DOCSLIB.ORG

Extremis-Percussion0

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Extremis-Percussion0 Percussion 1 (Snare Drum, Bass Drum, Floor Tom) EXTREMIS RANDALL D. STANDRIDGE (ASCAP) Aggressively (J = 160) S.D. *T=F r r Lrr :LLnur B.D./ .^ . > >1 >? >-Z > 1 J ^ III1 J J J1 rn • _ m m m m m m 4 • • • mj mj m t 4 t mmjr nj r' _ "•• mp j i JO 12 r ;.[_r 14 mf ^n j n jn rrnrj j !/1j rjj • • •'• m m m m m m • x * » » X 15 16 18 mf mf HJU JlJ Sj=fc i r t r i Lr r r r r r Floor Tom ff^rr-r 30 rr^/ ? ? 32 2. S.D. ^r=-^—r t :.r r r r r :.r r r r r r :/ r r r r r r Copyright © 2015 The FJH Music Company Inc. (ASCAP). International Copyright Secured. Made in U.SA. All Rights Reserved. WARNING! The music, text, design, and graphics in this publication are protected by copyright law. Hear and download this B1652 Any duplication is an infringement of U.S. copyright law. piece at www.fjhmusic.com Extremis - Perc. 1 37 Floor Tom 39 40 f 41 42 43 44 1 55 I 5(5 S.D. 57 r r L^r r r 63 ;=- > >• ;>;>;> :^ Floor Tom S.D. -r-R-=! -U v^~- — ' 61 LJ r LT r — lr^^^"tn" —tf=^=Lr r LTT — fp f jjnn jasi/i }^r] Floor Tom r cj r r r LT r :/ trr B1652 Percussion 2 (Suspended Cymbal, Tambourine) EXTREMIS RANDALL D. STANDRIDGE (ASCAP) Aggressively (J = 160) Siis. Cym. 5 g L x r£ * f Tambourine 10 mf L/r 12 13 14 15 16 18 22 2 25 "• — \ — K 1 i i - LP' 24 27 f /P 1. !"«» — <« * _ <jS' __y r ^ ^ >« 2P JO j / J2 Copyright © 2015 The FJH Music Company Inc. (ASCAP). International Copyright Secured. Made in U.S.A. All Rights Reserved. WARNING! The music, text, design, and graphics in this publication are protected by copyright law. Hear and download this B1652 Any duplication is an infringement of U.S. copyright law. piece at www.ljhmusic.com Extremis - Perc. 2 2 r r r r 33 34 36 P f "r r r r T r r r T r r r T r r r T r r r 38 3C 40 41 42 r r r r i r r r r i r r r r \ r r r i r r r r 43 44 46 47 mf "r r r r ir r r r ir r r r ir r r r ir r r r 48 49 50 51 52 r r r r T r r r T r r r T r r r T r r r 54 55 56 57 r r r r 58 59 60 62 P f •0" 64 66 68 P f P B1652 Percussion 3 (Suspended Crash Cymbal, Suspended China Cymbal, Ride Cymbal) EXTREMIS RANDALL D. STANDRIDGE (ASCAP) Aggressively (J = 160) Cr. Cym. China Cym. n i n X X XXX XXX x x x x 5 9 > -" — v^-v ^ — i— I > v1 x1 I ~ f 10 Ride Cymbal, dome 13 14 18 19 f mf X 1 • x -j * *• X X x * i 1 ^^ ^ __ . "" » 20 21 22 23 24 • - X' ' f ^ ~ y> • •l - X f • K . , i EX; . , i R, - *• 27 29 30 1. 