I haven't heard this piece since I was 15 years old and I'm 70 now LOL. One of the first rudimental drummings I ever learned. It was a great way to demonstrate that you knew all your rudiments and had command and control of them. ❤❤
I was always told I was weird for playing my drags very very wide open, but Moore plays them as open as its humanly possible to be. I feel justified now.
I loaned my copy of "The Art of Drumming" to a friend back in the '80s and never saw it again. I remember this record well. My high school band director had a copy. I played this in a solo competition and substituted 5 stroke rolls for the 7 stroke rolls. When the judge questioned me about it I told him I chose to do it like old J. Burns Moore did on this recording and the judge cut me some slack. After that I began to play it as written.
I've been drumming for 40 years using the J. Burns Moore Art of drumming. Just wonderful to hear J. Burns play. Thank you a million times. This man is the heart of drumming the right way.
I recently added this piece as part of my daily chops routine. I remember playing this in high school. What a legacy these founding fathers left us. I am glad to see that some of the traditions are still alive and well. Thanks for sharing.
Right now I am SPEECHLESS!!! I can't believe that I now have the opportunity to hear this from the master himself. I can't begin to thank you for uploading this my friend!!! Amazing!!!
@Paradiddledrummer: Thanks, I'm glad you like it. There are only six photos of Burns Moore showing stick positions in his book and I used them all to make these simple animations. I think we are lucky to have this historic audio of his playing.
Thanks for posting this Ed. In High School, early 70s, our snare line used to play this all together at a blazing tempo with 3-S sticks on a big wood table in our instrument storage room. Like a cutting contest! What a hell of a warm-up excersize. Great memories.
I did have a copy of that book back in the mid-50s, that's where I learned the rudiments. I was a member of the olph Ridge men, from Brooklyn New York in mid 50s through 1959. Eddie Fitzgerald, may he rest in peace was my drum instructor. He taught us the downfall of Paris, Connecticut halftime, and many other solos. And then to learn, the songs that we were using in our repertoire. I joined the Floyd Bennett golden eagles in 1960 and 61, and because of my background and what amount for Drummond it was a easy transition for me. We played several switch rudiments while I was a member there. Due to an injury to my right hand and arm, I had to stop drumming, on a competitive level. But I've always continue drumming, but never again in competition. In 1992, I met John Dowling, may he rest in peace. He is the person who developed back sticking techniques. He insisted the Drumline for American Spirit that we organize then learn, Connecticut halftime, and several others, as a warm-up exercise. We had members from New York Skyliners, St Vincent's Cadets, Matthias Cadets, sunrises, and Suncoast sound. You work the Snow Line learning these parts and learning how to play together, using his techniques. By any chance would you have a copy of a Fleetwood recording of John Dowling, teaching people the rudiments, along with various drum solos? Thank you so very much for posting this clip I really really enjoyed it. I am a former member of olph, Floyd Bennett golden eagles, after I turn 21 I joined the Long Island sunrises. Today is June 15th 2022. And again thank you so very much for posting this clip. I apologize for any errors, I rely on voice recognition, spelling or words not coming out correctly, I have no control over.
Brooklyn in the 1950s and '60s was a true hotbed of rising drum stars! I'm sorry, I do not have any recordings of John Dowling. Keep the spirit in you music and music in your spirit!
Ed, Thank you for putting this together. I grew up with J. Burns Moore, the Art of Drumming but never heard a recording. This is a treasure I was unaware of...so glad it exists!!!!!!!!! DC
This brings back so many beautiful memories. I played in high school and learned the 26 rudiments. Right after high school, I was auditioned and became a member of NARD. I was sad to hear that they are now defunct.
Thanks for posting this video! I found the recording to be most interesting. And the photos showing arm and stick movements - very helpful when it comes to understand the way a drummer approached beating the drum in those days.
Hello Ellis: I am very happy that you though enough of this video to share it on your site! In fact, I am a big fan of FieldDrums[.]com and I have visited your pages many times. Thank you for the informative and interesting articles and links you have posted there.
