Kauai private lessons

10-11  Ray -- how to write rhythms for melody

• hewing close to genre
• small step away: i.e. use of nylon brushes with taiko
• mimicing the rhythm of the melodic phrase
  most of the flute melodies end on "4" (a few on "3"?)
  16th-notes in counts 2 and 3
• quickly repeating vs longer phrases
  should rhythm loop over the same length as melody?  or should it be twice as long?
• what are "somber" rhythms?
  "falling" sounds
  low, long tones (mix of tone lengths is compelling)
  gagaku "messy" hits
• use of tone groups
  wind
  skin
  wood
  metal
  shakers/rattles, etc
• matching the "social" structure of the piece to the "emotional" feel of the melodies
  a somber piece can be more ceremonial, with individuals doing "what they're supposed to"
  an upbeat piece should let individuals be free and encourage interaction (trading solos, etc)

11-12  Keith -- deciphering odd meters

• using graph paper to notate hits with pauses
• 16th-note, 8th-note, and quarter-note metronomes are increasingly challenging
  because in odd-meter, 8th-note and quarter-notes become offset from the start of the odd-meter pattern
• sticking options to explore
  main hits only
  main hits with 8th-note ghost notes
  main hits with 16th-note ghost notes

13-14  Anita, Carol, Jean, Keith -- advanced techniques

• ryotan
• 1eau Drill for "covering all bases"
  16 options; tackle one at a time
  eventually combine them to find weakest point
  very thorough but don't let it turn into a drag.  Keep practice fun!
• smash roll
  step 1) understanding the physical motion of the technique
  step 2) playing it "within the bar": jamming to music and discovering the fun uses