Brush Hour-SAMPLE by Tapspace

ALEX STOPA

BRUSH HOUR

quartet for snare drum & brushes

Brush Hour by Alex Stopa © 2020 Tapspace Publications, LLC (ASCAP). Portland, OR. All rights reserved. International copyright secured. Printed in USA. tapspace.com Notice of Liability: Any duplication, adaptation, or arrangement of this composition requires the written consent of the copyright owner. No part of this composition may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law. TSPCE20-027

PROGRAM NOTES I’ve always felt that brushes are one of the most expressive implements a drummer has in their arsenal. Designed in 1913 by Alliston and Weinstein, brushes were originally named “fly killers” and looked very much like they do today. Although we don’t know who first used them on the drum set, we do know that they likely rose to popularity in New Orleans jazz bands of the 1920s. Over time, drummers developed a personalized approach to brush language, establishing certain grooves, techniques, and patterns that could be used to accompany a wide range of musical styles. Many of these patterns were taught by rote, passed down from one drummer to the next or from teacher to student. In fact, there are numerous stories of famous drummers who, while on tour, would meet up with other drummers to trade “brush licks” while hanging out in their hotel rooms, playing on tables, chairs, or even pizza boxes! This idea was the inspiration for Brush Hour which is built around grooves, themes, and “licks” that are traded between each player in the ensemble.

Brush Hour aims to introduce the beginner to a few of the more commonly used brush patterns and techniques in a fun ensemble setting. In this way, the piece functions as a performable “concert etude” of sorts. —Alex Stopa

PERFORMANCE NOTES Brush Hour requires the performer to be familiar with certain specific patterns and motions. Included below are detailed descriptions of the brush techniques that are used in this piece. A video demonstration of each pattern is also included for reference. The composer does not profess the brush patterns used in this piece are “the standard.” In fact, there are infinite possibilities with brushes! With that in mind, performers may use different patterns and stickings if desired. The visual aspect of the piece is important, however, so stickings and motions should be synchronized between the players when possible. • This piece is composed for four players, each with their own snare drum. If you don’t have a snare drum, no problem. Play on a pizza box or any hard surface! • The piece may be performed standing or seated. • Traditional or matched grip may be used for playing brushes. • Brushes with rubber handles are recommended for ease in executing “rim flex” and “rim roll” effects. • Letter G to measure 140 is open for improvised solos. Notated solos are included for those who are not comfortable improvising. Alternately, the solo section may be cut completely. This section is written to allow flexibility in performance. Solos may be shortened, lengthened, or arranged differently if desired. Other solo structure options may include: 4-measure traded solos (2 solos for each player) or 4-measure traded solos, then 2-measure traded solos, then 1 measure traded solos, then 2 quarter note traded solos (30 measures total).

BRUSH PATTERNS & TECHNIQUES Given the unique approach to brush technique, beginners would be advised to practice the following patterns and techniques separately before tackling the piece as a whole. Learning each pattern individually will help improve technical facility while developing familiarity with the different rhythms and grooves used throughout. The added bonus is that these patterns and techniques, once familiar, may also be used in a jazz band setting. Listed with each of the following brush patterns is a brief description of how this pattern may be used in the context of a jazz performance and where it is found in the composition.

BASIC SWING PATTERN This basic swing brush pattern is the “main theme” that recurs throughout Brush Hour. This pattern would work as a jazz brushes groove from slow to medium fast tempi. WRITTEN AS: RH:

RH 2, 4

1, 3

4 / 4 œ̇  LH:

1, 3

œ œ œ̇ 

œ œ

SOUNDS LIKE: RH:

2, 4

ah 3

œ ‰ œ œ̇ 

4 / 4 œ̇  LH: 1

œ ‰ œ

• RH plays the ride cymbal “swing” pattern. Beats are played as regular strokes on the drumhead as notated. • LH “stirs the pot.” The brush stays lightly in contact with the drumhead at all times while circling clockwise in half notes. Imagine that you are waxing a car. This motion comes primarily from the elbow. The sound should be smooth and consistent with no accents. (If using matched grip, this motion may be easier to execute using a “German” grip). • Hands will cross on beats 2 and 4. Once the basic swing pattern is comfortable, try and incorporate the accents notated in the piece. The goal is to transition seamlessly from playing the groove, into the accent pattern, then back to the groove again. This will take some choreography so that the brushes don’t become entangled. The following shorthand notation is standard in drum charts. The slashes tell us to play “time” or to play “a groove.” In this example we play our main groove, pause to play the written accented rhythm, then resume the original groove.

