music. I think that, thanks these studies, I am more aware during the process of playing and create music
with other musicians. I realized that now, I keep attention to things that I never did before. This is why, the
way I think is changed. All the informations gathered during this process of studies, have allowed me to
discover a very interesting music world, to which I am absolutely attracted. The use of different language
based on syllables and by using different voice sounds, it has aroused great interest and stimulus to me,
even if this needs a lot of time and practice to develop.

In this two years I also started to study Tabla. I never thought I could study this such beautiful instrument
and I realized that I really love play it.
Indian rhythm has really changed me, thankfully, indelibly. This is one huge step both for my study career,
as person and musician, that is exactly why I developed the willingness to go forward these studies even
after my graduation.
I hope that this studies will act as a stimulus for someone else who has the desire and the inquisitiveness
to reach this interesting topic.

I am proud of myself, about the progress achieved so far, even if I am aware that I didn’t figure out yet
some drummers’ issues, and I am aware that, in order to completely interiorize this process, there is still a
lot of work to do. I need more time but I think that I used a good approach. Hence, I am looking forward to
achieve it and discover new aspects from Indian rhythm. By continuing with the process of crossoving, I
think I should have to dig in deeper in the aspects of Indian Rhythm apart from this phrase to make a
crossover.
Same concept, how to concern Brazilian rhythm, both in the present case of Maracatu, and to other
rhythms which require adaptation on drumset.

Another aspect that I considered useful to me, it has been conduct the research about the history of these
two topics. It’s very important to know the roots of the subject take into analysis, by asking why and where
it comes from, in order to obtain precioused answers,useful to follow your path.

In conclusion, I am satisfied about the work I did and I have the sensation that I have found a good
approach of mix up two different worlds music, respecting both traditions and own rules.
Crossoving is a beautiful mechanism. It allows you to enrich your own language and background, by
giving the way to benefit from each other cultures and knowledge.

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4 Documentation of the intervention cycles

4.1 First intervention cycle

4.1.1 Overview of first intervention cycle

During the process of my first intervention cycle, lasted almost one academic year, I tried to adapt on
drumset my knowledge of Indian taal learned in the Tala minor lessons, which gave me time to focus and
prepare to explore in accuracy of gathered data both in sense of imitation of tabla sound and no sound,
typical of the Indian music language. Hence, this process gave me the manner to understand how many
combinations and possibilities I could have had and how many possibilities I could have developed on my
main instrument.
In order to achieve my goal, I thought that the initial stage had to be start from the base of the Indian
rhythms. For this reason I have chosen to start to investigate on the ​Deepchandi taal,​ given that it is a
rhythm composed by 14 beats and it is easily manipulable in term of syllables used and in term of metric
division. Hence this taal led me to use and mention on drums also other two taal in 7 beats, called
respectively the ​Rupak​ and the ​Tivra ​taal.
Subsequently, following the previous approach, I decided to investigate on a very small and basic tabla
phrase called “Tirakite TakeTake” on which I based all my research.
Thus, I chose to connect both studies done, until up now, for my first recording, adapting this rhythmic
phrase on my own composition precisely based on Deepchandi taal, by respecting some fixed
parameters, which helped me to better understand the use of the phrase itself, in this first phase.
Therefore I decided to adapt “Tirakite TakeTake” phrase into a groove, fills and Tihai* cycle.

(*) Tihai: In Hindustani music, the ​Tihai is the repetition of specific group of ​Bol​ (or beats) by three times.

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4.1.2 Reference recording

Zero Recording

​Deepchandi​ taal​, “TiteK​ataG​​adiG​​ane​”​ Tihai, (electronic​ ​drums. 31.Oct. 2017)

(​https://www.youtube.com/watch?v=V9ahA25IU2k&t=20s​)

4.1.3 Reflect & assess

I have never done this kind of work and I have realized that this method is very helpful.
It’s an hard challenge compare this different percussion instruments, both for its physical structure and
sound obtained, bot, and more important, for the way used in order to achieve sound.
The indian percussionists use a special vocabulary of syllables that they use in order to describe the
patterns that they play. The syllables mimic the sounds that come from the drums. Each strokes or
combinations of them, has it own word or set of words that it combine into an alphabet of phrases. These
strokes are played both with tip fingers and the whole hand.
Drums is mostly played with sticks, thus the sound achieved is different and despite the different
approach, they conserve the same sharp sound.

I noticed that recording your study sessions or parts of them, by asking for feedback and reflect on these
recordings, allows you to look at your study material from another point of view and it helps you to
improve your way of studying and playing.
As I am not ​familiar​ yet ​with​ ​the​ ​Indian​ ​music​ ​and​ ​odd​ ​meters​, so I​ ​need​ ​to​ better ​analyze​ ​and practice
indeed I notice that I did not prepare the transition between the two sections, as I played the tala in a
literal way involving charleston, bass drum, and snare drum, in the first place, to then switch to a free
play. However, I believe that the ​preparation​ ​between​ ​sections also needs to be ​improved, taking into
account ​the​ ​atmosphere​ ​of​ each ​part​ ​of the ​piece​ ​and​, thinking ​where​ ​it will lead.​

My thoughts are in strong agreement ​with​ ​all​ ​the​ ​analyses received from my feedback references ​and​ I
am determined to ​improve​ ​my​ ​drumming​ ​and​ further ​study ​following​ the below-mentioned advices. ​Those​
​feedback​ have ​been​ ​very​ ​useful​ ​for​ ​me​ as ​they​ ​highlight​ the ​many​ ​different approaches​ I​ ​can​ employ ​to​
​play​ ​meters​ ​and​ ​rhythms​ ​apparently​ ​hard, ​even​ thinking in a ​simple way.
As a drummer it is important and exciting at the same time, to know how it is possible to transpose and
adapt indian concepts and sounds on the drumset by properly using Western drum languages.

From​ my research I expect​ ​to​ ​be​ ​able​ ​to​ ​interiorize​ ​odd​ ​meters,​ ​and to find ​a​ ​way​ ​to​ ​develop​ ​different kind​
​of​ ​tabla​ ​phrases​ ​in​ ​order​ ​to​ ​be​ ​able​ ​to​ ​improve​ my ​own phrasing and my​ ​improvisation​ in order to
​interiorize​ it ​in the groove.

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Feedback

I​ have gathered​ ​feedback​ from​ ​my​ ​teachers here in Codarts, as well as​ ​drummer​ ​colleagues​ who are
expert​ ​in​ ​this​ topic​.

Udo​ ​Demandt:
He​ ​suggested ​to​ ​avoid to always put​ ​the​ ​kick​ ​on​ ​the​ ​one​, ​and​ ​try​ ​to​ ​play ​the​ ​bass​ ​drum​ ​each​ ​4 bars​, ​or
also​ ​try​ ​to​ ​play​ ​around​ ​the​ ​one,​ ​such​ ​as​ ​in​ ​the​ ​off-beat, changing the character of the sound.​ He further
suggested to play​ ​the​ ​pulse​ ​start​ ​with​ ​syllabus​ ​and play​ ​around it,​ ​going​ ​in​ ​double​ ​and​ ​in​ ​half​ ​time.​
​Regarding Tihai,​ He suggested ​to​ ​use​ ​it​ ​to​ ​create​ ​a​ ​groove,​ ​also interrupting​ ​the​ ​whole​ ​cycle with ​the​
rests and ​dynamics.

Niti​ ​Ranjan​ ​Biswas:

He suggested​ ​to​ ​use​ a ​little​ ​part​ ​of​ ​Tihai​ to ​close​ ​the​ ​Tala​ ​cycle, and concerning ​the last​ ​part​ ​of​ ​Tivra​ ​Tala,
​“Tite​ ​Kata​ ​Gadi​ ​Gane”,​ ​he​ ​proposed ​to​ ​use​ ​different​ ​ways​ ​of​ ​approach, e.g. ​more notes ​in double time,
and ​use​ fewer ​notes, or rather ​part​ ​of​ ​them.

Alessandro​ ​Inolti​:
Alessandro suggested not to ​play​ ​the​ ​electronic​ ​drums​ as ​it​ ​lose​s ​the​ ​real​ ​sounds, and it does not enable
me to employ and valorize​ ​completely​ ​the​ ​dynamics. ​Another​ ​method​ ​that​ would ​be​ ​useful​ for me ​is​ to
​memorize​ ​the​ ​melody​ ​and play​ ​on. In order to​ ​avoid​ ​to​ ​always​ ​mark​ ​the​ ​first​ ​beat​, ​He​ ​suggest​s, as Udo
Demandt did,​ ​to​ ​put​ ​rest​ ​or​ ​change​ ​the​ ​quality​ ​of​ ​the​ ​sound, choosing a different drum.

Danilo​ ​Ombres​:​
Danilo is​ ​agreed ​with​ ​the​ ​previous advices​, and in fact ​he​ ​suggested ​to​ ​think​ of ​the​ rhythm ​cycle​ ​as​ a
​continued​ ​melody​ ​to play​ ​on.

17
4.1.4 Data collection

For my first intervention cycle, I started to investigate on two books. I provide ​here​ the samples​ which
have been ​useful​ ​for​ ​my​ ​research as​ a ​references. These two references have been very important for
me and for the conduction of my research, thus I would like to examine them in depth:

1) Gregory Michael​ ​Diethrich​ (1995). “The​ ​art​ ​of​ ​North​ ​India​ ​Tala​ ​drumming:​ ​adaptations​ ​to​ ​the​ ​
African-American drumset​ ​tradition”. San Jose State University, California: Master’s thesis and Graduate
(​http://scholarworks.sjsu.edu/cgi/viewcontent.cgi?article=1985&context=etd_theses​)

The​ ​first​ book​​ has piqued my interest​, because,​ ​as​ ​the​ ​title​ suggests,​ it regards ​the ​adaptation​ of
​compositions​ ​and​ ​techniques​ ​from North​ ​indian​ ​tabla​ ​drumming​ ​to​ ​the​ ​drumset​ ​in​ ​African-American​ ​jazz​
​and​ the ​related​ ​traditions.​
As each​ ​kind​ ​of​ ​music,​ ​traditions, ​and​ ​repertoire​, ​have​ ​different​ cultural ​backgrounds, ​each​ ​composition​
​analyzed needs to be treated with ​different​ ​approaches​ ​and​ ​methodologies​.​ ​Diethrich​’s approach consists
of assigning ​each​ ​stroke​ ​of​ ​the​ ​tabla​ ​one​ ​or​ ​two​ ​corresponding​ ​timbres​ ​on​ ​the​ ​drums,​ only ​at the​
​beginning, in order not to affect​ ​the​ ​musician’s​ ​creativity.​ ​Besides​ ​the​ ​sounds​ ​approach​ ​he​ provides
​rhythmical​ ​references​ ​to​ ​explain​ ​the​ ​Tala​ ​words​ ​in​ ​the​ ​drumset,​ e.g. ​“Dha”​ ​is​ ​a​ ​quarter note,​ ​“Dha​ ​Ghe”​ ​is​
​two​ ​eighth​ ​notes, etc.
I particularly focus ​my​ ​attention ​on​ ​some​ parts ​since I ​think​ these represent a chance ​to​ ​improve​ ​and​
​develop​ ​my research. In particular, starting​ ​from​ ​pag.​ ​40​ ​the​ ​author​ ​discusses ​the​ ​relationship​ ​between​
​Khali​ ​and​ ​Thali​ (female​ ​and​ ​male sound), and I found this ​an ​important​ point of view which helps to
​valorize​ such a relationship ​during​ ​the​ ​performance​ ​using the concepts of Tala, regarding​ “​sound​ ​and​ ​no​
​sound” playing.
​Furthermore, the author focuses on a ​methodology​ ​for​ various ​adaptations​ ​to​ ​the drumset​ ​using​ several
​approaches​ ​and​ ​considering​ ​different​ ​idiomatic​ ​contexts.​ ​One​ ​of​ ​the​ ​method​ suggested,​ ​is​ ​to​ ​use​ ​the​ ​Tala​
​as​ ​a​ ​technical​ ​exercise​ ​of​ ​independence,​ ​associating​ ​the​ ​timbres​ ​of​ ​the​ ​tabla and​ ​also own​ ​Tala rhythm​,
applying on ​different​ ​part​ ​of​ ​the​ ​drums​ ​in​ ​a​ ​strict ​way​ ​and​ ​also​ ​in​ ​a​ ​free​ ​association. (pag.​ ​70​ - ​76​).
From ​pag.​ ​77 onwards,​ the author ​suggested​ ​to​ ​use​ ​the tabla fingerings​ ​on​ ​the​ ​drumset.​ ​The​ ​effect​ ​is​ ​a​
​light​ ​feeling​ ​as​ one ​play​s ​latin​ ​instrument​ ​percussions​ ​using​ ​the tabla​ ​fingering.​
Finally, He​ ​analysed​ ​the​ ​adaptation​ ​of​ ​the​ ​Tala​s ​Deepchandi,​ ​Rupak​ ​and​ ​Tivra​ ​taal.​ ​He​ ​resumed​ ​all​ ​the​
​approaches,​ ​strictly​ ​and free,​ providing ​some​ ​specific​ ​timbre​ ​bols-​ ​assignment. ​(pag. ​93​-104​)

2) Bernhard Schimpelsberger (Linz, 2011). “Advanced​​ ​indian​​ ​rhythm​​ ​studies​​ ​for​​ ​Western​​ ​Musicians, a
guide through the Secret Rhythm Calculations”​​ ​
(​http://www.bernhard.co.at/uploads/4/3/4/1/43419133/advanced_indian_rhythm_studies_for_western_mu
sicians_-_bernhard_schimpelsberger_short_teaser.pdf​)

The​ ​book​ ​explains​ ​in​ ​great​ ​detail​ ​the​ ​mathematical​ ​structures​ that ​form​ ​the​ ​base​ ​of​ ​the​ ​Indian​ ​rhythm
system.​ ​The​ ​aim​ ​is​ ​to​ ​recycle​,​ ​simplify,​ ​and​ ​define​ ​it​ ​in​ ​a​ new ​more​ ​open​ ​compound​, ​therefore making​ ​it​
​more​ ​accessible​ ​to​ ​Western​ ​students​.​ ​The​ ​studies of structures​ ​and​ ​calculations​ ​are​ ​basic and traditional​
​mathematical​ ​old concepts.​
In​ ​this​ ​book​ it ​is possible to understand ​how​ ​to​ describe a ​rhythm​ ​from​ ​a​ ​mathematical​ ​perspective and
how ​to​ ​perceive​ ​rhythm​ ​as​ ​space.​

18
As Schimpelsberger​ states,​ ​the​ ​rhythm​ is ​an architecture​ ​of​ ​space​ ​and​ ​time​ ​can​ ​be​ ​arranged​ ​into​ ​exciting​
​musical​ ​designs.
Gaining​ ​musical freedom​ ​is​ ​always​ ​one​ ​of​ ​the​ ​highest​ ​goals of a musician. The ability to ​perceive​ ​rhythm​
​as​ ​space, will​ ​bring​ in ​freedom​ on ​what​​ to ​play​ ​and​ ​compose.