2. > k > L i r^ >- :>• • ^-. r\ ' • ti \ _ \ _ff^^ -— - i x "• K H1; ri X ^~ ^/ X X' ' f / x 1 X * X X f I ^ X *• 31 32 33 34 >- fT^r-i n^ > * = 1 n > . =i XXX XXX -^— £ X X ^ >• > > >- >^ > > > > > > r * ^ ^=- >- 35 36 38 Copyright © 2015 The FJH Music Company Inc. (ASCAP). International Copyright Secured. Made in U.S.A. All Rights Reserved. WARNING! The music, text, design, and graphics in this publication are protected by copyright law. Hear and download this B1652 Any duplication is an infringement of U.S. copyright law. piece at www.fjhmusic.com Extremis - Perc. 3 •x f _ x i, i i * x f _ - x * - *• 1 X * X X *. f * 42 43 x *y [if X ^ _ J J f - X * _ i x * y ^ r X X * *• 44 mf 46 47 •X v 1 ! t * f - 1 1 f _ X ^ _ x K i ; r 1 X * X f< J" X X ^ f. / X * X X ... f _ 1 1 f _ X t _ X K 1 1 f XX*- / X * X X * ^ 54 55 56 X VT" • f X * [If r x; ^ x X *• » x » X . + 57 (JO r^ n n i n -TT^ > = XXX XXX X X X X X *• 1 * SL^^ ^ > > > >• > > >->->->->- 61 62 64 >. s» x'— > > ><•--•• > * ff^X. X= Xi XXn X X X X X X.. < * ^^^ — ^ <• * x 6(5 67 68 B1652 Mallet Percussion (Bells, Chimes) EXTREMIS RANDALL D. STANDRIDGE (ASCAP) Aggressively (J = 160) Bells 11 m 14 12 19 22 23 Chimes scrape LH bottom row, RH top row, simultaneously tj 2(J 27 28 29 30 31 2. 37 7 Bells A ^^^^^ ^™^^ 1 1 1 T I Y fL. \> — ^^^^— — J J J J»-J»-J» —1 —t —1 —• L-J J -1 1 33 36 Copyright © 2015 The FJH Music Company Inc. (ASCAP). International Copyright Secured. Made in ILS.A. All Rights Reserved. WARNING! The music, text, design, and graphics in this publication are protected by copyright law. Hear and download this B1652 Any duplication is an infringement of U.S. copyright law. piece at www.llhmusic.com Extremis - Mlt. Perc. -9 9 9— * * 9 42 43 38 f 1 44 mf 46 47 1 49 50 m 51 i 48 52 54 55 m 57 58 i 59 56 62 Chimes scrape LH bottom row, RH top row, simultaneously Bells B1652 Timpani EXTREMIS RANDALL D. STANDRIDGE (ASCAP) Aggressively (J = 160) -F — * >• ;> >• :> r> r> :> >• :> >. i- r> > ^« >• >• ^ > > > (A,D,Eb) =;t ? H ' * /* J? £* 1=^ »—»• ^^ 13 14 16 18 ^f f ^ "/• ! « « « « « « T^ f *i !• 1* T 7r^ Pr *7y fr ^r f ^krrr rrr rrr rrr 1l ir ir ' ir ir TT ii ii r ™ LJ 1 LJ 1 1 1 1 26 27 4 u i -— . -— . 1. T r r r ^ s s 28 3(5 Copyright © 2015 The FJH Music Company Inc. (ASCAP). International Copyright Secured. Made in UJS.A. All Rights Reserved. WARNING! The music, text, design, and graphics in this publication are protected by copyright law. Hear and download this B1652 Any duplication is an infringement of U.S. copyright law. piece atwww.fjhmusic.com s ffi 3 H 3 V V V V V £ V V V V V V V.
Load more

Recommended publications
  • The PAS Educators' Companion
    The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr.
