home

Archive for the 'drums & percussion' Category

Sand, Pebbles, And Fill – RR/LL, RRR/LLL, and RRRR/LLLL Sticking Combinations From The Original “Stone Boulder” Series

Saturday, December 17th, 2011

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.

George L. Stone's Stick Control

You should have a copy regardless (amazon.com direct link).

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.

The Files

For notes on their generation, see www.somewhereville.com/?p=1399.

2011december17_stone_boulder_16th_grouping_series_RR_LL.pdf

2011december17_stone_boulder_16th_grouping_series_RRR_LLL.pdf

2011december17_stone_boulder_16th_grouping_series_RRRR_LLLL.pdf

2011december17_stone_boulder_jazz_grouping_series_RR_LL.pdf

2011december17_stone_boulder_jazz_grouping_series_RRR_LLL.pdf

2011december17_stone_boulder_jazz_grouping_series_RRRR_LLLL.pdf

Ideas of pattern use abound. If something hits you as particularly profound, please send me a note (damian@somewhereville.com) and I’ll gladly added it to the list.

Zenero (sp?) Bell/Cymbal/Chime Question – Now It’ll Appear Twice! – And The Vimeo Spizzichino Mini-Documentary To Boot

Sunday, December 11th, 2011

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.


Spizzichino from Alex Healey on Vimeo.

The “Stone Boulders” – All 12-Group (4,096) and 16-Group (65,536) L/R Sticking Combinations In PDF Format

Wednesday, July 13th, 2011

George L. Stone's Stick Control

You should have a copy regardless (amazon.com direct link).

[Drafted as an article for somewhere, stuck here instead...]

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.

As I look at the sets of exercises, I see what I assume most of us do – paradiddles, singles, doubles, multiple-hits of the same stick, some oddball patterns you start playing as written and then mess up without knowing, etc. The question I found myself asking was “What drove Stone to use this particular sequence?” I eventually turned that question around and decided to answer the question “What did Stone leave out?” The PDFs linked to this article are what I’ve affectionately come to call the “Stone Boulder,” providing EVERY sticking combination Stone included and every other combination he didn’t. Some intro to how and why is below, followed by a bit of explanation. I think the patterns themselves are self-explanatory.

While not the most cite-able examples in all of genomics, there have always been passing references to drumming “being in someone’s DNA.” As it happens, drumming and biology did overlap in general approach during the mid-80’s-to-early-90’s (or so) in the great heyday of linear drumming (go dig out your Murray Houllif and Gary Chaffee books). The idea is simple: no two drums/cymbals hit at the same time, producing an often staccato and generally (well, to my ears anyway) more melodic sound from the drums (and much easier to transcribe than some of the superhuman overlapping rhythms people are having fun playing today). Ignoring the complexities of 3.5 billions years of evolution, DNA works the same way as these linear patterns to convey a message. The four bases in your DNA, A (adenine), C (cytosine), G (guanine), and T (thymine), act as a code that is read like those old drum beats were played – one at a time with no doubling-up please. The identical three million base-long DNA sequences in each of your cells (see CSI) could be turned from seemingly random patterns of [A,C,G,T] into seemingly random patterns of [L,R,B,H] (that’s left hand, right hand, bass drum foot, hi-hat foot), then some experimental linear drumming composer could “play” your genome. Better still, if the transcriber was as good as your cellular machinery, the entire performance could be written down and reconverted into [A,C,G,T] format exactly so you could be cloned and double-drum with someone who rushes and slows down just as much as you do.

While most people think of a drum programmer as someone who generates patterns on a computer, I took the route of programming to generate patterns to drum. I most certainly did NOT put the pattern pages together by hand (I promise, no mistakes). A small script in the Perl programming language used to generate DNA sequences did all of the dirty work (including making sure all patterns only appear ONCE in each document). The math for figuring out the total number of left/right patterns is quite simple. The number of combinations of unique sticking patterns for a particular pattern length is 2^n, n being the number of beats. For a single beat, that’s 2^1, or just 2, that single hit being performed with either the left or right hand. For a four-stroke pattern, that’s 2^4 (2 * 2 * 2 * 2), or 16 total patterns. These are shown below out of academic interest (although I hope you could write them down from memory).

