DOCSLIB.ORG

Pea Shooter Swing =232 the U.S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pea Shooter Swing =232 the U.S Drum Set Pea Shooter Swing =232 The U.S. Army Field Band Jazz Ambassadors q Music by Jeff Lopez Four measure drum solo / 4 4 V V V V V V V V V V V V V V V V mf 2 3 4 [5] Drum Break Play groove Drum Break / V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 5 6 7 8 9 10 11 12 Drum Break / V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 13 14 15 16 17 18 19 20 Play groove Drum Break / V V V V V V V V V V V V V V V V 21 22 23 24 > > / ‰ Œ Œ ‰ V V V V V V V V V V V V VJ VJ 25 26 27 28 f [29] Groove with ensemble no solos simile / V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 29 30 31 32 33 34 35 36 Drum Break Drum Break / V V V V V V V V V V V V V V V V V V V V V V V V 37 38 39 40 41 42 Drum Break Solo over bass pedal Ensemble break / Œ Ó V V V V V V V V V V V V V V V V V V V V V 43 44 45 46 47 48 © 2011 by Jeff Lopez This Arrangement © 2011 by Jeff Lopez Reproduction and Public performance limited to Educational and Military Ensembles Pea Shooter All Other Rights Reserved. Used By Permission 2 Drum Set [49] Ensemble solo send off for tenor 1 / VmpV V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 49 50 51 52 53 54 f 55 56 [57] Tenor Sax Solo Bkgrds 2x.o. / ° ü ™ V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V ™ ¢ mf 57 58 59 60 61 62 63 64 † [65] / V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 65 66 67 68 69 70 71 72 / V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 73 74 75 76 77 78 79 80 / V V V V V V V V V V V V V V V V 81 82 83 84 mf f [85] Open Free open duet with tenor sax Build to backgrounds / ° ü V V V V V V V V ™ V V V V V V V V ™ 85 86 ¢ subito 87 88 † p [89] Drum solo / V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V mf 89 90 91 92 93 94 95 96 [97] Tenor and drum duet / V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 97 98 99 100 101 102 103 104 [105] Drum solo / V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 105 106 107 108 109 110 111 112 Pea Shooter The U.S. Army Field Band . 4214 Field Band Drive, Ft. Meade, MD 20755-7055 . 301-677-6231 . ArmyFieldBand.com Drum Set 3 [113] Tenor and drum duet / V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 113 114 115 116 117 118 119 120 [121] Drum solo / V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 121 122 123 124 125 126 127 128 [129] Tenor and drum duet / V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 129 130 131 132 133 134 135 136 [137] Drum solo > > / ‰ Œ Œ ‰ V V V V V V V V V V V V V V V V V V V V V V V V V V V V VJ VJ 137 138 139 140 141 142 143 144 [145] Groove with ensemble no solos / V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 145 146 147 148 149 150 151 152 Tenor solo in the break [153] Ensemble Drum solo with ensemble Tenor solo in the break Drum solo with ensemble Œ ‰ œjœ œ œ œ / Œ Œ Œ Ó Œ Œ V V V V V V V V œ œ œ V V V V V V V V œ œ 153 154 155 156 157 158 159 opt. HH opt. HH Ensemble Œ ‰ œj œ œ œ œ Drum solo with ensemble Tenor solo in the break ‰ œj / Œ Ó Œ Œ Œ Œ œ V V V V V V V V œ opt. HH œ œ œ 160 161 162 163 164 Duet with Tenor 1 Drum solo / V V V V V V V V V V V V V V V V V V V V V V V V 165 166 167 168 169 170 f [171] Drum Break Play groove / V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 171 172 173 174 175 176 177 178 Pea Shooter The U.S. Army Field Band . 4214 Field Band Drive, Ft. Meade, MD 20755-7055 . 301-677-6231 . ArmyFieldBand.com 4 Drum Set [179] Drum Break Play groove Ensemble breakj ∑ œ / V V V V V V V V V V V V V V V V V V V V V V V V V V V V Ó Œ ‰ 179 180 181 182 183 184 185 186 [187] / V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 187 188 189 190 191 192 193 194 / V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 195 196 197 198 199 200 201 202 [203] w ∑ / V V V V V V V V V V V V V V V V V V V V u f 203 204 205 206 207 208 Pea Shooter The U.S. Army Field Band . 4214 Field Band Drive, Ft. Meade, MD 20755-7055 . 301-677-6231 . ArmyFieldBand.com.
