DOCSLIB.ORG

Information to Users

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A PROFILE OF THE PERCEPTION OF INSTRUMENTAL ENSEMBLE DIRECTORS IN THE STATES OF ILLINOIS, MISSOURI, AND WISCONSIN REGARDING THE PERCUSSION TECHNIQUES CLASS A Document SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By JULIA RAE HILLBRICK Norman, Oklahoma 1999 UMI Number: 9934632 UMI Microform 9934632 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 ©Copyright by Julia Rae Hillbrick 1999 All Rights Reserved. A PROFILE OF THE PERCEPTION OF INSTRUMENTAL ENSEMBLE DIRECTORS IN THE STATES OF ILLINOIS, MISSOURI, AND WISCONSIN REGARDING THE PERCUSSION TECHNIQUES CLASS A Document APPROVED FOR THE SCHOOL OF MUSIC BY ACKNOWLEDGMENTS I would like to thank several individuals for making the completion of this project possible. First, I would like to thank my advisor. Dr. Richard Gipson, for helping me through difficult circumstances and offering many suggestions for improvement of the document. Second, I would like to thank my doctoral committee. Dr. Carolyn Bremer, Dr. Michael Lee, Dr. Allan Ross, Dr. William Wakefield, and Dr. Jerome Weber for their time and suggestion contributions toward this project. A major part of this research was assisted by a graduate class of statistical consultants at the University of Missouri-Columbia headed by Dr. John Hewett. Trish Jones and Matt McIntosh in particular contributed many hours towards formatting the actual questionnaire as well as creating and running the SAS program. I am extremely grateful for their assistance and expertise. I would like to thank the percussion sponsors involved in the drawing for their contributions. Their support contributed to a higher return rate of the questionnaires creating more data for analysis. My family has played a large part in the motivation required for completing this project. My mother especially has been a wonderful source of encouragement over the past three years and I want to thank her for constantly believing in me. IV TABLE OF CONTENTS LIST OF TABLES...........................................................................................................vii ABSTRACT.................................................................................................................... x CHAPTER I. INTRODUCTION......................................................................................................I Purpose of the Study ........................................................................................4 Need for the Study .............................................................................................. 5 Limitations ...........................................................................................................6 Organization ........................................................................................................7 n. RELATED LITERATURE .......................................................................................8 The Teacher Educator ..........................................................................................8 The Teacher’s Opinions ..................................................................................... 9 Importance of Methods Courses ........................................................................10 The Education of the Band Director ....................................................................II The Percussion Techniques Course ....................................................................13 The Involvement of the Percussive Arts Society ...............................................16 Summary..............................................................................................................19 m . METHODS AND PROCEDURES.........................................................................21 The Questionnaire................................................................................................21 Survey Recipients ............................................................................................... 25 Drawing ...............................................................................................................26 Re-Test................................................................................................................ 26 TV. RESULTS................................................................................................................ 28 Biographical Questions .......................................................................................29 General Questions About the Percussion Techniques Class .............................................................................................37 Snare Drum Questions ........................................................................................ 41 Keyboard Percussion Questions ....................................................................... 48 Timpani Questions ..............................................................................................56 Accessory Instrument Questions ....................................................................... 62 Drumset Questions .............................................................................................. 67 Marching Percussion Questions .........................................................................71 Miscellaneous Questions ....................................................................................77 V. SUMMARY, COMPARISON, AND PROFILE...................................................86 Summary............................................................................................................. 86 Comparison to PAS Minimum Standards ......................................................... 97 List of Topics Suggested for the Percussion Techniques Class .......................98 A Profile of the Midwest Instrumental Ensemble Director and Respective Opinion of the Percussion Techniques Class Taken During College .....................................100 VI. CONCLUSIONS AND RECOMMENDATIONS................................................ 104 Conclusions ..........................................................................................................104 Recommendations for Further Research ........................................................... 