Ce livre presente une exploration etendue des possibilites sonores liees a la systematisation d'un effet particulier deploye par le vibraphoniste Andre Cayer: le bending tone. Il inclut egalement l'information pertinente a sa realisation concrete et efficace, permettant de l'integrer de facon systematique dans une interpretation musicale fluide. Le potentiel offert par cette nouvelle approche developpee par Andre Cayer ouvre la voie a une toute nouvelle facon d'aborder le vibraphone de facon beaucoup plus expressive qu'auparavant.

Al momento de esta edicion, existen en el planeta aproximadamente 20 titulos dedicados al conocimiento y ensenanza del tabla, de los cuales tres estan escritos en hindi, uno bilingue (hindi e ingles) y el resto en ingles. Por ello el autor sintio la necesidad de escribir este libro en espanol. El fascinante mundo del tabla, es un compendio de investigaciones de sus libros de consulta, anotaciones durante clases en el Instituto Gandharva Mahavidyalaya, informacion recibida en clases privadas, largas horas de aprendizaje, y conversaciones con sus maestros en Nueva Delhi y Varanasi (India), asi como en Katmandu (Nepal). Informacion que ha venido acumulando y que ahora plasma en este primer libro editado en idioma espanol sobre la musica del norte de la India y del instrumento clasico de percusion denominado tabla. Durante los anos que vivio en la India el autor estudio dos de esas escuelas tradicionales, la dilli gharana en la Gandharva Mahavidyalaya, Nueva Delhi, y la benares gharana, que estudio undamentalmente bajo la supervision y control de Pt. Kishan Maharaj (1923-2008) en Varanasi. Esta ensenanza fue al estilo tradicional conocido como guru-shishya parampara, ademas tuvo el honor de recibir de sus propias manos la ganda bandh shagird. Otros de sus maestros Pt. Ramkumar Mishra (nieto de Pt.Anokhelal Mishra, 1914-1958), Pt.Kishori Kumar Mishra, y Shubh Maharaj (nieto de Pt. Kishan Maharaj, 1923-2008). Ademas de un Junior diploma en tabla de la Prayag Sangeet Samiti, Allahabad, India. Dha Maharaj en su actividad como ejecutante del tabla, en los ultimos anos ha acompanado a bandas y artistas de diferentes estilos y generos musicales, como son el reggae, blues, jazz, pop, ska, flamenco, rock & roll como la leyenda viviente Ptt Lizardo y Pablo Dagnino, fusion con Hector Buitriago, la banda Gaelica; asi como participado como invitado en proyectos de la banda de ska Desorden Publico (Las estrellas del Caos. 2007), el guitarrista Bartolome Diaz (Ageless Friends. 2008), y con el guitarrista Emilio Mendoza (Emilio Mendoza & Ozono Jazz - Natura. 2009) con quien en los ultimos 9 anos viene tocando el tabla en sus diferentes formatos. El autor hasta la fecha ha compuesto dos obras de expresiones plasticas como son la danza contemporanea (Improvisaciones en teen taal, para bailarin y tabla) y la poesia (Cuatro poetas y un tabal-ji). Suele cooperar con la Embajada de la India en Caracas y con agrupaciones que practican disciplinas religiosas hindues, yoga y cantos devocionales, junto a organizaciones reconocidas como son los Hare Krishna, Amma, Sai Baba y Ananda Marga. En la medida de lo posible y motivado por su deseo de difundir la musica de la India, Dha Maharaj trata de asistir a congresos, impartir charlas, dar clases privadas y publicas, y ofrecer seminarios de ritmica del norte de la India a percusionista profesionales expertos en musica popular y musicos clasicos academicos de musica occidental, como es el caso de la Fundacion del Estado para el Sistema Nacional de las Orquestas Juveniles e Infantiles de Venezuela - (FESNOJIV) invitado por el profesor Edgar Saume (bateria) o en el seminario Los latidos del Planeta que en su primera edicion agrupo a destacados percusionista venezolanos como son el maestro Carlos "Nene" Quintero, (percusionista afro latino), Carlos Rojas Zoccolo (percusion brasilena) y Elio Fernandez (bateria de rock & roll), acto realizado en las salas de UNEARTE Bellas Artes en la ciudad de Caracas, Venezuela. El fascinante mundo del tabla, es el primer libro escrito en espanol sobre la musica clasica de la India y enfocado primordialmente al instrumento de percusion del norte de India conocido como tabla. Su autor, el musico venezolano Dha Maharaj (Ulises J. Farias Yeguez) de una forma simple y amena traza la historia de la musica India, sus estilos, los instrumentos musicales melodicos y de percusion (del norte y sur), el sistema de notac"

An iconic symbol and sound of the Lucumi/Santeria religion, Afro-Cuban bata are talking drums that express the epic mythological narratives of the West African Yoruba deities known as "orisha." By imitating aspects of speech and song, and by metaphorically referencing salient attributes of the deities, bata drummers facilitate the communal praising of "orisha" in a music ritual known as a "toque de santo."

In "The Artistry of Afro-Cuban Bata Drumming," Kenneth Schweitzer blends musical transcription, musical analysis, interviews, ethnographic descriptions, and observations from his own experience as a ritual drummer to highlight the complex variables at work during a live Lucumi performance.