4.1.5 Intervention

Process
I followed ​the Strategies ​called​ ​Case​ ​Study​ ​(​with​ ​Triangulation​ ​method), Desk Research and​ ​Experiment​.
Starting for the Zero Recording, ​I​ ​decided​ ​to​ ​record​ ​part​ ​of​ ​my​ ​studies​ ​about​ ​Deepchandi​ ​taal​, in 14​ ​beat
(Fig.11)​, by playing​ ​the​ ​Tala​ as a fixed groove (Fig.13) and then, I continued to ​underline​ ​the​ ​syllable​s just
by changing sound sources on drums.
I​ ​chose​ ​to​ ​play​ ​in​ ​130​ ​bpm​, as it ​is​ ​a​ ​kind​ ​of​ ​timing​ ​suitable​ ​for​ these ​applications.
The​ ​right​ ​hand is the leading one which it has started to play​ ​on​ ​the​ ​hi-hat for​ ​the​ ​first​ ​four​ ​bars.
Successively,​ ​in​ ​the​ ​next​ ​bars, during the transition to the second part of the experiment, I ​played the
phrase ​the​ ​“T ​ iteK​ataG​adiGa ​ ne”,​ ​ ​which are​ ​the​ ​last​ ​4​ ​beat​s ​of​ ​Tivra​ ​taal​ ​(​7​ ​beats 3+2+2 : Dha Dhin Ta Tite
Kata Gadi Gane).​
​Later, I​ ​switched​ ​on​ ​the​ ​ride​ cymbal ​in​ ​a​ ​free​ ​playing,​ thus maintaining the​ ​Tala​ ​on​ ​the​ ​drumset, drawing
​attention​ ​to​ ​“Khali”​ ​and​ ​”Thali”​ ​(female​ ​and​ ​male​ ​sounds).​ ​
I​ ​played​ ​a​ ​rhythmic modulation​ ​on​ ​the​ ​Tala,​ ​which ​lasted​ ​the​ ​all​ ​Tala​ ​cycle,​ i.e. ​14​ ​beats.​ In​ ​the​ ​free​ ​part​, I
mentioned​ ​the​ ​last​ ​part​ ​of​ ​Tivra​ ​taal​ (​​“tite-kata-gadi-gane”​)​ until ​the​ ​end​, ​when​ I​ ​passed​ ​again​ ​on​ ​the​
​hi-hat.​ ​FInally, I concluded​ ​with​ ​the​ ​Deepchandi​ ​Tihai, which reads as follows:

Titekatagadigane DhaDhaDha
Titekatagadigane Dha-Dha-Dha-
Titekatagadigane Dha-- Dha-- Dha--

Deepchandi taal (Fig.12)

Deepchandi taal groove (Fig.13)

19
4.1.6 New reference recording, assess and expert feedback

New references recording

Drums Recording​:

Tirakite Taketake applied on Deepchandi taal AR1 (20th of April, 2018)

(​https://www.youtube.com/watch?v=PlMi7K6Vpnw​)

Tabla Recording​:​ (2 months studies) (20th of April,2018)

“Tirakite TakeTake”
(​https://www.youtube.com/watch?v=iM6aK90nBe4​)

“Tirakite Taketake Kaida”

(​https://www.youtube.com/watch?v=qZBK3acup24​)

“Tirakite TakeTake Kaida and paltas”

(​https://www.youtube.com/watch?v=KVwvJXmRn_c​)

Tirakite TakeTake

After the process made for the Zero Recording I realize that the documentation that I have used, it was
not sufficient or perhaps, I should say, incomplete. Especially because this musical world is new and
exciting to me and in order to achieve my goals, I believe it should be appropriate to consider several
points of view in such a way as to enable me to choose convenient research paths.
And this is precisely why, firstly, in order to better understand how this concept works, I thought that it was
necessary that I start studying tabla.
This was useful to me, as I noticed that I would understand which approach was best to use on the
drumset, and which different kinds of tabla sounds I can translate and adapt to the drumset. Secondly,
and not of less importance, I learned the tabla fingering, which I can compare to drum sticking and use it
during my settlement process.
Furthermore, I think that, when exploring a new rhythm, it is important to study that rhythm on the original
instrument in the first place, before applying it to the drumset. This allows a deeper understanding of the
instrumentation and offers greater possibility to expand this concept and its vocabulary to other music
styles. Continuing to conduct my research I decided to focus the attention on a particular phrase, in a way
which to be more specific as possible.
Hence, I chose “​​Tirakite TakeTake​” as a phrase to study and develop. It is a very small and basic phrase
used in tabla repertoire in Indian classical music (known as Hindustani music), compositions, and solos. It
has fascinated me because, despite being a small phrase, it is possible to develop and make different

20
coordinations from and of it, making parts bigger or even smaller, and also creating different phrases by
improvising around it. ​(Fig.14)

(Fig.14)

History of Gharanas and the origin of ​Tirakite​ p

​ hrase

Let’s work backwards: before starting to discuss the specifics, it is important to know the origins of both
Indian music and the phrase in question, in order to better understand this fascinating and complex
musical world.

In India there are six different schools of Tabla called Tabla Gharanas. The first and oldest Gharana of
Tabla is Delhi, where Tabla was invented. The Masters of the other schools came to Delhi and began to
study with those Masters who had started this new tradition. Later, they came back to their cities, and in
accordance to the particular music style of their origins, they changed some of the playing techniques and
compositions.

The six schools are: ​Delhi Gharana, Ajrara Gharana, Lucknow Gharana, Benares Gharana, Farukhabad
Gharana and Punjab Gharana​.​ Punjab is the only Gharana that did not evolve from Delhi because they
have evolved from the Pakhavaj repertoires (an Indian barrel-shaped, two-headed drum, tuned like tabla),
and started to play on Tabla, adapting those compositions to the tabla technique, which has different
fingers techniques. All the others Gharanas went instead to Delhi Gharana.

21
The ​Ajrara Gharana​, was founded by one Maestro, Miru Khan, who came to Delhi to learn this style; then,
in accordance with the music style of his city area, Ajrara, he changed few things, mostly the Delhi
compositions, which had been mostly composed in two and four. Hence, he introduced triplets to form the
characteristic of Ajrara Gharana.

In order to play ​Tirakite​ phrase, Delhi used a two-finger technique, index and middle fingers, while Ajrara
changed this playing technique by using the last three fingers. In particular, Delhi is a medium-tempo
style, where everything is played in medium-fast tempo and where they slightly changed the finger
techniques, in order to bring those medium-speed compositions into a faster tempo. That is how it
became a new style: it plays everything fast.

The ​Benares Gharana​ also comes directly from Pakhawaj, a style similar to Punjab, but the playing
technique is sliding with an open, freehand style because Pakhawaj is a big drum, so it needs power and
thus uses more fingers, whereas Delhi on Tabla started to use only the fingertips, in order to make the
sound more subtle.
In the tabla style, we have two major playing techniques. There is an open and powerful style like
Pakhawaj, where all of the last three fingers are used together, in order to play the ​Tirakite ​phrase, and
there is also a closed technique, which uses subtle fingers techniques to obtain a subtle sound.

In India there are two main differents styles, the louder and more powerful style (Punjab Gharana), and
the settle style (Delhi Gharana), as well as the six Gharanas. The only difference is the sound.

When tabla was recognized and established as a style with its own technique, musicians also did a lot of
research about sounds. The Tabla syllables are extremely connected with poetry, and thus words, by
individual dialects and languages. In fact, during the singing of those syllabes, the lips do not touch each
other. This makes it easier to sing with a fast tempo, in comparison to the Pakhawaj sound, which needs
the lips to touch, producing an “M-” sound. One example, concerning the diversity of language, can be
found in Calcutta, where at the very beginning they used to say “​​Terekete​”​ instead of the current
“​​T​irakite.​”​ Benaras and Farrukhabad pronounce “​​TeTekite​”​ .

Turning to the origin of this phrase, it dates back to ancient times with a percussion from India called
Pakhawaj, a descendant of Tabla percussion. The phrase, when analyzed, is one of the most important
rhythmic phrases in percussion.

Tirakite​ phrase in Pakhawaj instrument is essentially ​Titekata​,​ a phrase that can be found in Chautaal (14
beats) as “​​titekata-gadigane​”. The first two letters of ​Tirakite​,​ in origin, are “​t​ ​ite​” and in tabla. Since the
technique is more refined than Pakhawaj, more speed can be reached and achieved with Tirakite
(therefore, ​Tira​), instead of ​Titegada​ (therefore, ​Tite​)​ .

“​​Tite,​”​ in itself, is the mother of ​Tirakite​,​ as it is built by joining two phrases together: tite and kite.

About playing technique there are different ways to play ​Tirakite​.​ In Delhi Gharana, the oldest Tabla of
Gharana style (18th Century) “​​Ti​”​ and “​​Te​”​ are played by middle and annular finger, “​​Ra​”​ with the index,
and “​​Te​”​ with last 3 fingers. In Lucknow Gharana, “​​Ti​” is played with the middle finger, “​​Ra​” with the index
and “​​Te​”​ with the annular because it allows the musician to play more ​Tirakite​ next to each other. Benares
and Punjab Gharana uses the full hand for “​​Ti​” and “​​Te​”​ in order to obtain a stronger sound, but it is not
settled.
22
In order to understand and know more about this particular phrase, I have chosen two videos which I
think convey its sense deeply:

● Zakir Hussain explanation ​Tirakite​:​ (​https://www.youtube.com/watch?v=ZB3Fb1hhF_w​)

● Different styles of ​Tirakite​:​ (​https://www.youtube.com/watch?v=Tq5huzFsDJc&t=75s​)

Strategy of the First Recording

My determination to achieve this goal has led me to follow precise strategies, specifically, Desk Research,
Experiment and a Case Study.
In particular, my first step consists of translating the tabla fingering to drum sticking.
The phrase “​​Tirakite TakeTake​”​ is played on tabla as if follows: on the ​syahi​ (black circle) of the dahina
“Ti”, ”Ra”, ”Te” as flat sound - ”Ta” - “Ta”, on the​ ​gajra ​(​ tabla rim) of the dahina as open sound. As per the
bayan,“Ki”,“Ke”,”Ke” are played as a flat sound, with the left hand palm on the ​syahi. ​
In order to transpose this phrase on the drumset, this concept involves the following observations for a
drummer: “​​Tirakite TakeTake” ​is a linear phrase, or rather, each stroke/sound is not played together with
others; the fingering is easily adaptable with the following sticking RRLR-RLRL.
The exercise from which I began to study, has consisted in taking a phrase and play it in different
subdivisions, e.g. eighth notes, sixteenth note, thirty-second notes and sixteenth note. On the
thirty-second group notes I played, in addition, two extensions as if to play only the first group of notes
“Tirakite”​ and mute the ​“TakeTake”​ part, and vice versa; the second variation is to play the first or the
second group using the four accents.
This choice is driven by the change in colour due to muting or doubling notes, which very important in
music. ​(Fig.15)

23
 ​(Fig.15)

Applied on the Deepchandi taal, 14 beats (3+4+3+4), I started to play on each part of the taal, namely the
last beat of each small group. It means that if one wants to consider the whole length of the taal, this
evolution of ​Tirakite TakeTake​ phrase is played in different positions, therefore it is not always on the
beat, rather on what it is considered the off-beat. By using this concept, it is possible to even switch the
phrase to the second beat and carrying on like this, in order not to always play in the taal rest place.

For the sake of sound research completeness, it is also important to consider other taal in 7 beats,
namely Rupak and Tivra taal connected with Deepchandi taal, not only because of the beats, but also for
the common syllables used, “Dha and Dhin”.

Deepchandi taal 14 beats

DhaDhin - DhaDhaDhin - TaTin - DhaDhaDhin -

Rupak taal 7 beats

Tin Tin na Dhin Na Dhin Na

Tivra taal 7 beats

Dha Dhin Na Tite Gata Gadi Gane

24
Observations

Regarding fluency and the diction of the strokes, as well as the musicality, I calculated to apply those
exercises on a metronome range between 60 until 80 bmp.

It is easier to maintain the tabla sticking between 60 to 72 bpm, therefore RRLR-RLRL, even though
resistance limits can be reached. The sounds remain clear, stable and defined, both if one plays as a
groove involving charleston, snare and bass drum, and if one plays it on the set.

Increasing the timing, thus still considering this phrase written in ​thirty-second notes​ per bpm (then with a
1⁄4 value), and maintaining the same sticking, I encountered fluidity problems due to the tabla sticking
starts with a couple of double strokes next to each other, resulting in a less fluid final product. Ranging
from 75 to 95 bpm is more comfortable in order to change the sticking with single stroke roll (RLRL-
RLRL) and paradiddles (RLRR- LRLL).
However, due to the nature of this phrase, I prefer to play paradiddles.

When considering the same phrase with a 2/4 value, hence two groups of s ​ ixteen notes​, things change
considerably.
Briefly, the usage of the Tabla sticking is suitable until 140 bpm, while using single stroke roll and
paradiddles is possible, to arrive until 175 bpm.

Tabla Recording

As previously mentioned, I needed to learn Tabla in February 2018 and although I am certainly still at the
beginning, this instrument has truly fascinated me.
I found this study interesting and useful, especially because I realized that it is important to deeply
understand how this new musical world works, in order to transpose this concept on the drumset in the
best possible way; however, without forgetting that the drums are my instrument.
For this reason I have decided to record videos, concerning the “​​Tirakite Taketake​” phrase, in order to
show the movement, the fingering, and the sounds of this small phrase.

The first video that I recorded shows both phrases, played with the closed and open sound on the left
hand, thus becoming (in open sound way) "​​Tite ​Ghire​ Na​Ge​ ​Na​Ge​"​.
This allows for understanding how, by only changing the sound of the left hand (therefore only one
element), the phrase acquires a different musical shade, without counting precisely that.
I have the possibility to create new musical phrases simply by mixing and/or doubling the syllables.
For this reason I decided to record a second video, based on the "​​Tirakite Kaida​" (​​Kaida​ is a kind of
composition in Hindustani music) and its ​Paltas​, which means variations. This highlights the multiple
combinations of sound and rhythm that can potentially be obtained, using small and basic phrases. As per
the Kaida and its Paltas, independently from sound, rhythm and syllables used, it is also possible to
notice that the important thing is to respect the rhymes of the composition. This concept can be illustrated
by employing the following chart:

25
Tirakite Kaida​: (Fig.16)
Dha Dha Tirakite Dha Dha Tin Na
Ta Ta Tirakite Dha Dha Dhin Na

Paltas n.1 played in double speed: (Fig.17)

Dha Dha Tirakite Dha Dha Tirakite Dha Dha Tirakite Dha Dha Tin Na
Ta Ta Tirakite Ta Ta Tirakite Dha Dha Tirakite Dha Dha Dhin Na

Paltas n.2 played in double speed: (Fig.18)

Dha Dha - Dha - Dha Tirakite Dha Dha Tirakite Dha Dha Tin Na
Ta Ta - Ta - Ta Tirakite Dha Dha Tirakite Dha Dha Dhin Na

Tirakite Kaida(​ Fig.16)

​Tirakite Kaida​ ​Paltas n.1 played in double speed: (Fig.17)

26
 Tirakite Kaida​ Paltas n.2 played in double speed (Fig.18)

Jumping back briefly to the ​T​irakite TakeTake​ ​phrase, it is safe to state that I decided to go on with my
experiment and develop a new and practical exercise.
The second exercise that I decided to do was to split ​bayan ​and ​dahina​ drums on feet and hands,
respectively, following the same tabla sticking written above, therefore RR(L)R-R(L)R(L) and also single
stroke roll, where possible, therefore RL(R)L R(L)R(L).

Concerning feet, I decided to assign those three strokes of ​bayan,​ firstly to the bass drum, then only to
the hi-hat, and finally I assigned those strokes one to bass drum and two strokes to hi-hat, respectively. It
is possible to obtain different sound combinations, by maintaining a fixed hand pattern, and by permuting
and progressively moving the foot pattern. The same reasoning applies if one begins to count from the
second movement (“​​TakeTake​”).

I thought that creating this kind of exercise is useful for coordination, and it is also one way to start to
apply this huge concept on drums, also in order to quickly connect this small Indian phrase to the Latin
world; by paying attention to the right hand serving as a guideline, it is possible to notice that the
execution of this constant pattern partly recalls the Latin patterns, such as the ​Cascara ​and the
Telecoteco​, starting from the ​"Taketake"​. ​(Fig.19)

27
 (Fig.19)

With this exercise it is also possible to create a pattern groove involving charleston, snare and bass drum,
which is also interesting to play as a different color during a performance. ​(Fig.20)

R R L R R L R L L L R L L R L R

​Tirakite groove regular and invert sticking (Fig.20)

In conclusion, as previously mentioned, this musical phrase is huge and this allows to obtain several
music combinations. Additionally, this phrase is suitable for several types of exercises that still require a
lot of time, in order to internalize them as they are, but also to change and evolve them by adding and
changing parameters.

I have chosen to perform, but have not yet developed another exercise that consists of following the
following approach: I chose that my right hand, (the dahina) acted as a guideline and for the left part, I
chose this fixed pattern, given that the bayan (left hand) plays three strokes in the whole phrase.
I decided, thus, to split this fixed pattern on the drumset in the following order: charleston, snare and bass
drum, so as to maintain a kind of clear reference “grooving-sound” played with the same sticking (left
hand), or better, using the elements that give groove in the drums for instance, charleston, snare drum
and bass drum.

The same exercise can be applied differently, by splitting double strokes with right hand, on two different
sound sources.
My goal is to show how many different combinations you can achieve using the same phrase, by
changing and omitting parameters and sounds, namely syllables/strokes. All the exercises analyzed

28
concern the linear phrases concept. In other words, there does not exist any unison between notes. They
are played one at a time.​ ​Below you can see the linear phrases examples: ​(Fig.21)

Tirakite TakeTake linear phrases

(Fig.21)

Tihais

The second book taken into account is called ​“Advanced Indian Rhythm Studies for Western Musicians”​
by Bernhard Schimpelsberger,(Linz, am 11.01.2011) where he explains the complex indian rhythm
system through the approach of mathematical structures.

Rhythm is everywhere. When comparing Western Music and Hindustani Classical Music rhythm-wise, it is
easily understandable that they have nothing in common. In Western Music there is only rhythm, simple
or complex but only rhythm. In Hindustani Music, rhythm is composed by Taal and Theka cycles.

“​​Taal​” is a rhythmic cycle expressed with sound (clapping) and silence (counting on finger tips), whereas
“​​Theka​” signifies a cyclical form of taal expressed by the chosen syllables on Tabla.

In this book, Bernhard Schimpelsberger deals with severals topic, and I have chosen to focus on a very
important topic in Indian music and compositions, called “​​Tihai​”.
In Indian classical music, the exact repetition by three times of any specific ​Bol or Beat ​is called Tihai. It
always finishes on the first beat (Sam ) of the next cycle.

