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    • Concert Percussion
      • Timpani
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      • Concert Snare Drums
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      • Keyboard percussion | Sound percussion instrument
      • Concert Cymbals
    • World Percussion
      • CAJON
      • AFRICAN PERCUSSION
      • LATIN PERCUSSION
      • BRAZIL PERCUSSION
      • Latin America
      • Middle East/India
      • Asia/Japanese musical instrument
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      • Ethnic Percussions
    • Drum Sets
      • DRUM SETS
      • Individual Drums
      • SNARE DRUMS
      • Electoric Drums and Percussions
    • small percussion
      • CONCERT TAMBOURINES
      • Maracas & Shakers
      • BLOCKS
      • Claves & Guiros
      • Cowbells & Ethinic Bells
      • TRIANGLES
      • Tree Chimes,Wind Chimes
      • CASTANETS
      • Ratchets,Rattles
      • Small Percussions
      • whistles
      • Other Small Percussions
    • 電子ドラム&パーカッション
    • Cymbals & Gongs
      • Cymbals
      • Concert Cymbals
      • other Metral Percussions
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    • sticks & mallets
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      • MALLETS
      • BRUSH & OTHER STICKS
      • Beaters, various Sticks
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リズムをうたう 基礎と感性を養うパーカッション
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リズムをうたう 基礎と感性を養うパーカッション
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Percussion to foster the basis and sensitivity of the rhythm

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ONGAKU NO TOMO SHA(音楽之友社)

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Description

A rhythm textbook that can be applied not only to percussion instruments but to all instruments.

○Author's comment○

This book was mainly composed as a collection of basic exercises for the snare drum, but the purpose of this book is twofold.

One is basic percussion practice. In wind music, etc., systematic daily training often seems to take a backseat. This book can be used not only for snare drums, but also for sight reading, body percussion, etc. By practicing every day, even for short periods of time, you will develop the basic ability to play accurately.

Another aim is to acquire the ability not only to be ``accurate'' but also to ``sing'' the rhythm. The metronome and the rhythm created by humans are completely different. Even when the tempo is the same, a great performer's sound will vary slightly in terms of strength, weakness, and retention. Even though there is no pitch, the musical flow is felt as if a melody is being played.This is what is called ``singing the rhythm'' or ``the rhythm is singing.'' The ability to sing is also the basis of improvisation.


*Please note that we cannot accept returns or exchanges due to incorrect purchases.

 

Table of Contents

  • Step I No.1-30 Basic rhythm and movement
  • Step II No.31-39 Differences depending on the procedure
  • Step III No.40-56 Tremolo, flam, etc.
  • Weird time signature No.57-58
  • Duet No.59-80
  • Trio No.81-85

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