Now, consider the first six pattern pages of the Stone book. 16 beats per pattern. That’s 2^16, or 65536 total patterns. At 20 patterns per page, the complete Stone book of these first six pages would take up 3,277 pages. At 2 seconds per pattern, you could rip through all 3,277 pages in about 36 hours 30 minutes (about the perceived length of a society gig).

For you fellow jazzers out there looking for a more swingin’ set, I’ve also included the same sticking deal with a triplet-feel set (12 beats instead of 16, so you’ve only got 4096 patterns to contend with, meaning you could play through the whole set in about 2 hours 30 minutes).

4,096 patterns are bad enough. 65,536 is borderline something uncouth. On the one hand, that’s a lot of patterns either way. On the other, for the obsessive compulsive readers, these are IT. There are no other 12- or 16-stroke sticking combinations that have a stick hitting on each beat (that is, no rests). As Terry Bozzio has said in one form or another in his many clinics introducing his ostinato independence exercises “once you’ve played through the 16, you’ve played every 16th note pattern there is.”

And it could be worse! If you wanted every combination of left, right and rest, that’s 3^16, or 43,046,721 patterns. At 2 seconds per pattern, that’s 23,915 hours, or about 2 years and 8 months. I pondered doing the same thing for all 16-note linear drum patterns (L,R,B,F), which would produce 4^16, or 4,294,967,296 patterns. That’s 2,386,093 hours, or 272 years and 3 months (that’s approaching four reincarnations of “no life”).

Each full page has three columns of 40 patterns (120 per page), producing a document that’s only 547 pages long (but entirely green-friendly in PDF format). You will note that most of the pages look like the same stupid thing. This is because the mechanism of generation for the sequences involved making single changes at a single position and walking down the entire 16-stroke sets until all changes had been accounted for. I become bored to tears staying on a single page and generally scroll at random and point the stick at the screen to pick a pattern to play. Be as methodical or all-over-the-map as you will.

Is there a good reason for doing this? Not particularly. There are lots of patterns here that are a mechanical challenge for your arms, but many (many, many) of these patterns do not immediately lend themselves to the funk-ability of some of the Stone patterns (which tend to at least have groupings that, again, reflect rudiments or make you work one limb preferentially in a “usable” way). They are here mostly for completeness and, for when you want to confuse your limbs, picking a page or more at random and seeing how the patterns feel. As independence exercises teach us very early on, our brains are wired for preferential patterning (you hit the same foot as you would hand, you’re non-dominant hand sucks, your hi-hat foot is born useless, and other revelations). This document is simply another PDF you can lose on your machine somewhere or have in that hidden work folder that comes out and gets an intense few looks as you try to split your left and right hands apart more.

And, it should be obvious, the same applies for your feet.

Having fought through enough of the combinations, I began to notice something I’m sure all of us have encountered as we approach that hypnotic state of cruising through a pattern we “get.” Some patterns feel really good to play, but only after you’ve internalized them enough to “play something else,” like feeling an odd clave or taking the patterns with many doubles of one hand and ripping them into a bounce-driven frenzy (or, invariably, playing one pattern we love to play to find out it’s a pattern you heard and memorized in a more musical context on record). The one benefit I’ve found from having this PDF around is that I have all of the patterns in one place, which makes me think harder about the different ways to play the patterns (although that is only a fringe benefit). If you treat them like a journey and not just the first 5 minutes of your warm-up routine, I suspect you could spend your life on any one page and still not cover all of the bases.

So, without further ado:

2011july13_stone_boulder_sticking_series_V1.pdf

2011july13_stone_boulder_jazz_grouping_series_V1.pdf

The Excelsior Cornet Band At Canastota Public Library, 4 October 2009

Sunday, January 31st, 2010

“I know only two tunes.  One is Old Hundredth, the other one isn’t.” – Abraham Lincoln

Nearly six score days ago, the Excelsior Cornet Band performed in Canastota, NY as part of the Art & Music series at the Canastota Public Library.  As reported in the Fall 2009 edition of  “Check It Out!” (the library’s newsletter, of which a copy of the Fall 2009 PDF is saved locally at 2010january_excelsior_checkitout.pdf)…

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.