The peculiarity of Tihai is that it can start on any part of the taal, or composition, but it will always end in
the ​Sum, ​o​r, more precisely, the first beat of the taal.
This means that each note or pause of the Tihai has the same value and distance. This choice depends
upon the performer’s musical taste. It is usually used to conclude a piece or part of a section of music, or
even to create a transition between different rhythmical parts.

As the author cites: “When a phrase or composition is played thrice and the pauses between every two
phrases are equal in time and when the Bandish (*) comes to the focal beat (Sum) or any pre-planned
beat point, such composition is called Tihai”.
The author suggests an arithmetic method in order to compose the Tihai in a composition or into a taal:
considering that Tihai is a repetition of three times, it is considered a phrase in analysis, thus in my case, I
use the phrase “​​Tirakite Taketake Dha​”, to the length of 9 beats. I multiply 9x3, therefore 27.
The gaps, one between the first and second repetition, and the other one between the second and third,
applied on my phrase, has a value of 1⁄2, so 1⁄2+1⁄2 is 1 place, and 27+1 is 28.

29
This 1 place is justified also because, as previously mentioned, the last beat of tihai coincides with the
Sum.

Hence, for the reason mentioned above, I thought it was more appropriate to change the sticking in
RLRR- LRLL, and by applying it to Deepchandi taal, grooves and two types of Tihai which start from the
first beat for the first cycle and, subsequently, the second cycle of Tihai starts on the offbeat of the third
movement, I will have exactly this result: ​(Fig.22)

Tirakite TakeTake Dha-Tira KiteTake TakeDha- Tirakite TakeTake (Dha) (9+1⁄2+9+1⁄2+8+1)

Tirakite Tihais (Fig.22)

It is clear that the gap or pause in Tihais are various sizes, which depend on the length of the taal or the
rhythm with which it is applied.
In order to create a Tihai, it is important to know that it is possible to play severals notes within each beat,
paying attention to the speed, the length of the phrase and, not least, our technical ability.
The parameter we need to consider is the number 3, and so in order to create a Tihai, it reaches a
number that can be divided in 3. Further details will be provided in an example in teen taal, therefore 16
beats. If I decide that my Tihai will start on the 10th beat, I need it to last 7 beats, because 16-10 equals
6, plus 1 (end of Tihai and thus the Sum) is 7 beats occupied. If my Tihais phrase is composed by 2 notes
for each beat, I will have to multiply the number of beats with the number of notes played on each beat,
plus 1: 7x2 is 14, 14+1 is 15 15/3 is 5.

This means that my phrase will be 5 notes long, which starts exactly from the 10th beat of teen taal.

All of this reasoning concerns numbers divisible for 3, but it may happen that this is not possible. Hence,
in order to achieve our goal, it needs to be shortened of 2 from the last results of calculation because the
Tihais phrase has 2 gaps between 1 and 2 and between 2 and 3, obtaining a number suitable for our
division.

30
Resuming the previous example with the same elements, the Tihai will start on the 9th place, thus

(16-9) +1 is 8 (8x2)+1 is 17 17 is not divisible by 3, so we subtract 2, thus 17-2 equals 15 Now 15 is

divisible by 3 as before and we obtain a 5 notes phrase with 1 gap note.

This calculation is suitable for any rhythmic cycle and duration, for instance if we want the tihai to last 1 or
more rounds of the cycle, and if the result obtained is not divisible by 3, it needs to start the reduction,
(therefore 2), until it doesn’t achieve our goal.

Each time that I do the subtraction, in order to obtain a number divisible for 3, this will correspond to the
gap number that I need to use to complete the cycle. (**)

Example: if my final result is 31, in order to achieve a number divisible by 3, I need to do 31-2 equals 29,
29-2 is 27. 27/3 is 9. I did this subtraction 2 times, so I would have a 4 notes gap, 2 gaps between the first
and second cycle and 2 gaps between the second and third one.

(*) ​Bandish:​ is a melodic composition in ​Hindustani vocal and instrumental music​. It is performed with
rhythmic accompaniment by a T​abla​ or P​akhawaj​

(**) Can be found this explanation in another important book by Sangeetha Akshara Hridaya,​ ​“ A New
Approach to Tala Calculations”​, Bangalore, 1988 p. 69.

31
Considerations

I found this new mathematical approach very interesting even though it has not yet become very familiar.
The interest of this topic is dictated by the possibility of extending a concept to different musical aspects,
considering as a basic parameter the "repetition" of a phrase for "X" times, then applying the
above-mentioned method. One will therefore speak of an important concept, not only for Indian music, but
also for music in general in all its forms, applicable both to the execution of a melody, or to a solo
performance.
I applied the “​​Tirakite Taketake Tihais​” phrase on the drumset, within the available time frame, and. I
created the following artistic result: applying it on set, it is useful to use a single stroke roll om a timing of
60 until 180 bpm (bpm of 1⁄4 value).
Paradiddle, so far, is not properly suitable, since the second phrase of Tihais starts on the offbeat of the
third movement. Therefore, it needs a sticking adaptation, such as:

Sticking adapted​:
RLRR LRLL R-RL RRLR LLR- RLRR LRLL

Original sticking​:
RLRR LRLL R-LL RLRR LRL- RLRR LRLL

Regarding The Tabla fingering, I think it is suitable to play it until 140 bpm, so far; but I think it could even
be played at a higher speed, considering that this kind of sticking is used to play the Batucada Samba
groove on the Caixa, with a speed around 160 bpm.
In order to play a groove using the tabla sticking, it is interesting to play the “Ta” “Dha” such as the open
charleston and ride cymbal bell with bass drum, respectively.
Because of the same problem as for the sticking, I prefer to play this groove on a medium/fast timing, for
instance, until 130 bpm, because considering the first two double strokes, it loses the attack at the
expense of fluidity. ​(Fig.23)

R R L R R L R L R R L R R L R L

​ (Fig.23)

32
Process

After​ ​my​ ​feedback​ ​I ​decided​ ​to​ ​work​ ​on​ ​some​ ​parameters​: I ​played ​the​ ​pulse​ ​of​ ​7,​ ​giving​ ​value​ ​to​ ​the
“sound-​ ​n​ ​o​ ​sound”​ ​(Thali​ ​and​ ​Khali),​ ​and​ ​play​ ​on​ ​the​ ​beat​ ​with​ ​other​ ​kind​ ​of​ ​sounds​ ​possibilities,​
​imitating, when​ ​possible,​ ​the​ ​tabla​ ​sound, by analyzing then, ​two​ ​books for this purpose.
About two years ago, together with other musicians, I composed and recorded a song in 14 beats,
recalling the Deepchandi taal and thinking the song was suitable for a band composed of drums, bass,
percussions, guitar and bansuri.

The sound was a mix of Indian sonorities and free jazz, where the rhythms of the Rupak, Tivra and
Deepchandi taal were constantly underlined by the percussions. I decided later, after studying more
Indian material, and make it a whole new song, changing also the band-line. Or rather, rewriting the piece
with drums, percussions, bass tuba and flute, making the new song become completely different from the
previous one- and in my opinion, much more consistent and linear to the study of Indian music.

My goal is to apply and adapt the studies on Indian rhythmic phrases and the sound of tabla in different
musical contexts, without being bound by pre-existing sound and rhythmic conceptions in the new sound
worlds of implementation.
Precisely for this reason, I decided the type of band-line, as the timbres of these instruments, are far from
those used in Indian classical music.

For this reason, I chose to follow the research strategy called Case Study which requires the
Triangulation method.

In this recording I tried to apply “​​Tirakite Taketake​”​ phrases in different ways including a groove, a Tihai
and also playing it as “Hemiola” form, thus highlighting the accents every third notes. Below it is possible
to see the score of this tune, called “Deepchandi song”. ​(Fig.24)

33
​Deepchandi Score (Fig.24)

34
While crossing this structure, I chose to consider only certain parts of the song, in order to show my
applications.
Starting from the groove, as you can see below, I have chosen to apply this phrase on the second
movement, maintaining the inverted tabla sticking and thus starting the ​Tirakite​ with the left hand, while
playing the ​Taketake ​with the right hand, obtaining the following sticking: LLRL- RLRL. ​(Fig.25)

​Tirakite TakeTake groove (Fig.25)

In the second A Section, there are two bars where the melody, played by a flute, ends on B flat. I applied
the “Tirakite Tihai” as fills for two times. Due to the speed of the song, (150 bpm), I chose to change the
sticking and play it as a ​paradiddle, ​(​basic sticking RLRR- LRLL) because tabla sticking has not been
suitable for this speed, so far. I think that such unsuitability lies in the first double stroke at the beginning
of the tabla sticking, resulting in a dirtiness of the sound.
As it can be seen from (Fig.26), the second fill starts the Tihai on the offbeat of the third movement, or
more precisely, from the second full repetition, splitting the phrase among floor tom, snare-bass drum and
hi hat. Next, the bar ends with the last four notes, which correspond to the last “Taketake” of the third
repetition. In both cases the last Crash played corresponds to the “Sum” of the new bar.
I made the latest choice because I wanted to demonstrate, precisely, that it is possible to play and omit
part of the phrase, taken into account during the execution of the same, without needing to start on the
first beat.
Above all, to make the concept more interesting, I wanted to show how, by omitting part of the phrase, it
is possible to highlight one of the different combinations that can be obtained from the sentence itself.

Tirakite TakeTake Tihais

(Fig.26)

35
The C section of the piece (Fig.27), consists of eight bars and it is focussed on the drum solo. In this
section I decided to build an obligated made up of quarter notes, as is illustrated in Fig.13. This continues,
bar after bar, reducing the space on which it is possible to play on.
I had the idea to reconnect with ​"Gouch Yaty"​, where the same phrase is gradually shortened, until it
comes to a last single stroke/ (note); namely, the Gopuch Yati begins with a set of syllables and gets one
syllable smaller with each repetition. I proposed this concept in the Zero Recording video.

During the solo, I decided to play the ​Tirakite Taketake ​phrase in different ways. In the first and the fifth
bars, I play the ​Tirakite Taketake​ ​Tihai ​using Paradiddle sticking, the first time on charleston and the
second time on the ride, also involving the ride bell. Always concerning Tihai, in the second, and thus
sixth bar, I play an Hemiola highlight on the drumset, the syllables “Ta”- “Ke” - “Dha”. Finally, for the third
and seventh bars, I chose to play a couple of Paradiddle-diddle and the single stroke roll as 1/4 value, all
marked by the bass drum.

​Tirakite TakeTake Obbligato​ (​ Fig. 27)

36
Feedback

Udo​ ​Demandt​​:
He suggested that I take more of a drummer’s approach, or rather, as regards the ​Tirakite Taketake​
phrase, He suggested that I switch it on the drumset by using a different sticking, known as “Invert
Paradiddle” (RLLR LRRL). This is because the length of the phrase looks like a nine-stroke rolls and thus,
in order to have a drummer’s approach, this sticking is closer to that sticking. Regarding the solo, in the
paradiddle-diddle part, rather than orchestrating it on the set, he suggested that I play the last four notes
as double strokes (RRLL), instead of single strokes, in order to have a better connection with the rolls of
paradiddle; thus, the whole phrase would be RLRR-LRLL-RRLL-RRLL.

Niti​ ​Ranjan​ ​Biswas:

Niti also gave me feedback regarding the videos I made in December. Comparing them with those of
now, He told me that the phrases He saw now, are more obvious. He approved of the the approach used
on the snare drum and also on the crash with the bass drum to highlight the “Dha”.
He also noticed the phrase “​​Kitetaka​” about what I played. Regarding the Tihai, the timing is a bit
stressed and I need to push it more. He also suggested me to create a different climax, for instance
mixing up and breaking more the ​Tirakite​Take phrases, in order to prepare a different introduction of the
regular Tihai. Thusly, instead of playing “​​TirakiteTake​ -”, I can play “​​Titekata​” or “​​RakiteTake​”​.
This is one method that tabla players use to break the phrase in itself.
Another important suggestion He gave me is to play the phrase in different timing layers, such has
double, half and triplet feeling time.

Alessandro​ ​Inolti​​:
Alessandro​ suggested to play the Tihais on cymbals in a cleaner way and to play less phrases on the
obbligato. This allows me to have more space between notes and avoid playing it too tightly.

Danilo​ ​Ombres​​:
His suggestions concerned about the Tihai, advising me to play with the tip of the drumstick instead of the
body, making the strokes more clearer and defined, and thus achieving a more defined sound on the
hi-hat.​ Then He proposed to split the double strokes on two different sound sources such as snare and
floor tom or between toms.

37
4.1.7 Reflect on your progress since the first/previous reference recording

With regard to the second semester, my general reflections are the following: given the vastness of the
topic and the intense study period required - ca. 4 months -, I think I have to achieve a full result,
considering that the encountered limits, in addition to being objective, can also be personal, due to a not
adequate time for the matter taken into account. Although I am aware of the fact that the musical phrase
in question requires a longer study time - as it is possible to apply the studied phrase with different
modality and parameters - it will also be possible to have an optimal and more complete result.
Making a comparison with my previous studies, I realize I have found substantial and smoother
improvements. In the first recording, the performance was very forced and not fluid, this because I was
not yet clear how this new rhythmic world worked. After my studies, I learned a large number of things
and I believe that my approach has become more fluid and in control than before. I certainly know that
there is still room for improvement, but I can safely state that I am satisfied with the progress that I have
made. Now I have a freer approach and also a kind of “Rela” structure approach. (Rela is a composition
where there are no gaps among the phrases, but rather a lot of notes).

Now, I have literally found a smooth and clear way to apply this phrase, therefore the execution is
becoming more fluid and natural. Now, thanks to my tabla studies, I have been able to blending two
musical worlds, and because of my drummer skills, I have been able to choose what and which drums
part to play in order to highlight the phrase. The execution has consequently became more natural and I
have found my path. As result, whenever I play the ​Tirakite​ phrase as Tihai or as Kaida, it has to sound
like drums because it still remains my main instrument.

As I wrote previously, the time available for this type of study has been really brief, and I realize that I
have not had an objective way to progress in an optimal, gradual manner, and therefore to achieve an
appropriate artistic result. My goal is to internalize what I am researching and studying on my drumming.
It will be a course of study that I will carry on in any way, beyond the deadlines. Nonetheless, in order to
​improve​ ​my​ ​drumming​ ​and​ ​my​ ​studies, I will follow their useful pieces of advice. My goal is ​to develop​​,​
​adapt​ ​and​ ​translate​ ​the tabla sound syllables and rhythms on drums, in order to interiorize it in my
drumming, for what concerns grooving and fills, respecting thus Indian rhythmical concept and tabla
sound.
During the second semester, I focused my studies on a basic phrase called “Tirakite Taketake” and I
continued to work on my tune in 7 beats, making it new thanks to the studies completed. The suggestions
received, as well as being useful from a purely technical point of view, led me to the conclusion that the
phrase taken in analysis really gives the opportunity of many different applications and, above all, it
makes me understand that the research of sound is extremely important in order to reach my goals.

38
4.1.8 Short description of the next intervention cycle
In response to the feedback I have received, I​ have ​decided​ ​to​ ​work​ ​on​ ​some​ ​parameters​, continuing with
the analysis of the “​Tirakite Taketake” ​phrase and its variations, (or Paltas, using the Indian term),
persuaded that there could be possible connections between both the Indian and the Brazilian rhythm and
music language, in relation to their own history, culture and religion.

During this short period of my research, I was able to think about the possible connections between the
Indian and the Brazilian sound world. Having the "​​Tirakite Taketake​" as a reference phrase, I thought that
a connection point is the development of the "Push and Pull" drum technique, already mentioned in the
last examination, both as far as the right hand and the left hand. This technique is based on rapid and
short movements, so I think it is the only technique that can be used to emphasize Indian rhythmic
phrases. Ramon Montagner, a Brazilian drummer who has taken the use of this technique to the
extremes, will be my reference drummer.
I even found another connection which concerns the role and the pattern of the Caixa in the Batucada
Samba. The tabla fingering is one of the sticking used and analyzed during this second semester. It uses
the Caixa, an instrument very close to the snare drum, which is why I thought that the connection was
appropriate.

39
4.2 Second intervention cycle

Second Recording

Tirakite TakeTake applied on Maracatu de baque virado:

https://www.youtube.com/watch?v=4ZXHAtjojXk

Data collection

Maracatu de baque virado and “-O-ma NAma-Shi Vaya -” Hindustani mantra

At this point, I would like to provide a little historical background, in order to better understand the various
connections.
How it concerns the Brazilian part, I focused my attention on this book, called ​“T ​ he Pernambuco Carnival
and Its Formal Organisations: Music as Expression of Hierarchies and Power in Brazil” by Tiago de
Oliveira Pinto. (Published in 1994)
I have taken into analysis pages 20 until 38, useful to let me understand how it works and what exactly is
this musical genre.

