Original tunes from Alan Corne (The Quorn)

Subash Chandran & Ganesh Kumar

In this example the 16th note groove alternates with the modulation to 8th notes but the hi hat plays only quarter notes in each groove, which makes the modulation  more abstract or dense, since there is no actual reference to the original 16th note subdivision groove or the subdivision it is modulating to played by the hi hat. Therefore the illusory effect created by the modulation that the tempo has sped up or slowed down is more pronounced.

 These studies explore applying the inherent note grouping of a subdivision in this case 16th notes or groups or 4, to create a standard groove and how it  can be over layered on another subdivision in this case 8th notes, to create the illusion that the tempo has sped up or slowed down, where actually the tempo remains constant it is just the shift in rate or subdivision that creates the effect. 
To reinforce this, the track has not only a standard 4/4 click track but also a  one bar clave pattern played on a cowbell. This track goes through 3 different tempo changes. The groove is simple with a back beat on 2&4 and a basic bass drum pattern one would commonly hear in a basic 16th note groove.

Rhythmic Modulation Drum Grooves

Quarter Notes on Hi Hats - 8th SUBDIVISION GROOVE MODULATIONS

In this example the 16th note groove alternates with the modulation to 12th notes but the hi hat plays only quarter notes in each groove, which makes the modulation  more abstract or dense, since there is no actual reference to the original 16th note subdivision groove or the subdivision it is modulating to played by the hi hat. Therefore the illusory effect created by the modulation that the tempo has sped up or slowed down is more pronounced.

 These studies explore applying the inherent note grouping of a subdivision in this case 16th notes or groups or 4, to create a standard groove and how it  can be over layered on another subdivision in this case 12th notes, to create the illusion that the tempo has sped up or slowed down, where actually the tempo remains constant it is just the shift in rate or subdivision that creates the effect. 
To reinforce this, the track has not only a standard 4/4 click track but also a  one bar clave pattern played on a cowbell. This track goes through 3 different tempo changes. The groove is simple with a back beat on 2&4 and a basic bass drum pattern one would commonly hear in a basic 16th note groove.

Quarter Notes on Hi Hats - 12th SUBDIVISION GROOVE MODULATIONS

In this example the 16th note groove alternates with the modulation to 20th notes but the hi hat plays only quarter notes in each groove, which makes the modulation  more abstract or dense, since there is no actual reference to the original 16th note subdivision groove or the subdivision it is modulating to played by the hi hat. Therefore the illusory effect created by the modulation that the tempo has sped up or slowed down is more pronounced.

 These studies explore applying the inherent note grouping of a subdivision in this case 16th notes or groups or 4, to create a standard groove and how it  can be over layered on another subdivision in this case 20th notes, to create the illusion that the tempo has sped up or slowed down, where actually the tempo remains constant it is just the shift in rate or subdivision that creates the effect. 
To reinforce this, the track has not only a standard 4/4 click track but also a  one bar clave pattern played on a cowbell. This track goes through 3 different tempo changes. The groove is simple with a back beat on 2&4 and a basic bass drum pattern one would commonly hear in a basic 16th note groove.

Quarter Notes on Hi Hats - 20th SUBDIVISION GROOVE MODULATIONS

In this example the 16th note groove alternates with the modulation to 24th notes but the hi hat plays only quarter notes in each groove, which makes the modulation  more abstract or dense, since there is no actual reference to the original 16th note subdivision groove or the subdivision it is modulating to played by the hi hat. Therefore the illusory effect created by the modulation that the tempo has sped up or slowed down is more pronounced.

 These studies explore applying the inherent note grouping of a subdivision in this case 16th notes or groups or 4, to create a standard groove and how it  can be over layered on another subdivision in this case 24th notes, to create the illusion that the tempo has sped up or slowed down, where actually the tempo remains constant it is just the shift in rate or subdivision that creates the effect. 
To reinforce this, the track has not only a standard 4/4 click track but also a  one bar clave pattern played on a cowbell. This track goes through 3 different tempo changes. The groove is simple with a back beat on 2&4 and a basic bass drum pattern one would commonly hear in a basic 16th note groove.

