The Language Of Drumming

Par MATTIOLI PAULO. Avec cette série de DVD, n'importe qui peut apprendre à jouer de la batterie de main sans apprendre à lire la musique. Tout d'abord, vous simplement regardez la rythmique joué avec la caméra vue de joueurs Eye, (aucun transpositeur main gauche droit!) puis chanter avec le rythme tel qu'il apparaît à l'écran, tout comme les mots d'une chanson. Enfin, vous jouez le long comme chaque partie est démontré lentement et distinctement sur le tambour. Session 1 contient : une étude de niveau 1 guide - clefs au développement de rythme et compétences essentielles de tambours - 19 patrons de rythme avec les signaux et deux rhythm arrangements de Yankadi et Macrou - rythmes de tambour d'Afrique de l'Ouest, leur géographique, les origines ethniques et culturelles et d'applications - les coups de main et les tons et les tambours language - comment prendre soin de vos mains - constructeurs de coordination main droite-gauche - tambour des signaux, la clé pour ouvrir et fermer les rythmes - et une illustration de la relation entre la danse et de percussions. Pour commençant par le biais de joueurs avancés. / Niveau : Débutant / African - Technic / Accessoire / Percussions Diverses

Including and expanding on the concepts presented in his best-selling DVD of the same name, Benny here brings forth a wealth of practice material for drummers of all styles and levels, presented in a beautifully illustrated book with a timeless, classic look. The Language of Drumming Book teaches a complete system for achieving freedom of expression on the drumset. Bennys approach is a practical method that is based on a concept familiar to everyone: learning a language. Providing exercises for grooves, fills, independence, and more, this system progresses from rhythmic 'letters? and 'words? to 'syntax? and 'language,? ultimately providing an easily understandable system that is suitable for beginning to advanced-level drummers. Included along the way are new hi-hat groove variations, dozens of ghost-note exercises, and a complete system for mastering odd groupings (3, 5, and 7) in your playing. This great package includes online audio and video for streaming or download. / Batterie

Alfred's Kid's Drum Course is the easiest method ever for kids ages 5 and up from the makers of the #1 best-selling method for kids. This complete pack includes everything you need to get started playing right away including Alfred's Kid's Drum Course book and CD, and high-quality instruments: frame drum, set of maracas, woodblock, and mallets. Using plain language that's easy to understand, it teaches kids to play rhythms and songs on a variety of drums and sound sources, including all the instruments in this Starter Pack. You'll learn from three irresistible drum experts---a clever classical dog, one cool jazz cat, and a friendly alligator that loves the blues---who guide students along. They focus attention by pointing out what's important on each page and make learning music fun! / Batterie

Minor: Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion

This exquisite collection of vocal solos features folk songs from China, Japan, Korea, Malaysia, Taiwan, and Thailand. Appropriate for both developing singers and mature vocalists, each of the ten beautiful arrangements is sung largely in English and a phonetic pronunciation guide is included for the phrases in Asian languages. / Chant

Par OKPEBHOLO SHAWN E.. Shawn Okpebholo?s Heritage, in the Edition Peters Concert Band Series, evokes moods, events and sounds (including West African drumming and indigenous melodies) from an ethnomusicological research visit the composer undertook to Nigeria. One of the primary musical themes of the work is an adaptation of a song that comes from the Esan people, a small ethnic group in the southern part of Nigeria and the tribe to which the composer has deep historical and family ties. The Esan language is poetic in nature and, at various moments in the work, the musicians chant the text from an Esan song: Ekine leleyea do obhimen la doeki nalo (My investment in you is paid off. Because of your hard work, your future is bright). Heritage is a revised version of a work previously entitled This is Africa, which was commissioned by Professor Marcellus Brown and the Boise State University Symphonic Winds for the 2011 National CBDNA Convention and is dedicated to the memory of Dr Harry Begian. / Date parution : 2022-05-31/ Répertoire / Concert Band

I have the pleasure of presenting the new Souza Lima playalong method series. This project is the result of extensive research and careful elaboration aiming at offering representative material on the most varied styles of Brazilian music to professional musicians, students, teachers and all those who take a general interest in this field of music. The focus of this series is on the language of instrumental music nowadays performed in Brazil, based on elements of modern improvisation. Each volume contains two CDs with seven pieces of music, which are presented in the following versions:1. Complete takes – in other words, the full versions of the pieces included in the book, which are performed by all the instruments playing simultaneously; 2. Without melody / solo part – so that the melodic instruments can play along with the recording, executing their own interpretations and practicing improvisations; 3. Without harmony – so that the harmonic instruments can practice the language of accompaniment, especially with regard to the rhythmic vocabulary of each style. 4. Without bass – so that the bassists can practice their traditional task of accompaniment while working on the rhythmic but also the harmonic aspects; 5. Without drums – so that the drummers can practice the rhythms characteristic of each piece of music but also create their own variations. Each book contains the scores in the form of lead sheets in four different versions: in C, Bb, Eb, and bass clef. Due to the widely defined concept of this method, it is important to point out that musicians playing transposing instruments might have to make adaptions when reading the scores. Wind instrumentalists are at liberty to carry out adjustments whenever these are called for in order to facilitate the musical execution. The Souza Lima playalong method series was not exclusively devised for musicians to learn and practise how to read scores and accompany the recordings. Try to be creative and explore each type of music in every way possible. Transcribing solos, rhythmic comping phrases, bass lines and drum grooves, for instance, can be an important tool in order to assimilate the elements of this language. The instrumentalists may place themselves in a new musical situation in addition / Jazz / Recueil / Instruments Mélodiques

Par VAN DER ROOST JAN. This 4-movement suite is based on authentic folktunes from the beautiful southern province in France: the 'Provence'. The composer used an harmonic language respecting the popular characteristics, but on the other hand also contains some 'spicy' notes (. . . just like the wellknown 'Provençal sauce'! . . . ). The instrumentation is very colourful, paying a lot of attention to the different timbres of both brass and wood winds as well as to the percussion section. Every movement has its own character: 'Un Ange a fa la crido' (= An angel brought the creed / credo) is like a bourrée, 'Adam e sa Coumpagnou' (= Adam and his companion) is an old love song, 'Lou Fustié' (= the carpenter)a fast dance and finally 'Lis Escoubo' (= a whistle tune / popular ballad) is a farandole. In the latter, the old tradition of folk musicians who play a whistle with one hand and a drum with the other hand, is clearly represented during the first presentations of the one and only theme)Although this piece is not too demanding, a well balanced band is necessary to perform it successfully. Thanks to the contrasts and the varying colours, it keeps on holding the attention. / Niveau : 3 / Répertoire / Fanfare