The Canvas Series - Sample by Tapspace

Canvas Series

The

eight contemporary snare drum solos inspired by renowned artists by Patrick McLaughlin

The Canvas Series by Patrick McLaughlin ÂŠ 2018 Tapspace Publications, LLC (ASCAP). Portland, OR. First published in 2011 by Paravox, LLC. Published in 2018 by Tapspace Publications, LLC. 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. TSPB-41

Preface In an attempt to gain new creative perspectives and inspirations, I began to research some of the great masters of art. Inspired by my findings, I started experimenting with these artistic perspectives and methods in a percussive setting. As I explored these new ideas, I set out to capture my interpretations and observations of superb artists through my own medium. Just as painters observe a subject and capture it on canvas, I observed the artistâ&#x20AC;&#x2122;s work and sketched it in rhythm. As a result, my own interpretations of the philosophies, practices, works, and legacies of eight monumental masters became the foundation of The Canvas Series. It is my hope that each solo provides a fusion of inspiration drawn from the master of art, my compositional style, and your interpretive sound as the artist. â&#x20AC;&#x201D;Patrick McLaughlin

Table of Contents

Notes to the Performer 3 No. 1: M. C. Escher 6 No. 2: Henri Matisse 10 No. 3: Vincent van Gogh 14 No. 4: Pablo Picasso 18 No. 5: Andy Warhol 21 No. 6: Claude Monet 23 No. 7: Jackson Pollock 26 No. 8: Salvador Dalí 29

The Canvas Series

Notes to the Performer The Canvas Series solos require a great deal of technical facility, finesse, rhythmic understanding, and musicianship. Every solo is introduced with a brief overview and description of the artistic characteristics that form its foundation. While this information should be read and referenced, it is highly encouraged that you do additional research on each artist which will give you a better understanding of their influences and a deeper insight into the creative purpose of each piece. Since these pieces are complex in their connections and meanings, it is essential that you read, think, and interpret beyond the ink on the page. Below is a key to the primary notations.

Rolls are to be played in a closed, â&#x20AC;&#x153;buzzâ&#x20AC;? style and are indicated with regular slash articulations on the stem. They should be played with a rhythmic base that best fits your sound. Rolls should be played for the entire duration of their note value, releasing on the note to which they are tied. Mordent style articulations on the stem (without a tie) indicate a singular buzz stroke, with a slight disconnect before the following note. You will see three different styles of accent markings including staccato, marcato, and martellato. Since these markings have traditionally been used for wind and string instruments to dictate the articulation and duration of the note, I will explain why I used them on an instrument on which the duration of a single, unembellished note is essentially impossible to control.

by Patrick McLaughlin

Staccato markings traditionally imply that the last part of the note should be silenced in order to create separation between it and the following note. Because this separation naturally creates an implied weight and stress on the note, its feel is slightly heavier than that of an unembellished note. Due to this audible difference, I have used staccato markings to dictate light accents in which the note should have a touch of added volume and weight. The marcato accent traditionally dictates that the note should have an emphasized attack followed by a suspension of the pitch at its dictated dynamic marking for the remainder of the noteâ&#x20AC;&#x2122;s value. Since the duration of a single, unembellished note played on a snare drum cannot truly be controlled, we must focus on the initial impact of the note. Therefore, the marcato accent in these pieces dictates that the note is noticeably emphasized and considered a full accent in its respected dynamic. Martellato is Italian for â&#x20AC;&#x153;hammeredâ&#x20AC;? and traditionally dictates a sharp and hammered stroke, creating an energetic and emphasized sound. This heavy accent marking is the loudest and most stressed accent marking of the three and should be played with intensity.