Quarter Notes on Hi Hat - 24th SUBDIVISION GROOVE MODULATIONS

In this example the 16th note groove alternates with the modulation to 28th notes but the hi hat plays only quarter notes in each groove, which makes the modulation  more abstract or dense, since there is no actual reference to the original 16th note subdivision groove or the subdivision it is modulating to played by the hi hat. Therefore the illusory effect created by the modulation that the tempo has sped up or slowed down is more pronounced.

 These studies explore applying the inherent note grouping of a subdivision in this case 16th notes or groups or 4, to create a standard groove and how it  can be over layered on another subdivision in this case 28th notes, to create the illusion that the tempo has sped up or slowed down, where actually the tempo remains constant it is just the shift in rate or subdivision that creates the effect. 
To reinforce this, the track has not only a standard 4/4 click track but also a  one bar clave pattern played on a cowbell. This track goes through 3 different tempo changes. The groove is simple with a back beat on 2&4 and a basic bass drum pattern one would commonly hear in a basic 16th note groove.

Quarter Notes on Hi Hats - 28th SUBDIVISION GROOVE MODULATIONS

In this example the 16th note groove alternates with the modulation to 32nd notes but the hi hat plays only quarter notes in each groove, which makes the modulation  more abstract or dense, since there is no actual reference to the original 16th note subdivision groove or the subdivision it is modulating to played by the hi hat. Therefore the illusory effect created by the modulation that the tempo has sped up or slowed down is more pronounced.

 These studies explore applying the inherent note grouping of a subdivision in this case 16th notes or groups or 4, to create a standard groove and how it  can be over layered on another subdivision in this case 32nd notes, to create the illusion that the tempo has sped up or slowed down, where actually the tempo remains constant it is just the shift in rate or subdivision that creates the effect. 
To reinforce this, the track has not only a standard 4/4 click track but also a  one bar clave pattern played on a cowbell. This track goes through 3 different tempo changes. The groove is simple with a back beat on 2&4 and a basic bass drum pattern one would commonly hear in a basic 16th note groove.

Quarter Notes on Hi Hats - 32nd SUBDIVISION GROOVE MODULATIONS

In this example the 16th note groove alternates with the modulation to 36th notes but the hi hat plays only quarter notes in each groove, which makes the modulation  more abstract or dense, since there is no actual reference to the original 16th note subdivision groove or the subdivision it is modulating to played by the hi hat. Therefore the illusory effect created by the modulation that the tempo has sped up or slowed down is more pronounced.

 These studies explore applying the inherent note grouping of a subdivision in this case 16th notes or groups or 4, to create a standard groove and how it  can be over layered on another subdivision in this case 36th notes, to create the illusion that the tempo has sped up or slowed down, where actually the tempo remains constant it is just the shift in rate or subdivision that creates the effect. 
To reinforce this, the track has not only a standard 4/4 click track but also a  one bar clave pattern played on a cowbell. This track goes through 3 different tempo changes. The groove is simple with a back beat on 2&4 and a basic bass drum pattern one would commonly hear in a basic 16th note groove.

Quarter Notes on Hi Hats- 36th SUBDIVISION GROOVE MODULATIONS

This is a remix of a track called Hynotize which was a competition I entered on the now defunct Metapop website which held competitions based on remixes of an established artists track, in this case this great vocal performance by Saina. 

