You could spend your life on the first six pages of “Stick Control” and still not cover all the possibilities. Dynamics, accents, foot-hand, foot-foot, fast/slow, hands on top of foot patterns, feet on top of hand patterns, regroupings and accenting in 5-7-4 (regrouping of the 16 strokes per pattern), 7-5-4 (re-regrouping of the 16 strokes), yadda yadda. If you see the first six pages of Stick Control as just exercises, you miss the fantastic complexity YOU can introduce to constantly humble yourself while hovering over a practice pad.
The original post related to the PDFs below (link) provided two downloads. The first was all 65,536 R/L combinations for 16th note groupings (so full measures of 16th notes in 4/4 time). The second contained all 4,096 8th note triplet groupings (so full measures of 8th notes in 12/8 time, or 4/4 “jazz” triplets).
This first set is academically complete, but any sticking combination with more than 4 R’s or L’s in a row is just endurance overkill (and even 3 becomes a problem until you figure out your fingers or controlled rebounds). In the interest of having something a bit easier on the warm-up and coordination routine, six new PDFs are below that divide up the 16- and 12-note grouping PDFs into 16- and 12-note sets that contain no more than 2, 3, or 4 R’s or L’s in succession (including the repeat of the pattern as you hammer through X many times). In sticking with the Terry Bozzio theme of the ostinato description of the first post, one could call these “The Easy Teenage New York Versions” of the original series.
Some Practice Ideas
The usage styles are the same as before. I have discovered a few things in working through the 2 R/L triplet combination page that I’ll point out.
1. Work through the whole list once without a click to get comfortable with the patterns. Going in cold will only frustrate when you reach a pattern your hands just aren’t interested in playing correctly yet.
2. The best way to build independence is to overwork your brain. If you can do “the pattern” with your feet playing a pattern, great. Your voice makes for a great 5th limb, more so when you speak the time out loud (in-head counting doesn’t quite cut it).
3. Put your hands on different instruments (maybe obvious). R on bell, L on snare, etc.
4. Escher-ize the patterns (see the sticking pattern as two independent patterns, then try to merge them). There were more than a few patterns where my hands did not work for the first passes, specifically a few patterns where the RR or LL occurs at the end of one beat of three and the beginning of the next beat of three (RRL LRR, for instance)).
My solution was to stop trying to play the sticking pattern and instead focus on playing “one hand” of the pattern, then filling in the missing beats with the other hand. For instance…
RRL LRR LRL RRL
Gets reduced to only the right hand, so only play the pattern as…
RR_ _RR _R_ RR_
When that’s comfortable, fill in the empty spaces with the left hand, perhaps playing the L at half-volume (say “l”) so the R pattern still stands out…
RRl lRR lRl RRl
Two things may happen. The first is that trying to stop thinking in terms of clave and instead in terms of sticking combination will make you butcher the pattern again. That just means you need to practice the pattern longer. The second is that you’ll play this thing with your right hand, think to yourself “that’s kinda funky if I play that on the bell,” and you’ll discover a groove that is magically easier to play than you thought based on your previous mangling of the pattern.
It seems a near-impossibility that you can buy something in a store today that has (as of this post) ZERO google footprint, but I found it. On a recent trip to Buke at the Music Center on James St., I picked up the cymbal/chime/bell/thing below. The only identifiers on this 6″ core of a heavy ride cymbal are the cursive TM’ed text that looks like “Zenero” and a pure tone that can be easily discerned from background noise for a minute or more (and you can feel the air buzzing just around it as it rings).
A post to the drummerworld forum (drummerworld.com/forums/showthread.php?t=84143) simply confirmed my attempts to find info about this thing, making the drummerworld post and this blog currently “it” for info, which remains either the best or worst marketing gimmick on the internets today, with my suspicion still leaning to the former.
And, furthermore, speaking of cymbals, I bought this around the same time the planet lost one of the great independent cymbal makers in Roberto Spizzichino.
