Def Method Volume I, by Jarrod Cagwin. Kalamış Music Publishing, Istanbul. 2013
Available from Eckermann Drums.
A method book for the oriental tambourine known as Def in Turkish, more commonly known as Riqq in Arabic. This guide pertains primarily to the application of the instrument to the small rhythmic cycles found in Turkish classical music (Usûller). Additionally, technical development exercises are included to further dexterity, musicality, and artistry with the instrument. Volume I focuses on the Açik (Open) playing position, incorporating the use of Ziller (cymbals) with Düm, Tek, Hand Strike, and zil shaking patterns. Detailed diagrams demonstrate proper posture, grip, and finger technique for producing the various sounds from the instrument.
One by One, by Jarrod Cagwin. Published by Ensemble Modern Media, 2011.
This book is a training manual for developing rhythmic precision and musicality. The methods are based on rhythmic systems from South India (Solkattu / Konnokol), West and North Africa , and western Contemporary Music. The manual, along with a DVD demonstration, is designed to aware the student of relations between different rhythmical styles, cultures, and pulse variations, simultaneously reducing rhythm to a fundamental and logical method for development.
5 vor 7 vor 6, by Jarrod Cagwin. Published by Ensemble Modern Media, 2011.
This piece was originally written as a rhythmic training étude for percussion (5 vor 6) and a companion étude for study with my book One by One. I arranged this version so that the same rhythmic theories can be applied to any instrument within the confines of the western tempered scale. The principal training focuses on pulse awareness in direct relation to melodic / rhythmic phrasing within cycles of time. The étude utilizes a system of rhythmic cueing, a musical “Morse Code”, to signal the performers to change to different melodic patterns and rhythmic cycles. The composition is conceptually a chamber piece with no conductor in the traditional sense. The Cue Master and Player 1 assume the role of leading the ensemble. The melodic patterns are performed either in unison or in counterpoint / syncopation, depending on the commands from the Cue Master. The form of the piece is completely under the direction of the Cue Master and Player 1. The main goal of this piece is to achieve ensemble unity, stamina, and to increase the individual’s awareness of the preciseness of rhythm whether it be the performer or the beholder.