Here is more context:
I joined Metapop a little while back, being a contemporary jazz, fusion, world drummer/composer I quickly realized that most of the competitions on offer stood outside the genres that I typically tend to interact with. I entered one competition which I enjoyed and then took a step back, however coming in touch with this track "Hypnotise", I immediately recognized that this was something I could get my teeth into and expand its Afro-House narrative in a really cool way by simply adding drums and percussion.
The original form and arrangements is pretty straightforward:
short intro/ verse/prechorus/chorus/ verse/prechorus/chorus/breakdown bridge/double chorus end  
I decided to stick with that form but just add a longer intro and outro. The track is defined as Afro-House on the competition page. In its original form it tends to stay within one dynamic range throughout;  changing each section verse, prechorus, chorus, breakdown bridge by redefining the rhythmic section with drums and percussion (which I played on my Roland Vdrums and percussion pad), radically changes the genre of the entire track and give it a strong cross over into a pop genre. 
In my intro however, I decided to reflect the Afrobeat overall aesthetic of the track with traditional African sounds and voices, creating a juxtaposition, which expands the overall narrative, the birds were recorded on my property in far north Queensland Australia.
I added drumkit to the verse, prechorus and chorus, and kept the original percussion in the verses while adding an Udu pot drum. I also added fretless bass, some female vocals, and kept the keys, bass and vocal parts, discarding the sax, in order to make those beautiful vocals the centre piece of the story. I feel this remix exemplifies the incredible change one can make to the narrative of a track, by completely redefining the rhythm section with the simple addition of drums. The bass and keys parts of this track were ideal to complement this simple change and create the intended outcome, and therefore did not need changing, "if it ain't broke don't fix it".

Hypnotize

I joined Metapop a little while back, being a contemporary jazz, fusion, world drummer/composer I quickly realised that most of the competitions on offer stood outside the genres that I typically tend to interact with. I entered one competition which I enjoyed and then took a step back, however coming in touch with this track by the Anmls producer duo, I immediately recognised that this could be expanded from its R&B groove based beat into a narrative expanding into middle Eastern world textures  in a really cool way by adding a call and answer dialogue between a black female soul vocal and a middle eastern female vocal. I also added rhythmic percussive textures as fills and an intro based on a string section.

Anmls

For the past twelve years due to many reasons I have focused exclusively on the digital electronic realm of drums and percussion playing a Roland TD-30/50 hybrid kit with a SPD sampling pad and an Handsonic percussion pad, at least until now. Finally the means of being able to play acoustic drums has returned into my life, what a blessing! 
This is coupled with a complete upgrade studio wise to enable the recording of said drums using a ZoomL20 mixer, which after the first recording has gone back to the retailer for a Behringer Wing mixer and 32 channel stage box with Midas pres upgrade. 
Why am I telling you all this, well because this music work entitled "Atma Shakti" is built around my first test recording of my acoustic drums, 16 mics plugged into the Zoom L20, the stems saved to an SD card then transferred into my DAW. I simply sat down at the drums, pressed record and proceeded to play in stream of consciousness fashion for seven minutes.
Prior to this I had seen this new NI comp and decided I would enter, so after making this test drum recording, I sat at my PC spun the wheel and got Cinematic and Vibes. After listening to my drum track I decided I could do something with this roll of the dice and created a king of ECM Cinematic World Jazz kind of groove. 
Luckily the Vibes sound set had two single sound samples that worked with my composition and I used about four stems from the Cinematic sounds. The Cinematic sounds create an intro and outro, as well as a kind of atmospheric drone underpinning the body of the work, which is made up simply of double bass, drums and two solo female voices, as well as a another female choral voice for the outro and some percussive metals for the intro. I used melodic motifs for both the bass line and vocal lines.
I am pretty happy with the outcome and am confident that most listeners would never guess this piece was built around an seven minute drum solo. One word in the title of this piece is an anagram for the brand of my new kit, can you guess what it is?

Atma Shiva Shakti

This work is part of The Quornokol minimalist compositional elaboration, submitted as part of my Master's thesis portfolio. It is not an elaboration based on the Quornokol score like the other 8 works in the playlist, rather it is more expressive of a post minimalist aesthetic, making use of the source codes and alternate phrasing funneled through my jazz and experimental roots and sensitivities. I have included it here because it is fitting to have one piece where I am playing my native instrument the western drum kit in the portfolio. It is also fitting due to the way the work was composed, completely written around the drum part, which I played in one take inspired by the sonic pad layers in the piece, the bass and piano were added after the drums were recorded.  The time is elastic and not steady, if there is a tempo it is around 20 BPM's. 
This tune is experimental, an expression of textures and sounds, of an internal emotive journey. 
This experimental ambient jazz piece has an ECM flavour combined with electronics.