UPDATE – 29 September 2010: In my usual policy of *nix-based deference to anything Perry Metzger has to say (other areas, too, but specifically here), I note that my procedure has the potential to mangle whatever is using Memeo (although I’ve not had anything go bump in the night yet). For those less than interested in the surgery below, your most safest bet is to crack open a Terminal window and sudo cp -R /Users/[you] /Volumes/[Your Backup Drive] (assuming you’ve activated the root password in OS X, of course). That is all.
There isn’t too much of this online so I thought I’d provide my fix. As background, I like the idea of having constant capsules of my MacBook Pro (MBP) sitting on a Time Capsule drive, but I am constantly up-and-running with my MBP and am rarely sitting in front of a machine long enough to let full writes be written to some backup drive (and, as any quantum chemist worth their salt is generating scores of files on an hourly basis, my laptop is constantly undergoing changes). Long story short – I want to spend one hour at my choosing to turn off wireless, close all my open programs, copy my User directory, and paste it onto an external drive. That’s it.
Finally upgrading to 10.6.4 (by way of a new 13.3″), my first attempt to backup the first clean copy of the complete migration from my old 15″ went all of 20 minutes before the following error popped up on my screen:
The operation can’t be completed because you don’t have permission to access “MemeodHelper.”
I guess the two of us are the oddballs for not sticking to the OSX program suite.
The solution is to simply change the permissions so that you, the user, DOES have access to read + write this file. I tried a Right Click – Get Info – Sharing & Permissions fix only to discover I DID have Read & Write access. Clearly, I am not the owner of this file. Taking the next proper step…
Applications –> Utilities –> Terminal
cd ~/Library/Application\ Support/Memeo
…we see that the permissions set for the MemeodHelper file are as follows:
r = read
x = execute
s = domain socket
And that the owner is root (not you). The ownership problem explains the inability to read + write this file. And, I have never seen an “s” in all my days digging around in Terminal (had to look it up to see what it meant. Hail Wikipedia).
This “s” and the missing “w” for you, the user, is the problem. The solution is to allow you (the user) to write and execute this file, which I have chosen to do by simply changing the user ownership and the permissions. The steps are as follows (userid = the userid that shows up for the “..” and “.” (shown above this file with an ls –al)):
sudo chown userid MemeodHelper
It will ask for a password – your user password will do.
chmod u+wrx MemeodHelper
This changes the ownership permissions for MemeodHelper.
That’s it. You should now be able to copy + paste your User directory (HOME) to another drive. By Firewire 800, I’m copying 220 GB in about 56 minutes, which I cannot complain about. To date (after a week), I’ve had no machine issues with my change to MemeodHelper and have found no other people having complaints. If you discover something, by all means say something.
And, to continue to discussion, I had the most miserable experience migrating from Seagate FreeAgent USB 2.0 drives used with a Windows XP backup machine to the point that I bought and returned them over 24 hours, with these drives unable to reliably write files larger than 500 MB (and one of the two I bought for my global backup would spontaneously unmount itself. Not cool).
On October 4, a concert is planned with “The Excelsior Cornet Band”. “The Excelsior Cornet Band” is New York State’s only authentic Civil War brass band. Founded in 2001, the band consists of a group of upstate New York musicians who are dedicated to the performance of original Civil War music on actual antique brass band instruments of the 1860’s period. They will be performing their Abraham Lincoln Program on Sun., Oct 4 at 2 pm on the second floor of the Library.
With my trusty Olympus LS-10 (Linear PCM) Recorder set to PCM (44.1kHz/16bit) mode (additional settings: Low Cut OFF, Mic Sensitivity HIGH, recorder placed on the drums side of the band 20 feet away from any instruments) and my Canon Powershot SD780 IS (digital ELPH) set to HD video mode (the only canon in attendance), I managed to capture an official bootleg of a Civil War Band in performance, certainly one of the few in history. Regretfully, the video is only of the first 25 minutes of the performance.
