SKU: BT.DHP-1084536-401
ISBN 9789043130912. 9x12 inches. English-German-French-Dutch.
In this book, you will find a series of rhythmic patterns (motifs), each of which is followed by eight lines of musical exercises in which that rhythmic motif is incorporated. Lines 9 and 10 have been left blank: it is up to you to think of two exercises using the motif concerned to complete the missing staves. With the exercises in the book, together with those you have made up yourself, you have a total of 320 exercises. They are all intended to improve your drumming technique by means of ‘drum gymnastics’. It is better and more effective to play one or two exercises often and thoroughly, than to rush through a number of exercises. Only an intensive and carefully built-uptraining programme will lead to the improvement and perfection of your technique - don’t give up too easily, keep practising, and keep going. In dit boek vind je boven aan elke bladzijde een ritmische bouwsteen, gevolgd door acht notenbalken met oefeningen waarin deze bouwsteen is verwerkt. De balken 9 en 10 zijn nergens ingevuld: aan jou de uitdaging om zelf twee oefeningenmet de betreffende bouwsteen te bedenken en die in te vullen.De oefeningen die al in het boek staan komen dan, samen met de oefeningen die je zelf hebt bedacht, op een aantal van maar liefst 320. Ze hebben als doel door middelvan ‘drumgymnastiek’ de techniek van het trommelen te verbeteren.Het is beter en effectiever om elke dag een of twee oefeningen vaak en grondig door te nemen dan om meerdere oefeningen even snel door te spelen. Alleen een intensieveen zorgvuldig opgebouwde training zal leiden tot de gewenste verbetering en perfectionering van je techniek - geef daarbij niet te snel op, blijf oefenen en houd vol.Drumnastics ist das ultimative Gymnastikprogramm“ für Anfänger am Schlagzeug vom Schlagzeugspezialisten Gert Bomhof. Ziel der zahlreichen Übungen ist, mit verschiedenen rhythmischen Mustern als Leitfaden die Schlagzeugtechnik zu verbessern. Selbst zu gestaltende Übungen fördern außerdem die musikalische Kreativität. Lehrreich und spaßbringend! Drumnastics présente une série de schémas rythmiques travailler. Chaque motif est intégré dans huitlignes d’exercices musicaux. Les lignes 9 et 10 ont été volontairement laissées vides pour vous permettre de créer deux exercices personnels en utilisant le motif donné pour compléter les portées.En combinant les exercices présentés dans le recueil avec les exercices que vous aurez créés vous-même, vous obtiendrez un total de 320 exercices. Tous ces exercices sont destinés améliorer votre technique de caisse en effectuant de véritables exercices de gymnastique.Il est préférable et plus efficace de travailler un ou deux exercices fréquemment et consciencieusement que dese précipiter et survoler un grand nombre d’exercices. Un programme d’entraînement intensif et bien structuré permettra d’améliorer et de perfectionner votre technique. Ne baissez pas les bras au moindre problème, mais continuez de persévérer et d’aller de l’avant. Drumnastics è il libro di ginnastica che tutti i percussionisti dovrebbero avere. I numerosi esercizi di questa pubblicazione hanno come obiettivo di migliorare la tecnica del rullante attraverso lo studio di motivi ritmici.
SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: GI.G-CD-1043
Ford • McCarthy • Abe • Higdon • Goto Since the inception of the projects, composers, conductors, music critics, and connoisseurs worldwide have praised the recordings conducted by Eugene Migliaro Corporon for their innovation, excellence, and professional standards. These exceptional videos and compact discs identify and preserve the standard repertoire and globally encourage composers to contribute to the ever-growing legacy of great music that has the power of universality. The breadth and variety of the discs highlight the fact that the wind symphony, in its many forms throughout hundreds of years of music history, has been and continues to be a significant original medium for serious aesthetic expression. The projects have yielded more than 100 discs that showcase the creative energy of thousands of world-renowned composers and gifted musicians. Winds magazine offers the following regarding the body of work: “This series has immense historic value in documenting the best of the repertoire...as well as providing much sheer listening (and viewing) pleasure for the level of artistry in the performances. The acoustic quality of the recording is state-of-the- art...All of the works are superbly realized and worthy of exploration...these discs represent the standards to which all must aspire.† This is a monumental recording that should be listened to and studied by every serious concert percussionist. The writing for percussion and winds is innovative and cutting edge, and there is much here for composers to learn about scoring for percussion and winds. The [University of North Texas] Wind Symphony performs these works fabulously and flawlessly, and the baton of Maestro Corporon is evident throughout. —Tom Morgan, Percussive Notes • Vol. 56, No. 3 • July 2018 Watch this video: Eugene Corporon and Mark Ford Discuss Contact Read Mark Ford's commentary on his project with Eugene Corporon: Contact Contents 1. Stubernic Fantasy (2012) • Mark Ford (b. 1958) • (13:04) Copyright © Innovative Percussion • Mark Ford, Paul Rennick, Sandi Rennick – Marimba Soloists Chamber Symphony No. 1 for Marimba (1993) • Daniel McCarthy (b. 1955) • (16:03) Copyright © C. Alan Publications 2. Deer Hunting in Michigan (4:07) 3. Harmonic Rhythms (4:33) 4. The Stuff of Adventure (7:23) Mark Ford – Marimba Soloist 5. Prism Rhapsody II (1996) • Keiko Abe (b. 1937) • (15:54) Copyright © Xebec Music • Mark Ford, Keiko Abe – Marimba Soloists 6. Percussion Concerto (2009) • Jennifer Higdon (b. 1962) • (25:21) Copyright © Lawson Press • Mark Ford – Percussion Soloist 7. Ruffles Call from Afar (2013) • Yo Goto (b. 1958) • (10:26) Copyright © C. Alan Publications • Mark Ford – Snare Drum Soloist Total Time (70:22)  .
SKU: HL.48186440
Drummers Jacky Bourbasquet (founder of the Sonor school network) and Claude Gastaldin (professor at the Geneva Conservatoire) have a ?long and faithful friendship? that goes beyond playing music. Since 1997, the two percussionists have pursued a large-scale educational adventure that earned its fame under the name Drum Session.Offered in a multilingual version (French, English, German, Spanish), the 17th Volume includes everything that brought the series its success: a progressive structure divided into levels, clear method instructions and a range of pieces ? 29 in total ? showcasing a wide variety of styles: jazz, progressive pop, tango and funk. The method, which favours group work with orchestra, is enhanced with a CD (sold separately) in which each piece is recorded without the drums in two versions: one as an etude (slower), the other a tempo. A variety of tracks have been added for a total of 70 minutes of music. ?A very useful tool, well-designed and including enough styles to satisfy nearly everyone? (Batteur magazine).This book must be purchased with the CD accompaniment (AL30675) separately..
SKU: PE.EP68671
ISBN 9790300761909. 297 x 420 mm inches. English.
Drawing inspiration from a large-scale canvas by painter Philip Guston, this two-movement, half-hour concerto for two percussionists and orchestra uses strict notation, passages in which certain details of the score are left up to the performers, and even - for the soloists - moments of total freedom. Commissioned by BBC Radio 3, Old Shoe, New Shoe was premiered on 19 May 2019 by the BBC Scottish Symphony Orchestra under Ilan Volkov, with percussionists Joey Baron and Robyn Schulkowsky performing the solo parts.