DOCSLIB.ORG

Published by the Company of Fifers & Drummers, Inc. November 2006

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

• 1en Published by The Company of Fifers & Drummers, Inc. November 2006 Issue 119 $5.00 18 [,...,,., lrnlu,ln,,I Pu.k Hi .... l • PJ ). Uu~ ~is,; f • nlr•rl,ro,,k. 0 Of140!) Sti0.7fi7.HOS7 • f Sfi0.7fi7.0.t,9 • n ,I uJ>riuliu•r 'u,1l,oo.rom • ~ ~-~ .,.,,,·x1u1nllu•1.H>m is a p1v1td spo11. fo1· of Company_ ot:}]fers &9 (};mj){IIIJ' o_f _7·i_t,•,s ~ 7)n1111111r1s ' (II df I \,I I, 1 I, 1,1 ,,, , i I r II .c c vc or,cs • 1l ~olor lo ,j, f . olor c,,JJ /ur i11/u1'1udlJu11 ... 8(10. 7lJ7.!J087 Ancienillmes l 1~,ue 119. \o~embcr 2006 &om the l'lll>h-hcd ~ liaitor The Company of 4 ome months ago, I found in my Anciem Fifers & Drummers The Fife and the Drum i11 Times TBD (to-be-<lone) file, an anicle hup://compan}offitcanddrum.otg Belgium Son fife and drum in Belgium - with no Editor: Edilor. Dan \fo)lan. Pro Tcm attribution, nor do I remember how I got it. I Vi & Design Oirtttor: l>a\c Jones 6 thought the article very interesting and quite A1htrti;ing :'tbnager: l.to Bmul.1D Awldate Editors: deserving of publication. After all, whoever Dominick Coma • .\1u,,c Ed110r Otuck Rile), Wclh,tt and C} bn<pact F.diior sent it to me intended as much -- so look for it Alll3lldaGoodhc:-.irt,Junkir\ev., Edi10r here. and whoever knows the author. please let \tin Log,Joo, \\iJwl'>I Editor Bill \lalm~.C=t E1ffll., ~nt me know and he or she will get full credit. lm-e :,.;~u. Onhnt Oat lntmicv., Well. that article sparked my interest in F.d Ol<Cll. \lo S.:hoo,.. Ob1tuarie-. Mall) Smip,,on. West Coa.-t F..Jnor 10 what was going on with fife and drum in Europe :'tlembership/Sub<icriplions: R11dimemal Drumming generally - cenainly more than I suspected. We f-or corp, 111di~1dual, or life mcmbct,Jup mf01111a1J011 or Along the S11sq11ehan11a m111tutioaa1 'llmplioo,. know well our many Swiss friends playing in Attn: ~kmbmhip Tot Compan) of Film&. Drummer. PO. Bo, 2TT. IIOl)1on.CT061-1?-02TI 11 Amcrican-~tyle corps. who have been featured c-lTUJI: mmibmlup@~)offlleanJdnmuxg US Dmm Corps & in man} recent issues of the A11cie111 Times. But ttt (Sfi:J) 767,!~37; fa.,: (8(,()J 767-9765 Swiss Rudimems here was something beyond that. about which f.ditorial: For aruckfpholo '11bn11"1011'. or que:-t1ocw we should know more. I queried our Swiss Alln. Ancitnl Tunrs. P.O. Bo, 277. correspondent. Miney Hourigan. for other hOl'}100, CT fl61.l!-Om e-m.11I aoc~llim<Si romp•nioffitcanddrum.org European coniacts and received some tel. (8fi:J) 767-2237; fa." (8<,0) 767-9765 14 suggestions. which were duly followed up . ..\d, er!Nllg: The Junior Camp For lllCS 111d a,-ailab,ht1· conlao."t -------=-----, Thus. the theme of issue# 119 was establi~hed. 71,;, Ancitni Ti,r.n P.o: Bo, 277, 6! Nonh \t.Jo St. IIUC) toc1 CT OM-12-0277 14 "The Fife & Drum in Europe", with anicles of /))3) 24S-95-U The Fifers and Drummers of the Belgium, Ulster. Norway, and The Vatican. The Company of Vatirn11 S11·iss Guards This last. taken from the Corps of Drums Fifers &"Drummers 16 publication "Drummers Call" (with PreJdent: Joe: \1oon.:, 203 ~~8-9''5 pennission. ofcourse). was b> Frenchman Jean em3JI pmtdrot@compan)1lffift.lllddrum.org •1n End - and a Beginning! Hr.1 \'ict Prtsickot: F1111k Chasnc1 t~3t-166-J034 Pierre Maingam. who. I learned. is ac1ually a em,11b~ot compan)offifcanJJrum.org 17 Second \ ife PrNkot: Bill Bouregy (8(,()J 526-1433 member of our Company! tm3il: dttpril crbl\)Cr@lll:l\Cape./lCI The article and anecdotes on God Bless Semffi1: S..'OII Grttn>ll?cl (860) 653-'363 email sgm;irfifcr@co,.net America had their origin in the Jaybird Day Trea-un-r: J3'k Oo1lc (~15! 334-5707 =I: ll'eaSllrtrilrompanyofftfcanddrum.org program at The Museum. where Nick Ananasio ,\ncieo~ Fund: D.in \lo,lan (617) 2.l!-!360 got up to the mike to ~hare some memories. and em:ul· Jdmls mo)Wl.llllo· 20 Ardlhi:,.'\lu,.,um C11n1tor: Eel Ql,cn (8(i(JI 399-6519 Jack O'Bnen followed with his. I thought these Anciem Dmmming in hcilitie.Co-\lanager.: \etlO'Bncn (s«ll ~67-8250. were well worth sharing with all our readers, so mull. nobricnOlff,nctnet So111heas1em Ohio Ke,111 Brov.1118«>)399-757 I asked them both to "write 'em down and send email: bro\\ n"ind®" orldnct.an.net \lembtrsbip Chair: Bob Ca-t1llo (8«))455-9-117 21 'em in". =I mcmbcrJripicompan)offifeanddrum.org Rudime11tal Drumming Bill Maling. our Buckeye correspondent. \lusic Chair. Domr:nck Cuccia (845J:?2Js.!