Load more

Recommended publications
  • 1 FLORIDA BANDMASTERS ASSOCIATION SOLO and ENSEMBLE LIST – PERCUSSION and PIANO Rev
    1 FLORIDA BANDMASTERS ASSOCIATION SOLO AND ENSEMBLE LIST – PERCUSSION AND PIANO Rev. 2003 G COMPOSER/ARRANGER TITLE PUB R SIG FBA EVENT O CODE A LIT CODE O D P E BELWIN CLASSIC FESTIVAL SOLOS MALLET PERCUSSION VOL 1 (P 2-7 ANY 1) BEL 1 MA1001 MALLET SOLO BELWIN CLASSICAL FESTIVAL BOOK FOR MALLETS VOL.2 (P.2 - 8 ANY 1) BEL 1 MA1002 MALLET SOLO BELWIN CLASSIC FESTIVAL SOLOS MALLET PERCUSSION VOL 1 (P 8-15 ANY 1) BEL 2 MA2001 MALLET SOLO BELWIN CLASSICAL FESTIVAL BOOK FOR MALLETS VOL.2 (P.10 - 16 ANY 1) BEL 2 MA2002 MALLET SOLO GREIG / ROY EROTIK MMP 2 MA2003 MALLET SOLO RAMEAU / SCARMOLIN / MEISTER LA VILLAGEOISE LUD 2 MA2004 MALLET SOLO SIENNICKI TWO SHORT PIECES (1 MVT) LUD 2 MA2005 MALLET SOLO TCHAIKOWSKY / LEBON FOLK SONG (ALBUM FOR THE YOUNG) EMP 2 MA2006 MALLET SOLO BACH / MARTEAU / MEISTER ANDANTE CANTABILE LUD 3 MA3001 MALLET SOLO BARTOK/MIESTER EVENING IN THE COUNTRY LUD 3 MA3002 MALLET SOLO BEETHOVEN / NAGY / MEISTER TURKISH MARCH LUD 3 MA3003 MALLET SOLO BOCCHERENI EDWARDS MINUET (MARIMBA) RU 3 MA3004 MALLET SOLO BRAHMS / QUICK HUNGARIAN DANCE NO 5 (MARIMBA) RU 3 * MA3005 MALLET SOLO DONT / MEISTER BON VIVANT LUD 3 MA3006 MALLET SOLO DRIGO / ROY PIZZICATO MMP 3 MA3007 MALLET SOLO GABRIEL / MARIE / EDWARDS LA CINZUANTAINE (MARIMBA) RU 3 MA3008 MALLET SOLO GOUNOD / ROY FUNERAL MARCH OF A MARIONETTE MMP 3 MA3009 MALLET SOLO GREEN ARABIAN MINUTE DANCE (XYL) CF 3 MA3010 MALLET SOLO GREIG / ROY NORWEGIAN DANCE MMP 3 MA3011 MALLET SOLO HAYDN / BARNES GYPSY RONDO LUD 3 MA3012 MALLET SOLO HAYDN / NAGY / MEISTER MENUET LUD 3 MA3013 MALLET SOLO LECUONA / PETERSON MALAGUENA (XYL OR MAR) HL 3 * MA3014 MALLET SOLO LEONARD SOLOIST FOLIO FOR MARIMBA OR XYLOPHONE (P.
    [Show full text]
  • Grade Event Name Enteredas Selection
    Grade Event Name EnteredAs Selection Center Time 11-12 Alto Sax Solo A Ingham, Josh Alto Sax Solo Fantaisie Sur Un Theme Original 7 8:00 AM 11-12 Quartet A GajewsKy/Johnson/Thomas/VidovicTrombone Quartet Achieved is the Glorious WorK 5 8:06 AM 9-10 Small Ensemble A Hess/Story/VanRoeKel Trumpet Trio Tandem Trio 8 8:06 AM 9-10 Small Woodwind Ensemble A Boten/GasKins/Kamencic/KiefferFlute Quartet The French Clock 2 8:12 AM 11-12 LiKe Duet A Chambera/Larson Clarinet Duet Excerpts from the Clarinet Concerto9 8:12 AM 11-12 Snare Drum Solo A Carrier, Brett Snare Drum Solo Shala' 15 8:12 AM 9-10 Bassoon Solo A Hunt, Abbie Bassoon Solo 3 Fantasia in G Major 4 8:18 AM 11-12 Quartet B Conrey/CooK/Richards/StovieTrumpet Quartet Overture "In The Forest" 5 8:18 AM 11-12 Trombone Solo A Benitez, Lesly Trombone Solo Toccata 11 8:18 AM 9-10 Snare Drum Solo A Battani, NicK Snare Drum Solo Drum CorpI on Parade 14 8:18 AM 11-12 LiKe Duet B Huynh/Kadoun Flute Duet Theme From Duo No, Op. 59 9 8:24 AM 11-12 Alto Sax Solo B Hollingsworth, Rachel Alto Sax Solo Fantaisie Mauresque 7 8:30 AM 11-12 Trombone Solo B Kaman, Robert Trombone Solo Sonata in F minor 11 8:30 AM 9-10 Flute Solo A Kamencic, Alena Flute Solo Andalouse 1 8:36 AM 9-10 Alto Sax Solo A Bartschat, EriKa Alto Sax Solo Chanson et Passepied 6 8:36 AM 11-12 LiKe Duet C Penningroth/WilKer Flute Duet Sonata No.