Integral in enabling trance possessions by the "orisha," by far the most dramatic expressions of Lucumi faith, bata drummers are also entrusted with controlling the overall ebb and flow of the four- to six-hour "toque de santo." During these events, bata drummers combine their knowledge of ritual with an extensive repertoire of rhythms and songs. Musicians focus on the many thematic acts that unfold both concurrently and in quick succession. In addition to creating an emotionally charged environment, playing salute rhythms for the "orisha," and supporting the playful song competitions that erupt between singers, bata drummers are equally dedicated to nurturing their own drumming community by creating a variety of opportunities for the musicians to grow artistically and creatively."

(Book). Here is a hard rock memoir essentially an authorized bio on the endearing British rock band Humble Pie as told from the drum throne and backstage hallways during the emerging days of the Seventies classic rock era. In 1969, Jerry Shirley was chosen to drum in a new band led by Steve Marriott and Peter Frampton. He had just turned 17. Along with bassist Greg Ridley, and manager Dee Anthony, the Pie started a 6-year journey that stormed the US and defined Arena Rock bigger sound, bigger contracts, and bigger parties. Along the way Jerry meets with future legends that make for a star-studded bio and rare glimpse into the rock music industry. Written in his own voice and with a wicked musician sense of humor, Jerry details the vibrant scene that created the explosive sound of heavy rock. He explains how sessions were conducted by iconic engineers like Glyn Johns and Eddie Kramer, describes his session work with Syd Barrett and George Harrison and tells amusing tales like drum shopping with the Who's Keith Moon. What was it like to perform a sold-out show at Shea Stadium, play for 250,000 in Hyde Park, charter a private jet for tour, record the trend-setting live record at the Fillmore East (that spawned the FM radio staple "I Don't Need No Doctor"), get hyped for the stage by Dee Anthony, and deal with the drugs and excesses of this inhibitive era of rock? This book definitely answers those question as well as "What was it like to meet, play, record, tour, party, and fight with cult hero Steve Marriott?" No other book can cover it like this.

This book is an edition, with commentary, of Handel's exercises for continuo playing, which he wrote for the daughters of George II. The exercises, which until now have not been readily available, are supplemented by clear and concise commentary. Remaining faithful to his source, Ledbetter, who lectures in keyboard studies, has prepared an edition that will prove invaluable to students and performers of the music of Handel and his contemporaries.

Babatunde Olatunji's record album Drums of Passion proclaimed that the time had come for America to recognize Africa's cultural contributions to the music world. Through his many albums and live performances, the Nigerian drummer popularized West African traditional music and spread his message of racial harmony. In this long-awaited autobiography, Olatunji presents his life story and the philosophy that guided him. Olatunji influenced and inspired musicians for more than forty years-from luminaries to music students and the many ordinary people who participated in his drum circles. He writes about rhythm being \u0022the soul of life,\u0022 and about the healing power of the drum. Ultimately, The Beat of My Drum shows why at the time of his death in 2003, Olatunji had become, according to The New York Times, \u0022the most visible African musician in the United States.\u0022

Dottie Dodgion is a jazz drummer who played with the best.  A survivor, she lived an entire lifetime before she was seventeen. Undeterred by hardships she defied the odds and earned a seat as a woman in the exclusive men’s club of jazz. Her dues-paying path as a musician took her from early work with Charles Mingus to being hired by Benny Goodman at Basin Street East on her first day in New York. From there she broke new ground as a woman who played a “man’s instrument� in first-string, all-male New York City jazz bands. Her inspiring memoir talks frankly about her music and the challenges she faced, and shines a light into the jazz world of the 1960s and 1970s.   Vivid and always entertaining, The Lady Swings tells Dottie Dodgion's story with the same verve and straight-ahead honesty that powered her playing. A Variety Best Music Book of 2021

The 1903 Mrdang aur Tabla Vadanpaddhati is a revelatory text that has never been translated or analysed. It is a manual for playing the two most important drums of North Indian (Hindustani) music, the pakhavaj (mrdang) and the tabla. Owing to its relative obscurity, it is a source that has never been discussed in the literature on Hindustani music. Its author, Gurudev Patwardhan, was Vice Principal of V.D. Paluskar's first music school in Lahore from its inception in 1901 to 1908. Professor James Kippen provides the first translation of this immensely important text and examines its startling implications for rhythmic and metric theory. It is the earliest work on Indian drumming to contain a notation sufficiently precise to allow definitive reconstruction. The compositions are of considerable musical interest, for they can be readily realized on the tabla or pakhavaj. Kippen sets the work and objectives of the original author in the context of a rich historical, social and political background. By also discussing radical differences in the second edition of 1938, published by Gurudev's nephew, the vocalist Vinayakrao Patwardhan, Kippen illuminates the process by which 'tabla theory' was being created in the early 20th century. Both Patwardhans were enthusiastic supporters of Paluskar's nationalist imperatives, and active participants in his drive to institutionalize music, codify and publish notations of it, and promote a modern, Hindu vision of India wherein its identity could once again be linked to a glorious golden age in distant antiquity.

Alfred's Drum Method has been combined with a pair of sticks and a practice pad to make the ultimate starter kit for aspiring drummers. This title is available in SmartMusic.