~16 Well Represented ... ._.,___-:'_..__ -:,~-;-;-=,~~~ tmail: mu,icconunt1ts-c compan)ofliftanddrum.org sent me a couple of articles on Basel drumming. I be Cnmpan) ~tort: Sandi Bid11ell TM Ulff',j' ,,, , · f ·, , & /)rummm. /11c., 23 here included. which devotees of Swis~ Campa/I\ Sime Random Thoughts P.O. Bo., !77, h1ll)1ol1 CT.OM4!-0!77 rudiments should also find interesting. =1: COITIJ\111}'-111111: compan)otfikandJrum.org Issue# 120 will cover the musters and Ancinll rUllt'S l.S pubhshcd quarterly b) ~ Compatl) of 24 Fifm & DTW1111wT1. Inc \luseum.Mu,,c l.1brar) . God Bless America events of 2006. but issue# 12 I will return to fife Headqulner,,, P 0. Bo~ 277, lnic)1ol1 CT l)(M!-O!TI (8<,0J 767-!!37. and drum in Europe. and pick up where this The pubi,.'IIJOD iJSSSOJ'l l,7176) sen, IO loq, mdi,ldml, - issue leave~ off. Should anyone have any limaJ,IIJlddrmn '1XpS mcmbcn lhltllpl lht wtrld lllformod pnmarilymthea.-m11Je$ol mtQ!al ~rnencu fik anJdnlln suggestions or contacts of interest. please send corps i.Jxr,,11 as AIICICllU The Compa.,y mm11111S I IIIIIS<UID IDJ hwquanm oa 1•'0-plw ICIC! It ICICU IO~1hr lml<n.,aJ them to me ([email protected]). s,gntl'l<IIICC m1 ran mtJOm oiAmcrnn field muso: and io ,.., I hope you enJOY the issue as much as I 1a the ,pmr ol fdlc,y.11up among ail fifm and dnunmm Fouadc,l On The Corer: m 19115. 11st c""'l""'Y nJ I ,;m & Drummm. /t,c "a II.\• (Top) Vonregtan Folk enjoyed puning 11 together. Clffllll,W Jaluctiblc. CIOl>j!lllfo c:orp<nllcrl Drum Tradition (Bottom) Mourne Young by Dan Moylan. Defenders Flute Band Editor, A11cie111 Times (Melody Band) 2 Ancient Tunes orw • 'tion A BriefHistory of the Drum) Continental Origins and Tradition~ the Tradition in Norway by Birger Mistereggen drums hung at a 45 degree angle at the player's the military foot soldiers. The drum's most cen­ side and because of its position the so called tral role was as a signal instrument, and to he use of an instrument that traditional grip (left-hand stick hold) had its accompany the fife. Fife and drum guilds of today we would call a drum origin in European side drum playing as a high-ranking officials existed as early as 1332 is evident in mos1 civiliza­ means for accommodating the angle of the sus­ in Basel. Switzerland. tions throughout history. pended drum. The Swiss drummers were the first During the Middle Ages The crusaders had brought the drum to drummers to come up with a certain way of and the Renaissance the Europe and it soon became the instrument of playing the military reveille signal: A double most common form of drum in Europe stroke roll with accentuated single strokes in a was the tabor, which was the immediate 6/8 - measure time. predeces.~r of today's side drum or snare This way of pla} ing the drum is indeed drum. Referred to as side drums. because known as .. Basler drumming". but is also close­ they hung at the player's side from a ly related 10 French traditional drumming, shoulder strap or waist belt, these early Sconish drumming as we know it today, as snare drums existed in many different weU as the American "rudimental drumming". sizes and shapes. In general. the} were It is also the base of the Norwegian folk double-headed rope-tuned drums and by drum tradition, of which the most significant the 16th century had cords, or snares, aspect 1s: an underlying double-stroke roll - a\ stretched across the bottom head. As por­ a drone - with a melody of single strokes on top trayed by Rembrandt in his famous paint­ of it. \Vhile not as complicated technically. as ing The Night Watch (1~2), these side the better known Basler drumming. it probabl) Ancient Tunes 3 A fe" picture, from the Norwegian web\1te. dep,cung present day drum­ ming and fifing acti\ itie, in Norway. rest of the year they stayed at mg them to continue the celebration. He would home. bringing their uniform and announce when food was served and would play drum back home with them. dance music. alone or together with a fiddle Naturally their families and player. Later. when the fiddle was banned. (as ll neighbors were interested to hear was. by some of the Christians - considered to what they could pla). and soon be .. the devil's instrument''), the only instrument the drummers started to take part accepted in weddings. was, in fact. the drum. in weddings and dance fe35L\. Because of it:. connection to the army it was well respected and considered 10 be sort of distinguished or upper cla~s.
Recommended publications
  • The PAS Educators' Companion

