The Logic of it All: Professional Secrets Applying Imagination to Percussion Techniques
General Info
Publisher: Meredith Music
Difficulty: Mixed ability
ISBN: 978-1-5746-3099-2
Cost: $36.99
Overview
This book discusses, in depth, the sounds and playing techniques of these instruments. For example, in the snare drum section it discusses the difference between calf heads, plastic heads, wire snares, gut snares, wood shells, and metal shells. It goes into what sounds each would produce and why one would want that sound. Also, there are many pictures to indicate playing spots and how to hold the instruments. It even has a step by step example of how to crash the cymbals. The end of the book discusses pieces such as: Capriccio Espagnol by Rimsky-Korsakow, Concerto for Orchestra by Bela Bartok, and Symphonie No. 4 by Tschaikowsky. First, it lists observations of the piece which could include how the instrument should be set up or how the dynamic is marked forte, but often is played softer. Then it lists interpretations, or playing techniques, as in where to play on the instrument and how the ties of drum rolls should be played.
Chapters
Table of Contents:
Introduction
Snare Drum
Cymbals
Triangle
Tambourine
Bass Drum
Castanets
Tam Tam
Glockenspiel
Xylophone
Chimes
Observations and Interpretations on excerpts
Reviews
Student Reviews
I think this book is helpful because it discusses different playing techniques and what sound you are trying to get out of the instrument. I also like the excerpts at the end because it is very helpful advice for auditions. The weakness about this book is that it is fairly old, it doesn’t discuss all of the percussion instruments, and it doesn’t go into as much detail as other books. Also, there were techniques in there that I didn’t agree with. I think this book would be helpful, but I also think there are better method books out there.
Rating: II
Review by Ashley Feist
" This timeless treatise on the professional secrets of percussion performance, written by two of America's most outstanding orchestral percussionists, provides the kind of information that before this book could only have been gained by years of public performance. The book was written with the intensions of bridging the gap between students and professionals. After reading this book one is sure to find a tip or two that they will use in their career. Any one could use this book, but it offers such a wealth of knowledge to the performer." - Denver Ridgway