Thanks Dominick. That record includes playing by Wm F. Ludwig Sr. and Jr. It also has a very rare track of Edward B. Straight (one of the 13 NARD founders) the audio quality is not good but it is good enough to recognize the excellence of Straight's playing. I've posted another video you may find interesting that I made from individual frames of Gus Moeller demonstrating the upstroke and downblow technique. Cheers, Ed
Ed, Thanks for creating this wonderful video. Although I studied under other influences, J. Burns Moore was my rudimental drumming heritage.My first drum instructor,Curt Golder, auditioned for his N.A.R.D. certification from Moore; Curt's instructor, Edwin Kane of Danbury, CT, also earned his N.A.R.D. from Mr. Moore.Curt taught all our drummers from "The Art of Drumming". I had heard an audio of J. Burns Moore on the Vintage Drum website, where he performed on record with other prominent drummers including Bill Ludwig. I believe the record was created in the 1930's. As webmaster of the United States Association of Rudimental Drummers website, www.usard.org, I will have this video available there. Thanks, again, -Joe Gillotti
Thanks for posting truly a delight. You also might want to hear Frank Arsenault (unsure if correct spelling of last name) but you will be pleased when you hear him. One of my instructors,Johnny Lane was taught by Frank. Johhny Lane was also pretty good if you're not familiar with him.
I am familiar with Frank Arsenault. My early instructors were former Cavaliers under his instruction. Arsenault studied with Connecticut legend, Earl Sturtze. Is Lane from Connecticut too? Thanks.
I've been searching for this recording for years and thrilled that you've found and posted it. As a boy in the late 1950's and into high school in the early 1960's I was an avid rudimentary drummer. I was addicted to the Connecticut Halftime solo after hearing James Burns Moore perform it on a recording of fife and drum music, The Spirit of '76. I performed The Connecticut Halftime every year in high school in Indiana at regional and state music contests. I've been searching for the LP recording that the solo was featured in. To date I've been unable to find any mention of it in any of my internet searches. Any information you might have as to that recording would be greatly appreciated.
Jay Solomon Thank you for your comments, Jay. The Ludwig record featuring Burns Moore is very hard to find and long out of production. I got lucky and found the copy I have a few years ago on ebay.
Snare drumming the way it was meant to be. No need to fling your sticks in the air, play with your elbows, or any other flashy moves. Just simple wrist movements that sound awesome...
This is traditional, solid military derived snare drumming, pure and straightforward. The back sticking and fancy stuff on snare drums tuned up almost to the breaking point just doesn’t sound good to my ear. This man was playing a SNARE DRUM (oh really, a field drum… A tenor drum?) with a very traditional sound. Still the most powerful and the best way of playing rudimental snare drumming. -Greg Burrows
Ed great job! You sound great. Thanks for sharing your knowledge of the History of Rudimentary Drumming with us. Your video inspired me to get the book and play the Connecticut Halftime. Your interpretation was fantastic! The recording of Mr. J. Burns Moore shows us a different way to play the Lesson 25. What is He playing do you know? It sounds a bit different at times. Anyway thank you so much and hope that you share some more of the old recordings!
Henrique De Almeida Thanks Henrique. In his book, Moore does not explain in detail how he times the grace note drags in Lesson 25. But on this recording, it sounds to my ear like he is playing the grace note with a triple feel as if it were the last two partials of a triplet figure. There are other ways Lesson 25 can be interpreted: One way is to play the drag as even divisions of time preceding the two 16th notes which makes it sound more open - like two 32nd notes; a second way is to play the drag as a grace note with no specific rhythmic value. The second way can sound a bit “held back” after the initial 8th - dropping in just ahead of the 16ths. A third way is to press the drags using a dead-stick technique. That makes an interesting sound but it is more than two beats because it is a multiple bounce buzz. It comes down to style and interpretation played with intent and control.
You are a right on, Ed Flack. It is common for the grace note to be played in an open manner when played at a fast tempo. Most drummers butcher the Lesson #25 by playing the two primary strokes (following the grace notes) as softly as the grace notes. This produces a single accent with the rest of the rudiment blended together and sounding like mush.Jackie T Shirley
I haven't heard this piece since I was 15 years old and I'm 70 now LOL. One of the first rudimental drummings I ever learned. It was a great way to demonstrate that you knew all your rudiments and had command and control of them. ❤❤
Hi Phil!
@@ddooks HI Dave!
I was always told I was weird for playing my drags very very wide open, but Moore plays them as open as its humanly possible to be. I feel justified now.
