Drum

Essential Drum Fills is a collection of fills that Peter Erskine has enjoyed hearing and /or playing over the years. The book includes over 500 drum fills in a variety of styles and ensembles, as well as multiple examples, transcriptions and drum charts. Comes with online audio demonstrations and play-alongs. Music PDF files are also included.

This unique guide to world percussion features descriptions and performance techniques for 28 different instruments, plus exercises, traditional rhythms, and cultural information. 76 pages.

Bass Drum Essentials for the Drumset is a unique book exploring bass drum technique and its usage in a variety of musical styles. All of the strengthening exercises, combination studies and coordination studies may also be applied to the double bass drum as well. The enclosed CD contains many examples of the beats and musical excerpts, as well as play-along tracks and tempo tracks, providing a musical framework for students to input their own ideas. Get off on the right foot with Bass Drum Essentials for the Drumset!

Accompanying compact disc includes rhythmic examples from each section of the book.

Step-by-step instruction on basic drumming techniques including rock beat variations, basic note values, song structure and the role of the drummer in a song.

Drum Sound and Drum Tuning assists drummers, sound engineers, and music students in learning critical skills related to drum sound and achieving an optimised and personalised drum kit set-up. The book covers the essential theories of percussion acoustics and develops this knowledge in order to facilitate creative approaches to drum tuning and professional-level recording and mixing of drums. All aspects of drumhead vibration, drumhead equalisation, and resonant drumhead coupling are de-mystified, alongside discussions relating to drumhead types, drum shell vibration, and tuning to musical intervals for different performance genres. The book develops drum sound theory and creative analysis into a detailed dissection of recording and production techniques specifically for drums, including discussions on studio technologies, room acoustics, microphone techniques, phase coherence, and mixing drums with advanced digital audio workstation (DAW) techniques and creative processing tools. Drum Sound and Drum Tuning includes many practical hands-on exercises that incorporate example tutorials with Logic Pro and iDrumTune Pro software, encouraging the reader to put theory into immediate creative practice and to develop their own listening skills in an informed and reflective manner. The book also documents primary interviews and opinion from some of the world’s most celebrated drummers, music producers, and sound engineers, enabling the reader to connect the relevant theories with real-world context, whilst refining their own personalised approach to mastering drum sound.

Hiding in a lake under lily pads after fleeing U.S. soldiers, a Dakota woman was given a vision over the course of four days instructing her to build a large drum and teaching her the songs that would bring peace and end the killing of her people. From the Dakota, the "big drum" spread throughout the Algonquian-speaking tribes to the Ojibwe, becoming the centerpiece of their religious ceremonies. This edition of "The Ojibwe Dance Drum, "originally created through the collaboration of Ojibwe drum maker and singer William Bineshii Baker Sr. and folklorist Thomas Vennum, has a new introduction by history professor Rick St. Germaine that discusses the research behind this book and updates readers on the recent history of the Ojibwe Drum Dance.

Ritual is too often equated with unvarying or repetitive behavior. This impression is encouraged by the ethnographic tendency toward an overly narrow time frame, which highlights current relationships and conditions rather than long-term developments. The Rousing Drum takes a different view. It adopts a historical perspective encompassing several hundred years in exploring the role of ritual as an effective medium for negotiating sociopolitical and economic change. The setting is Furukawa, a town located in Japan's mountainous interior. Every spring the local Shinto shrine festival provides an opportunity for enacting social relationships and attitudes. By day, a portable shrine containing the spirit of the guardian deity is escorted through town in a stately procession. At night, however, a different scenario unfolds. A barrel-shaped drum is borne through the nighttime streets on a massive grid-like platform. Prominent members of the community are obliged to ride upon the platform, while teams of young adults rush out and attack it as it passes through their respective neighborhoods. The action can become quite unruly, and random fights and injuries are accepted as inevitable correlates. In analyzing the festival over time, Schnell reveals a dramatic transformation. The drum ritual, which originated as a minor preliminary to the other events, emerged during the late 1800s as an occasion for airing hostilities and settling scores. As Japan's modernization progressed, the ritual performance came to embody a symbolic challenge to institutionalized authority, and occasionally escalated into politically motivated violence. While the religious ceremonies observed during the day were appropriated by local power holders, the nighttime drum ritual represented a folk response to the officially sanctioned liturgy. The festival as a whole thus represented the clash of competing ideologies within the context of a single public forum. Today's ritual, rather tame by comparison, is being transformed into a tourist attraction aligned with the town's economic development objectives. Schnell's careful examination of the ethnohistorical data offers a valuable new perspective on Japanese festivals as well as the events and conditions that influence their development. His innovative look at ritual behavior over time persuades us that we can grasp the underlying significance of such activities only if we consider them within the context of larger historical patterns.

(Berklee Guide). Step away from the practice pad! Legendary drummer Rod Morgenstein reveals his innovative warm-up method designed to limber up your entire body. Features exercises to develop and improve your speed, power, control, coordination, independence, accuracy, endurance and agility. With this book, you'll gain a greater facility and command of the drum set, along with an increased feeling of confidence. "The definitive text for improving technical facility on the drum set." Ron Spagnardi Editor/Publisher, Modern Drummer

Endlessly fascinating, often moving, and a must read for anyone interested in the cultures of Siberia. Adele Barker, Comparative Cultural and Literary Studies, University of Arizona The history and contemporary transformation of south Siberia is illuminated through this exploration of the shamanic revival in the Turkic Republics of Tuva and Khakassia. Based on extensive field-work and including folktales, legends, and shamanic poems that elucidate spiritual traditions as well as descriptions of local rituals, Singing Story, Healing Drum is at once travel narrative, autobiography, history, and ethnology. Kira Van Deusen weaves together traditional scholarship and a personal account of her travels through Siberia and contacts with scholars, shamans, and storytellers active in reviving traditional culture. Highlighting the importance of oral literature and music, Singing Story, Healing Drum guides the reader through the often confusing phenomena of the shamanic revival, both in Russia and abroad.

