frame drums – a modern approach

In my artistic and teaching practice I focus on three instruments from the world of frame drums: modern lap-style frame drum, modern upright/upper-style frame drum and modern approach to riqq. You can read more about their characteristics, techniques, and naming by clicking the button below:

By saying that these instruments are modern I don’t refer to the way they are built*, but to the way they are played! :) The playing style which I represent has been developed by the percussionist and composer Zohar Fresco. He has combined a variety of traditional playing techniques on the frame drums** (mostly from the area of Levant), into a comprehensive, versatile system.

I have been extensively studying from Zohar Fresco since 2010. In 2020-2022 I have also participated in an an online riqq group of the remarkable teacher and musician, Yshai Afterman (who also used to be Zohar’s student).

Importantly for me, among all the approaches to the frame drums which I have encountered, it is the only one built upon profound studies of human anatomy. It deeply acknowledges the topic of ergonomics of movement: avoiding unnecessary tensions, creating a healthy relationship between the body and the instrument. This serves not only for a highly dextrous and effortless playing, but also creates a greater ability/availability to engage in a musical flow. Finally, it helps avoid instrument-related injuries.

I continue to research this approach through the lens of my experience in somatic practices (i.a. Feldenkrais, BMC, martial arts) and dance. In the teaching process I introduce various exercises which help to understand the mechanics of this technique and help cultivate a more intuitive feel.

* though there are certain technological innovations regarding tuning systems and synthetic alternatives to natural skin, which were developed since the 80’s. For example a tuning system which uses a bicycle tube and pump has been found in Berlin!

** not only frame drums :) Some techniques are inspired by the ones used in other drums – as Persian zarb, as well as various Indian percussions

teaching

I provide my students with exercises and compositions to expand their understanding of rhythm and develop their playing skills. We work with traditional grooves and their countless variations, become friends with odd time signatures, practice limb independence, make first (and further) steps in improvisation, learn to compose our own rhythms and phrases… All in a very systematic approach, adjusted to the pace of each student. 

in my classes you can learn:

• basic and advanced techniques for modern frame drums
• rhythmic compositions to expand your musical horizons and understand complex musical ideas
• how to accompany melodies
• 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

music is movement!

Music is a basic human need, a practice crucial for individual and communal health. Developing one’s musicality for me means also developing one’s relationship with their body and sensuality.

Body In Pulse-Pulse in Bodies (BIP-PIB) is a method I’ve been researching since 2013, aiming at developing the sense of rhythm and pulse through the movement and language. It teaches rhythmic improvisation, enables collective musical practice and trains 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, musical practice of Zohar Fresco as well as a method of Jacek Ostaszewski.

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 the musical creation.