    [Show full text]
  • Asphalt Cocktail
    Asphalt Cocktail (2009) John Mackey arranged for saxophone and percussion ensemble by Matt Evans for the Eastman Saxophone Project Originally commissioned by Howard J. Gourwitz as a gift to Dr. Kevin L. Sedatole and the Michigan State University Wind Symphony Copyright © 2009/2014 Osti Music, Inc. WWW.OSTIMUSIC.COM Instrumentation 4 soprano saxophones 4 alto saxophones 3 tenor saxophones 3 baritone saxophones 1 bass saxophone These are minimums required. In the event that an ensemble has more than 15 players available, parts should be doubled in this order: Baritone 3/Bass Tenor 2 Tenor 3 Baritone 2 Baritone 1 Tenor 1 Alto 3 Alto 4 Beyond this, it is recommended to triple the lower parts before doubling any of the soprano parts or alto 1/2. Percussion (7 players) Player 1: Timpani (4 drums, 5 if desired) Player 2: Xylophone, Marimba, Whip Player 3: Tambourine; metal cocktail shaker with nuts, etc. inside; small metal trash can filled with metal, taped shut (will be slammed to floor, sounding like a controlled crash of chains) Player 4: Hi-hat; China cymbal; upside-down 14" mini-China with 13" Trash Splash cymbal stacked inside Player 5: 4 Tom-Toms; field drum with Kevlar head; whip; metal cocktail shaker with nuts, etc. inside Player 6: 4 Cymbals: crash, Zildjian 16" ZHT EFX (or comparable), China, Splash Player 7: Bass Drum Percussion 3 ÷ ¿ œ cocktail shaker tambourine small metal– trash can Percussion 4 ¿ — ÷ ¿ hi-hat¿ (foot) hi-hat (sticks) China (or second EFX cymbal) China with Trash Splash inside Percussion 5 œ ¿ ÷ œ œ œ ¿ œ field drum with Kevlar head 4 tom-toms whip cocktail shaker Percussion 6 ¿ ¿ ÷ ¿ ¿ crash cymbal EFX cymbal China Splash Note: All trills are 1/2-step trills.
    [Show full text]
  • Arborea Cymbals Retail Pricelist.Pdf
    Tel: 1(800) 646-7598 Email: [email protected] http://www.arboreacymbals.com/ Dragon Series (Brilliant Series) Bronze alloy: 80% Copper + 20% Tin Size(s): 8”/203 mm - 24”/609mm Surface lathing, polishing and hand hammering which gives deep crushing tonality which is perfect for Rock and progressive styles of music. Sound: Bright, Warm, Focused, Balanced and Expressive 1 Ozone Tamourine Oz12 MEDIUM CRASH MEDIUM HEAVY CHINA Air Ozone SPLASH CRASH HIHAT Effects BELL Ozone Effects CRASH RIDE RIDE RIDE CYMBAL Effects Stacker Effects China 6’’ $60.00 $21.06 8’’ $74.00 $79.00 $86.00 $47.92 10’’ $90.00 $85.00 $108.00 $90.65 12’’ $96.00 $91.00 $114.00 14’’ $105.00 $95.00 $123.00 $102.00 15’’ $115.00 $102.00 $140.00 $145.00 $109.00 16’’ $125.00 $109.00 $143.00 $146.00 $151.00 $116.00 17’’ $135.00 $153.00 $157.00 $122.00 18’’ $180.00 $120.00 $198.00 $204.00 $210.00 $127.00 19” $195.00 $195.00 20’’ $200.00 $200.00 $210.00 $213.00 $139.00 $218.00 $222.00 $228.00 $146.00 21”’ $225.00 $244.00 $247.00 22’’ $290.00 $293.00 23” $305.00 $308.00 24” $337.00 13’’ $180/pair 14’’ $195/pair 15” $220/pair 16” $290/pair CYMBAL 13”HH+16”CR+18”CR+CYMBAL BAG $520.00/set SET CYMBAL 14”HH+16”CR+20”MR+CYMBAL BAG $572.00/set SET 2 Ozone MEDIUM CRASH/ MEDIUM HEAVY Ghost Series SPLASH CRASH HIHAT Effects CRASH RIDE RIDE RIDE (Hybrid Combination of the Knight and Stacker Dragon Series) 8’’ $99.00 10’’ $105.00 $123.00 Bronze alloy: 78% Copper + 22% Tin 12’’ $111.00 $129.00 Size(s): 8”/203 mm - 24”/610mm 14’’ $120.00 $138.00 15’’ $130.00 The Ghost is bronze in the center of the cymbal with partial lathing on the edge to the brilliant 16’’ $140.00 $158.00 finish with hand hammering.
