MODERN DRUMMING is a practical educational concept that has been proven through many years of teaching and is ideally suited for both drum lessons and self-study. Next to the motivational aspect and the fun of making music, the pedagogic and didactic aspect of truly meaningfully and effectively conveying the contents is the primary focus. Intended for drummers of all levels from beginners to advanced players, MODERN DRUMMING 1 consolidates the most important factors of modern drumming and provides an effective methodology for learning all relevant musical styles. Much value is placed on the advancement of your creativity and the development of your own style. MODERN DRUMMING 1 teaches all standard rhythms used in modern music, covering virtually all musical styles: rock, pop, hard rock, heavy metal, jazz, Latin, fusion, R&B, funk, hip-hop, jungle, house, drums 'n' bass etc. There is also a chapter on fills and licks, and double bass drum technique is covered extensively, as are the relevant rudiments. The book is conceived in such a way that you are not forced to struggle with monotonous exercises forever, but can quickly begin playing rhythms and fills on the drum set. Several drum solos, as well as play-along songs recorded by a live band, allow you to practically apply what you've learned: you begin making music right away, just like in a band. "Of all the drums books I've seen today, this drum school with CD ist the absolute top" (musicmagazine Workshop)
The Brooklyn-based comedian Eugene Mirman is the stand-up king of hipsterville. He was a regular on the HBO series Flight of the Concords and now appears on Adult Swim’s Delocated — and you can see him on YouTube inventing slogans to promote Canada. Next, Merrill Garbus is the performer and multi-instrumentalist behind tUnE-yArDs — a music project that blends African-inspired rhythms and vocals with electric bass and saxophone. But she only discovered music after a failed career as a puppeteer. She tells Kurt Andersen she found musical inspiration as a student living in Africa; her mother’s ukelele, purchased at an Army-Navy store, helped her to take the plunge. Then, we asked our studio audience to tell us about their dream jobs. Eugene Mirman reads some of the responses, from “astronaut” to “artisan glass blower.” And finally, one classic reinvention fantasy goes like this: you leave a square, respectable job and write a best-selling book. Elizabeth Wurtzel did just that — but in reverse. She was in her twenties when Prozac Nation made her famous overnight. She became a rock critic and wrote a memoir about her addictions. Then she did the not-obvious thing and went to law school. Wurtzel explains to Kurt Andersen why intellectual property law is where’s it’s at. [Broadcast Date: Feburary 11, 2012] 1. Language: English. Narrator: Kurt Andersen. Audio sample: http://samples.audible.de/rt/stud/120211/rt_stud_120211_sample.mp3. Digital audiobook in aax.
Your soul holds a massive record collection: melodies, rhythms, and bass lines. Memories that ask you to dance and memories that haunt you in a minor key. Lies that become soundtracks to your days while truths play too softly to be heard. Spoken word poet Amena Brown’s broken records played messages about how she wasn’t worthy to be loved. How to Fix a Broken Record chronicles her journey of healing as she’s allowed the music of God’s love to replace the scratchy taunts of her past. From bad dates to marriage lessons at Waffle House, from learning to love her hair to learning to love an unexpected season of life, from discovering the power of saying no and the freedom to say yes, Amena offers keep-it-real stories your soul can relate to. The hurtful words of others and the failures of your past often determine what record you play the most in your mind. Those painful repetitions can become loud at the most inopportune time, keeping you from speaking up, pursuing your dreams, and growing closer to God. Recognize the negative messages that play on repeat every day in your mind. Learn how to replace them with the truth that you are a beloved child of God. And discover how to laugh along the way as you find new joy in the beautiful music of your life. A bonus audio track is included in the How to Fix a Broken Record audiobook, which features a special spoken-word performance by author Amena Brown. 1. Language: English. Narrator: Amena Brown. Audio sample: http://samples.audible.de/bk/zond/001775/bk_zond_001775_sample.mp3. Digital audiobook in aax.