As both Indian and Brazilian music worlds are deeply related to religion, which, in turn, it is strongly
related with music, I searched for what kind of Indian mantra could be best suited to cover the same
accents as the ​Maracatu.
After various researches, I found, a mantra called ​“-O-ma NAma-Shi Vaya -”, ​devote to Shiva God.

Maracatu de baque virado

The Maracatu de baque virado (o N ​ ação​) from Pernambuco is a folklore rhythm; it is the first known
Afro-Brazilian rhythm. (*)
From the coast to the forest area, the diversity of Maracatu groups notably lies, mainly, in the
differentiation of their stroke or their rhythm. In the metropolitan region of Recife, the "Baque Virado"
emerged during the period of the slavery, in the 17​th and 18​th centuries, to give rhythm to the songs and
dances of the loas, who sang the religion of the African matrix. "​The Maracatu de baque virado” has its
origins in the coronations of kings and black kings called the “Kings of the Congo” in Africa, where the
slave trade was a thriving business and represents the Candomble outside the ​“terreiro”​. The Maracatu
processions were an attempt to reflect the old African courts, when they were conquered and sold as
slaves, but they preserved their roots and kept their noble titles in Brazil.
The oldest Maracatu de baque virado of Pernambuco is ​The Maracatu Estrela Brilhante​. At the end of the
19​th ​century, the exodus of the population from the coast of Pernambuco to the Zona da Mata, influenced
by the abundance of cultivation of sugarcane, gave rise to a new Maracatu, the ​Maracatu de Baque Solto.​

(*) ​https://www.revolvy.com/page/Maracatu

40
Parties took place at the mills, when the workers gathered in their free time to celebrate a nice week after
the arduous work on the reed field.
The rural Maracatu is a product of the Afro-Indian syncretism generated by the creativity of the rural
people of the Zona da Mata Norte, when it is inserted in the cauldron of the great Recife.

Hindustani mantra “-O-MaNAma-ShiVaya -” crossed with Maracatu feet pattern

“-O-Ma NAma-ShiVai -” ​is one of the most important mantra recited in the prayer of Lord Shiva, an
important God in Hinduism religion. This phrase came from a ​Pakhavaj c​ omposition called “​Paran” in
which there are the tabla and ​Pakhava​j bols (for instance, Dha- Dhin -Tin.. and so on) and also other
words, from Sanskrit.
Mantra is a melodic and spiritual phrase which each devote repeats during the prayer, in order to find a
connection between themselves and God. (Fig.28)

Hindustani mantra “-O-ma NAma-ShiVaya -” (Fig.28)

The syllable ​OM​ ​is considered the starting point of many Hinduism prayers.
MANAH​ ​means the total surrender to the will of the God Shiva.
SHIVA is the third person of the Trimurti (​Brahma,​ the Creator, ​Vishnu t​ he preservation and Shiva the
dissolution) and He represents the triple aspect of the Divine, from whom He is distinguishable for being
the destroyer of the false, of ignorance, of the ego, of the bad tendencies. Thus, for devotees, Shiva is the
supreme Lord who creates, maintains and destroys the universe, thus a perfect balance between the
destructive and renewing forces.
This is also one of the reasons which explains the enormous spread of the cult of Shiva.

So, in the Alfaia pattern of Maracatu (Fig.29), I have found a strong connection with the indian phrase
“-O-ma NAma(ah)-Shi Va(ya) -” (*) j​ ust because they cover the same accents. (Fig.30)

Alfaia drum pattern (Fig.29)

41
 Indian Mantra on the Alfaia drum pattern (​ Fig.30)

(*) The symbol “-” means the ​gap i​ n between notes

42
Process

During this process, I realized that the research on the connection between these two musical worlds is
still something new, as artists and musicians in general, have not yet embarked upon a path of this kind.
While I have indeed found some research and experimentation of jazz and pop music mixed with Indian
classical music (for instance, the work created by the Beatles and John Mclaughlin years ago), I have
also discovered another connection regarding the role of the Caixa pattern in the Batucada Samba. The
tabla fingering that I used and analyzed last semester is the same sticking pattern used in the Caixa, an
instrument very close to the snare drum, therefore, I thought that the connection would be appropriate.

There are several Caixa patterns, depending on which Maracatu they come from.
In my case, I have used the sticking RRLR-RLRL, which I connected to ​Maracatu de baque virado de
Pernambuco, t​ he first folkloristic Afro-Brazilian rhythm, played at a fast tempo and composed of a lot of
rolls and ruffs that give the real taste of Maracatu, making it quite a dirty sound.

​ hich
An important thing to consider is that this folkloristic rhythm is played by the ​bateria de samba, w
includes several instruments, such as the Caixa, the Gonguè, the Xequere, shakers, and above all, the
Alfaia, typical drums of Maracatu. The Alfaia, also known as ​"Rope-surdos" ​or ​"Maracatu-drums",​ has a
deep sound, different from other bass drum as the Surdo or the kick drum.

Having said that, I decided to apply this concept to the drumset, paying attention to the sticking of the
right hand, considering it as the guideline and distributing it through different sound sources. This process
helps to adapt, as much as possible, the folkloristic rhythm to the drums. I decided to still keep the same
tabla sticking, using the right hand as a guide, while creating the ​Hemiola o ​ n the rimshot with the left
hand, alternating also the sticking of the phrase in RLLR- LRRL​. T ​ hen, I changed the point of view,
moving the Hemiola onto ​the charleston and doubling the phrase at the end of the musical cycle.
Moreover, I created coordination exercises, useful for building up a new musical and drums grammar.

Thus, my starting point was to apply the ​“Tirakite Taketake” ​phrase on a new musical framework, ​the
Maracatu de baque virado,​ in order to investigate how and which of these applications worked, which
​parameters​ could lead me to find possible connections between the Indian and the Brazilian concept of
rhythm and therefore which new results I could have obtained and gathered.
My idea so far, concerns how I can investigate and improvise on the concept of Maracatu, using the
rhythmic Indian idea.

The mere similarity between the fingering of the phrase and the sticking of the Caixa pattern had not
appeared to be sufficient and so, after some research, I came to the conclusion that the only Brazilian
rhythm I could analyze so far, thanks to the many affinities, was the “​Maracatu de baque virado” f​ rom
Pernambuco: this is due to the fact that the feet pattern of Maracatu, played by the ​Alfaia drums, matches
very well, having the same accents, an Indian mantra called “​Ohm Manamah Shi- vai”​ . For this reason, I
have chosen to integrate the Alfaia pattern in my research, as a reference pattern.

Indian influences in Brazilian music are highlighted by the use of the flute, vocal stiles and especially
percussion instruments such as calabash, rattles and shakers, which can be ascribed to an Indian
heritage; moreover, combined to already existing cultural elements, they definitely form the basis to the
build-up of the musical styles that we know so far.

43
During my research I have read several books, among which “Hypothesis of polymetric structures in
Afro-Brazilian music” ​by Gerald Guillot (from Haute Ecole Pedagogique Lausanne, AAWM 2016
conference at NYC) stood out as a remarkable source.

The author explains how polymetric structure and potential connections coexist in Afro-Brazilian music
(Samba, Maracatu de baque virado and Coco) and also in the North of India (as Professor of
Ethnomusicology Martin Clayton had also written in his interview on Cahiers de Musique traditionnelles
“le meter et le tal dans la mystique de l'Inde du Nord”), them being types of music based on
non-isochronous meters.

This affinity can be explained thanks to the Atlantic Trade where was held place Hindustani slavery
migration to Suriname. Due the colonialism, there was a migration by Indian slaves to Suriname. Starting
from this, as a consequence, this phenomena have necessarily originated a substratum, leading to the
fusion of the pre-existing culture with the new one.
Hence this study (or better, this hypothesis), is based by considering the different accentuations in a
context with some instruments and how it can change according to different parameters, for instance the
co-presence of isochronous and non-isochronous patterns which together constitute a polymetric
structure.

Brazilian music itself is regarded as polyrhythmic and polymetric, considering that different instruments
play different rhythms simultaneously, covering different metrics (for instance, Caixa drum plays a rhythm,
the Agogo does another one, as the Cavaquinho and so one). Last, but not least, there are relations to
the dance in Samba music.

Thus, keeping the "​Tirakite Taketake​" as the reference phrase, I thought that a connection would have
been possible by creating a ​Hemiola, a musical heritage typical of African, Brazilian and Indian music, on
the Maracatu feet pattern.

As for rhythm, ​Hemiola refers to three beats of equal value in the time normally occupied by two beats.
Then, I decided to develop this concept on the drum set in different ways, involving many sound sources
and considering parameters, such as the omission, the doubling, the retrograde and the increase of the
phrase itself.

As I have already mentioned above, the nature of this phrase allows you to create and developed
different exercises of the Indian phrase applied to the Alfaia feet pattern. So, in order to maintain both
musical tradition, the Indian and Maracatu, what I can do is to play the phrase as it was intended, by
keeping Maracatu on the feet.

As a first exercise, I chose to create the following pattern: playing over the beat, within a 2-bar length, I
will play the Maracatu pattern with the feet, and I will play the ​TirakiteTake phrase with the hands as a
group of six notes, obtaining a kind of rhythmic modulation, hence highlighting the phrase, each six
strokes for four times and letting it conclude with the original phrase that I analyzed last year, called
“Tirakite TakeTake;” ​thus, I will have ​“Tirakite Take” ​four times and ​“Tirakite TakeTake” ​one time ​. T
​ his is
my starting point. ​(Fig.31)

44
 Tirakite TakeTake on Alfaia feet pattern (Fig.31)

Now, I can make the variation through a permutation of this phrase. It means skipping my reference
phrase ​“Tirakite TakeTake” ​at every rhythmic cell, as clearly shown in the example below. (Fig.32-33)

(Fig.32)

(Fig.33)

In Indian music there are not really groove roots as there are in the Maracatu; indeed, Maracatu rhythm is
basically a combination between march played on caixa and fixed accents played by the alfaia drums.
There are variations of the pattern itself, but it is quite free to manage them because the only parameter is
respecting the fixed accent based mostly on the second sixteenth.

45
In Indian rhythm, instead, is based on many differents taals (time cycles), each with its own language
(bols) and rules. Therefore, in particular, when I say for instance, ​“Tirakite TaTake” ​it will go outside the
concept because this doubling does not exist in that language, and so it will not close the cycle.
Consequently, the resolution is created by using the phrase itself (Tirakite-Tirakite Take - Tirakite
TakeTake).
Hence, by using and following this concept, I will have many and different ways of improvisation.

For the improvisation over the phrase, I needed to examine the permutations that I had obtained just by
using the phrase ​Tirakite in primis and then TakeTake,​ in order to close the cycle. In this way I would get
severals musical and rhythmic permutations, such as increasing or reducing a part of it (in this case is
“Taketake”).
The scheme that I added below, was created by analysing the phrase “​Tirakite TakeTake,”​ using it at
different starting points, thus making the ​“TakeTake”​ my resolving phrase.

Basically, this phrase could be used both for improvisation and for resolution, as long as we use the
Tirakite language. Indeed, in the improvisation we cannot close the cycle on “Tire” for instance, but we
need to close on “​Tirakite”,​ or “​TirakiteTake” or, even better, to conclude on “​TirakiteTakeTake”.​ (Fig.
34-35)

​(Fig.34)

“TirakiteTakeTake permutation” (Fig.35)

46
Even if we could have many permutations, is it possible to explore other ideas, for instance to start editing
the same phrase, increasing with the metric, i.e. “​TirakiteTake”, “TirakiteTakeTake”,
“TirakiteTakeTakeTake” a ​ nd so on. This is one of the popular ways of improvisation ​and it is also nice
because in a range of two bars, if using this method, it will end with the original phrase
“​TirakiteTakeTake​”. ​(Fig. 36)

​“​TirakiteTake TirakiteTakeTakeTira -- kiteTakeTakeTake TirakiteTakeTake”​ ​(Fig. 36)

For my reference recording, I have decided to show my experimental studies in two videos.
I created this rhythmical crossover, applying the Indian phrase on Maracatu (Alfaia) feet pattern, creating
a Hemiola o ​ n the rimshot, using two different stickings with the left hand, the first one being the tabla
fingering, thus RRLR-RLRL and the second one being the ​inverted paradiddle​ RLLR-LRRL (Fig. 37 - 38).

I used the the “​Tirakite Taketake​” as a resolving phrase.

I chose to change the sticking mostly for two reasons: it is a way to change colour in the Indian phrase
and, additionally, the ​inverted paradiddle sticking​ gains in musicality, thanks to its sticking.
This explanation regards the first video of the reference recording. In order to be comfortable while
playing, I decide to use a 110 BPM metronome.

Hemiola of “Tirakite Taketake” applied on Maracatu, using the linear sticking (RRLR-RLRL) (Fig.37)

47
Hemiola of “Tirakite Taketake” applied on Maracatu, using the inverted sticking (RLLR-LRRL)​ ​(Fig.38)

In the second video, the ​Hemiola is played on the charleston, highlighting the accents, maintaining the
Alfaia pattern (see below) . At the end of the cycle, which lasts two bars, I played the whole Indian phrase
on thirty-second notes, always as a resolving phrase. The timing I chose is 92 bpm.
The reason is because so far, in order to obtain a good and clear diction of the notes and thus to
understand this application, I found that 92 bpm would be an acceptable timing.
The thirty-second notes played between hi-hat and snare drum are a bit stressed and in fact the sound
closely recalls the phrase ​“KiteTaka- Tirakite” , which is a variation of ​Tirakite Kaida that I had already
played in the previous intervention cycle. (Fig.39)

​Hemiola of “Tirakite Taketake” and different rhythm and time layer (Fig.39)

48
Assess and Reflects

I realised that I liked this type of study despite the fact that this kind of topic has not been analyzed by
anyone else so far; for this reason, it is for me a great challenge to investigate it . In order to do so, I have
used a number of research methods called ​desk research, experiment and case study.
Compared to the previous recording, I think I have improved both the playing and the way of thinking in
music. Specifically, the reason for this experiment is to dismiss the concept of rudiments and instead to
play the basic combinations until commanding the language of the phrasing of tabla, in order to liberate
the mind. And if improvisation is needed, then that very structure can be used ; for instance, in tabla
there is the “Tirakite Kaida” (Kite taka Tirakite Dha Dha Dhin Na- Tirakite Dha- Tirakite Dha Dha Dhi Na)
which can be used without thinking of it as a rudiment, so I can re-elaborate the phrase in order to
improvise or find a different rhythm.
This will be the main goal. At this point, I am in the “Tirakite Taketake” or “KiteTake Tirakite”, played
following a sticking coordination RRLR-RLRL, so if this experiment works, then in the future I would like to
see myself using the tabla phrasing and avoid using the drummer’s approach.

Feedback and Networking diagram

I​ have gathered​ ​feedback,​ by submitting an interview, among​ ​my​ ​colleagues and Codarts’ teachers,
expert​s ​in​ ​both Brazilian and Indian matters​: Udo​ ​Demandt​, Niti​ ​Ranjan​ ​Biswas​​, Ramon Montagner,
Tarang Poddar, Ruven Ruppik, Felipe Veiga, Liber Torriente, Alessandro​ ​Inolti​​, Danilo​ ​Ombres​, Bernhard
Schimpelsberger, Sarah Thawer and Diego Zangado.

During the interviews, I have asked the following questions:

● Considering your deep knowledge of Indian/Brazilian music, I would like to ask you: which kind of
approach do you prefer to use during the process of crossover, hence, when applying your
rhythmical background to a different (or unfamiliar) style, and what does this process mean for
you?
● What do you think about this whole idea?
Can you recognize the "​Tirakite Taketake"​ phrase on the Maracatu?
● Would like to suggest and share with me any ideas?
● Do you think such rhythmical crossover would be possible?
● Do you think it would be musically acceptable?

Summarizing feedback relevant for this reference recording:

● The phrases are musical and understandable

● Recognizable elements of ​Tirakite Kaida
● Tabla language is recognizable
● Know better the origins, accents of Maracatu groups played a bit dirty
● The ​Hemiola​ (or quadruplet) is played in a clear way
● Extend the hemiola within three bars
● Change colour to the hemiola (2nd video)
● Apply it into a musical context
● (not recognizable- just two things stuck together)
● Try other Maracatu patterns
49
Survey by interview

I have interviewed the experts on both topics, asking the following questions:

● Considering your deep knowledge of Indian/Brazilian music, I would like to ask you: which kind of
approach do you prefer to use during the process of crossover, hence, when applying your
rhythmical background to a different (or unfamiliar) style, and what does this process mean for
you?
● What do you think about this whole idea?
Can you recognize the "​Tirakite Taketake"​ phrase on the Maracatu?
● Would like to suggest and share with me any ideas?
● Do you think such rhythmical crossover would be possible?
● Do you think it would be musically acceptable?