    [Show full text]
  • Wavedrum Voice Name List
    Voice Name List Live mode Button Program Bank-a Programs 1 98 The Forest Drum 2 61 D&B Synth Head Rim Head Rim 3 15 Djembe (Double-size) No. Program No. Program Algo. Inst. Algo. Inst. Algo. Inst. Algo. Inst. 4 49 Steel Drum (F-A-B -C-F) Real Instrument 51 Balafon 7 51 25 81 Bank-b 0 Snare 1 (Double-size) 29 - - - 52 Gamelan 9 76 18 63 1 35 Tabla Drone 1 Snare 2 (Double-size) 30 - - - 53 EthnoOpera 7 61 15 72 2 75 Dance Hit Drone (Key of F) 2 Snare 3 (Double-size) 31 - - - 54 Koto Suite 20 79 20 66 3 0 Snare 1 (Double-size) 3 Velo Ambi Snare 19 17 2 12 55 Compton Kalling 20 5 22 15 4 50 Broken Kalimba 4 Multi Powerful Tom 5 22 24 21 56 Wind Bonga 7 8 19 28 Bank-c 5Krupa Abroad 2 267 10 57 Personality Split 7 10 16 78 1 59 Snare/Kick 2 (Double-size) 6 Pitched Toms w/Cowbell 19 24 4 22 Bass Drum/Snare Drum split 2 67 Kenya Street Rap 7 Ambi Taiko 9 23 19 12 58 Snare/Kick 1 (Double-size) 35 - - - 3 19 Conga (Double-size) 8 Viking War Machine 12 34 9 20 59 Snare/Kick 2 (Double-size) 36 - - - 4 82 DDL Mystic Jam 9 Vintage Electronic Toms 26 31 2 14 60 Kick The Synth 4 11 4 1 10 Okonkolo → Iya Dynamics 10 60 18 21 61 D&B Synth 4 16 23 85 11 Iya Boca/Slap Dynamics 10 58 14 29 62 Voice Perc.
    [Show full text]
  • Choosing a Drum Set for Worship
    Choosing a Drum Set for Worship We hope this guide will help you find the right drum set and drum hardware that fits your playing style and needs. Whether it is an affordable starter set or a sophisticated, arena-worthy acoustic or electronic kit, this guide will help you identify the right combination of gear to match your budget and percussion skills. You will learn about the elements that go into making drums and cymbals, and what to consider when shopping for drums. Before choosing a drum set, you need to be familiar with the components that go into it, these include: The Snare Drum, the Bass Drum, one or more Mounted Toms and a Floor Tom. The two other essential components that complete a full drum set, Cymbals and Hardware. We have also included a section on how to reduce acoustic drum volume, a microphone alternative, and a section on electronic drums. If you are unfamiliar with any of the terms used here, please see the Glossary of Terms at the end of this document. Enjoy! Parts of the Drum Set ANATOMY OF A DRUM TOP (BATTER) HEAD: The most basic component of a drum, the head is a round membrane made of a synthetic material usually mylar, that is stretched across the shell, with varying degrees of tension. HOOP: The drum hoop is usually made of either cast or stamped metal, although some drummers prefer wood hoops. Hoops are constructed with a flange shaped to hold the head on the shell for tensioning. TENSION ROD: These mount through holes in the hoop and thread into the lug to maintain the desired tension.
    [Show full text]
  • The Crx Story
    THE CRX STORY The history of cymbals began of popular music. From Jazz about 5,000 years ago when and Latin to Pop and Rock, the ancient metalsmiths discovered versatility, warmth and character that they could make their tools and of handcrafted Bronze cymbals weapons stronger by combining became the standard for virtually copper with a little tin. They called every musical style that emerged in the 20th Century. Based on the dark-medium-bright tonal their new alloy Bronze and it was an spectrum that forms the foundation of instant hit. modern music— along with the quality, Today, CRX continues the long consistency and innovation that are core Over the next several thousand tradition of high-quality, hand-made values of the TRX Cymbal Co.— CRX Cymbals years this breakthrough— along cymbals while pioneering new are a new range of high-performance cymbals designed to provide a great sounding with the processes of mixing, innovations. Although CRX cymbals yet affordable alternative for today’s student casting, shaping and tempering are individually formed from B20 and semi-pro drummers. (further strengthening the material Bronze by modern cymbalsmiths, by heating and quickly cooling it)— and never mass produced or made CRX features an extended selection of Ride, by machines, they offer pro-level Crash, Hi-Hat and Effects cymbals created were further refined and spread from our proven B20 Bronze formula and throughout the world. Gradually sound and performance at an crafted using a combination of traditional some of the more creative affordable price. In addition, CRX methods and progressive designs.
