Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Le Castle Vania is the alias of Dylan Eiland, an electronic dance music producer and DJ based in Atlanta, Georgia. Eiland began DJing drum and bass at warehouse parties and raves in Atlanta at age 15. After receiving some attention for his remix of Atlanta-based band Snowden, Le Castle Vania rose to success and has since gained a sense of notoriety in the electro dance scene. His sound is said to blend indie and punk rock sounds with electronic-based disco and electro sounds. Many of his original tracks include a distorted bassline and a heavy kick and snare sequence. Eiland uses a simple setup, including Serato, a mixer, and two turntables. He writes his songs on his laptop, often while traveling on airplanes, and prefers to play a larger number of his original work compared to his remixes.
High Quality Content by WIKIPEDIA articles! Dubstep is a genre of electronic dance music that has its roots in London's early 2000s UK garage scene. Musically, dubstep is distinguished by its 2-step rhythm, or use of snare sounds similar to 2step garage and grime, and an emphasis on bass, often producing "dark" sounds, but just as frequently producing sounds reminiscent of dub reggae or funky US garage. Dubstep tracks are generally produced at a tempo of around 140 beats per minute and in recent years have developed signature half time rhythms, often heavily shuffled or syncopated, and usually, though not exclusively, including only one snare drum hit per bar, often on the third beat. Such factors make dubstep rhythms markedly different from four-to-the-floor rhythms used in other styles of electronic dance music such as house music, which usually have two snare hits accompanying the second and fourth kick drum. Often, the sense of rhythm in dubstep is propelled more by the bassline than by the percussive content.
High Quality Content by WIKIPEDIA articles! Snare rush is a term often used in intelligent dance music culture to refer to impossibly fast rolls. A snare rush can vary in tempo considerably, from 16th notes to even 2048th notes. At that sort of speed, the effect is a buzzing sound, but with a detectable pitch, so some artists vary the repeat rate, and can even play a tune. One example of this would be the last 18 seconds of Ghetto Body Buddy by Venetian Snares, where the theme from Sesame Street is played using only extremely fast snare rushes. The defining characteristic of a snare rush, as opposed to a roll, is the sheer virtuosity it takes for a physical drummer to play a successful one. As such, almost all snare rushes are computer programmed and can be used with bass drums, tom-toms and cymbals to intensify the effect. They are often used as fills, alongside complex programmed breakbeats. Snare rushes are also often run through analog or dsp effects together with variations in volume, such as a filters or pitch shifting. They are probably most common in trance music, hard techno, gabber music, oldschool jungle, IDM, drill 'n bass, breakcore and glitch music.
Advanced Groove Concepts is a collection of intermediate to advanced level grooves and patterns applicable to all modern styles of music. The focus of the book is to develop the ability to play varied and sometimes complex patterns between the hands while keeping a solid groove, reminiscent of some of the legendary funk and fusion drummers, all while building the weaker hand into a groove-creating engine. Starting with repetitive hi-hat/ride patterns, the book progresses through various ghost notes variations and then combines non-repetitive riding patterns with varied snare drum combinations containing accents and ghost notes. These grooves are practiced with various bass drum combinations. The book can be practiced by right-handed and left-handed drummers, and it can also be played with an open-handed approach. Included is a data disc containing seven videos and 159 audio examples performed by the author, including a bonus performance video!