4 /4?

>j > ‰ œ œ

LEGATO ALTERNATING STROKES Found at letter D and letter K, this is a legato “swish” style that would work well in a jazz ballad. Right and left hands alternate strokes while playing small circles. The right hand moves counterclockwise; the left hand moves clockwise. The brushes stay in contact with the drumhead at all times to create a smooth legato stroke. Strong beats (at the top half of the circle) should be louder and more emphasized. Press the brush into the drumhead with extra weight and use a faster, circular motion to achieve this. Example 1 shows the pattern in 4/4 time. Once the basic quarter note pattern is comfortable, try playing different rhythms such as those notated below. Be sure you can hear a clear pulse between the alternating hands. Example 2 shows the pattern in 4/4 time with eighth notes. Quarter Notes

RH:

2, 4

1, 3

4 / 4 œœ

œœ -

LH:

RH:

1, 2, 3, 4

œœ

œœ -

let -

trip

etc.

- 3 - -3 - 3 - -3 4 / 4 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ - - 3 - 3- - 3 3 LH:

RH:

4 / 4 œœ LH:

trip -

œœ 3 trip

let

œœ -

let etc.

œœ 2

trip 3

œœ 3 -

œœ 3

4 2 3 4 œœ œœ œœ œœ œœ œœ œœ œœ /4 -

RH:

œœ

œœ -

LH:

3 œœ /4

RH:

œœ -

LH:

Eighth Notes

œœ

œœ let

SINGLE HAND SWEEP Found at letter B and throughout the piece is a one-handed pattern, useful for playing a variety of legato swish rhythms with subtle articulation. This technique is played with either the right or left hand. The brush stays in contact with the drumhead at all times. In a straight line, sweep towards and then away from the body of the performer. The effect should be an even, rhythmic pulse. The first diagram shows the motion required for the right hand to play eighth notes. Once eighth notes can be played comfortably, try playing the other rhythms below. This technique may be easier to execute with a “French” grip (thumbs up).

Eighth Notes

RH:

RH 1, 2, 3, 4

œ œ œ œ œ œ œ œ

& RH:

l k

l k l k

sim...

œ œ œ œ œ œ œ œ ?

ah 2

& ah

Triplets

LH LH:

-trip1-let

sim...

œ œ œ œ œ œ ? 1 - trip - let - 2 - trip - let

ONE-HAND TREMOLO Found in measures 67–68 and 151–152, this is a special effect that gives a delicate “flutter” sound, commonly used in a jazz ballad setting. This technique can be played with either the right or left hand. To achieve the tremolo, keep the brush in contact with the drumhead and, with small wrist motions, make very fast sweeps from side to side. The tremolo should have a rapid sound, like a rattlesnake. Imagine you have had too much caffeine and your hands are shaking! This technique may be easier to execute with a “French” grip (thumbs up). Try starting and ending the tremolo with a clean attack (in the same way that you would start and end a snare roll with a clear articulation). Begin with the brush off the head and strike the drum with a glancing stroke. Allow the brush to stay in contact with the drumhead and start to ‘tremolo’ rapidly. End the tremolo by lifting the brush off the head rapidly in a reverse glancing stroke, returning to the starting hand position.

Glancing beginning stroke tremolo

Release stroke (same angle as beginning stroke)

WHIP STROKE Found toward the end of the piece in measures 153 and 154, this is a special effect that sounds like a flyswatter being whipped through the air. This technique involves both the right and left hands and is created by whipping the brushes through the air with the arms and wrists as if playing air drums. Since this is a subtle and quiet sound, it helps to snap the handle of the brush against your palm with your fingers to achieve as much volume as possible. This can be a fun moment to amuse the audience, so, as with the rest of the piece, try to visually coordinate with the other performers.

