Bachovich Music Publications
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- $20 - # 0859 - Aleo, Keith: Complementary Percussion: A handbook for developing Tambourine, Triangle, Cymbals and Bass Drum Performance
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Typically, concert percussionists focus their practice sessions on snare drum, keyboard percussion, and timpani. Rarely do they practice what we often call the "accessory" percussion instruments. More importantly, the use of the term "accessory" to describe a group of percussion instruments diminishes their importance and role in the concert percussion world. These instruments are more appropriately described as "complementary percussion instruments." Therefore, Complementary Percussion: A workbook for developing Tambourine, Triangle, Cymbals and Bass Drum Performance, provides the percussionist with exercises, etudes and duets specifically written for these instruments. The exercises are the "stick control" for this group of instruments and provide the necessary foundation to begin addressing the etudes. The etudes are idiomatic, musically satisfying, and simply "make sense" from a percussionist's standpoint. They vary in skill and serve as a launching point to master these instruments. Having perfected the exercises and mastered all of the etudes, a percussionist will be prepared to tackle any part for tambourine, triangle, bass drum and cymbals. "Keith Aleo has filled a void in the field of orchestral percussion with his collection of etudes. They are clever, musically written, and address real challenges and impracticalities associated with these instruments. They are a valuable resource for all levels of experience."Dan Bauch, Boston Symphony Orchestra "This book is fabulous! A much welcomed musical vehicle to practice these instruments that so define our craft. This will be a definite staple in my studio at Eastman."Michael Burritt, Eastman School of Music "Keith Aleo is one of my best friends and greatest inspirations as a percussionist. When we were students together at the Eastman School of Music, he listened tirelessly, and offered invaluable insight to me as I was practicing for auditions, and in this book he has managed to capture the very essence of the techniques required to succeed at such an endeavor. This book is the best friend that you can have as you prepare for your life's work as a percussionist."Patsy Dash, Chicago Symphony Orchestra "This text has been sorely needed for years! I love how Keith composes such musical etudes; many based upon symphonic literature—without actually making it an 'excerpt study.' He provides just enough information for the student to interpret the etudes several different ways, preparing them for a variety of performance situations—very much like Delécluse. I have wasted no time in adding it to our applied curriculum at Florida State!"John W. Parks IV, Florida State University |
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This is not a method book, but a hands-on, no-nonsense, practical resource for teachers and performers serious about their craft. This 100+ page text is a result of years of experience in the trenches of student and professional situations and favors a direct conversational tone. "You can spend twenty years learning this material through trial and error, or simply read this book cover to cover."Joseph Tompkins, Rutgers University/New York Freelance |
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"A must for all composers, conductors and instrumentalists. By far the most absorbing and demanding book on percussion writing." -- Jeffrey Milarsky, Percussionist, Conductor, Professor in Music, Columbia University "A true contribution to the literature of orchestration." -- Samuel Adler, Professor Emeritus, Eastman School of Music, Composition Faculty, Juilliard School, Author, The Study of Orchestration "It will be required reading in my classes and a fixture on my desk." -- Steven Mackey, Composer, Guitarist, Professor of Music, Princeton University How to Write for PERCUSSION is a comprehensive text that clearly explains and simplifies all issues that percussionists and composers face with respect to each other. Written from a percussionist's perspective, it examines the behind-the-scenes processes to uncover all the tools the composer needs to comfortably create innovative and skilled percussion composition. If you are a composer or arranger and have ever had a question about percussion writing, How to Write for PERCUSSION is the definitive source. Whether you have years of percussion writing experience or no idea how to even approach it, this book will give you hundreds of great new ideas and will show you exactly how to realize them in your music. |
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500 4-Surface Patterns is simply that, 500 different patterns of four notes that you can use to develop your technique in any context requiring proficiency on four surfaces. Suggested applications include drumset and 4-mallet keyboard playing. Click to view on szsolomon.com |