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.

A Journey Off the Beat(en) Path When I was a young boy, the wonderful Gloria Estefan sang the eternal words to me: "Turn the beat around, turn it upside down." I didn't quite know what that meant, until just recently ... it was 4:20 pm on a Wednesday, to be exact, just before tea time (beer o'clock, to some). And so, I started off on my quest to better understand those teasingly elusive words, thus creating this book, Drum Twisters: The Book That Will Make You Smile With ... Frustration I know what you are thinking ... just what is a "Drum Twister," anyway? Well, you take a tongue-twister, but "spoken" in the language of Drum, then tuned all the way down to the key of "thud." In other words, we're collecting drum exercises and throwing them (and caution) into the wind, to see where the pieces land. Then, yours truly picked them all up, and assembled this mess into the book which you are currently holding in your hands. (If you are looking at this on on a screen, then you are just a plain old fancy pants.) We're talking about drumming exercises that are very different from your average lot, which is a good thing, because I'm sure that you are not exactly enamored with playing "in the pocket" ALL of the time ... Hear ye, we are gathered here today because we are bored with hitting things the same way, over and over and over again. We are here simply because we are crying out for something fun, yet challenging. We can no longer accept hitting things on just the 1, 2, 3 and the 4 (Wait, drummers can actually count ... ?) Our hearts hunger to "Turn the beat around, turn it upside down." Ladies and gentlemen, we will be looking at things all topsy-turvy from now on. Please prepare yourself and delve into an alternative (but no eye- liner, please) look at playing the drums. With a polka dot cherry on the top. You should be excited now. Really, you should

"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

The Teacher and Student method series of books have been designed so that the student can work with their teacher in covering all of the skills needed to perform with a particular instrument. There are many self-teaching and highly detailed instructional books on the market, but none have been created for a one-on-one teaching environment. Why do you need diagrams and instruction, when you have a well-qualified teacher sat right next to you in the room? The answer is that you don't, and so The Teacher and Student Method does away with the unnecessary book filler and instead fills the pages with comprehensive and thorough exercise material. By the time you are finished with our books, you will be ready for the show Who better to teach you the basics of music and performance than your very own teacher? The Teacher and Student Method Books have pages dedicated to personal instruction on every new topic, so you can learn what you need to learn throughout the curriculum... and nothing else. The Teacher's Notes pages allow your teacher to demonstrate the basics of playing your instrument, in a way that is tailored to your needs and level of understanding. Also, they can provide you with additional exercises and practice techniques if need be, as well as examples from your favorite songs. While it is very important to practice with your instrument on a daily basis, we all know that isn't always possible. This is why The Teacher and Student Method covers every topic in fine detail, so you are practically becoming a seasoned musician as you progress through the many exercises in the books. The Teacher and Student Method Drum Set Studies Book 2 is the second in a two book series.

This book explores different possibilities of sound created by one effect: the bending tone. It also includes concrete and efficient steps to producing the bending tone, and then leads to applying it smoothly and systematically in musical performances. The potential of this tool, developed by Andre Cayer shows a new way of looking at the vibraphone that is much more expressive.

A four mallet marimba work written for a 4.6 octave marimba. Part of a collection of future releases.