RIM FLEX Found in measures 94 and 156, this is a special effect stroke that creates the sound of a one-hand roll. The term “rim flex” was coined by brush master Clayton Cameron. This stroke can be played with either the right or left hand. Strike the rim of the drum with the rubber brush handle (between 4 and 5 o’clock in the right hand or between 7 and 8 o’clock in the left hand), keeping the handle in contact with the rim. As the brushes rapidly bounce against the drumhead, a “multiple-bounce roll” effect can be created. Some subtle adjustments to the angle of the brush will change the duration of the “rim flex” stroke.

WRITTEN AS:

æ ¿æ

SOUNDS LIKE:

œ œ œ œ œ œ

WRITTEN AS:

SOUNDS LIKE:

æ¿j >œ

> œœœœœ

L R

L L L L R R R R R L

R L

The exact number of notes is not important. Listen for a fast “flutter” effect.

Once the basic stroke is comfortable in both hands, experiment with playing the rim flex followed by a single stroke in the opposite hand to create a “ruff” or “roll” rudiment.

RIM ROLL Found in section E, this special effect stroke creates a roll. The term “rim roll” was coined by brush master Clayton Cameron. It can be played with either the right or left hand. Quietly lay the entire brush on the drum so that the rubber shaft is perpendicular to the drum rim and the brush is in contact with the head. The back of the brush should extend approximately 1–2" outside of the rim between 4 and 5 o’clock in the right hand or 7 and 8 o’clock in the left hand. Roll the entire brush away from your body and along the rim of the drum as if rolling dough or putty. The circular motion of the brush against the drumhead will create the roll effect. To give a clear ending to the roll, play a single stroke with the opposite hand. A diamond notehead denotes the roll,v and the release of the roll is notated as a single stroke to be played by the opposite hand.

Roll the entire brush across the drumhead, away from the body

SUGGESTED SETUP Player 1

Player 2

Player 3

Player 4

Audience

NOTATION KEY

/ 6

p Single-hand o m sweep strokes t s t l k oo

 œ

-L e œ

s w

ro s t On

æ œæ

t nd

olo

s lar

tr o

^M œ

a rc

d e

s ad

tr o

ææR ‚

ll r o

ææR ¿

x f l e

st ip

Level: Medium Approx. playing time: 3'20"

BRUSH HOUR

ALEX STOPA

Swing feel h = ca. 105 snares off (w/ wire brushes)

>> ° 4 œj œ œ̇ œ œ œ̇ œ œ /4 L R  

Player 1

(4)

‘

∑

mf LH stir snares off (w/ wire brushes)

4 /4‰Œ

Player 2

∑

Player 3

‘

>j > ‰ œ œ œ̇ œ œ œ̇ œ œ L R   mf

snares off (w/ wire brushes)

∑

4 /4‰Œ

(8)

‘

∑

‘

∑

>j > œ ‰ œ

(4)

LH stir

∑

mf snares off (w/ wire brushes)

4‰Œ ¢/ 4

Player 4

∑

= 1

(1 2)

‘

(1 6)

‘

(8)

‘

(1 2)

‘

(4)

/ œ̇ œ œ œ̇ œ œ  

‘

>j > œ ‰ œ œ̇ œ œ œ̇ œ œ L R  

LH stir 4

¢/

= 1

(8)

∑

‘

LH stir

‘

>j > œ V V ‰ œ

>j > œ œ ??? ? ‰ / ?? /

‘

¢/ ? ? ? ? 17

‘

>j > œ ??‰ œ ??? ? ‘

(6)

(4)

‘

‘ (4)

‘

>j > œ œ ??? ? ‰ ??

‘

>j > œ ‰ œ ?? ? ???

>j > ‰œœ ?? ? ???