Diego Zangado:

Me​: “Considering your deep knowledge of Brazilian music, I would like to ask you: which kind of approach
do you prefer to use during the process of crossover, hence, when applying your rhythmical background
to a different (or unfamiliar) style, and what does this process mean for you? Would like to suggest and
share with me any ideas? Do you think such rhythmical crossover would be possible?”.

D​: “It means a lot, Brazilian music is based on percussions - we had an Afro heritage, and a huge mix of
African + Portuguese + Indian cultures and perhaps Maracatu is one of the most famous examples, in this
sense. If you pay close attention to the folklore of Maracatu, you will be able to find elements from each of
these 3 cultures, the dancing, the singing and the rhythms - so the approach is to adapt the percussion to

50
go with the drums, and in Maracatu the most difficult part is to adapt the Alfaia's pattern to the bass drum.
I also suggest you to watch these videos, especially the adaptation of Maracatu that Nene plays in this
“jazzy” Maracatu with​ ​Egberto Gismonti, Maracatu live performance.

(​https://www.youtube.com/watch?v=FK56bGqffsg&fbclid=IwAR0uyfV9vCYf4ma6axokMO7uxKYvSZdflkw
GCEwmgJlR_e0gey26dAelJms​)

And also, “Maracatu Cassio Cunha”

(​https://www.youtube.com/watch?v=idoCVMwg8bQ&fbclid=IwAR1Og9R5uKiSZlqtsT7n5FxTo0Ey9mkN4I
qPYzA5AptVchlrChSPeewDhjQ​).“

Niti Ranjan Biswas:

Me​: “Considering your deep knowledge of Indian music, I would like to ask you: which kind of approach
do you prefer to use during the process of crossover, hence, when applying your rhythmical background
to a different (or unfamiliar) style, and what does this process mean for you? What do you think about this
whole idea and can you recognize the "​Tirakite Taketake​" phrase on the Maracatu? Do you think such
rhythmical crossover would be possible and do you think it would be musically acceptable?”

N.​: “In your two video recordings I could hear the Tihai and I also recognized other elements from the
“Tirakite Taketake” Kaida such as “​Kite-take”​ part. What you applied is suitable for the ​Maracatu de baque
virado ​and I recognized the “​Tirakite Taketake”​ , therefore, so far, your approach is definitely musically
acceptable and will also give you the possibility to widen your knowledge, starting to think more in the
tabla language and no longer as a drummer “.

Alessandro Inolti:

A.: ​“I am not an expert of Indian music, but I think that the idea is valid and has to be contextualized
within a song in order to understand the final result.Regarding the Hemiola, I suggest you to go on and let
the Hemiola last three bars.”

Liber Torriente:

L.: ​“There are many variations and thus colours on the set, that you can bring in also by using different
​ ighlighting the accent
sticking. For instance I suggest you to play the doubling of the “​Tirakite Taketake” h
on the charleston using the right hand, and to play the ​ghost notes on the snare drum with the left hand,
always respecting the Hemiola sequence. When you play the march of Maracatu, try to altern both the
open and closed hi-hat with the foot, so that you can give it another shade of colour. The Hemiola sounds
very good”.

51
Ramon Montagner:

Me: “Considering your deep knowledge of Brazilian music, I would like to ask you: which kind of
approach do you prefer to use during the process of crossover, hence, when applying your rhythmical
background to a different (or unfamiliar) style, and what does this process mean for you? What do you
think about this whole idea and can you recognize the "​Tirakite Taketake​" phrase on the Maracatu?”

R.: “​I do not have a thorough knowledge of Indian rhythms. When I dare to modify rhythmic aspects of
some musical genres, I try to know very little about its origin. In fact, the Brazilian rhythmic tradition, unlike
the North American one, does not have its base of study in the classic rudiments. We adapt the rhythmic
lines of rhythms to the drums, which are initially played in groups of percussion instruments. This way we
do not necessarily use the rudiments. We adapt the lines to the parts of the drums. I believe you can do
the same by adapting Indian rhythms to Maracatu. There are no limits to creativity!!! ​I found the idea very
interesting and musical and I think it can bear good fruits!!”

Me: ​“Would like to suggest and share with me any ideas? Do you think such rhythmical crossover would
be possible?”.

R.: “I believe you can only try to get a little closer to the original rhythmic accent. Look for Maracatú
videos and recordings. I speak of "accent" in the sense that the percussionists of the Maracatú groups
play without a clear technique and leave some natural ​flams​, a bit of "dirt" in the sound. Definitely yes, I
believe there is a rhythmical crossover and it is interesting because there are no limits in music, and
music is free to be adapted and reshaped.”

Me: ​“Do you think it would be musically acceptable?”

R.: ​“Yes, of course! In my book ​‘Rhythmic Imagination’ I apply many rhythms that are not natural to the
tradition of the genre studied. Exactly to stimulate the imagination and to break the barriers a little,
because, after all, we should not be always attached to the same tradition. Of course, with great respect
and not without first knowing and valuing this very tradition.”

Udo Demandt:

U.: “​Well executed stuff in the video! The thing is, combining Maracatú and the Indian sticking is not very
recognizable, especially when you go to doubletime phrases. I rather think of jazz-fusion there, drum and
bass, of course you can combine everything with anything, but it is two things put together... So in that
moment you ' leave' the Maracatú, and make a mixture of two very different things.
However, have a look at the other type of Maracatú. You have the 2 types, 'rural' and 'de nação',
or also divided in 'baque solto' and 'baque virado'.The 'rural' one doesn't resemble the other one at all,
and also doesn’t have the nice alfaia beats but it has a 'double time' feel of its own.

Maracatu Baque Solto (rural)

(​https://www.youtube.com/watch?v=u9bdhtObzwM​)

52
Have also a look at Gilberto Gil’s project with Trilok Gurtu:

Gilberto Gil e amigos - "Tatá Engenho Novo"

(​https://www.youtube.com/watch?v=PoADBWRooHY&list=PLc3x8F7JJcchg47XvCc-kmnzMFHFjOGnp​).”

Sarah Thawer:

S.:​“Indian rhythm are expressed in many ways. Northern tradition defines those syllables “bols”. My
approach is more groove-oriented, feel-oriented and style-oriented, one of these many ways in which they
are expressed, in northern-traditional style they are called Bols, tabla bols.”
“Cross-stick: there are different dynamics in the tabla, and the crosstick emulates more the sound of a
mezzo piano, and the snare is more like a Forte sound. ”
“Let’s incorporate feet.” “theka is a variation of a rhythmic pattern that comes from the tala, (for instance:
Dadra taal is ​Dha Dhin Na Ta Tin Na,​ it becomes ​Dha tin tin Ta dhin dhin​= ​Dha is the bass drum, ​Dhin​: as
the bass, so bass and snare,​ Ta​ snare, ​Tin​ is a ringing sound, so play it with sticks )”

Felipe Veiga:

Me: “Considering your deep knowledge of Brazilian music, I would like to ask you: which kind of approach
do you prefer to use during the process of crossover, hence, when applying your rhythmical background
to a different (or unfamiliar) style, and what does this process mean for you?

F.: ​“First of all, when I do that, I follow that one rule that it has to sound musical and fun to me. The
crossover in itself isn’t always interesting.
Starting from this point, I try out ideas from my repertoire, my musical vocabulary in the first place.
What is important for me about the “musical rule” is that it gives me freedom to modify the original ideas,
freedom to re-adapt this first idea from a different musical context into a new one, in order to make it
sound good to my ears.
As a brazilian musician with deep roots in traditional Brazilian music I, often and on purpose, bring up this
particular “swing” and it really pops out depending of the musical situation. Sometimes it is ok, sometimes
it is just too much.
So we are talking about two things: the idea itself and the way you play it.
The idea itself for me is always open to change, and the way I apply it depends on the musical situation.
This is a very natural process for me, but it is very important to know what you are putting together.
The result has to be listened to as a whole new thing and then exposed to my own criticism. Sometimes
I spend a lot of time doing something that, after all, turns out to be just too complicated and doesn’t sound
good to me. Most of the time simpler ideas work better and groove more. If you do it in a non-familiar
musical situation for you, I would suggest you to bring ideas that make you feel more comfortable with the
playing.
For example, some time ago, while playing with a Hungarian singer, we had all those odd times
signatures with which I was not familiar, at the time. At some point, I found out that playing a baião pattern
on the bass drum would make me feel way more comfortable during the gig and would work just great
with the song. Nobody knew I was playing a kind of baião, but it helped me a lot.”

53
Me: “What do you think about this whole idea? Can you recognize the "​Tirakite Taketake​" phrase on the
Maracatu?”

F.: ​“I really like the idea of crossing over different genres of music and believe you have a lot of
possibilities by doing that. It also makes you adapt and change the ideas bringing freedom into your
musical perception. A good knowledge of the genres is a must for it and starting from simple ideas also
make it easier. On the video I can recognize the phrase because you told me. Otherwise I don’t think it is
possible due to the lack of sounds, if compared to the tabla, of the trio “snare/bass/hi-hat.”

Me: ​“Would like to suggest any ideas? Do you think such rhythmical crossover would be possible? Do
you think it would be musically acceptable?”

F.: “I believe you should try with different Maracatu patterns. You can apply many different accents on
these patterns, creating a richer range of dynamics. I’m sure you will find some great interactions between
the “trio”. Totally possible and totally new the rhythmical crossover!! Completely acceptable and very
welcome! Brazilian music hasn’t been mixed with Indian music on this level so far.”

Literature and Desk Research

Here below is a list of all the literature which I have used for this part of my research.

Books and literature:

1) Claus Schreiner - Música Brasileira, a history of popular music and the people of Brazil,
Published by ​Marion Boyars Publishers Ltd​ in 1943, New York. The Archive of Contemporary Music.

2) Sangeet Research Academy, Seminar on Indian music and the West

(29/30 november and 1 december 1996)in collaboration with NCPA and Music Forum and supported by
Dept. of Culture, Govt. of India, Zee Music, Rotterdam Conservatory, International Institute for Asian
Studies, The Netherlands.

3) Hypothesis of polymetric sructures in Afro-Brazilian music by Gérald Guillot, from Haute Ecole
Pedagogique Lausanne, AAWM 2016 conference at NYC.

4) Time in Indian Music: Rhythm, Metre, and Form in North Indian Rag Performance by ​Clayton, Martin
(2008). Oxford Monographs on Music. New York: Oxford University Press.

5) Le meter et le tal dans la mystique de l’Indie du Nord by Martin Clayton, 1997, interview on Cahiers de
Musique traditionelles

6) O Baterista, contemporary brazilian drum-set: Afro--Brazilian roots & current trends in contemporary
Samba-Jazz performance practise by Andy Smith- Submitted to the faculty of the Jacobs School of
Music, in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University May,
2014
(​https://scholarworks.iu.edu/dspace/bitstream/handle/2022/17569/Smith,%20Andy%20(DM%20Percussio
n).pdf;sequence=1​)
54
7) Brazil is Samba: Rhythm, Percussion, and Samba in the Formation of Brazilian National Identity
(1902-1958) by Walsh, Lindsay. PhD diss., Wesleyan University, 2010.
(​https://wesscholar.wesleyan.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&arti
cle=1497&context=etd_hon_theses​)

8) The African Hemiola style, by Rose Blander - ​Ethnomusicology Vol. 3, No. 3 (Sep., 1959), pp. 106-117
(12 pages), ​Published by: University of Illinois Press on behalf of Society for Ethnomusicology
(​https://www.jstor.org/stable/924609?read-now=1&seq=1#page_scan_tab_contents​)
9) The Pernambuco Carnival and Its Formal Organisations: Music as Expression of Hierarchies and
Power in Brazil by Tiago de Oliveira Pinto, Yearbook for Traditional Music, Vol. 26 (1994), pp. 20-38 (19
pages) Published by: International Council for Traditional Music
(​https://www.jstor.org/stable/768241?read-now=1&refreqid=excelsior%3Ab6701bf0baabf3ecd2f5e748604
1d8c6&seq=9#page_scan_tab_contents​)

10) Om namah Shivaya

(​https://it.wikipedia.org/wiki/O%E1%B9%83_nama%E1%B8%A5_%C5%9Aiv%C4%81ya​)

11) Maracatu nacional do baque virado

(​http://site.carnavalrecife.com/compositores-e-agremiacoes/maracatus-de-baque-virado/​)
(​https://pt.wikipedia.org/wiki/Maracatu_Na%C3%A7%C3%A3o​)

12) Demetrius locks- Maracatu for drumset

(​https://www.youtube.com/watch?v=D9ofUqTa_Qc​)

13) 2 Maracatu (for drum set duo) // Michael D'Angelo & Andy Smith
(​https://www.youtube.com/watch?v=PI6J1rsqqpI​)

14) Cristiano Galvao- Creative Brazilian Drumming/ Maracatu exercises

(​https://www.youtube.com/watch?v=r2nllnJLc2I​)

15) Scott Kettner: Maracatu for Drumset: Indigenous Caixa Technique

(​https://www.youtube.com/watch?v=QrKJs6lBfmM​)
(​https://www.youtube.com/watch?v=pC4tBEU6DaY​)
(​https://www.youtube.com/watch?v=vxw7qOHEOxw​)

16) Om Namah Shivaya- Om Namah Shivaya- Krishna Das Live! Songs with lyrics
(​https://www.youtube.com/watch?v=PTc8X37oJBE​)

17) Steve Hillage- Om Namah Shivaya

(​https://www.youtube.com/watch?v=jIAxfXq9XgA​)

18) Pandit Swapan Chaudhuri defines strokes and bols of Tabla as a Language
(​https://www.youtube.com/watch?v=TmUzRDxqN9I​)

19) Egberto Gismonti, Maracatu live performance

(​https://www.youtube.com/watch?v=FK56bGqffsg&fbclid=IwAR0uyfV9vCYf4ma6axokMO7uxKYvSZdflkw
GCEwmgJlR_e0gey26dAelJms​)
55
20) Maracatu Baque Solto (rural)
(​https://www.youtube.com/watch?v=u9bdhtObzwM​)

21) Gilberto Gil e amigos - "Tatá Engenho Novo"

(​https://www.youtube.com/watch?v=PoADBWRooHY&list=PLc3x8F7JJcchg47XvCc-kmnzMFHFjOGnp​)
22) “Rep”
(​https://www.youtube.com/watch?v=mQAxvCi8aSw&list=PLc3x8F7JJcchg47XvCc-kmnzMFHFjOGnp&ind
ex=3​)

23) How to play Hemiola Rhythms - Damian Erskine

(​https://www.notreble.com/buzz/2018/06/13/how-to-play-hemiola-rhythms/​)

Annotation:

Until today, in order to achieve my final goal (hence, before coming to the choice of Maracatu) I had spent
my time trying to understand what the best path could be, in order to achieve an optimal result. I have
read books that are not fully relevant to my research, but they have certainly been useful to understand
which kind of path I could follow. Therefore, I would like to enlist the steps which have
characterised/marked my path.

In traditional Mali music, the rhythm comes from the ​Clave, thus similar to Cuban and Brazilian world
music. In Mali music we find ​Djembè and ​‘Ntamani (small talking drum similar to the ​Pakhawaj​, both for
the shape and for the low tuning). Among many, I have chosen these sources:

1)Frafra Sound (Mali and Suriname musical influences)

(​https://www.youtube.com/watch?v=oukRAYWcL_w​)
(​https://www.youtube.com/watch?v=Bv_yo4_T1kQ​)

2) Sona Jobarteh (West Africa music- Gambia)

(​https://www.youtube.com/watch?v=Ig91Z0-rBfo&t=3218s​)

3) World Music: Latin & North America, Caribbean, India, Asia and Pacific, by Simon Broughton, Mark
Ellingham, Richard Trillo, Orla Duane and James McConnac.
(​https://books.google.nl/books?id=QzX8THIgRjUC&pg=PA298&lpg=PA298&dq=kaseko+music&source=b
l&ots=fgMKF3DlxY&sig=ZQ_FQTC0XkJNqDHYFDX-MCOg3gU&hl=it&sa=X&ved=2ahUKEwjlm5jK287dA
hVJqaQKHSrICGs4ChDoATAFegQIBhAB#v=onepage&q=kaseko%20music&f=false​)

This tune is very close to both Brazilian and Indian rhythmic language:

4) OldPalante, "Kaseko medley"

(​https://www.youtube.com/watch?v=YwVDpDHIoIg&feature=related​)

56
5 Reference list
Aboio Nordestino per musica arabè

Alguns Personagens do Cavalo-Marinho

Andy Smith- Submitted to the faculty of the Jacobs School of

Music, in partial fulfillment of the requirements for the degree,
Doctor of Music, Indiana University May, 2014,

Bernhard Schimpelsberger (Linz, 2011). “Advanced​​ ​indian​​

​rhythm​​ ​studies​​ ​for​​ ​Western​​ ​Musicians, a guide through the
Secret Rhythm Calculations”​ ​

Bernhard​​ ​Schimpelsberger​​ ​-​ ​konnakol,​ ​tukra​ ​and​ ​drum​ ​laggi.