Drifted

This composition entitled "Landscape" is part of an album I am currently writing called "Landscapes of Emotion".  I wrote and produced this piece yesterday, I'm quite happy with the result, it could be further developed, but I like its minimalist feel.
It is a ballad with an ECM jazz groove as the bed with some emotive world vocals creating the melodic textures over the top.
I use keyboards to play all the instruments, which are all from the East West Studios library. I mastered the track using Sony Sound Forge 

"Landscape" Original Jazz World Composition by Alan Corne (The Quorn)

This is a the 1st movement of my composition for three pianos in C minor entitled Quornokol which is part of the creative dimension of my Master's portfolio. The overall work is made up of 8 movements and is expressive of a minimalist aesthetic. Each movement is based on a specific subdivision drawing on rhythmic methodologies East and West, syncopation as it relates to Western jazz and konnokol exemplified in the Carnatic Classical tradition of South India.

Quornokol Minimalist Piano Works Movement 1(8th notes)

This piano piece composed exclusively in the 32nd note subdivision works as a teaching tool to internalise rhythmic phrasing through two methodologies representing two of the great musical rhythmic traditions on earth, the Western tradition of Jazz and the classical Carnatic tradition of South India. 
The left channel plays what I have termed 'alternate groupings' phrased in the South Indian Konnokol style, while the right channel plays what I have termed 'the source codes' all the note groupings  that my research generated in the syncopated style of the Western Jazz tradition. The central channel plays a bass part to reference the subdivision being studied, in this case 32nd notes, and is re-enforced by the click track, also playing in the central channel. The length of the piece was determined by it playing through two cycles of the source codes. 
Due to the amount of metric modulation occurring with this instrument it would be very challenging to stay in time without the click track relying solely on the bass part. 

Two languages are used to sing or count along, South Indian Konnokol for all the alternate groups, 1 to 9, and the language I developed and elaborated based on two protocols from the basic counting method, the language which I have called Quornokol, and which was used in order to catalogue all the source codes in each subdivision. Quornokol is also the name I gave to the overall pedagogical musical instrument which functions in eight subdivisions.   

Quornokol, is a play on a nickname given to me by one of my most influential teachers 'The Quorn' and the name of the rhythmic performance language from South India 'Konnokol" hence putting the two together forms the name 'Quornokol'.


Quornokol Rhythmic Pedagogy 32nd Notes

This piano piece composed exclusively in the 28th note subdivision works as a teaching tool to internalise rhythmic phrasing through two methodologies representing two of the great musical rhythmic traditions on earth, the Western tradition of Jazz and the classical Carnatic tradition of South India. 
The left channel plays what I have termed 'alternate groupings' phrased in the South Indian Konnokol style, while the right channel plays what I have termed 'the source codes'  all the note groupings that my research generated in the syncopated style of the Western Jazz tradition. The central channel plays a bass part to reference the subdivision being studied, in this case 28th notes, and is re-enforced by the click track, also playing in the central channel. The length of the piece was determined by it playing through two cycles of the source codes. 
Due to the amount of metric modulation occurring with this instrument it would be very challenging to stay in time without the click track relying solely on the bass part. 

Two languages are used to sing or count along, South Indian Konnokol for all the alternate groups, 1 to 9, and the language I developed and elaborated based on two protocols from the basic counting method, the language which I have called Quornokol, and which was used in order to catalogue all the source codes in each subdivision. Quornokol is also the name I gave to the overall pedagogical musical instrument which functions in eight subdivisions.   

Quornokol, is a play on a nickname given to me by one of my most influential teachers 'The Quorn' and the name of the rhythmic performance language from South India 'Konnokol" hence putting the two together forms the name 'Quornokol'.