The Canvas Series

No. 1 M. C. Escher

A graphic artist known for playing with concepts of perception and expectation, M. C. Escher’s work toys with the viewer’s mind by making impossible structures and scenes appear possible. When viewers observe Escher’s work, they often experience bouts of confusion, curiosity, and amazement as wacky staircases, peculiar walls, and altered perspectives challenge the concept of reality. In No. 1: M. C. Escher, I imitate the path of an observer’s eyes in viewing pieces such as Relativity, Waterfall, Ascending and Descending, and Drawing Hands. The visual paths in these works swiftly connect from one to another and shift points of perspective causing the viewer to continuously question their perception. As the observer’s eyes travel from one path to another, they realize they’re following a cyclical route that eventually brings them back to the part of the illustration that initially captured their attention. This unexpected resolution leads the viewer to search through the image once again in an attempt to figure out how the illustration “works.” Cyclical-sounding phrases that distinctly, yet smoothly, fold into one another represent the changing visual paths in Escher’s work. The beginning of each phrase is marked by a distinct accent followed by a crescendo passage. The pace of each remains swift as it gets louder, but as the phrase reaches the point of climax, it suddenly changes dynamic direction and bends into a new phrase or path. As the journey progresses, separate passages continue to blend smoothly together from one to the next until the ear is ultimately led back to the beginning of the piece represented at letter C. The viewer’s experience of confusion and reflection on being brought full circle through the work is recreated aurally through two measures of reflective buzz rolls. After the viewer, turned listener, has pondered this phenomenon for a moment, they walk away puzzled, yet excited, as demonstrated in the concluding measure of the piece.

The Canvas Series

No. 1

M. C. Escher

Patrick McLaughlin

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by Patrick McLaughlin

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The Canvas Series

No. 2 Henri Matisse

Known for his colorful and energetic paintings, Henri Matisse made bold statements as a Fauvist and modern artist. The Frenchman had originally studied and practiced law and began painting while recovering from a case of appendicitis. After his recovery, Matisse realized that he loved painting and decided to focus all of his energies on art. This journey led him to become one of the most memorable artists of the Fauvist, Impressionist, and Modernist movements. In an effort to revolutionize art, Matisse set out to reject traditional artistic principles that had evolved in the Western world for centuries. In order to do this, he disregarded perspective, painted without shadows, and altered the distinction between line and color. Much of Matisse’s art embraces bold primary colors with free and simple forms, but his Fauvist work accentuates bright colors that disregard the objects’ natural colors in favor of emphasizing expression. In this piece, I try to capture the core elements of Matisse’s Fauvist work by exaggerating the percussive equivalents of the bold colors and simplified form. The free and simple form is represented through the triplet feel of the piece, while the bold colors are represented through percussive embellishments including accents, flams, and buzz rolls. The brisk tempo of No. 2: Henri Matisse assists in creating the vibrant energy found in Matisse’s Fauvist works, while the frequent change in volume and phrasing emphasizes expression.

The Canvas Series

No. 2

Henri Matisse

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by Patrick McLaughlin

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The Canvas Series

No. 3 Vincent van Gogh

Vincent van Gogh constructed his works with vivid colors and distinct brush strokes, exploring real-life subject matter with an interpretive eye and a thick application of paint. The Dutch, Post-Impressionist painter is regarded today as one of the greatest painters in history. However, like many other famous Impressionists and Post-Impressionists, he received little appreciation during his lifetime. Despite struggling with anxiety and an aggressive temper, Van Gogh created a vast collection of beautiful landscapes and self-portraits. No. 3: Vincent van Gogh attempts to capture the physical qualities of his work, the process by which he interpreted his subjects, and the bouts of anxiety he experienced throughout his life. The first few measures contain an unembellished note followed by its interpretation with a buzz on it. This represents Van Goghâ&#x20AC;&#x2122;s real-life subject matter (unembellished note) followed by his texturized impression of the image on canvas (interpretation note with a buzz on it). This process of observation and interpretation occurred a number of times as Van Gogh observed his subject before focusing on his canvas to interpret what he saw with paint. As such, the sequence of an unembellished note or rhythm followed by an interpretation note or rhythm is repeated to reflect Van Goghâ&#x20AC;&#x2122;s painting process. The piece is to be played with a peaceful and calming quality that represents Van Gogh sitting in a field with his easel painting on a warm, spring day. There is no distraction in the beginning of the musical piece as the sun touches his skin and a breeze gently passes through the field. When Van Gogh begins to experience a bout of anxiety, he is no longer able to appreciate the peace and beauty that surrounds him. This experience is expressed by the appearance of sharper rhythms with more rigorous and aggressive strokes. After some time, the anxiety dissipates and he is able to complete his painting. Performance Note: Rolls equal to or greater than the value of a quarter note should be sustained evenly with both hands alternating to create a smooth and elongated sound until the defined release. Notes with values less than a quarter note that include a mordent articularion should be played as long, single buzz strokes. While there will be a slight separation prior to the next note, these single buzz strokes should be sustained as consistently as possible. 14