    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.
  • An Augmented Reality Drum Kit

    An Augmented Reality Drum Kit

    ISSN (Online) 2278-1021 ISSN (Print) 2319 5940 International Journal of Advanced Research in Computer and Communication Engineering Vol. 4, Issue 10, October 2015 V-Drum: An Augmented Reality Drum Kit Nestor Lobo1 Scholar, Electronics Department, Vivekanand Education Society‟s Institute of Technology, Mumbai, India1 Abstract: Most modern drum kits are large in size and difficult to transport. Similarly, the cost of a fully stocked drum kit is far in excess of what an average enthusiast can afford. The maintenance of such equipment can be expensive and keeping the instruments properly tuned involves a considerable amount of time. All this can discourage many from seriously learning to play percussion instruments. Musicians draw inspiration from the world around them and in many cases are unable to construct a new piece due to the lack of readily available instruments. The V-Drum is a low-cost, portable drum kit whose implementation is based in Augmented Reality. With the V-Drum, any person with interest can learn to play percussion instruments and even construct music with the variety of virtual instruments at their disposal. Keywords: Human Computer Interaction, Image Processing, Musical Instrument, Augmented Reality, Pattern Recognition, Computer Vision. I. INTRODUCTION A. V-Drum Given the absence of the need to physically move A drummer, as a musician, is an integral part of any band. instruments about, the V-Drum can be used in any It is the drummer who provides the band with the beat and environment without any worry about the sound quality of timing which is vital in the creation and performance of the instruments being affected by environmental factors.
  • Read Program