    [Show full text]
  • New Texas PML 2018
    Row-Loff Productions New Titles on the Texas Preferred Music List for 2018 Percussion Ensemble - Category I Bound For Marakesh by Chris Brooks Players: 8 Length: 4:02 Item: 06CS9 TX ID: 571-1-33552 Price: 45.00 Instrumentation: Vibraphone, Suspended Cymbal, Marimba, Mark Tree, Snare Drum, Ride Cymbal, Small Mounted Tom, (2) Concert Toms, Concert Bass Drum, Hand Drum (Conga or Djembe), Tam Tam, Floor Tom, China Cymbal, (4) Timpani A Parting Shot by James Campbell Players: 8 - 11 Length: 4:16 Item: 16CS13 TX ID: 571-1-33554 Price: 45.00 Instrumentation: Wood or Bamboo Wind Chimes, Chimes, Bongos, Splash Cymbal, Glockenspiel, Sizzle Cymbal, Xylophone, Congas, Kokiriko, Floor Tom, Vibraphone, Small China Cymbal, Small Wood Block, Brake Drum, Pod Rattle, 4 Octave Marimba, Hi Hat, (4) Timpani, Large Tam Tam, (2) Medium Concert Toms, Opera Gong, China Cymbal, Impact Bass Drum, (5) Temple Blocks, Medium Suspended Cymbal, Concert Bass Drum, (2) Large Concert Toms Night Hunter by James Campbell Players: 12 Length: 4:37 Item: 13CS11 TX ID: 571-1-33556 Price: 45.00 Instrumentation: Bells, Chimes, Xylophone, (2) Vibes, (3) Marimbas (one 4 1/3 octave, one 4 1/2 octave shared with players 6 & 7), (4) Timpani, Spring Drum, Large/Low Metal Wind Chimes, Tam Tam, Ratchet, Vibra Slap, Castanets, Hi Hat, Large Wooden Plank, Ocean Drum or Rainstick, Cuica, Slapstick, Small Triangle, Djembe, Snare Drum, Concert Bass Drum, Seed Pod Rattle, Cajon, Wood Wind Chimes, Guiro, China Cymbal, Splash Cymbal, Medium Suspended Cymbal Inflections byRay Flores Players: 5 Length: 4:22 Item: 18CS16 TX ID: 571-1-33570 Price: 35.00 Instrumentation: Bells, Xylophone, Vibes, (2) Marimbas (4 octave & 4.3 octave) Root Beer Rag by Billy Joel/arr.
    [Show full text]
  • Kingdom Five Departed a “Rhythm Poem” for Percussion Ensemble
    Kingdom Five Departed A “Rhythm Poem” for Percussion Ensemble By Dr. Michael Varner This composition is a “Rhythm Poem” similar to the Orchestral “Tone Poems” of the Romantic Era. The Program Notes should be made available for the audience and performers to best associate the individually titled sections. Although the work technically has “Seven Movements” it is performed without breaks. Kingdom Five Departed is an ensemble for nine percussionists featuring Membranophones and Accessories only. The semi-Classical approach to the instruments encourages the performers to perfect their Orchestral style approach. Good Luck! Michael Varner Instrumentation: Player 1 2 bongos, 2 Conga, 4 Japanese Temple Gongs Player 2 Snare Drum 1, 4 Metal Pipes Player 3 Snare Drum 2, Timbales, 4 Brake Drums, Lion’s Roar, SlapStick Player 4 4 High Toms, Muted Cowbell Player 5 4 Low Toms, Sleigh Bells Player 6 4 Timpani, 1 Brake Drum (Shared), Triangle, Cymbal inverted on 29” Timpano Player 7 Bass Drum 1, Castanets, High GongSAMPLE Player 8 Bass Drum 2, Tambourine 2, Low Tam-Tam Player 9 Crash Cymbals (hand-plates), 2 Suspended Cymbals (high and low), Violin Bow Duration: 5:10 Performance Instructions Gong/Tam-Tam part: Hold Triangle Beater in one hand and Gong Beater in the other. Strike the Gong, and apply the triangle beater lightly to the Gong face on the Downward stemmed notes. The effect should be a “Sizzle” Synthetic Sound lasting until the next strike. Timpani: Cymbal Inverted on head. Carefully choose a thin Cymbal, invert it on the center of the Timpano. Using Yarn Mallets roll on the edge of the cymbal plate and slowly Glissando the Timpano Pedal up and down.