110 Vn. BIBLIOGRAPHY........................................................................................................112 vm . APPENDIXES............................................................................................................ 117 A. Questionnaire ................................................................................................. 117 B. Winners and Prizes in Drawing....................................................................126 C. Narrative Comments of Respondents ........................................................129 D. Recommended Class Calendar and Teaching Outline ..................................164 VI LIST OF TABLES Table Page 2.1 Topics Taught in Percussion Techniques Class ................................................ 18 3.1 Question #5 from Questionnaire .........................................................................24 3.2 Kappa Coefficient Results ................................................................................. 27 Biographical Questions 4.1 Age.......................................................................................................................29 4.2 Gender ................................................................................................................. 29 4.3 Year Undergraduate Degree Received ............................................................... 30 4.4 State.............................................................................................. 30 4.5 Main Instrument ..................................................................................................30
Load more

Recommended publications
  • The Snare Drum Roll
    ACADEMY OF MUSIC AND DRAMA The Snare Drum Roll Lúcia Viana da Silva Independent Project (Degree Project), 30 HEC, Master of Fine Arts in Symphonic Orchestra Performance Spring Semester, 2017 Independent Project (Degree Project), 30 higher education credits Master of Fine Arts in Symphonic Orchestra Performance Academy of Music and Drama, University of Gothenburg Spring semester, 2017 Author: Lúcia Viana da Silva Title: The Snare Drum Roll Supervisor: PhD Maria Bania Examiner: PhD. Tilman Skowroneck ABSTRACT Key words: orchestral percussion, snare drum, technique, roll. Like most other percussion instruments, the snare drum was introduced relatively late in the symphonic orchestra, and major changes and improvements concerning its playing techniques are still taking place. One of the most distinctive aspects of the snare drum is the roll, which consists of a challenge that most percussionists face eventually during their career. This project reflects my research on the snare drum roll during the last two years, gives a short background of snare drum playing and its technical development, and provides observations and reflections of different techniques to play a roll. As a percussionist myself, I analyzed and practiced on the execution of rolls as part of the research. This project includes notes on my interpretation of four orchestral excerpts, showing how technical development and control over the roll open musical possibilities to the orchestral percussionist. 2 ACKNOWLEDGEMTS I would first like to thank my supervisor, PhD Maria Bania, who was always available and responsive to my questions and supportive of my ideas. Her enthusiasm and constant demand gave me the drive and encouragement for writing this thesis.
    [Show full text]
  • 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]
  • Study Guide for the High School Percussionist
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1965 Study guide for the high school percussionist Alan Anderson The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Anderson, Alan, "Study guide for the high school percussionist" (1965). Graduate Student Theses, Dissertations, & Professional Papers. 3698. https://scholarworks.umt.edu/etd/3698 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A STUDY GUIDE FOR THE HIGH SCHOOL PERCUSSIONIST by ALAN J. ANDERSON B. M. Montana State University, 1957 Presented in partial fulfillment of the requirements for the degree of M aster of Music UNIVERSITY OF MONTANA 1965 Approved by: Chairman, Board of Exarqi rs D q^, Graduate School SEP 2 2 1965 D ate UMI Number: EP35326 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT UMI EP35326 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC.
    [Show full text]
  • A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Gworek University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-7-2017 A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Gworek University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Gworek, Nathaniel, "A Study of Percussion Pedagogical Texts and a Percussion Primer" (2017). Doctoral Dissertations. 1388. https://opencommons.uconn.edu/dissertations/1388 A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Richard Gworek, DMA University of Connecticut, 2017 My dissertation project is in two parts; the first part examines and evaluates percussion pedagogical literature from the past century, while the second is a percussion primer of my own authorship. The primer, which assumes a basic knowledge of standard musical notation, provide a structured system of teaching and learning percussion technique; it is supplemented with videos to utilize current technology as an educational resource. Many percussion method books have a narrow focus on only one instrument. There are few comprehensive resources that address the entire family of instruments, but they generally cater to a college level audience. My research focuses on the layout of the comprehensive resources while utilizing the narrow sources to inform my exercises. This research helped me find a middle ground, providing the technical development of the narrow focus resources while covering the breadth of topics in the comprehensive resources. This, in turn, help me develop an informationally inclusive yet concise resource for instructors and for students of all ages. My primer contain lessons on snare drum, timpani, and mallet percussion, and complementary instruments, such as bass drum, triangle, and cymbals.