Darbar Festival (2014)

Cantos de Trabalho - Mutirão [Documentário]

Claus Schreiner (1943) “Música Brasileira, a history of

popular music and the people of Brazil” Published by Marion
Boyars Publishers Ltd in New York. The Archive of
Contemporary Music.

Clayton Martin (2008), “Time in Indian Music: Rhythm, Metre,

and Form in North Indian Rag Performance”. published by
Oxford Monographs on Music. New York: Oxford University
Press.

Cristiano Galvao- Creative Brazilian Drumming/ Maracatu

exercises”

Cultural Geographies of Afro-Brazilian Symbolic Practice:

Tradition and Change in Maracatu de Nação (Recife,
Pernambuco, Brazil)” by Jerry D. Metz. Vol. 29, No. 1 (Spring
- Summer, 2008), pp. 64-95

Dan​​ ​Weiss​​,​ ​(March​​ ​2014) “Fourteen”​​,​ ​Pi​​ ​Recordings,

Demetrius locks- Maracatu for drumset

Egberto Gismonti, Maracatu live performance”

Falando de Caixa com Serrinha Raiz

57
Gérald Guillot, from Haute Ecole Pedagogique Lausanne,
AAWM 2016 Conference at NYC.“Hypothesis of polymetric
structures in Afro-Brazilian music”

Gregory Michael​ ​Diethrich​ (1995). “The​ ​art​ ​of​ ​North​ ​India​ ​Tala​
​drumming:​ ​adaptations​ ​to​ ​the​ ​ African-American drumset​
​tradition”. San Jose State University, California: Master’s
thesis and Graduate

Hindi Scene: When Words Betray the Truth” by Rajeev

Saxena, Indian Literature- Vol. 35, No. 1 (147)
(January-February, 1992), pp. 138-145

How to play Hemiola Rhythms”, Damian Erskine

Jojo Mayer Push and Pull: Buddy Rich’s secret weapon 1998

Ken​​ ​Micallef​​ (2003). ​ “Understand​​ ​indian​​ ​rhythm​​ ​concepts”​​.

Published by Modern​​ ​Drummer​​ ​Magazine​​

Learn about Tukra- Indian Music”

Learn Tabla:Tirekita (different styles of Tirakite)

L'improvisation du joueur de tablā dans le khyāl” by Antoine

Bourgeau, Cahiers d'ethnomusicologie Vol. 21,
performance(s) (2008), pp. 135-153

Maracatu Baque Solto (rural)”

Maracatu Cassio Cunha

Maracatu Mar Aberto | Great Heart Fest 2013

Maracatu nacional do baque virado

Maracatus" et écoles de samba: à propos du carnaval de

Recife” by Carlos Sandroni, Ethnologie française, nouvelle
série, T. 29, No. 1, MUSIQUES DANS LA RUE: TERRAINS
DE JEU (Janvier-Mars 1999), pp. 45-48

Masterclass Shai Maestro Mousikè 2017

Melbourne school of Tabla”

Musical Difference, Competition, and Conflict: The Maracatu

Groups in the Pernambuco Carnival, Brazil” by Tiago de
Oliveira Pinto, Latin American Music Review Vol. 17, No. 2
(Autumn - Winter, 1996), pp. 97-119

58
North Indian Rhythm” by Rebecca Stewart. The World of
Music, Vol. 20, No. 2, Musicultura: Three Orient-Occident
Encounters organized by the Eduard van Beinum
Foundation—Final Report (1978), pp. 129-132

O Baterista, contemporary Brazilian drum-set: Afro--Brazilian

roots & current trends in contemporary Samba-Jazz
performance practise”

Om Namah Shivaya- Om Namah Shivaya- Krishna Das Live!

Songs with lyrics”

Om namah Shivaya”

Pandit Swapan Chaudhuri defines strokes and Bols of Tabla

as a Language”

Ramon Montagner - " Montagner - “Push and Pull & Grips -

Coqueiral”

Ramon Montagner Push and Pull Technique

Rep

Rhythm and Time-Measurement in South Asian Art-Music:

Some Observations on tāla”

Rhythm and Transforms” by William Arthur Sethares

Rhythm Diaries” by Bernhard Schimpelsberger

Sangeet Research Academy (29/30 november and 1

december 1996) in collaboration with NCPA and Music Forum
and supported by Dept. of Culture, Govt. of India, Zee Music,
Rotterdam Conservatory, International Institute for Asian
Studies, The Netherlands, “Seminar on Indian music and the
West”.

Sangeetha Akshara Hridaya, Bangalore, (1988), “ ​A New

Approach to Tala Calculations”​

Scott Kettner: Maracatu for Drumset: Indigenous Caixa

Technique

Shai​​ Maestro trio, (2013)“Gal”,The road to Ithaca, Laborie

Records

Steve Hillage- Om Namah Shivaya”

Tatá Engenho Novo", Gilberto Gil e amigos

59
Telecoteco de Serrinha Raiz

The African Hemiola style, by Rose Blander” -

Ethnomusicology Vol. 3, No. 3 (Sep., 1959), pp. 106-117 (12
pages), Published by: University of Illinois Press on behalf of
Society for Ethnomusicology

The Guru Purnima Concert: Bernhard Schimpelsberger

The Pernambuco Carnival and Its Formal Organisations:

Music as Expression of Hierarchies and Power in Brazil” by
Tiago de Oliveira Pinto, Yearbook for Traditional Music, Vol.
26 (1994), pp. 20-38 (19 pages) Published by: International
Council for Traditional Music

Thinking, Saying, Playing: Children Learning the Tabla” by

Gerry Farrell - Bulletin of the Council for Research in Music
Education No. 133, The 16th International Society for Music
Education: ISME Research Seminar (Summer, 1997), pp.
14-19

Trilok Gurtu Solo performance. Zildjian Day, (London 1995)

Vava Machado e Marcolino

Walsh, Lindsay. PhD diss., Wesleyan University, 2010.

“Brazil is Samba: Rhythm, Percussion, and Samba in the
Formation of Brazilian National Identity”

Zakir Hussain aux Nuit de Fourvière

Zakir Hussain explains Tirakite

Zakir​​ ​Hussain​​ ​-​ Wizard Of Tabla (2013) “​​Rupak​​ ​taal​”

2 Maracatu (for drum set duo) // Michael D'Angelo & Andy

Smith

60
6 Network
List of Networking:

Liber Torriente, Laurienne Ghils, Marijn Van der Linden, Giuseppe Bordasco, Marco Castaldo, Max
Ravanello, Edoardo Liberati, Saulo Bortoloso, Netho Nascimento, Felipe Veiga, Ruven Ruppik, Bernhard
Schimpelsberger, Nunzio Moskito Toscano, Nello Vitiello, Tarang Poddar, Alessandro Inolti, Ramon
Montagner, Diego Zangado, Elizabeth Fadel, Dario Virgillito, Nils Fisher, Michele Rabbia, Valerio
Petriachi, Udo Demandt, Abel Marcel, Toni Armetta, Francesco Carretti, Danilo Ombres, Madhu
Lalbahadoersing, Lucas Van Merwijk, Sanjay Kansa Banik and Bill Davidson.

All my networking has been useful to help me to develop the path reached so far. I would like to mention
some of them, which I consider to be the most significant.

Niti Ranjan Biswas:

He​ works as a ​teacher at the ​Indian Department in​ ​Codarts. As ​a ​sensitive​ ​percussionist an ​open-minded
musician,​ Niti has the opportunity to play with severals artists and projects such as the Metropole
Orchestra and the Concertgebouw Jazz Orchestra, as well with the Nederlands Blazers Ensemble
Orchestra, accompanying the former Dutch Queen Beatrix, on Her Majesty’s visit to India in 2007.
Niti is my Tabla teacher in Codarts and He has really inspired me both for musical and human side.
I knew him 3 years ago, when I was attending the minor tala lessons and thanks his teaching and his
manner to share his knowledge, I decided to undertake this kind of musical journey.
He led me to this new musical path and he gave me the willingness to continue to investigate on it.

Udo Demandt:

He is my drum teacher at Codarts, with whom I study Brazilian drums. He is also a percussionist and this
knowledge allows him to play drums with a different taste than it usually known for a drummer attitude. I
really like his approach and that is actually what I was looking for. I believe that, nowadays, drummer
needs to expand own musical horizons in order to become always more sensitive towards of the music
itself. In my opinion, Udo is one of the best drummers and teachers.

61
Felipe Veiga:

He is a Brazilian drummer and percussionist and he did his Master in the Latin Music Department at
Codarts. He works as a percussionist at ​The Lion King. I found really useful and precious his feedback
regarding the Maracatu. Thus, He has contributed to introduce me to the different flavour of this rhythm,
as well as the importance of the Alfaia drum.

Ramon Montagner:

He is a Brazilian drummer. One of my reference drummer, whom I have already mentioned in my

previous reports, not only for his drumming but also for his use of the “​Push-and-Pull​” technique, which he
has developed in a really extreme manner. Last year, He gave a Masterclass at Codarts and for me it was
incredibly useful to have the chance to meet and talk to him. His contribution has been helpful,
particularly, for how it concern the way of crossoving different musical genres.

Sarah Thawer:

She is currently freelancing, collaborating, doing session work and performing with international artists
playing Jazz, Latin, Gospel, Funky, Indian and World Music. She studied at York University and was the
recipient of the Oscar Peterson Scholarship, the highest award given by the institution, in addition to
graduating with the Summa cum Laude distinction. As a both tabla player and drummer, She has

Diego Zangado:

Instrumentalist, composer and professor of Percussion at the Center of Rio de Janeiro.He studied
symphonic percussion and drums with Elizeu Costa, and he is soloist timpanist at the Municipal Theater
of Rio de Janeiro. He teaches at the São Luiz do Maranhão Conservatory and at music schools in Belém
and Santarém, in Pará. I contacted him, as has been suggested by my colleague, flute player, Bill
Davidson.

Nunzio Moskito Toscano:

He is an italian percussionist, based in Australia and specialized in Brazilian percussions. He has studied
for years in Pernambuco. He gave me feedback about the flavour of the Maracatu.

62
63
Appendices

Appendix 1: List of all recordings included in report

Zero Recording

​Deepchandi​ taal​, “TiteK​ataG​​adiG​​ane​”​ Tihai, (electronic​ ​drums. 31.Oct. 2017)

(​https://www.youtube.com/watch?v=V9ahA25IU2k&t=20s​)

First Recording

Drums Recording​:

Tirakite Taketake applied on Deepchandi taal AR1 (20th of April, 2018)

(​https://www.youtube.com/watch?v=PlMi7K6Vpnw​)

Tabla Recording​: (2 months studies) (20th of April,2018)

“Tirakite TakeTake”
(​https://www.youtube.com/watch?v=iM6aK90nBe4​)

“Tirakite Taketake Kaida”

(​https://www.youtube.com/watch?v=qZBK3acup24​)

“Tirakite TakeTake Kaida and paltas”

(​https://www.youtube.com/watch?v=KVwvJXmRn_c​)

Second Recording

Tirakite TakeTake applied on Maracatu de baque virado:

(​https://www.youtube.com/watch?v=4ZXHAtjojXk​)

Third Recording

Tirakite Tukra applied on Maracatu de baque virado:

(​https://www.youtube.com/watch?v=OFASBKkmzKQ​)

64
Appendix 2: Critical media review

Gregory Michael​ ​Diethrich​ (1995). “The​ ​art​ ​of​ ​North​ ​India​ ​Tala​ ​drumming:​ ​adaptations​ ​to​ ​the​ ​
African-American drumset​ ​tradition”. San Jose State University, California: Master’s thesis and Graduate
(​http://scholarworks.sjsu.edu/cgi/viewcontent.cgi?article=1985&context=etd_theses​)

Bernhard Schimpelsberger (Linz, 2011). “Advanced​​ ​indian​​ ​rhythm​​ ​studies​​ ​for​​ ​Western​​ ​Musicians, a ​guide
through the Secret Rhythm Calculations”​​ ​
(​http://www.bernhard.co.at/uploads/4/3/4/1/43419133/advanced_indian_rhythm_studies_for_western_mu
sicians_-_bernhard_schimpelsberger_short_teaser.pdf​)
(​http://docplayer.net/55230465-Advanced-indian-rhythm-studies-for-western-musicians.html​)

“Understand​​ ​indian​​ ​rhythm​​ ​concepts”​​. ​Ken​​ ​Micallef​​ (2003). ​Modern​​ ​Drummer​​ ​Magazine​​
(​https://www.moderndrummer.com/article/february-2015-understand-indian-rhythmic-concepts/​)

This article describes ​different​ ​approaches​ ​of​ ​drummers such as Dan​ ​Weiss,​ ​Steve​ ​Smith,​ ​Eric​ ​Harland​
​and​ ​Pete​ ​Lockett,​ ​and​ ​their​ ​advices within the scope of ​Tala​ ​rhythms​. It also ​discusses ​how​ ​Western​ ​and
Eastern​ ​music​ blended into each other.

“​ ​A New Approach to Tala Calculations”​, by Sangeetha Akshara Hridaya, Bangalore, 1988

“Fourteen”​​,​ ​Pi​​ ​Recordings, Dan​​ ​Weiss​​,​ ​(March​​ ​2014)

(​https://pirecordings.com/album/pi52​)
(​https://www.youtube.com/watch?v=hP4fwwHpYZM​)

Shai​​ Maestro trio, (2013)“Gal”,The road to Ithaca, Laborie records

(​https://www.youtube.com/watch?v=XBB6IJm9DI0&list=PLrJ_RiUTahImek8utleOJaGAld62sJ+wLD​)

Masterclass Shai Maestro Mousikè 2017

(​https://www.youtube.com/watch?v=pVI7JXzyLxk​)

Trilok Gurtu Solo performance. Zildjian Day, (London 1995)

(​https://www.youtube.com/watch?v=e7hCGbq2zu4​)

Bernhard​​ ​Schimpelsberger​​ ​-​ ​konnakol,​ ​tukra​ ​and​ ​drum​ ​laggi. Darbar Festival (2014)
(​​https://www.youtube.com/watch?v=ve98rXnpg_Y​)

Zakir​​ ​Hussain​​ ​-​ ​Wizard Of Tabla (2013) “​​Rupak​​ ​taal​”

(​https://www.youtube.com/watch?v=kxSjqlGZgR8​)

Zakir Hussain explains Tirakite: ​https://www.youtube.com/watch?v=ZB3Fb1hhF_w

Learn Tabla:Tirekita (different styles of Tirakite): ​http://www.youtube.com/watch?v=Tq5huzFsDJc&t=75

65
Zakir Hussain aux Nuit de Fourvière: https://www.youtube.com/watch?v=uQwVgyYOiEU&t=590s

The Guru Purnima Concert: ​https://www.youtube.com/watch?v=xRJIUzE4pcU

Falando de Caixa com Serrinha Raiz: ​https://www.youtube.com/watch?v=3H2nnPv8-Xs

Telecoteco de Serrinha Raiz: ​https://www.youtube.com/watch?v=TP9QLnmHa6A

Ramon Montagner Push and Pull Technique: ​https://www.youtube.com/watch?v=5wDMVG5OaOU

Jojo Mayer Push and Pull: Buddy Rich’s secret weapon 1998:

(​https://www.youtube.com/watch?v=X8Zfdank3rI​)

“Música Brasileira, a history of popular music and the people of Brazil” by Claus Schreiner,
Published by ​Marion Boyars Publishers Ltd​ in 1943, New York. The Archive of Contemporary Music.

“Seminar on Indian music and the West”,Sangeet Research Academy (29/30 november and 1 december
1996)in collaboration with NCPA and Music Forum and supported by Dept. of Culture, Govt. of India, Zee
Music, Rotterdam Conservatory, International Institute for Asian Studies, The Netherlands.

“Hypothesis of polymetric sructures in Afro-Brazilian music by Gérald Guillot, from Haute Ecole
Pedagogique Lausanne, AAWM 2016 conference at NYC.

“Time in Indian Music: Rhythm, Metre, and Form in North Indian Rag Performance” by Clayton Martin
(2008).Oxford Monographs on Music. New York: Oxford University Press.