Is this thing on? – Jeff Stockham


The Excelsior Cornet Band. Tintype photo by John A. Coffer.

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.).

1. Audio: The Excelsior Cornet Band At Canastota Public Library, 4 October 2009 (excelsiorcornetband_canastota4oct2009.tar.gz, 149.5 MB)

2. Audio: The Excelsior Cornet Band At Canastota Public Library, 4 October 2009 (excelsiorcornetband_canastota4oct2009.mp3, 104.5 MB – PLEASE Right-Click + Save)

3. Video: The Excelsior Cornet Band At Canastota Public Library, 4 October 2009 (excelsiorcornetband_canastota4oct2009.mov, 243 MB – PLEASE Right-Click + Save)

Now that the youtube uploads are complete, you can find the videos there. Direct links for the three parts are below.

And now, without further delay, some associated content.

01. Introduction to “President Lincoln’s Inauguration March” – 4:44

02. President Lincoln’s Inauguration March – 2:49

President Lincoln’s Inauguration March (“Hurrah For The Union!”) was composed by Francis M. Scala, former director of “The President’s Own” United States Marine Band, in 1861.  For information on Francis Scala, see the official source: www.marineband.usmc.mil/learning_tools/our_history/directors/scala.htm.

Henry Clay Whitney‘s recollection of a comment from Abraham Lincolnall 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.


Francis M. Scala, from www.marineband.usmc.mil

Henry C. Whitney, engraving by Romaine Proctor

For multiple pieces of interesting information on Lincoln and his (or his time’s) music, see the very good discussion at www.abrahamlincolnsclassroom.org/Library/newsletter.asp?ID=29&CRLI=109.


Photo from Lincoln’s First Inauguration. Version taken from wikipedia.org.

For notes on Lincoln’s First Inauguration, see the documents provided at memory.loc.gov/ammem/pihtml/pi021.html. For the complete copy of Lincoln’s First Inauguration, you can find it in book form at www.bartleby.com/124/pres31.html.


Lincoln’s handwritten closing. From the Library of Congress.

“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

04. Old Joe Hooker Quickstep – 1:38

The Old Joe Hooker Quickstep (a.k.a “Old Abe Lincoln Came Out The Wilderness,”) is from the 26th North Carolina Regiment (Confederate).  “Old Joe Hooker” refers to Union Army Major General Joseph Hooker and originates from the time of his loss to General Robert E. Lee at the battles of Fredericksburg and Chancellorsville. And, if you’ve no idea what a Quickstep is, see the content (en.wikipedia.org/wiki/Quickstep) at wikipedia.org.

A bit more about the battles, with specific reference to the lyrics, can be found at books.google.com (the link contains all of the significant data for the book)

Joseph Hooker (left) and Robert E. Lee (do you really need him pointed out?). Both photos are attributed to Mathew Brady, although the Hooker photo may be by Levin C. Handy.

The sheet music for the Federal City Brass Band arrangement (by Jari Villanueva, jvmusic.net) is available online at www.jvmusic.net/FCBB/12OldJoeHooker.pdf.

05. Introduction to “Wide Awake Quickstep” – 2:23

06. Wide Awake Quickstep – 1:54

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.

An original copy of the sheet music (the cover is shown above) is available from the Duke Library Digital Collections website at library.duke.edu/digitalcollections/hasm.a8748/.

A google book reference to Schreiber’s Albany Cornet Band (specifically, its formation on 29 June 1860): books.google.com (the link contains all of the significant data for the book)


Abraham Lincoln’s honorary Wide Awake membership paperwork. Image available at the Library Of Congress website.

A second google book reference to Schreiber’s Albany Cornet Band: books.google.com (the link contains all of the significant data for the book)

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).

All of the searching for above content brought me to the following Civil War Music website at the Library of Congress: rs6.loc.gov/ammem/cwmhtml/cwmhome.html. I also found the following Yankee Brass Band website with related content: www.valley.net/~fybi/yb.html.

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.