    [Show full text]
  • Handbook 17-18
    PERCUSSION STUDENT HANDBOOK 2017-2018 BGSU Percussion Studio Handbook 3 Table of Contents 1. Welcome, Introduction and General Information 5 Welcome 6 Important Contact Information for Students 8 2. Required & Suggested Materials 11 Sticks, Mallets & Beaters 12 Instruments 13 Additional Materials 13 Required Music Texts 13 Materials for Jazz Majors 14 Suggested Percussion Retailers 16 Suggested Supplemental Texts 16 3. Attendance, Communication & Personal Conduct 19 Ten Rules for Students and Teachers 20 General Expectations 21 Collegiality 21 Communication Policies 21 Attendance Policy 22 Rehearsal & Performance Expectations 23 Student Percussion Association (SPA) 24 4. Facilities & Equipment 25 Golden Rules of Percussion 26 Keys & Practice Rooms 27 Gear Usage 28 Repair Requests 28 Personal Equipment 29 Instrument Care & Maintenance 29 "Rules of the Road" 30 5. Private Study 33 Challenges for the College Percussionist 34 Applied Percussion Studies Overview 35 Typical Undergraduate Course of Study 36 Grading 37 Juries 38 Proficiency Examinations 39 Practice Expectations 41 Recitals 41 6. Percussion Ensemble 43 Participation Expectations 44 Rehearsal Schedule 44 Rehearsal Preparation 44 Grading 44 World Music Ensembles 45 1. Welcome, Introduction and General Information PERCUSSION 6 BGSU Percussion Studio Handbook Welcome Welcome to the Bowling Green State University Percussion Studio! We are very excited to have you on board, and we hope that this handbook will be your guide as you embark on this new chapter of your collegiate percussion studies. The Bowling Green State University Percussion Studio is structured to provide students with a comprehensive musical foundation as percussionists. We embrace an inclusive, integrated approach to musical studies that remains strongly rooted in the Western classical tradition, but also embraces jazz, popular musics, and non-Western musical traditions.
    [Show full text]
  • Basic Snare Drum Technique by Thom Hannum
    Basic Snare Drum Technique By Thom Hannum There are a number of effective methods for learning basic snare drum technique. So be open to suggestions and seek a teacher to help guide you through the fundamentals. Below are some guidelines to get you started. Have fun! Stand Assembly and Instrument Position 1. Spread the base of the stand far enough to create a stable platform. 2. Insert the top into the base of the stand. 3. Place the drum into the basket while avoiding contact with the snare strainer. 4. The drum should be at about waist level and slightly angled for your comfort. 5. Tighten all stand wing nuts. Step 1 Step 2 Step 3 Step 4 Step 5 Tuning and Stick Selection Now it’s time to tune the drum for the best possible sound. I recommend following the steps outlined in Tom Freer’s Pearl article, Basic Snare Drum Tuning, which can be found at Pearl’s website (www.pearldrum.com). Have your teacher help select snare sticks that work for you. Something equivalent to a 2B or a 5B usually works fine. The balance point is 1/3 of the way up from the butt end of the stick. Grip the stick near this point for the best response and bounce. Grip Guidelines and Posture Learning to hold the sticks properly is essential for improving technique. Use the photos as a guide and make sure to memorize the feel of the following guidelines: #1 Fulcrum (thumb and first two fingers), #2 Finger contact (comfortably wrap all fingers around the stick; not too tight), #3 Bead placement (as close together as possible for an even sound) and then striking area (center of the drum head), #4 Wrist motion (down position and up position).