    Read Program

    KAIJA SAARIAHO l’amour de loin conductor Opera in five acts Susanna Mälkki Libretto by Amin Maalouf production Robert Lepage Saturday, December 10, 2016 PM associate director 1:00–3:35 Sybille Wilson New Production set and costume designer Michael Curry lighting designer Kevin Adams lightscape image designer Lionel Arnould The production of L’Amour de Loin was made sound designer Mark Grey possible by a generous gift from the Francis Goelet Trusts Additional funding for this production was received from The H.M. Agnes Hsu-Tang, PhD. and Oscar Tang Endowment Fund general manager Peter Gelb music director emeritus James Levine Co-production of the Metropolitan Opera and L’Opéra de Québec principal conductor Fabio Luisi In collaboration with Ex Machina 2016–17 SEASON The 3rd Metropolitan Opera performance of KAIJA SAARIAHO’S This performance l’amour is being broadcast live over The Toll Brothers– de loin Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Susanna Mälkki America’s luxury ® in order of vocal appearance homebuilder , with generous long-term jaufré rudel support from Eric Owens The Annenberg Foundation, The the pilgrim Neubauer Family Tamara Mumford* Foundation, the Vincent A. Stabile clémence Endowment for Susanna Phillips Broadcast Media, and contributions from listeners worldwide. There is no Toll Brothers– Metropolitan Opera Quiz in List Hall today. This performance is also being broadcast live on Metropolitan Opera Radio on SiriusXM channel 74. Saturday, December 10, 2016, 1:00–3:35PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation.
  • A Pathbreaking and Splendid 'The Passenger' from Ubc Opera

    A Pathbreaking and Splendid 'The Passenger' from Ubc Opera

    VANCOUVER HOME CALENDAR REVIEWS CLASSICAL MUSIC INTERVIEWS & ARTICLES ABOUT US A PATHBREAKING AND SPLENDID ‘THE PASSENGER’ FROM UBC OPERA Mieczysław Weinberg, THE PASSENGER: David Gibbons (Walter), Leila Kirves (Lisa), Catherine Thornsley (Marta), Luka Kawabata (Tadeusz), UBC Opera Ensemble, members of the Vancouver Opera Orchestra, David Agler (conductor), Nancy Hermiston (director), Alessia Carpoca (set design), Chan Centre, January 30, 2020. There are few neglected modern composers whose star has risen more in recent years than Polish/Russian composer Mieczysław Weinberg (1919-1996), a friend of Dmitri Shostakovich. Yet many opera companies would probably wish to stick to safer productions than to delve into the little-known world of the composer’s operatic ventures. Hat’s off therefore to the courage and vision of Nancy Hermiston and her fine UBC opera troupe in staging the composer’s powerful and original The Passenger (1967/68). The setting examined is both brutally painful and poignant: the concentration camps of World War II, where the ‘passenger’ embodies the haunting memories that everyone carries with them into the future, whether they be survivor or captor. Weinberg’s masterpiece has begun slowly making the rounds of international operatic stages and should take its rightful place alongside Shostakovich’s Lady Macbeth of Mtsensk and Prokofiev’s War and Peace as one of the great Soviet operas of the twentieth century. The commitment and intelligence of the present UBC student production served the composer admirably: the work emerges as positively shattering in its emotional force. Alexander Medvedev’s libretto is adapted from the radio play Passenger from Cabin 45 by Auschwitz survivor Zofia Posmysz, based on her own experiences during the Holocaust.
  • EWQL Hollywood Percussion 02.15 Layout;10.Indd

