Using World Percussion in the 

Marching Percussion Arena

by Rich Viano

Diversity seems to be the corporate buzzword of the 21^st century.  You have probably heard or seen phrases like “global community”, “multi-cultural”, and “ethnic blending.”  It’s always amazing to me, seeing humanity progress.  While the concept of diversity brings balance to our lives, it has also exposed a lot of new music. The percussion idiom, “World Percussion” or “World Beat” has become quite an attraction. 

First, I think it’s important to recognize that for most people, “world percussion” equates to African Percussion.  Similarly, Jazz tends to be perceived as swing.  I consider the words “jazz” and “worldbeat” both to be umbrellas.  There are many styles and influences so unique that classifying them as one word can be an injustice to their respective purposes and origins, not to mention confusing.  OK…I am now stepping off my soapbox. 

There seems to be a trend of World Percussion influence in the Marching Percussion arena.  It is not unusual to see Djembes, Congas, Timbales, Dumbeks, Shekere, Iron Bells, Djun Djuns, Surdos etc, in a marching percussion arrangement.  Personally, I love it.  I wanted to share a couple of concepts on the uses of either World Percussion rhythms or World Percussion instruments.  

 Where can I find these rhythms? 

One way that I find grooves is by using the Internet and search engines.  Try using key word combinations of “location/origin”, “instrument types” and add the words  “music” or “rhythm”.  

Here are some search engine examples:

• Cuba Conga Songo music

• Gahna Sogo Kpanlogo music

• Africa Djembe Rhythm

• Brazil Surdo Samba Rhythm

Be creative. You can find quite a bit of material. 

Another source I use is bookstores.  I have found some neat books at large chain bookstores.  I look in cultural books, music books, history books etcetera.  If you put any effort into this, you will find plenty of material.

I also use the “pick it off” method.  If you have a recording of a groove you want to use, put your ears to work.  Identify the timbre range of each part and “figure it out”.  Knowing the exact instruments may be important to you, it may not.  For me, the groove itself is my interest.  I enjoy the process of timbre experimentation.  What instrument combinations are at my disposal?   What alternate sounds can I use to create the groove in a way that projects appropriately?

 How do I choose a groove? 

When choosing the groove to orchestrate, you can narrow down most choices based on meter and tempo.  Another way to choose is by identifying the character of the arrangement you are enhancing.  Is there a regional flair to the program?  For example: If the arrangement is “Brazil,” the obvious grooves to start with are Brazilian.  In this case, you could use a Samba, Afox’e, Bion or maybe a variation of a Bossa Nova.  Another example: If the arrangement has a Latin flavor, you might experiment with a Cha-cha, Songo, Plena, Guaguanco or a Salsa groove. 

What if the groove calls for Congas and I don’t have the instrument or a student that can get a “good” sound?

Congas are traditionally played with the hands.  It takes a tremendous amount of dedication to get this instrument to “speak” and/or project.   For this and other obvious reasons, in outdoor settings, it’s difficult to use Congas in their traditional way. 

Here is what you can do.  Congas have a few basic sounds: Open tones, Slaps, Bass tones and Muted tones.  Using mallets on the instruments, you can create the open tones quite easily.  To create the muted tones or “heel-tap” sounds, try putting a soft felt mallet in one hand and the rubber mallet in the other.  You can also use the rubber mallet in one hand for open tones and the bare hand for mutes.  Vic Firth now makes a new product that creates hand type sounds with a paddle shaped implement.   Slaps can also be assigned to another timbre.  I have used an Englehart crasher as a slap sound.  I have the student mute the crasher with one hand and blend and balance the congas with the crasher sound.  I find it is easier for two kids to blend standing in close proximity to each other.  You can use a stick to the side of the shell as a slap substitute.  Basically, I am identifying the high-pitched nature of the slap in comparison to the other tones of the drum and creating an alternate sound that can “function” in place of the slap. 

If you do not own Congas, I find that Concert Toms can act as a great substitute.  Again with mallets or sticks you can arrange the Conga part for three toms.  You can play in different beating spots on the head to generate different tones.  Another idea would be assigning the inner-beat tones to a small drum that is balanced slightly under the larger drums performing the open tones.    

In these examples, I hope you can see a process.  Although we are only talking about Congas, you can insert an instrument you need and follow the same thought process. 

• What are the tones of the traditional instrument?

• What is the range of the traditional instrument?

• What are the sound possibilities of the instruments I have available?

• Can another instrument achieve the essence of the groove?

• Could I find an alternate instrument that is built to project the way I need it to?

As an arranger you know what instruments and timbres will work in each particular environment.  When a groove calls for a “metal bell” you can seek out a similar timbre that will project in your particular environment.   

Basically world beat grooves can be broken down into a few timbre groups. 

• Metals

• Woods

• Shakers

• High drums

• Mid-drums

Purchasing “ethnically correct” instruments can become a huge financial burden.  Getting “ethnically correct” drums to project outside is always a challenge.  

I hope I have given you some food for thought with regard to “world percussion”.  Don’t be afraid to be creative.  Don’t be fearful of altering tradition.  Keep in mind; taste and choice are subjective items.  Someone will always have a negative opinion of anything.  Choose what sounds good and is appropriate to you.  The most significant advice I can give you on this and any other music related topic is have fun.  It sounds so simple, but for some it’s so difficult. Have fun.    

Best of luck,

Rich Viano

Rich Viano is the Manager of the Express Music Publishing Percussion Division. He is also the leader of the Village Beatniks at Walt Disney World’s Animal Kingdom and the Percussion Designer/Writer for the Boston Crusaders Drum & Bugle Corps.  Rich was recently published in the Texas Bandmasters Association Journal Volume 3, Number 2, December 2001

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