>j > >j > œ ??‰ œ ‰œœ ?? ? ??? 20

‘

>j > ‰œœ ??

‘

BRUSH HOUR – Stopa

>> ° ‰ œj œ / ? ? ? ?? ?

‘

marcato dead stroke*

>j > œ / ? ?‰ œ ? ?? ?

^ ^ >j > >j > > > >j > > >j > marcato dead stroke* œ œ œ œ œ œ œ œ œœ ‰œœ œ Œ ‰ ? ? ??? ???

‘

¢/

‘

L R

R L

L R

R L

L R

L R 31

R L

L R R 32

B ∑

∑

R L

>j > >j > ^ ^ >j > >j > > > >j > > œ œ œ œ œ œ œ ‰ ? ?‰ ? ? ? ?? ? ??? ? ? ? œ œ œ œœ ‰œœ œ Œ

marcato dead stroke*

^ >j > >j > > > >j > > >j > >j > ^ ‰ œ œ ? ? ? ? ‰ œ œ ? ? ? ? ? ? œ ? ? œ ? ? œ œ œ œ œœ ‰œœ œ Œ R

(4)

^ ^ >j > >j > > > >j > > >j > œ œ œ œ œ ‰ ? ? ? ? ? ? ? ? œ œ œ œœ ‰œœ œ Œ marcato dead stroke*

∑

>j > ‰œœ

∑

>j > straight > l k l k > >j œ œ œ ‰ 6 Œ œ œ œ œ œ™ œ Ó

∑

straight lklk

> >j > œ œ™ œÓ ¢/ œ œ œ œ 6 Œ R R R R L

R R R R

cont. swing feel

œ̇ œ œ œ̇ œ œ œ̇ œ œ œœ Œ   

cont. swing feel

œ̇ œ œ œ̇ œ œ œ̇ œ œ œœ Œ   

∑

= cont. swing feel

∑

>j > >j > > > >j > > >j > straight lk lk lk lk lk lk l ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj ‰ Œ œ œ œ œ œ œ ‰ œ œ œ Œ L

straight

> >j / œ™ œ Ó L

∑

R R R R R R R R

R R R R R

cont. swing feel > œ œ œ œ œ 6 Œ œ̇ œ œ œ̇ œ œ œ̇ œ œ œœ Œ R R R R L    lk lk

∑

>j > >j > > > >j > > œœ œœ œœ ‰ œœ œ Œ f

∑

>j > >j > > > >j > > œœ œœ œœ ‰ œœ œ Œ f

¢/

∑

* Wire and rubber handle strike drum simultaneously.

>j > >j > > > >j > > œœ œœ œœ ‰ œœ œ Œ f

BRUSH HOUR – Stopa

C 1

/ œ̇ œ œ  mf

/ œ̇ œ œ  mf / œ̇ œ œ  mf

œ̇ œ œ ¢/  mf

= 1

straight

>j > œ̇ œ œ ? ? ‰ œ œ  >j > œ̇ œ œ ? ? ‰ œ œ  >j > œ̇ œ œ ? ? ‰ œ œ  >j > œ̇ œ œ ? ? ‰ œ œ 

^ ^ lk lk > œ ? ? ? ? ? ? œ œœœœœ Œ 6

2 •

R R R R

> >j œ™ œ Ó

straight l k l k

^ ^ > œ œ œ œ œ œ œ ? ? ? ? ? ? 6Œ

2 •

straight

^ ^ l k l k > œ œ ? ? ? ? ? ? œœœœœ6Œ

2 •

straight

^ ^ l k l k > œ œ ? ? ? ? ? ? œœœœœ6Œ

2 •

3 4

> >j œ™ œ Ó

3 4

> >j œ™ œ Ó

3 4

> >j œ™ œ Ó

3 4

∑

- 3- - œ œ œ œ

∑

L'istesso q = 105 legato sweep stroke* *

° 3 /4

∑

- 3- - œ œ œ œ

-j œ ‰ Œ

- - - 3 -j -j ‰ œœ œ œœ ‰ Œ 3

etc.

