A fast Turkish 9/8 on all the "wrong" instruments

In this short clip I am doing a bit of morning work on a 10 / 4 groove that will be recorded later in the day. The 10 I have divided as 3 + 3 + 3 + 1 / 4 (essenitally felt as three bars of 3/4 + one bar of 1 / 4. This eventually makes for some interesting phrasing and groove ideas, as it can be generally felt in 3, 6, or 9 just with a one bar tag at the end. Naturally of course can all be reduced to variations of phrases of 5 as well. In this example I am putting an off-beat hi hat pulse through and working around it phrasing between an ocean drum and small bass drum, adding a slightly brazilian feel.

itunes: https://itunes.apple.com/pt/artist/ricardo-ribeiro/id366014167 spotify: https://play.spotify.com/artist/3MBRBHfVbEyQB1FqByWR7B Facebook: https://www.facebook.com/RRibeirofado Twitter: https://twitter.com/RRibeiroFado Google+: https://plus.google.com/+RicardoribeiroOrg Website: http://www.ricardoribeiro.pt/ :: Depois De Ti :: Letra: Tiago Torres da Silva Música: Ricardo Ribeiro Voz, Guitarra e Baixo: Ricardo Ribeiro Piano: João Paulo Esteves da Silva Percussão: Jarrod Cagwin :: Vídeo :: Realizador: Hugo Moura Assistente de realização: João Neves Produção Executiva: Espelho de Cultura, Lda Fotografia: Hugo Moura Montagem: Hugo Moura Maquilhagem: Guilherme Coelho Filmado na Fábrica do Braço de Prata, Lisboa, Março 2019; Obras de arte de Rui Patraquim e Samantha Wilson :: Letra :: Antes de ti o céu não tinha luar Antes de ti chamava ao medo irmão E eu q’ria sentir Mais Antes de ti cantava só por cantar Antes de ti andava em contramão Por sobre punhais Eu e tu sabemos que a vida ainda está toda por inventar Eu e tu perdemos o medo de abrir os braços e voar Antes de ti fui escravo da solidão Antes de ti fui rei do desamor E eu q’ria viver Mais Antes de ti o sim era igual ao não Antes de ti não tinha aonde pôr Os sonhos banais Eu e tu sabemos que a vida ainda está toda por inventar Eu e tu perdemos o medo de abrir os braços e voar Depois de ti os dias não têm fim Depois de ti e tu depois de mim Somos imortais EN: After you Before you the sky had no moonlight Before you fear was my kin And I wanted to feel More Before you I sang for the sake of singing Before you I walked on daggers And with the world I was at war You and I know life is to be invented, and not to be watched as it goes by You and I no longer fear Spreading our arms, taking to the sky Before you I was a slave to solitude Before you I was the king of callous scorn And I wanted to live More Before you yes and no were all the same Before you I had no room For dreams I did not ask for You and I know life is to be invented, and not to be watched as it goes by You and I no longer fear Spreading our arms, taking to the sky After you days never end After you and you after me Immortal you, I, we. RESERVADOS TODOS OS DIREITOS ALL RIGHTS RESERVED RICARDO RIBEIRO ©

Behind the Rhythm Section Part II "Crisp Crumb Coating": This composition by Rabih is one of our heaviest straight up metal-riff pieces & except for one bar, all through is same rhythmic cycle of 15, divided as 7+8, divided as (3+2+2)+(3+2+3). Years ago, and still to this day, Rabih and I get a kick out of some old bootleg Orsen Wells outtakes from botched voice over commercial sessions that he had on tape where Orsen was less than satisfied with his employers. One day finally Rabih got around to naming a song around one of those outtakes, which originally Orsen had to read "Crumb Crisp Coating", which he was quite displeased with :) Rabih Abou-Khalil (Oud & Composition, Mateusz Smoczyńskii (Violin), Thomas Kent Warburton Jr. (Contrabass, Jarrod Cagwin Music (Frame Drums and Drums). Apologies again for bad mix on sound, GoPro having earthquake on the sub bass monitor... Frame Drums by Eckermann Drums Cymbals: Jarrod Cagwin Soundscape Series from Turkish Cymbals

