Jarrod Cagwin

One by One

Exercises for Rhythmic Development

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© 2010, Ensemble Modern Medien

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Theconceptsdiscussedinthisbookaredesignedtogiveanyperformerorcomposer,regard-lessofmusicalbackground,afurtherinsightintotheworldofrhythm.ThemethodsIteachhaveevolvedfromdiversestudiesofvariousculturesandtherhythmicstructuresintheirmusic;however,theprincipalfoundationwhichIwillbuilduponwillbetherhythmicsystemfromSouthIndia.TheclassicalmusicofSouthIndia,knownasCarnaticmusic,isbuiltuponalogicalrhythmicstructurethathasadvancedforwellovertwothousandyears.ThematerialIpresentinthisbookisbynomeansatreatiseonIndianmusic;however,Iusetherhythmictrainingasamethodthatcanbeappliedtovirtuallyanymusicwitharhythmicbase.Theprimarycomponentofthismethodistheutilizationofaphoneticrhythmicsolfege,knownasSolkattu.Solkattuconsistsofvarioussyllablesthattradition-allyrepresentthesoundsproducedontheMridangam,thechiefclassicaldruminCarnaticmusic.These syllables,when recited in certain combinations, represent numeric rhythmicphraseswhichcandevelopintoquitecomplexrhythmicdialogues.Withpracticethesesyllablescanbeeasilyandpreciselyarticulated,whichinturnintegratesamorepreciseconsciousnessofrhythmwithinones’musicalmind.Ihaveadaptedamethodofusinghand,arm,diaphragm,andoverallbalancecontroltoaid in learning the correct rhythmic inflection of the Solkattu.Thisisentirelymymethod,onewhichIdevelopedoveryearsofstudyandteaching. Thereexistmanylanguages of rhythm in the world. However I find the system using Solkattu tobeagoodbasisfortrainingandinterpretingrhythmsfromanyculture,fromWesternclassicalmu-sictotheintensepolyrhythmicstructuresfoundinAfrica.Withthisbook,myaimistointroducemymethodofusingthissystemsoonecantrainanddevelopadeeperconceptofrhythm.

IwouldliketoextendmygratitudetomycolleaguesoftheEnsemble ModernandtoChris-tianeEngelbrechtandMichaelKasperattheInternational Ensemble Modern Academy.Veryspecialthanks to my good friends Rumi Ogawa and Rainer Römer, whose friendship and influence is unex-ampled.

TomyinstrumentmakerNorbertEckermann:wordscannotsayenoughtoexpressmygratitude.

Jarrod Cagwin, 2009

P r e f a c e

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taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna takadinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita taka-juna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna ki-tataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathom-taka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikina-thomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimi-takita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitat-taka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita di-naka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajuna-taka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita taki-tataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takat-akita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka taki-tataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikina-thom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita taka-juna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna ki-tataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathom-taka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimitakita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikina-thomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi takajuna kitataka tarikita tadikinathom takatakita takitataka tarikitattaka takadimi-takita takita takajuna taka dinaka takitataka takajunataka tarikita junaka tadikinathomtaka dinna takadimi taka dina kita juna takita dinaka junka takadimi

S ol k at t u

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Solkattu Family

TheSolkattu Familyiscomprisedoffourprincipalsounds:TA, DIN, THOM, NUM,andtheircorresponding variations. In order to produce the sounds and create a flowing body rhythm each of thesefoursyllablesareconnectedwithabreathinganddiaphragmcontroltechniqueTheTAgroupcontainsshortstaccatosounds thatareproducedbyconstricting thediaphragmandprojecting thesyllablesupwards through thebody. TheDINgroup,pronounced“D-E-E-N”,hassoundsprojectforwardfromthecenterofthebodyandthatcreatemorevocalchordresonation.THOMsounds,pronouncedlike“D-O-O-M”,arelowgutteralsoundsthatpassthroughtheabdomenandaredirecteddownandtooneside.ConsidertheTAgroupas“call”sounds,shortanddirectedupwards,andtheTHOMgroupas“response”sounds,abdominalsoundsbeingdirecteddown,totheside,andbehind.Withthesetwoprincipalsounds,abasicup/downmotioncanbefeltinthebody.DINisaveryexpressivesoundwithmoretonalandlegatoqualities.DINcanbeconsideredthebridgebetweenTAandTHOM.Itcanbeapassivesound,oranaggressivelegatoextensionofTA.ThecombinationofTA DI THOM creates a controlled flow of the breath and a reflexive rhythm with the diaphragm. The final of the four principal syllables is NUM,pronounced“N-A-H-M”.ItisanaggressivesoundexecutedwiththesamediaphragmconstrictionasTA,however,thesoundisprojectedoutwardfromthebodylikeastarburst;meaningthatthesoundandbodyenergyshould“radiate”outwardsinalldirections. Theexecutionofthesesounds,alongwiththehand/armdirections,arefurtherexplainedonthefollowingpages.

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Posture

Solkattu Hand Directions

Itisimportanttomaintaingoodposturewhenpracticingandper-forming;thiswillaidinmaximizingoxygenintakeandwillkeepthe diaphragm in optimum condition. When seated, keep the feet flat on the floor with the legs neither too close together nor too far apart. Keepthebackstraightandtheshoulderssquareandbalanced.Imag-inetwoaxisgoingthroughthebody,verticallyandhorizontally,thatcrossinthecenterofthebreastbone.Approximatelythreecentime-tersbelowthebreastboneisthecentralfocalpointofthediaphragm,and theStart /Returnpoint for thehandmovements. Take someminutestostretchthelungsandthediaphragmbytakinglong,deepbreathswithcompleteexhalation.