    EWQL Hollywood Percussion 02.15 Layout;10.Indd

    ON TEST EWQL Hollywood Orchestral Percussion Sample Library The final instalment of an ambitious orchestral sampling project sees the completion of EastWest’s five-year master plan. DAVE STEWART o every thing there is a season, and a time to every purpose ‘T under the heaven’ (Ecclesiastes 3:1). And so, as autumn shades gracefully into winter in the UK, EastWest’s Hollywood orchestral series reaches fruition in the shape of Hollywood Orchestral Percussion. Following the was performed by a single musician Featuring a five-channel microphone mixer earlier Hollywood Strings, Hollywood (the percussionist in a major American and onboard convolution reverb, Hollywood Brass and Hollywood Orchestral orchestra, apparently) and features his Orchestral Percussion’s user interface uses the Woodwinds releases (more details on arsenal of instruments. In that respect, same design as EastWest’s other Hollywood libraries. White keys show the position of which below), this completes a production HOP bears comparison to Quantum mapped samples, with keyswitches marked cycle spanning five years, during which Leap’s Stormdrum 3 (an enjoyable romp in blue. time over a million samples were recorded through the personal percussion collection and 90-odd musicians were forced to play of drummer and ethnomusicologist Bergersen) are also present and correct, the same notes over and over again until Mickey Hart), but the difference is that unity and harmony restored as the difficult the ‘Sample Nirvana’ of the perfect take HOP maintains a strict focus on orchestral birth pangs of Hollywood Orchestral had been attained. percussion: it contains no taiko drums or Woodwinds are consigned to the past.
  • Focus Drum Set Drum Set

    Focus Drum Set Drum Set

    Focus Drum Set drum set assembly instructions Musikhaus Thomann Thomann GmbH Hans-Thomann-Straße 1 96138 Burgebrach Germany Telephone: +49 (0) 9546 9223-0 E-mail: [email protected] Internet: www.thomann.de 19.02.2021, ID: 495988, ... Table of contents Table of contents 1 Safety instructions................................................................................................................. 4 2 Note............................................................................................................................................... 5 3 Unpacking.................................................................................................................................. 6 4 Setting up the bass drum.................................................................................................... 9 5 Assembling the floor tom................................................................................................. 11 6 Assembling the bass drum pedal................................................................................. 12 7 Assembling the hi-hat........................................................................................................ 13 8 Assembling the cymbal stands...................................................................................... 14 9 Assembling the snare drum stand............................................................................... 15 10 Tuning the shells.................................................................................................................
  • Keith Carlock

    Keith Carlock

    APRIZEPACKAGEFROM 2%!3/.34/,/6%"),,"25&/2$s.%/.42%%3 7). 3ABIANWORTHOVER -ARCH 4HE7ORLDS$RUM-AGAZINE 'ET'OOD 4(%$25--%23/& !,)#)!+%93 $!.'%2-/53% #/(%%$ 0,!.4+2!533 /.345$)/3/5.$3 34!249/52/7. 4%!#().'02!#4)#% 3TEELY$AN7AYNE+RANTZS ,&*5)$"3-0$,7(9(%34(%-!.4/7!4#( s,/52%%$34/.9h4(5.$%2v3-)4( s*!+),)%"%:%)4/&#!. s$/5",%"!3335"34)454% 2%6)%7%$ -/$%2.$25--%2#/- '2%43#(052%7//$"%%#(3/5,4/.%/,$3#(//,3*/9&5,./)3%%,)4%3.!2%3%6!.34/-0/7%2#%.4%23 Volume 35, Number 3 • Cover photo by Rick Malkin CONTENTS 48 31 GET GOOD: STUDIO SOUNDS Four of today’s most skilled recording drummers, whose tones Rick Malkin have graced the work of Gnarls Barkley, Alicia Keys, Robert Plant & Alison Krauss, and Coheed And Cambria, among many others, share their thoughts on getting what you’re after. 40 TONY “THUNDER” SMITH Lou Reed’s sensitive powerhouse traveled a long and twisting musical path to his current destination. He might not have realized it at the time, but the lessons and skills he learned along the way prepared him per- fectly for Reed’s relentlessly exploratory rock ’n’ roll. 48 KEITH CARLOCK The drummer behind platinum-selling records and SRO tours reveals his secrets on his first-ever DVD, The Big Picture: Phrasing, Improvisation, Style & Technique. Modern Drummer gets the inside scoop. 31 40 12 UPDATE 7 Walkers’ BILL KREUTZMANN EJ DeCoske STEWART COPELAND’s World Percussion Concerto Neon Trees’ ELAINE BRADLEY 16 GIMME 10! Hot Hot Heat’s PAUL HAWLEY 82 PORTRAITS The Black Keys’ PATRICK CARNEY 84 9 REASONS TO LOVE Paul La Raia BILL BRUFORD 82 84 96
  • 8 Weeks Percussion Second Half.Pub