The Canvas Series

No. 3

Vincent van Gogh

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The Canvas Series

No. 4 Pablo Picasso

Spanish printmaker, painter, ceramicist, and sculptor, Pablo Picasso revolutionized Western art with his innovation and versatility. By shaping the Cubist movement, Pablo Picasso made a large impact on twentieth century modern art and is still remembered as one of the best painters to have ever lived. In his early Cubist works, Picasso sought to flatten space by deconstructing objects, analyzing their qualities, and reassembling their simplified forms on a two-dimensional plane. As time progressed, Picasso became an important pioneer in developing analytic cubism. This movement was largely based on the tenets of early Cubism but removed most bright colors and broke the subject into multiple views. Instead of painting an object in a single moment of time from one point of view (the standard for painters prior to this period), Picasso attempted to capture an object from several different angles at once. This resulted in images constructed of choppy, jagged, and disorienting fragments that were pieced together to form the whole. No. 4: Pablo Picasso reflects the characteristics of Picasso’s Cubist art. The segment of music in the first six measures of the piece represents Picasso’s initial angle of observation. This passage reappears frequently throughout the piece but is altered to represent multiple viewpoints of the same subject. Sharp accents mirror the crisp lines of Picasso’s work, while short bursts of rhythmic embellishments imitate different angles or points of perspective that alter the image. The underlying rhythms remain similar throughout the piece but change subtly depending on the vantage point, just as the multiple viewpoints in Picasso’s work allow the onlooker to experience multiple features of the same subject from different angles.

The Canvas Series

No. 4

Pablo Picasso

Patrick McLaughlin

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> > ^ 3 > 3 ^ > 3 3 > ‰ ‰ / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

f p

> >> / œœœœœœœœœœœœœ

^ >> ^ ^ ^ ^ 3 ^ >3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ R R R R R R R

^ ^ ^ ^ ^^ ^^ ^ ^ ^ 3 ^ / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ

j œ

^ œ Œ Ó

No. 5 Andy Warhol

Andy Warhol revolutionized the concept of Pop Art and gained celebrity status by exploiting Americans’ attachment to—and consumption of—mass-produced items. Recognized worldwide for his paintings and silkscreen prints of Campbell’s Soup cans, Coca-Cola bottles, Elvis, and Marilyn Monroe, Andy Warhol consistently delivered controversy and fascination to people around the globe. By altering or adjusting images of well-known celebrities and products, Warhol created works that rejected emotional ties and instead focused on the indifference of mass marketing and overstimulation found in a media-centric society. This piece replicates the process of Warhol’s multicolored silkscreens of Marilyn Monroe. In this series of works, Warhol transferred an iconic photograph of Monroe onto canvas, adjusting the colors slightly with each new print. Despite using the same image, every silkscreen adopted a life of its own simply due to the variations of colors. In No. 5: Andy Warhol, one static rhythmic passage is played throughout the piece in order to represent the core image of Marilyn Monroe. While this rhythmic passage is the same in every measure, the voicings (colors) that make up and surround the rhythmic passage alter from section to section, suggesting the audible equivalent of viewing Warhol’s Monroe series. Performance Note: This piece calls for a snare drum and a dry-sounding metal object. I recommend using a ribbon crasher or skinny pair of stacked metal sheets. If you do not have access to either of these options, you can use the rim of your snare drum.