You will find yourself in the streets of Buenos Aires playing a passionate Tango, an enticing Creole Waltz or a sparkling Chacarera. World Music Argentina for ensemble gives young musicians the opportunity to familiarize themselves with music cultures from Argentina. A selection of pieces of fascinating and, at the same time, important styles of music from Argentina should further intensify the already present interest. Rhythms, styles, and instruments typical of a certain country are explained in short texts. The pieces are intended for modern ensemble instruction, in flexible instrumentation, and, thus, can be employed in a variety of ways. Aside from a play-along version, the CD also contains an ensemble version with instruments typical of the respective style of music. Instrumentation: for flexible instrumentation (2 melody instruments in c or bb), piano, bandoneon, guitar, bass (double bass or electric bass), percussion
World Music Israel for ensemble gives young musicians the opportunity to familiarize themselves with music culture from Israel. A selection of pieces of fascinating and, at the same time, important styles of music from Israel should further intensify the already present interest. Rhythms, styles, and instruments typical of a certain country are explained in short texts in English, French and German. The pieces are intended for modern ensemble instruction, in flexible instrumentation, and, thus, can be employed in a variety of ways. Aside from a play-along version, the CD also contains an ensemble version with instruments typical of the respective style of music. Instrumentation: for flexible ensemble (2 melody instruments (c, bb), piano, guitar, (double bass/electric bass), percussion
Fire! Fever! Flame! Temperament! &#8211; these are the terms most often used to describe Latin American music. Each of us has at least once been electrified by these unmistakable rhythms, this joy of life and this &#8222;esprit&#8220;. The Latin Smile endeavours to capture the essence of this kind of music and to put its spirit down in notes. The piece consists of two themes &#8211; to be played now in unison, now in several voices &#8211; and of two interludes providing the musical setting for the themes. Rhythmical accuracy is a special qualification every musician has to fulfill to perform this composition. The complete piece is played fast and as hot as possible. Just imagine the following scenery : All the streets of the city are alive with people, everybody is singing and dancing, everywhere there is music; and never-ending is the night ... Instrumentation: 4 clarinets (3 clarinets in Bb and bass clarinet in Bb)
Bach composed the six Trio Sonatas for Organ BWV 525 &#8211; 530 probably between 1727 and 1730 when he was Cantor at the St. Thomas Church in Leipzig. The trio sonata as a baroque genre usually employs four players: two solo parts (violin, flute or oboe), a bass part (violoncello, violone or bassoon) and the continuo part (organ, harpsichord or lute). It is assumed that during his time in Köthen (1717 &#8211; 1723), Bach composed a few dozen trio sonatas for various instruments, of which very few have survived. In fact, the Triosonata for two Flutes and Continuo BWV 1039, along with the one from the Musical Offering (which was written much later), is the only one of which the authenticity can be regarded as certain. Bach arranged it for Viola da Gamba and harpsichord (BWV 1027). The upper solo part is played by the right hand of the harpsichordist while the Viola plays the second part an octave lower. Later, Bach arranged the last movement for organ (Trio in G). Here, the pedal plays a slightly simplified bass, and the left hand takes up the second part. Maybe some of the movements of the six Trio Sonatas for Organ go back to lost compositions Bach has arranged in a similar manner. There are earlier versions of many movements, and the original of at least one movement (BWV 528, I.) was written for more than one instrument: the Sinfonia of the second part of Cantata BWV 76 which is set for Oboe d&#8217;amore, Viola da Gamba and Basso Continuo. The linear, distinctly chamber music-like disposition of the Sonatas further supports this assumption, and a number of recent recordings of the Sonatas with two solo instruments and basso continuo convincingly justify the reconstruction of a hypothetical original. The sixth Trio Sonata might be the only one that Bach explicitly composed for this collection. The particularly high number of changes in the manuscript might indicate that he was still working on it when he copied the Sonata into the collection. The first movement Vivace has a certain resemblance with the first movement of Bach&#8217;s Italian Concerto for harpsichord. It is a concerto movement, but the solo and tutti passages are often ambiguous. The unison in the beginning is unparalleled in the Trio Sonatas and emphasizes the concerto character of this movement. The first theme returns in modified forms: syncopated (bar 53), in sequence (bar 73) and embellished in minor (101). Extended arpeggios in the interludes (T 37 &#8211; 52, 85 &#8211; 100 und 137 &#8211; 152) and a remarkably active bass (bar 101) effectively contrast the homophone main theme. The declamatory character and its rhythmically and melodically independent solo parts make the Lento sound more like an aria from Bach&#8217;s cantatas with obligato (violin, flute or oboe) than a chamber sonata. There are elements of the Siciliano (esp. the dotted 6/8 rhythms) and the bass gets involved in the thematic development. Like in Sonatas BWV 526, 528, und 529 the bass is also involved in the development of the fugue subject in the last movement Allegro. While the first theme only employs one and a half bars, the second theme in the parallel minor stretches over four bars and dominates the middle section with motivic sequences and frequent modulations. Due to the range (first theme soprano) the Sonata was transposed a half-step above the original key. For the same reason, the upper parts were switched in bars 156 &#8211; 160. The alto part was transposed an octave down in bars 21 and 22 (with two eight notes pickup). The 8va in the third movement can be performed as written. Instrumentation: 3 saxophones (SABar/SAT) and cello ad lib BWV 530
