The Drum Song Mp3 Download |TOP|
Maike Eagin
im pretty sure weezer is not a band in which the drums are so prominent they drown out other stuff in the song, but there are a lot of weezer songs that have very nice drums. whats your favorite??? im looking for them
Verse 4 has a marching-style groove on the snare while the bass drum plays the same rhythm and the hi-hat foot plays 8th notes. This can be a real challenge to get organized, so practice slowly at first and stick with it!
This beat is vintage Charlie Watts: relaxed and perfect for the song. The intro pattern has some snare syncopation that matches the guitar part. Start by practicing that with just your hands, then add your feet.
The verses have a straight backbeat, but also make sure to emphasize those moments where he opens the hi-hats. Even a slight change in texture can make a big difference. The choruses are a constant build, with 8th notes on the bass drum creating momentum.
This is Dave Grohl at his best. Notice how the bass drum part in the verse groove perfectly matches the guitar riff. Focus on playing together with the bassist. When you get to the pre-chorus, those snare drum fills that happen every other measure are your time to shine. Work on making a smooth transition between those fills and the groove without rushing or dragging.
Originally recorded in 1970, this CCR classic has a couple of important texture changes in the drum part. The intro section is a slightly unusual length (6 measures) and has some bass drum hits in bars 4 and 6 that line up with the low notes of the piano part. Listen hard and try to lock that in!
The intro pattern is a 2-measure phrase, and the bass drum part in the second bar lines up perfectly with the guitar. When the verse kicks in, Jordan changes the part slightly to work around the vocals. The chorus groove is the same as the intro, and he sometimes opens the hi-hats at the end of a section to indicate the transitions.
Brandon Toews / Style Guides
The Ultimate Guide To Soul And Funk Drumming
In this detailed chapter from The Drummer's Toolbox, you'll learn how to play ten styles of funk and soul on the drums.
"The Drum" is a song recorded by Bobby Sherman from his Portrait Of Bobby LP. It was released as a single in the spring of 1971, the second of two from the album.[2] The song was written by Alan O'Day, his first of five Top 40 chart credits.
After the release of the 1961 film version, the musical was rarely produced, as it presented casting issues and fears that Asian-Americans would take offense at how they are portrayed. When it was put on the stage, lines and songs that might be offensive were often cut. The piece did not return to Broadway until 2002, when a version with a plot by playwright David Henry Hwang (but retaining most of the original songs) was presented after a successful Los Angeles run. Hwang's story retains the Chinatown setting and the inter-generational and immigrant themes, and emphasizes the romantic relationships. It received mostly poor reviews in New York and closed after six months but had a short tour and has since been produced regionally.
Impatient at Ta's inability to find a wife, Wang arranges for a picture bride for his son. However, before the picture bride arrives, Ta meets a young woman, May Li, who with her father has recently come to San Francisco. The two support themselves by singing depressing flower drum songs on the street. Ta invites the two into the Wang household, with his father's approval, and he and May Li fall in love. He vows to marry her after she is falsely accused by the household servants of stealing a clock, though his father forbids it. Wang struggles to understand the conflicts that have torn his household apart; his hostility toward assimilation is isolating him from his family. In the end, taking his son's advice, Wang decides not to go to the herbalist to seek a remedy for his cough, but walks to a Chinese-run Western clinic, symbolizing that he is beginning to accept American culture.[4]
When rehearsals began in September 1958, Hammerstein was absent, still recuperating from his surgery. Rodgers was present, but kept falling asleep.[20] Hammerstein was told by his son James that Kelly was ineffective as a director, and began attending rehearsals.[30] A number of changes were made to the songs. "My Best Love", a song for Master Wang, was at first thought better suited to his sister-in-law, but when Juanita Hall could not make it work, the song was cut entirely. Rodgers and Hammerstein transformed a song entitled "She Is Beautiful" into "You Are Beautiful". The team decided to include a song for Sammy Fong to explain to Mei Li that they should not wed. In the span of a few hours, they wrote the lyrics and music to "Don't Marry Me".[21] Once the songs were finalized, Robert Russell Bennett, who had orchestrated several of the creators' most successful previous shows, did the same for the score of Flower Drum Song.[31]
