This amount will allow the book to be reviewed, proofed, edited and published. This is the main goal of the KickStarter page. This the minimum amount needed to completely fund the book's publication and once successfully funded at this goal you will receive the Rewards offered on the right side!
This amount will allow for audio supplements added via website with an unlock code included within the book. This would allow the reader to follow along with the exercise and make sure they learn it correctly. They will also be able to be shown, audibly, how something is intended to sound, which enables them to learn in more way than one.
This is my stretch goal and will allow for video supplements added via website with an unlock code included within the book. I would be able to showcase the technique and exercises given in the book which will allow the reader to see what is being asked of them. This would prevent the reader from retaining an incorrect technique that would normally go un-adjusted.
This book started off a long time ago. I decided to solidify my ideas and preferences behind the tenor drums into a short journal. This was in 2008 while I was a senior in college and had been teaching three different drumlines. I had marching in four different different lines by then as well and every single one had completely different ideals. From technique to dynamics and work ethics I began to think about why they were that different from one another. This is what motivated me to begin turning what I started as a journal into an all out tenor book.
There are currently at least two specific multi-tom books that are successful for beginners to learn the basics. One of those books explores a bit more into the advanced world but there are no books that push the reader into the expert realm. This is part of the reason that the book tends to deliver more information through text than music, however, it does cover everything in musical form too. This book became a combination of a text book and a drumline warmup book. It follows the same path as a drumline warmup while taking the care to explain everything you would need to know to execute properly. It then goes back and tells you how to exploit previous exercises with newly developed ideas.
So the book was a slow cooker. As I became more involved in the actual writing I felt I needed to refine my edges as a tenor drummer and study things both within and outside of tenor drumming to make sure I could justify everything I was writing in the book. I studied top drum corps across the country for definitive styles and made myself understand why each does what they do, because they are all so different accomplishing the same goals.
Everything in my book is justified in more than one way which allows it to be very solid and build upon itself the entire way through. It does introduce a few new ideas in modulation and tenor patterns but overall I'm pushing advanced to expert concepts to further the tenor drummer as far as possible.
This book is also very much intended for instructors and composers. I feel that many instructors and composers come from a mostly snare drum background which implies that they write a tenor book very much similar to the snare book and moving it around the drums. The snare section is completely different from the tenor section and bass section, and they should be written for individually from square one. The doors of musicality are opened when you understand the full capabilities of each individual section of the battery.
Tenors need to flow musically but also physically across the drums, this means writing that allows them to flow as opposed to telling them they need to flow more. A lot of composers miss the opportunity for counterpoint writing with the tenors supplementing the snare part and vice versa. This can be accomplished at all skill levels and makes the drumline score so much more interesting.
So the book tries to reach out to instructors and composers as well as the tenor drummer. The book mostly speaks directly to the drummer but sometimes does turn its attention to the instructor. Mostly though the instructor and composer can look deeper at the things being presented to the drummer. Note placement is the most obvious for this point because the drummer is simply trying to play the notes musically while the instructor can easily find hot spots and understand solutions all while the composer can look at why each note is placed where it is in relation to others. This style writing is evident throughout the entire 150+ page book and will surely help everyone that opens it up.
The book is set to be sold for $12.95 which is lower than any other marching percussion book found on the market today. My goal is to help musicians rather than make money, this cost covers my production costs per book.
The $500 goal is all that is needed to completely fund the book! If that goal is reached all of the Rewards on the right side of the page are set and the book will be printed as scheduled! The stretch goals would be a great addition to the book but are not required to complete the publication process!
Risks and challenges
The biggest challenge presented itself when I decided to gear the book toward an advanced and expert reader. I can understand why other books tend to stop at a certain level because it is incredibly hard to dictate expert level materials through text and without seeing the drummer actually play. When someone plays in person you can easily correct things, usually many at a time. With a book you have to hope they didn't interpret something an incorrect way or else it will stick with them without being corrected until they are in front of an instructor.
This challenge did however become smaller and smaller. I took my time with writing the book and made sure that every word and example I chose was as simple to convey as possible. I also made sure that musical passages represented everything I said in text as the expert level began to surface.
There is no exact right way to play the tenor drums. This means that the book has to be careful not to include too much personal preference on top of ideas that can be accomplished many different ways. It is also difficult to start a book at the advanced level. This is because marching tenor drumming can be done so many different ways and almost everyone has personal technique and style preferences. This means the the book has to touch on many basic elements, however, it leaps away from them quickly and leaves the basics behind quite quickly. I also tried to put a deeper twist on the basics, meaning that the instructor and composer can learn flow and counterpoint ideas from the writing and drum placement of the basic elements. This allows the 'basics' to actually become more advanced elements in disguise.
The book jumps a few hurdles and is, in part, why it took five years to write. It took a lot of studying and research to actually solidify everything into a structured and self-building tenor book.Learn about accountability on Kickstarter
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