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Books > Arts & Architecture > Music > Western music, periods & styles > General
Preface * Characters * Orchestration * Prelude * First Act: The
Broom-Maker's Cottage * Scene 1 * Scene 2 * Scene 3 * The Witchhes'
Ride * Second Act: In the Forest * Scene 1 * Scene 2 * Scene 3,
Pantomime * Third Act: The Withch's House * Scene 1 * Scene 2 *
Scene 3 * Scene 4 * Last Scene * Appendix: Dessau-Finale
The author is a drummer with experience in a variety of musical
genres and contexts, with emphasis on rock and related styles. This
auto ethnographic Element presents the author's philosophy of
playing drum kit. The text explains how playing drum kit matters to
this musician and may resonate with others to whom making music
matters in similar ways. The Element contains audio files of music
in which the author plays drum kit in the ensemble settings
described. There are photos of the author's drums and of him
drumming. Based on June Boyce-Tillman's non-religious model of
holistic spirituality and Tim Ingold's notion of correspondences,
the author describes how playing drum kit enables him to experience
transcendence - the magical nexus at which Materials, Construction,
Values/Culture and Expression meet. Each of these domains, and the
magic derived from their combination, is illustrated through
examples of the author's live and recorded musical collaborations.
This classic series of duets for like instruments is recognizable
to nearly everyone who has ever studied an instrument. The wealth
of material supplements musical development and provides a rich
experience for growing musicians. Duet playing is often a student's
first form of ensemble experience - technique, tone quality,
intonation and balance are introduced as students do one of the
things they enjoy most - making music with a friend. And duet
playing leads easily and naturally to competent performance in
larger ensembles. (Vol. I - Easy to Medium, Vol. 2 - Medium to
Advanced)
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