“Le meter et le tal dans la mystique de l’Indie du Nord” by Martin Clayton, 1997, interview in “Cahiers de
Musique traditionelles”

“O Baterista, contemporary brazilian drum-set: Afro--Brazilian roots & current trends in contemporary
Samba-Jazz performance practise” by Andy Smith- Submitted to the faculty of the Jacobs School of
Music, in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University May,
2014
(​https://scholarworks.iu.edu/dspace/bitstream/handle/2022/17569/Smith,%20Andy%20(DM%20Percussio
n).pdf;sequence=1​)

“Brazil is Samba: Rhythm, Percussion, and Samba in the Formation of Brazilian National
Identity”(1902-1958) by Walsh, Lindsay. PhD diss., Wesleyan University, 2010.
(​https://wesscholar.wesleyan.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&arti
cle=1497&context=etd_hon_theses​)

“The African Hemiola style, by Rose Blander” - ​Ethnomusicology Vol. 3, No. 3 (Sep., 1959), pp. 106-117
(12 pages), ​Published by: University of Illinois Press on behalf of Society for Ethnomusicology
(​https://www.jstor.org/stable/924609?read-now=1&seq=1#page_scan_tab_contents​)

66
“The Pernambuco Carnival and Its Formal Organisations: Music as Expression of Hierarchies and Power
in Brazil” by Tiago de Oliveira Pinto, Yearbook for Traditional Music, Vol. 26 (1994), pp. 20-38 (19 pages)
Published by: International Council for Traditional Music
(​https://www.jstor.org/stable/768241?read-now=1&refreqid=excelsior%3Ab6701bf0baabf3ecd2f5e748604
1d8c6&seq=9#page_scan_tab_contents​)

“Om namah Shivaya”

(​https://it.wikipedia.org/wiki/O%E1%B9%83_nama%E1%B8%A5_%C5%9Aiv%C4%81ya​)

“Maracatu nacional do baque virado”

(​http://site.carnavalrecife.com/compositores-e-agremiacoes/maracatus-de-baque-virado/​)
(​https://pt.wikipedia.org/wiki/Maracatu_Na%C3%A7%C3%A3o​)

“Demetrius locks- Maracatu for drumset”

(​https://www.youtube.com/watch?v=D9ofUqTa_Qc​)

“2 Maracatu (for drum set duo) // Michael D'Angelo & Andy Smith”
(​https://www.youtube.com/watch?v=PI6J1rsqqpI​)

“Cristiano Galvao- Creative Brazilian Drumming/ Maracatu exercises”

(​https://www.youtube.com/watch?v=r2nllnJLc2I​)

“Scott Kettner: Maracatu for Drumset: Indigenous Caixa Technique”

(​https://www.youtube.com/watch?v=QrKJs6lBfmM​)
(​https://www.youtube.com/watch?v=pC4tBEU6DaY​)
(​https://www.youtube.com/watch?v=vxw7qOHEOxw​)

“Om Namah Shivaya- Om Namah Shivaya- Krishna Das Live! Songs with lyrics”
(​https://www.youtube.com/watch?v=PTc8X37oJBE​)

“Steve Hillage- Om Namah Shivaya”

(​https://www.youtube.com/watch?v=jIAxfXq9XgA​)

“Pandit Swapan Chaudhuri defines strokes and Bols of Tabla as a Language”

(​https://www.youtube.com/watch?v=TmUzRDxqN9I​)

“Egberto Gismonti, Maracatu live performance”

(​https://www.youtube.com/watch?v=FK56bGqffsg​)

“Maracatu Baque Solto (rural)”

(​https://www.youtube.com/watch?v=u9bdhtObzwM​)

"Tatá Engenho Novo", Gilberto Gil e amigos

(​https://www.youtube.com/watch?v=PoADBWRooHY&list=PLc3x8F7JJcchg47XvCc-kmnzMFHFjOGnp​)

“Rep”

67
(​https://www.youtube.com/watch?v=mQAxvCi8aSw&list=PLc3x8F7JJcchg47XvCc-kmnzMFHFjOGnp&ind
ex=3​)

“How to play Hemiola Rhythms”, Damian Erskine

(​https://www.notreble.com/buzz/2018/06/13/how-to-play-hemiola-rhythms/​)

Maracatu Cassio Cunha

(​https://www.youtube.com/watch?v=idoCVMwg8bQ&fbclid=IwAR33TyKeVrIGB9YZ-4F8jFWWvcKg1beQs
hV1JpIPlDVQ8N2vnWxQ2nUbUHQ​)

“L'improvisation du joueur de tablā dans le khyāl” by Antoine Bourgeau, Cahiers d'ethnomusicologie Vol.
21, performance(s) (2008), pp. 135-153 (​ ​https://www.jstor.org/stable/40240673​)

“Hindi Scene: When Words Betray the Truth” by Rajeev Saxena, Indian Literature- Vol. 35, No. 1 (147)
(January-February, 1992), pp. 138-145 (​https://www.jstor.org/stable/44292340​)

“ "Maracatus" et écoles de samba: à propos du carnaval de Recife” by Carlos Sandroni, Ethnologie

française, nouvelle série, T. 29, No. 1, MUSIQUES DANS LA RUE: TERRAINS DE JEU (Janvier-Mars
1999), pp. 45-48 ​(​https://www.jstor.org/stable/40990099​)

“Cultural Geographies of Afro-Brazilian Symbolic Practice: Tradition and Change in Maracatu de Nação
(Recife, Pernambuco, Brazil)” by Jerry D. Metz. Vol. 29, No. 1 (Spring - Summer, 2008), pp. 64-95
(​https://www.jstor.org/stable/29739145​)

“Musical Difference, Competition, and Conflict: The Maracatu Groups in the Pernambuco Carnival, Brazil”
by Tiago de Oliveira Pinto, Latin American Music Review Vol. 17, No. 2 (Autumn - Winter, 1996), pp.
97-119 (​https://www.jstor.org/stable/780346​)

“Melbourne school of Tabla” (​https://www.melbournetablaschool.com/index.html​)

“Thinking, Saying, Playing: Children Learning the Tabla” by Gerry Farrell - Bulletin of the Council for
Research in Music Education No. 133, The 16th International Society for Music Education: ISME
Research Seminar (Summer, 1997), pp. 14-19

(​https://www.jstor.org/stable/40318833?seq=1#page_scan_tab_contents​)

“North Indian Rhythm” by Rebecca Stewart. The World of Music, Vol. 20, No. 2, Musicultura: Three
Orient-Occident Encounters organized by the Eduard van Beinum Foundation—Final Report (1978), pp.
129-132 (​https://www.jstor.org/stable/43563648​)

“Rhythm and Transforms” by ​William Arthur Sethares

(​https://books.google.it/books?id=7llXSm_-KA8C&printsec=frontcover&hl=it#v=onepage&q&f=false​)

“Rhythm and Time-Measurement in South Asian Art-Music: Some Observations on tāla”

(​https://www.tandfonline.com/doi/abs/10.1093/jrma/107.1.132?journalCode=rrma19​)

“Rhythm Diaries” by Bernhard Schimpelsberger (​https://wemakeit.com/projects/rhythm-diaries​)

68
“Learn about Tukra- Indian Music” (​https://www.youtube.com/watch?v=kAim_kyPQ-E​)

Ramon Montagner - " Montagner - “Push and Pull & Grips - Coqueiral”
(​https://www.youtube.com/watch?v=AbjslbNtVl0​)

Maracatu Mar Aberto | Great Heart Fest 2013

(​https://www.youtube.com/watch?v=DqZX8m2T-e0&feature=share&fbclid=IwAR32olW2gn-qF9bVuZfeniK
XDQPv7_o1tLKCXNqQP4cYRCKe-TApnhz-N5Q​)

Alguns Personagens do Cavalo-Marinho

(​https://www.youtube.com/watch?v=iqzvynCZvnQ&feature=youtu.be​)

Cantos de Trabalho - Mutirão [Documentário]

(​https://www.youtube.com/watch?v=kNTZLi1mUJA&feature=youtu.be​)

Aboio
(​https://www.youtube.com/watch?v=UuW_AoS40Zk&feature=youtu.be​)

Vava Machado e Marcolino

(​https://www.youtube.com/watch?v=sN2ffYlCfaE​)

Appendix 3: Full feedback on reference recordings

First intervention cycle

Udo​ ​Demandt:
Udo Demandt is ​my​ ​drums​ ​teacher​ ​at​ ​Codarts,​ in ​the Latin​ ​Department. He​ ​suggested ​to​ ​avoid to always
put​ ​the​ ​kick​ ​on​ ​the​ ​one​, ​and​ ​try​ ​to​ ​play ​the​ ​bass​ ​drum​ ​each​ ​4 bars​, ​or also​ ​try​ ​to​ ​play​ ​around​ ​the​ ​one,​
​such​ ​as​ ​in​ ​the​ ​off-beat, changing the character of the sound.​ He further suggested to play​ ​the​ ​pulse​ ​start​
​with​ ​syllabus​ ​and play​ ​around it,​ ​going​ ​in​ ​double​ ​and​ ​in​ ​half​ ​time.​ ​Regarding Tihai,​ He suggested ​to​ ​use​ ​it​
​to​ ​create​ ​a​ ​groove,​ ​also interrupting​ ​the​ ​whole​ ​cycle with ​the​ rests and ​dynamics.

Niti​ ​Ranjan​ ​Biswas:

He suggested​ ​to​ ​use​ a ​little​ ​part​ ​of​ ​Tihai​ to ​close​ ​the​ ​Tala​ ​cycle, and concerning ​the last​ ​part​ ​of​ ​Tivra​
​Tala, ​“Tite​ ​Kata​ ​Gadi​ ​Gane”,​ ​he​ ​proposed ​to​ ​use​ ​different​ ​ways​ ​of​ ​approach, e.g. ​more notes ​in double
time, and ​use​ fewer ​notes, or rather ​part​ ​of​ ​them.

Alessandro​ ​Inolti​:
Alessandro suggested not to ​play​ ​the​ ​electronic​ ​drums​ as ​it​ ​lose​s ​the​ ​real​ ​sounds, and it does not enable
me to employ and valorize​ ​completely​ ​the​ ​dynamics. ​Another​ ​method​ ​that​ would ​be​ ​useful​ for me ​is​ to
​memorize​ ​the​ ​melody​ ​and play​ ​on. In order to​ ​avoid​ ​to​ ​always​ ​mark​ ​the​ ​first​ ​beat​, ​he​ ​suggest​s, as Udo
Demandt did,​ ​to​ ​put​ ​rest​ ​or​ ​change​ ​the​ ​quality​ ​of​ ​the​ ​sound, choosing a different drum.

69
Danilo​ ​Ombres​:​
​He ​agreed ​with​ ​the​ ​previous advices​, and in fact ​he​ ​suggested ​to​ ​think​ of ​the​ rhythm ​cycle​ ​as​ a ​continued​
​melody​ ​to play​ ​on.

Second intervention cycle

Survey by interview

I have interviewed the experts on both topics, asking the following questions:

● Considering your deep knowledge of Indian/Brazilian music, I would like to ask you: which kind of
approach do you prefer to use during the process of crossover, hence, when applying your
rhythmical background to a different (or unfamiliar) style, and what does this process mean for
you?
● What do you think about this whole idea?
Can you recognize the "​Tirakite Taketake"​ phrase on the Maracatu?
● Would like to suggest and share with me any ideas?
● Do you think such rhythmical crossover would be possible?
● Do you think it would be musically acceptable?

Diego Zangado:.

Me​: “Considering your deep knowledge of Brazilian music, I would like to ask you: which kind of approach
do you prefer to use during the process of crossover, hence, when applying your rhythmical background
to a different (or unfamiliar) style, and what does this process mean for you? Would like to suggest and
share with me any ideas? Do you think such rhythmical crossover would be possible?”.

D​: “It means a lot, Brazilian music is based on percussions - we had an Afro heritage, and a huge mix of
African + Portuguese + Indian cultures and perhaps Maracatu is one of the most famous examples, in this
sense. If you pay close attention to the folklore of Maracatu, you will be able to find elements from each of
these 3 cultures, the dancing, the singing and the rhythms - so the approach is to adapt the percussion to
go with the drums, and in Maracatu the most difficult part is to adapt the Alfaia's pattern to the bass drum.
I also suggest you to watch these videos, especially the adaptation of Maracatu that Nene plays in this
“jazzy” Maracatu with​ ​Egberto Gismonti, Maracatu live performance.

(​https://www.youtube.com/watch?v=FK56bGqffsg&fbclid=IwAR0uyfV9vCYf4ma6axokMO7uxKYvSZdflkw
GCEwmgJlR_e0gey26dAelJms​)

And also, “Maracatu Cassio Cunha”

(​https://www.youtube.com/watch?v=idoCVMwg8bQ&fbclid=IwAR1Og9R5uKiSZlqtsT7n5FxTo0Ey9mkN4I
qPYzA5AptVchlrChSPeewDhjQ​).“

70
Niti Ranjan Biswas:
Me​: “Considering your deep knowledge of Indian music, I would like to ask you: which kind of approach
do you prefer to use during the process of crossover, hence, when applying your rhythmical background
to a different (or unfamiliar) style, and what does this process mean for you? What do you think about this
whole idea and can you recognize the "​Tirakite Taketake​" phrase on the Maracatu? Do you think such
rhythmical crossover would be possible and do you think it would be musically acceptable?”

N.​: “In your two video recordings I could hear the Tihai and I also recognized other elements from the
“Tirakite Taketake” Kaida such as “​Kite-take”​ part. What you applied is suitable for the ​Maracatu de baque
virado ​and I recognized the “​Tirakite Taketake​”, therefore, so far, your approach is definitely musically
acceptable and will also give you the possibility to widen your knowledge, starting to think more in the
tabla language and no longer as a drummer “.

Alessandro Inolti:

A.: ​“I am not an expert of Indian music, but I think that the idea is valid and has to be contextualized
within a song in order to understand the final result.Regarding the Hemiola, I suggest you to go on and let
the Hemiola last three bars.”

Liber Torriente:

L.: ​“There are many variations and thus colours on the set, that you can bring in also by using different
​ ighlighting the accent
sticking. For instance I suggest you to play the doubling of the “​Tirakite Taketake” h
on the charleston using the right hand, and to play the ​ghost notes on the snare drum with the left hand,
always respecting the Hemiola sequence. When you play the march of Maracatu, try to altern both the
open and closed hi-hat with the foot, so that you can give it another shade of colour. The Hemiola sounds
very good”.

Ramon Montagner:

Me: “Considering your deep knowledge of Brazilian music, I would like to ask you: which kind of
approach do you prefer to use during the process of crossover, hence, when applying your rhythmical
background to a different (or unfamiliar) style, and what does this process mean for you? What do you
think about this whole idea and can you recognize the "​Tirakite Taketake"​ phrase on the Maracatu?”

R.: “​I do not have a thorough knowledge of Indian rhythms. When I dare to modify rhythmic aspects of
some musical genres, I try to know very little about its origin. In fact, the Brazilian rhythmic tradition, unlike
the North American one, does not have its base of study in the classic rudiments. We adapt the rhythmic
lines of rhythms to the drums, which are initially played in groups of percussion instruments. This way we
do not necessarily use the rudiments. We adapt the lines to the parts of the drums. I believe you can do
the same by adapting Indian rhythms to Maracatu. There are no limits to creativity!!! ​I found the idea very
interesting and musical and I think it can bear good fruits!!”

Me: ​“Would like to suggest and share with me any ideas? Do you think such rhythmical crossover would
be possible?”.
71
R.: “I believe you can only try to get a little closer to the original rhythmic accent. Look for Maracatú
videos and recordings. I speak of "accent" in the sense that the percussionists of the Maracatú groups
play without a clear technique and leave some natural ​flams​, a bit of "dirt" in the sound. Definitely yes, I
believe there is a rhythmical crossover and it is interesting because there are no limits in music, and
music is free to be adapted and reshaped.”

Me: ​“Do you think it would be musically acceptable?”

R.: ​“Yes, of course! In my book ​‘Rhythmic Imagination’ I apply many rhythms that are not natural to the
tradition of the genre studied. Exactly to stimulate the imagination and to break the barriers a little,
because, after all, we should not be always attached to the same tradition. Of course, with great respect
and not without first knowing and valuing this very tradition.”

Udo Demandt:

U.: “​Well executed stuff in the video! The thing is, combining Maracatú and the Indian sticking is not very
recognizable, especially when you go to doubletime phrases. I rather think of jazz-fusion there, drum and
bass, of course you can combine everything with anything, but it is two things put together... So in that
moment you ' leave' the Maracatú, and make a mixture of two very different things.
However, have a look at the other type of Maracatú. You have the 2 types, 'rural' and 'de nação',
or also divided in 'baque solto' and 'baque virado'.The 'rural' one doesn't resemble the other one at all,
and also doesn’t have the nice alfaia beats but it has a 'double time' feel of its own.

Maracatu Baque Solto (rural)

(​https://www.youtube.com/watch?v=u9bdhtObzwM​)

Have also a look at Gilberto Gil’s project with Trilok Gurtu:

Gilberto Gil e amigos - "Tatá Engenho Novo"

(​https://www.youtube.com/watch?v=PoADBWRooHY&list=PLc3x8F7JJcchg47XvCc-kmnzMFHFjOGnp​).”

Sarah Thawer:
She is currently freelancing, collaborating, doing session work and performing with international artists
playing Jazz, Latin, Gospel, Funky, Indian and World Music. She studied at York University and was the
recipient of the Oscar Peterson Scholarship, the highest award given by the institution, in addition to
graduating with the Summa cum Laude distinction.

