Format : Sheet music + CD
If you crave the burn and you’re into hard-core heavy-metal double-bass drumming Hudson Music’s new Turn It Up & Lay It Down: Double Pedal Metal combo pack will get your toes tapping and light your feet on fire! The pack features the popular Double Pedal Metal play-along CD with 14 super-heavy tracks in the styles of drum Gods such as Jason Bittner (Shadows Fall) Chris Adler (Lamb Of God) Vinnie Paul (Pantera) Lars Ulrich (Metallica) Mike Wengren (Disturbed) and Dave Lombardo (Slayer) plus an all-new book and free online downloads. Expanding on the success of the Turn It Up & Lay It Down series of play-along CDs created by Spencer Strand theDouble Pedal Metal book by Steve Kilgallon contains charts along with easy intermediate and advanced groove suggestions fill variations and tons of hints and tips. The book also examines and explains the advanced styles and techniques that are being played by the world's heaviest drummers and bands. The book and play-along CD are further augmented by studio-quality audio files of the sample beats in the book that are posted on the hudsonmusic.com website. The free bonus MP3s are available through an access code that is included with the combo pack and are downloadable to computers iPods and other MP3 devices. When used in combination the DPM book companion CD and online tracks provide a complete integrated truly comprehensive method for progressive drummers. Double Pedal Metal is the perfect way for young drummers to get started on developing their feet and hands yet a challenge for seasoned pros; whether they play double pedal or double bass drums. DPM also represents the first in a series of Hudson’s new Turn It Up & Lay It Down play-along packs with each title aimed at providing drummers of all ages and abilities with a fun hands-on multi-media approach to learning grooves fills and musical concepts for a variety of different styles.
SKU: IP.S-GF-THI
8.5x11 inches.
Composer's notes: The concept behind this work is for the performer to accompany him / herself on marimba through the use of sustaining metal instruments, sounding like multiple performers within a solo work. When multiple vibraphones are available, choose the instrument with the longest sustain. It is necessary to use the low octave of crotales for best sustain.This is a multiple percussion work with a brief section of CD accompaniment. The work is scored for marimba (low E), vibraphone, crotales, cymbals, log drums, and multiple sets of wind chimes. The composer states that the general premise of the work is the ability of the marimbist to accompany himself with longer resonating metallic instruments. It begins with a free section emphasizing mark tree, cymbals and crotales. The marimba emerges from this texture with sixteenth-note triplets that suggest the primary theme of the work. After a brief interlude of cymbals, crotales and vibraphone, the sixteenth-note figures return in the marimba, with punctuating, long tones on the crotales. This section continues for a while, finally yielding to a transitional segment of linear figures in the marimba, culminating in an explosive run to the top of the instrument. The tension it creates is quickly released in the ensuing chorale section. Here again, the performer is asked to sustain notes in the marimba via independent roll, while the other hand plays figures on the vibes and crotales. The CD accompaniment begins at the end of this section. The performer begins to improvise in the style of the opening of the work over the gong, cymbal and drum sounds on the recording. The marimba re-enters with groovy sixteenth notes over the recorded drum sounds. The rhythms in the marimba part become increasingly syncopated as the intensity builds, then gradually wind down into a short, improvised section on log drums. As the CD fades away, the performer is left playing sparse figures on the resonant metal sounds. The work ends with three, very soft rolled chords in the marimba with a single, introspective note on the crotales as a finale. The mixture of coloristic and rhythmic devices used in this work make is interesting for the performer and the listener. - Scott Herring Percussive Notes, April 2006.
SKU: FG.55011-455-5
ISBN 9790550114555.
This cycle of carols, to the poetry of Christina Rossetti, was assembled piecemeal over a number of years, gradually acquiring a larger dramatic and harmonic arch shape as new settings were added. I was particularly attracted to Rossetti's conflation of the dark, fallow winter landscape with that of the soul waiting for salvation. The cycle traces the long nights of watchfulness before Christmas, with the great event constantly deferred, only glimpsed periodically in different visions before the music turns inward again to contemplation. The opening carol embodies this spirit, with passages of diffuse, roving harmony interspersed with meditative, lyrical pedals, calling out the night watch and dreaming of a far-off summer of the spirit. Earth Grown Old is a kind of double carol, setting two complete poems, their lines at first presented separately as a still, expectant chorale and a jubilant dance, then progressively interwoven toward a fervent climax before once again receding into quiet. In the bleak mid-winter, which sets a highly compressed version of Rossetti's original poem, presents an enfeebled landscape frozen in time, in dire need of deliverance. A gentle melody weaves its way through static drones, broken by an angels' chorus announcing the joy to come. Love Came Down at Christmas ends the waiting, with its gently falling, overlapping lines building to a final revelation, the mystery of Christmas at last made real.