    [Show full text]
  • TC 1-19.30 Percussion Techniques
    TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction .............................................
    [Show full text]
  • The Snare Drum
    Simple Tips to Improve Your Contest Concert Percussion Section “It’s the Little Things that Count” Midwest Band Clinic @YAMyAHA w December 19, 2002 presented by Dr. Larry Snider, The University of Akron (based on years of listening to percussion sections at contest) I. When using-more than one snare drummer on a piece: A. Make sure drums are tuned alike. B. Metrics of rolls must be the same. C. Lower all dynamics one volume. II. When using suspended cymbals: A. Always “warm-up” cymbal for exact response. B. Always use marimba or vibe mallets - never use timpani mallets. C. Roll slow for no articulation sound. D. Never use brushes when they are called for - use thick wire for brush sound. E. Use opposite side of cymbal for best control. F. Dampen with body as well as with hands. III. When using crash cymbals: A. Do not overplay - use more angle for increased crash volume. B. For best sound, never use pads. C. Remember: crash cymbals always sound late! Play slightly early. Think of cymbals as a solo instrument - the sound comes late to a conductor so anticipate by performing at the top of the beat. IV. When using a bass drum: A. Tune drum to lowest possible note that does not sound “flappy” or false. B. Tune playing head 1/2 step higher than vibrating head. C. Articulation of commercial stick cannot be heard in a hall or gym. Use muffling cloth on drums for articulation; place 3 to 4 inches from rim. V. When using chimes: A. Always overplay up one volume (f from mf, etc.).
    [Show full text]
  • PERCUSSION STUDIO HANDBOOK and CURRICULUM Kurt Gartner
    PERCUSSION STUDIO HA NDBOOK AND CURRICULUM Kurt Gartner Neil Dunn School of Music, Theatre, and Dance 130 McCain Auditorium Kansas State University Manhattan KS 66506 785-532-3808 ksu.edu/music/percussion © 2019 Kurt Gartner All Rights Reserved CONTENTS Acknowledgements ................................................................................................................................................................ 4 Introduction ............................................................................................................................................................................... 4 Overview ..................................................................................................................................................................................... 5 Requirements for entrance into the percussion program ................................................................................. 5 Master’s degree ................................................................................................................................................................... 5 Plan of study ......................................................................................................................................................................... 5 Required Core Method Books ............................................................................................................................................. 6 Drum Set ................................................................................................................................................................................
    [Show full text]
  • Marching Percussion Information and Technique Manual
    Marching Percussion Information and Technique Manual Introduction Thank you for your interest in The Pride of MSU marching percussion ensemble. This manual is a “one stop shop” for technique and approach for those interested in being a marching member of PPE (Pride Percussion Ensemble). The information provided has been put together by myslef and some very good friends that are all at the top of their game when it comes to marching education and instruction. The methods and approaches outlined in this manual are certainly not the only way to do things but I think you will find the concepts very universal and beneficial to your growth as a player and performer. Try your best to apply all the concepts and technique to the exercises that will come with this manual but remember no one, not even vets, are expected to have all of these things mastered on day one. Please print out, read, and have a copy of this manual on hand for auditions as your staff will refer to the information often. I look forward to meeting all of you in person. If you have any questions feel free to send myslef or Maxine an email and we will do our best to get you an answer. Keep Drumming! Chad Schaedler - [email protected] Maxine Sullivan - [email protected] Default Approach/Stroke Types We approach the drum in an aggressive manner. We want to play through the drum. By this I mean that we want to play with a lot of velocity while still remaining relaxed. Imagine a drumhead 2 inches below the real one, and try to hit that lower one.
