Sheila E., born Sheila Escovedo in 1957, picked up the drumsticks and started making music at the precocious age of three, inspired by her legendary father, percussionist Pete Escovedo. By nineteen, she had fallen in love with Carlos Santana. By twenty-one, she met Prince at one of her concerts. After the show, he told her that he and his bassist "were just fighting about which one of us would be your husband." Sheila E. and Prince would eventually join forces and collaborate for more than two decades, creating hits that catapulted Sheila to her own pop superstardom. The Beat of My Own Drumis both a walk through four decades of Latin and pop music-from her tours with Marvin Gaye, Lionel Richie, Prince, and Ringo Starr-to her own solo career. At the same time, it's also a heart-breaking, ultimately redemptive look at how the sanctity of music can save a person's life. Having endured sexual abuse as a child, Sheila credits her parents, music, and God with giving her the will to carry on and to build a lasting legacy. Rich in musical detail, pop and Latin music history from the '70s and '80s, and Sheila's personal story, this memoir is a unique glimpse into a drummer's singular life-a treat for both new and long-time fans of Sheila E. And above all, it is a testament to how the positive power of music serves as the heartbeat of her life.

This book & CD traces the evolution of New Orleans jazz and second-line drumming from the early styles of ragtime and traditional jazz to their modern applications in contemporary jazz.

The drum kit is ubiquitous in global popular music and culture, and modern kit drumming profoundly defined the sound of twentieth-century popular music. The Cambridge Companion to the Drum Kit highlights emerging scholarship on the drum kit, drummers and key debates related to the instrument and its players. Interdisciplinary in scope, this volume draws on research from across the humanities, sciences, and social sciences to showcase the drum kit, a relatively recent historical phenomenon, as a site worthy of analysis, critique, and reflection. Providing readers with an array of perspectives on the social, material, and performative dimensions of the instrument, this book will be a valuable resource for students, drum kit studies scholars, and all those who want a deeper understanding of the drum kit, drummers, and drumming.

(Musicians Institute Press). Essential Rock Drumming Concepts will enable you to establish a solid foundation for the demands of today's rock drummer by developing basic exercises into advanced applications. You will gain a fundamental understanding of a wide variety of techniques that can be developed to any degree you desire. The accompanying audio CD has 72 demonstration tracks of representative exercises from each chapter of the book that will help you take your playing to the next several levels.

This definitive encyclopaedic work explores the origins of percussion through the development of the early drums and xylophones right up to the wide range of modern instruments and the sounds they make. James Blades covers these early developments globally from China and the Far East, India and Tibet, the early civilisations in Mesopotamia, Egypt, Greece, Rome and Persia through to mediaeval and renaissance Europe. He continues to examine the role of percussion in the classical and romantic orchestras and finally looks at the ways composers have pushed the boundaries in modern music. Each chapter has its own photographs, illustrations and bibliography and there are comprehensive indices referencing all the composers and works discussed. This extended edition includes two important new chapters. The first covers the rise of the solo percussionist and is written by the world's leading practitioner and one of Blades' former pupils, Dame Evelyn Glennie, who also contributes a new Foreword, while recent developments in orchestral percussion are covered by Neil Percy, Head of Timpani and Percussion at the Royal Academy of Music and Principal Percussionist of the London Symphony Orchestra.

The Encyclopedia of Percussion is an extensive guide to percussion instruments, organized for research as well as general knowledge. Focusing on idiophones and membranophones, it covers in detail both Western and non-Western percussive instruments. These include not only instruments whose usual sound is produced percussively (like snare drums and triangles), but those whose usual sound is produced concussively (like castanets and claves) or by friction (like the cuica and the lion's roar). The expertise of contributors have been used to produce a wide-ranging list of percussion topics. The volume includes: (1) an alphabetical listing of percussion instruments and terms from around the world; (2) an extensive section of illustrations of percussion instruments; (3) thirty-five articles covering topics from Basel drumming to the xylophone; (4) a list of percussion symbols; (5) a table of percussion instruments and terms in English, French, German, and Italian; and (6) an updated section of published writings on methods for percussion.