mp legato sweep stroke* *

3 /4

∑

3- - - 3 -j -3 - - 3 -j -j j œ ‰ ‰ œœœ œ œœœœ œœ ‰

- - - 3 -j -j ‰ œœœ œœ ‰

L etc.

mp legato sweep stroke* *

3œ /4

- œ œ

-j œ ‰ Œ

- - - 3 -j ‰ œœœ œ œ

- œ œ

-j œ ‰ Œ

- - - 3- - ‰ œœ œ œ œ œ

-j œ ‰ Œ

L etc.

mp legato sweep stroke* * 4

- 3- - 3œ œ œ œ ¢/ 4 R

= 1

-j œ ‰ Œ

-j / œ‰ Œ Œ

- 3 -j -j œ œœ ‰ Œ R

one-hand tremolo

m j m j

-- ‰ œ œ œj ‰ Œ

j œœœœ ‰ Œ

∑

L L L L

-j / œ‰ Œ Œ

- - - 3 -j -j ‰ œœ œ œ œ ‰ Œ 3

lk lk

3 - - - - 3 -j -j œ œ œœœ œ œ œ ‰

m j m j

j œœœœœ ‰

m j m

* * Clearly articulate each note.

(R)

4 4

>æ œæ

.j œ‰

>æ . j œæ œ ‰ 44

(R)

one-hand tremolo

> j ‰ ææ .j ‰ Ó œœœ œ œ œ

>æ œæ

L L L

R R R R R

- 3- - - - 3 -j -j ‰ Œ ¢/ œ œ œ œ œ œ œ

L L L L

lk lk l

.j œ‰ Œ

one-hand tremolo

3 j ‰ j œœœœ œ œœœœ ‰ R R R R

/ œ

>æ œæ

(R)

4 4

one-hand tremolo

lk lk l

j œœœœœ ‰ Œ

∑

R R R R R

>æ . j œæ œ ‰ Œ R

∑

(R) 67

4 4

BRUSH HOUR – Stopa

E 1

Tempo primo, Swing Feel h = 105

>. ° 4 œj ‰ Œ Ó /4

rim roll

æ > Œ ‚æ œ Œ Ó

>. 4 œj ‰ Œ Ó /4

∑

rim roll

ææ > Œ ‚ œ Œ

>. 4 œj ‰ Œ Ó /4

∑

ææ > Œ ‚ œ Œ Ó R

ææ > Œ ‚ œ Œ Ó

ææ > Œ ‚ œ Œ

æ Œ ‚æ

R L etc.

rim roll

ææ > ‚ œ Œ Œ

> > > >> > œœœœœœœœ œœœ œ Œ

∑

æ > Œ ‚æ œ Œ

∑

R L etc.

rim roll

∑

> > > >> > œœœœœœœœ œœœ œ Œ

>. 4 œj ‰ Œ Ó ¢/ 4

æ > Œ ‚æ œ Œ

∑

ææ > ‚ œ Œ Ó Œ

∑

L 72

= 1

> 3 3 > > > / œ œ œ œ œ œ œ œ œœœœœœœ Œ R

> œ œœœœ 6 Œ

> >j œ™ œ Ó

∑

> œ œœœœ 6 Œ

> >j œ™ œ Ó

∑

mf straight l k l k

L etc.

∑

straight l k l k

∑

> / œ Œ

∑

j > æ Œ Œ ‰ ‚ œ

∑

>j > ‰ œœ

> 3 3 > > > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ¢/ R

∑

œ̇ œ œ œ̇ œ œ œ̇ œ œ œœ    mf

L etc.