The musical proved difficult to produce for amateur and school groups, however, because it requires a cast either Asian or made up as Asian. Even professional companies found it difficult to round up an entire cast of Asian singer-dancer-actors.[14] By the late 1960s, the musical was rarely staged,[31] and was often relegated to dinner theater productions.[54] The Rodgers & Hammerstein Organization, which licenses the partnership's works, believes that the work's loss of popularity was due in part to increased racial sensitivity in the U. S. after the civil rights movement.[2] In addition, producers found the show to be thinly plotted, and the songs not integrated as organically with the characters and story, as compared with Rodgers and Hammerstein's most popular musicals.[14]
Flower Drum Song came to be seen by some as stereotypical and patronizing towards Asians, and that it was "inauthentic, even offensive in its relentlessly upbeat picture of a big-city Chinatown".[14] In 1983, the announcement that it would be produced in San Francisco started a furor; the producers pointedly stated that the show would be set in the 1930s and would have "a greater sensitivity toward the Chinese immigration problems at that time".[55] They added a scene in which Mei Li listens apprehensively to a radio broadcast warning about the dangers to the United States caused by Asian immigration. Many lines of dialogue were cut, and producer Fred Van Patten stated that "[w]hat we've done is cut things in the show that Asians said to make white people laugh."[56] The song "Chop Suey" was deleted, as was Master Wang's line that all white men look alike (based on a line in C. Y. Lee's novel, in which Wang states that all foreigners look alike).[57] The author gave a rare public interview to defend his novel and the musical adaptation. The production, which had been scheduled for a three-week run, closed early.[58] A well-attended production in Oakland in 1993 adhered strictly to the 1958 script, though part of the ballet was cut for lack of rehearsal time;[59] a more heavily censored 1996 production in San Mateo also did well at the box office.[60]
Hwang was given a free hand with dialogue; he was not allowed to change lyrics.[64] Hwang was inexperienced at writing musicals, and the producers hired veteran Robert Longbottom to direct the production and collaborate on the new script, "really a new musical which has a pre-existing score."[14] Only the character names, the San Francisco Chinatown setting and some of the relationships were retained, but the pair sought to be faithful to the spirit of both Lee's novel and the musical's original concept of old-world and older generation values struggling with new-world temptations and the desires of the younger generation. This concept is reflected in the struggle for survival of Wang's Chinese opera company, as it competes with the more modern, Americanized night club run by Ta.[14] The role of Mei-li (as spelled in the revision) was expanded. The character of Madam Liang was changed "from the wise-owl aunt" to a "savvy career woman" in show business.[14] Chinatown is portrayed as a more gritty and difficult place for new immigrants, and the pursuit of material success is given a more cynical face, especially in Act II.[14] The song "The Other Generation" was deleted; "My Best Love", which had been cut in tryouts in 1958, was restored in its place, and "The Next Time It Happens" was imported from Pipe Dream.[65] New orchestrations were by Don Sebesky and music director David Chase.[14] According to The New York Times, Hwang "has reshaped the story to elucidate two of his own abiding thematic interests: the idea of the theater as a prism for society and the generational clashes of diversely assimilated immigrants."[66]
Of the seven major New York newspaper drama reviewers, five gave the show very positive reviews. For example, New York Journal American critic John McClain stated, "Flower Drum Song is a big fat Rodgers and Hammerstein hit, and nothing written here will have the slightest effect on the proceeds."[84] The New York Daily Mirror termed it, "Another notable work by the outstanding craftsmen of our musical theatre ... a lovely show, an outstanding one in theme and treatment."[85] Less enthusiastic, however, was the longtime New York Times critic, Brooks Atkinson, who repeatedly described it as merely "pleasant".[84] UPI's drama critic, Jack Gaver, scored it as "well north of Me and Juliet and Pipe Dream" but "well south" of Oklahoma!, Carousel, South Pacific and even the team's first flop, Allegro.[86] Ward Morehouse applauded Suzuki for having "a brassy voice and the assurance of a younger Ethel Merman" and termed the production "an excellent Broadway show" though "[p]erhaps it doesn't belong in the same world ... as The King and I and Carousel."[87] Critic Kenneth Tynan, in The New Yorker magazine, alluded to the show The World of Suzie Wong in dismissing Flower Drum Song with the spoonerism, "a world of woozy song".[88]
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