One can find a digital copy of the book Recollections Of Abraham Lincoln 1847-1865, by Ward Hill Lamon, at www.archive.org/stream/recollectionsofa00lamo/recollectionsofa00lamo_djvu.txt, one of a multitude of good stuff at www.archive.org.

09. Introduction to “The Irish Medley” – 2:14

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:

www.ibew.org.uk/misc26c1.htm – a link to a music list at the Internet Bandsman’s Everything Within website.

www.damians78s.co.uk/html/currently_available_recordings.html – the place is called Damian’s 78s. I had to include it.

www.amazon.ca/Great-Battles-Civil-War/dp/B00006L92I – this is a link to a DVD copy of Great Battles of the Civil War, which apparently came to a draw in the amazon.ca ratings.

11. Introduction to “The Last Rose Of Summer” and “Home Sweet Home” – 2:13

12. The Last Rose Of Summer and Home Sweet Home – 4:09

The most noteworthy performance of Last Rose Of Summer (1813) and Home Sweet Home (1823) was by Madame Adelina Patti.


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.”

The two most popular google pages about the incident report identical content. They are from www.mrlincolnswhitehouse.org and www.abrahamlincolnsclassroom.org. This identical reporting is below:

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.’”

Honorable mention about the pre-war ballads can be found at books.google.com (the link contains all of the significant data for the book).

13. Introduction to “Quickstep Medley – Gounod’s Faust” – 1:45

14. Quickstep Medley – Gounod’s Faust – 3:01

This quickstep medley is from (specifically) the Soldier’s Chorus from the Charles Gounod opera Faust (I cannot imagine what the quickstep from Hector Berlioz‘s take on Faust, The Damnation of Faust, would have sounded like, but I’d sure would’ve loved to have tried it). The music from the Soldier’s Chorus is available online in BMP format at braumeister.tripod.com/Music/Gounod_SoldiersChorus.bmp.


Charles Gounod in 1859, the same year as the first performance of Faust. From wikipedia.org.

For another take on the Soldier’s Chorus, I refer you to youtube:

15. Introduction to “Old Hundredth” – 4:20

16. Old Hundredth – 1:34

“Old Hundredth” refers to Psalm 100, “All People That on Earth Do Dwell,” put to music (possibly first) in 1551 in Pseaumes Octante Trois de David, from the second edition of the collection of metrical psalms in the Genevan Psalter (the music itself is attributed to French composer Loys Bourgeois).

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.

An interesting article about the music at Gettysburg can be found at:
www.time.com/time/magazine/article/0,9171,988754,00.html.

NPR hosts an eye witness account from William V. Rathvon about Gettysburg, Lincoln, and the address. From the NPR website, available at www.npr.org/programs/lnfsound/stories/990215.stories.html:

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.

And, for even more Civil War-specific information, check out the content at Old Hundredth Press (www.oldhundredthpress.com).

17. Introduction to “Dixie’s Land” – 3:18

18. Dixie’s Land – 1:38

Yes, that “Dixie’s Land,” famous enough that it has its own wikipedia page (en.wikipedia.org/wiki/Dixie_%28song%29). According to the record, this piece was written with 48-hours notice by Daniel Decatur Emmett in September, 1859, with the first reported performance by Bryant’s Minstrels, a famed blackface minstrel troupe [the blog author shakes his head] from New York City.


Daniel Decatur Emmett. From wikipedia.org.

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.

This piece has its own interesting history that Jeff discusses in the performance. Much more information than I’m providing below can be found on the American Heritage website at: www.americanheritage.com/articles/magazine/ah/1991/1/1991_1_114.shtml. This song was set by orchestra leader William Withers Jr. to be performed at Ford’s Theater the evening of Lincoln’s assassination. The song was pushed back to the end of the performance of the three-act play Our American Cousin. From wikipedia.org:

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.


A three-act reality. From www.nps.gov.

A bit more about the song “Honor To Our Soldiers” is available from google books at: books.google.com (the link contains all of the significant data for the book), from the complete book The Assassination of Abraham Lincoln, which is also available at books.google.com (the link contains all of the significant data for the book).

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.