    [Show full text]
  • A Contextual Study of the Art of Three Pittsburgh Jazz Drummers
    CORE Metadata, citation and similar papers at core.ac.uk Provided by D-Scholarship@Pitt THE INTERPRETATION OF EXPERIENCE: A CONTEXTUAL STUDY OF THE ART OF THREE PITTSBURGH JAZZ DRUMMERS by Kenan A. Foley Bachelor of Music, Southern University and A & M College, 1984 Master of Arts, Binghamton University, 1995 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH Faculty of Arts and Sciences This dissertation was presented by Kenan A. Foley It was defended on April 23, 2007 and approved by Dr. Nathan T. Davis, Professor of Music, Dissertation Advisor J. H. Kwabena Nketia, Andrew W. Mellon Professor Emeritus of Music Dr. Akin Euba, Andrew W. Mellon Professor of Music Dr. Mathew Rosenblum, Professor of Music ii Copyright © by Kenan Foley 2007 iii THE INTERPRETATION OF EXPERIENCE: A CONTEXTUAL STUDY OF THE ART OF THREE PITTSBURGH JAZZ DRUMMERS Kenan A. Foley, PhD University of Pittsburgh, 2007 This dissertation presents an ethnomusicological study of the art of three Pittsburgh jazz drummers, Joe Harris, Ron Tucker, and Roger Humphries with particular reference to the nexus relations between performance practice and the interpretation of experience. Following the work of Davis, Nketia and others this study argues for an approach to the analysis of black music which takes into consideration the viewpoints of the musicians who produce the music as well as those of the community who participate at performance events. Accordingly it examines the art of these drummers not only in terms of sound and structure but also in respect of the cultural factors that govern the operation of style and the meaning systems behind the music.
    [Show full text]
  • Percussion Catalog
    PERCUSSION CATALOG 2 DRUMSET – INSTRUCTION AND TECHNIQUE 2 VIDEOS AND DVDS 7 BOOKS 11 PETER MAGADINI 11 FAST TRACK DRUMS 14 PLAY DRUMS TODAY! 17 DRUMSET – PERFORMANCE 17 VIDEOS AND DVDS 20 TRANSCRIPTIONS 23 TRANSCRIBED SCROES 29 GIG GUIDES 30 SNARE DRUM 33 MALLETS 36 TIMPANI 38 HAND PERCUSSION 40 ELECTRONIC PERCUSSION 41 SUPPLEMENTARY MATERIALS 43 SOLOS & ENSEMBLES 46 REFERENCE 51 CLASSROOM RESOURCES 53 HOW TO ORDER 54 ORDER FORM 1-800-637-2852 www.musicdispatch.com Prices, contents, and availability subject to change without notice. 2 DRUMSET – INSTRUCTION & TECHNIQUE VIDEOS AND DVDS BASIC BRAZILIAN AFRO-CUBAN COORDINATION GENERAL INSTRUCTION RHYTHMS FOR DRUMSET ACCELERATE WHEN MUSIC WORKS DVD featuring Maria Martinez YOUR DRUMMING SERIES Hal Leonard EXERCISES AND TIPS TO MAKE YOU featuring Ricardo Monzón In this exciting video from Hal BETTER – FASTER Berklee Press Leonard, respected percussionist, by Larry Finn Learn how to play and practice clinician and educator Maria Rittor Music the classic rhythms of the Afro- Martinez reveals her revolutionary studies for Brazilian drumset Covers everything from hand Cuban tradition with Berklee coordination. She covers: bossa technique to some pretty advanced professor Ricardo Monzón. Monzón demonstrates the nova, samba, partido alto and baiao styles; beats such as grooves and fills. The grooves patterns and instruments that form the beating heart of 4/4 Bossa Nova, 2/2 Samba, plus 3/4 and 7/4 examples of include funk, rock, hip-hop, the Afro-Cuban tradition, on clave, conga, timbale, both; and rhythmic phrases and studies including shuffles, and Latin. The main message in this video is bongo and guiro.
    [Show full text]