    [Show full text]
  • OCTAPAD SPD-30 Instrument List
    OCTAPAD SPD-30 Instrument List No. Name No. Name No. Name No. Name KIK: 022 March Snare 018 12”Rock Tom 014 Sizzle Ride Bell Kick (bass drum) 023 March Snare Rim 019 13”Rock Tom 015 Sizzle Ride Edge 001 Tight Kick 024 March Rim Click 020 16”Rock Tom CYM: 002 Alt Kick Miscellaneous cymbal 025 Field Snare 021 12”Ambient Tom 003 Fiber Kick 001 16”Thin Bow 026 Field Snare Rim 022 14”Ambient Tom 004 Birch Kick 002 16”Thin Edge 027 Field Rim Click 023 16”Ambient Tom 005 RockVintage Kick 003 17”Medium Bow 028 NuJack Snare 024 6”Roto Tom 006 Deep Kick 004 17”Medium Edge 029 LiteClub Snare 025 8”Roto Tom 007 20”Kick 005 18”Dark Bow 030 2step Snare 026 10”Roto Tom 008 Vintage Kick 006 18”Dark Edge 031 BB Snare 027 12”Roto Tom 009 Hard Kick 007 18”Suspend Bow 032 Box Snare 028 6”Quad Tom 010 Meat Kick 008 18”Suspend Edge 033 Club Snare 1 029 10”Quad Tom 011 NuHip Kick 009 16”Brush 034 Club Snare 2 030 12”Quad Tom 012 Solid Kick 010 18”Brush 035 Barrel Snare 1 031 13”Quad Tom 013 BB Kick 011 18”Brush Sizzle 036 Barrel Snare 2 032 14”Quad Tom 014 Hybrid Kick 012 6”Splash 037 Whack Snare 033 ElecTom 1 015 Impact Kick 013 8”Splash 038 Elec Snare 034 ElecTom 2 016 Elec Kick 1 014 10”Splash 039 78 Snare 035 808Tom 017 Elec Kick 2 015 13”Latin Crash 040 110 Snare 036 909Tom 018 78 Kick 016 14”FX Crash 041 606 Snare 037 Tom Ambience 019 110 Kick 017 16”China Cymbal 042 707 Snare HH: 020 808 Kick Hi-hat cymbal 018 18”Swish Cymbal 043 808 Snare 1 021 909 Kick 1 001 Med Hihat Bow 019 3 Layered Crash 044 808 Snare 2 022 909 Kick 2 002 Med Hihat Edge 020 4”Accent
    [Show full text]
  • Stormy Sounds for Aggressive Accents
    STOrmy SO UNds FOR AGG REssIVE A CCENTS Thunder & Lightning Cymbals TRXBy John Nyman ou knew from the photos The TRX BRT Lightning cymbals tained in the familiar 14" disc size that these are not going are the bright, shiny ones in both and maintains a usable, musical to be “normal” cymbals, tone and appearance. Burnished tone. You can open and close and right? All those holes in so to a gleaming glow both top and otherwise manipulate them as Ymany cymbals — they just don’t bottom, the Lightning cymbals you would regular hi-hats. You convey a message of ding-ding- are dimpled with small hammer can play them with the tip or the a-ding and crash, crash, crash, do marks that are both generous shoulder of your sticks. You can they? You are correct, sir. You are and polished out. The otherwise play on the face or on the edge wise to be intrigued, ma’am. New raw bell is also polished to mirror of the cymbal and get musical and peculiar from TRX, these are brightness. And again there are changes in sound. Thunder and Lighting. the holes — many, many holes. It doesn’t matter much TRX’s DRK Thunder and BRT Both the BRT and DRK design which cymbal is on top, by the Lightning crashes, splashes, and elements remain consistent way. I tried both and found the China-types, as well as a pair of across their respective models, with combinations to remain strikingly matched Storm hi-hats, to be changes only in size and profile.