S.:​“Indian rhythm are expressed in many ways. Northern tradition defines those syllables “bols”. My
approach is more groove-oriented, feel-oriented and style-oriented, one of these many ways in which they
are expressed, in northern-traditional style they are called Bols, tabla bols.”
“Cross-stick: there are different dynamics in the tabla, and the crosstick emulates more the sound of a
mezzo piano, and the snare is more like a Forte sound. ”

72
“Let’s incorporate feet.” “theka is a variation of a rhythmic pattern that comes from the tala, (for instance:
Dadra taal is ​Dha Dhin Na Ta Tin Na​, it becomes ​Dha tin tin Ta dhin dhin​= ​Dha is the bass drum, ​Dhin​: as
the bass, so bass and snare,​ Ta​ snare, ​Tin​ is a ringing sound, so play it with sticks )”

Felipe Veiga:

Me: “Considering your deep knowledge of Brazilian music, I would like to ask you: which kind of approach
do you prefer to use during the process of crossover, hence, when applying your rhythmical background
to a different (or unfamiliar) style, and what does this process mean for you?

F.: ​“First of all, when I do that, I follow that one rule that it has to sound musical and fun to me. The
crossover in itself isn’t always interesting.
Starting from this point, I try out ideas from my repertoire, my musical vocabulary in the first place.
What is important for me about the “musical rule” is that it gives me freedom to modify the original ideas,
freedom to re-adapt this first idea from a different musical context into a new one, in order to make it
sound good to my ears.
As a Brazilian musician with deep roots in traditional Brazilian music I, often and on purpose, bring up this
particular “swing” and it really pops out depending of the musical situation. Sometimes it is ok, sometimes
it is just too much.
So we are talking about two things: the idea itself and the way you play it.
The idea itself for me is always open to change, and the way I apply it depends on the musical situation.
This is a very natural process for me, but it is very important to know what you are putting together.
The result has to be listened to as a whole new thing and then exposed to my own criticism. Sometimes
I spend a lot of time doing something that, after all, turns out to be just too complicated and doesn’t sound
good to me. Most of the time simpler ideas work better and groove more. If you do it in a non-familiar
musical situation for you, I would suggest you to bring ideas that make you feel more comfortable with the
playing.
For example, some time ago, while playing with a Hungarian singer, we had all those odd times
signatures with which I was not familiar, at the time. At some point, I found out that playing a baião pattern
on the bass drum would make me feel way more comfortable during the gig and would work just great
with the song. Nobody knew I was playing a kind of baião, but it helped me a lot.”

Me: “What do you think about this whole idea? Can you recognize the "​Tirakite Taketake"​ phrase on the
Maracatu?”

F.: ​“I really like the idea of crossing over different genres of music and believe you have a lot of
possibilities by doing that. It also makes you adapt and change the ideas bringing freedom into your
musical perception.
A good knowledge of the genres is a must for it and starting from simple ideas also make it easier. On the
video I can recognize the phrase because you told me. Otherwise I don’t think it is possible due to the
lack of sounds, if compared to the tabla, of the trio “snare/bass/hi-hat.”

Me: ​“Would like to suggest any ideas? Do you think such rhythmical crossover would be possible? Do
you think it would be musically acceptable?”

73
F.: “I believe you should try with different Maracatu patterns. You can apply many different accents on
these patterns, creating a richer range of dynamics. I’m sure you will find some great interactions between
the “trio”.
Totally possible and totally new the rhythmical crossover!! Completely acceptable and very welcome!
Brazilian music hasn’t been mixed with Indian music on this level so far.”

Third Intervention cycle

Alessandro Inolti
“I’m not an expert in both musical fields. Thanks to your previous video on tabla, I think that it’s easily
understandable what you meant, thus, how to concern my taste, I guess that your experiment works in
musical sense.”

Nello Vitiello
He is a percussionist based in Italy, specialize in Brazilian music, busy in severals tour.

“I think that your idea works. You did an unprecedented thing trying to combine this two different musical
worlds and that is good. A suggestion that I want to share with you is to match the Shekere line by playing
it on the bell in order to alternate it with the Agogo bell line”.

Niti Ranjan Biswas

“The ​Tirakite ​phrasing works and you play the Tukra in double time, so it works for the time of the song.
Everything is well fixed. You need matched the group of the song itself. Then, apart of ​Teen taal ​there is
also another ​taal ​which is suitable for this kind of experiment, cause it plays very similar to the Maracatu
accents. This taal is called​ Sitar Khali”​ .

Tarang Poddar
“When I approach crossover of applying Indian rhythms on drums set, I have to processes that I generally
work with. In the First, I play the Tabla rhythms on the tabla, as free experiment, applying and exploring
different ways I can apply this to drumset by experimenting with things like Rhythmic structures, phrasing,
sound and subdivisions.
Secondly, for eg. if I have to work on improvisation on a vamp in Western Music, I try to think of it in an
Indian way, in the language of tabla, and apply these rhythmic ideas on the drumset.
The video sounds groovy, nice textures and sounds created and I can recognise the Tukra played on the
drums. I also liked that the bass is following it in the Tihai. One small suggestion would be that the bass
playa the “Dha” of the Tihai with you all three times, otherwise to my ear it sound a bit empty pay the
Crash cymbal without the bass”.

74
Laurianne Ghils
"The combination is fine, I do not see anything strange. Maybe you could explore more the melody by
applying your Tirakite phrase, and apply the melody to all your drumset, by playing with the bass drum
and the toms, not only the floor tom, the snare drum and the bells. You can also explore different sound
sources such as the rimshot of the snare.
The hi-hat can be combined to fill in the gaps or to make accents in certain places.
I think that to create more dynamics in the break (crescendo, diminuendo) in order to obtain a smooth
transition. The pianist has to be tighter also when you do the variation, there is a part where there is a
little clash. Otherwise super good, it is not strange about the Maracatu. It's more from one part to another.
It may be more fluent from the part where the Tirakite break makes the Maracatu groove again. I think it is
interesting that you do it, as if it were a "break", but maybe explore more combinations when making the
Tirakite. I think that your concept is interesting. I like it because It opens many possibilities ".

Nunzio Moskito Toscano

“I studied 5 years in Pernambuco and I am specialized in this style and I can share with you my
knowledge. About your video, is good what you play on the caixa. A suggestion is about the flavour of the
Alfaia drum. There are many pattern played by the Alfaia and what are you playing, it is called Malè. I
suggest you to pass by the pattern called “marcaçao” which is the standard one but with one stroke left, in
order to understand the flavour of Maracatu and then you can combine both.”

Udo Demandt
“A suggestion that I feel to share with you is about the execution of the ​Tukra. I​ n order to don’t lose the
flavor of Maracatu, I suggest to continue to play a press rolls after the first phrase of Tukra ensure that
you integrate it with the whole sound. Keep attention on that time. Is play too fast and it could sound looks
like ​Maracatu rural. ​Keep attention even on the execution of the ​linear phrase ​during the ​Tihai, ​it’s rushed.
I also suggest to adapt on cowbell the melody of the song and to continue to play press rolls during the
Tukra​ composition in order to link both styles”.

Appendix 4: Transcription of interviews

Second intervention cycle

Survey by interview

I have interviewed the experts on both topics, asking the following questions:

● Considering your deep knowledge of Indian/Brazilian music, I would like to ask you: which kind of
approach do you prefer to use during the process of crossover, hence, when applying your
rhythmical background to a different (or unfamiliar) style, and what does this process mean for
you?
● What do you think about this whole idea?
Can you recognize the "​Tirakite Taketake"​ phrase on the Maracatu?

75
 ● Would like to suggest and share with me any ideas?
● Do you think such rhythmical crossover would be possible?
● Do you think it would be musically acceptable?

Diego Zangado:

Me​: “Considering your deep knowledge of Brazilian music, I would like to ask you: which kind of approach
do you prefer to use during the process of crossover, hence, when applying your rhythmical background
to a different (or unfamiliar) style, and what does this process mean for you? Would like to suggest and
share with me any ideas? Do you think such rhythmical crossover would be possible?”.

D​: “It means a lot, Brazilian music is based on percussions - we had an Afro heritage, and a huge mix of
African + Portuguese + Indian cultures and perhaps Maracatu is one of the most famous examples, in this
sense. If you pay close attention to the folklore of Maracatu, you will be able to find elements from each of
these 3 cultures, the dancing, the singing and the rhythms - so the approach is to adapt the percussion to
go with the drums, and in Maracatu the most difficult part is to adapt the Alfaia's pattern to the bass drum.
I also suggest you to watch these videos, especially the adaptation of Maracatu that Nene plays in this
“jazzy” Maracatu with​ ​Egberto Gismonti, Maracatu live performance.

(​https://www.youtube.com/watch?v=FK56bGqffsg&fbclid=IwAR0uyfV9vCYf4ma6axokMO7uxKYvSZdflkw
GCEwmgJlR_e0gey26dAelJms​)

And also, “Maracatu Cassio Cunha”

(​https://www.youtube.com/watch?v=idoCVMwg8bQ&fbclid=IwAR1Og9R5uKiSZlqtsT7n5FxTo0Ey9mkN4I
qPYzA5AptVchlrChSPeewDhjQ​).“

Niti Ranjan Biswas:

Me​: “Considering your deep knowledge of Indian music, I would like to ask you: which kind of approach
do you prefer to use during the process of crossover, hence, when applying your rhythmical background
to a different (or unfamiliar) style, and what does this process mean for you? What do you think about this
whole idea and can you recognize the "​Tirakite Taketake​" phrase on the Maracatu? Do you think such
rhythmical crossover would be possible and do you think it would be musically acceptable?”

N.​: “In your two video recordings I could hear the Tihai and I also recognized other elements from the
“Tirakite Taketake” Kaida such as “​Kite-take”​ part. What you applied is suitable for the ​Maracatu de baque
virado ​and I recognized the “​Tirakite Taketake​”, therefore, so far, your approach is definitely musically
acceptable and will also give you the possibility to widen your knowledge, starting to think more in the
tabla language and no longer as a drummer “.

Alessandro Inolti:
A.: ​“I am not an expert of Indian music, but I think that the idea is valid and has to be contextualized
within a song in order to understand the final result.Regarding the Hemiola, I suggest you to go on and let
the Hemiola last three bars.”

76
Liber Torriente:
L.: ​“There are many variations and thus colours on the set, that you can bring in also by using different
​ ighlighting the accent
sticking. For instance I suggest you to play the doubling of the “​Tirakite Taketake” h
on the charleston using the right hand, and to play the ​ghost notes on the snare drum with the left hand,
always respecting the Hemiola sequence. When you play the march of Maracatu, try to altern both the
open and closed hi-hat with the foot, so that you can give it another shade of colour. The Hemiola sounds
very good”.

Ramon Montagner:
Me: “Considering your deep knowledge of Brazilian music, I would like to ask you: which kind of
approach do you prefer to use during the process of crossover, hence, when applying your rhythmical
background to a different (or unfamiliar) style, and what does this process mean for you? What do you
think about this whole idea and can you recognize the "​Tirakite Taketake"​ phrase on the Maracatu?”

R.: “​I do not have a thorough knowledge of Indian rhythms. When I dare to modify rhythmic aspects of
some musical genres, I try to know very little about its origin. In fact, the Brazilian rhythmic tradition, unlike
the North American one, does not have its base of study in the classic rudiments. We adapt the rhythmic
lines of rhythms to the drums, which are initially played in groups of percussion instruments. This way we
do not necessarily use the rudiments. We adapt the lines to the parts of the drums. I believe you can do
the same by adapting Indian rhythms to Maracatu. There are no limits to creativity!!! ​I found the idea very
interesting and musical and I think it can bear good fruits!!”

Me: ​“Would like to suggest and share with me any ideas? Do you think such rhythmical crossover would
be possible?”.

R.: “I believe you can only try to get a little closer to the original rhythmic accent. Look for Maracatú
videos and recordings. I speak of "accent" in the sense that the percussionists of the Maracatú groups
play without a clear technique and leave some natural ​flams​, a bit of "dirt" in the sound. Definitely yes, I
believe there is a rhythmical crossover and it is interesting because there are no limits in music, and
music is free to be adapted and reshaped.”

Me: ​“Do you think it would be musically acceptable?”

R.: ​“Yes, of course! In my book ​‘Rhythmic Imagination’ I apply many rhythms that are not natural to the
tradition of the genre studied. Exactly to stimulate the imagination and to break the barriers a little,
because, after all, we should not be always attached to the same tradition. Of course, with great respect
and not without first knowing and valuing this very tradition.”

Udo Demandt:
U.: “​Well executed stuff in the video! The thing is, combining Maracatú and the Indian sticking is not very
recognizable, especially when you go to doubletime phrases. I rather think of jazz-fusion there, drum and
bass, of course you can combine everything with anything, but it is two things put together... So in that
moment you ' leave' the Maracatú, and make a mixture of two very different things.
However, have a look at the other type of Maracatú. You have the 2 types, 'rural' and 'de nação',

77
or also divided in 'baque solto' and 'baque virado'.The 'rural' one doesn't resemble the other one at all,
and also doesn’t have the nice alfaia beats but it has a 'double time' feel of its own.

Maracatu Baque Solto (rural)

(​https://www.youtube.com/watch?v=u9bdhtObzwM​)

Have also a look at Gilberto Gil’s project with Trilok Gurtu:

Gilberto Gil e amigos - "Tatá Engenho Novo"

(​https://www.youtube.com/watch?v=PoADBWRooHY&list=PLc3x8F7JJcchg47XvCc-kmnzMFHFjOGnp​).”

Sarah Thawer:
S.:​“Indian rhythm are expressed in many ways. Northern tradition defines those syllables “bols”. My
approach is more groove-oriented, feel-oriented and style-oriented, one of these many ways in which they
are expressed, in northern-traditional style they are called Bols, tabla bols.”
“Cross-stick: there are different dynamics in the tabla, and the crosstick emulates more the sound of a
mezzo piano, and the snare is more like a Forte sound. ”
“Let’s incorporate feet.” “theka is a variation of a rhythmic pattern that comes from the tala, (for instance:
Dadra taal is ​Dha Dhin Na Ta Tin Na​, it becomes ​Dha tin tin Ta dhin dhin​= ​Dha is the bass drum, ​Dhin​: as
the bass, so bass and snare,​ Ta​ snare, ​Tin​ is a ringing sound, so play it with sticks )”

Felipe Veiga:
Me: “Considering your deep knowledge of Brazilian music, I would like to ask you: which kind of approach
do you prefer to use during the process of crossover, hence, when applying your rhythmical background
to a different (or unfamiliar) style, and what does this process mean for you?

F.: ​“First of all, when I do that, I follow that one rule that it has to sound musical and fun to me. The
crossover in itself isn’t always interesting.
Starting from this point, I try out ideas from my repertoire, my musical vocabulary in the first place.
What is important for me about the “musical rule” is that it gives me freedom to modify the original ideas,
freedom to re-adapt this first idea from a different musical context into a new one, in order to make it
sound good to my ears.
As a brazilian musician with deep roots in traditional Brazilian music I, often and on purpose, bring up this
particular “swing” and it really pops out depending of the musical situation. Sometimes it is ok, sometimes
it is just too much.
So we are talking about two things: the idea itself and the way you play it.
The idea itself for me is always open to change, and the way I apply it depends on the musical situation.
This is a very natural process for me, but it is very important to know what you are putting together.
The result has to be listened to as a whole new thing and then exposed to my own criticism. Sometimes
I spend a lot of time doing something that, after all, turns out to be just too complicated and doesn’t sound
good to me. Most of the time simpler ideas work better and groove more. If you do it in a non-familiar
musical situation for you, I would suggest you to bring ideas that make you feel more comfortable with the
playing.
For example, some time ago, while playing with a Hungarian singer, we had all those odd times
signatures with which I was not familiar, at the time. At some point, I found out that playing a baião pattern

78
on the bass drum would make me feel way more comfortable during the gig and would work just great
with the song. Nobody knew I was playing a kind of baião, but it helped me a lot.”

Me: “What do you think about this whole idea? Can you recognize the "​Tirakite Taketake"​ phrase on the
Maracatu?”

F.: ​“I really like the idea of crossing over different genres of music and believe you have a lot of
possibilities by doing that. It also makes you adapt and change the ideas bringing freedom into your
musical perception. A good knowledge of the genres is a must for it and starting from simple ideas also
make it easier. On the video I can recognize the phrase because you told me. Otherwise I don’t think it is
possible due to the lack of sounds, if compared to the tabla, of the trio “snare/bass/hi-hat.”

Me: ​“Would like to suggest any ideas? Do you think such rhythmical crossover would be possible? Do
you think it would be musically acceptable?”

F.: “I believe you should try with different Maracatu patterns. You can apply many different accents on
these patterns, creating a richer range of dynamics. I’m sure you will find some great interactions between
the “trio”. Totally possible and totally new the rhythmical crossover!! Completely acceptable and very
welcome! Brazilian music hasn’t been mixed with Indian music on this level so far.”

Appendix 5: Transcriptions/annotated scores/analyses

79
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