Our fearless leader Jeff Stockham provided a considerable amount of text about the occasion and the music of the occasion (as 2009 is, now was, the bicentennial year of President Abraham Lincoln’s birth) that I decided was best retained in the full recording. As this was too much to type out (and it is quite clear in the recordings anyway), I have included brief comments on the pieces in the concert below with relevant links to web content about pieces, original performers, and significant historical figures.
The set list is below. The full MP3 album (320 kpbs) of the performance is available for download at the link “1” below (all song and album data should appear with an import to iTunes or related). In .tar.gz format. Most modern operating systems will open this file automatically to provide the .mp3 files. If not, I suspect you’re running an older version of Windows and should, therefore, download 7-Zip, Winzip, or related. Link “2” contains the unseperated MP3 audio of the concert (the talk between music is hard to hear. The .tar.gz file has the spoken sections amplified). Link “3” is of the .mov file of the first 25 minutes of the performance (much faster if you download to desktop). For both the MP3 and MOV files, please save to your own machine instead of streaming from my website (right-click over the link and “Save As,” “Save Link As,” etc.).
Henry Clay Whitney‘s recollection of a comment from Abraham Lincoln – all other pleasures had a utility, but that music was simply a pleasure and nothing more, and that he fancied that the creator, after providing all the mechanism for carrying on the world, made music as a simple, unalloyed pleasure…. This text is copied from www.abrahamlincolnsclassroom.org.
“I am loath to close. We are not enemies, but friends. We must not be enemies. Though passion may have strained it must not break our bonds of affection. The mystic chords of memory, stretching from every battlefield and patriot grave to every living heart and hearthstone all over this broad land, will yet swell the chorus of the Union, when again touched, as surely they will be, by the better angels of our nature.” – Abraham Lincoln‘s close of his first inaugural address.
03. Introduction to “Old Joe Hooker Quickstep” – 2:37
The Wide Awake Quickstep, possibly performed on 11 September 1860 for a meeting of “The Wide Awakes,” is from Schreiber’s Albany Cornet Band, which was organized 12 June 1860. Information about the Wide Awakes is available at wikipedia.
An engraving of a Wide Awake’s 1860 rally.
A Wide Awakes website also exists for an organization that claims to be of the order of the original movement (someone can confirm or deny this accordingly). This can be found at www.wideawakes.net.
07. Introduction to “Meditation: 20 Years Ago” – 2:54
08. Meditation: 20 Years Ago – 3:07
“That tune is enough to make an E-flat cornet player dizzy.” – Jeff Stockham
This medley was arranged by George Holton Goodwin. “20 Years Ago” is reported by Ward Hill Lamon to be Lincoln’s favorite piece of music. The piece “20 Years Ago” was written by William Willing in 1856. “Ever Of Thee” was written by Foley Hall and George Linley in 1852. A link to sheet music (and a snippet of audio) can be found at the National Library of Australia website at catalogue.nla.gov.au/Record/1683158. A copy of the cover is shown below.
The quickstep version performed here is attributed to the Manchester Massachusetts Cornet Band (there also exists a Manchester New Hampshire Cornet Band if you google around. Accept no Manchester imitations! That said, there is a complete history of the Manchester New Hampshire Cornet Band from 1890 available in PDF format (as well as the usual browser-friendly format) at google books: books.google.com/books?id=5PBYAAAAMAAJ&printsec=frontcover#v=onepage&q=&f=false).
Another piece by George Holton Goodwin titled “Door Latch Quickstep” can be found at www.digitalhistory.uh.edu/audio/music2.cfm. The tune is near the bottom of the top-fifth of the website. A copy of the provided MP3 from the Library of Congress is provided locally HERE.
10. The Irish Medley: The Sprig of Shillelagh, Rakes of Mallow, and Lament of the Irish Immigrant – 2:43
The alternate name for “Lament of the Irish Immigrant” is “I’m Sitting On The Stile, Mary.” The Irish Medley is from The Squire’s Brass Band Olio. I’ve found precious little online about the music and the band, but direct you to the following few links for some additional information:
Adelina Patti 1843-1919, Spanish Opera Singer. From wikipedia.org.