    8 Weeks Percussion Second Half.Pub

    More Rudiment Fun! Volume 1, Issue 6 Week 5 Dynamic Fun and More Inside this week: Rudiments Dynamics on 2 Orchestra Bells Dynamic Work- 3 What Gives the Keyboard Instruments sheet Their Sound? Snare Drum 4 As we briefly discussed in sounds are the resonator Rudiments #2 earlier weeks, keyboard in- tubes below the tone bars. struments create different These resonators are spe- Snare Drum 5 pitches based on their cific lengths and sizes. At Exercises #3 length, width, depth, or den- the proper dimensions the sity (composite material). resonators will help create a Weekly Practice 7 clear tone and accurate Chart Adding to the quality of pitch. The vibraphone not only has resonators, but also paddles inside the tubes. These pad- dles are turned by a motor and the speed determines the width of vibrato pro- duced. The sounds is meant to mimic that of a human voice. Chimes The resonator tubes on the The chimes are re- marimba can be quite lengthy lated to keyboard and windy. Due to the low instruments. Each pitch and timbre needed the tune on a set of resonators must be large to chimes is like one key accommodate the sound. on a keyboard instru- ment. Chimes are struck at the very top with a rawhide ham- mer. Like the piano and vibraphone it has What To Expect This Week... a dampening pedal, that when pressed, allows the notes to ring. This week we will take some great percussionist. the book and look carefully time to focus purely on the at the items listed on the On snare drum we will learn fundamentals of playing.
  • Scarsdale Middle School Sixth Grade Band Band Handbook Mr

    Scarsdale Middle School Sixth Grade Band Band Handbook Mr

    Scarsdale Middle School Sixth Grade Band Band Handbook Mr. Lieto Name_____________________________ Day _______ Period ________ Welcome to Scarsdale Middle School and the Sixth Grade Band! This is a very exciting time for you as you begin your middle school experience! I look forward to working with you all! Please read this information carefully in class and at home with your parents. Please keep this outline in your folder and return the signature page to me by Friday, September 11th. Extra credit will be given if the form is signed and handed in prior to the 11th! Supplies & Materials STUDENTS SHOULD HAVE ALL SUPPLIES AND MATERIALS NO LATER THAN TUESDAY, SEPTEMBER 8, 2015. Please be prepared with the following: 1. Instrument and appropriate supplies a. See below for supplies by instrument b. *PERCUSSIONISTS, please check for DRUM STICK and BELL SET INFORMATION 2. Luggage Tag on instrument case. Stickers are more likely to fall off or become illegible, and many instrument cases and brands are the same. Please affix a luggage tag to the handle of your instrument case. 3. Band folder (Students will receive a folder in class that will be brought to and from school.) 4. Method Book/sheet music (Students will receive these items in school they should be kept in their folder.) 5. Pencils!!!! STUDENTS WILL NEED TO HAVE A PENCIL FOR CLASS EVERY DAY. Please keep a couple pencils in your instrument case and/or your band folder. 6. Music Stand (for home practicing) – can be purchased for around $10-$15 online or at a local music store.
  • Rental Catalog Orchestra, Band, and Opera