Awsum! ;-)
I loaned my copy of "The Art of Drumming" to a friend back in the '80s and never saw it again. I remember this record well. My high school band director had a copy. I played this in a solo competition and substituted 5 stroke rolls for the 7 stroke rolls. When the judge questioned me about it I told him I chose to do it like old J. Burns Moore did on this recording and the judge cut me some slack. After that I began to play it as written.
I've been drumming for 40 years using the J. Burns Moore Art of drumming. Just wonderful to hear J. Burns play. Thank you a million times. This man is the heart of drumming the right way.
I recently added this piece as part of my daily chops routine. I remember playing this in high school. What a legacy these
founding fathers left us. I am glad to see that some of the traditions are still alive and well. Thanks for sharing.
Right now I am SPEECHLESS!!! I can't believe that I now have the opportunity to hear this from the master himself. I can't begin to thank you for uploading this my friend!!! Amazing!!!
@Paradiddledrummer: Thanks, I'm glad you like it. There are only six photos of Burns Moore showing stick positions in his book and I used them all to make these simple animations. I think we are lucky to have this historic audio of his playing.
Thanks for posting this Ed. In High School, early 70s, our snare line used to play this all together at a blazing tempo with 3-S sticks on a big wood table in our instrument storage room. Like a cutting contest! What a hell of a warm-up excersize. Great memories.
I did have a copy of that book back in the mid-50s, that's where I learned the rudiments. I was a member of the olph Ridge men, from Brooklyn New York in mid 50s through 1959. Eddie Fitzgerald, may he rest in peace was my drum instructor. He taught us the downfall of Paris, Connecticut halftime, and many other solos. And then to learn, the songs that we were using in our repertoire. I joined the Floyd Bennett golden eagles in 1960 and 61, and because of my background and what amount for Drummond it was a easy transition for me. We played several switch rudiments while I was a member there. Due to an injury to my right hand and arm, I had to stop drumming, on a competitive level. But I've always continue drumming, but never again in competition. In 1992, I met John Dowling, may he rest in peace. He is the person who developed back sticking techniques. He insisted the Drumline for American Spirit that we organize then learn, Connecticut halftime, and several others, as a warm-up exercise. We had members from New York Skyliners, St Vincent's Cadets, Matthias Cadets, sunrises, and Suncoast sound. You work the Snow Line learning these parts and learning how to play together, using his techniques. By any chance would you have a copy of a Fleetwood recording of John Dowling, teaching people the rudiments, along with various drum solos? Thank you so very much for posting this clip I really really enjoyed it. I am a former member of olph, Floyd Bennett golden eagles, after I turn 21 I joined the Long Island sunrises. Today is June 15th 2022. And again thank you so very much for posting this clip.
I apologize for any errors, I rely on voice recognition, spelling or words not coming out correctly, I have no control over.
Brooklyn in the 1950s and '60s was a true hotbed of rising drum stars! I'm sorry, I do not have any recordings of John Dowling. Keep the spirit in you music and music in your spirit!
@@TheDrumslinger thank you so much for responding to my comments. You made my day, in fact today is my 79th birthday. September 23rd 2022.
@@americanspirit8932 Happy birthday!
Wow. I need like 100 more years of practice to maaayyybe sound that smooth. Amazing.
Ed,
Thank you for putting this together. I grew up with J. Burns Moore, the Art of Drumming but never heard a recording. This is a treasure I was unaware of...so glad it exists!!!!!!!!!
DC
this is so precious, thanks for sharing..and thanks for that video you made about Sanford Moeller on film, absolutely great!!!!!!
This is fantastic. A great treasure to hear this.
This brings back so many beautiful memories. I played in high school and learned the 26 rudiments. Right after high school, I was auditioned and became a member of NARD. I was sad to hear that they are now defunct.
Thanks for sharing this incredible recording!
Thanks for posting this video! I found the recording to be most interesting. And the photos showing arm and stick movements - very helpful when it comes to understand the way a drummer approached beating the drum in those days.
Hello Ellis: I am very happy that you though enough of this video to share it on your site! In fact, I am a big fan of FieldDrums[.]com and I have visited your pages many times. Thank you for the informative and interesting articles and links you have posted there.