From the wikipedia entry for Adelina Patti: “In 1862 she sang John Howard Payne’s Home, Sweet Home at the White House for Abraham and Mary Lincoln, who were mourning for their son Willie, who had died of typhoid. The Lincolns were moved to tears and requested an encore. This song would became associated with Adelina Patti. She performed it many times as an encore by popular request.”
It probably was in this room that singer Madame Patti came to visit with and sing for the Lincolns. She said later that “we were received by Mrs. Lincoln in one of the big parlors. The President’s wife was a handsome woman, almost regal in her deep black and expansive crinoline, only an outline of white at throat and wrists. Her manner was most gracious without a particle of reserve or stiffness. ‘My dear, it is very kind of you to come to see us,’ she said. Taking both my hands in hers and smiling in my face, she added,’I have wanted to see you; — to see the young girl who has done so much, who has set the whole world talking of her wonderful singing.'” After several songs, Madame Patti accompanied herself on the piano while singing, ‘The Last Rose of Summer.’ She realized afterwards that she had “made an awkward choice.’ Mary has “risen from her seat and was standing at a window in the back part of the room with her back toward me. I could not see her face but I knew she was weeping.” Mr. Lincoln then requested ‘Home Sweet Home.”
Historian David Rankin Barbee wrote that her accompanist “did not know the air, and Patti, who knew it, did not know the words, and had never sung them. Seeing her dilemma, ‘the President rose from his seat, went quickly to a small stand at the foot of the piano, took from it a small music book, with a vivid green color, and placed it on the piano rack, opened to the music of Home, Sweet Home. Then he returned to his seat without a word and resumed his former posture. ‘Well, I sang the song the very best I could do it,’ Patti concluded,’and when Mr. Lincoln thanked me his voice was husky and his eyes were full of tears. By that time I was so wrought up over the situation myself that I was actually blubbering when we were taking leave of the recently bereaved parents.'”
All people that on earth do dwell,
Sing to the Lord with cheerful voice.
Him serve with fear, His praise forth tell;
Come ye before Him and rejoice.
In combination with the text from the performance, Lincoln’s Gettysburg Address is provided in its entirety below (using his aptitude for impact and brevity as a metric, Lincoln would have made one helluva blogger). I remember Carlos Moroz memorizing this for our 4th Grade English class (I had picked a section of George Washington’s Farewell Address) and thinking it was pretty good (well, it was 4th Grade).
So brief, the photographer only caught Lincoln as he sat down. From wikipedia.org.
Four score and seven years ago our fathers brought forth on this continent a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal.
Now we are engaged in a great civil war, testing whether that nation, or any nation, so conceived and so dedicated, can long endure. We are met on a great battle-field of that war. We have come to dedicate a portion of that field, as a final resting place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this.
But, in a larger sense, we can not dedicate…we can not consecrate…we can not hallow this ground. The brave men, living and dead, who struggled here, have consecrated it, far above our poor power to add or detract. The world will little note, nor long remember what we say here, but it can never forget what they did here. It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us—that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion—that we here highly resolve that these dead shall not have died in vain—that this nation, under God, shall have a new birth of freedom—and that government: of the people, by the people, for the people, shall not perish from the earth.
Quest for Sound curator Jay Allison unearthed a unique recording: the voice of William V. Rathvon, who as a nine-year-old boy, watched and listened to Abraham Lincoln deliver his address at Gettysburg in November 1863. The story was told in 1938 and recorded on a 78 r.p.m. record.
A family in Pallatine, Illinois shared this recording with us via our Quest for Sound phone line. Rathvon was a distant relative. No other Gettysburg eyewitness is known to have recorded their memories on record.
The historical record reports the following about the most significant performance of this piece, requested by Lincoln upon the surrender of Lee to Grant at Appomattox.