Claudio S. Grafulla (1810-1880) was born on the Spanish island of Minorca, and immigrated to the United States in 1838. He joined the well-known Lothier's New York Brass Band attached to the 7th Regiment of the New York National Guard, and within a short time became leader of the band. After a brief sojourn back in Europe he returned to the United States in 1859 after he was asked to form a new 7th Regiment Band. During the next twenty years Grafulla re-organized and expanded the band to become one of the most popular and respected bands in the United States. He increased the size of the band from 38 to over 50 musicians, mainly by adding woodwinds, and expanded their repertoire. Although Grafulla is mainly known today as an arranger, he composed a substantial number of band pieces as well as solo instrumental works. His most well-known work 'Washington Grays' (also sometimes called Washington Greys) was written in 1861, very early in his tenure with the 7th Regiment Band. The march was composed for the 8th Regiment, New York State Militia, based at the Kingsbridge Armory in the Bronx, and 'grays' refers to the color of the regimental uniforms. Originally scored for brass band, the march gained in popularity after the 1905 publication of an arrangement for military band by Louis-Phillipe Laurendeau, using the pseudonym G.W. Reeves. It has been called a march masterpiece, although technically an extremely challenging one, and has become a band classic. This new edition by Richard W. Sargeant Jr. is based on Laurendeau's 1905 orchestration for a Sousa-era ensemble featuring extended woodwinds, SATB saxophones, brass, snare drum, cymbals, and bass drum, and its clear and improved layout makes it a welcome addition to the concert band music library.
The legendary American bandmaster Patrick Sarsfield Gilmore (1829-1892) was born in Ballygar, County Galway, in Ireland, and emigrated to the United States in 1848. He settled in Boston, and soon established himself in the area as a virtuoso cornet player and bandleader, directing the Suffolk, Boston Brigade and Salem bands. In 1858 he founded 'Gilmore's Grand Boston Band' and rapidly earned a reputation as one of the foremost bandmasters in the nation, leading his band on several tours across the country. At the start of the Civil War he enlisted his band in the Union Army with the 24th Massachusetts Volunteers, and shortly afterwards Governor Andrews tasked him with training and organizing all of the Massachusetts Militia bands. After the war, General Banks asked him to organize a peace celebration. Gilmore relished his new role as an impresario, staging the large-scale National Peace Jubilee in New Orleans (1869). He went on to present an even larger-scale World Peace Jubilee in Boston in 1872, an 18-day extravaganza celebrating the end of the Franco-Prussian War and featuring 20,000 chorus members and 2000 instrumentalists, including a number of famous orchestras and bands from Europe. He moved to New York in 1873 to become the bandmaster of the acclaimed 22nd Regiment Band, a position he held for the rest of his life. Gilmore continued to organize and present concerts on a grandiose scale, performing at the dedication of the Statue of Liberty in 1886 and initiating the first 'Promenade Concert in America' - the forerunner of the Boston Pops. In 1888 he and the 22nd Regiment Band started the tradition of the annual New Year's celebrations in Times Square. John Philip Sousa called Gilmore 'the Father of the American Band.' His major contributions to American band music include expansion of band instrumentation, new repertoire, and the popularization of the concert band. Up to the 1850s American bands had been primarily brass marching bands, but with the 1858 founding of his own band, Gilmore began to follow the trend of European bands by adding woodwinds. By the time he and his band toured Europe in 1878 he had expanded his band to 66 members, with 1/3 clarinets, 1/3 other woodwinds and 1/3 brasses, laying the foundation for the present-day American concert band. He also expanded the repertoire by arranging standard classical works for band. Gilmore wrote a number of marches, most under the pseudonym of Louis Lambert. Today his two most popular works are 'When Johnny Comes Marching Home', written after the Battle of Gettysburg, and the the present work. The 'Famous 22nd Regiment March' was written in 1874, the second year of Gilmore's 22 year tenure with the 22nd Regimental Band, and was first published by Carl Fischer in 1882. Later editions were published with amended instrumentation, but in this welcome new edition Richard Sargeant pays tribute to Gilmore's original instrumentation, scoring it for piccolo, flute, oboe, 3 B-flat clarinets plus E-flat and B-flat bass clarinet, bassoon, SATB saxophones, 4 cornets, 4 horns, 2 trombones and bass trombone, euphonium, basses, snare drum, cymbals and bass drum.