The Canvas Series

No. 5

Andy Warhol

q = 102

Patrick McLaughlin trashy metal (or rim)

snare drum

4 / 4 ™™ œ œ œ ≈ œ œ œ œ œ ≈ œ œ œ œ œ ≈ œ œ œ œ œ ≈ œ œ ™™ ™™ œ œ ¿ œ ≈ œ œ œ œ ¿ œ ≈ œ œ R R R

R R R R R

R R

sim.

f 4

/ œ œ ¿ œ ≈ œ œ œ œ ¿ œ ≈ œ œ ™™ ™™ œ œ ¿ œ ¿ œ œ œ œ ¿ œ ¿ œ œ œ œ ¿ œ ¿ œ œ œ œ ¿ œ ¿ œ œ ™™ sim.

/ ™™ œ œ ¿ œ ¿ œ œ¿ œ œ ¿ œ ¿ œ œ¿ œ œ ¿ œ ¿ œ œ¿ œ œ ¿ œ ¿ œ œ¿ ™™ ™™ œ¿ œ ¿ œ ¿ œ œ¿ œ¿ œ ¿ œ ¿ œ œ¿

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L L

sim.

/ ™™ ¿ ¿ œ ¿ ≈ ¿ ¿ ¿ ¿ œ ¿ ≈ ¿ ¿ ¿ ¿ œ ¿ ≈ ¿ ¿ ¿ ¿ œ ¿ ≈ ¿ ¿ ™™ ™™ ¿ ¿ œ ¿ œ ¿ ¿ ¿ ¿ œ ¿ œ ¿ ¿ R

sim.

/ ¿ ¿ œ ¿ œ ¿ ¿ ¿ ¿ œ ¿ œ ¿ ¿ ™™ ™™ ¿ ¿ œ ¿ œ ¿ œ¿ ¿ ¿ œ ¿ œ ¿ œ¿ ¿ ¿ œ ¿ œ ¿ œ¿ ¿ ¿ œ ¿ œ ¿ œ¿ ™™

B 19 / ™™ œ¿ ¿ œ ¿ œ ¿ œ¿ œ¿ ¿ œ ¿ œ ¿ œ¿ œ¿ ¿ œ ¿ œ ¿ œ¿ œ¿ ¿ œ ¿ œ ¿ œ¿ ™™ ™™ ¿ ¿ œ ¿ ≈ œ œ ¿ ¿ œ ¿ ≈ œ œ

/ ¿ ¿ œ ¿ ≈ œ œ ¿ ¿ œ ¿ ≈ œ œ ™™ ™™ ¿ ¿ œ ¿ ¿ œ œ ¿ ¿ œ ¿ ¿ œ œ ¿ ¿ œ ¿ ¿ œ œ ¿ ¿ œ ¿ ¿ œ œ ™™

Ó 22

No. 6 Claude Monet

French Impressionist painter, Claude Monet, created works of pure beauty. Well known for scenes that capture a sense of peaceful bliss, Monet aimed to depict colorful personal perception with his artistic technique. A pioneer of Impressionist painting, his artistic style and free brushstrokes allowed changes in colors to naturally form indistinct boundaries between objects, foreground, and background, lending his work a “blurry” appearance. The source of inspiration for this piece is Monet’s Haystack series. In this series Monet painted a set of haystacks over the course of changing seasons capturing both the brilliance and beauty of Mother Nature. The performer uses wire brushes to capture Monet’s thick and swift paintbrush strokes. These brushes ease the distinction between silence and sound, just as Monet eased the boundary between background and subject. The solo is composed in A-B-A form with both A sections being notated. The B section is a live improvisation section for the player to mimic either the current season or their favorite season. The A sections represent the consistency of Monet’s subject, the haystacks, while the B section represents the shifting seasons and their influence on the subject and surroundings. This piece should capture the whisk of a breeze in spring, the radiant heat of the sun in summer, the brittle air of winter, or the crispness of fall. Performance Note: The brushes should be in contact with the head for the duration of the written passages. You can leave the head as you wish throughout the improvised section, but be sure that your brushes are continuously sliding across the drumhead to create a smooth and connected sound while playing the written rhythms. Here are the basic suggested brush patterns.