Quornokol Rhythmic Pedagogy 28th Notes

This piano piece composed exclusively in the 24th note subdivision works as a teaching tool to internalise rhythmic phrasing through two methodologies representing two of the great musical rhythmic traditions on earth, the Western tradition of Jazz and the classical Carnatic tradition of South India. 
The left channel plays what I have termed 'alternate groupings' phrased in the South Indian Konnokol style, while the right channel plays what I have termed 'the source codes'  all the note groupings that my research generated in the syncopated style of the Western Jazz tradition. The central channel plays a bass part to reference the subdivision being studied, in this case 24th notes, and is re-enforced by the click track, also playing in the central channel. The length of the piece was determined by it playing through two cycles of the source codes. 
Due to the amount of metric modulation occurring with this instrument it would be very challenging to stay in time without the click track relying solely on the bass part. 

Two languages are used to sing or count along, South Indian Konnokol for all the alternate groups, 1 to 9, and the language I developed and elaborated based on two protocols from the basic counting method, the language which I have called Quornokol, and which was used in order to catalogue all the source codes in each subdivision. Quornokol is also the name I gave to the overall pedagogical musical instrument which functions in eight subdivisions.   

Quornokol, is a play on a nickname given to me by one of my most influential teachers 'The Quorn' and the name of the rhythmic performance language from South India 'Konnokol" hence putting the two together forms the name 'Quornokol'.


Quornokol Rhythmic Pedagogy 24th Notes

This piano piece composed exclusively in the 20th note subdivision works as a teaching tool to internalise rhythmic phrasing through two methodologies representing two of the great musical rhythmic traditions on earth, the Western tradition of Jazz and the classical Carnatic tradition of South India. 
The left channel plays what I have termed 'alternate groupings' phrased in the South Indian Konnokol style, while the right channel plays what I have termed 'the source codes'  all the note groupings that my research generated in the syncopated style of the Western Jazz tradition. The central channel plays a bass part to reference the subdivision being studied, in this case 20th notes, and is re-enforced by the click track, also playing in the central channel. The length of the piece was determined by it playing through three cycles of the source codes. 
Due to the amount of metric modulation occurring with this instrument it would be very challenging to stay in time without the click track relying solely on the bass part. 

Two languages are used to sing or count along, South Indian Konnokol for all the alternate groups, 1 to 9, and the language I developed and elaborated based on two protocols from the basic counting method, the language which I have called Quornokol, and which was used in order to catalogue all the source codes in each subdivision. Quornokol is also the name I gave to the overall pedagogical musical instrument which functions in eight subdivisions.   
	
Quornokol, is a play on a nickname given to me by one of my most influential teachers 'The Quorn' and the name of the rhythmic performance language from South India 'Konnokol" hence putting the two together forms the name 'Quornokol'.


Quornokol Rhythmic Pedagogy 20th Notes

This piano piece composed exclusively in the 16th note subdivision works as a teaching tool to internalise rhythmic phrasing through two methodologies representing two of the great musical rhythmic traditions on earth, the Western tradition of Jazz and the classical Carnatic tradition of South India. 
The left channel plays what I have termed 'alternate groupings' phrased in the South Indian Konnokol style, while the right channel plays what I have termed 'the source codes'  all the note groupings that my research generated in the syncopated style of the Western Jazz tradition. The central channel plays a bass part to reference the subdivision being studied, in this case 16th notes, and is re-enforced by the click track, also playing in the central channel. The length of the piece was determined by it playing through twelve cycles of the source codes. 

Two languages are used to sing or count along, South Indian Konnokol for all the alternate groups, 1 to 9, and the language I developed and elaborated based on two protocols from the basic counting method, the language which I have called Quornokol, and which was used in order to catalogue all the source codes in each subdivision. Quornokol is also the name I gave to the overall pedagogical musical instrument which functions in eight subdivisions.   
	
Quornokol, is a play on a nickname given to me by one of my most influential teachers 'The Quorn' and the name of the rhythmic performance language from South India 'Konnokol" hence putting the two together forms the name 'Quornokol'.


