Brushworks: The New Language for Playing Brushes (Book & CD)
by Clayton Cameron
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Book Summary Information
Author: Clayton CameronEdition: Paperback
Audio: English (Unknown); English (Published)
Published: 2005-12-22
ISBN: 0825849624
Number of pages: 128
Publisher: Carl Fischer, LLC
Book Reviews of Brushworks: The New Language for Playing Brushes (Book & CD)
Book Review: Too much hype and too little clarity
Summary: 3 Stars
I'm rather annoyed to find an advertisement for the author's own brush interpolated into the text. The book's subtitle is ridiculous. The list of "brush rudiments" is very silly. Otherwise this is a fair overview of brush technique, except that the explanation of the "flex roll" is garbled.
I'm not going to adopt Cameron's stirring soup (which he calls "sweeping") notation. It works well enough in the context of a brush instruction book, but I rather doubt it "will become the standard used by...composers", as the back cover blurb claims, at least I hope it won't:
One hand gets a regular note in the snare drum space and the other a regular above the staff in the cymbal space. "Legato sweeping" is shown with ties between the notes, except where ties are really needed, in which case horizontal lines are used instead. It seems to me that if you're going to use horizontal lines here, you'd might as well use them everywhere, for consistency. Horizontal lines are not necessary anywhere, however. Legato can and should be shown in the traditional way. Cameron's main example has four quarter notes, which are supposed to be four separate notes, not the equivalent of one whole note, with ties between them. Instead, he ought to have written a single curved line above all four. Staccato should also be shown in the traditional way, with dots, and so on. If both hands are playing on the same snare drum, both hands should be written in the same space, one with stems going up, the other with stems going down. If the bass drum or the hi-hat foot is playing as well, then the stems-going-down snare hand will be joined to the bass hi-hat pattern.
The real problem for stirring soup notation is that, except for the roll, which has its own notation, drum notation shows accurately where a note attacks but does not show where it releases; a note ends whenever it happens to end (unless you choke the cymbal or something), regardless of the notation. Since stirring involves sustained notes directly controlled by the drummer, using the same notation for it is inconsistent and potentially confusing. Stirring notation needs to use a different kind of note head--or something.
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