Eight Essentials of Drumming

SKU: CF.CPS244

ISBN 9781491157985. UPC: 680160916580. 9 x 12 inches.

On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Donat be concerned if you donat have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isnat essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isnat critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes donat sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Don't be concerned if you don't have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn't essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn't critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes don't sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft.Don’t be concerned if you don’t have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn’t essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn’t critical if you do have those other low woodwinds.The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred.When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39.In the slower section after m. 41, be careful that the diminuendos on the half notes don’t sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows.The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.

SKU: CF.BPS145F

ISBN 9781491161647. UPC: 680160920327.

Dating back to the 13th century, the clock tower was located in the center of a town and used by townspeople to hear the time through bells and chimes ringing out. There are clock towers all over the world and they are wonderful landmarks to towns and communities. This work begins and ends with the Westminster Chimes theme, which is used by many clocks and clock towers, including Big Ben, the famous clock tower in London. Clock Tower contains many essential musical and technical skills for a beginning level band piece. The tick of the clock mechanism is imitated by pitched woodblocks, and the main theme is based on ascending and descending scale patterns, reinforcing note-reading ability for the beginning student. There are layers of new countermelodies and contrasting sections with dynamics and legato passages, giving the students an opportunity to play in different musical styles. There is a low brass and woodwind feature and a section introducing eighth notes to the upper winds. The sound between the woodwinds and the brass are also important, but many woodwind passages are cued in the brass in case a beginning band might need extra players to help with the balance and blend. This gives the director the opportunity to experiment with these cues and add a few other instruments when needed.
Dating back to the 13th century, the clock tower was located in the center of a town and used by townspeople to hear the time through bells and chimes ringing out. There are clock towers all over the world and they are wonderful landmarks to towns and communities. This work begins and ends with the Westminster Chimes theme, which is used by many clocks and clock towers, including Big Ben, the famous clock tower in London.  Clock Tower contains many essential musical and technical skills for a beginning level band piece. The tick of the clock mechanism is imitated by pitched woodblocks, and the main theme is based on ascending and descending scale patterns, reinforcing note-reading ability for the beginning student. There are layers of new countermelodies and contrasting sections with dynamics and legato passages, giving the students an opportunity to play in different musical styles. There is a low brass and woodwind feature and a section introducing eighth notes to the upper winds. The sound between the woodwinds and the brass are also important, but many woodwind passages are cued in the brass in case a beginning band might need extra players to help with the balance and blend. This gives the director the opportunity to experiment with these cues and add a few other instruments when needed. .

SKU: AP.1-ADV13017

ISBN 9783892210917. UPC: 805095130171. English.

The goal of this play-along series is to provide the jazz drummer with material that will be challenging, informative, and musical. It features jazz tunes based on standard jazz repertoire. While there is no written melody, there are a number of melodies that one can sing over the existing chord changes. These tunes give the player a chance to practice comping, soloing, trading fours and eights, working on ride cymbal sound, etc. Contents: Introduction * How to Improve Your Time * Bebop Drum Patterns * Slow-Medium Tunes * Fast Tunes * Drum Tracks * Essential Recording List * Tunes Every Musician Should Know * CD Index.