"Atraso" live in Setubal 23.11.19 Frame Drum set by Eckermann Drums Cymbals: Jarrod Cagwin Soundscape Series by Turkish Cymbals

Behind the Rhythm Section Part I: A behind the rhythm section view of a show in Warsaw with Rabih Abou-Khalil (oud & composition), Mateusz Smoczyński (violin), Thomas Kent Warburton Jr. (Contrabass), and me. Sound is from GoPro mounted on top of bass amp, so definitely a "drum and bass" mix, sorry for that! Rhythm cycle is 13/16. With Rabih it is a heavily amplified rocking band. I use a special hybrid drumset with Eckermann frame drums, pandeiro, tambourim, modified tambourine, and my Soundscape cymbal series from Turkish Cymbals.

One of Rabih's longer compositions for small band. There are to many time signature changes for me to list as they go... Rabih Abou-Khalil: Oud / Composition Luciano Biondini: Accordion Jarrod Cagwin: Frame Drums & Drums

Live in Setubal, 23.11.19

Cajon Box & pedal from www.cajondg.com "Creature" frame drum from www.eckermanndrums.com

Cajon Box & pedal from www.cajondg.com "Creature" frame drum from www.eckermanndrums.com

Cajon Box & pedal from www.cajondg.com

Hi folks! This is a short clip featuring 2 custom Eckermann Creature drums (35m & 42 cm). These drums are essentially special hybrid tambourines, with various different zil / jingle sets, snares, and daf rings, which create multiple sound texture possibilities! Very soon I will be releasing an EBook with integrated video instruction for this instrument! Please subscribe / member to my website at www.jarrodcagwin.net for updates and more info!

Cajon Box & pedal from www.cajondg.com

Cajon Box & pedal from www.cajondg.com "Creature" frame drum from www.eckermanndrums.com

A front view for a change this morning waking up me and the drums for recording. This is a special hybrid set I put together for this project with Natasa Mirkovic, Michel Godard, & Luciano Biondini. We are recording in a beautiful Synagog in St. Pölten, Austria. It is comprised primarily of mounted frame drums and 24" Davul from Eckermann Drums and my Soundscape Series from Turkish Cymbals. Additionally of course I also play hand drums on the CD primarily, however at times different percussion colors are needed and so I have this multi percussion kit that I can play seated and travel with. The colored frame drums are painted by Callum Robertson in Barcelona. I am seated directly in the center of the Synagog with very high dome, which makes for incredible clean reverb. Very friendly for drum explosion early in the morning

This is the second in a few short clips of me before recording session with a very hybrid drumset. ere I am working with a new drum I have from Eckermann that has a special skin and fitted with irregular frame drum jingles. The skin is a large diameter of 50cm, and is designed for harmonic pitch bending by pushing from edge to center. There are special "oriental" zils and bells placed in the shell and along the rim and skin, which respond with my body movements into the drum, to produce a quite unique sounding frame drum designed for groove playing .

A candid (drummer info) vid of me warming up this morning in the studio with a very quick Moroccan Berber 6/8! I have a very nontraditional small drumset here, more in percussion oriented, with a snare and small bass drum and several cymbals in all the wrong places :) I have my Soundscape Cymbal Series from Turkish Cymbals, mostly what is suspended behind and to the sides of me, which includes these special new "Quarkabeb" quick action mini hi-hats. As well an Eckermann riqq with a synthetic "net" head upon the snare drum for dampening and fast interaction, and a very old panderio on my right that I have tuned low for more precise bass articulation. (Studio mics not on for this clip). Also I use two different types of drumsticks with different weights and I switch my technique between what seems to vary between "matched" and "traditional", however when I play in matched it is because I am drawing from my experiences of playing stick drumming in West Africa (Ghana). My left hand holds the stick very low inverted towards the tip, which allows me to get more use of the stick against the head and rim, particularly at the butt end of stick in only a few millimeters for a "pop rimshot". By switching my grip I also switch my mindset on how I approach the snare drum specifically. Naturally in traditional grip I will play much more rudimentally and phrase differently... Just to note also it might perhaps be not quite apparent on this warm up vid that I am actually feeling something that would come the Atlas mountains of Morocco and from Ghana, from the Berber tradition and Ewe tradition respectfully, rather than just a very fast 6/8 in western terms.