What Star Is This?

An Introduction To Creative Metal Drumming-Randy Black is synonymous with extreme metal drumming and with many years of performance and teaching experience behind him the master is releasing this 2 DVD pack so that anyone can benefit from his wealth ofknowledge. 'What started out as a plan to record a few songs in pro quality for promotional purposes ended up being this double DVD filmed and recorded at Monongo Studios in Berlin Germany. When I approached ROAXfilms about it they suggested I do a full-fledged instructional DVD. It was not my original plan but after thinking it over and coming up with a concept I thought I'd give it a shot. It also had to do with thefact that I'd been teaching for quite a few years and knew I had something to offer to a wide variety of levels of players. I hope you can take something from these DVDs and apply it to your playing in your own personal way. With today's recording methods it's very common that certain programs/software are used to improve or fix someone's playing; it's standard procedure. I wanted this DVD to be 'old school' in the sense that there was not onenote I played that was moved or quantized. Nor were there any samples used. I wanted the listener/viewer to hear and see how I play naturally and how the drum kit sounds acoustically. Every single drum note you hear played on thisDVD was played by yours truly from start to finish' - Randy Black Disk 1 Includes: Basic rudiments on the practice pad Advice toyoung drummers Hand grip and technique Stretching and stick tricks Applying various rudiments on the kit Hi-hat foot technique Independence exercises/moving accents Various fills and rhythms from Randy's recordings Crossovers Applying different styles to metal music Tools

Jerry Garcia the lead guitarist singer and alleged leader of the Grateful Dead became an icon of the 60s youth movement. It was well-known that Jerry was a huge fan and probably considered himself a player of old-timeAmerican music from mountain fiddle and banjo music to English ballads to jug band music to bluegrass and blues and more. On the 'Shady Grove' recordings one can hear the deep commitment respect and love Jerry had for thistraditional American music. He's very faithful to the original artists' music. That may be surprising if you expect more of an ego-driven 'my version' approach from one the biggest rock stars ever. What you have here is a vibrantcollection of wonderful traditional American songs from a great variety of genres played in a style closely based on their traditional sources. Of course within those parameters we hear wonderful and personal readings of thetunes from both Jerry and mandolinist David Grisman. Dix Bruce has carefully transcribed many of Jerry's solos from the album trying to determine not just what he was playing but how he was playing it. Melodies tablature lyrics and chords are included in arrangements designed to be playable on the guitar while presenting the melodies as closely as possible. Jerry's banjo solos are transcribed here for guitar.

Quoting Burgon: My first thought on receiving this commission was what sort of text would suit. Something on the general idea of growth - starting very small and blossoming was the obvious way to go but it wasn’t until I foundthe Andrew Marvell poem Music’s Empire that I really got going. The poem is about the invention and development of music; this might sound a bit dry but in fact it is both charming and dramatic and it is also apt in that it canbe set for both solo voice and chorus.The other factor to be considered in writing this piece was the Purcell connection. Purcell wrote Come Ye Sons of Art in 1964 the year the bank was founded and this piece is alsoincluded in the celebratory concert. So I wanted to include some homage to HP as well.Marvell’s poem is the sort of text that Purcell might have set had he come across it. It is a sort of Ode of text that Purcell might haveset had he come across it. It is a sort of Ode to St Cecelia and he wrote one of those as we know. So I have referred to Purcell in two particular ways; I have quoted Come Ye sons of Art directly and I have used thecountertenor. Purcell himself sang countertenor in many of his own pieces and wrote some of the most gorgeous music ever written for that voice. I also happened to love both Purcell’s music and the countertenor so writing thispiece was really a labour of love.It is scored for countertenor mixed chorus and symphony of orchestra - rather larger than any orchestra that Purcell had access to as far as I know but one in which I’m sure he would haverevelled in given the opportunity. It is about ten minutes in duration.