“General Robert E. Lee surrendered to General Ulysses S. Grant on April 9, 1865. The next day, despite rain and mud there were some 3,000 people in the streets celebrating. Crowds serenaded President Lincoln throughout the day. “At length,” wrote a reporter for the Washington paper Daily National Intelligencer, “after persistent effort, the presence of Mr. Lincoln was secured. Three loud and hearty cheers were given, after which the President said:
‘FELLOW CITIZENS: I am very greatly rejoiced to find that an occasion has occurred so pleasurable that the people cannot restrain themselves. [Cheers.] I suppose that arrangements are being made for some sort of a formal demonstration, this, or perhaps, to-morrow night. [Cries of `We can’t wait,’ `We want it now,’ &c.] If there should be such a demonstration, I, of course, will be called upon to respond, and I shall have nothing to say if you dribble it all out of me before. [Laughter and applause.] I see you have a band of music with you. [Vocies, `We have two or three.’] I propose closing up this interview by the band performing a particular tune which I will name. Before this is done, however, I wish to mention one or two little circumstances connected with it. I have always thought `Dixie’ one of the best tunes I have ever heard. Our adversaries over the way attempted to appropriate it, but I insisted yesterday that we fairly captured it. [Applause.] I presented the question to the Attorney General, and he gave it as his legal opinion that it is our lawful prize. [Laughter and applause.] I now request the band to favor me with its performance.’”
“In accordance with the request, the band struck up `Dixie,’ and at its conclusion played `Yankee Doodle,’ the President remaining at the window mean-while. The President then said: `Now give three good hearty cheers for General Grant and all under his command.’ These were given with a will, after which Mr. Lincoln requested `three more cheers for our gallant Navy,’ which request was also readily granted. The President then disappeared from the window, amid the cheers of those below. The crowd then moved back to the War Department, and loud calls were again made for Secretary Stanton.”
Less than a week later, Lincoln was dead.”
19. Introduction to “Honor To Our Soldiers” – 3:25
20. Honor To Our Soldiers – 2:35
“When I leave the stage for good, I will be the most famous man in America” – John Wilkes Booth at Taltaval’s Saloon.
The play’s most famous performance came seven years later, at Ford’s Theatre in Washington, D.C. on April 14, 1865. Halfway through Act III, Scene 2, the character Asa Trenchard (the title role), played that night by Harry Hawk, utters a line considered one of the play’s funniest:
“Don’t know the manners of good society, eh? Well, I guess I know enough to turn you inside out, old gal — you sockdologizing old man-trap…”
During the laughter that followed this line, John Wilkes Booth, a famous actor who was not in that night’s cast of Our American Cousin, fatally shot President Abraham Lincoln. Familiar with the play, he chose this moment in the hope that the sound of the audience’s laughter would mask the sound of his gunshot. He then leapt from Lincoln’s box to the stage and made his escape through the back of the theater to a horse he had left waiting in the alley.
21. Introduction to “Abraham Lincoln’s Funeral March” – 1:52
22. Abraham Lincoln’s Funeral March – 4:14
Abraham Lincoln’s Funeral March was composed by Christoph H. Bach of Milwaukee, WI. You can read a little more (and see him) at csumc.wisc.edu/exhibit/MusicTour/GAMBands.htm. There is some remarkable photography from this time, with a few selected pieces from google image searches and wikipedia.org below.