The Canvas Series

No. 6

Claude Monet

Patrick McLaughlin

q = 48 w/ brushes

3 /4œ œ œ

œ œ œ

3 7

/ œ œ œ

œ œ œ œ

œ œ œ œ œ œ œ

œœœœœœœ

œ œ œœœ

œœœœœœœ œ œ œ œ

œ œ œ œ

A 13

Improvise

/ V

B as written 25

/ œ œ œ

œ œ œ

3 31

/ œ œ œ

œ œ œ œ

œœœœœœœ

œ œ œ œ œ œ œ

œ œ œœœ

œœœœœœœ œ œ œ œ

œ œ œ œ

The Canvas Series

No. 7 Jackson Pollock

Jackson Pollockâ&#x20AC;&#x2122;s prominence as an American artistic icon was solidified by his contributions to Abstract Expressionism. He pushed the limits of action art by using sticks, hardened paintbrushes, and paint cans to distribute streams of paint across large canvases on the floor. By creating and popularizing this technique, Pollock challenged the traditional Western method of painting upright on an easel with brushes. His methods resulted in works of fortuitous and ambiguous beauty, as thickly textured and chaotic lines overlap and intersect with one another in a collage of raw emotion. In this piece I attempt to capture Pollockâ&#x20AC;&#x2122;s artistic process and technique, his volatile personality, and the multiple layers of texture in his work. The piece begins with the premise that Pollock is creating a new painting. He begins to dribble a long line of paint from a stick as he stands over the canvas. This motion is mimicked with one hand playing a continuous decay of sound that eventually fizzles out with a buzz, just as the stream of paint stops dripping from the stick. After Pollock takes a moment to walk around the canvas and apply fresh paint to the stick, a new stream starts. As more layers of paint are added to the canvas, individual lines become shorter and more distinguished by virtue of the rhythm of Pollockâ&#x20AC;&#x2122;s hand. When the canvas begins to fill, more rhythmic chaos is presented to demonstrate the complex intersections of paint streams as they are stacked and splattered across one another. Slowly but surely, the layers of paint become thickly intertwined, creating a literal and visual texture represented on the drum by the quick and accented single stroke passage. As the painting progresses, buzz rolls are introduced as the layers of paint and sound become even thicker and more texturized. Accents on top of the buzz rolls become more frequent, articulating the last few streams of paint splashed on top of an already texturized canvas. By the end of the piece, the entire canvas is covered with a hefty amount of paint, and Pollock completes his work. Performance Note: This piece begins with a passage played with one hand. The passage should sound as if a ball is thrown and naturally bounces until it comes to a stop. Be sure to take note of the breath marks after fermatas and begin using both hands after letter A. At letter C, the rolls are best played with an underlying sextuplet rhythm to clearly articulate certain accents. 26

The Canvas Series

No. 7

Jackson Pollock

Freely

U , œ œ ™ œ œ œ œ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œmŒ

> > 4 œ™ œ™ œ /4 R

Patrick McLaughlin

sim.

