""4 out of 5 stars" Rhythm Magazines recommend reading ..".it has everything a good tutor book needs - It's a great guide to playing paradiddles around the kit, as grooves, inversions, groups of sixteenths, triplets, also quintuplets and septuplets, moving from easy to very tricky gradually and thematically ... that's no reason not to give this stuff a good try out and I'd recommend anyone keen on expanding their para-repertoire to do so "" - Rhythm Magazine Issue 211, January

Taking the paradiddle from a basic snare rudiment to full drum set vocabulary. Giving you creativity and freedom on the drum set. This drum book by Kyle Cullen a professional drum teacher and session drummer based in Glastonbury in the UK features the same systems he used to gain freedom with the paradiddle. Check out http: //glastonburydrums.com to sign up for free video lessons and to send direct emails to the author

10 CANZONI METAL PER BATTERIA ISPIRATI A NILE,SLIPKNOT,LAMB OF GOD, DREAM THEATER,MESHUGGAH,IRON MAIDEN, METALLICA E MOLTI ALTRI - CON ACCORDI PER CHITARRA E BASSO ELETTRICO. PER DOPPIO PEDALE. ALL'ACQUISTO VERRA' INVIATA COPIA CARTACEA DEL LIBRO CON ALLEGATO CD, SI PREGA DI INVIARE INFORMAZIONI DI SPEDIZIONE. 10 SONGS INSPIRED METAL BATTERY FOR A NILE, SLIPKNOT, LAMB OF GOD, DREAM THEATER, MESHUGGAH, IRON MAIDEN, METALLICA AND MANY OTHERS - AGREEMENTS FOR ELECTRIC GUITAR AND BASS. FOR DOUBLE PEDAL. PURCHASE WILL 'SENT A COPY OF THE PRINTED BOOK WITH ANNEX CD, PLEASE SEND INFORMATION SHIPPING.

Everyone Can Drum is the perfect instructional fun book for kids, family and friends interaction in the world of rhythm and drums that brings all together. Written by Corey Kertzie drummer for Big Leg Emma and Vinnie Amico, drummer for moe. combines their years of experience to put together a book full of information and lessons. A great book for children ages 5 and up. Illustrated by Fred Whitehead.

Requiem for 9/11 was composed for the 10th anniversary of September 11th, a day that will always be remembered in U.S. history. It is a peace dedicated to those who lost their lives that day, and in the years after the attack, protecting our country and freedom. This is my 45th composition so I decided to write something about that tragic day. Although the events are quite different, the United States suffered another colossal attack on American soil at Pearl Harbor in 1941. On that day, World War II began for America, although the war was in progress between other countries. In 1945, the war ended, and thus the number connection of Opus 45. Major events happened in 1945 and 2011; justice being served to two major enemies of the United States that were responsible for so many deaths. There are several times the numbers 9 and 11 are used. The time signatures are obviously in connection with the date of the attack, but there are also instances when the juxtaposition of dynamics and the number of 16th notes are indicative of the 9/11 motive. The piece begins in E minor, before settling in E-flat minor for the majority of the piece. This is done to mirror the cadence: Neapolitan 6, Dominant 7, Tonic 6. E minor acts as the enharmonic version of a N6 tonality, before moving to E-flat minor. The dies irae appears in the beginning and a few more times in the piece. Although this piece is a Requiem, I did not use other portions of the Mass. The inspiration to write a Requiem comes from Benjamin Britten, while infusing elements of my compositional technique reminiscent of the works from Sergei Rachmaninoff and Frederic Chopin. I chose to compose this piece for marimba because the instrument captures so many different emotions. The marimba can produce warm, lush sounds while exhibiting aggressive and violent attributes. The piece opens with the dies irae as an impending representation of tolling bells of death.I tried to combine the effects of an ominous tone and tranquility because no one except the terrorists realized the disaster that was to unfold. The chaotic section represents all that happened with the planes and also the battles that have taken place in the past decade. The solemn section is reflecting on the lives lost, which then builds to another climactic point in the piece. Although the piece was completed May 2nd, I started working on the piece weeks before. On May 1st, the world heard the news that the mastermind of the September 11th attacks had been found. Osama bin Laden was eliminated. The end of the piece represents the conflict that occurred that night, followed by a small portion of "My Country tis of Thee" as a way of giving hope to all Americans and others in the world who have been victims of terrorist acts. Requiem for 9/11 requires a 4.6 octave marimba, or low E, at the minimum. The performer should use discretion when choosing mallets for this piece; choose a mallet that provides enough articulation for fast passages and can handle roll passages. The sticking indications used for this piece are to serve as a guide for the performer, but the artist has freedom to alter the sticking patterns if necessary. I used the standard ordering of mallets that most composers use: "1" is for the outside mallet in the left hand, "2" is for the inside mallet in the left hand, "3" is for the inside mallet in the right hand, and "4" is for the outside mallet in the right hand.

The Ascension is a work for percussion ensemble to convey the Ascension of Christ. After He was crucified, Jesus was taken up to Heaven in his resurrection body in the presence of his Apostles forty days after he was resurrected. "But unto every one of us is given grace according to the measure of the gift of Christ. Wherefore he saith, When he ascended up on high, he led captivity captive and gave gifts unto men." Ephesians 4:7-8.

Hokkaido Jishin is about the many earthquakes that have occurred in or around the Hokkaido area in Japan over the past decades. This composition is at times very loud to represent the power of the earthquake. The percussionists should perform this piece with great intensity throughout, even during the soft sections that are barely heard to generate a sensation of reoccurring aftershocks. This percussion ensemble is for 6 performers playing in the traditional Taiko drumming style using instruments that are common to most percussion studios. The Brake Drum part should use hard mallets for a metallic sound, and the smallest available drums should be used for the Snare Drum and Tom Tom parts. Tenor Drum 1, 2, and 3 should use the largest available drum. Large floor toms or small bass drums are preferable. Individual Parts are included with the score

All Things Come to Pass is a percussion quartet composed for bass drum, claves, woodblock, and multiple-percussion (4 toms and hi-hat). It is a very rhythmic piece with lots of interplay between the four parts.

"It's been a lot of fun getting involved with sourcing the material for this special project. Finding some of my art work that had been hidden away for several decades was amazing and brought back many memories. I've used some quotes here from my auto-biography 'Hellraiser' (John Blake 2009) and also from Nettie, to give you a flavour of all things Baker I have always been interested in all areas of creative endeavour and I hope you enjoy this collection as much as we all did putting it together." Ginger Baker

Mark of Cain is a chamber ensemble work for 2 multi-percussionists. The instrumentation consists of 4 congas and drumset. Based on the 4th Chapter of Genesis, this piece focuses on the mark placed on Cain after he killed Abel. Polyrhythmic figures merge between each performer requiring an enormous amount of dexterity to execute the passages. Level: Extremely Advanced Duration: ca 11 minutes