Daniel Schnyder's 'Music for Four Guitars' reflects on various aspects of guitar music. The composition superimposes modern rhythms of South American provenience with European forms and compositional techniques. The fusion of these elements creates new music which at the same time sounds familiar. The combining of the two different worlds of music illuminates the diversity of today's music and it's beautiful possibilities on infinite new combinations. 'Unveiling of a Canon' is build on a canon, hidden behind rich ornamentations and melodic embellishments. The canon gradually unfolds as the piece develops. At the end of the movement the canon presents itself in its original form. The canon is the strictest musical form. The art of embellishments over a canon is rarely heard today. Jazz and jazz related music concentrate on improvising over chord structures - vertical structures - rather than improvsing over polyphonic patterns which by definition develop horizontally in a musical texture. Switching from the strict canon to embellishments creates tension between freedom and the strict hidden order. We know that very well from the music of J.S. Bach or Bela Bartok. 'Fairytale' is the pragmatic juxtaposition of a completely different way of musical thinking. The movement is based on harmonic and rhythmic fundamentals derived from Brazilian music. Basically the four guitars play on three different layers which rhythmically interact with each other: bass melody, rhythm with complimentary rhythm, and melody. For classically trained musicians the hidden African color of the music may be unusual, new and sophisticated. The accents are delayed to the off-beats. 'Fairytale' combines classical and non-European musical influences in a natural and sophisticated way. In spite of the unusual rhythmic approach, the audience will find this dance-like movement very accessible. 'Coding Against Memory' transforms the musical material from the canon, unweiled in the first movement, in a different way. Single elements of the canon have been isolated and consequently alongated, turned upside down, etc. These techniques are very fundamental and essential in the tradition of European art music but not really common in jazz and other non-written music. The third movement relates to movement one and reflects on the European roots and tradition. 'Dancing With My Lady' corresponds with the dance-like African quality of the second movement but with an emphasis on the inexaustible rhythmic vocabulary of South America, especially the energy-giving, high-spirited Samba. The whole piece therefore is written in a loose thematic ABAB form. This work was originally commissioned by the EOS Guitar Quartet and performed in numerous concerts. Instrumentation: 4 guitars
As an American jazz artist and educator based in South Africa since 1999, this is one in a set of pieces that reflect my musical and other experiences in this fascinating country. Kwazulu Zam was composed using a traditional South African song form called mbaquanga. Mbaquanga is a characteristic South African musical form that utilises a repeated (cyclical) 2 or 4-measure harmonic structure based on I - IV - V - I and I - IV - 1 6/4 - V - I. These progressions are the backbone of South African jazz much like the blues and its variants is to American jazz. The piece is performed in the kwela style which is based on a strong swing feel. The original meaning for kwela during less fortunate times was &#8220;kwela&#8211;kwela; hurry, hurry, the police are on the way.&#8221; Much like early jazz and throughout the swing period, the use of riff based playing and soloing was common. Bennie Moten&#8217;s and Count Basie&#8217;s early bands come to mind, and are just two examples of great riff based ensembles with exciting riff based soloing. Performance Tips The melodies or riffs in Kwazulu Zam must swing. Play them with a loose, relaxed feel. Really dip or slide into the notes that are marked. Intervals of a fifth or larger marked with slides should really be scooped and vocal in nature. Please note that African music and particularly South African jazz, is vocal and organic in nature. This tune is written in the Kwela/Swing style. It can also be played on a more traditional Mbaqango style. To get to know Kwela you can listen to recordings by Hugh Masekela, Darius Brubeck and Afro Cool Concept; also Paul Simon&#8217;s &#8220;Graceland,&#8221; for a better understanding of Mbaqango. Notes on Soloing Pay attention to the rhythm of the themes; play off rhythms found in the piece as well as playing rhythmically. The solo improvisation section at letter C should pay particular attention to the use of, and drawing from the three themes of the piece. Backgrounds and interludes can be very flexible. For example, B and C can be cued by signaling the number 1 for the background at letter B. Signal 2 for the background at C or 3 for both B and C. A closed fist indicates the last time when repeated more than once. Letters B & C can be played between solos or as a background building to the next soloist or just optionally letter C between solos. The solo background at letter C also has the option of being repeated more than once if your soloist is cooking and your rhythm section is grooving! Experiment too with dynamic shapes during repeated backgrounds that will add excitement to the background and influence the soloist. Even experiment with interchanging letters B & C as solo backgrounds. It is important to note that playing contemporary jazz phrases or licks really doesn&#8217;t work and is out of context or style of the piece. Play in the style, play rhythmically, use material from the three themes to develop and build your solo. Most importantly have fun!!! Mike Rossi Instrumentation: 3 melody instruments, piano, guitar, double bass, percussion