John Allis – Playing an 1850’s snare drum made by Edward Brown of Albany, NY
Al Thompson – Playing an 1855 o’er-the-shoulder E-flat bass saxhorn tuba made by Charles A. Zobish and Sons of NY
Loyal Mitchell – Playing an over-the-shoulder B-flat baritone horn with Berliner-style piston valves. Imported from Europe by J. Howard Foot of NY (1865-70)
Dickson Rothwell – Playing an over-the-shoulder E-flat alto horn. Imported from Europe
David Driesen – Playing an 1870 rotary valve side-action B-flat cornet made by The Boston musical instrument manufacturer Eldridge G. Wright
Lee Turner – Playing an 1868-1870 side-action E-flat rotary valve cornet made by D.C.Hall and Benjamin F. Quimbey
Jeff Stockham – Playing an 1866 (it’s on the bell) cornet made by Hall and Quimbey of Boston. We know even more about this particular instrument: “Presented by the members of the Brooklyn Cornet Band to Amos H. Bangel, leader, October 11 1866.” That is, for the record, the Brooklyn Cornet Band of Brooklyn, CA.
24. Introduction to “Battle Hymn Quickstep” – 2:29
25. Battle Hymn Quickstep – 2:06
Always end strong. The lyrics to the Battle Hymn of the Republic were written (partly in a dream) by Julia Ward Howe and put to the music of “John Brown’s Body,” who you may remember from the beginning of Ken Burn’s epic The Civil War (I had to fit Ken Burns into the post somewhere). The music for “John Brown’s Body” was originally written/collected by William Steffe in 1856 for a song containing the opening verse “Say, brothers, will you meet us / on Canaan’s happy shore?” A copy of the original first-printing of the poem from the Atlantic Monthly is provided below from wikipedia.org.
While there, McCabe and his fellow prisoners learned of Lee’s defeat at the Battle of Gettysburg. To celebrate, they sang every national song they knew, including Howe’s “Battle Hymn of the Republic.” After a few resounding choruses of “Glory, glory, hallelujah!” the guards put a stop to the singing.
Finally, it would not surprise me that several errors or misrepresentations may have made their way into my text. As I suspect at least a few heavy-duty Civil War nuts will find their way to this page, please do not hesitate to contact me with insights, comments, or lambasting. I’ll be happy to make changes and acknowledge accordingly. Huzzah!
This is the method presented by Terry Bozzio in many of his clinics. Once you can play all 15 measures above against ANY rhythm possible from repeated combinations of the above measures (so-called “ostinatos“), then you’ve played every sixteenth note-based subdivision possible. There are, of course, actually 16 measures, the first being the one with nothing played (the easiest to master for most rhythms). The importance of this null case will be important in later sections. Note that the above is for sixteenth notes in 1/4. The game is played differently for 1/4 with triplets, quintuplets, etc. The mechanism is the same, however. If you feel inclined, the other possible combinations are easy to write down using the Pascal Triangle to keep track.
How to use…
Here’s an easy coordination exercise sure to frustrate. Pick 3 limbs (or 4, if you want to use your voice as another instrument). Assign each of those limbs to a particular measure in the above list. Get that rhythm playing so you have some idea of what it will sound like and to try to internalize it for the next step. Finally, with the unselected limb, play through all 15 measures above (or 16, though you’ll have played the null case to death getting the feel for the rhythm). Don’t try to play through the exercise until you’ve internalized where the notes of every measure fall in the rhythm you’re holding steady with the other limbs. That’s the point of an ostinato. The rhythm over which you solo should be fixed and unwavering and something playable in your sleep. Soloing is secondary to locking down the groove.
Once you’ve played through all 15 (err… 16) measures, either make the “soloing” limb a fixed limb and solo with something else (a killer exercise for getting your hi-hat foot conditioned, for instance) or select another set of measures to hold constant and play the same 15 (err… 16) measures over that new rhythm.
A note to the ambitious: You’ve 16 measures to pick from and 3 (or 4) limbs to make rhythms out of. Therefore, the possible number of rhythms you can generate from the above are, including the null case, (16) x (16) x (16), or 4096. A lot of rhythms to try. Throw in a fifth soloing limb (your voice, for instance), and the number of possible “fixed” combinations to play against goes up to (4096) x (16), or 65536. Granted, some of these are quarter notes and the like and are easy to play, but many are completely uncharted (so to speak).
If you don’t feel like thinking up the combinations yourself, here’s a little script to get you started.