He says, "I was fortunate to have studied with him at the Juilliard School and played next to him in the New York Philharmonic. His grace as a player and a person affect me today. Log in. Toggle navigation. PAS Hall of Fame. Elden C. The only child of Albert C. At the age of nine, he began drum lessons with Howard N. Shaw and later studied clarinet, piano and music theory with Frank J. Shaw, who studied with Harry A. Bower, owned a drum shop in Portland and had performed as a vaudeville artist.
Bailey remembers him as a very good teacher who gave him the foundation for his technique based on the "Bower system. His first public appearance as a xylophone soloist occurred at the age of twelve, at a church function in Portland. As a teenager, he played with numerous and varied musical groups including the Portland Symphony and the championship Deering High School Band.
He estimates that he played over performances, mostly as a xylophone soloist, before graduating from high school in Then, during World War II, he served in the th Army Ground Forces Band, playing clarinet in the concert band, snare drum on the field and serving as arranger, conductor and pianist with the jazz band.
In , after his release from the army, Bailey entered the Juilliard School, where he studied with Saul Goodman and Morris Goldenberg, whom he was later to succeed on the Juilliard faculty.
From , Buster was timpanist of the Juilliard Symphony, freelanced in New York's busy recording and commercial industry and performed as one of the original members of The Little Orchestra Society. At Juilliard, Buster also met his wife, Barbara, a fellow percussionist, and since , timpanist of the Bergen New Jersey Philharmonic. After auditioning for Leopold Stokowski, he was invited to become a member of the orchestra, beginning a distinguished career that would continue for forty-two years until his retirement in September, These included the years during which the Philharmonic was under the directorship of Leonard Bernstein, an era that produced over recordings and scores of live radio performances as well as the historic telecasts of the New York Philharmonic Young Peoples Concerts, thrilling and inspiring millions of viewers, many of them experiencing symphonic performance for the first time.
During his tenure with the orchestra, Bailey performed in virtually every major city in the world, performing in thousands of concerts with the greatest conductors and soloists of our time. Bailey says that he was there from Stowkoski to Mehta, and quickly cites the musicality and persona of Bernstein. Please select a value for each option before adding it to your wishlist. This book can only be described as a tremendous resource for the aspiring percussionist Includes CD.
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I use all of those books on different days-- there's no need to just do one. You're never going to "finish" any of them. As Odd-Arne said, hopefully the technical stuff is not all the practicing you're doing! No, of course not. And I do SC with music instead of a metronome. Well, the main question is - can I focus on one book only and achieve everything needed to be a good relatively drummer?
I believe that it's better to dive into one particular book and learn it thoroughly than do a little bit of this one, a little bit of that one. I don't want to be the best, I do not and more likely will never do any gigs, etc. I don't think you can focus on just one book and learn everything you need.
Stick Control is good, but extremely tedious if it's the only thing you're doing. And the musical possibilities of the materials are not obvious. So you have to do other things, too-- either a regular musical method book like Podemski, or a rudimental book like Haskell Harr 2. Thank you! So I decided to work on Accents and rebounds first. And it turned out that it's much more difficult than Master Studies.
I barely can learn 2 lines per day. Don't put limits on yourself. Study based on the limits you come upon in your real playing. When I'm learning a new song or playing out and notice I'm having trouble doing something or not doing something well enough, I turn it into a mission and seek out the best technique styles to complete my mission.
Wash and repeat! Genazvale said:. Click to expand Thanks for the advice, looks like something I was looking for for a while - hands development mixed with music melody. Definitely, want to have it. Do you know if it's available in pdf somewhere? I agree that Chop-busters by Fink is really cool. I know when my son was at Eastman he did some work in Baileys wrist twisters and liked that as well. Jeff-- Yes, it's a major work, definitely!
The problem with many of these methods is that they're static in nature. No, there's no book that covers everything, and you don't need to know everything. You need what helps you play the music you want to play. A book is often a cyclopedia, though. It's just as important how you choose to work on it. Keep a log, see how your practice leads in the right direction, maybe not spending to much time or any at all on stuff you know.
Many books are just really interpretation of others. Would you have come up with those variations on your own?
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