> > / œ™ œ™ œ

U , œ œ ™ œ œ œ œ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œmŒ 42 3

A q ≈ 86 U ,> U , . 3 . > 9 m œ œ œ œ œm œ œ œ œ œ ™ 2 /4œ œ œ œ œ R

R L

R L R

U ææ ,3 . 3 . œ 4 œ œ œ œ œ™ R

L R

æ œæ

U ææ ,4 œ 4

æ œæ

L R

. 3 . . . > > 4 œ œ œ œ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œææ™ /4

U ææ , œ

ææ œ™

U , U .3 . . .> .> > > > > æ ææ ,4 æ 5 3 ™ / œœœœœ œœœœœ œ œ œœœœœœœœœœœ œ 4 œ œœœ œ œ œœœœœœœœœœœ œ ˙ 4 œ œ œ œ œ œ ˙ 4

U >æ , > > > >> > > > U > >3 >æ , > >3 >æ > . æ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œ œœœ œœœ œœ œ œj œ œj œ œj œ ˙æ 3 4 4 / 4 œœ œœœœœ œ œ ˙ RLRRLRRL

by Patrick McLaughlin

U ^ ^ ^ ^ æ 21 æ 3 / 4 œœ œœœ œœœ œœœ ˙ 3

In tempo (q≈92)

, ^ ^ ^ U ææ^ œœ œœœ œœœ œœœ ˙ 3

> > ^ ^3 ^ æ^ ^ 4 œ œ œ œ œ œ œ œ œ œ œ œæ œ œ œ œ œ œ œ œ œ 4

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> > > > œœœœœœœœœœœœœœœœœœœœœœœœœœœ

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> > > >> >> > > > > > > > > > >> > / œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œœœœœœœœœœœœœœœœœœœ œ œ œ œœœœ

>j æ æ / œ œ f

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6 > > æ æ æ œ œ œ

> æ œ

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Œ 28

No. 8 Salvador Dalí

A renowned surrealist painter from Spain, Salvador Dalí exhibited a quirky personality, outlandish public behavior, and extreme imagination. Dalí utilized multiple mediums of expression to convey his ideas including film, photography, performance art, and sculptures. Regardless of the medium, all of his work displays the “offbeat” and distinctive traits that make him memorable as both an artist and a man. Best known for his surrealist work, Dalí was fascinated with the subconscious and was inspired by the psychoanalysis work of psychologist Sigmund Freud. His paintings began to look like dreamlike illustrations created with impeccable technique.

No. 8: Salvador Dalí attempts to capture the bewildering experience of viewing Dalí’s paintings and the quirkiness of his personality. The crisp and clean rhythms reflect the essence of the lines and images in Dalí’s work and are organized in a way that lead the listener to question the pulse of the music similar to how the viewer is led to question the meaning of Dalí’s work. The structure and organization of phrases in this piece allow the listener to identify the existence of pulse while simultaneously challenging them to assimilate its rhythmic organization, just as one would struggle to discover the underlying meaning of Dalí’s works

The Canvas Series

No. 8

Salvador Dalí

Patrick McLaughlin

q = 74

6 >> > 3 ^ ^3 ^ ^ 3 > > >6 > 3 > >5 > 3 4j / 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ R R L L R R

L L R L R R L

mf p

>3 > > > > >3 > > > > >3 > > > > > > > > > > 6 > > >6> 3 / œ œœœ œ œ œ œœœ œœœœœœœœœœœœ œœœœœœœœœœœ œ œœœ œ œœœœ f

A 5

3 > >>>> > 3 >> > > >> > / œœœœœœœœœ œ œ œ œ œœœœœœœœœ œœœœ œ œ œ œœœ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ 5

LRLRLRL LRRL L

3 >> > 3 > > > > 6> > > 6> > > 3 > > > j  / œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ R R R R R

R L R R L L

6 > > > > >> >> >3 >> 6 / œœœœœœœœœ œœœœœœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œ œœœœœœœœœœœœ R L RR L L

R L RR L L

L L RR

RR L L

L L RR

RR L L

. . . . . . . æ æ 11 / œ œœœ œ œ œœœ œ œ œœœ œœœœœœœ œœœœœ œœœ œ œœœœœ œœœ œ œœœœœ L R L L R