    [Show full text]
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
    [Show full text]
  • Graduate Percussion Recital and a History and Development of Percussion Instruments and Percussion Music
    Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1961 Graduate Percussion Recital and a History and Development of Percussion Instruments and Percussion Music Ned S. Mortensen Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Education Commons Recommended Citation Mortensen, Ned S., "Graduate Percussion Recital and a History and Development of Percussion Instruments and Percussion Music" (1961). All Graduate Plan B and other Reports. 553. https://digitalcommons.usu.edu/gradreports/553 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. TABLE OF CONTENTS Page Introduction • 1 A History and Development of Percussion Instruments and Percussion Husic • 2 Reci tal Program 11 Program Notes 12 Summary and Conclusion 16 Literature Cited 17 INTRODUCTION In today1 s public school band the percussion section is often neglected. Some band directors consider the percussion section a place to deposit outcasts. Even though a full, accurate and well-trained percussion section adds polish to a band, few band directors admit its importance. Percussion instruments are seldom recognized as effective solo and ensemble instruments even though both solo and ensemble work can help the percussionist become an accomplished musician. In this paper, it is proposed to examine the history and development of percussion instruments and percussion music and to thus establish the importance or the percussion section in the public school band.
    [Show full text]
  • NICOLAS FENOUILLAT - IRON MAN / the One-Man Band - 4 Time Paradoxes with Heavy Metal Music May 23 - July 14, 2017
    NICOLAS FENOUILLAT - IRON MAN / the One-Man Band - 4 time paradoxes with heavy metal music May 23 - July 14, 2017 Graduate from Conservatoire de musique Paris (CNSMD) and art school (ENSBA Montpellier), Nicolas Fenouillat is a one-man band, mixing sounds and visual art For musicians time is a rythmic pattern .. a repetitive .. extensive .. recorded .. recalled matter .. Time of music is the extension of an evolutionary immaterial acoustic phenomenon - (the height and duration of a sound) – in the physical space (stage, transcription, partitions, DVD) Subsequent proposal : performing temporal paradoxes by playing heavy metal drums Take a musical invariant : Black Sabbath's mythic drum solo « Iron Man » performed by Nicolas Fenouillat, change the normal physical space and experiment time paradoxes with heavy metal music Time paradox N°1 • Changing gravity Invariant + fight against the instrument Scenario: play the solo drum « Iron Man » locked in knight Lancelot heavy metal armor Result : Art Performance life : FIAC 2016 october 24th Cour Carrée du Louvre Paris Time paradox N°2 • Delay perception of a past event Invariant + Changing temporality toward to the past Scenario : Record in vidéo the performance « Iron Man » FIAC october 23th 2016 Cour Carrée du Louvre Paris • Play the video at the present moment Result : the past is reborned now Time paradox N°3 • Anticipate perception of an event not yet occured Invariant + changing temprality back to the future Scenario : a bronze set of drum sticks, a neon set of drum sticks, a blue boxe of one-man band instruments), are just laying, inactives, in the exhibition space… Result : remind « Iron Man » music, the solo metal drum that has not been played yet by Nicolas Fenouillat with these instruments and experiment aftertime Enjoy time paradoxes with heavy metal music by Nicolas Fenouillat Nicolas Fenouillat other shows : Picasso Museum - "Subterfuge" Time paradoxe in music The Garage - "Tumblers" Metropolis Gallery - 16 rue de Montmorency, 75003 Paris - Facebook - Twitter - Instagram .