Thanks Dominick. That record includes playing by Wm F. Ludwig Sr. and Jr. It also has a very rare track of Edward B. Straight (one of the 13 NARD founders) the audio quality is not good but it is good enough to recognize the excellence of Straight's playing. I've posted another video you may find interesting that I made from individual frames of Gus Moeller demonstrating the upstroke and downblow technique. Cheers, Ed
Ed, Thanks for creating this wonderful video. Although I studied under other influences, J. Burns Moore was my rudimental drumming heritage.My first drum instructor,Curt Golder, auditioned for his N.A.R.D. certification from Moore; Curt's instructor, Edwin Kane of Danbury, CT, also earned his N.A.R.D. from Mr. Moore.Curt taught all our drummers from "The Art of Drumming". I had heard an audio of J. Burns Moore on the Vintage Drum website, where he performed on record with other prominent drummers including Bill Ludwig. I believe the record was created in the 1930's.
As webmaster of the United States Association of Rudimental Drummers website, www.usard.org, I will have this video available there.
Thanks, again,
-Joe Gillotti
Joseph Gillotti Thank you Joesph, I am happy you are sharing the link with USARD. I've visited that site, nice work!
Thanks for posting truly a delight. You also might want to hear Frank Arsenault (unsure if correct spelling of last name) but you will be pleased when you hear him. One of my instructors,Johnny Lane was taught by Frank. Johhny Lane was also pretty good if you're not familiar with him.
I am familiar with Frank Arsenault. My early instructors were former Cavaliers under his instruction. Arsenault studied with Connecticut legend, Earl Sturtze. Is Lane from Connecticut too? Thanks.
This J Burns Moore kid has potential.
I've been searching for this recording for years and thrilled that you've found and posted it. As a boy in the late 1950's and into high school in the early 1960's I was an avid rudimentary drummer. I was addicted to the Connecticut Halftime solo after hearing James Burns Moore perform it on a recording of fife and drum music, The Spirit of '76. I performed The Connecticut Halftime every year in high school in Indiana at regional and state music contests. I've been searching for the LP recording that the solo was featured in. To date I've been unable to find any mention of it in any of my internet searches. Any information you might have as to that recording would be greatly appreciated.
Jay Solomon Thank you for your comments, Jay. The Ludwig record featuring Burns Moore is very hard to find and long out of production. I got lucky and found the copy I have a few years ago on ebay.
👍🏿💯
The world famous Ramones used this as their intro music for most of the 80's, before they started using Morricone's The Good The Bad & The Ugly
Thanks, Mariano, that's some fun trivia!
Snare drumming the way it was meant to be. No need to fling your sticks in the air, play with your elbows, or any other flashy moves. Just simple wrist movements that sound awesome...
This is traditional, solid military derived snare drumming, pure and straightforward. The back sticking and fancy stuff on snare drums tuned up almost to the breaking point just doesn’t sound good to my ear. This man was playing a SNARE DRUM (oh really, a field drum… A tenor drum?) with a very traditional sound. Still the most powerful and the best way of playing rudimental snare drumming. -Greg Burrows
Ed great job! You sound great. Thanks for sharing your knowledge of the History of Rudimentary Drumming with us. Your video inspired me to get the book and play the Connecticut Halftime. Your interpretation was fantastic! The recording of Mr. J. Burns Moore shows us a different way to play the Lesson 25. What is He playing do you know? It sounds a bit different at times. Anyway thank you so much and hope that you share some more of the old recordings!
Henrique De Almeida Thanks Henrique. In his book, Moore does not explain in detail how he times the grace note drags in Lesson 25. But on this recording, it sounds to my ear like he is playing the grace note with a triple feel as if it were the last two partials of a triplet figure. There are other ways Lesson 25 can be interpreted: One way is to play the drag as even divisions of time preceding the two 16th notes which makes it sound more open - like two 32nd notes; a second way is to play the drag as a grace note with no specific rhythmic value. The second way can sound a bit “held back” after the initial 8th - dropping in just ahead of the 16ths. A third way is to press the drags using a dead-stick technique. That makes an interesting sound but it is more than two beats because it is a multiple bounce buzz. It comes down to style and interpretation played with intent and control.
You are a right on, Ed Flack. It is common for the grace note to be played in an open manner when played at a fast tempo. Most drummers butcher the Lesson #25 by playing the two primary strokes (following the grace notes) as softly as the grace notes. This produces a single accent with the rest of the rudiment blended together and sounding like mush.Jackie T Shirley
anyone put a metronome on this tempo?
+george sager 120 ish.
So fast!