Our Library Of Congress has the original sheet music for the Funeral March available online. The cover from the Library Of Congress website is shown below, with the link to the music available at memory.loc.gov/cgi-bin/query/h?ammem/scsmbib:@field%28DOCID+@lit%28scsm000003%29%29.

And, if you happen to be a relative of Christoph Bach and didn’t know you’re being looked for, check out this thread from ancestry.com: boards.ancestry.com/localities.northam.usa.states.wisconsin.unknown/4174/mb.ashx.

23. Meet the Band – 5:06

You can find pictures of some of the equipment (and generally snoop around about band stuff) at www.excelsiorcornetband.com/wst_page2.html.
Damian Allis – Playing an 1850′s bass drum made by Blodgett & Bradford of Albany, NY

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.

The first of the most significant performances was provided to a rather captive audience in Libby Prison by Chaplain Charles Cardwell McCabe of the 122nd Ohio. As taken from the website of Robert Willis Allen (www.trans-video.net/~rwillisa/):

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.

A few other websites that showed up that may also be of interest are (that I wanted to remember being associated with my searches above): www.civilwarpoetry.org/music/bands.html (for the music buffs) and www.gutenberg.org/files/30420/30420-h/30420-h.htm for the poetry buffs.

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!

en.wikipedia.org/wiki/Abraham_Lincoln
www.excelsiorcornetband.com
www.canastota.com
www.canastotalibrary.org
www.excelsiorcornetband.com
en.wikipedia.org/wiki/Tintype
www.johncoffer.com
www.olympusamerica.com/cpg_section/product.asp?product=1350
www.usa.canon.com/consumer/controller?act=ModelInfoAct&fcategoryid=145&modelid=18183
www.jeffstockham.com
www.7-zip.org
www.winzip.com
www.youtube.com
www.marineband.usmc.mil
www.marineband.usmc.mil/learning_tools/our_history/directors/scala.htm
www.mrlincolnandfriends.org/inside.asp?pageID=49&subjectID=3
www.abrahamlincolnsclassroom.org/Library/newsletter.asp?ID=29&CRLI=109
www.marineband.usmc.mil/learning_tools/our_history/directors/scala.htm
www.mrlincolnandfriends.org/photo_credits.asp?photoID=3
en.wikipedia.org/wiki/Lincoln%27s_first_inaugural_address
memory.loc.gov/ammem/pihtml/pi021.html
www.bartleby.com/124/pres31.html
www.26nc.org
en.wikipedia.org/wiki/26th_North_Carolina_Regiment
en.wikipedia.org/wiki/Joseph_Hooker
en.wikipedia.org/wiki/Robert_E._Lee
en.wikipedia.org/wiki/Battle_of_Fredericksburg
en.wikipedia.org/wiki/Battle_of_Chancellorsville
en.wikipedia.org/wiki/Quickstep
en.wikipedia.org
en.wikipedia.org/wiki/Mathew_Brady
en.wikipedia.org/wiki/Levin_Corbin_Handy
www.jvmusic.net
en.wikipedia.org/wiki/Wide_Awakes
en.wikipedia.org
www.wideawakes.net
library.duke.edu/digitalcollections/hasm.a8748
en.wikipedia.org/wiki/Ward_Hill_Lamon
en.wikipedia.org/wiki/George_Linley
catalogue.nla.gov.au/Record/1683158
rs6.loc.gov/ammem/cwmhtml/cwmhome.html
www.valley.net/~fybi/yb.html
www.digitalhistory.uh.edu/audio/music2.cfm
www.archive.org/stream/recollectionsofa00lamo/recollectionsofa00lamo_djvu.txt
www.archive.org
www.ibew.org.uk/misc26c1.htm
www.ibew.org.uk/index.htm
www.damians78s.co.uk/html/currently_available_recordings.html
www.damians78s.co.uk/index.html
www.amazon.ca/Great-Battles-Civil-War/dp/B00006L92I
en.wikipedia.org/wiki/The_Last_Rose_of_Summer
en.wikipedia.org/wiki/Adelina_Patti
en.wikipedia.org/wiki/Adelina_Patti
www.mrlincolnswhitehouse.org/content_inside.asp?ID=71&subjectID=2
www.abrahamlincolnsclassroom.org/library/newsletter.asp?ID=29&CRLI=109
en.wikipedia.org/wiki/Charles_Gounod
en.wikipedia.org/wiki/Faust_%28opera%29
en.wikipedia.org/wiki/Hector_Berlioz
en.wikipedia.org/wiki/La_damnation_de_Faust
braumeister.tripod.com/Music/Gounod_SoldiersChorus.bmp
en.wikipedia.org/wiki/Psalm_100
en.wikipedia.org/wiki/Old_100th
en.wikipedia.org/wiki/Genevan_Psalter
en.wikipedia.org/wiki/Loys_Bourgeois
en.wikipedia.org/wiki/Gettysburg_Address
www.time.com/time/magazine/article/0,9171,988754,00.html
www.npr.org/programs/lnfsound/stories/990215.stories.html
www.oldhundredthpress.com
en.wikipedia.org/wiki/Dixie_%28song%29
en.wikipedia.org/wiki/Dan_Emmett
en.wikipedia.org/wiki/Bryant%27s_Minstrels
en.wikipedia.org/wiki/Ulysses_S._Grant
en.wikipedia.org/wiki/Appomattox_Court_House_National_Historical_Park
en.wikipedia.org/wiki/John_Wilkes_Booth
www.americanheritage.com
www.americanheritage.com/articles/magazine/ah/1991/1/1991_1_114.shtml
en.wikipedia.org/wiki/Ford%27s_Theatre
www.fordstheatre.org
en.wikipedia.org/wiki/Abraham_Lincoln_assassination
en.wikipedia.org/wiki/Our_American_Cousin
www.nps.gov/history/history/online_books/hh/3b/hh3e.htm
books.google.com/books?id=JelBAAAAIAAJ&printsec=frontcover#v=onepage&q=&f=false
csumc.wisc.edu/exhibit/MusicTour/GAMBands.htm
memory.loc.gov
memory.loc.gov/cgi-bin/query/h?ammem/scsmbib:@field%28DOCID+@lit%28scsm000003%29%29
boards.ancestry.com/localities.northam.usa.states.wisconsin.unknown/4174/mb.ashx
www.excelsiorcornetband.com/wst_page2.html
www.somewhereville.com
en.wikipedia.org/wiki/The_Battle_Hymn_of_the_Republic
en.wikipedia.org/wiki/Julia_Ward_Howe
en.wikipedia.org/wiki/John_Brown%27s_Body
www.pbs.org/kenburns
www.pbs.org/civilwar
en.wikipedia.org/wiki/William_Steffe
en.wikipedia.org/wiki/Libby_Prison
en.wikipedia.org/wiki/Charles_Cardwell_McCabe
www.trans-video.net/~rwillisa/CCMcCabe.htm
www.trans-video.net/~rwillisa

