A look at the Rhythms of South India and how to apply them musically.

The more concepts and methods we can employ regarding the development of thematic material, the Wider our creative vision of any percussion repertoire will become. With systematic approaches that derive new material from material we already have at our fingertips our own personal repertoire will have lots of immediate ways to develop. Indian musicians have for centuries focused on maximizing utilization of every simple phrase learnt, building them up into more complex ideas. Both in the north and the south of India there are many forms of rhythm theme development employed, and we are going to look at one from the south which can be particularly useful in developing solo concepts.

Let's begin by taking a very simple phrase six eighth notes in length.

EXAMPLE 1  

For now, we will recite the syllables and clap a quarter note pulse. Abstract as this may seem, it is actually extremely useful in getting more familiar with odd rhythmic phrases particularly when a specific set of syllables ('bols' in Hindi, the translation of 'bolo` being 'word') is regularly used for a particular length phrase. The object of this article will be to create an odd and interesting four-bar unit using this simple phrase and the South Indian system of reducing the length of the phrases.

To begin with we will chop off one-eighth note from the beginning of the phrase each time it is repeated until it is reduced to one-quarter note in length. Then we will go through the opposite procedure and add one eighth note each time. What we will end up with is four bars of 4/4.

EXAMPLE 2   Click to enlarge 

As you can see, Example 2 shows each phrase individually, one after the other, the sum total of which fits into 4/4. Example 3 shows the whole piece represented in 4/4, with the quarter note clap and the first note of each separate phrase accented to highlight the off-beat rhythmic effect.

EXAMPLE 3   Click to enlarge 

The next step will be to find a phrase on the kit which will fit the contours of theme (the 3/4 bar), and also be suitable to reduce by subtraction. Bearing in mind we were angling this towards solo development, try out Example 4. Keeping time with the left foot will be somewhat easier at this point than it will when we begin to reduce the phrase over the bar lines.

EXAMPLE 4

Now, with this in mind we can go on to the whole four bar pattern. I've slightly adapted some of the sticking’s in a way which makes sense to me lyrically. However, the rhythmic contours remain the same.

EXAMPLE 5   Click to enlarge 

It's amazing how much can stem from one simple 3/4 bar. It is also interesting to note that what you're grappling with is not the technicality of a seemingly straightforward phrase, but rather its application in time. Let's take another 3/4 phrase, based more along the lines of a kit rhythm. The rhythmic contour is slightly different from Example l

 

EXAMPLE 6

This is not a particularly complex rhythmic idea but it does throw up some interesting shapes when the reduction system is applied. The phrase lengths are indicated in the next example.

EXAMPLE 7   Click to enlarge 

This final example only makes sense when you think of all the separate phrases whilst playing it. To play it 'straight' in a 4/4 feeling loses the feel of the composite phrases. One final note. The important thing about these articles is the concept and not the exact reproduction of what is written. It would be more advantageous to take phrases you are already familiar with and adapt them into the conceptual templates of these articles. The greatest thing any creative drummer can have is the ability to sound like him or herself without internal conflict.