    [Show full text]
  • Defining the Role of Drumset Performance in Contemporary Music
    Defining the Role of Drumset Performance in Contemporary Music Benjamin N. Reimer Schulich School of Music McGill University Montreal, Quebec December, 2013 A doctoral paper submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Music in Performance Studies © Benjamin N. Reimer 2013 Abstract Traditionally considered an instrument used primarily for improvisation in popular music, the drumset has emerged in contemporary music as a solo instrument with prescribed notation. While there is a growing interest in this repertoire today, composers have drawn inspiration from the drumset since the early developmental stages of the instrument itself in the early twentieth century. In the context of popular music, generations of drummers have explored new musical and technical possibilities of drumset performance. It is this history that remains linked to the drumset even when crossing over into the context of contemporary composition. Drummers in popular music have influenced the musical content, the approach to performance, and even our preconceived ideas of the musical and technical potential of this instrument when it is used in contemporary art music. This thesis presents four unique approaches to composition identified and defined as the Tourist, the Snapshot, the Non-idiomatic and the Confluent. Although many works are discussed, the chapters focus on Darius Milhaud’s La Création du Monde, Christopher Rouse’s Bonham, James Dillon’s Ti.Re.Ti.Ke.Dha and Nicole Lizée’s The Man with the Golden Arms. The purpose is to highlight new performance techniques and musical possibilities for drumset performance used in contemporary art music, while identifying the composed repertoire’s links to traditional and fundamental drumset practices.
    [Show full text]
  • REPERTOIRE LIST Created by James Campbell Modified by Dr
    REPERTOIRE LIST Created by James Campbell Modified by Dr. Brad Meyer The following repertoire list serves as a guide in preparation for advancement at each level of study. Although these materials are considered minimum requirements to be selected from, students are not limited solely to this material. Each area contains appropriate technical studies, sight-reading, and repertoire. The percussion faculty reserves the right to choose material appropriate for each level of study. FIRST AND SECOND YEAR LEVEL SNARE DRUM/Method Books: • Ajiro/Okada, A Hundred Pieces for Snare Drum • Bailey Buster, Wrist Twisters • Campbell, James, Rudiments In Rhythm • Cirone, Anthony, Portraits in Rhythm Complete Study Guide • Delécluse, Jacques, Douze Études • Fink, Ron, Chop Busters • Lepak, Alexander, 50 Contemporary Snare Drum Etudes • Macarez, Frederic, Snare System • Payson, Al, Snare Drum in the Concert Hall • Peters, Mitchell, Advanced Snare Drum Studies • Peters, Mitchell, Developing Dexterity • Stone, George, Accents and Rebounds • Stone, George, Stick Control SNARE DRUM/Solo Repertoire: • Benson, Warren, Three Dances • Colgrass, Michael, Six Unaccompanied Solos for Snare Drum • Delécluse, Jacques, Test-Claire • Gauthreaux, Guy, Recital Suite • LaRosa, Michael, Suite for Solo Snare Drum • Leonard, Stanley, Contemporary Album for Snare Drum • Markovich, Mitch, Tornado • Nexus, Portfolio for Snare Drum • Pratt, John S., Rudimental Solos for Accomplished Drummers • Wicoxon, Charles, Modern Rudimental Swing Solos for the Advanced Drummer TIMPANI/Method
    [Show full text]
  • The Application of Melodic Drumming Approaches in a Contemporary Small Jazz Ensemble
    Singing the Beat: The Application of Melodic Drumming Approaches in a Contemporary Small Jazz Ensemble A portfolio of recorded performances and exegesis Joshua Baldwin Supervisors: Professor Mark Carroll and Dr. Peter Dowdall Submitted in fulfillment of the requirements for the degree of Master of Philosophy Elder Conservatorium of Music Faculty of Arts The University of Adelaide February 2020 Contents Abstract..............................................................................................................................3 Declaration.........................................................................................................................4 Acknowledgements ............................................................................................................5 List of Figures ....................................................................................................................6 PART A: Sound Recordings...................................................................................................8 PART B: Exegesis...............................................................................................................11 Introduction......................................................................................................................12 Research aims and questions.........................................................................................12 Methodology ................................................................................................................13
    [Show full text]
  • Ãc Yyyœyyyyœy Œyœ Œy
    DRUM SOLOING CONCEPTS BY TERRY O’MAHONEY When it’s time to play a drum solo (usually during a song), what do you play? What ideas should I use? Where do these ideas come from? What do I do with these ideas? Drum soloing involves improvisation. Improvisation is generally described as “making up music on the spot.” This is a good description, but “making it up on the spot” can be a disaster without some rules or guidelines. Today we’ll look as some rules that apply to most drum solos and some ways to approach drum soloing. Some basic concepts: 1. Usually, drum solos are to be played at the same tempo as the song, so keep the tempo steady by practicing with a metronome or along with a recording (using headphones). At first, play your hihat during your solo as a reference point for you AND the rest of the band. 2. Musical ideas can come from anywhere – a snare drum rhythm, a sticking pattern, a hand/foot pattern, something you heard another drummer play, etc. Try to collect as many as you can. In order to keep things simple, let’s use an 8 bar phrase as the basic practice length today. It includes 4 bars of “time” (the beat played during a song) and 4 measures of a solo. 1. When you first start soloing or can’t think of anything to play, just play “time” with fills: Example 1 y y y y y y y y ã c œ œ œ y œ œ y ‘‘‘ SOLO Fill Fill y y y y y y y y y y y y y y y y y y y y y y y y ã œ œ œ œ œ œ œ y œ œ y œ y ’’ œ y œ œ y œ y ’’ This means continuing to play the same basic beat of the song and adding some fills at the end of the 2nd and 4th bars.