An Old Post And A New Corresponding Site: The Bozzio Independence Method And Much More At drumcontrol.com

Thursday, August 27th, 2009

This post existed in the long, long ago version of this website (roughly June, 2001). With javascript-in-wordpress now figured out to my satisfaction (starting page HERE), I’ve reposted this drum exercise for official linking at www.drumcontrol.com, a website started by Roy SeGuine that included several excellent exchanges between Roy and myself and, I’m pleased to report, does a far more thorough job than this little page below does at explaining the procedure (and dig that Classic Gold Sparkle Gretsch kit on the readme page).

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.

en.wikipedia.org/wiki/JavaScript
www.wordpress.org
codex.wordpress.org/Using_Javascript
www.drumcontrol.com
www.usatt.org/rseguine/drumcontrol/readme.html
www.terrybozzio.com
en.wikipedia.org/wiki/Ostinato
en.wikipedia.org/wiki/Pascal_triangle

Obligatory

  • CNYO

  • Sol. Sys. Amb.

  • Salt City Miners

  • Ubuntu 4 Nano

  • NMT Review

  • N-Fact. Collab.

  • T R P Nanosys

  • Nano Gallery

  • nano gallery
  • Aerial Photos

    More @ flickr.com

    Syracuse Scenes

    More @ flickr.com