Start / Return (S/R) PositionThisistherestingpositionofthedirectinghand(canbetherightorlefthand).ItisfromthispositionthatalloftheSolkattugesturesoriginate. It isalsothereturnpositionandthecenterofbalance.Thearmisraisedlaterallywith-outraisingtheshoulderswiththehandpositionapproxi-matelytwocentimetersfromthebody.Itisimportanttoimaginealineextendingfromtheelbowthroughthewristand out through the fingers as if the entire forearm were a bow for a cello or contrabass. The hand and fingers need not be stiff with tension, however, the wrist should notbend.

Ta

FromtheS/Rposition,imaginethefrontsideofthehandquicklyrotating180°aroundanaxisattheelbowsothatthe palm of the hand gets flipped up and the back of the handisparalleltotheground.Atthesametimethedia-phragmiscontracted,forcingtheairoutofthelungs.Thedistancefromthediaphragmtothetopoftheheadfeelstostretchslightlyupwards.ThesyllableTaisatthesametimerecited.Itisimportanttokeepthediaphragmcon-strictedandthebreathhaltedattheendofthesound.Thefeelingshouldbethatthesoundisspringingupandoutofthebodyalongtheverticallinethatextendsabovethehead.Afterthesoundisproduced,relaxthediaphragmandreturntotheS/Rposition.

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DinFromtheS/Rpositiontheabdomenisexpandedwhileexhal-ingandthediaphragmisrelaxed.Thehandandarmextendforwardsinstraightlineasifbeingpushedbytheabdomen.SimultaneouslythesyllableDinissaidwithalongtonefol-lowingthedirectionofthehand.Thevibrationofthevocalchordsshouldclearlybefeltinthemiddleofthebreastbone.Thebalanceof thebodyshiftsslightly forward, thereafterreturningtotheS/Rposition.Thediagramshowsthemo-tionofthehand(redlines)andtheoriginandfollowthroughofthesound(bluelines).

Num

FromtheS/Rpositionthesamerotationofthearmandhandas in the first movement of Taisexecuted.Thearmrotatesagainarounda180°axis.Thediaphragmcontracts,andtheairinthelungsisforcedout.ContrarytotheTamovement,thehandisstrengthenedwithmaximumtensionextendingthrough each finger. The palm is directly over the central focalpoint,anditshouldfeelasifaburstofenergyiscom-ing out of the fingers in all directions. Simultaneously the syllableNumisrecited.

Thom

FromtheS/Rpositionthearmdropsdownandtotheside,withoutdroppingtheshoulders.Thewristlinetouchesthenaval. Thisshouldcause thebalanceof thebodytoshiftslightlytooneside.Thediaphragmrelaxes,thelungsex-hale,andthesyllableThomissimultaneouslyrecited.Thedirectionofthesoundshouldappeartomovefromtheab-domenthroughandthebehindthebody.Donottwistthetorso or lean with the shoulders to the side. The balancemovesfromtheabdomen.

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Fotos: Andrew Rinkhy (2009)

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Preliminary Exercises: Ta Din Thom Num

ThestyleofnotationIusetoexplainsomeexercisesisinSolkattuscriptnotation.Thisisasimplewaytowritethesyllablesandseetheunderlyingpulse.Itisadvisabletouseametronometoen-sureaccuracywiththetempo.

Each“____”representsonepulse,oroneclickonthemetronome.Eachclicksynchronizeswiththebeginningofeachline.Forexample,ifthemetronomeissetwithoneclickat40beatsperminute(♩=40),thenevery“_____”representsonepulse.Thesyllables/subdivisionsofthepulsearecontainedfromonepulse(underline)tothenext.

Ex.1:♩=40TaTaTaTa Ex.2:♩=40TaTaTaTaTaTaTaTa ↑↑↑↑ ↑ ↑ ↑ ↑ ↑ ↑ ↑ ↑

InEx.1,thereisonlyonesyllableperunderline,preciselyoneveryclickofthemetronome.InEx.2,therearetwosyllablesperunderline,equallyspacedbetweeneachclickofthemetro-nome.Inmusicalnotation,Ex.1wouldbetheequivalentofquarternotesandEx.2eighthnotes.

*Thesymbolsunderthesyllablescorrespondtothehandmovementsandfunctiononlyasavisualreminder.

Ta = ↑ Din = ≈ Thom = ↵ Num = ✴

♩=40(maximum) Ta(repeat8x),Din(8x),Thom(8x),Num(8x)

(4x)(4x) (4x)(4x) (2x) (2x) (2x) (2x) (1x) (1x) (1x) (1x)

↑ ≈ ↵ ✴

:

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:

:

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:

:

❶

TaTa(8x),DinDin(8x),ThomThom(8x),NumNum(8x)

↑ ≈ ↵ ✴❷

≈ ↵: : ‖

‖✴↑

Continue with the same form: 4 repeats, 2 repeats, no repeats

TaTaTa(8x),DinDinDin(8x),ThomThomThom(8x),NumNumNum(8x)

↑ ≈ ↵: : ‖

‖✴

❸≈ ↵ ✴↑

Continue with the same form: 4 repeats, 2 repeats, no repeats

↑ ≈ ✴↵

: : ‖

‖

TaTaTaTa,DinDinDinDin,ThomThomThomThom,NumNumNumNum

↑ ≈ ↵ ✴❹

≈ ↵ ✴↑

Continue with the same form: 8 repeats, 4 repeats, 2 repeats, no repeats

↑ ≈ ✴↵↑ ≈ ↵ ✴

*

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