Quornokol Rhythmic Pedagogy 16th Notes

This piano piece composed exclusively in the 12th note subdivision works as a teaching tool to internalise rhythmic phrasing through two methodologies representing two of the great musical rhythmic traditions on earth, the Western tradition of Jazz and the classical Carnatic tradition of South India. 
The left channel plays what I have termed 'alternate groupings' phrased in the South Indian Konnokol style, while the right channel plays what I have termed 'the source codes'  all the note groupings that my research generated in the syncopated style of the Western Jazz tradition. The central channel plays a bass part to reference the subdivision being studied, in this case 12th notes, and is re-enforced by the click track, also playing in the central channel. The length of the piece was determined by it playing through sixteen cycles of the source codes. 

Two languages are used to sing or count along, South Indian Konnokol for all the alternate groups, 1 to 9, and the language I developed and elaborated based on two protocols from the basic counting method, the language which I have called Quornokol, and which was used in order to catalogue all the source codes in each subdivision. Quornokol is also the name I gave to the overall pedagogical musical instrument which functions in eight subdivisions.   
	
Quornokol, is a play on a nickname given to me by one of my most influential teachers 'The Quorn' and the name of the rhythmic performance language from South India 'Konnokol" hence putting the two together forms the name 'Quornokol'.


Quornokol Rhythmic Pedagogy 12th Notes

Rhythmic Pedagogy
This piano piece composed exclusively in the 8th note subdivision works as a teaching tool to internalise rhythmic phrasing through two methodologies representing two of the great musical rhythmic traditions on earth, the Western tradition of Jazz and the classical Carnatic tradition of South India. 
The left channel plays what I have termed 'alternate groupings' phrased in the South Indian Konnokol style, while the right channel plays what I have termed 'the source codes'  all the note groupings that my research generated in the syncopated style of the Western Jazz tradition. The central channel plays a bass part to reference the subdivision being studied, in this case 8th notes, and is re-enforced by the click track, also playing in the central channel. The length of the piece was determined by it playing through twelve cycles of the source codes. 

Two languages are used to sing or count along, South Indian Konnokol for all the alternate groups, 1 to 9, and the language I developed and elaborated based on two protocols from the basic counting method, the language which I have called Quornokol, and which was used in order to catalogue all the source codes in each subdivision. Quornokol is also the name I gave to the overall pedagogical musical instrument which functions in eight subdivisions.   
	
Quornokol, is a play on a nickname given to me by one of my most influential teachers 'The Quorn' and the name of the rhythmic performance language from South India 'Konnokol" hence putting the two together forms the name 'Quornokol'.


Quornokol Rhythmic Pedagogy 8th Notes

This work is part of The Quornokol minimalist compositional elaboration, submitted with Master's thesis. It is an elaboration based on the Quornokol score for movement 4 in 20th notes.

Listen To The Fives

This work is part of The Quornokol minimalist compositional elaboration, submitted with my Master's thesis. It is an elaboration based on the Quornokol score for movement 6 in 28th notes. It is dedicated to and inspired by Jon Hassell one of my favourite musician/composers.

Hassell Hustle 7-28

Who is The Quorn ?

The Quorn is my stage name. It was given to me humorously by one of my teachers as a play on my real name Alan Corne. I am a drummer/percussionist born in Senegal West Africa, who lives in Melbourne Australia.

I have been playing drums professionally for thirty years and have studied both Western and Eastern modalities. I am focused in the digital realm, with my Roland VDrums TD-30 drum kit and my recording studio. I’m a passionate educator and live musician who has developed his own teaching products. 

My studio and drumming expertise can be employed for drum sessions, whereby I deliver great drum tracks online tailored to your specific needs,for your project played live.

My extensive study of both Western and Eastern approaches to rhythm has given me a unique edge in understanding the source of the rhythmic structure of music. Both these perspectives have been integrated holistically in my approach to the drum set, and my musicality altogether.

In November 2011 I was one of six drummers chosen to compete in the Australasian finals of the Roland VDrums competition held in Sydney.

The Quorn

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