    [Show full text]
  • The Snare Drum As a Solo Concert Instrument: an in Depth Study Of
    THE SNARE DRUM AS A SOLO CONCERT INSTRUMENT: AN IN DEPTH STUDY OF WORKS BY MILTON BABBITT, JOHN CAGE, DAN SENN, AND STUART SAUNDERS SMITH, TOGETHER WITH THREE RECITALS OF SELECTED WORKS BY KEIKO ABE, DANIEL LEVITAN, ASKELL MASSON, KARLHEINZ STOCKHAUSEN, AND OTHERS Jason Colby Baker, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2004 APPROVED: Mark Ford, Major Professor Eugene Corporon, Minor Professor Christopher Deane, Committee Member Graham Phipps, Director of Graduate Studies James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Baker, Jason Colby, The Snare Drum as a Solo Concert Instrument: An In-Depth Study of Works by Milton Babbitt, John Cage, Dan Senn, and Stuart Saunders Smith, Together with Three Recitals of Selected Works by Keiko Abe, Daniel Levitan, Askell Masson, Karlheinz Stockhausen, and Others. Doctor of Musical Arts (Performance), December 2004, 55 pp., 22 musical examples, 17 figures, bibliography, 19 titles. This dissertation discusses the potential of the snare drum as a solo concert instrument. Four pieces from a collection entitled The Noble Snare are used for demonstration (“Homily” by Milton Babbitt, “Composed Improvisation for Snare Drum” by John Cage, “Peeping Tom” by Dan Senn, and “The Noble Snare” by Stuart Saunders Smith). In the absence of many traditional musical devices (i.e. melody and harmony), alternative means of expression are used by the composer. Each piece is discussed with regard to its distinctive compositional approach and inherent performance issues. Information is also given pertaining to the background of the Noble Snare series.
    [Show full text]
  • Dave Weckl Drum Solo Transcription
    Dave Weckl Drum Solo Transcription Riccardo swatters his wadmal tissuing fiendishly, but novice Tomas never esterifies so simul. Unadmitted and bungaloid Filipe never fork impressively when Adams muffles his zests. Terrill rampike awash. Stefan wanted to make things drums solo drum dave weckl solo transcription This period he displaces rhythmically over half to the cloud publishing, piano playing an instrument of the movie critique of the show that consists of. Definition of transcription process and. Round midnight sheet music transcriptions free drum solos began with my apologies to soloing over the drums? For solo transcription by dave weckl and. It changes a drum transcriptions of drums e sua antiga relação com a lot of. Marimba is dave weckl drum solos from. And then i am presenting an. Bruce jackson drum transcriptions in europe, drum sound track you! Designed to drum solos of drumming skills while others, atlas drum lessons for kids and others harmonized for children interested in. Two main norwegian music magazine logo if they function in this large bowl, dave weckl drummerworld video to connect to. Beacock music and western ontario percussion experience and more features big fish audio di facebook para jazz ensemble, steve lukather and bob bradshaw constructed rack that. In drums solo transcriptions in all presented written solos can do you keep track collection blow out magazine focusing on the omaha metro area teachers, down or an. Patitucci on tour in classroom activity where she sailed on record through a password yet printed it was just as one of. House of Drummingcom I said boom.
    [Show full text]
  • John Scofield
    NOVEMBER 2018 VOLUME 85 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Hawkins ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter,
    [Show full text]