    Rental Catalog Orchestra, Band, and Opera

    Rental Catalog Orchestra, Band, and Opera E. C. Schirmer • Galaxy • MorningStar Edition Delrieu-Hexamusic • Layali Music Publishing • Randol Bass Music • Stainer & Bell, Ltd. • Vireo Press Casa Gian-Antonio 2 THIS CATALOG contains all orchestral and instrumental works (with and without voices) available through the rental department of ECS Publishing Group; includes the combined catalogs of E. C. Schirmer Music Company, Galaxy Music Corporation, Highgate Press, Ione Press, Edition Delrieu-Hexamusic, Layali Music Publishing, MorningStar Music Publishers, Randol Bass Music, Stainer & Bell Ltd, and Vireo Press. Part One (pp. 3–28) is a master list of all works arranged alphabetically by composer and containing arranger’s name (if any), approximate duration (in minutes), instrumentation, soloists, and choral voicing. Part Two (pp. 2–46) contains subject and genre indices. Please direct all inquiries to RENTAL DEPARTMENT ECS Publishing Group 1727 Larkin Williams Road Fenton, MO 63026 Phone (636) 305-0100 | (800) 647-2117 Fax: (636) 305-0121 www.ecspublishing.com [email protected] European customers may contact Stainer & Bell, Ltd., London. European inquiries for Randol Bass Music or Layali Music Publishing (Kareem Roustom) may contact ECS directly. The ECS Publishing Rental Department will be happy to supply detailed information about instrumentation, versions, fees, perusal scores, and more. If you are planning a performance, please visit our website to submit a rental request form (http://ecspublishing.com/rental/rental-request-form). Frequently asked questions: www.ecspublishing.com/rental/rentalfaq How to read instrumentation Instrumentation is arranged in groups. Flute Oboe Clarinet Bassoon — Horn Trumpet Trombone Tuba — Timpani+Percussion Players — Harp, Key- boards — Strings — Special Instruments — Solo Instruments, Solo Voices, Chorus, Other A period separates players, and a slash indicates doublings.
  • 2003 Rhythm Traveler

    2003 Rhythm Traveler

    In t r oducing Rhythm Tra v e l e r . The perfe c t people in the next room. Then imagine kit for both silent practice and compact ca r rying the same kit, neatly stacked in the live perfo r mance. passenger seat of your car, to do a live If you’re like most drummers, reh e a r s a l gig. Rhythm Traveler is the only kit that time is limited. Simply finding a place to combines both these drum m i n g practice without disturbing the peace can necessities at a price well within reach of be a nightmare. But imagine being able to any working drum m e r . Rhythm Traveler is practice anytime of the day or night, on a the go anywhere, practice anytime kit of full size five piece kit, without disturbing your dreams. Compact Tra v e l Rhythm Traveler’s toms neatly stack to create an extremely compact kit for transport. Every facet of the kit, including every piece of hardware, has been designed with the working and rehearsing drummer in mind. Our super sturdy 70W Series Hardware offers both double braced legs and a low-mass, lightweight design, making it the perfect compliment to Rhythm Traveler. You no longer have to have a large vehicle to be a drummer. With Rhythm Traveler your kit can even fit in the passenger seat of your car. Live Perfo rm a n c e Rhythm Traveler is the perfect kit for most any live performance situation where space, or the lack of it, is a major concern.
  • Stick and Mallet Section for the Marching Percussion Ensemble by Clif Walker, Associate Director of Bands & Director of Percussion Studies – Blue Springs High School

    Stick and Mallet Section for the Marching Percussion Ensemble by Clif Walker, Associate Director of Bands & Director of Percussion Studies – Blue Springs High School

    Stick and Mallet Section for the Marching Percussion Ensemble By Clif Walker, Associate Director of Bands & Director of Percussion Studies – Blue Springs High School There are many great stick and mallet companies in the world. At Blue Springs High School we use Innovative Percussion due to the superior variety and availability of both quality product and service. The recommendations below can easily be translated into similar products offered by different companies. I. Marching Bass Drum Mallets: A. Size/Weight: Bass drum mallets generally graduate with the size of the drum – the smaller the drum the smaller the mallet (less air to move, less needed to move that air). If you march smaller bass drums (16”, 18”, 20”, 24” for example) you may not need 4 different sizes of bass mallets due to relatively close sizes of this configuration. I have had success with the following recipe: Drum sizes 14” - 18” Innovative Percussion FBX-1 Mallets Drum sizes 20”, 22” Innovative Percussion FBX-2 Mallets Drum sizes 24”, 26” Innovative Percussion FBX-3 Mallets Drum sizes 28”, 30” Innovative Percussion FBX-4 Mallets Drum size “32 Innovative Percussion FBX-5 Mallets If your bass drum section is consistently staged visually backfield or you have a very large band/winds, you may want to consider larger mallets (and larger drums, and larger kids to carry them!). Keep in mind, mallets size/weight effects volume, not articulation. B. Articulation: Bass drum mallets general come in 3 degrees of articulation: 1. Wood (very hard/very articulate) –back of the felt mallet/using the handle side 2.