Datos Generales

Preface

This resource supports a learning model that embeds educational theory into HIPME performance repertoire for drum kit. It seeks to develop an awareness of how

educational theory can benefit current HIPME practices, using five separate approaches of delivery; master apprentice, self-learning, peer learning, instrument- specific group learning and multi-instrumental group learning. Each piece, which is intended for solo performance, uses a specific learning style to widen the

experiences of the HIPME student. Collectively they are presented so that learning can benefit from the integration of educational theory and musical practice.

This resource is primarily aimed at the HIPME teacher for the HIPME student, where one tutor teaches a cohort of instrument specialists, in this case the drum kit

(although options are presented for bass and guitar). In its entirety, its use encompasses the use of individual and group based theories and, although each piece can be used in isolation, or in ways not intended, the project presents repertoire for HIPME drum kit tuition using a collaborative approach, based on educational theory and the variety of ways in which we learn.

The learning model does not suggest a timeframe, in relation to duration or

scheduling of tuition, as this is something that has many variables, including student and teacher availability and the availability of additional resources. Therefore, it is expected that the frequency and duration of tuition are agreed between those involved.

Along with the accompanying recordings, the notated scores reflect the author’s experiences during a varied popular music performance career, in which specific elements of the performance are entrusted to the interpretation of the individual performer. The notation, while containing some written instruction, is presented to the student as a guide to performance. The parts combine performance possibilities with conceptual and rhythmic challenges, allowing for the recreation of the presented material as well as individualistic interpretation. Improvised sections are employed to explore individual creativity and, in some instances, dynamics and phrasing have not been indicated. Certainly, both of these factors have a bearing on any final

performance, although the notation is not presented as something to be simply recreated. The aim is to elicit new and individual interpretations of the repertoire, based on the performer's creativity, knowledge and skills, which are being developed

during the teaching and learning process.

The notation used for the written parts employs established musical and drum kit notation, as can be seen in Figure 1.

.

Frequently performing within an ensemble or band environment, the HIPME drummer is rarely a solo performer. While containing one solo piece, this project presents repertoire that places the performer within the context of an ensemble. To that end, included within the project are options for the guitar and bass, which could apply similar educational theory to their delivery. These options are presented using the established notation for each instrument, although some variations may apply (see Figures 2 and 3).

Floor Tom x Stick hIGH tOM rIDE cYMBAL

Cowbell

Hi - Hat w/foot Band Phrase

Continue Similarly or solo sections. 4

/

Bass Drum

Snare

( ) = Ghost Mid tOM

closed hI-hAT

cRASH

cymbal Open Hihat

G

1/2 Open

o

/

‘

‘

•2

œ œ œ ¿ œ

œ ¿ ¿ ¿

‚

_¿

¿ ¿

Figure 1: Drum kit Notation

°

¢

°

¢

°

¢

hammer on pull off

hammer on pull off

slide 2 slide t t 3

&

pick the higher note then sound the lower note by fretting

Guitar

⁄

&

Pick and slide to note

Dead notes

⁄

pick while muted

&

sound note by tapping the string

tapping

µ

vibrato

µ

⁄

µ

µ

œ

œ

œ

œ

3 3 2 0

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œ

œ

¿

¿

œ

3 0 1 X X 5

œ

œ

œ

œ

1 0 0 0 Figure 2: Guitar Notation

°

¢

°

¢

°

¢

hammer on pull off

slide

2

t t

3

?

pick the higher note then sound the lower note by fretting

Bass

¤

pick the lower note then sound the higher note by fretting

?

Pick and slide to note

Dead notes

¤

pick while muted

?

tapping

µ

vibrato

µ

¤

sound note by

tapping the string pick note holdand vibrate bend

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œ

œ

œ

2 3 3 2

œ

œ

œ

¿

¿

œ

0 2 2 3 3 5

œ

œ

œ

œ

3 2 2 2 Figure 3: Bass Notation

With the exception of Marli’s March, which only has two, each composition has three audio versions. A performance version, where all instruments can be heard; a minus one version, in which all but one instrument is heard; and a minus one version with a click track. All of the recordings are ‘demos’, similar to those a performer receives before a rehearsal, recording session, live performance, or series of performances. The recordings are presented as example interpretations of the repertoire and provide additional support for this learning model.

The academic context of the educational theories, integral to the compositional process during the project, are not overtly explained here. This resource supports a doctoral thesis in which a further explanation and discussion of their use within a collaborative approach is addressed, and indicative sources for the research into each of the selected approaches is included. In this format, the pieces are presented as approaches to HIPME composition and tuition delivery.

In document El riesgo psicosocial intralaboral en el personal administrativo de la empresa INGELEC S.A.S. (página 33-38)