Born in Cincinnati, Ohio, John Nicolas Klohr (1869-1956) was a close friend of the celebrated march composer Henry Fillmore. Klohr began his career as a trombonist, playing for vaudeville shows and several local organizations, and for fifty years played with the Syrian Temple Shrine Band of Cincinnati. Klohr also served as editor and head of the band and orchestra department of the Cincinnati music publishing company John Church Company, later absorbed by the Theodore Presser. Although Fillmore's publishing company was also based in Cincinnati, Klohr understandably published his own works through the John Church Company. He wrote 39 known marches, mainly for less advanced players. The Billboard March was composed in 1901 and dedicated to 'the General Amusement Paper, The Billboard' - today is known as Billboard Magazine and still a major magazine in the entertainment industry. The Billboard March became well-known as a circus march, often used for clown walk-arounds, and also for short 'playoffs' to end acts. It remains Klohr's most popular work, and has been published in five different editions to date. This new edition by Richard W. Sargeant Jr. returns to Klohr's original orchestration with extended woodwind section, SATB saxophones, a rich, full brass section, glockenspiel, snare drum, cymbals and bass drum, and is a welcome addition to the intermediate level band repertoire.
Karl Lawrence King (1891-1971) was born in Paintersville, Ohio, and ranks only behind Fillmore and Sousa as the foremost American march composer. King was a largely self-taught musician who learned the cornet early and soon was proficient enough to join the Thayer Military Band. In 1910 he moved to Columbus, Ohio and played baritone horn with the Neddermeyer Band, a professional band led by Fred Neddermeyer. He went on to play tuba in the Soldiers Home Band in Danville, Illinois, as well as in several circus bands, including Barnum and Bailey's, serving as leader of their band from 1917 to 1918. He learned to compose by studying scores, publishing his first composition at age 17 through Charles Barnhouse. Relations became somewhat strained with this publisher, which may have led to his use of the pseudonym Carl Lawrence and his decision to establish his own publishing company, the K.L. King Music House of Canton, Ohio, in 1919. In 1920 he moved to Fort Dodge, Iowa, as Director of the Fort Dodge Municipal Band, and continued his publishing from there. King was a prolific composer, writing over 300 works for band, including 188 marches. He composed mainly for larger bands up to 1940, then after that time primarily for school bands. The Neddermeyer Triumphal March was composed in 1911 as a tribute to his mentor, Fred Neddermeyer, and was published by Barnhouse. This new edition from Richard W. Sargeant Jr. retains King's original orchestration from the first edition (woodwinds, including E-flat and B-flat bass clarinet, SATB saxophones, brass, snare drum, cymbals, bass drum) in an easy-to-read format which is conveniently sized as either a study or performance score.
The American bandmaster, composer and publisher Roland Forrest Seitz was born in Shrewsbury, Pennsylvania, a township of Glen Rock, PA. One of eight children, his father died while Roland was still a boy, and he went to work as a printer's apprentice at a young age. Passionate about music, he studied on his own, learning the flute, then euphonium and cornet, and performed in his family band, as well as in the Glen Rock Band. He was only able to start formal music training at age 27 when he enrolled at the Dana's Musical Institute in Warren, OH, graduating from there in 1898. He returned to Glen Rock and became a full-time music teacher of winds, brass and percussion. He played in several bands in the area and became conductor of the Glen Rock Band. Seitz had begun composing works for band early in his career, and founded the Seitz Music Publishing Co. in Glen Rock, through which he published more than 50 of his own marches. As his publishing business expanded he also published works by many other major American band composers, including W. Paris Chambers and Karl King. A number of Seitz's marches were written for specific groups or people, such as the New York Journal March (published 1897), and the well-known University of Pennsylvania Band March, written in 1900. He wrote two marches for Thomas P. Brooke, the conductor of the famous Chicago Marine Band: Brooke's Chicago Marine Band March (1901), and Brooke's Triumphal March of 1904. Of the two, Brooke's Triumphal March has remained the most popular. Richard Sargeant's edition is a welcome addition to the standard band repertoire, with its easy-to-read format which can be used as study or performance score. It is scored for extended winds, with Seitz' original B-flat bass clarinet line notated, plus SATB saxophones, full brass, and snare drum, cymbals and bass drum.