(Percussion). Note-for-note transcriptions for 8 classic songs with a DVD including instruction by Jack E. Roth for all the important drum grooves and fills. Songs: Damage, Inc. * Fight Fire with Fire * Frantic * Hero of the Day * Jump in the Fire * The Memory Remains * The Shortest Straw * Wherever I May Roam.

Timpani Tone and the Interpretation of Baroque and Classical Music explores the nature, production, and evolution of timpani tone and provides insights into how to interpret the music of J. S. Bach, Handel, Haydn, and Mozart. In drawing on 31 years of experience, Steven L. Schweizer focuses on the components of timpani tone and methods for producing it. In so doing, he discusses the importance of timpani bowl type; mallets; playing style; physical gestures; choice of drums; mallet grip; legato, marcato, and staccato strokes; playing different parts of the timpano head; and psychological openness to the music in effectively shaping and coloring timpani parts.
In an acclaimed chapter on interpretation, Schweizer explores how timpanists can use knowledge of the composer's style, psychology, and musical intentions; phrasing and articulation; the musical score; and a conductor's gestures to effectively and convincingly play a part with emotional dynamism and power. The greater part of the book is devoted to the interpretation of Baroque and Classical orchestral and choral music. Meticulously drawing on original sources and authoritative scores from the seventeenth through nineteenth centuries, Schweizer convincingly demonstrates that timpanists were capable of producing a broader range of timpani tone earlier than is normally supposed. The increase in timpani size, covered timpani mallets, and thinner timpani heads increased the quality of timpani tone; therefore, today's timpanist's need not be entirely concerned with playing with very articulate sticks. In exhaustive sections on Bach, Handel, Haydn, and Mozart, Schweizer takes the reader on an odyssey through the interpretation of their symphonic and choral music.
Relying on Baroque and Classical performance practices, timpani notation, the composer's musical style, and definitive scores, he interprets timpani parts from major works of these composers. Schweizer pays particular attention to timpani tone, articulation, phrasing, and dynamic contouring: elements necessary to effectively communicate their part to listeners.

Timpani Tone and the Interpretation of Baroque and Classical Music explores the nature, production, and evolution of timpani tone and provides insights into how to interpret the music of J. S. Bach, Handel, Haydn, and Mozart. In drawing on 31 years of experience, Steven L. Schweizer focuses on the components of timpani tone and methods for producing it. In so doing, he discusses the importance of timpani bowl type; mallets; playing style; physical gestures; choice of drums; mallet grip; legato, marcato, and staccato strokes; playing different parts of the timpano head; and psychological openness to the music in effectively shaping and coloring timpani parts.
In an acclaimed chapter on interpretation, Schweizer explores how timpanists can use knowledge of the composer's style, psychology, and musical intentions; phrasing and articulation; the musical score; and a conductor's gestures to effectively and convincingly play a part with emotional dynamism and power. The greater part of the book is devoted to the interpretation of Baroque and Classical orchestral and choral music. Meticulously drawing on original sources and authoritative scores from the seventeenth through nineteenth centuries, Schweizer convincingly demonstrates that timpanists were capable of producing a broader range of timpani tone earlier than is normally supposed. The increase in timpani size, covered timpani mallets, and thinner timpani heads increased the quality of timpani tone; therefore, today's timpanist's need not be entirely concerned with playing with very articulate sticks. In exhaustive sections on Bach, Handel, Haydn, and Mozart, Schweizer takes the reader on an odyssey through the interpretation of their symphonic and choral music.
Relying on Baroque and Classical performance practices, timpani notation, the composer's musical style, and definitive scores, he interprets timpani parts from major works of these composers. Schweizer pays particular attention to timpani tone, articulation, phrasing, and dynamic contouring: elements necessary to effectively communicate their part to listeners.

(Drum Instruction). Develop your drumming versatility as you master these grooves for all occasions. This book and CD package contains 155 drumbeats in styles such as classic rock, modern rock, hip-hop, and rap, as well as Latin, country, jazz, and many more popular styles. Each beat on the two accompanying CDs has been professionally recorded by a real drummer.