In 1957, Duke Ellington released the influential album A Drum Is a Woman. This musical allegory revealed the implicit truth about the role of women in jazz discourse—jilted by the musician and replaced by the drum. Further, the album’s cover displays an image of a woman sitting atop a drum, depicting the way in which the drum literally obscures the female body, turning the subject into an object. This objectification of women leads to a critical reading of the role of women in jazz music: If the drum can take the place of a woman, then a woman can also take the place of a drum. The Drum Is a Wild Woman: Jazz and Gender in African Diaspora Literature challenges that image but also defines a counter-tradition within women’s writing that involves the reinvention and reclamation of a modern jazz discourse. Despite their alienation from bebop, women have found jazz music empowering and have demonstrated this power in various ways. The Drum Is a Wild Woman explores the complex relationship between women and jazz music in recent African diasporic literature. The book examines how women writers from the African diaspora have challenged and revised major tropes and concerns of jazz literature since the bebop era in the mid-1940s. Black women writers create dissonant sounds that broaden our understanding of jazz literature. By underscoring the extent to which gender is already embedded in jazz discourse, author Patricia G. Lespinasse responds to and corrects narratives that tell the story of jazz through a male-centered lens. She concentrates on how the Wild Woman, the female vocalist in classic blues, used blues and jazz to push the boundaries of Black womanhood outside of the confines of respectability. In texts that refer to jazz in form or content, the Wild Woman constitutes a figure of resistance who uses language, image, and improvisation to refashion herself from object to subject. This book breaks new ground by comparing the politics of resistance alongside moments of improvisation by examining recurring literary motifs—cry-and-response, the Wild Woman, and the jazz moment—in jazz novels, short stories, and poetry, comparing works by Ann Petry, Gayl Jones, Toni Morrison, Paule Marshall, Edwidge Danticat, and Maya Angelou with pieces by Albert Murray, Ralph Ellison, James Baldwin, and Ellington. Within an interdisciplinary and transnational context, Lespinasse foregrounds the vexed negotiations around gender and jazz discourse.

Musicians’ Migratory Patterns: The African Drum as Symbol in Early America questions the ban that was placed on the African drum in early America. It shows the functional use of the drum for celebrations, weddings, funerals, religious ceremonies, and nonviolent communication. The assumption that "drums and horns" were used to communicate in slave revolts is undone in this study. Rather, this volume seeks to consider the "social place" of the drum for both blacks and whites of the time, using the writings of Europeans and colonial-era Americans, the accounts of African American free persons and slaves, the period instruments, and numerous illustrations of paintings and sculpture. The image of the drum was effectively appropriated by Europeans and Americans who wrote about African American culture, particularly in the nineteenth century, and re-appropriated by African American poets and painters in the early twentieth century who recreated a positive nationalist view of their African past. Throughout human history, cultural objects have been banned by one group to be used another, objects that include books, religious artifacts, and ways of dress. This study unlocks a metaphor that is at the root of racial bias—the idea of what is primitive—while offering a fresh approach by promoting the construct of multiple-points-of-view for this social-historical presentation.

Despite their central role in many forms of music-making, drummers have been largely neglected in the scholarly literature on music and education. But kit drummers are increasingly difficult to ignore. While exponents of the drum kit are frequently mocked in popular culture, they are also widely acknowledged to be central to the musical success and aesthetic appeal of any musical ensemble in which they are found. Drummers are also making their presence felt in music education, with increasing opportunities to learn their craft in formal contexts. Drawing on data collected from in-depth interviews and questionnaires, Gareth Dylan Smith explores the identities, practices and learning of teenage and adult kit drummers in and around London. As a London-based drummer and teacher of drummers, Smith uses his own identity as participant-researcher to inform and interpret other drummers' accounts of their experiences. Drummers learn in multi-modal ways, usually with a keen awareness of exemplars of their art and craft. The world of kit drumming is highly masculine, which presents opportunities and challenges to drummers of both sexes. Smith proposes a new model of the 'Snowball Self', which incorporates the constructs of identity realization, learning realization, meta-identities and contextual identities. Kit drummers' identities, practices and learning are found to be intertwined, as drummers exist in a web of interdependence. Drummers drum; therefore they are, they do, and they learn - in a rich tapestry of means and contexts.

(Drum Instruction). This best-selling instruction book was developed to meet the needs of the young student aspiring to become a drummer in the school band or orchestra. Book 1 spans 52 lessons and includes: rudiments * study of various time figures found in every day playing * care and maintenance of drums * and more. Building on the lessons from Book 1, Book 2 covers 26 rudiments and contains additional studies in various time signatures utilizing the 26 rudiments.

The drum kit is ubiquitous in global popular music and culture, and modern kit drumming profoundly defined the sound of twentieth-century popular music. The Cambridge Companion to the Drum Kit highlights emerging scholarship on the drum kit, drummers and key debates related to the instrument and its players. Interdisciplinary in scope, this volume draws on research from across the humanities, sciences, and social sciences to showcase the drum kit, a relatively recent historical phenomenon, as a site worthy of analysis, critique, and reflection. Providing readers with an array of perspectives on the social, material, and performative dimensions of the instrument, this book will be a valuable resource for students, drum kit studies scholars, and all those who want a deeper understanding of the drum kit, drummers, and drumming.

This volume teaches five different ways to play eight pages from Progressive Steps to Syncopation for the Modern Drummer. There are five sections, each consisting of the eight solo exercises from pages 37 through 44.