4 Comments

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  AUTHOR:    Ann Noble March 28, 2024 - 6:19 am

  I tried to get a copy of tenor and bass beatings for Cullen Bay. After I clicked the button it said no charge 0.00. but I haven’t received an email as yet. I don’t know what else to do.

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    AUTHOR:    Tuan May 28, 2024 - 11:55 pm

    Hi Ann, sorry for the delay in getting back to you. You should have received an email with the instructions on downloading the score. The email address would have been the one you entered when requesting the download which should have been: rfb13a@gmail.com
    Is that the correct email? Drop me a message on FB Messenger and we can work it out. Hope all is well. All the beats, Dean

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  AUTHOR:    RDB July 17, 2021 - 2:45 pm

  Hello: I’ve been listening to you drum audio of pieces in “Something Old Something New” and would like to thank you for putting this together. I find it very useful. However I have a question regarding the elementary version of The Hills of Perth. In bar 6 of the first part are two triplets 16th notes followed by an 8th. In the book I have the first note, the third note and the sixth are accented. However, I hear it as the first, third and seventh accented. Is this the Coriolis effect?

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  • 

    AUTHOR:    DrummingMad July 18, 2021 - 3:35 am

    Hello, thank you for your kind words and great question. In fact it is a question I am asked a lot when it comes to expression marks on scores, where and when they can be used.

    So there are two approaches to marking scores with their accent marks, one is from the more broad view that all accents are relevant across a complete score i.e. all notes with an accent mark on it are played with the same weight. The other approach is that the accent mark is only relative to the notes in the “immediate vicinity” which is the approach used by the authors in the book Something Old Something New. So now you might ask why aren’t notes louder than a tap marked accordingly? The answer to that is that we don’t always have enough symbols to represent the multiple shades of loudness that we play. This is where the audio files come in. The best way to publish the volumes and sounds is through the medium of audio because (as you mention) you can hear much more volume distinction than can be notated. As my old drumming teacher in Ireland, Johnny Keogh told me, ‘it’s all about the sound’.

    Now I realise I haven’t actually answered your question, yet. That was just to “lay the ground” for my answer.

    So looking at the bar in question, if we were to write the score using the first approach, we would place an accent also onto the final note of the sequence. Since the author just wanted to point out to the player that “within the double triplet grouping, these are the three notes we need to highlight”. Once we are finished with the triplets sequence, we are back to the default accenting model for a 2/4 march which is to “tail off” a phrase if there is no further material to follow and in this case we are concluding phrase 3 on its 4th beat by playing an accent there.

    

    The same will apply throughout the book. So just keep in mind that if you have a sequence of notes with some accents marked throughout, the accents are to show you which notes are to be brought out more.

    I hope that answers your question and gives some background into why we often have scores written in different ways.

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