This book is a complete course in the art of drum programming and the concepts and technologies behind it. It takes the reader from the earliest steps in using a digital audio workstation through the development of an individual sound signature and on to the achievement of professional results. Designed to accommodate users of any major drum programming application it explores: the history of rhythm programming digital audio workstations and how to use them one-shot MIDI programming samplers romplers advanced timing for swing and beat-mapping loops and audio creating drum sounds by subtractive synthesis and production and FX. It culminates with detailed guidance on the creation of drum tracks for specific musical styles ranging from pop and rock to jazz reggae drum 'n' bass and glitch. The course unfolds through extensive use of workstation screenshots and audio examples. Along the way helpful tips and practical exercises keep students motivated and engaged.

Play your favorite songs quickly and easily with the Drum Play-Along Series. Just follow the drum notation, listen to the CD to hear how the drums should sound, then play along using the separate backing tracks. The lyrics are also included for quick reference. The audio CD is playable on any CD player. For PC and MAC computer users, the CD is enhanced so you can adjust the recording to any tempo without changing the pitch! Includes: Bark at the Moon * Detroit Rock City * Living After Midnight * Panama * Rock You Like a Hurricane * Run to the Hills * Smoke on the Water * War Pigs (Interpolating Luke's Wall).

This work examines the spread of the steelpan art form within U.S. music education, specifically in schools and universities. This is set within the context of a large Caribbean diaspora, which brought the music and culture to the U.S. This is followed by an in-depth examination into the implications for steel bands and music education going forward. This research includes 'family trees' that illustrate the impact of various programs on the spread of the art form and includes information on one of the earliest U.S. school steel band programs in the concluding case study chapter. The work includes numerous resources for steel band directors and music educators interested in this topic.

(Percussion). This collection of solo drumset music will provide the practicing drummer with interesting ideas to explore through a varied selection of musical styles and degrees of difficulty. It will also help drummers acquire a better knowledge of form, dynamics, music terminology and overall musicianship. For use as a lesson supplement, or as performance material for recitals and solo competitions.

"What singles this book out is the sheer diversity of instruments covered this is a very welcome book. It is fair to say that the science of percussion instruments would not have advanced anywhere near so far without the tireless enthusiasm and passion of Rossing and his students."Nature, 2001"It forms a very nice survey work on an entire class of musical instruments I recommend it to anyone interested in acoustics and the physics of musical instruments."American Journal of Physics, Sept 2001

(Fast Track Music Instruction). The Fast Track songbooks are designed to let students jam with their friends learning other instruments in the series, so all the books have the same songs and are compatible. Each book includes the play-along CD in case a player doesn't have their own band available The Level 1 songbooks feature 8 classic songs, including: Brown Eyed Girl * Great Balls of Fire * I Want to Hold Your Hand * Oh, Pretty Woman * Wild Thing * Wonderful Tonight * You Really Got Me * Your Song.

In Learning to Listen, Gary Burton shares his fifty years of experiences at the top of the jazz scene. A seven-time Grammy award winner, Burton made his first recordings at age 17, has toured and recorded with a who's who of famous jazz names, and is one of only a few openly gay musicians in jazz. Burton is a true innovator, both as a performer and an educator. His autobiography is one of the most personal and insightful jazz books ever written.

In the past fifty years, the bodhr�n, or traditional Irish circular frame drum, has undergone a rapid evolution in development. Traditionally, it is a shallow drum ranging from ten to twenty-six inches in diameter, covered in goatskin on the top (or drum) side and open on the other. Unlike any other instrument associated with Irish traditional music, the bodhr�n has been dramatically altered by its confrontation with modern instrument design, performance techniques, and musical practice. Colin Harte's The Bodhr�n: Experimentation, Innovation, and the Traditional Irish Frame Drum presents a definitive history of the bodhr�n from its early origins to its present-day resurgence in Irish American folk music. The bodhr�n has global roots and bears many characteristics of older drums from northern Africa and the Middle East. Harte picks up on these basic similarities and embarks on an engaging tour of the instrument's historical and organological development, gradual evolution in playing styles, and more recent history of performative practice. Drawing from a host of interviews over a multi-year period with participants primarily located in Europe and North America, this work provides a platform for multiple perspectives regarding the bodhr�n. Participants include bodhr�n makers, professional performers, educators, amateur musicians, historians, and enthusiasts. Growing out of rich ethnographic interviews, this book serves as the definitive reference for understanding and navigating the developments in the bodhr�n's history, organology, performance practices, and repertoire.