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Brush Hour is Alex Stopa’s homage to the great brush masters from the early twentieth century. In it, Stopa introduces some of the most common brush patterns and techniques used in a jazz setting. Individual players trade licks, split rhythms, and have the opportunity to improvise during an optional solo section if they wish.
Included are thorough explanations on how to execute of all of the various techniques and patterns in the piece, as well as diagrams to help players visualize them. A video demonstration of the various techniques and patterns is also included!
Brush Hour comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
• 4 snare drums
• 4 pairs of wire brushes
“Fly killers” abound in this fun and inventive work by Alex Stopa. Not only are the performance and program notes a pedagogical delight, Stopa has managed to harness a variety of techniques for brushes within what he describes as a sort of “concert etude.” This work presents several brush techniques, particularly highlighting a few of the more novel techniques within Brushworks by Clayton Cameron, all within a musically approachable format. In case any performers are new to brushes, Stopa provides written and video instructions to introduce them to drummers who may be unfamiliar with the specific performance needs.
Beyond this seldom-seen nod towards inclusivity, Stopa makes a point to highlight the malleability of the work to fit the needs and style of the performers, ranging from playing surface (e.g., a snare drum to a pizza box) to openly welcoming diverse patterns within the jazz brush idiom that meet similar ends to those notated in this piece — an equitable approach to composer-as-utilitarIan that is reminiscent of the works of Christian Wolff, albeit a bit more tuneful.
This work is perfect for a high school or college percussion ensemble and is well worth each individual’s investment in time, as once the piece is learned each performer has further developed a marketable skill in playing brushes. This work fills a void in the repertoire for percussion ensemble pieces that teach a group of students drum set related skills within a context that is musically satisfying and accessible.
—Quintin Mallette
Percussive Notes
Vol. 59, No. 3, June 2021
Brush Hour is Alex Stopa’s homage to the great brush masters from the early twentieth century. In it, Stopa introduces some of the most common brush patterns and techniques used in a jazz setting. Individual players trade licks, split rhythms, and have the opportunity to improvise during an optional solo section if they wish.
Included are thorough explanations on how to execute of all of the various techniques and patterns in the piece, as well as diagrams to help players visualize them. A video demonstration of the various techniques and patterns is also included!
Brush Hour comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
• 4 snare drums
• 4 pairs of wire brushes
“Fly killers” abound in this fun and inventive work by Alex Stopa. Not only are the performance and program notes a pedagogical delight, Stopa has managed to harness a variety of techniques for brushes within what he describes as a sort of “concert etude.” This work presents several brush techniques, particularly highlighting a few of the more novel techniques within Brushworks by Clayton Cameron, all within a musically approachable format. In case any performers are new to brushes, Stopa provides written and video instructions to introduce them to drummers who may be unfamiliar with the specific performance needs.
Beyond this seldom-seen nod towards inclusivity, Stopa makes a point to highlight the malleability of the work to fit the needs and style of the performers, ranging from playing surface (e.g., a snare drum to a pizza box) to openly welcoming diverse patterns within the jazz brush idiom that meet similar ends to those notated in this piece — an equitable approach to composer-as-utilitarIan that is reminiscent of the works of Christian Wolff, albeit a bit more tuneful.
This work is perfect for a high school or college percussion ensemble and is well worth each individual’s investment in time, as once the piece is learned each performer has further developed a marketable skill in playing brushes. This work fills a void in the repertoire for percussion ensemble pieces that teach a group of students drum set related skills within a context that is musically satisfying and accessible.
—Quintin Mallette
Percussive Notes
Vol. 59, No. 3, June 2021