    [Show full text]
  • October 1995
    RICHIE HAYWARD Little Feat is back—with a new line-up, a new album, and a newly invigorated Richie Hayward behind the kit. An up-close look at one of our most esteemed practitioners. • Robyn Flans and William F. Miller 38 HIGHLIGHTS OF MD's FESTIVAL WEEKEND '95 Festival number eight: Steve Smith, Peter Erskine, Stephen Perkins, Mike Portnoy, Gregg Bissonette, Kenwood Dennard, Rayford Griffin, Alan White. What's that? Couldn't make it? Lucky for you, our flash bulbs were working overtime! 51 FERGAL LAWLER The Cranberries' name might suggest pretty, polite pop, but Fergal Lawler's drumming adds a burning passion that boosts this very hot band to fiery heights. • Ken Micallef 70 Volume 19, Number 10 Cover photo by Aldo Mauro Columns EDUCATION NEWS EQUIPMENT 82 ROCK 10 UPDATE 24 NEW AND PERSPECTIVES Chris Gorman of Belly, NOTABLE Bruford's Ostinato Dawn Richardson, Challenge jazzer Bob Gullotti, and 30 PRODUCT BY ROB LEYTHAM Tony McCarroll of Oasis, CLOSE-UP plus News Gibraltar Hardware 86 ROCK 'N' BY RICK MATTINGLY JAZZ CLINIC 142 INDUSTRY The "3 Hands" Concept HAPPENINGS BY JON BELCHER 88 DRUM SOLOIST DEPARTMENTS Paul Motian: "Israel" TRANSCRIBED BY STEVE KORN 4 EDITOR'S OVERVIEW 90 STRICTLY TECHNIQUE 6 READERS' 33 Specialty Bass Syncopation Accent PLATFORM Drum Beaters Exercises: Part 2 BY RICK VAN HORN BY DAVE HAMMOND 14 ASK A PRO 136 SHOP TALK 82 IN THE STUDIO David Garibaldi, Max A Non-Slip Tip The Drummer's Weinberg, and Jim Keltner BY J.J. VAN OLDENMARK Studio Survival Guide: Part 7, Multitrack 20 IT'S Recording QUESTIONABLE BY MARK
    [Show full text]
  • Riff Types, Timekeeping Cymbals, and Time Feels in Contemporary Metal Music
    Transcending Time (Feels): Riff Types, Timekeeping Cymbals, and Time Feels in Contemporary Metal Music Jose M. Garza, Jr. NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.garza.php KEYWORDS: heavy metal, rhythm and meter, time feels, riff, drums, cymbals, popular music, subgenres ABSTRACT: Over the past fifteen years, much of the music-theoretical scholarship on heavy metal has addressed metric processes (Lucas 2019, Capuzzo 2018, Hannan 2018, Lucas 2018, Lennard 2016, Smialek 2008, Pieslak 2007) and the use of the voice (Smialek 2017, Young 2018). A significant portion of the literature deals with the band Meshuggah, but the music of countless artists scaered across manifold subgenres remains unexplored. Widening the focus on such a large repertoire not only helps remedy this issue, but serves to inform one recent music-theoretical topic that relies on a broad stylistic understanding: time feels. To date, scholars have mainly limited the discussion of time feels to the kick and snare drums (e.g., de Clercq 2016), and indeed, these instruments ultimately determine a feel. I argue, however, that different uses of guitar, bass, and cymbals can reinforce, clarify, or contradict the feel laid down by the kick and snare. In this article, I describe several categories of guitar and bass riff types and timekeeping cymbals. I then discuss how their associations with certain time-feel contexts inform further analyses. To this end, I draw from post- millennial metal music in various subgenres including black metal, death metal, doom metal, grindcore, metalcore, progressive metal, sludge metal, and thrash metal.
    [Show full text]