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.

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."

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.

From its first appearance in 1939 with a group of men knocking on pots and pans to the 1951 Trinidad All-Steel Percussion Orchestra (TASPO), steelband has fascinated the world. Relying largely on oral histories, this work investigates and documents the different technical, musical and organisational steps by which the steelband movement was born and grew to maturity. This study is a radical break with the approach to cultural creativity in general and music of the African diaspora in particular, emphasising the role of individual agency, microsociology and aesthetic values. This contrasts with the "resistance" school of thought, which views music as an automatic reaction to oppression rather than a deliberate attempt to satisfy aesthetic needs and impulses. The minute biographical and psychological details provide a unique theory of creolisation and chart its relationship to African retentions, based on empirical data. This authoritative study will appeal to both the general reader interested in the origins of steelband and to scholars concerned with the creolisation of African and European cultures and Caribbean creativity.

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.

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

Pandora is a collection of 4 mallet marimba literature from Greg Jackson. The compositions are ideal for graduate level percussion recitals and professional concerts; with some works that can be handled by most advanced high school and collegiate percussionists. Pandora contains a total of 12 works; 11 are for solo marimba and 1 piece for marimba and cello. Three of the compositions are featured on the CD "Darkest Hour." For more information about the music in this collection and program notes, please visit www.inner3.com.

This is the second volume of The Synergy Method for Drumming, and the 10th book from Dr. Greg Jackson. The collection of etudes found in this volume will help percussionists push themselves past their expectations. The etudes found in this method book are some of the most advanced pieces in the percussion literature. Level: Extremely Advanced to Professional

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 1 is the first in a two book series.

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.

One of the most comprehensive instructional books ever written for teaching and learning how to play the drums. It contains everything a teacher and student need in an organized format from beginning through advanced lesson material. All styles are thoroughly written out providing enough lesson material to be able to practice each style until a firm foundation has been developed. This book is a must have for every drummers library.

Bill Bruford, once called the godfather of progressive-rock drumming, has been at the top of his profession for four decades. This is his memoir of life at the heart of prog rock, art rock, and modern jazz, playing with Yes, King Crimson, Genesis, Earthworks and many more. It is an honest and entertaining account of life on the road and in the studio, rubbing shoulders with the famous, the less famous, and the infamous, and creating an impressive tally of great music. A rock musician with the temperament of a classical musician who became a jazz musician, Bruford defies all the cliches about drummers. He says: "You write what you have to write, you play what you have to play, because you cannot sleep at night. If you can sleep at night, you shouldn't be doing this anyway." From time to time, at polite dinner parties, someone will ask Bill what he does. He replies that he is a musician. "Yes, but what do you really do?" retorts the enquirer. This unusual, funny and insightful music memoir answers that question.

Updated in 2012 this Third Edition of the highly acclaimed book Drum Tuning is an in-depth guide to tuning drums. It is written in an easy-to-read basic format that can benefit every drummer from beginner to pro. Endorsed by many pros, including Mitch Mitchell (drummer with Jimi Hendrix Experience), Kenny Aronoff, Carmine Appice and Hal Blaine. Drummers of all ages and levels can benefit by reading this book. The First Edition was written in 1988 and was a breakthrough for the drumming community since there was nothing like it at the time. Since then many people have used this information to help them understand how to get the sound they want from their own drums. Just as guitar and bass players need to learn how to tune their instruments, drummers should also learn how to tune their drums. And not just tune them, but they should learn how to get the sound they want out of them. That's what this book is all about.

GONG YOGA is a comprehensive book on practicing and teaching yoga with the sound of the gong. You will learn about the origin, history and use of the gong for yoga and meditation as well as its current therapeutic applications for healing and transformation. The book contains a step-by-step training guide to teach yourself how to play the gong through a series of practice sessions. You will learn the basic techniques to play the gong effectively as well as more advanced techniques to create your own personalized gong playing routines. You will also learn how to structure yoga classes and individual practices using the gong as well as how to develop gong yoga therapy sessions for your students and professional clients. A special chapter on Kundalini Yoga and the Gong explains the use of specific mantras and meditations, as well as information on the chakras, the major energy channels of the body (the nadis), and the five sheaths of existence (the koshas), that are key to understanding how the gong integrates with the practice of yoga. Also included is how to select and care for your gong and additional resources to develop your skills.

An brilliant introductory course in the art of playing the Bodhran, covering all the basic techniques needed to accompany traditional Irish and other music. Ideal for beginners, this illustrated booklet is crammed with useful features, diagrams and examples. Also included is a demonstration CD that shows all the techniques that are discussed in the book.

This book is a description of how one drummer, Bill Bruford of Yes, King Crimson, Genesis and U.K. fame, survived the lunacy that accompanies a professional musician's existence and still retained the desire to sit at the drumset and play. It is a compendium of 18 of Bruford's recorded works in notated form, together with scene-setting and some explanation of how and why he arrived at the end product. For the compulsive practisers amongst his readership he has included a few exercises that may or may not be related to the music which precedes them in the chapter. If the narrative casts a somewhat jaundiced eye on the reasons drummers play the things they play the author makes no apologies for that. Published by Foruli Classics - dedicated to bringing the best out-of-print music and popular culture books back into print.

Do you want to improve your vocabulary, grooves, fills, technique, reading and musicianship? Then this book is for you. This is a step by step guide to playing drums using the Linear concept. All the greats have mastered this concept and now you can too using the easy to follow steps in this book. Starting with 1/4 note exercises and progressing to fully orchestrated 1/16th note linear grooves and fills. This book is aimed at beginners to advanced players to improve your groove. Reviewed by Modern drummer magazine and Rhythm magazine. It comes complete with Free mp3 examples of exercises, grooves and fills

A percussion sextet using common instruments to play a Japanese style piece. This is the follow-up piece to Hokkaido Jishin. The translation for "Yoshin" is "Aftershock."

Etudes Op. 48 is a book of modern solos ideal for the concert solo setting. The book is for beginners to advanced level percussionists. There are solos suited for beginners which can also serve as excellent sight-reading materials. Many of the snare drum books available now are outdated and the market does not have many new books. Etudes Op. 48 will be a great addition for the percussionists looking for a collection of solos composed with the 21st century musician in mind.

There's only one way to ring a handbell or handchime: "The Healthy Way " This remarkable book carefully describes and illustrates handbell and handchime fundamentals that will: Protect each part of your body with warm-ups and stretches. Teach safe grips, rings, damps and weaves. Teach safe ways to approach and ring bass bells. Give you valuable survival tips for rehearsals and massed rings. Provide safe ways to perform multiple bells and special techniques. Promote proper care of eyes, ears and voice. Present the basics of breathing, nutrition, and stress management.