Start your Darbuka journey with excellence with the Darbuka Mastery book series. We will start from the bare basics of how to play the Darbuka, and build up from there all the way to the point where you can execute a wide range of common rhythms with ease and confidence. In this book, we will cover a range of practical and theoretical topics to ensure that you have a well-rounded foundation from which to build an amazing Darbuka legacy. Content covered in this book: Practical content: - Holding the Darbuka- Basic Darbuka strokes (the Doum, Tek and Ka)- Reading and understanding drum tabs- Basic ornamentation, making rhythms more exciting- Detailed introduction to the Maqsum family of rhythms (incl. Maqsum, Sa'idi and Baladi)- Switching between rhythms and using a metronome to practiceTheoretical content: - Origins & structure of the Darbuka- Choosing a good Darbuka- Caring for your Darbuka and keeping it in tune- Guide to clay DarbukasThis books takes each of the above topics and breaks them down into easily understandable concepts, to ensure that you have a seamless and problem-free learning experience. This knowledge is hard to find in English-speaking countries; it usually requires a trip to the Middle East or North Africa to properly master the Darbuka. However, with a book such as this, you will be able to master the Darbuka from anywhere in the world. This is the first book of the three-part Darbuka Mastery series. The series aims to take a complete beginner to the point of Darbuka Mastery, and as such covers a wide range of topics from Darbuka strokes, ornamentations, soloing, caring for your Darbuka, understanding the role of the Darbuka player and split-hand Darbuka technique. The book series can be supplemented with Malik Instruments' Darbuka Mastery Program, a detailed instructional course that makes it even easier to learn the Darbuka. If you're struggling with the concepts covered in any of the books in this series, you will be able to get further help by taking the Darbuka Mastery Program by Malik Instruments. You should note that the Darbuka instrument can also be referred to as the Egyptian Tabla, the Sombaty drum, the Doumbek, the Doholla or the Darabana/Tarabana. As such, if you are looking to learn any of these instruments, this is the book for you!

Designed as a core text for college level courses in percussion methods and pedagogy, Teaching Percussion is a comprehensive, up-to-date introduction to teaching methodology and performance techniques. Now updated, Teaching Percussion helps students and performers develop musical understanding and performance skills on some fifty percussion instruments. The Second Edition includes coverage of new developments in world music instruments and performance. In addition, Norman Weinberg, cofounder of the PAS World Percussion Network, has contributed a discussion of electronic percussion and new technology. The outstanding exercises, musical examples, photographs, illustrations, practical advice, and bibliographies - popular features in the first edition - have been retained and enhanced. Teaching Percussion, Second Edition, is an invaluable resource for students, faculty, and performers alike.

"This book has been written for beginner oud students with no experience playing the oud. The objective of the course is to acquire the basic techniques used to play the oud and understand the characteristics of the maqam music system by studying the eight fundamental maqamaat together with popular traditional repertoire. No previous musical knowledge is required to begin this course, as most music is notated as tablature, a visual representation which does not require understanding of music notation. However, it helps to have basic knowledge of music theory, rhythm, note names, and notation"--Publisher marketing.

Inside the global music industry and the racialized and gendered assumptions we make about what we hear Fearing the rapid disappearance of indigenous cultures, twentieth-century American ethnographers turned to the phonograph to salvage native languages and musical practices. Prominent among these early “songcatchers” were white women of comfortable class standing, similar to the female consumers targeted by the music industry as the gramophone became increasingly present in bourgeois homes. Through these simultaneous movements, listening became constructed as a feminized practice, one that craved exotic sounds and mythologized the ‘other’ that made them. In Modernity’s Ear, Roshanak Kheshti examines the ways in which racialized and gendered sounds became fetishized and, in turn, capitalized on by an emergent American world music industry through the promotion of an economy of desire. Taking a mixed-methods approach that draws on anthropology and sound studies, Kheshti locates sound as both representative and constitutive of culture and power. Through analyses of film, photography, recordings, and radio, as well as ethnographic fieldwork at a San Francisco-based world music company, Kheshti politicizes the feminine in the contemporary world music industry. Deploying critical theory to read the fantasy of the feminized listener and feminized organ of the ear, Modernity’s Ear ultimately explores the importance of pleasure in constituting the listening self.

Enormous demands are placed on the control and manual dexterity of thecontemporary drum set player, particularly in the Jazz idiom. Today's drummer isexpected to have developed limb coordination to a degree that would have been thought unachievable a few short years ago. This text presents an effectivemethod of dealing with the mastery of drum set coordination by breaking it down into four sections: 1) Ride Cymbal - Right hand; 2) Snare Drum - Left hand; 3) Bass Drum - Right foot; 4) Hi-hat - Left foot. The author clearly states his goals in writing this book: It is my sincere wish that the materialspresented in [this] text will be of considerable help in developing musical approach to the coordination skills demanded of today's drummer. -John Pickering

In Bedford-Stuyvesant, Brooklyn, pianist Randy Weston and bassist Ahmed Abdul-Malik celebrated with song the revolutions spreading across Africa. In Ghana and South Africa, drummer Guy Warren and vocalist Sathima Bea Benjamin fused local musical forms with the dizzying innovations of modern jazz. These four were among hundreds of musicians in the 1950's and '60's who forged connections between jazz and Africa that definitively reshaped both their music and the world. Each artist identified in particular ways with Africa's struggle for liberation and made music dedicated to, or inspired by, demands for independence and self-determination. That music was the wild, boundary-breaking exultation of modern jazz. The result was an abundance of conversation, collaboration, and tension between African and African American musicians during the era of decolonization. This collective biography demonstrates how modern Africa reshaped jazz, how modern jazz helped form a new African identity, and how musical convergences and crossings altered politics and culture on both continents. In a crucial moment when freedom electrified the African diaspora, these black artists sought one another out to create new modes of expression. Documenting individuals and places, from Lagos to Chicago, from New York to Cape Town, Robin Kelley gives us a meditation on modernity: we see innovation not as an imposition from the West but rather as indigenous, multilingual, and messy, the result of innumerable exchanges across a breadth of cultures.

An extensive step-by-step method on the application of polyrhythms for the drumset. Expands drum solos and fills by incorporating polyrhythms to basic time. This book also lends itself as a source for extending rhythmic comprehension while the drummer is improvising.