Percussive Notes
Vol. 42, No.1. February 2004

Maria Martinez and Ed Roscetti use the Cuban rumba, mozambique and conga as the basis for three “world beat” compositions that teach some traditional Cuban rhythms on a host of different instruments.  The authors start each section of the book with a “rhythmic index’ that teaches the rhythms each instrument will play in a call-and-response format.  There is a picture, short history, and rhythmic notation for each instrument.  Instruments used in the songs include drumset, djun-djun, Udu drums, metal guiro, Thai sticks, bata drums, cajon, surdo, shekeres, klong yaw (a drum from Thailand, like a djembe), doumbek, asonga (hybrid standing drum by Remo), tubano (another drum by Remo), tubano (another drum by Remo), and various exotic cymbals.  Some of these instruments are not originally from Cuba, but since these songs are based on these rhythms and are intended for use in a drum circle, any drum could conceivably be used. 

The study of each style culminates with a lengthy chart that often uses a half-time funk-inspired drumset part underneath traditional folkloric rhythmic patterns.  The songs are usually repetitive, with groups of different instruments joining the ensemble with each new section.  Each chart contains several unison “breaks” and some improvisational opportunities, and players are encouraged to write their own rhythms to suit the composition.  The accompanying CD contains musical examples of each rhythmic pattern and song (with and without drumset).

Terry O’Mahoney

Percussive Notes
Vol. 42, No. 1. February 2004

Drummer/percussionists Maria Martinez and Ed Roscetti use the Brazilian samba baiao and the Olodum rhythmic style (from northeastern Brazil) as the basis for three “world beat” compositions that teach some traditional Brazilian rhythms on a host of different instruments.  As the title states, the book/CD package transcends just providing patterns for a drum circle; it may be used in many different ways. 

The authors start each section of the book with a “rhythmic index” that teaches the rhythms each instrument will play in a call-and-response format.  There is a picture, short history of each instrument, and rhythmic pattern for each instrument.  Instruments used in the songs include drumset, shakers, surdos, repiniques, triangle, agogo bells and agogo drum, caxixi, djembe, doumbek, snare drum, and klong yaw (a drum from Thailand).  Some of these instruments are not authentic Brazilian instruments, but may be use in a drum circle situation.

The study of each style culminates with a lengthy chart that often uses a half-time funk-inspired drumset part underneath traditional folkloric rhythmic patterns. The songs are usually repetitive, with groups of different instruments entering at different points in the song.  Each chart contains several unison “breaks” and some improvisational opportunities.  The accompanying CD contains musical examples of each rhythmic pattern and song (with and without drumset).

This book would be excellent for an individual who wanted to learn patterns on each instrument and wanted a play-along setting; as a play-along recording to practice soloing’ in a classroom setting with multiple players; or as material for a drum circle.  Composers might find this useful as well.

Terry O’Mahoney

Percussive Notes
Vol. 42, No.1. February 2004

This is a wonderful resource and performance guide all rolled into one.  Maria Martinez and Ed Roscetti explore some of the compositions and rhythms of the Ashanti people of Ghana as well as the people of the Central African Republic.  Particular musical idioms addressed include Akom (Ashanti religious dance and drumming music), Adowa) dance and drumming music associated with funerals of the Ashanti people) and the folk music of the Central African Republic.

Included within each idiom are explanations regarding instrument choices, performance techniques, percussion scores, sample rhythm indexes, and accompanying audio examples on a companion CD.  Additionally, Martinez and Roscetti provide clear and concise performance instructions.  The rhythm indexes are extremely helpful, as are the pictures demonstrating performance techniques.