Osami Mizuno's Alan Dawson books?

[Odd-Arne Oseberg]

I was wondering if anyone has these.

I've tried ordering them from www.presser.com a couple of times, but for some reason it's impossible to get them to accept my card.

I might get a friend's help ordering from from Japanese Amazon, but not sure at this point if these are in Japanese or there's just one dual language version.

[Jim Richman]

Great idea. Spend 150 dollars on drumbooks.

[Odd-Arne Oseberg]

Great idea. Spend 150 dollars on drumbooks.

Would you recommend that I do that with singles or doubles?

[Greg Moore]

As someone who's unfamiliar with Mizuno's books, what would one find in them that isn't in John Ramsay's book? All I know is it's gonna take me *years* to fully master that one.

[Odd-Arne Oseberg]

I think that can be said about any book, really.

Stick, control, some reading pages and a couple the Patterns books and in a way youre covered.

What Ramsay goes through is the typical stuff that at last my teacher out me through. Never done with that stuff. It's fundamentals that can be refined, sped up and expanded, but therre should be an idea behind it.

As far as I know Alan exanded things quite a bit and as one got a grasp of the fundamental exercises the point was to be creative with the concepts in ways that related to each students needs.

So what else is in them is basically what I'm asking. It might be fully notated examples of the same stuff or i might be a lot more.

Over the years I've been teaching, I've collected quite few more books than these basic ones. It's a bit of a different perspective that being a certain type of player or follow a certain school of teaching. That simply doesn't work anymore and what success I've had with teaching has beeen greatly influenced by seeing the different angles and having the bigger perspective.

Regardless of what I've been through I have spent most of my time in full time teaching positions. I still intend to do that. I'm just changing the the of environemtn I'm doing that in. An environment that's about teaching music, not a teenage bootcamp. A library of materials is probably the most rational thing there is for me to spend on, but yes I'm coming more or less to a close there as well. Apart from certain specific pieces or style studies I have most of what relevant. It's not about the knowledge anymore, it's more about different ways to approach something and ideas on how to present stuff.

I actually do have a pretty defined method on how I construct curriculum for any given situation, but in some way all the material I have has played a role in creating that concept. It doesn't change much anymore, but if I should ever stop being open to change I would be in trouble.