WHAT IS THE FRAME DRUM?
The frame drum is a percussion instrument whose diameter is greater than its depth. It is one of the oldest musical instruments known to humans. In different shapes and under different names, it occurs almost all around the world. The one that I play is called in Hebrew Tof Miriam, which means ‘The drum of Miriam’ (after a female prophet who used it, as described in
WHAT AND HOW DO I TEACH?
I teach basic and advanced techniques for middle eastern frame drums. At the same time I am focused on developing my students’ musicality: to broaden and deepen their sense of pulse and rhythm, show ways of playing with others, to provide students with tools to improvise and compose, and to explore different musical traditions.
My approach to frame drums has been greatly influenced by Israeli percussionist and composer Zohar Fresco, from whom I’ve been studying since 2010.
His technique combines different styles of playing on this instrument with a deep understanding of
IN MY CLASSES YOU CAN LEARN:
- basic and advanced techniques for ‘
lap style‘ frame drum
- rhythmic compositions to expand your musical horizons and understand complex musical ideas
- how to play with a bigger group
- how to use rhythmic vocalization technique (based on Konnakol) to expand and deepen your understanding of rhythm and pulse, improve improvisation and composition skills
- rhythms from different traditions
- methods to develop your body’s coordination
- how to create your own rhythms and compositions
‘BODIES IN PULSE/PULSE IN BODIES’?
Body In Pulse/Pulse in Bodies (BIP/PIM) is a method developed by me over past 7 years, aiming at developing the sense of rhythm and pulse, teaching rhythmic improvisation, enabling collective musical practice and training mindfulness. It is based on rhythmic vocalization technique (Konnakol) and inspired with different dance and musical traditions, somatic practices (movement improvisation, autogenic training, BMC, contact improvisation), mindfulness training,
These techniques allow us to understand the rhythm and its logic. They help to find the inner pulse – an indispensable basis of an unrestricted rhythmic expression. They allow us to step out of the prevalent clichés, become sensitive to the natural impulses that lead to