Tag Archives: drone theory

Drone Theory

The drone is a constant it’s one of the  main things that drew me to the hurdy-gurdy. Here is a list of words that I associate with the drone:

sacred, eternal, infinite, spiritual, ancient, transcendent, universal, constant, meditative, sinister, comforting, home, calmness, fear, worldly, other worldly, stillness, continuum, source, universe, God, ritual, trance, dream, oneness, wholeness, completion

The drone has meaning changes as a direct result of my mood and the context in which I hear and understand it.

Some wider context before delving into the music, drones have existed and continue to exist in many corners of the world. The systematic use of drones originated in instrumental music of ancient Southwest Asia, and spread north and west to Europe and south to Africa. They seldom resonated on their own but for the most part they were embedded into instrumental arrangements. The drone or “burden tone” (Bourdon) has served as the backbone to many folk music traditions, from Southern Italy to Scandinavia. Most bagpipes have up to three drones, in America, most forms of the African-influenced banjo contain a drone string. Since the 1960s, the drone has become a prominent feature in avant-garde and film music.

In the Middle Ages, Europe and Byzantium sang over a foundation of drones. Back then, larger cities in the Christian world hosted huge entertainment venues called cathedrals that showcased psychedelic light shows backed by endless drones and aesthetic semi-narcotic heady incense fog: cathedrals, where choirs and organ players pushed their audience into ecstasy with what was then the loudest music imaginable, resonating from the walls with lots of heavy overtones bringing heaven to earth with a lot of help from the drone. So even in their purest form, drones connected people with a vibrating universe from early on.

Drones change the original piece of music fundamentally as the melody plays against the drone. They also change so much more in terms of the audience’s actual act of listening and experience of the music. The sound world created by the drone and its interplay with the tune adds a dynamic a constant, a pull towards or away from the home tone. Each note has its own special relation to the drone creating a dyadic cadence  ( a two-tone musical interval). The drone is the essence of life itself in its most primitive state the point from which all melody stems from, is related to, understood by and must return to.

Human beings are wired to respond viscerally to the drone it embodies our sense of the infinite and  eternity it is a heady and powerful sonic form that is very much a part of our spiritual DNA connecting us to the one, the eternal life force. It embodies the understanding that “God is Sound,” and “Sound is God.” The drone is eternal and takes us to a deeply spiritual place within a few seconds.

The drone sets up a ritual, a play space where magic can happen and this feels strangely comforting to me, like home and yet a sustained tone to evoke disquiet, a sense of lifting the curtain of the everyday. A place where Mystery and magic live. Here be dragons!

The drone harnesses time in an unmarked, uninterrupted spiritual ritual, an audio element within music that transcends borders and stretches back millennia. The drone creates a sacred sonic space it entranses us .

When we play the hurdy-gurdy we create a sound world in which we can dream, drift and explore. The instrument powers up the synapses and feeds the soul. It really is a magical thing. It takes us back to our ancient past; it takes to everywhere and nowhere. When we play the instrument runs deep into our psyche, it’s like free basing history and universal geography. The drone comes from a place of resonance and intuition, something primal that exists within everything and is everywhere.

With the drone you can enter a trance state if you’re luck you’ll be able to leave your body and become the spirit of the music. It can be a full on psychedelically revelatory out of body experience through music. That is what I’m aiming for when I play with Celtarabia.

Often with the drone in the hurdy-gurdy, it’s about playing the silences, especially with melody strings  and the trompettes. It’s finding those moments, those punctuations, pauses and silences.

I think of the drone as like ‘the universal one’ of God it’s the home tone. Each note played melodically is one step away from or towards home and this is where the musical tension and meaning resides in the relationships between melody and drone.

The drone exists outside of us and deep within us. It is an oral expression of a universal hum we can only hope to fleetingly channel when we play. 

When we play the drone we are also played by it. It changes our psychological state by facilitating a focus on the present by limiting our experience of the constant of change. Putting us in the moment for a continuous period of time.

The drone allows us to take control of time by releasing us from our need to mark time. It takes us away from the mundane in every way and allows us to enter a sacred space dream and just let go. To be in the moment for as long as we choose.

In a way, the drone represents the ultimate folk music a powerful tool of personal liberation. The drone unites us as a feeling of togetherness by dint of communal or and shared wonder and allows us the freedom from the tyranny of time and the now normalised imperatives of human achievement and digital social validation.

The drone is the sound of a free universe in which anything is possible.

This is a short except from my forthcoming book ‘The Secret Life of the hurdy-gurdy’ Field notes on playing the hurdy-gurdy from the world’s most respected players.