>> >> >> 6 5 ^ ^3 ^ / œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœ œ œ œ œ œœœœœ œ œ œœœ 6

The Canvas Series > > æ æ 15 / œœœœœœœœœ œ œ œœœœœœ œœœœœ œœœœœœœœ œœœœœœ œœœ œ œ œœœ œ 3

3 >>>>>>>> 3 > > 6 ^ ^ ^ 17 / œ œœœœœœœœœ œœ œœœœœœœœœ œœ œ œœ œœœœœ œœœ œœœœ œœ œ œœ œœœœœœœœ R LRR

f (stick shot)

>3 > > >3 > . >3 > 3 19 ≈ m m m m M M / œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ™ œ œ œ œ œ œ œ œ ‹ ‹ œ œ œ œ œ œ œ œ ff

>>>> >>>> ^ > > > 6 >> >> 6 > > > / œ œœœœœœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ

. 6 > ^ 3 3 5:4 > >3 > > > >5 > > 5 > / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœœ œ

6 6 3 5 > >>6 > 6> >> 6> > > ^ > >>6 25 mœ œmœ œmœ œœœœœœœ œ œ œœœœœ œ œæ œ œ œ œ œœœ œ œ œ œ œœœ œ œœœ œ œ œ œ œœœ œ œ œ œ œ /

D 3 > > > > > >>>> 3 >> > 6 / œ œ œ œ œ œ œœœœ œœœœœœ œœœœœœœœœœœœœœœœœ œœœœœœœœœ 3

j œ

R L R R L R R L R R L R R L R L

R L R R L L

6 > > > > > > > >> >6 / œœ œœ œ œœ œœ œœœœœœœ œ œ œ œœœœ œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ

RLRRL L

by Patrick McLaughlin

7 3 3 3 5:4 6 >>>>>>> >> >> > >> / œœœœœœœœœœœ œœœ œœœœœœœ œœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ

RLRRLRRLLRLLRRLL

E 3 5 5 3 >> >>> 3 3 > > 33 / œœœœœœœœœœœœœœœœ œœœœœœœœœœœ œœœœœ œœœ œœœ œœ œ œœœœœœ œ œœœœœœœ œ 6

RL LRL L

5:4

RL L

> 35 / œœœœœœœœœœœ œ œ œœœœœœœ œœœœ œ œ

6 >> > 3 ^ ^3 ^ ^ 3 > > j  œœ œœœœ œ œ œ œœœœœœœœœœ R R L L R R

5 > 6 3 > > > > > 3 37 / œœœœœœœ œ œ œ œ œ œ œ œœœœœœœ œ L

L R L R R L

mf p

Dedication To my parents, Margaret and David McLaughlin. Your endless support and unconditional love mean the world to me. Thank you for teaching me how to dream and always believing in me as I try to make those dreams come true.

Acknowledgements I would like to thank my mentors: Rich Hinshaw, Bret Kuhn, Paul Rennick, Christopher Deane, Ed Soph, Mark Ford, Mike Balter, Ed Smith, Gideon Alorwoyie, Poovalur Sriji, and JosĂŠ Aponte. I am humbled to have been guided and taught by so many brilliant minds. Your relentless efforts and patience throughout the years have been deeply admired and greatly appreciated. Thank you for sharing your wisdom and for always pushing me to become a better musician.

Thank You

I’d like to take a moment to personally thank you for purchasing, learning, and playing the solos in The Canvas Series. I hope that you enjoy playing them and find yourself challenged and engaged. If you have an extra minute, I would love to hear you play these solos! Upload a video of your performance online and let Tapspace know about it. It’s always great to hear how musicians interpret music, and I’m interested to hear how you interpreted The Canvas Series! Thanks again, and I look forward to hearing from you soon! Best Regards, —Patrick

tapspace.com