= straight l k l k

cont. swing feel 1

∑

j > æ ‰ ‚ œ

straight l k l k

> œ / œœœœ 6 Œ straight l k l k

> œ ¢/ œ œ œ œ 6 Œ 83

Œ Œ > œ™

>j œÓ

> œ™

>j œÓ 84

> œ œœœœ 6 Œ

> >j œ™ œ Ó

>j > lstraight k l k > ‰ œœ œœœœœ6 Œ

> >j œ™ œ Ó

œ̇ œ œ œ̇ œ œ œ̇ œ œ œœ    mf ∑

∑

∑ >j > œ ‰ œ

∑

BRUSH HOUR – Stopa

∑

5 rim flex

>j > l k l k > ‰ œœ œœœœœ6 Œ

> œ œœœœ 6 Œ l k l k

>æ æ ¿™

>j æ ^ ¿æ ¿æ œ

f rim flex

> œ œœœœ 6 Œ

l k l k

∑

> œ / œœœœ 6 Œ l k l k

> œ Œ ¢/ œ œ œ œ 6 l k l k

= 1

> >j œ™ œ Ó > >j œ™ œ Ó

> œ œœœœ 6

> œ œœœœ 6 l k l k

l k

l k l k

l k

> œ œœ œœ 6 Ó l k

>j > œ̇ œ œ œ̇ œ œ œ / ? ? ‰ œ œ̇ œ œ œ̇ œ œ ‘     mp > >> > > > œ œ œ œ œ œ œ œ œ œ œ œ Œ ∑ ∑ / ∑

∑

>j > > >j > >j > > > / œœ œœ œœ ‰ œœ œ Œ mf

> œ œœ œœ 6 Ó l k

>j æ ^ ¿æ ¿æ œ

f rim flex

>æ æ ¿™

>j æ ^ ¿æ ¿æ œ

f rim flex

>æ æ ¿™

>j æ ^ ¿æ ¿æ œ

R 94

/ œ̇ œ œ œ̇ œ œ   / œ̇ œ  >j > œ œ ¢/ mf

‘

∑

œ œ œ̇ 

œ œ

œ Œ

‘

Ó 99

∑ 100

>j > œ̇ œ œ œ̇ œ œ ? ? ‰ œ œ œ̇ œ œ œ̇ œ œ ‘     mp > 3 3 > > > œ Œ Ó œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ Œ mf

œ œ̇ œ œ ‘  >j > > >j > > > œœ œœ ‰ œœ œ Œ 101

œ Œ

>j > œ̇ œ œ œ̇ œ œ ? ? ‰ œ œ mf   mp >j > > >> > > > œ œ œ œ œ œ œ œ œ œ œ œ Œ œ̇ œ œ œ̇ œ œ ? ? ‰ œ œ mf   mp

>j > œ̇ œ œ œ̇ œ œ œ œ œ̇ ‰ 4 ¢/ ? ?    mp 95 96 = °

>æ æ ¿™

Swing

∑

l k l k

102

œ Œ

∑

> 3 3 > > > œ œ œ œ œ œ œ œ œœœœœœœ Œ mf

>j > œ̇ œ œ œ̇ œ œ ? ? ‰ œ œ œ̇    mp 103

104

œ œ œ̇  105

œœ

‘ 106

BRUSH HOUR – Stopa If no solos, cut from G to K 1

>j > > 3 œ œ œœœœ ‰ ??

‘

>3 œœœœ

> >j œ™ œ Ó

/ œ̇ 

/ œ̇  mp

>j > > 3 >3 œ œ œ̇ œ œ ? ? ‰ œ œ œ œ œ œ œ œ œ œ R R  mf >j > >3 >3 œ œ œ̇ œ œ ? ? ‰ œ œ Œ œ œ œ œ œ œ œ L L 

> >j œ™ œ Ó R

¢/

>j > ? ? ‰ œœ Œ

‘ 107

>3 œœœœ

> 3 > >j œ œ œ œ™ œ Ó

108

109

œ̇  p

œ œ œ̇ 

œ œ

‘

œ̇  p

œ œ œ̇ 

œ œ

‘

œ̇  p

œ œ œ̇ 

œ œ

‘

solo (optional ad lib) 3

œœœœœœœœœœœœ œœœœœœœœœœœœ

L 110

111

112

= 1

(4)

‘

(8)

‘

(4)

‘

(8)

‘

(4)

