Real Time Drums in More Songs (F)

SKU: BT.DHP-0970895-400

ISBN 9789073252882. Dutch.

Met deze succesvolle methode in twee delen leert de drummer op een ongekende manier ‘real-time’ drummen. In Real Time Drums worden diverse stijlen, zoals rock, swing, bossanova en funk, behandeld en geoefend, alles met behulpvan de meespeel-cd’s. Aan het eind van elk hoofdstuk worden de behandelde thema’s en ritmes in een echte song geoefend.In de boeken Real Time Drums in Songs en Real Time Drums in More Songs (bij deel 1) zijn alletechnieken en stijlen verwerkt in geweldige songs. Real Time Drums in Songs & Styles hoort bij deel 2. Dit uitstekende oefen- en speelmateriaal is ook los van de methodeboeken te gebruiken.

SKU: BT.DHP-1033421-400

ISBN 9789043118613. German.

Die zwölf Stücke in diesem Buch sind eine weitere Ergänzung zu Real Time Drums - Grundlagen für das Drumset Level 1. Jedem Stück geht eine Seite mit Erklärungen voraus, die wichtige Fills vorstellt oder auch nützliche Tipps gibt. Auf der CD wurden die Stücke mit und ohne Drums eingespielt, so dass der Drummer ein Vorbild bekommt, aber auch beim Mitspielen seinen eigenen Stil entwickeln kann.

SKU: HL.750421

UPC: 606559312948. 6.0x6.75x1.771 inches.

The first timekeeper designed specifically for the band's timekeeper, Tama's Rhythm Watch, had everything a drummer needed to make sure the time was right, live and in the studio. The original Rhythm Watch featured enough volume to play with real drums, a large, easy-to-read display, a dial for quick tempo adjustments, separate volumes for quarter notes, eighths and triplets-the list went on and on. So who could ask for more? Well, lots of drummers could and did. So Tama listened to what they wanted and made some changes. The RW105 now features a backlit display, 30 different memory settings, and up to nine different beat divisions. The only thing Tama didn't change was the simplicity. Features *Volume loud enough to be heard over drums *Large, easy-to-read backlit display *A dial for quick tempo adjustments *Separate volumes for quarter notes, eighths, and triplets *30 different memory settings (up from 20)*Nine different beat divisions (up from 6).

SKU: FG.55011-372-5

ISBN 9790550113725.

Images of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss.
Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water.
The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound.
It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.