TAMBORERO LAB ESTUDIOS WORKSHOP
(conceived_2004/published_2022)

This work truly represents an ethnomusicological study work on the art and history of drumming. I created TAMBORERO LAB in 2004 as an avant-garde drum-set chamber music laboratory and drumming atelier, drawing inspiration from some of the most groundbreaking and genre-defying 20th-century modern drum-set music ensemble projects. TAMBORERO's repertoire encompassed a diverse array of original compositions, seamlessly interwoven with curated arrangements from esteemed drummer-composers such as Pierre Favre, Max Roach, Andrew Cyrille, Milford Graves, among others.

The TAMBORERO LAB ESTUDIOS WORKSHOP  series "A Comprehensive Compendium of Chamber Music Compositions For Drum Set Ensemble" presents an ethnomusicological deep insight for exploration of the art of drumming, and it is compiled  in 10 books subtitled "WORK SONGS: PRELIMINARY STUDY PIECES SERIES". This book series offers a graded progression with 20 drum-set duet pieces, ranging from basic level on BOOK 1  to the advanced level BOOK 10, providing a deep root-origin structured pathway of study for aspiring drummers and practitioners of all genres and musical percussive fitness. Complementing the musical repertoire consisting of 2 compositions included in each book, the series delves into a comprehensive historical and musicological study of African root-origin drumming music, in conversation with western music theory and Jazz concepts such as improvisation and accompaniment.

Firmly rooted in the richness of African drumming traditions and their poly-rhythmic/polyphonic concepts, this work draws conceptual and theoretical inspiration from seminal works such as David Locke's "Simultaneous Multidimensionality in African Music"  and Simha Arom´s "African Polyphony and Polyrhythm"; A. M. Jones "Studies in African Music", among many other vital sources of study, exploring the diverse intricacies within traditional concepts of musical communication such call and response, and others more technical such as the concept of linear polymeter, diasporic rhythm, and much more. Afro-Cuban Bàtá drumming,  universal rhythm structures such as the bell timiline voice and clave rhythm, the melo-rhythm concept and some forms linked to a more ethnopoetic improvisation as in Anlo-Ewe drum language are also reviewed along the book series.

This comprehensive compendium bridges the gap between Western musical traditions, African-American jazz drumming, and the ancestral African root-origin drumming of West African traditions, including the Yoruban-rooted bàtá drumming in its contemporary context.

Each book in the series offers a multifaceted exploration, comprising theoretical and conceptual materials, reading musical notation, concepts on improvisation and  development orchestration. There are two complete pieces for repertoire study per book and each includes an in-depth exercise section designed to facilitate practice and mastery of the methodology presented.

Batería Melódica
Hacia un Fraseo Poli-Métrico
(written_1996/published_2022)

For those familiarized and interested in the progressive drumming languages from the 60´s, 70´s and 80´s, this book covers it all. From the melodic cymbalism and phrasing a la Roy Haynes over melodic phrases on snare, kick and hi hat lines a la Ben Riley, to the intricacies of cymbal open straight eight patterns a la Tony Williams over Elvin Jones kicks and snare rhythm punctuations, towards a more free style hi-hat melodic interaction and polimetric phrasing a la Jack DeJohnette.

Poly-metric concept is an expanded concept from polyrhythmic fundamental concepts. The main drum master in mind here is Jack DeJohnette and specially during the 70´s ACM era. While there are such other strong influences in place, the book is not intended towards any form nor style oriented, nor any directions in rhythm nor specificities of practice. Those were some of my strongest  influences during the time I wrote the book and from there I developed my own integrated vocabulary conveying a melodic jazz drumming sound founded from the history of African-American Jazz Drumming.

The book is written in 4 parts:
1. introduction and historical/theoretical perspective
2. snare, kick, hi-hat 16 beat melodic phrases
3. 24 melodic ride cymbal time
4. advanced practice routines for developing the concept of poly-breathing/poly-metric phrasing.

This can be suited for an intermediate drum student to a very advance drumming practitioner.

STATEMENT
It is the responsibility of every artist to document their thought processes and practices. As artistic practitioners, we must integrate our methodologies and philosophical visions to establish a shared understanding of our origins and the life perspective endeavors we aspire to. Our work represents a fleeting moment within the continuum of traditions, and I have always had the intuition that if we fail to preserve our work beyond performance, there is a risk that many may never know of our existence or the postulations we held as artists. I believe it is imperative to share the cultivations of our artistic lives with the world. Just as spiritual and scientific pursuits have their respective research and performative aspects, artists too have an investigative side and an expressive side, and whatever we do, we strive to contribute in as many ways as possible to the historical continuum, which may eventually become part of the cultural knowledge source. Without repositories of knowledge, we would lack a solid perspective on our present understanding.