> > j> > œœœœœœœ œ ‰ œ œ œ Œ ¢/ 3

= 1

113

114

‘

(8)

> œœœœœœœœœœœœ œœœœœœœ Œ 3

j j j œœ œœ œœ ‰ œœ œ Œ 115

116

117

118

H (4)

‘

(4)

‘ solo (optional ad lib)

> æj > > œ ‰ ¿ œ œ /

‘ æj œ> œ> ¿ ‰ Œ

‘

> > > > > >> œ œ œ œ œ œ œ œ œ œ œ œ œ Œ

> j > > j > > œ ‰ ¿æ œ œ ‰ ¿æ œ œ Œ

f (4)

œ̇ œ œ œ̇ œ œ ¢/   p 119

‘

120

121

122

123

124

BRUSH HOUR – Stopa

I 1

(8)

‘

(4)

‘

‘ solo (optional ad lib)

(8)

‘

> œ Œ

æ Œ ‚æ R

> / œ œ œ œ œ œ œ™ 3

j > œ œ Œ

‘

ææ > Œ ‚ œ Œ

j > > ‰ œ œ œ Œ

f (4)

œ̇ œ œ œ̇ œ œ   p

‘

(8)

¢/

(4)

‘

125

126

127

128

129

130

= 1

J solo (optional ad lib)

> > œœœœœ œœœœœ

(8)

‘

> > œœœœœ œ Œ

> >3 > > 3 3 >3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ /

ææ > ‚ œ Œ Œ R

> 3 >3 œœœœœœœ Œ

œ̇  p

œ œ œ̇ 

œœ

‘

(8)

‘

(8)

¢/

‘

131

132

133

134

135

136

= 1

> 3 3 > 3 3 > 3> > > / œœœœœœœœœœœœ œ œ œ œ Œ

> > > > œœœœœ œœœœœ œœœœœ œ Œ

>3 œœœœ

> >j œ™ œ Ó

>3 œœœœ

> >j œ™ œ Ó

3 4

mf (6)

(4)

‘

mf (6)

(4)

‘

(6)

(4)

¢/

‘ 137

‘ 138

‘ 139

‘ 140

>3 œœœœ

> 3 > >j œ œ œ œ™ œ Ó

L 141

3 4

>3 œœœœ mf

3 4

L 142

3 4

BRUSH HOUR – Stopa

K 1

L'istesso q = 105

° 3 /4œ R

(4)

‘

∑

etc.

- -3 3œ œ /4

- œ œ

(4)

‘

∑

‘

∑

etc.

3œ /4

etc.

mp 4

- -3 3œ œ ¢/ 4

- œ œ

143

(4)

(8)

‘

144

145

146

147

148

149

150

etc.

Tempo primo, Swing Feel h = 105 whip stroke

U ∑

4 >¿J >¿ >¿J >¿ >¿ >¿ ‰ >¿J >¿ >¿ Œ 4 R

etc.

f whip stroke

U ∑

4 >¿J >¿ >¿J >¿ >¿ >¿ ‰ >¿J >¿ >¿ Œ 4 R

etc.

f whip stroke

U ∑

4 >¿J >¿ >¿J >¿ >¿ >¿ ‰ >¿J >¿ >¿ Œ 4 R

.j U œ ‰ Ó

(R) 151

etc.

>æ æ ¿™

>j æ¿ ¿æ œ^

straight l k l k

>æ æ ¿™

>j ¿æ

straight l k l k

>æ æ ¿™

>j æ ^ ¿æ ¿æ œ

straight l k l k

>æ æ ¿™

>j æ ^ ¿æ ¿æ œ

> œ œ œ œ œ 6 Œ > œ œ œ œ œ 6 Œ > œ œ œ œ œ 6 Œ

ææ ^ ¿ œ

(solo)

U ææ ˙™ / ¢

straight l k l k

whip stroke

4 >¿J >¿ >¿J >¿ >¿ >¿ ‰ >¿J >¿ >¿ Œ 4 R

152

etc. 153

154

> œ œ œ œ œ 6 Œ 155

156